Motif and Symbols

Motif
A motif is an image, spoken or written word, sound act, or another visual or structural device
that has symbolic significance. It is used to develop and inform the theme of a literary work. The concept
of a motif is related to a theme, but unlike a theme which is an idea or message, a motif is a detail that is
repeated in a pattern of image that can produce a theme while creating other aspects at the same time.
It is closely related to a theme or a symbol and uses different narrative elements. It is constantly
repeated to represent a dominant or central idea or theme in a work of art. It relates more to thought
which is used to support a theme.

Motifs typically are used in one of three ways:

A single object that appears multiple times throughout the work with most of the emphasis
placed on the item.
A collection of related objects that appear multiple times to emphasize the theme.
A collection of seemingly unrelated items that serve to draw attention to the theme in a subtler
manner.

Classification of Motif
The motifs or units of a textile may be classified as: Geometric, Realistic or Natural, Stylized,
Abstract.
1. Geometric Motif. These motifs include lines in various forms, such as vertical, horizontal,
diagonal and curved. They form fabric designs, such as stripes, plaids, checks and circles and
their associated designs. Geometric designs lead the eye in the design or pattern that is created
by them.
2. Realistic or Natural Motif. Natural motifs portray as direct replica of things as they exist in
nature, such as flowers on trees, animals in jungle, human figure and other natural things. They
are also called novelty patterns. As these motifs lack a designer’s creativity and require three-
dimensional platform to copy reality, they do not find wide acceptance in apparel designing.
3. Stylized Motif. These are simplified variations of natural or man-made objects that are no longer
recognizable. These motifs are full of creativity, as they are the result of designer’s
interpretation of naturally existing things. Stylized motifs are obtained by rearranging the real
objects either by simplifying or exaggerating them to achieve the purpose of the design.
4. Abstract Motif. These are combinations of color, size, and shape without relationship to natural
or man-made objects. They are full of color and interest to the fabric. Abstract implies an
element of impression and a greater freedom that is found in most geometric designs. This type
of design is used in modern art.

Symbol
The term ‘symbol’ comes from the Greek word ‘symbolon’ which means contract, token, insignia
and means of identification.
Through symbols ideas and meanings are represented. In a symbol, there is both concealment
and revelation. Symbols facilitate communication by giving a common reference point for a variety of
original disparate ideas. Symbols are universal, in the sense they transcend history.
Symbols depicted on objects allow us to decode some of the meanings behind them and
understand better the cultures that made and used them. On some occasions, the object itself, such as
an item of clothing or a piece of regalia, becomes the symbol. The motivations behind the use of
symbols are varied: to impose power, to assert position, to protect the wearer or as identification with a
family or community. Where not all members of a society are literate, symbols are crucial in
communicating ideas and affinities. They can be representational or abstract, individual or repeated.
A symbol is an object, a picture, a written word, or a sound that is used to represent something
else either by resemblance, convention, or association. Every language has symbols; in fact, our names
are symbols that represent us as individuals. Words and language in a broader sense are created by
symbols by which humans communicate with each other. Through our experiences and from different
sources we created symbols in order to explain and understand something that we have to interpret.
As symbols can be used to change the meaning of a word or phrase, they can change the way
we view things. To get the meaning of a word, it is necessary to use symbols so that it can be
understood well. The meaning of a symbol depends largely on its usage, its history and purpose.
A very fine example of a symbol is the cross. It is used to symbolize Christianity, the religion
which is based on the teachings of Jesus Christ who was crucified. The cross is also used to remind
Christians about how Christ suffered in order to save them.

Types of Symbols
1. Iconograms are illustrative representations. They are iconic signs which, as an illustrative
representation, emphasize the points in common between the signifier and the signified.

2. Pictograms are pictorial representations, such as ISOTYPE. Pictograms are iconic signs which
represent complex facts, not through words or sounds but through visual carriers of meaning.

3. Cartograms are topographical representations with complex functions (statistics, etc.) and iconic
facts, for example an atlas or the ground plan of a house.
4. Diagrams are functional representations. They are visual signs which are partly iconic
representations, but are more functional carriers that illustrate, for example, a sequence of facts
or functions.

5. Ideograms represent a concept. Typically, ideograms correspond to the sign as a symbol which
relates to the object or concept or referred to, independently of any format identification with
it. (Note that many symbols can fall into multiple categories, but the context and intention will
help us understand how to “read” them.

6. Logograms are conceptual representations like writing. They are visual, referential linguistic
signs that do not take the phonetic dimension into consideration.

7. Typograms are typographical representations. A typogram is a sign that is also composed of a

sign, derived from a written repertoire as the alphabet.
 8. Phonograms are phonic representations. A phonogram is a sign that is used to signify linguistic
or other sounds.

Indigenous Philippine Arts and Craft

One of the most precious traditional livelihoods that are still kept until today is weaving.
Originating in the pre-colonial times, the art of weaving of the Cordillera tribal groups in the Philippine
North is still existing despite the threat of the more practical, mass production of cloth. The natives use
backstrap loom to produce blankets and articles of clothing.
Piña cloth is also produced in looms throughout the province of Antique. It is a delicate and
exquisite hand-woven cloth that is made from the fibers obtained from the leaves of pineapple plants. It
is popularly used in Barong Tagalog, the country’s traditional formal mens’ wear. With the organic and
airy textile being used, the ‘barong’ is now becoming more popular around the world.
Abaca fiber derived from the abaca plant is widely grown in certain regions in the country. It is
woven mainly to make ‘sinamay’ fabric and abaca rope, as well as specialty papers like vacuum bags,
currency and tea bags. There are also handicrafts like bags, carpets and clothing made of abaca.
Baskets are also made by the Cordillerans as livelihood. They also use these as storage for food
when they need to go to mountain terraces to raise crops. Certain types of baskets also serve for
carrying grains, for hunting animals, and for fishing in the streams. Bamboo baskets are used as fish
traps; the shape and size of baskets determine to the kind of fish to be caught.
Filipino potters make pots of different sizes, shapes and designs which are usually geometric
with stylized nature-themed motifs. Functional pieces are made as the need would arise.
An example of this is the ‘palayok’, which is used for cooking. ‘Banga’ and ‘tapayan’ are used for
storing liquids. There is also the clay-made stove or ‘kalan’. The ‘burnay’ pottery in Ilocos Sur is still a
lively tradition that continues up to the present.
Philippine sculpture is the most familiar art from among Filipinos. The most popular
woodcarvings are those of the anitos (nature gods), santos (saints) and statues of Christ and the Blessed
Mother.
Since the early 16th century, jewelry making in the country has been practiced in the country. It
is believed that the skills of the early Filipino jewelry-makers are adopted from their Asian neighbors like
the Chinese.
Jewelry-making is traditionally a home-based industry. With government support, the
Philippines has come to be known for its exquisite gold jewelry. The most popular jewelry pieces are
actually made of gold and silver. Rings, earrings, bracelets, brooches, pendants, necklaces, tie pins and
cuff links (with or without gemstones) of these precious metals are common. The Philippines is also
known for pearls and semi-precious stones (FREEMAN).

Soul, Space and Symmetry Art

Art and Space

 Art and Space is at times idealistic and redundant – after all, what is sculpture but an exploration
of space, volume and three-dimensionality. The inclusivity of its broad premise feels nearly too vast. Yet
besides its attention to art history, there is something about the selection of art work that feels specific,
current and necessary.
Space is found in nearly every piece of art created. Painters imply space, photographers capture
space, sculptures rely on space and form, and architects build space. It is fundamental element in each
of the visual arts.

Space and Perspective

Creating perspective in art relies on the judicious use of space. In a linear perspective drawing,
for instance, artists create the illusion of space to imply that the scene is three-dimensional. They do this
by ensuring that some lines stretch to the vanishing point.
In a landscape, a tree may be large because it is in the foreground while the mountains in the
distance are quite small. Though we know in reality that the tree cannot be larger than the mountains,
this use of size gives the scene perspective and develops the impression of space.
Likewise, an artist may choose to move the horizon line lower in the picture. The negative space
created by the increased sky can add to the perspective and allow the viewer to feel as the viewer to
feel as if they can walk right into the scene.

The Torogan
The Torogan is the ancestral house of the upper-class Maranao in the Lanao Region of
Mindanao. It is the dwelling place of the datu along with his wives and children. There could not be any
house larger than the torogan of the datu within the sultanate, for this signifies rank, prestige and
wealth. The existing torogans were built by the community and the slaves for the datu in 1800s.
The torogan is the traditional residence of the reigning sultan of the Maranao people and his
family. It is where the community traditionally gathers for wedding, thanksgiving rites, enthronement
and vigils for the dead. It is a masterpiece of Filipino craftsmanship. Carved on the torogan wooden
posts is the niyaga, a stylized mythical snake design that can be found in many Muslim artworks.
The windows of torogan are slits and richly framed in wood panels with okir designs located in
front of the house. The communal kitchen is half a meter lower than the main house is both used for
cooking and eating. The distinct high gable roof of the torogan thin at the apex and gracefully flaring out
of the eaves, sits on a huge structures enclosed by slabs of timber and lifted more than two meters
above the ground by a huge trunk of a tree that was set on a rock. The end floor beams lengthen as
panolongs the seemed to lift up the whole house. The torogan is suffused with decorations. There were
diongal at the apex of the roof, also an intricately carved tinai a walai, okir designs in the floor, on
windows and on panolongs. There were also brightly colored weaves or malongs hanging from the
rafters, it was hung up using ropes around a particular territory for privacy.
The most noticeable feature the torogan is the panolong, wing-like house beam with pako
rabong or fern or naga serpent motif. These are ends of the floor beams that project and splay out like
triangular butterfly wings on the façade and side elevations.
The interior of the house is a cavernous hall with no permanent wall partitions. Supporting the
kingpost of the highridged roof is the rampatan or tinai a walai central beams considered as the
intestines of the house. What serves as the ceiling is a cloth suspended from the rafters to absorb the
heat from the roof. A carabao horn ornament at the roof apex of the rumah adat in Batak, Indonesia is
distinguished from the Maranao dongal.
The Ifugao Bale

The Ifugao “Bale” or Native House is said to be the “first pre-fabricated house in the world”,
according to renowned anthropologist Otley Beyer. It has been subject of many scholarly articles as it is
considered to be one of the most ingenious and nearly perfect architectural constructs made by man.
This type of dwelling does not make use of nails thus it is also called the “No-Nail” House. The
house can be dismantled and transferred to another place of choice without destroying any part of it.
The Ifugao “no-nail” house evolved from a more primitive dwelling called the “abong” which is less
permanent and is not raised.
Banaue Ethnic Village features actual Ifugao native houses that have been relocated and
preserved, which show visitors how the Ifugao native house evolved throughout time.
Ifugao house building is one of the most admired ethnic architectural designs for having
employed an indigenous system of construction that is more complex that it’s seeming simplicity.
Structural Frame
The Ifugao house is sturdily crafted of timber from amugawan trees raised on four posts, which
was buried 50 centimeters below the ground and locked in with stones. It reveals a complex technology
that renders it a tensile strength capable of withstanding devastating typhoons, torrential rain and
violent earthquakes.
The four wooden posts that rest upon the pavement and support two wooden girders, which is
also support three wooden transverse joists.
The floor joists, floor silts, vertical studs and horizontal beams rest on the post and girders at
about head level from a cage. The floor boards were fitted between the joists.
The wooden sides of the house slant upward and rise up to the waist, this forms the lower half
of the wall. In its entirety, no nails and bolts are used for all connections. 
The upper half of the wall is formed by the inner side of the roof. This creates a dark,
windowless chamber which suggests a womb.
The roof system rests on the “house cage”. The steeply pitched pyramidal roof is covered with
thick layers of thatch or cogon, this insulates the house from the heat of the sun and from the torrential
rain.
The Ifugao house has a square floor plan. Although the size of the house is determined by the
socio-economic status of the people, an average Ifugao house is approximately 12-14 feet wide and 12-
14 feet long.
The parts of the house is composed of the posts (tukud). The house is erected on four strong
posts which are usually made of large of large of large round logs having an approximate size of 8-12
inches wide by 6-10 feet in length. These are buried about 2-3 feet below the ground and locked in with
stones as foundations. Some posts have intact roots. These are simply set on the ground with the
truncated roots acting as footing.
Wooden Discs (lidi). Around the four posts are wooden discs to prevent rats from entering the
house. The discs are about 2 to 14 inches thick and 36 to 40 inches in diameter. Either a square opening
or a bore.

Bahay Kubo
The Nipa hut, or Payag, Kamalig or Bahay Kubo, is a type of stilt house indigenous to the
cultures of the Philippines. It often serves as an icon of Philippine culture or, more specifically, Filipino
rural culture. Its architectural principles give way to many of Filipino traditional houses and buildings
that rose after the pre-colonial era. These includes the Colonial era “Bahay na Bato” which is a noble
version of bahay kubo with Spanish and some Chinese main architectural influence. And the
contemporary buildings such as the Coconut Palace, Sto. Ni ño Shrine, Cultural Center of the
Philippines and National Arts Center which are modern edifices that used bahay kubo as a
major influence.
 The name of the primitive Nipa hut is actually based on the Spanish phrase Cubo,
meaning cube, probably because of its rectangular appearance and Bahay is the Filipino word
for house. By tradition this type of village dwelling is constructed out of organic materials, a
perfect example of a totally green structure, a showcase of extreme simplicity and sustainability
that has been around for a very long time.
The construction of a Bahay kubo is totally based on the local needs and conditions.
Fabricated with the ever dependable bamboo or kawayan and banded together by tree strings
with dried coconut leaves or cogon grass. Walls are made of nipa leaves or bamboo slats and
the floor is made of finely split resilient bamboo. The typical structured is raised with thick
bamboo poles, one to two meters above the ground, depending on the area where the shelter
is constructed, providing the inhabitants a safe shelter from wild animals, snakes and protecting
them against torrential rains and floods. Bamboo is strong, lightweight and flexible; it has
diverse, functional and traditional uses. It holds and mirrors much of the Philippine culture and
it is part of many ceremonies, beliefs and traditions.
Life in a bahay kubo is not restricted by the walls of the house; it includes the lives of
neighbors and friends who often are considered as relatives. Solid communal ties will bring
them together in giving aid to a family if a new house has to be constructed. It takes a
reasonable large number of people to transfer the nipa hut, if the family wants to move to
another place. This is done by putting the bamboo poles lengthwise and crosswise under the
house, forming a strong frame to lift the stilts from the ground and literally carry it to its new
destination. Each man carries a piece of the weight of the bahay kubo and becomes a hero for
all the others because he lightens the burden for them. This event holds a social and festive
atmosphere, after the house arrived at its new site; the moving family shows their appreciation
by hosting a modest fiesta for all volunteers that helped them. This collective activity is known
as bayanihan, meaning unity and harmony; it demonstrates the unique culture and lifestyle of
the Philippine community.
The Architecture
Also known as nipa hut, this architecture can still be found along the countryside. It is
constructed of indigenous materials that can easily be found in their local surroundings –
woods, planks, grass, bamboo and large logs. Normally cubic in shape, this shelter is raised on
stilts or posts of one to two meters depending on the area where the said shelter is constructed
– it may be on solid ground, on a hillside or mountainside, or in shallow water. Raising the
interior from the ground safeguards the shelter’s inhabitants from flood, and from snakes and
other wild animals.
A typical bahay kubo only has one, large, open, multi-purpose room for dwelling, called
bulwagan. It has a cellar, called silong where most household chores are done. This area serves
as the area for livestock pens, storage space, workspace and granary. The walls are made of
nipa and cogon leaves or sawali or woven bamboo, and there are large windows on all sides,
which keep the interior well-ventilated. The windows have tukod or ”legs” that hold the
swinging shades open during the day, and secure it back in place at night. Another feature of
the bahay kubo is ladder or hagdan which can easily be removed at night or when the owners
are out. Likewise, some huts have an open back porch or batalan where household chores are
done and where the jars of water are placed.

Bahay na Bato
Bahay na bato is a type of building originating during the Philippines’ Spanish Colonial
Period. It is an updated version of the traditional bahay kubo. Its design has evolved throughout
the ages but still maintains the bahay kubo’s architectural basis which corresponds to the
topical climate, stormy season and earthquake prone environment of the whole archipelago of
the Philippines and fuses it with the influence of Spanish colonizers and Chinese traders. Thus,
created was a hybrid of Austronesian, Spanish and Chinese architecture.
Its most common appearance is that of an elevated overhanging wooden upper story
Nipa hut (with balustrades, ventanillas and capiz shell sliding windows) that stands on Spanish
style solid stone blocks or bricks and posts as foundation instead of just wood, bamboo stilts or
timber posts. Roofing are either Chinese tiled roof or thatch (Nipa or Cogon) which many today
are being replaced by galvanized roofing or other modern roofing. It followed the bahay kubo’s
arrangements such as open ventilation and elevated apartments used as a living space with
ground floor used for storeroom, cellar and other business purposes. Like bahay kubo, much of
this ground level was reserved for storage; in business districts some spaces were rented to
shops. Horses for carriages were housed in stables called caballerizas. Bahay na bato had a
rectangular plan that reflected Austronesian Filipino traditional house integrated with Spanish
style.
In general, the bahay na bato may be described as a house with wooden legs and a
stone skirt, a style of construction which makes the house a sure survivor of earthquakes. The
wooden frame gives it both flexibility and stability, while the one-storey high stone wall is less
likely to collapse. Large wooden posts are sunk into the ground but stand high enough to carry
the roof. The posts are independent of both stone wall below and wooden walls above.
Because they are exceptionally precious hard wood, they are worth displaying.
The bahay na bato represents the apex in the development of indigenous Filipino
architecture, because it expands the prototypal structure of the ethnic house from a one-room
dwelling to a multi-roomed house of grand scale, while preserving the basic features and
because it adapts Western cultural influences to form a synthesis of native and immigrant art.
The bahay na bato is a product of economic progress and cultural adaptation, and as such is a
symbol of affluent westernized Filipino. It stands as a reminder of the social situation which has
not significantly changed even with the introduction of democracy, public education and free

enterprise.

Other Indigenous Houses in the Philippines

Bahay-kubo is the first thing that comes to mind when you hear traditional Filipino
houses, but there are other traditional houses that protected our ancestors from harsh
elements. Among them are:

1. Badjao Houseboat
The houseboats of Badjao, sea gypsies of the Philippines, cruise along the island in
the Sulu archipelago. This range from 12-60 feet long but not more than 6 feet wide. Their
unique ecological setting and fishing economy compel the Badjao to adjust to the limited
space of their floating homes where the prows are carved with okkil design. Strong
platforms are made on both ends of the boat for the fish, kitchen utensils and fishing
gadgets with the kitchen area usually found at the back.
Architecture
While the public image of architecture is often fixated on the individual, the
Badjao consider design to be a communal practice. Houses for the Badjao (for those
who do not live on their boats) are built almost entirely out of driftwood and debris
from coastal cities around Southeast Asia. When a storm hits a home or community,
neighboring Badjao will spare as much material of their own as possible, to help fortify
damaged homes. Their homes are built on stilts that are carefully placed in between
coastal rocks and coral. This activity is a communal effort, so as to ensure no wildlife is
harmed as they set foundations.
The public image of architecture is often fixated on the individual. Architectural
critique can be skewed based on who designed a building, regardless of quality or
appearance. In a community where all members contribute to each other’s work,
stability emerges in the form of structural and cultural support.

Adaptability
The term “adaptability” has been thrust into the architectural world as part of
the ever-growing “green” movement. Yet the common the outcome of this message 
has been energy efficient and “eco-friendly” appliances being added on to otherwise
unchanging design. What could be fundamental components to the nature of design are
often instead considerations for a checklist at the end of the design process. The
solution then may not come from our design process, but from us. The Badjao show
how it is possible for human beings to adapt productively to their environments.
 Fragility is a word that is often combated in architecture today. We generally
aspire for solidity, thick and immovable construction, and maximum fortification. What
this results in though is an opportunity for disaster to strike should our infrastructure
fail. The ocean, being a naturally tumultuous place, made the Badjao accustomed to
loosening the reins on their construction so to speak. Where we ride the bull so tensely
that we are occasionally knocked off, the Badjao people have learned to love the ride.
They built short term, and live long term. This is rather antithetical to modern notions of
immediate satisfaction and safety. When every home and bridge is built with the goal of
eventually becoming parts to fortify other bridges and homes, then there really isn’t
ever any truly failed infrastructure.
2. The Higaonon Tree House
In the hinterlands of Agusan and Misamis Oriental, the Higaonon build their tree
houses of lashed sapling, nipa or cogon grass, split bamboo, rattan and bark of trees. The
low roof, at times, also serve as walls. Wobbling catwalks connect the smaller houses of
about 6 feet by 8 feet wide to a central communal room where a square box of earth serves
as a fireplace and a kitchen. Such breezy and swaying complex structures sufficient for 60
people are held together by split rattan and were traditionally built as defences against
enemy attacks.
3. Ivatan House
The Ivatan house is made primarily of lime, stone, wood and thatch. It commonly
consists of two structures, the house proper and the kitchen or storage area. The main has
the larger area and is usually made of lime, stone, wood and thatch. The heavier materials
(lime and stone) provide better shelter from the constant rains. The kitchen or storage area
is usually made of wood and thatch.
Compared to the bahay kubo and the bahay na bato, the Ivatan House has
significantly lower ceilings (around 1.60-2.00 meters high only) and smaller door and
window openings to keep the interior warm. Plus, there are Ivatan houses that have an
attic.

4. Mandaya House
The Mandaya house is wholly made of carefully selected bamboo flattened into slats
and held together by horizontal bamboo strips or a rattan. Ascent to this single room with a
small kitchen area is through a removable single-notched trunk of a tree. Traditionally, its
elevated floor line served as one of the safety measures against attacks of other ethnic
groups in the periphery of Davao Oriental. These warring conditions made the bagani or
warrior class a high and most coveted social ranking.
Symmetry Art
Symmetry in art is when the elements of a painting or drawing balance each other out.
This could be the objects themselves, but it can also relate to colors and other compositional
techniques.
It is a balance that is achieved by the arrangement of elements on both side of the
center, in other words, the image would look identical on either side, formed through
horizontal or vertical division. Because of its very structured and equally proportioned nature,
symmetrical balance is best suited for if the desired effect requires a sense of order, clarity and
consistency. For the eye, the idea of balance and repetition that follows an identical rhythm is a
place of rest and this type of image is easy to follow.
A balanced composition feels right. It feels stable and aesthetically pleasing. While some
of its elements might be focal points and attract your eye, no area of the composition draws
your eye so much that you can’t see the other areas.
Balancing a composition involves arranging both positive elements and negative space
in such a way that no area of the design overpowers other areas. Everything works together
and fits together in a seamless whole. The individual parts contribute to their sum but don’t try
to become the sum.
An unbalanced composition can lead to tension. When a design is unbalanced, the
individual elements dominate the whole and the composition becomes less than the sum of its
parts. In some projects, unbalanced might be right for the message you’re trying to
communicate, but generally you want balanced compositions.
Okir
The Okir (Motif) is an exclusive artistic cultural heritage of the Maranaos of Lanao,
Philippines. It is as an artistic design of the Maranao native inhabitants of southern Philippines
beginning from the early 6 century before the Islamization of the area. Okir is a design or
th

pattern often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines
and Arabic geometric figures.
The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. It
is a fine art of figuring, painting, curving and sculpturing depicting the social and psychological
identity of Maranao Society. It is being patronized long time ago, until today and possibly in the
coming generations of Maranao people. Every artefact or Maranao made ornament or device
or decoration is designed with authentic okir revealing that the Maranaos have a distinct and
original culture and civilization not being imitated from other culture.
In the book of Dr. Nagasura Madale, it explains that the Okir has patterns which are
used by the Maranao artists. They call them: 1. Matilak (circle), 2. Potyok (bud), 3. Dapal (leaf),
4. Pako (fern or spiral form), 5. Todi (fern leaf with spiral at upper edge, 6. Pako lungat (fern
leaf with a cut at one edge). Another elements found Dr. Madale are: Naga, obid-obid
binotoon, kianoko, pakonai and tialitali.
The terminology used by artists is not familiar with our common usage because they
have their technical terms in their exclusive use. There is a need for visual display of examples
of their arts to appreciate this artistic originality. It is hereto attached some samples of the okir
motif as best reference.
The Maranaos are proud to preserve their cultural heritage by way of keeping their
artifacts permanently located in their households. In the museum of the Mindanao State
University, we find the display of different tools, devices and implements of the Maranaos that
are being designed with okir with varied kinds and samples.
  
Improvisation on Various Art Form

Improvisation of Art Forms

Improvisation is the process of creating new ideas or a new interpretation of an existing art.
Improvisation is not for everyone. Some artists never improvise and to others it’s the holy grail and a
lifetime’s pursuit of the perfection of their art form.  Improvisation is found in most, if not all cultures. It
usually comes in the shape of traditional art forms that have been passed down through the generations
that are constantly reinterpreted and improvised upon by the new breed of artist.

Improvisation is creating or performing something spontaneously or making something from

whatever is available. Improvisation in the performing arts is a very spontaneous performance without
specific or scripted preparation. The skills of improvisation can apply to many different faculties, across
all artistic, scientific, physical, cognitive, academic and non-academic disciplines.

Improvisation is a form of research, a way of peering into the complex natural system that is a
human being. It is, in a sense, another way of ‘thinking’, but on that produces ideas impossible to
conceive in stillness.

Techniques of improvisation are widely used in training for performing arts or entertainment;
for example, music, theatre and dance. To “extemporize’ or “ad lib” is basically the same as improvising.
Colloquial terms as “let’s play it by the ear”, “take it as it comes”, and “make it up as we go along” are all
used to describe “improvisation’. 

Modern authors fully intend for the words that they have written to be delivered exactly as they
appear on the page. For actors, this is simply a fact of life. Memorizing lines is an absolute job
requirement. But life is imperfect. Even the best actor will occasionally flub a line, forget an entire
passage, or in other words make a mistake. The other actors must then improvise, cope with the
situation and somehow move on to the next line or scene, without leaving out needed plot points for
the audience.
 The viability of a career in art is trickier than ever, being able to improvise means a player is
inevitably more flexible and able to take advantage of different opportunities.

Examples of Improvisation
1. Music – composing music in the moment as well as reproducing to other musicians
2. Dance – reading to music, scenes and to other dancers dancing
3. Design – building something useful given limited time, resources and other constraints
4. Theatre – performing a play that is unscripted. An example is a comedy, performed with
dialogue, action, story, and characters that are created by players in a spur of the moment
5. Problem Solving and Decision Making – unscripted real-life scenarios working or involving with
what you have in the moment

Body Language: The Basic Tool in Expression and Communication

Body language (or kinesis) is a non-verbal communication in which physical behavior, instead of
words, are used to express or convey information. Common physical behavior includes facial expression,
body posture, gestures, handshakes, eye movement, touch and the use of space. There are also body
language among animals, fowls and insects. Even trees and plants convey information through body
language.

Difference Between Body Language and Sign Language

Body language is not sign language and vice versa. Sign languages are full languages, that is,
they have their own complex grammar system but such cannot be spoken or uttered by the deaf
persons due to their inability to hear phonetic sounds. On the other hand, body language does not have
a grammar and therefore the movement of the body must be interpreted broadly to get its meaning.
The word “language” in a body language is not similar to the language that we speak. It is just a term
that is very popular in our culture.

The ability to interpret body languages depends on the individual’s intelligence, age, experience,
training and cultural influences. It was believed that majority of information are transmitted through
non-verbal communication than verbal one’s during interpersonal interactions.

Importance of Body Language

1. It helps to establish harmonious relations between people
2. It helps to regulate personal interaction
3. It makes communication faster
4. It adds meaning to verbal communications
5. It serves as an outlet of emotional tension

Physical Expressions of Body Language

1. Facial Expressions
We are able to tell the meaning of a body language by the expression of the face as to
whether a person is happy, sad, eager or angry. Smile and laughter indicates happiness and joy.
 Crying and frowning indicate sorrow and eager. By just looking at the eyes, eyebrow, lips, nose
and cheek movements and color will help interpret the meaning of those movements.
If there are fake news, there are also fake smiles. A lack of crinkles around the eyes
suggest a potentially fake smile. A genuine smile cannot be done by force or command. Genuine
smile comes out naturally. When you smile joyfully, they crinkle. When you are faking your
smile, they don’t crinkle. Likewise, if one is trying to look happy but really isn’t, you won’t see
the crinkles in the face.

2. Body Posture
Body posture expresses some forms of communication. It can signify an emotion of
sadness, anxiety, fear, anger, joy and wander. Sitting and standing postures gives a lot of
meanings. A person who is sitting and learns forward with his head nodding along with the
person discussing implies that he is open, relax, and generally ready to listen. On the other
hand, a person who has his legs and arms crossed with the foot kicking slightly implies that he is
feeling impatient and emotionally detached from the discussion. When a person whose head is
directly focused towards someone speaking implies that he is in the mood or is ready to listen.
But if the person’s head is directed towards the ground, it may signify that he is either not
feeling well, does not want to listen, ashamed, or doesn’t like the person in front of him.

3. Gestures are forms of body movements using the body parts like the arms, tongue to suggest
something. Gestures may either be involuntary and voluntary when we want to express
something.
Arm gestures signify meanings. For example, when a person who is sitting, standing or
walking with folded arms, it may mean not a welcoming gesture, that is, it could mean that he
has a closed mind or unwilling to listen or accept something. Another example of arm gesture is
an arm crossed over the other which demonstrates insecurity and lack of confidence.
A shoulder shrug may mean that the person doesn’t understand what one is saying. An
exposed palm may suggest that nothing is concealed. A hunched shoulder may mean that a
person is protecting his throat from being attacked. A raised brow may signify a submissive
greeting or acceptance.
Finger postures imply several meanings depending on what culture the person belongs.
Finger pointing may have positive (acceptable) and negative (offensive, unacceptable)
implications. As a general rule, using the index finger in pointing is unacceptable. But pointing it
to an unaware person is viewed as aggressiveness or form of hatred or fear, etc.
Saluting is generally a form of respect or courtesy but at times it signifies discourtesy
when a person being saluted is not military or police officer.
Waving gesture is generally a positive gesture of acceptance. It may mean “hello” or
“goodbye” or showing one’s “presence”. However, if one throws his arms up in exaggeration,
this may imply a feeling of frustration or anger.
Handshake is another form of gesture. It is a sign of greeting which is usually done on
meeting, offering congratulations, or after the completion of an agreement. Shaking hands
between men and women are appropriate in many cultures. In Muslim cultures, however, men
may not shake hands or touch women’s hand in any way or vice versa.

4. Eye Movement
This is another form of body language which signifies many meanings to many people.
Here are the different eye movements and their interpretations.
 A. Looking straight ahead. Looking straight at a person’s eye is a good sign. It may mean you are
interested to what the person is saying. Continuous looking at the person (prolong staring)
without signs of looking away implies disinterest or lying. Exception to this is a gaze of two
person deeply in love to each other.
B. Looking up and to the left – Looking up means that a person is thinking. Looking to the left as
well means that the person is processing an information and relating it to the past experience.
C. Looking to the left – This gesture is associated with trying to remember a sound. It’s as if he is
looking at someone’s ear. It may also mean looking at the door or exit to get away from the
person.
D. Looking to the right and up – It means that a person is remembering recent experience and
thinking logically what the other person is saying.
E. Looking up – It means that the person is thinking what the other person is saying. If the
movement is made while the arms go up and hands are folded behind the lead, it is a good sign.
But if a person glances up for a second or so while sighing, it could be mean he is summoning his
God and that is not good. He may be saying “My God!” in silence.
F. Looking down – It means many things. It may mean submissiveness, or feeling guilty or not
wanting to face a person, or a sign of dislike or disinterest.

5. Sense of Touch
Sense of touch is known as haptic communication. Touch or haptic comes from the Ancient
Greek word haptikos. Touch is extremely vital for survival. The sense of touch, as a body language,
allows a person to experience different sensation like pleasure, pain, heat or cold and even pressure.
Touch is one of the most significant aspects of body language because it has the ability to
convey and enhance physical intimacy. It is likewise a fundamental component of haptic
communication because it is significant in interpersonal relationship.
Touch is categorized in many terms like being positive, playful, control, ritualistic, task-
related or unintentional. Touch may be both sexual (kissing) and platonic (such as hugging or a
handshake).
Everyone needs the sense of touch. Even infants and animals, the sense of touch is highly
developed in them. Infants who can perceive through touch, even without sight and hearing tend to
fare much better.
Among adult’s touch means a lot of meanings. It may have a positive and negative impact
depending on what part of the body is touched or what purpose was the touch done, or whether it
is intentional or accidental.

6. Body Movement
This is another tool of expression and communication. Scratching the neck or some parts of
the body may be a manifestation of fear, anxiety, disenchantment, and other unpleasant emotions.
The trembling of hand and knee is a manifestation of fear, embarrassment or even anger. Clasping
of the hands indicates anger, hatred, hostility, antagonism or repulsion. Embracing position of the
hand may mean excitement, elation, and/or enchantment, love or affection. On the other hand,
bodily movements are difficult to determine because emotional behavior is personal and subjective. 

Choreography
 It is another form of improvisation tool to express an emotion or to communicate by a sequence
of movements. Every sequence of movements has a corresponding significance and meaning. In
choreography, the physical body is in motion, form or both are specified.
Choreography is used in music, especially vocal solo, vocal duet and chorus. It is also used in
theatre arts, cheerleading, cheerdancing, cinematography, gymnastics, fashion shows, ice skating,
marching band, show choir, synchronized swimming, video game production and animated art. In
performing arts, choreography is used in any form of movement such as in dance, whether traditional or
modern dances.

Contact-Body Improvisation
Contact Improvisation is a dance technique in which points of physical contact provide the
starting point for movement improvisation and exploration. Contact improvisation is a form of dance
improvisation and is one of the best-known and most characteristics forms of postmodern dance.

Contact-body improvisation is a form developed in 1973, that is now practiced around the
world. Contact improvisation originated from the movement studies of Steve Paxton in the 1970s and
developed through the continued exploration of the Judson Dance Theater. It is a dance form based on
weight sharing, partnering, playing with weight, exploring negative space and unpredictable outcomes.
It is a partner dance form based on the physical principles of touch, momentum, shared weight, and
most quintessentially following a shared point of contact.

What makes contact different from other dance is that partners are often moving in and out of
physical contact while rolling, spiralling, springing and falling. They find ways to “enjoy the ride” and
improvise while mutually supporting and following each other’s movements. The dancing is
unpredictable and inspired by the physical and energetic contact the partners share.

Contact improvisation is an honouring of every moment. There is a sweet surrendering that

happens when our bodies stay faithful to what is happening now. One learns to recognize and
differentiate subtle impulses in our movement choices and our partner’s choices. We begin to decipher
the cues that we give and receive which tell us when to lead or follow, when to go up, when to go down,
where to touch, how to lift, when to slow down and when to be still. In this form one learns to stay in
integrity with each choice, never forcing, never rushing. When body, mind, and spirit are united in their
instinctive wisdom one finds one’s self at home in every moment expressing one’s true nature.

A lot of improvisation is focused on finding a deeper way of comprehending otherwise

concealed thoughts or feelings of an individual. Through the emphasis of instinctual, unpredictable, free
movement that improvisation is centered upon the mover is able to explore authentic feelings and
inspirations.

Contact improvisation practice proposes a different way of being and relating to people,
challenging normative behavior and creating communal feelings by emphasizing togetherness and
connectedness. It can have many positive effects, including enhancing awareness and encouraging
playfulness and mutual support, as well as increasing the joy of life.

Sound Improvisation
 Musical improvisation (also known as musical extemporization) is the creative activity of
immediate (“in the moment”) musical composition, which combines performance with communication
of emotions and instrumental technique as well as spontaneous response to other musicians.

Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes
in classical music, and many other kinds of music. One definition is a “performance given extempore
without planning or preparation.” Another definition is to “play or sing (music) extemporaneously, by
inventing variations on a melody or creating new melodies, rhythms and harmonies.” Encyclopedia
Britannica defines it as “the extemporaneous composition or free performance of a musical passage,
usually in a manner conforming to certain stylistic norms but unfettered by the perspective features of a
specific musical text. Improvisation is often done within (or based on) a pre-existing harmonic
framework or chord progression. Improvisation is a major part of some types of 20 century music, such
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as blues, jazz and jazz fusion, in which instrumental performers improvise solos, melody lines and
accompaniment parts.

Throughout the eras of the Western art music tradition, including the Medieval, Renaissance,
Baroque, Classical and Romantic periods, improvisation was a valued skill. J.S. Bach, Handel, Mozart,
Beethoven, Chopin, Liszt and many other famous composers and musicians were known especially for
their improvisational skills. Improvisation might have played an important role in the monophonic
period. The earliest treatises on polyphony, such as the Musica enchiriadis (ninth century), indicate the
added parts were improvised for centuries before the first notated examples. However, it was only in
the 15 century that theorists began making a hard distinction between improvised and written music.
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Theater Improvisation
Improvisational theatre, or improve, consists of a comedic, poignant, or dramtic stage
performance, usually with a wide cast of actors and actresses. These actors and actresses will use
spontaneous acting techniques, including audience suggestions to contribute to the performance’s
content and direction, In other words, the cast erratically formulates the dialogue, setting and plot
without a formal rehearsal. Improvisation performers must incorporate a wide array of skills, including
listening and maintaining conscious awareness of other actors and actresses on stage. It requires a sense
of spontaneity, instinctive and social comprehension to improvise without a script. In fact,
improvisational theatre has attracted many people across all walks of life for improvement in personal
and interpersonal development.

Improvisational theatre introduces an interactive relationship between the cast and the
audience. For instance, most improve groups will engage the audience by asking questions or pulling
volunteers from the crowd to induce excitement. This can sometimes create doubt in some audience
members, provoking skeptics to question whether the act was planned all along.

Improvisational performers work together to define the rules of the scene. Different props,
uniforms, and settings are used to co-create the storyline. Depending on the nature of the performance,
various character names and roles will be assigned to each actor and actress. Each of the improvisers
must work together in accordance to the offers proposed by the group, otherwise it may entail the
process of blocking, negating or denying the scene from developing.

Some of the cast may purposefully block, or break, out of character, in order to induce a
comedic effect. Most improvisational performances aim to create a humorous vibe, usually by creating
unrealistic scenes. Many improvisers frown upon pre-scripted jokes, which has caused some improve
performers to use various techniques to curtail this process from happening. One of these techniques
include “rolphing” or starting with the sound of a word and then projecting one’s voice until the
improviser comes up with a word. Others will use physical gestures, accents, voices and changes to
create a sense of comedy.

Solving Improvisational Challenges

It’s easy to let challenges be our excuse for blocked creative ideas. However, we do have a
choice: we can either let those constraints derail us, or we can use them as a catalyst for creative
problem-solving by learning “play” within them. Some of the problems in improvisation are:

1. Mental blocks – As you learn your piece or movement, you will find at times your work in
improvisation flows easily and at other times, improvising is much more difficult, and you feel
blocked. When that happens, you need to be patient with yourself, since you cannot expect
your mind and body always to be equally receptive. Findings ways to work through
improvisational problems is part of the process of learning.

2. Remembering new movements – Many students have trouble remembering movements

discovered during an improvisation session, but this problem can be solved through practice.
Remembering improvised movement is important because later those movements will be
molded and formed into a study. You will find that the ability to remember movement is
comparable to standing outside yourself and watching as you improvise.

3. Fitting it all together – You’ll also discover that movement do not always come forth in a logical
manner. For example, the end of a study may come to you during improvisation before the
middle is completed. It requires patience to learn how all parts fit together; the ability to give
form to your action may take time. Each person needs the proper environment and enough
practice and encouragement; no two people can be expected to pass through the levels of
creative development in the same manner or at the same speed. The goal is for the movement
to fit together with a sense of wholeness and to grow from a natural, or organic development of
movements and phrases.

4. Differences in concept – If a piece seems to be taking shape in a certain direction, explore that
direction even if it differs from your original conception on your work. The creative process
requires that you be open to all possibilities as they occur.

5. Mindset – Fear is the number killer of creativity in anything that you do. It’s not easy to get put
on the spot in front of an audience and improvise. To pull off a successful performance we must
overcome fear, self-doubt and a myriad of distractions. Even though it may seem like an after-
thought, your mindset has a lot to do with your creativity and ability to improvise on the band
stand. Fear, distraction, lack of preparation, mistakes, and a judgmental audience are just a few
of the things that can get in the way of a creative performance. However, each time you
perform and improvise in front of an audience, you’ll become more comfortable and confident;
in turn, focusing on the things that matter like the music itself.
 Indigenous Art

Indigenous Art

Philippine indigenous arts are as diverse as its islands, as complicated as its waterways, as varied
as its language and as unique as its people. Throughout the 7,107 islands the Philippine archipelago has,
it offers unique places and cultures where all forms of arts and crafts can flourish, some can be
considered spectacular by the outsider, such as the Ifugao rice terraces  that native Ifugaos built by
hand, our own version of the Great Pyramids. But there are still some that could be considered as taboo
by other cultures, such as the distinctive tattoos tribal headhunters have. Philippine arts may not be as
popular as other Asian arts such as Japanese and Chinese, but it doesn’t mean that it is any less
spectacular.
The arts scene of the indigenous people of the Philippines may not be as popular as the arts of
other Asian countries, but it no means diminishes the variety, originality and creativity of the Filipinos.
They have time and again shown that Filiponos can be with the best of the world when it comes to the
arts field. The ambiance of being in islands may have given so many inspirations to at least attempt to
capture and recreate the powerful and spectacular forces of nature to the best they can, and also during
times of need use it to help them get their basic necessities, not only implying that visual arts is purely
for entertainment and decoration, but also for practicality and use. They personify the enduring Filipino
spirit of perseverance in face of adversity, of diligence in duty and triumph in failures.
It is believed that the first inhabitants of the Philippines arrived over many thousands of years
ago. It is commonly thought that they migrated over a land bridge, which existed at that time, from the
Asian mainland.
The next known inhabitation is when the Negrito or Aeta arrived in the islands. However, they
were driven back by several waves of immigrants from Indonesia, only to be followed by the maritime
peoples of the Malayan islands. Each of these people brought with them their culture and art.
Indigenous Philippine art is art made by the indigenous peoples of the Philippines. It includes
works in raw materials such as extract from trees, fruits, and vegetables. Some of the art treasure of the
Philippines are found in rocks in caves, trees and woods.

Some of these indigenous art are:

1. Architecture
Wander over the world heritage site, Banaue Rice Terraces, Eighth Wonder of the World, carved
from the high Cordilleras over 2,000 years ago. These rice terraces were carved out of the mountains by
the native Ifugao people. The Ifugao made the walls out of hardened mud and clay while they flattened
the slopes it could hold water essential for rice growth. It had been the way of life of the Ifugao
mountain tribes for the past 2,000 years, kept alive up to this day.

2. Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard materials,
typically stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers
and softer metals. Carving is one of the techniques used in sculpture.
In the north, the indigenous tradition of sculpture survived the zealous proselytizing of the
Roman Catholic Church only among the mountain peoples. The most important type of sculpture, in its
quality, quantity and continuing use, are the wooden bulul or bulol carved by Ifuago craftsmen of
Mountain Province, Luzon. Often made in pairs, male and female, bulul represent guardian deities and
are placed in rice granaries to ensure beautiful rice.
 3. Weaving
Weaving means to make cloth and other objects. Threads or strands of materials are passed
under and over each other.
Weaving in the Philippines has different forms, functions and materials. They also vary in
design and techniques used. Most of the common forms of weaving in the Philippines are in the
form of hats, mats, bags, baskets and textiles (clothes and blankets).
This brought the ikat technique of resis-dyeing of the warp thread before weaving, the use
of the reel for winding the spun thread and the concept of using textiles in death ceremonies.
Weavers were further influenced by imported materials: they imitated the new designs, integrating
them with their traditional textiles. Weaver immigrants appear to have brought the ikat technique
to the Isinai and Ifugao people of Luzon. Their ikat designs appear on cotton warp in black, once
dyed with rice field mud, later with indigo. One specialty is the production in Kiangan and Dupax,
Luzon of narrow G-strings used to clothe the dead.
Abaca fiber derived from the abaca plant is widely grown in certain regions in the country. It
is woven mainly to make ‘sinamay’ fabric and abaca rope, as well specialty papers like vacuum bags,
currency and tea bags. These are also handcrafts like bags, carpets and clothing made of abaca.

4. Pottery
Pottery are objects that are first shaped of wet clay, then hardened by baking. Pottery
includes both decorative and practical items such as bowls, vases, dishes, and lamps. Pottery in the
Philippines varies in forms and functions. The forms of the pots are directly influenced by the
functions of the pots and the tradition of the community or local area.
Filipino potters make pots of different sizes, shapes and designs, which are usually
geometric with stylized nature-themed motifs. Functional pieces are made as the need would arise.
An example of this is the ‘palayok’, which is used for cooking. ‘Banga’ and ‘tapayan’ are used for
storing liquids. There is also the clay-made stove or ‘kalan’. The ‘burnay’ pottery in Ilocos Sur is still a
lively tradition that continues up to the present.

5. Body Adornment
Physical ornamentation can be categorized into three areas specifically the use of traditional
costumes (textile), jewelries and tattoos. The designs vary depending on the location, users and
function of the ornaments. Since the early 16 century, jewelry making in the country has been
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practiced in the country. It is believed that the skills of the early Filipino jewelry-makers are adopted
from their Asian neighbors like the Chinese.
Non-Muslim peoples in Mindanao decorate their colourful and distinctive costumes with
glass beads, shells and metal bells and chains. Their jewelry materials include coral and fibers; forms
of jewelry include earplugs as well as earrings. Old beads are highly prized, especially agate beads
among the Kalingas, and Igorot girls are given a head ornament of agate beads before they reach
puberty. Ifugao men wear tooth necklaces, believed to impart good luck, and the Ubus were etched
shell amulets to protect them. Necklaces made from roots and bark are worn by them to ward off
sickness.

Muslim Art
Islam as a religion has long been established since the early A.D. 600s. Along with its emergence
around the world, it also paved way for the development of its own unique style of art. Islamic art place
emphasis on creating an artform that is built on the beauty and respect for the teachings of Islam.
 Islamic art is characterized by designs of flowers, plant forms and geometric designs. It is used in
calligraphy, architecture painting, clothing and other forms of fine arts. An Islam spread around the
world, this distinct form of art has become an integral part of the identity of its followers, including the
Philippines.

The Development of Islamic Art in the Philippines

In the 13 century, traders and missionaries have introduced the religion of Islam in the
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Philippines. Islamic art meshed with ethnic culture and produced a Filipino Muslim art that reflects the
ethnic background and Islamic identity of the people. During the Spanish colonization and American
occupation, Islam has been concentrated mostly in the South but this did not halt the flourishing of
Islamic art.
Global development, however, exposed the Filipino Muslims to its Middle Eastern roots, who
have become their main source of representation of Islam’s art.

Art of Filipino Muslims

Islamic art in the Philippines is found predominantly in Muslim ethnic groups where every group
offers their own distinct flavour of Islamic art. This distinct art is commonly seen in homes, clothing and
places of worship of Filipino Muslims. Islamic art is characterized by geometric designs and patterns
eliciting focus from the believers. 
Islamic art characterized by designs of flowers, plant forms and geometric designs. It is used in
calligraphy, architecture painting, clothing and other forms of fine art. As Islam spread around the world,
this distinct form of art has become an integral part of the identity of its followers, including the
Philippines.
Mosques in the Philippines have a common architectural feature that is similar with its
Southeast Asian neighbors. It is made of light materials such as wood, bamboo and cogon grass and was
used in the building of the early types of mosques but these light materials did not last long. Today’s
mosques, however, are now structurally patterned after the design of its Middle Eastern counterparts.
One characteristic of Islamic art is the absence of human form. This tradition comes from the
belief that any figural representation should not be used for the purpose of worship. This is evident in
the architectural design of mosques in Mindanao where calligraphy is used as the main form of
expression. However, it is always kept in a minimum.
The only reminders of Filipino Muslim art inside mosques is the traditional art form known as
Okkir. This art form is believed to be of Hindu and Chinese influences. Okkir uses geometric and floral
artwork. One popular motif of this art form is the use of an imagery of a dragon or serpent.
There is other figural representation in Filipino Islamic art such as the buraq, a winged horse
with a head of a woman. This imagery relates Prophet Muhammad’s ascension to heaven. There is also
the other famous creature – the sarimanok, a symbol for bravery and nobility.
The Sarimanok is a legendary bird of the Maranao people who originate from Mindanao, an
island in the Philippines. It comes from the words “sari” and “manok”. “Sari” means cloth or garment,
which is generally of assorted colors.
Philippine Muslim homes represent their identity therefore Islamic art is seen in their houses.
These houses usually contain framed calligraphy of Qur’an passages in its walls. These ornaments
usually are made from Muslim dominated countries like Malaysia, Egypt and Saudi Arabia brought home
by overseas Filipino workers as mementos of their pilgrims.
 Clothing reflects the style and colors of their ethnic background. A design related to Islam that is
used in the Philippines is the batik cloth design. The kind of design traces its influence from Indonesia. It
contains abstract themes with geometric and floral design. However, human and animal depiction is a
rare motif in batik.
Today, Filipino Muslims believe that following dress requirements shows their Muslim identity.
But they have now considered the Middle East as reference for the proper Muslim dress. Traditional
design is still present in modern dresses however the overall look now follows according to how Muslims
have dressed globally which is loose and more open to Western influences.
For a long time, Islamic art in the Philippines has been linked to its ethnic background. But the
globalization has contributed to the changes in the visual expression of Islamic art. From developing an
art that is centered in ethnicity, there has been a shift in the adoption of forms and styles. House
ornaments have been imported from other Muslim countries and outfits. Dresses that were once limited
to ethnic background have now been linked to the global Muslim style referencing the Middle East. And
even the reconstruction of mosques now uses sturdier materials that are inspired by modern Islamic
design.

Christian Art
When the Spaniards arrived in the Philippines in 152, the colonizers used art as a tool to
propagate the Catholic faith through beautiful images. With communication as problem, the friars used
images to explain the concepts behind Catholicism, and to tell the stories of Christ’s life and passion.
Images of the Holy Family and the saints were introduced to the Filipino psyche through carved santos,
the via cruces (Station of the Cross), engravings on estampas and estampitas, and through paintings on
church walls.
The influence of the Christian religion is manifested through the arts and social functions of the
society. Among the art forms that the influences can be seen are in architecture, music, literature and
other visual arts. The religion became an instrument of the creativity of Filipino to flow in.
Through the ethnic art forms such as pottery, weaving and metalwork were retained, the
Spanish friars and the Chinese, the colony’s primary trading partner, were slowly introducing newer art
forms. Icons brought by the friars were used as models for sculpture. Filipino artisans were taught the
Chinese brushworks technique in painting. Engraving was also introduced.
Since most art produced during the first two centuries of Spanish occupation were for the
church, the friars enforced strict supervision over their production. Until the 19 century, art was only
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for church and religious use.

Painting
The Spanish friars introduced Western painting in the Philippines to artisans who learned to
copy on two-dimensional form from the religious icons that the friars brought from Spain. For the first
centuries of Spanish colonization, painting was limited to religious icons. Portraits of saints and of the
Holy Family became a familiar sight in churches. Other subject matters include the passion of Christ, the
Via Crucis, the crucifixion, portrayal of heaven, purgatory and hell.
Painters from the Visayas island of Bohol were noted for their skilful manipulation of the
technique. There paintings of saints and religious scenes show figures in frontal and static positions. For
the Boholano painters, the more important persons would be depicted bigger than the rest of the
figures. Christ normally dwarfs the Roman soldiers in these paintings. Unfortunately, they did not sign
their names on their works and no record of their name exists.
 In the church in Paete, Laguna are two works by Josef Luciano Dans, probably one of the earliest
recorded painters in Philippine art history. Langit, Lupa at Impierno, a three-level painting which shows
the Holy Trinity, Mary the Mother of Christ, saints, the Seven Blessed Sacraments and a macabre
depiction of Hell. The second painting is entitled Purgatorio (Purgatory) which shows the eight forms of
punishment the soul passes through for cleansing before reaching Heaven.
In 1821, Damian Domingo opened the first formal fine arts school in the country in his house,
the Academia de Dibujo. Perhaps realizing his importance to Philippine art history, Damian Domingo is
known for having made the first self-portrait in the country. In 1823, the Real Sociedad Economica
Filipina de Amigos del Pais (Royal Economic Society of the Friends of the Colony) opened its own art
school. In 1826, the society offered Domingo to be the professor in their school, in effect merging the
two art schools. In 1828, Domingo was promoted to school director. Domingo must have taught
miniaturismo to his students, but a publication by the academy entitled Elementos de Perspectiva
(Elements of Perspective) suggests that he must have also taught the classical ideals of the European
academies. Due to lack of funds and probably due to Domingo’s death in 1832, the school eventually
closed in 1834.
In 1850, under the Junta de Commercio, a new art school, the Academia de Dibujo y Pintura,
was opened with 70 enrollees. Enrique Nieto y Zamora, a new employee at the Post Office and a
graduate of the Academia de San Fernando in Madrid, was appointed as acting director of the academy.
Paintings by Spanish master were brought in to serve as models for the students, propagating the
European academic style of painting – using grand subject matter from classical Greek and Roman
mythologies, depicting historical scenes, and the use of chiaroscuro.

Sculpture and Architecture

Of all the new art forms introduced, the natives took to sculpture instantly. The carving of anito
was transformed into sculpture of the saints. These santos were used primarily for the church altars and
retablos. It is also replaced the anitos in the altars of the natives’ homes.
Carvings for churches include altarpieces called retablos (usually with niches for the icons), the
central point of any Catholic church. The retabo houses the tabernacle and the image of the town’s
patron saint. Usually referred to as a "cabinet of saints”, one would see a hierarchy of saints depending
on their importance to the townspeople. The patron saint would be in the middle; less important saints
would be in the periphery. The most elaborate retablos can be seen in the San Agustin Church in
Intramuros. ‘Jesus Institute the Eucharist’ – relief in Calaca Church, Batangas.
Other parts of the church that may have carvings are church doors, pulpits and carrozas ( floats
that carry the saints for processions). The façade of churches may be carved from adobe, coral stone
and volcanic rock, among others. It may have carved images of saints, floral decorations or leaf decors.
In the case of the Miag-ao Church in Iloilo, the façade is decorated with a carved image of St.
Christopher carrying the Christ Child on his shoulders under a coconut tree. 
Most of the architectural formation that is influenced by Christianity is profound on the
Churches. Next structure would be on schools that are originally founded by Catholic missionaries that
preached Catholicism. Later on, the influences entered on Filipino houses that mixed up with the
knowledge of Chinese feng shui.
The early houses that were built during the Spanish eras include a place for worship called the
altar. It is also common that these houses contain statues of different saints, images of Mary, Christ and
other religious items. The churches, if not, emphasize colors; they contain different ornamentations that
accentuate the religiousness of the place. These churches contain sculptures of saint images made of
ivory or wood, accented with jewelry and handmade costumes. The walls are decorated with murals or
mosaics that are prominent in Christian churches. These murals depict some stories in the Bible, most
commonly the 12 Stations of the Cross. Sculptures of angels and saints can also be seen as ornaments
and functional design. Examples of these are angels as water basin and saints as pillars in chapels.
Like in the early western civilization, Christianity has influenced the creation of biblical inspired
sculptures. An example of this would be the EDSA Shrine, wherein the historical People Power
Movement in 1986 took place.

Graphic Arts 
Engraving was introduced in the 1590’s by the Spanish colonizers. In 1593, the Dominicans
published the La Doctrina Christiana en la Lengua Espanola y Tagala (The Christian Doctrine in the
Spanish and Tagalog Language), first book printed in the country. On it was a woodcut engraving of St.
Dominic by Juan de Veyra, a Chinese convert.
The religious orders owned printing presses and printed mostly prayer books and estampas. The
estampas (prints of miraculous images) usually featured portraits of saints and religious saints.
Estampas andestampitas (smaller version of estampas) were distributed during town fiestas to the
natives.
Francisco Suarez collaborated to depict landscapes, genre scenes and flora and fauna on the
borders of maps commissioned by Fr. Murillo Velarde in 1733. These were probably the first secular
images done in the country. The two also illustrated the pasyon written by Gaspar Aquino de Belen
entitled Mahal na Passion in Jesu Christong Panginoon Natin Na Tola (The Holy Passion of Our Lord
Jesus Christ in Verse), possibly the first pasyon written in the country.

Indigenous Art

Continuation…

Contemporary Art
Contemporary is the art of the present, which is continuously in process and in flux. The
distinction of modern art and contemporary art could also be a matter of perception and reception
depending on the context. Art is the expression of one’s feeling through creating something out of their
imagination.
Art is both a product and a process of a creative decision of an artist in his or her attempt to be
involved in a dialogue and to articulate his or her motivation for creation – be it the medium, style,
subject, form, etc.
Contemporary art is art produced at the present period in time. Contemporary art includes, and
develops from, Postmodern art, which is itself a successor to Modern Art.
The ‘70s is historically, a cultural turning point for the Philippines. It was when art institutions
were built by then First Lady Imelda Marcos (same institutions that we have until now, or at least some
of it); it was the time when conceptual art entered the Philippine art scene and a “movement” with a
good number of artists today adhere to, to emphasize their contemporariness versus the traditional.
With the advent of modernism, many Philippine arts were developing particularly in the field of
sculpture where there is a shift in sculptural process which led to an almost complete freedom of
materials and process. A wide variety of materials may be worked by removal such as carving,
assembled by welding or modelling, or molded or cast. Foremost of which is Solomon Saprid, a modern
Filipino sculptor who became known for his works in bronze which he created by welding scraps of
metal, producing a characteristic jagged effect.
In architecture, architect Francisco Maῇosa, designer of the Coconut Palace, built his own two-
storey bahay kubo mansion in Ayala Alabang Village, a wealthy suburb south of Manila. With only 3
posts or “haligi”, it has five one-inch coconut shell doors, a “silong”, Muslim room, sala, and master’s
bedroom with a fish pond therein.
The turning point in the development of contemporary art in the Philippines was the
establishment of the Cultural Center of the Philippines (CCP). In 1965, Former First Lady Imelda Marcos
had revealed her desire to build a national theatre for the country. The CCP was designed by Leandro V.
Locsin and it is also considered as one of his most recognizable works.
In the early 19 century, wealthier, educated Filipinos introduced more secular Filipino art,
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causing art in the Philippines to deviate from religious motifs. The use of watercolour paintings
increased and the subject matter of paintings began to include landscapes, Filipino inhabitants,
Philippine fashion and government officials. Portrait paintings featured the painters themselves, Filipino
jewelry, and native furniture. The subject of landscape paintings featured artists’ names painted
ornately as well as day-to-day scenes of average. Filipinos partaking n their daily tasks. These paintings
were done on canvas, wood, and a variety of metals. During World War II, some painters focused their
artwork on the effects of war, including battle scenes, destruction and the suffering on the Filipino
people.
Contemporary music in the Philippines usually refers to compositions that have adopted ideas
and elements from 20 century art music in the West, as well as the latest trends and musical styles in
th

the entertainment industry. This brief introduction covers only the works written by the art music
composers.

Known Filipino Contemporary Artist and Works

1. Maningning Miclat. She was known for her Chinese bamboo Zen paintings and poetry in 3
languages: Filipino, Mandarin and English.
2. Benedicto Reyes Cabrera better known as “BenCab” is a Filipino painter and was awarded
National Artist of the Philippines for Visual Arts (Painting) in 2006.
3. Jose Joya was a printmaker, mixed media artist and a former dean of the University of the
Philippines’ College of Fine Arts. He pioneered abstract expressionism in the Philippines. His
canvases were characterized by “dynamic spontaneity” and “quick gestures” of action painting.
4. Onib Olmedo was an award-winning expressionist Filipino painter. He created populist art and
depicted the marginalized part of the society.
5. Napoleon Isabelo Veloso Abueva, more popularly known as Napoleon Abueva, is a Filipino
artist. He is a sculptor given the distinction as the Philippines’ National Artist for Sculpture. He is
also entitled as the “Father of Modern Philippine Sculpture.” He is the only Boholano given the
distinction as National Artist of the Philippines in the field of Visual Arts.
6. Gilopez Kabayao, a Gawad CCP Awardee for Music in 2008, has been playing the violin for
Filipinos for decades now. His passion allowed him to visit various concert venues in the country
and share this love for classical music to several generations.

Filipino Musicians and Singers:

1. Victorio C. Edades is a Filipino painter who was the leader of the revolutionary Thirteen
Moderns who engaged their classical compatriots in heated debate over the nature and function
of art. He was named a National Artist in 1976.
2. Arturo Rogerio Luz is a Philippine National Artist awardee in visual arts. He is also known
printmaker, sculptor, designer and art administrator. A founding member of the modern Neo-
 realist school in Philippine art, he received the National Artist Award, the country’s highest
accolade in the arts, in 1997.
3. Abdulmari Asia Imao a Native Sulu, is a sculptor, painter, photographer, ceramist, documentary
film maker, cultural researcher, writer and articulator of Philippine Muslim art and culture.
4. Eduardo Castrillo is an award-winning Filipino sculptor. He was born in Santa Ana, Manila, the
youngest of five children of Santiago Silva Castrillo, a jeweller, and Magdalena De Los, a leading
actress in zarzuelas and Holy Week pageants in Makati, Philippines. Castrillo was a Republic
Cultural Heritage awardee. He is also a jewelry artist and designer.
5. Solomon Saprid was a modern Philippine sculptor who became known for his works in bronze
which he created by welding scraps of metal, producing a characteristics jagged effect.
6. Lea Salonga-Chien, known professionally as Lea Salonga, is a Filipina lyric mezzo-soprano singer
and actress who starred in the lead role of Kim in the musical Miss Saigon, for which she won
the Olivier, Tony, Drama Desk, Outer Critics and Theatre World awards. She was the first Asian
to play the role of Eponine and Fantine in the musical Les Mesirables on Broadway. She also
provided the singing voice of two official Disney Princesses: Jasmine in Aladdin (1992), and Fa
Mulan in Mulan in 2011 for her work with the company.
7. Cecile Licad is a renowned Filipina virtuoso classical pianist dubbed as “a pianist’s pianist” by the
New Yorker, “her artistry, a blend of daring musical instinct and superb training.

Contemporary music in the Philippines usually refers to compositions that have adopted ideas and
elements from 20 century art music in the West, as well as the latest trends and musical styles in
th

the entertainment industry. This brief introduction covers only the works written by the art music
composers.
Modern or contemporary art, although a by-word for decades in the Western world, is a
phenomenon of the post-war period in the Philippines. This is not meant to detract from the
yeoman efforts of Victorio Edades, Carlos Francisco and Galo Ocampo, who were known as the
‘Triumvirate’ in progressive art circles of the pre-war period. The art of these three men was indeed
contemporary in intention and direction, but their role was more was more historical and
transitional rather than iconoclastic. A new group was needed to negotiate the actual aesthetic
breakaway from the established canon to the abstract, expressionist, symbolist, and other modes of
creative expression characteristic of the art of the modern world.
For a while the ‘Thirteen Moderns’, a loose grouping which included the three men, appeared to
effect the desired change, but somehow did they did not have die necessary collective anima. This
could probably be attributed to the enervating traumas of the WW II. The iconoclastic role, instead,
was assumed by a more dynamic group of six artists whose names are closely associated with the
early years of the Philippine Art Gallery (AG) in Ermita, Manila: Romeo Tabuena, Hernando Ocampo,
Vicente Manansala, Victor Oteyza, Ramon Estella and Cesar Legaspi.
Three of the ‘Neo-Realists’, as critic Aguilar Cru called them, namely, Oteyza, Estella and
Ocampo, were self-taught artists. In addition to Hernando Ocampo and his group, the PAG in its
early years also started to attract other painters like Anita Magsaysay Ho, Nena Saguil, Mario and
Helen Roces and Manuel Roriguez. Rodriguez subsequently moved away to found his own
Contemporary Artist Gallery and workshop. Although diverse in style and temperament, the Neo-
Realists and their companions shared a common dissatisfaction with what they considered as the
static art of the Establishment as exemplified by the painters belonging to the rural-pastoral school
of Fernando Amorsolo.
Practices and Movements in Contemporary Philippine Art
Most contemporary Filipino artists somehow do not want to be identified with any single art
movement, in the manner of the impressionists in 19 century France, or the early Modernists in 1930s
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Philippines, where the members consciously created works representative of the movement.
Today, a lot of the artists would do works that unconsciously or consciously shift styles with
each new exhibit. However, for categorizing art style purposes, here are some of the styles currently
found in a lot of contemporary Filipino art.

Social Realism in a Philippine Perspective

A broad description of different artworks whose themes spew biting commentaries on socio-
political issues of the country. According to art critic and writer Alice Guillermo, social realism reared its
head during the awakening of politicized Filipino consciousness during the late 1800s revolutionary
period and then again in the First Quarter Storm in the 1970s.
Some of the artists are Pablo Baens Santos, Papo De Asis, Antipas Delotavo, Edgar Talusan
Fernandez, Renato Habulan, Al Manrique, Leonilo Doloricon, Jose Tence Ruiz, the National Artist
BenCab, Nunelucio Alvarado, Jeho Bitancor, Manny Garibay, Charlie Co, Mark Justiniani, Eugene Cubillo.

Figurative Art
This is one of the most popular art movements, as figurative art is representational, meaning it
is derived from real object sources. Early figurative art in the Philippines is mostly realistic and classical,
but in modern times, surreal depictions of human figures and conditions entered figurative art. A visual
mix of hues, and in some cases, irony are brought in to add drama to an otherwise commonplace event
or situation. Also, figures and anatomy are distorted or altered.
Some of the artists include the old masters like Juan Luna, Felix Resurrecion Hidalgo; artists
during the war years and beyond included Vicente Manansala, National Artists Carlos “Botong”
Francisco, Fernando Amorsolo; sculptors Guillermo Tolentino and Anastacio Caedo; recent figurative
artists Elmer Borlongan, Ivan Roxas and Patrick Flores.

Abstract Art or Non-representational Art

Objects from the natural world and also ideas are portrayed using color and form. Abstract art in
the Philippines emerged after WW II; during this time, modernists were steering away from the more
conservative style of Amorsolo and finding new ways of expressing themselves. Modernists received
plenty of support from two institutions: the Art Association of the Philippines and the Philippine Art
Gallery.
Some of the artists are National Artist HR Ocampo’s where works play on Philippine flora and
fauna, Fernando Zobel went through a period of painting black and white before returning the color,
Jose T. Joya pioneered abstract expressionism, and National Artist for Sculpture Napoleon Abueva made
use of all kinds of materials such as wood, metal, adobe. The recent generation of abstract artists
includes Tony Leano, Lexygius Calip and RM de Leon.

Conceptual Art
In this movement, the idea is more important than the object, and encompasses site-specific art
installations, three-dimensional assemblages of discards and non-art elements, performance and video
art. It gives emphasis on the artist’s thinking while the artworks are merely documents of the artist’s
thoughts. Some of the works are ephemeral or temporary and therefore requires documentation.
 Some of the artists: Mideo Cruz, Gabby Barredo, Lirio Salvador, Mark Ramsel Salvatus.

Pop-surreal and Lowbrow Art

An underground visual art movement that is based on comic books, tattoos, punk music and
other alternative-pop culture themes. American illustrator Dave McKean, though more surrealist than
Pop Surrealist influenced a lot of young Filipino artists, who created informal movements within the
universities. On the other hand, graffiti art, which utilizes spray paint and even stickers, which was
influenced by the late Jean Michel Basquiat and Keith Haring in the late 70s to 80s, has recently caught
on with a lot of young Filipino artists.
Some of these artists including: Polding Sena, Darrel Ballesteros, Nemo Aguila, Manuel Ocampo,
Dondie Fernandez and Philippine Street Plan is a collective group of graffiti artists such as We Are
Analog, Krayolaeater, Weewilldoodle, Caliph8 and Basurobot among many others.

Practices
Philippine art in the Modern Era the Philippines has evolved into a wide variety of expressions
and medium turning the country into a situation of creative upheavals. Modern Filipino artists have
more freedom to explore on his own. They show their love for country and evolving culture.
Their style is from cross-cultural exposures in the Eastern and Western world yet they have not
forgotten their Filipino roots.
Many of them use color for their emotional rather than intellectual values: Jose T. Joya, National
Artist, visual arts, 2003. He’s foremost Filipino abstract painter. Hills of Nikko Vicente Manansala,
National Artist, visual arts, 1981. He invested each human figure with inner fortitude, making each one a
stoic figure of human dignity. His best abstract sculpture is the “Allegorical Harpoon”. Napoleon Abueva,
National Artist in Sculpture, 1976: Carlos “Botong” Francisco, National Artist in painting, 1973. He
contributed towards developing a Filipino imagery drawing inspirations from the customs and traditions
of the people. Bayanihan He shows his highly original approach to figurative painting. Mauro Malang
Santos Hernando R. Ocampo, National Artist, visual arts, 1991. He aimed to de-emphasize a life-like
representation with the natural world. Pentecostal Series – c1971 Prudencio L. Lamarrosa. He is
different from the artists of his generation because of his intellectual detachment amid all the ill-effects
of technology on the world environment. Amburayan Princess Shanghai by Roberto Rodriguez Chabet.
This artwork by Chabet is the only work in this portfolio that does not have a drop of paint on the
surface. Intramuros by Ibarra de la Rosa. The Intramuros creates a symphony of colors. The subject gives
him the basic pattern that allows him to see the effect of different color combinations.