HUMANITIES AND SOCIAL SCIENCES

PROJECT GILAS-GALVINIZED INSTRUCTION FOR LIFELONG LEARNERS IMBUED WITH

ASPIRATIONS AND SACRIFICES

CONTEMPORARY
PHILIPPINE ARTS
FROM THE REGIONS

Quarter 1 Week 1 Module 1

This subject covers various contemporary arts practices of the region where the school is located. It
aims to provide students with an appreciation of a broad range of styles in the various disciplines
with consideration on their elements and principles, and engage them to an integrative approach in
studying “A JOURNEY TOWARDS THE
COURSE DESCRIPTION
arts. Through this subject, students will broaden and acquire the necessary creative tools
that open opportunities in pursuing their individual career goals and aspirations
Contemporary PhilippineMAGICAL
Arts from the RegionsWORLD OF the environment of the
is designed to stimulate

CONTEMPORARY
internet. This is to make a challenging and complex subject less intimidating and easier access. As
this module unfolds, we encourage you to imagine yourselves going through an adventure and a
journey of exploration. Sometimes, the Journey may be rough and you will find yourself lost in the
PHILIPPINE ARTS”
many twist and turns of Contemporary Art. But keep on going; make sure you do not lose sight of
the signposts that will guide you back to the main routes.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 Quick tour to your module

The signposts that will function as your guides are:

You will be engaged with a challenging situation, prior
ENGAGE knowledge is activated, questions are provoked

Quest- sets the direction of the lesson and the learning outcomes
Chatroom Flag- Signals that the discussion is about to begin and
lists the key terms to remember and understand

You will investigate certain phenomenon, prior knowledge is

EXPLORE activated and IDEAS ARE CREATED

Thread- links the lesson to previous and succeeding lessons;

FAQs (Frequently Asked Questions)-are formative questions. The questions
make us aware of the main information to remember for each subtopic;

Thought Bubbles- are reflective questions or questions that call attention to

issues that we may wish to reflect on, in relation to a particular topic. They
complement the FAQs, and also give us time to pause and catch our breath
between long texts, but without breaking the flow of thought or ideas. Instead
thought bubbles spur you to further inquiries and investigations
You will apply your knowledge towards new situations, knowledge is
EXTEND
EXPLAIN You explain the phenomenon, new knowledge is gained and
deepened and extended
applied

D-I-Y (Do it yourself) – are hands on activities;

TMLSS(to make the long story short)- sums up the
lesson You will reflect knowledge and the learning
EVALUATE
process

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 Pin It- are summative questions also known as Guide Questions that sum up the
ideas behind the FAQS and the thought bubbles

Level up- are further activities that will serve as basis for the assessment of your
learnings from this module

TL-DR(Too long; Did not read) refers to books and other materials that were
used in formulation of this module

Before we start, I would like to ask you to introduce yourself in the MOST
UNIQUE AND CREATIVE WAY you can think of. Come on, Genius!
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NAME:_____________________________________
ENGAGE
What __________________________________
SECTION: would you learn in this module? (An overview)
Dear Anak,
This unit shines a beam of light on the contexts of contemporary art. Context
Insert your Picture here is
not just background or backdrop; it is intricately wedded to form- what art is made
of, and how it is made. Art is shaped by and draws inspiration from the society
and at the same time, art is honed by the specific conditions that endangered its
production.

LESSON 1: CONTEMPORARY ART

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 MOST ESSENTIAL LEARNING COMPETENCY
describes various contemporary art forms and their practices from the
various regions
QUEST
S LEARNING OBJECTIVES
At the end of this module, you are expected to:
 Define the term “contemporary art” in art historical, cultural and
stylistic terms;
 Explain the difference between contemporary art and modern art in
the context of the Philippines’ various histories, cultures, and
identities;
 Demonstrate the major characteristics of contemporary art through an
artwork that would require teamwork and collaboration;
STONE ART and PANATANG KABATAAN
 Appreciate the role of contemporary art and artists in Philippine
contemporary life; and
 Understand contemporary issues and their relationship to real life
situations.

Pre assessment

CHATROOM DIRECTION: NAME THE FOLLOWING ARTWORKS AND MAKERS PRESENTED BELOW
FLAG

THREA EXPLORE
DIt is a common tendency to describe the present as “modern.” Being modern
means being up to date and technologically advanced. Often, being modern is
equated with being contemporary. Art that is new or current is also often referred
to as “modern” as opposed to “traditional” or “conservative.” In other words, in
everyday parlance, the terms are interchangeable. In this lesson and in the more
detailed history in the next, we will learn that the terms modern and contemporary
refer to vastly different periods. Modern Art is not the same as Contemporary Art,
although they could share some characteristics, sources and influences. As we will
come to realize and learn as we go along, it is also possible to integrate and
transform elements from Modern Art into Contemporary Art

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 FAQ What is contemporary? Is it the same as being modern?
The first difference between the contemporary and modern is historical and
chronological, as the overview of Philippine Art in Lesson 2 will show. Meanwhile, the
table suggested by Arts Studies Professors Fajardo and Flores titled “Historical Overview
of Philippine Art “ (2002) below shows a summary of the periods of Philippine Art
from Pre-Conquest to the Contemporary. Please take note that this table includes
painting, sculpture, and architecture only. As you learn more in succeeding lessons,
you can add on your own data on the other arts like music, dance, literature, and
theater.
HISTORICAL OVERVIEW: PHILIPPINE ART
Pre-Conquest Spanish Period 1521- American Japanese Period Postwar 70s-
1898 Period 1898– 1941–45 Republic 1946– Contemporary
Form 1940 1969
Potter; body Religious (icon and Landscape, Wartime scene
adorment, ornament ecclesiastical), secular portraiture, genre, (aggression,
(Figure A) (portraiture). (Figure B) interior, still life nationalism,
atrocities,
symbolic,
Painting protest,
aspiration for
Pottery, carving and Santos, furniture, Free standing, peace) Figurative, non-
Modern,
woodwork, metalwork reliefs, altar pieces, relief, public figurative, art for
conservative,
and expression jewelry, metalwork, Propaganda art sake,
bastract,
(FIgure C) fieta, ornamentation multimedia, mixed
experimental,
(Figure D) Indigenizing and media, transmedia
public art
orientilizing
works, genre,
idyllis (Amorosio,
Francisco,
Ocampo)
Sculpture

Dwellings and Church, plaza City planning

houses, complex; town parks, waterfronts,
shelters, worship planning, fortification, civic/gov’t.,
areas, official civic buildings and structures, public
Real estate, safe housing, accessories,
residences, mosque, installations, works, apartments,
tenements, squatters, conventon arch,
masjid, state edifices private residences, residences, offices,
commercial/ business, condos, malls,
(Figure E) commercial structures, health and public Public works
subdivisions, development, low cost housing
cemeteries, bridges, education,
lighthouse business chalet
Architecture

Figure 1.1

FAQ What is Contemporary Art? What is Modern Art?

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 If we talk in terms of Art History (refer to the aforementioned matrix), Contemporary Art can
be defined as art produced by artists living today.

Figure 1.2. Zyza Bacani (2013)

The picture on Figure 1.2 and the painting by HR Ocampo on Figure 1.3 have the same
subject matter: the poor and ordinary people on the streets.
Figure 1.2 was taken around 2013, in Hong Kong, where the photographer, Zyza Bacani,
who hails from Nueva Vizcaya, worked as a domestic helper, and is now based in New
York on a scholarship. On her days off, she shot with her digicamera. Her first camera was
bought from money loaned by her employer. ([Link]
times-blog-features-filipino-domestic- workerphotographer)
HR Ocampo’s painting (Figure 1.3) was painted in the early 1960s. At that time, the
painting was considered contemporary. Today, we refer to these works as examples of
Modern Art, produced between the American colonial period to the Post-war period.
Some Modern artists continue to produce work till today. In that sense, their works can
be described as contemporary, by virtue of being “of the present.” For example, the
National Artist Arturo Luz continued to produce paintings in his 90s and well into the
21st. However, as seen in Figure 1.1 the table of “Historical Overview” his paintings’ hard-
edged and minimalist abstract style is associated with the Modern style of the late 20th
century. The “contemporary” is therefore a fluid term, and its use can change depending on
the con-texts, in this case historical and stylistic. At times, the Modern and Contemporary
can be used simultaneously or interchangeably; however, there is also danger of using
them carelessly or loosely. Thus, it is important to know the historical, and stylistic contexts
of the terms.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 Figure 1.3. The Contrast by HR Ocampo Figure 1.4. Frugal Meal by Cesar Legaspi

Here are a number of artists—young and senior, alike—who paint in

styles associated with Modern Art. National Artist Victorio Edades is credited for initiating the Modern Art
movement that challenged the Neoclassic style, which was dominant at the time he came home from
studying in America before the war. The Neoclassic style depicts reality as closely as possible and idealizes it.
The Modern artists led by Edades challenged what were described as “conservative” art seen in the works of
National Artists Fernando Amorsolo and Guillermo Tolentino. Modern artists do not aim to copy and
idealize reality; instead, they change the colors and flatten the picture instead of creating illusions of depth,
nearness, and farness. Instead of the beautiful and pastoral, they depict what might be thought of as “ugly”
and unpleasant.

At that time, Modern Art was considered new and shocking; Neoclassic Art was familiar and
comfortable. Neoclassic Art is also described by art historians like Guillermo as “academic” along with
other es-tablished styles imported from Europe via Spanish colonization. In its simplest sense Neoclassicism is
“academic” as it was and continues to be taught in schools, particularly the then University of the
Philippines School of Fine Arts (now UP College of Fine Arts), where Amorsolo and Tolentino were most
influential. The School of Fine Arts is now the University of the Philippines College of Fine Arts, where
students are being exposed to various styles. The Neoclassic style associated with Amorsolo and Tolentino
continue to influence a number of practicing artists who have learned to paint in that style either for-
mally as art students in various universities where Neoclassic style is

included in the curriculum or infor-mally through workshops and apprenticeships, or through self-learning or
self-study, as in the case of many artists from the regions outside Manila.

Today, Modern Art is referred to as “traditional,” compared to Contemporary Art. Contemporary Art is the
art of the present, which is continuously in process and in flux. What is contemporary today might become
“academic” or “traditional” at some point. The styles of Modern Art for example are now part of art
school curricula and have become academic. Thus, the distinction between Modern Art and Contem-
porary Art could also be a matter of perception and reception depending on the contexts, which will be
discussed in detail in the succeeding lessons. For now, it is important that we are aware of the
distinction between Modern Art and Contemporary Art, their differences as well as similarities.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 FAQ What are the similarities and differences between Modern Art and Contemporary
Art?

Figure 1.5. Carlos Francisco, Magpupukot

Figure 1.6. Fernando Amorsolo, Fishing Scene

Figure 1.7. Victorio Edades, The Builders

FigureF1.5 shows Carlos Francisco’s depiction of fishing as a difficult process,while Amorsolo’s rendition
emphasizes calm and placidity. Like Francisco’s Magpupukot (1957), HR Ocampo’s The Contrast
(1940) in Figure 1.3, Cesar Legaspi’s Frugal Meal (undated) in Figure 1.4, Edades’ The Builders (1928)
in Figure 1.7 shows the oppressive condition of the underprivileged classes. As we shall learn in the
historical overview in the next lesson, Modern Artists like Romeo Tabuena, Hernando Ocampo, Vicente
Manansala, Victor Oteyza, Ramon Estella and Cesar Legaspi were actively depicting the social conditions in the
aftermath of World War II. Called Neo-Realists by critic Aguilar Cruz, these artists depicted society’s problems
and challenged the Neoclassic rural-pastoral style associated with Amorsolo and Tolentino. The Social Realists
of the seventies are considered heirs of this tradition.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 Figure 1.8. Imelda Cajipe Endaya, Filipina DH

Social Realism continues to influence contemporary artists. For example, Imelda Cajipe-Endaya’s Filipina
DH, 1995 is social realist, but the style and medium of the installation is markedly different. Refer to “The
Stylistic Overview” table (Figure 1.9) for an idea of the difference in style and medium between Modern Art
and Contemporary Art.

STYLISTIC OVERVIEW
Spanish/Islamic American Postmodern/
Form Precolonial Modern
colonial colonial contemporary
Incipient
triumvirate 13
moderns, Collaborative,
Religious/ abstract, hyper-realist,
Painting devotional neorealist, new painting
Secular Formal surreal,
Naturalistic Classical, idylitic, expressionist
(homegrown, nostalgic
Religious Junk/scrap,
(animist or miniaturismo,
duchampian,
Islamic) guild) Academic
arte covera,
Community- Abstract neo- indigenous,
Sculpture based Inter- ethic Espressinissm site-specific,
relations Colletive performance art,
history (Figure F hybrid
and G) Worship-related and Neoclassic, art Filipino
residential deco (juan architecture, ubran
Earthquake baroque Arellano, Juan International planning, economic
Hispanic revivalist Nakpil, Pablo industrializing, zone,
Architecture (neogothic, Antonio) Art eclectic, neovernacular,
neoromanesque, Nouveau, prefab,
Islamic) California regionalist,
Mission Style cosmopolitan

Figure 1.9

Figure F Figure G

Aside from style, it is also very useful to know where the artists are coming from and the
circumstances of making and disseminating their art. With the table titled “Cultural
Overview,” we can see that Contemporary Artists Bacani and Cajipe- Endaya belong to
different contexts. The latter has been exhibited in galleries and museums, just like the
Modern Artists, or Moderns, for short. Bacani, on the other hand, started exhibiting her works
in Internet platforms like blogs and caught the attention of photographers. She soon
became very popular in social, print, and broadcast media. Now that she is exhibited in
museum and gallery space, her work has now crossed over to the domain of the Fine Arts.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 CULTURAL OVERVIEW
Indigenous Southeast Islamic or
Form Fine or world- based Popular or urban and
Asian (Figure H) Philippine Folk or lowland
mass based
Muslim

Painting Museum-
Colonial and post-
Ritual and governance circulated, artist Mass produced,
colonial (Figure K and
L)
Sculpture
(Figure I and J) centered gallery- market oriented
distributed
Architect
Figure 1.10

Figure H Figure I

FIgure K Figure J

Figure L
Ibn SaIud Salipyasin Ahmad from Zamboanga, Mindanao comes from a hybrid mixture of the local
Subanen and traditional Maguindanao Muslim cultures. He is a contemporary artist but his cultural con-
text is indigenous Southeast Asian and Philippine Muslim. His style can be considered “traditional” as it
draws on the tradition and intricacy of drafting technique, which he learned in a trade school in
Zamboanga. His medium is watercolor. His subject matter is the people of his locality. His depictions
invite us to witness his culture and its traditions in the context of today’s changing times.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 Figure 1.11. Ibn Saud Salipyasin Ahmad, The Wedding (2015)

Can you think of other artists whose techniques may be traditional but can also be considered contemporary?

FAQ What are the general characteristics of Contemporary Art?

Although contemporary artists like Saudi Ahmad continue to use traditional media such as watercolor and
oil on canvas, others like Cajipe-Endaya use mixed media. Some works are also site-specific, meaning
they cannot be experienced in the same way if removed from their original places of exhibit whether in
the gallery, out on the streets, in the forest, on the Internet, etc. They are generally process-based and
integrate various mediums and art forms. For example, the band Sleepyheads integrate performance
art, theatricality, and indie music in their gigs. (See for example [Link]
feature=youtu. be&v=P5eHQBUb8O4).

Figure 1.12. Ili-Likha Artists Village, Kabunian De Guia, the Mighty Bhutens, Kidlat
Tahimik, Baguio (Photo by author

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 The filmmaker Kidlat Tahimik and his family perform their life as their art and vice versa, as evident in the art
spaces in Baguio which have become associated with a mix of performance, installation, architecture, and
culinary arts. It is hard to separate the artist from his space of practice, and his lifework. However, the output
is not his alone. The process is collaborative, and the experience is immersive and interactive, such that the
art is never complete without the audience’s active input.

In Lesson 4, we will learn about traditional art, which also adheres to process, community engagement ad the
inclusion of wider aspects of artistic creation. Such features link traditional art with the current inclination
of some contemporary artists. Not only do these artists contemporize the traditional, as seen in the
works of Saudi Ahmad, but they also internalize within their practices the kind of processes associated
with the making and production of traditional art. These are shown in the movement, as the art historian
Terry Smith describes it, “from extreme isolation to total proximity, from individual alienation to complete
togetherness, from a personal particularity to total generality…”

A lot of contemporary art may be collaborative/participative, interactive and process-oriented, meaning

that there is less emphasis on the finished product and a single “author” or creator. This is not always
the case for other works, however. There is a wide range of strategies, media and techniques under the term
“Contemporary Art.” There are works for example that are done alone by artists in their studios (such as
Ahmad, for example) and are therefore not working in collaboration with others; there are works that are
too fragile for direct handling and are not exactly “interactive,” and so on, and there will be many
examples in subsequent lessons that may or may not exhibit all of these characteristics evenly. Consider the
characteristics outlined in this chapter as starting points toward an understanding and exposure to
works that may seem baffling, or strange, rather than abiding by fixed and unmovable criteria or
preconditions that define Contemporary Art.

EXPLAIN
HASHTAG GENERALIZATION
My Notes. My takeaways from this learning Kit
TMLSS
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CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

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EXTEND
In the succeeding lessons, the Contemporary Arts from the regions will be situated in more detail
within the history of Philippine Art through a brief historical overview.

collaborative Let us imagine we are practicing contemporary artists like the ones discussed above.
We will produce a, process- oriented, and integrative art.

You will be watching a simple story entitled “Ang Huling Dahon”. Your Teacher will provide you
the link for that.

After watching the video you will be creating DIY project made primarily with stones. You will
redefine the use of stones by assembling them in a way that will showcase your creativity.

Look back in your past, have a glimpse of those memorable events of your life. And from there
you will create your STONE ART. Deadline of submission will be on September 11, 2020.

Kindly prepare also a 1-2 min message about your STONE ART, you will be called to share it
during your scheduled synchronous learning. The rubrics below will be used to rate your FIRST
ARTWORK in this Subject

STONE ART
CREATIVITY 15
RELEVANCE 10
CONTENT 15
CRAFTMANSHIP 10
TOTAL 50 points

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 EVALUATE
STONE ART SAMPLES
1. In terms of history, how do you define the contemporary? How is it different
from the “traditional” or “modern”?
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2. Explain the meaning of contemporary art: collaborative, integrative, and process-

oriented. How do these mediums and techniques differentiate contemporary
arts from the “traditional” and “modern”?
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3. How did the collaborative, integrative and process-oriented characters of

contemporary art become more concrete through the process you went
through in the group activity?
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CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

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4. Artists do not always use new media, such as installations and mixed media.
What makes them “contemporary” anyway? Explain your answers through
historical, stylistic, and cultural overviews.
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Direction: This pandemic tested the role of the youth in nation building, the Sangguniang Kabataan of
Población Region of the City of Cauayan launched different programs to make sure that the voice of
the youth will still be heard and functional in this trying times. Watch the video in this link
[Link] This is one of your teacher’s masterpiece.

After watching this video. It’s now your turn to prove once again that the adage “KABATAAN ANG PAG
ASA NG BAYAN” is still alive and kicking. You are task to create a poem entitled “PANATANG
KABATAAN ni (your nickname)”. The poem must contain 4-5 stanzas and at least 4-5 lines each
stanzas. You can use Filipino, Iloco or English language in your FIRST EVER Written Masterpiece in our
subject. Deadline of submission will be September 4, [Link] following criteria will be used.

PANATANG KABATAAN
CREATIVITY 15
UNIQUENESS/ORIGINALITY 10
CONTENT 15
OVER ALL IMPACT 10
TOTAL 50 points

Did this module help you a lot?

Freedom Wall: Feedback
Is there any problem/difficulty you encountered
as you walk through this module?
Please let me know nak, write it below.

Directions: Kindly answer the following questions below, check the corresponding number of
your answer. 1 being the lowest and 5 being the highest.

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT

 QUESTIONS 1 2 3 4 5

How would you rate the content

of this module?

How would you rate the

Instructor?

How would you rate this module

in general?

1. What do you find the most beneficial to you in this module?

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2. What do you find the least beneficial to you in this module?

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Benesa, Leo. “Philippine Contemporary Art as a Post-war Phenomenon.” http://

[Link]/subcommissions/subcommission-on-the-arts-sca/visual-arts/ philippine-contemporary-art-as-a-post-war-

REFERENCES phenomenon/
Fajardo, Brenda and Socrates Topacio (Principal authors). 1989. PETA Theater Workshop Manual Series 1
BITAW Basic Integrated Theater Arts Workshop, Philippine Educational Theater Association (PETA).
Fajardo, Brenda and Patrick D. Flores. 2002. HUM II Art, Man and Society. University of the Philippines Open University.
Smith, Terry. 2009. What is Contemporary Art?, The University of Chicago Press.
[Link]

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS SAMUEL A. REYES,LPT