CPAR

CONTEMPORARY VISUAL ARTISTS WHO USE INDIGENOUS MATERIALS

WHERE DO ARTISTS GET THEIR IDEAS?

By: Lamp, Lucy (2020)

Why do people create art? What is the driving force behind creation? People have been making
visual art since the beginnings of human history, for a myriad of compelling and complex reasons. If
you visit an art museum you cansee how true this is.It’s overwhelming and impossible to really take it all
in.The process of artmaking begins with the question, “What should I create?” You, as an artist have
to ask the same question: what doyouwant to create? Maybe you don’t know where to begin. Even
if you have an idea you would like to explore, it is valuable to expand your horizons by considering
some of the ideas that other artists have investigated.Following is a list of a number of different
purposes, motivations, incentives, rationales, intentions—theideasbehind the art.

AS PART OF A RITUAL, CEREMONY, OR CULTURAL TRADITION

These objects are created for a specific purpose. They have meaning and significance only within
that context. Once that purpose is finished theyare no longer needed, and they are ritually
destroyed, or discarded. They are created with aesthetic considerations, with a strong emphasis
on craftsmanship. However, they are not created in the sense that we consider art today, as
something significant in and of itself—an object to be preserved, maintained and experienced on
its own.In the long history of artmaking—many, many thousands of years—most of what we
consider art falls within this category.

TO EXPRESS THE SPIRITUAL IN TANGIBLE FORM

The Dreaming is a term that refers to the indigenous Australian concept of the "timeless time" of
original and perpetual creation of the world. This painting is an example of artwork that represents
the dreaming--an embodiment in physical form of a spiritual concept--creation--which gives
meaning to everything in life.
TO RECORD HISTORY

This painting commemorates Spanish resistance to Napolean's armies during the occupation of
1808. This painting confronts the viewer in an intimidating Contemporary Philippine Arts From The
RegionsS.Y. 2020-2021Page | 3way because of its large size and dramatic composition, a
powerful remembrance of courage and bravery.

TO TEACH SOMETHING, USING VISUAL RATHER THAN VERBAL

Language at a time when most people were illiterate, images were used to teach and to help
people remember religious concepts and history. The rose depicts the Glorification of the Virgin
Mary, surrounded by angels, twelve kings of Juda and twelve lesser prophets. B elow the rose,
the five lancets represent Saint Anne, surrounded by the kings Melchizedek, David, Solomon and
by Aaron, treading on the sinner and idolatrous kings: Nebuchadnezzar, Saul, Jeroboam and Pharaoh.

TO TELL A STORY—FROM MYTHOLOGY, LITERATURE, RELIGION, POETRY,

MUSIC
This print is from the Edo period in Japan (18th century). The tale of Genjii is a classical Japanese story.
The inscription reads: "Once upon a time, a man met a woman in Kasugani Village in Nara"
AS A PORTRAIT OF SOMEONE,

which can include physical characteristics, personality, the artists’ interpretation of or relationship to
that person Leonardo’s Mona Lisa is one of the most well-known--and mysterious--portraits in the
world. The portrait is of Lisa del Giocondo, the wife of a wealthy silk merchant. Unlike most
portrait paintings of its time, Leonardo omits all personal items--jewelry, objects such as a book
or musical instrument, clothing embellishments, lace or fur, a lap dog--anything that would
identify her as a member of the upper class. This adds to the mystery of the painting and much
discussion about the true identity of Mona Lisa. The portrait is relatively small, in a gallery room
filled with large historical paintings, but her expression commands attention.

AS A SELF-PORTRAIT—AN EXPLORATION OF THE ARTISTS’ SENSE OF SELF

At the age of 22 Frida Kahlo suffered a tragic, near fatal bus accident that severely injured most
of her body and left her in much pain. She spent three months recovering in a body cast and suffered
from pain and health problems the rest of her life. While she was bedridden her parents gave her
paints and had a special easel made for her so she could paint in bed. She painted many self-portraits
and often incorporated personal experience and symbolism within them. Of her 143 paintings, 55
are self-portraits. She said, "I paint myself because I am so often alone and because I am the subject I
know best."
TO REFLECT THE BEAUTY OF NATURE—LANDSCAPE

Thomas Cole founded the Hudson River School, an American art movement of the mid 19th century
known for realistic and detailed portrayals of the American landscape and wilderness.

AS ILLUSTRATION—NARRATIVE, MEDICAL, BIOLOGICAL, BOTANIC,

DIAGRAM

Audubon spent countless hours observing, preparing, studying and drawing the birds he portrayed,
Unlike the stiff paintings of his contemporaries, Audubon's paintings of birds are portrayed in action,
in their natural habitat.

TO EXPRESS THE IDEAL

Polykleitos is considered to be the first to incorporate naturalism in figurative sculpture (unlike

the stiffness of earlier Archaic period figures), using mathematical proportions and scale to
create the ideal figure, perfectly proportioned. This was a reflection of Greek cultural beliefs and
philosophy of the time

TO EXPOSE THE REAL

Kollwitz--a German painter, printmaker, and sculptor "offered an eloquent and often searing account
of the human condition in the first half of the 20th century. Her empathy for the less fortunate,
expressed most famously through the graphic means of drawing, etching, lithography, and
woodcut, embraced the victims of poverty, hunger, and war."
TO PROVOKE OTHERS TO THINK ABOUT OR SEE SOMETHING IN A NEW WAY
Claude Monet was interested in how we see things, especially how different types of light,
atmosphere, and weather affect visual perception. He explored this concept by painting the
same subject—usually very simple--in varying times of day and types of weather. He studied grain
stacks in different seasons and changes in sunlight. This painting was done in the autumn, at
sunrise. The light frames the grain stack with a halo of light. If you look at the painting up close, the
subject is not recognizable. All you see are brushstrokes of many colors. But from a distance, the grain
stack comes into view clearly. Monet had a way of creating shimmering, translucent light in his
paintings.

TO RECORD DREAMS

This is one of Salvador Dali's most famous paintings. It is filled with symbols and personal
iconography inspired by one of his dreams. The figure in the middle represents the fading aspect
of figures we see in our dreams. The clocks may suggest the strange sense of the passing of time that we
experience in our dreams. Dali sometimes used ants (seen on the orange clock) to symbolize
death.

TO EXPERIMENT WITH FORMAL ELEMENTS

Kandinsky is known as the father of pure abstraction--that is, art that does not refer to any subject
matter outside of itself--the use of formal elements like color,shape, and line as the subject of
the work. He wrote many books and articles that discussthis philosophy in great detail, assigning
conceptual qualities to specific formal elements.
TO EXPERIMENT WITH QUALITIES OF A PARTICULAR MEDIUM, I.E. PAINT,
METAL, WOOD

Pollock developed a style of painting thst he called "action painting". He defied existing painting
practices by working ov very large sized canvas placed on the floor, and used houshold paints rather
than traditional painting media

LUZON
RODEL TAPAYA
By ARNDT Fine Arts (2020)
At the heart of Rodel Tapaya’ swork is his ongoing amalgamation of folk narrative and
contemporary reality within the framework of memory and history. Utilizing a range of
media —from large acrylic on canvasses to an exploration of under-glass painting,
traditional crafts, diorama, and drawing —Tapaya filters his observations of the world
through folktales and pre-colonial historical research, creating whimsical montages of his
characters. Each work has its origin in Tapaya’s reflections on a particular time or place that
possesses an enduring resonance, from its correspondence with the formalistic and
psychological implication of the grid in his earlier works to protracted ventures which
excavate and interpret myth and folk aesthetics. Inherent in the work is a tension
between objective investigations of art and the subjectivity of perception and experience,
providing his work with an enigma that comes from the impossibility to paint a story
without revealing inflections made by the painter’s hand. Rodel Tapaya is one of the most
active artists in Southeast Asia today. His breakthrough came when he was awarded the
coveted Top Prize in the Nokia Art Awards, which allowed him to pursue intensive
drawing and painting courses at Parsons School of Design in New York and the University of
Helsinki in Finland. He completed his studies at the University of the Philippines College of Fine
Arts.
DEXTER SY
By: 1335MABINI (2015)
Dexter Sy, who was born in Manila in 1979, artistically approaches the cultural
particularities of being a Chinese-Filipino. The coexistence of two traditional value
systems, which are both seemingly equally waning in day-to-day life in the contemporary era,
perform as theoretical source for his painting. Abundant allusions to religious, traditional
and contemporary matters are to be found in Sy's carefully arranged paintings.
Applying iconographic depiction in a classic pictorial composition, the artist emphasizes the
cultural patchwork. The works are reminiscent of thoroughly elaborated mind-maps and
assembled selective retentions. It is as though the works are subconsciously staged as
altarpieces estranged from its reliquary character through the depiction of nonreligious
elements, contemporary references and a vibrant, traditional Chinese color palette. Dexter
Sy artistically translates the cloning of morphed cultural representations with stylized,
two-dimensional painting.

RONALD RIEL JARAMILLO HILARIO

By: Arch Carlos Luis C. Ganzon
Describes himself as a contemporary artist who uses traditional wood-carving techniques. His
sculptural works give the unmistakable feel of the wood-carved religious iconography of
Catholicism.In 2004, he was chosen by the National Commission for Culture and the Arts (NCCA)
to be one of the artist to exhibit for the Sung-duan 3, a national traveling exhibition. Won
Thirteen Artists Award (TAA) of the Cultural Center of the Philippines.
CLIFFORD ESPINOSA
By: Arch Carlos Luis C. Ganzon
A Filipino architect, artist and environmentalist. He believes that functional things can be at the
same time beautiful as seen in his furniture. He gets inspiration from indigenous forms of crafts.
Notable Works: -LUZVIMIN-his way to express social commentaries as seen in his work.

JOHN PAUL ANTIDO

BY: ARCH CARLOS LUIS C. GANZON
A Filipino Contemporary painter whose works are characterized by his use of impasto technique
where paint is applied so thickly leaving visible brush strokes in the finished works. His paints
were people are in contemporary settings but are depicted wearing traditional Filipino costumes
such as baro’t saya, bakya, etc.

RICKY AMBAGAN
By: Arch Carlos Luis C. Ganzon
One of his paintings replicates a captured candid moment in the midst of transit using
distortion as a style. He uses hyper realistic paintings to create his collection he goes
around the city with his digital camera in town. Notable Works: -Mga Langgam Sa Syudad-
looks to the present Filipino daily grind for inspiration in his collection of paintings.

AZE ONG
By: Arch Carlos Luis C. Ganzon
Known for her colorful and organic forms made of crocheted threads. Her emotions are
expressed in her artworks, making each one very personal. Exhibits-she opens with
performances of rituals and dances to ask for guidance from the gods and goddesses to
celebrate the ritual of creation. She credits her determination and perseverance for
her success especially in a male dominated field.

ALMA QUINTO
By: Arch Carlos Luis C. Ganzon
An artist, teacher, and cultural worker who uses her talent and art to help communities
that have been affected by natural and human-made calamities. Since 1995 she has
partnered with different charitable and socio-civic organizations here and abroad to bring
healing and awareness. Illustrated a number of books including for On the Night of Sedong:
Narratives of Children Survivors. Describes her style as not static, her themes are usually
about serious social issues
VISAYAS

PETER JAMES FANTINALGO AND MOREEN AUSTRIA

By: Arch Carlos Luis C. Ganzon
Notable Works: LAWIG Collaborated together in 2016 to create a collection celebrates the
unique relationship between the neighboring island of Negros and Panay. It Means “umbilical
chord” in Hiligaynon which is quiet apt given the island’s history. Hopes for people to reflected
in a sort of sibling rivalry.

NUNELUCIO ALAVARADO
By: Arch Carlos Luis C. Ganzon
Ganzon Uses his work to raise awareness on the Sakadas of Negros and the other
marginalized people of the society. Paintings are often rooted in the problems his home
province faces, namely, injustice, and poverty. Early works illustrated the sugar farmer
indebted from birth to the land owners. Notable Works: -Babaye-recent collection was
inspired by the woman of Visayas often endearingly referred to as Inday.
MANUEL PAÑARES
By: Arch Carlos Luis C. Ganzon
Known for his historical themed paintings. He believes in the power of art as a medium of
learning. His Paintings exude expression and life and, at the same time, become tableaus of
historical events. Notable Works: -Sugbo sa Karaang Panahon-features paintings that show
the pre-colonial times of Visayas and the tribes of Mindanao.

MARTINO ABELLANA
By: Arch Carlos Luis C. Ganzon
Known as “NOY TINONG” was an important personality in the development of art in
Cebu and the rest of the Visayas. He is acknowledge as the “Dean of Cebuano Painters”. The
themes of this works are Seascapes depicting the beautiful shores and beaches of Cebu.
He became the Head of Fine Arts Department of the University of the Philippines, Cebu.
MINDANAO
MARIANO AMAR CATAGUE
By: Arch Carlos Luis C. Ganzon
Painter of the Lumads-Lumadsin his figurative paintings. When their living was destroyed by the
militarization in the area. His passion starts when he interacted with the Manuvu tribe.
Attention to facial expression, especially the eyes. Notable Works: -Kaliwat Theater
Collective-Chronicler he video graphed the Lumadnon theater grouped.

RAMEER TAWASIL
By: Arch Carlos Luis C. Ganzon
He uses vibrant and bold colors and applies indigenous Muslim motifs inspired by the
Okirs of the Maranao. The Poetry of the Sea Butterflies Notable Works: -VINTA-iconic symbol of
Zamboanga. Through his collection of paintings that depict the colorful Muslim Vintas.

SAUDI AHMAD
By: Arch Carlos Luis C. Ganzon
One of Mindanao’s greatest painters. His works are inspired by the rich cultureand
tradition of the Filipino Muslims. His subjects are often genre paintings of community life,
with his figures garbed in colorful and detailed costumes. He uses subtraction is a process in
which he would apply watercolor on an area and their brush dipped in water he would erase
or lighten the applied watercolor.

BERT MONTERONA
By: Arch Carlos Luis C. Ganzon
Works are heavily influenced by his indigenous roots. Uses color, human figures,
symbols, motifs that cannot deny his Filipino heritage. Must still retain what he calls
“Basic Native Creativity” Mixed media artist who is known for his innovative use of
indigenous materials for his art.His tapestry paintings have bark-like quality through his use
of dye and textile paint. His tapestry paintings depict Filipino myths and rituals
decorated with native motifs. Bamboo sticks painting-technique use inexpensive and
readily available materials for his art. He was known as political artist.

ABDULMARI IMAO
By: Arch Carlos Luis C. Ganzon
Well known visual artists from Sulu, Mindanao. National Artist in 2006. Received
training from different prestigious universities here and abroad. His stylized depictions on
the indigenous motifs such as the okir, sarimanok, and naga. Proud Muslim uses elements
that are inspires by his Muslim faith such as calligraphy and arabesque patterns.
PERFORMING ARTIST WHO USE INDIGENOUS
TECHNIQUES
LUZON

THE BAAO CHILDREN & YOUTH CHOIR (BCYC)

By: BaaoChildren and Youth Choir -International Choral (2020)

An experimental choral group formed in 2014 whose members are chosen from the two choirs
namely: BaaoChildren‘s Choir, National Music Competition for Young Artists (NAMCYA) –
Children‘s Choir Category Champion (2010 & 2013) and Grand Prize winner in the 18th
Certamen Juvenil de Habaneras in Torrevieja, Spain (2012) and from the Baao Youth
Choir, NAMCYA National Champion (2008 & 2011). Hence, the combined name.The members
are pupils and students from two different schools, Baao National High School Special
Program in the Arts and Rosary School Incorporated in the municipality of Baao,
Camarines Sur. Mostmembers are from poor families but are gifted with great singing
voices. The members‘ financial incapacity was a concern, but it did not hinder them from
attending rigorous trainings and rehearsals. The journey was never easy. But with a solid
support group, the BCYC managed to raise above all the challenges. With their humble
achievements, the group has been handpicked by the Cultural Center of the Philippines
(CCP) and National Commission for Culture and the Arts (NCCA) to render musical numbers in
various national music and art activities and festivals such as

-PASINAYA Festival (2013), and

 -UGNAYAN SA SINING: Sining ay Buhay! Buhay ang Sining! 2014
(Visayas Tour) 2015 (Luzon Tour), 2016 (Mindanao Tour) and

-2019 PAMANA: Legacies of Luzon sponsored by Cultural Center of

the Philippines Cultural Exchange Department.

They also participated in several international festivals and competitions namely:

-1st International Children Culture & Arts Festival in Kuala

Lumpur, Malaysia (2011),

-9th Busan Choral Festival & Competition in 2013 in Busan, South

Korea where they bagged Bronze Prize (Youth Choir), Bronze
Prize (Ethnic Category), Audience Prize Award and Grand Prix
Finalist,

-15th Festival Mundial de Coros in Puebla, Mexico (2014) &

Daegu International Choir Festival in Daegu, South Korea (2015)
They won Gold Prize (Youth Choir), Silver Prize (Ethnic Category),
Audience Prize Award and was a finalist in the Grand Prix
Competition during the 11th Busan Choral Festival and Competition
in 2015 in Busan, SouthKorea.

-They recently participated in the Llangollen International

Musical Eistedfodd, the oldest music festival and the
longest-running international choral competition in the world,
and bagged 3rd prize in both Children Folk Song and Senior
Children's Choir categories held in Wales, United Kingdom in July
2017.

-After their winning stint in the UK, in September 2017, they

performed as one of the featured festival choirs in the 9th
Halina‘t Umawit: A Philippine Children‘s Choir Festival at the
Tanghalang Nicanor Abelardo (Main Theater), Cultural Center of
the Philippines.

-They had their international concert tours in Spain in 2012,

the United States of America and Mexico in 2014 and the
United Kingdom in July 2017.

With the national and international feats through the years, the BCYC has received
numerous accolades and recognitions from the local and national award-giving bodies,
among them is the prestigious ―Ani ng Dangal‖ {Harvest of Honor} from the National
Commission for Culture and the Arts underthe Office of the President of the Philippines.
LAHING BATANGAN DANCE TROUPE
By: Lahing Batangan Dance Troupe –Pride of Lyceum of the
Philippines(2009)

The official dance company of the Lyceum of the Philippines University (Batangas),marks
more than a decade of advocacy to the authentic Philippine arts and culture. Founded in 1995,
the group is a duly accredited proponent of the National Commission for Culture and the Arts
(NCCA), duly recognized by the Cultural Center of the Philippines, and is enjoying a
reputation as one of the premiere folk dance troupes in the country. Starting as a fledgling
university-based dance troupe, Lahing Batangan gradually soared to greater heights as
the ultimate cultural ambassadors not only of the university but of the entire Batangas
Province as well.In 2002, the dance company broke grounds by being one of the featured artists
for the Intramuros‘ ―Concert Night at the Old Walls‖ and participating in the 2002 Philippine
Independence Day Grand Parade at the Quirino Grandstand, Luneta as part of the WOW
Philippines contingent. That year propelled the group to its national reputation of what it is
right now.In January 2003, Lahing Batangan staged its first full-length concert at the
―Concert at the Park‖ in Rizal Park, Luneta featuring Mindanao festival dances. Lahing Batangan
is a proud holder of six national recognitions in their credit:

-2003 Year-Ender Excellence Award for Most Promising Cultural

Dance Group

-2004 Asia-Pacific Excellence Award for Outstanding Cultural

Dance Troupe

-2004 Dangal ng Pilipinas Award for Most Outstanding Cultural &

Artistic Group

-2005 Huwarang Pilipino Award for Best Cultural Dance Group

-2005 Dangal ng Pilipinas Award for Most Outstanding Cultural &

Artistic Group

-2006 Dangal ng Pilipinas Award for Most Outstanding Cultural &

Artistic Group

The group is under the choreography of its Artistic and Dance Director, Mr. Rodel Fronda
(an alumnus of the Bayanihan Philippine National Folkdance Company) and the supervision
of the Lyceum University Director for Cultural Affairs, Mr. Eric V. Orolfo.

THE BARASOAIN KALINANGAN FOUNDATION, INC. (BKFI)

By: CCP's "Sining ay Buhay, Buhay ang Sining"(2014)

A resident theater company of the Province of Bulacan. Since its creation in 1980, the
group has created an impressive body of original works and developed a program of
sustainability thru LGU support and audience development. Since 1987, BKFI consistently
mounted two Theater Laboratory Workshops a year that runs for 4 months and produces
two one-act-plays. It serves as the Theater School in Bulacan. In September 2007, BKFI
created the Bulacan Arts, Culture and History Institute or BACH Institute to develop the vast
and rich heritage of the province through training, research and other educational programs. In
2004, BKFI was conferred the ―GAWAD CCP PARA SA SINING‖ for its outstanding contributions
in theater development in the region. Through the years, the company has earned the
respect of theater artists and critics all over the country. Acknowledged too is the
discipline of BKFI‘s actors and their work in putting together a Filipino repertoire, in
instituting and promoting community theater and in promoting the culture and tradition of
the region thruits productions.

KONTEMPORARYONG GAMELAN PILIPINO

By: Iskomunidad (2020)

KONTRA-GAPI had its beginnings when in 1989, Prof. Pedro R. Abraham Jr. of the Department
of Arts Studies of the College of Arts and Letters in the University of the Philippines (U.P.)
Diliman was asked to conceive a score for "A Dream Play" by August Strindberg. Produced in
Filipino translation by Dulaang U.P., the resident repertory theater company, the director
had only one guideline: that the music may be distinctly Filipino and Asian. Throughout the run,
the play merited consistently excellent reviews by artists, critics, academics, students
and regular play goers alike with the music receiving special mention for its running exotic
appeal. This encouraged the then ad-hoc band to transform itself into an independent
performing organization. Soon after, they were invited by the Heritage Arts Center in
Quezon City for their very first concert performance.In February 1993 KONTRA-GAPI was
appointed resident gamelan or ethnic music and dance ensemble by the Dean of the College
of Arts and Letters. For their significant trend-setting and visionary contribution, the group
was awarded in February 1996 the U.P. Diliman Chancellor's signal plaque for Outstanding
Achievement in the Arts (Performing Arts Category).The word "gamelan" derives from the
Javanese "gamel" which means to strike or to hammer. Typically, a gamelan consists of
percussion instruments such as gongs, and drums of graduated sizes, wood and metal
xylophones of varied timbre, flutes and whistles, assorted bamboo wooden and metal
percussion and voices for singing and for expressive vocables.

VISAYAS

JOSE GOMEZ
By: National Commission for Culture and the Arts (NCCA) (2011)
An American SVD Father referred him as ―The Music Man of Samar‖ in a published
article in the Leyte-Samar Studies journal of the Divine Word University, Tacloban City.
An admirer was quoted referring him as an ―Immortal Communicator of the sweetest
sounds‖ to Calbayognons and Samareños. A cultural worker says he was a ―genius. Whatever
accolade we may give to the most prolific composer of Samar songs, lest we forget, Jose Cinco
Gomez was a Maestro, a fitting title to a great and humble man who consecrated his life to
give every Calbayognon and Samareño music and pride.To protect the authorship of his music
after the war, he obtained a letter from the adjustment General. But the most tragic blow in
his life came with the death of his kins and five members of the guerilla band who were
captured by the Japanese soldiers in Brgy. Acerida, Bobon, Northern Samar. They were
interrogated and tortured to reveal his whereabouts. Refusing to tell the Japanese where
their brother was, Jose‘s sisters Josefa, Francisca and Trinidad were made to walk the nine-
kilometer road from Bobon to Catarman. Josefa died on the way on March 7, 1944.
Francisca and Trinidad reached Catarman only to be bayoneted to death at dawn of March 9.
They were buried in a common grave together with Corporals Basilio Comilan and Maximo
del Monte, Pvt. 1st class Pablo Aniban and Irencio Jalayajay and Pvt. 2nd class Ramon
Aniban, the five Cecilian members who were also killed. Jose expressed the loss of his sisters in a
heart, rending composition, ―In the Wink of an Eye‖. When the American Franciscan Fathers of
the Assumption Province of Pulaski, Wisconsin, USA, arrived in Calbayog City to establish a
mission in Samar and take over the administration of CSVP, Jose Gomez plus the civic-
spirited Calbayognons helped the Franciscans to acquire six hectares of land situated in
the eastern part of the city known as H ̳ amorawon Hills‘ owned by seven families. Musical
performances were being staged and sponsored by the faculty of the CSVP in putting up of now
the venerable Christ the King College, where he trained ―some 70 high school boys and girls
composing the college band‖He never ceased writing music, church hymns, guerilla
marches, and graduation marches for schools in Calbayog. Famous among these hymns were
the CKC‘s ―Christi Regians‖, ―Bongto Ko‖, ―Mutya san Kagab-ihon‖whichwon first prize in
the CIDAL Meet Singing Competition in Catbalogan, Samar, participated by different schools
in the region. He also composed the Christmas songs, the ―Panarit No. 2, 3 and 4‖, the La
Milagrosa March, Calbayog Pilot Central School March, Tiburcio Tancinco Memorial Vocational
School March. Jose Gomez has written 5, 000 songs, 500 of which he applied for
copyright, and filed in his bound collection called ―Shower of Musical Thoughts‖.

KABATAANG SILAY RONDALLA ENSEMBLE

By: Monsanto, Windy (2018)

It was made in an effort to preserve their heritage and was established in 1993. Composedof
the less fortunate youth of their community and serves as a promoter of the city's rich
traditional folk dance and music. Won awards and recognition from many regional,
national and even international cultural festivals. The KSE continues to promote and showcase
the musical heritage of the Philippines. It has also expanded its repertoire and included
contemporary classical, pop and modern songs.
UNIVERSITY OF THE VISAYAS CHORALE
By: Sakura (2017)

The UV Chorale was founded in 1999 by the university's executive vice-president, Dr.
Jose R. Gullas in order to give full scholarships to vocally and musically-gifted
students.Originally, this was a choir for singing in church masses and university-related
activities. However, after receiving expert training from Anna Piquero, a Philippine
Madrigal singer, they went onto win firstrunner up in the Busan Competition and gold in
the Tomohon International Choral Competition in Indonesia in 2007. They also had the honor
of being the only Filipino performance group selected for World Youth Day 2008 in Sydney,
Australia. The UV Chorale also won the first-ever Cultural Center of the Philippines Choral
Competition in 2009. And they were the champions of the Paskong Pinoy National Choral
Competition in both 2009 and 2011.In addition, through the National Commission for Culture
and the Arts, the UV Chorale acquired an Ani ng Dangal Award in 2010 and received it
again in 2016. In 2012, they served as the first Cebuano chorale group to compete in
Europe, winning 3 gold medals in the Rimini International Choral Competition in Italy and a
bronze award in the Tolosa International Choral Competition in Spain.The UV Chorale won
first in the Folk Song Category and second in the Chamber Category during the Andrea
O. Veneracion International Choral Competition in 2015. With hard work, passion, and the
right training, this choral group offers every member the chance to grow and pursue their
dreams full of self-confidence. Currently, the group is managed by Dr. Gullas' wife, Nena.

DAGYAW BAILE
By: Find Local (2020)

Formerly known as Dagyaw Theatre and Dance Company, is the Flagship of Cultural
Excellence of the Iloilo National High School with the leadership of Nordy D. Siason Jr. Ed.
D., CESE (Principal IV/INHS). Dagyaw is composed of high school students enrolled in the School
for the Arts, majoring in dance. It was organized in July 16, 1990 through the efforts of Dr.
Riza S. Amaguin. With its present Artistic Director, Ria B. Española, Dagyaw maintains a
35-member troupe, which required to attend major classes, offered by the program in acting,
ballet, folkdance, modern ballet and contemporary dance. Dagyaw started as a theatre
group called Theatro Kabataan in 1987, which all its members were equally trained in all
disciplines of drama and theatre. June 1992 Dagyaw was sent by the Cultural Center of the
Philiipines (CCP) to the World Exposition in Seville, Spain, where they performed the world
famous dance-drama, ―Hinilawod‖ choreographed by Agnes Locsin. The same production
was showcased for the 1994 Third Asean Dance Festival in Manila. After a year , they were
again asked to represent the country in the International Festival for experimental Theatre
in Cairo, Egypt. Some countries visited by Dagyaw were Pakistan, Singapore, Canada and
United States of America.

MINDANAO
AMAL LUMUNTOD
By: Iskomunidad (2011)

-Ethno-linguistic group: MaguindanaonHe is a master of kulintang who innovated and

popularized the binalig style. He is known for his ―sudden stops, the use of rests, more plays for
the left hand, and a fast right hand melody, andan unpredictable introduction traditionally
done through a middle gong.

MEBUYAN BAND
By: Lastfm (2010)

Mebuyan is an aggregrate of composers-musicians, each with his/her own wealth of

musical background. Geejay Arriola,has been writing music for various theater and dance
productions in Mindanao, Philippines for 17 years, where indigenous artistic expressions
are naturally woven into contemporary performances. Gauss Obenza has been a folk and
jazz musician for 20 years. Her major work to date is writing the music and score for
Arnel Mardoquio's film "Hospital Boat." Paolo Sisi is a music teacher and has been a session
artist for many bands in Manila and Davao for about 15 years. Chico Zambrano has likewise
been session percussionist for various bands for about the same number of years as
Paolo. And the younger ones–Maan Chua, Maree Contaoi,and Maia Tampoy—have been
having regular gigs as solo musicians-singers for the last 7 years or so.Mebuyan participated in
the following productions as composers, arrangers, and/or musicians:

-"Panaw," a dance-musicale written by Malou Tiangco and Geejay

Arriola, produced by MebuyanPeace Project, Inc. Performed at the
Asian Theater Festival in India, and at the Asia-Pacific Festival for
Women in the Arts in Manila, 2003

-"Salima," a concert-theater production on peace in Mindanao

conceived by Geejay Arriola, written by Arnel Mardoquio, produced
by Earth Music Foundation, Inc., 2004

-"Uwahig," a dance-drama written by Steven Patrick Fernandez,

produced by MINDULANI, Inc., and performed at the
International Theater Institute Festival in Manila, 2006

-"Madonna Brava," an adaptation of Bertolt Brecht's "Mother

Courage and Her Children," written by Don Pagusara, produced
by Tanghalang Pilipino, 2009.

-"Hospital Boat," a film by Arnel Mardoquio.

KABPAPAGARIYA ENSEMBLE
By: Al-Nezzar Ali (2010)

Was born out of love and dedication to promote culture and arts. It is originally conceived and
trained as a drama group, but has become a drama group that dances because in its growing
years, its main audiences would always expect it to be entertained with dances and songs.
Kabpapagariya means brotherhood or the act of making friends, a term that has played a very
important role in the lives of its founder, Mrs. Emeberta A. Nazareth and its subsequent
artistic director, Romeo F. Narvaez, as both members of the Sining Kambayoka. Their stint in this
CCP Gawad Sa Sining Awardee cultural troupe under Frank Rivera would later influence the very
nature of Kabpapagariya‘s future presentations and collections of productions.Memorable
productions are ―Kawing‖ a Maguindanaon production that deals with traditional change
presented as front act of Liza Macuja and Nonoy Froilan‘s show in General Santos City in
1987; ―Isang Alamat ng Singkil‖ a Maranao legendary musical comedy piece; A ̳ ngok‘ based
on B‘laan oral narrative presented during the 25th anniversary of Dole Philippines; ―Ulad
de Tana‖ a B‘laan repertoire presented in 1988 during a Mindanao wide land reform
conference; the mythical ―Danganan‖ and the Maranao based ―Torong-Torong‖; the comical
piece with three characters based on a B‘laan legend, ―Si Bong Tion, Si Tua Lagi‖; the musical
comedy ―Don‘t Disturb: God at Rest‖; an adaptation of the monumental epic ―Darangen‖, the
production of song and dance repertoire, ―The Abduction of Princess Lawanen‖ presented
during the International Gathering of Passionist fathers in Gensan of 1989; ―Mga B‘laan at ang
Mga Maguindanaon‖ presented during the sister city ceremony between

General Santos City and Hadano City of Japan in 1990; and the ―Nonoy-Inday‖ an Ilonggo dance
and song Visayan love story piece.

SINING KAMBAYOKA
By : Budayaw (2014)

Founded in 1974, is the only Filipino Muslim folk theater company in the country. In its
less than two decades of existence, it has reaped prestigious awards and enthusiastic,
critical acclaim. It won the 1977 Aliw Awards for Most Promising Cultural Troupe of the
Philippines, the 1977 Kalilangan Awards for the Best Cultural Troupe of the Philippines, the
1978 Aliw Awards for the Most Outstanding Theater Group of the Philippines, and the
1981 Balagtas Award for Filipino Drama.While pursuing its prime objective of helping in the
conservation of the Maranao cultural heritage and contributing to the efforts towards
integration, the Sining Kambayoka also seeks to stimulate the creativity of its members and
mold them into socially-conscious and responsive individuals. The ensemble draws its
membership from the college students of the University.The troupe specializes in folk theater
basically employing the Kambayoka Theater Form which is based on the Maranao Bayok (love
song) and Darangen which are sung.

BAYANG BARRIOS
By: Good Pinoys (2019)

The young Bayang grew up with discrimination against her kind who are being stereotyped as
uneducated and uncouth. She left her tribe and became a teacher. Then she met Joey
Ayala and became part of Ang Bagong Lumad, the iconic performing group that played
indigenous musical instruments and sang the music of people‘s struggles. Her songs with
Joey became themes for people‘s movements and the relationships that were borne out of the
struggles for humanrights. Their ―Walang Hanggang Paalam‖ is a heart-rending song of sacrifice
between lovers in the people‘s movement who could not be together.Bayang found herself back
in the world of the lumads whom she left, and she was embraced back and found peace. A solo
artist has traversed many paths in the music industry, bringing her brand of music, and
indigenous weave-inspired fashion, wherever there are audiences who appreciate her
message.Composes her own songs and has won multiple industry awards including the
Metropop Music Festival, Likhawit, Awit, Katha, Catholic Mass Media Awards, and MTV Asia. A
collaboration with Gary Granada gave her an Anvil award for ―Lakbayin ang Pilipinas (which
became the theme of the national tourism program). Her powerful voice also won the Hanoi
Music Festival.

Her more publicly-known songs include ―Katribo Ko‖, ―Bagong Umaga‖, ―Malayo Man,
Malapit Din (which became the theme of GMA‘s Pinoy Abroad)‖. Bayang was one of the 14
OPM artists led by Ryan Cayabyabwho sang the ―Sana Naman Taumbayan‖ advocacy song.
Bayang‘s music is carried by her own label with husband musician-producer Mike Villegas,
Mayumi Records.

JOEY AYALA
By: BukidnonVoice.blogspot.com (2013)

José Iñigo Homer Lacambra Ayala in real name, a native of Bukidnon who was known as
columnist, folk and contemporary pop music artist in the Philippines, as well as his
strong environmental affection that can be found on his incredibly musical compositions. Born
to a family of artists, his father Joey Ayala is a Painter while his mother Tita Lacambra is a
Poet. His music style was distinguished through infusion of ethnic instruments like
Kulintang, T'boli, Kubing, and Gong which made him famous and extraordinarily unique
artist. His famous song compositions include Karaniwang Tao, Bathala, Aguila, Papel and many
others. Recorded and released 14 albums in the country including abroad.He was the
founder of the famous band named "Bagong Lumad" which means "New Native" in English -a
name and philosophy that has been carried over into Bagong Lumad Artists Foundation,
Inc. (www.blafi.org), now a UNDP Responsible Party working on Sining Bayan (Social
Artistry) capacity-building projects with the Civil Service Commission, the Department of
Education, and other GOs and NGOs in the Philippines. He collaborated with Rock Operas,
Philippine Educational Theater Association (PETA), Gloc 9 and many other great artists in
the Philippines. Receiving prestigious accolades like Jaycees Ten Outstanding Young Men in
the Philippines in 1990 and Metro pop Song Festival grand prize after he composed a
song for The Concert King Martin Nievera, The Datu Bago Award and the 2013 Philippine
Popular Music Festival as composer and interpreter of the song "Papel". He also served as the
(2008–10) Chairman and Vice-Chairman (2011-13) of the National Committee on Music
under the National Commission for Culture and the Arts. And currently, he was chosen as guest
coach in The Voice Philippines with Bamboo Manalac in the Team Bamboo.

ACQUIRED SKILLS ENHANCEMENT

By: Simon Fraser University

COMMUNICATION SKILLS
Communicate ideas clearly and efficiently in a variety of mediums through listening, clarifying,
and responding comprehensively
Read critically and write persuasively with a comprehensive knowledge of grammar and
vocabulary

PROJECT MANAGEMENT SKILLS

Set priorities and handle multiple assignments and tasks
Be flexible by adapting to changing conditions and work assignments

Information Management
Locate, gather and organize information using appropriate technology and information systems

PROBLEM SOLVING AND CRITICAL ANALYSIS

Use critical thinking skillsto evaluate and solve problems, demonstrating the ability to be
creative and innovative in identifying solutions
Analyze complex textual and cultural phenomenon
Develop critical observations and attention to detail

RESEARCH
Gather information and use information resources
Conduct and explain research results

INTERPERSONAL ABILITIES AND TEAMWORK SKILLS

Establish good relations with the people you work with as well as respecting individual
differences
Work well with people from diverse backgrounds
Work effectively within a group, demonstrating leadership
Monitoring the success of a project and identifying ways to improve it

ORGANIZATIONAL SKILLS
Organizing ideas and materials in an effective way
Design, plan, organize and implement projects and tasks within an allotted timeframe

CITIZENSHIP AND GLOBAL PERSPECTIVE

Integrates an awareness of how social, organizational, and global issues are inter-related with
individual and local concerns

CREATIVITY
Think and write creatively
Lead and participate in discussions
Effectively convey arguments and opinions and encourage independent and creative thought

CONCEPT OF INTEGRATED ARTS PRODUCTION

By: Atomhawk Design Ltd.

From fast sketch ideas to detailed design illustrations, we have a variety of methods for creating
great concept ideas, working with client direction or using our skills and experience to develop
an original style proposition.

CHARACTER DESIGN
Our initial character sketches begin with an exploration of proportions, clothing and attitude
before beginning to add in the detail of facial expression, costume design and texture.

ENVIRONMENT DESIGN
For key scenes and locations, we frequently begin with a composition or line sketch to help
understand how the scene is played out and to solve any problems of focal point and
storytelling. Once these elements are agreed we can then begin to build in further detail and
consider the role of mood and lighting.
VEHICLE DESIGN
We’ve designed a vast array of vehicles from futuristic helicopter carriers to retro spaceships
and stylised cars for Angry Birds. Some, such as the Milano spaceship from Guardians of the
Galaxy, have even been built into real life sets.

KEY ACTION SHOTS AND VISUAL TARGETS

Key action shots and visual target images help to communicate a vision for the style and tone of
a product or moment in one single image.

PROP DESIGN & BREAKOUTS

Props, characters and vehicles that demand an iconic and recognisable shape can all benefit
from beginning life as a series of thumbnails or silhouettes.

ASPECTS OF PRODUCTION FOR VISUAL ARTISTS

By: Arch Carlos Luis C. Ganzon (2018)

Awards
Given to artists to recognize a single achievement or the career as a whole. Some of the most
notable competitions are:
Shell National Students Art Competition example is BenCab, Ronaldo Ventura
DPC-PLDT Visual Arts Competition
MADE (Metrobank Art and Design Excellence) example is Antonio Leaño
Some of the most prestigious and respected awards are:
TOYM Philippines: The Outstanding Young Men Awards
Gawad CCP Para Sa Sining
Thirteen Artists Awards
Ateneo Art Awards
National Artists Award
Gawad sa Manlilikha ng Bayan (GAMABA)

ART CRITICISM AND SCHOLARSHIP

Art criticism and scholarship are two most related aspects in the production of art whether
visual or performing.
Art Criticism-evaluation of an artwork based on its artistic merits, and historical and
cultural importance.
Art Scholarship-orderly organization and study of art. Includes the documentation and
authentication of artworks. It includes study of historical and theoretical developments of art in
relation to social, cultural, historical considerations.
Art Critics-discipline involve in art scholarship.
ART EDUCATION
The transfer of knowledge, skills, and art appreciation from a teacher to a student. Can be both
formal and informal settings.
Formal Education-teaching done in specifies venues such as school.
Informal Education-pertains to amore relax environment such as master apprentice
relationship.
1960, art education is officially included in the curriculum. This formal education incorporated
teaching of skills and knowledge as well as art history, theory, criticism, and appreciation.
Philippine High School of the Arts-most prominent art school in the Philippines.
Workshops-another venue for art education. Often manage by art organizations, workshop,
focuses on a particular art skill.

MEDIA
Visual art component that pertains to the materials the artists uses for his/ her artwork.
Each medium entails different manipulative processes for an artist to achieve his/ her
desired outcome.Most common media use by contemporary artists are clay, wood, metal,
stone, fiber, dye, pant, ink, pencil, paper, glass, plastic and film. The newer media are computer
technology, light, genetic, trash, etc.

Mixed Media-Media can be used alone or in combination with two or more media.
Organizations

Formed when people of common goals band together for a cause.

Build camaraderie between fellow artists
To protect each other’s right and voice out concerns that affect them as visual artists.
Asian Cultural Council (ACC)-an international art organization that began in 1963
whose vision is to provide a support system between art and cultural exchange between
United States and Asia.
Asian Cultural Council Philippines Foundation-created in 2000 goal is to increase
opportunities for Filipino artists, academics, and cultural organizations through the
promotion of Filipino heritage.
Arts Association of the Philippines-started as alumni association organized by art
patron Purita Kalaw-Ledesma (1914-2005) for the UP School of Fine Arts in 1948, became
an art organization for all visual artists.
Regional Art Organizations- Angono Ateliers, Baguio Art Group, Bicol Artist Society,
Binangonan Art Group, Davao Artist, Iloilo Art Group, Quezon City Art Group, etc.

ART PATRONAGE
Purchased or commission of an artwork.
Can also be called to describe financially funding given by an individual or organization to an
artist.
Patrons-often come from upper class or wealthy individuals or groups who have the
means to support an artist.

PRODUCTION PLANNING
By: Creative and Business LLC (2016)

PRODUCTION & OPERATIONS BASICS FOR ARTISTS

Production and Operations management is all about managing all of the things that go into
making a product or service like materials, supplies, technology, methods and labor (called
“Inputs”) and transforming them into a finished product or work of art (called
“Outputs”).The overall goal of production and operations management is to produce
goods and services in an efficient, cost effective and profitable manner while maintaining the
desired level of quality –a goal you should have for your art business as well! The field of
production and operations management is divided into several areas that you need to be
aware of.
These areas are:
•Production Planning
•Production Scheduling
•Work Design, Flow and Measurement
•Inventory Control and Management
•Quality Control
•Operations Management

Most every one of these will affect how you produce your art in one way or
another.Take a look at the following areas; see how they apply to your art business and
how you might make improvements –now you are practicing Production and Operations
Management!
PRODUCTION PLANNING
A stained glass painting plan is a good example of one type of production planLike putting
together a plan for your business or a plan for your marketing efforts you need a plan to
produce your art. Your plan can be formal, written down on a napkin or just in your head.

Your production plan will help you answer questions like:

•What am I going to produce/create?
•What materials or supplies will I need?
•What types of technology or processes will I need?
•What other resources will I need such as labor or outside suppliers?
•How much will it cost to produce this art?
•How long will it take to produce a final product?
•Where will I produce the art?
•When will the art be complete and delivered?

PRODUCTION SCHEDULING
Scheduling is making sure that the proper materials, supplies, technologies, and labor are
brought together so that the job gets done in an efficient manner and meets your customer’s
expectations and deadlines. In order to make your scheduling effective you will need to “break
down” a project into steps that you
can track and measure. There are many scheduling tools available to you from a simple to-do
list, calendar to elaborate project scheduling software.

WORK DESIGN, FLOW AND MEASUREMENT

The idea behind work design, flow and measurement is to take a look at how you are
producing your products. Some questions you should be asking yourself:

•Have you formalized the steps necessary to complete a project?

•Are you doing any unnecessary steps or procedures?
•Do you know how long it takes to complete each step?
•Do you know how much it costs to complete each step?
•Are they ways you could improve your production process?

INVENTORY CONTROL AND MANAGEMENT

Inventory comes in all shapes and sizes and in all stages of completionThe important thing to
remember about inventories is that they cost you; you have your money tied up in them!The
idea is to reduce your inventories as much as possible without running out of goods to
sell while having the necessary ingredients to make more art. Inventory is a delicate
balancing act between having too much on hand, being able to fill customer orders and
not being susceptible to supply shortages. Some questions to ask yourself about inventory:

•Do you purchase your materials and supplies at favorable prices?

•Do you know the quantities of inventory that you hold and their cost?
•Do you have a system in place to track inventory?
•Do you frequently run out of materials or supplies?
•Do you have finished products available when customers want to buy?
•Is your inventory properly stored and easy to find?
•Do you carry enough inventory, not enough or just the right amount?
•Are your procedures for purchasing adequate?

QUALITY CONTROL
For most companies the quality of the products they produce and the level of service
they provide are a big part of their brand –your art business is no exception. Quality and
value are closely linked to your customer’s expectations. The quality expectation of an
inexpensive item may be different from that of a luxury item. It is important that you
keep your production focused on quality and meeting or exceeding your customer’s
expectations. Here are some questions to ask yourself about quality:

•Does the quality of your products, meet, exceed or fall short of your customer’s
expectations?
•Do you build quality into every step that goes into producing your products?
•Do you have a lot of rejects or rework?
•Do you need better equipment or processes to improve your product quality?
•Do you have a system or way to measure quality?
•Does your quality extend to packaging and delivery of your products?
•Have you made quality an integral part of your business?

OPERATIONS MANAGEMENT
Operations concerns itself with many of the other things in your art business, like your back
room operations The second part of production and operations has to do with the processes
you employ in running your business. These processes start when an order is placed and
continue until the product is delivered to the customer. Many would consider operations
to be a big part of the “back office”. Some of the areas that make up operations include:
 •Order entry–The placement, tracking and finally billing the customer for items sold
•Purchasing–Making sure that the proper materials and supplies are ordered and received
in a timely and profitable manner
•Delivery and Transportation–Making sure that your products reach your customers as

promised
•Forecasting–Developing forecasts for finished goods as well as the inputs (materials,

supplies, labor) that go into you products

•Systems–Developing systems or processes for all of the things you do in business

•Purchasing–Buying the right materials and supplies at the right price

•Facilities Management–Making sure that your facilities are adequate, meet building and

other requirements and are maintained properly

•Project management–Managing a project so that deadlines are kept, costs are

minimized and quality levels are maintained

CONTEMPORARY PERFORMINGARTS PRODUCTION

ACQUIRED SKILLS ENHANCEMENT

By: Wabisabi Learning (2020)

CREATIVE SELF-EXPRESSION
The pursuit of any art form becomes an expression of a person's individuality and creative
nature. Expressing ourselves creatively adds to our ability to express ourselves in other
situations. This includes professional and personal relationships of all kinds.

CONFIDENCE
In as much as performing arts inspires our creative natures, it is also a confidence builder. After
all, once we've created an expressive project we must still perform it or present it to an audience.
This takes the courage to accept whatever reactions come from sharing this part of ourselves without
sacrificing our integrity.

COLLABORATION
By their very nature, the performing arts are deeply collaborative. They are about forging connections
through sharing common interests and goals with others. They are also about building trust with those
we choose to work with on projects that are meaningful tous. With such experiences, we learn to
weather challenges and disagreements constructively and proactively.

FOCUS
Creative endeavours take willpower and determination because we tend to zero in when we are
engrossed in something imaginative and experimental. Often we work backward from the end to
achieve our desired results. On the other hand, we also center on a specific process as we visualize
our end goal. All of this takes focus and concentration. The fact is, anything worth doing takes
focus and the performing arts are no different.

PROBLEM-SOLVING
Sculptor Magdalena Abakanowicz has said this about art:"Art does not solve problems but makes us
aware of their existence. "How then do the arts contribute to the skills of problem-solving we want for
our students? Simply put, by understanding the creative process we learn the process of problem-
solving by default.

LEVERAGING FEEDBACK
During their school years, students will be assessed and graded constantly, and part of any mindful
assessment is providing constructive and actionable feedback students can grow from. Performing
arts work always involves feedback. Students can learn through artistic practices that feedback can be
empowering if both given and received the right way.

CONCEPT OF INTEGRATED ARTS PRODUCTION

By: Roche Website (2014)

Performers
•People onstage presenting characters in dramatic action.
•The audience is coming to see a performer pretend to be someone else.
•When the actor/actress is on stage, they must be believable as the character they are
portraying. If they are not believable, then the audience will be less interested in the
production.

PERFORMANCE ELEMENTS

Verbal expression

-Speaking: The mode of expression or delivery of lines

-Breath control: Proper use of the lungs and diaphragm muscle for maximum capacity and efficiency of
breath for speaking
-Vocal expression: How an actor uses his or her voice to convey character
-Inflection: Change in pitch or loudness of the voice.
-Projection: How well the voice carries to the audience
-Speaking style: The mode of expression or delivery of lines
-Diction: Selection and pronunciation of words; clarity of speech.

Nonverbal expression
-Gestures: Any movement of the actor’s head, shoulder, arm, hand, leg, or foot to convey meaning
-Facial expression: Physical and vocal aspects used by an actor to convey mood, feeling, or personality

AUDIENCE
•The essence of theater is the interaction between the performer and audience.
•Theater needs to be experienced live. There is a "call and response" atmospherethat can not be
witnessed in a movie theater.
~ In a live theater experience, when the audience laughs out loud, or cries, then the actors respond to
that energy.
~ In a movie, there is no connection between the actors and audience, only reactions from the
audience.

DIRECTOR
The director makes certain that the performers understand the text and deliver the script excitingly
and appropriately. The director also makes sure the blocking, costume designs, set designs and
other aspects of the show blend together to make a production that works together. All the
aspects of theater should compliment each other, and the director oversees all these things.

THEATER SPACE
Another necessary element of theater is the space in which performers or audiences come
together. It is essential to have a stage, or some equivalent area, where actors and actresses
can perform. It is also essential to have a place for audience members to sit or stand.
Design Aspects

Visual Aspects-costumes, lighting, and some form of scenic background

-Scenery (set): The theatrical equipment, such as curtains, flats, backdrops, or platforms, used in a
dramatic production to communicate environment
-Costumes: Clothing and accessories worn by actors to portray character and period.
-Props: Short for properties; any article, except costume or scenery, used as part of a dramatic
production; any moveable object that appears on stage during a performance, from a telephone to a
train

NONVISUAL ASPECT -sound.

-Lights: The placement, intensity, and color of lights to help communicate environment, mood, or
feeling
-Sound: The effects an audience hears during performance to communicate character, context, or
environment
-Makeup: Costumes, wigs, and body paint used to transform an actor into a character.

TEXT
A final element essential to theater is the text that is performed, and it must be present for theater to
occur. Another name for the text is script. One key element for writing is CONFLICT. The
characters should have a goal to reach, but to reach that goal they must go through a series of
conflicts. Without conflict the story would be bland and boring.

COMMON ASPECTS OF PRODUCTION IN PERFORMING ARTS

By: Eluprogram.com
a) AUDIENCE, TIME, SPACE-ETHNIC GROUPS IN THE PHILIPPINES-heavily
integrated in their daily lives. Can be done in the privacy of ones own house or can be
performed outdoors. It is also stage during rituals or formal occasions.
- Urbanized Areas-performed both in public and private. Residential houses or streets
accompanied with videoke machine. Makeshift stages for singing and dancing competitions.
- Spanish Colonial Period-churches are regular venues for song and liturgical music.
b) AWARDS AND GRANTS
- Awards-given to performing artists recognition for their achievement in the competition. Can
be trophies, medals, certificate, cash.
- Grants-given to performing artists to aid them in developing their craft. Can be given by
individual, public, and private institution. Can give financial support for research, studies, and
other academic pursuits.
- Commissions-are financial compensations given to performing artists to create a song,
dance, and play.

c) CRITICISM
- Pertains to the evaluation and examination of creation, expression, and meaning of the
particular piece or performance.
- Critic-the one who reviews and appraises the performance. Reviews the different aspects of a
performance and gives his/ her insights and evaluation.

d) ORGANIZATIONS
- Are formal or informal groupings of artists and enthusiasts created to support and appreciate
their chosen craft.
- Informal groupings-can be seen with the ethnic groups where they come together for one
occasion such as fiesta.
- Formal-more permanent and stable such as chairmanship, members, etc.
- Philippine Society for Music Education (PSME),a non-profit association
composed of music educators all over the country, had its beginnings on November 23, 1971.-
- The Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP), is
a collecting society in the Philippines. is a non-stock non-profit association of composers,
lyricists and music publishers established in 1965 to primarily help music users get the
necessary permission to use copyrighted local and foreign songs, and help music creators get
royalties for the use of their songs.
- Performers’ Rights Society of the Philippines, Inc. (PRSP) is a non-stock, non-
profit organization established by Filipino performers to protect performers' rights under
Republic Act 8293, also known as the Intellectual Property Code of the Philippines (IP Code).-
 - Original Pilipino Music, now more commonly known as Original Pinoy Music, Original
Philippine Music or OPM for short, originally referred to Philippine pop songs, particularly
ballads, that were popular in the Philippines during the late 70s to the present. OPM
artists such as Rico Puno Jr., Ryan Cayabyab, and Celeste Legaspi in the 70’s, and Regine
Velasquez, Sharon Cuneta, Martin Nievera, Pops Fernandes, among many others led the way in
the 80’s and 90s
- Philippine Legitimate Stage Artists Group (PHILSTAGE)
- AMP (Asosasyon ng Musikong Pilipino)

e.) EDUCATION

- Concerned with the transfer of knowledge, techniques and style.

- Informal Education-seen in ethnic groups through teacher led instructions in the
classroom.
- Formal Education-are included in the curriculum of the student. Learn through teacher led
instructions.

PRODUCTION PLANNING
By: bbbpress (2016)

1.Choose a show that you love. You’re going to be spending the next 4-6 months deep in the
trenches of the show you’ve chosen. If you love the showand themusic,working hard on the show
will be worthwhile. When picking a show make sure thelanguage, number of roles, themes, and style
are appropriate for your performers and audience.

2.Assemble your team of collaborators. You can use the sample list below. Start at the top
and put a name next to each job. If there is one person covering more than three jobs, try to
expand your staff to distribute the workload. Look to all students, parent volunteers, and staff
within your organization that have thesespecial skills. You’ll be pleasantly surprised who has a
interest or side hobby in say lighting design or who mayhavea hidden love for carpentry.

Sample list of jobs on any given production:

Producer
General Manager
Director
Music Director
Choreographer
Production Stage Manager
Assistant Stage Manager
Assistant Stage Manager
Set Design
Lighting Design
Costume Design
Sound Design
Prop Design
Sound Mixer
Production Manager
Technical Director
Carpenters
Electricians
Follow spot operators

3.Get your design ideas in order. Design includes sound, lights, props and costumes. As the
director, take the lead in the design process. Start by getting all your designers on the same
page before rehearsals, also known as “pre-production”. Gather everyone’s ideas on the entire feel of
the show as a group orone-on-one meetings.

4.Post audition notices. Be specific about what you want actors to prepare for auditions, such
as: Sixteen (16) bars of an up tempo song (or any section of a song that has a natural beginning,
middle and end). You can also suggest the actor use a specific section of a song (averse and
chorus). If you’re working with youngeractors, teaching them a short section of a song from the show as
a group, then have them perform it for you individually.

5.Set up a room that feels like a real audition room. If there are computers or desks in the
room make them neat and tidy, so that the actor coming in for an audition feels like he/she is in an
audition room and not a computer lab. This gesture alone will raise the bar on their performance.
In the audition room the producer, director, choreographer, music director, and a reader should be
present. Actors on Broadway audition only in front the necessary staff.

6.Create a production calendar. The production stage manager should put together a
production calendar, with clear goals, like: “Rehearsal,” “Work through Scene 2/3,” “Designer run,”
“Load In,” “Tech,” “Dress Rehearsal,” specifically sketched out. Obviously things can change along
the way, but there should be a well thought out plan to begin with. This calendar (which helps
performers understand the timeline and goals in a tangible way), should be distributed on the
first day of rehearsals, along with a contact sheet that includes who is playing which role(s) (all
members of your team should be noted on this document), cast/scene breakdown (this tells you
who is in each scene), script, music, and any other necessary paperwork including contracts.

7.Make the rehearsal space comfortable. Make sure the room is clean and organized. Put
out enough chairs so that every person has a chair, aplace to store their belongings and water. People
may think, “This group of actors likes to sit on the floor.” They might, but in reality if you give everyone a
place in the room that is designated (like a chair of their choice), or a music stand, they will use their
space and feel calm when they are in their space with their stuff. The room will be easier to manage.
8.Always start and end rehearsals on time. From here it is the director’s job to guide the
ship. It is important that everyone is treated withthe utmost respect, and that time is managed
efficiently.Any actorsitting around without something to do is potential trouble. So make sure that
everyone is engaged and participating while they are in the rehearsal room.

9.Share your process and expectations up front. When working with performers ages 7-25,
it’s important to set clear goals and expectations. For instance, I let actors know that during an initial
staging (or “blocking” if you prefer that word), of a scene I assume that they will be on
book(writing down their staging notes). The next time I schedule that scene for rehearsal all actors
should be off book (have their lines and their staging memorized), even if the rehearsal is the next day.
Getting off book as you go is far better than one giant “off book” deadline in the future. This way, the
actor and director can actually work on acting all along the way. And, if an actor finds him/herself with
time to spare in a rehearsal, you should suggest that he/she might want to work on running lines
(rather spending any time on a cell phone).Note on cell phones:With the exception of
recording/listening to music from the show, cell phones should be absolutely forbidden from the
rehearsal room. I cannot emphasize enough how important it is to set up a high standard of
concentration in the rehearsal room, where the focus is entirely on the task at hand. Your
performers will become better actors by being in the moment, not glued to instagram or snapchat.

10.Stage a Scene, then Run Through It. The director and choreographer are responsible for
staging and teaching choreography in an efficient and timely manner. Once a sceneof the show is
staged, work through the whole scenes topping and adjusting as necessary. Then, run the whole
scene of book. Then move on to the next scene. Same process. Give yourself a couple of rehearsals to
circle back to previous scenes, and a rehearsal or two to put scenes together. Even if you don’t rehearse
previous scenes for a while, trust that the good work you did along the way will stick, and be informed
by all of the work you do on later sections. Actors and directors get smarter about a show as they
work on it. And, if the actors know up front what they are aiming for, success is inevitable

11.Enjoy the process! All actors respond well to positivity, strong leadership, and a clear
understanding of rehearsal goals. How your actors succeed is a direct result of how well they
are cast, and how well they are lead. When actors are lead by a cohesive, collaborative team of
talented, knowledgeable, well-organized, and inspired people that are enjoying every step of the
theatre making process, that energy is infectious. If you convey a sense of fun rather than anxiety and
stress, your performers will pick up on that and bring that sense of fun to the stage, ensuring a hit
production that your audience will enjoy watching.