C O N T E M P O R AY

PHILIPPINE ARTS
FROM THE REGIONS

WEEK 3
 ANSWER THE
FOLLOWING QUESTIONS. • 1. What are the various
Contemporary Art Forms?
• 2. How can you describe
the characteristics of
different contemporary art
forms?
• 3. What are the regional
practices and initiatives in
preserving and promoting
contemporary arts?
❖EXPLAINS FILIPINO ARTISTS’ ROLES AND
IDENTIFY THEIR CONTRIBUTION TO
CONTEMPORARY
❖ E VA L U A T E S C O N T E M P O R A R Y A R T F O R M S
BASED ON THE ELEMENTS AND PRINCIPLES
❖ C O M PA R E S F O R M S O F A R T S F R O M T H E
DIFFERENT REGIONS
SINETCH ITEY!

• Let us see if you are familiar with

these artists. Identify the name of
the artists shown in the pictures.
R YA N C AYA B YA B
GUILLERMO
TOLENTINO
 VICENTE
MANANSALA
 ANDREA
VENERACION
FERNANDO
AMORSOLO
The government recognizes the remarkable inputs of
this artist in the development of Philippine Art.
Through the National Commission of Cultural and the
Arts (NCCA) and the Cultural Center of the Philippines
(CCP), it gives awards to these notable contemporary
artists and the most prestigious recognition of them in
the Order of the National Artist Award (Orden ng
Pambansang Alagad ng Sining.
•The Order of National Artist (ONA) [Orden ng
Pambansang Alagad ng Sining] is the highest
national recognition given to Filipino individuals
who have made significant contributions to the
development of Philippine arts.
The Order of National Artist aims to recognize:
• a) Filipino artists who have made significant
contributions to the cultural heritage of the country;
• b) Filipino artistic accomplishment at its highest level
and to promote creative expression as significant to the
development of a national cultural identity; and
• c) Filipino artists who have dedicated their lives to their
works to forge new paths and directions for future
generations of Filipino artists.
NATIONAL
ARTISTS FOR
VISUAL ARTS
AND
SCULPTURE
ARTISTS
 F ER N A N DO A M OR S OLO
• The country had its first National Artist in Fernando C.
Amorsolo.
• The official title “Grand Old Man of Philippine Art” was
bestowed on Amorsolo when the Manila Hilton
inaugurated its art center on January 23, 1969, with
an exhibit of a selection of his works.
 AMONG OTHERS, HIS
MAJOR WORKS
INCLUDE THE
FOLLOWING:

•Maiden in a
Stream(1921)
-GSIS collection;
EL CIEGO (1928)-
CENTRAL BANK
OF THE
PHILIPPINES
COLLECTION
DALAGANG
BUKID (1936) –
CLUB FILIPINO
COLLECTION
THE MESTIZA
( 1 9 4 3 ) – N AT I O N A L
MUSEUM OF THE
PHILIPPINES
COLLECTION
PLANTING
RICE
(1946)-
UCPB
COLLECTI
ON
SUNDAY
MORNING
GOING TO
TOWN (1958)-
AYALA
MUSEUM
COLLECTION
 BENEDICTO ‘BENCAB’ CABRERA
N AT I O N AL ARTIST FOR VISUAL ARTS (2006)

• Benedicto R. Cabrera, who signs his paintings “Bencab,” upheld the primacy of
drawing over the decorative color. Bencab started his career in the mid-sixties as a
lyrical expressionist.
• His solitary figures of scavengers emerging from a dark landscape were piercing
stabs at the social conscience of a people long inured to poverty and dereliction.
• Bencab, who was born in Malabon, has christened the emblematic scavenger figure
“Sabel.”
 SABEL
• For Bencab, Sabel is a melancholic
symbol of dislocation, despair, and
isolation–the personification of human
dignity threatened by life’svicissitudes,
and the vast inequities of Philippine
society. Bencab’s exploration of form,
finding his way out of the late neo-
realism and high abstraction of the
sixties to be able to reconsider the
potency of figurative expression had
held out vital options for Philippine art
in the Martial Law years in the
seventies through the contemporary
era.
• IMAGE SOURCE: [Link]
cCegQIABAA&oq=BEN+CAB+MUSEUM&gs_lp=EgNpbWciDkJFTiBDQUIgTVVTRVVNMgUQABiABDIFEAAYgAQyCRAAGIAEGBgYCjIJEAAYgAQYGBgKSJoJULgCWLgCcAB4AJABAJgBqwKgAaoDqgEFMC4x
LjG4AQPIAQD4AQGKAgtnd3Mtd2l6LWltZ8ICBBAAGB6IBgE&sclient=img&ei=1v3RZbijC4a11e8Piom0oAE&bih=633&biw=1349&hl=en-US&safe=active&ssui=on#imgrc=T2H9kFaPSjSvSM
 CARLOS “BOTONG” FRANCISCO
N AT I O N A L A R T I S T F O R PA I N T I N G ( 1 9 7 3 )

• Carlos “Botong” Francisco, the poet of Angono, single-handedly revived the forgotten art
of mural and remained its most distinguished practitioner for nearly three decades.
• In panels such as those that grace the City Hall of Manila, Francisco turned fragments
of the historic past into vivid records of the legendary courage of the ancestors of his
race.
• He was invariably linked with the “modernist” artists, forming with Victorio C. Edades
and Galo Ocampo what was then known in the local art circles as “The Triumvirate”.
• Botong’s unerring eye for composition, the lush tropical sense of color and abiding faith
in the folk values typified by the townspeople of Angono became the hallmark of his art
BAYANIHAN
K AT I PU N A N
THE
MARTYRDOM
OF RIZAL
MURAL

• Completed in 1960
 MAGPUPUKOT

• “Magpupukot,” which basically means to "Pulling in

the Net,” is one of Botong’s most well-known works.
 V I C TO R I O E D A D E S
N AT I O N A L A R T I S T F O R PA I N T I N G ( 1 9 7 6 )

• Painting distorted human figures in rough, bold impasto strokes, and standing
tall and singular in his advocacy and practice of what he believes is the
creative art, Victorio C. Edades emerged as the “Father of Modern
Philippine Painting”.
• Unlike, Amorsolo’s bright, sunny, cheerful hues, Edades’ colors were dark and
somber with subject matter or themes depicting laborers, factory workers or
the simple folk in all their dirt, sweat and grime. Finally retiring from teaching
at age 70, the university conferred on Edades the degree of Doctor of Fine
Arts, honoris causa, for being an outstanding “visionary, teacher and artist.”
 THE SKETCH / THE
ARTIST AND THE
MODEL

• This painting was one of Edades’s works

shown in his 1928 exhibit at the
Philippine Columbian Club, which
marked the introduction of modernism
in the country. The painter, in academic
garb, is engrossed in doing a sketch of a
woman reclining on the bed in front of
him, while a standing man in a beret,
presumably the teacher, looks on. These
are composed closely together.

[Link]
MOTHER AND
DAUGHTER (1926)
POINSETTIA
GIRL
THE WRESTLER, 1927
VICENTE MANANSALA
N AT I O N A L A R T I S T F O R PA I N T I N G ( 1 9 8 1 )

• His paintings are described as visions of reality teetering on the edge of

abstraction.
• As a young boy, his talent was revealed through the copies he made of
the Sagrada Familia and his mother’s portrait that he copied from a
photograph. After finishing the fine arts course from the University of the
Philippines, he ran away from home and later found himself at the
Philippines Herald as an illustrator.
• It was there that Manansala developed a close association with
Hernando R. Ocampo, Cesar Legaspi, and Carlos Botong Francisco,
the latter being the first he admired most.
VICENTE MANANSALA
N AT I O N A L A R T I S T F O R PA I N T I N G ( 1 9 8 1 )

• For Manansala, Botong was a master of the human figure.

Among the masters, Manansala professes a preference for
Cezanne and Picasso whom he says have achieved a
balance of skill and artistry.
• He trained in Paris and at Otis School of Drawing in Los
Angeles. Manansala believes that the beauty of art is in the
process, in the moment of doing a particular painting, closely
associating it with the act of making love. “The climax is just
when it’s really finished.”
A C L U S TE R O F N I PA
H U T / B A H AY K U B O
(1975)
BANAKLAOT
I BELIEVE IN GOD
(1948)
MARKET
VENDORS
(1949)
MADONNA OF THE
SLUMS (1950)
STILL LIFE
WITH GREEN
G U I TA R ( 1 9 5 7 )
• Via crucis
VICENTE
MANANSALA
FLIGHT (WHIRR
SERIES) (1975)
NUDE (1972)
GUILLERMO TOLENTINO
N AT I O N A L A R T I S T F O R S C U L P T U R E ( 1 9 7 3 )
( J U LY 2 4 , 1 8 9 0 – J U LY 1 2 , 1 9 7 6 )

• Guillermo Estrella Tolentino is a product of the Revival period in

Philippine art.
• Returning from Europe (where he was enrolled at the Royal Academy
of Fine Arts, Rome) in 1925, he was appointed as professor at the UP
School of Fine Arts where the idea also of executing a monument for
national heroes struck him. The result was the UP Oblation that
became the symbol of freedom at the campus.
GUILLERMO TOLENTINO
N AT I O N A L A R T I S T F O R S C U L P T U R E ( 1 9 7 3 )
( J U LY 2 4 , 1 8 9 0 – J U LY 1 2 , 1 9 7 6 )

• Acknowledged as his masterpiece and completed in 1933, The Bonifacio

Monument in Caloocan stands as an enduring symbol of the Filipinos’ cry
for freedom.
• Other works include the bronze figures of President Quezon at Quezon
Memorial, life-size busts of Jose Rizal at UP and UE, marble statue of
Ramon Magsaysay in GSIS Building; granolithics of heroic statues
representing education, medicine, forestry, veterinary science, fine arts and
music at [Link] also designed the gold and bronze medals for the Ramon
Magsaysay Award and did the seal of the Republic of the Philippines.
 UP
O B L AT I O N
• bronze figure of President Quezon at Quezon Memorial
• life-
size
busts
of Jose
Rizal
 BON IFAC IO
MONUMENT (1933)
N A P O L E O N A B U E VA
N AT I O N A L A R T I S T F O R S C U L P T U R E ( 1 9 7 6 )
(JANUARY 26, 1930 – FEBRUARY 16, 2018)

• At 46 then, Napoleon V. Abueva, a native of Bohol, was the youngest

National Artist awardee.
• Considered as the Father of Modern Philippine Sculpture, Abueva helped
shape the local sculpture scene to what it is now. Being adept in either
academic representational style or modern abstract, he has utilized almost
all kinds of materials from hardwood (molave, acacia, langka wood, ipil,
kamagong, palm wood and bamboo) to adobe, metal, stainless steel,
cement, marble, bronze, iron, alabaster, coral and brass.
N A P O L E O N A B U E VA
N AT I O N A L A R T I S T F O R S C U L P T U R E ( 1 9 7 6 )
(JANUARY 26, 1930 – FEBRUARY 16, 2018)

• Among the early innovations, Abueva introduced in 1951 was

what he referred to as “buoyant sculpture” — sculpture meant to
be appreciated from the surface of a placid pool. In the ’80s,
Abueva put up a one-man show at the Philippine Center, New
York.
• His works have been installed in different museums here and
abroad, such as The Sculpture at the United Nations
headquarters in New York City.
THREE DANCERS
 S I YA M N A
D I W ATA
NG
SINING (1
994)

• Found in UP Diliman’s Hardin ng mga Diwata, Abueva’s “Siyam na Diwata ng

Sining” represents the 9 muses: architecture, dance, film, literature, music,
painting, photography, sculpture, and theater.
 •
Eternal Gardens
Memorial Park‘s
symbol – an image of
Christ with his arms
outstreched – is called
“Transfiguration” and
T R A N S F I G U R AT I O N was designed and
(1979) executed by Abueva.
THIRTY
PIECES OF
S I LV E R
(1979)
N AT I O N A L
ARTISTS FOR
MUSIC
JOSE MACEDA
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 7 )

• Jose Maceda, composer, musicologist, teacher and

performer, explored the musicality of the Filipino deeply.
• Maceda embarked on a life-long dedication to the
understanding and popularization of Filipino traditional music.
Maceda’s researches and fieldwork have resulted in the
collection of an immense number of recorded music taken
from the remotest mountain villages and farthest island
communities.
JOSE MACEDA
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 7 )

• He wrote papers that enlightened scholars, both Filipino and foreign,

about the nature of Philippine traditional and ethnic music. Maceda’s
experimentation also freed Filipino musical expression from a strictly
Eurocentric mold.
• Usually performed as a communal ritual, his compositions like Ugma-
ugma(1963), Pagsamba (1968), and Udlot-udlot (1975), are
monuments to his unflagging commitment to Philippine music. Other
major works include Agungan, Kubing, Pagsamba, Ugnayan,
Ading, Aroding, Siasid, Suling-suling.
JOSE MACEDA
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 7 )

[Link]
tVl0
UGNAYAN by Jose Maceda
LUCRECIA R. KASILAG
N AT I O N AL AR T I S T F O R M U S I C
(AUGUST 31, 1918 – AUGUST 16, 2008)

• An educator, composer, performing artist, administrator and cultural entrepreneur of

national and international caliber, had involved herself wholly in sharpening the
Filipino audience’s appreciation of music.
• Kasilag’s pioneering task to discover the Filipino roots through ethnic music and
fusing it with Western influences has led many Filipino composers to experiment
with such an approach.
• She dared to incorporate indigenous Filipino instruments in orchestral productions,
such as the prize-winning “Toccata for Percussions and Winds, Divertissement
and Concertante,” and the scores of the Filiasiana, Misang Pilipino, and De
Profundis.
LUCRECIA R. KASILAG
N AT I O N AL AR T I S T F O R M U S I C
(AUGUST 31, 1918 – AUGUST 16, 2008)

• “Tita King”, as she was fondly called, worked closely as music

director with colleagues Lucresia Reyes-Urtula, Isabel Santos,
Jose Lardizabal and Dr. Leticia P. de Guzman and made
Bayanihan Philippine Dance Company one of the premier artistic
and cultural groups in the country.
• Her orchestral music includes Love Songs, Legend of the
Sarimanok, Ang Pamana, Philippine Scenes, Her Son, Jose,
Sisa and chamber music like Awit ng mga Awit Psalms,
Fantaisie on a 4-Note Theme, and East Meets Jazz Ethnik
LUCRECIA R. KASILAG
N AT I O N AL AR T I S T F O R M U S I C
(AUGUST 31, 1918 – AUGUST 16, 2008)

[Link]
LULLABY by Lucrecia Kasilag
LUCIO SAN PEDRO
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 1 )

• Lucio San Pedro is a master composer, conductor, and

teacher whose music evokes the folk elements of the
Filipino heritage.
• Cousin to “Botong” Francisco, San Pedro produced a
wide-ranging body of works that includes band music,
concertos for violin and orchestra, choral works, cantatas,
chamber music, music for violin and piano, and songs for
solo voice.
 LUCIO SAN PEDRO
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 1 )

• He was the conductor of the much acclaimed Peng Kong Grand Mason Concert Band, the
San Pedro Band of Angono, his father’s former band, and the Banda Angono Numero Uno.
His civic commitment and work with town bands have significantly contributed to the
development of a civic culture among Filipino communities and opened a creative outlet for
young Filipinos.
• His orchestral music include The Devil’s Bridge, Malakas at Maganda Overture,Prelude
and Fugue in D minor, Hope and Ambition; choral music Easter Cantata, Sa Mahal
Kong Bayan, Rizal’s Valedictory Poem; vocal music Lulay,Sa Ugoy ng Duyan, In the
Silence of the Night; and band music Dance of the Fairies, Triumphal March, Lahing
Kayumanggi, Angononian March among others.
 LUCIO SAN PEDRO
N AT I O N A L A R T I S T F O R M U S I C ( 1 9 9 1 )

[Link]
SA UGOY NG DUYAN by: Luis San Pedro
ANDREA VENERACION
N AT I O N AL AR T I S T F O R M U S I C ( 1 9 9 9 )
(JULY 11, 1928 – JULY 9, 2013)

• Andrea Veneracion is highly esteemed for her achievements as choirmaster and

choral arranger.
• Two of her indispensable contributions in culture and the arts include the founding of the
Philippine Madrigal Singers and the spearheading of the development of Philippine
choral music.
• A former faculty member of the UP College of Music and honorary chair of the
Philippine Federation of Choral Music, she also organized a cultural outreach program
to provide music education and exposure in several provinces. Born in Manila on July
11, 1928, she is recognized as an authority on choral music and performance and
served as adjudicator in international music competitions.
ANDREA VENERACION
N AT I O N AL AR T I S T F O R M U S I C ( 1 9 9 9 )
(JULY 11, 1928 – JULY 9, 2013)

[Link]
Philippine Madrigal Singers
 RYA N C AYA B YA B
N AT I O N AL ARTIST FOR MUSIC (2018)

• Mr. C is the most accomplished composer, arranger, and musical director in

the Philippine music industry since this bloomed beginning 1970s.
• Notable Works:
• ● Da Coconut Nut ● Kay Ganda Ng Ating Musika
• ● Nais Ko ● Paraiso
• ● Kahit Ika’y Panaginip Lang ● Kailan
• ● Tuwing Umuulan at Kapiling Ka
 RYA N C AYA B YA B
N AT I O N AL ARTIST FOR MUSIC (2018)

[Link]

The Coconut Song - (Da Coconut Nut) by Ryan Cayabyab

MALACAÑANG
NAMES EIGHT
NEW NATIONAL
ARTISTS
(JUNE 10,
2022)
ELEMENTS OF ARTS
•In the visual arts, composition is the
placement or arrangement of visual
elements or 'ingredients' in a work of art,
as distinct from the subject. It can also be
thought of as the organization of
the elements of art according to
the principles of art.
• line is a series of connected points. It may come in two
characteristics: form – curved, dotted, or broken lines;
and direction – vertical, horizontal, or diagonal lines.
• Different types of lines may convey different meanings.
For example,
• a horizontal line usually suggests calmness,
• vertical lines may convey strength,
• diagonal lines create an impression of action,
• curved lines create an expression of gradual change
of direction, and
• circular line may pertain an abrupt change of
direction.
•space pertains to emptiness which may either
be positive space or negative space. Positive
space refers to a part which is enclosed in a
shape, while negative space refers to the
opposite part which the shape is enclosing.
• HHTTPS://[Link]/SEARCH?

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• color is associated with the natural phenomenon in
our environment.. Scientifically,, when a light passes
through a prism,, it will produce different hues of
different wavelengths.. These colors may pertain to
lightness,, darkness,, coolness,, or warmth..
STARRY NIGHT BY
VINCENT VAN GOGH
• [Link]
ByW5V7PLM
• [Link]
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img&ei=Y8bSZZqmO-TAvr0PpfyP6As&bih=633&biw=1366&safe=active&ssui=on#imgrc=cIME0_TUwLBBNM
• [Link]
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• [Link]
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• [Link]
sch&hl=en-
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•Activity 2 The Beauty Within the Art
•Evaluate the following art forms
based on the elements and
principles of contemporary art. (1
point each art form)
“WAITING FOR THE
MONSOON” BY BENEDICTO
CABRERA
T R A N S F I G U R AT I O N
(1979)
BAYANIHAN
ELEMENTS OF MUSIC
 TEMPO
• Tempo is how fast or slow a piece of music is
performed
• it is measured as the number of beats per minute,
where the beat is the basic measure of time in music
• as in the human heartbeat - the heartbeat is a
division of time, and it can be fast or slow—its tempo.
• [Link]
 RHYTHM
• Rhythm is the placement of sounds in time, in a
regular and repeated pattern
• it can be thought of as the pattern of music in time
• as in the human heartbeat – the heartbeat has a
repeated pattern of sounds—”lub-dub, lub-dub”—its
rhythm.
• [Link]
 PITCH
• Pitch refers to how high or low a sound is, determined by
the frequency of its vibrations.
• it’s one of the first things we notice when we hear a sound
and helps us to distinguish one sound from another.
• it’s the attribute that allows us to classify sounds as being
high, like the chirp of a bird, or low, like the growl of an
engine.
• [Link]
 TIMBRE
• Timbre is the sound quality, or tone quality, of a note played on a
particular musical instrument.
• two musical instruments can play identical pitches at identical
volumes and still produce distinct musical sounds, or timbres
• brass instruments (trumpet) have a very different timbre than
string instruments (guitar) or the human voice
• [Link]
 DYNAMICS
• Dynamics means how softly or loudly a piece of music should be
played.
• it is an important way of conveying the mood of a piece and your
use of dynamics is a marked element of your performance
• Composers use dynamics to change the mood. Sometimes a
piece will have very few dynamics and others will have many
changes.
• [Link]
 TEXTURE
HOMOPHONIC POLYPHONIC
Homophony refers to a piece of music that Polyphony refers to a piece of music consisting of a
features a primary melody with accompaniment. mix of melodies, each separate and independent,
yet in harmony with the rest.
• the most common and recognizable form of • in polyphonic music, layering is key
homophonic texture in music is the
commercially-produced music we listen to from
individual singers.
• these singers are generally accompanied by • layering occurs when two or more voices are
either a guitar or other instruments, which is an moving at independent yet closely related
excellent example of homophony as they are rhythmic levels.
carrying the primary melody with their voices
and musical instruments accompany them
(source).
[Link] [Link]
Activity 3: Get Deep into the Music
Using the table analyze the following songs based on the elements:
• “Tuwing Umuulan at Kapiling Ka” by Ryan Cayabyab
[Link]

• “Leron Leron Sinta” by Sweden’s Hägersten A Cappella Choir

[Link]
 Assignment: Group Activity
Group 1: Visual Arts
Group 2: Literature
Group 3: Sculpture
Group 4: Architecture
Group 5: Dance/Music
Group 6: Film/Theater

Instruction: Research at least two (2) Kapampangan artists (National artist and/or
regular artist) who are known to be practicing the major art forms. Present the
following using a powerpoint presentation:
• Name and short description about the artists;
• Example of their works and contributions
• If the examples to be presented are videos, provide the link.
*Presentation of output shall be on March 18, 2024 (Batch 1) and March 19, 2024
(Batch 2)