FACULTY OF EDUCATION

University of the Philippines Open University

PhilArts1 – _Philippine Arts and Culture

UNIT 3. Art in Philippine Society

A. Art as Social Practice

This section discusses art as social practice in the Philippines, exploring the social dynamics of artistic
endeavors within the context of community life. As a microstudy, it analyzes the components of art
practices that are communal, collaborative, and dynamic.

The tradition of Hudhod among the Ifugao serves as the primary focus of discussion, as this
performance embodies the interconnectedness of various art practices, social relations, belief systems,
economic conditions, and the physical environment of the Cordillera mountains.

We will employ Pierre Bourdieu's concept of habitus to examine the production, circulation, and
reception of art from the community's perspective, considering how local terminologies ascribe meaning
to social relations shaped by factors such as patronage and gender roles. This approach recognizes the
importance of personal agency in negotiating and contesting existing social structures.

More broadly, this module addresses how art practices have transformed due to geographical, historical,
political, and economic changes in society. It also investigates how we have come to understand these art
practices through various lenses, including academia, government, non-governmental organizations,
mass media, and social media.

Learning Objectives:

1. Analyze the Role of Art in Community Life: Examine how communal and collaborative art
practices, such as Hudhod, reflect and shape social dynamics and community relationships in the
Philippines.
2. Apply Bourdieu’s Concept of Habitus: Utilize Pierre Bourdieu’s framework to assess the
production, circulation, and reception of art, highlighting the impact of local terminologies and
cultural contexts on social relations.
3. Critique Transformations in Art Practices: Evaluate how geographical, historical, political, and
economic factors have influenced the evolution of art practices within communities.
4. Understand Diverse Perspectives: Explore the circulation of knowledge about Philippine culture
through various platforms, including academia, state narratives, non-governmental organizations,
mass media, and social media.
5. Foster Critical Engagement: Encourage students to critically engage with their own artistic
practices and the broader social implications of art in their communities.

Independent Activities:
• Watch: NCCA (http: [Link]. ph) or UNESCO (www. [Link]) documentary on the hudhud or
access files on Philippine epics at http: [Link].

• Watch: TedEx: How art gives shape to cultural change - Thelma Golden (12:28).
[Link]
Assignment 3 : Food as Culture and Social Practice

Food preparation and presentation can be viewed as an art form and process involving an aesthetics of
taste, visual form, materials and ingredients, techniques, and technology contextualized through the lens
of environment, gender and social structures.

Examples of food preparation and presentation as art form and process are in the pabalat and fruit
carving of Bulacan, puso rice wrapping of the Visayas, San Nicolas cookies of Pampanga, and alfajor
cookies of Negros Occidental.

There are festivals in the Philippines celebrating certain cuisines, food or agricultural products such as
lechon, kesong puti, bangus, ang talong. The study of food as art and expressive culture can extend to
food associated with rituals such as the atang of the Ilocanos, and food taboos based on religious beliefs,
as well as performative practices such as the salo-salo, sarsawan, and kamayan.

For this activity, you will interview a local cook—either face-to-face in the comfort of your home or
online—focusing on a traditional cooking process, such as suman-making. Your objective is to create a
comprehensive essay report that captures the essence of this culinary practice.

In your report, provide a detailed description of the cooking or preparation process, incorporating
insights shared by the cook regarding their techniques, ingredients, and personal anecdotes that highlight
the dish’s significance withing the community. You may also include a photo as evidence of this activity,
showcasing either the cooking process or the final dish.

Your essay must be formatted as a PDF document, using A4 paper size. The font should be Times New
Roman, size 12, and the text must be double-spaced throughout. It is crucial to adhere strictly to the
1000-word limit to meet assignment requirements.

B. Art as Popular Culture

Historically, Filipino critics and scholars have often viewed popular culture through a Western lens,
equating it primarily with the capitalist industries of mass media, including cinema, radio, television, and
print. This module seeks to shift that perspective by examining the production, circulation, and reception
of art as popular culture within the context of Philippine ethnic traditions and historical practices. 3

We will explore how consumers engage with and perceive popular culture, challenging the notion that
their attitudes are solely passive or muted. By investigating these dynamics, the module aims to uncover
the complex relationships between art, culture, and ideology.

To achieve this, we will analyze the pathways, traces, and trajectories of these elements both
synchronically (at a specific point in time) and diachronically (over time). Our goal is to elucidate the
power relations and interplays that shape the discourse surrounding art as popular culture in the
Philippines.
Learning Objectives:
1. Analyze Art as Popular Culture: Articulate the significance of art as popular culture within the
context of Philippine cultures and history, examining its evolution and impact on societal values
and identity.
2. Employ Critical Frameworks: Utilize relevant critical tools and methodologies to analyze the
production, circulation, and reception of art as popular culture, considering the influences of
mass media and capitalist structures.
3. Investigate Consumer Perspectives: Critically assess consumer’s attitudes towards art as popular
culture, exploring how these perspectives shape the dynamics of consumption and engagement
with artistic expressions.
4. Examine Power Relations: Investigate the power relations and ideological underpinnings present
in the discourses surrounding art as popular culture, both synchronically and diachronically, to
understand the interplay between art, culture, and societal norms.
5. Reflect on Cultural Narratives: Reflect on how art as popular culture informs and transforms
cultural narratives within Philippine society, fostering a deeper understanding of its role in
shaping collective identity.

Independent Activities:
• Read: Dorren G. Fernandez’s Philippine Popular Culture: Dimensions and Directions. The State of
Research in Philippine Popular Culture
[Link]

• Read: Storey, John. “What is Popular Culture?” Cultural Theory and Popular Culture: An
Introduction. London: Prentice Hall [Link]
[Link]

• Read: Pascual, Wilfredo O. “Devotion/” in Philippine Studies, vol 53, no 2/3, 2005.
[Link]

C. Art as Cultural Heritage

The dominant discourse on Philippine culture presumes that there is an authentic and homogenous
culture and identity expressed in national symbols, heritage, and local knowledge shared by all Filipinos.
These are promoted as heritage of the nation by institutions such as the state, culture agencies, the
academe, among others. But what makes identities authentic? This module interrogates the construction
of identity in Philippine art and expressive forms offering alternative views of heritage.

Independent Activities:

• Read: Republic Act 10066 [Link]

• Read: IRR of RA 10066 [Link]
No.-10066_Heritage-[Link]
• Watch: K’na, the Dreamweaver [Link]
• Watch: Las Casas de Acuzar

On Heritage Streets
A. View some of the videos in this playlist on heritage streets:
[Link] HZhpbtBCRGjNUF56bxipnlLJK
Guide Questions:
1. What do consider authentic in each video?

2. In what way is what you viewed as authentic related to your definition or understand of cultural
heritage?

3. Is there a street in your locality that is known to feature a lot of built heritage?

4. How will promotion of the street increase sense of pride of place amongst the residence in the
locality?

5. As a resident of the area, would you know key persons in the area who can provide valuable memories
of the place?

Assignment 4: Essay on Cultural Heritage Conservation

As a prelude to your video submission, you are required to write a 1000 word essay exploring a street in
your locality that exemplifies cultural heritage. Your discussion should emphasize the importance of
conserving this heritage, particularly in relation to Republic Act 10066. This is an opportunity to engage
with the cultural narratives and historical significance of your chosen street, reflecting on how
conservation efforts can honor and preserve these legacies for future generations. 5

Your essay must be formatted as a PDF document using A4 paper size. The font style should be Times
New Roman, size 12, and the text must be double-spaced throughout the entire document.
It is essential to strictly adhere to the word count limit to meet the assignment requirements.

D. Art as Public Engagement

The intersection of art and public engagement is a dynamic and multifaceted arena that reflects and
shapes societal values, beliefs, and interactions. In contemporary discourse, scholars such as Pierre
Bourdieu, Michael Warner, and Vicente Rafael examine how art not only exists in public spaces but also
serves as a catalyst for dialogue, identity formation, and political action.

We will explore the concept of public engagement through art, drawing insights from the provided
readings to illustrate how art functions as a site of social critique, community building, and political
mobilization.

Art as a Site of Social Critique

Pierre Bourdieu’s seminal worl, Distinction: A Social Critique of the Judgement of Taste, posits that taste
is a social construct deeply intertwined with class distinctions. Bourdieu argues that what is deemed
“high culture” often serves to marginalizing other forms of artistic expression. This perspective prompts
a critical examination of public art, which can either perpetuate elite tastes or challenge prevailing
narratives.

For instance, contemporary public art initiatives often aim to democratize artistic expression by making
art accessible to broader audiences. This democratization can be seen in the works discussed by Claire
Doherty in Contemporary Art: From Studio to Situation, which emphasizes how art installations in
public spaces can invite community participation and provoke critical engagement with social issues. By
positioning art outside traditional gallery contexts, artists and curators challenge elitist notions of culture,
enabling dialogues that address pressing social injustices.

Community Building and Cultural Identity

The role of art in fostering community and cultural identity is further explored by Tessa Maria Guazon
in her work on public art in urban settings. Guazon emphasizes the importance of local narratives and
the role of communal celebrations, as articulated in Florentino Hornedo’s analysis of the Philippine
fiesta. These celebrations not only serve as artistic expressions but also as mechanisms for community
cohesion, reinforcing shared identities amidst globalization and cultural homogenization.

In the Philippines, as Vicente Rafael discusses in the “The Cell Phone and the Crowd, “ the use of
mobile technology has transformed public spaces into sites of political engagement, where art and
performance can rapidly circulate among communities. This interplay between technology and public art
fosters a sense of solidarity and collective action, showcasing how art can be a vehicle for community
empowerment and political expression. 6

Art as Political Mobilization

Warner’s Publics and Counterpublics provides a theoretical framework for understanding how art can
function within various public spheres. He suggests that art can create “counterpublics,” spaces where
marginalized voices can express dissent and engage in alternative discourses. This notion is particularly
relevant in the context of ephemeral public art modalities, as discussed in the Asia-Europe Foundatuon’s
article on emergent pulic art practices.

Ephemeral art, such as street performances or temporary installations, often serves as a direct response
to social and political issues, capturing the immediacy of public sentiment. Such works can mobilize
audiences and generate discourse around critical issues, prompting viewers to reconsider their positions
and the structures that govern their lives. This capacity for art to engage the public in political dialogue is
a testament to its power as a tool for social change.

Art as public engagement is a rich field of inquiry that encompasses social critique, community building,
and political mobilization. Through the lens of Bourdieu, Warner, Rafael, and others, we see that art is
not merely a reflection of societal values but a potent force that can challenge, reshape, and redefine
those values.

As we continue to navigate complex social landscapes, the role of public art becomes increasingly vital in
fostering inclusive dialogue and advocating for social change. In this way, art not only enriches public
spaces but also enhances our collective understanding of identity, culture, and politics.

Independent Activities:

• Read: Bourdieu, Pierre. Distinction: A social critique of the judgement of taste. Cambridge: Harvard
University Press, 1994.
[Link]
nt_of_Taste_1984.pdf

• Supplemental Reading: Warner, Michael. Publics and Counterpublics. Massachusetts: MIT Press, 2002.
Hornedo, Florentino. Culture and Community in the Philippine Fiesta and Other Celebrations. Manila:
University of Santo Tomas Publishing House, 2000.
• Supplemental Reading: Rafael, Vicente. “The Cell Phone and Crowd: Messianic Politics in the
Contemporary Philippines.” In Public Culture vol. 15 no. 3, (Fall 2003), 399-425
[Link]
olitics_in_the_Contemporary_Philippines

• Supplemental Reading: Doherty, Claire, ed. Contemporary Art: From studio to situation. London:
Blackdog Publishing, 2004.

• Supplemental Reading: Guazon, Teresa Maria. “Sining Publiko at ang Siyudad: Lapit at Halimbawa” in
Sining at Lipunan. Cecilia S. Dela Paz at Patrick D. Flore, eds. Lungsod Quezon: Sentro ng Wikang
Filipino, 2014.

• Supplemental Reading: “Ephemeral and Placeless: Emergent Public Art Modalities.” Asia-Europe
Foundation Mag, 2011 [Link]
art-modalities/

• Supplemental Reading: De Guia, Katrin. Kapwa: The Self in the Other, Worldviews and Lifestyles of
Filipino Culture-Bearers. Pasig City: Anvil Publishing, 2005.
[Link]

• Supplemental Reading: Esche, Charles and Will Bradley, eds. Art and Social Change: A Critical Reader.
New York: Tate. 2008. [Link]

• Supplemental Reading: Mitchell, W. J. T. “Christo’s Gates and Gilo’s Wall” in Critical Inquiry. Chicago:
University of Chicago Press, 2006. 587-601.

Guide Questions:
1. How does Pierre Bordieu define taste? What does he mean when he claims ‘taste classifies the
classifier? In comparison, how does Immanuel Kant explain “purposiveness without purpose’?
How do these ideas translate into meanings we make about art?
2. What social forces shape the articulation and exercise of taste?
3. How does the status of art change over time? Cite examples from both traditional and
contemporary societies.
4. Mention the ways meanings around art are constructed? Do they change?
5. Do you think artists control the way art is understood? Why do you think interpretations of art
works vary?
6. What makes a public? How are they formed? What factors shape their formation?
7. Are you able to identify groups or publics you belong to or share a strong affinity with?

E. Art and Economy

This section explores the relationship between art and economy. You will learn about structures,
practices, and processes of valuation in traditional and contemporary art, which inform and are informed
by different modes of production, exchange, distribution, reception, and consumption. You will examine
the role of economic forces in various arenas such as traditional communities, the tourism industry,
creative/cultural industries, and the art market.
Learning Objectives:

1. Identify economic forces in relation to art in the Philippines;

2. Evaluate the structures, practices, and processes involved in the valuation of art; and
3. Critique the interaction between art and pertinent economic forces in a given context.

Independent Activities:

Watch: Access Kidlat Tahimik’s short film “Turumba” online.

[Link]

Guide Questions:
1. Define the following terms. Art Market /Commodification/ Creative Industry/ Creative
Economies
2. What are the beliefs, practices and traditions shown in the film Turumba?
3. How are these practices and traditions affected by capitalism/commercialism?
4. How would you describe the role of Romy as the kantore for Turumba and as the manager of a
quasi-industrial production of papier mache figurines?
5. What should be given more value, the preservation of cultural traditions or the economic gains
of a village?

F. Module Conclusion and Synthesis

Submission of the Creative Project

As outlined in the syllabus, your assignment is to produce a 10-minute mini-documentary focusing on a

cultural heritage site. This project allows you to engage with the material learned in class and to express
your appreciation for our rich cultural heritage.

Your documentary should include original footage captured outdoors, alongside online resources and
recorded interviews with key informants. This blend of visual storytelling and firsthand accounts will
enhance the project's depth and significance, allowing you to showcase your unique perspective on the
site and contribute to a broader understanding of cultural narratives.

You may use any recording device, whether a dedicated video camera or a smartphone, to capture both
still images and moving visuals. The free Zoom app is available for recording interviews, but you are
welcome to utilize any video application you are comfortable with.

To ensure compliance with safety guidelines, all video recordings should be conducted outdoors. I
encourage you to incorporate online interviews and data collection into your research to enrich your
project with diverse perspectives.

Finally, please ensure that all video files are submitted in MP4 format. A link to Google Drive for
submissions will be provided on the announcement page. As a final reminder, please follow this format
for your filenames: "SURNAME: Title of Work."