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70s to
Contemporary
Reporters:
Andre Temporaza
Zyryl John Tumampil
FAQ How did Contemporary artist interpret
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the influences of the “moderns” in the ‘70s?
Under the helm of Ferdinand and Imelda Marcos beginning in
1965, many cultural projects ensued amid the backdrop of
poverty and volatile social conditions.
Under Martial Law, Marcos envisioned a New Society or
Bagong lipunan, which worked toward the rebirth of a long
lost civilization, on one hand, and aspiration to modernization
and development, on the other.
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Bagong Pagsilang is the discourse of rebirth
can also be discerned in the anthem or songs
the regime sponsored and circulated through
the media and public education channels.
National pride was instilled by invoking the
pre-modern through murals, folk festivals, and
museums devoted to collecting and displaying
ethnographic artifacts and natural specimens,
among these key sites was the National
Museum.
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The CCP as Shrine for the Arts
It was created on 25 June 1966 through
Executive Order 30 and inaugurated in 1969,
the year Marcos elected to his second term
as Philippine President.
The Tahanang Fililino or Coconut Place
which was built in anticipation of a papal visit;
and the Manila Film Center which was built to
host the Manila International Film Festival.
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Social Realism (SR)
A significant strand that emerged
during the intense political ferment
of the 70s and 80s was Social
Realism or SR, for short.
It differs from other realist
approaches in that is is conscious
Antipas Delotavo’s Itak sa with it’s regard for the oppressed
Puso ni Mang Juan
and underrepresented masses.
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The format of protest art is not just
confined to painting on canvas but also
extends to other more accessible and
popular forms like posters and
illustrations or streets art as in
collaborative murals in public spaces.
Kaisahan’s influence as a collective
reached organization like the group of UP
Fine Arts Students who eventually
Edgar Fernandez, Kinupot
became known in the ‘80s Salingpusa.
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Outside Green Papaya Art Projects
In sculpture, Eduardo
Castrillo’s gigantic metal
work Pieta, 1969, evoked
a strong feeling of anguish
and lost through the
expressive poses of Mary
the mother and the
oversized body of Christ
which she supports.
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As artists explore processes and
approaches aside from mediums
and techniques beyond the so-
called fine arts, artistic language
becomes more robust.
One of the ways this is realized is
through the festival, which aside
from holding exhibitions tends to Brenda Fajardo, Tulad ng mga nauna,
mobilize organizations, spaces, and may panindigan
people who do not normally engage
in the “art world.”
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Short Quiz!
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1. Under the helm of Ferdinand and Imelda Marcos beginning in ______, many cultural
projects ensued amid the backdrop of poverty and volatile social conditions.
a. 1965 b. 1975 c. 1956 d. 1957
2. ______is the discourse of rebirth can also be discerned in the anthem or songs the
regime sponsored.
a. National pride b. Social Realism c. Bagong Pagsilang d. Pieta
3. Evoked a strong feeling of anguish and lost through the expressive poses of Mary the
mother and the oversized body of Christ which she supports.
a. National pride b. Social Realism c. Bagong Pagsilang d. Pieta
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4. As a collective reached organization like the group of UP Fine Arts Students
who eventually became known in the ’80s Salingpusa.
a. festival b. Bagong lipunan c. Kaisahan d. murals
5. _______ was built in anticipation of a papal visit; and the Manila Film Center
which was built to host the Manila International Film Festival.
a. folk festivals b. Tahanang Fililino/Coconut Place
c. Ethnographic d. fine arts
