READING MATERIAL

Pre-Conquest The Evolution of Philippine Art

In art historical terms,
we refer to art before The identity of Filipino arts is constantly changing, struggling and evolving.
the coming of the first Filipino Artists try to bring the nation’s experience and talent in the global arena.
colonizers as “pre- In studying Philippine Contemporary Art, it is also important to remember that
conquest”. the art of the so-called “past” continued and continues to evolve until the
In stylistic terms, we present, and are therefore in that sense, “contemporary.” This art continues to
refer to it as be produced, even if the conditions behind its production have already changed
“Indigenous” to significantly.
emphasize the idea that
our ancestors have
been making art even PRE-CONQUEST: Was there “art” before colonization?
before colonization.

In cultural terms, “Pre-

Prior to the colonization, art of the ancient Filipinos, were woven in the fabric of
colonial” is a term to everyday life. They do not refer to the “art” as we do today, that is, an expression
use for the general way of an individual and seen largely in the museums, and concert halls. They did not
of life of the Filipinos distinguish forms into different categories like music, theatre, visual arts, etc.
before colonization. Everyday expressions were all integrated within rituals that marked significant
moments in a community’s life, like Planting, and Harvesting, rites of passages,
Note: These terms are
interchangeable but it
funerary, ceremonies, and weddings among others. Aside from the communal
is also useful to keep functionality of indigenous art, creative forms such as pottery, weaving, carving,
these distinctions in metalwork and jewelry also embody aesthetic, technological and ritual values
mind when studying that exist in various forms with the present.
the art of the past.
Our ancestors, just like all others in the world during those times, were hunter
Oral Tradition
gatherers. Before there were cities and large monuments, the pre-colonial
It is a form of human Filipino hunted food and game that were shared among members of a
communication community in a gathering where they told stories about the hunt. They imitated
wherein knowledge, the movements of animals and prey, and the sounds that they made. In this
art, ideas and cultural simple activity alone evolved ritual, theatre and yes, even literature. When they
material is received, learned to add drum beating and attach a rhythm to their movements, they given
preserved and
birth to music and dance.
transmitted orally from
one generation to
another. The
As these hunter societies prepared themselves for the hunt and prayed to be
transmission is through endowed with the strength of the animal that they hunted, they were in fact
speech or song and performing a ritual. When they told stories about the hunt, this form of oral
may include folktales,
storytelling marked the beginnings of literature. In time they would learn to
ballads, chants, prose
or verses. devise an alphabet and write these stories down.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 1
 RITUALS: The Birth of Philippine Theatre, Music, Dance and Literature.

Many of our rituals, which we can consider as the earliest forms of

RITUALS: theatre are still alive in various Philippine Regions.

Kapayvanuvanua Batanes: Mayvanuvanua/kapayvanuvanua

-The Fishing ritual Cordillera: Canao/Kanyaw
Lake Lanao, Mindanao: Kashawing
-“The making of the port” Palawan: Tagbanwa
refers to the “ceremonial and
ritual opening of a fishing port Long before the coming of the Spaniards, the pre-colonial peoples of the
to obtain the favor of the Philippines already possessed a varied and vibrant musical culture. The
spirit-dwellers of the sea.” It country’s indigenous cultures through existence of ethnical musical
signifies the start of the instruments:
fishing season. Pipes, Flutes, Zithers, Drums
String Instruments: Kudyapi
-Kapandeng- closing ritual. Kulintang
Gansa or Flat Gong
-Mandianaw nu vanua/ Agong, Gong
Manghawud: the one who
launches the port and who is
given the task of sailing ahead
of everyone to check the sea’s
condition.
Canao/Kanyaw
-Thanksgiving to the gods of
Igorots

- Adi kaila- God of the Igorots

-Kabunian-Son
-Ap-apo/Anitos-Ancestral
Spirtis

-Purposes: Bountiful harvest,

enonomic progress, healing,
protection before and after
the war, announcement of a
birth of a child, coming of age,
during wakes, weddings and
burial ceremonies.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 2
 This wealth of ethnic musical instruments is further complimented by natives
dance forms whose movements often imitated the movements of animals,
humans and elements from nature.
RITUALS:

Kashawing /
Rashawing

-Rice Ritual
- To ensure abundance
during rice planting
and harvesting.
- it involves a re-
enactment of the pact
made by the ancestors
of the community and
the unseen spirits that
inhabit the lake.

Tagbanwa Ritual

- Rice Ritual Pangalay, from Sulu – Movement of seasbirds; A gift offering

-The Tagbanwa believe Kinabua, Mandaya- Dancers perform swooping movements, imitating the
movements of eagles.
that every thirteenth
Banog-Banog, Higaonon- A tribal dance that depicts the movement of a hen,
moon, three goddesses her banog (baby chicks) and a hawk that lurks to find her prey. The tribe kills the
descend from heaven sacred and powerful hawk which tried to capture one of the chicks.
to bless the planting of Man –Manok, Bagobos- A dance that mimics Chickens. Tribal blankets that
rice represent the colorful plumage of wild cocks are shown off by the warriors who
- The shamans go into intend on winning the attention of the maiden hen. Three Bago Tribe roosters
a trance amidst the compete against each other for the attention of Lady Lien. They use blankets
depicting colorful plumes to attract her.
ritual chanting and
Talip Dance, Ifugaos- A courtship dance and is mimetic of the movements of
dancing and are wild fowls.
believed to be taken Inamong, Matigsalugs - An ethnic dance performed during the harvest time
over the goddess by Tigwahanon Manobos of Bukidnon. The dance shows a couple, with their
themselves. bodies and arms slightly bent forward, mimicking the motions of a pair of
flirting among (monkeys). Inamong, therefore, means "monkey-like. This funny
mimetic dance is performed accompanied by gongs and guimba (drum) or other
traditional instruments.
Kadaliwas, T’boli- The dance mimic’s the comedic movements of monkeys
Tinikling Dance -The term tinikling literally means "to perform it 'tikling-like." The
dance originated in Palo, Leyte, a small town in the Visayas in the central
Philippines. It imitates the movement of the tikling birds as they walk between
grass stems, run over tree branches, or dodge bamboo traps set by rice farmers.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 3
 Wood carving in the Philippines is a tradition dating back to pre-
colonial times. Native Filipinos carved boats, plows, arrows, spears,
and other essential items, often creating ornamental patterns for the
Carving
use of the tribal hierarchy and to celebrate special occasions and this
Bulul, Cordillera is exemplified the country’s rich tradition in Carving.

-regarded as the granary god

that plays an important role in
rituals. They also appear in
containers, bowls and spoons.

Hagabi, Cordillera

-a chair made of wood or stone

that marks the socioeconomic
status of the owner. It signifies
the individual or family's
wealth, power and prestige
belonging to the rank of the
Cadangyan (wealth) who can
afford to perform a "Hagabi
Feast" ceremony during a big
rice harvest.

Okir/Ukkil, Tausog, Samal,

Badjao
- Okir or okil is the term for
geometric and flowing plant-
based designs and folk motifs
that can be usually found
among the Moro and Lumad
peoples of the Southern
Philippines, as well as parts of
Sabah. The Okir (motif) is an
exclusive artistic cultural
heritage of the Maranaos of
Lanao, Philippines. ... The Okir
Motif is an art depicting the
indigenious originality and skill
of the Maranaos. It is a fine art
of figuring, painting, curving
and sculpturing depicting the
social and psychological
identity of Maranao Society.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 4
 Another cherished living tradition is weaving. The textile weaving has a
long history that Philippine ethno linguistic groups have a rich textile
weaving tradition. Textiles are not only functional ,they also impart
Carving knowledge about the people’s belief systems: the reverence for spirits,
and nature, criteria for the beautiful, and their societies’ socio-political
Sunduk, Sulu
structures.
- a wooden or stone
gravemarker In traditional weaving, the fibres are gathered from plants like cotton,
abaca, and pineapple leaves while the pigments are extracted from clay,
-They mark their graves with
stylized human figures that
roots, and leaves and plants. A backstrap loom or a pedal loom is used to
indicate the gender and age of weave designs to hold special meaning for a particular cultural group.
the deceased. The grave Examples are woven textiles include the “pis siyabit”, a headpiece woven
markers are silent sentinels of by the Tausug of Sulu and Malong with exquisite tapestry panels called
the afterworld. This is placed langkit woven by the Maranao of Lanao Del Sur. Aside from textiles,
over the head of the deceased other forms of weaving include mat and basket weaving. The colourful
and in front of the sunduk is a
double layered Tepo mat of the Tawi-Tawi made of pandan leaves is
raised mound of earth or sand,
and a rectangular frame called remarkable example of mundane or everyday object with high artistic
the kabul that surrounds the value. In Itbayat, Batanes, Ovaloid Basket made of nito and bamboo are
entire site. Sea cow figures are used as a head sling to carry harvests. Weaving techniques are also
commonly carved into wooden applied in creating tools for agricultural purpose. In the Ilocos region,
markers along with crocodiles, sturdy bamboo strips are woven to create fish traps called Bubo.
birds and human figures.
Sometimes sundoks are
inserted into a base formed into
a sea cow, boat, box, or some
other animals. These motifs are
representative of the Sama
belief in the transportation of
the spirit to the next life
The Manunggul Jar, Palawan
- The two human images were
said to symbolize two souls on
a voyage toward the afterlife.
-The three main features of the
Manunggul jar is composed of
the boat itself, the boat driver
and the soul. This was based on
the Austronesian belief wherein
the soul of a human separates
from the body after death and
returns to the Earth in another
form for the purpose of looking
after his or her descendants.
The souls were believed to
travel through boats just like
the one depicted on the jar’s
cover.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 5
 The tendency toward ornamentation could also be seen in the way early
Filipinos adorned their bodies. An upper class Tagalog couple was
Carving, Islam Influence portrayed wearing could jewellery while the Visayans are shown fully
covered in tattoo, corroborating early accounts that referred to the
The Torogan
Visayas as “Islas de los Pintados”. Aside from aesthetic Aside from its
- is a traditional house built by aesthetic function, tattoos were valued because it was believed to
the Maranao people of Lanao, protect the individual from evil spirits, and in some cases, it was
Mindanao, Philippines. A considered as a badge of maturity and bravery. Aside from the Visayans,
torogan was a symbol of high other groups like the Kalinga, Kankanay, ibaloy, and Ifugao practiced
social status. Such a residence tattooing. Aside from bodily inscriptions, jewelry is also believed to
was once a home to a sultan or
Datu in the Maranao
make the wearer more attractive to the opposite sex in as much as it is
community. considered pleasing to the gods. The T’boli in particular are known to
wear brass chains, bells, and colourful beads to complete their elaborate
ensemble.
The Sarimanok

- is the legendary bird that has As with jewelry, painstaking attention to detail in manifested in
become an ubiquitous symbol metalwork such as the lotoans or betel nut boxes of various shapes,
of Maranao art. It is depicted as made of brass or bronze produced chiefly by the Maranao of Lanao de
a fowl with colorful wings and Sur.Other vessels that employ the same techniques are the brass Kendi
feathered tail, holding a fish on and the Gadur ,which are used in ceremonies and are cherished as
its beak or talons. ... It is said to
status symbols or as heirlooms pieces. The Kendi is a vessel used for
be a symbol of good fortune.
pouring liquids. It has a round body with no handle; while the Gadur is a
Panolong container with tapered top, a round body , and a flared base.
-is a house ornament fashioned
by the Maranao people. It is a
carved beam that protrudes in
the front of the house and
styled with okir motif. The
shape of the panolong is an
architectural translation of a
"prow" meaning the protruding
part in the front of a ship.
Mihrab
-is the focal point in the interior
of a mosque. It is located in the
qibla wall which is oriented
toward Mecca, the holy city of
Islam.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 6
 SPANISH COLONIAL PERIOD: The Birth of Catholicism in the
Philippines (1521-1898)

Spanish Period While the South remained restraint to Spanish colonization, the
colonizers gained inroads in the central part of the islands whose
Religious Art
inhabitants we now refer to as “Lowland Christians.” Art that
Religious art or sacred art is flourished during the Spanish colonial period conformed to the
artistic imagery using religious demands of the church and the colonial state. Religious orders were
inspiration and motifs and is dispatched to convert the natives to Catholicism as part of the larger
often intended to uplift the project of colonization. The art form that period are referred to
mind to the spiritual. Sacred art
stylistically and culturally as religious art, lowland Christian art, or folk
involves the ritual and cultic
practices and practical and art.
operative aspects of the path of
the spiritual realization within To carry out the project of colonization and christianization, the
the artist's religious tradition. natives were forcibly resettled in towns structured to the plaza
complex. This relocating became a means of organizing and gaining
Folk Art
control of the native populace. The complex designated as the town
Folk art covers all forms of centre and consisted of the municipio or the local government office
visual art made in the context of and the church. Designed according to the prescriptions of the
folk culture. Spanish Crown, the church established its importance in people’s lives
It is made by individuals whose through its imposing scale and overall visual appeal.
creative skills convey their
community's authentic cultural
identity, rather than an
individual or idiosyncratic
artistic identity.

What happened to the

Philippine indigenous art
during Spanish regime?
Artisans were commissioned
and paid to carve, engrave, and
paint. They replaced the arts
that were once done in a THE PLAZA COMPLEX
communal spirit and
community setting for rituals.
The church, particularly the
friars, became the new patron
of the arts.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 7
 During this time period, cruciform churches following the shape of the
Latin
Cross were built. In keeping with the prevailing design of the Hispanic
Spanish Period churches, the Baroque style was predominantly employed.
Baroque Style
Examples of Baroque churches that have survived to this day are the San
Some of the qualities most
frequently associated with the Agustin Church in Manila, Morong Church in Rizal, Paoay Church in Ilocos
Baroque are grandeur, sensuous Norte, and Sto.Tomas de Villanueva Church in Miag-ao Ilo-ilo.
richness, drama, dynamism,
movement, tension, emotional
exuberance, and a tendency to blur
distinctions between the various
arts.

Baroque architecture is a highly

decorative and theatrical style
which appeared in Italy in the early
17th century and gradually spread
across Europe. It was originally
introduced by the Catholic Church,
particularly by the Jesuits, as a
means to combat the Reformation
and the Protestant church with a
new architecture that inspired
surprise and awe.

Friar
A member of any of certain
religious orders of men, especially
the four mendicant orders
(Augustinians, Carmelites,
Dominicans, and Franciscans).

Santo

A religious symbol, especially a

wooden representation of a saint.

Iconography

An iconography is a particular
range or system of types of image
used by an artist or artists to
convey particular meanings. For
example in Christian religious
painting there is an iconography of
images such as the lamb which
represents Christ, or the dove
BAROQUE CHURCHES IN THE PHILIPPINES
which represents the Holy Spirit. Top: San Agustin Church, Intramuros, Manila
Bottom: Morong Church, Rizal

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 8
 BAROQUE CHURCHES IN THE PHILIPPINES
Top: Paoay Church, Ilocos Norte
Bottom: Sto. Tomas de Villanueva Church, Miag-ao, Iloilo

Although the designs are European-inspired, local interventions have been employed in order to suit
native sensibilities and adjust local environment conditions. Like the façade of the Miag-ao church
features St. Christopher surrounded by reliefs or relleves having tropical motifs like palm fronds and
papaya tress. The use of adobe, limestone or brick and contruction of thick buttresses or wing like
projections reinforce the church structure to make it more resistant to earthquakes. In other words, the
result is a fusion of native and European elements prompting some art historians to refer to the style as
colonial baroque or Philippine or tropical Baroque.

Images of saints and interpretations of biblical narratives were considered essential to worship. Under
strict watch and patronage of the church, images were produced through painting, sculpting, and
engraving. The friars bought with them Western models for local artists to copy. Made of Ivory or wood,
the imagery of the Santo would be based on classical or baroque models. During the 17th century,
Chinese artisans, under Spanish supervision were engaged in making icons or saints or santos in wood
and ivory; building churches and houses; as well as making furniture. Their involvement resulted in
works that drew upon Chinese features and techniques. An Example is a painting of Nuestra Senora del
Rosario in Bohol, the image of which was said to be inspired from Kuayin, The Deity of mercy in East
Asian Buddhism.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 9
 Spanish Period

Greek Art and Roman Art

Classical Art encompasses the

cultures of Greece and Rome and
endures as the cornerstone of
Western civilization. Including
innovations in painting, sculpture,
decorative arts, and architecture,
Classical Art pursued ideals of
beauty, harmony, and proportion,
even as those ideals shifted and
changed over the centuries.

A fusion of Spanish and Chinese.

Left : Nuestra Senora del Rosario, Bohol
Right : Kuanyin, the diety of Mercy, Eastern Asian Buddhism

Greek Sculpture The Greek and Roman classical influence can be seen in the proportion
employed as well as the formality of expression while the trace of the
Baroque is evident in the expressive and emotional characteristics of the
santo. In colonial churches, santos are displayed in a decorative altar niche
called the Retablo. Featuring the town’s patron saint, the retablo integrates
architecture and sculpture and is often which maybe gilded or polychrome.

The Pantheon, Roman

Architecture

The Colosseum or Coliseum,

Roman Architecture

Retablo Embellishments
Rosettes, Scrolls, Pediments and Somolonic Columns.
Contemporary Philippine Arts From the Regions
Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 10
 RETABLOS IN THE PHILIPPINES

The Retablo

A frame or shelf enclosing

decorated panels or revered
objects above and behind an
altar.
Details
The rosettes: The formalised
flower motif is often carved in
stone or wood to create
decorative ornaments for
architecture and furniture, and
in metalworking, jewelry
design and the applied arts to
form a decorative border or at
the intersection of two
materials. Top: Retablo of Church of San Nicolas de Tolentino, Dimiao, Bohol by an
unknown artist (Wood)
The scrolls: a scroll pattern
Bottom: Retablo, (smaller one) of Church of San Nicolas de Tolentino,
used in architectural moldings
and borders in other media. It is Dimiao, Bohol by an unknown artist (Wood)
also known as the Vitruvian
wave, wave scroll
The Pediments: Pediment, in
architecture, triangular gable
forming the end of the roof
slope over a portico (the area,
with a roof supported by
columns, leading to the
entrance of a building); or a
similar form used decoratively
over a doorway or window. The
pediment was the crowning
feature of the Greek temple
front.
The Solomonic Columns: also
called Barley-sugar column, is a
helical column, characterized
by a spiraling twisting shaft like
a corkscrew
Santos Agustinos Basilica Minore del Santo Niño de Cebu, Juan Luna
Cebu City

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 11
The Via Crucis (way of the cross) is an important inclusion in colonial churches which are presented
either as a series of 14 paintings of relief sculptures depicting christ’s crucifixion and resurrection.
Images of the Holy Family, the Virgin Mary, and the four evangelists proliferate in the ceilings and walls
of the church, sometimes the ornate manner of Trompe l’oeil as seen at the taal Basilica in Batangcas or
at the St. James Apostle Parish in Betis, Pampanga. Trompe l’oeil , is a French term for” fooling the eye”.
It refers to paintings that give a heightened illusion of three dimensionality.

Church altars are sometimes decorated with carved figurative protrusions on the surface called the
relleves; or with organic designs of hammered silver or Plateria. The Plateria technique is also applied in
Carozza,where the santos are pared during the processions.

Top: Via Crucis Sculpture

Bottom: Carroza

Top: Taal Basilica, Batangas

Bottom: St. James the Apostle Parish , Betis, Pampanga

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 12
 With the coming of the Spaniards, who brought western musical instruments
like the pipe, organ, the violin, the guitar, and the piano, Philippine musical
forms also took on a very European Flavour—with new rhythms, melodies
Spanish Period and musical forms that Filipinos proceeded to adopt them and make their
own. Catholic liturgical music was introduced in 1742 when the then
Pasyon
Archbishop of Manila Juan Rodriguez Angel, established a singing school at
The Pasyón is a Philippine epic the Manila Cathedral that taught western church music. Its curriculum was
narrative of the life of Jesus Christ, patterned after that of Madrid conservatory music. The Santo Domingo and
focused on his Passion, Death, and San Agustin convents would soon teach choral music to young boys and
Resurrection. In stanzas of five
lines of eight syllables each, the would soon create Filipino composers like Marcelo Adonay (1848-1928).
standard elements of epic poetry Outside of Manila, a musical form based on the catholic faith emerge in the
are interwoven with a colourful, pasyon or pabasa as it is sometimes called--- or the biblical narration of
dramatic theme.
Christ’s passion chanted in an improvised melody. It is a tradition that has
The uninterrupted recitation or
Pabasa of the whole epic is a survived to this day.
popular Filipino Catholic devotion
during the Lenten season, and Among the lowland Christian communities of Pampanga, Ilocos, Bicol, and
particularly during Holy Week.
Iloilo, secular music such as the awit and the corrido soon flourished. These
were musical forms that were chanted stories based on European literature
Marcelo Adonay
and history and were popular even among the peasantry who learned the
verses purely by rote. At this time, the Kundiman and the Balitao, balitao-
sentimental lovesongs and lullabies also evolved. During the latter half of
the 19th century when revolutionary sentiments began to develop, the
kundiman which usually spoke resignation and fatalism, became vehicle for
resistance. For all intents and purposes, the lyrics were that of unrequited
love, except that the love object was the Philippines who would cleverly
concealed as a beautiful woman. This is demonstrated in such songs as
Kundiman ni Abdon (Abdon’s Love song), a Kundiman which became a
feature of protest actions against Martial Law during the seventies , and the
still popular Bayan ko (My country), a kundiman which experienced renewed
- known as the “Prince of popularity during the EDSA People power Revolution of 1986.
Philippine church music”

- He apprenticed as sacristan, he
learned to play the organ by
himself in the choir loft during
breaks. Moreover, he also learned
and mastered the organ, the violin,
the contrabass, and the trumpet by
himself. From his humble
beginnings as a self-taught
musician, he emerged as a
composer, conductor, official
church organist, maestro di capella
or choirmaster of San Agustin
Church, and orchestra director.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 13
 Among Mangyans who inhabit the island province of Mindoro, bamboo
poles are cut into nodes and are etched with Baybayin script used to
compose short poems that tell of courtship and other emotional concerns.
Spanish Period During the Spanish Period, they brought with them printing technology.
Printed literature came in form of catechism and prayer books in Spanish
Kundiman
that were used not only to teach the local inhabitants to read and write,
but more so to evangel.
Kundiman came from the
words “Kung hindi man “, is
a genre of traditional
Filipino love songs. The
lyrics of the kundiman are
written in Tagalog. The
melody is characterized by
a smooth, flowing and
gentle rhythm with
dramatic intervals.
Kundiman was the
traditional means of
serenade in the Philippines.
Balitao
The Balitaw is an
extemporaneous exchange
of love verses between a Baybayin, a term that more or less means “alphabet,” from the root baybay, meaning “spell.”
man and a woman. Danced “When they write,” announced an anonymous Spanish report in 1590, “it is on some tablets made of
the bamboos which they have in those islands, on the bark. In using such a tablet, which is four fingers
and mimed, it is wide, they do not write with ink, but with some scribers [the tip of a knife, or a sharp piece of iron]
accompanied by a song, or with which they cut the surface and bark of the bamboo, and make the letters.”And once the letters
the dancers themselves had been cut, the writer took a handful of ash and rubbed it into the thinly-incised letters to make
sing, improvising the steps them stand out more clearly.
and verses. It may last for
hours, ending with the
woman accepting or
rejecting the man's suit.

Hanunoo also rendered Hanunó'o, is one of the scripts indigenous to the Philippines and is
used by the Mangyan peoples of southern Mindoro to write the Hanunó'o language.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 14
 Local theatre forms would develop earlier than literary fiction. The
shamanistic rituals, dances, and chants to pre-colonial Philippines which were
Spanish Period probably the earliest form of theatre; were replaced by the pomp and
pageantry of religious processions that were introduced by the Spanish
Severino Reyes colonizers, complete with highly embellished carrozas containing religious
tableaus of Catholic saints and scenes from the bible. During the 19th century,
a popular form of musical theatre was imported from Spain. The Zarsuela or
sarsuwela was an operetta which features singing and dancing interspersed
with prose dialogue which allowed the story to be carried out in song. The
first zarzuelas that were staged in the Philippines were entirely in Spanish
and featured a European cast. Local playwrights later wrote librettos in the
local language, hence the term sarsuela. Severino Reyes and Hermogenes
Ilagan, who wrote sarsuwelas in tagalog were the most distinguished
playwrights of their day with honorata ‘Atang’ dela Rama ( Nationa Artist for
theatre and Music, awarded 1978) as their most celebrated leading actress.
-was a Filipino writer,
playwright, and director of
plays.
- Reyes wrote 26 zarzuelas and
22 dramas in his careerHe is
known as the "Father of
Tagalog Plays" and as the
"Father of the Tagalog
Zarzuela".

Hermogenes Ilagan

Hermogenes Ilagan wrote some

of the best-love Tagalog
zarzuelas of all time. His most
popular zarzuela, 'Dalagang Walang Sugat is an 1898 Tagalog-language zarzuela written by Filipino playwright Severino
Bukid,' has been mounted for Reyes.
an unprecedented number of "Walang Sugat" tells the love story of Julia and Tenyong whose forbidden relationship had
times, perhaps the most- been further hampered by their social status, political, and religious beliefs during the height
performed Tagalog play of all of the Philippine revolutionary movement against the Spanish colonizers in 1896-1898.
time.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 15
The first Senakulo or passion plays was written in 1704 by Gaspar Aquino de Belen. Its narrative was
culled entirely from the biblical account of Christ’s passion and death on the cross, adapted into verse
form and translated into the local language. It is performed during lent and in some cases, may last for
three days. In some areas, the senakulo was tweaked to convey Christ’s suffering as a metaphor for the
suffering of Filipinos under Spanish colonial rule.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 16
 The Komedya is another local theatre form that emerged during this period.
The Komedya depicts the conflict between the Muslims and Chrsitians. There
were two main types of the Komedya. One type was the Komedya de Santo
Spanish Period or Religious Komedya. it centers on the life of Christ or of any saint. It is
usually seen during church celebrations. The actors move in a stylized way,
Komedya have extravagant costumes and elaborately choreographed war scenes.
Komedya is a common genre Another type is the secular komedya. The moro-moro is a type of secular
played in most traditional theaters komedya.. The word ‘moro’ is derived from the Spanish word for moor or the
or any live gatherings including north American Arabs who rules parts of Spain from the eigth to the 15th
special festivities to celebrate one
thing that most of us Filipinos are
century. A typical moro-moro story would usualy involve a love story
believing into, our very own between a Christian hero and an Islamic heroine or vice versa. Dialog would
religion and also shows the conflict be done in verse, in the vernacular language, and clashes between Christians
from another religion which is the and Muslims were done in dance, ultimately resulting in the conversion and
Muslims.
baptism of the leading Muslim character, and ending with a Christian
Two types of Komedya: wedding and the protagonists living happily ever after.
Secular- these are mostly found in
fiestas or mass gathering and
celebration, it tells a certain story
of when Queen Elena and the
Emperor Constantino went to look
for the Holy Cross.

Examples of this are:

Santacruzan
Moro-Moro

Religious- or also called Komedya

de Santo it focuses on the life of
Jesus Christ and other saints, it
typically uses extravagant
costumes to fully emphasize God
and the way we treat Him and our
Saints with utmost praises. It
usually plays the struggles to
become the divine beings they are
but it will also show what is mostly
said in the bible.

Example of Religious Komedya:

Senakulo

Komedya is typically a tradition

taught to us by the Spanish people
and thus we use till now to
celebrate or to show the people our
own culture and way of portraying
or an act of penance during these
examples of Komedya. The earliest known form of organized theatre is the comedia, or moro-moro,
created by Spanish priests. In 1637 a play was written to dramatize the
recent capture by a Christian Filipino army of an Islamic stronghold.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 17
Centuries of the galleon trade between Mexico and the Philippines also served not only as a means of
governance for Spain. The trade and viceroyalty arrangement also brought Mexican influences in the
Philippine folk music and dance. Folk dances such as the carinosa, pandanggo, or fandango, and the
rigodon carries traces of the habanera, jota and tango from Spain and its colonies.

The Carinosa Dance: meaning the loving or affectionate one

In the visual arts, paintings served an instructive function through visual interpretation of biblican texts
central to the catholic devotion. An example is Heaven, Earth, and Hell (1850), a mural by Jose Dans in
Paete Church, Laguna.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 18
 Image making during the period generally conformed to the references
of the patrons and not just solely the interest and preference of the
artist’s. Such Relations are at work is the Basi Revolt, a series of 14
Spanish Period painting by Esteban Villanueva. It chronicles the defeat of Ilocanos who
rebelled against the Spanish government’s monopoly of Basi or Rice
Carinosa
wine in 1821. Commissioned by the Spanish government, the paintings
A Philippine dance of colonial illustrate the bloody consequences of insurgent actions, an overt
era origin from the Maria Clara reminder of the might of Spain over its colony. Nonetheless, although
suite of Philippine folk dances, patronage strongly influences art production, we will see in the course
where the fan or handkerchief of this lesson how artists exercised their subjectivity to initiate change in
plays a instrumental role as it various ways in order to transcend the limitations posed by the
places the couple in romance
patronage system.
scenario.
Pandanggo
A Philippine folk dance which
has become popular in the rural
areas of the Philippines. The
dance evolved from Fandango,
a Spanish folk dance, which
arrived in the Philippines
during the Hispanic period. The
dance is accompanied by
castanets.

Rigodon

The Rigodon de Honor is an

elegant dance which was
brought to the Philippines by
the Filipinos who returned
from their travels abroad
during the Spanish era. ... This
particular dance is a form of
quadrille which is a historic
dance performed usually by
four couples in a square
formation
The Strangulation of the Four Insurgent Soldiers
Habanera (Estrangulacion de los Cuatro Caudillos Insurgentes) is one of the fourteen
works of art by Esteban Villanueva. This series of works represents the conflict
A folk dance that originated between the Spanish government in Vigan and the Ilocano basi farmers during
from Cuba. It is also known as the Basi Revolt, which transpired on September 16-28, 1807. The farmers and
danza or danza habanera. The basi producers took great offense against the Spanish authorities’ decision to
habanera is a social dance in forbid the production and sale of basi. In essence, the Basi Revolt was a result
duple time and performed in a of the pent-up frustration and anger of the Ilocanos over the Spanish abuse.
ballroom or on a stage. This
dance first became popular in
the town of Botolan, Zambales.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 19
 The Reprographic art of printmaking was introduced in the Philippines as early as the
16th century. Applying of Xylography or woodcut printing, Doctrina Christiana (the
teachings of Christianity) was printed in 1593 in Spanish and in Tagalog by Dominican
Spanish Period Priests. Doctrina Christiana is the first printed book in the Philippines compiling song
lyrics, commandments, sacraments, and other catechetical material. Aside from prayer
Reprographic Art booklets called estampas and its smaller counterpart estampitas printmaking,
particularly engraving, was developed to produce secular or non-religious works.
It is the
reproduction of
graphics through
mechanical or
electrical means,
such as
photography or
xerography.
Reprography is
commonly used in
catalogs and
archives, as well as
in the architectural,
engineering, and
construction
During the period, the Spanish crown commissioned scientists and artists to produce
industries.
maps and other sources of classification. Surely, it was a means of gaining more
Xylography information about the colony and engaging in the production of knowledge in the age
of expedition. Although religious art predominated during the Spanish colonial period,
It is the art of some of the other best forms of art flourished were non-religious or secular. In 1734,
making woodcuts or the Jesuit priest Fr. Pedro Murillo Velarde collaborated with homegrown talents, the
wood engravings, artist Francisco Suarez and the engraver Nicolas de la Cruz Bagay to produce Carta
especially by a Hydrographica y Chorographica de las Yslas Filipinas, the first scientific map of the
relatively primitive
Philippines. Surrounding the map are vignettes of everyday life that focus on the
technique.
different types of people and their surrounding called Tipos del Pais. Suarez and de la
Cruz Bagay were among the first to acknowledge their roles are artists by signing their
Carta
names at the bottom of the map. Other known engravers include Laureano Atlas and
Hydrographica y
Chorographica de Felipe Sevilla, who also produced religious images.
las Islas Filipinas
It is more
commonly known
as the Murillo
Velarde map, is a
map of the
Philippines made
and first published
in Manila. It is
frequently referred
to as the "Mother of
all Philippine Maps"

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 20
Tipos del País is a style of watercolour painting that shows the different types of inhabitants in the Philippines in their different
native costumes that show their social status and occupation during colonial times.

On the other hand, the development of lithography facilitated the reproduction of color of plates as well as mass
printing of newspapers and periodicals. The Augustianian botanist Fr.Manuel Blanco produced an extensive
compilation of the Philippine plants in Flora de Filipinas in 1878. Covered with exquisite leather, the content
consists of lithographic reproductions of remarkable watercolour illustrations by Filipino artists, and these images
are as scientific as they scientific.

Left: One of the pages of Flora de Filipinas , 1878

Right: Lithography

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 21
 The opening of Manila to international trade in 1834 and of the Suez Canal in
1869 gained economic benefits for the native elites. The Suez Canal, one of the
most important waterways in the world, was opened on Nov. 17, 1869. This
Spanish Period shortened the ship travel time between the Philippines and Spain to 30 days,
allowing many Filipinos to go to Europe to further their studies.The enlivened
The most prominent trade and commercial ventures also presented to them the opportunity to study
Ilustrados in Europe.

Graciano López y Jaena-

commonly known as Graciano
López Jaena, was a Filipino
journalist, orator, reformist and
national hero who is well known
for his newspaper, La Solidaridad

Marcelo Hilario del Pilar y

Gatmaitán was a Filipino writer,
lawyer, journalist, and freemason.
Del Pilar, along with José Rizal and
Graciano López Jaena, became
known as the leaders of the Reform
Movement in Spain.
In 1869, the Suez Canal opened.
Mariano Ponce was a Filipino
physician, writer and active From this class rose the “ilustrado” or the “enlightened one”. With the
member of the Propaganda emergence of the native elites as new art patrons, secular themes in art were
Movement. In Spain, he was among explored and developed. The Ilustrados constituted the Filipino educated class
the founders of La Solidaridad and during the Spanish colonial period in the late 19th century. Elsewhere in New
Asociacion Hispano-Filipino.
Among his significant works was
Spain (of which the Philippines were part), the term gente de razón carried a
Efemerides Filipinas, a column on similar meaning. They were the middle class who were educated in Spain and
historical events in the Philippines exposed to Spanish liberal and European nationalist ideals. The Ilustrado class
which appeared in La Oceania was composed of native-born intellectuals and cut across ethnolinguistic and
Española (1892–1893) and El racial lines and sought reform through "a more equitable arrangement of both
Ideal (1911–1912). He wrote Ang political and economic power" under Spanish tutelage.
Wika at Lahi (1917), a discussion
on the importance of a national
language. In the domestic realm, families tended to their altars comprised of delicate
santos placed in virina, a bell-shaped glass case or urna, a humbler, domestic
José Protasio Rizal Mercado y version of a retablo, often attributed to the craftsmanship of artists from the
Alonso Realonda He was the Visayas region.
author of the novels Noli Me
Tángere and El filibusterismo,
and a number of poems and essays.

Juan Luna de San Pedro y Novicio

Ancheta was a Filipino painter,
sculptor and a political activist of
the Philippine Revolution during
the late 19th century. He became
one of the first recognized
Philippine artists.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 22
 The rise of these new elites would also manifest in town organization. Among
those that occupied the place complex were the bahay na bato which housed
the rich and prominent families. Filling up the spacious interiors were
Bahay na Bato commissioned portrait paintings in the miniaturist style or Miniaturismo that
allowed the artist to reveal meticulous details that signify the wealth and
The Filipino term bahay na refinement of the sitter, or the one who is posing for the portrait. Simon Flores’
bato means "house of stone", painting Portrait of the Quiazon Family ,1800 documents the family’s affluence:
these houses are not fully made the magnificent interior of the family’s home, the mothers jewelry, the delicate
up of stone; some are even fabric and embroidery of their clothing , and their dignified poses.
dominated more by wooden
materials, and some more
modern ones use concrete
materials. The name got applied
to the architecture as
generations pass by, because
contrary to its predecessor
bahay kubo, which are fully
made of organic materials, it
uses stone materials.
Its design has evolved
throughout the ages, but still
maintains the bahay kubo's
architectural basis which
corresponds to the tropical
climate, stormy season, and
earthquake-prone environment
of the whole archipelago of the
Philippines and fuses it with the
influence of Spanish colonizers
and Chinese traders
Simon Flores’ painting Portrait of the Quiazon Family ,1800

Miniaturismo is an art showing a person in a serious motive and outlook. while

holding an object that tells about his or her power and status of living. And as. a
student, preferably an Accountancy student, I have used the objects
Accounting. books, pen, calculator and my swatch to portray a miniaturismo art.

Simon Flores’ Miniaturismo Paintings

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 23
 Attention to detail in painting can also be observed in Letras Y Figuras. Combining
names of individuals and vignettes of Spanish names in compliance with a decree
implemented in 1884. Jose Honorato was a practicioner of this art where tipos del
pais are painstakingly rendered within the graphic outline of letters spelling out the
Miniaturismo and Tipos de
name of a person or family in watercolour on paper. A close look reveals scenes
Pais Painters
depicting the person’s specific circumstances such as the family’s trade or business.
Simon De la Rosa Flores Meanwhile the place landscapes, seascapes fill the background.

He was descended from a family of

artisans originally from Balayan,
Batangas. He first gained attention
in 1871 when the colonial
administration commended him for
the portrait of Amadeo I, which he
presented to the province oil
Pampanga. Simon Flores was the
first Filipino oil native blood to
garner a prize from an
international exhibition

Jose Honorato
He was a Filipino painter born in
Manila. He is best known as the
pioneering practitioner of the art
form known as Letras y figuras

Damian Domingo Aside from miniaturist painters, academic painter gained ground as they received
He was the father of Philippine their art studies in local schools, or abroad as in the case of Juan Luna and Felix
painting. Domingo established the Hidalgo. In 1821, Damian Domingo, the painter known for his watercolour albums
official Philippine art academy in of tipos del pais established the art first art school in the country right at his studio
his residence in Tondo in 1821. in Binondo, Manila. The Academia de Dibujo y Pintura was eventually absorbed by
Felix Hidalgo the school put up by the real Sociedad Economica Filipina de Amigos de Pais where
Domingo served as a director. Closing down in 1834 after Domingo’s death, the
He was a Filipino artist. He is school was reopened in the 1850’s. The professors were predominantly Spanish
acknowledged as one of the great peninsulares, a term that is used particularly during the colonial period to refer to
Filipino painters of the late 19th
Spanish-born residents in the Philippines.
century.

His winning the silver medal in the

1884 Madrid Exposition of Fine
Arts, along with the gold win of
fellow Filipino painter Juan Luna,
prompted a celebration which was
a major highlight in the memoirs of
members of the Philippine reform
movement, with Rizal toasting to
the two painters' good health and
citing their win as evidence that
Filipinos and Spaniards were
equals

Left: Damian Domingo

Right: Felix Hidalgo

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 24
In 1884, the expatriates Juan Luna and Felix Resurreccion Hidalgo won medals in the Madrid Exposition. Luna
won gold for Spoliarium; while Hidalgo garnered a silver medal for Virgenes Christianas Expuestas Al Populacho.
Both works testify to Filipino artistic excellence which proved to be at par with the standards set by the European
academy. We recall Jose Rizal’s brindis or toast before a group of Ilustrados lauding the efforts of the two artists,
articulating one of his famous sayings, “Genius knows no country”. It was during this occasion that Rizal spoke of
the importance of the paintings as the propagandists campaigned for reforms in the Philippines. Large in scale and
grandiose in effect, the significance of both paintings lies not only in the prestige these gained but also in the relay
of meanings these continue to generate. Luna’s depiction of a lifeless body of a gladiator being pulled across the
coliseum and Hidalgo’s emphasis on a woman held captive have been interpreted as searing reminders of the
Philippines’ oppression under Spanish rule.

Left: Juan Luna’s Spoliarium

Right: Felix Hidalgo’s Virgenes Christianas Expuestas Al Populacho

Luna’s Alignment with the ilustrado’s propaganda movement is evident in the painting Espana y Filipinas, 1886
featuring two women ascending a flight of stairs. Personified by a woman in a flowing red gown, Mother Spain
patronizingly leads her charge, a petite brown-skinned woman representing Filipinas, the duo presumably making
their way toward the path of enlightenment. These important works have been repatriated to the Philippine
museums. The Spoliarium may be viewed at the National Art Gallery of the Philippines and Espana y Filipinas at the
Lopez Museum. Virgenes , currently on long term loan to the National Art Gallery in Singapore, is a part of the
Metropolitan Museum of Manila or MET Collection.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 25
 AMERICAN COLONIAL PERIOD: The Rise of Free Education, Government
System and Economic Power (1946-1969)

American Period The Independence that the Philippines gained after the revolution of 1896
after the revolution of 1896 was cut short with the establishment of the
Sedition Law American colonial government in the Philippines. Bound by the treaty of Paris
The Sedition Law passed in in 1898, Spain “surrendered” the Philippines to the United States. From 1899
1901 provided that any Filipino to 1913, “the bloody Philippine-American war occurred, claiming the lives of
advocating independence or many Filipinos. Beginning with the institution of government and education
separation from the United systems, the new colonial government took charge of initiating the natives
States would be punished into the American way of life, creating a lasting influence on Filipino culture.
severely by death or
imprisonment
With the coming of the Americans, Filipino playwrights who had just
Even things such as displaying undergone the Philippine Revolution of 1898 against Spain now found
the Philippine flag, singing the themselves confronted by censorship with the issuance of the Sedition law
national anthem and plays that which banned the writing, printing, and publication of materials advocating
advocated independence were
Philippine Independence and engaging in activities which championed this
banned.
cause. Plays such as Juan Abad’s Tanikalang Ginto, or “Golden Chain” (1902),
Drama Simboliko Juan Matapang Cruz’s Hindi Ako Patay or “I Am Not Dead” (1903) and
It refers to allegorical drama,
Aurelio Tolentino’s Kahapon, Ngayon at Bukas or “Yesterday, Today and
especially that which was called Tomorrow” (1903), echoed not only nationalist sentiments of their
“seditious” by the American playwrights but also served as medium for political protest, openly attacking
Insular Government in the first the Americans. Known as Drama Simboliko, these plays came to represent a
decade. Most of these plays deep and profound yearning for freedom.
were banned, and their
playwrights jailed, because
their“unmistakable tendency,”
Tanikalang Ginto, Juan Abad , July 7, 1902 – Tanikalang Guinto is first
Juan Abad
The theme of the story is Nationalism. The story is about freedom and love.
He was a Filipino printer Juan Abad made the characters symbolized nationalism. He wrote the story in
turned playwright and nationalistic way of expressing how we are during American colonization and how we
journalist. His main wanted freedom for our country.
contribution to Filipino theatre Symbol: Golden Chain symbolizes the promise of United States to
was his patriotic plays: the Philippines which is Democracy and money.
zarzuela Ang Tanikalang Guinto Marriage of Kaulayaw and Liwanag: Symbolize Freedom
(The Golden Chain), and Isang Symbolism of Characters: Kaulayaw, Symbolizes Revolution; Liwanag,
Punglo ng Kaaway, the former Symbolizes Nationalism; Maimbot, Symbolizes Americans; Dalita, Symbolize
which, caused his arrest and Philippines; Nagtapon, Symbolizes Filipinos who betrayed and became slaves of
trial. Some authors credit Abad Americans; Diwa, Symbolizes Heroism
with the introduction of
Plot: This is about the love story of Kaulayaw and Liwanag. As of promise of
symbolism to Tagalog drama, a
love, Kaulayaw gave a handkerchief to liwanag . The other man named Maimbot also
claim which is still to be
admire liwanag so he gave liwanag a Golden chain as a gift. Liwanag fell inlove with
proven; although he may have
been one of the first Tagalog maimbot because he is rich but suddenly liwanag realized that maimbot doesn’t
dramatists to use symbolism in deserve her love and she is still in love with kaulayaw .Maimbot and his brother
their plays. Nagtapon planned to separate Kaulayaw and Liwanag. Because of envy and hatred,
Kaulayaw was killed by Nagtapon, And Because of too much depression and
saddness Liwanag attempted suicide but Diwa stopped her.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 26
 May 10, 1903 – Tanikalang Guinto is found seditious and the author is
sentenced to two years in prison and is fined $2000.
May 8, 1904 – Author of Tanikalang Guinto is out on bail and writes
American Period another play, Isang Punlo ng Kaaway (An Enemy Bullet). He is then arrested a
second time.
Kahapon, Ngayon, at Bukas

Hindi Aco Patay, Juan Matapang Cruz, May 8,1903

The play talks about the love between Karangalan (honor) and
Tangulan (defender, patriot) and their opposition to Macamcam (the American
government). Tangulan and Macamcam battle it out and Tangulan dies.
However, he screams out “I am not dead!” The scenery then changes to a
rising sun on the Katipunan flag, symbolizing freedom. A fight breaks out in the
theatre audience between the white men and the brown men.
July 5, 1903 – Hindi Aco Patay’s author who was in hiding is found,
arrested, and sentenced to two years in prison. Several actors from the play are
arrested as well

Kahapon, Ngayon at Bukas, Aurelio Tolentino, May 14, 1903

Kahapon, Ngayon at Bukas (Yesterday, Today and Tomorrow), by

Aurelio Tolentino Aurelio Tolentino, talks about Filipino oppressors from yesterday (the Chinese),
today (the Spanish), and tomorrow (the Americans). Inangbaya (the
He was a Filipino playwright, Philippines) and her son Tagailog (the Filipinos) conquer all of them. The scene
poet, journalist, and then proceeds with the taking down of the American flag and stepping on it,
revolutionary. His works at the causing another riot between the white and brown men.
turn of the 20th century March 6, 1906 – Tolentino is sentenced to two years in prison and a
depicted his desire to see $2000 fine.
Philippine independence from
its colonizers. He was arrested
This chronology is only of three plays, but there were several others. Some of
twice, first by the Spaniards and
which only the author, actors, and production company were arrested. And
later by American forces.
some where the whole audience is arrested as well.

In 1907 when the first Philppine Assembly was formed, the seditious plays
ended. The plays changed from talking about war to talking about elections.
The seditious plays definitely started a trend. Playwrights always talked of
political issues at the present time.

Although these political theatre productions about war that started in 1902
were only started to help Filipinos unite and bash on their oppressors, it soon
became part of their culture. Political theatre was popular and continued on
for many years. They still talked about love and families, poverty, oppression,
and revolution, but just talked about different political issues of the time.
Symbols and hidden meanings were still used as well.

The plays of the early 1900s were later on revived during the late 1900s.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 27
 Because the lingua franca of this period was English, poems and stories
from books were dramatized in classroom, to facilitate the teaching of
the English language. Unlike the Spanish, The Americans zealously taught
American Period their language through an efficient public school system. In less than a
decade, Filipino Playwrights began to write plays in English. In 1915, Lino
Lingua Franca
Castillejo and Jesus Araullo authored A Modern Filipina, the first play
A language that is adopted as a written in English. To this day, English plays from the classics to
common language between Broadway and West End musicals are still staged in the Philippines and
speakers whose native are generally lucrative ventures.
languages are different.
Vaudeville
Vaudeville is a theatrical genre Vaudeville, which originated from France, was another form of theatre
of variety entertainment born
in France at the end of the 19th
which the Americans introduced that became popular in the Philippines
century. A vaudeville was during the 1920’s. This Mostly a collection of slapstick, songs, dances,
originally a comedy without acrobatics, comedy skits, chorus girls, magic acts, and stand-up comic
psychological or moral
acts would be known locally as Bodabil. During the Japanese occupation,
intentions, based on a comical
situation: a dramatic players would poke fun at the Japanese soldiers or send a message of
composition or light poetry, hope disguised as innuendos that only people could understand. Some
interspersed with songs or
Performances also conveys hidden messages for guerrillas, a clever
ballets.
vehicle for information dissemination through live entertainment. After
Daniel Burnham the war, bodabil performances deteriorated into vulgar shows and soon
died away, to be replaced by the popularity of Film and later, Television.

He was an American architect

and urban designer. He may
have been, "the most successful
power broker the American
architectural profession has
ever produced."

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 28
 In the beginning of the 20th century, a new urban pattern that responded to
American Period the secular goals of education, health, and governance was imposed. The
architect and urban planner Daniel Burnham was commissioned by the
Daniel Burnham
American government to design Manila and Baguio, while Architect William
Burnham’s task was, first of all, Parsons implemented the Burnham Plan. Inspired by the City Beautiful
to create a plan for the physical
redevelopment of Manila. The Movement introduced in 1893 at the Chicago World Fair, the new urban
centuries-old city had a design employed neoclassic architecture for its government edifices and
population of approximately integrated parks and lawns to make the city attractive by making its buildings
220,000 people at the time. In
addition, Forbes explaind that
impressive and places more inviting for leisure amid urban blight. Buildings in
there were “several thousand Manila that exemplify neoclassic architecture include the Post office, and the
acres of land which Secretary legislative Building (now the National art Gallery). These are both
Taft compares to the
monumental in scale and are iconically distinguished by thick columns.
Adirondacks in general effect,
situated 5,000 feet above the Neoclassic architectural may incorporate decorative sculptural elements
level of the sea and 145 miles based in a pediment, as exemplified by the National Art Gallery. Tomas
from Manila by railroad…It is Mapua, Juan Arellano, Andres Luna de San Pedro and Antonio Toledo were
proposed to move the
government up there during the among the Filipino architects who designed building during the period. They
summer months putting up received training in the US or in Europe. Insert gabaldon buildings
buildings for them, hospitals for
the Army and for the Navy and Architect William Parsons
perhaps for civil use, and to
allow Government employees
William Edward Parsons was an architect and city planner known for his works
the privilege of taking a lot of
in the Philippines during the early period of American colonization in the
land and building on it…and
country. He was a consulting architect to the United States government from
they are very anxious to have
this laid out on beautiful lines.” 1905 to 1914.
(1) This site, in the Grand
Cordillera in Northern Luzon, is One of the features of local architecture he adopted generally on his
approximately 250 kilometers design, even at the high-end Manila Hotel, was the use of Capiz shells
north of Manila. Now, the area for window sash in place of glass. The Capiz shell is a flat sea shell
is known as Baguio, situated in about 4 inches (100 mm) in diameter. It is trimmed down to squares,
the Province of Benguet (2). which are set in thin strips of wood. They give a soft pearly light, where
clear glass would be intolerable on account of the glare.One of the
most widespread designs of Parsons is the Gabaldon schoolhouse.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 29
 Notable Works of Urban Planner Daniel Burnham in the
Philippines
The American Period

Gabaldon Schoolhouse

These are school buildings

constructed in the Philippines
between 1907 and 1946 and
named after the late
assemblyman Isauro Gabaldon
of Nueva Ecija, who authored the
Gabaldon Act which
appropriated P1 million for the
construction of modern public
schools nationwide.

City Beautiful Movement

From left to Right: National Museum Complex, Negros Occidental
The City Beautiful Movement
Provincial Capitol, Pangasinan Provincial Campitol, Burnham Park
was a reform philosophy of
North American architecture
and urban planning that
flourished during the 1890s and
1900s with the intent of
introducing beautification and
monumental grandeur in cities.
It was a part of the progressive
social reform movement in
North America under the
leadership of the upper-middle
class concerned with poor living
conditions in all major cities. The
movement, which was originally
associated mainly with Chicago,
Cleveland, Detroit, and
Washington, D.C., promoted
beauty not only for its own sake, Gabaldon Building
but also to create moral and civic
virtue among urban populations.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 30
 The new patrons of the arts included the Americans who engaged in
governance and education, business, or tourism. The demand for
artists who could do illustrations in textbooks or graphic design for
American Period product labels thus emerged. The inclination toward genre, still life,
and portrait painting persisted. Landscapes on the other hand, became
Neoclassic Architecture
cherished ad travel souvenirs, especially those that captured the exotic
Neoclassical architecture is qualities of Philippine terrain. In 1909, a year after establishment of the
characterized by grandeur of University of the Philippines, its school of fine arts was opened. It also
scale, simplicity of geometric offered a course on commercial design to fulfil the aforementioned
forms, Greek—especially Doric demand. Fabian De la Rosa succeeded the Peninsulares Rafael
or Roman detail, dramatic use of Enriquez as the director. Peninsulares is a term used particularly during
columns, and a preference for
the colonial period to refer to Spanish-born residents of the Philippines.
blank walls
De la Rosa was known his naturalist paintings characterized restrained
Fabian De la Rosa and formality in brushwork , choice of sombre, and subject matter as
He was a Filipino painter. He seen in the Planting Rice (1921) and El kundiman (1930). National
was the uncle and mentor to the Artist Fernando Amorsolo on the other hand, was known for his
Philippines' national artist in romantic painting that captured the warm glow of the Philippine
painting, Fernando Amorsolo. Sunlight. A prolific artist, Amorosolo had produced numerous portraits
After traveling from Europe, he of prominent individuals; genres scenes highlighting the beauty of
became one of the first Dalagang Filipina idyllic landscapes; historical paintings. He was also a
instructors at the School of Fine
graphic artist who rendered drawings for the textbook series The
Arts at the University of the
Philippines, where he Philippine Readers as well as Illustrations for the newspaper The
introduced to his students the Independent. Amorsolo’s logo design for Ginebra San Miguel, depicting
decorated form of painting. De the same trampling on a devil, won for him a grant that enabled him to
la Rosa became the full director study Fine arts in Spain.
of the school from 1927 to 1937
Fernando Amorsolo
He was one of the most
important artists in the history
of painting in the Philippines.
Amorsolo was a portraitist and
painter of rural Philippine
landscapes. He is popularly
known for his craftsmanship
and mastery in the use of light.
Amorsolo's supporters consider
his portrayals of the
countryside as "the true
reflections of the Filipino Soul."

Fabian De la Rosa’s Planting Rice and El Kundiman

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 31
 National Artist Fernando Amorsolo’s Paintings

Left to Right: Fernando Amorsolo’s Dalagang Filipina and Ginebra San Miguel Logo

Antipolo by Fernando Amorsolo, depicting Filipinos celebrating the annual pilgrimage to Antipolo, with the pre-
War cathedral depicted in the background.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 32
 Fernado Amosolo, The Philippines’ National Artist

During Amorsolo’s term as professor at the UP School of Fine Arts, he gained a following among his
peers. Among those influenced by the “Amorsolo School” were Ireneo Miranda, Toribio Herrera, Cesar
Buenaventura, and Dominador Castaneda. Amorsolo was posthumously declared Natrional Artist in
19872. Guillermo Tolentino was Amorsolo’s counterpart in Sculpture. He studied Fine Arts in Rome and
was influenced by its classical tradition. He is credited for the iconic Oblation (1935 the original, 1958
bronze cast found at the UP oblation plaza.) of the University of the Philippines and the Bonifacio
Monument, 1933 in Caloocan. A sculpture in the round, the latter consists of life sized figures in
dynamic poses, exemplifying restraint, formality, and elegance in an historical tableau. Tolentino was
proclaimed National Artists in 1973.

Guillermo Tolentino’s Oblation and Bonifacio Monument

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 33
 For some time, the academic ( a term to the kind of art that was
influenced by European academies) tradition of painting and
sculpture in the manner of Amorsolo and Tolentino prevailed in the
American Period art scene. This would be challenged by the return of the National
Artist Victorio Edades from his art studies in the United States,
Academic Art where its modern art movement profoundly influenced him. His
homecoming exhibition in 1928 at the Philippine Columbian club
It is traditionally used to
unveiled paintings which departed from the conservative style of
describe the style of true-to-
life but highminded realist Amorsolo. Unlike the latters’ pastoral images, Edades’ The Builders,
painting and sculpture 1928 showed distorted figures of toiling workers using dull colors; a
championed by the shift in the treatment of form and subject matter. This sparked a
European academies of art, debate between artists espousing the conservative idiom, the camp
notably the French Academy headed by Tolentino and that of Edades. In sculpture, a later
of Fine Arts. proponent of Modern Art was Tolentino’s student National Artist
Napoleon Abueva, a sculpture who has worked with a wide variety
Victorio Edades of mediums, from hardwood to precious alabaster.
Through his continuous
propagation of modern art
as shown in his works and
teachings, Edades proved
that modernists were not
fooling people as Guillermo
Tolentino asserted. Dialectic-
ally, Edades explained that
Modern Art is not anti-
Classicist. He said, "From the
technical point of view,
Modern Art is an outgrowth
of Classical Art. Modern Art
is the interpretation of the
Classical concept
conditioned by the artist's
new experience with the aid
of improved means of
aesthetic expression." Not
conforming to the academic
perception of art, he made
art available to the common
man. Through his
determination to stand by
his ideology, he became a
bridge between the past and
the present.

Victorio Edades, The Builders, 1928

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 34
 American Period

Modern Art

Modern art includes artistic

work produced during the
period extending roughly from
the 1860s to the 1970s, and
denotes the styles and
philosophy of the art produced
during that era. The term is
usually associated with art in
which the traditions of the past
have been thrown aside in a
spirit of experimentation.
Napoleon Abueva
He was known as the "Father of
Modern Philippine Sculpture"
Through Proclamation No. Napoleon Abueva’s Masterpieces
1539, He was
proclaimed National Artist for In the American period, Modern Art blossomed headed by Victorio Edades,
Sculpture in 1976 when he was whose works were initially rejected and misunderstood. Later, Edades’
46, making him the youngest modernist sensibility was shared by several artists, among them, National
recipient of the award to date.
artist Carlos “Botong” V. Francisco and Galo Ocampo. “Botong” Francisco is
known for his magisterial murals, particularly, Filipino Struggles through
History (1964), one of the largest and most ambitious in scope, which he did
for the Manila City Hall. Ocampo on the other hand, is recognized for
indigenizing western icons, as seen in his Brown Madonna, 1938 which sets
mother and child in a native, tropical environment.

Napoleon Abueva’s 9 muses.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 35
 American Period

Francisco Carlos “Botong”

Francisco

Francisco was a most

distinguished practitioner of
mural painting for many
decades and best known for his
historical pieces. His great
works include portrayals of the
Blood Compact, First Mass at
Limasawa, The Martyrdom of
Rizal, Bayanihan, Magpupukot,
Fiesta, Bayanihan sa Bukid,
Sandugo, Portrait of Purita, The
Invasion of Limahong,
Serenade, and Muslim
Betrothal. Some of his murals
have suffered big damage over Carlos “Botong” V. Francisco’s Filipino Struggles Through Time
the years. The "Pageant of
Commerce" emerged from
several years of restoration in
2000.
Galo Ocampo
He was a Philippine artist. He
was also the first Filipino to
study heraldry and was a
member of the International
Institute of Genealogy and
Heraldry in Madrid. A
modernist painter, he painted
works such as the "Moro
Dancer" and the "Igorot Dance".
Among his paintings, the
"Brown Madonna" garnered
attention in 1938 because of its
depiction of Jesus and Mary as
non-Caucasian, brown Filipinos.

Galo Ocampo’s Brown Madonn

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 36
 Edades, Francisco and Ocampo have been regarded as the “triumvirate” of
modern art after having worked on several murals together. A collaborative
American Period work that survives to this day is Nature’s Bounty, 1935 which portrays a
group of women harvesting fruits in the field. At the center of the painting is
Art Nouveau a Papaya tree and heavenly beings hovering from above. In this painting, we
Art Nouveau, ornamental style can discern how the artists integrated folk subject matter with a style that
of art that flourished between draws on Modern Art.
about 1890 and 1910
throughout Europe and the
United States. Art Nouveau is
characterized by its use of a
long, sinuous, organic line and
was employed most often in
architecture, interior design,
jewelry and glass design,
posters, and illustration. You
can identify the style by its use
of whiplash curves, long,
sinuous lines that bend and
turn back on themselves. Art
Nouveau structures tend to be
asymmetrical, meaning they
aren't the same on both sides.
Buildings are often made of
modern materials like cast
concrete, metal, and glass.

Art Deco

Art Deco is characterized by

vertical emphasis and the use of
new materials like chrome,
stainless steel, and opaque plate
glass. Designs are geometric
and use shapes like pyramids,
chevrons (or zigzags), and
lightning bolts.

Edades, Francisco and Ocampo collaborative art, Nature’s Bounty

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 37
The linearity of the Figures, the sensuous curves, and the flatness of the composition closely link it with
the spirit of Art Nouveau and Art Deco, popular styles at that time which also found expression in
architecture. An example of Art Deco Architecture is Juan Arellano’s Metropolitan theatre in Manila (
1935)

Juan Arellano’s Metropolitan Theater

Art Deco Architecture of Bais City, Marina Building

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 38
Right before the war, Edades publicised a roster of Artists who, in his view, had modernist leanings. He
called them the thirteen Moderns, which included himself, Arsenio Capili, Bonifacio Cristobal,
Demetrio Diego, National Artist Carlos Francisco, National Artist Cesar legaspi, Diosdado Lorenzo,
Anita Magsaysay-Ho, Galo Ocampo, National Artist Hernando R. Ocampo, Jose Pardo, and Ricarte
Purungganan. These Artists explored various mediums, techniques, and themes that were at that time
considered “new” and even “shocking” to those who were more used to images that are closer to how
they looked in reality. These audiences found it difficult to understand the thirteen Moderns tendency
toward distortion, exaggeration, abstraction and their personal use of color, shapes, textures and other
expressive elements.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 39
 JAPANESE OCCUPATION: “Asia for Asians”, Ang Bagong Araw

(1941-1945)
Japanese Occupation

KALIBAPI
(insert film plz)
It was a Fascist Filipino political
party that served as the sole Under the Japanese Occupation of Manila, the Modern Art project would
party of state during the slow down in pace. Early moderns and conservatives alike continued to
Japanese occupation. It was
intended to be a Filipino
produce art and even participated in KALIBAPI ( Kapisanan sa Paglilingkod ng
version of Japan's governing Bagong Pilipinas) sponsored art competitions. In 1943 and 1944,
Imperial Rule Assistance Purungganan and Francisco won KALIBAPI awards, respectively.
Association. Nevertheless, art production once again tilted to fulfil the agenda and
demands of the new colonial order. The Japanese forces led the formation of
Shin-Seiki
the greater East Asia-Co Prosperity Sphere, a propaganda movement that
sought to create a Pan-Asian identity that rejected Western traditions. Slogan
such as “Asia for Asians” made its way to the public through posters,
ephemera, comics, and Japanese sponsored publications such as Shin-Seiki,
and in newspapers and magazines such as Liwayway and Tribune. The
production of images, texts, and music underwent scrutiny. Expressions
deemed subversive or Anti-Japanese led to torture consequences, even
death. Regulating the information campaign was the Japanese Information
Bureau or Hodobu, which employed local artists and cultural workers.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 40
 In music, the composes National Artist Felipe P. De Leon was said to
have been “commanded at the point of the gun” to write Awit sa
Paglikha ng Bagong Pilipinas. Declared as the anthem specifically for
Japanese Occupation the period, it conveyed allegiance to the nation reared in East Asia,
where Japan was actively asserting its political power.
Shin Seiki

It means “New Era or Bagong

Araw”. The magazine of the Awit sa Paglikha ng Bagong
KALIBAPI used Tagalog and Pilipinas
Japanese side by side. Also knows as Tindig! Aking Inang
Bayan National Artist Felipe P. De
Liwayway
Leon
It is a leading Tagalog weekly Tindíg! Aking Ináng Bayan,
magazine published in the Lahing pilî sa silangan
Philippines since 1922. It Iwaksî natin ang nakaraán,
contains Tagalog serialized Yakapin ang bagong buhay.
novels, short stories, poetry,
serialized comics, essays, news Hawakan ang watawat
features, entertainment news Ng pagpápakasipag
and articles, and many others. O bandila, iwasiwas
In fact, it is the oldest Tagalog Ang pagbabagong tatág Before becoming a musician,
magazine in the Philippines. he took various odd jobs to
The magazine was named Lakad at harapín support his family, such as a
Liwayway, meaning dawn. It Pagtatanggól sa layunin shoe
made significant contribution Sakit, hirap ay tiisín polisher, carabao herder, carri
to the field of literature when it Upang makamít ang mithiin age driver, and vendor of
introduced the popular various items. In 1927, he
masterpieces of great Filipino Gumawâ, bumuó, at magbatá took up Fine Arts at
poets and writers. the Japanese the University of the
Itatág ang silangang Asya
Imperial Army took over the Philippines, but he had to
Lupalop na maguinhawâ
supervision of Liwayway and abandon his studies to make a
Kasaganaang sama-sama
named it Manila Simbunsiya. living. He played
The Japanese military had the trombone in cabarets and
hidden agenda: to use the circuses, and later worked as
magazine in their military an assistant conductor of the
campaign after occupying the Nueva Ecija High School
Philippines. Later following that Orchestra, where he started
period, the Liwayway composing music. To improve
publication and its his composing skills he again
management was returned to enrolled to the University of
Don Ramos Roces. the Philippines, and graduated
in 1939 with a diploma of
music teacher and conductor.
Much later, he continued his
studies under Vittorio
Giannini at the Juilliard
School in New York, U.S.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 41
 If art was strictly policed during the Second World War, it brings us
little surprised that Amorsolo’s paintings, many of which showed little
Japanese Period or no indication of war’s atrocities, continued to be favoured.
Examples include Harvest Scene, 1942 and Rice Planting, 1942. These
Fernando Amorsolo
are paintings that evoked a semblance of peace, idealized work in the
country side, and promoted values of docile industriousness. Such a
mood is echoed by Sylvia La Torre’s hit song Sa Kabukiran, written in
Tagalog in the 1940’s by the acclaimed composer Levi Celerio
(National Artist for Music and Literature, awarded 1997). La Torre’s
operatic singing along with an energetic tempo offered an escape
from the troubles of the war.

Harvesting Rice

He was a Filipino composer and lyricist who is credited to writing not less
Planting Rice
than 4,000 songs. Celerio was recognized as a National Artist of the Philippines for
Syvia La Torre ‘s Sa Kabukiran Music and Literature in 1997.
He is also known for using the leaf as a musical instrument which
led to being recognized as the "only man who could play music using a leaf"
by the Guinness Book of Records.
Aside from being a musician, Celerio was also a poet and a film actor
who appeared in various Philippine films of the 1950s and 1960s.
Among Original Pilipino Music (OPM) songs he composed are
"Ikaw", "Kahit Konting Pagtingin", "Saan Ka Man Naroroon?". He wrote the
lyrics of the famous Filipino lullabye Sa Ugoy ng Duyan . He also composed
folk songs including "Ako ay May Singsing", "Ang Pipit", "Dungawin Mo
Hirang", "Itik-Itik", "Pitong Gatang", and "Waray-Waray" "Sa Ugoy ng
Duyan", in particular was a collaboration with Lucio San Pedro, a fellow
National Artist.
"Ang Pasko ay Sumapit", officially title "Maligayang Pasko at
Manigong Bagong Taon" is an example of a well-known Christmas song by
Celerio, which was the Tagalog version from the original Cebuano song,
Kasadya Ning Taknaa, by Vicente Rubi and Mariano Vestil.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 42
 Genre Paintings were the most widely produced, particularly those that
presented a neutral relationship between the Filipinos and the Japanese
Japanese Occupation through works that showed the normality of daily living. The Colonizers also
preferred works that showed indigenous and pre-colonial traditions. Portraits
Genre Painting representing different ethno linguistic groups were produced, and this is
A form of genre art depicts exemplified by Crispin Lopez’s Study of an Aeta, 1943. Although scenes from
aspects of everyday life by the war were also made, the imagery remained neutral, focusing rather on
portraying ordinary people the aesthetic qualities of ruin and disaster. Take Amorsolo’s Bombing of the
engaged in common activities. Intendencia, 1942 and Ruins of the Manila Cathedral, 1945 as examples,
One common definition of a they draw attention to the elegant handling of value in the billows of smoke
genre scene is that it shows or the piles of ruins rather than the urgency of the disaster itself. Works
figures to whom no identity can
be attached either individually
which depicted the horrors of war such as Diosdado Lorenzo’s Atrocities in
or collectively—thus Paco and Dominador Castaneda’s Doomed Family were painted after 1945.
distinguishing petit genre from
history paintings (also called
grand genre) and portraits

Left to Right: Crispin Lopez’s Study of an Aeta, Fernando Amorsolos’ Bombing of the
intendencia and Ruins of the Manila Cathedral

Diosdado Lorenzo’s Atrocities in Paco and Dominador Castaneda’s Doomed Family

were painted after 19

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 43
 Alice Guillermo recounts how artists and writers reflected about National
identity as Filipinos were rising from the ashes of war. This search entailed
Japanese Period explorations in subject matter, content and form, as well as debates between
art for art’s sake and art that exposed the “true social conditions” of the
Neo-Realism period. Nevertheless, the period looked promising for the development of
Refers to a contemporary fine modern art. A group of artists who exemplified a new kind of modernism
art trend in the Philippines emerged, and this was observed by the artist-writer E.Aguilar Cruz who
beginning from the postwar named the movement Neo-Realism. Using modernist figuration, many of
period. It is first used to refer to these artists explored folk themes and also crafter commentaries on the
a group of artists associated urban condition and the effects of the war. Manansala, Legaspi, and HR
with the Philippine Art Gallery Ocampo were among the National Artists associated with Neo-Realism.
(1951-1969) who began to call
themselves Neo-Realists in
Manansala’s the Beggars, 1952 consists of the image of two women with
1949. Realism in this case emaciated bodies, their forlorn faces against a dark background capturing the
refers to how these artists used dreariness of poverty.
their subjective, internal vision
of reality to create works of art.
Neo-Realism was formed as a
reaction to the perceived
academic and sentimental
status of art in the previous
generation. In a sense it was a
seminally representational style
that was more open to various
degrees of abstraction opened
up through increasing
familiarity with western
modern art movements.
Although initially facing
disapproval from the public and
the established art world, the
ideologies and styles of the
Neo-Realists soon became
accepted and affected the
development of Filipino art in
the following decades.

Vicente Mansala’s The Beggars, 1

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 44
 Many of Manansala’s paintings are characterized by transparent cubism, a style marked by the soft
fragmentation of figures using transparent planes instead of hard-edged ones, as exemplified in the
painting Tuba Drinkers,1954,

Vicente Manansala’s Tuba Drinkers,1954

Cesar Legaspi’s Gadgets II, 1949 depicts half-naked man men almost engulfed in the presence of
machines. Their elongated limbs and exaggerated muscles indicate the hardship of their labor; their
expressionless faces and repetitive actions rob them of their humanity as they function like machines.

Cesar legaspi’s Gadgets II

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 45
Most of Legaspi’s figures in this period are distorted by this elongating or making rotund forms in a well-
ordered composition, as seen in the painting Bar Girls, 1947.

HR Ocampo’s The Contrast, 1940, is a distinct figurative work which expose dire human condition amid
the backdrop of modernity. Ocampo is more recognized however, for his painting that combine
geometric and biomorphic shapes with vibrant colors.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 46
 HR Ocampo’s The Contrast

His painting Genesis, 1968, which puts together warm colored shapes, became the basis of the stunning
tapestry hanging at the main Theater of Bulwagang Nicanor Abelardo of the CCP.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 47
1950’s also saw the construction of modern architectural structures, particularly churches that modified
or veered away from traditional cruciform designs. Within the UP Diliman campus, examples include
the Church of Holy Sacrifice, 1955 and the Church of the Risen Lord, which both employes concrete as
primary material and experimented with rounded or parabolic forms.

UP Dilliman Campus’ Church of Holy Sacrifice, 1955

Up Dilliman Campus’ Church of the Risen Lord

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 48
Another remarkable example is the Chapel of St. Joseph the Worker in Victorias, Negros,Built by Czech-
American architect Antonin Raymond. It features a striking mural of Christ by the Filipino-American
artist Alfonso Ossorio. It is referred to as the Angry Christ, the mural delivers pictorial overload, filling up
the walls and ceiling of the altar space. Distinct from most Christ-figures, the expressive use of color, the
jagged angularity of the rendering, and the use of flame-like motifs bring to mind the visual spectacle of
Bacolod’s Masskara Festival. The church is a curious combination of modern architecture with a
minimalist character and modern painting expressive of folk sensibilities.

St. Joseph the Worker in Victorias, Negros

Another strand of Modern Art that emerged more definitely during the period was abstraction. This
generally consists of simplified forms, which avoided mimetic (exact copy) representation. It is
sometimes referred to as non-representational or non-objective art as it emphasized the relationships of
line, color, and space, or the flatness of the canvas rather than an illusion of three-dimensionality. Most
of the early practitioners inclined towards abstraction received training abroad or were influenced by
the growth of the said movement in the international circles. Solid geometric shapes and color field are
seen in the works of Constancio Bernardo and particular phases of Lee Aguinaldo’s practice.

Constancio’s Perpetual Motion, 1950 and Lee Aguinaldo’s Untitled

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 49
The abstract expressionist style that plays up the aspect of spontaneity in the process of making is
exemplified in the works of National Artist Jose Joya with his thick and often vigorous application of
paint. Fernando Zobel’s painting using used syringes to apply paint. This allowed him to produced works
that balanced the element of chance and restraint.

Jose Joya’s Granadean Arabesque’, 1958

Fernando Zobel’s painting using used syringes to apply paint. This allowed him to produced works that
balanced the element of chance and restraint.

Fernando Zobel’s Noche Clara

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 50
On the other hand, what was typical of Arturo Luz’s works is the use of stark linear elements, as seen in
Street Musicians, 1952 which pared down the figures into lines and basic shapes.

Arturo luz’s Street Musicians, 1952

Nena Saguil who took her art studies at the UP, in the United States, and in Spain, is known for her
canvasses filled with circles and cell-like forms. Earlier in her career, she did figurative works with
rotound features, such as in the painting Cargadores, 1951.

Nena Sagui Cargadores and Barrio Mother and Child

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 51
 Early Years of Philippine Cinema

Films were first shown in the Philippine Islands in 1897 during the revolt against Spain, when two Swiss
businessmen sponsored the opening of the Cinematografo in Manila. From this, the word “cine” became slang for
the movies.The Cinematografo showed documentaries brought in from the U.S. and Europe, and closed after just a
few months because the owners were unable to import enough movies. At the turn of the century, cinema
struggled to compete with the dominant entertainment form, the sarswela, a Spanish dramatic genre juxtaposing
spoken and sung scenes.

Spain ceded the Philippines to the United States in 1898 through the Treaty of Paris. U.S. forces spent the next
three years quelling the revolution. Two movie theaters opened in Manila, in 1900 and 1901. They showed silent
documentaries, the only fare being made at the time.Named for national hero Dr. José Rizal, (1861-1896), who
helped spur the Philippine Revolution, the Cinematografo Rizal opened in Manila in 1903. It was the first movie
theater owned by a Filipino. Cinematografo Filipino opened sometime later in Tondo, helping to establish movies
as an important element in Philippine culture.

Films started to change from documentaries to entertainment in 1909. Film distribution agencies were
established in Manila to import these kinds of movies from Hollywood. Movie houses soon dotted Manila. Local
films were successful as well.The first locally produced film is thought to be La Vida de Rizal, a story about José
Rizal. Rivals quickly produced a second film about Rizal, La Pasion Y Muerte de Dr. Rizal, which opened the same
day. Produced by foreigners, both films employed sarswela troupes acting out the parts.

The father of Philippine cinema, José Nepomuceno (1893-1959), was a successful photographer before switching
to movies. He opened a production company called Malayan Movies in 1917. Nepomuceno released the first
Filipino-produced film, Dalagang Bukid (Country Maiden), starring Atang de la Rama (1905-1991), in 1919.Released
in 1930, Nepomuceno's masterpiece was Noli Me Tangere (The Social Cancer), based on José Rizal's Spanish-
language novel of the same name. Rizal's story is credited with spurring a sense of nationalism among Filipinos of
the day.

The American film Syncopation was the first “talkie” shown in the Philippines. The first locally produced film with
sound, Ang Aswang (The Vampire) wasn't completely a sound film. That honor went to José Nepomuceno's Punyal
na Guinto (Golden Dagger), which premiered on March 9, 1933, at the Lyric Theater in Manila.

Dalagang Bukid was the is a silent film directed and produced by José Nepomuceno, the Father of Philippine
Cinema. The film was officially released on September 12, 1919 with English, Spanish, and Tagalog subtit
Contemporary Philippine Arts From the Regions
Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 52
 70’s to Contemporary: The Marcos Regime
Under the helm of Ferdinand Marcos and Imelda Marcos beginning in
Marcos Regime 1965, many cultural projects ensued amid the backdrop of poverty and
volatile social conditions. Amidst claims of national chaos of emergency
Bagong Pagsilang proportions, Martial Law was declared on September 21, 1972. Under
Martial Law, Marcos envisioned a New Society or Bagong Lipunan, which
May bagong silang,
May bago nang buhay, worked toward the rebirth of a long lost civilization, on one hand, and
Bagong bansa, bagong aspiration to modernization and development on the other hand. This vision
galaw, was propagated and implemented through an art and culture program that
Sa Bagong Lipunan! combined the fine arts, architecture, interior design , tourism , convention
Magbabago ang lahat, tungo city buildings (hotels, theatres, coliseums) , engineering, urban planning,
sa pag-unlad, health, among many others. The discourse of rebirth can also be discerned
at ating itanghal, bagong in the anthem or songs the regime sponsored and circulated through media
lipunan! and public education channels. The optimism toward a new beginning was
articulated for example, in Levi Celerio and Felipe Padilla de Leon’s
May bagong silang,
composition for the society titled Bagong Pagsilang.
May bago nang buhay,
Bagong bansa, bagong
As index of progress, refinement, radical experiment, national identity and
galaw,
Sa bagong lipunan. love for country, art was circulated through an intricate network of
Nagbabago ang lahat, tungo institutions that braided the threads of the pre-modern, and vernacular, the
sa pag-unlad, modern, and international. National pride was instilled by invoking the pre-
at ating itanghal, bagong
modern through murals, folk festivals, and museums devoted to collecting
lipunan!
and displaying ethnographic artefacts and natural specimens, among these
Ang gabi'y nagmaliw nang key sites was the National Museum, which was revitalized through
ganap,at lumipas na ang constitutional amendments.
magdamag.
Madaling araw ay The CCP as Shrine for the Arts
nagdiriwang,may umagang
namasdanNgumiti na ang At the center of this arts and culture program was the Cultural Center of
pag-asasa umagang anong the Philippines (CCP), the premier bureaucratic entity through which art
ganda. acquisition, exhibition making, workshops, grants, awards were
May bagong silang,May bago implemented. It was created on 25 June 1966 through Executive Order 30
nang buhay,Bagong bansa, and inaugurated in 1969, the year Marcos was elected to his second term
bagong galaw,Sa bagong as Philippine President. Leandro Locsin, chief architect of Imelda Marcos,
lipunan. designed the modernist cantilevered described as a cross between the
Nagbabago ang lahat, tungo vernacular bahay kubo and art brut minimalist structures it stands like a
sa pag-unlad,at ating shrine to High Art on land reclaimed from historic Manila Bay.
itanghal, bagong lipunan!

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 53
 Marcos Regime

Leandro Locsin

He was a Filipino architect,

artist, and interior designer
known for his use of concrete,
floating volume and simplistic The Cultural Center of the Philippines ( Sentrong Pangkultura ng Pilipinas, or
design in his various projects. CCP) is a government owned and controlled corporation established to
An avid collector, he was fond preserve, develop and promote arts and culture in the Philippines.
of modern painting and Chinese
ceramics. He was proclaimed a The theatre is called TAHANANG PAMBANSA
National Artist of the
Philippines for Architecture in
1990 by the late President
Corazon C. Aquino.
Cantilever
A cantilever is a rigid structural
element which extends
horizontally and is supported at
only one end. Typically it Cantilever
extends from a flat, vertical
surface such as a wall, to which
it must be firmly attached. Like
other structural elements, a
cantilever can be formed as a
beam, plate, truss or slab
Brut
It is a style that emerged in the
1950s and grew out of the
early-20th century modernist
movement. Brutalist buildings
are characterised by their
massive, monolithic and
'blocky' appearance with a rigid
geometric style and large-scale
use of poured concrete. Brut Minimalist Structure

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 54
 The Cultural Center of the Philippines Complex

Known as the CCP Complex, is an 88-hectare (220-acre) reclaimed property owned by the Cultural
Center of the Philippines (CCP) located along Roxas Boulevard in Metro Manila, the Philippines.

It features several brutalist structures designed in the 1960s and 1970s by Leandro Locsin, such as the
Tanghalang Pambansa, the Philippine International Convention Center. Other locators in the complex
include the Coconut Palace, the Manila Film Center.

The Tanghalang Pambansa (English: National Theater) is the flagship venue and principal offices of the
Cultural Center of the Philippines. Formally called the Theater of Performing Arts, it houses three major
performing arts venues, one theater for film screenings, galleries, a museum and the center's library and
archives

Tanghalang Nicanor Abelardo (Main Theater)

Tanghalang Aurelio Tolentino (Little Theater)
Tanghalang Huseng Batute (Studio Theater)

Tanghalang Nicanor Abelardo (Main Theater)

Tanghalang Aurelio Tolentino (Little Theater)

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 55
 Marcos Regime

Marcos Monument

Tanghalang Huseng Batute (Studio Theater)

Like the Marcos Monument , this (CCP Main hall) structure presides over
and stands guard at the entrance of the CCP complex, which consists of
satellite structures with varying functions: the Folk Arts theatre which
became the venue of the first Miss Universe Pageant in the Philippines in
1974;
The 30-metre concrete bust of
Ferdinand Marcos was a
monument of President
Ferdinand Marcos situated
along Aspiras-Palispis Highway,
Taloy Sur, Tuba, Benguet,
Philippines.
The monument became a
subject of controversy as its
construction displaced
indigenous Ibaloi residents in
the sparsely populated area,
and the land reportedly forced
to be sold at very low prices.
The monument was destroyed The state-of-the-art Philippine International Convention Center (PICC) which
in December 2002, with the housed the 1976 IMF-World Bank Conference;
Communist Party of the
Philippines-New People’s Army
taking credit for its destruction.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 56
 The Tahanang Filipino or Coconut Palace which was built in
anticipation of a papal visit;

The National Arts Center in Mt.

Makiling

And the Manila Film Center which was built to host the Manila
International Film Festival to ambitiously rival Cannes Festival.

Most of the buildings employed concrete block-like forms indicative of

the Modern style while some buildings integrated vernacular elements
in conformity with the state’s thrust of reviving Filipino traditions. For
example, The National Arts Center in Mt. Makiling, designed by
National Artist Leandro Locsin appropriated the style of vernacular
houses like the Ifugao Fale; while the Coconut palace , designed by
Architect Francisco Manosa, utilized indigenous building materials and
fashioned the roof to look like a salakot, a pointed hat used by farmers
in the field.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 57
 With the staunch support of Imelda Marcos, CCP supported artists by
providing venues and grants and served as a validating entity that
institutionalized major awards like the National Artist Award.
Marcos Regime
Moreover, the CCP was propped up as the authority on modern art and
The CCP Logo the enabler of the avant-garde. The large-scale project of the composer
and ethnomusicologist National Artist Jose Maceda was staged
through the CCP, involving hundreds of transistor radios and radio
stations nationwide in order to create “sound atmospheres”from the
strategic overlapping of indigenous and found sounds.

The logo, derived from the

Baybayin character Ka and
styled based on a Katipunan
design, represents Katotohanan,
Kagandahan at Kabutihan
(Truth, Beauty and Goodness).

José Montserrat Maceda

He was a Filipino composer and
ethnomusicologist. His notable The visual arts unit also shared a similar trajectory. It opened and
works include: Pagsamba for managed a museum which the artist-professor Roberto Chabet was
116 instruments, 100 mixed
tasked to be the first director of. Chabet’s works at the time were
and 25 male voices (1968);
Cassette 100 for 100 cassette avowedly conceptual, emphasizing the idea behind his art rather than
players (1971); Ugnayan for 20 technique and form. Eventually calling himself a Flux artist, he did
radio stations (1974); Udlot- collages, drawings, sculptures, and installations using found objects.
Udlot for several hundred to
several thousand people While he was instrumental to CCP’s early development, and
(1975); Suling-Suling for 10 increasingly became an establishment figure, his art never lost its
flutes, 10 bamboo buzzers and critical bite. For the group exhibition Objects, he held at CCP in 1973,
10 flat gongs (1985). In 1977,
Maceda aimed to study Chabet tore up a copy of a coffee-table book on Philippine
Philippine folk songs which he contemporary art placed it in a trash bin, entitled Tearing into Pieces,
describes as having more focus was seen as a scandalous critique of the conventions of the art world;
on rhythm rather than time
measure. From the 1990s, he
also composed for Western
orchestra and piano. The
examples are: Distemperament
for orchestra (1992); Colors
without Rhythm for orchestra
(1999); Sujeichon for 4 pianos
(2002)

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 58
 After his brief stint as CCP Director and Curator, Chabet taught at the
University of the Philippines College of Fine Arts (1971-2002), where
he mentored a new generation of innovative Filipino artists who have
Marcos Regime
become established multimedia artists.
White Cube Theory
Under Chabet and Later Raymundo Albano, CCP Museum opened its
The white cube is conceived as exhibition programming to works influenced by the western avant-
a place free of context, where
time and social space are garde and conceptual tenets, pop art, happenings, environmental
thought to be excluded from the assemblages, new realism performance, and sound works. Experiments
experience of artworks. ... It in art challenged the commoditization of art within the consumerist
was a space for the immortality
of a certain class or caste's system of the art world and its markets at the very heart of the Marcos
cultural values, as well as a regime. On the other hand, the Chabet-Albano axis also went beyond
staging ground for objects of the CCP white cube as they opened up non-white cube sites for art
sound economic investment for
possible buyers. exhibitions and performance spaces- furnaces, offices, warehouses,
clock towers, shop windows, kitchens, public halls, hotels among others.
White Cube Gallery
Alternatives to museums were seen ,for example in Gallery 7, sanctuary
It is a gallery style that is , Gallery Indigo, and the short lived Shop ^ in Cubao, and later in one of
square or rectangular shape,
the stalls of the kamalig arcade in Manila. The shifting to alternative
has unadorned white walls and
a light source usually in the venues was also accompanied by the development of the emergent art
ceiling. It typically has writing platforms, including the Philippine Art Supplement (PAS) and the
hardwood or polished concrete
Review Cultural Forum.
floors.

Roberto "Bobby" Rodríguez Chabet (March 29, 1937 - April 30, 2013) was an
artist from the Philippines and widely acknowledged as the father of Philippine
conceptual art.

Raymundo "Ray" Albano (1947 – 1985) was a Filipino curator, art critic, writer,
poet, painter, and scholar who served as museum director of the Cultural
Center of the Philippines from 1970 until his death in 1985.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 59
 The curatorial stance of Albano, Chabet’s successor was more populist
than his predecessor. He initiated projects under the rubrics he termed
as “ developmental art” aimed at exposing art to a learning. He
Marcos Regime
characterized the period 1971-1975 as the “exposure phase” in which
Curator advanced art-experimental in nature-were displayed in the galleries.
A keeper or custodian of a
The use of sand, junk, iron, non-art materials such as law lumbers, rocks,
museum or other collection. were common materials used for the artist’s development strategies.
People were shocked, scared, delighted, and satisfied even though their
Junyee
preconceived notions of art did not agree with what they encountered.
Junyee, or Luis Yee, Jr., is a “Exhibitions”, he wrote, “should be alive, not church-like, and quite high
Filipino artist known for his in festive ambience. They should also be thematic, dealing with current
large-scale and site-specific art visual interests, and should be “stimulating, controversial, but not
installations, which reflect a
scandalous.” If Chabet heralded the modern, Albano ushered in the
deep awareness of ecology and
contemporary by investing the modern with the urgency of the now. To
environmental issues. works
Wood Things (1981) and be contemporary, he wrote is to deal with “virtually untested, unknown
Spaces and Objects (1986), for realms of evidences that would lead to further understanding ourselves”
example, are sprawling
assemblies of natural forms. Under Alban’s directorship, CCP also reached out to regions, outside
Junyee’s installations bring the Manila (Baguio, Los Banos, Cebu) and beyond (Fukuoka, Paris, Asean),
precarious state of our natural initiated art workshops and outreach programs through community
world to the fore; by involvement, and published reviews and other essays though PAS.
incorporating natural objects Albano argued that although some experimental forms seemed wholly
into his art, he exhibits both
foreign, he invoked the practice of adorning ephemeral and familiar
resourcefulness and acute
objects as in Fiestas, which shared processes and features with
awareness of the finite state of
natural resources. Junyee’s installation art. An early example of installation art is Junyee’s Wood
approach to art is characterized Things, 1981, made of Kapok or cotton pods, installed on the walls and
by a keen sense of the floor of the CCP’s white cube spaces to make these look like crawlers
environment and astute and encroaching on the museum space.
knowledge of materials.
Whether paintings composed
with soot; free-standing and
outdoor sculptures in wood or
cast concrete; or sprawling site
installations, Junyee’s work
exhibits a feeling for form and
inherent awareness of the ways
art carves new spaces of
experience.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 60
 Given its beginnings as the State’s cultural arm, you may wish to reflect
on its programs today for example, when we speak of theatre and the
performing arts, the CCP ranks as one of the most active purveyors of
Marcos Regime both local and foreign performances in dance, musical concerts and
experimental theatre. Traditional ballet as performed by both local and
Ballet Philippines
western ballet companies are staged at the CCP. Apart from the Ballet
Philippines, the Atlanta Ballet Company and the famous Bolshoi Ballet
have performed at the CCP. The Philippine Philharmonic Orchestra and
many Chamber music groups from Asia, America, and Europe have
performed classical music there as well as regional pieces peculiar to
their country of origin. Broadway musicals such as Cincerella, Les
Miserables, Miss Saigon, Wicked and Phantom of the Opera have seen
playbills at the CCP. Original works by budding Filipino playwrights
have been staged yearly in the CCP’s Virgin Lab Fest, while western
classical plays by Shakespeare have been staged as adaptation here as
well.
Ballet Philippines (BP) is a
ballet company in the
Philippines founded in 1969 by
Alice Reyes with the support of
Eddie Elejar and the Cultural
Center of the Philippines.
Proficient in both ballet and
modern dance, the company
synthesizes diverse dance and
movement forms, from classical
ballet to avant-garde
choreography, from traditional
dance to modern dance, from Virgin Labfest is an annual theater festival that is dedicated to providing an
martial arts to aerial opportunity for aspiring playwrights to create new works for the stage. The
movements, into distinctively
three-week festival promises to be a spectacular one, offering 12 unpublished
Filipino contemporary
and unstaged plays and 5 new staged readings written by 21 virgin playwrights,
expressions.
and three revisited plays all performed by 76 theater thespians and stalwarts
Philippine Philharmonic and directed by 20 upcoming and established directors.
Orchestra

The Philippine Philharmonic

Orchestra is the resident
symphony orchestra of the
Cultural Center of the
Philippines.

Ang Pa-uulyanin ni Olivia Mendoza is a Play written by a Proud Baisanon, Rolin

Migyuel Cadallo Obina

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 61
Another significant strand that emerged during the intense political ferment of the 70’s and the 80’s was
Social Realism or SR, for short. Using various mediums, techniques, and styles, Social Realism is a form
of protest art that exposed the socio-political issues and struggles of the times. It differs from other
realist approaches that it is conscious with its regard for the oppressed and underrepresented masses.
Social Realism would tackle for example, the plight of the marginalized, inequality, and forms of
repression. In addition, SRs also worked collectively, and in collaboration, not only in terms of
producing murals and other art forms, but also in making aesthetic decision grounded on a common
mass-based, scientific and nationalist framework.

Look at Antipas Delotavo’s Itak sa puso ni Mang Juan, 1978 and Edgar Talusan Fernandez’s Kinupot,
1978. How do these works make you feel? Also think about what these could be referencing within their
historical period during which they were produced.

Left to Right: Antipas Delotavo’s Itak sa puso ni Mang Juan, 1978 and Edgar Talusan Fernandez’s Kinupot

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 street art is in collaborative murals in
public spaces. Several years after the declaration of Martial Law, an artist collective committed to the
development of the said art movement was formed. Kaisahan was composed of Antipas Delotavo, Neil
Doloricon, Renato Habulan, Edgar Talusan Hernandez, Al Manrique, Jose Tence Ruiz, and Pablo Baen
Santos. Aside from aesthetic debates, the group constantly discussed their social and political
orientation which strengthened the foundation of their art practice.

Kaisahan’s influence as a collective reached organization like the group of UP Fine Art Students who
eventually became known in the 80’s as the Salingpusa.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 62
Varied forms of expression can be observed from the period which spilled over the previous decades.
Among these are expressionist works that conveyed emotional qualities or states, as in the dogfight
paintings of National Artist Ang Kiukok, hinting of conflict and aggression; or the paintings of Onib
Olmedo which feature men with ovoid faces often donning a mysterious expression bordering on ennui.

Ang Kiukok’s Dogfight and an Untitled painting by Onib Olmedo

In sculpture, Eduardo Castrillo’s gigantic metal work Pieta, 1969, evoked a strong feeling of anguish and
loss through the expressive poses of Mary the mother and the oversized body of Christ which she
supports.

Eduardo Castrillo’s Pieta

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 63
On the other hand, the influence of paintings of folk scenes in the manner of Francisco persists, and is
evidenced in the works of the Blanco Family and their descendants in Angono, Rizal. Ethnicity, Identity,
and Alternative historical narratives are explored in the intermedia works of Santiago Bose, who drew
insight from his native Baguio which was once an American colonial outpost. Roberto Feleo’s
installations re-tell creation stories drawn from indigenous myths and combine them with foreign
interventions such as vitrines or altar niches normally to house saints. Brenda Fajardo on the other hand
would foreground the histories of ethnic communities through her tarot card series.

Blanco Family of Artists

Santiago Bose’s Carnivores of the Session Road

Roberto Feleo’s Tao-Tao

Contemporary Philippine Arts From the Regions
Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 64
In other words, the native or the folk, the self, the environment, the nation, the past, and the various
variations of the Modern continue to be revisited by artists as sources of inspiration in contemporary
art. As artists explore processes and approaches aside from mediums and techniques beyond the so-
called Fine arts, artistic language becomes more robust. Looking in to the possibility of working beyond
the comfort and isolation of the studio, and into working in alternative spaces, artistic communities are
becoming engaged and networks formed. One of the ways this is realized through the festival, which
aside from holding exhibitions tends to mobilize organizations, spaces, and people who do not normally
engage in the “art world”. In the 90’s, when support from the state was probably not existent, artists
were empowered to initiate projects like regional festivals. Meanwhile, as galleries began to spring up
inside mall spaces, equally intriguing were the budding of alternative and artist-run spaces the
supported and D-I-Y (Do it yourself) projects of young artists. Aside from the aforementioned currents,
also important to consider as we run through the history of Philippine Art are the expatriates or artists
who make waves in the international art scene by way of their participation in exhibitions. They too
broaden our knowledge and inspire us to seek what and how Philippine contemporary art might
continue to mean something to us today.

This varied range of practices demonstrates that making art in the artist’s studio is inseparable from
cultural and research work. The studio extends to various sites----classrooms, the streets, even
cyberspaces, among others. Art is not just a “tool” or a handmaiden to a certain ideology, advocacy or
purpose, but a methodology in itself, with specific and independent modes of seeing, doing and feeling,
from where new knowledge springs. The artwork that artists produce transcend their status as objects
or collectors’ item; they are inseparable from the artists’ process and practice as cultural workers, a
phrase that also implicates their roles as organizers, collaborators, educators, administrators, writers,
theorists, quasi-ethnographers, healers, curators, and in some cases, as owners of galleries and other
spaces.

Contemporary Philippine Arts From the Regions

Lesson 3 – THE EVOLUTION OF PHILIPPINE ART Page 65