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Exploring the Rich History of Philippine Art

Juan Luna's Hymen, oh Hyménée! (Ayala Museum photo)

The Philippines is a country rich in history and culture, and its art is no exception. From ancient artifacts to contemporary masterpieces, Philippine art reflects the country’s diverse influences and unique heritage.

One of the most notable aspects of Philippine art is its blend of indigenous, colonial, and modern influences. The traditional art forms of the Philippines have been shaped by centuries of interaction with neighboring cultures, such as China, India, and Spain. This blending of influences can be seen in the vibrant colors, intricate patterns, and diverse subject matter of Philippine art.

One of the earliest known forms of Philippine art is the intricate pottery and artifacts that have been found in archaeological sites throughout the country. These artifacts reflect the skill and craftsmanship of the early inhabitants of the Philippines, who created beautiful works of art using simple tools and materials.

During the colonial period, Philippine art was heavily influenced by Spanish and Catholic traditions. Religious subjects became a popular theme in Philippine art, with artists creating elaborate sculptures, paintings, and altarpieces to decorate churches and religious buildings.

One of the most famous examples of Spanish-influenced Philippine art is the retablo, a decorative altarpiece that features intricate carvings and paintings of saints and religious figures. Retablos can be found in many churches throughout the Philippines and are considered important cultural treasures.

In the 19th century, Filipino artists began to rebel against the strictures of colonial art and started to develop their own unique style. This period saw the emergence of artists such as Juan Luna and Felix Resurreccion Hidalgo, who gained international recognition for their work.

In the 20th century, Philippine art continued to evolve, with artists experimenting with new styles and techniques. One of the most influential artists of this period was Fernando Amorsolo, known for his vibrant and pastoral paintings of rural life in the Philippines.

Today, Philippine art continues to thrive, with a new generation of artists creating innovative and thought-provoking works. Contemporary Filipino artists such as Elmer Borlongan, Ronald Ventura, and Marina Cruz are gaining recognition both locally and internationally for their unique perspectives and artistic vision.

Exploring the rich history of Philippine art is a fascinating journey that reveals the country’s cultural richness and diversity. From ancient artifacts to contemporary masterpieces, Philippine art is a reflection of the country’s unique heritage and creative spirit.

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Philippine Art Scene: 10 Important Paintings in Filipino Art History

essay about beauty of the history of philippine arts

As someone who has lived in a country like Italy, where art has always been recognized and celebrated, I got curious – and I wanted to learn more about Filipino Art. I wondered if the Philippines had joined on the same trends that had developed in Europe, since it used to be a Spanish colon y, or if it had a style and artistic movement of its own – that’s why I decided do some research, and I’m so glad I did!

Here is a guide to 10 important paintings in Filipino Art History!

1. Fruit Gatherer by Fernando Amorsolo

Amorsolo is one of the most important painters in Filipino Art History. His paintings were able to embody the simplicity of Filipinos, in its daily lives and beauty. Just by looking at this painting, we can all say that the “ Fruit Gatherer ” is the original dalagang filipina .

“The women I paint should have a rounded face, not of the oval type often presented to us in newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. … So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a blushing girl.” Fernando Amorsolo

Title: Fruit Gatherer Artist: Fernando Amorsolo Technique: Oil on canvas Date: 1950

2. Planting Rice by Fernando Amorsolo

Amorsolo painted a few versions of this painting. He wanted to capture the traditional Filipino occupation and the farm life of men and women in a hot sunny day. This representation depicts how enduring they are, and how the farmers work together.

Title: Planting Rice Artist: Fernando Amorsolo Technique: Oil on canvas Date: 1951

3. Hope in the Ruins of Manila by Fernando Amorsolo

Another masterpiece from Amorsolo is Hope in the Ruins of Manila . He was known for his bright colors and peaceful paintings, but he also represented the years of World War II, when the Japanese were occupying the Philippines. He’s able to depict the war, and the devastation it brings to people – but in the middle of that sadness and desperation, he gives us a hint of hope. The way the light shines, on the young Filipino woman holding her child, gives us hope for a brighter future that will be built by these children.

Title: Hope in the Ruins of Manila Artist: Fernando Amorsolo Technique: Oil on canvas Date: 1945

4. Las Virgenes Cristianas Expuestas al Populacho by Félix Resurreccion Hidalgo

This painting was a silver medalist during the 1884 Exposicion General de Bellas Artes in Madrid, Spain, also known as the Madrid Exposition. Hidalgo’s winning the silver medal for the painting was a landmark achievement that proved the ability of Filipinos to match the work of Spaniards and laid claim to Filipino participation in European culture. Sadly, what we have now at the Bangko Sentral ng Pilipinas is just a copy, because the original one was destroyed in a fire at the University of Valladolid in Spain.

After winning at the Exposition in Madrid, a small group of Filipino expatriates and members of the Philippine reform movement held a victory celebration. During the party, José Rizal gave a speech regarding the achievement of Hidalgo and Luna as a proof that the talents of Filipino artists equaled those of the Spaniards . In relation to such evidence, Rizal questioned the inequality in political rights and freedom between Filipinos and Spaniards. Graciano Lopez-Jaena in turn orated that Hidalgo and Luna were propaganda painters who exposed the “lamentable conditions” of the Philippines while under the tutelage of the Spaniards.

Title: Las Virgenes Cristianas Expuestas al Populacho Artist: Félix Resurrección Hidalgo Technique: Oil on canvas Date: 1884 Location: Bangko Sentral ng Pilipinas (currently on loan to the National Gallery Singapore)

5. España y Filipinas by Juan Luna

España y Filipinas , meaning “ Spain and the Philippines ”, is an 1886 oil on wood by Filipino painter, ilustrado, and revolutionary activist, Juan Luna. It is an allegorical depiction of two women together, one a representation of Spain and the other of the Philippines. The painting, also known as España Guiando a Filipinas (“ Spain Leading the Philippines “), is regarded as one of the “enduring pieces of legacy” that the Filipinos inherited from Luna. The painting is a centerpiece art at the Luna Hall of the Lopez Memorial Museum.

The Spaniard woman “Motherland” was drawn with “wide strong shoulders” while the Filipino woman was illustrated as “graceful” and brown-skinned. Both were wearing female dresses known as traje de mestiza or “dress of the mestiza”. The dressing of the women in traje de mestizas shows the cultural character, class consciousness, and social transformations resulting from 19th century Hispanization . Both women have their backs to the viewer, heading towards a far-away horizon, while embarking on the steps of a staircase. Side by side in the painting, Spain was shown to be leading the Philippines along the path to progress and development.

Title: España y Filipinas Artist: Juan Luna Technique: Oil on wood Date: 1886 Location: Lopez Memorial Museum

6. Madonna of the Slums by Vicente Manansala

Manansala is a Filipino National Artist in Visual Arts and a Filipino cubist artist and illustrator. He developed a new imagery based on the postwar urban experience . The city of Manila, through the vision of the artist, assumed a strong folk character. He painted an innovative mother and child, Madonna of the Slums , in 1950, which reflected the poverty in postwar Manila.

Title: Madonna of the Slums Artist: Vicente Manansala Technique: Oil paint Date: 1950 Location: National Museum Collection

7. The Blood Compact by Juan Luna

The Blood Compact is an “historic and historical” painting by Filipino painter Juan Luna. The scene painted by the artist portrays the 1565 Sandugo (blood compact ritual) between Datu Sikatuna of Bohol and Miguel López de Legazpi, surrounded by other conquistadores . Datu Sikatuna was described to be ‘being crowded out of the picture by Miguel López de Legazpi and his fellow conquistadores’. This is one of the last paintings created by Luna.

Title: The Blood Compact Artist: Juan Luna Technique: Oil on canvas Date: 1886 Location: Malacanang Palace

Trivia : José Rizal and Trinidad H. Pardo de Tavera helped Luna in completing the painting by providing historical advice and posing for the painter: Rizal posed as Sikatuna while Pardo de Tavera posed as Legazpi.

8. Granadean Arabesque by José Joya

Jose Joya is a painter and multimedia artist who distinguished himself by creating an authentic Filipino abstract idiom that transcended foreign influences.

He espoused the value of kinetic energy and spontaneity in painting which became significant artistic values in Philippine art. His paintings clearly show his mastery of ‘gestural paintings’ where the paint is applied intuitively and spontaneously, in broad brush strokes, using brushes or spatula or is directly squeezed from the tube and splashed across the canvas. His 1958 landmark painting Granadean Arabesque , a work on canvas big enough to be called a mural, features swipes and gobs of impasto and sand. The choice of Joya to represent the Philippines in the 1964 Venice Biennial itself represents a high peak in the rise of modern art in the country.

Title: Las Damas Romanas Artist: Juan Luna Technique: Oil paint Date: 1958

9. Fishermen at Sea by Ang Kiukok

Ang Kiukok was a Filipino painter known for his expressive, Cubist-like works. He often chose dynamic or disturbing subject matter, frequently depicting rabid dogs, crucifixions, and screaming figures in an abstracted geometric style. When asked why he often chose subjects full of such angry he once replied “ Why not? Open your eyes. Look around you. So much anger, sorrow, ugliness. And also madness . “

He is acclaimed for his series of Fishermen at Sea , which connects both energy, faith and the struggle of fishermen under a vibrant crimson sun labouring together to bring in the haul for the day.

Title: Fishermen at Sea Artist: Ang Kiukok Technique: Oil on canvas Date: 1981

10. Spoliarium by Juan Luna

The Spoliarium (often misspelled Spolarium ) is a painting by Filipino painter Juan Luna. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal. The picture recreates a despoiling scene in a Roman circus where dead gladiators are stripped of weapons and garments.

Title: Spoliarium Artist: Juan Luna Technique: Oil paint Date: 1884 Location: National Museum of Fine Arts, Manila

(source: Wikipedia)

Did you know most of these paintings? Did I inspire you to visit a museum to learn more about Filipino Art? I really hope I did! There are so many museums and new young local artists out there for you to discover.

Art and artists in the Philippines don’t get enough recognition and support. People who pursue artistic careers, are often not taken seriously, or they’re even looked down on, as it is believed that it’s a career that won’t “ feed you “, or “ provide you a roof over your head “, neglecting the importance art has in our lives and crashing many people’s dreams and passions. Support Filipino art because it deserves to be recognized more. Art can be a powerful tool to express yourself, when your voice cannot be heard .

We live in a place so full of culture and history, so full of stories waiting to be told through different lines and words and brush strokes and film scenes. Aleeza Abinuman

#SupportFilipinoArt

If you’re an aspiring Filipino artist, send your artwork to [email protected], we’re collecting works to be featured on the blog and on our instagram page! It can be a photo of your artwork or a digital painting. Can’t wait to see your works! Don’t forget to include your instagram username, so we can tag you!

For more info, check out our page dedicated to supporting the Filipino Art Community .

Published by kath magpantay

Art enthusiast with a passion for traveling and exploring the world. Aspiring architect. The dream is to leave everything to be on some far away island, where I can play the ukulele all day, under the sun and the beautiful palm trees. View more posts

Beyond the Image: Filipino Identity Through the Arts

A multimodal essay about visual arts and filipino identity | prelims equivalent.

Through the years, the visual arts have evolved around the world yet up until today, most of their purpose is still quite similar to how the visual arts were still used in early or ancient times. Arts were a form of personal self-expression of what the artists have gone through whether positive or negative expressions, a social or political movement, and these expressions create a unique connection between the arts and identity. Although the arts still haven’t been clearly defined, these are some facts that art was indeed used for such purposes.

So how can these expressions connect the arts and identity? Well, artworks are something tangible and seen, our identities or a place’s identity can be portrayed through visual things. Imagine your own personal room, the things seen in a room are different from one person to another subtly hinting at the owner’s character and identity, yet again, up to one’s interpretation of that room including your own interpretation to it.

For this essay, we aren’t going to talk about your room, but we’ll look over beyond the image, of what is seen in visual arts that talk about our identity, our very own Filipino identity.

The visual arts have been an essential factor in the formation and representation of Filipino identity. As a country with a diverse cultural background influenced by various traditions like indigenous, Malay, Chinese, and Spanish, the Philippines' art forms are a reflection of its rich and complex history. Filipino artists have utilized visual arts throughout the years to express their cultural heritage, share their narratives, and voice their opinions on social and political matters. These events and culture created through experience are what make up one’s identity, and for this, Filipino identity.

Let us look closer beyond the images by analyzing the next 4 artworks that explain what Filipino identity is through the use of the 4 planes of analyzing art according to Alice Guillermo’s essay.

1. Parisian Life by Antonio Luna (1892)

Oil on canvas | 57 cm × 79 cm (22 in × 31 in) | national museum of fine arts, manila.

The painting of "The Parisian Life" by Juan Luna

The Parisian Life portrayed a scene inside a cafe in Paris with a prominent subject of a foreign woman dressed formally in pink sitting on a couch overshadowing 3 men with top hats in the background of the scene. Other than these are 2 glasses of beer and empty beer mug. There is an emphasis on the woman’s situation or experience in this café with her companions.

The subtle detail of beer mugs points out that the woman was accompanied by men as the woman was also identified as a prostitute which represented “fallen womanhood”. The woman was a symbolic image of a mirrored Philippine archipelago and the darkened neck, aligned to the mullion of the window behind her silhouetting a rope, as if the woman was strangled, portrayed the idea that the Philippines was under stress.

It was told that the 3 men were Juan Luna, Jose Rizal, and Ariston Bautista Lin in an expedition in Paris as he became renowned in Europe, during this time, Luna moved away from the usual dark mood of works while participating in Rizal’s movement. In relation to Filipino identity, the scene shows the 3 men embracing the Western lifestyle yet remaining Filipino at heart hence looking at the woman symbolized the Philippines. A subtle portrayal of one’s patriotism and national consciousness is common to Filipinos especially abroad or OFWs today. During the creation of this painting as well, was the rise of social upheavals in the country under Spanish colonization, it reflected the aspirations of Filipinos for freedom abroad yet battling the crisis of the country under the grasp of the Spaniards. The Spanish colonization was a big chunk of influence in the Filipino Identity, despite being “Spanish”, these were still significant influences that molded what is still the “Filipino” identity.

Below is another group of students’ interpretation that’s similar to most analyses of the said painting.

2. People Power Monument by Eduardo Castrillo (1993)

Steel sculpture | 18m(59ft) | epifanio de los santos ave, mandaluyong, metro manila.

The People Power Monument is designed in a pyramidal composition elevated in steps. Each tier of the pyramid composition are composed according from bottom to top, civilians with arms linked together, young and old with different background, and one towering figure of a woman with arms wide open towards the sky with shackles on the wrists that are unchained. It emphasizes on what looks like a community readily coming together for a purpose.

The unchained shackles represented freedom, with the people of different backgrounds around supporting together a protest fighting for freedom about an issue. 3 towering steel arches behind represent the 3 branches of government namely legislative, executive, and judiciary expressing the protest against the government.

Renowned steel sculptor, Eduardo Castrillo, an alumnus of the University of Santo Tomas created a monument in memorial to the revolution that happened around 1986. Due to the issues of martial law that caused chaos and human rights violation, people took it upon their hands to act and had a protest along the streets of EDSA thus the creation of this monument to commemorate the memory of the EDSA People Power Revolution that supported democracy further in the country battling and calling out the violations of the government. A call for peace and freedom in the country. Another event and artwork showcasing the Filipino’s perseverance amidst chaos and their love for the country’s overall peace. Up until today, the Filipino people continued to protest for their right to voice their concerns in a democratic country. The events during the Marcos regime reshaped Filipino identity, mostly in the creation of different “Filipino architecture” and social events such as martial law, and the revolution.

The video below shows a brief documentary of the events in the People Power Revolution.

3. Bayanihan by Fernando Amorsolo

Oil on canvas | university of santo tomas museum, manila.

The Bayanihan painting by famous artist Fernando Amorsolo shows a Filipino community helping together in carrying a “kubo”, or hut in daylight to transfer the hut from one place to another. The painting emphasizes a community helping the owner in transferring the hut.

The simple painting of a common practice in the Filipino community is the act of helping one in need. The concept of bringing a community together to help someone is the idea of “bayanihan”. The warm, golden light of the atmosphere set a sense of harmony and serenity in the act of helping a person, not forced to help/enslaved, but rather a voluntary act of kindness.

The creations of Fernando Amorsolo are usually realistic scenery of Filipino life and community. An artist who is famous for showing the daily life of Filipinos and the positive traits of Filipinos hence the warm bright atmosphere of most of his paintings. The Filipino identity showcased in most of his paintings is what brings Filipinos to a positive light from a global perspective. The kindness, hospitable, and simple lifestyle of Filipinos. The painting reflected the unity and peacefulness of the Filipinos through the act of Bayanihan. In present times, bayanihan may be shown at different events simply gathering together to help others commonly neighbors in need.

Here is a song to support the bayanihan trait of Filipinos that makes up our identity by Christian Dumaplin. In Fernando Amorsolo’s painting, he showed this helpful identity of Filipinos in a traditional way, in this song, it expounds where this trait can be seen in other things in a Filipino’s life. No matter who you are or what you are, as Filipinos, we can be trusted as we are generally helpful throughout the history of the Philippines.

4. First Mass at Limasawa by Carlos “Botong” Francisco (1965)

Oil on canvas | 33 x 63.5 cm. (13 x 25 in.) | national museum of fine arts, manila.

Last but not the least is the painting of Botong Francisco, the First mass at Limasawa. It shows a mass among the Filipino natives and Spanish soldiers. An emphasis on a religious event happening among the two communities.

In the said painting, the people are the Spaniards alongside Ferdinand Magellan in his exploration and discovery of the Philippine islands according to Antonio Pigafetta’s historical documents. The priest is Fr. Pedro Valderrama, who officiated the first mass during this historical event. Magellan, in the foreground with a sword piously bowing to the mass in prayer. Among the people in the painting, on the leftmost and rightmost sides are the natives including the chieftain Raja Kolambo was present during this mass. This event was referenced in Pigafetta’s writings including the details of an improvised altar using bamboo. The first-ever religious event that shaped and influenced the Philippines onwards.

The painting was created at a request by the Philippine government in celebration of the 400 th year of Christianity in the country. As a country colonized by the Spaniards for the longest time, religion was one influence that significantly changed the country in the aspect of beliefs and values which are crucial in the decision-making of things such as the issues of LGBTQ in today’s time. Despite the controversies between politics and religion, the fact that such religious events had influenced the country became also the identity of Filipinos. Filipinos are religious, anchored in the teachings of Catholicism and Christianity, people began to celebrate and seriously took the scriptures, masses, and religious events yearly in the country from then up until today.

The Filipino Identity is still quite debatable as a concept due to the different issues that arose around it such as the influences that weren’t “truly Filipino” Yet overall, the complexities of historical influence and culture of the Philippines are things that made our Filipino identity unique. These are just some of the visuals that depict the Filipino identity. Filipinos had gone through a lot, throughout the struggles of different colonization, social, and political issues, Filipinos have also built themselves as a community, showing bayanihan, perseverance, and great hospitality.

Leave a comment and let us know your thoughts on the matter, are these artworks enough to show and explain Filipino identity? What is the Filipino identity?

History Of Philippine Art Timeline

This timeline presents the history of philippine art, including precolonial, spanish colonial, american colonial, and contemporary periods. discover the important artists, styles, and movements that have shaped the philippine art scene. more less, spanish colonial period, juan luna's "spoliarium" unveiled.

Juan Luna's "Spoliarium," unveiled in 1884, is one of the most iconic artworks in Philippine art history. This massive painting depicts the aftermath of gladiatorial combat during the Roman Empire, symbolizing the oppression and suffering endured by the Filipino people under Spanish colonial rule.

Image source: Juan Luna

Botong Francisco's "The Progress of Medicine in the Philippines"

Carlos "Botong" Francisco, a prominent Filipino muralist, completed "The Progress of Medicine in the Philippines" in 1953. This mural, located at the Philippine General Hospital, depicts the evolution of medical practices and the contributions of Filipino healers throughout history.

Image source: Botong Francisco

American Colonial Period

The thirteen moderns exhibition.

The Thirteen Moderns Exhibition, held in 1938, marked a significant turning point in Philippine art history. This exhibition showcased the works of thirteen Filipino artists who embraced modernist principles, challenging traditional artistic norms and paving the way for contemporary art in the Philippines.

Image source: Victorio Edades

Fernando Amorsolo's "The Burning of Manila"

Fernando Amorsolo, one of the Philippines' most renowned artists, painted "The Burning of Manila" in 1945. This powerful artwork depicts the destruction of Manila during World War II, capturing the devastation and resilience of the Filipino people.

Image source: Fernando Amorsolo

H.R. Ocampo's "Genesis"

H.R. Ocampo, a prominent modernist painter, created "Genesis" in 1950. This vibrant and abstract artwork reflects Ocampo's exploration of form, color, and movement, showcasing his significant contributions to Philippine modern art.

Contemporary Art

Art association of the philippines founded.

The Art Association of the Philippines was founded in 1948, becoming a vital organization in promoting and supporting contemporary Philippine art. It has played a significant role in fostering artistic development, organizing exhibitions, and providing platforms for artists to showcase their works.

Vicente Manansala's "Jeepneys"

Vicente Manansala, a pioneer of Philippine modernism, painted "Jeepneys" in 1950. This iconic artwork captures the vibrant and colorful jeepneys, a popular mode of transportation in the Philippines, showcasing Manansala's unique style and portrayal of everyday Filipino life.

Image source: Vicente Manansala

BenCab's "Sabel" Series

Benedicto Cabrera, known as BenCab, began his iconic "Sabel" series in 1965. These paintings depict a stylized representation of a marginalized woman, symbolizing the struggles and resilience of the Filipino people. BenCab's "Sabel" series has become an important symbol of Philippine contemporary art.

Image source: Benedicto Cabrera

Imelda Marcos and the Cultural Center of the Philippines

Imelda Marcos, the former First Lady of the Philippines, played a significant role in the establishment of the Cultural Center of the Philippines (CCP) in 1969. The CCP became a hub for various artistic disciplines, hosting performances, exhibitions, and fostering the development of Philippine arts and culture.

Image source: Imelda Marcos

Social Realism Movement Emerges

1970 - 1979

The 1970s saw the emergence of the Social Realism movement in Philippine art, characterized by artworks that reflect social issues, political commentary, and the struggles of the Filipino people. Artists like Nunelucio Alvarado, Antipas Delotavo, and Pablo Baen Santos played significant roles in this movement.

Image source: Social realism

National Artist Awards Established

The National Artist Awards were established in 1972 to recognize individuals who have made significant contributions to the development and enrichment of Philippine arts and culture. This prestigious award honors artists across various disciplines, including visual arts, literature, music, and more.

Image source: National Artist of the Philippines

Kidlat Tahimik's "Perfumed Nightmare"

Kidlat Tahimik's "Perfumed Nightmare," released in 1977, is a critically acclaimed independent film that explores themes of colonialism, identity, and the Filipino experience. This groundbreaking film marked a significant milestone in Philippine cinema and garnered international recognition.

Image source: Kidlat Tahimik

Art Fair Philippines Inaugural Edition

The inaugural edition of Art Fair Philippines took place in 2013, becoming a prominent platform for showcasing contemporary Philippine art. This annual event brings together local and international artists, galleries, collectors, and art enthusiasts, contributing to the growth and appreciation of Philippine art.

Image source: Zean Cabangis

Pre-colonial Art

Angono petroglyphs discovered.

The Angono Petroglyphs, discovered in 1965 in Rizal, Philippines, are ancient rock engravings that date back thousands of years. These prehistoric carvings depict various animals, human figures, and symbols, providing valuable insights into the artistic expressions of the early inhabitants of the Philippines.

Image source: Angono Petroglyphs

Precolonial art in the Philippines includes pottery, goldsmithing, and weaving.
The Spanish colonial period introduced Christianity and European art influences.
Juan Luna and Felix Resurreccion Hidalgo, Filipino artists, gained international recognition in the late 19th century.
The American colonial period brought modernism and the establishment of art schools in the Philippines.
Contemporary Philippine art is characterized by experimentation and a reflection of social, political, and cultural issues.

This History Of Philippine Art timeline was generated with the help of AI using information found on the internet.

We strive to make these timelines as accurate as possible, but occasionally inaccurates slip in. If you notice anything amiss, let us know at [email protected] and we'll correct it for future visitors.

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Ukit at Hulma: a Brief History of Philippine Sculpture

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St. Louis Review Center, Inc-Davao Tel. No. (082) 224-2515 Or 222-8732 1 Types of Perspective:  One Point – a Representation of Distance by Means of Converging Lines Music, Arts, Physical Education and Health (MAPEH) Focus: The Visual Arts Competencies: 1. Distinguish and analyze the different elements, principles, and mediums of different visual arts 2. Identify and classify the different themes of visual arts in the Philippines 3. Appreciate and be proud of Philippine visual art masterpiece as part of cultural enrichment PART I – CONTENT UPODATE I. Definition of terms: 1. Painting – refers to the application of color, pigment, or paint to a surface or support. These surfaces may include paper, wood, canvas, metal or walls. Paint is made of pigment mixed in a binder. 2. Sculpture – a three dimensional artwork which may be through different processes, such as carving, modeling, assembling or casting. It may be executed as a free- standing object, in relief, or in environments, and a variety of media may be used. 3. Architecture – the art and science of designing and constructing buildings (structures), and other environmental features. II. The elements of Visual Arts 1. Line – the most basic of all elements. A line is an identifiable path traced by a moving point. Lines vary in types. They can be horizontal, vertical, diagonal, straight or curved thick or thin. Different lines are used to signify, different feelings. For example: Horizontal line – suggests a feeling of rest, serenity, or perfect stability Vertical line – dominance, height, power Diagonal line – uncertainty, unrest, movement or action Curved line – flow, softness, flexibility, grace 2. Shape – shapes and forms are figures which define object s in space. A shape is a two- dimensional figure. Circles, triangles, and squares are common examples of shapes. [Show full text]
UNIVERSITY of CALIFORNIA RIVERSIDE Naming UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. [Show full text]
Chinese Influences in Philippine Culture Miclat FEATURE ARTICLE Tradition, Misconception, and Contribution: Chinese Influences in Philippine Culture Maningning C. Miclat ABSTRACT This paper discusses Chinese influence on Philippine arts and crafts, as shown in artifacts from the Sino-Philippine trade of pre-Hispanic times—the churches, religious icons, and paintings of the Spanish period— and in the contemporary art of the Chinese Filipinos. The Chinese traditional elements are given new meanings in a new environment, and it is these misconceptions and misinterpretations of the imported concepts that influence and enrich our culture. THE PRE-HISPANIC PAST The Sino-Philippine trade is believed to have begun in AD 982. The History of the Sung Dynasty or Sung Shi, published in 1343- 1374, confirmed that trade contact started during the 10th century. A 13th century Sung Mandarin official, Chau Ju-kua, wrote a geographical work entitled “A Description of Barbarous Peoples” or Chu Fan Chi, the first detailed account on Sino-Philippine trade. The 14th century account of Ma Tulin entitled “A General Investigation of Chinese Cultural Sources” or Wen Shiann Tung Kuo referred to the Philippines as Ma-i.1 The presence of trade is further proven by the Oriental ceramics from China, Vietnam, and Thailand that have been excavated from many places in the archipelago (Zaide: 1990). The Chinese came to the Philippines and traded with the natives peacefully, exchanging Chinese goods with hardwood, pearls, and turtle shells that were valued in China. Traditional Chinese motifs that symbolize imperial power are found in the trade ceramics found in the Philippines. These are the 100 Humanities Diliman (July-December 2000) 1:2, 100-8 Tradition, Misconception, and Contribution dragon and the phoenix; auspicious emblems of prosperity, long life, and wealth, such as fishes, pearls, and blossoms, like peonies; and the eight precious things or Pa Bao, namely, jewelry, coins, open lozenges with ribbons, solid lozenges with ribbons, musical stones, a pair of books, a pair of horns, and the Artemisia leaf. [Show full text]
Download ART ARCHIVE 01 ART ARCHIVE 01 CONTENTS The Japan Foundation, Manila Introduction ART ARCHIVE 01 NEW TRAJECTORIES OF CONTEMPORARY VISUAL AND PERFORMING ARTS IN THE PHILIPPINES by Patricia Tumang Retracing Movement Redefining Contemporary Histories & Performativity Visual Art EXCAVATING SPACES AND HISTORIES: UNDERSTANDING THE CONTEMPORARY FILTERS: The Case of Shop 6 IN PHILIPPINE THEATER A View of Recent by Ringo Bunoan by Sir Anril Pineda Tiatco,PhD Philippine Contemporary Photography by Irwin Cruz VISUAL ARTS AND ACTIVISM IN THE PHILIPPINES: MAPPING OUT CONTEMPORARY DANCE Notes on a New Season of Discontent IN THE PHILIPPINES GLOBAL FILIPINO CONTEMPORARY ARTISTS by Lisa Ito-Tapang by Rina Angela Corpus by Jewel Chuaunsu BRIDGE OVER THE CURRENT: S A _ L A B A S / O U T S I D E R S: CONTEMPORARY VISUAL ART IN CEBU Artist-Run Festivals in the Philippines A Brief History of Why/When/Where We Do by Duffie Hufana Osental by Mayumi Hirano What We Do in Performance by Sipat Lawin Ensemble Contributor Biographies reFLECT & reGENERATE: A Community Conversation About Organizing Ourselves by Marika Constantino Directory of Philippine Art and Cultural Institutions ABOUT ART ARCHIVE 01 The Japan Foundation is the only institution dedicated to carrying out Japan’s comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster friendship, trust, and mutual understanding. With a global network consisting of its Tokyo headquarters, the Kyoto office, two Japanese-language institutes, and 24 overseas offices in 23 countries, the Japan Foundation is active in three areas: Arts and Cultural Exchange, Japanese-Language Education, and Japanese Studies and Intellectual Exchange. [Show full text]
Place of Region in the Contemporary Catalogue Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. [Show full text]
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. [Show full text]
Victorio C. Edades TUESDAY, JANUARY 17, 2012 Victorio C. Edades Victorio C. Edades (1895-1985) Philippine National Artist Father of Modern Philippine Art This special post is dedicated to a great Filipino master who spent his retirement years with his family in Davao City from 1967 until he breath his last on 1985 at age 89. He was a Philippine National Artist, and co-founder of the Mindanao Ethnoculture Foundation that focused on the indigenous culture and heritage of Mindanao. He was Victorio C. Edades, "Father of Modern Philippine Art." Born on December 13, 1895 in Barrio Bolosan in Dagupan, Pangasinan, Victorio Edades was the youngest of ten children, six of whom died from smallpox epidemic shortly before the turn of the 20th century. Edades' artistry began at an early age. He obtained his early education in barrio schools and went to a high school in Lingayen, Pangasinan. By seventh grade, his teachers were so impressed with his talent that he was fondly named, "apprentice teacher" in his art class. He was very good in class from the very beginning, having earned several awards in school debates and writing competitions. University of Washington in Seattle, USA In 1919, after high school, Edades left for the United States to study arts. He initially worked in salmon canneries in Alaska and eventually moved to Seattle where he took up Architecture at the University of Washington and earned a Master of Fine Arts in Painting. It was also during his stay in the U.S. that he married American Jean Garrott, with whom he had his only daughter, Joan. [Show full text]
FRISSON: the Collected Criticism of Alice Guillermo FRIS SON: The Collected Criticism of Alice Guillermo Reviewing Current Art | 23 The Social Form of Art | 4 Patrick D. Flores Abstract and/or Figurative: A Wrong Choice | 9 SON: Assessing Alice G. Guillermo a Corpus | 115 Annotating Alice: A Biography from Her Bibliography | 16 Roberto G. Paulino Rendering Culture Political | 161 Timeline | 237 Acknowledgment | 241 Biographies | 242 PCAN | 243 Broadening the Public Sphere of Art | 191 FRISSON The Social Form of Art by Patrick D. Flores The criticism of Alice Guillermo presents an instance in which the encounter of the work of art resists a series of possible alienations even as it profoundly acknowledges the integrity of distinct form. The critic in this situation attentively dwells on the material of this form so that she may be able to explicate the ecology and the sociality without which it cannot concretize. The work of art, therefore, becomes the work of the world, extensively and deeply conceived. Such present-ness is vital as the critic faces the work in the world and tries to ramify that world beyond what is before her. This is one alienation that is calibrated. The work of art transpiring in the world becomes the work of the critic who lets it matter in language, freights it and leavens it with presence so that human potential unerringly turns plastic, or better still, animate: Against the cold stone, tomblike and silent, are the living glances, supplicating, questioning, challenging, or speaking—the eyes quick with feeling or the movements of thought, the mouths delicately shaping speech, the expressive gestures, and the bodies in their postures determined by the conditions of work and social circumstance. [Show full text]
20 Pieces You Should Check out at Art Fair Philippines 2020 20 Pieces You Should Check Out at Art Fair Philippines 2020 Images and text by: Koji Arsua I have made it my pilgrimage to visit Art Fair Philippines. I have not missed a single once since 2013 and I’m glad I made it to this year’s edition. I found this run more exciting, especially the Special Projects section, which was tastefully curated by Norman Crisologo. The way the section was exhibited was cohesive, so moving from one exhibit to another felt more seamless. This year had 61 galleries (compared to 52 last year) but the fair felt spacious and I was less overwhelmed. As a result, I was able to connect deeper to the pieces and find artwork that spoke to me. My friend Marz Aglipay, the head of digital content at Art+ magazine, has a tip: Start from the top and head your way down, ending the show with the Special Projects section. If you’re going to catch Art Fair Philippines 2020 from February 21 to 23 at The Link, Makati, here are the pieces you should check out: 1. Jellyfish Kisses’ Soft Punk s/s 2020, a “safe space for queers, trans sisters, outsiders, or anyone who needs a safe environment.” You can sit here and chat with the artist and take some fabrics to sew or embroider to the pieces. 2. Hauntingly beautiful works by Neil Pasilan. His works took up an entire wall and I was transfixed for a long time. They drew me in with their hypnotic quality. 3. This piece by Jaime de Guzman also drew me in 4. [Show full text]
Gender As the Elephant in the Room of Southeast Asian Art Histories Art on the Back Burner: Gender as the Elephant in the Room of Southeast Asian Art Histories Eileen Legaspi-Ramirez Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 3, Number 1, March 2019, pp. 25-48 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2019.0002 For additional information about this article https://muse.jhu.edu/article/721044 [ Access provided at 23 Sep 2021 11:07 GMT with no institutional affiliation ] Art on the Back Burner: Gender as the Elephant in the Room of Southeast Asian Art Histories EILEEN LEGASPI-RAMIREZ Abstract Despite the operative skepticism about the way compensatory art history appears to have reduced the feminist project to merely expanding rather than challenging the canon, the assertion here is that still too scant attention has been paid to studying the critical role that primarily woman artist-organisers have played in shaping narratives of practice. In focusing on their visible tasks through variable degrees of sublimating art practice in deference to less visible tasks like archiving, art education, organising and publication, the research also privileges the aspects of circulation and reception as it revisits the shaping of artworlds in stories that have ironically kept such ‘maintenance’ tasks virtually off the record. It is telling that certain visual correlatives for the woman in Southeast Asia continue to circulate: from Garuda’s wing in Indonesia to an elephant’s hind legs in Thailand, we find amidst these variably poetic depictions an emplacing that literally decentres women from the pivotal junctures of action. [Show full text]
Philippine Visual and Performing Arts Ms. Banaue Miclat-Janssen Casa Bayanihan Consultation by Appointment Spring 2014 [email protected] /0999-504-2898 Philippine Visual and Performing Arts Ms. Banaue Miclat-Janssen Casa Bayanihan Consultation by appointment Spring 2014 [email protected] /0999-504-2898 COURSE DESCRIPTION PHILIPPINE VISUAL AND PERFORMING ARTS is a four-unit course that develops understanding and appreciation of the various performing and visual arts in the Philippines. The course uses a practical, task-based learning strategy as its basic approach to understanding the arts and appreciating Filipino culture. Teaching and learning this course is carried out and achieved through a set of highly-focused, well-structured, problem-posing activities which provide learners with opportunities for actual use and practice. COURSE OBJECTIVES By the end of the semester, the students should be able to: 1. Identify and discuss the formal elements, principles of design, and distinct styles in Philippine artworks. 2. Explore issues concerning class, race, and gender on personal and social levels through research- based artistic output. 3. Organize activities that will allow students to engage, examine, and evaluate the aesthetics of a local community. 4. Assemble a project for initiating aesthetic cultivation within that community that illustrates how art is a product of historical and environmental influences. COURSE OUTLINE AND TIMEFRAME WEEK LESSON 1 Intro lecture and activity 2 Lecture on Art and a brief history of the Philippines 3 Traditional Philippine games 4 Museum visit: Ayala Museum, Makati 5 Report: Philippine beliefs and superstitions 6 Report: Philippine songs + Harana 7 Report: Philippine dances + Tinikling 8 Report: Philippine theater + play watching 9 Assignment activity output + Activity 10 Film viewing: Oro, Plata, Mata 11 Class discussion/Final group project 12 Museum and festival visit: TBA 13 Final group project presentation/Assessment/Evaluation REQUIRED READINGS • Datuin, Flaudette May, et. [Show full text]
The Spectacular Mid-Year Auction 2020 León Gallery FINE ART & ANTIQUES The Spectacular Mid-Year Auction 2020 20 June 2020 | 2:00 PM Marc Aran Reyes (b. 1996) The Audacious Future (The Onerrific Timepiece Series) León Gallery FINE ART & ANTIQUES Auction Saturday | June 20, 2020 2:00 PM Preview June 13 - 19, 2020 9:00 AM - 7:00 PM Venue G/F Eurovilla 1 Rufino corner Legazpi Streets Legazpi Village, Makati City Philippines Contact www.leon-gallery.com [email protected] +632 8856 2781 Be@rbrick x MEDICOM Jackson Pollock Be@rbrick - 1000% Limited Director Jaime L. Ponce de Leon Curator Research and Text Lisa Guerrero Nakpil Jed Nathan Daya Andrea Lim Consultants Martin I. Tinio, Jr (+) Graphic Arts Ramon N. Villegas (+) Joemari Barbacena Aldrene Harold Carillo Management Patricia Louisse Dato Jane Daria Edwin Hurry Jr. Aliana Jannie Bricenio Richelle Custodio Gallery Support Team Magdalina Juntilla Nestorio Capino Jr. Reymar Jurado Zinister Allan Carmona Geller Nabong Ramil Flores Nyza Mae Neri Robert Gotinga Aleza Nevarez Jayson Lopez Rouel Sanchez Wilfredo Manalang Louise Sarmiento Generoso Olaco Celina Sta. Ana Manuel Sintos Joanna Tamayo Allan Jules Torrion Reneliza de Taza Published by León Gallery G/F Eurovilla 1 Rufino corner Legazpi Streets, Legazpi Village, Makati City, Metro Manila, Philippines This catalogue is published to accompany the auction by León Gallery entitled The Spectacular Mid-Year Auction 2020 All rights reserved. No part of this catalogue may be reproduced or reprinted without the express written consent of León Gallery. While all reasonable efforts have been made to ensure accuracy of details in this publication, Leon Gallery does not, under any circumstances, accept full responsibility for errors, omissions and representations expressed or implied. [Show full text]

Essays on the history, forms, and production of Philippine theater, as well as its important works, studies, artists, venues, and organizations

Historical Essays

Essays on the development of philippine theater.

Philippine Theater

Indigenous traditions and transformations in philippine theater, hispanic traditions and transformations in philippine theater (1565 onward), american traditions and transformations in philippine theater (1900 onward), philippine theater during the third republic (1946-72), forms and types, essays on indigenous performances, hispanic dramas, anglo-saxon-influenced theater, and contemporary works in philippine theater.

Brechtian Theater

Aspects of theater, essays on topics related to the production, performance, documentation, and evaluation of philippine theater.

Acting in Theater

Audience, time, and space in theater, awards and grants in theater, costume in theater, criticism in theater, works: productions, essays on important filipino plays and musicals.

... And St. Louis Loves Dem Filipinos

Abadeja: ang ating sinderela, alang dios, anak ng dagat, silay ng liwanag, works: studies, essays on major studies of philippine theater.

The Aesthetics of Poverty: A Rationale in Designing for Philippine Theater

Ang aklat likhaan ng dula 1997-2003: kapangahasan bilang kaligtasan, aurelio tolentino: selected writings, balagtasan: kasaysayan at antolohiya, bangon: antolohiya ng mga dulang mapanghimagsik, artists, organizations, and venues, profiles of theater artists, groups, venues, and institutions in the philippines.

Abad, Antonio M.

Abad, ricardo, abad santos, ana, abdon, bonifacio.

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What is philippine about philippine art and other essays.

Leonidas V. BENESA

National Commission for Culture and the Arts (Manila, Philippines)

art criticism , Philippines

anthology,

Goodbye, Leo, and Welcome

Abstraction and Image in Lao and Albor

Arturo Luz: Artist With a Mandarin Sensibility

Lorenzo: The Filipino Sensibility in Still Lifes

Valencia-Eala's Still Lifes and Interior Scenes

Dazzling HRO Retro at MOPA

The Place of Man in Cian and Ricio

A Muslim Artist's Homage to Pigafetta

Olazo: An Aesthetic of Transparency

The Kulay Anyo: Art for the Public

Castrillo: Doing the Giant's Work

The Painter Baldemor as Sculptor

Whatever Happened to Sculptor Ildefonso Marcelo?

Philippine Sculpture is Alive and Well

Illustration as Art in Realist Exhibits

Eustaquio: Minor Master in the Shadows

The Score with Dimasalang's SYM

Towards a Watercolor Movement

'Filipinas ni Bencab' as Revolutionary Art

In Search of the Filipina with Remy Boquiren

Filipino Leitmotifs in Tabuena and Baldemor

Sanso's Pale Moon, Druidic Sun and Rushing Waters

Zaballero's Grids of Memory

Ong's Lotus Paintings at ABC

'Year of the Horse' and others by three artists

'Southern Art' at ABC and Bleue

Ibarra's Tropicalia of Colors

The First CCP Annual Art Exhibition

The Art Market and the Young Artist

Portrait of Bernardo as Underrated Artist

Art Association of the Philippines: Its a crisis when there's no crisis

Nena Saguil: Aesthete of Solitude

The Printmakers

Samonte's Colorscapes at Bleue

Forty Years of a Master Painter

From Light to Serious Art

The Cruciform Icon in Ang Kiukok's Art

The Baked Clay Works of Julie Lluch

The Trascendentalists in Philippine Art

Moon Series in Print Show

Of Horses and Orchids with Tomas Bernardo

Lessons in Print Techniques by Gelvezon-Tequi

The Metropolitan Museum of Manila

MOPA Inaugurates First Friday Group

The Return of Norma Belleza

Implications of Aguinaldo's CCP Show

Jose T. Joya: A Name for Abstract

'Vintage Art' at Rear Room

The Aesthetic of Realism in Philippine Art

Reflections at an AAP Annual

The Master From Angono

Olmedo's Dark Art in Color at Heritage

Victorio Edades

Dalena as Major Expressionist

E. Aguilar Cruz: The Humanist as Artist

The Social Uses of Art i Baens-Santos

Situational Sculpture at CCP

The MOPA Selection for 1979

Nestor Vinluean Painters' Painter

Antonio Austria: People's Artist

Rodriguez: The Printmaker as Painter

Doplon's Rhapsodies in Blue and Okir

Arellano: Blazing Sunset Finish

Angelito Antonio: The Mother Theme

The Saturday Group's 10 Years of What

The Grid as Device-Excuse in CCP Show

How Abstract is Philippine Abstract Art?

An Amorsolo Festival

Paras-Perez's 'Form-Probes'

Where is Solomon Saprid's Lonely Gom-Bur-Za Statue Going?

In Search of Identity With Old Masters

Is There a Magic in Stevesantos' Realism?

What is Philippine about Philippine Art?

A Visit to TOYM Awardee Raul Isidro

Wit Spices the Erotic in Abueva Exhibition

Filipino Motifs in Cajipe-Endaya's Prints

Bose: Artist as Medicine Man

From Expressionistic to Transcendental with De Guzman

David Medalla: The Country's Foremost International

Lamarroza: The Painter as Ecologist

Francia: The Poet as Painters' Painter

Philippine Contemporary Art as a Post-War Phenomenon

What is Philippine about Philippine Art? and Other Essays

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Shortlist | The Philippines

Recommended readings on Philippine contemporary art

NEWS/COLUMN

Philippine Art: Contexts of the Contemporary

Patrick D Flores and Carlos Quijon, Jr.

Ginoe, Kabit Sabit All images courtesy of the artists and writers

The history of contemporary Philippine art traverses a vibrant terrain of artistic practices that delicately and urgently mediate the modernity of art history, institutions, exhibition-making, and the expansive activity of curatorial work. It performs this range of gestures to speak to and intervene in the ever-changing political milieu and the vast ecology, as well as ethnicity, of the archipelago. The Cultural Center of the Philippines (CCP), which opened in September 1969, is an important institution in this history. The CCP was founded during the term of President Ferdinand Marcos, with the First Lady Imelda Marcos securing the funds for its construction and serving as its first chairperson. Its mandate was to promote national cultural expression and to “cultivate and enhance public interest in, and appreciation of, distinctive Philippine arts in various fields.” Other institutions of culture during this time were the Design Center of the Philippines (DCP), founded in 1973, the Museum of Philippine Art (MOPA), and the Metropolitan Museum of Manila (MET), the latter two instituted in 1976. The artist Arturo Luz concurrently directed these institutions, with his eponymous gallery practically managing the MOPA. The CCP was a venue for modern and international art and helped cultivate ideas of contemporary conceptualist and performance art. The practice of Raymundo Albano, curator of various spaces within the Center from 1970/1 until his death in 1985, is important in the development of curatorial discourse and practice in the Philippines. During his term, he conceptualized the idea of Developmental Art, which for him was a “powerful curatorial stance” inspired by “government projects for fast implementation.” Albano’s provocations inspired a rethinking of the nature of the art work: its form, cultural lineage, relationship with the audience, and ability to absorb the desire for distinction and identity. His initiative Art of the Regions, which presented the works of Junyee, Genera Banzon, and Santiago Bose is exemplary. Apart from these initiations, Albano also inaugurated the CCP Annual, a presentation of representative works of the year; and oversaw the publications Philippine Art Supplement, a bi-monthly art journal that ran from 1980 to 1982, and the three-issue magazine Marks, with Johnny Manahan. In 1981, Junyee organized the project Los Baños Siteworks. It was an exhibition held in a three-hectare “halfway ground between the mountain and the city.” For this platform, the region is imagined as a site and a sensibility away from the conventions of the typical gallery exhibition: “By utilizing nature’s raw materials as medium, the relationship between the art object and its surroundings are fused further into one cohesive whole.” The trope of region was a way of shifting the ecology of contemporary art exhibition, now “no longer confined within the boundary of gallery walls.” As Junyee describes the works in the exhibition: “Like extensions of nature, the works sprouted from the ground, floated in the air, surrounded an area, dangled from branches in random arrangement around the exhibition site.” Outside the Center, “social realism” developed in response to an increasingly authoritarian political milieu under the auspices of the developmentalist regime of Marcos. The term was explicated by critic Alice Guillermo who describes it as “not as a particular style but a commonly shared sociopolitical orientation which espouses the cause of society’s exploited and oppressed classes and their aspiration for change.” According to her, social realism was “rooted as it is in a commitment to social ideals within a dynamic conception of history, social realism in the visual arts grew out of the politicized Filipino consciousness.” The latter was forged by the Philippine revolution against Spain in 1896 and the continuing struggles against all oppressive systems. Guillermo argues that social realism in the Philippines “stresses the choice of contemporary subject matter drawn from the conditions and events of one’s time,” and “is essentially based on a keen awareness of conflict.” Whereas realism may be construed as a merely stylistic term, social realism is a “shared point of view which seeks to expose or lay bare the true conditions of Philippine society.” The work of the collective Kaisahan (Solidarity, 1975-6) whose members included painters Papo de Asis, Pablo Baen Santos, Orlando Castillo, Jose Cuaresma, Neil Doloricon, Edgar Talusan Fernandez, Charles Funk, Renato Habulan, Albert Jimenez, Al Manrique, Jose Tence Ruiz, and later joined by Vin Toledo, became emblematic of this tendency.

The quicksilver practice of the wunderkind David Medalla flourished during this milieu, albeit in an idiosyncratic vein. He was a homo ludens, provocateur, poet, and a prominent figure in modern and contemporary art in the Philippines and elsewhere who worked on kinetic, installative, participatory art, and other actions that do not neatly fall into accepted categories. During the opening of the CCP in 1969, he led a blitzkrieg demonstration that protested against what he saw as the Center’s philistinism. Caught by a cop securing the grand opening, Medalla was escorted outside, and when asked if he had the necessary permit to protest, he handed over his invitation, from the First Lady Imelda Marcos no less, and invoked his right to unfurl his art work—a cartolina on which was hand-painted: “A BAS LA MYSTIFICATION! DOWN WITH THE PHILISTINES!” The government of Ferdinand and Imelda Marcos was deposed in 1986 by way of the EDSA People Power uprising. With the uprising came a renewed democratic impetus that skewed the priorities of institutions ensconced by the Marcoses. From being a venue for international travelling exhibitions, the MET focused on Filipino art. The CCP started to exhibit works of social realist artists, which could not be hosted in the 1970s. The DCP was absorbed by the Department of Trade and Industry. The administration of the MOPA was debated upon by organizations in a series of meetings revolving around the anxiety of what it takes for a post-Marcos institution to be democratic. In the end, it was discovered that the site of MOPA was not owned by the Philippine national government and that the institution itself did not have funds to continue its operations; ultimately, it was shuttered. The democratic impulse, alongside its myriad mystification from a resurgent pre-Marcos oligarchy, informed artistic practices and shaped ecologies of participation during this period. Artist collectives were formed as part of the renewed sense of democratized practice. Kababaihan sa Sining at Bagong Sibol na Kamalayan (Women in the Arts in an Emerging Consciousness, KASIBULAN) was founded in 1987 by visual artists Ida Bugayong, Julie Lluch Dalena, Imelda Cajipe Endaya, Brenda Fajardo, and Anna Fer. It was inspired by a consultation conference on Women Development organized by the National Commission on the Role of Filipino Women (NCRFW). At the heart of the organization was the goal to surface a “collective consciousness of Filipino women from which new image and identity can emerge and transformation can begin by giving a sense of power and empowerment” by creating “network[s] with women artists regionally, nationally, and internationally.” This collective consciousness presents itself in “her visual language, her sensibility, and artistic excellence” and in “symbolism, imagery, values, and beliefs of women’s personal and collective transformation” and in an interest in “crafts that are the traditional domain of women—tribal, indigenous, or folk, as an alternative effort to the inescapable influence of Western modernism.” Besides such aspiration, the group also endeavored to “assist women’s groups in resolving women issues that have long hindered the socio-economic and cultural growth of Filipino women.” The membership was “open to all women in the arts—visual, literary, and performing artists including art historians, educators, and critics who demonstrate a willingness to work for the sisterhood’s goals.” From monthly fora, to exhibitions, to publications, the KASIBULAN fostered a community of women artists, conscious of the issues of gender and the potentials of feminist struggle if the consciousness veered towards it. In the 1990s, discourses around regionality gained exceptional traction, especially with the help of CCP’s Outreach and Exchange Program and the establishment of the National Commission for Culture and the Arts (NCCA) in 1992. The NCCA was the “the overall policy making, coordinating, and grants giving agency for the preservation, development and promotion of Philippine arts and culture.” The mandate of the CCP’s Outreach and Exchange Program and NCCA ensured support for initiatives and projects outside Manila such as the Baguio Arts Festival (BAF), inaugurated in 1989, the Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) founded in 1990, and the national travelling exhibition Sungdu-an (Confluence) that ran from 1996 to 2009. All three platforms convened artists from the regions and helped consolidate regional public spheres through exhibitions and meetings. The BAF, initiated by the Baguio Arts Guild, was instrumental in giving space for the arts and culture of the Cordillera region, north of Manila. The VIVA ExCon, helmed by members of the artistic collective Black Artists of Asia based in Negros Occidental, allowed for the cultivation of an inter-island connection among the provinces in the Visayas. Sungdu-an became an important step in the consideration of national art across archipelagic contexts through a curatorium based in the regions. Both VIVA ExCon and the Sungdu-an explored the potential of travelling as a method for artistic and curatorial practice in the Philippines and challenged notions of the “national” along axes of regions and the archipelagic condition. Today, the energy of artists, through their own volitions and the support of the market and the state, can be felt across the islands in the country, no longer confined to the center that is Manila, and freed from gospel of the prophets of international art. The belabored question of being Filipino has been displaced across the more productive notion of locality, one that is worldly and yet rooted. In many ways, the binary has been unmasked as a false choice and that the Philippine experience cannot sustain the premise. Alongside these more national considerations of region, international imaginaries of regionalisms also proliferated in the 1990s through exhibitionary and museological efforts. Important in this regard are the initiatives of the Asia Pacific Triennale (APT) organized by the Queensland Art Gallery in Brisbane that begun in 1993; the founding of the Singapore Art Museum (SAM) in 1996; and the pioneering collection and exhibitionary undertakings of the Fukuoka Art Museum (FAM) in Japan starting in 1979 and which became the Fukuoka Asian Art Museum (FAAM) in 1999. These three institutional initiatives offered a dynamic understanding of region-formation and regionality, prospecting the varied coordinates of the Asia-Pacific in APT, Southeast Asia in SAM, and Asia in FAM/FAAM.

Jocson, Princess Parade

The Fukuoka Art Museum pioneered in the exhibitionary efforts to present art from Asia. It inaugurated the Asian Art Show in 1979, one of the first exhibition platforms to present Asian art on a transregional scale. After the Fukuoka Asian Art Museum was established, the Asian Art Show transformed into the Fukuoka Asian Art Triennale which held its first edition in 1999. FAM also initiated the exhibition series Asian Art Today Fukuoka Annual featuring single-artist presentations, which included in its roster Roberto Feleo (Philippines, 1988), He Duo Ling (China, 1988), Tan Chinkuan (Malaysia, 1990), Tang Daw Wu (Singapore, 1991), Rasheed Araeen (Pakistan, 1993), Durva Mistry (India, 1994), Mokoh (Indonesia, 1995), Kim Young-Jin (South Korea, 1995), and Han Thi Pham (Vietnam, 1997). It also played an important role in the exhibition of art from Southeast Asia with exhibitions such as Tradition, Source of Inspiration (co-presented with the ASEAN Culture Center, 1990), New Art from Southeast Asia (1992), and Birth of Modern Art in Southeast Asia (1997). For its part, the Asia Pacific Triennial of Contemporary Art (APT) was the brainchild of the Queensland Art Gallery | Gallery of Modern Art and was established in 1993. APT presented an exhibition, a film program, projects for children’s art, and a public program that gathered artists all over Asia for talks and workshops. Exceptional in APT’s trajectory was its focus on contemporary art from Asia, the Pacific, and Australia. Their programming was sustained by acquisition and commissioning of new works. It cultivated research and publication and actively offered residencies and training programs for artists and museum professionals in the Asia-Pacific region through the Australian Centre of Asia Pacific Art (ACAPA). Finally, the SAM came to the scene in 1996, guided by the acquisition, annotation, and exhibition of contemporary art from Southeast Asia. It helped condense a regional imagination of art in Southeast Asia and was influential in its historicization and discursive formation. Moreover, it forged the status of Singapore as an important location for regional contemporary art. While institutional projects thrived in the 1990s, the late 1990s and the early 2000s saw the proliferation of independent and artist-run spaces, presaging the horizontal, peer-to-peer scenarios in the years to come. These spaces threw sharp light on forms of gathering and participating in the artistic landscape poised to be different from, if not critical of, the scale and the economy of institutional programs. Earlier examples include Shop 6, founded by a group of artists led by artist and inaugural CCP curator Roberto Chabet in the 1970s, as well as The Pinaglabanan Art Galleries run by the artist Agnes Arellano and her partner British writer Michael Addams in the 1980s. These spaces were usually privately funded or existed with the support of private foundations. Some remarkable examples were Third Space, which was an exhibition and performance space founded by artist and filmmaker Yason Banal in Quezon City in 1998; Surrounded by Water in Angono, Rizal, put together by artist Wire Tuazon in the same year and which later became a collective of artists including Jonathan Ching, Mariano Ching, Lena Cobangbang, Louie Cordero, Cristina Dy, Eduardo Enriquez, Geraldine Javier, Keiye Miranda, Mike Muñoz, and Yasmin Sison; and big sky mind, conceived by artists Ringo Bunoan, Katya Guererro, and Riza Manalo in Manila in 1999. One of the longest-running alternative art spaces, Green Papaya Art Projects, emerged in 2000. Built up by artist Norberto Roldan (who was also one of the founding members of the collective Black Artists in Asia) and dancer and choreographer Donna Miranda, Green Papaya was “an independent initiative that supports and organizes actions and propositions that explore tactical approaches to the production, dissemination, research, and presentation of contemporary art in various and cross-disciplinary fields. It continues to provide a platform for intellectual exchange, sharing of information and resources, and artistic and practical collaborations among local and international artists and art communities.”

These histories shape the trajectory of contemporary Philippine art in the 2010s and onwards. With the development of exhibitionary discourses within institutions and beyond it through independent art spaces, the figure and agency of the curator signified the intelligence that became necessary in navigating the complex networks and economies these historical developments referenced. The curatorial agency was borne out of the self-reflexivity cultivated in ideas of contemporary artistic production and history within or against the discourses of the institutional, the independent, and the commercial. Crucial in this development was the Curatorial Development Workshops (CDW), a platform for curatorial education and training that was initiated by the Japan Foundation, Manila and the University of the Philippine Jorge B. Vargas Museum and Filipiniana Research Center in 2009. The CDW provided “a platform for interaction among young curators, their peers, and established practitioners in the field.” From an open call, a selection of emergent curators would be invited to present exhibition proposals in a workshop setting, with professional curators sharing about their practices and projects. The first iterations of the workshops gave one of the participants a chance to work as an intern curator in a Japanese institution under the JENESYS (Japan-East Asia Network of Exchange for Students and Youth) program and was given the space and guidance to realize their proposed exhibitions at the Vargas Museum. In 2017, the exhibition Almost There was held at the Vargas Museum alongside smaller scale exhibitions organized by chosen workshop participants across different venues in Southeast Asia. The 2010s also saw novel imaginations and platforms of exhibition-making and the making public of art. In 2013, the Art Fair Philippines was launched. It was a large-scale platform for exhibiting and selling modern and contemporary visual art in the Philippines and Southeast Asia. It also helped expand the audience for local visual art and, in its more recent iterations, helped push questions of accessibility and the publics of art. The career of artist Ronald Ventura is symptomatic of how artistic agency relates to the market, without necessarily being overwhelmed by its demands. Ventura’s works continue to mobilize more traditional techniques alongside a sensibility keen on spectacle and seriality. Ventura once held the record of the highest selling artist in Southeast Asia when his large canvas painting Grayground sold for more than 8 million HKD at the 2011 Sotheby’s auction. In May 2021, his work Party Animal sold at the Christie’s 20th and 21st Century Art Evening Sale for 19 million HKD, 16 times its estimate. This said, artists have set up their own spaces, with residency and mentorship programs, attuned to the vicinities and constituencies around them. And the primary and secondary markets have been hectic, evidenced in numerous fairs, auction houses, and galleries. In all this, the quality of Philippine contemporary art may be described as consistent across persuasions, whether it be realist painting or conceptualist installation, postcolonial intermedia or printmaking, or research-based projects linked to photography, moving image, sound, action, or archive. The year 2015 saw the participation of the Philippines at the Venice Art Biennale after more than 50 years. In 2015, Patrick D. Flores curated the exhibition Tie A String Around the World. The pavilion presented the works of National Artists Manuel Conde and Carlos Francisco and artists Jose Tence Ruiz and Manny Montelibano, probing technologies of conquest and worldmaking and their resonances in the contemporary contestations of territory in the South China Sea. The succeeding year also saw the participation of the Philippines in the Venice Architecture Biennale with the exhibition Muhon: Traces of an Adolescent City which looked at the architectural and urban history of Manila throughout the years curated by Leandro Locsin, Jr., Sudarshan Khadka, and JP dela Cruz.

Alongside these developments were equally compelling tendencies of practice that mediated contemporary contexts of production and reception of art and the potent possibilities in the areas of collaboration, intervention, and participation in artistic environments in the most expansive sense. The practice of Nathalie Dagmang has ventured into these considerations. As a student of anthropology and visual artist, she is interested in the interfacing of contemporary conditions of human experience, from ecological disaster-prone communities to the experiences of migrant workers, with the artistic process harnessed as a way to prompt conversations around social engagement. For her work Dito sa May Ilog ng Tumana (2016) she looks at the urban community of Baranggay Tumana that is situated along the Marikina river. In her ethnographic project, she investigates how the relationship between the site and the community becomes mutually transformative: the residential settlements continuously change the topography of the river, and the river becomes inextricable with how daily life is imagined both as quotidian landscape and as a site in constant risk of inundation due to tropical typhoons. Dagmang also took part in “Curating Development,” a program based in the United Kingdom and funded by the Asian Human Rights Commission. Working with curators and anthropologists, she initiated workshops and community-based art activities with the Filipino migrant workers based in the United Kingdom and Hong Kong and conceived exhibitions that looked at the contributions of migrant labor to the Philippine imagination. The cogent relations between activism and performance are fleshed out in the practice of Boyet de Mesa, who also convenes the annual Solidarity In Performance Art Festival (SIPAF), an artist-organized project that promotes cultural exchange, solidarity, and peace through performance festivals that started in 2015. Artist Eisa Jocson’s practice discerns this same interventive potential in performance in her works that look at feminized and queer migrant labor, such as in the work Princess Studies (2017-) and The Filipino Superwoman Band (2019), with Franchesca Casauay, Bunny Cadag, Cath Go, and Teresa Barrozo. This performative agency likewise inspires the practice of artist and architect Isola Tong whose works interrogate urban space and development and notions of wildlife within the framework of transgender politics and ecosystems. Finally, it is through performance that the romanticization of the diasporic experience is refused without disavowing its intimacies and prospects: the practice of Noel de Leon who is based in London and co-directs Batubalani Art Projects takes interest in how objects survive and index traces of historical conflicts and circulations of both people and things. Meanwhile, the practice of Lilibeth Cuenca Rasmussen who is based in Copenhagen devises performances that propose simultaneously ludic and critical ways of struggling with the tenacious demands of “identity” and “culture” and their situatedness and displacements. This keenness on the options in participation and more horizontal logics of practice finds exceptional articulation in Load na Dito, a mobile research and artistic project founded in 2016 by artist Mark Salvatus and curator Mayumi Hirano. It foregrounds the critical and creative possibilities that inhere in collective and interactive action of making, presenting, and curating art. In 2019, Load na Dito proposed Kabit at Sabit , a multi-modal and multi-site exhibition that involved practitioners from all over the archipelago. From the Filipino words for connect or install and inspired by the Pahiyas Festival in Lucban, Quezon, the hometown of Salvatus, the curatorial project invited practitioners to create artistic projects that investigated installation as a technology of display. Each practitioner was asked to choose a façade in which they attached or installed objects, transforming the site into an exhibitionary space where art meets its public—both incidental and intentional. In these tendencies and trajectories of practice and institutional history, Philippine contemporary art demonstrates an acute discernment of persistent and current concerns, one that shapes the lively intellects of engaged artists and continually expands the effects of their intuitions.

Abuga-a, Kabit Sabit

Quinto, Kabit Sabit

About the Writers

Patrick D Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions of Asian Art in 2001-2003 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Past Peripheral: Curation in Southeast Asia (2008); Art After War: 1948-1969 (2015); and Raymundo Albano: Texts (2017). He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He was the Artistic Director of Singapore Biennale 2019 and is the Curator of the Taiwan Pavilion for Venice Biennale in 2022.

Patrick D Flores

Carlos Quijon, Jr. is a critic and curator based in Manila. He is a fellow of the research platform Modern Art Histories in and across Africa, South and Southeast Asia (MAHASSA), convened by the Getty Foundation’s Connecting Art Histories project. He writes exhibition reviews for Artforum and Frieze. His essays are part of the books Writing Presently (Philippine Contemporary Art Network, 2019) and From a History of Exhibitions Towards a Future of Exhibition-Making (Sternberg Press, 2019). He has published in MoMA’s post (US), Queer Southeast Asia, ArtReview Asia (Singapore), Art Monthly (UK), Asia Art Archive's Ideas (HK), and Trans Asia Photography Review (US), among others. He curated Courses of Action in Hong Kong in 2019, co-curated Minor Infelicities in Seoul in 2020, and In Our Best Interests: Afro-Southeast Asia Affinities during a Cold War in Singapore in 2021.

Carlos Quijon, Jr.

Searching for the Self-Re-Identities: Brief Introduction of Taiwanese Contemporary Arts, and Its Connection with Southeast Asia

Thai Contemporary Art -Past and Present-

Overview: History of Contemporary Art in Lao PDR

Overview: History of Contemporary Art in Myanmar

Overview: History of Contemporary Art in Cambodia

Overview: History of Contemporary Art in Thailand

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A Filipino Painter’s Perspective of Filipino Identity: What Makes Philippine Contemporary Paintings Truly Filipino

There has been literature examining artists and their paintings in Philippine art history. However, understanding Filipino identity in the field of contemporarypaintings from contemporary Filipino artists has not been researched extensivelyyet. The study, anchored on the psychoanalytic theory, answered the researchquestion, “What makes Philippine contemporary paintings truly Filipino?”Qualitative case study design was used to gain understanding of this concept froma Filipino painter in the field of Philippine contemporary visual arts. To accomplishthis, data were gathered using in-depth interviews with a Filipino painter who hasbeen active in contemporary art production, and currently involved in artorganizations and in the academe. According to the analysis of the interviews, thevisual character (alibata) incorporated in the artwork, is an essential identifyingelement in Philippine contemporary paintings. Another element is the subjectdepicting current events in the country. The ex...

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access to global ideas and materials. Sixty-two oil paintings were examined and, unlike the works in the fi rst case study, were mainly secular in their subject matter. The majority of works are by artists connected to the University of the Philippines School of Fine Arts (UPSFA), then the art academy in the Philippines.3 According to Luciano Santiago, the early twentieth-century works in the JB Vargas Collection ‘reads like the who’s who in the history of art in the Philippines’4, and one could consider it to represent oil painting practice in the Philippines during this time frame. The key objective is to review the material evidence in view of the artistic discourses that informed each practice, whether they were Western, indigenous or Chinese in origin, or something other than these. The supply of materials and production processes in the Philippines is also another area of investigation that allows us to assess the material options available to artists and why certain products ...

DAN RAFAEL SEBASTIAN

The research paper contains information related to Contemporary Philippine Arts from the Regions. It was a research work for the said subject.

Jessica Nicole Ramas Manuel

This thesis focuses on the artworks of Filipina-American artist, Pacita Abad. Trapunto, derived from a thirteenth-century Italian technique of embroidering or quilting, is both a medium and technique that incorporates found materials, stitching, layering of fabric, painting or dyeing. I therefore focus on the allusions to material and the techniques of creating trapuntos in order to investigate how this is particularly significant in the idea of cultural identity. Furthermore, within the three chapters of this thesis, I will investigate the ways in which Abad’s trapuntos, whether conceptually through the narratives portrayed within them, or through the techniques by which they are made and constructed inform the historical and contemporary issues of surrounding the Filipino identity. Informed by postcolonial and decolonial frameworks, I seek to decentralise this collective idea of the “Filipino Identity” by beginning to addressing how this problem first manifests within the national context and consequently, by continuing to explore how Abad in relation to both historical and current developments in the (Western) art world, subverts the narrative of modernism often upheld by art institutions and art historical discourse.

The Asian Conference on Ethics, Religion & Philosophy 2018 Official Conference Proceedings

Jove Jim S Aguas

The identity of nation is dynamic and continuously undergoes transformation. Given the constantly changing political, social, cultural and even economic environment the crucial question is how can a nation’s identity be preserved and transformed in the midst of all these changes. While national identity has some core elements it cannot remain static amidst external influences. These external influences bring about changes that can have a positive and a negative effect on a nation’s identity. One aspect of the identity of a nation is its arts which expresses in a creative and aesthetic manner the nation’s core values, ideals and aspirations. In sense it is a part of the cultural heritage of a people and expresses its very identity. In this paper I will focus on the role of arts in preserving and transforming the national identity in times of change. In this context I will discuss what I consider as the three fundamental functions of arts vis-à-vis national identity, namely, the expressive, hermeneutic (interpretation) and critical functions. Fundamentally arts expresses and manifests national identity through creative, imaginative, aesthetic and technical skills. Arts as interpretation forms and redefines the national identity through meaning generation/interpretation. Arts as critique allows a people to have a critical look at themselves and examine the external factors that influence their national identity allowing them to preserve their national identity and enabling them to integrate the positive things from these external influences. As an application I will highlight Filipino arts and identity.

Journal of ASIAN Behavioural Studies

ROSLIZA ABDUL RAHIM

This study focuses on the chronology of local cultural themes that were selected from Malaysian portrait paintings. All the artworks were chosen from the permanent Kuala Lumpur National Art Gallery collection. The process was supported with visits and observations, where the process of record was identified and followed with the categorization of themes. All the artworks shared individual, economic, social, and family themes, which became the priorities of the painters. The whole theme from this classification represented the cultural identity and became the most important theme for local painters in this country after it achieved independence. Keywords: Local Culture; Identity; Malaysian Portraiture. eISSN 2514-7528 ©2022. The Authors. Published for AMER & cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Mal...

Norberto Roldan Anthology

Loredana Pazzini - Paracciani

On the occasion of Norberto Roldan's new anthology intended as a survey of his three decades of art practice and cultural participation in Southeast Asia since the 1980s, I was asked by the artist to share my thoughts and experience working with him. I accepted his invitation with great pleasure as I consider Roldan one of the most pivotal artists who have set the parameters of Southeast Asian contemporary art. In his longstanding dedication to the arts and culture of the Philippines, Roldan has established himself as not only a groundbreaking artist with a penchant for history reflected through imposing installations of found objects, but also a cultural agent in the communities in various parts of the archipelago, facilitating social and political awareness through art.

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Ana P . Labrador

Ana Maria Theresa P . Labrador

Surveying and critiquing the projects that was played out for the Philippines' centenary in 1998, Labrador observes the mainly literal and hackneyed renderings of nationalism and national identity. While the larger programs supported the national narrative, it was possible to find in narrower spaces made available to fringe groups the possibilities of constructing images but of plural Filipino identities.

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Assoc. Prof. Dr. Abdul Rauf Ridzuan

The Malaysian women’s identity in paintings essentially began to surface between the year 1970’s to 1980’s. The attempt to fulfill the demand of identity searching fought by the Malay painters in the 1958 has enlightened the present women revivalists to also pursue this quest. This was leaded by the severe identity crisis suffered by Malaysian women painters of 1950’s to the 1970’s. Thus, by reevaluating the essence of ‘Malayness’ and its cultural strand, the Malaysian women painters tempt to portray an identity to complement the Malay arts. The objective of this paper is to examine the Malay identity in Malaysian women’s painting by studying the form and content of Malaysian women’s painting by using art appreciation descriptive method. Visual content analysis is conducted to achieve the objectives above. The outcome of this paper shall suggest the emergence of Malay arts and cultural heritage values traceable in the Malaysian women’s paintings between the 1970’s to the 1990’s. Adopting the heritage arts discipline, the present article shall unfold the identity of ‘Malayness’ through its form and content in each painting.

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ALAN GUZMAN

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