Contemporary Philippine Arts from the Regions
Lesson 1: Contemporary Art
HUMANITIES refers to the study of the human experience–
how people process and record their thoughts, beliefs, and
longings.
Humanities coexist with another branch of discipline-the
sciences.
The Sciences deal with the object study of the external
world- what we see in it and all processes that happen within
it.
These two disciplines can be integrated to create something
that is both functional and delightful, for example- a
building’s architecture.
Science is used to construct a building that can endure all
sorts of calamities, and humanities can further be
implemented to create its artistic design.
The integration of different disciplines is common in art,
specifically in contemporary art where diversity and
eclecticism are encouraged.
Contemporary art is the art that springs out of the present-
day events and passions of the society.
-It is the newest form of art, amusing people from the
middle to the late 20th century up to this very minute.
– is produced by the 21st-century artists living in the
postmodern age.
-It functions in a global society that is culturally diverse and
technology-oriented.
-It provides instances for people to reflect and respond to
contemporary social concerns and issues.
-It is a combination of mixed styles, materials, techniques,
and concepts that challenges tradition.
Contemporary Art vs. Modern Art
The main distinction between modern art and contemporary
art is the time period in which they have existed.
Modern art emerged in the late 1800s and continued to grow
for more or less a century. It slowly waned in the middle to
late 20th century when postmodernism came to light.
Postmodernism then gave birth to what we know now as
contemporary art.
Modern art developed as styles and techniques, whereas
contemporary means “with the time” (con tempo). Thus,
contemporary art refers to the art of the present time.
Contemporary art is more socially conscious than modern
art because more social issues have been realized in recent
decades. Exof the most popular contemporary subjects are
feminism, globalization, migration, and environmental
concerns.
Contemporary arthas never-ending originality. It is the form
of art which one cannot easily classify.
Integrative Art
In contemporary art, different categories can be melded
together to produce an integrated or combine art.
This “crossbreeding” in the contemporary scene has resulted
in a hybrid art called Integrative Art.
These art forms are interactive and multi-disciplinary in
nature, which is consisting of ideas and practices from
different branches of learning– the outcome, being the unity
of separate areas of learning.
The integration of science and humanities– two different
disciplines- in a building’s architecture, an example of
integrative art.
Lesson 2: The Subject of Art
Every work of art has a subject.
To create your own contemporary piece, you must fully
understand what makes an artwork a true work of art.
You must first explore the subject of art. Every work of
art: a song, novel, painting, and pictures have a subject, the
very core of its conception.
What is the “subject?”
A subject or topic is any person, animal, thing, or issue that
is described or presented in a work. It usually generates the
question, What is it?because people expect to see or hear
subjects that they can recognize or are familiar with them.
Subject is different from theme or content; the theme is the
recurring idea or element in a work of art, it refers to the
ideas, thoughts, and feelings of the artist.
In visual design, artworks with subjects that are
recognizable are called realistic, representational, or
objective art. Those that are not recognizable are
nonrepresentational or nonobjective art.
Different ways or styles
1. Realism– the subject is done the way it actually looks.
2. Distortion-the artist uses his/her imagination and alters
the subject according to his/her desire.
3. Abstraction– the artist breaks apart a subject and
rearranges it in a different manner. Pablo Picasso
innovated this style in the early 1900s.
4. Non-objectivism– there is totally no subject at all- just an
interplay of pure elements like line, shape, or color.
The Filipino contemporary artists are now conscious of their
indigenous roots, they are embedded in the country’s culture.
Other subject matters also considered are Philippine
folklore, mythology, and philosophical thoughts.
Some subjects in the visual arts that continue to be favored
are still life, landscapes, genre scenes, portraits, and
landmarks.
Lesson 3: Elements of Art
The elements and principles of design are the building
blocks used to create a work of art.
Elements of Art are the visual “tools” that artists use to create
artwork. Artists manipulate these elements, mix them in with
principles of design, and compose a piece of art. Not every work
has every last one of these elements contained within it, but there
are always at least two present. They are what makes up an image
or an art object.
1. LINE
• Line is a path of a moving point
• It is the most basic or fundamental visual element of art.
• It is a starting place for most art creations.
• Line is a mark with a greater length than width.
These marks span a distance between two points and can be
straight or curved. In visual art, lines don’t only need to be
made with marks and outlines. They can also be implied or
abstract. Whether two-dimensional or three-dimensional,
there’s no denying that lines have a huge impact on the rest
of the elements of art. They can be used to create shape and
form, as well as give a sense of depth and structure. Lines
are the foundation of drawing and are a powerful tool
unto themselves. Using different types of lines—
continuous, broken, vertical, jagged, horizontal—drastically
changes the psychology of an artwork, impacting the
viewer greatly.
2. SHAPE
• Shape is a closed line. Shapes can be geometric, like
squares and circles; or organic, like free-form or natural
shapes. Shapes are flat and can express length and width.
• The result of closed lines, shapes are two-dimensional,
flat, and only have height and width. Geometric shapes
like circles and squares are mathematical and precise,
while organic shapes take cues from nature and tend to
be curved and abstract.
3. FORM
• Forms are three-dimensional shapes expressing length,
width, and depth. Balls, cylinders, boxes, and pyramids
are forms.
• When a shape acquires depth and becomes three-
dimensional, then it takes on form. Cylinders, pyramids,
and spheres are some of the more common forms, though
they can also be amorphous. In sculpture, form is of the
utmost importance, though it can easily be introduced
into drawing and painting using 3D art techniques.
4. TEXTURE
• Texture is the surface quality that can be seen and felt.
Textures can be rough or smooth, soft, or hard. Textures
do not always feel the way they look;
• Texture is an element of art that also plays to our sense
of touch. It’s defined as a description of the way
something feels or looks like it would feel. Sometimes,
the texture is an implied visual texture that is two–
dimensional. Smooth, rough, hard, soft, furry, fluffy, and
bumpy are just some different textures that evoke
different responses.
5. VALUE
Related to color, value is the lightness and darkness of a
color. The lightest value is white and the darkest value is
black, with the difference between them defined as the
contrast. Playing with value can not only change certain
forms, but also influence the mood of the artwork.
6. COLOR
Color is light reflected off of objects.
Color has three main characteristics:
1. Hue (the name of the color, such as red, green, blue, etc.),
2. Value (how light or dark it is),
3. Intensity (how bright or dull it is).
➢ White is pure light; black is the absence of light.
➢ Primary colors are the only true colors (red, blue, and
yellow). All other colors are mixes of primary colors.
➢ Secondary colors are two primary colors mixed together
(green, orange, violet).
➢ Intermediate colors, sometimes called tertiary colors,
are made by mixing a primary and secondary color
together. Some examples of intermediate colors are yellow
green, blue green, and blue violet.
➢ Complementary colors are located directly across from
each other on the color wheel (an arrangement of colors
along a circular diagram to show how they are related to
one another). Complementary pairs contrast because they
share no common colors. For example, red and green are
complements, because green is made of blue and yellow.
When complementary colors are mixed together, they
neutralize each other to make brown.
➢ By working with hue, value, and intensity—three
building blocks of colors—artists can tap into a wide
range of emotions. There’s nothing that changes an
artwork’s emotional impact more than color. Color can
be used symbolically or to create a pattern. It can be
selected for contrast or to set a specific mood. A deep
understanding of color theory helps any artists make
better use of the colors they have at their disposal.
7. SPACE
• Space is the area between and around objects. The
space around objects is often called negative space;
negative space has shape. Space can also refer to the
feeling of depth. Real space is three-dimensional; in
visual art, when we create the feeling or illusion of
depth, we call it space.
• This element of art can be manipulated based on how an
artist places lines, shapes, forms, and colors. The
placement of these other elements creates space. Space
can be either positive or negative. Positive space is an
area occupied by an object or form, while negative
space is an area that runs between, through, around, or
within objects. A sense of depth in two-dimensional
works is often achieved by perspective, which itself can
rely on lines or colors.
Line, color, shape, form, value, space, and texture are the
seven core elements of art and they often overlap and inform
one another.
Lesson 4: Principles of Design
The elements of art and principles of design are the
fundamental pieces that make up an artwork. We often
judge art by how effectively the artist used these design
fundamentals even before we learn about them.
The principles of design are how those building blocks are
arranged: They are the ways an artist can organize the
elements of art to create a wide range of effects.
Why are the Elements and Principles of Art Important?
Knowing the elements and principles of art boost visual literacy. Artists and
creators make more powerful works when they utilize the principles of art.
When viewers are familiar with the elements of art, they become more
aware of the details and can better appreciate what they see and the
message behind it. Connecting with art makes us more empathetic and
strengthens the fabric of society. In the age of the internet, understanding
how and why advertisers make design decisions can empower students with
information and make them less susceptible to manipulation.
1. Balance
The distribution of the visual weight of objects, colors,
texture, and space. If the design was a scale, these elements
should be balanced to make a design feel stable. As a
principle of art, balance refers to the distribution of weight
in a composition. While actual weight is a factor in
sculpture and architecture, the principle of balance most
often refers to the visual heaviness of shapes and forms in an
artwork. An artwork’s balance affects the equality and
tension of the composition and can lend a feeling of calm or
chaos to the work.
There are three main types of balance: symmetrical,
asymmetrical, and radial balance.
In symmetrical balance (formal), the elements used on one
side of the design are similar to those on the other
side. Symmetrical designs layout elements of equal weight
on either side of an imaginary center line.
In asymmetrical balance (informal), the sides are different
but still look balanced. Asymmetrical balance uses
elements of differing weights, often laid out in relation to a
line that is not centered within the overall design.
In radial balance, the elements are arranged around a central
focal point. This method can be used to draw attention to the
center of your design.
2. Emphasis
➢ The part of the design that catches the viewer’s
attention. Usually, the artist will make one area stand
out by contrasting it with other areas. The area could be
different in size, color, texture, shape, etc.
➢ As a principle of art, emphasis refers to the area of an
artwork that dominates attention or draws interest. It
is often the place a viewer looks first. Artists create
emphasis by contrasting the elements of art, such as
color or shape.
➢ The artist or designer uses emphasis to call attention to
something, or to vary the composition in order to hold
the viewer’s interest by providing visual “surprises.”
3. Movement
➢ The path the viewer’s eye takes through the work of art,
often to focal areas. Such movement can be directed along
lines, edges, shapes, and colors within the work of art.
➢ Movement refers to the way the eye travels over a
design. The most important element should lead to the
next most important and so on.
4. Pattern
The repeating of an object or symbol all over the work of
art. Pattern is an underlying structure that organizes surfaces
or structures in a consistent, regular manner.
Pattern can be described as a repeating unit of shape or
form, but it can also be thought of as the “skeleton” that
organizes the parts of a composition.
5. Repetition
Works with pattern to make the work of art seem active.
The repetition of elements of design creates unity within
the work of art.
Repetition is a great way to reinforce an idea. It’s also a
great way to unify a design that brings together a lot of
different elements. Repetition can be done in a number of
ways: by repeating the same colors, typefaces, shapes, or
other elements of a design.
6. Proportion
Refers to the relative size and scale of the various elements
in a design. Artists can use the scale and proportion to create
sensations such as depth, realism, disorientation, and drama.
Proportion is the feeling of unity created when all parts
(sizes, amounts, or number) relate well with each
other. Our most universal standard of measurement is the
human body; that is, our experience of living in our own
bodies. We judge the appropriateness of the size of objects
by that measure. When drawing the human figure,
proportion can refer to the size of the head compared to
the rest of the body.
7. Rhythm
Created when one or more elements of design are used
repeatedly to create a feeling of organized movement.
Rhythm creates a mood like music or dancing. To keep
rhythm exciting and active, variety is essential.
Rhythm is usually achieved through repetition of lines,
shapes, colors, and more. It creates a visual tempo in
artworks and provides a path for the viewer’s eye to follow.
Rhythm can be described as timed movement through
space; an easy, connected path along which the eye follows
a regular arrangement of motifs. The presence of rhythm
creates predictability and order in a composition. Visual
rhythm may be best understood by relating it to a rhythm in
sound. Rhythm depends largely upon the elements of
pattern and movement to achieve its effects. The parallels
between rhythm in sound/ music are very exact to the idea
of rhythm in a visual composition. The difference is that the
timed “beat” is sensed by the eyes rather than the ears.
8. Variety
The use of several elements of design to hold the viewer’s
attention and to guide the viewer’s eye through and around
the work of art.
Variety refers to the elements of a composition that differ
from one another. Variety in design is used to create
visual interest. Without variety, a design can very quickly
become monotonous, causing the user to lose interest.
Variety can be created in a variety of ways, through color,
typography, images, shapes, and virtually any other design
element.
9. Unity
A design principle that refers to the cohesiveness of an
artwork—how whole, consistent, and complete it appears.
Unity in art is not necessarily just a repetition of the same
element over and over again, but it is the pleasing
combination of elements to create a harmonious
composition.
It is the underlying principle that summarizes all of the
principles and elements of design. It refers to the coherence
of the whole, the sense that all of the parts are working
together to achieve a common result; a harmony of all the
parts.
Visual elements should have clear relationships with each
other in a design. Unity also helps ensure concepts are
being communicated in a clear, cohesive fashion. Designs
with good unity also appear to be more organized and of
higher quality and authority than designs with poor unity. It
can be achieved through the effective and consistent use of
any of the elements, but pattern— that is, underlying
structure— is the most fundamental element for a strong
sense of unity. Consistency of form and color are also
powerful tools that can pull a composition together.
Lesson 5: Form, Content, and Context
FORM
The first key element that a spectator should consider in an
artwork is its form.
Form is the surface of an artwork. As the saying goes
“what you see is what you get,” form is just what it is–
nothing else.
In visual arts, forms can either be two- dimensional such as
drawings and paintings; or three dimensional similar to
sculpture, architecture. In music, form pertains to the
structure of musical composition, like; serenade, opera,
rhapsody, and others. Forms also exist in the literature,
ranging from prose, drama, and poetry. Theatre, on the other
hand, has four basic forms: tragedy, comedy, drama, and
melodrama.
Form is the physical manifestation of the artwork. It
answers these types of questions:
· what is it made out of (the medium)?
· what techniques are used?
· how were the design elements and principles used?
· what is the style (abstract, impressionistic, etc)?
The form of a work of art or design refers to all of its visible
elements and the particular way these come together as a whole.
These include the material or medium, the color, the use of line,
texture, composition, dimensions, and the duration of work.
CONTENT
Content is the subject matter of a work of art or design. It
is revealed through the formal properties of the work and
maybe evident on a number of levels. It is about what is
happening in the works, what meaning you derive from
them, and whether or not they create a particular mood or
reaction. The formal elements of the work and its title can
often help to read the content, as a recurring pattern, motifs,
or symbols that may have special significance.
Content is the essence of the artwork. It answers these
types of questions:
· what is the subject/theme?
· what is the context?
· what is the meaning/intention?
· why was this artwork created?
It is what the artwork is about. Content contains the subject
matter that carries the message of the work.
CONTEXT
Context helps us to understand the meaning of a work of
art. The context in which a work is made and displayed will
impact on its formal resolution. So an artist will select
particular materials and use them in a particular way
depending on their social, cultural, and personal background
and the particular era they are working in.
Context takes into account:
a. the social and historical milieu within which the work
was produced;
b. the movement or period to which the artwork belongs;
c. sources referenced in the work such as the work of the
other artists,
d. literature, ancient mythology, and popular culture;
e. where and how the work is exhibited or performed;
f. The cultural and personal background of the artist.
MORE SIMPLY PUT, CONTENT IS “WHAT” THE WORK IS ABOUT,
FORM IS “HOW” THE WORK IS, AND CONTEXT IS “IN WHAT
CIRCUMSTANCES” THE WORK IS (AND WAS).
Module 3: Philippine Contemporary Art
Traditional Arts and Contemporary Arts
Traditional art is essential in a nation, for it builds posterity
in the culture of its natives.
There are various kinds of traditional art in the country.
Most are learned informally and are usually produced in
indigenous or closely-knitted communities, reflecting their
history and culture. These arts are passed down from
master craftsmen to their apprentice.
Some examples of traditional arts
▪ Buri (palm leaf) weaving is a traditional art of the
Hanunuo Mangyans. Soft, narrow strips of leaf are
intricately woven into baskets, purses, pen holders and
other small containers. Fine nito (vine) strips are laid
over the woven buri to add a touch of color.
▪ T’nalak is a tapestry woven by the T’Boli people
of South Cotabato, Philippines. It is made from
abaca fibers.
▪ Pis Siyabit or Pis Syabit is the prized handwoven cloth
of the Tausugs of Sulu. Usually used as head covering,
it is made from cotton or silk, square in shape and
provided with geometric patterns.
▪ Jusi – a traditional sheer fabric hand-loomed from abaca
fibers. It has a polished texture and a natural off-white
color.
▪ Piña – a cloth fiber made from pineapple leaves.
Pineapples were widely cultivated in the Philippines
since the 17th century for weaving lustrous lace–like
luxury textiles known as nipis fabric.
The toothpick and papier-mâché objects made in pakil and
the woodcarvings in Paete, Laguna. They are also examples
of folk art which is a younger form of traditional art.
Philippine traditional arts also boast of rich songs and
dances in the regions. Like any traditional art, these songs and
dances are handed over by master craftsmen to their younger
generations. The sounds, words, and choreography have
remained the same throughout the years because of these
craftsmen. They are nameless people who have passed their skills
without the thought of being recognized, but only of preserving
their culture in the constantly changing society.
In literature and the performing arts, the traditional styles
are evident in their adherence to classical structures and standards.
With this reality, these classics have gained enduring worth and are
considered timeless. An example of a classic literary work is Jose
Rizal’s Noli Me Tangere.
CHARACTERISTICS OF TRADITIONAL ARTS
1. Most traditional arts are representations.
2. Due to the absence of photography, the artists in the past
have loved imitating nature and other still life to capture
its beauty.
3. It is also limited to the structure and standards set during
the traditional times.
4. It is a culture-bound.
▪ In the sculpture of Northern Philippines, the sculpture
may be in the form of humans and animals
▪ In Southern Philippines, the traditional
carving okir stems from plant forms, displaying its
curvilinear forms.
5. Traditional sculpture usually focuses on realistic figures.
6. It revolves around the artist’s feelings, thoughts, and
messages to the audience.
7. It is uses a diverse array of materials, media, techniques,
and styles
CHARACTERISTICS OF CONTEMPORARY ARTS
1. The Philippine contemporary art is not bounded by any
rule or standard.
2. It is conceptual, innovative, expressive, and
experimental compared with traditional art.
3. The viewer is also allowed to participate in the
experience and urged to validate his/her own beliefs and
values.
4. Contemporary sculpture centers on the feelings and
thoughts of the artist.
MONUMENTS AND STATUES
Since the ancient times have long been created to
commemorate heroism or other deeds of greatness. But
what differs to contemporary monuments and statues from
the traditional ones is the reimagining of the character or
event, in order to evoke more intense emotions from its
spectator.
People Power Monument near Camp Aguinaldo in
Quezon City. It is a good example of a contemporary work
that allows the viewer to recall a historical event from the
past. One cannot display all the events and the heroes that
came about during the 1986 People Power Revolution.
However, this monument created by Eduardo
Castrillo encapsulates the triumph of the EDSA
phenomena perfectly
Contemporary arts can also incorporate traditional
arts in a manner that is new and exciting. An example of a
traditional artwork that has been adapted to a contemporary
manner is Noli Fili: Dekada Dos Mil, an interpretation by
Nicanor Tiongson which has been mounted as a play by
the Philippine Educational Theater Association (PETA)
The incorporation of both traditional and
contemporary styles is also evident in Philippine
architecture. Most buildings in the country are
combinations of traditional and modern design. Unlike
hypermodern cities like Dubai where the first rotating
building has been introduced, the Philippines lacks
innovative and radical design in constructing its
skyscapers, houses, and other edifices.
There are a number of probable reasons for this status in
Philippine architecture; lack of financial support is one.
Both traditional arts and contemporary arts exist in
mutual acceptance and respect for each other’s freedom of
expression, practices, and principles.
Contemporary Arts of the Philippines
The Philippines is a gold mine of art.
Aside from our own indigenous arts, the Philippines has
a variety of many other art forms. Because of the Four colonial
periods in our history – the Spanish, British, American and
Japanese – the art of the Philippines had been influenced by
almost all spheres in the globe. It had a taste of Renaissance,
Baroque, Modern Periods through the colonizers who arrived in
the country.
Then when the rest of the world opened up to the idea of
postmodernism in the late 1900s, Philippines also welcome the
birth of contemporary art. Its First appearance after the second
world war and again during the martial law era in the 1970s.
Writers broke the laws by writing screams of protest against the
government. Filmmakers use their expertise in joining the
bandwagon of nationalistic artists.
Modernism in all art forms evolved into a variety of
expressions and media that turned the entire world into a
“creative upheaval.”
PAINTING
Even architecture developed modernist style. Many
Filipino artists and architecture became adherents of the style. The
architecture by National Artist Leandro Locsin is one example.
You shall see two important landmarks of his design later in this
book. The paintings by National Artist Jose Joya are also examples
of the art style of this modernist period in the 1950s known
as abstract expressionism.
In the late 1980’s, postmodernism appeared in the
Philippines. The postmodernism sought to contradict
several aspects and ideas of modernism that had emerged
earlier. They believed that artists should no longer try to
create something “new”. All they needed to do was to
“borrow, combine, explore” what was already existing to
produce something new. This gave birth to integrative art,
which is being practiced in the regions at present.
PASTICHE
Postmodernism has several features. The most
common feature is pastiche. It refers to the styles that
imitates the another work, artist, or period. This
feature expresses also the blurring of divisions between
fine art and commercial art, high culture and low
culture, and highbrow and lowbrow. It means artistic,
musical, and literary works that come from diverse sources
– a mixture, a medley of different ideas. There is a sense of
fragmentation – for instance, a narrative does not have to be
complete; it can be open – ended. There is also an
interviewing web of stories which creates paradoxes.
However, note that pastiche celebrates the artwork from
which it derives inspiration and does not mock it.
BRICOLAGE
Another feature of postmodernism
is bricolage or assemblage. This is popularly used in
visual arts. It refers to a creation or construction that uses a
diverse range of materials – from mass – produced to
recovered objects. A simplification of collage. Bricolage can
also pertain to the use of words as the central artistic
element. In the literary arts, it is the use of varied sources of
writing.
APPROPRIATION
Appropriation or borrowing is another feature.
Postmodernism finds inspiration in artworks from the
previous periods. In music, there is a term “appropriation
performance” This refers to the use of the style and content
of another culture for a performance.
INSTALLATION
Another popular feature includes installation art. It is an art
made indoors or outdoors where particular space is
transformed into three dimensional artwork. It is made of
diverse material using realistic or abstract style. It is a
conceptual art that presents diverse themes but it is
usually temporary.
Other features of postmodernism are the recycling of past
styles and themes, putting them together in a modern – day
context; breaking up barriers between low and pop cultures,
fine and high arts, highbrow and lowbrow.
New themes in all the art forms consist of certain socially
conscious issues which have arisen with this period: feminism,
consumerism, multiculturalism, globalization, health
awareness, migration and so on. A perfect example of this
is Delovato’s painting.
National Centers of the Philippines
For many years, Manila has been regarded as the center of cultural
and artistic activities which gives an impression of exclusivity to
the people. Museums, theaters, and art centers abound; art galleries
thrive; concerts and exhibitions are held regularly here.
In the past, cultural events in the regions were limited inside the
regions. But now, because of the efforts and support of
the Cultural Center of the Philippines (CCP) and the National
Commission on Culture and the Arts (NCCA), there are now
cultural and artistic centers in the various regions of the
country.
The Cultural Center of the Philippines (CCP)
CCP was established “to preserve, develop arts and
culture in the Philippines” in 1969 through Executive
Order No. 303.
Here are some of the several resident companies that regarded
as the premier showcase of the arts.
1. Philippine Philharmonic Orchestra
2. UST Symphony Orchestra
3. Tanghalang Filipino
4. BAYANIHAN National Dance Company of the Philippines,
5. Ramon Obusan Folkloric Group
6. Philippine Madrigal Singers
7. Philippine Ballet Theatre
8. Ballet Philippines
9. National Music
10. Competitions for Young Artists
CCP also provides a venue for concerts, theatrical
performances, and art exhibits here and abroad. It also holds
festivals like the Pasinaya: CCP’s Open House Festival, the
largest multi-arts festival for the Filipino public.
CCP launched an outreach program called Ugnayan sa
Sining, this promotes the regional arts through cultural
interactions and exchange tours of accomplished artists
and art groups in the regions last 2010.
It was started with four groups namely :
1. Sining Bulakeño (SIBUL) from Malolos, Bulacan;
2. St. Louis University from Baguio City;
3. CPU Handbell Choir from Iloilo City;
4. Tagum City Comprehensive National High School
Rondalla from Davao del Norte.
These groups hosted other groups in their respective
localities. SIBUL hosted St. Loius University and vice versa. The
same went with CPU Handbell Choir and Tagum City Rondalla.
Later, the Youth Advocacy for Theater Arts of Dumaguete
(YATTA) and Mindanao State University in General Santos City
exchanged cultural visits. Other groups followed suit.
CCP inaugurated Kaisa sa Sining: The Regional Arts
Centers in 2014, expanding public participation in the arts. Its goal
was “to further strengthen its linkages and cooperation with
local organizations in the regions.” The program established ten
pilot cities.
The first set of regional partners were St. Louis
University, Heritage City of Vigan, Barasoain Kalinangan
Foundation, and the City of Batangas in Luzon; Central
Philippine University, Negros Cultural Foundation of Bacolod,
and Siliman University in Visayas; and Mindanao State
University – Iligan Institute of Technology, Musikahan sa
Tagum Foundation, Inc., and Arts and Sciences Educators’
Association – Culture and Arts Cluster in Mindanao.
Since then, several other partners have joined from various regions.
Because of these exchanges, CCP improved and strengthened its
relationship with this counterparts in the regions.
The CCP is also in charge of the National Art Center
in Mt. Makiling, Los Baños, Laguna, which is the home of
the Philippine High School for the Arts. The school was
established in 1976 for young and aspiring artists. Entrance
to the school is highly competitive and the student
population (about 135-140) is limited to ensure the quality
of instruction. The students are given full scholarship and
living assistance. The school has produced many Filipino artists
of note such as Grace Nono, Sharmaine C. Buencamino, Nick
Pichay, Gerry Leonardo, among others.
The National Commission for Culture and the Arts (NCCA)
NCCA is responsible for “preserving, promoting and
developing culture and the arts in the Philippines.” It was
formed under Republic Act No. 7356 in 1992. Serving as the
main organizational body for art development, NCCA is the
overall policy-making body and coordinator among cultural
agencies, including the CPP. As one of its mandates says,
NCCA aims “to encourage artistic creation within a climate of
artistic freedom.”
THE FOUR SUBCOMISSIONS OF NCCA
1. Subcommission on the Arts (SCA) – facilities the
committees on Architecture and the Allied Arts, Cinema,
Dance, Dramatic Arts, Literary Arts, Music, and the
Visual Arts.
2. Subcommission on Cultural Heritage (SCH) – which
includes committees on Archives, Art Galleries,
Historical Research, Libraries and Information Services,
Literary Arts Festival
National Committee on Literary Arts
For this event, writers, publishers, teacher, and students
gather for literary talks and lectures. There are also book
fairs and exhibits.
Tunug-tunugan
National Committee on Music
This is a week-long musical ensemble that uses musical
instruments made from traditional instruments like gong,
bamboo, or recycled materials to promote Philippine culture
and ingenuity.
Tanghal
National Committee on Dramatic Arts
This is a festival featuring the works of community – and
university – bases theater groups
Philippine Visual Arts Festival
National Committee on Visual Arts
To celebrate the visual arts of the regions, National
Committee on Visual Arts holds conferences, workshops,
exhibits, tours, and painting sessions and competition.
In connection with the NAM celebration, NCCA also spearheaded
on conference of several Asian countries in Bohol. It was
called Likha Asya, which aimed to be the first Asian Festival,
conference, and fair on community theater, creative industries and
Cambodia, Indonesia, Japan, Thailand and the Philippines
Likha Asya performs in Tanghal 2013 held in Bohol.
Aside from being mastermind of the NAM celebration, NCCA
provides other activities and projects all throughout the year. One
of the good examples to note is the Committee on Visual Arts
