Contemporary Arts 12 Q1 Module 6 Contemporary-arts-ver3 PDF

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Contemporary PhilippineArts from the RegionsPhilippine Art FormsDepartment of Education ● Republic of the Philippines####### Senior High SchoolQuarter 1 Module 6Contemporary Philippine Arts from the Regions Alternative Delivery Mode Quarter 1 - Module 6: Philippine Art FormsFirst Edition, 2020Republ...

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Senior High School

Contemporary Philippine Arts from the Regions Philippine Art Forms Quarter 1 Module 6

Department of Education ● Republic of the Philippines

Contemporary Philippine Arts from the Regions Alternative Delivery Mode Quarter 1 - Module 6: Philippine Art Forms First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalty. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education – Division of Cagayan de Oro Schools Division Superintendent: Dr. Cherry Mae L. Limbaco, CESO V Development Team of the Module Author : Darlene D. Daliva Reviewer : Romulo M. Sarmiento, Jr. Illustrator and Layout Artist: Darlene D. Daliva Editor : Romulo M. Sarmiento, Jr. Management Team Chairperson: Dr. Arturo B. Bayocot, CESO III Regional Director Co-Chairpersons:

Dr. Victor G. De Gracia Jr. CESO V Asst. Regional Director Cherry Mae L. Limbaco, PhD, CESO V Schools Division Superintendent Alicia E. Anghay, PhD, CESE Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD

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Neil A. Improgo, EPS-LRMS Bienvenido U. Tagolimot, Jr., EPS-ADM Lorebina C. Carrasco, OIC-CID Chief Ray O. Maghuyop, EPS-Math Joel D. Potane, LRMS Manager Lanie O. Signo, Librarian II Gemma Pajayon, PDO II

Printed in the Philippines by Department of Education – Division of Cagayan de Oro City Office Address: Fr. William F. Masterson Ave Upper Balulang Cagayan de Oro Telefax: (08822)855-0048 E-mail Address: [email protected]

Senior High School

Contemporary Philippine Arts of the Regions Philippine Art Forms Quarter 1 - Module 6

This instructional material was collaboratively developed and reviewed by educators from public and private schools, colleges, and or/universities. We encourage teachers and other education stakeholders to email their feedback, comments, and recommendations to the Department of Education at action@ deped.gov.ph. We value your feedback and recommendations.

Department of Education ● Republic of the Philippines

Table of Contents What This Module is About What I Need to Know How to Learn from this Module Icons of this Module What I Know Lesson 1: Art Forms from Different Regions: Traditional Arts What I Need to Know .................................................................................... 1 What’s New: Major art forms........................................................................ 1 What’s Is It ……………………………………………………………………….2-15 What’s More: Activities .................................................................................. 16 What I Have Learned: Synthesizing ............................................................ 17 What I can Do : Soap Carving …………………………………………………17 Summary………………………………………………………………………………………….. 17 Lesson 2: Art Forms from Different Regions: Non-Traditional Arts What I Need to Know .................................................................................... 1 What’s New: Non-Traditional Art ................................................................. 1 What Is It: ………………………………………………………………………...2-8 What’s More: Activities .................................................................................. 9 What I Have Learned: Wrap Up................................................................... 10 What I can Do : Reflection ……………………………………………….……..10 Summary………………………………………………………………………… 10 Lesson 3: Techniques and Performance Practices Applied to Contemporary Art What I Need to Know .................................................................................... 1 What’s New: Techniques Applied to Contemporary Art ............................ 1 What Is It: ………………………………………………………………………2-5 What’s More: Collage making………………………………………………….6 What I Have Learned: Synthesizing………………………………………….6 What I can Do : Found Object color Wheel…………………………………..6 Summary…………………………………………………………………………6 Lesson 4: Local Materials Used in Creating Arts What I Need to Know .................................................................................... 1 What’s New: Local Materials Used in Creating arts………………………….1 What Is It: …………………………………………………………………………2-5 What’s More: Matching column A with column B …………………………… 6 What I Have Learned: Putting the words together ………………….……… 6 What I can Do : My own art craft ……………………………………………….7 Summary……………………………………………………………..……………7 Key to Answer References About the Author

What This Module is About Kumusta Higala! Welcome to this Module! Welcome to our journey in Contemporary Philippine Arts in the Region. This might be the final module for quarter one (1) but nevertheless the journey does not end here yet, it is the gateway to have a beautiful trip to quarter 2 for art production and internalization. This module has divided into 4 lessons that will help you understand better about the arts from different regions in the Philippines. It might take you more weeks before you reach the final destination on quarter one but believe me, this would be one of the most exciting voyage you will have in the field of arts as it explains about the forms of arts from the different regions in the Philippines, the significance of arts, techniques and performance practices applied to contemporary arts and the local materials used in creating arts. So, are you ready? Let’s begin our trip!

What I Need to Know At the end of the lessons, you should be able to: •

Compares forms of arts from the different regions CAR11/12CAP-0c -e-7

•

Interprets and relates the significance of arts forms from the regions CAR11/12CAP-0c -e-8

•

Promotes arts from the regions CAR11/12CAP-0c -e-9

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Researches on techniques and performance practices applied to contemporary arts CAR11/12TPP-0c -e-10

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Discusses local materials used in creating art

How to Learn from this Module To achieve the objectives cited above, you are to do the following: •

Take your time reading the lessons carefully.

•

Follow the directions and/or instructions in the activities and exercises diligently.

•

Answer all the given tests and exercises.

Icons of this Module What I Need to Know

This part contains learning objectives that are set for you to learn as you go along the module.

What I know

This is an assessment as to your level of knowledge to the subject matter at hand, meant specifically to gauge prior related

What’s In

What’s New

knowledge This part connects previous lesson with that of the current one.

An introduction of the new lesson through various activities, before it will be presented to you

What is It

These are discussions of the activities as a way to deepen your discovery and understanding of the concept.

What’s More

These are follow-up activities that are intended for you to practice further in order to master the competencies.

What I Have Learned

Activities designed to process what you have learned from the lesson

What I can do

These are tasks that are designed to showcase your skills and knowledge gained, and applied into real-life concerns and situations.

What I Know Pre – test Multiple Choice. Select the letter of the best answer from among the given choices. 1. The oldest known warp ikat textile in Southeast Asia . A. B.

Banton cloth Hablon

C. Maranaw Textile D. Inabal

2. It is one of the most fascinating traditional arts in the Philippines. A. sculpting C. weaving B. carving D. folk performing 3. The finest basket design is found in _______. A. Cordillera C. Palawan B. Cebu D. Negros Island 4. A notable stone carving found at the facade of Miagao Church. A. Carved limestone burial urn C. Stone grave marks with okir B. The Limestone tombs of Kamhantik D. The Kabayan Mummy Burial Caves 5. It includes epics, poems, myths, and other oral literature by a variety of ethnic groups in the Philippines. A. Folk literature C. Folk performing B. Folk writing D. Tattooing 6. The genre of an entire ensemble of musicians using a diverse array of musical instruments, A. B.

Kundiman Kulintang

traditional

C. Tagongo D. Kapanirong

7. The oldest known folk drawings and paintings in the country, A. Calligraphs C. Petrographs B. Basi Revolt paintings D. Manila Mural 8. First novel written by a Filipino A. Maming B. Noli Me Tangere

C. Banaag at Sikat D. Ninay

9. An art technique used in the visual arts, where the artwork is created from the assemblage of various objects, forming a new whole. A. Collage C. Found Objects B. Decollage D. Assemblage 10. These are the things we can quickly find all around us A. Materials B. Local Materials C. Bamboo and Buri D. Pandan and coconut shell

Lesson

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Art Forms from Different Regions: Traditional Arts

What I Need to Know The Philippine is a gold mine of ART. It has a variety of many other forms. Philippines has been colonized by the Spaniards, Chinese, American and Japanese. Those four colonial periods taught us a lot of things not only about living but also when it comes to art. It is proven that the art of the Philippines had been influenced by almost all spheres of the globe. It had the taste of Renaissance, Baroque and Modern Periods through the colonizers who have arrived in the country. The Philippines welcomes the birth of Contemporary art when the world opened up the idea of postmodernism in the late 1900’s. After World war Ii and during Martial Law Era Writers broke the laws by writing screams of protest against the government. Filmmakers used their expertise in joining the bandwagon of nationalistic artists. Modernism in all forms evolved into a variety of expressions and media that turned the entire world into a Creative Upheaval. Many Filipino artists and architects became adherents of the modernists style. Late 1980’s 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 need to do was to borrow, combine, explore what was already existing to produce something new. This give birth to the integrative art, which is being practiced in the regions at present.(https://www.slideshare.net/kentabuclao/contemporary-arts-in-the-philippines-79476188)

What’s New Activity 1: Major art forms Fill in the table with the major art forms; film, theater, dance, architecture, music , visual arts, and literature Definition Art Forms A form that create works that are primarily visual in nature, such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, film making and architecture. Relate to the written word and include writing, editing, critiquing, teaching, reviewing, and other activities related to written communication a general term often used to describe thoughtfully cultivated melody A collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. Performing art form consisting of purposefully selected sequences of human movement. the art and science of designing buildings and other physical structures. An art form with a language and an aesthetic all its own. 1

What Is It Philippines art refers to the works of art that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present era. Philippine art reflects to its society and Filipinos the wide range of cultural influences on the country's culture and how these influences honed the country's arts. Philippine art refer to the various forms of the arts that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present era. They reflect the range of cultural influences on the country's culture, including indigenous forms of the arts, and how these influences honed the country's arts. These arts are divided into two distinct branches; traditional arts and non-traditional arts where each branch is further divided into various categories with subcategories. Today most Filipino contemporary artists still deal with current concerns that affect our country. They allow the audience to participate in the experience. They acknowledge their Filipino roots by using native and indigenous materials in their artwork which show a growing sense of pride in being a Filipino.

Forms of arts from different Regions in the Philippines Traditional Art 1. Folk Architecture Folk architecture in the Philippines differ significantly per ethnic group, where the structures can be made of bamboo, wood, rock, coral, rattan, grass, and other materials. Look at the pictures below these abodes can range from the hut-style bahay kubo which utilizes vernacular mediums in construction, the highland houses called bale that may have four to eight sides, depending on the ethnic association, the coral houses of Batanes which protects the natives from the harsh sandy winds of the area, the royal house torogan which is engraved with intricately-made okir motif, and the palaces of major kingdoms such as the Daru Jambangan or Palace of Flowers, which was the seat of power and residence of the head of Sulu prior to colonization.

There are also buildings that have connected indigenous and Hispanic motif, forming the bahay na bato architecture, and its proto-types. Many of these bahay na bato buildings have been declared as world heritage site, as part of Vigan. Folk structures include simple sacred stick stands to large spirit houses, indigenous castles or fortresses such as the idjang, to geologically-altering works of art such as the Rice Terraces of the Philippine Cordilleras, locally called payyo. Five rice terrace clusters have been declared as world heritage sites, namely Nagacadan, Hungduan, central Mayoyao, Bangaan, and Batad.

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The Ifugao people's bale, highland rice granary.

Traditional stilt houses with pyramid-shaped thatched roofs in the village of Bangaan (pronounced ‘bahn-GAH-ahn’) at the base of rice terraces. The area under the house is the living area while the house itself is used for sleeping and to store rice in the attic.

The Tausug people's Daru Jambangan

(Palace of Flowers), the royal residence of the Sultan of Sulu

Bahay na Bato in Cebu

Bahay na Bato in Vigan Banaue Rice Terraces (Cordillera Region)

Coral houses in Sabtang Island, Batanes Batad Rice Terraces in June, Ifugao Province

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2. Maritime transport Maritime transport in the Philippines involves houseboats, boat-making and maritime customs. Such buildings, usually made of wood chosen by elders and craftsmen, were used as the main vehicles of the people, connecting one island to another, where the seas and rivers were the roads of the people. A balangay reconstruction

While ships are known to have been used in the archipelago for thousands of years. While boats are believed to have been used in the archipelago for thousands of years after the arrival of humans through the sea, the early evidence of boat-making and the use of boats in the country continues to be dated as AD 320 through the carbon-data of the Butuan boats known as the remains of a gigantic balangay.

Various styles and types of indigenous sea vehicles 1.armadahan - two-masted double-outrigger boat, 2. avang - the trading ship 3. bangka- the native and widely-available watercraft 4. birau / buggoh - the dugout canoe the dugout canoe, 5. guilalo - the large sailing outrigger ship 6.falua - the open deck boat 7. junkung - the small motorized boat 8. karakoa - the large outrigger warship

9. lepa - the houseboat 10. salisipan - the war canoe 11. vinta - and the outrigger

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3. Weaving Weaving is an ancient art form that continues in the Philippines today, with each ethnic group having its own distinct weaving techniques. Weaving skills include basket weaving, backstrap weaving, headgear weaving, fishnet weaving and other weaving techniques. The fabrics used are cotton, abaca, banana fiber, grass, and palm fiber. A. Cloth / mat weaving There are several types of woven cloths in the Philippines. Expensive textiles are manufactured through a complicated and difficult method called back-strap looming. Below are the various woven cloths coming from different regions of the Philippines, popularized by different Filipino tribes / ethnic groups. • • • •

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Pinilian weaved (Ilocano) - a cotton cloth weaved using a pangablan, where weaving styles of binakul, binetwagan, or tinumballitan are inputted. Bontoc weave revolves on the concept of centeredness, a key cultural motif among the Bontoc people. Sinamaki weave - where the tinagtakho (human figure), minatmata (diamond), and tinitiko (zigzag) are incorporated. Kalinga textiles - are embedded into the geometry, where motifs include continuous lozenge pattern locally called inata-ata, and mother-of-pearl platelets called pawekan, among many others. The piña fabric is considered the finest indigenous Filipino-origin textile. Those made by the Aklanon are the most prized, and are utilized in the national costumes of the country, such as barong Tagalog. Hablon is the fine textiles of the Karay-a and Hiligaynon people, which have been known from the epics of the people. The textile is usually used for Visayan patadyong and panuelo Saputangan tapestry weave ( Yakan) is a highly skilled weaving utilizing the bunga-sama supplementary weft weave, the siniluan warp-floating pattern, the inalaman supplementary-weft technique, and the pinantupan weft band pattern. Pi Piṅ ṅa and cotton panuelo Mabal tabih ( Blaan )depicts crocodiles and curls. Weavers of the art can only be women, as the art is dedicated and taught by Furalo, goddess of weaving. Dagmay weave (Mandaya) use the mud-dye technique in their craft Inabal (Bagobo) utilizes abaca into creating two tube skirts, namely sinukla and bandira. Meranaw textile (Maranao) used for the creation of the malong, among many other Maranao clothing. These crafts are imbibed with okir designs including potiok (bud), dapal or raon (leaf), pako (fern), pako rabong (growing fern) and katorai (flower). The pis syabit weave (Tausug) utilizes the free imagination of the weaver, as having no preset pattern for the weave is the cultural standard for making the high art. T'nalak ( Tboli) is a fine textile crafted by the dream-weavers who are provided the designs and patterns through dreams by Fu Dalu, the deity of the abaca used in weaving. Banton cloth ( Banton, Romblon.) The oldest known warp ikat textile in Southeast Asia

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B. Mat-weaving is only done in shaded and cool placed as to preserve the integrity of the mats and their fiber. Banig of Basey is an example of mat weaving where the weavers usually work inside a cave, fibers used vary from banana, grass, palm, and many others.

A double ikat mat from Sulu

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