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13 Textile Art
01A Preliminary Activity for Week 13
02A Lesson Proper for Week 13
03B Analysis, Application, and Exploration for Week 13
04A Generalization for Week 13
05A Evaluation for Week 13
06A Assignment for Week 13
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13 Textile Art
02A Lesson Proper for Week 13
02A Lesson Proper for Week 13

TEXTILE ART
As one of the oldest forms of art, textile art was not initially used to beautify but moreso,
for practical purposes like clothing and blankets. The historical roots of textile art can be traced
back to prehistoric period, around 100,000 to 500,000 years ago. Thus, their work are made of
animal skin, fur, and leaves, among others (Barnes, 2017).

Textile art is the process of creating a piece that utilizes fibers from plants, animals, insects
like silk worms and/or synthetic materials. If we were to analyze its purpose in the prehistoric
times, we would better understand the relevance of the art in people’s lives, then and now.

As the Neolithic cultures found it suited to settle down, textiles became more complex.
Aside from many early pieces that were made through felting and agitating animal fibers,
humans began spinning fibers to create threads that are woven together to create textile pieces as
we know it today. Because of this, making clothes and other forms of textile required heavy
workload and labor as there were no machines and everything needed to be sewn by hand. Aside
from this, textile making was also expensive so tailors and seamstresses made sure to alter
garments that could last in the long run. They also accept special requests for fabrics, but it
requires a more expensive pricing that only the wealthy could afford. One example of this
include Chinese silk, transported via the Silk Road trade routes and eventually brought to India,
Europe and Africa. While clothing was already a privilege back then, the elites would often go
beyond clothing and use textiles to decorate their walls, floors and furniture through bright and
astonishing pieces. Thus, one might say that the more textile there is in one’s home, the wealthier
they are.

The development of the textile industry experienced a major turning point during the
Industrial Revolution. Some of the remarkable inventions that truly helped this breakthrough are
the cotton gin, spinning jenny and power loom. Through these, among others, the creation of
fabric began being automated and mass produced. It also became more affordable to the middle
class and the rest of the society since the prices dropped during this time.
 The richness of textile art’s history paved way for contemporary creatives. At present, the
terms fiber art or textile art are generally descriptions for objects made of textile with no
intended use. Although the field was previously recognized as “women’s work”, female artists
from the 1960s to 70s powered through this discrimination and proved themselves worthy of
belonging to “higher art”.

TEXTILE ART TECHNIQUES

Textile art may use one or a combination of the following to produce a masterpiece.
Here are some of the common textile techniques used until today:

One of the earliest textile techniques is weaving. This is the process of lacing together threads on
a loom positioned in intersecting angles. This is usually used in garments but improvements in
the process of making garments also led textile artists to use them for art displays. Weavers like
Genevieve Griffiths experiment with varied yarn weight and length to compose works with high
textures.
Embroidery is another popular textile technique, in which artists stitch decorative designs onto
fabric using variations of thread styles and textures. This technique is also known as hoop art as
most works are placed in a wooden, circular frame. Nonetheless, contemporary embroidery
began experimenting with embroidering outside the hoop. One contemporary artist that uses such
technique is Ana Teresa Barboza. She is well-known for embroidering landscapes beyond the
typical hoop and flow.
Though commonly referred to as similar techniques, Knitting and Crocheting are different terms
in textile. Both techniques make use of large needles to twist threads and create an enlarged
pattern. This is common for sweaters and blankets but again, contemporary times have opted for
a higher form of expression through these techniques. Among others, Joana Vasconcelos uses
crochet to cover animal statues in vibrant patterns and colors.

TEXTILE ART IN THE PHILIPPINES

In the Philippines, various art forms are evident from one community to another. This
makes cultural distinctions among Filipino artists and allows for a stronger cultural community
bond since artistry has been embeded among their traditions.
Pinilian – The Ilocano of northwestern Philippines is well-known for their hand weaving that
utilizies kapas or cotton as its main material. They use a local version of the pedal loom called
pangablan and combine several weaving processes to use and even create unique designs. For
example, they have the basic plain weave as well as the double-toned basket weave called
binakul. They also have the binetwagan or tinumbalitan, which are multi-heddle weaves. Among
the complicated techniques is the pinilian or brocade wave wherein sticks are inserted to selected
parts of the threads and warp them to create a floating illusion layer. Pinilan has 2 kinds:
scattered and continuous. Pinili weavers adapt simultaneous warps and weft called the impalagto.

2. Bontoc Weave – The Bontoc textile values the idea of centeredness as they believe that this
reflects order and balance for the bontoc community. To do this, they make sure that the direction
of their weaving process is from the edges to the middle, creating a symmetrical construction of
the cloth with striped-designs. Bontoc weavers learn the Bontoc weave through 3 stages:

a. Young Bontoc: Simplest part of the cloth which is the langkit (edges)

b.Paikid: Ikid (side panels) with simple designs like fatawil (Warp-bands) and shukyong (arrow
bands)

c.Sinangad-am: Most challenging part of the weave; Represents the Sinamaki weaving or central
panel.

The center panel is composed of a middle band, and a supplementary weft called a kan-ay in its
end. Because of the complexity of weavingn the kan-ay, the center panel will be the last part to
be woven. Once all the parts are prepared, they would then be sewn together in reverse.

3. Kalinga Textiles – The Kalinga textile gives high value to the geometry of weaving. It is
commonly made of distinct shades of red and blue bands of either plain or twill weaved patterns
which creates a tight-knit group of stripes. Kalinga weavers enhance their work’s textures
through the twill-weave technique. Tiny motifs, patterns, and embellishments like latatice,
lozenge pattern called inata-ta and pawekan or mother of pearl platelets best characterize the
Kalinga’s textile styles.

4. Piña – The piña fabric is the finest of all Philippine textiles. It is made from the fibers of red
Bisaya pineapple that undergoes a rigorous process from the extraction to the production. The
leaves of the pinya provide two different types of fibers:

A. Bastos: Rough fiber

b. Liniwan: Fine fiber

According to Sorilla (2017), the epidermis of the leaf is removed using a portion of a porcelain
which will expose the bastos fiber. After this, the leaf stripper will then run a coconut shell to the
inner layer of the leaf to expose the fine fiber or liniwan. The next process is the degumming
which is a series of beating and air-drying of collected fibers. Once the fibers are completely dry,
the weaver knots each strand to create longer strands to be inserted in the pedal loom. Some of
the popular cities that utilizes this fabric type are the Aklanons of Western Panay Island and
Lumban (Laguna) and Taal (Batangas) which are both embroidery centers especially for the
famous Barong Tagalog (Sorilla, 2017).

T’NALAK AND T’BOLI ART

Woven by the T’boli, T’nalak is a woven cloth considered to be sacred by communities

residing arund Lake Sebu in Mindanao. Traditionally, t’nalak was made by royal-blooded women
through tons of patterns that are related to the folklores and stories from the town. Fu Dalu is a
spiritual guardian that guides the process of weaving T’nalak as it is believed to be filled with
taboo and ritual processes.

T’nalak has a distinctive tri-color scheme: White for the pattern, red for relief elements
and black (or deep brown) for the background. Fibers used in making it are usually harvested
from abaca trees and prepared in kedungon, a process where two metal blades are used to
remove the pulp of the material. This Is then reduced into fine threads that are connected by
artisans during tembong. Fibers are first boiled in a black dye for several weeks. Weaving
(mewel) is done on a back strap loom or legogong which can take up to a month of processing.
The final stage in this process is semaki. For this final step, it is important to burnish the fabric
with a heated cowrie and nut oil to condition the fabric.

T’nalak is regarded as a ritual to the community and a form of offering to the spirits
especially on festivities. It is also exchanged among T’boli families for food and supplies. Up to
date, many communities rely on the commercial sale of T’nalak to earn a living (Lush, n.d.).

The T’nalak Process

As mentioned, T’nalak is an exotic fabric made and passed from generations to

generations, specifically the T’boli women of Lake Sebu, South Cotabato. With its superb quality
and intricate designs, it has been made into bags of different sizes, attaché cases, wall decors,
blankets, jackets, purses, clothing, and many others. Similarly, it is also used as a pre-natal
covering and a vital ritual during Sla-I and Kemu or marriange arrangements regarding
property.Truly, the T’nalak occupies a special significance in the lives of the T’boli tribe
(Mercurio, 2013).
 The T’bolis consider cutting of the cloth as a taboo and a disrespectful act as this will
result to serious illnesses. Tribe members who sell the T’nalak would often attach bells to please
the spirits and guide the weavers in their community (Living textiles of the T’Boli Tribe, 2012).

The making of the T’nalak can take up to 2 and a half months for each piece which is often
20 feet long. From the gathering of materials from abaca plants to the loom stretching and
dyeing, silence and solemnity is valued in the making of this fabric since a single mistake can
entirely throw off the rhytmic pattern of the weaving process.

According to Mercurio (2013), the patterns of T’nalak range from Hafok Koki, suwu, sobo
bun, betek boluk, bed buyus, buling longit and bangala. Often, the weavers would experience
dreaming about the designs they should make to live up to what the spirits want them to do. After
choosing this, it undergoes wood pounding and placed on a bamboo fixture for smaki, or shell
rubbing to bring out the lusterous feature of the work of art (Mercurio, 2013)

MINDANAO TEXTILE ART: DAGMAY, PIS-YABIT, SEPUTANGAN AND INAUL

Mindanao is a beautiful and historical island. There’s more to see in Mindanao, especially
when you visit the weaving communities.

The Mandaya utilizes cotton and abaca for weaving. They also gather dye materials from
their immediate surroundings, fixing black hues with iron-rich mud as mordant. They produce
their Dagmay or abaca cloth using the back-strap loom and embroiders their blouses together
with coin and beaded detailings. (Weaving Communities in Mindanao, 2019)

Dagmay is a handwoven textile made from abacca. It uses mud-dyeing techniques where
weavers soak their yarns into mud rich in iron. The Mandayas then weave the fiber into intricate
patterns and designs that brings their folklores and beliefs into life. Some of their common
cultural expressions in doing this include the human and crocodiles (Garcia, 2019). Despite the
movement of Yakans from Basilan due to armed conflicts in their area, their cultural weaving
traditions survive as they make use of their skills in complex weaving processes.
The Pis-yabit, a headscarf traditionally worn by Tausug men and warriors, is a fine example of a
piece done in tapestry weave. There are no preset design sticks or pre-patterned warp yarns – the
pattern is all in the weaver’s imagination. Because of this, the resulting designs are perfectly
symmetrical and in a variety of colors – up to eight (Weaving Communities in Mindanao, 2019).

The Yakan’s Seputangan is one of the most intricate Yakan weavings, often worn as a
headscarf or across the waist. Almost every Yakan fabric is unique since each work is not
identical. Pattern differences, design and color distribution are among the distinctive differences
of each fabric.

Inaul, which means “woven” in Maguindaoan, is a hand-woven tapestry fabric. This fabric
is often used a s status symbol for bara-bangsa or dignity, commonly used as a malong. Weavers
use big looms that can process huge volumes of Inaul threads. First, the threads are arranged by
color, quantity and length. Second, the arranged threads are then spun on the loom’s comb to
produce its unique design. They are meticilous in the quality of their work, so weavers are only
obliged to do one Inaul tapestry per creation time. To denote the high status of princesses they
used yellow, maroon, orange, and black for royalty. White threads were used for mourning
clothes while green symbolized coolness and peace (Maguindanao Celebrates Textile Tradition
in a Festival, n.d.).

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13 Textile Art
01A Preliminary Activity for Week 13
02A Lesson Proper for Week 13
03B Analysis, Application, and Exploration for Week 13
04A Generalization for Week 13
05A Evaluation for Week 13
06A Assignment for Week 13
BIBLIOGRAPHY
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14 Visual Elements in Philippine Traditional Motifs and Crafts

01A Preliminary Activity for Week 14
02A Lesson Proper for Week 14
03B Analysis, Application, and Exploration for Week 14
04A Generalization for Week 14
05A Evaluation for Week 14
06A Assignment for Week 14
BIBLIOGRAPHY
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14 Visual Elements in Philippine Traditional Motifs and Crafts
02A Lesson Proper for Week 14

02A Lesson Proper for Week 14

ELEMENTS OF VISUAL ARTS

Line is the base of any illustration. It is the first visual feature in art and the most flexible. A line
can be found in a piece of art in several respects. It may serve as an indicator of form, pattern,
shape, structure, development, depth, distance, rhythm, motion, and various emotions.
Shape may be organic or human-made, ordinary or angular, smooth (2-dimensional) or rigid (3-
dimensional), figural or abstract. Geometric or organic. It may be translucent, invisible, or
reflective.
Tone is the color’s lightness or ambiguity. An artwork can be modified to change its expressive
character with its tonal values.
Color is the most important visual factor of our emotions. Therefore, we use color to construct an
artwork’s mood or atmosphere.
Pattern consists of the repetition or echo of the elements of a piece of art to convey a sense of
unity, harmony, contrast, rhythm, or motion. In art, there are two main models: natural patterns
and human-made patterns. Natural and human patterns may be either regular or irregular, organic
or geometrical, structural or decorative.
Texture is an art’s surface appearance — the ruggedness or smoothness of its material. In two
ways, we perceive texture: optically (by sight) and physically (by touch).
Shape is the intrinsic dimension of a structure and the space in it.

GRAPHIC AND PLASTIC ART

Folk Writing. The Philippines collectively names numerous indigenous scripts suyat, all of them
possessing their own calligraphy forms and styles. Specific ethnolinguistic communities used
scripts for different media in the Philippines before the Spanish colonization in the 16 th and 21st
centuries until the independence era. Just four of the suyat scripts survived by the end of
colonialism and continue to be used in everyday life by certain groups. The four scripts are
hanunó'o / hanunoo of the people of Hanuno’o Mangyan; buhid / build of the people of Buhid
Mangyan; Tagbanwa script of the people of Tagbanwa; and the Palawan / pala’wan (ibalnan) of
the people of Palawan. Under the term “Philippine Paleographs” (Hanunoo, Buid, Tagbanua &
Palawan), all four scripts have been inscribed in UNESCO’s 1999 World Memory Program.

Folk Painting and Drawing.

Folk drawings have been part of the Philippine culture since time immemorial. The oldest
folk piece is a rock gravure of Angono, Rizal’s petroglyphs during the Neolithic era (6000-2000
B.C.). On the other hand, folk drawings in Alab, Bontoc are recognized to have existed in the
1500 B.C. One example of this is the pudenda, which are drawings that reflect religious
representations and fertility, while children’s drawings were said to be an offering to avoid the
illnesses of the children. Similarly, Antique common drawings as petrographs can also be found
in the country’s unique locations. Peñablanca’s petrographs in Cagayan are sketches of charcoal
and the Singnapan’s petrographs in southern Palawan. The petrographs are usually composed of
red hematite which is prevalent in Anda, Bohol. Drawings vary from a range of animals like
insects, rats, lizards and birds to humans like monks and ordinary citizens (Christ the King
College, Calbayog City, n.d.).

Tattooing. The art of tattooing started thousands of years ago. The Austronesian ancestors
initially initiated this art form, which later on became an embedded part of tribal and ethnic
communities. Back in the 16th century, the brave Pintados, or the inhabitants of Central and
Eastern Visayas were the most tattooed people in the archipelago. Despite the distances of ethnic
groups from each other, it is interestingly found that communities from Camarines and
Marinduque were found to have similar tattoos. On the other hand, Mindanao communities like
the Manobo call the tattooing tradition as pang-o-tub. At present, the most commonly tatttoed
people in the Philippines are the Luzon highlands recorded to have been tattooed from
colonization. Tinglayan, which is a small village in , only retains the preciousness of their tattoo
artists headed by Whang-od, the Kalinga matriarch.

PHYSICAL ORNAMENTATION
“Ornamentation is a decoration that enhances or embellishes an object, architecture, and even the
human body.” (Christ the King College, Calbayog City, n.d.)

Tangkil. An ornament with the upper arm of a man and made out of boar’s tusks. With a weave
and a rattan tie. Men wear a pair of these during ceremonies and rituals, for instance, during the
rice begnas ritual. (Heinzelmann, 2017)

Kattagang. Woven Pasil, Kalinga headgear with frozen fabrics. The object’s nature and color are
specific to the cultures of Kalinga. Personal decoration of the person that is Ialso used to store
personal items like tobacco.

Appaki Necklace. A collar made from Appaki plant seeds. In the villages in the Cordillera, this is
widely used. Strings longer than the Ifugao Duke (this collection), normally part of the shirt.

Arm Beads. Arm ornament worn by Tingguian women of Abra’s ethnic group. It is made of glass
and pottery.

Suklong. A luxurious knit headgear of dyed, tusk, and beads. In the middle is a pin with an eagle
pattern. It was worn by people and used primarily as a market for personal products like
cigarettes. It is worn at the back of the head and secured through the front with black beads. In
the Bontoc – Kankanaey sector, several other designs are available. Some elders also wear
Suklong at fiestas and occasions in Bontoc and neighboring villages.

Dukaw or Chukaw. An anthropomorphic bronze figure tied to a tiny wood. It is part of a dung-
dung, worn on a female head during the celebration of her marriage called Uya-uy. It was seen
mainly by the Kadangyan elite of Ifugao. The dukaw’s headdress is attached to the long bead
loops.

Boaya Necklace. A necklace that consists of boar’s tusks and runo in the center. Men wear it
alongside tangkil during ceremonies and rituals, such as the ceremony of begnas for the rice
manufacture. On the runo ends, visible inlaid patterns; on each of the tusks, Rattan basketry
fabric is made. It is worn during ceremonies by priests and warriors. Older versions of this
product consist of crocodile teeth, so the ornament is given the crocodile local term’s names.
(Christ the King College, Calbayog City, n.d.)

POTTERY

Direct Quote:

“Modern pot-producing will use clay found along the Sibalom River in some parts of
the Philippines. The clay was installed, wooden paddles had to be used, and the clay had to be
kept out of sunshine. Since 3500 years ago, the native Philippines has created pottery. These
pottery jars were used to carry the dead man. Anthropomorphic designs decorated other pottery
used to hold remains of the deceased. These anthropomorphic pots date from 5 BC. – 225 A.D.
and had pot coverings in the form of human heads. Pottery from the Philippines also had other
applications. Pottery was used for water pots, plates, cups, and many other applications in the
Philippines’ Neolithic period.”
(Christ the King College, Calbayog City, n.d.)

Kalinga Pottery
Clay vessels of Kalinga are classified into three types: rice cooking (ittoyom),
vegetable/meat cooking (oppaya), and water storage (immosso) pots. According to Skibo, the
rice cooking pots are typically bigger, slimmer, and have a smaller opening than vegetable or
meat dishes. On the other side, the total height of water pots and the neck’s thickness are lower.
Others can be available in three different sizes: large, medium, and small, except for the same
scale’s water storage tanks. While in some situations, this is real, there is another bigger
vegetable/meat pot and a smaller pot of water storage.

Ifugao’s Symbol Present in their Traditional Textile

Lightning- The symbol is used to signify the sacrifices a man can make to meet his superior
gods, which is impossible. One must communicate with the prominent gods with the aid of a
messenger deity.
Star Pattern- A star is also considered a son of the sun and the moon, often regarded as a deity.
Symbol- The image is a design only made to wear by a warrior headhunter and his wife or
daughter.
Lizard symbolizes riches and good fortune for the Ifugaos.

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faculty members within the eLearning Commons network were UNLAWFULLY uploaded in
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PROSECUTION
Under Philippine law (Republic Act No. 8293), copyright infringement is punishable by the
following: Imprisonment of between 1 to 3 years and a fine of between 50,000 to 150,000 pesos
for the first offense. Imprisonment of 3 years and 1 day to six years plus a fine of between
150,000 to 500,000 pesos for the second offense.
COURSE OF ACTION
Whoever has maliciously uploaded these concerned materials are hereby given an ultimatum to
take it down within 24-hours. Beyond the 24-hour grace period, our Legal Department shall
initiate the proceedings in coordination with the National Bureau of Investigation for IP Address
tracking, account owner identification, and filing of cases for prosecution.

Bestlink College of the Philippines

Official Website
Facebook Page
Knowledgebase
Ascendens Asia
eLearning Commons
School Management 360
Research Institute
BCP Main Campus
#1071 Brgy. Kaligayahan, Quirino Highway
Novaliches, Quezon City, Philippines

BCP Bulacan Campus

Quirino Hwy, San Jose del Monte City
Bulacan, Philippines
Bestlink College of the Philippines’ Learning and School Management System is powered by
Ascendens Asia Group.
Bestlink College of the Philippines
Mobile : +63 (02) 8417 4355
Bcp-inquiry@bcp.edu.ph
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15 Soul, Space and Symmetry
01A Preliminary Activity for Week 15
02A Lesson Proper for Week 15
03B Analysis, Application, and Exploration for Week 15
04A Generalization for Week 15
05A Evaluation for Week 15
06A Assignment for Week 15
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15 Soul, Space and Symmetry
02A Lesson Proper for Week 15

02A Lesson Proper for Week 15

SOUL AND SPACE

In the Philippines, folk architecture is considerably different per ethnic group, where
bamboo, wood, stone, coral, rattan, grass, and other materials can be constructed. These houses
can be any of the following:

Bahay Kubo, a hut style built using vernacular mediums;

Bale hut, known as a highland depending on ethnic grouping;
Batanes Coral houses, protecting indigenous peoples against the harsh winds in the area;
Torogan royal house, graven with a complex okir motif;
Palaces of Macedonia.”
“Folk architecture includes religious buildings (spirit homes), sanctuaries for the spirits or
the gods of protection. Most of the buildings in the house are made from indigenous materials
and usually open-air. Some of them were initially pagoda-like, a style that later became Islamic
and extremely rare. Folk structures include simple, sacred sticks to indigenous castles or
fortifications, such as idjang; geologically changing artworks, such as the Rice Terraces of the
Philippines’ Cordilleras called payyo. There are five rice terrace clusters, namely Nagacadan,
Hungduan, Mayoyao central, Bangaan, and Batad, declared World Heritage.”

There are also houses with an indigenous and Hispanic motif such as Bahay na Bato’s
architecture and its prototypes. Many of the Bahay na Bato buildings in Vigan have been
recognized as World Cultural Heritage Sites.
Folk Architecture
 1. Torogan = Torogan is a typical shelter, once a dwelling place of a sultan or data
in Lanao and now declared as a national cultural treasure by the National
Museum. Moreover, it has become a common building in the area with the
famous okir sculptures shown inside the panolongs and the sarimanok. The frame
has wooden columns above the ground, and walls are wrapped with furnace and
coconut leaves on the roof. It has no inner partition, like a nipa hut.

Jolo, Sulu has Torogans, mostly Nipa and Bamboo versions. Like in Marawi, the Torogan in Sulu
is used for various social and religious meetings, including marriages, wakes for funeral
celebrations, conferences, and legal proceedings. The original Torogans in Marawi City were
founded by the government and the lower class people for the datu in the 1800s. A Torogan
replica can be found right next to the Clamshell in the Intramuros. In addition to that, the
Dayawan Torogan of Marawi and Laguindab Torogan of Ganassi exist in various places in
Lanao. All need massive recovery funds. The Torogans from various towns in Lanao are listed on
the UNESCO World Heritage List as part of the Philippines’ provisional list.

2. Ifugao Bale = There are three types of Ifugao houses: the (1) hut built directly on
the grounds, while (2) inappal is considerably built from the ground during rice
cultivation. Such systems, though, are permanent accommodation because of
financial constraints. (3) Bale is also regarded as a permanent, affordable, and
high-rise family home.

Essentially, it is a one-room house with a storage attic which looks very much like a large
pyramid-like tower backed by four wooden posts or tukods and an ingeniously built home that
can survive natural calamities, including typhoons and even earthquakes. They are made of
autochthonous found wood without using nails or bolts and are mortarized and bonded together.
In the rice fields, the alang or granary house was used as a storing facility for harvested rice and
rice gods and sometimes as a grave. The only families in this type of structure are of the upper
class.
Ifugao Bale was a typical, naked windowless home. It has been made from amuwagan trees and
was placed 50 centimeters under the ground with four posts. The triangular roof defends the
occupants from temperature and elements. It can be decommissioned and installed in another
position because of its architecture. While it looks small on the outside, it has more room inside
three (3) floors. A detachable ladder can be reached in level two, where the family members can
eat, rest, dine, and prepare meals. The ground is paved with wooden disks (oliang) that deter rats
from entering the house. The third floor has a pavement that serves as a warehouse and a shelter
for the wall. In the house, animal skulls are shown for the gods.

3. Bahay Kubo = Nipa hut is a kind of hut indigenous to Philippine cultures. The hut
is a type of housing known as payag or kamalig in other Philippine languages. It
is often an icon of the Philippine culture. The architectural concepts gave way to
numerous traditional Philippine houses and constructions, which evolved after the
pre-colonial period. The colonial period “bahay na bato,” a noble variant of the
Spanish Bahay Kubo with some Chinese principal architectural influence, has
been the city’s dominant architecture in the past. The Bahay Kubo has been
influential to architecture. In fact, modern buildings like the Cultural Center of the
Philippines and the National Arts Center are inspired by the nipa hut. Other
modern buildings influenced by the beauty of this house are the Coconut Palace,
the San Niño Temple, and the Modernist Palace.

4. Bahay Na Bato = The principalias and illustrados combined the Bahay Kubo
features with cultural elements from Europe and Asia during the Spanish
colonization. The Bahay na Bato was a perfect Filipino shelter from the 18th
century to the Second World War. According to the book Winand Klassen’s:

The third and last step of growth of the Spanish-Filipino domestic architecture has preserved the
construction of wooden supports but has restricted the use of brick and stone to the lower level;
the top-level consisted of a wooden siding case that left sufficient openings for the sliding of the
windows.
The variations In appearance vary from family preferences to national trends. The typical
architecture occupies two floors, and the upper portion of the house features a dining room. The
cool outside air is used through large windows and their over shots. Windows may be opened and
closed, depending on the conditions with capiz shells. The typical rooms include a caida, the
main room (lounge), a living area (dining room), the oratorio, curators, a cocina (kitchen), and
azotea (open balcony). Other amenities include a wide terrace and a high terrace.

SYMMETRY
Symmetry is a sense of harmony and the most appealing proportion and harmony in daily
language. Symmetrical harmony is also called formal equilibrium because it uses a mirror image
shape for vertical axes. The equilibrium is accomplished by placing elements on both sides of a
center, i.e., the image looks the same on either side, created by the horizontal or vertical divider.
The symmetrical equilibrium is suitable for those that want a sense of order, transparency, and
continuity, owing to its remarkably balanced and equally proportionate existence. To the mind, it
is a place of relaxation, and this sort of vision is easy to understand, the principle of harmony and
continuity having the same pattern.

A balanced piece or very realistic painting are some of the typically desirable
characteristics of any art form. The symmetric equilibrium method may do this and use the
various symmetry forms that shift the elements to the left, to the right, to the center, or up in the
picture. Although the symmetrical balance is the most often used by authors, most artists are
based on the slight changes found in reversed symmetry, similar to symmetry, biaxial symmetry,
radial symmetry, and even asymmetry.

Art can still be art, even though it can be sliced to look the same as the other part. Art will
be much more stunning because you have to appear almost the same by the contrast’s specifics
on both half and color.

Okir/Ukkil Art
 Okir, or also known as okkil or ukkil, refers to the geormetric and vine patterned flow of a
design and motif. It is usually found in Maranao, Maguindanao and Muslim-influenced artwork,
especially in the southern Philippines, and in some parts of Southeast Asia. Its primary patterns
include the “Sarimanok”, “Naga”, and “pako rabong”. Some of its examples are the following:

1. Maranao Okir

Maranao okir is an architectural style by the original Maranao settlers of the Philippines
from the early C.E., previous to its Islamization. In hardwood, brass, silver, and wall painting,
okir is a design or pattern often turned into curved and curved linear lines and Arab geometry.
Maranao okir is a crucial musical and artistic legacy of the Philippine Maranaos of Lanao. The
Maranao followed and perfected the architectural patterns of the Sama to decorate the Torogan
houses of the ruling datu class. The most significant pieces of the Torogan are the panolongs, the
sculpted beams on the ground in front of houses are stylishly okir which was meant to scare evil
spirits away. The ceremonial tinai a walai (“house intestines”) also featured Okir in the central
house beam.

2. Tausug Okir = Okir is identical to the Maranao in Tausugs. The origin has always been
found in Maranaos. Okir is pre-Islamic in origin. It is assumed that they derived from the
artistic carving styles, primarily strongly individualistic and geometric, of the Sama
people, much earlier in okil or okil-okil. The Sama were master carvers who created
sumptuous decorations on ceremonial animism artifacts, tombs (both in wood and in
stone), and lepas. These styles of Okir architecture still occur in the Maranao art tradition
in the Basak area of Lanao Lake and the Tusugian people contrasting dramatically with
the later dynamic designs of Okir. Okir is usually limited among the Tausug to the arms
hilts and scabbards.

3. Yakan Okir = The people of Yakan were descendants of the Moro people who lived in the
Philippines’ interior and are identical to Moro okir designs to that effect. Yakan okil
features authentic versions, rather than stylized images, of natural objects like okir.
Marine subjects, including depictions of dugongs (duyongs), are widespread, frequently
with an individual riding behind. But their okil has several traditional motifs, like the
 image of naga (sea serpent), like Moro and Maranao. The motif of the beautifully
sculpted Lepa boats called the Jungal is particularly common.

4. T’boli Okir = The T’boli Tribe lives near the Sebu Lake in the southern province of
Cotabato. When settlers from the other Philippine islands came to live in dispersed
settlements on the Highland, they gradually shifted to mountain skies. The representation
of fantastic and actual elements in T'boli is more significant. Many of the compositions
depict birds, trees, and mythical beings. They are figurative. Some of the (usually
unexploited) islands of Sulu and Tawi-Tawi T’boli okir can be held in the traditional old
funeral of the Sama. Many of the earliest specimens of okil are commonly sculpted from
coral and calcareous blocks.

5. Blaan Okir = The Blaan people are one of Southern Mindanao’s minority groups in the
Philippines. Their name may come from “bla”, which means “opponent”, and a suffix
that means “men.” In the past, Blaan Okir designs have differentiated themselves,
especially for textiles, and a Maranao can generally discern from which place anyone is
based on their malong patterns and woven ornamental strips. Crocodiles, parrots,
grasshopper-heads, and swallowtails are usually portrayed in the okir as additional
motifs. Okir has also portrayed nonnative creatures such as tigers, peacocks, and
elephants after contact with other cultures.

6. Maguindanao Okir = The population of Maguindanao belongs to the larger ethnic

community of Moro, the sixth-largest ethnic group of the Filipino. The name means
“populations on the plains of the storm.” Maguindanaoan Okir has a style identical to the
very Racine of all Maranao okirs. The Okir Motif is an art portraying Maranaos and
Maguindanao’s indigenous originality and abilities. It is a beautiful art of figuring,
drawing, curving, and sculpting, depicting Maranao’s social and psychological identity
and surroundings. Every artifact is made ornamental or decoratively with an authentic
okir, showing that their culture is distinct and original and that other cultures do not
imitate their culture.
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15 Soul, Space and Symmetry
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16 Art Improvisation
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IMPROVISATION
Improvisation is the practice of behaving and responding to one’s situation at the time. It
will lead to new habits of learning and/or new ways of doing things. This cycle of inventions
occurs more often when followed by a detailed and/or intuitive knowledge of the ability you
develop. The know-how of Improvisation can be applied to many different communication skills
or forms. For example, musical plays, cooking or speech delivery, trading, personal or intimate
relationships, sport, arrangement in flowers, martial arts, psychotherapy, sculpture, and in
spiritual matters. There are different types of Improvisation:

A. Contact Improvisation (Contact-body Improvisation)

Contact improvisation is a form that is now practiced around the globe, developed 30 years
ago. It was created from Steve Paxton’s movement studies in the 1970s and developed through
the Judson Dance Theatre’s ongoing study. “It is a form of dance based upon weight sharing,
partnership, and weight play with unpredictable results.” (Sections, n.d.)

“Contact Improvisation is an open ended exploration of the kinesthetic possibilities of

bodies moving through contact. Sometimes wild and athletic, sometimes quiet and meditative, it
is a form open to all bodies, changing from moment to moment and dance to dance, a result of
the physicality of those meeting. Contact manifests in different ways depending on accidents of
physics and the intentions and curiosities of those participating. Having a reference point in the
post modern dance explorations of Steve Paxton and others in the early 70s, there is a base in an
observation of the body’s abilities to self-organize functionally in precarious, off-balance
situations set up by the collaboration and collision of two or more investigating partners. Part
“non-martial” martial art, part acrobatic dance, part movement meditation, part collaborative
bodywork practice, contact is a place where we can, with a sense of playfulness and curiosity,
explore our bodies and interconnection.” (Contact Improvisation, n.d.)

There are five rhythms in contact-body Improvisation. “Each of the five rhythms is
interpreted by individuals in a uniquely personal way, opening up a new sense of freedom and
possibilities.” (5Rhythms is a Wave, n.d.) The five rhythms are the following:

Flow = We physically practice the art of being fluid in our bodies. Flowing is the impulse to
follow the flow of one’s energy, to be true to oneself, listen and attend to one’s needs, be
receptive to one’s inner and outer world. When we open up to the flow of our physical beings, all
other possibilities open. (5Rhythms is a Wave, n.d.)
Stacatto = “We physically practice the power of masculine energy. It is percussive and strong and
promotes connection with the rest of the world. Staccato is the gateway to the heart. It shows us
how to step out into the world connected to our feet and feelings. It is the part of us that stands
up for what we care about and who or what we love.” (5Rhythms is a Wave, n.d.)
Chaos = We physically practice our bodies. We let go of the head, spine, hips, feet and move
faster than we can think. Chaos breaks us free from our illusions. It takes us on a journey from “I
can’t” to “I will”. “This rhythm liberates us from all ideas about who we are and gives us a real
experience of being total, free, intuitive and creative.” (5Rhythms is a Wave, n.d.)
Lyrical = “We practice how to break out of destructive patterns and surrender to the depths of the
fluid, creative repetitions of our soulful selves. Lyrical is expansive and connects us to tour
humanity, timeless rhythms, repetitions, patterns and cycles.” (5Rhythms is a Wave, n.d.)
Stillness = “Being still and doing nothing is different. Stillness moves both within and all around
us. The dance is our vehicle, and our destination is the rhythm of stillness; our challenge is to be
a vessel that keeps moving and changing. Each time we dance into stillness, we practice the art
of making humble and mindful endings. This carries through to all our ending in life – the end of
this dance, this day or this life cycle. Good endings mean taking responsibility for the whole
journey, distilling wisdom from our experience so that we may begin the next wave or cycle
clean of carrying the past with us.” (5Rhythms is a Wave, n.d.)
B. Music Improvisation
 “Improvisation, in general, is an integral part of the music. The vocabulary of one or more
musical styles is often accessible to musical improvisers, such as blues, pop, folk, jazz — and
work, in the language of imagination and originality to convey thoughts. In ensembles of other
players, Improvisation may take place either as a single act or interdependently. When done well,
the audience also evokes gratifying emotional answers. Very few musicians have ever dared to
give concerts that were entirely improvised like composer and pianist Franz Liszt’s popular
improvised piano recitals. However, some have successfully performed such trials and genres
like a few groundbreaking solo piano concerts in Stuttgart, Southern Germany, and the United
Kingdom, London, in the 1990s.” (Improvisation, n.d.)

C. Sound Improvisation

Singing in Improvisation is an old way of art. The singing in Improvisation is an

improvisational theatre combination. A singer makes the words and the rhythm to an album
while the musicians play the instrument. Also, dancing, comedy, and exhibition aspects are
included in the repertoire of singing improvisers. (Improvisation, n.d.)

D. Theatre Improvisation

“In line with Konstantin Stanislavski’s dominant acting philosophies, an actor who
improvises a scene must trust his intuition. According to Stanislavski, a character’s response to
internal and external stimuli must use his intuition. By Improvisation, an actor can learn to trust
his instincts rather than use theater and “indicate” his motives. Improvisation’s focus on attention
is also beneficial. Clearly, the actors must be able to maintain their focus, even under difficult
and stressful situations. In an atmosphere in which everything can happen. Concentration is a
foundation for classes in acting and workshops; an actor must focus on the scene or action.
Actors that do not obey an improvisation are called blocking actors.” (Improvisation, n.d.)

D. Dance Improvisation (Choreographic Tool)

“Improvisation is used in the dance structure as a choreographic instrument.

Experimenting with the principles of form, space and time, and energy through motion will
create a unique and innovative movement style, spatial configuration, patterns, and rhythms
without inhibition or abstract thought. The choreographer can connect with her creative self
without any inhibitors, thus clearing the way of pure invention.” (Improvisation, n.d.)

E. Film Improvisation

“The director Mike Leigh uses long, weeks-long improvisations to create characters and
stories for his films. He begins by talking about how things will grow but does not disclose with
the cast all of his plans. You must soon discover your passions and react as your destinies are
slowly exposed, including crucial aspects of your life that will no longer be shown onscreen. The
final film draws on the dialogue and actions recorded during the period of Improvisation.”
(Improvisation, n.d.)

F. Comedy Improvisation

“Improvisational comedy is a traditional art practiced globally and traditionally. The

‘Upright Citizens Brigade’ in New York City and the ‘Groundlings’ in Los Angeles, ‘Second
City’ in Chicago, and ‘Theatre sports’ in Calgary, Canada are among the most popular comic
enhancement communities in North America. Pioneers such as Viola Spolin, Paul Sills, Del
Close, and Keith Johnstone extemporize.” (Improvisation, n.d.)

G. Writing Improvisation

“Improvisational writing is an activity that restricts an artist, such as time limit, word limit,
a particular subject, or rules regarding what may be written. It forces the writer to work within
the sea of consciousness and compose the writing they create without judgment. Its system is
used for several reasons: bypassing the authors’ block, enhancing imagination, increasing your
writing ability, and improving your literary versatility. Any collaborative improvisational writing
focuses on a near-Dadaist form of collaborative literature.” (Improvisation, n.d.) It can take a
range of forms, from the basic way a notebook can be sent to code environments that rely on
collective writings wherein a circle of authors each write a paragraph.

Sculpture Improvisation
 “Sculpture typically depends on a limited model or model expansion to create the final
product for a selected material. The material is plastic, such as clay. It is often important to have
a working structure or armature to allow the predetermined design. By limiting the structure, a
matrix of tones allows for identifiable forms to emerge, essentially ignored by turning the job,
allowing for endless possibility and the possibility for the unexpected to occur more strongly. In
addition, the approach of working with tone gives way to the mock-up, which eventually
degrades the mock-up. If the design issues of transforming work from inserting to taking it away
to a solely reductional function are significantly alleviated, a constant elimination of materials
through a dismissal of forms deemed too evident will lead to nothing.” (Improvisation, n.d.)

Alan Thornhill is known for his clay sculptures, where he creates their composition
initially out of course clay parts in a somewhat random selection and does not use the traditional
guidance of a wire armature. (COLLECTOR, 2011) His student Jon Edgar uses the same
technique to create direct stone and wood carving.

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PROSECUTION
Under Philippine law (Republic Act No. 8293), copyright infringement is punishable by the
following: Imprisonment of between 1 to 3 years and a fine of between 50,000 to 150,000 pesos
for the first offense. Imprisonment of 3 years and 1 day to six years plus a fine of between
150,000 to 500,000 pesos for the second offense.

COURSE OF ACTION
Whoever has maliciously uploaded these concerned materials are hereby given an ultimatum to
take it down within 24-hours. Beyond the 24-hour grace period, our Legal Department shall
initiate the proceedings in coordination with the National Bureau of Investigation for IP Address
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Bestlink College of the Philippines’ Learning and School Management System is powered by
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DEVELOPMENT OF ARTS IN THE PHILIPPINES

Developmental art is a program that yields results based on total community response.
Historically speaking, Philippine Art may have rooted from the Western traditions as the artists
from varying generations studied in Europe and U.S.A. Juan Luna and Felix Hidalgo were
among the pioneers of Filipino painters. In fact, the received awards in Europe for their Neo-
Classical or Romantic work. Among others, Fernando Amorsolo was the most famous and the
first National artist through his realistic take on rural landscapes and Filipino women. Later-day
artists have developed their own art style but continues to revisit these pioneers especially in
translating the localness of their work.

Philippine Art in the seventies went into a crossroads. Art became a big deal as it became a
pathway to promote all forms of styles and disciplines. It also resulted to a new line of artists that
are more aware of cultural connectedness and social relevance in making their pieces, aside from
the aesthetic requirements and standards. Thus, there was a realization that it is time to unlearn
and re-learn. Our artistic tradition and our system of art education had to be examined once
more. (Developmental Art of the Philippines, n.d.)

INDIGENOUS PHILIPPINE ART

 Weaving is one of the essential cultural livelihoods that are still maintained today— given
a more realistic, industrial production of cloth challenged by the art of weaving of the Cordillera
tribal groups in the North of the Philippines. The natives used backstrap loom to manufacture
clothes and garments. In the looms in the Antique Province, Piña cloth is made. It is the fiber of
the leaves of Piñas, a fragile and beautiful hand-woven fabric. It is widely used in the traditional
formal menswear of the region, Barong Tagalog. The ‘barong’ is becoming increasingly popular
worldwide with the use of organic and ventilated textiles. Abaca fiber is harvested in some areas
of the world, specifically from an abaca farm. It is made mainly from ‘sinamay’ cotton, abaca
cloths, and specialty sheets, such as vacuum bags, money, and tea bags. There is also
craftsmanship, such as boxes, tapestries, and abaca clothes. Baskets are also developed as
livelihoods by the Cordillerans. They often use them as food storage to produce crops when they
have to go to mountain terraces. Many types of baskets are also used for carrying food, hunting,
and fishing on waterways. Baskets of bamboo are used for fish traps; the shape of baskets and
their scales are fish to be captured.

Philippine pottery

Manufacture pots in various sizes, shapes, and patterns, typically rectangular with stylized
natural themes. As required, usable parts are generated. The ’palayok’ that is used for cooking is
an example of this. The substance is extracted with ‘banga’ and ‘tapayan.’ The clay-made stove
or ‘kalan’ is also available. The ‘burnay’ pottery in Ilocos Sur continues to be a vibrant tradition.

The philippine sculpture is one of Filipinos’ best-recognized styles of art. The most famous
woodcuts are the anitos, the santos, the statues of Christ, and the Holy Mother.

Jewelry making has been practiced in the country since the beginning of the 16th century. It
is assumed that its Asian neighbors, like the Chinese, use early Philippine gem makers’ expertise.
 Jewelry is a home product historically. The Philippines is renowned for its beautiful gold
jewelry with government help. In reality, gold and silver are the most common pieces of jewelry.
The precious metals are commonly used for hoops, earrings, belts, brooches, necklaces, tie pins,
and mangoes (with or without gemstones). Pearls and semi-precious pearls are also found in the
Philippines.

MUSLIM ART

Muslims and non-Muslims, who have lived within the area occupied by or under the
influence of ethnic Islamic communities, have developed visual arts since the seventh century. It
is also challenging to describe as it spans 1400 years and encompasses various lands and peoples.
Nor is this craft of a particular culture, date, place, or media. Outside of Islamic Art, sculpture,
calligraphy, drawing, glass, pottery, and textiles include art areas.

Contrary to belief, Islamic Art does not only refer to religious art but encompasses the
entire Art of Islamic societies’ rich and varied cultures. It also includes secular elements and
elements which certain Islamic theologians prohibit. Islamic Art is very distinct from the
tradition of Christian culture.

Since figurative depictions are usually considered illegal in Islam, a religious importance
in the arts, as shown in the tradition of calligraphic inscriptions, is taken up. Calligraphy and
manuscript decoration in Quran is an essential element in Muslim Art despite the religious and
artistic significance the term takes on.

Themes of Islamic Art

Stylized, geometrical, floral or vegetal patterns in a repetition called the Arabesque, a

common feature in Islamic Art. The Arabesque is also used in Islamic sculpture to signify God’s
transcendence, indivisibility, and eternal existence. Many researchers claim that repeated errors
can be purposely created by performers who claim that He will achieve perfection as a
demonstration of modesty. Traditionally, but not exclusively, Islamic Art has concentrated on
portraying Arabic patterns and calligraphy rather than human or animal figures. Many Muslims
claim that human figures reflect idolatry and, therefore, a sin against God prohibited in the
Quran.

Islamic Architecture
Islamic architecture incorporates a mixture of religious and secular styles. The mosque is
the primary example of Islamic architecture. Shortly after Muhammad’s period, a distinctly
identifiable Islamic design emerged, including Roman building practices and the localization of
former Sassanid and Byzantine patterns.

Early Mosque
Historically the Islamic mosque was both a worship center and a gathering spot for the
congregation. It is assumed that the early mosques were influenced by the residence of the first
mosque of Muhammad in Medina.

Ottoman Mosque
In the sixteenth century, the architecture achieved its highest point when Ottoman
architects perfected the vast interior spaces with almost light and unbelievably massive domes
and obtained complete equilibrium between inner spaces, outer spaces, and articulated light and
dark. They built in their mosques vaults, dome designs and minarets, elegant corner minarets and
columns, and became a transcendent architectural and functional haven in Istanbul, Turkey, as
seen in the Blue Mosque.

CHRISTIAN ART

During the late second and beginning of the third century, the origins of visible Christian
painting can still be traced. Given the ban of graven images in the Old Testament, it is essential
to understand when Christian Art first evolved. The use of pictures is a persistent question in
Christianity’s history. In the early church, the best justification for the emergence of Christian Art
is attributed to the presence of pictures in Greek-Roman society.

When Christianity was transformed, these young Christians were brought up to the
importance of pictures and decided to pass on their Christian practice through their older cultural
context. For instance, there has been a shift in burial tradition in the Roman world from
cremation to burial. Catacombs were sunk into the earth beyond Rome’s city walls next to main
roadways to retrieve the dead. Families will be covered in chambers or cubicles. Wealthy Roman
citizens will also have marble tombs or sarcophaguses sculpted for burial.

Themes of Death and Resurrection

The lack of representations that characterize Christian Art is a surprising feature of the
third century’s Christian Art. For instance, we see no pictures of Christ’s birthright, crucifixion,
or resurrection within this early era. Christianity’s reputation best explains the lack of direct
references to Christ’s history as a faith of mystery. The Crucifixion and Ascension story will be
part of the mysteries of Christianity.

While these core representations of Christianity did not directly represent the subject of
death and regeneration, all of them appeared in the Antiguous Testament, which echoes similar
themes. For example, early Christians interpreted Jonah’s story, which big fish eat up, then spit
out of the bottom of the beast three days and three nights, as the prediction or prefiguration of
Christ’s death and resurrection. Jonah, along with Daniel’s depictions of the Lion’s Nest, Three
Hebrews of the Firey Forge, and Moses of the Pillar, among other items, is commonly known,
both in the paintings and sarcophaguses, in Christian Art of the third century.

Christianity’s Canonical Texts and the New Testament

The central position confidence in Christianity and religious values’ importance are some
of the main differences between Christianity and popular worship. The tale of the early church is
dominated by the struggle to establish a series of biblical texts and orthodox doctrine
development.
 Questions concerning the Trinity and Religion are often questioning divine authority. No
core scriptures and no traditional doctrinal views existed within political cults. The emphasis
was on the maintenance of traditional customs. Someone acknowledged the presence of the
divinities, but the belief in the gods was not stressed.

Throughout the Greek and Roman culture, the Christian importance of biblical theology is
similar to religion’s position. Philosophical schools focused on a single teacher’s theories or
doctrines. The metaphysical schools implied unique truths. The development of Christian
theology was inspired by ancient philosophy. For example, the opening of the john Gospel: “The
spirit and the truth were at the beginning of Christ,” is unmistakably based on the notion that the
logos go back to Heraclitus’ doctrine (c. 535-475 BCE). In the second siècle, Christian
apologians such as Justin Martyr interpreted Christ as the Logos and the Word of God as an
interpreter between God and the earth.

Early Representations of Christian and the Apostles

Christ’s figure with a group of apostles or students on his back is found early in
Domitilla’s catacomb. Many who have encountered Christian images later may fail with an
image of the Last Supper, but this image tells no story. It also conveys the impression that the
real teacher is God.

The parchment is in his left hand, and the right hand is raised by the so-called “ad
localutio” movement or the sign of the orator. Christ is wrapped in a classic suit. The robe of
Jesus, which is at the heart of his followers, demonstrates his supremacy in all respects.
Therefore, Jesus is regarded as the philosopher of his pupils or disciples.

CONTEMPORARY ART
The word contemporary art refers in its fundamental sense to today’s output, including Art
— painting, sculpture, photography, installation, music, and video art. The particulars of this
term, while reasonably clear, are always a little fuzzy, as the definitions of various individuals of
“today” can vary widely.
Pop Art. Contemporary Art is supposed to begin on the heels of pop art due to previous art forms.
Pop art was spearheaded by artists such as Andy Warhol and Roy Lichtenstein after the military
conflict in Britain and America. The aim is to represent a mass culture and to rethink consumer
products as available art. Although the trend lasted around the fifties to the early 1970s, artists
like Jeff Koons resurrected it as neo-pop art in the 1980s. Andy Warhol, James Rosenquist and
Roy Lichtenstein were New York artists who began pop art, drawing from famous pictures and
forming part of an international phenomenon. Since the rise of the Abstract Expressionists, Pop’s
reintroductions of familiar pictures (taken from mainstream media and culture) marked a
significant change into modernism. The subjects were not conventional “great art,” but spiritual,
mythological, and historical stories; instead, modern artists depicted ordinary artifacts and
characters, trying to lift popular culture to the level of fine art.

Photo Realism. Just as artists of the modern art trend wanted to recreate objects artistically, many
experimenting in photorealism – a parallel phenomenon – succeeded at producing hyper-realistic
paintings and drawings. Often photographers worked from images that allowed them to replicate
portraits, landscapes, and other iconographies with precision. Chuck Close and Gerhard Richter
often employed this style. Photorealism (also known as Hyperrealism or Superrealism) refers to
the artists who relied heavily on photographs and often projected them onto canvas to reproduce
images correctly and accurately. The precision was also further improved using an airbrush to
retouch images.

Conceptual Art. Conceptual art is a trend that rewards concepts about the visual or formal
components of pieces of art. Conceptualism has adopted many forms, including performance,
events, and ephemera, rather than a firmly unified movement. Between the mid-1960s and the
mid-1970s, concept artists create works and texts which reject traditional art concepts. Their
central argument-that articulating an artistic concept suffices as a work of art-implied that
considerations such as beauty, appearance, expertise, and profitability were all meaningless
criteria by which art was generally evaluated. Roberto “Bobby” Rodriguez was an artist from the
Philippines who is widely known and well-known for his work as the father of the Philippines’
conceptual arts (March 29, 1937 — April 30, 2013).

Minimalism. In the 1960s, minimalism, similar to conceptualism, was realized and remains
prevalent. The Tate states that these two movements “disposed of structures to make, disseminate
and view art.” However, the distinction between minimalism is that it is simple, abstract artistic
invites spectators to respond to what they see – rather than what they consider a particular work
of art. In the early 1960s, abstract artists who consciously renounced modern painting, which
they felt had become outdated and scholarly, appeared in New York. A surge of emerging trends
and modern styles has driven young artists to challenge traditional boundaries among different
media. Modern art preferred the sleek over “dramatic”— its works were mostly recycled
resources and stressed abstract expressionism’s anonymity. Artists avoided the open-ended
metaphors and emotional substance rather than the materiality of their art. An example of
minimalist art in the Philippines is the “Precincts” created by Mario Yrisarrv in 1965.

Installation Art. Installation art is a term widely used to characterize artworks found in 3D
interior spaces because “install” denotes inside something else. It is also site-specific-built to
provide an architectural, abstract, or social connection, whether temporal or permanent, with the
space environment. It also provides a high degree of interaction between itself and the audience.
It does not function as a desirable item to be viewed but as a feature in the broader context,
whether it is a hall, a museum, or the space it is allocated. The works of art are intended to evoke
a range of emotions and therefore require the viewer to commit himself. The trend appears
distinct from its related manifestations, such as land art, action art, and public art. The concepts
and reactions behind a piece of art for installation are more significant than the nature of the
medium or technological importance. Artists promote this category to transform the art world by
shocking viewers and modern ways of interaction.

Earth Art. This is a movement that uses the natural environment to build structures, art forms,
sculptures, and other formations, often called Land Art or Earthwork. Conceptualism and
minimalism developed out of the revolution: the emergence of the green movement and the
widespread commercialization of American Art in the late 1960s inspired concepts and works
removed, in different ways, from the art market. Earthworks favored materials such as stones,
water, gravel, and soil that could directly be extracted from nature. Earth artists left their
structures exposed to the elements influenced by prehistoric artworks such as Stonehenge. The
works’ subsequent transience and ultimate disintegration outside the norm typically include
coddled and covered works of art in structured conditions.
Street Art. For years, the common idiom of “going out onto the streets” reflects people’s
diplomatic arena of protest, disorder, or rebellion. Early graffiti artists co-operated this ideology
from the 1960s and 1970s as the cityscapes of New York, Los Angeles, and Philadelphia started
to sign their names. As graffiti flourished outside of the United States, Street Art evolved into
any visual art produced in public places, especially unapproved artwork. The primary drive
behind streets was the belief that art ought to function instead of, or even outside, a dictatorial
rule of law, possession, and property. It should be a vailable and not concealed inside and should
be democratic and uplifting, irrespective of race, age, gender, status, etc. Although some street
performers produce installations or paintings, they are better known for using unorthodox art
media such as spray paints, stencils, wheat-paste posters, and stickers. Street Art was also
referred to as creative design, graffiti, and street painting.

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