In 1992, the National Commission on Culture and therefore The GAMABA awardees are the people who have

le who have adopts a

the Arts (NCCA) began selecting and honoring recipients of program that will ensure the transfer of their skills to others.
the National Living Treasures Award, also referred to as They undertake measures to promote a genuine appreciation
GawadsaManlilikha ng Bayan (GAMABA), through Republic of traditional craft and art and instill pride among our people
Act No. 7355. It continues to be awarded today and is handed about the skill of the GawadsaManlilikha ng Bayan
out in the form of a medal. (GAMABA). Filipinos conferred as the forefront of the
The awardees yield art forms that are entwined into daily life. practice, preservation, and promotion of the nation’s
These proves how pre - colonial traditions continue through traditional folk arts.
to the present.
Must have engaged in a folk-art tradition that has been in
Traditional art is based on indigenous people’s cultures that existence and documented for at least fifty (50) years.
are largely honed by oral tradition. It finds deep affinities with
nature, place, society, ritual, and spirituality and everyday GAMABA Awardees
life.
UwangAhadas, musician
In traditional integrative art, forms and expressions do not
normally end up as objects distanced from everyday living. A Yakan of Lamitan, Basilan was awarded for his dexterity in
The site of dissemination and knowledge transfer is neither in playing Yakan musical instruments such as the kwintangan,
the formal spaces of a museum nor a theater. gabbang, agung, kwintangankayu, tuntungan among others.
He has a deep knowledge of the aesthetic possibilities and
The process of creation is usually shared among members of social contexts of those instruments. In spite of the dimming
the community, and appeals to broader aspects of life. of his eyesight, he has devoted his life to the teaching of
Yakanmusical traditions.
The worker of a farmer named Teofilo Garcia of San Quintin
in the Province of Abra, 2012 GAMABA awardee who have Yakan musical instruments are not the easiest or most
discovered and popularized the durable tabungaw hat out of affordable to maintain, but UwangAhadas of Lamitan, Basilan
enlarged upo or gourd. He hollowed out the upo / tabungaw, made it his life’s work to master them. From an early age, he
varnished and polished it to make it more durable and unique and his siblings were encouraged to play these instruments,
yellow sheen. and he developed a passion for them, training himself by
observing older members of the community. At age 20, he
He used different mediums such as varnish to strengthens broke tradition by reaching excellence in playing the
organic material, strips of rattan (uway) to line the hat, fern kwintangan, an instrument typically played by a woman. The
(nito) is placed on the mouth of the hat as decoration. He instrument, made up of logs arranged beneath a tree near a
intended to transform the harvest into durable hats to rice field, is used to call for abundant grains and rice growth.
protect the people who are exposed for long hours under the He is also dedicated to sharing his knowledge to younger folk;
heat of the sun, especially the farmers. Until now, he shared his teaching style is hands-on and supportive, giving his
his knowledge and skills of making the Tabungaw hat at San students his full attention. He was awarded in 2000.
Quintin National High School and inspires the youth to value Magdalena Gamayo, textile weaver
tradition and to ensure its preservation.
Based in Pinili, Ilocos Norte, Magdalena Gamayo took up
Contemporary-traditional weaving when she was 16, guided by her aunt’s patterns. She
art refers to an art produced at the present period that received her first loom from her father three years later,
reflects the current culture by utilizing classical techniques in which she would end up using for 30 years. She taught herself
drawing, painting, and sculpting. traditional patterns, such as kusikus (whirlwind), marurup
(Milky Way), and sinanpaddaktipusa (cat’s pawprint), building
What is GAMABA? on the more common inuritan (geometric design) and sinan-
The word GAMABA stands for GAWAD SA MANLILIKHA NG sabong (flowers).Gamayo’s skill and instinct are none more
BAYAN ( National Living Treasures). It is an award given to apparent than they are in her ability to replicate designs she’s
recognize the outstanding work of the artists in the only seen once. Her binakol, or woven cloth, continues to
Philippines. The given award was established in 1992 through draw praise and awe for its above-average thread count and
Republic Act No. 7355 until 2012. There were thirteen finest uniform weave. To keep Ilocos’ abel weaving tradition alive,
folk artists of the land who have received this distinction for she teaches her practice to her cousin’s daughter-in-law and
their dedication in creating the craft, using skills, and sister-in-law. She was awarded in 2012.
indigenous methods and materials. Artists who received the
recognition for preserving the traditional art of the Eduardo Mutuc, metalsmith, and artist
Philippines which kept the art alive even in the contemporary
period (Sandagan&Sayseng 2016). A Kapampangan from Central Luzon is recognized for reviving
the Spanish colonial-era craft of Plateria. This self-taught
master craftsman found his calling in producing religious and
secular art in silver, bronze, and wood. In doing so, and in his sense of design, proportion and symmetry and sensitivity to
pursuit of perfection for himself and his apprentices, he color.
assures the continuity of this rich tradition. Having finished up
to elementary school, Eduardo Mutuc, a farmer at the time, Weaving pandan mats is a long and difficult process that is
became an apprentice to furniture carvers to earn additional handed down from woman to woman across generations:
income. He had no prior knowledge of the work he was Pandan leaves are harvested and made into narrow, long
getting into, but this did not stop him from expanding his strips, sun-dried, pressed, and dyed before finally becoming
experience and becoming one of the most respected creators suitable for weaving. The resulting mats are used for sleeping
of religious and secular art today. He uses wood, silver, and and saying prayers or given as gifts to newly-weds. Haja
bronze to create exquisitely detailed and lifelike pieces of Amina Appi of UngosMatata, Tandubas, Tawi-Tawicreated
varying sizes: altars, mirrors, retablos, and even carosas. intricate mats that boast beautiful geometric designs, vibrant
Mutuc is based in Apalit, Pampanga. He was awarded in 2004. colors, and fine symmetry. She was awarded National Living
Treasure in 2004. She experimented with her work and
Lang Dulay, T’nalak weaver developed her own tints to create the hues she had in mind.
Appi died in 2013, but her art lives on through her children
A T'boli of Lake Sebu, South Cotabato, was awarded for and other young women in her community.
weaving the abaca ikat cloth called t'nalak. She has produced
creations which remain faithful to the T’boli tradition as Federico Caballero, chanter and educator
manifested in the complexity of her design, fineness of
workmanship and quality of finish. In Lang Dulay’s family, the A Panay-Bukidnon of Calinog, lloilo was awarded for his
weaving of the t’nalak (a fine abaca cloth) took place before mastery of chanting the sugidanon, the epic tradition of
or after farm work, when the weather was cool and the Central Panay. He ceaselessly worked for the documentation
conditions were better for the product. Dulay, who grew up in of the epics of his people painstakingly piecing together the
Lake Sebu, South Cotabato, was taught to weave by her elements of this oral tradition nearly lost. He was best known
mother when she was 12. As demand grew for new designs, for his expertise in the Sugidanon, a Central Panay epic
she persisted and kept working with traditional patterns, traditionally chanted while lying on a hammock, and his work
even though they were harder to complete — she knew in the preservation of oral literature, documenting 10 Panay-
around a hundred, including bulinglangit (clouds), kabangi Bukidnon epics in an extinct language with close ties to
(butterfly), crocodiles, and flowers. She valued purity, so Kinaray-a. His love of folklore began when he was young,
much so that she never washed her t’nalak with soap. She hearing tales of grand adventures as bedtime stories, and his
was awarded in 1998 and died in 2015. mother taught him to recite epics in lieu of doing household
chores. In his spare time, he also works with the Department
SamaonSulaiman, musician of Education’s Bureau of Non-Formal Education, teaching
elders to read and write. He was awarded in 2000.
A Maguindanaon of Mamasapano, Maguindanao. He was
awarded for his outstanding artistry and dedication to his GinawBilog, poet
chosen instrument, the Magindanaokutyapi. Kutyapi is a two-
stringed plucked lute, regarded as one of the most technically A HanunuoMangyan of Mansalay, Oriental Mindoro. Awarded
demanding and difficult to master among Filipino traditional. for faithfully preserving the HanunuoMangyan script and
Ambahan poetry. He has promoted the local script and poetry
Musician SamaonSulaiman was a master of the kutyapi, a so that the art will not be lost but preserved. The Mangyan
two-stringed lute that requires highly technical skill to play. script is one of the four remaining syllabic scripts in the
The Maganoy, Maguindanao native learned from his uncle, country, and GinawBilog’s work has been crucial to its
Pinagunay, at age 13, developing and learning different forms preservation. Based in Mansalay, Oriental Mindoro, the poet
and styles of playing the instrument. was known for writing Ambahan (a metaphoric poem
comprising seven-syllable lines), first in a notebook, then on
The sound is melodic and rhythmic, its effect meditative and traditionally used bamboo tubes. The poems, often recited
captivating. He was also proficient in playing instruments such with music at social gatherings and used to convey messages
as the kulintang, agong (a suspended gong with a wide rim), among the HanunuoMangyan, had topics like advising the
gandingan (a gong with a narrow rim), and tambul. young, bidding a friend goodbye, and asking for a place to
Sulaiman’s fascination for his craft led him to become an stay. Bilog, who was awarded in 1993, died in 2003.
influential teacher. He was awarded in 1993 and died in 2011.
SalintaMonon, textile weaver
Haja Amina Appi, Pandan mat weaver
A GAMABA awardee of TagabawaBagobo of Bansalan, Davao
Lives in UngosMatata, Tandubas, Tawi-Tawi,. She is del Sur. She was awarded for fully demonstrating the creative
recognized as the master mat weaver among the Sama and expressive aspects of the Bagobo abaca ikat weaving
indigenous community of UngosMatata. Her colorful mats called Inabal at a time when such art is threatened with
with their complex geometric patterns exhibit her precise extinction. SalintaMonon was 12 when she began learning to
weave the Inabal, a traditional Bagobo textile. In her home in performed, but one so with special purposes, whether it’s
Bansalan, Davao del Sur, Monon would isolate herself from preparing for retaliation, aorious vindication for the
family to be able to concentrate on creating her cloths and community, or forging successful peace pacts. Saclag
skirts, which took three to four months to finish, respectively. understands the importance of his practice and is a strong
advocate of passing on his knowledge and continuing the use
Her favorite pattern, despite or because of its difficulty, was of traditional dress and adornments. His efforts have included
the Binuwaya (crocodile), and she continued weaving until formal education, reaching radio stations, and the formation
her death in 2009. For her, not only was it a source of income, of the Kalinga Budong Dance Troupe. He was awarded in
it was a source of pride as well. She and her younger sister 2000.
were the only Bagobo weavers left in their community, and
she dreamt of having a structure built for teaching new MasinoIntaray, chanter and musician
would-be weavers. She was awarded in 1998.
A Pala'wan of Brookes Point, Palawan. He was awarded for
DarhataSawabi, textile weaver his exemplary skills in basal or gong music ensemble. He was
also recognized for his versatility as musician, poet, epic
A GAMABA awardee of barangay Parang, Jolo Island, Sulu chanter, and storyteller of the Kulilal and Bagit traditions of
province. Has preserved the art of PisSyabit weaving. It is the Pala'wan. A member of the Pala’wan tribe, musician and
difficult art of tapestry weaving that creates the traditional epic chanter MasinoIntaray was a master of the basal, a gong
squares used by the Tausug for ornamentation. Despite the music ensemble played during rice cooking (tambilaw) and
conflict in Jolo, Sawabi’s dedication to her art enhanced the sharing (tinapay) rituals, which gather the community as they
preservation of traditional Tausug designs. DarhataSawabi’s serve offerings to Pala’wan rice god Ampo’tParay. Intaray also
mission was to lead young women towards making a living performed the Kulilal, a lyrical poem expressing love,
out of her craft. The Parang, Sulu-based textile weaver’s accompanied by two-stringed lute and bamboo zither, and
primary creation was the headpiece PisSiyabit — pis stands the bagit, an instrumental piece about nature. His memory
for the pattern, which is said to be derived from India’s and determination guided him in chanting through many
mandala, depicting spirituality through geometric forms, and successive nights, reciting epics, stories, myths of origin, and
Siyabit refers to the hook and technique. She gained the teachings of ancestors. Intaray, who was awarded in
recognition for the precision of her work and her passion for 1993, died in 2013.
preserving traditional designs, as well as teaching the youth
and was awarded in 2004. She died in 2005. Factors Affecting the Traditional Artist’s Production Process

Teofilo Garcia, gourd hatmaker Christianization. The impact of Christianity and the discussion
of the locals to a remote religion have made individuals from
A GAMABA awardee of San Quintin Abra who have the network reject their indigenous ceremonies and customs.
discovered and popularized the durable Tabungaw hat out of At more regrettable, individuals are persuaded that the last
enlarged upo or gourd. He hollowed out the upo / tabungaw, are crude and thusly their training has no spot in
varnished and polished it to make it more durable and unique contemporary culture. Now and again notwithstanding, the
yellow sheen. In San Quintin, Abra, Teofilo Garcia would often network figures out how to syncretize their indigenous ways
walk aroundtown wearing his gourd casques. Through word with customs of Christianity.
of mouth and his participation in the annual local harvest Mining and framework venture – mining and system
festival, Garcia was able to introduce the Tabungaw plant as a adventures expel individuals from their homes and seriously
good and sturdy material for functional, elegant, and harm the earth. Denied the abundance of the land,
protective hats. He produces everything he needs — planting indigenous gatherings are provoked to look for short – term
and harvesting the gourds, splitting, and refining rattan for work from these businesses to get by in a cash economy.
the lining, and weaving Nito and bamboo for accents himself Tourism – plays a big role in one's nation. This is to promote
— and usually takes seven days to finish a hat. Awarded in the culture, environment, and the life of a nation to others.
2012, he continues to experiment and work on new designs. Along these lines, land regions are changed over into locales
for traveler utilization. Environmental spaces become
Alonzo Saclag, traditional dancer and musician increasingly vulnerable to harm with the consolidated powers
of catastrophic events and visitor convenience. Works of art
A Kalinga of Lubuagan, Kalinga was awarded for his mastery local to the network will in general reduce in quality. Expelled
of the Kalinga dance and the performing arts. He was also from their unique setting, the works are changed into mass
recognized for his persistence to create and nurture a greater delivered ornaments so as to satisfy the needs of the traveler
consciousness and appreciation of Kalinga culture among the exchange. Neon hues and structures woven from engineered
Kalinga themselves and beyond their borders. It was through strands have been made accessible as of late to make
observation, time, and experience — rather than education or projects of levelheaded material plans for business purposes.
training or any kind — that Alonzo Saclag of Lubuagan, Militarization. The weakness and pressures realized by
Kalinga mastered local musical instruments, along with dance hostile areas capture the individuals' capacity to make
patterns associated with rituals. Some of these are rarely
workmanship. It keeps individuals from having public social He reshaped the urban landscape with a distinctive
events, were trades and passing information can happen. architecture reflective of Philippine Art and Culture. He
believes that the true Philippine Architecture is “the product
What is the National Artists Award? Among the different of two great streams of culture, the oriental and the
honors andacknowledgment instruments, the National occidental… to produce a new object of profound harmony.”
Artists Award (NAA) presents the most elevated type of It is this synthesis that underlies all his works, with his
acknowledgment to Filipino craftsmen for their noteworthy achievements in concrete reflecting his mastery of space and
commitments in expressions of the human experience and scale.
letters.
Locsin’s largest single work is the Istana Nurul Iman, the
It is the highest national acknowledgment given to Filipino palace of the Sultan of Brunei, which has a floor area of 2.2
people who have made noteworthy commitments to the million square feet. The CCP Complex itself is a virtual Locsin
improvement of Philippine expressions; in particular, Music, Complex with all five buildings designed by him — the
Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts, Cultural Center of the Philippines, Folk Arts Theater,
and Architecture and Allied Arts. The request is mutually Philippine International Convention Center, Philcite and The
directed by the National Commission for Culture and the Arts Westin Hotel (now Sofitel Philippine Plaza).
(NCCA) and the Cultural Center of the Philippines (CCP) and
gave by the President of the Philippines upon suggestion by JUAN F. NAKPIL
the two organizations. National Artist for Architecture, 1973 (May 26, 1899 – May
7, 1986)
It has a similar glory as the GAMABA and the National
Scientist Award. The honor is presented at regular intervals An architect, teacher, and civic leader is a pioneer and
through a thorough consultation and determination process innovator in Philippine architecture. Nakpil’s greatest
mutually encouraged by two significant social workplaces, the contribution is his belief that there is such a thing as
National Commission on Culture and expressions of the Philippine Architecture, espousing architecture reflective of
human experience and the social focal point of the Philippine traditions and culture.
Philippines.
Among others, Nakpil’s major works are the Geronimo de los
NAA was built up in 1972 under Presidential Decree No. 1001 Reyes Building,Magsaysay Building, Rizal Theater, Capitol
gave by then President Ferdinand Marcos. The first was Theater, Captain Pepe Building, Manila Jockey Club, Rufino
Fernando Amorsolo, who was presented the honor after Building, Philippine Village Hotel, University of the Philippines
death. Much has changed since the organization of the honor. Administration and University Library, and the reconstructed
As of this composition, the list has included 66 awardees from Rizal house in Calamba, Laguna.
seven disciplinal zones, to be specific: engineering, structure
and associated expressions, film and communicate ILDEFONSO P. SANTOS, JR.
expressions, visual expressions, writing, move, music, and National Artist for Architecture, 2006
theater. (September 5, 1929 – January 29, 2014)
Since the criteria are presented above, let us get ready! We
will sail to meet and greet the famous National Artist of the Ildefonso Paez Santos, Jr., distinguished himself by pioneering
Philippines. Now let us begin! the practice of landscape architecture–an allied field of
architecture–in the Philippines and then producing four
PABLO S. ANTONIO decades of exemplary and engaging work that has included
National Artist for Architecture (1976) hundreds of parks, plazas, gardens, and a wide range of
(January 25, 1902 – June 14, 1975) outdoor settings that have enhanced contemporary Filipino
life.
His basic design is grounded on simplicity, no clutter. The
lines are clean and smooth, and where Santos, Jr., who grew up in Malabon, made his first mark with
there are curves, these are made integral to the structure. the Makati Commercial Center where he introduced a new
Antonio’s major works include the following: Far Eastern concept of outdoor shopping with landscaped walks,
University Administration and Science buildings; Manila Polo fountains and sculptures as accents. Santos, Jr.’s contribution
Club; Ideal Theater; Lyric Theater; Galaxy Theater; Capitan to modern Filipino landscape architecture was the seminal
Luis Gonzaga Building; Boulevard-Alhambra (now Bel-Air) public landscape in Paco Park. Santos, Jr.’s most recent
apartments; Ramon Roces Publications Building (now Guzman projects were the Tagaytay Highland Resort, the Mt.
Institute of Electronics) Malarayat Golf and Country Club in Lipa, Batangas, and the
Orchard Golf and Country Club in Imus, Cavite.
LEANDRO V. LOCSIN
National Artist for Architecture, 1990 (August 15, 1928 – FRANCISCO T. MANOSA
November 15, 1994) National Artist for Architecture and Allied Arts (2018)
Birthday: 12 February 1931
 prostitutes, construction workers, etc. He also directed for
For all his more than 60 years of architecture life, Arc. Bobby theater with equal zeal and served in organizations that offer
Mañosa designed Filipino. From the 1960s in his landmark alternative visions, like the Philippine Educational Theater
design of the Sulo Hotel until his retirement about 2015, he Association (PETA) and the Concerned Artists of the
courageously and passionately created original Filipino forms, Philippines (CAP). At the same time, he garnered awards and
spaces with intricate and refined details. But what is most recognition from institutions like the CCP, FAMAS, TOYM, and
valuable is that Mañosa was in the heart and soul of a Cannes Film Festival.
Philippine architectural movement. He has developed a
legacy of Philippine architecture, which is essential to our To name a few, Brocka’s films include the following:
Filipino identity and at the same time, deeply appreciated and “Santiago” (1970), “Wanted: Perfect Mother” (1970),
shared in our world today. “TubogsaGinto” (1971), “Stardoom” (1971),
“TinimbangKaNgunitKulang” (1974), “Maynila: Sa Kuko ng
Major Works: Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona”
(1980), “Macho Dancer” (1989), “Orapronobis” (1989),
San Miguel Building, Ortigas Center, Pasig City (designed with “MakiusapKasaDiyos” (1991).
the Mañosa Brothers)
Chapel of the Risen Lord, Las Piñas City ISHMAEL BERNAL
Our Lady of Peace Shrine, EDSA, Quezon City National Artist for Cinema (2001)
World Youth Day Papal Altar, Quirino Grandstand, Manila, (September 30, 1938 – June 2, 1996)
1995
Metrorail Transit System Stations for LRT 1, circa 1980s Ishmael Bernal was a filmmaker of the first order and one of
Quezon Memorial Circle Development Plan the very few who can be truly called a maestro. Critics have
Lanao del Norte Provincial Capitol, Tubod, Lanao del Norte hailed him as “the genius of Philippine cinema.”
Tahanang Pilipino (Coconut Palace), CCP Complex, Manila
Amanpulo Resort, Palawan Among his notable films are “Pahiram ng IsangUmaga”
Pearl Farm Resort, Samal Island, Davao, completed 1994 (1989), “Broken Marriage” (1983), “Himala” (1982), “City
La Mesa Watershed Resort and Ecological Park, La Mesa Dam, After Dark” (1980), and “NunalsaTubig” (1976). He was
Quezon City recognized as the Director of the Decade of the 1970s by the
Catholic Mass Media Awards; four-time Best Director by the
LAMBERTO V. AVELLANA Urian Awards (1989, 1985, 1983, and 1977); and given the
National Artist for Theater and Film (1976) ASEAN Cultural Award in Communication Arts in 1993.
(February 12, 1915 – April 25, 1991)
FERNANDO POE, JR.
Lamberto V. Avellana, director for theater and film, has the National Artist for Cinema (2006)
distinction of being called “The Boy Wonder of Philippine (August 20, 1939 – December 14, 2004)
Movies” as early as 1939. He was the first to use the motion
picture camera to establish a point-of-view, a move that Ronald Allan K. Poe, popularly known as Fernando Poe, Jr.,
revolutionized the techniques of film narration. was a cultural icon of tremendous audience impact and
cinema artist and craftsman–as actor, director, writer and
Sakay was declared the best picture of 1939 by critics and producer. *
journalists alike and set the tone for Avellana’s career in film
that would be capped by such distinctive achievements as the The image of the underdog was projected in his films such as
Grand Prix at the Asian Film Festival in Hong Kong for Apollo Robles(1961), BatangMaynila (1962),
AnakDalita (1956); Best Director of Asia award in Tokyo for MgaAlaboksaLupa (1967), Batang Matador and
Badjao, among others. Avellana was also the first filmmaker BatangEstibador (1969), AkoangKatarungan (1974), Tatak ng
to have his film KandelerongPilak shown at the Cannes Alipin(1975), TotoyBato (1977), Asedillo (1981), Partida
International Film Festival. Among the films he directed for (1985), and AngProbisyano (1996), among many others. The
worldwide release were Sergeant Hasan (1967), Destination mythical hero, on the other hand, was highlighted in
Vietnam (1969), and The Evil Within (1970). AngAlamat (1972), AngPagbabalik ng Lawin (1975) including
his Panday series (1980, 1981, 1982, 1984) and the action
LINO BROCKA adventure films adapted from komiks materials such as
National Artist for Film and Broadcast Arts (1997) AngKampanasa Santa Quiteria(1971), Santo Domingo (1972),
(April 3, 1939 – May 22, 1991) and AlupihangDagat (1975), among others. Poe was born in
Manila on August 20, 1939. After the death of his father, he
Catalino “Lino” Ortiz Brocka, director for film and broadcast dropped out of the University of the East in his sophomore
arts, espoused the term “freedom of expression” in the year to support his family. He was the second of six siblings.
Philippine Constitution. Brocka took his social activist spirit to He married actress Susan Roces in a civil ceremony in
the screen leaving behind 66 films which breathed life and December 1968. He died on December 14, 2004.
hope for the marginalized sectors of society — slum-dwellers,
KIDLAT TAHIMIK Philippines Main Theater. His other major works include Ina
National Artist for Film (2018) Birthday: 3 October 1942 ng Balon, Calvary, Slum Dwellers, Nude with Candle and
Flower, Man and Carabao, Angel’s Kiss, Palayok at Kalan,
KidlatTahimik has continually invented himself through his Ancestors,Isda at Mangga, The Resurrection, Fifty- three “Q”,
cinema, and so his cinema is as singular as the man. His debut Backdrop, Fiesta.
film, MababangongBangungot (1977), was praised by critics
and filmmakers from Europe, North America, Asia, and Africa ABDULMARI ASIA IMAO
and is still considered by many as a pioneering postcolonial National Artist for Visual Arts (2006)
essay film. Tahimik’s intense independence as an artist and, (January 14, 1936 – December 16, 2014)
at the same time, the film itself called for Filipinos to actively
live out their independence and not allow their culture to be A native of Sulu, Abdulmari Asia Imao is a sculptor, painter,
imperialized by the west. Kidlat’s “imperfect” film is an photographer, ceramist, documentary filmmaker, cultural
exemplar of what is worldwide known as “Third Cinema,” a researcher, writer, and articulator of Philippine Muslim art
cinema that is critical of neocolonial exploitation and state and culture. Through his works, the indigenous ukkil,
oppression. sarimanok and naga motifs have been popularized and
instilled in the consciousness of the Filipino nation and other
Notable Works: peoples as original Filipino creations.

Balikbayan #1: Memories of Overdevelopment Redux (2015) Industry Brass Mural, Philippine National Bank, San Fernando,
Japanese Summers of a Filipino Fundoshi (1996) La Union Mural Relief on Filmmaking, Manila City Hall
Why Is Yellow the Middle of the Rainbow? (1983-1994) Industrial Mural, Central Bank of the Philippines, San
Orbit 50: Letters to My 3 Sons (1990-1992) Fernando, La Union Sulu Warriors (statues of PanglimaUnaid
Turumba (1983) and Captain Abdurahim Imao), 6 ft., Sulu Provincial Capitol.
Who Invented the Yoyo? Who Invented the Moon Buggy?
(1979) GUILLERMO TOLENTINO
MababangongBangungot/Perfumed Nightmare (1977) National Artist for Sculpture (1973)
(July 24, 1890 – July 12, 1976)
FERNANDO AMORSOLO
National Artist for Visual Arts (May 30, 1892 – April 24, Guillermo Estrella Tolentino is a product of the Revival period
1972) in Philippine art. The result was the UP Oblation that became
the symbol of freedom at the campus. Acknowledged as his
Fernando C. Amorsolo the first National Artist awardee. He masterpiece and completed in 1933, The Bonifacio
was titled “Grand Old Man of Philippine Art” was bestowed Monument in Caloocan stands as an enduring symbol of the
on Amorsolowhen the Manila Hilton inaugurated its art Filipinos’ cry for freedom Other works include the bronze
center on January 23, 1969, with an exhibit of a selection of figures of President Quezon at Quezon Memorial, life-size
his works. busts of Jose Rizal at UP and UE, marble statue of Ramon
Magsaysay in GSIS Building; granolithics of heroic statues
Among others, his major works include the following: Maiden representing education, medicine, forestry, veterinary
in a Stream(1921)-GSIS collection; El Ciego (1928)-Central science, fine arts and music at UP. He also designed the gold
Bank of the Philippines collection; DalagangBukid (1936) – and bronze medals for the Ramon Magsaysay Award and did
Club Filipino collection; The Mestiza (1943) – National the seal of the Republic of the Philippines.
Museum of the Philippines collection; Planting Rice (1946)-
UCPB collection; Sunday Morning Going to Town (1958)- Portrait, Night Glows,Grand Finale, Cities of the Past,
Ayala Museum Collection. Imaginary Landscapes. His mural painting Black and White is
displayed in the lobby of the CCP’s Bulwagang Carlos
HERNANDO R. OCAMPO V. Francisco (Little Theater). His sculpture of a stainless steel
National Artist for Visual Arts (1991) cube is located in front of the Benguet Mining Corporation
(April 28, 1911 – December 28, 1978) Building in Pasig.

He is a self-taught painter and was a leading member of the LAURO “Larry” ALCALA
pre-war Thirteen Moderns, the group that charted the course National Artist for Visual Arts (2018) (18 August 1926-24
of modern art in the Philippines. His works provided an June 2002)
understanding and awareness of the harsh social realities in
the country immediately after the Second World War and His comic strips spiced up the slices of Filipino lives with witty
contributed significantly to the rise of the nationalist spirit in illustrations executed throughout his 56 years of cartooning.
the post- war era. He created over 500 characters and 20 comic strips in widely
circulated publications. Alcala’s most iconic work, Slice of Life,
Ocampo’s acknowledged masterpiece Genesis served as the not only made for decades long of widely circulated images of
basis of the curtain design of the Cultural Center of the Filipino everyday life, it also symbolically became an
experiential way for his followers to find a sense of self in the ApatnaDulang May Musika, 2004; “Agunyassa Hacienda
midst of an often cacophonic, raucous and at odds Luisita,” Pakikiramay, 2004.
environment that Filipinos found themselves amidst.
As a librettist for the Tales of the Manuvu and Rama Hari, he
Notable Works: pioneered the creative fusion of fine arts and popular
Slice of Life Weekend 1980-1986 imagination. As a scholar his major books include the
AsiongAksaya, Daily Express, Tagalog Klasiks, 1976-1984 following: Tagalog Poetry, 1570-1898: Tradition and
Smolbatteribols, DarnaKomiks 1972-1984 Influences in its Development; Philippine Literature: A History
Siopawman, Daily Express, 1972-1983, 2002 Kalabogesyons, and Anthology, Revaluation: Essays on Philippine Literature,
Pilipino Komiks, 1966-1972 Congressman Kalog, Writing the Nation/Pag-akda ng Bansa.
AliwanKomiks, 1966-1972 BaryoPogspak, Holiday Komiks,
1966-1972 Loverboy, Redondo Komiks, 1964-1969 VIRGILIO S. ALMARIO
Mang Ambo, Weekly Graphic, 1963-1965 KalabogenBosyo, National Artist for 2003
Pilipino Komiks, 1949-1983 IslawPalitaw, 1946-1948.
He is also known as Rio Alma, is a poet, literary historian, and
FRANCISCO ARCELLANA critic, who has revived and reinvented traditional Filipino
National Artist for Literature (1990) poetic forms, even as he championed modernist poetics. In
(September 6, 1916 – August 1, 2002) 34 years, he has published 12 books of poetry, which include
the seminal Makinasyon and Peregrinasyon, and the
Francisco Arcellana, writer, poet, essayist, critic, journalist, landmark trilogy DoktrinangAnakpawis, MgaRetrato at
and teacher is one of the most important progenitors of the Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works,
modern Filipino short story in English. He pioneered the his poetic voice soared from the lyrical to the satirical to the
development of the short epic, from the dramatic to the incantatory, in his often severe
story as a lyrical prose-poetic formA brilliant craftsman, his examination of the self, and the society.
works are now an indispensable part of a tertiary-level-syllabi
all over the country. Arcellana’s published books are Selected RAMON L. MUZONES
Stories (1962), Poetry and Politics: The State of Original National Artist for Literature (2018)
Writing in English in the Philippines Today (1977), The (20 March 1913-17 August 1992)
Francisco Arcellana Sampler (1990).
Ramon Muzones was a Hiligaynon poet, essayist, short story
EDITH L. TIEMPO writer, critic, grammarian, editor, lexicographer, and novelist
National Artist for Literature (1999) who authored an unprecedented 61 completed novels. A
(April 22, 1919 – August 21, 2011) number of these represent groundbreaking “firsts’ in
Hiligaynon literature such as the feminist Ang Bag-ong Maria
A poet, fictionist, teacher and literary critic, Edith L. Tiempo is Clara, the roman a clef Maambong Nga Sapat (Magnificent
one of the finest Filipino writers in English. Her works are Brute,1940), the comic Si Tamblot (1946), the politically
characterized by a remarkable fusion of style and substance, satirical Si TamblotKandidato Man (Tamblot is Also a
of craftsmanship and insight. Born on April 22, 1919 in Candidate, 1949), the 125- installment longest serialized
Bayombong, Nueva Vizcaya, her poems are intricate verbal novel Dama de Noche (1982- 84), etc. Hailed by his peers as
transfigurations of significant experiences as revealed, in two the longest reigning (1938-1972) among “the three kings of
of her much-anthologized pieces, “The Little Marmoset” and the Hiligaynon novel,” Muzones brought about its most
“Bonsai”. As fictionist, Tiempo is as morally profound. Her radical changes while ushering in modernism. With a literary
language has been marked as “descriptive but unburdened by career that spanned fifty-three years (1938-1990), his
scrupulous detailing.” She is an influential tradition in evolution covers the whole history of the Hiligaynon novel
Philippine literature in English. Together with her late from its rise in the 1940s to its decline in the 1970s. Muzones
husband, Edilberto K. Tiempo, she founded and directed the tried his hand at a variety of types and proved adept in all as
Silliman National Writers Workshop in Dumaguete City, which literary fashions. In the process, he not only extended with
has produced some of the country’s best writers. remarkable versatility and inventiveness the scope and style
of the Hiligaynon novel, but he also enriched Hiligaynon
BIENVENIDO LUMBERA literature’s dramatis personae.
National Artist for Literature (2006)
Notable Works:
BienvenidoLumbera, is a poet, librettist, and scholar. As a Shri-Bishaya (1969)
poet, he introduced to Tagalog literature what is now known Malala ngaGutom (Malignant Hunger,1965)
as Bagay poetry, a landmark aesthetic tendency that has BabaeBatuksaKalibutan (Woman Against the World,1959)
helped to change the vernacular poetic tradition. He is the AngGugma sang GugmaBayaran (Love with Love Be Paid,
author of the following works: LikhangDila, LikhangDiwa 1955) Si Tamblot (1948)
(poems in Filipino and English), 1993; Balaybay, Margosatubig (1946)
MgaTulangLunot at Manibalang, 2002; Sa Sariling Bayan,
RAMON VALERA Presidents, Philippine Cartography, The History of Philippine
National Artist for Fashion Design (2006) Sugar Industry, Filipino Heritage: The Making of a Nation,
(August 31, 1912 – May 25, 1972) Filipinos at War: The Fight for Freedom from Mactan to EDSA.

The contribution of Ramon Valera, whose family hails from FRANCISCA REYES AQUINO
Abra, lies in the tradition of excellence of his works, and his National Artist for Dance (1973)
commitment to his profession, performing his magicalseminal (March 9, 1899 – November 21, 1983)
innovations on the Philippine terno. Valera is said to have
given the country its visual icon to the world via the terno. In Francisca Reyes Aquino is acknowledged as the Folk-Dance
the early 40s, Valera produced a single piece of clothing from Pioneer. This Bulakeña began her research on folk dances in
a four-piece ensemble consisting of a blouse, skirt, overskirt, the 1920s making trips to remote barrios in Central and
and long scarf. He unified the components of the baro’tsaya Northern Luzon. Her research on the unrecorded forms of
into a single dress with exaggerated bell sleeves, cinched at local celebration, ritual, and sport resulted into a 1926 thesis
the waist, grazing the ankle, and zipped up at the back. titled “Philippine Folk Dances and Games,” and arranged
specifically for use by teachers and playground instructors in
Using zipper in place of hooks was already a radical change public and private schools.
for the country’s elite then. Dropping the panuelo–the long-
folded scarf hanging down the chest, thus serving as the Her books include the following: Philippine National Dances
Filipina’s gesture of modesty–from the entire ensemble (1946); Gymnastics for Girls (1947); Fundamental Dance Steps
became a bigger shock for the women then. Valera and Music (1948); Foreign Folk Dances (1949); Dances for all
constructed the terno’s butterfly sleeves, giving them a solid, Occasion (1950); Playground Demonstration (1951); and
built-in but hidden support. To the world, the butterfly Philippine Folk Dances, Volumes I to VI.
sleeves became the terno’s defining feature.
RAMON OBUSAN
SALVADOR F. BERNAL National Artist for Dance (2006)
National Artist for Theater Design (2003) (June 16, 1938 – December 21, 2006)
(January 7, 1945 – October 26, 2011)
Ramon Obusan was a dancer, choreographer, stage designer,
Salvador F. Bernal designed more than 300 productions and artistic director. He achieved phenomenal success in
distinguished for their originality. Philippine dance and cultural work. He was also
Sensitive to the budget limitations of local productions, he acknowledged as a researcher, archivist and documentary
harnessed the design potential of inexpensive local materials, filmmaker who broadened and deepened the Filipino
pioneering or maximizing the use of bamboo, raw abaca, and understanding of his own cultural life and expressions.
abaca fiber, hemp twine, rattan chain links and gauze Through the Ramon Obusan Folkloric Grop (ROFG), he had
cacha.As the acknowledged guru of contemporary Filipino affected cultural and diplomatic exchanges using the
theater design, Bernal shared his skills with younger designers multifarious aspects and dimensions of the art of dance.
through his classes at the University of the Philippines and mong the full-length productions he choreographed are the
the Ateneo de Manila University, and through the programs following: “Vamos a Belen! Series” (1998-2004) Philippine
he created for the CCP Production Design Center which he Dances Tradition“Noon Po sa Amin,” tableaux of Philippine
himself conceptualized and organized. History in song, drama and dance“ObraMaestra,” a collection
of Ramon Obusan’s dance masterpieces“Unpublished Dances
CARLOS QUIRINO of the Philippines,” Series I-IV “Water, Fire and Life, Philippine
National Artist for Historical Literature (1997) Dances and Music–A Celebration of Life.
(January 14, 1910 – May 20, 1999) SaludosaSentenyal”“Glimpses of ASEAN, Dances and Music of
the ASEAN-Member Countries”“Saplot (Ramon Obusan
Carlos Quirino, a biographer, has the distinction of having Folkloric Group): Philippines Costumes in Dance”
written one of the earliest biographies of Jose Rizal titled The
Great Malayan. Quirino’s books and articles span the whole ALICE REYES
gamut of Philippine history and culture–from Bonifacio’s trial National Artist for Dance (2014)
to Aguinaldo’s biography, from Philippine cartography to
culinary arts, from cash crops to tycoons and president’s lives, She is a dancer, choreographer, teacher, and director, she has
among so many subjects. In 1997, Pres. Fidel Ramos created made a lasting impact on the development and promotion of
historical literature as a new category in the National Artist contemporary dance in the Philippines. Her dance legacy is
Awards and Quirino was its first recipient. He made a record evident in the dance companies, teachers, choreographers,
earlier on when he became the very first Filipino and the exciting Filipino modern dance repertoire of our
correspondent for the United Press Institute.His book Maps country today. Her biggest contribution to Philippine dance is
and Views of Old Manila is considered as the best book on the the development of a distinctly Filipino modern dance idiom.
subject. His other books include Quezon, Man of Destiny, Utilizing inherently Filipino materials and subject matters
Magsaysay of the Philippines, Lives of the Philippine expressed through a combination of movements and styles
from Philippine indigenous dance, modern dance, and
classical ballet she has successfully created a contemporary In 1935, Buenaventura joined Francisca Reyes-Aquino to
dance language that is uniquely Filipino. conduct research on folksongs and dances that led to its
popularization. Buenaventura composed songs, compositions,
Her masterpiece Amada to the modern dance classic Itim- for solo instruments as well as symphonic and orchestral
Asu, to her last major work Bayanihan Remembered which works based on the folksongs of various Philippine ethnic
she staged for Ballet Philippines Among her major works: groups. He was also a conductor and restored the Philippine
Amada (1969), At a Maranaw Gathering (1970) Itim-Asu Army Band to its former prestige as one of the finest military
(1971), Tales of the Manuvu (1977), Rama Hari (1980), bands in the world making it “the only band that can sound
Bayanihan Remembered (1987). like a symphony orchestra”. This once sickly boy who played
the clarinet proficiently has written several marches such as
LEONOR OROSA GOQUINGCO the “Triumphal March,” “Echoes of the Past,” “History
National Artist for Dance Fantasy,” Second Symphony in E-flat, “Echoes from the
(July 24, 1917 – July 15, 2005) Philippines,” “Ode to Freedom.” His orchestral music
compositions include Concert Overture, Prelude and Fugue in
Dubbed the “Trailblazer”, “Mother of Philippine Theater G Minor, Philippines Triumphant, Mindanao Sketches,
Dance” and “Dean of Filipino Performing Arts Critics”, Leonor Symphony in C Major, among others.
OrosaGoquingco, pioneer Filipino choreographer in balletic
folkloric and Asian styles, produced for over 50 years highly JOSE MACEDA
original, first-of-a-kind choreographies, mostly to her own National Artist for Music (1997)
storylines. (January 31, 1917 – May 5, 2004)

These include “TREND: Return to Native,” “In a Javanese Jose Maceda, composer, musicologist, teacher and
Garden,” “Sports,” “VINTA!,” “In a Concentration Camp,” performer, explored the musicality of the Filipino deeply.
“The Magic Garden,” “The Clowns,” “Firebird,” “Noli Dance Maceda embarked on a life-long dedication to the
Suite,” “The Flagellant,” “The Creation…” Seen as her most understanding and popularization of Filipino traditional
ambitious work is the dance epic “Filipinescas: Philippine Life, music. He wrote papers that enlightened scholars, both
Legend and Lore.” With it, Orosa brought native folk dance, Filipino and foreign, about the nature of Philippine traditional
mirroring Philippine culture from pagan to modern times, to and ethnic music. Maceda’s experimentation also freed
its highest stage of development Filipino musical expression from a strictly Eurocentric
mold.Usually performed as a communal ritual, his
LUCRECIA REYES-URTULA compositions like Ugma- ugma(1963), Pagsamba (1968), and
National Artist for Dance (1988) Udlot-udlot (1975), are monuments to his unflagging
(June 29, 1929 – August 4, 1999) commitment to Philippine music. Other major works include
Agungan, Kubing, Pagsamba, Ugnayan, Ading, Aroding, Siasid,
A choreographer, dance educator and researcher, spent Suling-suling.
almost four decades in the discovery and study of Philippine
folk and ethnic dances. She applied her findings to project a LUCRECIA R. KASILAG
new example of an ethnic dance culture that goes beyond National Artist for Music August 31, 1918 – August, 2008
simple preservation and into creative growth. Over a period
of thirty years, she had choreographed suites of mountain An educator, composer, performing artist, administrator, and
dances, Spanish-influenced dances, Muslim pageants and cultural entrepreneur of national and international caliber,
festivals, regional variations and dances of the countryside for had involved herself wholly in sharpening the Filipino
the Bayanihan Philippine Dance Company of which she was audience’s appreciation of music.
the dance director. These dances have all earned critical
acclaim and rave reviews from audiences in their world tours She dared to incorporate indigenous Filipino instruments in
in Americas, Europe, Asia, Australia and Africa. Among the orchestral productions, such as the prize-winning “Toccata for
widely acclaimed dances she had staged were the following: Percussions and Winds, Divertissement and Concertante,”
Singkil, a Bayanihan signature number based on a Maranao and the scores of the Filiasiana, Misang Pilipino, and De
epic poem; Vinta, a dance honoring Filipino sailing prowess; Profundis. “Tita King”, as she was fondly called, worked
Tagabili, a tale of tribal conflict; Pagdiwata, a four-day harvest closely as music director with colleagues Lucresia Reyes-
festival condensed into a six- minute breath-taking spectacle; Urtula, Isabel Santos, Jose Lardizabal and Dr. Leticia P. de
Salidsid, a mountain wedding dance ; Idaw, Banga and Aires Guzman and made Bayanihan Philippine Dance Company one
de Verbena. of the premier artistic and cultural groups in the country. Her
orchestral music includes Love Songs, Legend of the
Sarimanok, AngPamana, Philippine Scenes, Her Son, Jose, Sisa
ANTONINO BUENAVENTURA and chamber music like Awit ng mgaAwit Psalms, Fantaisie on
National Artist for Music (1988) a 4-Note Theme, and East Meets Jazz Ethnika.
(May 4, 1904 – January 25, 1996)
ERNANI J. CUENCO theater and dramatic arts to a new level of excellence by
National Artist for Music (1999) staging and performing in breakthrough productions of classic
(May 10, 1936 – June 11, 1988) Filipino and foreign plays and by encouraging the
establishment of performing groups and the
Ernani J. Cuenco is a seasoned musician born on May 10, professionalization of Filipino theater. Together with her
1936 in Malolos, Bulacan. A composer, film scorer, musical husband, National Artist LambertoAvellana and other artists,
director, and music teacher, he wrote an outstanding and she co-founded the Barangay Theatre Guild in 1939 which
memorable body of work that resonates with the Filipino paved the way for the popularization of theatre and dramatic
sense of musicality and which embody an ingenious voice arts in the country, utilizing radio and television.
that raises the aesthetic dimensions of contemporary Filipino
music. Cuenco played with the Filipino Youth Symphony ROLANDO S. TINIO
Orchestra and the Manila Symphony Orchestra from 1960 to National Artist for Theater and Literature (1997)
1968, and the Manila Chamber Soloists from 1966 to 1970. (March 5, 1937 – July 7, 1997)
He completed a music degree in piano and cello from the
University of Santo Tomas where he also taught for decades Rolando S. Tinio, playwright, thespian, poet, teacher, critic,
until his death in 1988. His songs and ballads include “Nahan, and translator marked his career with prolific artistic
KahitnaMagtiis,” and “Diligin Mo ng HamogangUhawnaLupa,” productions. Tinio’s chief distinction is as a stage director
“Pilipinas,” “Inang Bayan,” “IsangDalangin,” “Kalesa,” whose original insights into the scripts he handled brought
“BatosaBuhangin” and “Gaano Kita Kamahal.” The latter song forth production’s notable for their visual impact and
shows how Cuenco has enriched the Filipino love ballad by intellectual cogency. Subsequently, after staging productions
adding the elements of kundiman to it. for the Ateneo Experimental Theater (its organizer and
administrator as well), he took on Teatro Pilipino. It was to
RYAN CAYABYAB Teatro Pilipino which he left a considerable amount of work
National Artist for Music (2018) Birthday: 4 May 1954 reviving traditional Filipino drama by re-staging old theater
forms like the sarsuela and opening a treasure-house of
Mr. C is the most accomplished composer, arranger, and contemporary Western drama. It was the excellence and
musical director in the Philippine music industry since this beauty of his practice that claimed for theater a place among
bloomed beginning 1970s. His learned, skillful, and versatile the arts in the Philippines in the 1960s. Aside from his
musical style spans a wide range of genres: from conservatory collections of poetry (SitsitsaKuliglig, Dunung – Dunungan,
or art compositions such as concert religious music, Kristal naUniberso, A Trick of Mirrors) among his works were
symphonic work, art song, opera, and concerto to the following: film scripts for Now and Forever, Gamitin Mo
mainstream popular idioms in the music industry and in live Ako, BayadPuri and Milagros; sarswelasAngMestisa, Ako, Ang
contemporary multimedia shows (musical theater, dance, and Kiri, Ana Maria; the komedyaOrosman at Zafira; and Larawan,
film). the musical.

Notable Works:
WILFRIDO MA. GUERRERO
Rama-Hari (Two-act musical ballet, 1980) National Artist for Theater (1997)
Katy! The Musical (Two-act musical, 1988) (January 22, 1910 – April 28, 1995)
Smokey Mountain (Pop CD album, 1990)
One Christmas (Christmas Album, 1993) Wilfrido Ma. Guerrero is a teacher and theater artist whose
Noli Me Tangere (Tele-sine musical, 1995) 35 years of devoted professorship has produced the most
Spoliarium (Three-act opera, 2003) sterling luminaries in Philippine performing arts today: Behn
Ignacio Of Loyola (Film Score, 2016) Cervantes, Celia Diaz-Laurel, Joy Virata, JooneeGamboa, etc.
Larawan: The Musical (Full-length musical film, 2017) In 1947, he was appointed as UP Dramatic Club director and
Da Coconut Nut served for 16 years. As founder and artistic director of the UP
Kay Ganda Ng AtingMusika Mobile Theater, he pioneered the concept of theater campus
NaisKo tour and delivered no less than 2,500 performances in a span
Paraiso of 19 committed years of service. By bringing theatre to the
KahitIka’yPanaginip Lang countryside, Guerrero made it possible for students and
Kailan audiences, in general, to experience the basic grammar of
TuwingUmuulan at KapilingKa staging and acting in familiar and friendly ways through his
plays that humorously reflect the behavior of the Filipino. His
DAISY H. AVELLANA plays include Half an Hour in a Convent, Wanted: A Chaperon,
National Artist for Theater (1999) Forever, Condemned, Perhaps, In Unity, Deep in My Heart,
(January 26, 1917 – May 12, 2013) Three Rats, Our Strange Ways, The Forsaken House,
Frustrations.
Daisy H. Avellana, is an actor, director, and writer. Born in
Roxas City, Capiz on January 26, 1917, she elevated legitimate HONORATA “ATANG” DELA RAMA
National Artist for Theater and Music (1987) held rules or canons of modern art; at other times copying
(January 11, 1902 – July 11, 1991) masterworks of the past in new ways.
Generally, meaning in art became more ambiguous and
Honorata “Atang” Dela Rama was formally honored as the contradictory.
Queen of Kundiman in 1979, then already 74 years old singing The traditional elements and principles of art, and their use in
the same song (“NabasagnaBanga”) that she sang as a 15- the art of the past, often seem beside the point or
year old girl in the sarsuela’sDalagangBukid. Atang became purposefully set aside in the work of postmodern artists. For
the very first actress in the very first locally produced Filipino much contemporary art or art being made today, the content
film when she essayed the same role in the Sarsuela’s film or meaning is more important than the materials or forms
version. As early as age seven, Atang was already being cast in used to make it. Until very recently, artists were making art
Spanish zarzuelas such as Mascota, Sueño de unVals, and that would engage viewers visually through subject matter
Marina. She counts the role though of an orphan in and the composition of elements and principles.
Pangarapni Rosa as her most rewarding and satisfying role Contemporary artists seem to be more interested in engaging
that she played with realism, the stage sparkling with silver viewers conceptually through ideas and issues. The
coins tossed by a teary-eyed audience. Atang passionately elementsof art, while still present at times, are often not
believes that the Sarsuela and the kundiman expresses best adequate to understanding the meaning of
the Filipino soul, and even performed kundiman and other contemporary art. (SigmarPolke, 1991.
Filipino songs for the Aetas or Negritos of Zambales and the
Sierra Madre, the Bagobos of Davao and other Lumad of Contemporary art is an art produced by the artist today. It is
Mindanao. not restricted to individual experience, but it is reflective of
the world we live in. The artwork that is created by today’s
Module 5 contemporary artist has a world view and sensitive to
The elements and concepts of art — including line, form, changing times Contemporary artists frequently go beyond
color, and texture— are historically the conceptual building these elements and values in their work,
blocks of art and design used by Western artists to convey using new ideas and techniques, in their attempts to establish
ideas or emotions in art. meaning in today`s world. The elements and concepts for art
Besides learning how to use paint or carve stone, by applying are kind of a script. As writers, artists use phrases, pick,
concepts such as balance, repetition, harmony, and organize and combine lines, forms, colors and textures in
symmetry, artists often learn how to work with those several ways to express themselves and build meaning. Below
elements. are the elements and principles used by the contemporary
artists.
Just as we need to know how to read the words to
understand a novel, so we also have to learn the language of Elements and Principles of Contemporary Arts
art to understand a painting or a sculpture.
Appropriation. It is the process of making new content by
Art audiences need to grasp the vocabulary of certain taking from another source pre-existing image — books on
elements and concepts in order to fully appreciate what art history, ads, the media — and incorporating or combining
artists are making. Before the industrial period it with new ones. Appropriation is a three-dimensional
(approximately before the mid-19th century) in Europe and variant of using found objects in painting.
the United States, artists used the elements of art to make To appropriate is to borrow. A found object is an actual object
their paintings and sculptures more realistic and express their — often a manufactured product of a commonplace nature
ideas about their subjects — usually figures, still life, or — given a new identity as an artwork or part of an art piece.
landscapes. Generally speaking, they worked to create Some common sources of stolen images are artworks from
compositions which had unity, balance and harmony. the distant or recent past, historical records, media (film and
From the 1850s well into the 20th century, modern artists television), or popular culture (advertisements or products).
began to use these artistic elements to create more abstract The source is sometimes unknown, but the artist may have
art. Eventually, many used elements such as color, line, or personal associations. The source of the appropriate image or
shape alone to express feelings, emotions, or concepts and object may be politically charged, symbolic, ambiguous, or
ideas directly separated from any other subject matter. may push the limits of the imagery considered to be
(Clyfford Still untitled (1950-C) acceptable to art.
At the end of the 20th and beginning of the 21st centuries, art Appropriate imagery can be photographically or carefully
historians and critics noticed a difference in ways that artists imitated, reproduced by mechanical infers such as an
worked and the ideas that interested them. They began to overhead projector, joined of the time re- create an address
describe this era as postmodern, literally “after or repaint it, changing its scale or design to make unused
modern.”Postmodernism has been used to meaning. Experts can as well compare differing pictures or
categorize widely diverse styles and concerns about making objects, layer them with other pictures, break them into
art. What unifies postmodern art, if anything, is a reaction to parts, or contextualize them, with recommends to reconsider
modernism—at times destroying or debunking traditionally pictures or objects by a setting them in a cutting-edge setting.
Appropriation refers to the act of borrowing or reusing
existing components inside a modern work. Postmodern Performance art refers to art activities that are presented to
apportionment craftsmen, counting Barbara Kruger, are sharp a live audience and can combine music, dance, poetry,
to deny the idea of creativity. They accept that in borrowing theater, visual art and video. Whether public, private or
existing symbolism or components ofsymbolism, they are re- videotaped, performance art often involves an artist
contextualizing or appropriating the first symbolism, performing an action that can be planned and scripted, or can
permitting the audience to renegotiate the meaning of the emphasize spontaneous, unpredictable elements of chance.
initial in distinctive, more important, or more current. Various types of performance art have evolved from simple,
Images and elements of culture that have been appropriated often private investigations of everyday routines, rituals, and
commonly involve famous and recognizable works of art, well endurance tests, to larger-scale site-specific environments
known literature, and easily accessible images from the and public projects, multimedia productions, and
media. The first artist to successfully demonstrate forms of autobiographical cabaret-style solo work.
appropriation within his or her work is widely considered to The immediate stimulus for Performance art was the series of
be Marcel Duchamp. He devised the concept of the theatrical Happenings staged by Allan Kaprow and others in
‘readymade’, which essentially involved an item being chosen New York in the late 1950s. Then in 1961, Yves Klein (1928-
by the artist, signed by the artist andrepositioned into a 62) presented three nude models covered in his trademark
gallery context. By asking the viewer to consider the object as blue paint, who rolled around on sheets of white paper. He
art, Duchampwas appropriating it. For Duchamp, the work of was also famous for his "jumps into the void". For
the artist was in selecting the object. more details, see Yves Klein's Postmodernist art (1956-
62). In the early 1960s several other American conceptual
Whilst the beginnings of appropriation can be located to the artists such as Robert Morris (b.1931) Bruce Nauman (b.1941)
beginning of the 20th century through the innovations of and Dennis Oppenheim began to include Performance in their
Duchamp, it is often said that if the art of the 1980’s could be repertoires.
epitomized by any one technique or practice, it would be Many contemporary artists deal with space by concentrating
appropriation. on real space— the dimensions of a house, the spaces that
we travel through in the city or in the natural world, the
The modern shape of contemporary art – which risen out of boundless spaces of the sky or the virtual space of the
Happenings and Conceptual art ended up a major frame of Internet. We work with fine-art or industrial materials— from
avantgarde art amid the late 1960’s and 1970’s – takes as its wood and stone to steel and plastic— to frame space or to
medium the artist himself: the real work of art being the create space- filling work. Materials such as electrical lighting,
artist’s live actions. film, video, or digital media can also transform, document, or
Presently prevalent with an expanding number of create space. Viewers may be surrounded by art, or they can
postmodernist specialists. contribute to a concentrated experience or a perception of a
real space. When an artist creates a piece of work for a room
Performance art is another element of contemporary art or a specific space, it is called installation art. Most
which regularly increases drama, often acting and installations are temporary and often require multiple senses,
development to extremes of expression and continuity that such as sight, sound and smell.
are not allowed within the theater. It interprets various
human activities such as ordinary activities such as chores, Space is an art transforming space, for example the flash
routines, and rituals, to socially relevant themes such as mobs, and art installations in malls and parks. It also refers to
poverty, commercialism, and war. the distances or areas surrounding, within, and within the
Execution events are hosted in several of the most components of an item.
outstanding exhibitions of modern craftsmanship in the
world, as well as conventional ones. Words are rarely Space can be either positive or negative, open or closed,
noticeable, while music and commotions of different kinds shallow or deep, and two-or three-dimensional. Often space
are regular. A number of the most outstanding exhibitions of is not clearly shown in a piece, but it is an illusion. It is
modern craftsmanship in the world, as well as conventional considered as the breath of art.
centers such as the Space is found in almost every piece of art that has been
Metropolitan Exhibition Hall of Art, are being held for made.
performances. Serbian Marina Abramovic Photographers capture space, sculptors depend on space and
(b. 194) is one of the most popular examples of modern shape, and architects create space. This is a central aspect of
execution craftsmanship. every of the visual arts.
Although this brand of postmodernist art is not easy to Space provides the audience a guide for the presentation of
define precisely, one important feature is the need for an an artwork. For example, you can draw a larger object than
artist to perform or express his art in front of a live audience. another to suggest that it is closer to the viewer. Likewise, a
For example, allowing the audience to view an interesting piece of environmental art can be installed in a way that leads
assemblage or installation would not be considered the viewer through space.
Performance Art, but it would be to watch the artist construct
the assemblage or installation. Negative and Positive Space
 installations, and later the Internet and Post Internet art and
Negative space refers to the empty spaces the artist exploration of the virtual reality became recognized as artistic
hascreated around, between, and within the subjects. practices. The term, in the contemporary practice, refers to
Quite often, we think of positive as being light and negative the use of mass production and the manipulation of the
as being dark. virtual world, its toolsand programs as what we called
The black value is negative, but the space of the cup is Technology art. The use of technology in the creation and
positive. dissemination of art works.
As such, designers, and artists to produce commercial pieces
In three-dimensional art, the negative spaces are typically or for more elaborate and conceptual works implement many
the open or relatively empty parts of the piece. For example, different computer programs, such as 3D modeling,
a metal sculpture may have a hole in the middle, which we Illustrator, or Photoshop.
would call the negative space.
In two-dimensional art, negative space can have a great
impact.
Many artists working today incorporates more than material
or technique in ways that create hybrid art forms.
Combinations of still image, moving image, sound, digital
media, and found objects can create new hybrid art forms
that are beyond what traditional artists have ever imagined.

Hybridity is another element and principle used by

contemporary artist in their artworks. It is a usage of
unconventional materials, mixing of unlikely materials to
produce and artwork. For example, coffee for painting,
miniature sculptures from pencils.
The concept of hybridity when applied to culture conveys
elements of all of these definitions, including positive
elements such as diversity, and cooperation, as well as
negative elements such as unviable offspring and unnatural
monsters. In this way the termhybridity contains
conflictingcannotations.
Hybridity, at the most basic level, implies the mixing of two or
more elements to create a third. Beyond this there is some
discussion as to what cultural hybridity means.

This hybridity in art practice is about transcendence, beyond

the visual logic of the digital or material. In the fluid
transaction between states of existence, algorithm and
human error, and different forms of media, something
metaphysical starts to surface in the space between. The
concept of hybridity can be applied to two aspects of art
today.

1. Artists today are comfortable using whatever seems best to

fully investigate and express their ideas or concepts and often
move among different media and techniques to express new
things in their work.
2. One approach to understanding art today involves
identifying what media and materials the artists chose and
considering why they chose to work with them.

Furthermore, humans have created art through the ages, but

various cultures have defined it differently. Throughout the
history of Western culture, the nature of art has been
debated, leading to the formation of an entire branch of
philosophical study called aesthetics.

Placing the term under a vast umbrella known as new media,

computer production, video art, computer-based