Republic of the Philippines

DEPARTMENT OF EDUCATION
Region I
Schools Division Office I Pangasinan
Labrador National High School
Labrador, Pangasinan

MINI LECTURE AND ACTIVITY

SHEETS IN CONTEMPORARY
PHILIPPINE ARTS FROM THE
REGIONS QUARTER 4, WEEK 1

MELC: C o n c e p t u a l i z e c o n t e m p o r a r y a r t b a s e d o n
techniques and performance practices in their locality
(Mindanao)

(CAR11/12AP-0f-h-14);

Objectives:

1.Know about the contemporary art techniques and performance in Mindanao.

2. Create an artwork that represents the beauty of Mindanao.

Prepared by:

DONNA MARIE T. DALANGIN

T-II
 LESSON
Contemporary Art Techniques and Performances in Mindanao

ARTS AND CRAFTS OF MINDANAO

Mindanao, referred to as “THE

LAND OF PROMISE”, is the second
largest and southernmost island in the
Philippine Archipelago. Mindanao also
has the largest concentration of ethno-
linguistic groups and culturally diverse
island. These groups are mostly Muslims
from the Badjao, Iranun, Jama Mapun,
Kalagan, Kalibugan, Manobo,
Maguindanao, Sama Bangingi, Sama
Pangutaran, Samal, Sangil, Tausug, and
Yakan groups. Other groups are the
Lumads, or those who have maintained
their indigenous beliefs and traditions
instead of converting to Islam or Christianity. Before Islam came to the Philippines, early
Filipinos worshipped believe that plants and inanimate objects are home to ancestral spirits.
They also believed that natural phenomena are caused by gods. These indigenous
beliefs system is called animism. The conversation of the natives and the arrival of Muslim
traders and merchants resulted in new forms of artistic impressions. This fusion of beliefs
created a unique blend of spirituality and creativity.
ATTIRE, TEXTILES, AND TAPESTRIES
The Bilaan or B’laan is an ethnolinguistic
group that inhabit some parts of South Cotabato,
North Cotabato, and Davao del Sur. B’laan is a
combination of two words, “bila” which means
“house” and “an” which means people. They are
known for embroidery, brass ornaments and
beadwork that are integrated in their traditional
clothing. The women wear heavy brass belts with
numerous tiny bells that hang around their
waistline. They also cut mother-of-pearl into small
shapes that look like sequins called takmun.
Ikat is a process of dyeing the fabric where
the yarns are tightly wrapped with the strings and dyed before weaving. The textiles usually
contain three colors: shades of black or browns, red or ochre (darker shade of orange), and
ecru (the color of undyed abaca).

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 The Bagobos are the group of people that live
in Davao. According to anthropologists, the name of
this ethnolinguistic group comes from the words
“bago” means “new” and “obo” means “growth”. This
is because they are believed to have come from the
mixture of the native population with the Hindu
migrants that entered Mindanao during the Sri Vijayan
and Majapahit Empires.
They make these clothes from a special textile
woven from abaca fibers called T’nalak. The men
wear
t’nalak shorts, an undershirt, and a T’nalak coat. The Bagani or hero wear blood-red clothes
and a head-kerchief. The women wear wrap-around t’nalak skirt and blouses are adorned
with floral pattern.
The T’boli who live in and around Lake Sebu,
South Cotabato are famous for their complicated
beadwork, wonderful woven fabrics, and beautiful brass
ornaments. Tboli weavers believe that their gods and
ancestors visit them in their dreams to teach them the
designs and patterns that they have to weave. The
most famous T’boli dream weaver is Lang Dulay who
received the National Living Treasures – Gawad
Manlilihikha ng Bayan awarded by the National
Commission for Culture and the Arts or NCCA. Men are
not allowed to touch the materials used in the weaving
process. They believe that if they break the rules,
the fiber will snap and the
designed will be ruined. T’nalak production is a painstaking process that requires patience, a
lot of creativity, good memory, and a range of skills learned from a young age by the
weavers.
Maranao means “People of the Lake” referring to the people who occupy the lands
surrounding Lake Lanao Maranao. The Maranaos are known for their Malong. The Malong is
a traditional Filipino tube skirt that is made of hand woven or machine made multi colored
cotton cloth. Women wear it as a skirt, a dress, or a gown. Depending on how its folded, it
can also be used as hammock, a basket, a sleeping bag, a bathrobe, or a baby carriage.
The Malong is important part of Maranao life. A new born is wrapped in it and, as he or she
grows, it becomes a part of his or her daily life as clothing and as material for everyday use.
When a person dies, he or she is once again wrapped in a malong. A traditional dance called
Kapa Malong Malong or Sambisa Malong, demonstrates the various ways of wearing a
malong and its uses. Yakan Basilan is the home to the Yakans. They are popular for their
skills in weaving. They weave very intricate designs in their textiles, which they use for their
clothes and other accessories.

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 Yakan hand-gloomed fabrics are known for
their use of bold colors and geometric patterns. The
Seputangan is a square cloth used by the Yakan
women as a head cover or as a belt. The Badjulapi is a
tight blouse with longsleeves. It is ornamented with
gold, silver or bronze buttons. The sawal is a tradional
tight fitting trousers made of yakan fabric characterized
by its vertical stripes. Yakan The Pinalantupan, a type
of skirt, is layered over the trousers.
CONTEMPORARY ARTISTS IN MINDANAO AND
THEIR MASTERPIECES
Red
Genotiva (b. 1993) was born in Davao City. As a child, he
would draw characters from Japanese anime that he often
saw on television, posters, and other media platforms.
Soon, this hobby turned into a serious interest in the arts.
Among artists who influenced his art practice and unique
stylistic approach, Genotiva cites Mark Ryden, Ron
English, Charlie Immer, Naoto Hattori, Hikari Shimoda,
and Yoko D’ holbachie.
Indeed, Genotiva’s body of works tend to be
characterized by art world observers as pop-surrealist.
He often signs his works with the name “Oni” as a nod to
his
formative years. In Japanese folklore as remediated in animated content and manga, “oni”
means demon, ogre, or troll, also collectively called “yokai”
or creatures of the underworld.

Often these are tragic beings rejected by the light

yet imbued with human-like qualities in a visual culture
where the line between good and evil is never clearly
demarcated. Genotiva is known for his stylized figures of
children – anthropomorphic yet rendered in exaggerated
proportions with multiple eyes, tentacles, and are often
set in dream-like landscapes that at times teem with
melancholy despite the solid luminous hues. The images
are almost kawaii but not quite, adorable yet uncanny
and unsettling. Oni’s solo exhibitions include “Playhouse”
at the Morning Light Gallery in Davao (2018) and
“Together We are Friends” at the Jose T. Joya Gallery in
UP Cebu.
He has participated in a number of group exhibitions in Cebu City (2015-2018), Art Portal
Gallery for Contemporary Art Davao (2018) and District Gallery in Quezon City (2018). A
recent solo exhibition was titled “Children” and curated at the Art Portal Gallery for
Contemporary Art (2019). Genotiva currently resides in Cebu City.

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 Norman “Nonoy” F. Narciso (b. 1975) is from
Davao City. He took up literature at the Holy Cross of Davao College. He did not go through
formal training in the visual arts in any academic institution. He was inspired by the dynamic
arts scene of Davao. During his formative years, he involved himself in creative productions
in school and the church. He learned how to play the guitar and participated in community
theatre.
At Magallanes Elementary School in Davao, he participated in the Rondalla. He also
attended painting workshops at the San Roque Elementary School. One will observe that
many of his artworks blur the ontologies of musical instrument, sculpture, and installation.

Jester Gumanao Oani (b. 1995) is from Lunga-

og Sto. Tomas, Davao Del Norte. The 8th of nine
siblings, his father was a skilled carpenter and his
mother, like some of his female siblings, is a seamstress.
Thus, he witnessed his family working with fabric, metal,
wood, and industrial materials. This kind of relationship
with the materials of industry informs Jester’s praxis as
an artist.
Of his path as an artist, he said: “Being an artist is
a struggle due to the inconsistencies and economical
hindrances in art production. However, I’d rather focus
on recreating ideas, tinkering with concepts, and
engaging with issues in my environment. The act of
creating
sculpture is sometimes comparable to play, as though I am creating a toy that I will
eventually let go of before I helm another piece. I strive as an artist because I am aiming for
a sustainable and meaningful life through my artworks and practice.”
Oani has already been featured in a number of remarkable exhibits since 2012. One
is the 45th Shell National Student Art Exhibition in Ayala Museum, Makati City where many
emerging artists begin their careers. Others include “Bata-Bata” in SM Lanang Premiere
organized under Kublai Millan. The years 2013 to 2015 were marked by several local art
events in Davao, mostly in malls, and other pragmatic spaces. The artist has also been
included in exhibits at the Museo Dabawenyo (2016) and one organized by the Finale Art
File Gallery in SM City Ecoland in Davao (2016). In 2019, his work was well received in Art
Blast 2019 hosted by Artasia Gallery in SM Megamall (2019).

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 Dennis Puzon (b. 1995) was born in Davao City.
He first studied Fine Arts at the Ford Academy of the
Arts (2012-2014) before he transferred to the University
of Mindanao where he graduated in 2018.
Among his mentors at the Ford Academy
include Banjo Satorre, Glenn Baga, Magtanggol
Cadayona, and Jimmy Ang. Rogelito Cayas Jr.,
Dominador Pamisa, Alynnah Macla Tadeo and Victor
Dumaguing are his mentors at the University of
Mindanao.

Paula “Pau” Magpayo Feliciano (b.

1997) was born in and spent her formative
years in South Cotabato before moving to
Matina, Davao. She studied in the Fine Arts
Program of the University of Mindanao. Distinct
are Feliciano’s works, usually of small canvases
that usually feature pop surreal images.
Aside from local art events in Davao,
some of the platforms where Feliciano’s works
were previously featured include “Art Atelier II”
at the Museo Dabawenyo (2017), “Configure” in
Art for Space and Urban Chic Galleries San
Pablo, Laguna (2018), Art in the Park Manila
(2018 and 2019), and “Art Blast: Young Bloods
and Young
Hearts” a group exhibition hosted by the Art Asia Gallery (2019), and a contemporary
surrealist exhibit titled “The Rise of Pop Surrealism: from Underground to Mainstream” in
Arte Bettina Gallery (2019).
Feliciano’s works were also part of
exhibits represented by Art Portal Gallery for
Contemporary Art Davao: “In Retrospect”
(2018) and “At the Precipice” (2019).
Recent exhibits also include “The
Pursuit of Normality,” a four-woman show at the
Art for Space Urban Chic Gallery (2019) and
“The River Flows North” presented by the
National Commission for Culture and the Arts
and Art Portal held at the NCCA Gallery in
Intramuros (2019).

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 Eloisa B. Sanson (b. 1996) is from General
Santos City. She studied at the Philippine Women’s
College of Davao (2015-2019) and pursued a career in
the arts under the mentorship of Rodney Yap, Dominic
Turno, Romeo Dumuk III, Wilfred Dexter Tañedo, Emi
Englis, and Mai Ongkiko.
All her exhibitions are group exhibitions. She
participated in iterations of the Shell National Art
Competition at the Ayala Museum, Makati City
(2015and 2017), and exhibits organized by her school.
She also joined the Metrobank Arts and Design
Excellence competition (2017 and 2018).
Fondly called “El San,” her works were featured
at the Art Portal Gallery, Davao City and “At the Precipice” in a mall exhibit curated by the
same gallery. Other venues that featured her works include Morning Light (2018) in an
exhibit titled “Homage to the Salon Des Refuses” and public relations campaigns of malls.

Leonardo C. Comargo Jr. (b. 1982) is from

Calagundian, City of Mati, Davao Oriental. He is
currently studying Painting at the Bachelor of Fine Arts
Program of University of Mindanao.
Past exhibits in the local context include iterations of
Art Atelier at the Museo Dabawenyo (2015, 2017),
“Obra Ginagmay” in Felcris Centrale (2016), “Merging
Current” at the Matina Town Square (2017), and other
exhibits in malls and schools in Davao.
He also participated in Art in the Park in Makati
(2018), “In Retrospect” at Art Portal, Gallery for
Contemporary Art (2018), “What does it mean to be
Filipino?” under CANVAS Gallery held at the Vargas
Museum in Diliman Quezon City (2018), “Configure” at
the Art for Space and Urban Chic Gallery in San Pablo
City, Laguna (2018), “Engkwentro sa Labuyo” at Art For
Space and Urban Chic in Laguna (2019) and Art Blast
“Young Bloods and Young Hearts” hosted by Artasia
Gallery (2019).

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 Trexia Sola (b. 1999) is from Tagum City, Davao del
Norte. She is currently studying under the Fine Arts
program of the University of Mindanao under Rogelito
Cayas Jr., Alynnah Macla Tadeo and Victor Agustus
Dumaguing. Prior to this, she took art workshops. She
started painting in second year high school when she
entered a workshop called Sining Mata. Her works have
been featured in several local platforms such as Tabula
Rasa Gallery (2015) and Museo Dabawenyo (2015) and
exhibits organized by the University of Mindanao (2015,
2017).
Her works were also included in exhibits curated
by Art Portal Gallery for Contemporary Art (2018), and
Art
in the Park in Makati (2018). Recent exhibits that featured her work include “At the Precipice:
Davao Art on the Brink of Change” at the Davao Art Market in Abreeza Mall, Davao (2019)
and “Pursuit of Normality” hosted by the Art Exhibition Art for Space and Urban Chic
Galleries in Alabang, Metro Manila (2019).

Angelo Florante Nur Valente (b. 1995)

studied in the University of Mindanao under Rogelito
“Jun” Cayas, Victor Agustus Dumaguing, and
Alynnah Macla-Tadeo.
His works were featured in multiple exhibits
in Davao City, such as Art Atelier Exhibition (2016),
Merging Currents (2017), Sensitive Encounters:
Mindanao (2017), and Ugnayan Art Exhibit (2017).
Ang, as an artist, aims to tell the stories from the
society where he grew up, to share the cultures he
witnessed, and to illustrate the epics and
mythologies from all the ethnic groups in the
country.

Laya Boquiren is a Doctor of Philosophy in Philippine Studies with main areas in

Philippine Art and Culture. She co-curated the international travelling exhibit Field Trip
Project Asia at the Vargas Museum (2015) and initiated related off-site curated endeavors in
Baguio City, Tanauan, Leyte, and 98B Escolta.
In the past, she served as curatorial consultant for
Gallery Genesis and Museo De Intramuros. Boquiren has
contributed in academic journals, published books and
contributed chapters of books under Vibal (2015-17), has
authored a book on Pro Ecclesia et Pontifice awardee Willy
Tadeo Layug (2017), for whom she curated the artist’s second
solo exhibition at the NCCA Gallery and authored a
corresponding monograph published by the institution (2017-
18).
Her most recent publications include Now Here: Access,
Activate, Rewind (2018) for Erehwon Center for the Arts and the

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newly launched book on grandmaster of Philippine aquarelle Toti Cerda (2019). She
obtained a master of arts in Art History from the University of the Philippines, Diliman
(2009), and has completed short programs at the Institute of Media and Entertainment in
New York (2009) and Keio University in Japan (2010).
Boquiren currently teaches at the Arts Department of the University of Asia and the
Pacific. Her recent curatorial project includes The River Flows North featuring Davao-based
artists at the NCCA Gallery. Her cultural work has always been multi-local, her paternal
relatives being from Cagayan de Oro.
Summary
Filipinos are proven to be one of the most creative and colorful people in the world.
The types of arts that are produced in different regions, each region has its unique
specialties of product to take pride. Philippines is very rich in natural resources especially in
Mindanao.
• Mindanao, referred to as “THE LAND OF PROMISE”, is the second largest and
southernmost island in the Philippine Archipelago.
• The Bilaan or B’laan is an ethnolinguistic group that are known for embroidery,
brass ornaments and beadwork that are integrated in their traditional clothing.
• The Bagobos are the group of people that live make these clothes from a special
textile woven from abaca fibers called T’nalak.
• The T’boli are famous for their complicated beadwork, wonderful woven fabrics,
and beautiful brass ornaments. Tboli weavers believe that their gods and ancestors visit
them in their dreams to teach them the designs and patterns that they have to weave.
• The Maranaos are known for their Malong. The Malong is a traditional Filipino tube
skirt that is made of hand woven or machine made multi colored cotton cloth.
• Yakan hand-gloomed fabrics are known for their use of bold colors and geometric
patterns. The Seputangan is a square cloth used by the Yakan women as a head cover or
as a belt.
• Some contemporary artists in Mindanao are Red Genotiva, Norman “Nonoy” F.
Narciso, Jester Gumanao Oani, Dennis Puzon, Paula “Pau” Magpayo Feliciano, Eloisa B.
Sanson, Leonardo C. Comargo Jr., Trexia Sola, Angelo Florante Nur Valente and Laya
Boquiren.
• Few contemporary art techniques presented by Mindanaoan artists are stylized
figures of children – anthropomorphic yet rendered in exaggerated proportions with multiple
eyes, tentacles, and are often set in dream-like landscapes that at times teem with
melancholy despite the solid luminous hues, artworks blur the ontologies of musical
instrument, sculpture, and installation and small canvases that usually feature pop surreal
images.
ACTIVITY 1: SKETCH
- Sketch a concept design for a contemporary art that represents the beauty of Mindanao.
Use A4 and a pencil.

Scoring Rubrics:
Creativity - 40%
Lay-Out Design - 30%
Organization - 30%
Total Score - 100%

ACTIVITY 2: DESIGN ME!

The Sarimanok is a legendary bird of the Maranao people who originate from Mindanao,
a major island in the Philippines. It comes from the words “sari” and “manok.” “Sari” means
cloth or garment, which is generally of assorted colors. Manòk, which makes up part of its
name, is a Philippine word for chicken.

1. Weave a bird out of scraped colored magazines based on the Sarimanok legend of
the Maranao people, orreate a sarimanok headdress.

Scoring Rubrics:

Creativity - 30%
Craftsmanship - 30%
Effort - 20%
Technique - 20%
Total Score 100%