ACTIVITY 1.

JUST GIVE ME A REASON

A. CHANGES TO ACCEPTED TRADITION AND ACCEPTED TASTE

Public’s taste for art changes continuously. We are part of this changing and we also feel it deeply,
being determined ourselves to accept this progress, this development on the fly. Contemporary art is
directly influenced by the radical technological developments which have opened the way for a global
community Contemporary art reflects these unexpected changes trough a great diversity. Styles and
tendencies come into being and dissolve themselves within the speed of informing era. Art critics have
put an end to artists’ spontaneity and natural knowledge, compelling the creators to follow a new
compromise named evolution, more or less supervised. The contemporary artist is roughly criticized
when he is ordered to paint, but she is being annulled if he cannot make part within our era’s
tendency, accepting modernity as over necessary religion.

B. UNDERSTANDING OF A MULTIPLICITY OF VIEWPOINTS

There is no single view that represents the absolute truth. Explores the titular concept from a
variety of angles: collaborative efforts between artists and printmakers, series of related images,
repeated design motifs, and works contrasting depictions of similar subjects.  Artworks filling the
expansive gallery challenge the viewer by presenting multiple angles, perspectives or meanings.
Many of the pieces were conceived of by artists and then executed in tandem with printmakers.
This interaction alters the stereotype of the artist working alone in the studio. The many large-
scale prints on display evoke multiplicity by creating multiple worlds within the same enormous
visual space. A viewer can easily lose oneself in either side, depending on the position taken while
standing in front of it.

C. ISSUES AND IDEAS ABOUT THE ROLE OF OBJECTS IN SPACE AND RELATONSHIPS BETWEEN
OBJECTS

Visual exploration is an active and dynamic process of gathering information about the world.
Contextual and personal factors influence this dynamic visual exploration. On the one hand,
context can facilitate or hinder the recognition and identification of objects on the other,
motivational, emotional, and cognitive states influence where people look and for how long. Thus,
the time it takes to visually explore an object can inform about its emotional relevance,
interestingness, or even its aesthetic appeal. So far, in the domain of art little attention has been
paid to the interrelations among duration of visual exploration, subjective experience, and context.
This is surprising, considering that art experience is a temporally evolving one, that it involves a
large variety of psychological processes, and that it is tightly linked to specific contexts, such as art
museums. 

D. USE OF EVERYDAY MATERIALS

The use of everyday materials and found objects in contemporary art has evolved into new
concerns and directions. Such new creative uses of found objects can be found within many
young artists' practices. In some artworks, the subject matter is not easily recognized, If the
artwork is an experiment on technique, the subject matter is the technique itself.
Ordinary objects are both clay and canvas in the hands of these singular artists. Since the very
first artists painted cave walls with mineral pigments and clay, humans have been
making art with the humblest of materials.
E. EMPLOYMENT OF CONTEMPORARY TECHNOLOGY
 The further technology progresses and the more art evolves and changes; the easier it becomes
to see how closely linked the two are… we represent, understand, and experience the world
around us through art while we constantly alter and rearrange that world we experience
through technology goes further and said that the word ‘art’ has undergone a rebirth. The word
art no longer summons only thoughts of classical paintings, it also evokes images of digital art.
This reflects how embedded technology has become in the art world. that machines can create
art, an idea that not long ago would have seemed absurd if not utterly insane.

2. What is the most important characteristic of contemporary art?

Employment of Contemporary Technology

For what has been previously said can be of some use to understanding the rising of a
new medium and its settlement inside the mediascape, the realm of the existing media. Every
new medium evolves from an early self referential stage, especially keen on its language and on
technical processes, to a mature stage where technics tend to become transparent, and allow
the user to concentrate on the results, the goals. Any new media expands the mediascape –
adding more chances of expression and communication – and steals space from the other
media where it possibly works better than them, forcing the other media to refocus and
redefine their languages. So the mediascape is in an endless adjustment state, or in
a remediation process call it, both because of the evolution of its inner media and because of
the arrival of the new media.
Technological acquisitions also lead to reconsider the role of the body, since sciences
and technologies raise new possibilities of acting on the body’s physiology, psychology and
appearance. But what is even more important is the body’s centrality in the cognitive processes
raised by the biology of knowledge and robotics approaches . A new paradigm which
recomposes the historical “mind vs body” opposition into a unitary and indivisible system, so
undermining the famous cartesian statement “cogito ergo sum”, which in its consequences is
still a pillar of our culture. On wired and wireless “real time information” many of the
telecommunication tools we currently use or that every day keep us informed are based, with
applications from telephony to television, from Internet to telepresence, from wireless
networks to mobile communication. Many artists, with different approaches and objects, use
these instruments in their works. In this field there is also the evolution of an art of online
cooperation, which roots are in the hacker philosophy, based on knowledge and resources
condivision, on peer participation, on collective working, which shows a totally different
approach to the traditional art making and questions the classical artist’s figure. One of the
consequences in art of the technological trends previously outlined is interactive art. With
technological instruments artists can give a sort of life to their works. Artists can easily and
quickly manage and modify the dynamics of the artworks, give them a memory of their logic
states, of their operating conditions and of their behaviour. Artworks react to the
environments they are put into, acquire a sensibility to the world and to the presence and
activity of the user. Real interactive artworks can modify their morphostructure in response to
the user’s behavior and to the environment. The former classical and passive viewer or
spectator becomes an active participant and sometimes a co-author of the artwork. The
artwork shifts from the status of a closed object to the status of an open process of biunivocal
relationships: the artwork itself resides in the interaction process, without which it is only
hardware with a little or no artistic interest.
 But although this process may seem in someway extraordinary, we are still in a sort of
“stone age” of computing. In fact some experts, like for instance Michael Dertouzos, claimed
about an “unfinished revolution” of information technologies, and on the desirable advent of an
“anthropocentric informatics” [15], that is an informatics centered on people instead of on
machines, where computers should understand humans and not, as today happens, where
humans have to understand computers. It is a vision which for many reasons has still a long
way to go, and where informatics has to work in conjunction with other disciplines, like
artificial intelligence. Other experts instead turn their interest in discussing on friendliness,
ergonomy, usability – and we could add “transparency” – of machines use and software. And, of
course, what is most important, we are in the “stone age” of computing also because only less
than 10% of the World population can have access to these technologies, as cheap and “user
friendly” as they may be.
ACTIVITY 2. FACE STUDY (DRAW THE OTHER HALF)
ACIVIY 3. BLACKOUT POEM

Her voice barely audible in all

The commotion touch me!
Save me, She paused,
Then saw prayer
Protectively dash across the room
We can get through here
Struggling free of space
They watch it start up
Rolling out of its way
Look back at the silver edges;
glowing with heat
I hope still –
A flash of light and a deafening roar came through
Come on!
1. Black poetry about:
 A girl whose restraining what she truly felt within, who cant express who she truly is,
the freedom of self-portrayal were out of sight and nowhere to be found, but shold
always keep in mind that a prayer can always be the answer.
2. Visual imagery create to accompany the drawing:
 As being portrayed, I used black ink on my drawing, which is the tree, that highlights the
words that was being chosen from a piece of a published book.
3. How did you decide on visual imagery?
 I only use my creativity and imaginative skills to come up with an idea, beside in my
own opinion a tree is a sign of new hope and prosperity.
4. Problem encounter in the creative process, and how did you resolce it?
 Its not easy to come up with such idea and the lacking of words is also present in the
making, but I find a way to solve it somehow, by using the only sources hat I’ve got and
sewing them to make a masterpiece.
5. Are you satisfied? If you could do it again, what would you do differently? Why?
 Yes, I am, perhaps, I would chose a new different articles to use, and to create a drawing
that is way far different form a tree, to convey what I truly wanted to express on my
masterpiece.
ACTIVITY 4. HAPPY ACCIDENT PAINTING

A. The principles of art that I have achieved on my artwork are balance, proportion, unity,

harmony, variety, emphasis, rhythm, and movement that can be easily seen and certainly vivid
on my painting. While the elements are the color, form, line, shape, space, and texture that is
positively being executed on my masterpiece. I have achieved such thing by of course using my
creativity and imaginations and to always go on with the flow of what was my imaginative
skills would offer. The girl portrayal on the painting holds the image together, for it represents
the unity of the color and rhythm of the painting that I have created.

B. Yes, I can say that ii have succeeded in seeing my object in a new way. I have seen the beauty of
one’s uniqueness. Even if we may vary in all aspects we all have that one thousands of things
that make us ‘us’. We may have experience different trails and somehow got bruises and scars
from them but it can’t fade the something special within us.
ACTIVITY 5. MY MASTER PIECE
REFLECTIION

I learned that Contemporary art tries to challenge age-old practices that hinder personal growth

and development. - Contemporary artists are not afraid to create art that goes against beliefs and
public taste. ... - Contemporary artists are conscious of the diverse, multicultural nature of today's
global society.

I enjoyed most on doing all of my own artworks cause it pays off when ive already seen the finish
product.

I want to learn more on the broader aspect on what is the most important characteristics of
contemporary art practices
EXERCISE II

A. REFLECT UPON
1. A reference to Contemporary Art meaning “the art of today,” more broadly
includes artwork produced during the late 20th and early 21st centuries. It generally
defines art produced after the Modern Art movement to the present day. This genre of art does
have its own approach or style that distinguishes it from others.
2. Contemporary artists use whatever they think illustrates their idea most appropriately.
Nowadays artists have many different methods and materials to use. Some use painting and
drawing but there is also photography, sculpture, film, new media, live performance, light,
sound and installation.
3. This style of art aims to depict and comment on the world. Such depictions and commentary
can inspire people to action and push viewers to become better versions of themselves. In a
globally influenced, culturally diverse, and technologically advancing world, contemporary
artists give voice to the varied and changing cultural landscape of identities, values, and beliefs.
Audiences play an active role in the process of constructing meaning about works of art.

4. Technology helps broaden the horizons of an artist's creativity while also limit the problems
that they might encounter. It makes the production of art a lot less demanding, and as a
result, artists now have more time to contemplate and expand their creativity. Example: Scott
Snibbe - Falling Girl: An immersive interactive narrative installation, named Falling Girl, allows
 the viewer to become an active part of the story which follows a young girl’s unnaturally slow
descent from the top of a skyscraper to the ground. The falling girl reacts to the people and
events from each window she passes by on her way down, and the audiences were given the
chance to play the part of those people. The message of this technology based art piece is
conveyed through an interactive way, emphasizing the shortness of our lives and the
(un)importance of the small, petty things. The digital installation provided a unique experience
for the visitors, giving them the opportunity to become an integral part of the art.
5. The most prominent feature of contemporary art is the fact that it has no distinct
feature or a single characteristic. It is defined by the artist’s ability to innovate
and bring out a modern masterpiece.

6. Technology has impacted the arts greatly. It has opened up so many opportunities for artists
and has expanded the number of techniques artists are able to access. Artists can now “paint”
on an iPad just as well as they can on canvas with a paintbrush and paint. The development of
technology has continued walking hand-in-hand with progressive artistic concepts and has
changed the way art is created and shared, enabling groundbreaking artists and their
innovative expressions to gain expanded access to whole new audience groups beyond the
conventional boundaries of the art world. 
7. Art is essentially instantly available and accessible right now. Anyone with a computer can
access almost any work of art in the world in seconds, or at the longest, minutes. If someone
wishes a closer look, then stick that little piece of plastic into a machine, get a ticket and fly to
the museum where it is located, the auction being held, or the show/exhibit being staged.
Relatively speaking, few great works are in private collections. The value of art has increased
phenomenally over the past 35 years. A New York Times article more than a decade ago wrote:
“The sense that buying art is important, vital, cool, accessible, sexy is not going away,” said
Lucille Blair, an art consultant for collectors. But art has also become an asset with an intrinsic
and lasting value. “It’s one of the only asset classes that’s not leveraged at all, so that a Warhol
hanging in somebody’s house truly represents a million dollars in capital,” Mr. Porter of
Christie’s said. “There may be years when it’s worth less, or years when it’s worth more. It’s
real, it’s tangible and it doesn’t have a whiff of a derivative product about it.”None of these
factors have changed. And even though they refer to the highest end of the art market, what is
true there is automatically conferred on the lower realms. People who several decades ago
never thought about empty walls today assume that they must fill them with imagery. I can
think of absolutely no reason whatsoever that accessibility would change the dynamics of the
art world or lessen value. In art, when scarcity is a value, it is created by death, or occasionally
and artificially by art dealers.
EXERCISE III

A. THROWBACK IDEAS
TITTLE OF ORIGINAL ARTWORK: TITTILE OF YOUR ARTWROK:

ANXIETY DIGITALIZED INSICURITIES REFLECTIONS

MATERIALS YOUR USING:

 Face photography (black and white)

 Cuts pic of different insecurity portrayal from different social media platforms
 Laptop for editing

EXERCISE IV.
 A. WHAT DO YOU SEE?
NAME OF ARTIST YOUR UNDERTANDING ON THE ARTWORK
1. Elmer Borlongan  His style wasdistinctive use of figurative expressionism.
describing a typical Borlongan canvas as "dominated by
the human figure - often disorted in shape, in unreal
hues." Borlongan's early work is known for its usage of
figures in urban settings, in stark contrast to the idyllic
rural settings of the earlier generation of Filipino artists,
such as Fernando Amorsolo. Later works by Borlongan,
after his move from the streets of Manila to the provincial
settings of Zambales, increasingly featured people in rural
settings as well, but imbued with the same tense energy
which characterizes his urban-setting figures - a thematic
contrast which has been described as a prominent
characteristic of Borlongan's later corpus.
2. Nuncio Alvarado Well known for his progressive artworks that depict the
faces, the plights and struggles of the Negros-based
“sakadas” (labourers hired from outside) and other
marginalized populations. He has developed a unique and
unmistakable style that stands out with its strong colours,
emotions and strength.

3. Napoleon Abueva The father of contemporary Filipino sculpture. Abueva

helped shape the local sculpture scene to what it is now.
He used almost all kinds of materials for his sculptures
such as hard wood, adobe, metal, stainless steel, cement,
marble, bronze, iron, alabaster, coral and brass. 
4. Clifford Espinosa A long table in the process of being completed in his
workshop. It is made up of three executive tables that can
be used on their own (representing Luzon, Visayas and
Mindanao), but when put together, this piece becomes
really impressive. Each table’s legs are fashioned like boat
outriggers and will soon be fit with red, blue and yellow
glass accents and etched glass water. In another table
design, planks of wood create a sense of movement,
radiating from the center edge of the table’s surface. It is
call the Yo-yo table, says Espinosa. The table’s concept is
also about the back and forth of communication
5. Nina Martinez Drawing for a diverse range of media including books,
video, and podcasts, she makes original comics about
ghosts, girls, God, and growing up. Her illustration has
been published by Adarna House and Bad Student, and she
has forthcoming work with Goethe-Institut.

EXERCISE V.
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For both works, the manifestation of a heroic male nude is seen.
Created as “public” works of art, meant to engage and influence the members of the French society.
The artists both achieved their goals of independently creating images that acted upon current
political and social issues.
These works not only influenced political and social movements but also served as pivotal
developments in the art world. They helped create new movements and styles as well as provide
inspiration for various other artists and political motivators. The successful fulfillment of the goals set
by both Gericault and David could not have been achieved had it not been for the risks and difficult

EXERCISE VI.
A. THE ARTIST
decisions made by the artists.
 Art from the past holds clues to life in the past. By looking at a work of art's symbolism, colors,
and materials, we can learn about the culture that produced it. For example, the two portraits above
are full of symbolism referring to virtues of an ideal marriage during the fifteenth century. The young
woman's portrait contains symbols of chastity (the unicorn) and fertility (the rabbits), virtues that
were important for a Renaissance woman to possess. After decoding the symbolism in these portraits,
we can learn what was important to these people and how they wanted to be remembered. We also
can compare artwork, which provides different perspectives, and gives us a well-rounded way of
looking at events, situations, and people. By analyzing artworks from the past and looking at their
details, we can rewind time and experience what a time period different from our own was like.
Looking at art from the past contributes to who we are as people. By looking at what has been done
before, we gather knowledge and inspiration that contribute to how we speak, feel, and view the
world around us. Artworks from the past reveal the importance of religion for individuals living at the
time as religion dominated many Europeans’ lives, even if not everyone held the same beliefs. Even
though many people are still very religiously active and involved today, it is nothing compared to the
dedication and importance of what religion meant to so many different people in sixteenth-
seventeenth century Europe. Featuring one’s religious devotion was also a question of culture,
knowledge and pride for many patrons. The importance of religion in the past is clearly depicted for
me through the artwork Madonna and Child Enthroned with Saints, which was completed by Raphael
in 1504. Four saints, St. Peter, St. Catherine, St. Paul and St. Cecilia (along with their symbols),
accompanied the Madonna and Child. Since this painting alone holds much power in the room at the
museum, one can imagine how proud and dignified the Nuns of the small convent of San’Antonio must
of felt to own such a majestic and grandiose work of art.
Modern art is the history of the top artists and their achievements. Modern artists have strived
to express their views of the world around them using visual mediums. While some have connected
their work to preceding movements or ideas, the general goal of each artist in the modern era was to
advance their practice to a position of pure originality. Certain artists established themselves as
independent thinkers, venturing beyond what constituted acceptable forms of "high art" at the time
which were endorsed by traditional state-run academies and the upper-class patrons of the visual
arts. These innovators depicted subject matter that many considered lewd, controversial, or even
downright ugly. The first modern artist to essentially stand on his own in this regard was Gustave
Courbet, who in the mid-19th century sought to develop his own distinct style. This was achieved in
large part with his painting from 1849-1850, Burial at Ornans, which scandalized the French art world
by portraying the funeral of a common man from a peasant village. The Academy bristled at the
depiction of dirty farm workers around an open grave, as only classical myths or historical scenes
were fitting subject matter for such a large painting. Initially, Courbet was ostracized for his work, but
he eventually proved to be highly influential to subsequent generations of modern artists. This
general pattern of rejection and later influence has been repeated by hundreds of artists in the
modern era. The discipline of art history tends to classify individuals into units of like-minded and
historically connected artists designated as the different movements and "schools." This simple
approach of establishing categories is particularly apt as it applies to centralized movements with a
singular objective, such as Impressionism, Futurism, and Surrealism. For example, when Claude
Monet exhibited his painting Impression, Sunrise (1872) as part of a group exhibition in 1874, the
painting and the exhibition as a whole were poorly received. However, Monet and his fellow artists
were ultimately motivated and united by the criticism. The Impressionists thus set a precedent for
future independently minded artists who sought to group together based on a singular objective and
aesthetic approach.This practice of grouping artists into movements is not always completely accurate
or appropriate, as many movements or schools consist of widely diverse artists and modes of artistic
representation. For example, Vincent van Gogh, Paul Gauguin, Georges Seurat and Paul Cézanne are
considered the principal artists of Post-Impressionism, a movement named so because of the artists'
deviations from Impressionist motifs as well as their chronological place in history. Unlike their
predecessors, however, the Post-Impressionists did not represent a cohesive movement of artists who
united under a single ideological banner. Furthermore, the case can be made that some artists do not
fit into any particular movement or category. Key examples include the likes of Auguste
Rodin, Amadeo Modigliani, and Marc Chagall. Despite these complications, the imperfect designation
of movements allows the vast history of modern art to be broken down into smaller segments
separated by contextual factors that aid in examining the individual artists and works.
Generally speaking, contemporary art is defined as any form of art in any medium that is
produced in the present day. However, within the art world the term designates art that was made
during and after the post-Pop art era of the 1960s. The dawn of Conceptualism in the late 1960s
marks the turning point when modern art gave way to contemporary art. Contemporary art is a broad
chronological delineation that encompasses a vast array of movements like Earth art, Performance
art, Neo-Expressionism, and Digital art. It is not a clearly designated period or style, but instead marks
the end of the periodization of modernism. Postmodernism is the reaction to or a resistance against
the projects of modernism, and began with the rupture in representation that occurred during the late
1960s. Modernism became the new tradition found in all the institutions against which it initially
rebelled. Postmodern artists sought to exceed the limits set by modernism, deconstructing
modernism's grand narrative in order to explore cultural codes, politics, and social ideology within
their immediate context. It is this theoretical engagement with the ideologies of the surrounding
world that differentiates postmodern art from modern art, as well as designates it as a unique facet
within contemporary art. Features often associated with postmodern art are the use of new media and
technology, like video, as well as the technique of bricolage and collage, the collision of art and kitsch,
and the appropriation of earlier styles within a new context. Some movements commonly cited as
Postmodern are: Conceptual art, Feminist art, Installation art and Performance art.

Reflection

I learned that Contemporary art is the art of today, produced by artists who are living in our
time. It provides opportunities to reflect on society and the issues that are important to us and the
world. It is part of a cultural dialogue that concerns larger contextual frameworks such as identity,
family, community, and nationality.

I enjoyed most on choosing one among characteristics of contemporary art practices and
searching for a photo of it. Then recreating the photo by updating it to modern times. And applying
contemporary artistic movements and techniques using different materials of my own choice.

I want to learn more on how an artist worked in the past and the difference off how and artist
works at the present time.

EXERCISE 2. “MARAMING DAHILAN KUNG BAKIT KA MAHALAGA!”

 National Commission for Culture and the Arts (NCCA) is the prime government agency that
safeguards, develops, and promotes Filipino culture through the formulation and
implementation of enabling policies and programs as well as the administration of endowment
funds for culture and arts. The establishment of the NCCA prompted the cultural agencies that
were attached to it, by virtue of the same law, to review its existing mandates and programs to
harmonize the delivery of cultural services. 

Cultural Center of the Philippines ( CCP) is a government owned and controlled corporation

established to preserve, develop and promote arts and culture in the Philippines. The CCP
provides performance and exhibition venues for various local and international productions at
the Cultural Center of the Philippines Complex located in the cities of Pasay and Manila. Its
artistic programs include the production of performances, festivals, exhibitions, cultural
research, outreach, preservation, and publication of materials on Philippine art and culture. It
holds its headquarters at the Tanghalang Pambansa.

 National Historical Commission of the Philippines, as an arm in the culture and

development agenda of the government, envisions a Filipino society with citizens informed of
their history, who love their country and are proud of their cultural heritage. Its mission is
the promotion of Philippine history and cultural heritage through research, dissemination,
conservation, sites management and heraldry works. It aims to inculcate awareness and
appreciation of the noble deeds and ideals of our heroes and other illustrious Filipinos, to
instill pride in the Filipino race and to rekindle the Filipino spirit through the lessons of history.

National Museum of the Philippines, Manila, is envisioned as the premier institution and
repository of the best of the natural and cultural heritage of the Philippines. The National
Museum also manages the National Planetarium and over ten archeological site and branch
museums found across the country. The National Museum of the Philippines has three main
goals covering the diverse fields of knowledge through various educational, scientific and
cultural activities:

 As an educational institution, the National Museum disseminates scientific and technical

knowledge in a more understandable and practical forms through lectures, exhibitions,
interviews and publications for students and the general public.
 As a scientific institution, the National Museum conducts basic research programs combining
integrated laboratory and field work in anthropology, archaeology, botany, geology and
zoology. It maintains reference collections on these disciplines and promotes scientific
development in the Philippines.
 As a cultural centre, the National Museum takes a lead in the study and preservation of the
nation's rich artistic, historical and cultural heritage in the reconstruction and rebuilding of the
nation's past and veneration of the great pioneers who helped in building the nation.

National Library of the Philippines (NLP) is the repository of the printed and recorded
cultural heritage of the country and other intellectual, literary and information sources. The
library is notable for being the home of the original copies of the defining works of José
Rizal: Noli Me Tangere, El Filibusterismo and Mi ú ltimo adió s. The collections of the National
Library of the Philippines consist of more than 210,000 books; over 880,000 manuscripts, all
part of the Filipiniana Division; more than 170,000 newspaper issues from Metro Manila and
across the Philippines; some 66,000 theses and dissertations; 104,000 government
publications; 3,800 maps and 53,000 photographs.[12] The library's collections include large
numbers of materials stored on various forms of non-print media, as well as almost 18,000
pieces for use of the Library for the Blind Division.Overall, the National Library has over 1.6
million pieces in its collections,[12] one of the largest among Philippine libraries. Accounted in
its collections include valuable Rizaliana pieces, four incunabula, the original manuscript
of Lupang Hinirang (the National Anthem),[16] several sets of The Philippine Islands, 1493–
1898, a collection of rare Filipiniana books previously owned by the Compañ ía General de
Tabacos de Filipinas, and the documents of five Philippine Presidents.[1] The most prized
possessions of the National Library, which include Rizal's Noli Me Tangere, El
Filibusterismo and Mi ú ltimo adió s, three of his unfinished novels and the Philippine
Declaration of Independence, are kept in a special double-combination vault at the rare
documents section of the Filipiniana Division's reading room.

National Archives of the Philippines (NAP)  is an agency of the Republic of the

Philippines mandated to collect, store, preserve and make available archival records of
the Government and other primary sources pertaining to the history and development of the
country. It is the primary records management agency, tasked to formulate and implement
the records schedule and vital records protection programs for the government. The National
Archives conducts the National Inventory of Records and Archives and maintains the General
Records Schedule of the Government. Aside from its Records Management and Reference
Services, it provides Technical Assistance and Continuing Education services to the general
public. The Archives is headed by an Executive Director, informally called the National
Archivist of the Philippines. The current Director is Victorino Manalo, appointed by President
Benigno Aquino in 2012.

Komisyon sa Wikang Filipino (KWF), in 1991. Under said law, KWF is tasked to undertake,
coordinate and promote researches for the development. propagation, and preservation of
Filipino as the national language of the Philippines, and other Philippine languages.
B. CREATE YOUR OWN AVOCACY IN PROMOTING AND PRESERVING ARTS
(SLOGAN,POEM,OR SONG)

“ITS PACHC”
In my honest and personal opinion,
I believe that all the agencies,
namely National Commission for Culture and the Arts,
Cultural Center of the Philippines,
National Historical Commission of the Philippines,
National Museum,
National Library of the Philippines,
National Archives of the Philippines
and Komisyon sa Wikang Filipino,
are all essential and important.

These agencies exist and function for the benefit

of the country and the Filipino citizens.
In order to successfully promote and preserve the arts,
culture and history of the Philippines,
these agencies must always continue to operate,
fulfill their objectives and serve their purpose.

Through the aforementioned agencies,

appreciation for Philippine culture and arts and awareness
of the history and significant events
in the development and evolution of the nation are induced.

By way of this, community engagement,

pride in Filipino cultural heritage
and love of country are developed and nurtured.
In order to comprehensively implement
all the responsibilities and duties of the agencies,
they must all cooperate and work with one another.
The agencies are all connected and share a common main purpose
which is to preserve and promote Philippine culture and arts and ensure
a nationwide participation in the part of Filipino citizens.
Therefore, I believe that it would be unjustifiable and wrong to remove
even one of the aforementioned agencies,
because they are all necessary to us and our country.

If I were to be given the opportunity

to create a new agency that would promote and preserve the arts of the region,
it would be called “Philippine Arts, Culture and History Council”
with the abbreviation “PACHC”.

This agency would focus

on conserving the country’s various forms of art, culture and practices
and information regarding significant events.
It would consist of council members
who will make sure that the function and objectives
of the agency are successfully accomplished.

Aside from preservation and conservation,

 the agency will also promote the arts
and culture of the Philippines
and ensure that they would still be existent for the future generations to see.

It will also disseminate current knowledge

about Philippine history and culture to every Filipino,
especially students, to generate recognition, awareness and appreciation
of the country’s colorful and momentous evolution and development.

Hence, in order to fulfill its functions,

the PACHC will initiate various ideas and projects.
One proposed project would be the arts exhibit.
This project would display different forms of artistic expression
which are all created by Filipino artists.
These will include paintings, photographs, sculptures,
music and dance which all showcase
the culture and everyday lives of Filipinos.

Moreover, PACHC will also hold events

with interested attendees
who will be given chances to inspect closely and experience
various Philippine culture and art.
Through this agency,
the preservation and promotion of arts and culture
in the Philippines will hopefully be achieved.

EXERCISE 3. “PLANUHIN NATIN PARA HINDI MAGING DRAWING”

If I were to be given the opportunity to create a new agency that would promote and preserve the arts
of the region, it would be called “Philippine Arts, Culture and History Council”
with the abbreviation “PACHC”.

This agency would focus on conserving the country’s various forms of art, culture and practices
and information regarding significant events. It would consist of council members who will
make sure that the function and objectives of the agency are successfully accomplished.

Aside from preservation and conservation, the agency will also promote the arts and culture of the
Philippines and ensure that they would still be existent for the future generations to see.

It will also disseminate current knowledge about Philippine history and culture to every
Filipino, especially students, to generate recognition, awareness and appreciation of the
country’s colorful and momentous evolution and development.

Hence, in order to fulfill its functions, the PACHC will initiate various ideas and projects.
One proposed project would be the arts exhibit. This project would display different forms of
artistic expression which are all created by Filipino artists. These will include paintings,
photographs, sculptures, music and dance which all showcase the culture and everyday lives of
Filipinos.

Moreover, PACHC will also hold events with interested attendees who will be given chances to
inspect closely and experience various Philippine culture and art. Through this agency, the
preservation and promotion of arts and culture in the Philippines will hopefully be achieved.
B. LOGO
EXECISE 5. “IPAGLABAN KA HANGGANG DULO”
1. As time progresses, transformations take place in every field. Be it our way of life, our food,
clothing, whatsoever. But there are certain things which should not be left forgotten under the
clutches of time. Those things include our traditional art and cultural forms. They are treasures
to be passed onto our future generation, so they have to be preserved rightly. We are a group of
art lovers from different fields including photography, sculptures, etc. working towards the
common goal of enriching art and culture. Our aim is to preserve the traditional art forms
which are on the verge of vanishing. We concentrate on various forms of art such as dance,
music, theatre, fine arts, literature, etc. Folk and tribal art forms require special attention.
Exhibitions and fairs are the best way to preserve art forms such as painting, sculpturing, etc.
People get to see a lot of traditional fine art works which is crafted with perfection. Such shows
inspire them to learn the traditional art forms.
2. It is the duty of every citizen to value and preserve the rich heritage of our composite culture.
The art and culture of our nation are a vast continuum, evolving incessantly since time
immemorial. Naturally, preservation and conservation of rich cultural heritage and promotion
of all forms of art and culture, both tangible and intangible, including monuments and
archaeological sites, anthropology and ethnology, folk and tribal arts, literature and
handicrafts, performing   art of music-dance-drama and visual arts of paintings-sculpture-
graphics is essential and assumes a lot of importance.
Implementation of the following strategies may help in the process of preservation;
– Tapping of the Public —Private Partnership models for sustenance of Arts and Crafts.
– Greater involvement of universities in schemes promoting arts and culture as well as inclusion of
Fine Arts as a subject in universities.
– Promoting Hindi and getting it recognized as a UN language.
– Protection of monuments
– Preserving and properly promoting rich intangible cultural heritage by inventorizing and
documenting oral traditions, indigenous knowledge systems, folklores and tribal and oral
traditions and also extending patronage to various dance forms like and other folk dances besides
classical forms
– Setting up at least one museum in each district with different chambers for visual and other
forms of art, architecture, science, history and geography with regional flavor.
– Enhancing assimilative capabilities in order to adapt to emergent challenges of globalization and
technological innovations.
– Promoting regional languages
– Making cultural and creative industries work in tandem for growth and employment.
– Generating demand for cultural goods and services as a matter of sustenance rather than
patronage, thus bringing out the art and culture sector in the public domain.
– The promotion of export of cultural goods and services for taking the country in the list of first
20 countries ranked by UNESCO for export of culture.
– Recognizing ‘cultural heritage tourism’ as an upcoming industry by building cultural resources
with an adaptation of scientific and technological knowledge to local circumstances as well as
forming partnerships between local and global bodies.
– Making possible the infusion of knowledge capital in cultural institutions by flexible
engagements.

3. Some people argue that art and literature are themselves historical records.  It's been said that
"history is written by the victors" of particular conflicts.  Art and literature, though, are both
often created by people who witnessed (whether directly or indirectly) historical happenings
and not simply people who were directly involved in historical events.  Because of that, art and
literature often serve as records of the social and personal imprecisions that follow from
historical movements.  In that respect, art and literature can be understood as being records of
what particular historical events actually felt like, rather than simple descriptions of what
occurred during particular historical events.
 4. Libraries have always been at the heart of the communities they serve. They are accessible and
safe spaces, providing access to huge resources of information and knowledge. There are an
estimated 315,000 public libraries in the world, 73 per cent of them in developing and
transitioning countries. The public library transcends national and cultural boundaries -- no
matter where you are in the world, they are an essential part of creating and maintaining an
educated and literate population. But today, public libraries are at a turning point. The way we
access and consume information has changed dramatically in the 21st century, and this
presents major challenges and opportunities for public library systems across the world. The
advent of new technologies has changed some of our reading habits. But our need for shared,
community-centred spaces to find information and connect with others is unlikely to change
any time soon. To survive in the digital age and stay relevant, public libraries need to be brave
and innovative. They must embrace both the physical and virtual. Libraries must offer more
than just books

REFLECTON
I learned that all the agencies, namely National Commission for Culture and the Arts, Cultural
Center of the Philippines, National Historical Commission of the Philippines, National Museum,
National Library of the Philippines, National Archives of the Philippines and Komisyon sa Wikang
Filipino, are all essential and important. These agencies exist and function for the benefit of the
country and the Filipino citizens. In order to successfully promote and preserve the arts, culture and
history of the Philippines.

I enjoyed most on making the brochure to advertized the agency I’ve planed to build that shows
the presence and relevance to the different region in the country.

I want to learn more on the broader aspects and significant roles of the different agencies in
promoting and preserving the culture and arts.