MODULE 3| ART AND SOCIETY

 Art does not exist in vacuum. Art is related to society where it operates and flourishes while
society influences the emergence of a certain work of art. In this lecture, we shall discuss Arts in
the Philippines in the context of its history and society.

Janet Wolf

- art author and professor mentioned, "Art is situated within the coordinates with time and place."
Art is not stagnant as it derives its energies from the dynamism and conflicts of society. 

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Topic 1: Societal Context of the Arts

When we talk about the meaning of art, there are so many ways of defining it. Since art is
subjective, people can look at it in various ways. For some, art is something that gives them pleasure or
entertainment; while for others, art becomes a venue to express their negative emotions. As such, there is
no single definition that we can attach to what art is.  

In describing Philippine Art in general, one can take a look at how various types of society
contributed to the creation and promotion of arts. Indigenous societies, for example, prides of its art forms
that can be traced back to precolonial period when traditional art responded to the needs of a certain
community.  Other types of communities such as those influenced by Islam and Christianity have art
forms that mirror their respective cultures and beliefs. Also, communities found in the urban areas
manifest how arts is received and perceived. 

 Art is indispensable in society. We cannot separate art from our lives.

Lourd De Veyra

- a popular TV and music personality said in his mockumentary entitled WOTL (Word of the Lourd -
Youtube), "Ang Taong Walang Sining sa Katawan ay Taong Walang Kaluluwa."  

Arts emerging from various traditional and local communities

SOCIETAL CONTEXT (Philippine Art)

1. Indigenous art
- Consists of traditions which go back to the precolonial period
a. Weaving
b. House building
c. Backstrap loom
d. Pottery
e. Woodcarving

2. Islamic elements
a. Brassware
b. Weaponry
c. Kulintang music
d. Pangalay
e. Woven headdresses
f. Ceremonial tapestries
 3. Folk art
- Included from lowland Christianized communities
a. Chanting of pasyon
b. Salubong
c. Cenakulo
d. Colonial church
e. Santos for churches
f. Papier mache
g. Bahay na bato
h. Leaf art
i. Parol

4. Urban centers
a. Installation art
b. Sculptures in museum
c. Paintings
d. Graphic arts
e. Music
f. Dance
g. Theatre

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Topic 2: Historical Context of the Arts

Art in the Philippines is not only influenced by the type of community where art emerges and
flourishes. History as well influenced the flourishing and growth of certain art forms in the country. Arts in
every period in time has responded to the needs of society.

For example, the presence of warrior societies that thrived during the precolonial period exhibited
art in the form of weaponry. Plutocratic societies, on the other hand, regarded art as status symbol.
Meanwhile, the second half of 19th century paved the way for secular art in the country brought by the
Ilustrados from Europe. The Spanish Colonial period likewise reflected the power of church in society
through its religious iconology. Art, during the Martial Law, became a venue for political themes and
ideology. The power of the Marcoses was seen through the buildings that they have constructed around
Metro Manila and one of those is the Cultural Center of the Philippines. Read the article about this by
clicking this link 

https://martiallawmuseum.ph/magaral/edifice-complex-building-on-the-backs-of-the-filipino-people/

HISTORICAL CONTEXT

- Arts responding to the needs of time

1. Warrior Societies
- Artists specialized in designing weapons
2. Plutocratic societies and sultanates
- Artists catered to their need for status symbols
Example: “Hagabi” of Cordilleras
3. Feudal societies
 - Art produced under patronage of church and state
Examples: carving of saints
4. Second half of the 19th century
- Philippines was opened to international trade; this led to the growth of “ilustrado” class; Bahay na
bato, portraits, landscapes
5. American colonial period
- Expansion of trade, commerce, industry
- UP School of Fine Arts instituted courses in commercial art
Examples: illustration for school books, publications, commercial posters Fernando Amorsolo
a. Amorsolo School - catered to the tastes of American patrons for rural idylls; Capturing beauty
of sunlight in his paintings (backlighting technique); “Art as a commodity” (in
consonance to the capitalist system) Ina at Anak by Amorsolo
6. Modernism
- 1928: Victorio Edades’ homecoming exhibit
7. 1960s and 1970s
- Rise of political consciousness; emergence of social and political themes in
visual arts
- “building boom” during Marcos period and cultural projects and patronage of
Imelda Marcos = stimulated art market

Tragic Theater/Manila Film Center: The Story

- Haunted infrastructure is often believed to bear a tragic past and the Manila Film Center is no
exception. Located in Manila near the Cultural Center of the Philippines, it was supposed to be
the centerpiece of the Manila International Film Festival, the Asian equivalent of the Cannes
Film Festival in France. Then disaster struck.
- With 3 months to go before the scheduled January event and a budget of $25 million (supposedly
allocated for a new wing of the PGH), it was predictably a disaster waiting to happen.
Nevertheless, around 4,000 laborers were hired and they rotated among three shifts
across 24 hours.
- With a more sensible time frame, the grand lobby would need six weeks. For the center, 1,000
workers finished it in 72 hours
- On November 17, 1981, at around 3 a.m., scaffolding on the fourth floor collapsed and workers
were trapped in the quick-drying cement. The problem started when quick-drying cement was
poured on each floor without waiting for the layers to dry. Due to the rush and the endless
hours of working, too much was poured, resulting in the disaster.

Cosayo

- painted an image of Malakas and Maganda in Ferdinand’s and Imelda’s likeness - To the
subconscious, it was meant to depict the couple as parents of the entire nation
- Because of Malakas and Maganda, the Marcoses were able to unify those tendencies under a
singular myth, strengthening its symbolic power and influence on the population.

Social Realism

- Social realists made their appearance in response to Martial Law in 1972 although they were not
an entirely new phenomenon
- They were in fact resuming the postwar trend in “proletarian art” and expanded earlier nationalist
themes.
 - Dealt on protest themes: agrarian problem, foreign economic domination, export labor,
exploitation of women and children and ecological damage; while they expressed aspirations for
genuine freedom
- Social realists have worked in a variety of popular forms: comics, editorial cartoons, illustrations,
posters and portable murals for allies to be able to reach a larger number of viewers.

First generation social realists:

1. Baens Santos
2. Edgar Fernandez
3. Antipas Delotavo
4. Renato Habulan

 Related to social realism is the historical theme mingled with folk imagery which has found
striking interpretations in the works of Brenda Fajardo and Ofelia Gelvezon-Tequi

Fajardo

- explored the role of women through history;

Gelvezon-Tequi

- Cultural identity and woman’s self-definition have been lasting concerns

Non-Fungible Tokens (NFTs)

- Most Expensive NFT Artworks of 2021: Beeple, Everydays – The First 5000 Days NFT, 21,069
pixels x 21,069 pixels (316,939,910 bytes). Image courtesy the artist and Christie’s.

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Topic 3: Dimensions of Issues in Philippine Art and Society

The art sector in the Philippines are also confronted with various issues in terms of modes of
production and modes of reception. Artists on one hand as traditional makers and producers face issues
concerning finance and employment; balancing interests of financiers/clients with their own
principles/ideologies; and institutions that support promotion of the arts.

On the other hand, social background of art consumers may influence on how they receive arts,
the perpetuation of the interests in art among the elites, the patriarchal view on women in arts, the racial
issues, and religious and political beliefs. Arts are not merely vehicles of personal expression but are also
viewed as a form of social transformation.

A View on the Dimensions of Philippine Art and Society

Mode of Production

Issues faced by traditional arts makers/producers

1. Low pay for producers especially those in barrios

- agents/entrepreneurs bring artworks to urban centers; package arts into more saleable
commodities and sell them in higher prices to commercial centers/boutiques

2. Difficult working conditions of weavers

 - victims of neglect and prejudice; caught in daily struggle for survival; threatened with eviction from
their ancestral lands

3. Seasonal work
- mostly famers and fisher folk; associated with town fiestas and produced in relation to agricultural
cycle

Relations of Production: Artist and Public

Issues on how the artist position themselves in relations of production

1. Artist align themselves with basic producers and workers which constitute the large majority.
2. They may assume interests of the elite class of patrons and financiers. e.g. take up social and
political issues while other artists specialize in doing idealized portraits of ruling class

Support Systems of the Arts

 Arts disseminated through institutions and bodies (academe, community organizations,

museums, galleries, cultural organizations, religious entities, mass media, art market) for art to
flourish in the society.

Mode of Reception

Social Context of Reception

1. Social class and disparity of educational and cultural opportunities

2. Difference between urban and rural
3. Pluralistic character in Philippine society
4. Folk art and living ethnic traditions became familiar with urban context; regional painters
interacted with Manila artists
5. Factors of distorted receptions of traditional arts in urban contexts - Removal of arts in its
traditional context (e.g. T’nalak Weave used by fashion designers in Manila; Anito figures found in
museums) Business aligned to tourism

Art and Social Relationships

1. On Class: art aligned for the interest/aspirations of the majority or self-perpetuating interests of
economic elite
2. On Gender-sensitivity in analysis of images and art discourses: patriarchal society and its
stereotyping of gender roles have long been prejudicial to the development of women’s arts;
reception of art – largely male public
a. John Berger - favors male interest and perspectives; perpetuates subordination of women
3. On Race and Ethnicity: racial attitudes ingrained by white colonizers; gave rise to prejudices
a. e.g. Film industry – valor for fair complexions
b. Ads – mestiza models
4. On Religion and Political Belief: Religion – serves status quo; support authoritarian and right-wing
interests
a. e.g. Mindanao vigilante groups which harnessed indigenous folk beliefs towards extreme and
militant conservatism
 5. Political belief – art backs either privileged interests or common interests of people
a. e.g. Dominant (wealthy/powerful) VS oppositional (popular support)
ideologies

Art and Social Transformation

 Art is not neutral. It derives its energies from the dynamism and conflicts of society. Art is an
agent of change. Art tackles political and social themes. E.g. Picasso’s Guernica Goya’s Tres de
Mayo
 Spanish artist Pablo Picasso painted Guernica (1937) in reaction to the German bombing of the
town of Guernica, Spain, during the Spanish Civil War.
 Third of May, 1808 was painted by Spanish artist Francisco de Goya in 1814. His purpose was to
commemorate the Spanish war of liberation, during which a number of innocent civilians were
shot by soldiers from Napoleon’s army. At this late stage in Goya’s career, he had become cynical
about the fate of the human race, and this attitude is reflected in the raw, expressive quality of the
painting style in this piece.

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Topic 4: Conflicting Discourses in Visual Arts

Mga Tunggalian ng Diskurso sa Sining

Agraryong Rebolusyon Rice Planting

Rubbercut (medium) Oil Painting (medium)
Pesanteng nagtatanim ng palay Romantikong pananaw sa Kanayunan:
Umusbong sa panahon ng digmaan
Nakukubang mga likod; naghuhugis ahas Hanap ng mga Amerikano ang simbolo ng
Pilipinas na diumano’y hindi pa abot ng
makabagong kabihasna
Machine gun na tangan ng isang kapwa Larawang panturista: Pilipinas bilang
magbubukid; Ang likod ay nagiging bala Paraiso
ng baril
Pilapil ay nagiging larangan ng pakikibaka

 Ang pagkakaiba ng dalawang obra ay hindi lamang nakakulong sa anyo (medium) kundi
tumutukoy rin sa mga isyu at pang-ideolohiyang usapin.
 Ang ideolohiya ng sining ay nasa anyo ng wika nito
 Hindi pormal na estruktura lamang ang anyo at wika kundi mga pang-ideolohiyang praktika

Art and society are interrelated.  They influence the emergence and flourishing of each other. Arts
serve the traditional needs of a community and respond to the needs of a particular time and context. 
Arts exists because of society and society thrives through the presence of arts. 

Module 4 Overview- Elements of Arts

 Humans need language to communicate ideas. Art uses a type of language in communicating
ideas. The art language is based on concepts the elements of arts. These are considered as building
blocks make up a work of art. 

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Topic 1: Elements of Visual Arts

This topic deals with Elements of Visual Arts. These are elements that we commonly find in two-
or three- dimensional art forms such as drawing, painting, sculpture, crafts and mixed media art.
Elements of art include the subject, medium, line, color, texture, perspective, form, volume, and space. 

1. Subject
- Representation of the Idea
a. People
b. Nature
c. Event
d. Concept

2. Medium
a. Pigment - A modern pigment shop in Venice, Italy, where the "traditional" painter can buy
pigments to mix into paints themselves.
b. Sculpture - Clay, Stone, Wood, Metal, Marble
c. Architecture - Building Materials
d. Music – Sound
e. Literature – Words
f. Dance - Body movements

Artist and His medium

Practical considerations:

1. Availability of material
2. Use to which the art object will be put
3. Idea that he wants to communicate
4. Nature and special characteristics of the medium itself

1. Line
- One uses lines to represent figures and forms; always have direction, always moving
- There are certain emotional states that always find expressions through definite positions.
1. Straight lines – ideas of steadiness and force, may either be horizontal, vertical, diagonal
a. Horizontal – lines of repose and serenity, calmness, tranquility
b. Vertical lines - lines poised for action. They are balanced, forceful and dynamic.
c. Diagonal lines - suggest action and movement. They give animation.

2. Form
 - It applies to the over-all design of a work of art. It describes the structure or shape of an object.

3. Color
- 3 dimensions:
a. Hue - is the dimension of color that gives color its name. (primary, secondary, intermediate)
a) Warm hues - tend to impart warmth to any composition in which they are used.
They are conspicuous, cheerful, stimulating, vivacious, joyous and exciting.
They are suggestive of instinctive action. They are called advancing colors
because they have an effect of advancing or coming towards you.
b) Cool colors - are those where blue predominates. They cause surfaces
covered with them to appear to recede. They suggest distance. They
are calm, sober, restful and inconspicuous.

There are two kinds of color harmonies:

Related color harmonies may either be monochromatic or adjacent.

 Adjacent harmony - is used when 2 or 3 neighboring hues are combined
together. They have something in common.
 Contrasted color harmonies - are colors which lie opposite each other in the color circle.

b. Value - refers to the lightness or darkness of a color.

e.g. Red + White (value up in the scale) = pink (tint of red)
Red + Black (darker value below the scale) – maroon (shade of red)
c. Intensity - refers to the brightness or dullness of a color. It gives color strength.
Hue is in its vivid form, it is said to be in full intensity.
Dulled, it is said to be neutralized.
The more black or white is added, the weaker is the intensity.

4. Texture
- It has to do with the characteristic surfaces which can be rough or smooth, fine or
coarse, shiny or dull, plain or irregular.
- It adds richness or vitality.
- It is an illusion. One must make an object look like the way it would feel when one touches it.

5. Perspective
- It deals with the effect of distance upon the appearance of objects, by means of which the eye
judges spatial relationships.
- It enables us to perceive distance and to see the position of objects in space.
a. Linear perspective – representation of appearance of distance by means of converging lines
b. Aerial perspective – representation of relative distances of objects by gradations of tone and
color

6. Volume
- It refers to the amount of space occupied in 3 dimensions.
- It refers to solidity or thickness.
- We perceive volume in 2 ways:
a. by outlines or by shape of objects; and
b. by surface lights and shadows.
 7. Space
- distances or areas around, between, and within components of a piecea
a. Horror Vacui- fear of vacant/empty space typical in Philippine visual arts

Color Psychology

Color Meanings/Ideas
Red (attracts attention more than any other color) Strength
Danger
Energy
Desire
Power
Love
Green (color of nature; used to symbolize piety and sincerity) Freshness
Calmness
Harmony
Sincerity
Fertility
Growth
Blue (stability) Enthusiastic
Idealistic
Peaceful
Spiritual
Flexible
Unique
Brown (light brown represents honesty and stability; dark brown is considered Dependability
mature and dull) Resilience
Reliability
Orange (enhances extraversion, allowing people to express themselves more Encouragement
freely) Enthusiasm
Fascination
Happiness
Attraction
Creativity
Succcess
Yellow (enhances mental activity and heightens awareness and energy levels) Happiness
Intellect
Loyalty
Energy
Honor
Joy
Pink (represents gentle type of love) Vulnerability
Tenderness
Innocence
Optimism
Youth
Hope
Purple (combines the stability of blue and energy of red) Ambition
Wisdom
Luxury
Power
 Magic
White (new beginnings, perfection, elegance and serenity) Perfection
Innocence
Goodness
Safety
Purity
Light
Black (depending on which angle approached, black can be seen as elegant Formality
or downright depressing) Authority
Elegance
Mystery
Power
Death

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Topic 2: Elements, Properties and Medium of Music

1. TEMPO
- Italian word = “Time”; pertains to the speed
a. Allegro (fast)
b. vivace (lively)
c. moderato (moderate speed)
d. andante (moderately slow)
e. adagio (slower than andante)
f. lento (slow)
g. largo (very slow)

2. MELODY
- orderly succession of sounds; over-all balance; most appealing – arouses interest of listeners

3. HARMONY
- The simultaneous sounding of two or more tones; unity

4. TEXTURE
- Melodic and harmonic relationship of musical factors

5. RHYTHM
- Repetition of sounds

PROPERTIES OF MUSIC

1. DURATION
- The length of time a sound is maintained

2. PITCH
- Highness or lowness of tone

3. VOLUME
 - Loudness or softness of sound

4. TIMBRE
- The individual quality of sound; what makes each sound unique

5. RANGE
- The total number of tones produced
i.e., soprano, mezzo-soprano, alto, tenor, baritone, bass

VOCAL MEDIUM

- The human voice; natural form of music

- 2 classifications according to:
1. Vocal register ( acc. To range)
2. Vocal qualities (acc. To range & timbre) i.e., coloratura soprano (highest and lightest voice),
lyric soprano ( less high & flute-like), dramatic soprano (heavier, conveys intense emotions),
and lyric & dramatic tenor (male counterparts)

INSTRUMENTAL MEDIUM

- Use of instruments
1. Percussion
2. String instruments
a. Harp
b. Violin
c. Double bass
d. Viola
3. Brass
a. French horn
b. Trumpet
c. Saxophone
d. Tuba trombone
4. Wind
a. Recorder
b. Clarinet
c. Bassoon
d. Double bassoon
e. Piccolo
f. Flute
g. Oboe
h. English horn

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Topic 3: Elements of Dance

DANCE

- the art of using body movement as a form of expression

THEME

- The content of a dance

- The concept or message being expressed

MOVEMENT

- Most important element

- Dancers’ movement = expression

CHOREOGRAPHY

- Organization of the movements

- The “design”of the dance

TECHNIQUE

- the SKILL in executing the movement

- How you do the steps

Music

- Provides the rhythm

- Supports the movement

OPTIONAL ELEMENTS:

a. Costume and props - Helps the realness of the dance and supports the message
b. SCENERY OR BACKGROUND - Adds to the sense of reality as well as the ambience or mood of
the dance

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Topic 4: Elements of Drama

Drama/Theatre/Theater

- (Classical Greek: δράμα, dráma) = “TO DO” or “TO ACT”

- A story acted out on stage in front of the audience

Peter Brook of Britain

- A prominent theater director has said that for theater to take place, an actor walks across an
empty space while someone else is watching. In this empty space, called a stage, actors present
themselves in a story about some aspect of human experience.
Common Types of Drama

1. TRAGEDY
- End on an unhappy note
- Drama of serious nature and Portrays suffering

2. COMEDY
- Ends happily
- Dominated by a light tone that encourages laughter

3. MELODRAMA
- Emphasis is on action rather than on character
- Action is sensational or romantic (romantic plot)
- Usually has a happy ending

4. SOCIAL DRAMA
- Depiction of contemporary life more truthfully and accurately
- Often with direct or implied social message
Ancient Greek muses: Thalia
(comedy) and Melpomene (Tragedy)

Common Types of Drama

Miscellaneous:

A. TRAGICOMEDY
- Drama blending tragic and comic elements but Ends happily

B. MIRACLE and MYSTERY PLAYS

- Dramatized stories from the Bible and lives of saints

C. CLOSET DRAMA
- Plays written for reading than for staging

Elements of Drama

1. PLOT
- summary of the play’s story

2. CHARACTERS
- protagonist/antagonist

3. THOUGHT
- ideas and emotions implied

4. LANGUAGE (DIALOGUE)
- Prose Dialogue (naturalistic or rhetorical)
- Verse Dialogue

5. CLIMAX/DENOUMENT
- turning point of the story; brings conflict to an end (final revelation; phase that gives the answer)
 6. SOUND AND SOUND EFFECTS

7. COSTUME AND MAKE-UP

8. SCENERY AND LIGHTING

- backdrops or large props
- Color, brightness, direction in lighting
e. g. Midsummer Night’s Dream - Fairies A emerge from doorways in space, and Bottom’s bed
hangs suspended before the moon in this 1998 production of A Midsummer Night’s Dream at the
Oregon Shakespeare Festival in Ashland, Oregon. The set, lighting, staging, and
costumes all combine to intensify the play’s enchanted, unreal atmosphere.

Periods in Philippine Drama

1. Pre-hispanic
- Religious rituals intertwined with music and dances

2. Spanish

3. American
- Rise of patriotic theater
- Zarzuelas became the top form of drama

a. Moro-moro - Cloak and dagger play; War between Christian and muslim
b. Cenaculo - Dramatization of the passion and death of Christ
c. Zarzuela - Melodrama with songs and dances
d. Moriones - Participants dressed as Roman soldiers; Marinduque
e. Ati-Atihan - Yearly native fair

Walang Sugat

- written by Severino Reyes.

- tells the story of Tenyong, who has no choice to but leave his sweetheart,  Julia in order to join
the Katipunan. Julia, in the meantime, is forced by her mother to marry a wealthy man. On the
wedding, he comes back injured. He begs to marry her before his near death. Then, he stands up
unwounded. The crowd yells, "Walang Sugat!"

 Elements are important components of any art work. They tell us what the art work is all about
and the message that it conveys. Through intellectual involvement, understanding the elements is
also a manifestation of appreciating the arts. 

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