Contemporary Philippine

Arts from Regions

Traditional Art and National Art

Centers in the Philippines
Directions. In a separate sheet of paper,
write the corresponding letter of thecorrect
answer in each of the item given below.
1. National Arts Month is celebrated in the
month of
A. APRIL C. JANUARY
B. FEBRUARY D. OCTOBER
2. Mangyans are best known for their
A. BULUL C. WOVEN BASKETRY
B. PISSIYABIT D. WOVEN TAPESTRY
3. The Ifugaos are best known for this
traditional art.
A. BULUL C. PISSIYABIT
B. JUSI and PIŇA D. T’NALAK
4. The Pissiyabit is best known in what
Philippine archilepago
A. LUZON C. VISAYAS
B. MINDANAO D. MINDORO
5. A traditional art tapestry woven by the
T’bolis in South Cotabato.
A. BULUL C.
PISSIYABIT
B. JUSI and PIŇA D. T’NALAK
6. The goal of this government agency is
“to preserve, develop, and promote arts
and culture in the Philippines”.
A. CCP C. BOTH A
and B
B. NCCA D. NEITHER A
and B
7. Jusi and Piňa are best known in the
province of
A. IFUGAO C.
MINDANAO
B. LUMBAN, LAGUNA D. MINDORO
8. This government agency was formed
under Republic Act No. 7356
A. CCP C.
SCCTA
B. NCCA D. NAM
9. The usual theme for traditional art is
A. ANIMISM C.
INTEGRATIVE
B. CONTEMPORARY D. MODERNISM
10. Cultural Center of the Philippines was
estbalished in
A. 1966 C. 1968
B. 1967 D. 1969
11. The number of art centers found in Region
VII.
A. 2 C. 4
B. 3 D. 5
12. To date, how many regional art centers
recognized by CCP.
A. 45 C. 50
B. 47 D. 60
13. The goal ofthis program was to “further strengthen
its linkages and cooperation with local organizations in
the regions”.
A. KAISA SA BITUIN C. KAISA SA
PILING
B. KAISA SA LIKHA D. KAISA SA
SINING
14. An NCCA subcommission which facilitates the
committee on Architecture and Allied Arts, Cinema,
Dance, Dramatic Arts, Literary Arts, Music, and the
Visual Arts.
A. SCA C. SCH
B. SCD D. SCCTA
15. An outreach program embarked by CCP that
promotes regional arts through cultural interactions and
exchange tours of accomplished artist and art groups in
the regions.
A. UGNAYAN NG SINE C. UGNAYAN SA
PILING
B. UGNAYAN SA MUSIKA D. UGNAYAN SA
SINING
 Quick recap! In the previous module,
you have been introduced to the evolution
of contemporary art and how it is being
integrated to various art forms evident in
the regions. You’ve also realized how an
artist could come up with a masterpiece
using the elements of art, its subject, the
principles of design dominant as well as the
three important elements that you have to
take into consideration in holistically
understanding the intention and the
message of an artwork. Now buckle up, as
we go in depth in understanding an
important aspect of our culture and identity
as Filipinos.
Activity 2.1 “Picture Analysis”
Observe the sculpture carefully.
Then, in your mind answer the
following questions.
What is the figure doing?
What does the figure tell you about?
Do you commonly see this figure in
your locality?
What emotion/s can be drawn out
from the figure?
Traditional Art
Our country is home to many
traditional arts which could be traced
back in the pre-colonial times. The fact
that we have strong family ties it would
be easier for our practices, beliefs,
traditions, and arts be handed down from
generation to generation. The various
kind of traditional art in our country are
informally learned and usually produced
in indigenous closely knitted communities
as a reflection of one’s history and
culture.
 Animism
is the usual theme of
traditional arts with an
intention to depict
people’s gods and
goddesses, thus
resulting in the creation
of abstract symbolic of
animistic figures like the
 Traditional art is culture-bound,
and it revolves around the artist
and his/her feelings, thoughts,
and messages to his/her
audience. For example, the
sculpture of Northern Philippines
may be in the form of human
beings or animals while in
Southern Philippines the carvings
 The image shown in activity 2.2 is a carved figure of Bulul of
the Ifugaos is an
example of a traditional art. There are several traditional arts
unique in all provinces and regions in our country, some of the
dominant traditional arts are as follows:
Basketry of the
Mangyans - The Mangyans
are a group of indigenous people
from Mindoro Island in the
Philippines.

T’nalak – Tapestry
woven by the T’bolis
in South Cotabato
 Embroidered
piña jusi cloth of
Lumban,
Laguna - Piña is a natural
fiber derived from the leaves
of the Native Philippine Red
Pineapple. A luxury fabric
softer than hemp and glossy
like silk

Pis Siyabit - (or simply Pis) is

a Tausug
woven head-cloth made from cotton
or silk (or with gold threads)
characterized with intricate
geometric patterns of colors
segmented into the smallest
Woodcarvings, Paper Mache,
Toothpick Objects made in pakil from
Paete, Laguna – a younger form of traditional art
Philippine
traditional arts are
rich in songs and
dances in the
regions. These
songs and dances
are handed over by
master craftsmen
to their younger
generations like
any traditional art.
In literature and the
performing arts, the
traditional style is
evident in their
adherence to classical
structures and
standards. These
classics are
considered timeless
and enduring. A very
good example of a
classic literary work is
Jose Rizal’s Noli Me
Tangere.
Evident in monuments and statues
during ancient and traditional times
are the essence to commemorate
heroism or other deeds of greatness.
While contemporary monuments and
statues suggest reimagining of the
character or event to evoke more
intense emotions from its spectator.
Up to the present times, it can be
observed in most buildings and structures
in the country the incorporation of
traditional and contemporary style. Both
traditional arts and contemporary arts
exist in mutual acceptance and respect
for each other’s freedom of expression,
practices, and principles.
National Art Centers in the
Philippines
In 1969, the Cultural Center of the Philippines
(CCP) was established through executive order No,
303. The main goal of the establishment is “to
preserve”, develop and promote arts and culture
in the Philippines”. It houses several companies –
some of which are the Philippines Philharmonic
Orchestra, UST Symphony Orchestra, Tanghalang
Filipino, BAYANIHAN National Dance Company of
the Philippines, Ramon Obusan Folkloric Group,
Philippine Madrigal Singers, Philippine Ballet
Theatre, Ballet Philippines, and National Music
Competitions for Young Artist.
Concerts, theatrical performances,
and art exhibits for both local and
international. The Pasinaya: CCP’s
Open House festival, the largest
multi-arts festival for the Filipino
Public.
In 2010, CCP started an outreach program
called Ugnayan sa Sining that promotes
regional arts through cultural interactions
and exchange. Cultural Center of the
Philippines (CCP) and National Commission
on Culture and the Arts (NCCA) made a
conscious effort in promoting cultural
events in the different regions because in
the past Manila has been regarded as the
center of cultural and artistic activities. It
started with four groups: Sining Bulakeño
(SIBUL) from Malolos, Bulacan; St. Louis
University from Baguio City; CPU Handbell
Choir from Iloilo City; and Tagum City
Comprehensive National High School
Rondalla from Davao del Norte. Later, the
Youth Advocates for Theater Arts of
Dumaguete (YATTA) and Mindanao State
In 2014, CCP launched Kaisa sa
Sining: The Regional Arts Centers
with its goal to “further strengthen
its linkages and cooperation with
local organizations in the Regions.
Below is the map of regional centers
participating in Kaisa sa Sining
The CCP is also in charge of the National Art
Center in Mt. Makiling, Los Baños, Laguna,
which is home of the Philippine High School
for the Arts. The school was established in
1976 for young aspiring artists. The student
population is about 135-140 to ensure quality
of instruction with full scholarship and living
assistance. Grace Nono, Sharmaine C.
Buencamino, Nick Pichay, Gerry Leonardo are
among the products of the said school.
The
National
Commission
for Culture
and the Arts
(NCCA)
In 1992, under Republic Act No.
7356 the NCCA was formed and is
responsible in “preserving,
promoting and developing culture
and the arts in the Philippines” just
like CCP. An overall policymaking
body and coordinator among cultural
agencies is one of its functions. It
aims “to encourage artistic creation
within a climate of artistic freedom”.
NCCA has four sub-
commissions:
Subcommission on the Arts
(SCA), which facilitates the
committees on Architecture
and Allied Arts, Cinema,
Dance, Dramatic Arts,
Literary Arts, Music, and
the Visual Arts.
Subcommission on Cultural
Heritage (SCH), which includes
committees on Archives, Art
Galleries, Historical Research,
Libraries and Information
Services, Monuments and
Sites, and Museums.
Subcommission on Culture
Dissemination (SCD),
which handles committees
on Communication,
Cultural Education, and
Language and Translation.
Subcommission on
Cultural Communities
and Traditional Arts
(SCCTA), which takes
care of the committees
on Northern Cultural
Communities, Central
Cultural Communities,
and Southern Cultural
Subcomommission on Cultural
Communities and Traditional Arts
(SCCTA), which take care of the
committees on Northern Cultural
Communities, Central Cultural
Communities, and Southern
Cultural Communities.
February has now been known as the
National Arts Month (NAM). In celebration of
the NAM, NCCA-SCA come up with the
annual Philippine Arts Festival which
consists of several activities and highlight
the artistic talent and brilliance of the
Filipinos. Seven of the nineteen national
committees – architecture, cinema ,dance,
literature, music, theater, and the visual
arts – prepare the following programs for
the Philippine Arts Festival.
In 2013, NCCA sponsored Tanghal Theater Festival featuring regional
theater
organizations and university drama groups with the theme “Ani ng
Sining”. NCCA
also provides support to community-based theater groups. Together
with government
agencies like the Department of Education, the Department Social
Welfare and
Development, and Non-Government Organizations believing that
community-based
theaters help fortify the spirit of nationalism, patriotism, thereby
becoming agents of
change. An example of a younger community-based theater group is
Dulaang Kasing
Activity 2.3 “Stick Visual
Art”
What you need: 1 short
bond paper,
toothpick/broom
stick/barbeque stick, glue

What to do: Based on

traditional patterns and
styles of artwork, create a
Activity 2.2 “Paper
Weaving”
(Traditional Art)
What you need: 1 short
bond
paper, colored papers,
or any
recycled papers, glue,
scissors
What to do: Create your
own
Activity 2.4 Now that you have a broader
perspective on traditional arts and the
corresponding institutions responsible in
preserving and promoting the many
cultural activities, it is time to reflect and
do your part as a responsible citizen. Make
a slogan about how to preserve and
promote traditional art. Use a separate
sheet of paper for this activity. (10pts=
substantial answers, 7pts= somewhat
substantial, 5pts= unsubstantial answers).
Activity 2.5 Using google, research
one example of traditional arts in your
region. In your research, take note of
the following guideline. You can your
research printed or handwritten in a
clean sheet of paper.
a) Description
b) Historical background
c) Artist/s
d) Processes used