INDIGENOUS CRAFTS

Indigenous crafts refer to the traditional and artistic skills and techniques passed down
through generations within indigenous communities. These crafts are deeply rooted in the culture,
heritage, and history of the indigenous people, reflecting their unique worldview, beliefs, and way
of life.

These crafts are not just utilitarian items; they hold deep cultural significance and are often
infused with spirituality and symbolism. Through these crafts, indigenous communities maintain
their cultural identity, strengthen social bonds, and pass on their knowledge and values to future
generations.

It is important to note that indigenous crafts are a valuable part of the world's cultural
heritage, and supporting and preserving these traditional art forms is essential for the well-being
and sustainability of indigenous communities and their cultures. Additionally, it's crucial to
approach indigenous crafts with respect, understanding, and a commitment to fair trade and
ethical practices that support the artisans and their communities.

Indigenous crafts include the following:

1. Handicrafts

Artisans within indigenous communities create various handmade items using materials
sourced from their local environment. These can include pottery, basketry, weaving, beadwork,
wood carving, and leatherwork.
3. Textiles

Indigenous communities often have distinctive textile traditions, producing fabrics,

clothing, and tapestries adorned with intricate designs and patterns specific to their culture.

3. Jewelry
 Indigenous craftspeople often create jewelry using natural materials like stones, shells,
bones, and plant fibers, incorporating symbolic meanings and spiritual significance into their
designs.

3. Ritual and Ceremonial Artifacts

Many indigenous crafts are closely related to the religious practices of the people. These
includes masks, totems, and objects used in the different rituals.
4. Visual Art - Indigenous art can be in the form of paintings, drawings and other visual
mediums depicting stories, legends and the natural world.

The Fruit Gatherer’, 1950 by Fernando Amorsolo

 ‘Granadean Arabesque’, 1958 by Jose Joya

5. Pottery and ceramics

Indigenous people may use traditional methods in creating both decorative and practical
items. The items can be used as decoration . For the practical use some of the items are bowls,
vases , dishes .lamps and other things that can be utilized in their everyday living.
6. Instruments

May indigenous communities have different musical instruments. Most of these

instruments are hand made.They use these instruments in their festivities, performances and
storytelling.

Gitgit. Violin. Wood and abaca. Hanunuo |

Jew’s/jaw’s harp. Palm stick and yarn. Mindoro.
Pala’wan | Palawan.
Taguk. Zither. Bamboo, paint, rattan, cotton threads, and synthetic dye. Giangan |
Davao.

Kusiyapi. Two-stringed lute. Wood. Pala’wan | Palawan.

Kudyapi. Boat lute. Wood. Maranao.

 Kaleleng. Nose flute. Palm stick and yarn. Bontok | Bontoc, Mountain Province.

References:

https://www.nationalmuseum.gov.ph/our-collections/ethnology/musical-instruments/

https://daydreaminginparadise.com/a-list-of-philippine-national-artists-for-visual-arts/

https://www.slideshare.net/GaylordMVentolero/indigeneous-arts-of-the-philippinespdf

https://www.slideshare.net/CynthiaTagud1/brief-overview-of-philippine-arts-and-
?from_search=0

What is OKIR?

The term "okir," which can also be spelled "okil" or "ukkil," refers to rectilinear and
curvilinear plant-based designs and folk motifs that are typically found among the Moro and
Lumad people of the Southern Philippines and some regions of Sabah. Although it can also be
found to a lesser extent among the Maguindanao, Iranun, Tausug, Yakan, and Lumad groups, it
is most frequently found in the artwork of the Maranao and Sama (Badjao) tribes. The Maranao
exhibit the highest level of refinement in terms of design elements among these ethnic groups.

OKIR art, is a traditional art form from the Philippines, particularly prevalent among the indigenous
peoples of Mindanao. This intricate art style is characterized by its geometric designs and
patterns, typically found in metalwork, textiles, and woodcarvings.

https://www.pinterest.p

THE OKIR (MOTIF): AN ART OF MARANAO DEPICTING THEIR CULTURE AND SOCIETY
What is the purpose of okir?
Through the use of authentic symbolism, "Okir" is a design or pattern that depicts the life
of a person, including the experiences, values, and beliefs that made up his being and identity. It
also reveals the unique and original culture and civilization of the Muslim south.

It is a symbol of power and prestige usually associated with festivities. In today’s okir art
the Yakans have new designs that are influenced by their surroundings like the kenna-kenna,
patterned after a fish: dawen-dawen (leaf of a vine); pene mata-mata, (eye), and the bunga-sawa
(python).In Ukkil, they have motifs of creatures, like the sarimanok, horse, insects, fishes,
dragons, flowers and even humans.

There are two types of okir.Male designs are called okir a dato.The female designs are
called okir a bay.Okkir's prominence in the Maranao art can be found in torogan,an ancestral
home of the highest title holder in a Maranao village which symbolizes power and prestige.It is
usually decorated during festivities.The prominent part of the torogan is the panalong,a
protruding carved beans in front of the house and styled with okir.

Torogan BALAY-BALAY architecture puzzle. The Torogan is the ancestral communal house of
the Maranao royalty known for its intricately carved panolong

Introducing OKIR art in the classroom provides an opportunity for students to delve into
the rich cultural heritage of the Philippines while developing their creativity, craftsmanship, and
appreciation for indigenous art forms. This content outlines several lessons and activities centered
around OKIR art, complete with objectives and rubrics to assess student learning and
achievement.

Various aspects of Okir art

Cultural Significance:

Okir art holds immense cultural significance among the indigenous communities of Mindanao. It
is deeply rooted in their traditions, beliefs, and history. The motifs and patterns used in Okir art
often depict narratives from folklore, oral history, and spiritual beliefs, making it an important
medium for cultural preservation and identity.

Geometric Patterns:

The hallmark of Okir art is its intricate geometric patterns. These patterns are meticulously crafted
using repetitive lines, curves, and shapes. They may represent elements from nature, such as
leaves, vines, and animals, or abstract forms with symbolic meanings.

Symbolism and Meanings:

Every motif and pattern in Okir art carries symbolic meanings. For instance, the sarimanok, a
popular Okir motif depicting a mythical bird, symbolizes good fortune and protection.
Understanding the symbolic language of Okir art enhances appreciation and reveals the
underlying stories embedded in each piece.

Traditional Techniques:

Okir art is traditionally crafted by skilled artisans who have mastered the techniques passed down
through generations. Woodcarving, metalwork, and textile weaving are some of the primary
techniques used to create Okir art pieces. These techniques require precision and attention to
detail, contributing to the exquisite beauty of the artworks.

Adaptation and Evolution:

While Okir art has deep roots in traditional forms, it has also evolved over time. Modern artists
and artisans have adapted Okir motifs to contemporary art styles, blending traditional techniques
with new materials and contexts. This adaptation helps keep the art form relevant and ensures its
continuity in a changing world.

Revival and Preservation:

In recent years, there has been a resurgence of interest in Okir art as part of efforts to preserve
indigenous cultural heritage. Artisans, educators, and cultural organizations work together to
revive traditional techniques and pass down the knowledge to the younger generations.

Okir Art in Architecture:

One striking aspect of Okir art is its integration into architecture. Traditional houses, known as
"torogan" among the Maranao people, feature elaborate Okir carvings on pillars, beams, and
doorways. This architectural application not only enhances the aesthetics but also reflects the
cultural values and status of the household.

Global Appreciation:

Beyond the Philippines, Okir art has garnered international attention and appreciation. Exhibitions
and art shows around the world have featured Okir pieces, contributing to the global recognition
of the rich artistic heritage of the Philippines.

In conclusion, Okir art is a creative expression that captures the traditions, worldviews,
and creativity of the indigenous Mindanao people in a visually arresting and culturally significant
way. It is a compelling and distinctive artistic expression with a long history and a bright future
thanks to its complex geometric patterns, symbolic meanings, and traditional techniques. In
addition,Integrating OKIR art lessons and activities into the curriculum not only provides students
with a creative outlet but also fosters cultural understanding and appreciation. Through exploring
the origins, designs, and significance of OKIR art, students gain a deeper understanding of the
diverse cultural heritage of the Philippines. By assessing their progress using rubrics, educators
can encourage students to strive for excellence and celebrate their unique artistic expressions
within the context of OKIR art.

ARTS IN ASIA

Chinese Art

China has an extensive history of practice and use of various materials in the creation of
artistic works. During the Zhou Dynasty (1046 - 256 BCE), Chinese art displayed considerable
growth. Bronze vessels with complex decorations and diverse images can be seen in excavation
artifacts. These vessels were made for an individual or social group in performing ritual offerings
of food and drink to ancestors and other spirits or deities. The Chinese artists also carved jade
stones which the people equate for purity and indestructibility. Because of the belief in
indestructibility, jade was used in performing rituals and for protecting the dead in the tomb.

One of the materials that is frequently used by the Chinese artists to create decorative
ornaments, such as vases and jars, is porcelain. The artists created exquisite works in these
porcelain vases, with the core image of nature, a common motif in Chinese art. This is explained
by the people’s belief that man is an important part of the natural world and is advised to follow
the flow of nature’s rhythm. People should maintain a close relationship with nature for moral and
physical health. However, another component of Chinese culture places a strong emphasis on
social life, giving communities and interpersonal connections a high priority. More so, nature, daily
life, conflict, bloodshed and death are a few of the prevalent subjects in Chinese art.

Figure 1
Ceremonial Bronze: Zhou Dynasty

https://www.britannica.com/art/Chinese-bronzes/The-Zhou-dynasty-1046-256-bce

Confucianism was the dominant philosophy of life followed by the majority of the Chinese
population. Love of harmony, order and regulation as well as respect for tradition were also
adhered. People also demonstrated compassion, human-heartedness or Jen in treating others
with unselfishness and empathy. These concepts became clear in the majority of works of art that
portrayed life and the role that social relationships play.

The Chinese also interacted with Indian-born missionaries from the West, who brought
certain Indian influences to China. As a result, Chinese artists were greatly influenced by Buddhist
art, particularly in the area of statuary. Strong Chinese traits were soon incorporated in Buddhist
artistic expression. Chinese artists began creating works that emphasized their own culture
around the beginning of the sixth century. Paintings typically portrayed fantastical locations and
worlds created solely by the imagination while including the Chinese characters that are integral
to the culture.

The majority of Chinese paintings were created in grandiose styles, in which mountains
and rocks functioned as a barrier that initially distracted the viewer from the main topic of the
piece. Rounded shapes ascend such that the foreground flows into the backdrop. Sharp
brushstrokes were another tool employed by artists to add detail to their creations. Western
landscapes often featured a single vanishing point, but Chinese paintings typically attempted to
present the viewer with many viewpoints on the subject.

Figure 5
Travelers by Streams and Mountains (c. 1000) by Fan Kuan

http://www.chinaonlinemuseum.com/painting-fan-kuan-travelers-among-mountains.php

References:

Caslib, B.N. Jr. , Garing, D.C. & Casual, J.A. R. (2018). Manila: REX Book Store.

https://artincontext.org/chinese-art/

https://www.worldhistory.org/Chinese_Art/

https://www.britannica.com/art/Chinese-painting

https://www.britannica.com/art/Chinese-pottery
https://www.britannica.com/art/Chinese-bronzes/The-Zhou-dynasty-1046-256-bce

Art in Japan

The history of art in Japan spans thousands of years. Some ancient Japanese art is said
to have originated in about 10,000 BCE. Traditional Japanese art includes paintings, calligraphy,
architecture, pottery, and sculpture. On the other hand, Japanese art today is a fusion of the
country’s aesthetic uniqueness, Chinese and modern influences.

One of the prominent Japanese artworks is haniwa (Japanese: “circle of clay” or clay
cylinder). The haniwa is a ceramic figure used to mark the borders of burial ground and were also
placed on top of massive, mounded tombs known as kofun (Japanese: “old tomb”). The Japanese
believed that the figure in the forms of warriors, animals, birds and military equipment symbolized
sustained service to the deceased in the other world. Based on these excavated artifacts of
ceramic figures, Korean and Chinese influences are manifested in Japanese art.

Figure 1
Haniwa (Hollow Clay Sculpture) of a Warrior, 5th–early 6th century

https://www.metmuseum.org/art/collection/search/44833

The traditional religion of Japan is Shintoism, which translates as "the way of the gods." It
emphasizes the connection between people and a range of supernatural beings known as kami,
which are connected to various facets of life. Shinto traditions include a strong emphasis on
custom and family, a love of nature, physical cleanliness, and festivals and rituals that honor the
gods. These traditions are depicted in Japanese artworks particularly in the paintings of Tani
Bunchō (“Mt. Fuji”) and Katsushika Hokusai (“Sudden Wind on a Clear Day”) where sacredness
of the divine and of nature is emphasized.
 Due to Japan’s economic relations with China, Buddhism flourished in Japan. This religion
centered on the Four Noble Truths which taught awareness of suffering as the nature of existence,
its cause, and how to live without it. Buddhism also emphasized the cultivation of wisdom and
compassion. These influences of Buddhism are depicted in the sculptures that enhanced worship
and propagated Buddhist teachings. Zen masters from China not only contributed on the rise of
Zen Buddhism in Japan but also brought to the country examples of calligraphy and ink paintings.
These works later became essential to Japanese Zen artists and continued to have the greatest
influence on the development of Japanese aesthetics.

In the time of Japan’s self-imposed isolation after the 14th century, traditions of the past
were revived and refined. The most enduring legacy of this isolation is a diverse and refined body
of art that portrayed Japan’s history and literature, the natural depiction of locations within Japan
and the country’s changing seasons. In contrast with the Chinese grandiose painting style, the
Japanese painters adapted a more minimalist art design. By highlighting simplicity, solid designs
and flat lines, Japanese paintings bring about harmony and balance.

The Japanese also developed a remarkable art form called ukiyo-e. This is a technique of
woodblock prints and paintings with bold and flat but well-defined lines. The word “ukiyo-e” means
“pictures of the floating world.” Ukiyo-e was also used to depict the grandeur of nature. Hokusai
and Hiroshige were two well-known artists who created an impact in woodblock prints and
paintings.

Figure 2
“Under the Wave off Kanagawa” (“The Great Wave”)
by Katsushika Hokusai
 https://www.metmuseum.org/art/collection/search/45434

Indian Art

Traditional Indian art encompasses a variety of artistic media created by Indian artists,
including sculptures, ceramics, textile arts, and paintings. Both contemporary and traditional
Indian art exhibit a strong sense of design. The prehistoric Indian works of art had been around
in ancient communities since the third millennium B.C.

Archaeologists discovered prehistoric rock artworks that existed at least 290,000 years
ago. The earliest examples are found in central India at Bhimbetka. From the Paleolithic to the
Neolithic ages, this style of cave painting predominated and frequently featured human and
animal forms. Between 2,500 and 1,800 B.C., the Indus Valley Civilization created the earliest
known Indian sculptures. They created small terracotta and bronze figurines of humans and
animals.

Figure 1
Dancing Girl (Monjo-daro) from the Indus Valley Civilization

https://joyofmuseums.com/museums/asia-museums/india-museums/national-museum-
new-delhi/dancing-girl-mohenjo-daro/

Buddhist religion began to take shape in the sixth century B.C., and opened the way for
the creation of sacred art, most often in the form of bronze and stone statues. Religious artists
also experimented with building enormous stone temples with Greek-style columns at this time.
Hindus and Buddhists were drawn to traditional Indian sculpture. Hinduism has always been a
significant theme in Indian art, with statues of gods like Shiva being prominent.

By the 16th century, the Mughal Empire had expanded the visibility of Islam, and Islamic
kings had increased the production of Indian art. During this time, the arts were in full bloom, and
work on the Taj Mahal started in 1631. When art schools were established to promote European
forms in the 18th century, British involvement in India officially began. As a result, local artistic
styles were influenced by other cultures, and old artistic traditions were occasionally exaggerated
or exalted to appeal to European patrons.

After gaining independence from the British Empire in 1947, indigenous painters began
looking for new art styles. Modern Indian artwork incorporates traditional elements and historical
sources of inspiration. India had distinct artistic traditions in each region. The most common
themes are religious ones, which feature mythical animal and human figures as well as elaborate
embellishment.

The most notable kinds of art throughout India's history have been sculpture and paintings
created by Indian artists, along with their wonderful architecture. Every painting style that
developed in India represented customs, ways of life, and concepts that had been handed down
from earlier generations. Despite the fact that the first Indian paintings were made on walls, the
style was eventually modified to use more modern materials including paper, linen, canvas, and
various other things.

The Madhubani style of painting is characterized by a direct and colorful portrayal of

tradition and culture, typically involving legendary elements. In this aesthetic, artists blend vivid
imagery with straightforward patterns that typically incorporate floral, animal, or bird shapes. In
the 10th and 12th centuries, the miniature paintings were initially produced on palm leaves for
merchants who traveled them across India. These tiny pieces of art were likewise created
primarily as illustrations for texts. Persian techniques were used to create intricate, detailed
miniature paintings. The subjects ranged from events in history and religion to everyday ones.
 Figure 2
Ten Mahavidyas, Shiva and Sakti Madhubani Painting

https://www.worldhistory.org/image/12027/ten-mahavidyas-shiva-and-sakti-madhubani-
painting/

References:

https://joyofmuseums.com/museums/asia-museums/india-museums/national-museum-new-
delhi/dancing-girl-mohenjo-daro/

https://study.com/academy/lesson/indian-art-history-types-styles.html

https://www.newworldencyclopedia.org/entry/India

https://www.metmuseum.org/toah/hd/mugh/hd_mugh.htm

https://www.worldhistory.org/image/12027/ten-mahavidyas-shiva-and-sakti-madhubani-painting/

Art in Vietnam

Vietnamese art includes works from the past and present that were produced in Vietnam
or by Vietnamese artists. The history of Vietnamese art is extensive and rich. Neolithic pottery
has been found as far back as 8,000 B.C.E. The huge, intricately etched bronze cast drums of
the Dong Son civilization, which flourished in North Vietnam from approximately 1,000 BCE to the
fourth century BCE, were ornamented with decorative elements from Bronze Age ceramics.
These drums' depictions of scenes from daily life demonstrate how advanced the Dong Son
cultures were. Vietnamese art absorbed several Chinese influences throughout a millennium of
Chinese rule beginning in the second century B.C.E. These influences persisted even after
Vietnam gained independence from China in the tenth century C.E. However, many distinctly
Vietnamese elements have remained in Vietnamese art throughout the years.

Figure 1
Miniature Drum with Four Frogs
(Dong Son Bronze Drum)

https://www.metmuseum.org/art/collection/search/39209

The Ly dynasty (1010–1225) was the peak of Vietnamese art, and during this time, its
ceramics rose to great acclaim throughout East and Southeast Asia as well as the Middle East.
The Ly dynasty is where many of Vietnam's architectural gems can be found. The Nguyen dynasty
(1802–1945), Vietnam's final governing dynasty, encouraged the manufacture of porcelain and
ceramic art for use in the court, while court music and dance, which were imported from China,
advanced greatly under the patronage of the reigning family.

French art of the nineteenth century had a big impact on how modern Vietnamese art
developed. Some artistic genres threatened to go extinct throughout the 20th century, but more
modern preservation efforts have saved them. Vietnamese modern painters began fusing eastern
and western elements in a particular way by combining French techniques with a variety of
traditional materials, such as silk and lacquer.

Chinese motifs have long impacted the ink-painting technique used on silk. Silk paintings
use an unprocessed silk background to suggest not only the sky, water, mist, clouds, and empty
spaces, but also the skin in portraits of individuals. Modern Vietnamese silk paintings have a
unique personality and a transparency of color all their own, in contrast to classic Chinese and
Japanese paintings. In the nineteenth and twentieth centuries, French art began to have an
impact on Vietnamese art, and the liberal and modern use of color in particular began to
distinguish Vietnamese silk paintings from their Chinese or Japanese counterparts. Vietnamese
silk paintings usually feature images from daily life, pagodas, landscapes, and historical events,
as well as scenes from the countryside.

Figure 2
Vietnamese Silk Painting

https://www.nguyenartgallery.com/vietnamese-silk-painting/

Vietnamese woodblock prints, which are referred to as Dong Ho paintings, are a folk art
style with a 300-year history that began in Dong Ho Village in Northern Vietnam. Only natural
colors, such as burnt bamboo leaves for black, copper rust for blue, cajuput leaves for green, pine
resin for amber, and ground egg shells mixed with paste for white, are used in the printing of the
artwork on a particular form of Dzo paper. They are incredibly durable due to the complex
manufacturing process that was used, thus enabling the preservation and display of numerous
centuries-old woodblock prints. The Dong Ho artwork is a reflection of Vietnamese culture. These
paintings frequently feature scenes from everyday life, seasons of the year, Vietnamese
landscapes, and symbols of affluence.

Chinese architecture had a significant impact on the fundamental design of many different
types of Vietnamese buildings during the period of Chinese influence in Vietnam, including
pagodas and temples, communal homes, mansions of scholar-bureaucrats, nobility, and imperial
palaces and quarters. Many French-style structures, such as villas, governmental structures, and
opera houses, were built in Vietnam during the nineteenth century as a result of French
colonization. These structures, many of which are still standing in Vietnam, are the most evident
examples of the French colonial legacy.
References:

https://www.metmuseum.org/art/collection/search/39209

https://www.nguyenartgallery.com/vietnamese-silk-painting/

https://artincontext.org/vietnamese-art/

https://study.com/academy/lesson/vietnamese-art-styles-techniques.html

Art in Thailand

The Buddhist and Hindu traditions that different empires and ethnic groups brought to
Thailand from India and its neighbors had a significant influence on traditional Thai art. A distinct
Thai style that flourished in northern Thailand during the Sukhothai (1238–1438) and Ayutthaya
(1350–1767) eras had emerged by the middle of the thirteenth century. Traditional Thai sculpture
and painting mostly focused on Buddhism, and the royal courts gave patronage by building
temples and other places of worship as meritorious acts or to mark significant occasions. Western
influences on Thai art first became apparent in the nineteenth century. Contemporary Thai art is
among the most varied and skilled in Southeast Asia and frequently combines traditional Thai
motifs with contemporary media and techniques.

The majority of traditional Thai paintings are book illustrations and painted decorations on
structures like temples and palaces. The Ramakian (the Thai adaptation of the Hindu epic, the
Ramayana), the Jataka tales, episodes from the life of Buddha, Buddhist heavens and hells, and
scenes from daily life were the most popular narrative subjects for paintings. Murals were created
with the intention of instructing monks and the general public about the historical events in
Buddha's life as well as Buddhist cosmology and moral values. Although the major goal of these
paintings was to depict Buddhist-related events and stories, they were created by individual
painters in particular historical contexts, and as a result, they depict a great deal of the culture,
clothes, social life, economic activities, and interactions of individuals from monarchs to
commoners.

By the thirteenth century, Buddhism had largely replaced Hinduism as Thailand's

dominant religion. Buddha statues from the Sukhothai ("dawn of happiness") era have sinuous
bodies and slender, oval faces. Theravada Buddhism, which developed a new style in which
spiritual tranquility is combined with human form, served as an inspiration for sculpture. The
images did not strictly match the human shape but rather were interpretations of metaphors from
religious verse and texts in order to depict the kind and remarkable nature of Buddha. The
absence of numerous minor anatomical characteristics emphasized Buddha's spiritual side. By
casting the images in bronze rather than carving them, the appearance was improved.
 Figure 1
Head of Buddha
Thailand (SukhoThailand)

https://www.metmuseum.org/art/collection/search/39110

Buddhism has had a significant influence on Thai architecture. Other than the Islamic
mosques located in southern Thailand, Ayutthaya and Chiang Mai both have some of the most
breathtaking older wat (places of worship). Ayutthaya served as the capital from the 14th to the
18th century. A wat's framework is often made of wood, while its walls are frequently made of
brick and plaster. On the ornamental components of the building, materials including glass
mosaic, gold leaf, porcelain, stucco, lacquer, and inlaid mother-of-pearl are widely employed as
decorations. The historic palaces and temples are still visible in many of the ancient provincial
cities. Dozens, if not hundreds, of Buddha statues made of stucco, wood, lacquerware, brass,
and other materials can be found inside each wat. Many images are gilded with gold leaf because
it is believed that decorating Buddhist temples and images will have spiritually beneficial effects.
 Figure 2
Wat Pho
(Temple of the Reclining Buddha)

https://www.gettyimages.com/photos/wat-pho

References:

https://www.britannica.com/place/Thailand/The-arts

https://www.newworldencyclopedia.org/entry/Thai_art

https://www.metmuseum.org/art/collection/search/39110

https://www.gettyimages.com/photos/wat-pho

Philippine Art

Indigenous people in the Philippines employed art before European invaders arrived, not
only for daily tasks but also for religious ceremonies and practices. Among the creative forms
used by the early inhabitants are pottery, weaving, carving, metalwork and jewelry.

One of the first art forms utilized by the early Filipinos was pottery. The Manunggul Jar
from Palawan is the most remarkable creation of this indigenous work in the Philippines. The
religious activities and beliefs of the first Filipinos are depicted in this jar. Weaving is also one of
the artistic manifestations of the early inhabitants particularly the people of the Cordilleras and
the T’boli people of Mindanao. The woven abaca cloth known as t'nalak is the specialty of the
Mindanao-based T'boli people. Women who practiced t'nalak weaving are known as "dream
weavers" because it is thought that the designs and patterns came from the dreams they had
received from the abaca spirit Fu Dalu. Also, the Tausug and Maranao people of Mindanao are
famous for their okir, which are patterns placed into their carvings of wood. The sarimanok is one
of the frequently used motifs. Sarimanok came from the word “sari” (a garment of different colors
deeply related to Maranao culture) and “manok” (rooster with beautiful and colorful feathers). For
the Maranaos, the sarimanok symbolizes good fortune and prosperity. It also serves as a
distinguishing feature of Maranao art forms.

Figure 1
Manunggul Jar

https://epa.culturalcenter.gov.ph/3/82/2227/

The Filipinos were exposed to the Christian faith when the Spaniards arrived in the
Philippines in the sixteenth century. The colonizers also sought to replace the early Filipinos'
original cultural practices and beliefs. The Spaniards consequently used art to propagate their
Christian religion while also covertly establishing their influence in the country. Similar to what
once occurred in Western Europe, the Church started to support the arts. A clear illustration of
this is the construction of churches where a wide range of antiquities and relics are housed. There
are underlying initiatives to adapt Western culture and ideals to the Philippine situation. It is not
strange that Filipinos voice their outrage and desire for freedom given that they were subject to
colonial control. Thus, Filipino nationalists and patriots used art as a medium to express their
aspirations.

The Americans assumed control when the Philippines were freed from Spanish
domination and set up a colonial government. Art played a new role in promoting markets that
were under American influence. The Philippines saw itself as an autonomous country emerging
into the development of its national identity following World War II. In terms of substance, shape,
and subject matter, artists concentrated on contemporary viewpoints. A trio of artists - Carlos
Francisco, Galo Ocampo, and Victorio Edades were formed as modern paintings began to
appear. In his paintings, Francisco used vivid folk colors, pulsing lines, and ornamental designs.
His depictions were influenced by Philippine rural life today as well as mythology, history, and
tradition. A unique form of abstraction that perfectly captures the flora and fauna of the Philippines
as well as other elements of nature is credited to H. R. Ocampo. Ocampo used motion and vivid
colors into his paintings, which were inspired by science fiction and fantasy. Edades' paintings
contrasted with those of his contemporaries. His work featured twisted human figures in rough,
aggressive impasto strokes. He painted laborers and factory workers, and his palette was much
darker and more somber.

Many Filipino artists sought to depict the true conditions of Philippine society during the
Martial Law years under former President Ferdinand Marcos. Thus, social realism and nationalist
perspective became a model in Philippine art. According to Guillermo, “social realism in the visual
arts grew out of the politicised Filipino consciousness shaped by the Philippine revolution against
Spain in 1896 and the struggles against an authoritarian state in the 1970s.” Eventually, social
realism became the channel for the expression of people’s sentiments not only in the visual arts
but also in theater and music. One of the leading figures influencing the development of social
realist art in the Philippines is Benedicto Cabrera (Bencab). The distinctive mark of Bencab's
Larawan series (1972 - present) sparked discussions about the colonial history of the Philippines,
its repercussions, and the difficulties it presents to contemporary Filipinos who are constrained
by their expressed and hidden goals of liberty, democracy, and sovereignty.
 Lesson 9: The Artist and the Artisan

An artist and artisan at work

What’s the difference between an artist and artisan? This question is comparable to the issue

of what constitutes art and what is labeled as a craft.

An artist is someone engaged in an activity related to creating art, practicing the arts, or

demonstrating an art. The term art basically refers to the making of tangible or intangible products

as an expression of creativity and imagination for purely aesthetic reasons. On the other hand, an

artisan, though stimulated by the same impulses in creating tangible or intangible products,

produces crafts which are meant for decoration and are designed to be practical or useful.

Though there may exist a perceived dissimilarity between an artist (a producer of art) and an

artisan (a designer of craft) in their relative cultural status, the distinctions is not in quality or artistic

achievement but in function.

 List of GAMABA Awardees 1
Ginaw Bilog Masino Intaray
(+ 2003) (+ 2013)
Poet Musician and Storyteller
Hanunuo Mangyan Pala’wan
Panaytayan, Brookes Point,
Oriental Mindoro Palawan
1993 1993
Samoan Sulayman Lang Dulay
(+ 2011) (+ 2015)
Musician Textile Weaver
Magindanao T’boli
Mama sa Pano, Lake Sebu, South Cotabato
Maguindanao 1998
1993
Salinta Monon Alonzo Saclag
(+ 2009) Musician and
Textile Weaver Dancer, Kalinga
Tagabawa Bagobo Lubungan, Kalinga
Bansalan, Davao del Sur 2000
1998
Federico Caballero Uwang Ahadas
Epic Chanter Musician
Sulod-Bukidnon Yakan
Calinog, Iloilo Lamitan, Basilan 2000
2000
 List of GAMABA Awardees 2
Darhata Sawabi Eduardo Mutuc
(+ 2005) Metalsmith
Textile Weaver Kapampangan
Tausug Apalit Pampanga
Parang, Sulu 2004
2004
Hajja Amina Appi Teofilo Garcia
(+ 2013) Casque Maker
Mat Weaver Ilocano
Sama San Quintin,
Abra
Tandubas, Tawi-Tawi
2012
2004

Magdalena Gamayo Ambalang Ausalin

Textile Weaver Textile Weaver,
Ilocano 2016
Pinili, Ilocos Yakan
Norte Basilan, ARMM
2012 1943
Estelita Bantillan Yabing Masalon Dulo
Mat Weaver, 2016 Ikat Weaver, 2016
Blaan Blaan
Malapasan, Polomok, South
Sarangani Cotabato
1940 1914
 List of National Artist of the Philippines
YEAR AWARDEE CATEGORY NOTES

1972 Fernando C. Amorsolo Visual Arts - Painting posthumous conferment

Francisca Reyes Aquino Dance

Carlos “Botong” V. Francisco Visual Arts - Painting
posthumous conferment
Amado V. Hernandez Literature
1973 Antonio J. Molina Music
Juan F. Nakpil Architecture
Guillermo E. Tolentino Visual Arts – Sculpture
Jose Garcia Villa Literature
Napoleon V. Abueva Visual Arts – Sculpture
Leonor Orosa-Goquingco Dance
1976 Lamberto V. Avellana Film and Theater
Nick Joaquin Literature
Jovita Fuentes Music
Victorio C. Edades Visual Arts - Painting
Pablo Antonio Architecture
1981 Vicente S. Manansala Visual Arts - Painting posthumous conferment

1982 Gerardo de Leon Film

Carlos P. Romulo Literature
1987 Honorata “Atang” de la Rama Theater and Music
Antonio R. Buenaventura Music
1988 Lucrecia Reyes Urtula Dance

1989 Lucrecia P. Kasilag Music

Francisco Arcellana Literature
1990 Cesar Legaspi Visual Arts – Painting
Leandro V. Locsin Architecture
 Hernando R. Ocampo Visual Arts – Painting
1991
Lucio D. San Pedro Music

Lino Brocka Film

Felipe Padilla de Leon Music
Wilfrido Ma. Guerrero Theater posthumous conferment
1997 Rolando S. Tinio Theater and Literature
N.V.M. Gonzales Literature
Levi Celerio Music and Literature
Arturo R. Luz Visual Arts - Painting
Jose Maceda Music
Carlos Quirino Historical Literature
J. Elizalde Navarro Visual Arts – Painting posthumous
conferment
Ernani Joson Cuenco Music
1999 Andrea O. Veneracion
Eduth L. Tiempo Literature
Daisy Avellana Theater
Ishmael Bernal Film posthumous
2001 Severino Montano Theater conferment
F. Sionil Jose Literature
Ang Kiukok
posthumous
Jose T. Joya Visual Arts – Painting conferment
2003
Virgilio S. Almario
Alejandro R. Roces Literature
Eddie S. Romero Film and Broadcast Arts
Salvador F. Bernal Theater and Design
 BenCab Visual Arts – Painting
Abdulmari Asia Imao Visual Arts – Sculpture
Bienvenido Lumbera Literature
Ramon Obusan Dance

2006 I.P. Santos Architecture – Landscape

Fernando Poe, Jr. Film
Architecture, Design, and posthumous
Ramon Valera Allied Arts – Fashion conferment
Design
Manuel Conde Film and Broadcast Arts
2009 Lazaro Francisco Literature
Visual Arts – Painting, posthumous
Federico Aguilar Alcuaz Sculpture and Mixed conferment
Media
Alice Reyes Dance
Francisco Coching Visual Arts posthumous
conferment
2014 Cirilo F. Bautista Literature
Francisco Feliciano Music
Ramon Santos Music
Jose Maria Zaragoza Architecture posthumous
conferment
Larry Alcala Visual Arts posthumous
conferment
Amelua Lapena Bonifacio Theater
2018 Ryan Cayabyab Music
Francisco “Bobby” Manosa Architecture
Resil Mojares Literature
Ramon Musones Literature posthumous
conferment
Kidlat Tahimik Cinema
 Lesson 13 Art Appropriation

ART APPROPRIATION

Art Appropriation refers to the use of elements, images, techniques, or ideas from an
existing work of art by an artist to create a new artwork. It involves borrowing something already
created by another artist and incorporating it into one's own work. The work recontextualizes
everything it borrows to create something new. In most cases, the original thing remains
accessible as the original, unchanged.

Appropriation appears in works with painting, photography, film art, sculpture, collage,
decoration, environment, events, flow, and performance. In literature and cinema, these practices
have historically been common. They take on various forms such as adaptation, citation, parody,
bricolage, pastiche, among others. In the context of narrative arts, true appropriation involves
texts that are not indicated or recognized in the adaptation process.

FORMS OF ART APPROPRIATION

1. Making art from something already created that is not art.

Andy Warhol elevated everyday objects such as Campbell’s Soup into works of art.
Readymades, such as Duchamp’s Fountain, are also examples of this form of appropriation. The
Fountain is a porcelain urinal that was placed on a pedestal and signed "R. Mutt 1917”. Duchamp
formally presented it for exhibition at the Society of Independent Artists under the pseudonym R.
Mutt.

Andy Warhol, Campbell’s Soup Cans, 1962,

https://www.moma.org/collection/works/79809
 Marcel Duchamp’s Fountain (1917); Marcel Duchamp,
Public domain, via Wikimedia Commons

2. Creating exact copies of existing works of art as seen in Sherie Levine’s photographs that
mimic famous images. These are literal copies of other objects, but the copied objects are
also artworks.

One of the most notorious example of appropriation is a series of pictures by Sherrie

Levine called ''After Walker Evans.'' Levine re-photographed Evans' photographs and without
any manipulation of the images she presented them in an exhibition of her work.
Left: Walker Evans, Alabama Tenant Farmer Wife, 1936, gelatin silver print, 20.9 x 14.4 cm
Right: Sherrie Levine, After Walker Evans, gelatin silver print, 12.8 x 9.8 cm,
https://www.khanacademy.org/humanities/art-1010/post-minimalism/painting/a/the-pictures-
generation

3. Modifying a work of art and turning it into something else.

This is the case of Duchamp’s Mona Lisa. These are copies of other artworks but these
copies do not include a literal appropriation; instead, they appropriate contents, styles, motifs,
and themes, but they are transformed in the appropriation process, producing distinct pieces.
 Marcel Duchamp, L.H.O.O.Q,, 1919, https://www.christies.com/en/lot/lot-5994817

Douglas Gordon in the video projection of “24 Hour Psycho” is an appropriation of Alfred
Hitchcock’s 1969 psychological thriller film Psycho. The film is projected onto a suspended
screen so that it can be viewed from two sides. By removing the audio and slowing it down to
play at two frames per second thereby stretching the film to a duration of 24 hours from the
original 1 hour and 49 minutes, it breaks the original movie's narrative framework to the point
that there is frequently nothing to see. It makes Psycho difficult to remember since it magnifies
additional details and editing methods for the spectator to observe. Gordon changed the theme
of the film by emphasizing recognition and repetition, time and memory.

4. Appropriation of productions made by amateurs. These are works resulting from recent
practices that have emerged in the field of photography, where artists appropriate
 photographs taken by ordinary people, perhaps without the intention of creating art. This is
the case of Penelope Umbrico’s “Suns.” Umbrico cropped the suns from the pictures she
found on image hosting website, Flickr, and uploaded them to Kodak, making 4″ x 6″
machine prints from them.”

Fig. 5. Penelope Umbrico, 5,377,183 Suns from Sunsets from Flickr (Partial) 04-28-09,
2009 Chromogenic prints, 4 x 6 in each, 104 x 288 https://www.sfmoma.org/read/sunsets-
umbrico/

ART APPROPRIATION AND INTELLECTUAL PROPERTY ISSUES

Artistic appropriation is a contentious practice. Since it involves the intentional use of

preexisting images and objects, some may perceive it as plagiarism or theft, while others may
see it as a tribute to previously created works. In this regard, jurisprudence has examined the
distinction between transformative and derivative works.

In Cariou v. Prince 714 F.3d 694 (2d Cir. 2013). Patrick Cariou sued Richard Prince, a
famous appropriation artist, when Prince used several of Cariou’s photographs in a series of
collages that were sold for tens of millions of dollars. The court found in favor of fair use for
Prince. In order to be fair use, a secondary use must transform the original by employing it in a
different manner or for a different purpose than the original in order to produce a new expression,
meaning, or message.