Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
124 Cards in this Set
- Front
- Back
an indigenous, pre – colonial ritual object and motif in the everyday life of the people of the Cordillera region. A human – like figure made of hardwood,it is believed to be a granary god that assures the community of a bountiful harvest. |
bulul |
|
would perform a ritual where the figures is drenched in pig’s blood as a form of offering to the spirits. |
ritual specialist or mumbaki |
|
His artworks employ the bulul and other mundane objects from his native Ifugao homeland as subject matter. |
Gaston Damag |
|
Refers to settings, conditions, circumstances, and occurrences affecting production and reception or audience response to an artwork. It is a set of background information that enables us to formulate meanings about works of art and note how context affects form. |
contexts |
|
Different context of arts |
Artist’s Background, Nature, Everyday life, Society, Politics, and Economy, and History and Mode of Reception
|
|
a master sculptor who maintains a workshop where young people are trained to make santos |
matecanan mandukit |
|
mache sculptures of horses or taka with the town of Paete, Laguna that produces the said works for export or for local sale. |
red papier mache |
|
a rooster carrying a fish on its beak; and other okir designs in his paintings and sculptures using modernist styles of figurations. (2006 awarded The National Artist Abdulmari Asia Imao) |
Sarimanok |
|
an artist who hails from Iligan City, would often emphasize her female identity and personal experiences in many of her terracotta works. |
Cutting Onions Always Makes me Cry by Julie Lluch |
|
is a type of ceramic. Its name derives from the Italian term meaning “baked earth.” |
terracotta |
|
The exposure of the painter and ____________ during his study in the United States in the early 20th Century was said to have a profound impact on his artistic vision and style. |
National Artist Victorio Edades to the 1913 International Exhibition of Modern Art |
|
uses abaca fibers stripped from the trunk of the banana tree, and colored with red and black dyes naturally extracted from roots and leaves of plants. |
t’nalak |
|
crab |
kleng |
|
frog |
tofi |
|
snake skin |
sawo |
|
bird in flight |
gmayaw |
|
a local bird – as it tries to escape the field traps set by farmer. |
tinikling |
|
experimented with iron – rich San Dionisio clay sourced from her native Iloilo |
The ceramist Nelfa Querubin – Tompkins |
|
in Batanes are built using stones and fango for its walls. |
Traditional Ivatan House |
|
The first to be named National Artist (1972), has painted landscapes as romantic pictures, capturing the warm glow of the sun on verdant land or clear water. |
Ocean Sunset Fernando Amorsolo |
|
depicted nature as an uncontrollable force. The thick turquoise brushwork suggests the rough rolling of the waves threatening to engulf anything that comes its way. |
Toilers of the Sea in 1980 by Ricarte Purugganan |
|
delicate pastillas wrappers from Bulacan with elaborate cutout designs, enveloping an equally delicate milk – based dessert. |
Pabalat |
|
works refer to old photographs and things like worn clothes. She reproduces them by enlarging their image through painting, or casting, in the case of sculpture |
Marina Cruz |
|
The works of the Cavite – based artists fuses easily accessible objects like machine discards, bicycle parts, and kitchen implements to form an assemblage. He would often include synthesizers and guitar strings to convert these artworks into functional instruments. |
Lirio Salvador’s SANDATA ni SHIVA |
|
compromised by patronage |
State or Church |
|
Art was also employed to advance a political agenda |
edifices built during the Marcos regime |
|
made travel and trade more efficient between Spain and Philippines |
Suez Canal |
|
engender shifts in artistic production |
Technological innovations |
|
It was only in the 20th century when photography became accessible to local photographers as ___ |
kodak |
|
The first film ever to be directed by a Filipino. |
Dalagang Bukid |
|
Director of Dalagang Bukid |
Jose Nepomuceno in 1919 |
|
singing while the movie ran and also acting by Hermogenes Ilagan and Leon Ignacio. |
National Artists Atang de la Rama |
|
Approximates the look of an old photograp which, presents an aspect of colonial history from the gaze of the colonized. |
Brown Brother’s Burden, ca.1970 by National Artist Benedicto Cabrera. |
|
The said technique of transforming existing materials through the juxtaposition of elements taken from one context and placing these in another to present alternative meanings, structure, and composition is called |
appropriation |
|
Aside from considering our personal identity as a perceiver of arts as well as he contexts discussed above, it is also important to note when, where, and how art is encountered. |
Mode of Reception |
|
Gamaba means |
Gawad sa Manlilikha ng Bayan |
|
involves the interface of local scientific knowledge and art and made possible through techniques that manage the interplay of seed, earth, and forces of nature within a particular duration |
tabungaw |
|
bestows the highest awards for culture and the arts |
National Commission for Culture and the Arts (NCCA) |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images and is sung and its messages range from courtship, giving advice to the young, asking for a place to stay, saying goodbye to a dear friend |
Ambahan |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images and is sung and its messages range from courtship, giving advice to the young, asking for a place to stay, saying goodbye to a dear friend |
Ambahan |
|
What are the several characteristics of Ambahan? |
rhythmic poetic expression with a meter of seven syllable lines and having rhythmic end-syllables |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
The following factors affect the traditional artist’s production process are |
- Tourism - Mining and Infrastructure projects - Militarization - Christianization |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images and is sung and its messages range from courtship, giving advice to the young, asking for a place to stay, saying goodbye to a dear friend |
Ambahan |
|
What are the several characteristics of Ambahan? |
rhythmic poetic expression with a meter of seven syllable lines and having rhythmic end-syllables |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
The following factors affect the traditional artist’s production process are |
- Tourism - Mining and Infrastructure projects - Militarization - Christianization |
|
Land areas are converted into site for tourist consumption |
Tourism |
|
finds deep affinities with nature, place, society, ritual and spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects distanced from everyday living |
Traditional Art |
|
is a traditional hand-woven cloth indigenous to the T’boli people from the Cotabato region. It is woven in order to celebrate and pay tribute to major life events such as birth, life, marriage, or death within the community. The cloth is woven from abaca fibers and is naturally dyed from bark, roots, and certain plants |
T’nalak weaving: The Land of Dreamweaver |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images and is sung and its messages range from courtship, giving advice to the young, asking for a place to stay, saying goodbye to a dear friend |
Ambahan |
|
What are the several characteristics of Ambahan? |
rhythmic poetic expression with a meter of seven syllable lines and having rhythmic end-syllables |
|
is its emphasis on the intangible and communal aspects of art production |
GAMABA |
|
The following factors affect the traditional artist’s production process are |
- Tourism - Mining and Infrastructure projects - Militarization - Christianization |
|
Land areas are converted into site for tourist consumption |
Tourism |
|
The construction of dams and the establishment of oil and mining companies evict people from their dwellings and severely damage the environment |
Mining and Infrastructure projects |
|
is a handwoven fabric made by Ilocanos which is more popularly known as “Abel Iloco” |
Inabel |
|
It comes from the root word “abel” which means |
to weave |
|
The word Inabel of Ilocanos literally means |
woven |
|
One of the most recognizable patterns of Inabel is |
Binakol |
|
is one of the few remaining Filipino indigenous pre-hispanic “baybayin” or syllabic scripts |
Surat Mangyan |
|
is a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images and is sung and its messages range from courtship, giving advice to the young, asking for a place to stay, saying goodbye to a dear friend |
Ambahan |
|
What are the several characteristics of Ambahan? |
rhythmic poetic expression with a meter of seven syllable lines and having rhythmic end-syllables |
|
The influence of Christianity and the conversion of the natives to a foreign religion have caused members of the community to forsake their indigenous rituals and tradition. |
Christianization |
|
The insecurity and tensions brought about by militarized zones arrest the people’s ability to create art. It prevents people from having communal gatherings, where exchanges and passing of knowledge can take place. |
Militarization |
|
The Manobo community of Mt. Apo, for example initiated a ___ |
culture regeneration movement |