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Different Contemporary Art

Techniques & Performance

(2)

CONTENT

1. Local materials used as applied to contemporary art. 2. Traditional techniques applied to contemporary creation. Learning Competencies

10. Researches on techniques & performance practices applied to contemporary arts

11. Identifies local materials used in creating art 12. Critiques available materials & appropriate

techniques.

13. Justifies the use of materials & the application of techniques.

(3)

Contemporary art differs from modern and

traditional art, thus it is relevant to ask if

different methods should be used for teaching.

For example, which should be the guiding

methodological principles? Which methods

are effective and coherent for teaching and

learning different practices of contemporary

art?

(4)

Contemporary Art

just a glimpse of

(5)

Conceptual - focus is on the idea, which can be either abstract or social;

Social – current social & political topics are dealt

with, often from critical perspective

Leslie de Chavez, "Dubious Integrity", Mixed Media, 2002

(6)

Expressive – both content & form is meaningful &

communicative

Popular culture - issues and aspects of popular culture are

dealt with, either by

conceptualizing or criticizing; ‘Mabining Mandirigma’ libretto by Dr. Nicanor G. Tiongson, music by Joed Balsamo, choreography by Denisa Reyes, set

design by Toym Imao, direction by

(7)

Poetic - content or form is poetic in nature;

Biographical - means of expression can be social, poetical or

expressive;

Ronald Ventura, 'Blind Child'

(8)

Documentary - approach is documentary or holds elements of research; ‘Opera’ : Sculpture in Dance Ballet Philippines 2016

Sense related - total art work, installations which are often interactive and affect different

(9)

Contemporary Art

Education

(10)

Interdisciplinarity - combining or involving two or more academic disciplines or fields of study into one activity.

(Hardy, 2006; Page et al, 2006; Parsons, 2004; Zupancic, 2005)

Arts in Development

Interaction and Engagement

(11)

Interpretation

(Atkinson, 2002; Charman & Ross, 2006; Emery, 2006; Zupancic, 2005)

Sipat Lawin Ensemble

Synthesis of new media

(12)

How can we attain

the content ?

1. Local materials used as

applied to contemporary art.

2. Traditional techniques applied

to contemporary creation.

(13)

Local Materials in the Philippines

Materials Products Abaca belongs to Banana family.

Its fiber has a natural luster with colors ranging from pure white to ivory and dark brown.

slippers, ropes, twine, hammock, frame, display jar, jars, Chelsea

chair

Bakbak is the outermost

covering or leaf sheath of the abaca stalk. It is a flat thick durable sheath as twine or

braided. The strong brown fiber used to make furniture.

mat, bangkuay bin, boxes, bin, display, jar,

Cecilia dining table, and arm chair

(14)

Local Materials in the Philippines

Materials Product Bamboo is used a raw material

in creating many products. It is used in construction, textile,

musical instruments, weapons, and many more.

kubing, bungkaka, tongatong,

angklung,

pateteg, gabbang,

Buntal is a cylindrically

shaped fibers. The supple

ivory white strands are quite

durable, pliable, and have

good dyeing qualities.

bags, shoes,desk accessories like pen holder, picture

frames, file trays, wallets, place mats, braide, lampshades, window blinds

(15)

Local Materials in the Philippines

Materials Product

Buri is extracted from the

matured leaves of the buri

palm. The fiber is durable

and resistant to moisture.

hats, bags, baskets, memorabilia boxes, perfume tray, &

other woven products

Coir is the fibrous material

surrounding the fruit of the

coconut tree.

indoor or outdoor fiber carpets, wall covering, doormat, trellises, and geo textiles

(16)

Local Materials in the Philippines

Materials Product

Nito is a plant belonging to

the fern family that grows

abundantly in the hinterlands

of Mindanao.

bags, bread tray, lampshade and decorative jar

Pandan is a tropical plant.

It

is processed and transformed

into splints that are being used as raw material.

baskets, hats,

picture frames

and bags

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Local Materials in the Philippines

Materials Product Raffia is a fiber extracted from

unopened buri leaf in 3 stages. It is loom woven into fabrics or

used as wall coverings,

upholstery material, folding doors and window hangings.

hats, placemats, folder, shoes, slippers, boxes,

portfolio and ladies bags, placemats, circular, boxes, document boxes. Rattan belongs to the palm

family. There are different types of rattan palms, such as high or low climbers, single stemmed or clustered rattan species.

baskets, picture frames, furniture and other

novelty items, Zoya lounge chair,

Valencia queen size bed, Rest divan.

(18)

Local Materials in the Philippines

Materials Product Tikiw is a large, erect, and

aquatic or marshy herb plant. It is found in central Luzon to

Mindanao . It aboundis in fresh water swaps, and in newly

opened rice land at low altitudes.

baskets, hampers with lids, bags, rugs, carpets, placemats, jar, and other

decorative items.

Tikog belongs to sea grasses. It

is a native reed plant used as a raw material for mat weaving.

bags, decorative mats, hampers, newspaper racks, table mat, waste bin, tower candle holder, wall décor.

(19)

Let’s think about it!

What are the other

materials that are

abundant in the

regions?

(20)

Techniques

• Mixed media is a term used to describe

artworks composed from a combination of

different media or materials. A work on

canvas

that

combines

paint,

ink,

and collage could properly be called a

"mixed media" work.

• New media art is a 21

st

Century catchall

term used to define all that is related to the

internet

and

the

interplay

between

technology, images and sound.

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New Media Art Performing: "The Inheritance", 10 min version

https://www.youtube.com/watch?v=AIehsaH_rYk https://www.youtube.com/watch?v=ag7DBy4vhlQ

https://www.youtube.com/watch?v=cYar4IBNuXU

Ballet Philippines' Opera

https://www.youtube.com/watch?v=S4sFtPEp2lQ

The Cheshire Cat- Interactive Projection Dance Tanghalang Pilipino (Mabining Mandirigma)

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Improvisation

Improvisation in theater is the playing of

dramatic scenes without written dialogue &

with minimal or no predetermined dramatic

activity.

Most or all of what is performed is created at

the moment it is performed. In its purest

form,

the

dialogue,

action,

story,

and

characters are created collaboratively by the

players as the improvisation unfolds in

present time, without use of an already

prepared, written script.

(23)

An important goal of improvisation is to enable the

individual to develop spontaneity which is

necessary in creating the illusion of reality.

The improvisation teacher must expose students

to the theatrical environment through various

games rather than lectures.

Forms of Improvisation

1.

Shortform

– short scenes constructed from

predetermined game.

2.

Longform

– scenes related by story or

character

(24)

Creative Drama

It

is

an

improvisational,

non-exhibitional,

process centered form of drama in which

participants are guided by a leader to imagine,

enact, and reflect upon human experiences.

This process allows students to actively explore

a subject or question through imaginative play

that is facilitated by a leader and may involve a

variety of improvisational activities.

These activities are not scripted or memorized,

and they allow students to synthesize various

educational

concepts

into

a

personally

meaningful form.

(25)

Improvisation Games

1.Spontaneous Response

Games

2.Spontaneous Movement

3.Creative Movement

4.Interactive Storytelling

(26)

Che che gule

Che cupiza

Cupiza langga

Langga te langga

Kumbalele

(27)

Aki-taki-umba

Hi-diddle-hi-diddle-hi-diddle-ho

Aki-taki-umba

(28)

References:

Atkinson, D. (2002). Art in Education: Identity and Practice. Dordrecht, Boston, London: Kluwer Academic publishers.

Charman, H., Ross, M. (2006). Contemporary Art and the Role of

Interpretation: Reflections from Tate Modern’s Summer Institute for Teachers. International Journal of Art Design Education, 1, 28 - 41. Conti, G., Kolody, R. (1998). Guidelines for Selecting Methods and

Techniques. In. Adult Learning Methods: A Guide for Effective

Instruction. M.W. Galbraith (Ed.). Malabar, Florida: Krieger

publishing Company, 73 - 89.

Danto, A.C. (1992). Beyond the Brillo Box: The Visual Arts in

Post-historical Perspective. New York: The Noonday Press: Farrar ,

Straus, Giroux.

Danto, A.C. (1995). After the End of Art: contemporary art and the pale

of history. New Jersey, Chisester: Princeton University Press. Efland, A., Freedman, K., Stuhr, P. (1996). Postmodern Art Education: An Approach to

Curriculum. Virginia: The National Art Education Association.

Emery, L. (2006). Censorship in Contemporary Art Education. In. Art education in a

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Gardner, H. (1995). Reflections on multiple intelligences. Phi Delta Kappan, 77(3), 200. Hardy, Tom (2006). Introduction: Nailing Jelly: Art Education in a Postmodern World.

In. Art education in a Postmodern World: Collected Essays. T. Hardy (Ed.). Bristol: Intellect Ltd.

Illeris, H. (2005). Young People and Contemporary Art. International Journal of Art

Design Education, 24(3), 231-242.

Kidron, A. (1999). 122 õpetamistarkust. Tallinn: Andras & Mondo.

Lind, V. (2007). High quality professional development: An investigation of the supports for and barriers to professional development in arts education. International Journal

of Education & the Arts, 2, 1 - 18.

Page, T. Herne, S., Dash, P., Charman., Atkinson, D., Adams, J. with: Benjamins, R., Dickens, C., Gigg, C., Hutchins, H., Law, A., Morris, J., Ovington, M.J., Sanders, P., Thompson, E., Ward., H., Whelan, L. (2006). Teaching Now with the Living: A

Dialogue with Teachers Investigating Contemporary Art Practices. International

Journal of Art and Design Education, 2, 146 - 155.

Parson, M. (2004). Art and Integrated Curriculum. In Handbook of Research andPolicy

in Art Education.E.W.Eisner, M.D. Day (Eds.). Mahwah, London: National Art

Education Association, Lawrence Erlbaum Associates, Publishers, 775 - 794. Roucher, Nancy, Lovano-Kerr, Jessie (1995). Can the arts maintain integrity in

interdisciplinary learning? Arts Education Policy Review, 96 (4), 20-26.

Zupancic, T. (2005). Contemporary artworks and art education, International Journal of

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kaalaman

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SINING!

References

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