1. Crocean theory good art is successful expression of emotion and expression consists in the finding of images by which the emotion is articulated and rendered determine for apprehension- a process called “intuition”. Thus artistic creation is a mental process and the work of art is the mind of the artist.Pg 233- Harold Osborne Aesthetic and Art theory AN historical Introduction-A Dutton Paperback 1968

2. Schubert- a man’s art seems to give vent to submerged personality traits which do not find expression in his nonartistic life.

- a release for submerged emotional stresses - what a man does deliberately and with attentive care is a “sign” of his

personality and reveals conscious makeuppg 234 Harold Osborne Aesthetic and Art theory AN historical Introduction-A Dutton Paperback 1968

3. John Dewey – that artwork derives from the superior refinement, insight, or endowment generally of the artist or from his capacity otherwise to set an example to his fellowmen. An examined assumption -self expression is sufficient justification in itself and needs no further excuse. pg 236-237

4. Miss Langer- thus a work of art is a symbol which does not symbolize anything other than itself but which reproduces in its own structural form the structure or pattern of feeling and emotion pg 246 –“ through his artwork communicates direct awareness of this emotional life, not knowledge about it in the manner of the psychologist or the reporter.--- langer claims that the work if art communicate merely the private and personal emotions of the artist but the basic forms of feeling which are common to most people. 247

5. IN Indian theory – in appreciating works of art we do not, characteristically, respond emotionally as we respond to situations in real life or situations described in newspaper. Pg 231spectator should not respond to the artistic activities as if they were realities.

They must remain purely symbolic. Rawson, Philip 250 pg 234 Harold Osborne Aesthetic and Art theory AN historical Introduction-

A Dutton Paperback 1968

6. John Dewey- defines work of art as not theactula product but “ what the product does with and in experience.” … “ to restore consitunuity between the refined amd intensified formd of expreince that are works of art and the everyday events, doings, and sufferings that are universally recognized to constitute experience.Pg 279 Harold Osborne Aesthetic and Art theory AN historical Introduction-A Dutton Paperback 1968

Introduction: Alampat

“Alampat” is a Visayan term for “art”. It is but a simple term, yet, it encompasses very broad scope that life per se is dominated by it. It demands creativity, artistry and imagination to produce a piece of art. Hence, art making is a profound form of expression to articulate and instill an individual’s identity and uniqueness.

This book will help us draw out every single drive of creativity, every piece of artistry and every leap of imagination in us. The basics in arts appreciation such as assumptions of arts, subject and content, medium and technique, artist and artisans will be well-elaborated. The thorough discussion on the elements of arts and principles of design that feature Mindanao Artists’ works will allow every reader to catch a full grasp of understanding on how these theories work in art making/production. Hence, the systematic discussion on the Historical views of Western and Philippine arts will solidify one’s perception on how arts evolved in the West and most importantly, in the Philippines.

Further, this book attempts to draw out the “artist” in us. It is by igniting our creativity and by stimulating our power to innovate that we become more sensitive, aware and conscious with the refinement and excellence in everything we do. It is eminent that aside from the ability to reason, our creativity and our ability to innovate are important grounds that make us distinctive and even superior over other creatures.

Creativity, as defined in the 9th Edition of Concise Oxford Dictionary is ‘inventive, and imaginative and creating, or able to create’. Hence, innovation is ‘to re-create, re-invent, ……” Both creativity and innovation are essential in art making.

Thorne (2007) states that “without creativity, there would be no real innovation; we need people who are pure idea generators and we need others who can modify those ideas. We need people who instead of asking ‘Why?’, ask ‘Why not?’ or ‘What if?’ We need people who are capable of thinking crazy, out-of-the-box thoughts; we need people who shake us out of complacency.” In art making, these are necessary to be considered. If not to create new ideas, re-invent existing concepts to capture audiences and finally convey the purpose and message of the artwork – which is its real end.

To create and innovate are human nature. They are not solely for artists but

they are present, alive and dynamic in every individual with whatever field he/she is with.

Creativity and innovation are so radiant that they allow us to play and to adventure in our youthful days. Further, as we reach adulthood, we don’t stop, rather we crave for more opportunity to create and re-create in order to continually exist,

survive and live. We tend to push for our identity and ownership, claiming our space for diversity and uniqueness to serve man, society and to acknowledge the Creator.

To be creative is not magic. It entails continuity that requires time, practice, devotion and passion - a constant process. It is an innate call for every human being to exert effort, to be involved in action. Creativity is just like a set of a chain in a motorcycle, attached with a set of gear that needs regular lubrication. Our mind and body rest but the subconscious continuous to travel.

Like a river flowing, all the stones and pebbles, sand and land are stained, shaped and transformed by water. On the other hand, as human beings, we can stop writing, painting, sketching, singing, dancing, and acting, yet the mind continues to create images, waiting for ways and means to be unfolded and concretized. To continuously define living - manifest creativity and explore innovations, one has to move forward and involve the body. For the writers, they have to experience difficulty and so with pleasure in manipulating and interplaying words to produce a composition of imagery. For performers in dance and theater, they have to experience the alteration of balance, to create forms and steps that elevate real space into stage and to explore various body forms and expressions to delve meaning towards characterization. For the painters, they have to continually explore and seek for new techniques in manipulating different and various media to transform thoughts and ideas into a concrete artwork. Other artists, in whatever field they are with, have to patiently toil to hone their skills and improve their crafts. Failure to sustain the action will eventually suppress one’s energy for production, just like how we intervene in a plant’s growth to produce a “bonsai”. It is with continuous practice and mastering a craft can we hone craftsmanship. Thus, it is in honing craftsmanship that we open doors of opportunities for more creativity and innovation.

Creativity and innovation defy, define, delay and distort time. In time, creativity and innovation mutate and develop. Consequently, managing time is one challenging task that an artist should beat.

Moreover, Thorne (2007) believes that personal discipline is necessary in creating and innovating ideas. He said that every person who is creative lives with the pressure of days when their mind is a complete blank, and they often have the additional pressure of knowing that someone else is waiting for them to come up with original thoughts.

Furthermore, creativity and innovation are not only prevalent in the artists’ world but also in the consumerist world of economics, commercial to industrial dynamisms, politics to religious propaganda. In whatever field one may be with, creativity and innovation always bring energy and excitement. Thorne (2007) cited the following selection of the responses on the “most rewarding part of being creative” as part of her background research for her book “Essential Creativity in the Classroom”:

Seeing your creations in use! Seeing ideas coming into fruition and getting results. Seeing things through to a conclusion – getting feedback that these ideas are

good. Seeing an elegant product/solution and having the appreciation of one’s

peers/colleagues The buzz of achieving a breakthrough that makes others go “’Great!’ Then

seeing it become real. The fun of having an idea is good, but the real reward is when you see what

you have created, whether it’s in the garden or something you have published at work.

Proving the doubters wrong; solving ‘the problem’ and seeing a result Success. Knowing that you achieved something that was better and different

to the conventional paths. Finding your true self Delivering on the promise of the concept Being different – if only for a while! Seeing connections before others. Standing out. ‘Ownership’ of an idea. Originality. Seeing something new and different take shape. Sense of personal satisfaction, when others get excited about a creative idea

of mine. The fun, the difference, and the unusual, and the feeling of reward that you

get…and indeed PRIDE.

Review:

I. Reflective Questions:

1. What is Alampat?2. What is the difference between creativity and innovation?3. Why is creativity/innovation necessary in artmaking?4. When can you say one is creative? Innovative?5. If you were an artist, how would you transform an ordinary object into an

artwork? For example, a drift wood or a bottle?

II. Things to Ponder:

To define creativity, we must:1. first determine our identity - who we are, where we came from and where we

are headed;2. look into how we celebrate festivity in our community and neighborhood;3. consider how we were taught and what art we have produced in the classroom;4. look into the available resource materials in our locality that can be utilized for

art production;5. look back with how our forefathers taught us about art;6. reflect on how indigenous tribes express their craftsmanship; and7. recollect how colonizers taught us how to think and feel.

Chapter 1: Importance of Art

1.1 Why is art important?

If a hundred artists will be asked, a hundred different answers will be drawn out. If you ask ten critics, ten different perspectives will be collected. If you ask a politician or a marketing agent, an advertiser or an ordinary folk, they would surely have various answers – these answers are definitely anchored from an individual’s orientation, preferences, biases, education, exposure, and culture.

Answering the question above will be easier if we will try to ask first ourselves with perhaps shallow and basic but very significant questions:

Why do we keep on looking for something new? Why do we keep on watching film or listen to music? Why do we love to read or write? To draw or paint? To sculpt or carve? To act or play instruments? To sing or dance? To take photographs or make films? These are forms of art making that human beings can’t resist but do. Probably, because we want and enjoy them, we need them to survive, and to prove our potentials. Whatever reasons we have, these will always boil down to one essential ground, i.e. “man utilizes art because it serves human fundamental needs, and likewise enjoys it”.

Ariola (2008) said that “Art appreciation is the ability to interpret or understand man-made arts and enjoy them either through actual and work experience with art tools and materials or possession of these works for one’s admiration and satisfaction. Art appreciation therefore deals with learning or understanding and creating arts and enjoying them”.

The scope of art expression is so immense that we could never tell how it would influence and touch individual lives. Maybe, for one person, art is just a hobby and leisure, but for others, it is already their way of life – they feel the drive to burn candles, exhaust time, and shell out money or energy in producing their masterpieces. In whatever way art pats our existence, thus, it is an honest outlet of our creativity, sensitivity and sensibility.

Art endured so many centuries; it served mankind for shaping the civilization and the society. It became the vehicle of communication and expression which unifies people despite different languages, culture and tradition. Hence, Ward (2006) states that “art is an international form of communication dealing with the natural world at an emotional level, a basic common skill that passes beyond the barriers of culture, language, and creed”. This idea is supported by Taylor (2010), where he believes that art will allow us to explore illuminating experience, thus, making us extra understanding, careful, and sensitive towards cultural differences. He stated that “art develops our

ability to think critically with our environment. It opens our senses and transforms us from a torpid to pro-active and progressive individuals”.

Despite the fact that art unites people, it also divides and creates distinction of culture. It documents and reveals the way of life – practices, values, customs, tradition, and beliefs of people of a particular race that differ from other groups. Consequently, it will speak of how time evolved and how culture transcended gradually. Arts of any form such as music, dances, literacy pieces, paintings, sculptures, clothing, furniture, jewelries, utensils, tools or weapons, buildings and other structures would remind us of the kind of civilization a particular time has.

1.2 Art as a form of expression and communication

Wolfe said as cited by Torres in 2011 “The Humans are intensely visual animals. The eyes contain nearly 70 percent of the body’s receptors and send million as of signals along the optic nerves to the visual processing centers of the brain… We take information visually then through any of other sense.” Further, he said that the perception of human beings is divided into these categories “sight is about seventy five percent, hearing is thirteen percent, touch is six percent, taste is three percent and smell is another three percent.” This is what we are; judgment always comes first as things pass through the naked eye.

Art allows people to tap the unknown and the unexplored. No matter how time changes, art is there to accompany and enable us to survive. Besides, it can be utilized in any field as a springboard in understanding the nature of every field. Humanities or arts exploration will allow the individuals to appreciate more the relevance of self-expression; it will allow individuals to understand and value the art process. Specifically, it will teach us how to determine and appreciate the value and beauty of a particular artwork.

Osborne (1970, 233) said that “good art is successful expression of emotion, and expression consists in the finding of images by which the emotion is articulated and rendered determinate for apprehension – as process which Croce called intuition” as he associated it with Crocean theory. He further supported this theory by calling art as ‘the language of emotions’ in which he claimed that the works of art imitate natural situations, real, imagined or ideal, but imitating them inobjectively because the artist’s imitation is driven with his/her own personal attitude towards the situation.

In addition, Osborne (1970) assumed that the work of art is judged by its effectiveness in producing a desired result through a particular emotional response in an audience. He stated that “the artist must induce in himself the emotions he wishes to produce in his audience and thus by expressing his own, implant similar feelings in the audience. Through art, by sympathetic and imaginative self-identification, we enjoy,

savor, or get the feel of, emotions and attitudes which otherwise we would not have known”.

Since art is a form of expression and communication, it should therefore, not be in the confines of the few - the elite, the art connoisseur, critics, leftists, philosophers, religious or spiritual and even the artists themselves. It is for everybody who wants change and transformation, who wants to convey thoughts, ideas, feelings and emotions towards things and situations. Thus, art making as means of preserving and revealing ancient stories, present experiences and future revelations should be accessible and open for all.

Conclusion:

Art is part of our civilization. Thus, our civilization becomes alive and dynamic because of it. Imagine if you take away music, dances, literacy pieces, paintings, sculptures, clothing, furniture, jewelries, utensils, tools or weapons, buildings and other structures, which are obviously dominating our life, what do you think would our society look like? Art is there to serve us – either with our want or need; it is there to carry out its purpose.

In diversely dynamic ways, arts touch lives. Every individual perceives art and its importance in different levels. Some may regard it as a sort of fad and leisure while others takes it seriously that it becomes their primary means of self-expression and even source of living.

Further, the humanity needs to push the tide of development and human transformation. With this, art is there to accompany us in reaching our dreams towards the kind of society we want to live in. Hence, we only need to express and communicate with each other by continually creating and re-creating artworks that bridge connections among cultures - sharing practices, values, customs, traditions, and beliefs that would somehow define unity despite diversity.

Art as a form of expression and communication is essential to share thoughts, ideas, emotions opinions and beliefs that would help awaken consciousness and awareness of audiences toward situations and issues.

Review:

Reflective questions:1. What is your own art expression?2. How far have you gone in utilizing art for your own development,

education, play?3. How much time do you engage yourself in art making?

Chapter 2: Assumptions of Art

Art is universal, art is not nature and art involves experience (Dudley and Faricy, 1969).

1. Art is universal

Art knows no limit. It reaches the farthest and the most isolated spots in the universe. As long as human beings exist, art is feasible, alive and dynamic.

1.1 Art as means of communication

Regardless of where people live, they share common means of expressing their thoughts and feelings, i.e. through arts, like music, dance, literacy pieces, decorative arts, paintings and drawings, sculpture, etc. These forms of art are utilized to establish and strengthen communication; they are a profound mode of unfolding images and revealing depths of imagination. Hence, arts in any form communicate different feelings and emotions – happiness, loneliness, pride, rage, revolt, etc.

On the other hand, art is used to call for unity and reconciliation. Our country’s anthem, for instance, is there to bind us; to make us feel we are one with our dreams and mission. Monuments and other historical heritage remind us of our past, the struggles that each one shared, and the unity we’ve formed in the name of freedom. Further, the art expressed through festivals depict each tribe’s culture that need to be communicated and expressed for common understanding.

In contrast, art can also be used to communicate mutiny and rebellion. For instance, the work of Rizal in his book “Noli Me Tangere and El Filibus Terismo” extends his utmost disagreement with the Spaniards’ control over Filipinos. The crusades with all the plays, drama, songs, and dummies, which are taking place in parks and squares, become the venue of people to express insurgence against plans and actions of people in the government service or even private individuals.

1.2 Art is timeless

Art is timeless because it goes beyond the time of our own existence. It is present in every corner of the world to serve basic needs of mankind, from ancient time to modern world. Art started since the birth of man’s life, thus, it would continue to live in accord with man’s existence.

Further, art is timeless because it continually evolves. Aside from artists birthing new artworks, they also never stop innovating, re-creating, reinventing and reviving works of art in the past to establish new style and identity, and most of all, to capture audience’s interest and attention in the recent world.

Art is indeed, timeless. Classical music, for instance, never fades and goes out of style. It continually invades our time – listened and appreciated by the many. It remains strong because it became a witness, a company, a reflection and a journal of our forefathers’ young lives. Maybe, some artworks, particularly songs and stories are forgotten, but writers, directors and film makers unearthed, repackaged, and appropriated them in time. These masterpieces are utilized to filter their worth to new audiences and generation.

Art defines time. For example, in watching film, even when you don’t have the idea of when it is created, the style of directing and filming, (shots, angles and editing) the clothing and bearing of the characters (hair styles and make-up), musical scoring (music and sound effects) and the setting and plot of the story would make the viewers guess the period it was produced. Some prose and poetry obviously describe the setting and characters that would give prompt to the readers to recognize the time/era they were written.

While art defines time, time also defines art. A lot of artworks capture immediately the public interest the moment they are created. Michael Jackson maintained the popularity of his art from the time he started doing music up to or even after his death. Pablo Picasso sustained the recognition of his artwork even up to this present time. However, there are also artworks that are deserted with credit and do not capture immediately audience’s attention but are on the limelight the next points in time. Consider the artworks (paintings) of Vincent Van Gogh that caught the public interest only after his death. Many works of art today are not instantly recognized but could probably capture spectators’ attention in the right time. Indeed, time defines art. It identifies the artworks and art forms that would “click” in a particular time with the particular audience.

1.3 Art addresses human needs

Art is universal because it addresses needs of people from all over the world. “Art is there to serve our human fundamental needs”(Ortiz, et.al., 1976, 6.)Through directly functional and indirectly functional arts, we are provided with a variety of offerings – comfort, entertainment and education, which would somehow lead us to self-fulfillment and satisfaction.

There is no such thing as superior and inferior arts and culture. The measure of art value in a particular tribe, clan, group of people, movement, media, advertising , school or whatever organization, is determined through their needs, beliefs, customs and traditions, and the effect of exposure towards outside world , development and other forms of effects towards culture. Neither behind nor advance, all cultures will experience distortions along the way.

2. Art is not nature

Art is not nature because art is man made. It is a creation of man that may reflect a profound skillfulness and craftsmanship. It undergoes process and planning; a result of study and research.

Art is artificial because it is just an imitation or even appropriation of reality or

nature. It is a representation of ideas, thoughts, feelings and emotions that are communicated in creative and artistic ways. It undergoes a transformation from its basic raw form into a masterpiece. Further, arts are made by artists to adore and acknowledge the wonders of life, the awe of God’s creation and the commemoration of our experiences.

There’s always something in nature that we cannot get and transform into art. When an artist attempts to paint a mountain, still, he/she cannot make a real one. We can paint a real-like flower but we cannot produce a real flower. We might be able to produce a fake diamond out of a broken glass but we cannot create a real diamond because it takes a collaboration of minerals and energy to form one, which in art is unfeasible.

Art can never be natural because nature is evanescent - in constant transformation of change, while, art is permanent. It does not change by itself, unless manipulated by the creator, man.

Further, art is not nature because it is limited. Unlike the infinite offerings of nature, an artwork can only feature few ideas and thoughts that are surely derived from the natural world. Never can you see an artwork that can communicate a package of what the entire life is all about. It can only capture a limited point that can be conveyed to the audiences.

To adore nature is innate to us, for we came from there. We cannot compare art with nature because it is something mysterious and it is made by the Divine persona whose depth and mystery is beyond human understanding.

An artist could make an artwork but he could not surely form nature. We couldn’t even regard nature as the highest form of art because it is not art all. We couldn’t even say that God is an artist because God is God – He is divine.

Nature is too big, too grand, too mysterious, and too beautiful to be grasped in a pigment, a frame of choreography and words. It is an extension of the consciousness that owns us, that provided us with life. While art is refined and processed, nature is raw and organic. It has life on its own that is much older than us.

Consequently, nature can provide the model of the elements such line, color, texture, form as we craft our own artwork. Nature’s value and perspective are real, actual, tangible, felt and experienced by us. For instance, various characteristics of lines are present in the stillness of water, the rolling landscape, shorelines, streams, etc. In addition, principles of design are also prevalent and actual in nature such as balance, form, harmony, rhythm, variation, proportion, emphasis and subordination that could help artists organize and compose a work of art.

Balance in nature is reflected in different terrains where mountains sit with authority and greatness. Their silhouettes reflect a varied rhythm of flowing flora and fauna where stones are naturally crafted to appeal us. The biomorphic, angular forms and texture of trees show harmony of shades and reflections. Proportions are manifested in the human anatomy; the stature itself is pulled into its balance. Even when you alter the body, it will stand with balance and can stand in harmony with climate and weather. Mountains, hills and plateaus are as if sculpted, pushing their peaks to be emphasized as symbols of power and the source of life.

The shorelines, riverbanks, splashes of waves and rain produce sound which creates fleeting memories that unceasingly dance for thousands of years. Nothing can supplement the raw sound of nature; however time and place may not allow us to experience it all the time, but, man’s inventions, records and documentations are available and accessible.

Arts can never compete with nature. Hence, it could not withstand nature’s conflicts such as earthquakes, flashfloods and other calamities. Though, these forces that are interacting, claiming and asserting can be captured in film and photographs - contained this in a miniature weapon, camera. Man’s skill and science are readily available to capture nature as far as human eyes could see but never the mystery that behind it.

Despite nature’s providence of beauty and wonder, man still alters nature’s arrangement - turning paradise into resorts, agricultural, residential and industrial spots to satisfy our needs and wants.

The beauty of nature is innate and silent. It is given. It doesn’t ask for attention since it is naturally part of it. While beauty in art demands human attention for it will lead to its valuation.

While it is true that art is not nature, it is however related with nature. Art and nature are related in the sense that they have mutual “give and take” relationship. Nature provides medium, resources, and models to create and artwork, while art confers recognition and appreciation that would facilitate the call for responsible stewardship of mankind towards nature.

3. Art involves experience

Art is a repository of human experiences. It demands involvement. The only way to find conviction and affirmation in art is through immersion to the arts. You can only appreciate art if you spend time to look at it, listen, touch, and feel its presence.

Though artists give meaning to their own artwork, the audience also creates a variety of meaning, depending on their experiences in which they can relate with the artwork. The rawness of art triggers perception, wit and spirituality of the audiences.

Making art is not a contest or a competition; it may be utilized not just to showcase talents but to strengthen one’s identity, share stories and unfurl mysteries. Further, art is also utilized to influence and convince the audience on issues that the artist would want the people to know, understand and embrace.

Conclusion:

Art is universal because it is a means of human communication and expression, it is timeless, and it serves human basic needs. Man has to communicate and has to utilize art to bridge understanding and social change.

Art is not nature because art is man-made; an expression the artist’s thoughts, feelings, ideas and emotions. Everything in nature is real; while art are just representations of nature. Despite their obvious boundary, they are still related because they both serve human beings – give comfort, happiness, belongingness and self-fulfillment.

Art involves experience because it demands involvement. It is a constant reaction to our experiences with the world. Further, the meaning given by the artist

to his/her own art work is based on his/her experiences that bridged to the conceptualization of the artwork. Possibly, the audience’s perception towards the meaning of the artwork may differ from that of the artist because the giving of meaning to the artwork is dependent on the related array of audience’s experiences.

The above-mentioned three assumptions of art will set boundary on the

responsibility and obligation of man in fulfilling what he/she is capable of doing.

Review: Answer briefly

1. Is nature art? Explain.

2. In what particular aspect that nature and art related?

3. Why art is timeless?

Chapter 3. Functions of Art

Art can be generally classified into two; the directly functional and indirectly

functional art.

Functional art refers to art that we use in our daily lives such as tools,

architectural structures, roads, bridges, buildings, furniture, kitchen utensils, coins, bills,

dress, weapons, etc.

On the otherhand, indirectly functional art refers to the arts that are “perceived

through the senses” such as fine arts, painting, music, sculpture, dance, literary piece,

theatrical performances, music and the like. We do not use these arts literally to live and

survive, but they accompany us in expressing ourselves. We have utilized indirectly-

functional art not just to communicate but to advance our society, to preserve and

document relevant events and details of our culture. This art is basically used to inform,

educate and entertain people. It is there to transform us into better human beings.

However, both functional art and non-functional art cross each path and tend to

change roles or fuse purposes. There are also functional artworks that the sole purpose

is for function, either decorative or for a specific purpose, but the designs incorporated

made the decorative art to transcend from its basic form to a highly artistic form of art.

The example below illustrates how the directly functional and indirectly-

functional arts cross boundaries. Below, a chair was used by the artist as a canvass. The

artist transforms the function of a chair into a symbolical object, a representation of

something which eventually becomes a medium to symbolize seat of power, knowledge,

education, statuses, etc.

Figure 1ChairNoy narciso2010Pen and Ink

A collection of different kinds of chair can be a utilized as a representation of a

concept. A chair can be an artifact or a historical documentation and a societal

presentation of people in a particular time or era. It can even be elevated to comment

for political issues aside from its basic form which is to seat upon, a place were we can

rest, reflect and re-collect. A comfortable and durable chair could be a witness of our

dreams and history.

Shown is an example of bottles (see figures 3.2 and 3.3.) that are transformed

from their basic function to another significant function. A bottle is one of the important

inventions of man to store food or any stuff to preserve and sustain its freshness for

better use. However, the bottles here are used as alternatives for creating musical

sound - designed to be used as wind instrument or percussion.

Figure 2Bote 2-Wind instrument

Noy narciso2009Botle and uway

Figure 3Bote 1 – Wind InstrumentNoy narciso2008Bottle and Uway

What made art relevant is its grasp towards the needs of the humankind. Art

“serves basic human needs”. To fully understand, we will look into the purpose of art.

According to Ariola artistic functions can be classified into four; aesthetic, utilitarian,

social and cultural.

Aesthetic function. An artwork functions aesthetically when it becomes

instrumental for man to be cognizant of the beauty of nature; where the real feelings of

joy and appreciation to nature’s beauty are manifested through appreciation and

enjoyment when in contact with the artwork.

Utilitarian function. Art is serving this function when it is utilized to give comfort,

convenience, and happiness to human beings. It is used to serve basic needs such as

food, shelter, clothing, medicine, comfortable environment, transportation,

entertainment, communication and expression and other important things that make

man live life with ease.

Social function. When the art bridges connection among people, it serves a

social function. The art here encourages good relationship – unity and cooperation are

being facilitated and established. With this, people become more understanding and

sympathetic that would somehow create a better society.

Cultural function. Art is serving a cultural function when it serves as an aperture

towards skills, knowledge, attitudes, customs, and traditions of different groups of

people. Arts here help preserve, share and transmit culture of people from one

generation to another.

Conclusion:

Art is both directly and indirectly functional. Functional arts provide us with ease and

comfort in living with our everyday lives. This form of arts directly serve human basic

needs such as tools, architectural structures, furniture, kitchen utensils, clothes,

weapons, etc. While, non-functional arts are basically used to inform, educate and

entertain people. These are perceived through the senses such painting, sculpture,

music, literary pieces, dance, theatrical performance, etc.

Art serves several functions. in terms of functions is differentiated by the degree of

our exposure towards these arts. We utilize art for personal purposes. We utilize art to

go beyond from the comfort space and to affect and persuade other individuals. We

utilize art for physical purposes such us tools – these tools define man. Thus, art is

utilized to improve our way of life.

Review:

Check the appropriate column/s to identify the function or purpose of each art

expression. Give a statement to explain your answer/s on the last column.

Table 1

Artforms Functions ExplanationAesthetic Utilitarian Social Cultural

Architecture

Film

Dance

Prose

Poetry

Theater Arts

Painting

Sculpture

Animation

Photography

Other artform

Chapter 4: Subject and Content

1. Subject

The world is so interesting, it offers so many views, stories and images.

A painter, a poet, a writer, a choreographer, a photographer, a film-maker, a

cartoonist, a designer, and some other art practitioners will never run out of subject.

There are unlimited subjects that surround us, every second, every minute; we see

potential concrete and abstract material that can be utilized as a subject.

Subject in art generally refers to the thing, object, person, landscape, event, etc.

depicted by the artists in his/her artwork. It serves as the window of the artwork, for

through it, the audience will be informed of what the artwork is all about.

Anything under the heat of the sun - from the largest mountain to the smallest

details of anything on Earth, and even the things that the human eyes couldn’t see can

be magnified and used as a subject in art.

Not only concrete objects in the real world but also anything in the realms of

imagination can be used as a subject in art. The river or stream of consciousness will

never run dry. The light may be too fast, the moment may be so brief but still artists are

able to capture them in their very own ways and styles.

There may be times that an artist is shut, exhausted and tired; yet, this

experience could possibly become the subject itself – depicting exhaustion and fatigue

in the artwork. Hence, experience is a strong drive of artist in choosing a subject.

An artwork that has a subject is classified as a representational art. It is also

known us objective art because you can easily objectify the subject. While, an artwork

that has no subject is classified as non-representational art. It is also known as non-

objective art because it doesn’t represent anything.

Paintings, sculptures, photography, graphic arts, dance, theater, literature, are

generally classified as representational arts. Though, sometimes paintings and

sculptures do not have subjects, more so with dance, theater and literature which do

not depict clear subjects/ representations but have themes that would help the

audience clarify their meanings and intentions.

Most artworks have subjects except for the architecture and music which rarely

have. Unless an architect will build literally a building that looks like a “durian fruit,”

then we can say that an architectural design has a subject. Basically, music has no

subject but the lyrics parallel to the music is the one that makes the work easily

understood. When a classical or instrumental music is used in a certain film or theater

production, we now associate this music not on the merits of the composition but with

the theme of the film or art production.

On the other hand artworks have content which refers to the meaning of the

artwork. The other term for content is the theme .The content is the essence or

substance of a thing or an object.

2 . Kinds of Subject

The kinds of subject enumerated below are explored and prevalent in any form of art

expression, either in visual, auditory or combined arts. Nature (landscapes, seascapes,

and other parts of nature) still life, animals, portraits/human figures, history and

legends, religion and mythology, nature and dreams and fantasies are kinds of subject.

2.1. Nature

This is a kind of subject that deals with the physical environment - the

natural world. Landscapes are parts of nature. They include mountains, hills,

plateaus, valleys, islands, etc. A landscape can be natural or artificial. A natural

landscape is a land formation that is never modified and distorted, while it

becomes artificial when there is human intervention – when man tends to alter

the natural land formation (with rocks and plants) through “landscaping” such as

such as that of the hotel entrance, inland resorts, parks, and even in backyards.

Cityscapes (anything that composes the scene of the city such as

buildings, roads, etc.) are not directly part of nature but are situated in land by

human beings to serve their purpose.

On the other hand, seascapes include lakes, rivers, ocean, stream, a

brook and other watercourses. Again, aside from the above-mentioned natural

waterscapes, there are also artificial water formations such as dams, and man-

made lakes and waterfalls.

2.2. Animals

This is another kind of subject that is commonly used in any art forms,

not only it is prevalent today but also during the Medieval period when early

Christians use animal symbols such as peacock and fish to identify themselves as

Christ believers.

2.3. Portrait or Human Figures

A whole human figure or just a part of it can represent the self. In using this kind

of subject, the angle, distance and the subject or model’s composure are considered.

Studying human anatomy is tedious and challenging. Portraits and human figures

have the same intentions – to capture human expression. The human body is known

as “the measure of all things”. It reflects proportion, balance coordination, order

and unity.

2.4. History and Legends.

This is a kind of subject that is inspired by history or legends. Historical

events are real stories while legends are just imaginary. These subjects are used

in any art form to share and transmit the values that are attached with them.

2.5. Still Life

Still life refers to in-animating objects either in a form of a drawing, painting

or photograph. It allows us to look into the beauty of a certain object and be able

to play in its presentation. Still life painting or drawing is one way for studying

color, compositions, tones and shadows. The three-dimensional approach

adheres order and balance. It is done usually in-doors so light source is

controlled. In still life, it features the ability of the artist to play with the

characteristics such as highlights, middle tones, dark tones, shadow and

reflection.

2.6. Religion and Mythology

Religious and mythological themes are subject that are practiced by religious

and tribal groups. Religious or mythological art as a kind of subject is usually

done by an insider artist or a devoted member of a religious group. If not, they

are artisans who followed a traditional practice, belief and customs which are

learned from their forefathers and handed down from generation to generation.

Religious and tribal symbols can be utilized but neither should be exaggerated

nor distorted for aesthetic purposes.

2.7. Dreams and Fantasies

To dream and to imagine are for free. Dreams and Fantasies refer to subjects

that are inspired by the subconscious mind as discovered by Sigmund Freud.

Artworks that are inspired by dreams and fantasies are called surrealism.

Dreams and Fantasies can be presented in any style or form. Some subjects are

presented in realistic manner, however, the imagery is distorted, and the setting

becomes a dream world. Art had been an effective tool to assist the human

being to explore imagination. It even assisted us to escape from reality.

Conclusion for Chapter 4 Subject and Content

Subject in art refers to the thing, object or idea depicted by the artist in his/her

artwork. A subject can be representation Hence, there are nine (7) kinds of subject that

can be utilized in developing an artwork, such as nature (seascapes, landscapes and

anything present in the natural world) animals, portrait or human figure, history and

legends, still life, religion and mythology, and dreams and fantasies.

An artwork can be classified into representational or non-representational.

Representational artworks are those that have subjects, while the non-representational

artworks do not clearly depict the subjects used.

Review:

Examine carefully the artwork. Write down five ideas or interpretations you can

make. Use these ideas or interpretations in writing a poem or a story.

4.3 Classifications of Art: Table 2Classifications

of Arts

Art

Classifications

Form Scope Traditional forms

Fusion

A mixture of dimension

and space

Space Arts-

Needs physical space

Visual Arts

2 dimensional arts Presented in flat surface Painting, Drawing( sketches), Photography, Print,

Photomontage, Collage

Installation art

Construction

assemblage

3 dimensional Free-standing/sculptural/ w/

physical actual volume mass

and weight

Masks, Sculptures, Carvings, low and

high relief , furniture , architectural structure,

landscaping, bonsai art,

Mobile art- sculptures that

move

Time Arts - can be heard and

read anytime

Auditory Arts

Music

Strings

Percussion

Wind

Western Classical Instrumental

Indigenous/ Eastern

Contemporary Instrumental

Contemporary Techno-music

Literature

Prose(Ordinary language) Short story, short short short story , diary,

journal,newspapers script, etc

poetry

(with form/rhythm, beat,

format)

Song, Poem , sonnet, Eulogy, Haiku,

Picture –image/ Sound- Image

etc.

Space/ time

An art production that needs

time and space

Performing/ combined arts

Theater

indigenous Pre-historic,

Spanish

Influence,Japanese(seditious),

American( bodabil,

Shakespearean classics

adaptation, 60’s gap of

language, vernacular drama,

peta establishment

indigenous

Spanish influences Komedya or moro-moro,

Religious Drama ( short drama - salubong,

panunuluyan and full-length - sinakulo)

American Period –Zarzuela, Vodabil, Phil. Theater

in English and the Return to the vernacular

Dance Indigenous dance, folk, Spanish, American, Classical

ballet , modern dance, contemporary

Dance improvisation

Body Movement

Film Non-linear Documentary, feature, animation, experimental Bio epic

Linear

Conclusion for Chapter 4 Subject and Content

Subject in art refers to the thing/object/ idea depicted by the artist in his/her work of art. While, content refers to the theme/message/content in art. The content of the artwork is the soul of the art itself. It becomes relevant and substantial not just because of the skill of the artist but also because of the materials used to battle the difficulty of art making.

Subject is varied and dynamic. There are nine (9) kinds of subject and there are six (6) Sources of Subject to choose from. Subject exploration is based on the personal preferences and biases of the artist. Basically, the artist’s background is relevant in the subject he/she would like to explore. Unconsciously the artist’s ideological perspective is also transmitted in the art.

Art itself is storytelling. It is a never-ending creation of powerful and inspiring stories. We never knew that our work will inspire and touch people’s lives.

Review:Examine carefully the artwork. Write down five ideas or interpretations you can make. Use these ideas or interpretations in writing a poem or a story.

4.3 Classifications of Art: Table 2

Classifications

of Arts

\Form

Scope

Traditional forms/

Forms

Fusion

A mixture of dimension

and space

Fusion

Space Arts-

Occupies space

Visual Arts

2 –dim. arts Presented in flat surface Painting, Drawing( sketches), Photography, Print, Photomontage, Collage Installation art

Construction

assemblage

Performance art a mixture of

sound, image, object , body

and live performance

3 –dim arts Free-standing/sculptural/

w/ physical actual volume mass

and weight

Masks, Sculptures, Carvings, low and

high relief , furniture , architectural structure, landscaping, bonsai art,

Mobile art- sculptures that

move

Time Arts - time

driven arts

Auditory Arts

Music

Strings

Percussion

Wind

Western Classical Instrumental (orchestral, chamber, opera)

Indigenous/ Eastern

( Rock Music, Blues, Jazz, Folk, Country, R & B, Hip Hop, Ska and Reggae, Latin American , World, New Age

Contemporary InstrumentalContemporary Techno-music

Literature

Prose(Ordinary language)

Fiction or non-fiction

Fiction -Short story, story , script, drama,

Non- Fiction- diary, science, history, journal, newspapers , bio philosophy.

Image poem

Image – sound

Letras Y figuras

Performing Poetry

Dula –tula (poetry-

performed)poetry

(with form/rhythm, beat, format)

Song, Poem , sonnet, Eulogy, Haiku,Picture –image/ Sound- Image

etc.

Space/ time

An art production

that needs time and

space

Performing/

combined arts

Theater

indigenous Pre-historic, Spanish

Influence,Japanese(seditious),

American( bodabil, Shakespearean

classics adaptation, 60’s gap of

language, vernacular drama, peta

establishment

indigenous

Spanish influences Komedya or moro-moro, Religious Drama ( short drama -

salubong, panunuluyan and full-length - sinakulo)

American Period –Zarzuela, Vodabil, Phil. Theater in English and the Return to

the vernacular

Puppetry Performance art

Bhutto Dance

Dance Ballet, Jazz, Latin, Hip hop, tap, neo, theater, classical ballet, pointe, acro,

ballroom, crumping, break dancing, robot, belly dancing, line dancing, Irish

dancing, cha-cha, salsa, cheerleaders techno, contemporary, Indian tango,

waltz, rumba, jive, theatrical and many more

Dance improvisation

Body Movement

Film Non-linear Documentary, feature, animation, experimental Bio epic

Linear

Chapter 5: Artist and Artisan

5.1 The Artist

An artist is generally defined as art practitioner that produces or creates non-functional

art such as painter, sculptor, choreographer, dancer, writer, poet, musicians, etc. While,

artisans are craftsmen that produce functional art such as carpenters, carvers, plumbers,

blacksmith, weavers, embroiderers, etc.

A formal art study would be an advantage but it is not a requirement to practice art.

Acquiring or learning skills in art is not just taught and learned in a formal art school but also

acquired informally. You may learn to play the guitar not from a formal workshop but from the

neighborhood. Yet, an artist may learn not entirely from a schooled perspective but can be

developed later in life through curiosity, hobby, summer experiences. Sometimes, one could

learn to develop artwork because it is a must to survive – it becomes a source of living.

Though both artist and artisans manifest craftsmanship in their field, they both apply

technique in manipulating the medium; however, they differ in terms of output.

Each artist’s way of production is different. There’s no common formula in approach. An

artist may start to work any time of the day and end any time, too. An artist’s process of art

making is somehow mysterious; it is an interpolation of the mind, heart, and soul.

The artisan’s work ends unnoticed, but relevant and essential in our everyday lives.

Indeed ironic, some artists’ works are not too physical, yet mentally exhausting. While, artisans

work may be physically exhausting but not mentally draining. This is how we feel if an artwork

are mass produced or even hand crafted but with the same design. Usually, when an artwork is

mass produced, the value of the object is affected, “compartmentalized” and “monetarized”.

Henceforth, an artist can crossover artisan’s field but artisans cannot traverse with the

artist’s territory.

When the artists appropriate an object or design for a certain purpose, they tend to

encroach from the objects produced by the artisans. When an artist tends to borrow the object

and devaluate it from its basic function to serve and to transform it into an object of

representation of idea or concept, then an artist is trying to intrude the artisan’s ground. For

example, when a fork is used as a bracelet instead of using it as a kitchen utensil, here, the

artist is trying to cross towards artisan’s boundaries.

Another example is the “gap-nud” (drift wood). The drift-wood is not just a favorite

medium for landscaping, bonsai making, decorative, sculptures and installation arts but it

becomes a medium to relay a meaning.

Though, some sculptors transform driftwood into a totally new artwork, other art

practitioners barely touch or change its texture or shape but changing only its position of view,

through detaching it from the sand floor into a man-made pedestal. It may now re-create or

give birth into a new idea.

Other art practitioners just use driftwood as a material or medium to enhance another

art form, such as “Bonsai or Landscaping”.

In bonsai making or landscaping, most sculptors are challenged to articulate their skill or

craft.

In a general observation, One particular practice that devaluates the beauty of

driftwood is when one would use directly either enamel paint or varnish to enhance its beauty

than just to retain its rawness in texture and physical property by using sand paper and wood

stain to enhance its color. Though, we don’t have any statistical data to support such but based

on observation, this is where an artisan and artists differ. The artisans’ approach will end its

exploration up to the surface while artists’ works go beyond the “skin, bone and soul”.

These styles of artisans and artists are called stagnated perception and organic

perception. Stagnated perception is a coined term that refers to stagnant reaction such as

decorative. While organic perception is dynamic, developing and evolving.

For instance, in indigenous arts, the musician of the tribe is the one who designs,

produce and play his instrument. While, in the western perspective, musician utilizes an

instrument done by a craftsman

Conclusion:

Artist and Artisans is one of the pillars of our society. We need artists/ artisans as much

as we need other professions. Artists/ Artisans served our civilization for a long time from our

basic functional needs up to the decorative/fine arts and even up to higher calls in our society.

A painter or a carpenter was there once upon a time to make our space cozy, cool and

comfortable. They have provided us with a comfortable chair to be able to dream, study and

aspire; they have provided us with music and literature to escape from reality. The world is

made by pool of designers. The comfort, the style, the advancement, the finesse, the joy in

dreaming, eating, touching, they are there

Claiming to be an artist is not a problem but claiming it without artworks or body of

works contradicts to the responsibility of being an artist and the claim of becoming an artist.

Well, both artist and artisans and even other professions have mediocre claims of their

profession.

An art practioner have to experience the action of art production, it is through this stage

an artist will know how far can he/she goes deep with the art. It is through this stage he/she

will know the character of the medium, the limits of the medium, and test his/ her patience and

the depth of his/her imagination.

The artist and artisan both require skills and technical competence. Their work precedes

their name. It is not an easy responsibility; they provide us with new image and sound of our

time, to reflect our existence. It is the artists/artisans continue to create art to serve the society

in any form.

Review:

1. When can we say that a person is an artist?

2. How do we know that an artist attained a level of maturity in terms of art making?

3. How is artist defined in rural and urban community, in school, organization, among

indigenous people, in a Moro perspective, in business and politics?

4. When can an artist be demoted from the pedestal of being an artist?

5. Is an artist the same with an artisan?

6. Is it possible for an artist to become an artisan? How about the other way around?

7. Who will determine the becoming of the artist? The artist or the artwork?

8. Which comes first, the artist or the artwork?

9. Which is more important, the artist or the artwork?

5. 2 Imagination

Imagination is for free. Everyone on earth utilizes imagination; every second and every minute

we pause, we think, we imagine.

Imagination is significant part of art production similar with inspiration.The abundance of

imagination doesn’t mean art production. A person can be imaginative but not productive, but a person

who is productive reflects application of his/her imagination. Productivity may not equal to quality

because some imagination may be lucrative but not honest and sincere enough. However, productivity

is one of the manifestation that an artist’s craft are honed and a venue to enhance its craft. BY then, if

the artists spend more time exploring and producing number of works, it will eventually direct the action

to quality work.

While human beings are unique and no two individuals are exactly the same, imagination, too,

differ from one person to another. Imagination of people in a third world country is not the same with

those who are in the West and neighboring Asian Countries. Imagination is affected by many factors

such as belief, education, media, technology, politics, land conversion, mining, militarization,

development and consumerism. The factors mentioned may possibly shape, sharpen, distort, or even

corrode one’s way of thinking and looking at things, so thus imagination. The direct exposure of the

artist to his/her environment will eventually affect the way the artist look upon its subject and the story

of his/her own work.

The extent of imagination the artists spent in the artwork before is different with that of today.

Before, the artists have all the time to reflect, imagine and discern. Now, some artists’ artworks are

rationalized and formed with the help of the technology because of the convenience that technology

offers. Hence, artists’ artwork making will be faster, systematic and scientific. But it doesn’t apply to all

art expressions, still the basic “hands-on” production dominates the art making, everything will boil

down to basic drawing and coloring, good plot, basic grammar and composition, able to sing, dance ,and

act and the like.

Imagination will be useless if a person will not transform an idea into a real form or object. The

artwork will eventually concretize the experience.

Some art attempts are dictates from an imaginative person but lack the ability to interpret into

form. Some arts

are poorly motivated by imagination which would need more depth in plot,meaning and

concept.

Furthermore, imagination relates with memory. According to Egan (1992) “the imagination is

limited to working with what exists in the memory”. This concept was supported by Sartre as cited in

Egan (1992), “we cannot get information from imaginative activity but the richness, variedness,

unusualness, and effectiveness of our imaginative activity will turn significant degree on how much it has

to compose or construct with.” When we expose ourselves to the unusual, we will trigger a certain part

of our curiosity and interest.

Imagination is generally defined as the ability to form thoughts, concepts, ideas and images in

the mind, an act of creating something out of a scratch.

According to Mullen (1923, pg 9-11) there are five (5) kinds of imagination;

- The actual and imaginative lives refer to imagination application in solving everyday life

problems or chores. We solve simple problems by using our imagination. It applies in case of

emergencies, how one reacts and solves the problem under pressure.

- Imagination and intellectual has something to do with reading books; you are sitting and reading

but your imagination is traveling.

- Imagination and physical refers to art making that are based on imagination but based on the

real experience. When an individual tend to draw real thing but are based not on actual moment

but through his/her imagination.

- Imagination and Day-dreaming refers to idle day-dreaming; refers to individual who spend time

wasting imagining.

- Creative imagination refers to an active and constant contact with the practical world; it will

make life fuller, richer and deeper; the individual here applies the said idea.

Conclusion:

Imagination is considered as soul. Imagination is substance and relevance. It is a gift that

defines us to be unique and different. Our imaginations differ from one another. Having the skill in art

making is not enough. Skill should go together with imagination to produce a significant, sound, and

effective work of art.

Imagination is essential to us because it will enhance our capacity to think, feel and sense the

world around us.

Imaginations still dependent on action, imagination will remain an imagination if the artist will

not engage this thoughts and ideas into form. The transformation of such abstract will be the

challenging part, the manipulation of the medium, the handling of the tools, the production , the

tedious process, “the dirty part “ of the art making will realize the importance of imagination. And then,

this artwork will be a means to open another window of imagination towards the audience.

Review: Imagination preparatory guides;

1. Meditative reflection- refers to the ability of the creator to situate self in order, at peace, in one piece, willing to listen, willing to submit and immerse, willing to understand and accept new concepts, reminding one self towards the limitations of anything

- breathing exercises and tensing- refers to basic proper way of breathing and warming-up

- imaginative organizing- refers to the ability of organizing things through mind -

2. Illustrative Journaling- refers to journaling or documenting ideas and concepts in any form such as drawing, sketches, text, poem, stories, catalogue of words, etc. In journaling, specific details such as time, date, characters, persons, and references should be included.

- Start with what interests you or with what you hate most-- Time and document your actions with the use of a stop watch (How much time you

spend in walking form home to school, taking a bath, etc. Documenting time would help one organize and manage time in any art production)

- Documenting methodology would help one organize ones’ mind and idea and it would be easy for you to present and share concepts to others; even with the absence of the artist

- You may use stick figures in landscape format- Apply stick figures with a closer look to be more detailed - apply mass, volume and

weight by shading the heavy parts of the drawing- Document names of stores and classifying it later- Craft directions on how to provide directions to other people.- Write poems using this technique “noun, 3 adjectives, action word, prepositional phrase

and sound word”- Document local punch lines- for instance, the conversations you’ve heard from any

travels that allow you to associate this word to an experience or locality- Note down imagination- Write your thoughts about your dreams and fantasies- Write what you observe about the environment and the people around- Write about your comments about the news you’ve heard everyday ( politics, - Note details about your sufferings, problems and survival- Write a story

5.3 Appropriation

Owning Narratives

An artist is a storyteller, sometimes visionaries. An artist is a documentator of time, a

witness.

What made an artwork relevant and essential is not just the skill and dexterity of the

artist but the ability of presenting message clearly. The artwork is the extension of the artist’s

political perspective, ideological biases, and beliefs. The art then becomes the means of

expression – a concrete form of expression and this expression is translated through an art

symbol which will eventually becomes a language that carries a message, a story, a signification,

and a narrative. Hence, this attempt of narration is called storytelling.

According Bordwel and Thompson (1997) as cited by Yearwood ( 2000, 124) that

“narrative is a fundamental way through which humans make sense of the world”. He further

states that, “Narration is a form of communication intricately related to a culture’s mythic

consciousness. It is part of the basic human need for self-expression and creativity, and it is

integral to the poetic impulse represented in culture’s founding myths “(Yearwood 2000 ,124).

Therefore, narrative is a concrete signification of basic everyday life stories and the

recall of these stories becomes a model of behavior, attitude and character. A narrative is the

foundation of human beings’ relationships with each other – the way we deal with people, the

way we care nature, and the way we relate to God.

Narratives would affect an individual or a collective behavior. It will guide people to a

certain journey of seeking, knowing and owning. It can also be relayed through exaggeration.

As what we, human beings, always do, we embellish things. We are creating a new form of

myth or a story. This story can be a potent source of truth, but sometimes turns in between

truth and lie.

According to Yearwood (2000,,124) “narration is a cultural system that elaborates basic

social values and provides social legitimacy for a culture’s belief and world view.” So, in art

making, artworks can be the medium to infuse good values and good stories to be modeled.

Yearwood further states that “stories of origin seek to explain who we are, where we came

from and our purpose in life.”

Basically, narration or story, legend or myth, are there to be utilized as vehicle of our

everyday narratives because we, ourselves, in the journey of the character of the story, or our

lives per se is a journey that seeks a character of identity and originality.

So, even when stories or works are borrowed but it is offered and shared to the public,

it is now then open for ownership as it would appropriate the identity of the reader or artist.

The artist would somehow emulate this good story and becomes part of the journey of re-

creating stories to appropriate with the time he/she lives in.

So, this unending narration of stories of the artist and symbol making is a continuous

process. One way or the other, if one is inspired of a certain work, an artist emulates,

internalizes, characterizes and then get a part of the story that can be associated to

himself/herself, then, the birth of a new art ensues.

This appropriating, borrowing and owning done by artists or anybody are confusing in

the road, so we suggests that practicing artists/ students must consider knowing acts of

appropriation legally or unconsciously; Young (2008) posits Five(5) acts of Cultural

Appropriation.

1. Object Appropriation- occurs when the possession of a tangible work of art is

transferred from members of one culture to members of another culture.

2. Content –occurs when an artist reuse an idea first expressed in the work of an artist

from another culture.

3. Style – when an artists produce works with stylistic elements in common with the works

of another culture.

4. Motif Appropriation- it occurs when artists are influenced by the art of a culture other

than their own without creating works in the same style. Basic forms are appropriated.

5. Subject Appropriation- occurs when outsiders represent a subject matter that is

intended by insiders to be secret.

Eventually the following appropriations would help students identify an artwork and

artist who utilizes appropriation and to be able to determine the difference in terms of

artist appropriating the symbol or meaning and from its origin.

Furthermore, art making is as dynamic, same with culture. Changes, owning, borrowing and

appropriating is inevitable. Songs are revived. Novel and short stories are filmed and coming

alive. Old Films are re-filmed and even the characters are repackaged. Painting Subject is

appropriated. Old functional tools designs are innovated and improved. Legends and Myths

are animated to appeal to new audiences. It seems nowadays designs and concepts are no

longer original in terms of concept/ theme or subject but inspired or borrowed from an old

work, classic or contemporary purposely to situate the old artwork in recent time and to

coincide of the contemporary framework.

There is nothing wrong with Appropriation but one had to be responsible if work is an

imitation or an inspiration. One hve to sensitvi in

Conclusion:

Appropriating is acknowledging. If an artist learns to acknowledge source, the more an artist develops honesty and sincerity and the more he/she knows his/her boundaries and limitations. In appropriation, artists or even audiences develops respect and instill valuing of a certain thing.

Sometimes, appropriation is looked upon as helpful and at the same time deceitful, because in the borrowing, the meaning changes. Sometimes, the physical image also changes that will eventually affect visual understanding and appreciation. Appropriation sometimes becomes stealing and bastardizing a sacred symbol or object, such as tribal designs or religious objects.

For instance, a collection of various Buddha expressions was exhibited in a museum. But when the audiences entered, they took off their shoes and slippers and started to pray. The artifacts are exhibited for another purpose, probably as historical objects, yet audiences interpreted the exhibit differently.

So, an artist must be careful in utilizing symbols and make sure they are properly used in an artwork. Sometimes, being too radical and harsh won’t help in advancing society. Hence, become the end of the exploration or definitely a birth of a new concept. The appropriation should be done to correct perspective and or to comment on the practice or understanding.

Appropriating is also modeling. Studying models is relevant in art making to develop the skill of he artist in research and the way the artist rationalizes and utilizes the symbol in his/her artwork.

Review:Look for an artwork that utilizes appropriation. Analyze or identify differences from the

original work and the new work.

5.4 Art Making

Art making can be associated with art exploration, concept development, experimentation, and art production. In art making, the artist undergoes three stages of experience which are popularly known as pre-production or subject development, production or medium manipulation and post-production or exhibition. Art expressions such as painting, sculpture, dance, drama, music, etc vary in approaches in terms of subject interpretation and medium used. Hence, target audience, size and scope of the work, time frame, budget, availability of materials are considered.

In theatre or performing arts, pre- production involves the following: conceptualization of the theme, writing the script, making auditions for cast selection, casting or assigning of roles and workshops. The following should also be considered during the practice: spacing, staging, lights, music. Set rehearsals and press releases should also be given priority during pre-production phase to ensure quality of performance and to reach all potential target audience.

Production refers to the proper presentation of performing arts. When more than one production is set, directors must observe and evaluate the production to improve the performance of the casts in the next set. Acknowledging the sponsors and people involved in the production is also vital.

In post-production, evaluation, critiquing, success press release, sending thank you messages & letters are done. Accepting schedules for possible re-staging can also be accomodated.

Performing or combined arts such as dance, theater and film are collaborative in nature. These art forms need various skills and expertise to run a show or project. In particular, choreographer, lights director, costume designer, production manager, finance officer, logistics, tickets in charge, etc. are needed to make a production.

Art making can be done collaboratively or individually. Basically, painters, sculptors, writers and poets work alone just like carpenters, carvers, etc. However, if they are involved in a bulk and big projects, they need a hand from other artists or artisans.

Since most artisans’ outputs are generally for commercial use, they follow a standard time frame of work from eight (8:00) a.m. to five (5) p.m. with two (2) breaks for snacks in the morning and in the afternoon. However, most artists work with open time which primarily dependent upon artists’ mood and drive to create an artwork. Sometimes they sacrifice not to take break just to sustain the fluidity of ideas and to hold the momentum. For them, art process is a ritual of accommodating overflowing ideas that are accessible in the imagination. An artist’s approach is so special that skills is not the only thing offered but everything - emotion, effort and resources even without expecting any return of investment.

Concept development is sometimes interactive and consultative. Some artists collaborate with other artists, especially when the project is huge enough for an artist to handle alone. This is called pro-active interaction. In this case, the hired artist follows the dictates of the one contracting the project. For example, if the painter is commissioned to do big backdrops or murals and given only few weeks to get the work done, he/she has no other way but to hire artists to work with him/her.

On the otherhand, when an artist does the concept development alone and would hire artists or artisans to actually develop, manipulate and execute the concept, this is called a passive interaction. Here, the hired artists and artisans have to strictly adhere with the ideas and thoughts of the one who developed the art concepts.

In poetry and writing, it is usually an individual approach. An artist explores, manages, and manipulates language and expression alone. The writing process usually starts with subject or theme identification, followed by writing proper, then proof reading /editing before finally publishing a work. When poetry or a literary piece is utilized for a performance art, some poets are sensitive enough that they want a careful and appropriate interpretation of their work. Sometimes, they tend to be involved in the production to guard the right interpretation of their work.

In music, performance can be individual or collaborative. Musicians start either with the lyrics or music, or vice-versa. Some musicians can write through musical notations wherein sounds are formed with their minds, but some have to play the instruments literally to hear the sound produced and then organize the notes or chords to come up with a composition.

Composing is too technical. Some musicians are comfortable to start with composing the lyrics, and then appropriate the music while others start with the organization of music, rhythm and beat before actually appropriating words and lyrics to go and synchronize with the music.

( Nothing is mysterious)Something mysterious emerges during art making. As the artist starts to conceptualize or manipulate the medium, they are like shamans and hermits, they detach themselves from the real world, creating a world of their own, sulking in their studios. They hibernate till they finish work. They tend to create a distance and gap from their own world to the real world. They shut all destructions and meet the divine, the sacred, and the remote primal soul. Sometimes, it’s so difficult to describe, but the artist tend to leave the self and journeys somewhere, looking for the right verb, the right note, the right gesture , the right & appropriate for any description. In the later part of birthing ideas, there comes the ceasing and the artist is done. The artist is back in reality, becoming an audience of his/her own work.

Though it came out to be exaggerated, somehow artist as shamans and hermits is an exaggeration in the present reality. This is not to create gap between audience and artist . Somehow, artmaking is straithforward, no frills no trills. What you see is what you get. We all witness the artmaking from the birthing of concept up to the output. The artist himself is immersed directly to the reality, present to the event,working dphysically with other artist or artisans, directors, and even some instead of directing theatre production and managing pool

of artists , they even applied this in a social spectrum, managing the masses, managing the people, empowering people and building communities. The artmaking is no longer a production of the artist but it becomes a tool for movement and development.

Why are most artists like shaman? Why do they hibernate? Why not do the art making in public?

In a way that artists detached from their ordinary routine. Somehow, art making needs concentration and focus, they need not to be disturbed. Well, just like any profession, they need private time for concept development, they need to interact and collaborate with other individuals, and artist finds space of their own. An artist needs a working space a formal space, an alternative space or even virtual space to be able to work properly. This is not to create a gap between audiences and artists, not to create stereotyping that artist is different and weird, but an artist is just like an ordinary human being, they have mood swings, they have temperament, they are too sensitive, insecurities, fixations and. weaknesses.

Thus, artists assert because of their role of providing images and sound with commentaries of the time and place they live in.

During the making of the art, the artist possibly meets the supernatural being, the divine; he/she transcends to meet the child in him/her. It is the recreation or the creation of a new life, a symbol, a hope, a story wherein the human beings await a new experience and a new exploration of language, advancing the civilization through its wonders. Imagination is too vast that what an artist can do is only a speck from the wide range of our imagination.

How do artists differ from artisans? Both undergo the “tedious process of art making”. Both handle instruments and tools with respect. However, artisans stay up to the basic function of things; they don’t go beyond behind the surface of the object. Though nobody can argue with the meticulous skill of the carpenter, carver, weaver, but their work also allows us to travel somewhere else. Further, the artists go beyond the awe and amazement in handling and manipulating media or tools. Artists undergo the dirty process of art making, befriending medium, stretching its limits, experimenting new media, taking risks that await the later part. They wonder not just from the edge to edge of the canvas, they go beyond into the realms of imagination allowing us the audience to see things differently, creating a new spectacular world.

The artisan would never leave reality, but artists world allow us to go beyond this real world. An artist’s work is a leap of imagination.

5.5 Medium and Technique

Medium refers to the material used by the artist. It is the thing that objectifies an idea.

Without the medium, an idea remains a concept or it would just reside in the walls of your

imagination. It is challenging to manipulate medium and transform it from its raw state. The

different media that are sold in the market, such us paint, metal, etc. would remain raw, unless

the artists manipulate and transform them into something else - an image, a metaphor, a

representation, a masterpiece.

Manipulation of Medium requires a technique. Technique refers to the artist’s ability and knowledge or technical know-how in manipulating the medium. According to Arriola, the technique is the manner in which the artist controls the medium to achieve desired effect. So, it is in the technique that artist differs from one another.

Making an artwork requires technical competence. The ability to manipulate is the driving force

in the birthing a new form or idea. The artist has to undergo a certain moment of reflection and

understanding of the chemistry and physical properties of the object until he/she finds

her/himself commune with the medium. Manipulating a medium is somehow a trial and error.

It requires patience, resourcefulness, thrift and industry.

In literature, aside from the writer’s medium which is words, the basic tools are also needed

such as pen and paper or a small notebook for cataloguing of words, journaling of brief

moments, and recording punch lines and metaphors. Writers should have the belly for

developing a plot, should have the ability to play with words, enough bag of vocabularies, and

knowledge towards do’s and don’ts in writing.

The poet’s medium is also words but poets employ different approaches in manipulating words.

A poet should have the ability in creating metaphors or figures of speech, the ability to present

clear ideas with the use of appropriate words.

A painter’s medium is a pigment in oil or water color. Aside from this key medium, a painter

should know how to draw, compose, organize subject, mix colors, capture and produce good

images. It is important that the painter knows the characteristics of a medium. For example,

an oil paint must be mixed with a linseed oil for better manipulation and toning. In water color,

a paper should be used and must be acid free for better absorption and preservation.

A sculptor, on the otherhand, uses wood, metal, plastic, clay, cement, and paper to produce a

sculpture. Each medium has its own characteristics that a sculptor should understand. He must

consider durability and stability of base and the structure itself. A sculpture can be approached

through subtractive and additive technique. In subtractive, it is taking away unnecessary parts

from the medium while in additive, it is adding or incorporating parts with the medium. For

instance, in wood, glass, ice, and marble sculpting, taking away the negative spaces/parts would

result to the desired form or subject. Adding or incorporating part to the metal or cement to

form the desired subject or form is additive. However, there are media that can be both

subtractive and additive. For example, clay can be mould and carved out while it is still soft.

You can also add/integrate a part to form the desired subject.

An architect needs basic drawing materials and special tools to come up with meticulous

designs in a blue print. An architect should acquire a technical know-how in making and

appropriating designs on various geographical locations. Aside from aesthetic knowledge, an

architect should be knowledgeable also in landscaping, interior designing and structural

building.

A musician is not only bound to organize notes and manipulate instruments but should also

learn how to play, tune, and take good care of the musical instruments. There are two kinds of

musicians. There are those who can compose and arrange musical notations while others could

just play instruments based on chords and sounds through improvisation.

A performance artist, usually visual artists utilize a fusion of sound, image, object, body

movement and technology to produce a live performance.

Nevertheless, there is no easy play of medium. Either an artist or an artisan requires technical

competence and they all undergo a process to master their craft. There is no short cut; it is

always a journey and an adventure. Sometimes, an artist develops his own mixture and tools

for personal convenience and to get the desired effect of the artwork.

Conclusion:

Medium refers to the materials used by the artist to objectify his/her idea or concept. The technique applied by the artist in the medium is the profound influence in defining and identifying artist’s work, name and originality , it is where the control of medium is observed. In art making the artist not only studies the characteristics of a particular medium but developing a relationship that will define both, skill, passion and the work itself.

Mastering a medium takes time; it would not happen overnight, an artist can even learn this from a workshop or from a mentor. However, along the way, the artist meets possibilities in a thorough immersion to the medium and sometimes produces an accidental art.

An artist must choose a medium wherein an artist has control over it. Medium manipulation is physical and at the same time emotionally and psychologically exhausting. Handling medium is a balance between technical competence and aesthetics. Aside from the technical know- how an artists must bear in mind that aesthetic or creative approach towards the medium is relevant.

The more an artist spends time with the medium and also the tools, the more an artist

finds and develops technique in handling it. Somehow, the artists unconsciously develop a trademark in handling the medium then it becomes the style. So, it is only through immersion towards the medium that defines his mastery over it. And it concludes it is only through involvement, participation and action that an art emerged.

Review

If youe were an artist what art style/ medium would you use and what subject your

are going to explore. Explain Why?

Interview an artist. The guide below will help you formulate your questions.

1. Name2. Field3. Education/ Acquisition of Knowledge/ Trainings4. Artform5. Primary / Secondary Medium6. Materials / Tools/ Characteristics of Medium7. Studio setting/ Studio management8. Subject9. Subject Representation10. Subject Style11. Role of the Artists12. Struggles/Difficulty / problems encountered in art production13. Pricing / Funding / Commission Work

14. Concepts/Philosophy/ Basis/Influences15. Art Documentation/ Art Samples ( images, sound,text)

References

1. Introduction to Art Appreciation- A textbook in Humanities C& E Publishing Inc.

Mariano M. Ariola 2008 pg 6-7

2. Minding the Arts–Art Appreciation for College- Veronica E. Ramirez, Phd. Mairene A.

Leynes, MA Brenda V. Fajardo, PhD. 2008 Mutya Publishing Hosue pg 6-7

3. Art: perception and Appreciation Ortiz, Ma, Aurora/ Teresita E. Erestain/ Alice G.

Guillermo/ Myrna C, Montano, Santiago A. Pilar. PAPI 1976 pg 27-37

4. Black Film as a Signifying Practice. Cinema, Narration and the African-American

Aesthetic Tradition. Gladstone L. Yearwood Africa World Press, Inc. 2000 pg 124

5. Mary Mullen 1923 An approach to art Barnes foundation Pg 9-11

6. Art : perception and Appreciation. Ma. Oritz, T ersetain, A Guillermo, M. Montano, S A. Pilar. Publishers Association of the Philippines Inc 1976 pg 6

7. Art: perception and Appreciation Ortiz, Ma, Aurora/ Teresita E. Erestain/ Alice G.

Guillermo/ Myrna C, Montano, Santiago A. Pilar. PAPI 1976 Pg 18-24

8. Cultural Appropriation and the Arts James O. Young 2008 Blackwell Publishing

9. 2012. Addison Nicholas, Burgess, Lesley. Steers, John. Trowell, Jane. Understanding Art Education –Engaging reflexively with Practice by Routledge pg 7

10. 2007 , Thorne ,Kaye .Essential Creativity in the classroom Inspiring Kids by Routledge, pg 17

11. 1994 Philip T . Torres, Learning Excellence, Training System Associates, inc. p 9)

12. 2008 Mariano M. Ariola Introduction to Art Appreciation – A textbook in Humanities \\\C & E Publishing, Inc pg 5

13. 2006 ,Ward, Barbara .Teaching Children to Draw .Continuum International Publishing Group pg 1

14. 2007, Kaye Thorne Essential Creativity in the classroom Inspiring Kids. by Routledge pg 17, 18, 41

15. 1996 Fernandez , Doreen G. ,Palabas. Essays on Philippine Theater . Ateneo De manila University Press pg 30-153

Chapter 5: Artist and Artisan

5.1 The Artist

An artist is generally defined as art practitioner that produces or creates non-functional art such as

painter, sculptor, choreographer, dancer, writer, poet, etc.

While, artisans are craftsmen that produce functional art such as carpenters, carvers, plumbers,

blacksmith, weavers, embroiderers, etc.

Acquiring or learning skills in art is not just taught and learned in a formal school but acquired

informally.

You may learn to play the guitar not from a formal workshop but from the neighborhood. Yet, an artist

may learn not entirely from a schooled perspective but can be developed later in life through curiosity, hobby,

summer experiences. Sometimes, one could learn because it is a must for survival, out of urge to reach an

ambition or learning in art could be accidental.

Well, there would be a great advantage if an artist is a graduate of an art school because he/she would

learn different approach in terms of discipline, passion, technical know-how, marketing and managing

artworks and or an artist per se.

Artisans’ skills are also learned from formal or informal schools or through apprenticeship. Short term

courses are now offered to learn welding, carving, baking, sewing, and other technical-vocational trainings

that would develop artisans’ skills.

Though both artist and artisans manifest craftsmanship in their field; fields manipulate medium; both

applies technique in manipulating the medium; but they differ in terms of output.

Artist and artisan during the old days have no difference. But as society progressed, it created a gap

and identified their differences, such as the scope or the limitations of both, and the effect and the

contribution of their art in the society.

Furthermore, nowadays, the term artists are overtly used without deep explanation or definition. The

term was overused, overrated, exaggerated even taken advantage. It becomes a status, a profession, a hobby,

an escape or it becomes a way of life. But, there is one thing that widens and deepens the role of the artist in

the society; “when his/her works become a means to an end; if they could lift our imagination to another

level, if they open doors to an unknown world, if they tickle one’s imagination, these are proofs of the essence

of an artist’s works.

Each artist’s way of production is different. There’s no common formula in approach. An artist may

start to work any time of the day and end any time, too. An artist’s process of art making is somehow

mysterious, it is an interpolation of the mind, heart, and soul of the artist.

The artisan’s work ends unnoticed, but relevant and essential in our everyday lives. Indeed ironic, some

artists’ works are not too physical, yet mentally exhausting. While, artisans work may be physically exhausting

but not mentally draining. This is how we feel if an artwork are mass produced or even hand crafted but with

the same design. Usually, when an artwork is mass produced, the value of the object is affected,

“compartmentalized” and “monetarized”.

Henceforth, an artist can crossover artisan’s field but artisans cannot traverse with the artist’s territory.

When the artists appropriate an object or design for a certain purpose, they tend to encroach from the

objects produced by the artisans. When an artist tends to borrow the object and devaluate it from its basic

function to serve and to transform it into an object of representation of idea or concept, then an artist is trying

to intrude the artisan’s ground. For example, when a fork is used as a bracelet instead of using it as a kitchen

utensil, here, the artist is trying to cross towards artisan’s boundaries.

Another example is the “gap-nud” (drift wood). The drift-wood is not just a favorite medium for

landscaping, bonsai making, decorative, sculptures and installation arts but it becomes an art symbol.

Though, some sculptors transform driftwood into a totally new artwork, other art practitioners barely

touch or change its texture or shape but changing only its position of view, through detaching it from the sand

floor into a man-made pedestal. It may now re-create or give birth into a new idea.

Other art practitioners just use driftwood as a material or medium to enhance another art form, such

as “Bonsai or Landscaping”.

In bonsai making or landscaping, most sculptors are challenged to articulate their skill or craft.

One particular practice that devaluates the beauty of driftwood is when one would use directly either

enamel paint or varnish to enhance its beauty than just to retain its rawness in texture and physical property

by using sand paper and wood stain to enhance its color. Though, we don’t have any statistical data to support

such but based on observation, this is where an artisan and artists differ. The artisans’ approach will end its

exploration up to the surface while artists’ works go beyond the “skin, bone and soul”

These styles of artisans and artists are called stagnated perception and organic perception. Stagnated

perception is a coined term that refers to stagnant reaction such as decorative. While organic perception is

dynamic, developing and evolving.

For instance, in indigenous arts, the musician of the tribe is the one who designs, produce and play his

instrument. While, in the western perspective, musician utilizes an instrument done by a craftsman

Conclusion:

Artist and Artisans is one of the pillars of our society. We need artists/ artisans as much as we need

other professions. Artists/ Artisans served our civilization for a long time from our basic functional needs up to

the decorative/fine arts. Unknown or known they are all the time from our youth of festivity and the

celebration of our maturity. A painter or a carpenter was there once upon a time to make our space cozy, cool

and comfortable. They have provided us with a comfortable chair to be able to dream, study and aspire; they

have provided us with music and literature to escape from reality. The world is made by pool of designers. The

comfort, the style, the advancement, the finesse, the joy in dreaming, eating, touching, they are there

Claiming to be an artist is not a problem but claiming it without artworks contradicts to the action

experience by the artist. An artist or an artisan, both requires skills and technical competence. It is not an easy

responsibility; they provide us with new image and sound of our time, to reflect our existence. It is the

artists/artisans continue to create art to serve the society in any form.

Review:

10. When can we say that a person is an artist?

11. How do we know that an artist attained a level of maturity in terms of art making?

12. How is artist defined in rural and urban community, in school, organization, among indigenous people,

in a Moro perspective, in business and politics?

13. When can an artist be demoted from the pedestal of being an artist?

14. Is an artist the same with an artisan?

15. Is it possible for an artist to become an artisan? How about the other way around?

16. Who will determine the becoming of the artist? The artist or the artwork?

17. Which comes first, the artist or the artwork?

18. Which is more important, the artist or the artwork?

5. 2 Imagination

Imagination is for free. Everyone on earth utilizes imagination; every second and every minute we pause, we

think, we imagine.

The abundance of imagination doesn’t mean art production. A person can be imaginative but not productive,

but a person who is productive reflects application of his/her imagination. Productivity may not equal to quality because

some imagination may be lucrative but not honest and sincere enough.

While human beings are unique and no two individuals are exactly the same, imagination, too, differ from one

person to another. Imagination of people in a third world country is not the same with those who are in the West and

neighboring Asian Countries. Imagination is affected by many factors such as belief, education, media, technology,

politics, land conversion, mining, militarization, development and consumerism. The factors mentioned may possibly

shape, sharpen, distort, or even corrode one’s way of thinking and looking at things, so thus imagination. The direct

exposure of the artist to his/her environment will eventually affect the way the artist look upon its subject and the story

of his/her own work.

The extent of imagination the artists spent in the artwork before is different with that of today. Before, the

artists have all the time to reflect, imagine and discern. Now, some artists’ artworks are rationalized and formed with

the help of the technology because of the convenience that technology offers. Hence, artists’ artwork making will be

faster, systematic and scientific.

Some art attempts are dictates from an imaginative person but lack the ability to interpret into form. Some arts

are poorly motivated by imagination which would need more depth in meaning and concept.

Furthermore, imagination relates with memory. According to Egan (1992) “the imagination is limited to working

with what exists in the memory”. This concept was supported by Sartre as cited in Egan (1992), “we cannot get

information from imaginative activity but the richness, variedness, unusualness, and effectiveness of our imaginative

activity will turn significant degree on how much it has to compose or construct with.” When we expose ourselves to the

unusual, we will trigger a certain part of our curiosity and interest.

Imagination is generally defined as the ability to form thoughts, concepts, ideas and images in the mind, an act

of creating something out of a scratch.

According to Mullen (1923, pg 9-11) there are five (5) kinds of imagination;

- The actual and imaginative lives refer to imagination application in solving everyday life problems or chores. We

solve simple problems by using our imagination. It applies in case of emergencies, how one reacts and solves the

problem under pressure.

- Imagination and intellectual has something to do with reading books; you are sitting and reading but your

imagination is traveling.

- Imagination and physical refers to art making that are based on imagination but based on the real experience.

When an individual tend to draw real thing but are based not on actual moment but through his/her

imagination.

- Imagination and Day-dreaming refers to idle day-dreaming; refers to individual who spend time wasting

imagining.

- Creative imagination refers to an active and constant contact with the practical world; it will make life fuller,

richer and deeper; the individual here applies the said idea.

Conclusion:

Imagination is considered as soul. Imagination is substance and relevance. It is a gift that defines us to be

unique and different. Our imaginations differ from one another. Having the skill in art making is not enough. Skill

should go together with imagination to produce a significant, sound, and effective work of art.

Imagination is essential to us because it will enhance our capacity to think, feel and sense the world around us.

Review: 3. Meditative reflection- refers to the ability of the creator to situate self in order, at peace, in one piece, willing to

listen, willing to submit and immerse, willing to understand and accept new concepts, reminding one self towards the limitations of anything

- breathing exercises and tensing- refers to basic proper way of breathing and warming-up - imaginative organizing- refers to the ability of organizing things through mind -

4. Illustrative Journaling- refers to journaling or documenting ideas and concepts in any form such as drawing, sketches, text, poem, stories, catalogue of words, etc. In journaling, specific details such as time, date, characters, persons, and references should be included.

- Start with what interests you or with what you hate most-- Time and document your actions with the use of a stop watch (How much time you spend in walking

form home to school, taking a bath, etc. Documenting time would help one organize and manage time in any art production)

- Documenting methodology would help one organize ones’ mind and idea and it would be easy for you to present and share concepts to others; even with the absence of the artist

- You may use stick figures in landscape format- Apply stick figures with a closer look to be more detailed - apply mass, volume and weight by shading

the heavy parts of the drawing- Document names of stores and classifying it later- Craft directions on how to provide directions to other people.- Write poems using this technique “noun, 3 adjectives, action word, prepositional phrase and sound

word”- Document local punch lines- for instance, the conversations you’ve heard from any travels that allow

you to associate this word to an experience or locality- Note down imagination- Write your thoughts about your dreams and fantasies- Write what you observe about the environment and the people around- Write about your comments about the news you’ve heard everyday ( politics, - Note details about your sufferings, problems and survival

- Write a story

5.3 Appropriation

Owning Narratives

An artist is a storyteller, sometimes visionaries. An artist is a documentator of time, a witness.

What made an artwork relevant and essential is not just the skill and dexterity of the artist but the

ability of presenting message clearly. The artwork is the extension of the artist’s political perspective,

ideological biases, and beliefs. The art then becomes the means of expression – a concrete form of expression

and this expression is translated through an art symbol which will eventually becomes a language that carries

a message, a story, a signification, and a narrative. Hence, this attempt of narration is called storytelling.

According Bordwel and Thompson (1997) as cited by Yearwood ( 2000, 124) that “narrative is a

fundamental way through which humans make sense of the world”. He further states that, “Narration is a

form of communication intricately related to a culture’s mythic consciousness. It is part of the basic human

need for self-expression and creativity, and it is integral to the poetic impulse represented in culture’s

founding myths “(Yearwood 2000 ,124).

Therefore, narrative is a concrete signification of basic everyday life stories and the recall of these

stories becomes a model of behavior, attitude and character. A narrative is the foundation of human beings’

relationships with each other – the way we deal with people, the way we care nature, and the way we relate

to God.

Narratives would affect an individual or a collective behavior. It will guide people to a certain journey

of seeking, knowing and owning. It can also be relayed through exaggeration. As what we, human beings,

always do, we embellish things. We are creating a new form of myth or a story. This story can be a potent

source of truth, but sometimes turns in between truth and lie.

According to Yearwood (2000,,124) “narration is a cultural system that elaborates basic social values

and provides social legitimacy for a culture’s belief and world view.” So, in art making, artworks can be the

medium to infuse good values and good stories to be modeled. Yearwood further states that “stories of origin

seek to explain who we are, where we came from and our purpose in life.”

Basically, narration or story, legend or myth, are there to be utilized as vehicle of our everyday

narratives because we, ourselves, in the journey of the character of the story, or our lives per se is a journey

that seeks a character of identity and originality.

So, even when stories or works are borrowed but it is offered and shared to the public, it is now then

open for ownership as it would appropriate the identity of the reader or artist. The artist would somehow

emulate this good story and becomes part of the journey of re-creating stories to appropriate with the time

he/she lives in.

So, this unending narration of stories of the artist and symbol making is a continuous process. One way

or the other, if one is inspired of a certain work, an artist emulates, internalizes, characterizes and then get a

part of the story that can be associated to himself/herself, then, the birth of a new art ensues.

This appropriating, borrowing and owning done by artists or anybody are confusing in the road, so we

suggests that practicing artists must consider knowing acts of appropriation legally or unconsciously; Young

(2008) posits Five(5) acts of Cultural Appropriation.

6. Object Appropriation- occurs when the possession of a tangible work of art is transferred from

members of one culture to members of another culture.

7. Content –occurs when an artist reuse an idea first expressed in the work of an artist from another

culture.

8. Style – when an artists produce works with stylistic elements in common with the works of another

culture.

9. Motif Appropriation- it occurs when artists are influenced by the art of a culture other than their own

without creating works in the same style. Basic forms are appropriated.

10. Subject Appropriation- occurs when outsiders represent a subject matter that is intended by insiders to

be secret.

Conclusion:

Appropriating is acknowledging. If an artist learns to acknowledge source, the more an artist develops honesty and sincerity and the more he/she knows his/her boundaries and limitations. In appropriation, artists or even audiences develops respect and instill valuing of a certain thing.

Sometimes, appropriation is looked upon as helpful and at the same time deceitful, because in the borrowing, the meaning changes. Sometimes, the physical image also changes that will eventually affect visual understanding and appreciation. Appropriation sometimes becomes stealing and bastardizing a sacred symbol or object, such as tribal designs or religious objects.

For instance, a collection of various Buddha expressions was exhibited in a museum. But when the audiences entered, they took off their shoes and slippers and started to pray. The artifacts are exhibited for another purpose, probably as historical objects, yet audiences interpreted the exhibit differently.

So, an artist must be careful in utilizing symbols and make sure they are properly used in an artwork. Sometimes, being too radical and harsh won’t help in advancing society. Hence, become the end of the exploration or definitely a birth of a new concept. The appropriation should be done to correct perspective and or to comment on the practice or understanding.

Appropriating is also modeling. Studying models is relevant in art making to develop the skill of he artist in research and the way the artist rationalizes and utilizes the symbol in his/her artwork.

Review:Look for an artwork that utilizes appropriation. Analyze or identify differences from the original work

and the new work.

5.4 Art Making

Art making can be associated with art exploration, concept development, experimentation, and art production. In art making, the artist undergoes three stages of experience which are popularly known as pre-production or subject development, production or medium manipulation and post-production or exhibition. Art expressions such as painting, sculpture, dance, drama, music, etc vary in approaches in terms of subject interpretation and medium used. Hence, target audience, size and scope of the work, time frame, budget, availability of materials are considered.

In theatre or performing arts, pre- production involves the following: conceptualization of the theme, writing the script, making auditions for cast selection, casting or assigning of roles and workshops. The following should also be considered during the practice: spacing, staging, lights, music. Set rehearsals and press releases should also be given priority during pre-production phase to ensure quality of performance and to reach all potential target audience.

Production refers to the proper presentation of performing arts. When more than one production is set, directors must observe and evaluate the production to improve the performance of the casts in the next set. Acknowledging the sponsors and people involved in the production is also vital.

In post-production, evaluation, critiquing, success press release, sending thank you messages & letters are done. Accepting schedules for possible re-staging can also be accomodated.

Performing or combined arts such as dance, theater and film are collaborative in nature. These art forms need various skills and expertise to run a show or project. In particular, choreographer, lights director, costume designer, production manager, finance officer, logistics, tickets in charge, etc. are needed to make a production.

Art making can be done collaboratively or individually. Basically, painters, sculptors, writers and poets work alone just like carpenters, carvers, etc. However, if they are involved in a bulk and big projects, they need a hand from other artists or artisans.

Since most artisans’ outputs are generally for commercial use, they follow a standard time frame of work from eight (8:00) a.m. to five (5) p.m. with two (2) breaks for snacks in the morning and in the afternoon. However, most artists work with open time which primarily dependent upon artists’ mood and drive to create an artwork. Sometimes they sacrifice not to take break just to sustain the fluidity of ideas and to hold the momentum. For them, art process is a ritual of accommodating overflowing ideas that are accessible in the imagination. An artist’s approach is so special that skills is not the only thing offered but everything - emotion, effort and resources even without expecting any return of investment.

Concept development is sometimes interactive and consultative. Some artists collaborate with other artists, especially when the project is huge enough for an artist to handle alone. This is called pro-active interaction. In this case, the hired artist follows the dictates of the one contracting the project. For example, if the painter is commissioned to do big backdrops or murals and given only few weeks to get the work done, he/she has no other way but to hire artists to work with him/her.

On the otherhand, when an artist does the concept development alone and would hire artists or artisans to actually develop, manipulate and execute the concept, this is called a passive interaction. Here, the

hired artists and artisans have to strictly adhere with the ideas and thoughts of the one who developed the art concepts.

In poetry and writing, it is usually an individual approach. An artist explores, manages, and manipulates language and expression alone. The writing process usually starts with subject or theme identification, followed by writing proper, then proof reading /editing before finally publishing a work. When poetry or a literary piece is utilized for a performance art, some poets are sensitive enough that they want a careful and appropriate interpretation of their work. Sometimes, they tend to be involved in the production to guard the right interpretation of their work.

In music, performance can be individual or collaborative. Musicians start either with the lyrics or music, or vice-versa. Some musicians can write through musical notations wherein sounds are formed with their minds, but some have to play the instruments literally to hear the sound produced and then organize the notes or chords to come up with a composition.

Composing is too technical. Some musicians are comfortable to start with composing the lyrics, and then appropriate the music while others start with the organization of music, rhythm and beat before actually appropriating words and lyrics to go and synchronize with the music.

Something mysterious emerges during art making. As the artist starts to conceptualize or manipulate the medium, they are like shamans and hermits, they detach themselves from the real world, creating a world of their own, sulking in their studios. They hibernate till they finish work. They tend to create a distance and gap from their own world to the real world. They shut all destructions and meet the divine, the sacred, and the remote primal soul. Sometimes, it’s so difficult to describe, but the artist tend to leave the self and journeys somewhere, looking for the right verb, the right note, the right gesture , the right & appropriate for any description. In the later part of birthing ideas, there comes the ceasing and the artist is done. The artist is back in reality, becoming an audience of his/her own work.

Why are most artists like shaman? Why do they hibernate? Why not do the art making in public?In a way that artists detached from their ordinary routine. Somehow, art making needs concentration

and focus, they need not to be disturbed. Well, just like any profession, they need private time for concept development, they need to interact and collaborate with other individuals, and artist finds space of their own. An artist needs a working space a formal space, an alternative space or even virtual space to be able to work properly. This is not to create a gap between audiences and artists, not to create stereotyping that artist is different and weird, but an artist is just like an ordinary human being, they have mood swings, they have temperament, they are too sensitive, insecurities, fixations and. weaknesses.

Thus, artists assert because of their role of providing images and sound with commentaries of the time and place they live in.

Well, art making can be as public, but during the making of the art, the artist possibly meets the supernatural being, the divine, he/she transcends to meet the child in him/her. It is the recreation or the creation of a new life, a symbol, a hope, a story wherein the human beings await a new experience and a new exploration of language, advancing the civilization through its wonders. Imagination is too vast that what an artist can do is only a speck from the wide range of our imagination.

How do artists differ from artisans? Both undergo the “tedious process of art making”. Both handle instruments and tools with respect. However, artisans stay up to the basic function of things; they don’t go beyond behind the surface of the object. Though nobody can argue with the meticulous skill of the carpenter, carver, weaver, but their work also allows us to travel somewhere else. Further, the artists go beyond the awe

and amazement in handling and manipulating media or tools. Artists undergo the dirty process of art making, befriending medium, stretching its limits, experimenting new media, taking risks that await the later part. They wonder not just from the edge to edge of the canvas, they go beyond into the realms of imagination allowing us the audience to see things differently, creating a new spectacular world.

The artisan would never leave reality, but artists world allow us to go beyond this real world. An artist’s work is a leap of imagination.

5.5 Medium

Medium refers to the material used by the artist. It is the thing that objectifies an idea. Without the medium,

an idea remains a concept or it would just reside in the walls of your imagination. It is challenging to

manipulate medium and transform it from its raw state. The different media that are sold in the market, such

us paint, metal, etc. would remain raw, unless the artists manipulate and transform them into something else

- an image, a metaphor, a representation, a masterpiece.

Manipulation of Medium requires a technique. Technique refers to the artist’s ability and knowledge or

technical know-how in manipulating the medium. Making an artwork requires technical competence. The

ability to manipulate is the driving force in the birthing a new form or idea. The artist has to undergo a certain

moment of reflection and understanding of the chemistry and physical properties of the object until he/she

finds her/himself commune with the medium. Manipulating a medium is somehow a trial and error. It

requires patience, resourcefulness, thrift and industry.

In literature, aside from the writer’s medium which is words, the basic tools are also needed such as pen and

paper or a small notebook for cataloguing of words, journaling of brief moments, and recording punch lines

and metaphors. Writers should have the belly for developing a plot, should have the ability to play with words,

enough bag of vocabularies, and knowledge towards do’s and don’ts in writing.

The poet’s medium is also words but poets employ different approaches in manipulating words. A poet

should have the ability in creating metaphors or figures of speech, the ability to present clear ideas with the

use of appropriate words.

A painter’s medium is a pigment in oil or water color. Aside from this key medium, a painter should know how

to draw, compose, organize subject, mix colors, capture and produce good images. It is important that the

painter knows the characteristics of a medium. For example, an oil paint must be mixed with a linseed oil for

better manipulation and toning. In water color, a paper should be used and must be acid free for better

absorption and preservation.

A sculptor, on the otherhand, uses wood, metal, plastic, clay, cement, and paper to produce a sculpture. Each

medium has its own characteristics that a sculptor should understand. He must consider durability and

stability of base and the structure itself. A sculpture can be approached through subtractive and additive

technique. In subtractive, it is taking away unnecessary parts from the medium while in additive, it is adding

or incorporating parts with the medium. For instance, in wood, glass, ice, and marble sculpting, taking away

the negative spaces/parts would result to the desired form or subject. Adding or incorporating part to the

metal or cement to form the desired subject or form is additive. However, there are media that can be both

subtractive and additive. For example, clay can be mould and carved out while it is still soft. You can also

add/integrate a part to form the desired subject.

An architect needs basic drawing materials and special tools to come up with meticulous designs in a blue

print. An architect should acquire a technical know-how in making and appropriating designs on various

geographical locations. Aside from aesthetic knowledge, an architect should be knowledgeable also in

landscaping, interior designing and structural building.

A musician is not only bound to organize notes and manipulate instruments but should also learn how to play,

tune, and take good care of the musical instruments. There are two kinds of musicians. There are those who

can compose and arrange musical notations while others could just play instruments based on chords and

sounds through improvisation.

A performance artist, usually visual artists utilize a fusion of sound, image, object, body movement and

technology to produce a live performance.

Nevertheless, there is no easy play of medium. Either an artist or an artisan requires technical competence

and they all undergo a process to master their craft. There is no short cut; it is always a journey and an

adventure. Sometimes, an artist develops his own mixture and tools for personal convenience and to get the

desired effect of the artwork.

Conclusion:

Medium refers to the materials used by the artist to objectify his/her idea or concept. Medium is one of the important objects that define an artists name, identity and originality. In art making the artist not only studies the characteristics of a particular medium but developing a relationship that will define both, skill, passion and the work itself. Mastering a medium takes time; it would not happen overnight, an artist can even learn this from a workshop or from a mentor. However, along the way, the artist meets possibilities in a thorough immersion to the medium and sometimes produces an accidental art.

An artist must choose a medium wherein an artist has control over it. Medium manipulation is physical and at the same time emotionally and psychologically exhausting. Handling medium is a balance between technical competence and aesthetics. Aside from the technical know- how an artists must bear in mind that aesthetic or creative approach towards the medium is relevant.

The more an artist spends time with the medium and also the tools, the more an artist finds and

develops technique in handling it. Somehow, the artists unconsciously develop a trademark in handling the medium then it becomes the style. So, it is only through immersion towards the medium that defines his mastery over it. And it concludes it is only through involvement, participation and action that an art emerged.

Review

Interview an artist. The guide below will help you formulate your questions.

1. Name2. Field3. Education/ Acquisition of Knowledge/ Trainings4. Artform5. Primary / Secondary Medium6. Materials / Tools/ Characteristics of Medium7. Studio setting/ Studio management8. Subject9. Subject Representation10. Subject Style11. Role of the Artists12. Struggles/Difficulty / problems encountered in art production13. Pricing / Funding / Commission Work14. Concepts/Philosophy/ Basis/Influences15. Art Documentation/ Art Samples ( images, sound,text)

References

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