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Different Contemporary

Art Techniques &


Performance Practices
CONTENT
1. Local materials used
as applied to
contemporary art.
2. Traditional techniques
applied to
contemporary
creation.
Learning Competencies
10. Researches on techniques & performance practices
applied to contemporary arts
11. Identifies local materials used in creating art
12. Critiques available materials & appropriate
techniques.
13. Justifies the use of materials & the application of
techniques.
A penny for your thought?

Contemporary art differs from modern and


traditional art, thus it is relevant to ask if
different methods should be used for teaching.
For example, which should be the guiding
methodological principles? Which methods
are effective and coherent for teaching and
learning different practices of contemporary
art?
just a glimpse of

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

Social – current social &


political topics are dealt
with, often from critical
perspective

Leslie de Chavez,
"Dubious Integrity",
Mixed Media, 2002
Expressive – both content
& form is meaningful &
communicative
‘Mabining
Mandirigma’
libretto by
Dr. Nicanor G.
Tiongson, music by
Joed Balsamo,
choreography by
Denisa Reyes, set
design by Toym
Imao, direction by
Chris Millado

Popular culture - issues and


aspects of popular culture are
dealt with, either by
conceptualizing or criticizing;
Poetic - content or form is
poetic in nature;

Ronald Ventura,
'Blind Child'
2011

Biographical - means of expression


can be social, poetical or
expressive;
Documentary - approach
is documentary or holds
elements of research;

‘Opera’ : Sculpture in
Dance
Ballet Philippines
2016

Sense related - total art work,


installations which are often
interactive and affect different
senses.
just a glimpse of
Contemporary Art
Education
Interdisciplinarity - combining or involving
two or more academic disciplines or fields
of study into one activity.
(Hardy, 2006; Page et al, 2006; Parsons, 2004;
Zupancic, 2005)

Arts in Development

Interaction and Engagement


(Illeris, 2005; Page et al, 2006; Parsons, 2004)
Interpretation
(Atkinson, 2002; Charman & Ross, 2006; Emery, 2006;
Zupancic, 2005)

Sipat Lawin Ensemble

Synthesis of new media


(Atkinson, 2002; Illeris, 2005)
How can we attain
the content ?
1. Local materials used as
applied to contemporary art.
2. Traditional techniques applied
to contemporary creation.
Local Materials in the Philippines
Materials Products
Abaca belongs to Banana family. slippers, ropes,
Its fiber has a natural luster with twine, hammock,
colors ranging from pure white to frame, display jar,
ivory and dark brown. jars, Chelsea
chair 
Bakbak is the outermost mat, bangkuay
covering or leaf sheath of the bin, boxes, bin,
abaca stalk. It is a flat thick display, jar,
durable sheath as twine or Cecilia dining
braided. The strong brown fiber table, and arm
used to make furniture. chair
Local Materials in the Philippines
Materials Product
Bamboo is used a raw material kubing, bungkaka,
in creating many products. It is tongatong,
used in construction, textile, angklung,
musical instruments, weapons, pateteg, gabbang,
and many more.
Buntal is a cylindrically bags, shoes,desk
accessories like pen
shaped fibers. The supple holder, picture
ivory white strands are quite frames, file trays,
durable, pliable, and have wallets, place mats,
braide, lampshades,
good dyeing qualities. window blinds
Local Materials in the Philippines
Materials Product
Buri is extracted from the hats, bags, baskets,
memorabilia boxes,
matured leaves of the buri perfume tray, &
palm. The fiber is durable other woven
and resistant to moisture. products

Coir is the fibrous material indoor or outdoor


fiber carpets, wall
surrounding the fruit of the covering, doormat,
coconut tree. trellises, and geo
textiles
Local Materials in the Philippines
Materials Product
Nito is a plant belonging to bags, bread tray,
the fern family that grows lampshade and
abundantly in the hinterlands decorative jar
of Mindanao.
Pandan is a tropical plant. baskets, hats,
It is processed and transformed picture frames
into splints that are being used and bags
as raw material.
Local Materials in the Philippines
Materials Product
Raffia is a fiber extracted from hats, placemats,
unopened buri leaf in 3 stages. It folder, shoes,
slippers, boxes,
is loom woven into fabrics or
portfolio and ladies
used as wall coverings, bags, placemats,
upholstery material, folding doors circular, boxes,
and window hangings. document boxes.
Rattan belongs to the palm baskets, picture frames,
furniture and other
family. There are different types novelty items, Zoya
of rattan palms, such as high or lounge chair,
Valencia queen size
low climbers, single stemmed or bed, Rest divan.
clustered rattan species.
Local Materials in the Philippines
Materials Product
Tikiw is a large, erect, and baskets, hampers
aquatic or marshy herb plant. It is with lids, bags, rugs,
carpets, placemats,
found in central Luzon to
jar, and other
Mindanao . It aboundis in fresh decorative items.
water swaps, and in newly
opened rice land at low altitudes.
Tikog belongs to sea grasses. It bags, decorative
is a native reed plant used as a mats, hampers,
newspaper racks,
raw material for mat weaving.
table mat, waste bin,
tower candle holder,
wall décor.
Let’s think about it!

What are the other


materials that are
abundant in the
regions?
Techniques
• Mixed media is a term used to describe
artworks composed from a combination of
different media or materials. A work on
canvas that combines paint, ink,
and collage could properly be called a
"mixed media" work.
• New media art is a 21st Century catchall
term used to define all that is related to the
internet and the interplay between
technology, images and sound.
Ballet Philippines' Opera
https://www.youtube.com/watch?v=S4sFtPEp2lQ

The Cheshire Cat- Interactive Projection Dance


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

Tanghalang Pilipino (Mabining Mandirigma)


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

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


https://www.youtube.com/watch?v=AIehsaH_rYk
Improvisation
Improvisation in theater is the playing of
dramatic scenes without written dialogue &
with minimal or no predetermined dramatic
activity.
Most or all of what is performed is created at
the moment it is performed. In its purest
form, the dialogue, action, story, and
characters are created collaboratively by the
players as the improvisation unfolds in
present time, without use of an already
prepared, written script.
An important goal of improvisation is to enable the
individual to develop spontaneity which is
necessary in creating the illusion of reality.
The improvisation teacher must expose students
to the theatrical environment through various
games rather than lectures.

Forms of Improvisation
1. Shortform – short scenes constructed from
predetermined game.
2. Longform – scenes related by story or
character
Creative Drama
• It is an improvisational, non-exhibitional,
process centered form of drama in which
participants are guided by a leader to imagine,
enact, and reflect upon human experiences.
• This process allows students to actively explore
a subject or question through imaginative play
that is facilitated by a leader and may involve a
variety of improvisational activities.
• These activities are not scripted or memorized,
and they allow students to synthesize various
educational concepts into a personally
meaningful form.
Improvisation Games
1.Spontaneous Response
Games
2.Spontaneous Movement
3.Creative Movement
4.Interactive Storytelling
Che che gule
Che cupiza
Cupiza langga
Langga te langga
Kumbalele
Aki-taki-umba
Hi-diddle-hi-diddle-hi-diddle-ho
Aki-taki-umba
References:

Atkinson, D. (2002). Art in Education: Identity and Practice. Dordrecht,


Boston, London: Kluwer Academic publishers.
Charman, H., Ross, M. (2006). Contemporary Art and the Role of
Interpretation: Reflections from Tate Modern’s Summer Institute for
Teachers. International Journal of Art Design Education, 1, 28 - 41.
Conti, G., Kolody, R. (1998). Guidelines for Selecting Methods and
Techniques. In. Adult Learning Methods: A Guide for Effective
Instruction. M.W. Galbraith (Ed.). Malabar, Florida: Krieger
publishing Company, 73 - 89.
Danto, A.C. (1992). Beyond the Brillo Box: The Visual Arts in Post-
historical Perspective. New York: The Noonday Press: Farrar ,
Straus, Giroux.
Danto, A.C. (1995). After the End of Art: contemporary art and the pale
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A., Freedman, K., Stuhr, P. (1996). Postmodern Art Education: An Approach to
Curriculum. Virginia: The National Art Education Association.
Emery, L. (2006). Censorship in Contemporary Art Education. In. Art education in a
Postmodern World: Collected Essays.T.Hardy. (Ed.). Bristol: Intellect Ltd. 33 - 44.
Gardner, H. (1995). Reflections on multiple intelligences. Phi Delta Kappan, 77(3), 200.
Hardy, Tom (2006). Introduction: Nailing Jelly: Art Education in a Postmodern World.
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Intellect Ltd.
Illeris, H. (2005). Young People and Contemporary Art. International Journal of Art
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Kidron, A. (1999). 122 õpetamistarkust. Tallinn: Andras & Mondo.
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