FINALS

Question 1

a cliché resounding the idea that the home is where the heart and soul live

Answer 1

“There is no place like home”

Question 2

the immaterial essence or animating principle of an individual life; a person’s total self; or even the cultural consciousness and pride of a person.

Answer 2

Soul

Question 3

refer to an area; a distance from other people or things that a person needs in order to remain comfortable; an opportunity for privacy or time to oneself.

Answer 3

Space

Question 4

forms of shelters/communities and their corresponding features

Answer 4

DWELLING FORMS

Question 5

DWELLING FORMS

the ancestral house and the royal residence of the upper-class Maranao. It is the traditional residence of the reigning sultan of the Maranao people and his family.

dwelling place of the datu along with his wives and children.

• is commonly found in Marawi City and other areas in Lanao del Sur province.
• signifies rank, prestige and wealth.
• The existing torogans were built by the community and slaves for the datu in 1800s.
• where the community traditionally gathers for wedding, thanksgiving rites, enthronement, and vigils for the dead

Answer 5

Torogan

Question 6

DWELLING FORMS

Native House is said to be the “first pre-fabricated house in the world,” according to renowned anthropologist Otley Beyer. It has been subject of many scholarly articles as it is considered to be one of the most ingenious and nearly perfect architectural constructs made by man.

traditional windowless house built without nails.

• It was made from amuwagan trees and was built with four posts buried 50 centimeters below the ground
• Its triangular roof protects the dwellers from the elements and weather.

Answer 6

Ifugao Bale

Question 7

DWELLING FORMS

native house of the Philippines, and considered as the national shelter, a cultural heritage, and one of the most illustrative and recognized icons. Also known as nipa hut, this architecture can still be found along the countryside

cubic in shape

Pre-Hispanic architecture was constructed to perfectly adapt on the tropical climate and made of indigenous and organic materials like bamboo or kawayan and banded together by tree strings with dried coconut leaves or cogon grass.

Answer 7

Bahay Kubo

Its name is actually based on Spanish word “Cubo” meaning cube because of its rectangular and cubic shape, and “Bahay” a Filipino word for house

Question 8

DWELLING FORMS

a type of building originating during the Philippines’ Spanish Colonial Period.

Traditional rooms include the caida (receiving area), sala mayor (main living room), comedor (dining room), oratorio (prayer room), curators (bedrooms), cocina (kitchen), and azotea (open balcony)

Answer 8

Bahay na Bato

Question 9

DWELLING FORMS

Filipinos also love to settle in villages and tend to utilize the empty spaces around the area. Inclined to variety, they like to put gardens, entertainment areas, garages, and parks on vacant lots around the houses.

Answer 9

Gated Community

Question 10

DWELLING FORMS

serve as extensions for Filipinos’ tendency to fill out space. They function not just for pedestrian or vehicular means but as areas for socialization, dining, cooking, business and celebrations.

Answer 10

Filipino Streets

Question 11

DWELLING FORMS

Daily interactions happen in and outside ________. The idea of spacelessness is manifested in its structural design.

Answer 11

Sari-Sari Store Concept

Question 12

Other Indigenous Houses

means man of the seas, this tribal group is known as the Sea Gypsies because they move with the wind and the tide on their small houseboats called vintas, they can be found in many coastal settlements and inhabit the waters and shores of the Sulu archipelago.

These range from 12-60 feet long but not more than 6 feet wide.

Answer 12

Badjao Houseboat

Question 13

Other Indigenous Houses

In the hinterlands of Agusan and Misamis Oriental, the Higaonon build their________ of lashed sapling nipa or cogon grass, split bamboo, rattan and bark of trees. The low roof, at times also serve as walls.

60 people and are traditionally defenses against enemy attacks.

Wobbling catwalks connect the smaller houses of about 6 feet by 8 feet wide to a central communal room where a square box of earth serves as fireplace and a kitchen.

Answer 13

The Higaonon Tree House

Question 14

Other Indigenous Houses

made primarily of lime, stone, wood and thatch. It commonly consists of two structures, the house proper and the kitchen or storage area. The main house has the larger area and is usually made of lime, stone, wood and thatch.

Compared to bahaykubo and bahaynabato, it’s significantly lower ceiling

Answer 14

Ivatan House

Question 15

Other Indigenous Houses

wholly made of carefully selected bamboo flattened into slats and held together by horizontal bamboo strips or a rattan. Traditionally, its elevated floor line served as one of the safety measures against attacks of other ethnic groups in the periphery of Davao Oriental.

warring conditions made the bagani or warrior class a high and most coveted social ranking.

Answer 15

Mandaya House

Question 16

refers to a sense of harmonious and most appealing proportion and balance.

things are right and in order

It is a balanced that is achieved by the arrangement of elements on both side of the center, in other words, the image would look identical on either side, formed through horizontal or vertical division

Answer 16

Symmetry Art

Question 17

an exclusive artistic cultural heritage of the Maranaos of Lanao, Philippines. a design or pattern often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric figures. It is an art depicting the indigenious originality and skill of the Maranaos

is as an artistic design of the Maranao native inhabitants of southern Philippines beginning from the early 6th Century C.E. before the Islamization of the area.

Answer 17

Okir

Question 18

Different Okir patterns which are used by the Maranao artists.

Answer 18

1. Matilak (circle)
2. Poyok (bud)
3. Dapal (leaf)
4. Pako (fern or spiral form)
5. Todi (fern leaf with spiral at upper edge
6. Pakolungat (fern leaf with a cut at one edge)

Other Elements:
Naga, obid-obidbinotoon, kianoko, pakonai and tialitali.

Question 19

spontaneous, unplanned or otherwise free-ranging creativity

Answer 19

improvisation

Question 20

It is the process of creating new ideas or a new interpretation of an existing art

Answer 20

Improvisation of Art Forms

Question 21

Colloquial terms used to describe “improvisation.”

Answer 21

1. “let’s play it by the ear”
2. “take it as it comes”
3. “make it up as we go along”

Question 22

It is a form of improvised dancing that has been developing internationally since 1972. It involves the exploration of one’s body in relationship to others by using the fundamentals of sharing weight, touch, and movement awareness.

originated from the movement studies of Steve Paxton in the 1970s

Answer 22

Contact –Body Improvisation

Question 23

5 Rhythms in Contact Body Improvisation by Gabrielle Roth in the late 1970s

Answer 23

1. Flowing
2. Staccato
3. Chaos
4. Lyrical
5. Stillness

Question 24

5 Rhythms in Contact Body Improvisation

physically practice the art of being fluid in our bodies. It is the pipeline to our inner truth, the impulse to follow the ____ of one’s own energy ; to be true to oneself – listening and attending to our needs, receptive to our inner and outer worlds.

Men and women that embody the Rhythm of ____ are supple, flexible, surrendered and trust their feet to lead them where they are meant to go.

Answer 24

Flowing

Question 25

5 Rhythms in Contact Body Improvisation

physically practice the power of masculine energy. It is percussive and strong and promotes connection with the rest of the world. It is the gateway to the heart. It shows us how to step out into the world connected to our feet and our feelings.

the fierce teacher of boundaries

a man or woman fully embodied in the Rhythm of ____ is defined, clear, connected and not fearful of the transparent expression of their heart. Whether dancing ____ alone, in partnership or in groups – it is always a powerful experience.

Answer 25

Staccato

the protector and ambassador of our fluid being

Question 26

5 Rhythms in Contact Body Improvisation

physically practice the art of fully releasing our bodies – we let go of the head, spine, hips and feet and move faster than we can think. It breaks us free of our illusions and throws us headfirst into the beat. It takes us on the journey from “ I can’t” to “I will”.

is the gateway to the big mind

the practice of going into the unknown, not fearing what’s on the other side. Visually we look like a big, hot, giant, sweaty mess over flowing with cathartic energy. This is our big dance, our break out dance, our break through dance.

Answer 26

Chaos

Question 27

5 Rhythms in Contact Body Improvisation

practice the art of coming out of Chaos. It is the physical, energetic, emotional and spiritual dancing rebirth. The practice of it teaches us how to break out of destructive patterns and surrender into the depths of the fluid, creative repetitions of our soulful self, bubbling up from the deepest parts of ourselves, to the integrity and dignity that we often forget is within us.

more of a state of being than a Rhythm

expansive, connects us to humanity; timeless rhythms, repetitions, patterns cycles. We become light in our feet, like birds flying in the air – but make no mistake, in ____ we are grounded and fully empowered.

Answer 27

Lyrical

Question 28

5 Rhythms in Contact Body Improvisation

moves, both within and all around us. The dance is our vehicle, our destination is the Rhythm of ____ ; our challenge is to be a vessel that keeps moving and changing. Physically, in the dance of ____, we move in slow motion- like highly unpredictable meditative Tai Chi masters.

art of making humble and mindful endings

Answer 28

Stillness

Question 29

Sound Improvisation

the creative activity of immediate (“in the moment”) musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. (Gorow, 2002).

performance given extempore without planning or preparation

extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text

Answer 29

Musical Improvisation

Musical improvisation (also known as musical extemporization)

Question 30

Sound Improvisation

is commonly practiced as a part of rappers’ creative processes, as a “finished product” for release on recordings (when the improvisation is judged good enough), as a spiritual event, as means of verbal combat in battle rap, and simply for fun.

Answer 30

Improvised freestyle rap

Question 31

improve, consists of a comedic, poignant, or dramatic stage performance, usually with a wide cast of actors and actresses. These actors and actresses will use spontaneous acting techniques, including audience suggestions to contribute to the performance’s content and direction. In other words, the cast erratically formulates the dialogue, setting, and plot without a formal rehearsal

performers work together to define the rules of the scene

introduces an interactive relationship between the cast and the audience.

Answer 31

Theater Improvisation

Question 32

Solving Improvisational Challenges

As you learn your piece or movement, you will find at times your works in improvisation flows easily and at other times, improvising is much more difficult, and you feel blocked. When that happens, you need to be patient with yourself, since you cannot expect your mind and body always to be equally receptive. Finding ways to work through improvisational problems is part of the process of learning.

Answer 32

Mental blocks

Question 33

Solving Improvisational Challenges

Many students have trouble remembering movements discovered during an improvisation session, but this problem can be solved through practice. It is important because later those movements will be molded and formed into a study. You will find that the ability to remember movement is comparable to standing outside yourself and watching as you improvise.

Answer 33

Remembering new movements

Question 34

Solving Improvisational Challenges

You’ll also discover that movement do not always come forth in a logical manner. For example, the end of a study may come to you during improvisation before the middle is completed. It requires patience to learn how all parts fit together; the ability to give form to your action may take time.

Each person needs the proper environment and enough practice and encouragement; no two people can be expected to pass through the levels of creative development in the same manner or at the same speed. The goal is for the movement to ____ with a sense of wholeness and to grow from a natural, or organic development of movements and phrases.

Answer 34

Fitting it all together

Question 35

Solving Improvisational Challenges

If a piece seems to be taking shape in a certain direction, explore that direction even if it differs from your original conception on your work. The creative process requires that you be open to all possibilities as they occur

Answer 35

Difference in concept

Question 36

Solving Improvisational Challenges

Fear is the number one killer of creativity in anything that you do. It is not easy to get put on the spot in front of an audience and improvise. To pull off a successful performance we must overcome fear, self-doubt, and a myriad of distractions.

Fear, distraction, lack of preparation, mistakes, and a judgmental audience are just a few of the things that can get in the way of a creative performance. However, each time you perform and improvise in front of an audience, you’ll become more comfortable and confident; in turn, focusing on the things that matter like the music itself.

Answer 36

Mindset

Question 37

are as diverse as its islands, as complicated as its waterways, as varied as its languages and as unique as its people

Answer 37

Philippine indigenous arts

Question 38

how many islands in the Philippine archipelago

Answer 38

7,107

Question 39

Forms of Philippine Indigenous Arts

Wander over the world heritage site, Banaue Rice Terraces, Eighth Wonder of the World, carved from the high Cordilleras over 2,000 years ago. These rice terraces were carved out of the mountains by the native Ifugao people.

Answer 39

Architecture

Question 40

Forms of Philippine Indigenous Arts

three-dimensional artwork created by shaping or combining hard materials, typically stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers and softer metals. Carving is one of the techniques used of it.

Answer 40

Sculpture

Question 41

Forms of Philippine Indigenous Arts

means to make cloth and other objects. Threads or strands of material are passed under and over each other. It has different forms, functions and materials. They also vary in design and techniques used. Most of the common forms of it in the Philippines are in the form of hats, mats, bags, baskets and textiles (clothes and blankets).

Answer 41

Weaving

Question 42

Forms of Philippine Indigenous Arts

objects that are first shaped of wet clay, then hardened by baking. It includes both decorative and practical items such as bowls, vases, dishes, and lamps. The forms of the it are directly influenced by the functions of it and the tradition of the community or local area. Filipino potters make them of different sizes, shapes, and designs, which are usually geometric with stylized nature-themed motifs.

Answer 42

Pottery

Question 43

Forms of Philippine Indigenous Arts

can be categorized into three areas specifically the use of traditional costumes (textile), jewelries and tattoos. The designs vary depending on the location, users and function of the ornaments. Since the early 16th century, jewelry making in the country has been practiced in the country. It is believed that the skills of the early Filipino jewelry-makers are adopted from their Asian neighbors like the Chinese

Non-Muslim people in Mindanao decorate their colorful and distinctive costumes with glass beads, shells and metal bells and chains. Their jewelry materials include coral and fibers; forms of jewelry include earplugs as well as earrings. Old beads are highly prized, especially agate beads before Kalingas, and Igorot girls are given a head ornament of agate beads before they reach puberty. Ifugao men wear tooth necklaces, believed to impart good luck, and the Ubus wear etched shell amulets to protect them. Necklaces made from roots and bark are worn by them to ward off sickness

Answer 43

Body Adornment

Question 44

SCULPTURE

It is carved by Ifugao craftsmen of Mountain Province, Luzon. Often made in pairs, male and female, it represent guardian dieties and are placed in rice granaries to ensure beautiful rice.

Answer 44

Wood Bulul or Bulol

Question 45

Ilocano of Northwestern Philippines is well-known for their hand weaving while the people of Aklan are known for?

Answer 45

basket weaving

Question 46

WEAVING

Most weaving industry is found in Mindanao regions. One of the common materials in this region is called ____ which is historically used as a skirt and sometimes as a blanket.

Answer 46

Malong

Question 47

Examples of Filipino Pottery

Answer 47

1. “palayok”(cooking)
2. “banga” (storing liquids)
3. “tapayan” (storing liquids)
4. “kalan” (clay-made stove)
5. “burnay” (pottery in Ilocos Sur)

Question 48

encompasses the visual arts produced from the seventh century onward by both Muslims and non-Muslims who lived within the territory that was inhabited by, or ruled by, culturally Islamic populations

characterized by design of flowers, plant forms and geometric design

Answer 48

Muslim Art

Question 49

When did traders and missionaries have introduced the religion of Islam in the Philippines

Answer 49

13th century

Question 50

Characteristics of Islamic Art

Answer 50

1. It is characterized by designs of flowers, plant forms and geometric designs
2. Mosques
3. has no human form
4. Okkir
5. Sarimanok
6. Qu’ran passages in its walls in homes
7. batik cloth design

Question 51

Characteristics of Islamic Art

The only reminders of Filipino Muslim art inside mosques is the traditional art form known as

Answer 51

Okkir

Question 52

Characteristics of Islamic Art

a legendary bird of the Maranao people who originate from Mindanao, an island in the Philippines.

Answer 52

Sarimanok

“Sari”- cloth or garment, which is generally of assorted colors.

Question 53

Characteristics of Islamic Art

The kind of design traces its influence from Indonesia. It contains abstract themes with geometric and floral design

Answer 53

Batik

Question 54

CHRISTIAN ART

Spaniards arrived in the Philippines in

Answer 54

1521

Question 55

Images of the Holy Family and the saints were introduced to the Filipino psyche through carved santos, the via cruces (Stations of the Cross), engravings on estampas and estampitas, and through paintings on church walls.

Answer 55

Christian Art

Question 56

Christian Art influences art forms such as

Answer 56

1. Painting
2. Sculpture
3. Architecture

Question 57

Portraits of saints and of the Holy Family became a familiar sight in churches. Other subject matters include the passion of Christ, the Via Crucis, the crucifixion, portrayal of heaven and hell.

Answer 57

Painting in Christian Art

Question 58

The carving of anito was transformed into sculpture of the saints. These santos were used primarily for the church altars and retablos. It also replaced the anitos in the altars of the natives’ homes.

Answer 58

Sculpture in Christian Art

Question 59

Schools that are originally founded by Catholic missionaries that preached Catholicism. Later on, the influences entered on Filipino houses that mixed up with the knowledge of Chinese fengshui. The early houses that were built during the Spanish eras include a place of worship called the altar. It is also common that these houses contain statues of different saints, images of Mary, Christ and other religious items.

Answer 59

Architecture in Christian Art

Question 60

the art of the present, which is continuously in process and in flux. A statement that an artist makes about life, thoughts, ideas, beliefs, and many other things that define human life. Art is the expression of one’s feelings through creating something out of their imagination.

Answer 60

Contemporary Art

Question 61

The turning point in the development of contemporary art in the Philippines was the establishment of

Answer 61

Cultural Center of the Philippines (CCP)

Question 62

Filipino Contemporary Artist and Works

a studio artist whose work experiments with intense emotion, deconstructing images in his paintings, sculptures, and installations. He creates art like recording a music album, where each painting is from a series of nine. He describes it as producing an old favorite, a classic, sleeper hit and one piece he doesn’t really like but keeps coming back to.

Answer 62

Ernest Concepcion (1977-present

Question 63

Filipino Contemporary Artist and Works

a contemporary artist from Manila, with a Bachelor’s degree of Fine Arts in Painting from the University of Santo Tomas. His work is known to consist of multiple layers, using imagery that focuses on the human form. His paintings are a dramatic union of comic sketches, reality, and graffiti. He draws inspiration from Asian mythology, Catholicism, science fiction and comic book characters. He is known to have the highest selling work in the history of the Southeast Asian art market:

Answer 63

Ronald Ventura (1973-present

Question 64

Filipino Contemporary Artist and Works

Initially trained as a sculptor, his work blends theatre, fashion, film, production design, and public art. He graduated from the prestigious Philippine High School for the Arts, before continuing his Fine Arts degree at the University of the Philippines. His largescale public art uses common objects and materials found in everyday environments.

Answer 64

Leeroy New (1986-present)

Question 65

Filipino Contemporary Artist and Works

Born in Caloocan City, Manila, He is a multimedia artist known for his largescale installations consisting of objects found in local communities. His art career may have started later in life, but his installations have enthralled audiences for the past decade. He initially worked as a set designer for television, a leather bag craftsman and a successful t-shirt company entrepreneur before holding his first solo exhibition in 2006.

Answer 65

Oscar Villamiel (1953-present)

Question 66

Filipino Contemporary Artist and Works

Another Caloocan native, he practices a variety of mediums ranging from painting to street art and animation. He most recently participated in art residency programs in Lir Art Space. His work is influenced by pop culture, graffiti, children’s drawings, and tattoos – creating pieces that challenge people’s views on fine art. He is known locally for his ongoing series of Garapata street art (the Tagalog word for ‘tick’), filling public spaces with the notion of ‘infecting’ the city with his art.

Answer 66

Dex Fernandez (1984-present)

Question 67

PRACTICES AND MOVEMENTS IN CONTEMPORARY PHILIPPINE ART

defines as the realistic depiction in art of contemporary life, as a means of social or political comment. It aims to effect social change through sociopolitical pieces that portrays the truth of society.

Answer 67

Social Realism in Philippine Perspective

Question 68

PRACTICES AND MOVEMENTS IN CONTEMPORARY PHILIPPINE ART

This is one of the most popular art movements, its art is representational, meaning it is derived from real object sources. In the Philippines it’s mostly realistic and classical, but in modern times, surreal depictions of human figures and conditions entered figurative art. A visual mix of hues, and in some cases, irony are brought in to add drama to an otherwise commonplace event or situation. Also, those and anatomy are distorted or altered

Answer 68

Figurative Art

Question 69

PRACTICES AND MOVEMENTS IN CONTEMPORARY PHILIPPINE ART

does not depict a person, place or thing in the natural world; or it does, but does not make any visual references. Artists do not deal with the representational interpretation of a subject. They only communicate with the viewers in an attempt to understand “reality”. All types of its art share a common position – reality is subjective, and it’s up to a viewer to define it.

Answer 69

Abstract art

Question 70

PRACTICES AND MOVEMENTS IN CONTEMPORARY PHILIPPINE ART

In this movement, the idea is more important than the object, and encompasses site-specific art installations, three-dimensional assemblages of discards and non-art elements, performance, and video art. It gives emphasis on the artist’s thinking while the artworks are merely documents of the artist’s thoughts. Some of the works are ephemeral or temporary, and therefore requires documentation.

Answer 70

Conceptual Art

Question 71

PRACTICES AND MOVEMENTS IN CONTEMPORARY PHILIPPINE ART

An underground visual art movement that is based on comic books, tattoos, punk music and other alternative-pop culture themes

Answer 71

Pop-surreal and Lowbrow Art

Question 72

PRACTICES IN CONTEMPORARY ART

Philippine art in the Modern Era in the Philippines has evolved into a wide variety of expressions and medium turning the country into a situation of creative upheavals. Modern Filipino artists have more freedom to explore on his own. They show their love for country and evolving culture. Philippine arts and culture are more accessible now than ever, and there’s never been a more exciting time to be an art enthusiast in this country.