T3-70'S CPAR

• Under the helm of Ferdinand and Imelda Marcos beginning in 1965, many cultural projects ensued amid the backdrop of poverty and volatile social conditions
• Martial Law was declared on September 21, 1972
• New Society or Bagong Lipunan


  Marcos' vision which worked toward the rebirth of a long lost civilization, and aspiration to modernization and development
• Art and culture program under the New Society

  • Fine arts
  • Architecture
  • Interior design
  • Tourism
  • Convention city building
  • Engineering
  • Urban planning
  • Health
• Songs sponsored by the regime


  • Bagong Pagsilang
• National Museum


  Revitalized through Constitutional amendments to collect and display ethnographic artifacts and natural specimens
• Cultural Center of the Philippines (CCP)


  Premier bureaucratic entity through which art acquisition, exhibition making, workshops, grants, and awards were implemented
• CCP was created on 25 June 1966 through Executive Order 30 and inaugurated in 1969
• CCP building


  • Modernist cantilevered building described as a cross between the vernacular bahay kubo and art brut minimalist structures
• Satellite structures of the CCP complex


  • Folk Arts Theater
  • Philippine International Convention Center
  • Tahanang Filipino or Coconut Palace
  • Manila Film Center
• Satellite structures of the CCP complex

  • Employed concrete block-like forms indicative of the Modern style while some integrated vernacular elements
• Vernacular elements in CCP satellite structures

  • National Arts Center in Mt. Makiling appropriated the style of vernacular Ifugao fale
  • Coconut Palace utilized indigenous building materials and fashioned the roof to look like a salakot
• Imelda Marcos


  Staunch supporter of the CCP
• CCP


  Validated major awards like the National Artist Award and was the authority on modern art and the enabler of the avant-garde
• Projects staged through the CCP


  • Jose Maceda's large-scale project involving hundreds of transistor radios and radio stations nationwide to create "sound atmospheres"
• Roberto Chabet


  First director of the CCP Museum, whose conceptual artworks emphasized the idea behind the art rather than technique and form
• Chabet's artworks


  • Collages, drawings, sculptures, and installations using found objects
• Chabet's work "Tearing into Pieces" was seen as a scandalous critique of the conventions of the art world
• After his stint at CCP, Chabet taught at the University of the Philippines College of Fine Arts and mentored a new generation of innovative Filipino artists
• CCP Museum under Chabet and Raymundo Albano


  Opened its exhibition programming to works influenced by the western avant-garde and conceptual tenets, pop art, happenings, environmental assemblages, new realism, performance art, and sound works
• Experiments in art at the CCP challenged the commoditization of art within the consumerist system of the art world and its markets at the very heart of the Marcos regime
• Chabet-Albano axis


  Opened up non-white cube sites for art exhibitions and performance spaces beyond the CCP
• Alternative venues for art exhibitions and performances


  • Furnaces, offices, warehouses, clocktowers, shop windows, kitchens, public halls, hotels
• Raymundo Albano's curatorial stance


  More populist than his predecessor Chabet, initiated "developmental art" projects aimed at exposing art to a learning public
• Albano characterized the period 1971-1975 as the "exposure phase" in which advanced art - experimental in nature - were displayed in the galleries
• Materials used by artists during the "exposure phase"


  • Sand, junk, iron, non-art materials such as law lumber, rocks
• Albano's view on exhibitions


  They should be alive, not church-like, quite high in festive ambience, thematic, dealing with current visual interests, and stimulating, controversial but not scandalous
• Albano's view on being contemporary


  To deal with "virtually untested, unknown realms of evidences that would lead to further understanding of ourselves"
• Under Albano's directorship, CCP reached out to regions outside Manila and beyond, initiated art workshops and outreach programs through community involvement, and published reviews and other essays on art
• Early example of installation art at the CCP


  • Junyee's Wood Things, 1981, made of kapok or cotton pods, installed on the walls and floor of the CCP's white cube spaces
• The CCP ranks as one of the most active purveyors of both local and foreign performances in dance, musical concerts, and experimental theater
• Performances at the CCP


  • Traditional ballet by local and western ballet companies
  • Philippine Philharmonic Orchestra and chamber music groups from Asia, America, and Europe
  • Broadway musicals such as Cinderella, Les Miserables, Miss Saigon, Wicked, and Phantom of the Opera
  • Original works by Filipino playwrights and adaptations of western classical plays
• The CCP aims to embrace a wide spectrum of expressions, not just from mainstream artists but also from those previously unknown, such as artists from regions outside Manila