RD&E Form No.

01
RESEARCH, DEVELOPMENT & EXTENSION PROGRAM/PROJECT PROPOSAL

(1) Identifying Information

Project Title: 21st Century Albayano Arts: Documentation and Analysis
Project Leader: Prof. Richard D. Madrilejos
Study Leaders:
1. Visual Arts – Prof. Jaried M. Millare
2. Music – Prof. Ramil Chavenia, Prof. Inocencio Bermundo and Prof. Dominica Poja
3. Rawitdawit – Dr. Evelyn C. Oliquino
4. Osipon – Prof. Richard Madrilejos
5. Play – Prof. Julius Caesar Martinez
6. Dance – Prof. Sarah Marion Monay
7. Media Arts – Prof. Ma. April Mier
8. Film – Prof. Sean Andes
Duration of the Activity: January 2019 – December 2019
Total Budgetary Requirement: P_____________
R&D Requirement P _____________________
(2) Cooperating Units/Agencies (3) RD&E College: Bicol University College of
Provincial Tourism, Culture and Arts of Arts and Letters
Albay
Bicol University College of Arts and Letters-
Humanities Department
(4) Site of Implementation (Municipality/District/Province/Region)
Province of Albay
(5) Nature of the proposed program/project (6) Classification of the R&D component
□ Purely Research/ Development (if applicable)
□ Purely Extension □ Basic Research
□ Action cum Research □ Applied Research
□ Extension with R&D component □ Pilot Testing
□ Tech. promotion/ Commercialization
(7) Thematic Area (R&D) (8) Program Area (Extension)
__ Poverty reduction & food security __ Food security and poverty reduction
__ Global competitiveness of business & __ Climate change and natural resources/
industry disaster risk reduction management
__ Environment & natural resource __ Business enterprise development
management __ Social development promotion
__ Social Development Promotions __ Institutional policy
__ Institutional/Policy Research

(9) Rationale/ Significance

Operationally, twenty first century Albayano arts are artworks created by Albayanos from 2000
onwards. The documentation and analysis support the research agenda of the Bicol University
College of Arts and Letters and the National Commission for Culture and the Arts, and that is to
strengthen the culture and arts component of the Philippines. In this research, it is focused on the
province of Albay.

There are award-wining artists in Albay like (but not limited) Belgica, Banzuela, Balde, and
Borlagdan in the field of literature. In the field of music, awardees are Bermundo and Chavenia.
There are Albay arts organizations that are active in producing original artworks like Sining
Banwa Performance Collective, Dawani Project, Albay Contemporary Artists and ABKAT, Inc.
ABKAT, Inc. produced two literary workshops in 2012 and 2013. These are some of the evidence
that there are artists and artworks in Albay that must be given due recognition and scholar
analysis. This is why a book to anthologize the creative works with analysis is a must research
project.

DepEd teachers in Arts and Design track and college professors teaching Humanities subject may
use the book as reference material. As an extension, the book may be donated to the adopted
school of the Bicol University College of Arts and Letters, and for an income-generating project,
the book can be sold to private institutions and city and provincial tourism, culture and the arts
offices.
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 (10) Brief Description of the Program/Project

(Detailed but simple narrative description of the extension program/project)

(11) Objectives

The general aim of the research project is to have an anthology of the various 21st century arts in
Albay with analysis.

The specific objectives are:

1. Collect twenty first century Albayano artworks.

2. Identify the structures of the artworks in terms of:
a. Style
b. Symbolism
c. Elements
3. Record the artist’s life experiences that are reflected in the artworks.
4. Recognize contextual meanings of the artwork in terms of:
a. Historical
b. Cultural
c. Political
d. Religious
e. Social
5. Cite the contemporary ideas and issues present in the artworks.
6. Create a reference material based on the result of the study.
(12) Review of Literature

Twenty first century arts

Robertson (2019) in her Oxford Art Online article described 21st century art as an expanding
arena of training, exploration, and publication, making it an extremely active turf of learning.
Art of the 21st century arises from a massive diversity of resources and ways. These comprise
the state-of-the-art electronic knowhows, such as digital imaging and the Internet; familiar genres with
a long history that continue to be practiced with great vigor, such as painting; and materials and
processes once associated primarily with handicrafts, re-envisioned to express new concepts. Many
artists regularly and freely mix media and forms, making the choices that best serve their concepts and
purposes. Activities vary from spectacular projects accomplished with huge budgets and extraordinary
production values to modest endeavors that emphasize process, ephemeral experiences, and a do-it-
yourself approach. The notion of influences has also shifted with changes in communications and
technology; every location around the world has artists who respond to local geographies and histories
as well as the sway of global visual culture.
Art21 defines contemporary art as the work of artists who are living in the twenty-first
century. Contemporary art mirrors contemporary culture and society, offering teachers, students, and
general audiences a rich resource through which to consider current ideas and rethink the familiar. The
work of contemporary artists is a dynamic combination of materials, methods, concepts, and subjects
that challenge traditional boundaries and defy easy definition. Diverse and eclectic, contemporary art
is distinguished by the very lack of a uniform organizing principle, ideology, or -ism. In a globally
influenced, culturally diverse, and technologically advancing world, contemporary artists give voice to
the varied and changing cultural landscape of identities, values, and beliefs.

Documenting artworks

With regards to artistic practice, Tim Gorichanaz (2017) has argued that art documentation
‘involves the creation and organization of documents representing and related to artworks and
artists’, which are also ‘typically considered to be evidence in support of a fact. In art
documentation, that “fact” is generally a given artwork or an aspect of an artist’s life. Examples
include photographs of works, contracts, and correspondence’

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 Gorichanaz (2017) also discussed that arts information professionals are concerned with the
documentation of artwork. His study explored how art-making itself can be considered a form of
documentation and finished artworks as documents in their own right.
Berger and Santone (2016) in their study mentioned that documentation is understood as both
the creation of documents and the techniques of their management, such as collection, archiving,
arrangement, contextualization, or manipulation. The texts included in the study attend to the political,
material, intermedial, and affective dimensions of documentation through close studies of specific
artists and bodies of work. The authors consider a range of practices in experimental photography,
conceptualism, and performance art, by artists situated in different local or transnational contexts—
mostly Europe, North America, and East Asia. At stake are why and how the processes of making or
organizing documents newly constituted an artistic practice in its own right during the 1960s. Building
on established research on twentieth-century documentary strategies and key 1960s documents, as
well as recent scholarship in media studies and performance studies, the issue fosters a richer
understanding of the personal, political, and social uses of documentation in the period.
McNee (2018) tackled in her article that in art documentation, a document is typically
considerd to be evidence in support of a fact which is generally a given artwork or an aspect of an
artist’s life. She also discussed that the relationship between documents and facts is generally taken
for granted, but is actually an ideological position.

Art Analysis/ Art Criticism

Art criticism is analyzing and evaluating works of art. Art critics look at a painting, sculpture,
or other form of art, and don't approach it as something that we like or dislike. It is viewed it in a
business-like way.

Art criticism is responding to, interpreting meaning, and making critical judgments about
specific works of art. Art critics help viewers perceive, interpret, and judge artworks.
According to Barret (1994), art analysis is a process of determining what the features suggest
and deciding why the artist used such features to convey specific ideas.

Albay arts

According to a Manila Standard (2016) article, Albay’s arts and culture scene has flourished and
has played an invaluable role in the province’s robust tourism. The visual arts improved in the past
nine years as artists participated in local government-sponsored exhibits and year-round festivals and
cultural activities.

Art analysis of Bikol artists and artworks

Arts analysis of Albay arts and artists

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 (13) Conceptual framework

Hendy-Ekers, et. al (2010) assumed that art is a fundamental part of everyday life. It is a visual
language that enables experiences, ideas, cultural values, and beliefs to be communicated in a
multitude of ways. This is why the authors presented the four Analytical Frameworks to analyze
and criticize artworks to seek their different aspects and layers of meanings and messages.

The first framework is Structural that analyzes the style, symbolism and elements of the artwork.
Personal Framework reveals the life experiences of the artist reflected in the artwork. The
Cultural Framework identifies the contextual meanings of the artwork in terms of time, place, and
the society in which it was made. The Contemporary Framework interprets how contemporary
ideas and issues impact the making and interpretation of the artwork.

Common themes will be revealed from each framework and shall be the basis of the
characteristics of twenty first century arts in Albay in order to come up with a book that shall be
donated to public schools and to be sold to private institutions.

Formal Analysis Personal Analysis

Twenty First Century Arts in Albay

Cultural Contemporary

Book of Anthology of the 21st Century

Arts in Albay

Artistic and Academic Community

(14) Methodology

To collect the artworks, the researchers will identity first the artists. The artists must be
recommended by either of these sectors: NCCA Regional Coordinators, Albay academe, the
artistic community/ organization, the Provincial Tourism, Culture and Arts Office, and the
respective Municipal Culture and Arts Office. Then, the artists identified will be asked to give the

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 most significant artwork they created that shall characterize the twenty first century times.
Upon getting the artworks, analysis will be made based on the four Analytical Frameworks.

(15) Expected Output/Outcome

Book of anthology of twenty first century arts in Albay with analysis.

(16) Monitoring and Evaluation, M&E (for extension programs/project/activity)

PROJECT/ INPUT PROCESS OUTPUT OUTCOME

ACTIVITY
(Title of Resources to be used Activities/ Immediate Long-term effect of the
project/ - Financial (amount) Sub-activities results of project/
component/ - Material (number & to be activity/sub- component/activity,
activity type) undertaken activity expressed as number/
- Expertise, number & (expressed as percentage of (person,
type of expert number/% of material, site/ area or
- Manpower (number target persons/ kind) improved/
& type) material, site/ changed/ expanded/
- Equipment/ tools area or kind, past covered or other
(number & type) tense verb; can description; can also be
- Ingredient (number also be expressed expressed as
& type) as qualitative qualitative indicator
- Etc. indicator

(17) Project Management

Project Staff Designation % of time for the Project

1 Student Assistant 100% c/o BURDC

(18) Budgetary Requirement

Quarter
Budgetary Item 1 2 3 4 TOTAL
Personnel Services

Maintenance and Operating Expenses

Sub-total

PS+MOOE
(+Admin. Cost, 10% of Total Cost) if
applicable)
GRAND TOTAL
BURDC Counterpart
BUESC Counterpart
College/ Unit Counterpart
Collaborating Agency Counterpart

(19) Literature Cited

Books

Barrett, Terry. (1994) Criticizing Art: Understanding the Contemporary. Mountain View,
California: Mayfield Publishing Company.

Berger, Christian & Santone, Jessica Santone (2016) Documentation as Art Practice in the
1960s, Visual Resources,32:3-4, 201-209, DOI: 10.1080/01973762.2016.1241030

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 Gorichanaz, Tim (2017) ‘Understanding Art-Making as Documentation’, Art
Documentation: Journal of the Art Libraries Society of North America, vol.36, no.2, Fall
2017, p.192.

Henry-Ekers, Chamberlin, Greenwood (2010) Art:iculate Melbourne: Cambridge University Press.

McNee, Lory (2016) Documenting art has benefits ranging from increasing the
value of your pieces to preserving your history Retrieved at
https://www.finearttips.com/2016/04/documenting-art-and-preserving-your-story/

Robertson, Jean (2019) “Arts in the 21st Century” Oxford University Press 2019. Retrieved
from https://www.oxfordartonline.com/page/art-in-the-21st-century

Internet
https://www.uwgb.edu/malloyk/art_criticism_and_formal_analysi.htm

https://study.com/academy/lesson/art-criticism-definition-steps-example.html

https://www.tandfonline.com/doi/full/10.1080/01973762.2016.1241030

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Effectivity: September 15, 2016