Social realism emerged as an art movement in the Philippines in the 1970s during the Marcos dictatorship as artists sought to promote social change through their depictions of everyday life and political issues. Kaisahan, a collective of 13 young artists, coined the term "social realism" and used various media like paintings, prints, comics and murals to portray the struggles of the working class and expose human rights abuses. Their goal was to raise social consciousness and inspire the masses to work for justice, freedom and peace. The social realists addressed themes of oppression, militarization, labor issues and more, drawing from folk traditions as well as Marxist and nationalist ideologies.
2. + “True art is a product of its society. It reflects the
human condition of its time and aids in the
awakening of social consciousness.”
- Rachel Mayo
The Essence of things (2012)
3. Realism begets Social
Realism
• REALISM • SOCIAL REALISM
• How the upper-class and • Social realists chose:
aristocracy perceived the world • Everyday happenings
• Very intellectual • Current events
(Scientific, empirical, and • Social relaionships
democratic)
• Interaction and disparity of
• Western oriented social classes
+
• AIMED to effect social change
through Sociopolitical pieces
• Works that portrayed the truths
of society
Lumbay, by Pablo Baen Santos
5. +
Struggle for Radical
Change
• Rizal and the Illustrados
• Nationalist struggle began in the
19th CE
• Source of inspiration
• The artist as the nationalist
• Martial law from 1972-1986
• Brought about different kinds of
art like:
• People‟s Art/Art for the Masses
• Protest Art/ Commited Art
7. Kaisahan
“Kaisahan Social Realist Group”
Formed in 1976
Thisgroup coined “Social
Realism” for their movement
13 Members:
Papo de Asis
Orlando Castillo
Jose Cuaresma
Antipas Delovato
+ Edgar TalusanFernandez
Neil Doloricon
Charles Funk
RenatoHabulan
Albert Himenez
Al Manrique
Jose Tence Ruiz
Pablo Baen Santos
Vin Toledo
Eventuallybecame more political and
held workshops, lectures, and group
discussions on political art
8. KaisahanPriciple
s
NATIONALIST ART
National art was a quest for
identity, where the artist was
the nationalist
An opposition to Western-
oriented culture
Art for?
For the people, the massa
+ Collective
experience that a
great number could relate to
Alternative or Oppositional Art
Artas a revitalizing force to
restore meaning to the
people‟s lives
Going
against elitist and
commercialized art
Alternative art
9. KaisahanPriciple
s
Reflection Theory
•Shows the true conditions
and problems in our society
•“whatis to be”- utopian
aspect of social realism
•Form and Content
•Strong in content
•Yet
not compromising
+ medium and method
•Artistic Style
•No limitation to a certain style
•Experimentation and
vision, but not forgoing
communication
10. KaisahanPriciple
s
Exposure and Dissemination
Alternative
space to reach a
wider audience
Traveling exhibits or art
caravans, workshops for
members, nonmembers and
young artists
Development of popular
+ media such as murals,
posters, cartoons, and comics
Art and Life
Arthas a nonverbal impact
on social change
12. Pablo Baen
Santos
•Born in1943
•Fine Arts Graduate from the University
of the Philippines
•Recipient of the 13 Artists award given
by the Cultural Center of The Philippines
in 1990
•Considered as one of the provocateurs
of social realism
+
Krista (Female Christ)
15. Edgar Fernandez
•Born in 1954
•Finished Bachelor of Fine Arts at
the Philippine Women‟s University
•Husband to Nena Fernandez,
mother of his two children Malaya
and Diwa
•“Nuonangbatayanngpaglilikha
ay
makabayan, makatotohanan and
+ makabuluhan.”
Clockwise:
MapayapangPamamalakaya (Peaceful Fishing)
Unfinished work
MartsangBayanparasaKalayaan, katarungan, a
t Kapayapaan
17. Antipas Delovato
•Born in Iloilo city
•Studied at the University of San
Agustin, Iloilo City and majored in
Fine Arts at the Philippine Women‟s
University College of Fine Arts and
Music in Manila
•Recognized with the conferment of
the Cultural Center of the
Philippines 13 Artists Award
+
•Selected to paint the official
portrait of then Philippine President
Corazon Aquino.
ItaksaPusoniMang Juan
20. Orlando Castillo
•Began as an abstract painter.
•He painted peasant portraits and
peasants in struggle based on a
sojourn in the countryside
•Was imprisoned for his public art.
•Wasa founding member of the
Concerned Artists of the Philippines
•Was a Benavides awardee of the
+ UST twice
Clockwise:
15 foot tall mural for Labor day in Mindiola
Justice Under Martial Law
Different Forms of Torture: Tribute to The
Polotical Prisoner
21. Al Manrique
• Born: 1949; Died: 2006
•Graduated with a degree in
architecture from the University of
Santo Tomas in 1970
•His works are metaphors of the
struggle of the workers and the
urban poor
+
Clockwise:
IyonIsa Pang Kamay, Dali!
Sketch of workers, Untitled
“Untitled”
23. RenatoHabulan
• Paintings depicted (likedialectics)
truths between the rich and the
poor, the master and slave, and
classes of disparity.
•One of the most interesting story-
tellers among the social realists
who came into the art scene in the
„70s
•13 Artists Award from the CCP in
+ 1990
Clockwise:
Untitled
Impit
KaayusansaAguilangPananaw
26. Jose Tence
Ruiz
•Born 1958 in Sta. Mesa, Manila
•Graduated cum laude with a Fine
Arts degree from the University of
Sto. Tomas in 1979
•Well-known for his wry and
compelling political Cartoons
•Received the CCP 13 Artists
Award
+
Clockwise:
Inhuman Wrongs
BungeeFixion According to Sam Raimi
Boxing with the PCO: Macoy vs. The CCP
28. Neil Doloricon
•Explores the potential of traditional
Philippine myths to convey social
and historical issues
•SocialRealist painter, printmaker
and editorial cartoonist
•Won several prizes in various art
festivals, designs and caricature
competitions
+ •artist-in-residence of the UP in
1989
•Thirteen
Artists awardee of the
CCP in 1990
Clockwise:
InagngKalikasan
Doloricon-Self
Welga
30. Papo de Asis
•Bron on Dec 16, 1949; died of a
stroke in 2005
•Immigrated to the US in 1990, but
continued in the arts and activist
community
+
Clockwise:
Christedom
Neo-Kolonyal
Insurrection
33. Themes
•Social injustices
•Struggles for independence
•Agrarian problems
•Foreign economic domination
•Export labor
•Exploitation of women and children
•Ecological damage
•3 basic evils of society: feudalism,
bureaucrat capitalism, and imperialism
•Militarization and human rights violations
+ • growth of the mass movement
•Vision of a new order
•SOCIOPOLITICAL, HITORICAL & FOLK-
IMAGERY
•“Folk”:
relating to the beliefs and opinions of
ordinary people.
35. What were they painting for?
•To express their aspirations of genuine freedom
•Visual expression of their opinions and views
regarding the present social milieus
•Prompting viewers to engage in society ,
mediated by the artist‟s work.
•Among them were
•Activists
•Communists
•Feminists
+
36. +
Forms
Paintings
Prints
Comics
Editorial Cartoons
Illustrations
Posters
Portable Murals for rallies
One of the more popular forms
was the wall newspaper,
consisting of slogans with visuals
done on bands of masking tape,
which could be posted on walls
and concrete road islands.
Junyee, “Mate In Four”
37. The declarative – reflection of society
Theinterrogative – elicited deconstructive questions, exposing
myths of traditional privilege and heirarchy
Andthe imperative modes- art as a major influence or agent of
change
According to Arnold Hauser, artists express themselves
…through ideologies
…in reaction to ideologies
… in conformity to/rebellion against ideologies
+ 3 Modes of Socail Realist Art
38. +
Sources
http://jonathanbeller.files.wordpress.com/2009/06/aquiring_eyes_layout.pd
fhttp://www.angelfire.com/bc2/Egai/social.html
http://www.slideshare.net/nadya_eos/social-realism-in-the-philippines
http://journalism103.wordpress.com/2012/10/15/cultural-review-compelling-visual-journey-
to-the-martial-law-period/
http://rachelmayo.blogspot.com/2012_09_01_archive.html
http://www.manilaartblogger.com/2012/08/01/at-the-ccp-looking-back-at-martial-law/
http://www.boysenknoxoutproject.com/artworks_jose.do
Reference: CCP Encyclopedia of Philippine Art, Vol 4. Manila: Cultural Center of the
Philippines, 1994.
http://www.mb.com.ph/articles/356062/renato-habulan-refined-fire#.UKj5aOPZ-Jl
http://skpinas.multiply.com/photos/hi-res/upload/SO2GqQoKCpIAAC8bF5g1