Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
by
1
Delivered in the SEAMEO-SPAFA’s 3rd International Conference on Culture and Development:
Channeling Real Change, National Library Auditorium, Bangkok, Thailand on November 26 to 29, 2008.
2
Mr. Viray is the current Chief of the Visual Arts Office, University Center for Culture and
the Arts, Polytechnic University of the Philippines. He is also the Chairman of Lakandayang
Cultural Association Inc. based in Manila.
Introduction
Apart from its being a communication tool, painting, like any other art forms,
has various functions and purposes. Lois Fichner-Rathus (1994) enumerated
the following purposes of art: (1) to create beauty; (2) to provide decoration;
(3) to reveal truth; (4) to immortalize; (5) to express religious values; (6) to
express fantasy; (7) to stimulate the intellect and fire the emotions; (8) to
create order and harmony; (9) to express chaos; (10) to record and
commemorate experience; (11) to reflect the social and cultural context; (12) to
protect injustice and raise social consciousness; (13) to elevate the
commonplace; and (14) to meet the needs of the artists. Among these purposes,
this paper endeavors to focus and stress on numbers (3), (8) and (11).
Firstly, painting reveals truth. Undeniably, a painter can educate his viewers or
audience by revealing truths. Martin Heidegger, a German philosopher, gave
three lectures on ‘The Origin of the Work of Art.’ In these lectures (1950),
Heidegger connects art with truth, arguing that the essence of the artwork is
not its ‘representational’ character, but rather its capacity to allow the
disclosure of a world. Thus the Greek temple establishes the ‘Greek’ world
and in so doing allows things to take on a particular appearance within that
world. Heidegger refers to this event of disclosure as the event of ‘truth’.
With respect to painting as truth bearer, let us consider the Mexican painter
named Frida Kahlo. Kahlo utilized her self-portraits to convey the truth
about human sufferings. She used her own tragic life as a symbol of suffering
(Rathus, 1994). Another image portraying truth is a self portrait by
photographer Robert Mapplethorpe. The photo discloses the truth about
Mapplethorpe’s war against AIDS and his inevitable death (Rathus, 1994). It
should be noted that any kind of truth may be conveyed on canvass. In this
way, truths about cultural and ethnic diversity; peace, oneness and solidarity
may be revealed in paintings just as well.
Like any other activities associated with Freinet, group painting sessions are
mainly undertaken and utilized in educating children. Mostly in the primary
and secondary levels; and during the child’s development stage. This pedagogy
has several proven benefits to children such as (a) Increased Self Efficacy;
(b) Increased Retention; (c) Higher Motivation and (d) Preference for Future
Coop-Learning Episodes. (Freinet Organization, 1999)
PUP and
its Role as Catalyst for Peace
With Dr. Guevarra at the helm, the University becomes more favorable and
conducive to multiculturalism. It is a policy of the University to accept
students who passed the University’s entrance examinations and interviews
regardless of their religious affiliations, gender, disability, race, political
beliefs and opinions, and economic status. There are more than a hundred
accredited student organizations of different nature ranging from academic,
brotherhood/fraternity, athletic, cultural, religious, civic, political, etc in
PUP. The University even provided a separate structure to house all these
student organizations. To avoid conflict between and among these student
organizations, the University would always conduct conferences and fora
involving the leaders of these organizations. Consultations are also
undertaken to polish some regulations which affect the studentry in general
or specific organizations in particular. Students, like in other State-run
universities, have their representative in the highest policy making body of the
University, that is the Board of Regents. The student representative, who was
voted by the students, may participate in the deliberations and debates about
the policies that are formulated to air the student concerns. By doing this,
the University cultivates camaraderie among the students; and develops
rapport between the University administration and the studentry.
Among all these courses, the University highlights art and humanities studies.
PUP included these courses in almost all its curricular degree and non-
degree programs. The University, through the Department of the Humanities
and the Graduate School, offers Humanities and other related courses to
almost all the eighty two (82) undergraduate and graduate academic degree
programs. With its faculty members numbering about forty seven (47), the
Department of the Humanities continuously elevates human artistry and
creativity. Similarly, faculty members from the Graduate School undertake
programs to propagate culture and arts. With these efforts, the University
allows the flourishing of humaneness in the students. It continuously
provides its students a kind of education which is imbued with international
humanism.
3
Humanities include, but are not limited to, the arts of literature, painting, music, sculpture,
architecture, and dance, and the discipline of philosophy that permeates all the arts and unites them all
(Lamm, Cross 1993, 6).
4
In 2004, AAU conducted a research about the Humanities and education. The research concluded that
there is a need to reinvigorate humanities courses in universities (Mathae and Birzer 2004). The
importance of arts and humanities to education was stressed by the former Harvard University President
Neil L. Rudenstine in one of his talks at the American Academy of Arts and Sciences in 1998. “The arts
and humanities are essential to a liberal arts education because of their direct connection to human
experience”, Rudenstine remarked (The Harvard University Gazette, 1998); In his study of Philippine
universities, Samuel Wiley of Gregorian University in Rome stressed the importance of the humanities in
the academe. Wiley quoted Samuel C. Florman to drive his point, Florman enumerated five reasons why
liberal arts education is important. These reasons are as follows: (1) to improve intellectual
competence and expand imaginative powers; (2) to develop those qualities of character and personality
that make for leadership and successful careers; (3) to enrich our personal lives with new knowledge
truthful about the university’s commitment to the humanities, it is only
appropriate to allow its faculty members to devise their own specific
methodology on how to teach the courses in the arts and humanities. In this
way, the faculty is given free hand to choose the best suited pedagogy,
however, with a pronounced condition that the very objective of the courses
that is international humanism, among others, would still be on their agenda.
Part I:
Assessments of Group Painting as Pedagogy of Peace
As to Content
Content is sometimes used synonymously with theme. But this is not exactly
correct because content is broader than theme. It refers to the thing/idea
being represented in the painting. It is that which makes the painting what it
is. In Understanding Art (4th Edition), Rathus (1994) said that the content of a work
of art is everything that is contained in it. The content of a work refers not
only to its lines or forms, but also to its subject matter and its underlying
meanings or themes. There are three levels of content which we have to
consider. These are as follows: (1) element and composition, (2) subject
matter, and (3) underlying or symbolic meanings or themes (Ibid, 68).
The contents of the paintings produced by the students of art and humanities
in PUP manifest a variety of techniques used by the teachers in doing the
activity. I interviewed faculty members of PUP who used group painting as
pedagogy.5 In an interview with Prof. Guillermo Bungato, a faculty of PUP
handling the subject, he said that he lets the students decide how they would
do the painting and what subject matter it would contain. The composition and
the meanings attached to the painting are likewise decided by the students
themselves. He likewise pointed out that the content of the painting is
deliberated by the students through their interaction. However, sometimes
students would not even sit down for short planning and just face the canvas
and do the painting without any discussion among the group members. As Prof.
Bungato observed, works which are well planned are better than those which
are spontaneous and unplanned.
Prof. Nelson Baun, a faculty member of the same Department, shared this idea.
Prof. Baun said that the contents of the painting should be deliberated by the
students. He discouraged doing the activity without any prior planning. He
emphasized the importance of group discussion to agree on the theme of the
and insight, with keener appreciation of beauty; (4) to elevate the standards of our profession; and (5)
to contribute to the common good (Wiley, 1981, 10).
5
The interviews were conducted from November 2 to November 18, 2008.
painting. Prof. Baun believes that without planning, it is impossible for the
work to generate intelligible meaning.
Like Prof. Baun, Prof. Agnes Sunga-Oblefias gathers her students and motivate
them to first have initial interaction and exchange of ideas as to what would
their painting be like. She imposes no specific rules in doing the interaction.
It is enough that students would come to an agreement as to the content and
that agreement must be well embodied in the painting work.
A senior faculty, Prof. Pacelli Eugenio also prefers that his students would
talk first about what subject matter and composition would be utilized; and
what meaning of the work should be articulated before they would execute
the activity. Prof. Eugenio, however, explains thoroughly the aims and
specific objectives of the activity before the preliminary phase of the activity
starts. Prof. Eugenio makes sure that his students understand first the
reasons why the activity is undertaken. This way, according to him, students
can execute the activity much better.
There are some faculty members of the College like Prof. Kriztine Viray, who
on the other hand, prefer that the subject matter of the painting must be pre-
imposed. This means that the teacher himself or herself imposes the subject
matter before the students even start to interact. This, according to her, is
very convenient because the students would just execute the work. In her
classes, she would give the students a broader theme like ‘social relevance’,
‘nature’, and ‘basic emotions’. Correspondingly, another advantage is that it is
easier for the teacher to evaluate and rate the works when there is a common
theme.
Prof. Raul Roland Sebastian differs from the rest of the group. Prof.
Sebastian gives focus and emphasis on the visual composition. How the
elements are put together and organized. He also underscores the
significance of the process of doing the activity and how the students
interact with each other either verbally or otherwise.
(Plates Viewing)
All of the faculty members who were interviewed for this paper agree that
students can possibly learn the basic elements of visual arts by experiencing
‘painting’. Moreover, students also learn how to correctly analyze a
particular work of art according to these elements. Apart from this,
students can have intercultural understanding and communication by
discussing the theme, elements, composition and meaning of the work prior
to, during and after the activity.
As pointed out, PUP allows its faculty members to utilize their own method in
delivering the courses assigned to them. As earlier established in the paper,
professors of Humanities in the university usually conduct group painting
sessions. However, though they have similar pedagogy, faculty members may
still differ as to the approaches they apply.
Their choice of methodology depends on the following factors: (1) Goals; (2)
Participants’ Profile; (3) Mediums Used; and (4) Knowledge of the basic
elements of visual arts; and (5) timeframe.
Goals
Prof. Eugenio highlights and discusses the aims and goals of the activity first
before it actually starts. For instance, if the activity’s goal is peace
cultivation, the same should be explained to the participants. The participants
should know the fact that group painting sessions may be a possible avenue by
and through which cultural differences would be tolerated and
intercultural understanding could be developed. True, teachers should not
leave their students innocent about the things that would transpire in the
activity. Moreso, it is a capital sin for a teacher not to tell the students
about the meaning and importance of the activity.
Prof. Segundo Dizon, Director of Cultural Office of PUP, shares this opinion.
Prof. Dizon identifies two goals: one, learning the elementary concepts about
visual arts; and two, cultivating peace, friendship, and camaraderie.
According to him, discussions on the basic concepts involved in the visual arts
should be given more emphasis. This is to be true about the idea of using group
painting as pedagogy. He claims that the second goal of group painting activity
—that is peace,etc—would be realized by the participants/students along the
way.
Aside from the goals of the activity, Prof. Dizon would also discuss to his
students the possible benefits that can be derived from the activity such as
the enjoyment it could spawn; skills that could be developed and honed; and
of course, grades, accolades, and admirations the art work could earn.
Prof. Racidon Bernarte, Prof. Kriztine Viray, Prof. Agnes Sunga-Oblefias, and
Prof. Raul Roland Sebastian are also unanimous in saying that the goals of
the activity should be put across and explained at the very onset. Through
this, the students would have a clear direction; would feel and realize the
value of the activity; and would contemplate on the impacts the activity could
generate even at its inception.
During the interviews with the faculty members, I discovered that most of
them do not profile their students before constituting the groups for the
session. Most of them would just divide the class into several groups and the
number of members for each group is dependent on how big the class is. The
faculty members do not mind at all the cultural orientations of the members
in a group; their regional affiliations; gender; religion; age; and other dividing
factors.
If all the members of the group are from the same cultural background, the
activity would be in vain and worthless. Why? This is because there is already
a presumption that peace between and among these members exists. No
conflict to settle. No differences to forge. No intercultural dialogue and
communication is possible. At the very least, what can be nurtured is
interpersonal communication and relationship.
As to the medium, the majority of the faculty members do not require the
students a particular medium to use, rather the students are given liberty to
choose from among all the available mediums.6 This is because the students
would know what medium they are comfortable using. Students usually use in
their art works three common mediums. These are: dry pastel, watercolor,
and acrylic.
By looking at the paintings, I realized that when the medium is imposed upon
the students, there seems to be discord in the organization. But when the
students choose their own medium, beautiful artworks are produced. I will
show some paintings done in different mediums chosen by the students
themselves. We can observe the aesthetic value of each work. And show you
one painting done in a medium imposed upon the students.
(Plates Viewing)
About 95% percent of the students who take Humanities courses are not
enrolled in courses like architecture, interior design, and fine arts.
Understandably, a teacher of humanities must explain and orient his /her
students about the basic concepts about visual arts including but not limited
to elements, history, appreciation principles, art theories and other
elementary lessons on visual arts. This is to make the students well
informed.
Timeframe
During the interviews, I gathered that the faculty members only allow their
students to finish the artwork within a period of 3 to 4 hours. This period
refers only to the activity itself. This does not include the time spent for
initial planning, discussions and lectures on the elementary concepts,
gathering of materials, and post-activity sessions like understanding the
artwork, interpreting the works by the students and assessments.
I will show to you some paintings which are doubted to have been produced for
a short span of 3 to 4 hours because of their intricacies and complicatedness.
(Plates Viewing)
Group painting sessions in PUP are being facilitated by the teacher of the
course himself or herself. At times, if the class is big enough, the teacher
will invite other facilitators who are most usually visual artist or other art
teachers. There are no hard and fast rules being followed by the teachers in
facilitating the activity. They do not follow strict guidelines and approaches.
There is also no common objective and goals set. This is perhaps the reason
why there are some group painting activities which fall short of the
expectations.
I tender the following observations which all point to the basic argument
that group painting is an effective tool to forge and cultivate oneness and
peace among the students of PUP of various ethnic and regional orientations:
(1) Cultural exchange and intercultural communication occur; (2) Cultural
dominance is avoided; (3) Democratic participation is encouraged; and (4) the
art work virtually unites the students.
Cultural exchange occurs in group painting (Rogers, 2006). There are two
ways by which this cultural exchange happens in group painting sessions in
PUP. During the preliminary phase of the activity, students would normally
converse with one another as to the content and theme of the artwork to be
painted.7 Through these conversations, the students would unconsciously
unfold and reveal themselves to each other. They would share their ideas
with each other thereby giving them chance to assimilate each others
cultural orientations. This also happens during the activity proper. Here,
students would meet minds as to the execution of the artwork albeit non-
verbally.
7
These type of conversations occur even if the theme is pre-imposed. However, in which case,
the students would only talk about the process by which the theme is to be articulated.
Accordingly, when a student contributed to the art work, he/she identified
herself/himself to it (art work). This is how Karl Marx looked at labor. Labor
relates the individual to his creation (Hooker, 1996). Hence, virtually all the
participants in the activity would identify and relate themselves to the single artwork
despite the perceived heterogeneity (Scheufele, Hardy, Brossard, Waismel-Manor, &
Nisbet, 2006) that exists among them. This way the participants are united by the art
work they collaboratively produced.
Part II
In this section, I outline a basic plan for group painting activity. I divide the
entire process into three, namely: (1) Preliminary Phase; (2) Actual Group
Painting Session Phase; and (3) Post-Activity Phase.
Preliminary Phase
1. Discuss the history, elements, and functions of painting
2. Motivate the students by showing them images of collaborative painting
activities and their positive results
3. Identify the objectives of the activity
4. Determine the Profile of the Participants as to their cultural
orientations by giving them a Cultural Questionnaire/Survey 8
5. Based on the results of the survey, constitute the groups by making sure
that the members are not coming from the same orientation
6. Give the members, time to talk with each other about the activity; and
time to plan for the painting’s content, organization and visual
composition.
Post-Activity Phase
Concluding Remarks
There are one thousand and one ways by which peace and solidarity among
diverse cultures can be achieved and nurtured, group painting is comparably
just a single spec. I hope that our experience in PUP, though admittedly so
simple or uncomplicated, be a notable contribution towards the attainment of
universal peace. Hopefully, as students in group painting did, nations of
varied cultures can come together and exchange ideas to forge solidarity and
oneness.
Thank you.
Bibliography
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Freinet Organization. (1999). HIstory of Freinet Pedagogy. Retrieved November 15, 2008,
from www.freinet.org/icem/history.htm
Hooker, R. (1996). Alienation of Labor. Retrieved November 15, 2008, from World
Civilizations: www.
Johnson, D. W., Johnson, R. T., & Smith, K. A. (1991). Active learning: Cooperation in the
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