UNDERSTANDING

Filipino
IDENTITY
BEVERLY PINEDA KRYSSTYN RAMOS CHLOE BORINES
ROXANNE PABUSTAN
MASTE MACATO JOANAH GATUS MACKY VILLACRUZ LIEZEL
MAGAT
 L I P I N O
F I c s F
e s t h e
E t i
P T O
a N
CO VERYD C AY
IN E
 AESTHETICS
a set of principles concerned with the nature and appreciation of
beauty, especially in art.
Kevin Melchione states in The Definition of Everyday Aesthetics that
since there is no definition to one’s everyday aesthetic, one cannot
establish a criterion according to which an activity acquires aesthetic
value and we doubt whether it has sense to talk about everyday
aesthetics on its own terms.
Felix gonzales - torres “the bed” (1993)
Nigel Shafran 1994 ruthbook
Manfred Willman 1981-1993 Das Land” series
Jeff Wall “The Wall” 1984
 LI P I N O
F I
oC T I CE
PR A A C U I
R O R V
HOR
 HORROR VACUI
the practice of filling of the entire space with details and artwork due
to ‘fear of empty space’ or ‘fear of the emptiness’
 The concept of Horror Vacui appears to have arisen during the Victorian Era, it wasn’t a
compliment and used as criticism, nonetheless, it also refers to Aristotle’s idea “nature
abhors empty space.”

It was Mario Paz (1896-1982), an Italian-born critic that used the term “Horror Vacui” to
depict the design created by the Victorians, painters such as Duvet and Bosch showed the
practice by filling up spaces with people, animals, buildings and trees.

Progressively, the concept became a norm in many fields and a design principle as well.
The Fall of Babylon by Jean Duvet
 The concept Horror Vacui are often shown in every typical Filipino homes, walls filled
with photographs and paintings, altars and flower vases, tables and plants, or any other
ornaments they can display, this was defined as the horror of space but fittingly
identified as Maximalism by De Leon Jr.
De Leon wrote: “The common Filipino is a maximalist, filling up
every available space with forms and things. It springs from an
expressive exuberance deeply rooted in emotional sensitivity and
the strong urge to connect.” Filipino loves to be surrounded by
people, collects memories and having a feeling of nostalgia. They
fear empty spaces, a deceased loved ones or a long distance
relationships, to fill the ‘emptiness’ they collect “abubot” and gives
“pasalubong” to commemorate their long gone loved one or rather
love ones that lives overseas.
The concept can also be seen on lines
such as “saying” or “pwede pa ‘to
magamit”, this shows that the “space”
or the excessive part must be used in
other ways.

It also extends to the use of “borloloy”

or overly designed jeepneys, pieces of
metals attached to it, as well as
colorful artworks painted to it, and
the familiar horse placed on the hood
of some jeepneys invented by the
Sarao Motors, and somewhat
connected to its predecessor, the
“karwahe” or “kariton”, a passenger
wagon pulled by a horse and
maneuvered by the “hinete”
 A LI S M
M AX I M
by N
E L E O
L I PE D
FE
FELIPE PADILLA
DE LEON
- born on May 1, 1912 in Barrio Papaya
(now General Tinio) in Penaranda, Nueva
Ecija

- son of Juan de Leon and Natalia Padilla

- Felipe de Leon married pianist Iluminada

Mendoza with whom he had six children.
Bayani and

- he took up Fine Arts at the University of

the Philippines in 1927, but he had to stop
schooling in order to make a living
FELIPE PADILLA
DE LEON
- he decided to study formally and enrolled
at the Conservatory of Music, University of
the Philippines, where he studied under
National Artists Col. Antonio Buenaventura
and Antonio Molina

- he took advanced studies in composition

under Vittorio Giannini of the Julliard
School of Music in New York, USA. De Leon
received many awards, such as Composer
of the Year (1949), Manila Music Lovers
Society, Musician of the Year (1958), UP
Conservatory of Music, and others
FELIPE PADILLA
DE LEON
- he was conferred an honorary degree, doctor of
philosophy in the humanities, by the University of
the Philippines in 1991

- De Leon wrote piano compositions, hymns,

marches, art songs, chamber music, symphonic
poems, overtures, band muic, school songs,
orchestral works, operas, kundiman, and
zarzuelas

- two operas which are considered his

masterpieces are the Noli Me Tangere (1957) and
El Filibusterismo (1970). These two operas have
been staged in the Philippines and abroad. He
also wrote a march during the Japanese regime
entitled
 L I P I N O
FI y F
b e aEu t
P T O
N C
CO VERYD AY
IN E
“Beauty and ugliness are a part of the cultural norm. Lexical
evidence shows us that beauty is “predominantly centered on
the human body” in natural state and sometimes in modified
form through the use of ornaments.”

Malicsi, 1982
Our preoccupation with beauty
is an international obsession,
but how Filipinos define beauty.
In an effort to break down
beauty barriers, we're taking a
look at what being "beautiful"
means in Pre-colonial
Philippines up to modern day.
The expectation of beauty is
prevalent and strong in the
Philippines.
Filipinos have a mixed heritage
that can be traced back to
Malay, Korean, Chinese, and
Spaniard origins, but the original
inhabitants of the Philippines,
called ‘Atas’, were dark skinned
and had tight, curly hair and flat
noses. The Spaniards referred
to these people as Negritos
because they resembled small
native Africans.
 It is a combination of qualities, such as shape,
color, or form, that pleases the aesthetic senses,
especially the sight.
MALE
•
•
Broad shoulders
Square-faced
• Scars
• Tattoos on their bodies
• Noble and brave
FEMALE
• Big breasts
• Big hips
• Binukot
• Tattoos
MEBUYAN
Also called Maibuyan,
Mebuyan is an ancient
goddess of the underworld
of Bagobo and Manobo
mythology. She is depicted
with many breasts which
she uses to nurture the
souls of unborn babies.
SPANISH COLONIAL
Beauty is mainly all about skin color and social classes
MALE
• Mestizo
• Pointed nose
• Tidy hair
• Illustrados
FEMALE
• Fair skin
• Demure
• Elegant
• Virtuous
• Tidy hair
• Petite
• Posture
• Neat/ unscarred
MARIA CLARA
She is the iconic mestiza heroine of Jose Rizal’s “Noli Me
Tangere” whom he describes as “Inang Pilipinas.” Said to be
inspired by Rizal’s childhood sweetheart Leonor Rivera, she is
the epitome of the Pinay concept of beauty at the time: demure,
conservative, fair-skinned, elegant and above all, virtuous.
AMERICAN TO
JAPANESE
COLONIZATION
• White/ light skin
• Caucasian (Mixed parentage)
• Wide eyes/ lively eyes
PROBINSYANA by Amorsollo

Amorsolo described the women he

paints as having a round face,
“exceptionally lively” eyes and
blunt but firm nose. He added that
she “should not necessarily be
white complexioned…but of the
clear skin or fresh colored type
which we often witness when we
meet a blushing girl."
MODERN DAY
 In the Philippines, two opposite concepts of beauty are now celebrated. The mestiza beauty with
her fair skin, large eyes and Eurasian features is epitomized and the morena beauty with her
caramel skin, blunt nose and jet-black hair. While some people have been influenced by other Asian
countries like Korea since their tv series is so popular in Philippines that is why people wanted to
have that flawless and fresh skin like theirs. Androgyny is now also embraced by the society in
which it is a combination of femine and masculine characteristic. The modern Filipina is
empowered, strong and independent.
Ann
Nation’s sweetheart

e
‘Anne Curtis,
epitomized the
mestiza beauty
 Miss
Universe
first-
embodies morena

runner-up
beauty
 M O R E
o
M P L E S
A
EX IPINO
F I L
S
JEEPNEYS
 Jeepney is considered as a
Philippine national identity firstly
because of its uniqueness and
relevance in our country. A brief
history of the Philippine jeepney
dates way back into World War II
wherein Filipinos took scraps of
metal from the US Air Base in
Pampanga and created the first
ever jeepney to exist for
transportation purposes.

The jeepney is a representation of Filipino spirit—resilient, innovative and optimistic—as

seen in its colorful and artistic designs that are considered as horror vacui for the Filipino
wants to create masterpieces with the fillings of home and liveliness, without a trace of
vacancy in it.
IGLESIA NI CRISTO
Iglesia Ni Cristo is also a Filipino heritage created by Carlos A. Santos-Viola. The Central
Temple signifies his taste and preferences in geometrical shapes and functionality as he
believed that the “…structure should not only look good but function well, too.”
 The University of the Philippines Oblation is a statue of a man whose hands are
outstretched, with him facing upward wherein it represents an individual who offers
himself for the service for man and the country. This statue was created by Guillermo
Tolentino.
 N CE S
R E F E RE
o
P ORT
TH E RE
Amerila, Z. M. (ND). 16th - 19th Century Concept of Beauty in the Philippines: A Historical and Cultural
Approach. Retrieved from Academia:
https://www.academia.edu/36042946/16th_-19_th_Century_Concept_of_Beauty_in_the_Philippines_A_Histo
rical_and_Cultural_Approach

Escalona, K. (2017, September 11). How the Jeepneys Became a Filipino National Symbol. Retrieved from
Culture Trip:
https://theculturetrip.com/asia/philippines/articles/how-the-jeepney-became-a-filipino-national-symbol/

Mendoza, A. C. (2018, January 6). Filipino Culture of Filling Up Space in a Gated Community. Retrieved from
ScienceDirect:
https://reader.elsevier.com/reader/sd/pii/S1877042815061972?token=2066CDDA83B93957744B84DD2
AE52D045A48F94ED420C58D9A27F3DC6455A0C52B9B34090D892602CAF1AF9006C42823
Naji, C. (2018, January 11). Six Contemporary Filipino Architects You Should Know. Retrieved from Culture Trip:
https://theculturetrip.com/asia/philippines/articles/six-contemporary-filipino-architects-you-should-know/

Soegaard, M. (2018, August 8). Horror Vacui: The Fear of Emptiness. Retrieved from Interaction Design
Foundation: https://www.interaction-design.org/literature/article/horror-vacui-the-fear-of-emptiness