Joyce G.

Orda
STEM 21

1. contemporary visual art, the art of the late 20th cent. and early 21st cent., both an outgrowth and a rejection of modern
art. As the force and vigor of abstract expressionismdiminished, new artistic movements and styles arose during the
1960s and 70s to challenge and displace modernism in painting, sculpture, and other media. Improvisational and Dada-
like styles employed in the early 1960s and thereafter by RobertRauschenberg and Jasper Johns had widespread
influence, as did the styles of many other artists. The most significant of the often loosely defined movements of early
contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the
work of such figures as AndyWarhol and Roy Lichtenstein; the optical shimmerings of the international op art movement
in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color-field painting in the
work of artists such as Ellsworth Kelly and Frank Stella (with his shaped-canvas innovations); the lofty intellectual
intentions and stark abstraction of conceptual art by SolLeWitt and others; the hard-edged hyperreality
ofphotorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and
the monumentality and environmental consciousness of land art by artists such as Robert Smithson. One of the most
long-lived of these movements was the abstract development known as minimalism, which emphasized the least
discernible variation of technique in painting, sculpture, and other media.
2. Contemporary architecture is the architecture of the 21st century. No single style is dominant; contemporary architects
are working in a dozen different styles, frompostmodernism and high-tech architectureto highly conceptual and
expressive styles, resembling sculpture on an enormous scale. The different styles and approaches have in common the
use of very advanced technology and modern building materials, such as Tube structure which allows construction of the
buildings that are taller, lighter and stronger than those in the 20th century, and the use of new techniques ofcomputer-
aided design, which allow buildings to be designed and modeled on computers in three dimensions, and constructed
with more precision and speed. Contemporary buildings are designed to be noticed and to astonish. Some feature
concrete structures wrapped in glass or aluminum screens, very asymmetric facades, and cantilevered sections which
hang over the street. Skyscrapers twist, or break into crystal-like facets. Facades are designed to shimmer or change
color at different times of day. Whereas the major monuments of modern architecture in the 20th century were mostly
concentrated in the United States and western Europe, contemporary architecture is global; important new buildings
have been built in China, Russia, Latin America, and particularly in the Gulf States of the Middle East; the Burj
Khalifa in Dubai was the tallest building in the world in 2016, and theShanghai Tower in China was the second-tallest.
Most of the landmarks of contemporary architecture are the works of a small group of architects who work on an
international scale. Many were designed by architects already famous in the late 20th century, including Mario
Botta, Frank Gehry, Jean Nouvel, Norman Foster, Ieoh Ming Pei andRenzo Piano, while others are the work of a new
generation born during or after World War II, including Zaha Hadid, Santiago Calatrava, Daniel Libeskind, Jacques
Herzog, Pierre de Meuron, Rem Koolhaas, and Shigeru Ban. Other projects are the work of collectives of several
architects, such as UNStudio and SANAA, or giant multinational agencies such as Skidmore, Owings & Merrill, with thirty
associate architects and large teams of engineers and designers, and Gensler, with 5,000 employees in 16 countries.
3. Contemporary literature is defined as literature written after World War II through the current day. While this is a vague
definition, there is not a clear-cut explanation of this concept -- only interpretation by scholars and academics. While
there is some disagreement, most agree that contemporary literature is writing completed after 1940. Works of
contemporary literature reflect a society's social and/or political viewpoints, shown through realistic characters,
connections to current events and socioeconomic messages. The writers are looking for trends that illuminate societal
strengths and weaknesses to remind society of lessons they should learn and questions they should ask. So when we
think of contemporary literature, we cannot simply look at a few themes or settings. Since society changes over time, so
do the content and messages of this writing. When we talk about contemporary literature and the start date of this
label, we have to acknowledge World War II and the surrounding events. The horrors of the war, including bombs,
ground wars, genocide and corruption, are the pathways to this type of literature. It is from these real-life themes that
we find the beginning of a new period of writing.
4. Contemporary Musical Instruments:
1.Aerophones
 Bulungudyong – vertical & long flute (B'laan)
 Palendag – lip-valley flute
 Tulali – bilat flute with 6 holes
  Tumpong – bamboo flute
 Lantoy - nose flute
 Bansik - bamboo flute with three holes of the Negrito people inZambales.
2.Chordophones
 Bamboo violin – a three-stringed violin of the Aeta people.
 Butting – a bow with a single hemp 5 string, plucked with a small stick.
 Faglong – a two-stringed, lute-like instrument of the B'laan. Made in 1997
 Guitar – introduced by the Spanish in the 17th century, now one of the most popular instruments in lowland (Christian)
areas. The significant popularity of the guitar eventually became the most popular instrument in the country.
 Budlong - bamboo zither
 Pas-ing - a two-stringed bamboo with a hole in the middle from Apayaopeople.
 Lutes
 Bandurria – part of rondalyaensemble, it has a shorter neck and 14-strings compared to its Spanish ancestor.
 Buktot – a four-stringed instrument made from coconut shells originating in the Visayas.
 Kudyapi – a two-stringed boat lute from Mindanao.
 Laúd – similar to the bandurria, it is ultimately of Spanish origin. Also part of a rondalya ensemble.
 Octavina – part of a rondalya ensemble, it is of ultimately Spanish origin.
 Tuned gongs
 Agung – large gong suspended from an ornate frame
 Gandingan – set of four large hanging knobbed gongs
 Kulintang – set of eight tuned gongs placed horizontally in an ornate frame, tuned pentatonic scale|pentatonically.
 Xylophones
 Gambang/Gabbang – bamboo blades on a frame (Yakan, Batak,B'laan, Badjao, Taus)
 Luntang – wooden beams hanging from a frame (Maguindanaon)
 Metallophones
 Kulintang a tiniok – set of eight, tuned knobbed metal plates strung on a wooden frame (Maguindanaon)
 Babandil- small gong
 Saronay – eight tuned knobbed metal plates strung over a wooden frame (Maranao)
3.Membranophones
 Agung a tamlang – bamboo (slit drum)
 Dabakan – goblet drum (Maranao)
 Gandang – double-headed barrel drum (Maranao)
 Kagul – scraper
 Libbit – conical drum (Ifugao)
 Sulibao – conical drum (Ibaloy)
 Gambal- drums
 Tambul- drum
4.Idiophones
 Iyot- Jew's harp (Palawan)
 Kubing – jaw's harp (Maranao)

5. The Filipino contemporary culture theatre can be seen as a great example for anyone who would like to speak about the
postcolonial identity of the nation. The Philippines – because of the difficult and complex history of the country – cannot
be con-sidered in a binary differentiation: “Asian” vs. “Western”. Moreover, we should not forget that this country –
 according to Sir Anril Pineda Tiatco in Situating Philippine Theatricality in Asia – «is not only an amalgamation of pre-
colonial, colonial, and post-colonial cultures». There is no point in calling for the “authenticity” or the “pureness” of the
postcolonial theatre forms (and postcolonial sacral performances), or in the accusation of being “polluted” by foreign
influence, as long as the major aim for the Filipino theatre makers is to redefine their own artistic identity. In this article I
proposed the distinction between the group identity and the individual identity, being aware of the fact that both of
them stay in a constant dependency and each of them negotiates its own importance. If the theatre group is more
concerned about social and/or political issues, the individual identity of an actor is not any more so easy to achieve. In
the same time, even if we discuss the “common good”, the artistic freedom does not have to be limited. However, we
may observe similar situations in other postcolonial countries, I do believe that the Filipino case – because of its double
colonial identity – deserves particular attention.