Introduction

 AN INQUIRY ON THE PROGRESSIVE ARTS-INTEGRATED TEACHING METHODOLOGIES AND TRANSFORMATIVE ART MAKING SPACES & PROCESSES; PROVIDING A PEDAGOGICAL DISCOURSE THROUGH THE LENS OF AN “IBARANG” AT THE PHSA VISUAL ARTS COMMUNITY

Sol Samodio

Background of the Study

Philippine High School for the Arts (PHSA) is one of the few government-run public art high schools in the country that has a dedicated discipline to visual arts. My experience as a member of the Pintados community (the PHSA Visual Arts Organization) provided me with a constant reluctance when it comes to pursuing visual arts based on the imposed structure of its curriculum and its haphazard physical learning environment that I was met with upon my engagement with the program.

The program's approaches to art practice fall on constant production of works, employing restrictive standardizations for visual arts practices. Through the years, the program has not been re-evaluated through its curriculum and no initiatives have been taken to regulate the limited materials and facilities given the lack of financial support given to the program

Research Objectives

-          To dissect and stimulate discourse on the restrictive patterns imposed on arts education that have contributed to my own and the PHSA Visual Arts students’ struggles as artists through a reflection of our art-related experiences.

-          To gather progressive arts-integrated teaching methodologies and organize versatile practices to develop and diversify approaches to artmaking.

-          To integrate, contribute, suggest, and propose ways to implement sustainable practices in maintaining and transforming communal artmaking spaces.

Statement of the Problem

For an institution that promises quality education and facilities to cultivate young arts scholars all over the country, there are systematic gaps and lapses that have compromised this very goal. The most common thread to these problems lies in the poor communication and coordination between the students, teachers, and administration. Initiatives to openly evaluate the space and curriculum among the community are seldom conducted as involved parties rarely provide time and proper avenues for these discussions. The administration has a habit of delaying their responses and lacks the accountability to resolve such matters, which results in the low productivity of developing the program. Along with this, insufficient budget allocation and opportunities are prevalent for Visual Arts students, as most rely on their own pockets to provide materials, fund their own exhibitions (as it is only provided for graduating students), and support themselves in representing the school in local and international competitions. These issues should not be allowed to continue on for the well-being of the Visual Arts Community, especially with the school’s reputation of being the “premiere arts high school of the Philippines”, as it further discourages young artists to pursue and cultivate their craft under these challenging circumstances.

Significance of the Study

Formal visual arts education in the Philippines has not been accessible to the masses. Most pursue its formal practice at university level, as there are limited primary and secondary learning institutions that specialize in the arts— one of them being Philippine High School for the Arts (PHSA), the only government-run public art high school in the country that has a dedicated discipline to visual arts. From a comparative perspective of arts high schools from other countries, the PHSA Visual Arts community shows promise of quality education on par with other renowned institutions once the systemic issues on the curriculum and the spaces are confronted. 

This study will help with establishing facts, acknowledging the current situation of the program, and providing recommendations for the whole community to consider implementing for the betterment and welfare of these aspiring visual artists. With all the supporting information that this study offers, this may be presented to the administration and other supporting communities that are critical to emulate the recommendations with utmost urgency. Furthermore, this study may also provide an ongoing pedagogical discourse on the nuances and importance of arts education, with how it is being propagated and taught. A conscious awareness of the choices and the “whys” of the things we do, especially with the holistic pursuit of the arts, is amplified in this study to further deepen the purpose of these programs that are given much time and dedication to.

Scope and Limitations

This study tackles the curriculum, space, and people in relation to the Visual Arts Program. All data and information collected are solely from stakeholders related to the Pintados community– the teachers, students, and alumni. 

The actions resulting from this study, such as the potential clean-up drive of the Vargas Studio, will include willing volunteers from the members of the Ibarang community– students, alumni, teachers, staff, and administrators. There may be issues that will be encountered in terms of administrative coordination, so this may delay the outcomes of the recommended actions offered from this research. 

I will also be referring to comparative models from other arts institutions both locally and internationally, specifically college-level arts institutions as these are available and accessible connections within the scope of my research. These interactions with other institutions will involve interviews and campus visits from willing stakeholders with the intention of suggesting ways and avenues to improve the Visual Arts Programs from the information I acquired.