Art and business build social identity

DURING a recent “Contemporary Philippine Arts from the Region” class, I posed a question to my students: “Is art created for its own sake or for the benefit of society?” This sparked a lively debate, with the first group advocating for the freedom of artistic expression. They argued that art should be a form of self-expression, free from external constraints.

The opposing group is particularly concerned with the works of Dr. Jose Rizal. One student argues that Rizal’s novels, inspired by his personal experience and observations, served both purposes; at the same time, they function as artistic masterpieces; they also profoundly impacted society by exposing the injustices faced by our ancestors and contributed to the revolutionary movement.

This debate led me to ponder on the question: which purpose is truly “fitting” for art? Can art serve both? The article “A Struggle for Identity” in 2012 by Joe Pulma explores the impact of historical trauma on Filipino cultural identity. He argues that this trauma has contributed to the erosion of a strong and unified sense of self for Filipinos.

Further, it suggests that this lack of cohesive national identity hinders our ability to compete with neighboring countries in various aspects, as we may struggle to present a distinct and recognizable “brand image” on the global stage. The enduring impact of colonialism on Filipino self-perception. The values and attitudes imposed during colonial rule continue to shape how young Filipinos view beauty standards, language preferences, and, ultimately, their national identity, as indicated by Camelia Heins’ 2022 in the article “The Effects of Colonial Mentality Are Long-Lasting on Filipino Youths.”

This ongoing struggle is evident in the efforts of Filipino communities to actively challenge these colonial legacies and reclaim a more authentic sense of self.

Examining Philippine history from pre-colonial times to the present reveals a recurring theme of “struggle” reflected in our artistic creations. However, a crucial question remains: how can we move beyond this narrative of struggle and redefine our artistic identity for the future?

As an art and design educator, I am dedicated to fostering appreciation for our nation’s rich cultural identity among my students. However, a significant barrier exists in the form of widespread stigma surrounding the value of arts and design education.

Glaiza Lee elaborated that this stigma manifests in the misconception that art is merely a casual pursuit requiring minimal investment. Artistic pursuits demand significant dedication, time, and financial resources, in her 2023 article “Debunking ‘Walang Pera sa Art.’”

Access is necessary for our society’s exploration and appreciation of the arts, potentially leading to an undervaluing of our cultural heritage and artistic potential. As pointed out in a 2020 article, “SHS Needs More Sports, Arts Tracks Think Tank” by Jan Arcilla raises concern about the limited availability of arts and sports tracks in 98 percent of public and private senior high schools.

While the 2023 Statista report reveals a thriving “creative, arts, and entertainment activities” industry in the Philippines, generating a revenue of $19 million, the persistent belief that “walang pera sa arts” (“there’s no money in the arts”) continues to prevail. This misconception overlooks the significant financial contribution of the creative industries to our nation’s economic growth. Recognizing the value and economic potential of the arts is crucial for fostering a society that celebrates and nurtures artistic expression.

The class activity highlighted a significant point raised by a student: even the most unexpected artwork can resonate with someone, fostering a powerful connection and unexpected relatability. That reinforces my belief in the power of “art for society.” By enabling artists to communicate the struggles and aspirations of everyday Filipinos, this artistic approach fosters a deeper understanding of our collective identity. It is my hope that by nurturing a vibrant community of creative arts graduates, we can collectively reimagine and rebuild our national identity, ultimately realizing the full potential of Filipino culture.

Ralph Anthony C. Cacal, LPT, MMC, is a dedicated educator and marketing communications expert at De La Salle University (DLSU). With a background in multimedia design, his early career included creating impactful visuals for newspapers, magazines and billboards. Ralph holds a master’s degree in Marketing Communications from DLSU and is a Licensed Teacher, bringing a unique blend of creative insight and pedagogical skill to his role. Passionate about inspiring the next generation of marketing and creative professionals. You can reach him at ralph.cacal@dlsu.edu.ph for inquiries or collaborations.