Indigenouism
Indigenouism is an art movement promoting environmental protection campaign by using Indigenous Materials as medium in their artistic creations. It emphasizes more of the aesthetic values than socio-cultural themes for literature, visual arts and other related arts. It also promotes the culture and tradition of every areas more specifically of the remote areas. Due to poverty, Elito Circa also known as Amangpintor began using hair and blood as experimental mediums in 1978. Since then, Indigenouism has became a weapon for him to pursue his artistic career.
Indigenouism, in general, refers to the work of art of local artists who uses raw materials available in the area. It is a movement of artists and their work of art using Indigenous Materials for their Masterpieces. It includes activities and creations of those who have felt an inclination to the social and cultural isolation and traditional forms of art. Indigenouism, also, was derived from the combination of the word Indigenous Materials, things that are naturally occurring in a specific place or area; and indigenous or native people, those who lives in a specific place or area (referred also to those who live in remote areas).
The term Indigenouism was coined by Elito Circa who led the movement of using indigenous materials for paintings and introduced it to other artists in 1993. Through this, many of the local artists in the town even the province adopted prominent and primary agricultural products as medium for their paintings. The movement also advised other towns to use their readily available products in their areas thereby promoting the town’s identities.
Another term, Indigenism on the other hand, refer to ideologies associated with indigenous peoples, is used differently by a various scholars and activists, and can be used purely descriptively or carry political connotations. George Kubler (1985) use of the term indigenismo to describe an ideological and stylistic perspective in twentieth-century Latin American art; he underscores the modern nature of this concept as a particular historical mindset and, less strictly, as anartistic style. It signifies a contemporary attitude in modern Latin American art that con-cerns itself with the “retention of pre-conquest styles”, as in the murals of Mexican painter Diego Rivera. More importantly, it draws impetus from a twentieth-century expansion of exact knowledge about antiquity in the Americas and seeks to restore Preconquest civilis-ations to “symbolic authority” (Bakewell, 1995, p. 24; Kubler, 1985, pp. 75–76; Ramos,1998, pp. 5–7). It reflects a desire in modern or modernised societies to be deeply movedby an “unremembered past” (Cameron and Gatewood, 2003, pp. 55–56).
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