Just the other day, I had a conversation with friends on how modern technology revolutionized the way we live.
We might have joked that “if it is not on social media, then it didn’t happen,” but it reflects how the Internet, social media, and smartphones rule the contemporary world.
There is no doubt that people have become so dependent on these technologies that we often rely on them for everything.
This social disruption also occurs in the art world.
Technology alters artmaking in a big way. It creates new social norms on how we consume art and modifies how we define arts and its roles in our lives.
In an article titled “Technology and Art: Engineering The Future,” author Gever Eyal wrote that “the modern ways in which art is created, produced, distributed, marketed, preserved and supported have shifted as a direct reaction of the world’s transition to a socially connected, digital society to the age of the Internet.”
While there are still advantages ongoing through traditional channels, most artists nowadays capitalize on the Internet to connect with their community, create a following among their fans, collaborate with fellow artists, and market their creative products.
Take for instance, a visual artist doesn’t have to be at the mercy of galleries and museums to have their own exhibits. They now curate their artworks online, find their clients, and rake in profits.
Some budding musicians are no longer dependent on music companies to make their debuts. They would drop their songs on YouTube, Spotify, and other music apps.
Aside from the usual cinema setting (which is not really quite possible and profitable in the current pandemic situation), filmmakers now have digital platforms such as Netflix, Viu, iFlix, and others to market and sell their cinematic works. Dancers gain popularity and followings on Tiktok and other socmed apps.
Traditional arts institutions and organizations need to keep up with the changing time. They need new strategies and new platforms to reach their intended audience and widen their market.
Knowing this, the Cultural Center of the Philippines partners with Knowledge Channel to widen its reach and further promote Filipino arts and culture.
The agreement entails airing the CCP cultural shows and curriculum-based contents, which will be part of the channel’s School at Home Araling Panlipunan and Filipino blocks.
Knowledge Channel will soon announce the specific shows and features included in this partnership that will start airing during the first and second quarters of the year.
As far as I know, this is not the first time that the two organizations partnered. Over a decade ago, Knowledge Channel used to broadcast the live-action adaptation of Jose Rizal’s Noli Me Tangere on their Filipino High School block, as well as theater performances in their Theater Hour weekend performing arts show.
The current CCP Board of Trustees initiated this renewed partnership, which was formally signed last December.
CCP chair Margarita Moran-Floirendo, with board members Jaime Laya, Benedict Carandang, and Lorna Kapunan attended the MOA signing, with KCFI’s director of operations Edric Calma.
KCFI president/executive director Rina Lopez-Bautista cited that “having knowledge about Filipino history, culture and language is fundamental in the holistic development of the Filipino child,” creating a profound sense of their identity as a Filipino.
This renewed collaboration is a good endeavor for art education and art appreciation among the youth. As they say, and I agree, art appreciation should begin at a young age.
For updates, visit knowledgechannel.org or follow official Facebook, Instagram, TikTok, Kumu and YouTube accounts. You may also follow the CCP official social media accounts.
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