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Social
realism is a commonly shared sociopolitical orientation which exposes
the true conditions of the society based on the artist’s keen and
objective observation of reality.
The term "realism"
in Philippine social realism is not employed in its strict stylist sense,
for realism is only one of the styles used by the social realist school.
Others show expressionist and surrealist influences. What matters more
to social realists is their penetrating eye for social contradictions
and the need for people to organize, which is why they form groups and
link up with popular mass organizations. For them, the practical approach
to their work was through, to quote visual artist Egay Fernandez, "freedom
in style but unity in content."
Andres adheres to the art
theory ‘there is no such thing as art for art’s sake’,
that there is no absolute autonomy of art. Andres’ aesthetics is
primarily based on the reflection theory of art – “an art
that reflects the true conditions and problems in our society.”
In the same way, there is no art that stands above ideology. Since art
is interest-linked because of the social origins and institutions of its
creators, it always bears ideological content. Art is not only a tool
or an instrument for propaganda but it has an important role in building
the new people’s culture.
Andres gives emphasis on
nationalist art, that art should be based on the present social realities
and on a critical assessment of our historical past so that we may trace
the roots of these realities and therefore project alternatives in building
a new people’s culture. The organization also believes that national
identity is not to be found in nostalgic love of the past or an idealized
view of our traditions and history. It cannot be achieved by using the
common symbols of our national experience without understanding the reality
that lies within them.
Andres promotes the concept
‘art for the masses’, portraying the images of the Filipino
people through different forms. Portraying the living conditions of the
workers, peasants, the women, the fisher folks, the Moros, the youth,
the cultural minority, and other different sectors of the society is a
significant motivation of the organization. Having a mass-oriented approach
on art, Andres also believes that art will be meaningless if it does not
become a collective experience, an experience that is understood and shared
by the broadest number of people. It must not exist simply for the pleasures
of the few who can afford it. The organization views to transform art
into one that has a form understandable to the masses and a content that
is relevant to their lives.
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