AGUNG by nccaofficial

Memories, Metaphors, Metamorphoses

Volume XX • Number 2 • March-April 2017 • For Artists and Cultural Workers • ISSN 0119-5948

Official Newsletter of the National Commission for Culture and the Arts

Vol.ume XX, Number 2 March-April 2017 ISSN 0119-5948 The agung is a knobbed metal gong of the Philippines used in various communal rituals. Suspended in the air by rope or metal chains, the musical instrument is also employed by some indigenous groups as a means to announce community events, and as an indicator of the passage of time. Agung is published bimonthly by the National Commission for Culture and the Arts.

VIRGILIO S. ALMARIO chairman

About the cover

RICO S. PABLEO, JR. executive director

Front cover shows detail of the monument of Francisco “Balagtas” Baltazar by Julie Lluch in Orion, Bataan, unveiled during the maiden celebration of National Literature Month /Photo by Roel Hoang Manipon

MARICHU G. TELLANO deputy executive director Rene Sanchez Napeñas editor-in-chief Roel Hoang Manipon managing editor Mervin Concepcion Vergara art director

Leihdee Anne Cabrera Manny Arawe May Corre Tuazon Roezielle Joy Iglesia Christine Sarah Sy paio staff

TRANSFO AND TRA

Celebrating National L

For the indigenous peoples of the Cordillera Region, the image of the lizard symbolizes metamorphosis, regeneration, rebirth and renewal.

The National Commission for Culture and the Arts As the government arm for culture and the arts, the National Commission for Culture and the Arts (NCCA) is the overall policy-making, coordinating, and grants-giving agency for the preservation, development and promotion of Philippine arts and culture; and executing agency for the policies it formulates; and an agency tasked to administer the National Endowment Fund for Culture and the Arts (NEFCA). The NCCA traces its roots to the Presidential Commission for Culture and the Arts (PCCA), which was created when President Corazon Aquino signed Executive Order No. 118 on January 30, 1987, “mindful of the fact that there is a need for a national body to articulate a national policy on culture, to conserve and promote national heritage, and to guarantee a climate of freedom, support and dissemination for all forms of artistic and cultural expression.” On April 3, 1992, President Aquino signed Republic Act No. 7356 creating the NCCA and establishing the NEFCA, a result of over two years of legislative consultations among government and private sector representatives. The bill was sponsored by senators Edgardo J. Angara, Leticia Ramos-Shahani, Heherson T. Alvarez and congressman Carlos Padilla. The NCCA Secretariat, headed by the executive director and headquartered at the historic district of Intramuros, provides administrative and technical support to the NCCA and other units, and delivers assistance to the culture and arts community and the public.

The National Literature Month or Buwan ng Panitikan ng Filipinas was first celebrated in 2015 after President Benigno Aquino III signed Proclamation No. 968 on February 10. The idea for the national celebration was spearheaded by Virgilio S. Almario, National Artist for literature and chairman of the Komisyon sa Wikang Filipino. The Proclamation recognizes that “Philippine literature, written in different Philippine languages, is associated with the history and cultural legacy of the State, and must be promoted among Filipinos,” and that “national literature plays an important role in preserving and inspiring the literature of today and in introducing to future generations the Filipino values that we have inherited from our ancestors.”

March-April 2017 • Number 2 • Agung 3

FORMING RANSFORMATIVE

al Literature Month

e are affected and eventually changed by art such as the films we watch, a theatrical piece, or a painting. Also, art forms constantly evolve and are changed by us, reflecting our thoughts and shaped by the prevailing modes and moods, but remaining universal, the old ones affecting us as much as the new ones. Literature is one of the most powerful art forms that shape us and the world in many ways, and it is constantly transforming. This power of the written word was highlighted in the celebration of National Arts Month in April 2017. The NCCA, the Komisyon sa Wikang Filipino (KWF), and the National Book Development Board (NBDB) led in the celebration with the theme “Banyuhay,” the Filipino word for “metamorphosis.” The word was coined by Alejandro G. Abadilla, the father of modern Filipino poetry, in the 1950s, contracting the phrase “bagong anyo ng búhay,” “new form of life.” The theme emphasized that literature, as a creative endeavor, is also a political and social institution, as well as a force that shapes life and everyday living. It is a vital instrument that helps us evaluate and implement right and necessary changes. All through April, literary and cultural events were held, enabling us to gain new perspectives and insights, to discover something about us and the world, and to find ways to change ourselves and the world, as well as to take pleasure in the exquisite beauty of words, written, oral, performed or transformed into other forms.

4 Agung • Number 2 • March-April 2017

The student-participants of Kampong Balagtas with KWF and local government officials/Photo by Teddy Pelaez

INSPIRING THE YOUTH ON THE HEROISM OF BALAGTAS Pambansang Kampong Balagtas in Orion, Bataan

Singer and National Youth Commission chair Cariza “Aiza” Seguerra was the ambassador for National Literature Month 2017. With her in photo are NCCA and KWF chair Virgilio Almario and NBDB deputy executive director Anna Katarina Rodriguez

ccording to eminent poet Lope K. Santos, in his Ang Apat na Himagsik ni Balagtas (The Four Revolts of Balagtas), Francisco “Balagtas” Baltazar was fifty to a hundred years ahead of other revolutionaries and patriots in harnessing the pen against the oppressive powers. The writings of Balagtas, particularly Florante at Laura (1838), were influential in stoking the consciousness of leading heroes and the masses who revered his works including Jose Rizal, Andres Bonifacio, Emilio Jacinto, and Apolinario Mabini who followed the revolutionary writings of Balagtas. In an 1887 lec-

ture, called “Tagalische Verkunst” (Tagalog Poetry), given in Berlin, Rizal described Balagtas as a model for excellence and clarity of expression among the Tagalog poets. Balagtas’s influence seeped through the pens of Bonifacio and Jacinto, as seen in the revolutionary literature of the Katipunan. In Liwanag at Dilim (1897), Jacinto reminded the Mga Anak ng Bayan (Sons of the Nation) on the value of work by lifting stanza 202 of Florante at Laura: “Ang laki sa layaw karaniwang hubad/sa bait at muni’t sa hatol ay salat.” An exiled Apolinario Mabini in Guam, according to accounts, wrote Florante at Laura from memory when an American pointed out that there was no literature Filipinos could be proud of. These are few of the numerous testaments of Balagtas’s influence. The sharing of his creative genius, in monumental works, which shaped and still shapes the nation’s consciousness, is an act of heroism. His heroism and greatness were highlighted during the 2017 celebration of Araw ni Balagtas or the 229th commemoration of his birth anniversary on April 2 with the theme “Balagtas: Bayani” (Balag-

March-April 2017 • Number 2 • Agung 5

tas: Hero). The laying of wreaths and short commemorative programs were held in Balagtas, Bulacan, where Balagtas was born; and in Pandacan, Manila, where he spent part of his life. Spearheaded by the Komisyon sa Wikang Filipino (KWF), the Araw ni Balagtas and the Pambansang Kampong Balagtas kicked off the celebration of National Literature Month. The Pambansang Kampong Balagtas 2017, a literary conference that gathered student-writers and teachers from all over the Philippines, was held from March 31 to April 2, 2017, at the Orion Elementary School in Orion, Bataan. A wreath-laying ceremony was also held on April 1 at the Balagtas monument in the Hardin ni Balagtas, or the Garden of Balagtas, in the barangay of Wawa in the coastal town where he died. It was graced by NCCA and KWF chairman, Virgilio S. Almario, National Book Development Board (NBDB) executive director Jerry Tizon, and Orion mayor Antonio Raymundo. This was followed by a program at the Orion Elementary School where National Book Development Board chairperson

Flor Marie Sta. Romana-Cruz delivered her opening remarks, which highlighted pride in speaking the Filipino language. She also emphasized celebrating and patronizing Filipino writers because Balagtas had said that becoming a writer is not easy so they should not be taken for granted, and using literature as an instrument for a “non-violent revolution” amidst all the violence in

Joselito delos Reyes conducting a workshop on the essay/Photo by KWF

Jerry Gracio lecturing on the art of poetry/Photo by KWF

6 Agung • Number 2 • March-April 2017

the country and in the world today. The opening program also included the conferment of the Gawad Dangal ni Balagtas and the Talaang Ginto: Makata ng Taon. The Gawad Dangal ni Balagtas is an award given by KWF honoring a lifetime of achievement in writing in Filipino. Past honorees include esteemed poets Lamberto Antonio (2013), Teodoro “Teo” Antonio (2014), Rogelio Mangahas (2015), and Jose Maria “Pete” Lacaba (2016). This year, the Gawad Dangal ni Balagtas was bestowed to Lualhati T. Bautista for her fiction and Ruth Elynia S. Mabanglo for poetry. On the other hand, the Talaang Ginto gives the best Filipino poets their due credit since 1963. Belonging to the illustrious list of Poets of the Year (Mga Makata ng Taon) are Lamberto Antonio, Teo Antonio, Rogelio Mangahas, Mike Bigornia, Ruth Elynia S. Mabanglo, National Artists Virgilio S. Almario, Cirilio Bautista, and Bienvenido Lumbera. This year, Aldrin P. Pentero was declared Makati ng Taon, while Michael Jude C. Tumamac won second place, and Paul A. Castillo, third. Writers Dr. Michael Coroza, Rogelio G. Mangahas and Jesus Manuel Santiago served as judges. The Pambansang Kampong Balagtas aimed to hone aspiring student-writers in creative writing as well as inculcate a deeper awareness on and appreciation of Balagtas’s heroism and genius. This year, ninety-four promising student-writers participated in the three-day conference. They were selected from schools nationwide including Mariveles National High School-Cabcaben,

National Artist for literature Virgilio S. Almario at the Balagtas monument/Photo by Teddy Pelaez

Batanes National Science High School, Balbayog National High School, Makati High School, Malabon National High School, Cavite National High School, Philippine Science High School, and the Philippine High School for the Arts. Fifty-nine teachers accompanied the students and also underwent training on teaching literature and creative writing. Poet, screenwriter and KWF commissioner Jerry B. Gracio taught the art of writing poetry, while writer Joselito delos Reyes taught essay writing. There were also parallel lectures facilitated by the LIRA and KWF members. On the other hand, poet Dr. Michael Coroza, who is also head of NCCA’s National Committee on Language and Translation, conducted a workshop on teaching literature and creative writing for teachers. The student participants revised their poems and essays, and the best ones were honored during the closing program. In poetry, “Pagsisiwalat” by Precious Mae V. Centeno of Manaoag National High School was judged the best, while “Awit na Walang Tinig” by Tashmine Jared Pedida of Kaunlaran High School was declared second and “Hugas-Kamay” by Emerson John Ramos of Philippine Science High School was third. In the essay, “Lola Ofelia” by Kristine Jhoy Francisco of Bataan School for Fisheries was the best among them, while “Bagahi ng Dati” by Marlyn Sy of Mariveles National High School was declared second and “Realidad” by Angel Estaño of Cebu City National High School, third. — With reports from Timothy Jarred F. Pasco, Program Monitoring and Evaluation Division

KWF and NCCA chairman Virgilio Almario (fourth from left), NBDB chairperson Flor Marie Sta. Romana-Cruz and officials from KWF and attached agencies led the wreath-laying to commemorate the birth anniversary of Francisco “Balagtas” Baltazar at the Hardin ni Balagtas, Wawa, Orion, Bataan. Joining them were Orion local government officials led by mayor Antonio Raymundo Jr. (third from left) /Photo by Teddy Pelaez

March-April 2017 • Number 2 • Agung 7

MOONLIGHT AT IBA PANG TULA Ni Aldrin P. Pentero Makata ng Taon

ILAW NG DISYEMBRE Tanaw mula sa taxi ang buhay na paligid. Makukulay ang ilaw sa mga kanto’t gilid. Minularan ng ngiti at agad kong naisip Ang pista ng barangay dito sa ‘min sa Pasig. Habang dinig sa radyo ang balitang nadamay Ang isang binatilyong nawalan na ng buhay. Nakitulog lamang daw sa kanyang kaibigan Na kinilalang adik at salot sa lipunan. “Sir, iba na talaga ang buhay natin ngayon. Payapa ang kalsada’t walang tambay na maton. Tanda ang mga ilaw ng bago nating taon Na may dalang liwanag sa ligtas na panahon.” Tinging di pagsang-ayon ang aking ibinigay. “Pang-ilaw kasi iyan sa limanlibong bangkay.” GOOD VIBES ONLY Almusal sa opisina, ako’y nanggagalaiti. Dahil sa nabalitaang may mga bagong nahuli. Pinatay pagkat nanlaban, mga kaso’y dumarami. Nang kausap ko’y nagsabing dapat daw ay good vibes only. Bumalik na sa workstation, naroon ang kaibigan. Nagkuwentong kagabi daw, kapitbahay ay natokhang Hindi ka ba natatakot? Ang sa kanya’y katanungan. Ayos lang daw kung kapalit ay mapayapang lipunan. Pag-uwi, may nadaanang nakahandusay sa kalye. Butas-butas na ang dibdib, pinasabog pa’ng kukote. Nakiusyoso na ako’t tinanong ang isang ale, Tulak nga daw ang napatay, mabuti na ang nangyare. May mali nga ba sa akin? Ako ba ay sadyang nega? Bakit aking mga mata’y ibang-iba ang nakikita. KOTA Patong-patong na nag bangkay sa napunong punerarya, Overtime si Kamatayang paparoo’t paparito. Marami pang nakalista’t nakatakdang mabisita. Timbuwang ang gabi-gabi at duguan ang kalsada. Dinig sa ugong ng hangin ang rumurondang berdugo. Patong-patong na ang mga bangkay sa napunong punerarya. Napapasok nito’ng lahat, mga pinto’t mga hawla. Mabisang susi ang dahas sa kahit anong kandado. Marami pang nakalista’t nakatakdang mabisita. Mabilis na humahatol ang madaliang hustisya. Isang pagsabog sa dibdib o pagputok ng sentido. Patong-patong na ang bangkay sa napunong punerarya. Kung sana’y may panahon pa sa pagdaraos ng misa Bago patapong ilibing silang mga walang nitso. Marami pang nakalista’t nakatakdang mabisita.

Aldrin P. Pentero is the current president of Linagan sa Imahen, Retorika, at Anyo (LIRA). He became a fellow of the Iyas National Writers’ Workshop in 2015. His poems have been published in Liwayway magazine and Ani 39 of the Cultural Center of the Philippines. His poems were also included in LIRA 30, an anthology of poems by LIRA poets, for the organization’s 30th anniversary. He translated the poems of Czech poet Jaroslav Seifert into Filipino for the collection Sa Paraga, Mga Piling Tula, published by KWF.

Muli ngayong nag-uulat, nag-uulit ang umaga. Pareho ang sinasabi ng retrato sa diyaryo: Patong-patong na ang bangkay sa napunong punerarya. Marami pang nakalista’t nakatakdang mabisita. MOONLIGHT Sa hanapbuhay na ito’y di kailangan ng ID. Blangkong pangalan ang dala sa t’wing ako’y naka-duty. Bawat pagtagas ng dugo’y malilinis ang kalsada, mawawala ang basura. Ayos lang na madumihan ang uniporme kong itim. Ang nakatakip kong mukha’y walang mahihiyang gawin.

8 Agung • Number 2 • March-April 2017

Mahirap ang buhay ngayon, mabuti na ang may raket. Sa ilang baling puhuna’y mapupuno na ang wallet. At babalik sa pamilya’ng may intrega’t pasalubong. Naitaguyod na sila’t sa bayan pa’y nakatulong. May pagkain na sa hapag, pambayad ng matrikula. Habang silang masasama’y nalagutan ng hininga. Pag-uwi ko sa umaga’y gagayak na namang muli. Mula bayani ng gabi patungong pagkukunwari. WORK FROM HOME Umaga sa trapik, kayo’y naiipit. Habang nasa bahay akong pumepetiks. Log in na kaagad, walang bihis-bihis, Marami kong account, handa nang tsumismis. Comment lang nang comment, pikon lang nang pikon. Almusal ko’y kape’t puso ninyong mammon. Nakikipag-away sa libreng panahon. Last year ang kinita’y nauwi sa hamon.

Lahat bang gawin ko’y palagi na lang mintis? Sa batong ipinukol, napaiyak na noon. Kasalanan bang maging kumikinang na marmol? BISPERAS, 2016 Tahimik na dumaluyong ang takot sa Mandaluyong Pinasok ang eskinita’t mga daang makikipot. Sa gabi bago ang Undas, kamataya’y sumalubong. Sa barangay Addition Hills, hindi pa man naghihilom Ang sugat ng ibang gabi’y mayro’n na namang hahakot. Tahimik na dumaluyong ang takot sa Mandaluyong. Anim na nakamaskara’t nakaitim ang sumuong Papasok sa bahay-drogang mayro’ng lamang limang salot. Sa gabi bago ang Undas, kamataya’y sumalubong. Mayro’ng mga nakarinig ng humihingi ng tulong Bago biningi ang gabi ng marahas na indayog. Tahimik na dumaluyong ang takot sa Mandaluyong

Sa aking mga role, daig ang artista. Gasgas man ang linya’y panalo sa drama. Pangit na paraan para magkapera? Mabuti nang gan’to kaysa durugista.

Nakisabay pa ang ulan sa hilakbot na bumalong Saan pa ba sa kanila ang pagpaslang ay iikot? Sa gabi bago ang Undas, kamataya’y sumalubong.

Asar talo na ba’t galit na ba kayo? Patol lang nang patol nang kumita ako.

At sa umaga ng Undas, may limang bagong kabaong. Mga tao sa barangay ay hinding-hindi lilimot. Tahimik na dumaluyong ang takot sa Mandaluyong Sa gabi bago ang Undas, kamataya’y sumalubong.

SHOTS Hinuhuli ng kamera ang malagim na sinapit Ilang saglit nang tinapos ang kanilang mga buhay. Nanlalaban ang imahen, pumapalag, nagagalit. Iba-iba’t magkakatulad ang pagwasiwas ng karit. Binaril man sa lansangan o pinasok na sa bahay. Hinuhuli ng kamera ang malagim na sinapit. Ang tahimik na ligalig, biglang sa iyo’y kumapit. Malalamlam ang larawan ng sinasabing pagkatay. Nanlalaban ang imahen, pumapalag, nagagalit. Sa mga matitino daw, kamataya’y di lalapit. Ngunit bakit walang-malay, kahit musmos nadadamay? Hinuhuli ng kamera ang malagim na sinapit. Lino-libo’t dumarami silang mga nadadagit. Karapatang pantao ba ang siyang nakahandusay? Nanlalaban ang imahen, pumapalag, nagagalit. At sa hawak mong retrato’y mayroon bang malasakit? Ilalayo pa ba ang mata o itataas ang kilay? Hinuhuli ng kamera ang malagim na sinapit. Nanlalaban ang imahen, pumapalag, nagagalit. BATO BATO PICK Concert ni Bryan Adams nang ako ay pumunta, Marami ang sa aki’y bigla na lang pumuna. Wala bang karapatang minsan ako’y magsaya Gayong libong adik na ang aming naitumba? Pagdalo sa premiere night at picture with Matteo, Nakabuntot ang media, akala mo ay aso. Ako ba ang pumatay doon sa Koreano, At mabubuhay ba s’ya kung wala ako dito? At minsang may nahuling nangongotong na pulis, Sa aking mura’t push-ups mayro’n pa ring bungisngis. Pakitang tao lang daw ang aking pagkainis.

PANITOKHANG Kumakatok ang mga salitang Di kailangan ang iyong pagbukas Ang pakiusap nila’y lumikha Kilalang-kilala na mukha. Sa pagdalaw nila’y walang ligtas. Kumakatok ang mga salita. Sisikapin mong hindi mabigla Sa walang kinikilalang batas. Ang paki-usap nila’y lumikha. May sandal para gumunita Ang susulat na hangal o pantas. Kumakatok ang mga salita. At ang sarili’y itinatala, Tila ba pag-iiwanan ng bakas. Ang pakiusap ba ay lumikha? Ang panulat sa muling pagtaya, May katotohanang tinutuklas. Kumakatok ang mga salita, Ang pakiusap pala’y pumuksa. PAGBABALOT SA PAGBABAGO Nabili nang murang-mura sa tamang halagang piso. Ganito ibinabalot ang hangad mong pagbabago: Bubutasan nang marami ang malikot na regalo Tatalian ng mahaba’t matingkad na pulang laso. Papatungan ng packing tape para sa siguradong tago Gagawin nang bara-bara, tila walang hinto-hinto. Pagmumukhaing nanlaban ngunit walang nanatiling bigo. Para tiyak ang sorpresa sa sinuman na susundo. Mensahe na lang ang kulang nang mabalandra sa bayan. Ating basahi’t titigan: Huwag na huwag tularan.

March-April 2017 • Number 2 • Agung 9

BALAK NA MAIKLING DOKUMENTARYO TUNGKOL SA ISANG BINATILYO SA BADJAO VILLAGE (BRGY. BAWING, GENERAL SANTOS) Ni MJ Cagumbay Tumamac Ikalawang Gantimpala

Simulan natin sa katotohanang pangkaraniwan sa iyong sumisid sa Dagat Celebes; sapagkat silang, ang araw at buwa’y iyong kaanib sa lubog at ahon nilang salitan upang magbagong bihis at hugis. Ngayon, makikita kang lumulutang katulad ng bangkang nasa malapit, nakataob, at tila walang-malay. Sa ilalim, kami ay nakatitig sa iyong buhok na kulay bulawan at balat mong pinaitim ng init. Wala kaming maririnig na ingay maliban sa paghinga mo sa tubig.

Muli kang sisisid upang mangalap ng mga tayum na itinadhanang ipaalala sa iyo ang danas ng pait at alat sa tuyong dila. Babasahin natin ang naisulat ng isang eskolar tungkol sa hakang para sa Badjao ang lungsod ay dagat; Kinakalap lang ang mga biyayang sa hangin, lupa’t tubig ay nagkalat. Maririnig ka naming winiwika na gusto mo ring gumawa ng bitag at matutuhang linangin ang lupa. Aahon ka na’t sisigaw ng “Malas!” Pagkakakitang hindi ka pinagpala.

Habang abala kang naggagalugad, babanggitin ang luma nang balita, Badjao, nasisid ang lalim ng dagat at iba pang talang tila hiwagang mabuhay ng tao sa tubig alat.

Hahagilapin mo ang itatapon ng kasama naming magkukunwaring isa sa mga turistang pumatok sa ayang matunghayan ang sandaling Mahanap ng laging handang lumusong na taong sa isda ang mga binti ang anumang bagay na isasaboy. Matagal bago ka lilitaw muli kaya sa amin pangamba’y babalong. mapapatunayan lang kaming mali pag nasaksihang sa iyong pag-ahon ay hawak mo ang isang baryang munti. Katulad nga ng isda sa akwaryum, ang halaga mo’y magbigay ng ngiti.

Magsasalita naman ang banyagang naglakbay lamang upang magdalumat ang hanggahan ng ating mga baga. Matutunghayan niyang daop-palad at nakaupo sa dagat na lupa si Santarawi, na walang-katulad ang hininga kaya dinadakila. Iyong susundan ang kaniyang yapak at lulusong ka pa sa mas mababa. Sa bangka, gamit mo ang mga mata sa pagtanaw ng pag-ahon ng araw nang tulad mo, kami rin ay magtakang bakit sa dagat ito nananahan. Nakatalikod ka sa iyong ama nang ang tinig mo ay mangingibabaw, “Wala kaming huling madadala kasi marami ang barkong kaagaw.” Babalik kayong bitbit lang ang lansa ng mga isdang inyo sanang ulam. Madaratnan ninyo ang iyong inang malapit nang malunod sa palahaw ng mga batang busog ang pandama sa pangakong matamis na buhay. Ilalahad mo sa isang gunita: Pasko at tanghaliang tapat sa lungsod; walang kulay itong isasadula. Sisilip ka sa kotse at kakatok. Titingnan ka lang nila nang masama ngunit lalo kang tititig sa loob Kaya sesenyas silang “wala! Wala!” Ang iyong ina ay biglang susulpot, dala ang batang tiyan ay mataba. Pagbubuksan ka at may iaabot. Makikita ka naming naluluhang sinisipat ang halata nang umbok sa tiyan upang itakdang dapat na may paslit sa panlilimos. M.J. Cagumbay Tumamac is a reader and writer from General Santos City. Using the pen name Xi Zuq, he writes, translates and edits children’s books in Filipino, Cebuano, Hiligaynon, T’boli, and other languages. He is currently finishing his study on the interpretation of childhoon in a text of hlolok (ballad/ epic) of the T’boli of Lake Sebu while starting an independent publishing house of children’s books written in regional languages.

Ipapahayag ng isang opisyal na matagumpay ang kanilang balak na dalhin sa isang malayong lugar ang mga Badjao na pakalat-kalat dahil madali na silang bantayan. Unti-unti pa silang sumisikat dahil dinarayo upang itanghal sa pelikula o pagsisiyasat. Pag may mga gusto namang sila’y bigyan, madali na silang nahahagilap. Iikot ka ngayon sa pamayanan upang mapatotohanan ang ulat. Totoong ang lahat ng kabahayan ay nasa lupa at wala sa dagat. Wakasan natin sa katotohanang lagi kang nabibigo sa pagsubok na baybayin ang iyong buong buhay sa wika mong malapit nang malimot. Gagap mo lang ang wika’t katangian ng Dagat Celebes, na umiinog upang ihayag na ang humaharang sa nais nating sumisid ay takot. Sa pagtupad sa diwa ng pag-iral, makikitang ikaw ay nasa laot. Dito, hindi ka Badjao na may hasang. Dito, hinding-hindi ka malulunod. Dito, ang totoo ninyong pangala’y iyong isisigaw-Sama Dilaut.

10 Agung • Number 2 • March-April 2017

REBISYON Ni Paul A. Castillo Ikatlong Gantimpala

Spanish Dominican Friar Fidel Villaroel, O.P., whose historical spadework led to the canonization of Lorenzo Ruiz de Manila, the first Philippine saint, died following multiple organ failure. — Philippine Daily Inquirer, 25 October 2016

May itatala ba ngayong tumalikod Itong katawan kong madaling nalimot ang maging katawan paglaon ng sakit? Hindi makawala sa pagkakapiit ang dating sarili mula sa sariling bumihag sa lahat ng aking bahagi. Ang lawak ng kama ang tanging nalandas sa pagpupumiglas ng apat kong biyas. Walang itatala sa blangkong pahina ngayong ang katawa’y di nag-aalala. * Samantala, ang gumulat sa umaga: nakagapos ng biktimang ‘pinatapos at tulutang itinulak. Sa Barangay Katuparan, tatlong buhay ang inagaw. Kaya walang kumukurap nakapinid ang pandinig sa tinakpang mata’t bibig kung mayroong ilalahad. Inako na nitong cardboard pati krimen na pang-druglord dahil tanging tinutugis ang tumakbo’t di tinubos na babalik sa alabok pagkatapos ng paglilitis. * Kung hindi sa aking hindi sana santo ang lumisang martir sa lupang Nihongo. Ngunit nadakip din kahit na tumakas sa maling paratang at pilit binasag ang katawan niya at pananahimik. Tinatanggap ang lahat ng pagpapasakit. Sa pagkakabitin sa dilim ng guwang kahit patiwarik, Diyos ang natanaw nang humarap siya sa bayan ng araw para magpabitay ng sanlibong buhay. * Sa pagmamadali, inakalang lulan ay biyaheng langit at puta ang tanging bulalas ng bibig sa sikip ng trapik na agad binawi nang mahimasmasan ang dilang matulis at nangako namang lahat ng kalsada ay ipalinis

Paul Alcoseba Castillo is currently teaching at the University of Santo Tomas (UST), where he finished his MA in Creative Writing at its Graduate School. His poems have been awarded the Maningning Miclat Poetry Award and the Gawad USTetika. He has been a fellow of the National Writers’ Workshop and the UST Creative Writing Workshop. His works have been published in Ani, Tomas, Dapitan and LIRA 30.

Upang mapaluwag ang damdamin niya’y sumulat ng liham sa Banal na Papang nagkibit-balikat nang magbigay-galang at ipagdasal sa halip ang lider ng kaniyang bayan hindi nakatanggi hindi na nanlaban sa mga pumasok na dayuhang gawa sa metal at motor na ngayo’y sumakop sa lahat ng daan hanggang angkinin na ang buong lupalop Habang ang pinunong napanaginipang kausap si Kristo’y hindi na tumupad sa pangako niyang magpapakasanto nang dahil sa bibig na mura nang mura’t wala rin lang preno *

March-April 2017 • Number 2 • Agung 11

Ang natuklasan kong anyo ng bayaning Pumaslang ng libo para sa sarili.

Na hindi raw patas ang aming pagtingin nang mag-aaral pa’ng bayaning kinitil

At uubusin na lahat ng lalaban Para sa sariling walang katuparan.

bago nagsimula ang paghihimagsik ang pinatunayang huwad sa pagbalik-

* May katawang tikom at sabi sa karton: HUWAG NANG TUMULAD PAGKAT AKO’Y TULAK.

tanaw sa artsibo. Sa akin bumungad ang mga pruwebang nagbigay liwanang sa pasikot-sikot nitong laberinto ng pananaliksik ng tao sa tao.

Sa aking kasunod: tiyak nang naligaw Sa ‘yong kasaysayan ang saysay ng saysay. * Piniringan ang paningin ng tela ng manunugis dahil bibitayin nang sanlibong ulit. Ipinagapang sa bayag ang koryente, yelo’t tubig bago ang pagbitay nang sanlibong ulit. Walang pangalan lumutang nang pilit na pinaawit kahit bibitayin nang sanlibong ulit. Kinaladkad ang katawan papalapit sa talahib matapos bitayin nang sanlibong ulit. Kahit sanlibong buhay ma’y hindi sasapat sa langit pagkat nambitay din nang sanlibong ulit. * Sa bilang niya, apat na’ng ‘niligpit sa “Patay City” Gayong wala na ang labi ng tumahimik nang pipi. Ngunit sa isip, buo ang huling kuhang retrato ng babaeng umaakay sa nakabulagtang nobyo. Tinutukan na ng ilaw at rumolyo ang kamera habang lahat nakatunghay sa larawan ng Pieta. Kaya napilitan siyang asintahin din ng lente ang katawan ng biktimang wari ay inihehele. Hindi siya pinatulog ng patuloy na pagbilang sa bawat titigang bangkay na wala na ring pangalan

Kay daling binungkal ng lupa sa hukay na paglalagakan anumang sandal gayong di ‘nilibing ang libong pumanaw

Nais ng pamilyang walang palamuti habang ang katawan at inilalagak; kahit walang patak ng luha’t pighati.

Paano nagkasya sa gayong kalawak na guwang ang lahat ng naipong poot pagbagsak ng huling pabaong rosas?

Kanina sabi mo kahit historyador ay pinagtaksilan maging ang gunita ng katawang nasa bingit ng panahong maaaring hinding-hingi itatala.

Ipinakita mo habang nasa burol ang payapang mukha at lalim ng gatla mula sa kahapong kaniyang ginugol na ngayo’y binago ng ibang salita.

Marahil siya lang ang nakababatid na ang kasaysayan ay hindi nagtanda kahit na sanlibong ulit pang bumalik yaong naganap na mula sa simula.

na muli pang napapaslang ng bawat kuhang larawan. * Sa harap ng bana’y muling isinumpang hindi magwawakas na magugunita ang bagong lipunang kaniyang nilikha bilang pagtatatag ng muling simula Nagwakas sa awit Sa sanlibong tinig. Saka inilapat ng balo ang halik sa dating salaming tanging naging silid ng labing patunay na may ihahatid sa huling hantungang sa wakas, nadinig Muling magpapaawit Sa sanlibong tining. * Waring batang muli na ipinaanod ako nang malimot ang dating lupalop habang tinatangay ng dahas ng along yumakap sa lupang walang makaahon. Binakas ko mula sa loob at labas Ng bayang nasawi, bilang bagong pantas,

Sumama sa lupang binaon sa puntod ng sepulturero ang sanlibong buhay na di nakasulat sa aklat ng musmos.

Talaang Ginto: Makata ng Taon 2017 winners (from left): third place winner Paul A. Castillo; second place winner Michael Jude C. Tumamac ; and Makata ng Taon Aldrin Pentero/ Photo by Teddy Pelaez

12 Agung • Number 2 • March-April 2017

UNDER THE SPELL OF THE SPOKEN

‘Hugot: Spoken Word Poetry and Performance’ in Iligan City By Christine F. Godinez Ortega Photos by John Daniel O. Enriquez and Jez Timonera Orbe

Victor Emmanuel Carmelo Daelo Nadera, Jr. and Carmen Cecilia “Kooky” Tuason performing their poems

enounce the form of the spoken word poetry (SWP) a.k.a. “hugot” as “mababaw,” “bakya,” “boorish,” “narcissistic,” “uncouth,” “self-indulgent” and to Harold Bloom, “the death of art,” but the SWP has become a phenomenon, and the young who frequent bars, night cafes and similar venues simply love it. Sure, popularity of a form does not make it “art.” But who decides? If the form—and we dare call it art— has gained much ground where an audience in Sultan Kudarat or in Iligan won’t leave despite a drizzle because someone is doing “hugot” then, can’t the academics sit up and pay attention? In some textbooks, we read that of the world’s 65,000 languages, about a third of the world’s population today is still non-literate and that oral communication has become more significant regaining its place long after the Industrial Revolution made global mass literacy possible. In Mindanao, orality has been the tradition, and Mindanawons are familiar with chanters and their songs based on the oral lore of Mindanao, specifically, the epics and other narratives. Hence, in our opinion, the popularity of SWP in these parts of the country

came naturally and was the impetus for the MSU-Iligan Institute of Technology’s (MSU-IIT) Office of Publication and Information to host “Hugot: Spoken Word Poetry and Performance,” part of the NCCA-sponsored National Literature Month (NLM) celebration, from April 8 to 9, 2017, at the MSU-IIT CASSALIDA Theatre and at the gymnasium. Add to this was the protracted debate on social media between MSU-IIT literature students and a few alumni on the pros and cons of SWP as well as an undergraduate thesis adjudged “the best,” because it attempted to trace the histories of SWP as well as documented interviews of many performance poets from Makati to the cities of Cagayan de Oro, Iligan, General Santos, and in Sultan Kudarat prompting this writer to head the project and focus on this phenomenon during the NLM. In MSU-IIT, there were two main activities with the performance poets Carmen Cecilia “Kooky” Tuason, Victor Emmanuel Carmelo Daelo Nadera, Jr., TV personality Lourd de Veyra and Joel M. Toledo as the main attractions alongside local SWP poets from Iligan City, all of them students and alumni of MSU-IIT: Kim Ashley Escalona, Rohanimah “Ace” Guro, Aminah M. Kunting, Jayson Pucot, and Aljane Baterna. If there was one thing that the audience wanted to hear, it was the beginnings of SWP and its evolution going by many labels followed by the performances of the poets in the evening at the Gymnasium. De Veyra gave a capsulized history of the SWP, which he said, came from the “Beat literature of the ‘60s counterculture and its dynamics with the bepop jazz un-

March-April 2017 • Number 2 • Agung 13 derground. As popular culture movements move in cycles, the genre finds itself in a kind of Renaissance in the mid-90s although with vastly different influences ranging from hip-hop to standup comedy,” and we add, slam and open mic. The forum overflowed with attendees, where they listened to the lecture and the film clips shared of de Veyra, the histories and the realities of the genre in the Philippines through a question-and-answer format by Nadera, mentioning the balagtasan, Bagay poetry and the contrast between committed poetry against the so-called “hugot;” the beginnings and the state of the genre, and a sample narrative by Tuason entitled “If Your Sister Asks,” and explorations of a poet’s craft, his muse, the “duende” and the poet’s voice by the cerebral poet Toledo. The nationally acclaimed poets later performed before an audience at the gymnasium where the local poets matched their performances with “hugot,” political and social issues thrown in in Sebuano and in Filipino. The MSU-IIT resident theater company, Integrated Performing Arts Guild (IPAG), enlivened the entire program with interpretations of German V. Gervacio’s poem “PambambooTusok-tusok” and Godinez Ortega’s “Legend of Maria Cristina Falls.” Nadera later joined an all-male cast of the Mindanao State University main campus’s Sining Kambayoka performing a rousing finale that made the evening memorable. And there we realized, this might as well be the SWP’s secret—the shared engagement between performance poets and the audience, and the catharsis it brings to those in attendance. The future of SWP is uncertain but if it is a way of popularizing poetry to this generation that does not really read; let’s celebrate with them. As they mature, their taste could change but in their hearts, at one time in their lives, they could look back and say that once they became “poets,” and the audience were not only entertained, the audience reflected on and identified with the issues they had raised at a time when sharing was a necessity rather than “bottling” it all up.

Poets Lourd de Veyra and Joel Toledo (above and left); Sining Kambayoka Ensemble of the Mindanao State University in Marawi City (left, below); and MSU-IIT poets Kim Ashley Escalona and Jayson Pucot (bottom)

Christine F. Godinez Ortega headed the project for the celebration of National Literature Month in Iligan City. She is the director of the MSU-IIT Office of Publication and Information and a professor of Literature and Humanities at the College of Arts and Social Sciences. A published poet, she was head of the NCCA National Committee on Literary Arts and secretary to the Subcommission on the Arts.

14 Agung • Number 2 • March-April 2017

MONUMENTALIZING EMILIO JACINTO Peregrinasyong Jacinto in Magdalena, Laguna

The fiberglass statue of Emilio Jacinto was unveiled in Magdalena, Laguna on April 17, 2017

fiberglass statue of iconic Filipino revolutionary Emilio Jacinto was unveiled on April 17, 2017, in Magdalena, Laguna, the town where he died. This was the highlight of Peregrinasyon Jacinto (Jacinto Pilgrimage), organized by Komisyon sa Wikang Filipino (KWF) as part of the National Literature Month celebration. The KWF has been holding the Peregrinasyon Jacinto since 2015 to the towns of Majayjay and Magdalena in commemoration of the hero’s death anniversary, to highlight Jacinto as a great intellectual revolutionary and writer, and to promote his writings. KWF has also been honoring Tagalog poet Francisco “Balagtas” Baltazar during this month, and has created a monument in Orion, Bataan. This time, it was Jacinto’s turn. The lack of a proper shrine or monument dedicated to the revolutionary and writer served as impetus to establish one. The KWF held a statue design competition in 2016, and the concept of Antipolo-based visual artist Priscillano Vicaldo Jr., a graduate of University of the Philippines’ College of Fine Arts, who hails from Sipocot, Camarines Sur, was chosen. The six-foot statue features a contemplative Jacinto with his work, Liwanag sa Dilim, and wearing a Norfolk-inspired Philippine Republican Army khaki uniform in 1899 designed by Juan Luna. Besides being a trusted general of Andres Bonifacio’s Katipunan, Jacinto, born on December 15, 1875, in Tondo, Manila, was recognized as the “Brains of the Katipunan” because of his writing prowess, influencing readers with works such as Liwanag at Dilim, Pahayag, at Mga Aral ng Katipunan ng A.N.B., better known as the Kartilya ng Katipunan. His Kartilya contains the moral and

March-April 2017 • Number 2 • Agung 15

The unveiling ceremony of Jacinto’s statue was graced by David O. Aventurado Jr., mayor of Magdalena; Benjamin C. Agarao Jr., congressman of the Fourth District of Laguna; and Virgilio S. Almario, National Artist for literature, and KWF and NCCA chairman.

ethical principles of the Katipunan. Bonifacio also wrote his own version, the Katungkulang Gagawin ng mga Z.Ll.B., but found Jacinto’s work to be superior because of its exact and metaphoric qualities. Jacinto died of malaria on April 16, 1899, at the age of 24. The unveiling ceremony of Jacinto’s statue was graced by David O. Aventurado Jr., mayor of Magdalena; Benjamin C. Agarao Jr., congressman of the Fourth

District of Laguna; and Virgilio S. Almario, National Artist for literature, and KWF and NCCA chairman. The statue project is part of NCCA and KWF’s thrust to give importance to Filipino writers who shaped the nation’s consciousness and identity. Writers such as Vicente Sotto of Cebu, Isabelo de los Reyes of Ilocos Sur, and Iluminado Lucente of Leyte are also proposed to be monumentalized next.

Students of Magdalena performed Jacinto’s Mga Aral ng Katipunan ng mga A.N.B. during the unveiling ceremony

Sa lahat ng damdamin ng puso ng tao ay wala ngang mahal at dakila na gaya ng pag-ibig. Ang katwiran, ang katotohanan, ang kabutihan, ang kagandahan, ang Maykapal, ang kapwa tao ay siya lamang na mangyayaring maging sanhi ng pag-ibig, siya lamang na mangyayaring maging sanhi ng pag-ibig, siya lamang makapagpapabukal sa loob ng tunay at banal na pag-ibig. Kung ang masama at di matwid ay ninasa rin ng loob ay hindi ang pag-ibig ang may udyok kundi ang kapalaluan at ang kayamuan. Kung ang pag-ibig ay wala, ang mga Bayan ay dili magtatagal, at kapagkarakang mapapawi sa balat ng lupa ang lahat ng pagkaka-pisan at pagkakaisa, at ang kabuhayan ay matutulad sa isang dahon ng kahoy na niluoy ng init at tinangay ng hanging mabilis. Ang pag-big, wala na kundi ang pag-ibig, ang makaaakay sa tao sa mga darakilang gawa sukdang ikawala ng buhay sampung kaginhawaan.

“Ang Pag-ibig” Liwanag at Dilim

16 Agung • Number 2 • March-April 2017

REINVIGORATING THE IVATAN LAJI

Timpalak Florentino Hornedo: Timpalak sa Pag-awit ng Laji in Basco, Batanes

T The top winner of the laji singing competition, Juntike Valiente (Grade 8) from the Itbayat National Agricultural High School in Itbayat /Photo by Rozielle Joy Iglesia

he laji is a traditional lyric poem or song sung by the Ivatan of Batanes, and it is in danger of vanishing. To revive interest in and encourage the practice of the vernacular lyrical tradition among the Ivatan, especially the younger generations, the Komisyon sa Wikang Filipino (KWF) and the NCCA, in partnership with the local government of Basco, Batanes, held the very first Timpalak Florentino Hornedo: Timpalak sa Pag-awit ng Laji. Timpalak Florentino Hornedo is a laji singing competition for junior and senior high school students. It is named after Ivatan scholar Dr. Florentino H. Hornedo (1938-2015), who is known for his studies on the literary and cultural traditions of Batanes. He is also known for documenting and studying the laji. The last laji competition was in 2008 during the celebration of the foundation anniversary of the province of Batanes. The Timpalak Florentino Hornedo was held on April 21, 2017, in Basco, the

capital of Batanes, drawing six competing delegation from the different municipalities of Basco, Itbayat, Ivana, Mahatao, and Uyugan. The contestants were to perform the same piece, “Dumbuuk Aku A Maylaji” (Makata Akong Aawit ng Laji or I Will Sing), culled from Dr. Hornedo’s book, Laji: Anu Maddaw Ka Mu Lipus, An Ivatan Folk Lyric Tradition (University of Santo Tomas Publishing House, 1997). The contestants were John Patrick Gordo (Grade 8) and Dixie F. Agsunod (Grade 10) from the Mahatao National High School in Mahatao; John Mark Ybay (Grade 11), Joyce A. Cobico (Grade 11), Mark Gerard N. Gecha (Grade 9), Kylene A. Cobico (Grade 8) and Joana C. Arca (Grade 8) from the Itbud Integrated School in Itbud, Uyugan; Ron Andrae C. Bartilad (Grade 9), Marjorie Joyce Adalla (Grade 10), Fiona A. Fidel (Grade 10), Aarone Cloe F. Agudo (Grade 9) and Samantha A. Cataluña (Grade 10) from the Ivana National High School in Ivana; Christine Mae Ydel (Grade 11) and Maria Allelu Arca

Dumbuuk Aku a Maylaji Dumbuuk aku a maylaji su di ta maydidimani A maylipulipus, iñayñapwan nu dayay. Lipus ko a dekey, hawahawayan mo ava A dayangayen si tipuhu di payhusungan: Anu dangurahen mo am mayasunggadit; Vaditi a ilaychiren ko a pasugaten A pangavuvutagan ni minhep a masbang du ama, a masbang du ina; Vatiyen mo ava si mangket di ihsungan Ta anuyu vatiyen mo am kahuhsungan; Palasen mo i mangket na di payhuhusungan Ta su yahahawen ko a kahapyaan. Dumuneb a kahangdem si chinagulgulan, Sa mahap ka dalisin a si miyan su horahed, A payrakurakuhen ko a ruahen di vahay; Tud mo ava namusamuli ta ipahanakep mo pa Su kayavaditiyan aya a kavaga A payagapunen di tangul ni mumudan A isaluval siya ta umunutu pa Du pachiruruyan a mapaduyususyut Du kayataydekey na pa as an di nguereng daw, am idiwat mo a vavahen Ta su ahahawen ko a iureng na.

March-April 2017 • Number 2 • Agung 17

(Grade 10) from the Batanes General Comprehensive High School in Uyugan; Juntike Valiente (Grade 8) from the Itbayat National Agricultural High School in Itbayat; and Monica Abad (Grade 10) and Nicole Ponce (Grade 9) from the Batanes National Science High School in Basco. They were judged on appropriateness of melody used, quality of voice and synchronization, emotional expression, and effectiveness and/or audience impact. The judges were Dr. Felicidad Prudente, one of the leading musicologists in the country and a professor at the University of the Philippines’ College of Music; Josefa Espinoza, trainer at the Batanes Children’s

Choir and also a NAMCYA trainer; and Rosalinda Cadiz, former supervisor for the Education Program of the Department of Education Division Office. During the contest proper, Marta Vaso from Ivana, considered as the oldest singer of the laji, performed several songs. The duo from Mahatao National High School won third place, while the group from Itbud Integrated School clinched the second place. The lone contender from the Itbayat National Agricultural High School copped the first prize. — Report by Timothy Jarred F. Pasco, Program Monitoring and Evaluation Division; with Rozielle Joy Iglesia I Will Sing

I will sing, so we won’t quarrel among ourselves, We who are brothers to one another, parents to the rest. My little brother, do not try To look up at the breadfruit tree in the ravine; To watch it would be difficult. I stick on the ground my balite cane; From it a child, orphaned early to father and mother would obtain his clothing. Do not fetch for fuel the trees on the the ravine; For if you do, the ravine would grow bare. Gather the young leaves on the ravine Which I think is very fertile. Dive deep and long, you whose hair is newly cut: Fetch me a talisin inhabiting its own shell And have her grow up as a companion in the home; You shall give her all the care you can—catch her A brown-and-rose-and-green grasshopper To put on her nose To amuse her. She still tags along With her elders whenever they go, asking to be coddled Being still too young; and if coddling will not please her, Pick her up and carry her on your back, And that, I think, should calm her.

Participants of the Timpalak Florentino Hornedo, a laji singing comptition, in Basco, Batanes, with poet Michael Coroza of Filipinas Institute of Translation Inc. (FIT), Allan Popa of Ateneo Institute of Literary Arts and Practices (AILAP) and Basco mayor Anastacia B. Viola, who served as judge / Photo by Rozielle Joy Iglesia Oldest laji singer from Ivana Marta Vaso performed as special guest at the competition /Photo by Rozielle Joy Iglesia

18 Agung • Number 2 • March-April 2017

ENVIRONMENT OF WRITING, WRITING THE ENVIRONMENT 17th Iyas La Salle National Writers’ Workshop in Manila and Laguna

The ten fellows of the 17th Iyas La Salle National Writers’ Workshop—Marren Adan, Jeffrey Noel Agustin, Hannah Marie Aranas, Mitchelle Jesallyn Balladares, Gerald Dicen, Adonis Enricuso, Clarisse Gorzal-Esmores, Richard Gappi, Jae Mari Magdadaro, and Lakan Umali—with panelists Dr. Marjorie Evasco, Grace Monte de Ramos-Arcellana, Ricardo de Ungria, Em Mendez and John Iremil Teodoro, and ICSC executive director Renato Redentor Constantino

riter and professor Dr. John Iremil Teodoro traced the formation of his environmentalism from his experiences as a young writer doing volunteer work in Palawan, which he said has its own laws for the protection of the environment, even against the interests of the business establishments. On the other hand, poet Grace Monte de Ramos-Arcellana’s experience in environment writing started as a journalist for a newspaper her family advocates. Poet Dr. Marjorie Evasco’s consciousness about the ecology began with her father. Now, every time she writes a book, she has to plant trees to replace the paper that she used. She delivered a lecture, “Writing, the Environment and Creation Advocacy,” which was theme of the 17th Iyas La Salle National Writers’ Workshop, held from April 24 to 26, 2017, at the Manila and Laguna campuses of the De La Salle University (DLSU). Iyas is a summer workshop in creative writing, which covers works in various genres

(poetry, fiction, essay, drama) and in various languages (Hiligaynon, Kinaray-a, Cebuano, Filipino, English). This short-term training program seeks to reach out to potential writers not just in Metro Manila but also from the Visayas and Mindanao regions, and assist in the development of their writing craft. It first began in the summer of 2001, in Bacolod City in Negros Occidental. Known as the Iyas Creative Writing Workshop, it was organized by the University of Saint La Salle Bacolod, with a panel of illustrious writers and academic leaders—Elsa Coscolluela, National Artist Cirilo F. Bautista, Evasco, and Isagani R. Cruz. Each year, ten to fifteen fellows are selected for the workshop. For almost two decades, the workshop has nurtured young writers from different regions of the country, serving as the university’s modest effort to lend assistance to the enhancement of the literary art and creative praxis in the country. This year, on its 17th season, Iyas has been renamed the Iyas La Salle National Writers’ Workshop and was

March-April 2017 • Number 2 • Agung 19 held at the Animo Labs of the Henry Sy Sr. Hall of DLSU in Manila and the Chancellor’s Boardroom at the Laguna campus, hosted by the Bienvenido N. Santos Creative Writing Center with the support of the DLSU Office of the Vice Chancellor for Research and Innovation and the Office of the President. Patrons included the Institute for Climate and Sustainable Cities (ICSC) and the DLSU Angelo King Institute for Economics and Business Studies (AKI). Ten fellowships have been awarded to Marren Adan (poetry in Filipino), Jeffrey Noel Agustin (drama in Filipino), Hannah Marie Aranas (poetry in Cebuano/Binisaya), Mitchelle Jesallyn Balladares (short story in Filipino), Gerald Dicen (poetry in English), Adonis Enricuso (poetry in Cebuano/Binisaya), Clarisse Gorzal-Esmores (poetry in Hiligaynon), Richard Gappi (poetry in Filipino), Jae Mari Magdadaro (short story in Cebuano/Binisaya), and Lakan Umali (short story in English). The distinguished panel of writers and experts included Monte de Ramos-Arcellana, esteemed poet Ricardo de Ungria, playwright Em Mendez, and Teodoro. ICSC executive director Renato Redentor Constantino delivered a provocation. Dr. Evasco, who served as the workshop director, and the panelists related how they got into writing on and for the environment. In the introduction to the book, Early Modern Ecostudies, the term engagement is raised. It touches on the ongoing debate in green critical practice between those who believe that nature speaks of the physical environment and those who believe that it is a cultural construct. Green cultural criticism is defined as “a critical discourse that examines the relationship between literature and the physical environment” (Association for the Study of Literature and the Environment). The practice of ecofeminism aims to refine how human beings see the natural world. Modern environmentalism is believed to have begun with Rachel Carson’s book, Silent Spring, published in the United States in 1962. Her exposé of the dangers of indiscriminate wholesale use of pesticides made the Americans realize how these could affect their health and the environment. The late 1960s were dangerous yet exciting times when old institutions and beliefs were challenged by freedom movements such as feminism and environmentalism. In the late 1970s to mid 1980s, feminists read the book, Woman and Nature, a study on how patriarchal language can fuse the normalized subjugation of women and nature as a fe-

male figure.Writing apprenticeships continued and literatures on the complex relationships of language and power in the works of modern environmental writers were read. In the Philippines, the first literary anthology on climate change, Agam, was published in 2014, including twenty-four writers writing eight Philippine languages. Three books can be helpful in our archipelagic eco-critical frameworks—Rob Nixon’s, Slow Violence and the Environmentalism of the Poor, which explores the experiences of poorer nations with environmental degradation due to colonization and globalization; Ursula K. Helse’s, Sense of Place and Sense of Planet, which explores how we imagine the world and the planet at risk; and Greg Garrard’s Ecocriticism, which provides key categories of critical terms referring to literary tropes. Dr. Evasco said that the workshop is a virtuous circle of reading and giving feedback. It is a good platform for the fellows to converse with the readers regarding their work because in real life they cannot see their readers. She went on to give several tips to the fellows such as reading always, thinking well, writing nonetheless and practicing gratitude. Dicen’s poems centered on the relationship of human beings with the environment. The poem “Amorseco” implied that human beings are not qualified to tend the earth and tried to ask what Nature is feeling. Monte de Ramos found it challenging to appreciate a poem that makes you feel bad. For De Ungria, the main problem with his poetry is the overall language, while Teodoro told the author to learn the basics of poetry. De Ungria liked the imagination in Umali’s short stories but they lacked coher-

Workshop director Dr. Marjorie Evasco delivers a lecture

20 Agung • Number 2 • March-April 2017 ence. “The Daughter of Sta. Cecilia” had problems with the narration, main character and the structure of the story. There was also a character that was not explored. Teodoro pointed out that “Man Without Light” was long for a short story but it has a good ending. For “Ang Langit, Lupa at Impiyerno sa Maria Orosa” by Balladares, Teodoro praised the structure, saying the author had a good way of telling a story. However, he also said that the author know how to start the story but do not know how to end it well. She also had to make her characters more believable. Mendez liked how the story tackled realizations. On the other hand, De Ungria thought “Can Dis B Luv?” would be better as a play, while Evasco said that the metaphor of the story is problematic. The treatment of the story should be more complex in terms of characters. The author should decide which character the story is all about. On the format of Agustin’s “Transit,” Mendez said that the dialogues should be at the center. In “Taggutom sa Sta. Amparo,” two characters should be written off. De Ungria said that the plays are ambitious but need improvement. Aranas’s poems deal with environmental degradation. On “Sayon Magdaman,” Dr. Evasco said that the function of the incantatory effect is terrible, but the tone becomes stronger at the end. Also, the rhetorical question was problematic, and the metaphors mixed. On “Gikan sa Lantaw,” De Ungria said that if you begin with couplet, you should end with couplet. He also said that the use of sarcasm should be precise and the use of elliptical thinking does not work in English. Monte de Ramos said that the tone of the poem is reverential. In Gappi’s poetry, lines were misplaced and some questions not answered. He

Ricardo de Ungria, Dr. Marjorie Evasco, and Grace Monte de Ramos-Arcellana critique the fellows’ works

should also control using repetitions. In “Il Papa,” Teodoro noticed that the tone was not clear, and the lines problematic. Monte de Ramos observed that Magdadaro’s “Huwaw Sugilanon” was ambitious in terms of structure. The author seemed to say many things but is unsuccessful in tackling all of them. Monte de Ramos suggested to either expand the story or to tear it down and choose one theme. Evasco liked the lyricism but the citation of lines from a certain book should serve a purpose. She also looked for the illumination of the main character. In “Cadena de Amor,” the story’s problem is a forced image. On “Araw ng Lunes sa Trabaho,” Mendez said that the dialogues should be natural like reflecting the voice of the Millennials. The story may be relevant but it lacked specific details. Teodoro commended Adan for his mastery of Filipino. Teodoro describes Gorzal-Esmores’s “Paghanduraw” as very Millennial. The use of imagery was contrived. He said that the author had to think in terms of metaphor. The poetry was too elitist. For De Ungria, the poetry lacked context. Monte de Ramos advised the author to learn to separate herself from what she was writing. In his lecture, “Gain your Bearings, Lose your Marbles: Agency and Ambiguity,” Constantino discussed the possibilities the world could face in the next twenty to thirty years. At present, the Philippines is experiencing its highest sea level rise, and by the year 2100 fourteen million Filipinos would be affected. He emphasized why writers are needed now that we are experiencing the threats of climate change. They have to reach out to other people through their craft, and their works can bolster what people from other sectors are doing. — With reports from Israel Joseph Soberano, research associate, Bienvenido N. Santos Creative Writing Center

March-April 2017 • Number 2 • Agung 21

BRUSHES WITH LITERATURE

“Brushes with Words and Chords” at the UST

irector of the University of Santo Tomas’ (UST) Center for Creative Writing and Literary Studies (CCWLS) Cristina Pantoja-Hidalgo emphasized the need for art, especially in this difficult time the country is undergoing: “It is an important part of the role of the artist to hear, to witness, to record and to remember.” These important functions of art, in particular literature, were made manifest during the second event of “Banyuhay: Bagong Anyo, Bagong Buhay: Brushes with Words and Chords” on April 26, 2017, at the Thomas Aquinas Research Center Auditorium. The program consisted of dramatic and poetry readings, and musical performances featuring the works of the National Artists for Literature as well as emerging writers. Works by National Artists Virgilio S. Almario, Francisco Arcellana, Cirilo F. Bautista, Levi Celerio, Ernani J. Cuenco, Nick Joaquin, F. Sionil Jose, Bienvenido L. Lumbera, Edith L. Tiempo, Rolando S. Tinio, and Jose Garcia Villa were read and performed. Readers included veteran stage and film actor, director, and playwright Bernardo Bernardo of the UST Graduate School, a Senior Visiting Fellow of the CCWLS; Michael Anthony Vasco, dean of the Faculty of Arts and Letters (Artlets); Rev. Fr. Rodel Aligan, O.P., Artlets regent; and poet Vim Nadera. The program was directed by Bernardo. Musical director was Antonio P. Africa, dean of the UST Conservatory of Music, while College of Fine Arts and Design (CFAD) professor Rodolfo S. Olaso took charge of production design. Also part of “Brushes with Words and Chords” was a weeklong exhibit of paintings and drawings that had served as cover designs and illustrations for literary books. Mounted from April 24 to 29, 2017, at the main lobby of the UST Miguel de Benavides Central Library, the exhibit was curated by Mary Ann Venturina-Bulanadi, assistant professor of CFAD. Some of the artists featured were Mario Parial, Angelito Antonio, Manuel Baldemor and Ina Abuan. Meanwhile, a public lecture on poetry, “Isang Bala(k) Ka Lang: Some Notes on the Anecdotal Writing Workshop,” was held at the Tanghalang Teresita Quirino of the Benavides Building on April 27. It was delivered

by Fulbright Fellow and a Senior Visiting Fellow of the CCWLS Eugene Gloria, who teaches at the UST Graduate School this term and is a Filipino-American poet based at De Pauww University in Indiana. The lecture was part of the International Writers and Scholars Series hosted by the CCWLS and UST Research Center for Culture, Arts and Humanities. Gloria tackled the vital role of writers as well as the uses of poetry in relation to history and political landscapes. “I believe that poetry can function as a tool to help examine who we are in relation to our violent nature as well as our human failings,” he said. “Brushes with Words and Chords” is one of the UST CCWLS’s oldest existing programs, dating from the time of its founding director, Dr. Ophelia Alcantara Dimalanta. It is a collaborative production between the center, the Miguel de Benavides Central Library, the UST Publishing House, the Faculty of Arts and Letters, the Conservatory of Music, the College of Fine Arts, and the UST Graduate School, and consists of literary readings and musical performances featuring UST officials, faculty members, alumni and students, as well as exhibits featuring Thomasian artists and affiliates.

Eugene Gloria

Joselito D. delos Reyes

Bernardo Bernardo

Cristina Pantoja-Hidalgo, director of the University of Santo Tomas’ Center for Creative Writing and Literary Studies, delivers her opening remarks

Vim Nadera

22 Agung • Number 2 • March-April 2017

CREATING A COMMUNITY OF WRITERS The Second International Writing Program Alumni Writers Workshop at the De La Salle University

The fellows and panelists of the second International Writing Program Alumni Writers Workshop

Fellows and panelists commenting and giving inputs on a manuscript

riting workshops continue to have a major influence on the development of both writers and the creative practice. The International Writing Program (IWP) Alumni Writers Workshop affords an opportunity for promising writers based in Metro Manila to have their manuscript read and evaluated by a panel of specialists. It provides them a forum to meet and exchange views with their peers and experts on issues and concerns related to the craft of writing. It also serves as an occasion for the writers to form friendships and networks, and to forge stronger bonds among themselves—an intellectual community being established. The second IWP Alumni Writers Workshop was held from April 6 to 8, 2017, at the European Documentation Centre, 13th floor, Henry Sy Sr. Hall, De La Salle University, Taft Avenue, Malate, Manila. The workshop is named for Filipino writers who completed the prestigious International Writing Program at the University

of Iowa in the United States and who serve as the workshop panelists and lecturers. The De La Salle University (DLSU) Bienvenido N. Santos Creative Writing Center (BNSCWC) partnered with the Embassy of the United States of America in Manila and the DLSU American Corner Manila for this endeavor. The workshop offered writing fellowships to Metro Manila-based young writers aged 18 to 35, entitling them to the opportunity to have their manuscripts read and evaluated by a panel of established writers, and by their contemporaries; and establish friendship, among others. The workshop accepted work in four genres: poetry, non-fiction, fiction and screenwriting, original and unpublished work in English. Themes for the manuscript were the environment and civic engagement. Topics included, but were not limited to, climate change, waste management, wildlife, oceans and other water-related topics, global warming, deforestation, Earth Day, war, peace, democracy, human rights, women’s empowerment, LGBT/PWD/indigenous rights and issues, politics, and kinds of freedom (press freedom and freedom of expression, etc.). Out of 46 applicants, ten fellows were selected this year— Franz Pantaleon, Andrea Coleen Tubig, Lakan Umali and Lyde Gerard Villanueva for poetry; Catherina Maria Luisa Dario, Tracey dela Cruz, Maria Amparo Warren and Vincen Gregory Yu for short fiction; Chuck Smith for creative nonfiction; and, Brylle Tabora for screenplay (which was in Filipino with English translation). The distinguished panel was composed of Mookie Katigbak Lacuesta, who was also the workshop director; Eros Atalia; Susan Lara; Angelo Lacuesta; and Carlomar Arcangel Daoana. Michael S. Klecheski, United States Embassy Deputy Chief of Mission, delivered the opening remarks, while Lourd de Veyra, renowned writer and TV personality, delivered a short keynote address. Each panelist began their session with a twenty-minute lecture on their genre of specialization. This was followed by the workshop proper, wherein the assigned manuscript was subject to examination and evaluation by the lead panelist, with additional commentaries and input by the other panelists and the fellows. Each manuscript received forty minutes of examination. Breakaway panel sessions with the genre specialists were held to discuss in more details the concerns of the writing craft.

March-April 2017 • Number 2 • Agung 23

A DAY OF BOOKS, ROSES AND MASTERPIECES

Día del Libro at the Ayala Triangle Gardens, Makati City

The design of this year’s Book Stop Project /Photo by Roel Hoang Manipon

El Museo del Prado en Filipinas (The Prado on Philippine Streets) features life-size photographic print reproductions of masterpieces from The Prado Museum in Madrid /Photo by Roel Hoang Manipon

Book and art lovers converge at the Ayala Triangle Gardens /Photo by Roel Hoang Manipon

ilipino book and art lovers rekindled their romance with the written word and culture as they converged at the Ayala Triangle Gardens in Makati City’s Central Business District to celebrate Día del Libro or International Book Day on April 22, 2017, spearheaded by Instituto Cervantes, the cultural arm of the Embassy of Spain. Following a Spanish tradition, each was given a red rose when they purchased a book at the book market, where thousands of books, many in discounted prices, were made available in different booths including one by the NCCA. This year’s event was highlighted by a traveling exhibit featuring 53 full-size, photographic print reproductions of masterpieces from the Prado Museum in Madrid. The collection includes works from the masters of the twelfth to nineteenth centuries such as Rembrandt, Sandro Botticelli, Peter Paul Rubens, and Anthony Van Dyck. A project of the Spanish Agency for International Development Cooperation and the Prado, the exhibit, called “El Museo del Prado en Filipinas” (The Prado

on Philippine Streets), has been shown in cities around the world, and Makati City was the first stop in its road show across the Philippines. Another highlight, the Book Stop Project again set up a pop-up library, designed and built by WTA Architecture and Design Studio, where visitors can get a book in exchange for another book. The project intends to create a venue for interaction among fellow readers and for sharing the love of books, while reinventing and reinvigorating the library in Filipino society. The library was at the Ayala Triangle Gardens until May 22, and went around Metro Manila. Attendees also contributed to the project of rewriting by hand Miguel de Cervantes’s masterpiece Don Quixote de La Mancha. Each volunteer were given two minutes to write a few sentences of the novel. The finished work will be deposited at the library of the Instituto Cervantes. In addition, there were performances by the Manila Symphony Orchestra, University of the Philippines Singing Ambassadors and University of Santo Tomas’s Teatro Tomasino; book launchings; poetry readings; book signings; games; feast of Spanish food, among others. First introduced in Manila by Instituto Cervantes in 2006, the tradition of Día del Libro began in Barcelona, Spain. To the present, the tradition is commemorated on Saint George’s Day (April 23), during which men and women exchange roses and books. This date also honors the deaths of two of history’s greatest writers—Miguel de Cervantes and William Shakespeare—who coincidentally died on the same day, April 23, 1616. These significant occurrences prompted the United Nations Educational, Scientific and Cultural Organization to declare, in 1995, April 23 as “World Book and Copyright Day” to instill the love of reading among the young and to promote respect for the rights of authors over their literary and artistic works.

24 Agung • Number 2 • March-April 2017

HIGHLIGHTING THE LITERATURE OF EASTERN VISAYAS For Love of the Word: Workshop on Teaching Philippine Literature in High School and College in Calbayog City, Samar

The participants, facilitators and lecturers of the workshop held at Northwest Samar State University

The demand for literature teacher-training program is crucial, immediate and widespread in the country. Esteemed university professor Delfin Tolentino spoke a modicum of truth when he said, “Thousands of teachers teach literature but many do not know how to teach it.” The literature teachers themselves have to develop more critical appreciation and understanding of Philippine literary works before they could impart this knowledge and appreciation to their students. With the implementation of the Department of Education’s enhanced K to 12 program and the Commission on Higher Education’s affirmative action with the New General Education Curriculum (CHED CMO20, series of 2013), the Philippine Center of International PEN (Poets, Playwrights, Essayists, Novelists), through its workshops and projects, hopes to provide modest assistance to this renovation in Philippine basic education, particularly in the areas of reading, writing, and literature. In the 2010 Cebu Congress, PEN passed a resolution to “work more closely with the education sector, its leaders, planners and administrators, its teachers and students, and the education publishing industry, to improve literature education in the country. The Philippine PEN recognizes that literary taste is shaped in the schools, especially the public school system; it is where generations must be taught to appreciate the outstanding works of

our very own writers, works that constitute the soul of our nation.” Since 2011, PEN has organized a series of literature teaching workshops across the country. Called “For Love of the Word: Workshops on Teaching Philippine Literature in High School and College,” this project is geared toward retooling and upgrading the skills of literature teachers in both secondary and tertiary levels. As part of the PEN Civil Society Programme and supported by PEN International, Clifford Chance Foundation, and the Swedish International Development Cooperation Agency (SIDA), workshops were held in Manila, Iloilo, Cebu, Baguio City, Naga City, Bohol, Cagayan de Oro City, and Davao City. The workshop provides an opportunity for literature teachers to learn from master facilitators who are professors from colleges and universities and also PEN authors. It also provides the teachers-participants a forum for sharing and discussing ideas and strategies in teaching Philippine literature. The teachers/educators will, in turn, take an active part in further shaping and nurturing the reading practices of their students. The most recent workshop, in partnership with Northwest Samar State University (NwSSU), was held from April 3 to 4, 2017, at NwSSU, Calbayog City, Samar. This was the first time the Philippine Center conducted a workshop in Eastern Visayas, a region

March-April 2017 • Number 2 • Agung 25

frequently visited by storms and typhoons. The resource speakers and facilitators included Dr. Dinah Roma, prize-winning poet and professor of literature and creative writing at De La Salle University, Manila; and Dr. Victor N. Sugbo, professor of communication and literature at the University of the Philippines Visayas, Tacloban, and recipient of national awards such as Gawad Pambansang Alagad ni Balagtas 2016 from the Unyon ng mga Manunulat sa Pilipinas (UMPIL) and the Taboan Literary Award (2013) from the NCCA National Committee on the Literary Arts. Harold Mercurio, Calbayog-based writer and NwSSU professor, talked about local resource materials and publications. As part of the program, a writers’ forum featured award-winning intellectuals and writers based in Eastern Visayas—Merlie Alunan, Nemesio Baldesco, Lydia de la Rosa, and Yvonne Esperas—who read their work and talked about the topic “Writing to Sustain our Home, our Habitat.” Alunan is an award-winning poet and editor, and De La Rosa is professor emeritus of the University of Eastern Philippines (UEP) in Northern Samar, who was the brain behind the establishment of the UEP Center for Samar Studies and the publication of its journal Talutang. Esperas is a budding young writer who writes fiction and poetry in Waray, and Baldesco is a pedicab driver and cacao farmer turned poet, who writes in the traditional Waray forms of siday and ismayling and performs them with passion and energy. During the workshop, Baldesco’s first book of poetry, Kawit, was launched. This supplementary session, “Meet the Philippine PEN Authors/Writers Forum” series, brings the writers to the general public. It provides an opportunity for the audience to be in close contact with PEN book authors and local writers, thus enabling an interaction between authors and readers. This session witnesses the authors reading their works, thus initiating for many in the audience the joy of the written—and the spoken—word, which could deepen their appreciation of literature and foster in them the habit of reading the best of literature. This would not only intensify their literacy but also perhaps trigger a more nuanced appreciation of their humanity. The authors also discuss their creative process so as to impress upon the audience the value of freedom in the practice of creativity. The writers of Eastern Visayas have been ignored in favor of those in Central Visayas or Western Visayas. Their language, Waray, is less

prioritized than Cebuano, the dominant language of the Visayas and Mindanao regions, or Hiligaynon, dominant language of Western Visayas. The teaching workshop and writers’ forum, with their regional component, supported the use of the mother tongue/vernacular language in the classroom and the study of local writing in the literature curricula. The Samar workshop focused on teaching Waray literature. Mercurio informed the audience of the range of literary resources from the region, citing the regional writers and their various works. The resource persons and facilitators, especially Dr. Sugbo, guided the teachers-participants through a reading of short stories in Waray and provided strategies in interpreting short fiction. Dr. Roma informed the audience of the importance of understanding the twenty-first-century learners. The workshop was able to gather about eighty participants. One participant said, “Knowing and appreciating more the literature of Eastern Visayas, my knowledge on the different literary pieces in our region were broader, and it inspires me to learn more and to be innovative and digital in teaching literature to my students.” Another one commented, “The most important thing I gained from the workshop-forum is the importance of local literature that needs to be enhanced, researched and continued, and put into writing for the next generation.” “For Love of the Word” has in its modest ways created spaces and prospects for dialogues on Philippine regional literatures and minority practices. It has also connected the readers to the authors of their own region.

The literature teachers of Eastern Visayas has the opportunity to develop more critical appreciation and understanding of Philippine literary works before they could impart this knowledge and appreciation to their students

26 Agung • Number 2 • March-April 2017

PLACES FOR THE PAGES, MULTIPLE JOURNEYS NBDB’s Pinoy Book Stop Tour in Metro Manila, Cavite and Laguna Text and photos by Roel Hoang Manipon

Inside the Book Museum and Ethnology Center (below). Writers Isabela Banzon, and writer Rosa May “Mayette” Bayuga sharing their literary journeys (right)

ure, one can read books anywhere— on a bus, in a busy restaurant, while waiting in line, in a doctor’s clinic, in a park. But there are places that we feel are meant for reading. Reading is such a sacred and exquisite joy that places that nurture, inspire and extol reading are special havens. It can be a personal space, a cocoon of comfort, for a reader, and it can be a public place such as libraries and special cafes, which allow devotion to words and ideas. Though primarily mercantile in mode, bookstores, because of the bounty of books, induce reading, and many have been designed to be conducive to getting immersed in the pages. There are also a variety of places that nurtures reading such as museums, gardens and restaurants. They may not be ideal places to actually read but they inspire one to read. It is in these places that the journeys of the spirit begin. In the Philippines, one has to exert effort to find such places that encourage literary pursuits, and there are several bookstores and spaces for readers and book lovers, testifying to a reading population.

The special places one can discover by serendipity or research, or by joining a tour by the National Book Development Board (NBDB), the government arm dedicated to the development of the book publishing industry, which also promotes Philippine literature, supports the growth of independent bookstores, and encourages reading of Filipino-authored books. NBDB’s Pinoy Book Stop Tour is now on its second year, held in April in celebration of National Literature Month. Last year, the tour went around the northern part of Metro Manila and the provinces north of it. It featured mostly independent and campus-based bookstores such as Solidaridad Bookstore in Ermita Manila; Artbooks.ph in Mandaluyong City; Uno Morato on Timog Avenue in Quezon City; Pandayan Bookstore in Malolos, Bulacan; Orchids Bookstore in San Fernando, Pampanga; and Mount Cloud Bookshop in Baguio City. This year’s tour, held on April 7 and 8, 2017, went around southern Metro Manila and provinces south of it, featuring not only

March-April 2017 • Number 2 • Agung 27

The Book Museum cum Ethnology Center in Marikina City houses the book and artifact collections of lawyer Dominador Buhain, once president of Rex Group of Companies and the first chairman of the National Book Development Board

bookstores but also libraries, cafes and museums, including the Book Museum cum Ethnology Center in Marikina City; the Quezon City Public Library; the University of Santo Tomas (UST) Publishing House Bookstore in Sampaloc, Manila; Bodhi Mind and Body Shop in Tagaytay City, Cavite; Komikero Komiks Museum in San Pablo City, Laguna; and Books, Crafts, and Coffeeshop in Los Baños, Laguna. The Pinoy Book Stop Tour actually consists of multiple journeys. It is a physically journey, visiting physical places. It is also a journey of writing and reading. Each stop has writers recounting their own journeys in writing books, all of which won the National Book Awards and the National Children’s Book Awards. At the same time, readers experience an inner journey of learning, of acquiring new perspectives and of seeing additional dimensions of books and writings and writers. Aside from the book talks, there were poetry readings and musical performances.

Isabela Banzon talked about her latest book of poetry, Maybe Something, as well as the crucial functions of poetry

28 Agung • Number 2 • March-April 2017

The Quezon City Public Library is hailed for its modern design, and being one of the best public libraries in the country

Book Museum cum Ethnology Center The Book Museum cum Ethnology Center, on 127 Dao Street, is tucked within a residential area of the barangay of Marikina Heights in Marikina City in eastern Metro Manila. It is a small cluster of buildings housing the collections of books, crafts and artifacts of lawyer Dominador Buhain, once president of Rex Group of Companies, which publishes textbooks. The museum opened to the public in 2013, an interesting assemblage of collected things from Buhain’s numerous travels. “Buhain was inspired by all of the places he has been to as well as the people he had met along the way. He really loves to travel and collect items, but he opened the museum because he wanted to make all of his experiences accessible to others through books and artifacts,” said Sherleen Bautista, supervisor of the Book Museum cum Ethnology Center. The grounds are adorned with poles depicting characters and scenes from Philippine myths and folklores. The façade of the main museum building is painted with

March-April 2017 â&#x20AC;˘ Number 2 â&#x20AC;˘ Agung 29

The University of Santo Tomas in Sampaloc, Manila, is considered the oldest university in Asia. Inside the Main Building is the bookstore of the UST Publishing House, which offers its numerous titles, from scholarly to literary publications

30 Agung • Number 2 • March-April 2017

Writers Marne Kilates, Chuckberry Pascual and Cristina PantojaHidalgo at the University of Santo Tomas Publishing House bookstore (top). Participants of the Pinoy Book Stop Tour with children’s book authors Michael Jude Cagumbay Tumamac and Ergoe Tinio at the Quezon City Public Library (above).

a mural depicting the history of printing in the Philippines by Baguio visual artist Leo Aguinaldo. Rex Bookstore’s old printing press is also on display. Inside, books and printed matters are kept in shelves, arranged by country and territory. The owner has traveled to more than 200 of them. There are also curiosities such as a copy of one of the smallest books published, containing “The Lord’s Prayer” in seven languages, purchased at the Gutenberg Museum in Mainz, Germany, on October 2012. It measures about three-by-three millimetre. There are also other miniature books— works by William Shakespeare, purchased in Frankfurt on March 201; Antoine de Saint-Exupery’s The Little Prince; and other others. Flanking the book museum are two buildings, one housing different crafts, artifacts and souvenir items from the Cordillera Region, and another containing Mindanao items. At the Book Museum cum Ethnology Center, University of the Philippine (UP) professor and poet Isabela Banzon, and writer Rosa May “Mayette” Bayuga deliv-

ered a book talk. Banzon related how she came to write her latest book of poetry, Maybe Something (UP Press, 2015). Her observations and impressions during her travels were transformed into poems, which form a substantial part of the book. She said that one of the functions of poetry is to establish connection and to strengthen our humanity. Bayuga told about her journey in writing her novel Sa Amin, sa Dagat-Dagatang Apoy (UP Press, 2015) and her being a writer. She has worked in an advertising agency wishing someday that she will be able to write and vowing to write what she wanted to write. Writing to her is something of a divine act, which she calls “pagbabaylan.” Inspiration for writing flows to her as if it is a force of the universe. The Quezon City Public Library The library of Quezon City is one of the most modern and well-designed public libraries in the country. It is also one of the largest in Metro Manila. The main library is at the Quezon City Hall complex, along Mayaman Street, with twenty-one satellite libraries all over Quezon City. It has 181,131 books and 71 computer stations, serving about twenty-three percent of Metro Manila’s population. The QCPL was formally organized and inaugurated by the Aurora Quezon on August 16, 1948, housed in a one-storey building next to the post office and near the old city hall along EDSA. Now, it is a spacious and well-lit place for reading and other activities. There are conference rooms as well as rooms for kids to read. Here, children’s book writer and reading advocate from General Santos City, Michael Jude Cagumbay Tumamac, also known for his penname Xi Zuq who wrote Supremo (for children nine to twelve years old; with illustration by Al Estrella, Adarna House, 2015), narrated how he love to read detective and mystery books and the Nancy Drew series as a child, inspiring him to become a writer. Among the children’s books, Augie D. Rivera’s Alamat ng Ampalaya created a lasting impression, encouraging Tumamac to write for children. He advised aspiring writers: “Magbasa nang magbasa. Walang manunulat na hindi nagbabasa. Magsulat nang magsulat. Huwag matakot umulit. (Keep on reading. There is no such thing as a writer who is not a reader. Keep on writing. Don’t be afraid to revise and start all over again).”

March-April 2017 â&#x20AC;˘ Number 2 â&#x20AC;˘ Agung 31

The charming Bodhi Mind and Body Shop inside the fourhectare La Bella Residences in the barangay of Neogan, Tagaytay City, Cavite

32 Agung • Number 2 • March-April 2017

Comics illustrator artist and writer Gerardo “Gerry” Alanguilan Jr., poet and activist Ericson Acosta and poet Enrique Villasis at the Komikero Komiks in San Pablo City, Laguna

On the other hand, writer Ergoe Tinio revealed that her experience in the writers’ organization Linangan ng Imahen, Retorika at Anyo (LIRA) and in working at the Adarna House are crucial in her development as a writer. She believes that the love for poetry must be inculcated in children, thus encouraging her to write for children. Her book Salusalo Para kay Kuya (with illustrations by JC Galag; Adarna House, 2015) is inspired by a real-life and story and its writing was spurred by the dearth of children’s books dealing with difficult subjects such as death. The University of Santo Tomas Publishing House Carved at one corner of the august Main Building of the University of Santo Tomas (UST) is the little of bookstore the UST Publishing House (USTPH), the university’s publishing house, which carries its many titles. “The most unique thing about the UST Bookstore is that it is the newest bookstore from the oldest university in Asia (since 1611). It also is housed at the ground floor of the Main Building, which is a National Cultural Treasure. Our current location is therefore blessed with much historical and cultural significance,” said USTPH director John Jack Wigley. The USTPH itself has quite a history, and it is even older than the university. It traces its roots to the UST Press, which was founded in 1593 by Father Francisco de San Jose, O.P., making it the oldest continuing press in the world, next to that of the Cambridge University in England. The Dominicans used xylography, a wooden block printing press, pioneering printing in the

Philippines. The old printing press is now at the UST Museum of Arts and Sciences. The Santo Tomas University Press and the UST Printing Office were then merged to become USTPH in 1996. Today, the USTPH publishes an average of twenty-four books a year from textbooks to literary titles. The bookstore is the newest venture of USTPH. “The textbook section of our store still attracts the most visitors, mostly because we are primarily an academic publishing house, and producing resources for tertiary education is still our priority. The next most popular section of our bookstore is the literature section, as many of our poetry, fiction, and creative nonfiction titles are the reason customers flock to our store,” Wigley said. He added: “While our new bookstore is actually in operation for less than three months, it never fails to surprise me that many of our students (and even non-Thomasians) will spend money on literary titles that are not part of their required reading for the term. It surprises me because it is a sad but accepted fact that the Philippines hardly possesses what one would call a ‘reading culture’ (We are more of a ‘visual people’ so entertainment events and spaces—such as malls, cinemas and concert halls—are really what would draw crowds); and given this fact, it would appear that students would often budget their allowances for something else, like food or gadgets. But it always puts a smile on my face when we receive emails or private messages on our Facebook page that our very own students share our posts on new titles and endorse the title to their friends with their corresponding review (we do get a number of these). For an academic publisher, this is validation that we are doing something good.” At the USTPH Bookstore, Thomasian writers Cristina Pantoja-Hidalgo, Marne Kilates and Chuckberry Pascual shared their literary journeys. Hidalgo, well-known for travel essays and fiction, revealed a childhood surrounded by books and accentuated by reading. She has written about it several times. She even created a family newspaper and in school she became the school paper’s editor. While she is known for her creative non-fiction, Hidalgo said she really wanted to write fiction. She already published five short story collections, many of which have a fairy-tale mode. She explained that the Filipino women of her generation were mostly “repressed.” Thus, sensuality and other taboo subjects were written in the guise of fairy tales. She revealed that she is most insecure

March-April 2017 • Number 2 • Agung 33

about her fiction, but she is proudest of it. Pascual read the introduction of his latest book Kumpisal: Mga Kuwento (2015). He also advised that one should read everything, even trashy reading materials such as tabloids. Hidalgo commented that because we have limited time and eyesight, we must choose the best. On the other hand, Kilates, who has published six books of poetry including his latest, Lyrical Objects (2015), said that a writer should not only read literature but he/she should read as much as he/she can from other fields of knowledge such as science and mathematics to feed the thirst for knowledge. Bodhi Mind and Body Shop Tagaytay City in Cavite is a very popular destination for a quick getaway for Metro Manilans because of its proximity to the city. Thus, the city on the mountain ridge, with a cool climate and a spectacular view of the Taal Volcano and Lake, is studded with hotels and restaurants. Lately, there have been many residential developments. One of the most beautiful is the four-hectare La Bella Residences in the barangay of Neogan. The development emphasizes nature and wellness, taking advantage of the place’s vegetation, with the aim of creating a healthy community. While still in development, La Bella holds a weekly organic market. One of the early shops that opened in La Bella is the Bodhi Mind and Body Shop, a quaint health and wellness store. “The shop is laden with books on life

and all its aspects,” explained owner Grace Eleazer. “This bookstore is unique because it delves into all aspects of living. From mind to consciousness, from philosophy to religion, from mind and body interaction, and last but not the least, the needs of the body both internally and externally, and the many tools that are required to bring about the effects of a harmonious mind and body connection. This bookstore contains books that answer many questions on life that we were cautioned not to ask or mysteries of life that we never had the time nor the opportunity to delve into. In short, this is a bookstore on life itself!” The two-storey shop is redolent with health and beauty products infused with herbs and flowers that sit alongside shelves of books. Inspirational words adorned the walls, bags, and even the stairs. Here, food writers Jenny Orillos and Amy Uy recounted childhoods with food and their delicious journey in making the landmark book Panaderia: Philippine Bread, Biscuit and Bakery Traditions (Anvil Publishing, 2015) as well as the mundane legwork that went with it. “In 2012, I emailed my co-author Jenny Orillos if we could possibly collaborate on a food book. There was no specific topic yet at the time and initially we were interested in writing a book on kakanin or rice cakes that we heard was being written by our editor, Micky Fenix. But it turned out that work had not started on that book yet. Jenny thought of working on a book on Philippine breads instead. She had done some articles

Food writers Jenny Orillos and Amy Uy, and NBDB chair Neni Sta. Romana Cruz with the book Panaderia: Philippine Bread, Biscuit and Bakery Traditions (left). The stair with an inspirational message at the Bodhi Mind and Body Shop in Tagaytay City (below)

34 Agung • Number 2 • March-April 2017

on panaderia classics and Philippine breads before and we both thought that it was a subject matter of great interest but was not previously written about. It was a great topic since we all love breads and have good food memories about the breads of our childhood. It was the right time to bring the spotlight on the breads from the local panaderia since a lot of them are slowly vanishing, partly due to the popularity of the foreign bread chains that have entered the local scene. We need to know and love our own breads and improve on them and continue the traditions that come with them because they are part of who we are as Filipinos,” Uy related. “Bread for me is sustenance, an essential part of my family’s breakfast table alongside the sinangag at ulam. And in the afternoon, a choice for merienda. I love how it’s handy to eat, versatile too because you can eat it as is or spread butter or jam on it. There is always a loaf of white bread in our dining table and every morning, that familiar brown paper bag of pan de sal greets me when I wake up. A bonus, too, if I chance upon it while it’s still hot. My childhood memories are steeped with eating and buying these breads,” Orillos shared. “We as a nation are more of a rice and root-crop eater but we have made bread-making our own, imbuing it with our own traditions. The pan de sal, for example, has a way of being shaped that is not done in classical bread-making. It’s not simply rolled into a usual log but instead shaped and pinched like a cane or rod. Then it’s cut with a wooden cutter which gives it the signature narrow pointy ends which in baker’s lingo is referred to as singkit or gatla.” On the process of creating Panaderia, Orillos related: “We began with a working outline which served as our guide in planning the research. We also had to prioritize the major provinces or regions to visit. It wasn’t a rigid schedule so we played it by ear, going on panaderia trips whenever everyone’s schedule permits and then blocking off almost a weeklong worth of research in the provinces.” “It was very important to get in touch first with someone who knew the area so we interviewed a lot of resource persons and asked them for recommendations on breads and bakeries. We also asked them about their bread memories, which ones they loved as a child but are now gone,” she further said. Komikero Komiks Museum Komiks have been a popular reading material for Filipinos until its popularity declined in 1990s. There is now a resur-

gence in interest in comics and graphic novels but only a few among the younger generations about Philippine komiks. This prompted San Pablo City-based comics illustrator artist and writer Gerardo “Gerry” Alanguilan Jr. to open a virtual museum, having his vintage comic books and comics artworks scanned and uploaded to the Philippine Comics Art Museum (http:// www.alanguilan.com/museum). In August 2016, the museum became a real one as he opened Komikero Komiks Museum at the Tia Maria’s Sining at Kultura, a gallery and café owned by architect Laurel Manuel Barte and his wife Maryrose, along Marasigan Street at Lakeside Park Subdivision in his home city of San Pablo in Laguna. Komikero is a very small museum, actually a room, whose walls display selected artworks from Philippine komiks history as well as of local artists. There are also bound volumes of old komiks. Alanguilan, an award-wining comics artist and writer, has his works displayed as well as works by Filipino komiks notables such as Alfredo Alcala, Larry Alcala, Dell Barras, Cris CaGuintuan, E.R. Cruz, Elmer Esquivas, Rudy Florese, Steve Gan, Jess Jodloman, Alex Niño, Nestor Redondo, Mar Santana, Hal Santiago, Jesse Santos, Tony Velasquez, and Ruben Yandoc. National Artist for visual arts Francisco Coching, a master komiks artist and writer, is prominently featured. Here, Alanguilan, poet and activist Ericson Acosta and poet Enrique Villasis shared their journeys and insights on komiks, protest and prison literature and poetry. Alanguilan recounted the recent history of Filipino komiks and his efforts to revive it, publishing his own comic books including the series Elmer (Komikero Publishing, 2006). Acosta talked about protest and prison literature, saying that the country has rich trove of prison literature from works by Francisco Balagtas and Jose Rizal to Amado V. Hernandez and the writers incarcerated during the Martial Law. His book, Mula Tarima Hanggang at Iba Pang Mga Tula at Awit (UP Press, 2015), was written in two years in prison. He was apprehended while conducting human rights research in Samar. Villasis is an engineering graduate who writes poetry. It began in 2006, after college and when he joined LIRA. It took him about five years to realize what he wanted to write about. He recounted a memory in his hometown of Milagros in Masbate: A dead whale shark washed up on the shore. The villagers

March-April 2017 • Number 2 • Agung 35

were all curious, wondering what the animal was. He found it ironic that a fishing village did not know what a whale shark is. A passing tourist told them that it was a whale shark. The incident became inspiration for a poem on being stranded. It is part of his book of poems, Agua (Librong LIRA, 2015), which has the theme and texture of water and made use of Philippine bestiary. Books, Crafts, and Coffeeshop Books, Crafts, and Coffeeshop (BCC) is café and second-hand bookstore at the corner Ruby and Data streets in Los Baños City, Laguna. Being near the University of the Philippines Los Baños, it becomes a haunt for students, offering a selection of local and foreign books. The bookstore-cafe also hosts performers and musicians. The idea for BCC sprouted from owner Yolanda Catalla’s experience of selling three boxes of books at a bazaar. “The bookstore is unique because we love books, and that connection can be felt by patrons and clients. We’ve been told that BCC has a wonderful ambience, cozy, friendly. Perhaps BCC transmits all that because my family, parents and siblings, loved

to read. We are also fortunate that many of our dearest friends and supporters are book lovers,” enthused Catalla. “Our surprise was that there is truly a love for reading the old-fashioned way, not on gadgets. Holding a book, flipping through pages, and asking for our thoughts on the book a patron is about to purchase is always a source of joy,” she further revealed. She also said that if given more space, she would add more books, and a room for writing and crafting workshops. Here, writer Joselito delos Reyes talked about his book, Titser Pangkalawakan at Iba pang Angas sa Social Network Underworld (Visprint, 2015). The Books, Crafts, and Coffeeshop was the last destination of the Pinoy Book Stop Tour 2017, before the participants went on their different ways, all pregnant with words and inspiration, with which to build their own nests. The following days, these readers will embark on different journeys and they know where the little sanctuaries of words and inspiration are. Hopefully, other people will find them and start on their own journeys of reading.

The Komikero Komiks Museum at the Tia Maria’s Sining at Kultura, a gallery and café in San Pablo City, Laguna

36 Agung • Number 2 • March-April 2017

A FEAST OF BOOKS NBDB’s Book Fiesta on World Book and Copyright Day

Kids and their parents had fun at a photo booth

ooks, literature, and copyright were the main focus on April 23, 2017, as the National Book Development Board (NBDB) celebrated World Book and Copyright Day (WBCD) with Book Fiesta, a whole day of festive gathering and book-related activities for book lovers and copyright advocates, at the Quezon City Memorial Circle in Quezon City. As declared by UNESCO in 1995, WBCD aims to pay tribute to books and authors and to encourage more Filipinos to discover the pleasure of reading. The Book Fiesta featured a book market by Philippine publishers, and activity/exhibit booths by different book clubs and writers’ groups, which included shirt printing, storytelling sessions and book discussions. The works of Filipino comic artists were also highlighted, and a discussion and mini workshop on erasure poetry were held. There was a puppet show with the National Library of the Philippines and the Philippine-Italian Association, followed by an “erasure poetry” workshop facilitated by Ayer Arguelles. The workshop let

participants make their own poetry using magazines and newspaper articles and erasing words, leaving the ones meaningful to the raeder. Tepai Pascual, Harvey Tolibao, Apol Sta. Maria, Rob Cham, and Manix Abrera conducted an on-the-spot comic book making workshop as well as a book signing session. R. Jordan Santos helped participants create the layout of their books. The book market had booths from publishers, government agencies, and copyright and book organizations including Ateneo de Manila University Press; Brilliant Creations Publishing, Inc.; C&E Publishing; Komiket, Inc.; Visrpint, Inc; New Day Publishers; Christian Literature Crusade; Filipinas Copyright Licensing, Inc.; Ex Libris Philippines; Kaisa Para sa Kaunlaran, Inc.; Telecraft; Pinoy Reads Pinoy Books; Samahang Umaagapay sa Literature at Talento (SULAT Pilipinas); Bookbed; NCCA; Komisyon sa Wikang Filipino; Intellectual Property Office of the Philippines (IPOPHL); National Historical Commission of the Philippines (NHCP); National Library of the Philippines (NLP); and Philippine-Italian Association. Attendees received freebies including comics/infographics on copyright knowhow for writers and artists by Manix Abrera and availed of shirt printing of quotes from 35th National Book Award winners. But more than that, they were able to experience a wonderful world of books coming alive.

Puppet show with the National Library

March-April 2017 • Number 2 • Agung 37

A UNION OF WRITERS The 43rd National Writers’ Congress of UMPIL at the Ateneo de Manila University

This year’s UMPIL awardees: (front row, from left) Dr. Alicia Magos (Gawad Paz Marquez Benitez); president of the Thousand Islands Poetry Society (Gawad Pedro Bucaneg), Marne Kilates Gawad Pambansang Alagad ni Balagtas for poetry in English); Luis Gatmaitan (Gawad Pambansang Alagad ni Balagtas for children’s fiction in Filipino); Liza Magtoto (Gawad Pambansang Alagad ni Balagtas for drama in Filipino); Criselda Yabes (Gawad Pambansang Alagad ni Balagtas for essay and fiction in English); Karina Bolasco, representing Vince Rafael (Gawad Pambansang Alagad ni Balagtas for criticism in English); Carla Pacis (Gawad Pambansang Alagad ni Balagtas for children’s fiction in English); Jameson Ong (Gawad Pambansang Alagad ni Balagtas for poetry in Chinese); Romulo P. Baquiran Jr. (Gawad Pambansang Alagad ni Balagtas for poetry in Filipino); and Hope Yu, representing Melchor Yburan (Gawad Pambansang Alagad ni Balagtas for poetry and fiction in Cebuano). Also present were UMPIL board members and officers (second row, from left) Aldrin Pentero, Shirley Lua (vice chair), John Torralba, Fidel Rillo, John Iremil Teodoro (secretary general), Michael Coroza (chair), Celina Cristobal, Louie Jon Sanchez (treasurer), and Joaquin Sy.

riters gathered together for the final event of the National Literature Month, the 43rd National Writers Congress of the Unyon ng mga Manunulat sa Pilipinas (UMPIL) or the Writers’ Union of the Philippines, which was held on April 29, 2017, at the Rizal Library of the Ateneo de Manila University. The overarching theme of the congress was “Ang Panitikan sa Panahon ng Tokhang (Literature During the Bloody War on Drugs),” which was emphasized in the keynote address of acclaimed fictionist, essayist and professor Dr. Jose “Butch” Dalisay Jr., opening the congress. The award-winning author said that literature has a huge responsibility in echoing the stories of the almost seven thousand victims of the war on drugs, which the media did not fully detail. He asserted that today the term tokhang, which is a combination of the Cebuano words toktok and hangyo, which means “knock” and “plead” respectively, has become the direct opposite of its meanings. The image of “courtesy and consideration,” depicting the “authority” negotiating and seeking relevant information, has been replaced by a picture of forced entry, a gun and a placard, and a harsh accusation. Other speakers also presented their views on the role of literature and its present challenges in the administration of President Rodrigo Duterte. Lourd de Veyra, TV5 journalist and poet; Joel Pablo Salud, The Philippine Graphic editor in chief; and Juana Change (Mae Paner), political activist, writer, and performer, discussed the role of writers in the time of tokhang.

The other forum, “Opinion Peddling, the Failure of Memory” or “Paglalako ng Opinyon, Pagkabigo ng Gunita” included writer and director Floy Quintos; writer Frank Cimatu; and writer Joyce Martin. During the congress, the Gawad Pambansang Alagad ni Francisco Balagtas, the Gawad Paz Marques Benitez and the Gawad Pedro Bucaneg were bestowed to the recipients. Since its inception, the congress’ highlight has been the conferment of these three awards given by UMPIL since 1988. This year’s recipients of the Gawad Alagad ni Francisco Balagtas, a lifetime achievement award for literary writing, are Romulo Baquiran (poetry in Filipino), Luis Gatmaitan (children’s fiction in Filipino), Marne Kilates (poetry in English), Liza Magtoto (play in Filipino), Jameson Ong (poetry in Chinese), Carla Pacis (children’s story in English), Vicente Rafael (criticism in English), Criselda Yabes (essay and fiction in English), and Melchor Yburan (poetry in Cebuano). Receiving the Gawad Paz Marquez Benitez, an award for achievement in literary education, was Alicia Magos, professor emeritus of anthropology at the University of the Philippines in the Visayas in Iloilo and the editor-translator of the Panay Bukidnon epics. The Gawad Pedro Bucaneg, an award for outstanding literary organizations, was given to Thousand Islands Poetry Society, an organization of Chinese-Filipino writers. — Report by Jayson Septimo, Program Monitoring and Evaluation Division

38 Agung • Number 2 • March-April 2017

Recent NCCA Publications Ubod Edited by Dr. Victor Sugbo, Juliet Mallari, Francis Macansantos, Priscilla Macansantos, Kristian Cordero, Servando Halili, Jr., and Monica Macansantos, 374 pages Ubod (2016) is an anthology of regional writings in different Philippine languages and English. Featuring poetry and fiction by contemporary writers from all over the Philippines, the book also contains translations of literary contributions into Filipino or English. The anthology “usually features the life of local Philippine languages energized by budding writers who have started to create a new literary age,” wrote University of the Philippines professor Juliet Mallari, one of the editors and main proponent of the project, in her preface. The book is divided in accordance to the three island clusters of the country— Luzon, Visayas and Mindanao. The Luzon section is divided into Northern Luzon (edited by Francis and Priscilla Macansantos), Central Luzon (edited by Mallari and Dr. Victor Sugbo), and Bikol (edited by Kristian Cordero) while the Visayas (edited by Dr. Sugbo), is divided into Eastern Visayas (edited by Dr. Victor Sugbo), Central Visayas and Western Visayas. The Mindanao section is edited by Macansantos, Servando Halili, Jr. and Monica Macansantos.

The Best of Dagmay 2 Edited by Don Pagusara, Jhoanna Lynn B. Cruz, John B. Bengan, and Dominique Gerald Cimafranca, 138 pages The Best of Dagmay 2 (2016) is an anthology of the best poems, short stories, plays, and essays in Dagmay from 2010 to 2012. Dagmay, which began in 2001, is the literary folio of the Davao Writers Guild, which now exists as a website. The best works from 2007 to 2009 were published in a volume in 2010. This second volume has works in English, Cebuano and Filipino by Mindanawon writers Paul Randy Gumanao, Raul Moldez, Al Ponciano Datu, Jayson Parba, Romel Villaflor, Arifah Jamil, Freeda Ko, Alpha Khristine Fortun, Khareen Culajara, Rolly Jude Ortega, Rogelio Garcia, Hazel Meghan Hamile, Melona Mascariñas, Darylle Rubino, Jeffrey B. Javier, Maureen Ronquillo, Riza Racho, Erika Navaja, Vangie Dimla-Algabre, Red Rose Serrano, Iryne Kaamino, Ric Bastasa, Gratian Paul Tidor, JM Cortes Acut, Gino Dolorzo, Telesforo Sungkit, Jr., Tala Alexander, Lyda May Sual, Edgar Bacong, Mark Daposala, Zola Macarambon, Glyd Jun Arañes, Karla Stefan Singson, Maiq Bonghanoy, Djamyla Millona, Reymond Pepito, Margaux Denice Garcia, Jetro Eco Anta, Christian Cabagnot, Karlo David, Arian Tejano, Ruel Soriano, Aimee Rosal, Seneca Pellano, Vida Valverde, Fritz Gerald M.

Melodi, and Sergei Reyes. The anthology hopes to reflect the milieu and aspirations of the Philippine South, which produces a polyphony that is at the heart of the Mindanaoan identity. The Magalang Book: The Historical Life and Culture of a Kapampangan Town (1605-2015) By Louie Aldrin L. Bartolo, 210 pages Louie Aldrin L. Bartolo attempts to write the history of his hometown, Magalang, in Pampanga in The Magalang Book: The Historical Life and Culture of a Kapampangan Town (1605-2015) (2015) with the help of historian Dr. Lino L. Dizon as the book's editor and consultant. The book contains a profile of the town and a history from 1605 to 2015. It also includes brief articles on Magalang's pioneering families as well as its church's history. Ya Manga Kasamputanen na Manga Tagakaulo/Ang mga Sugilanon sa mga Tagakaulo (The Stories of Tagakaulos By Siverlyn M. Camposano, 148 pages Ya Manga Kasamputanen na Manga Tagakaulo/Ang mga Sugilanon sa mga Tagakaulo (The Stories of Tagakaulos) (2015) collects the oral literature of the Tagakaolo or Tagakaolo Kalagan, which belongs to the Mandaya/Mansaka group, of the prov-

March-April 2017 • Number 2 • Agung 39

ince of Davao del Sur. It includes creation myths, legends, folktales and dream stories. The stories are in the native Tagakaolo, with translations in Cebuano, the dominant language in the region, and in English. Rites of Passage By Josefa Castro Benitez, 136 pages Rites of Passage (2015) contains the recollections of teacher Josefa Castro Benitez on her childhood and adolescence before, during and after World War II in the Philippines in an unbroken sequence. She especially attempts to concretize and detail life during the Japanese occupation. The author believes that “living life is indeed a ceremony, a rite from birth to death.” Parangal Kay Gat Jose P. Rizal, Bayaning Environmental Planner: Compendium of Speeches By Jose David Lapuz, Patri B. Chan and Dr. Maria Serena I. Diokno, 86 pages In celebration of his sesquicentennial birth anniversary, this monograph is a tribute to Dr. Jose Rizal who gave invaluable contributions to nation building, as well as his various initiatives in environmental management, human security, development management and community development, as manifested in his writings and during his exile in Dapitan, Zamboanga del Norte, from 1892 to 1896. The essays included in the book, published by the Development Academy of the Philippines (2013), were written by professor Jose David Lapuz (“Dr. Jose Protasio Rizal, National Security, Sur-

vival and International Politics and Foreign Policy, His Banishment to Dapitan and His thoughts on Development, Environmental Protection and the Filipinos as a People), former Dapitan vice-mayor Patri B. Chan (Tribute to Gat Jose P. Rizal, Contribution of Rizal to Dapitan as an Environmentally Healthy Community), and Dr. Maria Serena I. Diokno (“Rizal on Backwardness and the Way Forward). They were delivered during the “Parangal kay Gat Jose P. Rizal: Bayaning Environmental Planner” in 2011 in Dapitan. Shuntug: Mga Kabundukan sa Kasaysayan at Kalinangang Pilipino Edited by Lars Raymund C. Ubaldo, 216 pages The title, shuntug, comes from the Ibaloi word for “mountain,” and this book (2015) compiles the different researches on various angles and topics revolving the Philippine mountains such as Cordillera, Sierra Madre, Caraballo, Bataan, Sinukuan, Pinatubo, Makiling, Banahaw, Madya-as, Kanlaon, Malindang and Apo. The studies, in Filipino, are not just about the natural topography of the mountains, but they focus on the mountains as creative spaces. Siglo 20: A Century of Style and Design in the Philippines By Gerard Lico, 391 pages Architect and professor Gerard Lico chronicles the design trends of the 20th century in the Philippines in Siglo 20: A Century of Style and Design in the Philippines

(2016) as seen in architecture, fashion, photography, graphic arts, interior design , etc. Each chapter tackles every decade creating a timeline of designs in the context of social and political changes and presenting the evolution of aesthetics and tastes. Knowing the styles and designs of the past enables us to appreciate the diverse ways in which design practitioners and their products of creativity respond to the givens imposed by circumstances in the country. The book presents diverse examples that capture the ingenuity of Filipino designers and innovators and how their products changed the lives of the Filipinos. Cataloging Policy Statements and RDA Guidelines for Philippine Libraries Edited by Christine M. Abrigo, Ana Maria Fresnido and Mila Ramos, 140 pages Compiled by Ana Maria Fresnido, Ruben Marasigan, Corazon Nera, Susan Pador, Mila Ramos and Rodolfo Tarlit Cataloging Policy Statements and RDA Guidelines for Philippine Libraries (2014) is a management manual for the training and development of catalogers, and as an instructional guide for library school faculty. A simplified and condensed version of the basic Resource Description and Access (RDA) guidelines, the workbook contains various chapters on sources of information, recording attributes of manifestations and items, identifying works and expressions, recording attributes of persons, families and corporate bodies, recording relationships, and recording RDA elements using MARC format.

40 Agung • Number 2 • March-April 2017

NCCA GALLERY

Portraits of Dispossession By Lisa Ito

ihag ng Gutom” (Prisoners of Hunger), Leonilo Doloricon’s latest one-man show, makes visible to viewers the various faces and phases of social contradiction and struggle. Gathering more than twenty works produced within the span of a decade, Doloricon offers a panoramic sweep of both society and revolution in the Philippines. The title of the exhibition is culled from a 19th century anthem both utopian and universal. More than a hundred years old, the song rouses the toiling proletariat, the so-called wretched of the earth, to rise above being “prisoners of hunger and want” by working for a future free from oppression. In alluding to these origins of unrest and revolutionary resolve, Doloricon demonstrates how artistic practice makes both material and verbal the expression of solidarity with a broader and longer struggle for change. One half of the exhibition is comprised of monochromatic oil on canvas paintings dating from 2009 to 2014. The other half is a collection of his recent work in both woodcut and linotype printing from 2013 to the present. Doloricon’s artistic practice in recent years largely alternates between the media of painting and printmaking, in addition to editorial cartooning. This particular selection, for instance, was first exhibited in September 2014, during a twoman show with Ramon Zapata, under the title “Huling Balita” (Last News). At that time, the show presented the works and their subjects as facets or slices of contemporary realities. “Bihag ng Gutom” now gathers again the works and adds several newer ones, representing both an expansion of subject matter and the artist’s process of retrospection on what this ongoing series delves into. Most of the works in the exhibition are portraits of the dispossessed and disenfranchised in Philippine society, all unified by the tonal terseness of black, gray and white. His oil on canvas paintings, for instance, collectively present images of the Filipino farmers and peasantry as the largest segment of the toiling masses and a vital force in social production. Hunger for Land (2010), for instance, presents a compelling counterpoint to commonly romanticized representations of the peasantry in idyllic rural settings. Here, Doloricon effaces classic images of the rosy cheeked maidens and sunlit landscapes with monochromatic shadows and masses of farmers facing an uncertain future. This interest in portraying the agrarian majority is amply explored in most of the other paintings. Doloricon’s print works, on the other hand, present a wider and more multi-faceted range of subject matter which emphasizes the class contradictions in Philippine society. Their subjects range from sympathetic portraits of the marginalized majority to darker caricatures of the entrenched elite who lord over the nation’s resources. The woodcut titled Warlord (2013), for instance, presents the fattened figure presiding over his fiefdom atop the backs of the laboring people. Doloricon also produces other pieces which delve into long-standing current issues, such as foreign debt and U.S. military presence in the country. These works can be connected

Agraryong Rebolusyon (2014)

NCCA GALLERY March-April 2017 • Number 2 • Agung 41

Lumad (2015) Tinik (2016)

to his style and practice as an editorial cartoonist, which emphasizes critical commentary on contemporary events. Doloricon’s resolve to portray various events, phenomenon and people in black and white, can also be viewed as a symbolic and not just a technical device, a conscious motion to represent the somberness of reality as it is. Doloricon’s work in painting and printmaking are both unified in the linear and almost graphic quality of the images and the artist’s particular style of composition, which emphasizes the sense of harmony produced by the repetition of form. In the painting Kalbaryo ng Manggagawang Bukid (Calvary of Farm Workers, 2009), for instance, Doloricon weaves an entire composition around images of individual backbreaking labor of sugarcane workers. Their bodies and crops are both bent, overlapping in circular patterns throughout the canvas while the angular structure of the sugar mill looms behind in the background. This can be compared to his later linocut titled

Mga Puwersa ng Produksyon (2012)

Rebolusyong Agraryo (2014), where Doloricon portrays as a unified pattern the sturdy backs of the peasantry in collective work. Doloricon’s mastery of repeating forms can be viewed not just a formal device or a stylistic quick, it may also emphasize his particular worldview as an artist, activist, and concerned citizen. In contrast to the linear harmony and solidity of his compositions presenting the common people, his images of class oppressors are characterized by distortion and asymmetry which visually emphasizes the divide between these forces in society. Representing the masses as pattern, motif and subject of his art, the artist outlines with clarity where his sympathies and solidarity resides. In the end, Doloricon’s portraits of dispossession resonate with the same spirit of the Internationale: putting into visual form the yearning for the masses to rise up and unite in one last fight.

Doon sa Hacienda (2013)

Neil Doloricon’s visual narrative on global capitalism, enslavement and dispossession, “Bihag ng Gutom,” was at the NCCA Gallery from March 8 to 31, 2017.

42 Agung • Number 2 • March-April 2017

NCCA GALLERY

The Aural Dreamscapes of Agang Maganda By Gary C. Devilles

Beyond the Sky on Minor 1st (oil on canvas; 48 by 23 inches; 2017)

reams have fascinated both psychoanalysts and artists. Scientists keep studying them while surrealists have ceaselessly depicted and drawn inspirations from them. Agang Maganda has always been fascinated with dreams and deep memories. Over the years, he has consistently captured the lyricism and poetic moments of our dreamscapes. His constant use of subdued colors, nocturnal scenes, images of seeds and pods, thin wisps of cloud suggests not only a yearning to understand dreams but also to communicate with the dream world, to establish a link with the unconscious that has been severed perhaps by modern experiences, and to be attuned or in harmony with an unknown force that may have a connection with one’s distant past. In “Scherzo, Stanza and Surreal,” Maganda once again treats us to personal intimations of the dream world, only this time he also turns to music and poetry as modes of expression. For Maganda, dreams are not just visual but sensory, aural experiences as well. What is not depicted or cannot be portrayed visually are complemented or counterpointed by splendid sonority. Beyond the Sky, for instance, is a pod that slowly withers but the song is about missing his father. If dream language is associative, then one can see in this work how nature imbibes painful physical separations: The pod that falls and slowly uncovers becomes the objective correlative of the artist’s feelings. More importantly, the work tells us something about the nature of our feelings, our capacities to affect and be affected. It shows that life is a perpetual motion of relations, scenes, contingencies, emergencies. In A Garden Prelude, nature’s life-giving capacity is explored and lyrically articulated. The garden is the zone in which feelings and conditions take place. One sees various life cycles. Elements such as vapor may be invisible at first, but it condenses and falls as rain for plants and animals. One sees seeds sprouting, growing as plants, flowers, pollinating and then withering. It is not surprising that one’s experiences of leaving friends and loved ones, as well as reunions with them, all find their palpable expressions in nature’s cycles. Art critic and fictionist John Berger, who passed away recently, said that art is indissolubly linked to personal experience of pain and suffering and that the encounter with beauty is always an exception. Art thrives despite the ugliness, the temporal, and the pain. For Maganda, art is replete and suffused with such promise. Munting Awit sa Saliw ng Pag-asa (A Little

NCCA GALLERY March-April 2017 • Number 2 • Agung 43

Flow to Ignorance on Strings 4th (oil on canvas; 36 by 48 inches; 2017)

Song of Hope) depicts the promise of new beginnings and going full circle. Like our ancestors, Maganda recognizes the power of nature, and our part in and relationship with nature. He taps into our long history of symbolic articulation, which might have begun with the Manunggul burial jar, one of our earliest examples of artistic expression. In the same way that the Manunggul jar intimates a new journey, another beginning, Maganda suggests that our dreams speak of the same potential and reverence. We have forgotten this truth. The present condition have made us forget and rendered us incapable of feelings and sensibilities. The constant killings and violence all around are evidences of our loss of sensitivities. We should strive to speak up, not to escape and retreat to a dream world. Kathleen Stewart writes about ordinary affects as an assemblage of disparate scenes, with each scene beginning anew and tangent to the sensation that something is happening or something needs attending to. She believes that by paying attention to affect, we be-

Lullaby Red of F#+13 (oil on canvas; 48 by 36 inches; 2017)

gin to see moment and sensation with varying degrees of intensity, capable of intimating new ways of reckoning and making sense of our lives. Similarly, Maganda projects his own wanderings in his paintings, poetry and music, and in doing so, he enjoins us to do the same—to commune with the past, to struggle, and to hope.

Agang Maganda’s exploration of the subconscious is parlayed in rich tones that invite viewers into a world of fantasy and visceral visual journey in his exhibition, “Scherzo, Stanza, and Surreal: A Wanderer’s Journey in Music, Poetry, and Painting,” at the NCCA Gallery from February 6 to 28, 2017.

Porque te Quiero on Tritone 11 (oil on canvas; 48 by 96 inches; 2017)

44 Agung • Number 2 • March-April 2017 NCCA GALLERY

Impressions from Baguio City

elected works of the artists of the Tam-awan Village in Baguio City were displayed in a group exhibit “Tavid: Baguio Artists” at the NCCA Gallery from December 10, 2016 to January 30, 2017. The participating artists were Alfonso Dato, Alfred Dato, Art Lozano, Clinton Aniversario, Eden Cawang, Edwin Macadaeg, Gretta Apolinar, Herwin Buccat, Jen Lorenzo, Jo-Anne Bray Siadto, Jordan Mang-osan, Luisa Galang, Marlyn Bulayo, Randy Nimer, Tara Lalaine Natividad and Jerry Bucat. Their works were contemporary but undeniably inspired by heritage and environment of the Cordilleras, thus the title of the exhibit, means “heritage” in a northern Luzon language. They showed elements that are undeniably traditional, but the mediums were unconventional and ideas current. “Artists invoke their identity with a people of remarkable heritage, interpreting each piece as a part of a collective whole, different yet one in the same, echoing a gentle reminder for a culture on the brink of change,” commented Egai Talusan Fernandez, guest curator. “Each piece weaves a story, recognizing history but not being confined to it, embracing expressions of what is present but not being slaves to its novelties.” “There is a beautifully depicted decay of what has been discarded, a soulful evolution of nature, a wistful remembrance of fairies, soft portraits of power and longevity, an ode to a dream and the supremacy of a Being keeping the order of things great and small,” he further said. “The divine connection between the artist and the heavens come alive with solar creations, proving man and nature intertwine in art.”

Beads by Alfred Dato (acrylic on canvas; 121.92 by 81.28 centimeters; 2016)

The creation of the NCCA Gallery dedicated to contemporary arts was a joint initiative of the National Committee on Visual Arts (NCVA) and the National Committee on Art Galleries (NCAG). Through the establishment of the gallery, both committees envision to help young artists get their much needed exposure without hampering their zest to explore new tendencies on the edge of current art making. The new gallery is outfitted to accommodate video works and movable panels for installation pieces. Contemporary artists are welcome to submit their exhibit concept along with their portfolio should they wish to exhibit at the gallery. The NCCA Gallery is at the ground floor of the NCCA Building, 633 General Luna Street, Intramuros, Manila. It is open 9 A.M. to 5 P.M., Monday to Friday. Visits on weekends and holidays are by appointment. For details, contact 527-2192 loc. 512 and look for Bryan Llapitan or Mimi Santos; or email nccagallery09@gmail.com.

SENTRO RIZAL March-April 2017 • Number 2 • Agung 45

Sentro Rizal Opens in Milan and Rome

Tin Babida’s installaiton of bed and pillows

In Constant Flux

e.Flux” was an exhibit of works by Bea Asinas, Tin Babida and Czarina Capulong, students of St. Scholastica’s College Department of Fine Arts. It was mounted from March 8 to 31, 2017. The artists recognized and respected the skill and artistry of those who came before them—mentors, loved ones and the creators of numerous games, monuments and decorative paraphernalia that surrounded them. They tell not only of what life and their alma mater have taught them but explore future possibilities with their own compasses to help them navigate various art practices. Student and entrepreneur Asinas (born in 1992) celebrated her being a “Kulasa” and a Millennial re-accessing, employing and sharing her values as a sculptor. She presented her experiences during her apprenticeship program in artworks. Babida (born 1995) invited viewers to experience comfort with her installation of embroidered pillows, inspired by throw pillows made by her grandmother and her interest in embroidery as metaphor. The stitches served as her way of recollecting and recreating fading memories of home and childhood. Painting in Art Nouveau style, Capulong (born 1995), who has always been interested in “geek” and “alternative” culture, dealt with the irony felt between the digital and the traditional. An avid gamer, she tried to extract positive effects of digital games often deemed violent.

Then NCCA chairman Felipe M. de Leon and Mary Joselle Dilig-Villafuerte at Consulate General of the Philippines in Milan

Sentro Rizal formally opened in Milan, Italy, on November 28, 2016, at the Philippine Consulate General in Milan. The opening program was led by then NCCA chairman Felipe de Leon, Jr., and the consul general in Milan, Marichu Mauro. After the program and the signing of the memorandum of understanding, De Leon delivered a lecture, "Rizal, the Quintessential Filipino," to an audience composed of Filipino community leaders, officers of Knights of Rizal in Italy, the Philippine consulate staff, and Filipino media organizations. The following day, November 29, a Sentro Rizal was unveiled in Italy's capital, Rome, graced by Philippine ambassador to Italy Domingo Nolasco.

Then NCCA chairman Felipe M. de Leon and ambassador Domingo Nolasco with representatives of different chapters of the Knights of Rizal /Photo by the Philippine Daily Inquirer

THE SENTRO RIZAL

A work by Bea Asinas

Sentro Rizal was established through the virtue of Section 42 of Republic Act 10066 or the National Cultural Heritage Act of 2009. Its primary purposes are to promote Philippine culture, arts and languages throughout the world; establish global offices which will serve as repository of materials; and coordinate with different agencies for different cultural activities such as lectures, film screenings and language programs catered to the Filipino and those who wish to acquaint themselves on the Filipino culture. The Sentro Rizal also serves as a repository of materials on all things Filipino. For more information, call number (+632) 527-2192 local 605 or email info@ncca.gov.ph or sentrorizal@gmail.com.

46 Agung • Number 2 • March-April 2017

IN MEMORIAM

Dr. Reuben Ramas Cañete

Photo from Art Plus magazine

Scholar, Critic and Artist

cholar, critic and artist Dr. Reuben Ramas Cañete passed away on February 17, 2017, at the age of 50. The University of the Philippines Asian Center and the Department of Art Studies held a memorial service, titled “Reuben: A Life of Service to Art, Scholarship, and Philippine Culture,” on March 3, 2017, at the UP Asian Center, celebrating his life and scholarship. Born in Cebu in 1966, Dr. Cañete graduated with a Bachelor in Fine Arts degree, major in Painting, from the College of Fine Arts and Design, University of Santo Tomas; a master’s degree in Art History from the Department of Art Studies, College of Arts and Letters, University of the Philippines Diliman; and a doctorate in Philippine Studies at the Tri-College Program, also in UP Diliman. He first taught at UP Diliman’s Department of Art Studies, and then at the UP Asian Center in 2012. Cañete became Assistant to the Dean for Cultural Affairs, and curator of the UP Asian Center Museum. Later, he was appointed Assistant to the Dean for Research and Publications. In 2015, he was named UP Artist II for his “outstanding productivity in the creative arts or in arts scholarship.” He was also

awarded the Leo Benesa Award for Art Criticism in 1996 Cañete also served as an officer and president of the Art Association of the Philippines (AAP) from 1997 to 2002, and a member of the NCCA National Committee on Visual Arts, from January 2014 to December 2016. He has written numerous articles, essays and books in museum studies, visual anthropology, cultural policy and political aesthetics, among others. He also became editor of the journal, Humanities Diliman. His books include Pasyal: Walking Around UP Diliman (2004); Philippine Heart Center: 30 Years of Heart Care and Compassion (with Charleson Ong, 2005); Homecoming: The Buncio Collection of Philippine Art (2007); Pulilan: The Blessed Land (2011); The Global Paisano: Manuel Baldemor’s Folk Modernist Vision (2011); Art and Its Contexts: Essays, Reviews and Interviews (2011); and Sacrificial Bodies: The Oblation and the Political Aesthetics of Masculine Representations in Philippine Visual Cultures (2012). Cañete also mounted several solo exhibitions of his works.

IN MEMORIAM March-April 2017 • Number 2 • Agung 47

Leticia Ramos-Shahani Senator, Diplomat and Women’s Rights Advocate

ormer senator, diplomat and women’s rights advocate Leticia Ramos-Shahani died on March 20, 2017 at the age of 87. Born on September 30, 1929, in Lingayen, Pangasinan, Ramos-Shahani was second of the three children of former congressman and Foreign Affairs Secretary Narciso Ramos and Angela Valdez. His brother, Fidel Ramos, is the twelfth President of the Philippines from 1992 to 1998 Ramos-Shahani earned a bachelor’s degree in English Literature at the Wellesley College in the United States in 1951; a master’s degree in Comparative Literature at Columbia University in 1953; and a doctorate in comparative literature at the University of Paris in 1962. In 1964, she began working with the United Nations’ (UN) Division of Human Rights, and became a member of the Philippine delegation to the UN. She also became the Philippine ambassador to Australia, Romania, Hungary and West Germany. During the 1986 EDSA People Power Revolution, Ramos-Shahani was the first high-ranking official to express support for Corazon Aquino. During the Aquino administration, she was appointed

Undersecretary of Foreign Affairs and also chairperson of the National Commission on Women. She was elected senator in 1987 elections and chaired the committees on foreign affairs, education, culture and arts, agriculture and appointments. She was reelected in 1992. In 1992, Ramos-Shahani co-authored with senators Edgardo Angara and Heherson Alvarez, and congressman Carlos Padilla Republic Act 7356, creating the NCCA. She served as Presidential Adviser on Culture and head of the NCCA National Committee of Libraries and Information Services from 2001 to 2004. Ramos-Shahani was a recipient of many awards and honors, including being in the Ten Outstanding Women in the Nation’s Service in 1974; the Order of Teodor Vlademirescu, Class I by Romania in 1978; the French Legion of Honor, Order of Chevalier in 1992; Order of Commander in 1996; Lazo de Dama de la Orden de Isabel la Catolica by King Juan Carlos I of Spain in 1996; and the UN Population Award in 1996. Ramos-Shahani is survived by three children—Ranjit, Chanda, and Lila— with the late Indian professor and writer Ranjee Shahani whom she married in 1968.

National Library Welcomes New Director Cesar Gilbert Q. Adriano is the new director of the National Library of the Philippines (NLP). After President Rodrigo Duterte appointed him on March 17, 2017, he was sworn into office at the Silid Hudhud (NCCA Board Room) on April 6 in a ceremony facilitated by NCCA and KWF chairman and National Artist for literature Virgilio Almario. The oathtaking was witnessed by NCCA executive director Rico S. Pableo Jr. and Adriano’s wife, Anna Adriano. Also present were National Book Development Board executive director Jerry G. Tizon, and members of the NLP departments and guests from different sectors. NLP serves as a repository of the printed and recorded cultural heritage of the country and other intellectual, literary and information sources and providing access to these resources for our people’s intellectual growth, citizenship building, lifelong learning and enlightenment. As a public library, the NLP establishes, develops and maintains in cooperation with LGU executives, a system of public libraries and information centers nationwide. Being the central node of the public library system, it provides the books and other materials to affiliated libraries nationwide, install hardware and software and train the librarians to hone their skills and update them on the development and trends in the library profession.

Raul Sunico Receives Award from Italian Government

Sunico is bestowed the Commendatore nell’Ordine della Stella d’Italia award by the president of Italy, represented by Italian ambassador to the Philippines Mossimo Roscigno /Photo by Charisse Chuidian

Renowned pianist and Cultural Center of the Philippines president Raul Sunico was recently bestowed the Commendatore nell’Ordine della Stella d’Italia (Order of the Star of Italy) award by the president of the Republic of Italy represented by Italian ambassador to the Philippines Mossimo Roscigno. Sunico was cited for his contributions in strengthening the cultural bridge between Italy and the Philippines. Roscigno praised Sunico as CCP President and

artist of international fame, institutional and intellectual leadership, matched by organizational capability, for offering a great service to the culture of the country, in his specific field, and beyond, thanks to his skills, personality and strong commitment for the advancement of Filipino national and cultural development. Sunico, in Roscigno’s words, was “an admirer of Italian culture, especially the great musical tradition of Italy, where he always collaborated with maximum availability, generosity and dedication to the cultural initiatives of the Italian Embassy, often hosting them at the CCP, providing every possible support, and helping to promote Italian events at best,” in spite of his numerous commitments and responsibilities. With many international awards Sunico, has earned international recognition not only as a concert pianist, but also as a composer-arranger and promoter in the world of Philippine music. The said award is given to honor distinguished individuals, people who continue to play a very special and distinctive role in the cultural scene of the Philippines at large, as well as in the cultural relations between Italy and the Philippines.

Empowering the Filipino Imagination Send your comments and inquiries to The Editor, NCCA, Public Affairs and Information Office

633 General Luna Street, 1002 Intramuros, Manila. Tel. (+63 2) 527-2192 to 96 • Fax (+63 2) 527-2191/94 • E-mail: ncca.paio@gmail.com, info@ncca.gov.ph • Web site: www.ncca.gov.ph BUSINESS MAIL: Entered as third-class mail at Manila Central Post Office under Permit No. 3C-14-10-276, dated October 14, 2014. Subject for postal inspection