Volume XVIII • Number 1 • 2015 • For Artists and Cultural Workers • ISSN 0119-5948
Local Genius, National Pride
Official Newsletter of the National Commission for Culture and the Arts
2 | Agung March - May 2014
The National Commission for Culture and the Arts
MESSAGE FROM THE CHAIRMAN
W
hen we talk about “pride of place,” many people think of beaches, waterfalls, mountains, physical geographical forms, especially the ones that attract tourists. While these are valid sources of pride and these shape us and our cultures in many ways, they are not our creations. They are already givens, already there way, way back before us, before we settled in places we call home. And we are but their custodians or maybe exploiters. What really brings pride is how we developed our culture. We should take pride in our artists, artisans, craftsmen and cultural workers. I am sure every town, every city, every province in the country has its own artists, creative people and thinkers who constantly raise and refine the consciousness of people. At the same time, places—where they live, where they are born, what they choose to call home—have a deep impact on the artists’ works. And in their works, these places and communities are immortalized National Artist for literature F. Sionil Jose wrote about his hometown in a monumental series of novels called the Rosales Saga, while some of Maestro Lucio San Pedro’s works were inspired by his hometown, Angono. These giants of arts and culture started as local artists, and even when they are now National Artists, they still hark back to their hometowns. In this issue of Agung, we recognize the cultural and artistic works wrought in different towns and provinces in the Philippines, some are reflected in the celerbration of National Arts Month. These little springs of creativity flow to form the great riverstream of our national consciousness.
FELIPE M. DE LEON, JR.
Vol. XVIII, No. 1 January-February 2015 ISSN 0119-5948
FELIPE M. DE LEON, JR. chairman ADELINA M. SUEMITH oic-executive director
About the cover The larger-than-life higantes is an icon of folk art in the town of Angono in Rizal. They were featured during the NCCA’s opening of the National Arts Month representing the seven arts.
MARLENE RUTH S. SANCHEZ, MNSA deputy executive director Rene Sanchez Napeñas editor-in-chief 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.
Roel Hoang Manipon managing editor Mervin Concepcion Vergara art director Marvin Alcaraz photographer
Leihdee Anne Cabrera Manny Arawe Alinor Maqueda May Corre Tuazon Roezielle Joy Iglesia Randolf Clarito paio staff
Emilie V. Tiongco editorial consultant
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 RamosShahani, 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.
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n
National Arts Month 2015
Highlighting Local Genius
P
eople at the Rizal Park interacted with artists and perform-
ers and enjoyed their works and performances in the opening program of National Arts Month (NAM), which gave a sampling and foretaste of the arts, at the Rizal Park Open-Air Auditorium in Manila on February 1, 2015, spearheaded by the NCCA.
4 Agung • Number 1 • 2015 “Komiks Yaring Pinoy,” an exhibit on Filipino and foreign comics, was mounted near the auditorium for comic fans and passers-by in partnership with the Philippine International Cartoons, Comics and Animation led by Joey Tanedo, head of the National Committee on Visual Arts. Free caricature-making session and sketching were also conducted by participating comic artists. A parade around the park was highlighted by seven higantes of Angono, representing each of the seven arts, accompanied by the lively music and dancing of the Jhocson Drumbeaters. Cinema Rehiyon films Diskonek and El Pundido Luz de Casa were screened prior to the program proper. Sinukwan Kapampangan performed a dance inspired by the San Pedro Cutud Lenten rites of San Fernando City as opening ritual, participated in by the Subcommission on the Arts committee heads and representatives, led by NCCA chairman Felipe de Leon. The program consisted of performances by the choir Novo Concertante; Spyro, which offered heart-stopping yoyo exhibition; Mga Komedyante ng San Dionisio of Parañaque; the international guest group, Culture Arts Council of
Korea (CACK); the Halili-Cruz School of Ballet; Ony Carcamo, renowned ventriloquist, with his puppet friend, Nonoy; and Next to Innocence. De Leon stressed the importance of keeping the flames of Filipino imagination burning as it is the key to the country’s development. This is in line with the vision of NCCA of “Filipino culture as wellspring of national and global well-being.” This opening ushered in the NCCA’s celebration of the National Arts Month for the whole month February with the theme “Highlighting local genius to promote pride of place,” emphasizing the important role of local arts and artists. Instead of holding the Philippine Arts Festival, a grand event of the committees of the NCCA Subcommission on the Arts, which the NCCA has been holding for several years now, the national government agency for arts and culture is spurring local government units, schools and non-government organizations to mount events in their communities for the celebration of NAM, promoting “local culture and arts scene and featuring the talents, performances and creativity of the many artists and arts groups in the seven arts.” Early December of last year, the NCCA called for project proposals for
During the opening program of the National Arts Month, visual artists sketched portraits and caricatures for park-goers (above); Spyro offered a yoyo exhibit (left); and Sinukwan Kapampangan performed a Lenten ritualinspired dance. /Photos by Israel Etabag
possible funding assistance. Eleven projects were given the nod. The activities and events were spread out from Luzon to Mindanao, comprising performances, exhibits and workshops. Several projects are festivals of different art forms, involving several activities. Additionally, the NAM celebration was highlighted by the Ani ni Dangal awards on February 12, recognizing artists, cultural workers and works that have earned international awards and accolades during the past year. A closing ceremony was held on February 28. The annual celebration of National Arts Month started with the signing of Presidential Proclamation 683, in 1991, declaring February as National Arts Month. Over the years, NCCA in partnership with private and government agencies organized events and activities to put a spotlight on the artistry of the Filipinos. Since 2008, it has organized the Philippine Arts Festival, which comprised the flagship projects of the committees on architecture, cinema, dance, literature, music, theater and the visual arts. In the past, events were concentrated in the National Capital Region but there is now a conscious effort to hold events outside Metro Manila.
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Higantes greeted attendees at the tribute show beside Bay Lake (above). An artist-student created a tribute painting on the National Artist, exhibited at the SM Center Angono (below)
By the Lakeside, We Remember and Celebrate
Angono Renders Tribute to National Artist Lucio San Pedro on his 102nd Birth Anniversary Text and photos by Roel Hoang Manipon
P
erhaps the most beautiful sunset in Angono, a town in the province of Rizal immediately east of Manila, is at the
shore of Laguna Lake (actually Bay Lake), where the sun gilds the thriving water hyacinths and the slender boats gliding on the water.
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Danilo Diaz expressed in a poem how the late Lucio San Pedro, National Artist for music and one of the town’s most illustrious sons, would regularly visit the Angono shore, popularly called Wawa in the barangay of San Vicente, even in his wheelchair. The poet imagined what the esteemed composer was thinking seeing the changes in the once bucolic lakeside area of his childhood. Angono mayor Gerardo Calderon recalled how Wawa has become a dumping site with numerous informal settlers. In recent years, he spearheaded rehabilitating the area and naming it Angono Lakeside Park with a number of amenities for people to visit and enjoy the ambiance. The holding of cultural events was part of the plan, and this aspiration was ushered by the program “Sa Gunita ng Musika at Awit: Pang-alaalang Palatuntunang Parangal sa Ika-102 Taong Kaarawan ni Maestro Lucio D. San Pedro” (In the Memory of Music and Song: A Memorial Tribute Program on the 102nd Birth Anniversary of Maestro Lucio D. San Pedro) on February 11, 2015. The tribute show was also meant to
showcase the park and contribute to the celebration of the February National Arts Month, with partial funding from the National Commission for Culture and the Arts. “With this project, we hope to cherish the life and contribution of professor San Pedro and inspire others to contribute in art and culture making in Angono, the ‘Art Capital of the Philippines’ and haven of artists,” said Patnubay Tiamson, the town’s tourism officer. Angono has been famous for having numerous artists. Their galleries and ateliers are often visited by tourists. Its most known visual artist is the late National Artist for visual arts Carlos “Botong” Francisco. A number of writers and musicians call Angono home as well. Preceded by a modest visual arts exhibit at the SM Center Angono, “Sa Gunita ng Musika at Awit” attempted to represent the different forms of art as well as showcase Angono culture. Several higantes decorated the venue, which had a makeshift stage between the shore and rows of street food stalls. The scent of isaw and pork barbecue would often waft
through the performance. Neighborhood kids wove in and out of the audience. At some point, the higantes would dance. Diaz and other members of the Angono Tres-Siete Poetry Society—Richard Gapi, Noel Vocalan and Glen Sales— opened the program reading poems on San Pedro (“Umuugoy Pa Ang Duyan” and “Ang Himno ni Lucio at Ako”) and about art (“Pananalig,” about keeping faith and making art despite many odds). The program was interspersed with dances from the three major regions of the country such as binuyugan of Pangasinan and pandango sa ilaw of Lubang Island, Mindoro, from Luzon; lapay bantigue of Masbate and tinikling of Leyte, from the Visayas; and a malong dance from Mindanao. They were performed by the Ang Nuno Dance Troupe, made up of selected students in dance of the Regional Lead School for the Arts in Angono (RLSAA), accompanied by live music from the Las Cuerdas de Angono, the student rondalla group also of RLSAA. Most of the performers were students. The music of San Pedro remained to be the core of the show such as “Sa Mahal
2015 • Number 1 • Agung 7 Kong Bayan” (1950) and “Kayumangging Malaya” (1983), performed by Ars Noveau Chorale. The popular lullaby “Sa Ugoy ng Duyan” (1947) was performed by a student of RLSAA Jasmin Ericka Dolores with music from the RLSAA Chamber Orchestra and a dramatic interpretation by Teatro Kalayaan. The finale numbers, “Suite Pastorale” (1956), a sweeping composition evoking the rusticity of Angono, and “Jubilate” were performed by the Angono National Symphonic Orchestra, one of the country’s very few community-based orchestras, founded by San Pedro himself. A San Pedro relative, Alberto delos Santos, recalled that there were eight bands existing in the town, including the Angono National Symphonic Orchestra, which until now keeps alive the music and artistic excellence embodied by the National Artist. San Pedro was a master composer, conductor and teacher who produced a wide range of musical works and was hailed for incorporating folk elements in his music. Tres-Siete Poetry Society members Richard Gapi, Noel Vocalan and Glen Sales read poetry dedicated to San Pedro (left, top) while the Ang Nuno Dance Troupe danced the pandango sa ilaw (above, right) and the Angono National Symphonic Orchestra performed San Pedro classics (facing page) . A little exhibit was also mounted in San Pedro’s honor (left).
ANGONO, RIZAL At the southwestern part of the province of Rizal, 29.38 kilometers east of Manila, the town of Angono often called itself the “Art Capital of the Philippines,” because of the presence of many visual artists. The town has produced two National Artists, the visual artist Carlos “Botong” Francisco and conductor and composer Lucio D. San Pedro. It is also home to the Angono-Binangonan Petroglyphs, discovered by Francisco in 1965 and which is said to date back to around 3000 B.C. Here, the higante is an iconic folk art, which is celebrated annually at the Higantes Festival in late November. /Photo by Roel Hoang Manipon
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A Cultural Convergence in C
Panaghugpong 7: Xavier Arts Festival
X
avier University-Ateneo de Cagayan, through its Xavier Center for Culture and the Arts, Performing Arts Companies, Museo de Oro,
Office of Mission and Ministry, Kristohanong Katilingbansa Pagpakabana Social Involvement Office, National Service Training Program, Office of International Cooperation and Networking, English Language and Literature Department, Kagawaran ng Filipino and Research and Social Outreach office, successfully held the seventh installment of Panaghugpong: Xavier Arts Festival.
2015 • Number 1 • Agung 9 Panaghugpong harvested from folk oral traditions and literatures for an exhibit on Mindanao folk epics titled “Saysay: Lumad Myths and Epics.” The exhibit included the works of Albert Vamenta and Nonoy Estarte, and was curated by Oscar Floirendo. During its opening, the six cultural communities of Northern Mindanao, among them the Higa-unon, Talaandig and Subanen were invited to perform a ritual of guidance, blessing and abundance. The group also performed their dances. The performing arts companies of XU presented excellent productions. Dulaang Atenista presented their production No Probs, It’s Improvs on February 3, 5 and 6, 2015, at the XU Little Theater. The DA production was directed by Ray Anthony Lao. XU Cultural Dance Troupe presented “Litrato” at N Hotel on February 6, directed by Alice B Artazo. Xavier Philharmonia serenaded the community with their production, “Lost and Found” on February 16 at XU Little Theater, a post-Valentine’s Day event that enabled the audience to enjoy classical and contemporary love music, directed by Joshua Arrabaca. XU Glee Club,
together with Friends and Music group, created a wonderful music experience through “Hearts: Love of Arts and Art of Love.” Dial M for Murder by The Xavier Stage closed its fourth theater season dubbed “Misteryo” (Mystery), serving as the culmination of the 7th Panaghugpong on February 28. This year’s festival was graced by National Artist for literature Virgilio Almario who led the implementation of “Sulong: Dangal ng Wikang Filipino 2015-Palihan sa Ortograpiyang Filipino at KWF (Komisyon sa Wikang Filipino) Manual sa Masinop na Pag-sulat” from February 12 to 14 at the XULT. “Sulong” was organized by the XU Filipino Department, headed by Dr Rogelio Gawahan. The program was attended by Department of Education teachers in Filipino from all over Mindanao. The Physical Education Department successfully implemented its Aero Marathon Para sa Mga Puso on February 14, which served as a treat for “lovers of wellness.” The Research and Social Outreach, Kristohanong Katilingbansa Pagpakabana Social Involvement Office, and National Service Training Program, held a concert-fo-
n Cagayan de Oro City By Hobart P. Savior Photos by Shaun Uy and Roel Hoang Manipon
The exhibit “Saysay: Lumad Myths and Epics” (facing page) was mounted at the Museo de Oro of XU (below) and included the works of Albert Vamenta and Nonoy Estarte. The exhibit rendered scenes from indigenous epics and stories (facing page, below, and above).
rum to promote the RSO agenda on health and sanitation, food security, environment, peace and governance. The agenda were anchored on gender as the Mebuyan group performed musical pieces with the message of each RSO agendum to the audience. The English Language and Literature Department, through its Xavier English Language and Literature Organization (XELLO) and the practicum class of Anne Catherine Acenas, hosted a symposium on theatre on February 11, attended by English majors, Literature and Humanities students of XU. The XU High School held its English Month celebration with various contests and activities. The event was front-lined by Jenny Yu, chairperson of the XUHS English Department. The Ricardo Leong Center for Chinese Studies of Ateneo de Manila University (ADMU), Cultural Division of the Embassy of China, Confucius Institute of ADMU and Lim Ket Kai (LKK) Center held the ninth Spring Film Festival on February 20 at the LKK Center Rotunda. The
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festival featured two Chinese contemporary films Legend of a Kung Fu Rabbit and Love Deposit. XCCA and LKK were very grateful to have held this Spring Film Festival for three years now. Lastly, the Office of International Cooperation and Networking headed by Elisabeth Enerio implemented a lecture-performance of the Gregorian chant of Paris on February 25 at the XU Church of the Immaculate Conception of the Blessed Virgin Mary. The project was made possible through the generosity of Alliance Francaise de Manille, the French Embassy and Centrio Ayala Mall. One of the best components of Panaghugpong 7 was the CDO Arts Forum held on February 21 at the XU Center for Integrated Technology campus in Pueblo de Oro. CDO Arts Forum mapped the cultural, artistic and creative endeavors of artists based in Ca-
gayan de Oro City. The forum served as a venue to converge and to introduce the artists and their respective art programs and efforts. The artists who attended were asked to share their experiences, engagements and challenges, and plans in sustaining their art and their contributions. In the forum, best practices were presented by Dr. Wenna B. Damulo of Capitol University’s Culture and Arts Office; Dr. Herbert Glenn Reyes of MUST’s Culture and Arts Department; Michael Bacol of CDO Arts Guild; dean Charles Abing of the LdeCU College of Music; Roger Garcia of XU; architect Ian Echano of the United Architects of the Philippines CDO chapter; and Rhyan Casiño of Dire Husi. XCCA served as the secretariat of the forum, and Hobart P Savior served as the convener. Panaghugpong has brought together various institutions and partners from XU and the CDO community to celebrate the arts. This year, it reached more than 7,300 people. The month-long festival aimed to promote and foster appreciation of the creative wealth of XU, of Cagayan de Oro City and of the Philippines.
The festival included an artists’ forum, a film screening and several performances./Top and right photos by Shaun Uy
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More than the Slipper Industry Performing the Local Culture in Liliw, Laguna LILIW, LAGUNA The local government unit of Liliw, Laguna, with Artist, Inc., held Sining Tsinelasan at the Liliw Covered Court of Gat Tayaw Plaza in Liliw, Laguna, featuring a forum-consultation with local art groups and several performances, where almost 70 artists and performers participated. In the morning of February 21, 2015, the Artist, Inc., headed by its executive director Edward Perez, facilitated a forumconsultation with two Laguna-based performing groups, tackling the importance of having programs that highlight the icons of the locality and how it will help strengthen its identity. Liliw residents and guests were then treated to a free show, graced by Liliw mayor Ericson J. Sulibit and his wife, municipal administrator Mary Maileen S. Sulibit. Teatro Gusayko, the performing arts group of Central School of Nagcarlan, performed “Paniwata,” based on a ritual performed by a baylan, calling upon the spirits when a person is critically ill. Daniw Dance Collective, a dance company based at the Colegio San Juan de Letran in Calamba, offered a contemporary dance showing the struggles of street children called “Yagit.” Koryo Arts Dance Ensemble, a community-based performing arts group based in Liliw, and a member of the Lusong Arts Culture Network, Inc., mounted “Mangangaret,” a modern dance showing the process of making lambanog. As a final performance, Artist, Inc. staged Taytay sa Alapaap, a one-hour musical inspired by the life of well-loved hero and Philippine historical icon Apolinario Mabini.— Report and photos by Joseph Patrick V. Lee
About a hundred kilometres south of Metro Manila, at the southern end of the province of Laguna, the town of Liliw acknowledges being founded by Gat Tayaw in 1571. A popular folklore tells how the town got its name: Gat Tayaw and his men erected a bamboo pole and decided to name the town after the bird that would first alight at the top of the pole. After four days, a crow perched on the pole but this bird was considered malevolent. Another bamboo pole was erected, this time at the south. A beautiful bird perched on the pole and sang, “Liw, liw, liw.” Liliw is known for its slipper and foot industry. At the town center, one finds many stores selling slippers and shoes. Also at the town center is the baroque St. John the Baptist Parish Church.
Artist, Inc staged the musical Taytay sa Alapaap while the Koryo Arts Dance Ensemble performed “Mangangaret.”
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A creative writing worskhop conducted by writers for the students around Bicol (below). During the book fair, books about Bicol history, geography and literature as well as books by Bikol authors were on display (facing page).
T
he Ikalimang Pintakasi kan Literaturang Bikolnon was held at the Pili National High School, Pili, Camarines Sur. With the aim of honing
the skills of aspiring writers in the region and of fostering awareness and appreciation of works by Bikol writers, the literary festival consisted of a street parade, a poetry reading, creative writing and visual arts workshops, book fair, a mural painting session and performances of Bicol folk dance, music and traditional literature such as the rawitdawit. The fifth mounting of Pintakasi kan Literaturang Bikolnon, on February 6, 7 and 20, 2015, had the theme “Taralets Bagets, Magbasa Kita, Magsurat Kita” and was supported by the local government of Pili, headed by mayor Alexis San Luis II; the Department of Education Camarines Sur Division Schools; the Choose Pili Organizing Committee; and Altamarino-Clasio High School. It was also supported by the Pili: Banwaan Ko, Padangat Ko, an organization of teachers and artists advocating for Bicol arts and culture; and the Pili-based visual arts organization Kintab. The Pintakasi kan Literaturang Bikolnon started in 2010, an initiative of writers based in the Bikol Region in partnership with local schools and community-based organizations. It
Words Alive and Eternal
A Celebration of Bikol Literature in Pili, Camarines Sur
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became an annual event eventually reinforced with Resolution No. 22 Series 2011 of the Sangguniang Bayan of Pili, declaring February 6 as Aldaw kan mga Parasurat kan Kabikolan, or Bicol Writers’ Day, and February 7 as Aldaw kan Librong Bikolnon or Bicol Books Day. This year, it was part of the month-long ChoosePili: Ipagrokyaw an Urag Pileño (Celebrate the Pileño Artistry), National Arts Month celebration of the municipality of Pili. Opening program of Pintakasi kan Literaturang Bikolnon on February 6, 2015 was held at the Pili Sports and Cultural Complex with an opening parade led by the PNHS Band around the town. About 150 students and teachers of Pili National High School and Altamarino-Clasio High School as well as members of Kintab; Pili Youth Federation; Pili Tourism, Culture, Arts and Sports Office; Kabalikat; and Pili Banwaan Ko: Padangat Ko participated. This was followed by a showcase of dance and music called “Ipagrokyaw an Urag Pileño Cultural Show.” The following day, the Aldaw kan mga Librong Bikol Poetry Reading and Literary Performance was held at the Pili Sports and Cultural Complex. About 100 student writers from the region performed poems of Bicolanos. The Pili Teachers’ Ensemble also performed. The event was graced by councilor Augusto Camano, the author of the 2010 Sangguniang Bayan of Pili Resolution No. 22. On February 20, the book fair and the creative writing workshop were held at the Pili National High School Pavilion. Books about Bicol history, geography and literature as well as books by Bikol authors were put on display. Pili mayor Alexis San Luis II and festival director Fe Peralta led the opening of the book fair. The workshop was participated in by 171 students from different schools in Camarines Sur, primarily from Special Program for the Arts (SPA) and journalism classes. The session on writing fic-
tion was facilitated by Lorna Billanes, a native of Pili who currently teaches literature at the Miriam College’s Department of English. She is also co-editor of Yudi Man: Mga Osipon para ki Nunuy asin ki Nini (Exciting Stories for Nunuy and Nini), an anthology of winning children’s stories in the Premio Tomas Arejola para sa Literaturang Bikolnon, published by the NCCA in 2009. The poetry writing session was facilitated by Victor Dennis Tino Nierva, a native of Naga who taught at the Ateneo de Naga University’s Department of Media Studies and is currently pursuing his master’s degree in Creative Writing at the University of the Philippines in Diliman. The session on writing drama was facilitated by Carlos Arejola, a Carlos Palanca awardee and one of the founders of the Arejola Foundation for Social Responsibility, Premio Tomas Arejola, Juliana Arejola-Fajardo Workshop sa Pagsurat Bikol and Cry of Resistance Outreach Program in tribute to his grandfather and parents. A workshop on pararawitdawit (performance poetry) was also conducted by select students and teachers along with the facilitators.—Report and photos by Joanna Melody Lerio
PILI, CAMARINES SUR The town of Pili is the capital of Camarines Norte, named after the pili nut, a famous crop of the Bicol Region. The Canarium ovatum or pili can also be found in other parts of maritime Southeast Asia, Papua New Guinea and Northern Australia. In Bicol, the kernel is usually made into sweets and candies. /Photo by Roel Hoang Manipon
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Artistically Interwoven
Community and School Cultural Groups of Bicol Gather Together
C
ommunity- and university-based artists and cultural organizations and high school students of the Special Program in the Arts in the Bicol Re-
gion gathered together for a multi-disciplinary art-exchange forum, workshop, laboratory and performance of a musical.
LIGAO CITY, ALBAY Ligao is the second largest city in Albay. Its popular attraction is the Kawa-Kawa Hill and Natural Park in Tuburan. The hill has a sizable crater on top resembling a giant cauldron or kawa, thus the name.
“Hablon: Habi ng Sining sa Paaralan at Komunidad” was held at the Ligao National High School (LNHS) in Ligao City, Albay. It was organized by Sining Banwa Albay Performance Collective in partnership with Kaboronyogan Cultural Network and with the support of the NCCA, the city government of Ligao and the Department of Education in Bicol. “Hablon” was conceived to be a “weaving of ideas and practices among the local artists from grassroots communities and the academe.” The Bicol Region has a number of community- and university-based artists and cultural groups and 16 schools implementing the Special Program in the Arts (SPA). Teachers and local artists saw the need to “weave” together the creative efforts of both schoolbased and community-based cultural and artistic initiatives. Hablon, in the Bicol languages, mean “woven” or “something woven.” Held from February 20 to 26, 2015, “Hablon” was participated in by thirtythree delegates from Albay, Camarines Sur, Camarines Norte, Sorsogon, Cat-
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As laboratory output, participants of “Hablon” restaged the musical Tatlong Libong Bayani ng Ibalong (Three Thousand Heroes of the Ibalong), first staged by Sining Banwa.
anduanes and Masbate. Participating universitybased theater organizations included the Teatro de Sta. Luisa of Unibersidad de Sta. Isabel Naga; Burabod of Bicol University (BU); BUCAL Stage of BU; SAMBIT; and CBSUACalabanga. Participating community-based theater organizations included the Cagsawa Community Theater Guild, Rawis Cultural Group, Karatula Sorsogon, Sentronin Kultura asin Arte sa Naga and Teatro Mambulao of Camarines Norte. Participating SPA schools included Jose Panganiban National High School, Camarines Sur National High School, Catanduanes National High School, Aroroy National High School, Sto. Domingo National High School, Gallanosa National High School and Zeferino Arroyo High School. A cultural talk on the convergence of school theater and community theater was held at Bicol University Amphitheater on February 21. Keynote speaker and NCCA Committee on Dramatic Arts head Dr. Jazmin Llana discussed the creative practices in communities and academe as shared experiences. Attendees were enjoined to share their own organizational experiences
and to draft a “collaboration plan.” Guests Sarah Aviado, Dr. Ira Bisuña and Apo Gonzales served as panel reactors. Members of Sining Banwa performed an excerpt of Si Al Buda, an Tsinelas (Al Buda, the Slippers). The Cagsawa Community Theater Guild also presented an excerpt of their recent production at the Cagsawa Ruins for the 2015 Cagsawa Festival. Albay Volcanoes Chorale and Bombo Radyo Drama Center also performed. Participants underwent a simultaneous training-workshop in music, drama, visual arts, literature and dance from February 22 to 25. Members of Sining Banwa served as facilitators and trainers. The script of the play Tatlong Libong Bayani ng Ibalong was used in scene works and improvisations. As laboratory output, participants of “Hablon” restaged a play on February 26 at the LNHS Gymnasium and at the Ligao City Gymnasium, Tatlong Libong Bayani ng Ibalong (Three Thousand Heroes of the Ibalong), a musical first staged by Sining Banwa in 2011. Written and directed by Sining Banwa artistic director Roe Jalimao, the play interrogates classic heroes Baltog, Handiong and Hablon and follows the search for Bicol’s modern heroes such as
factory workers and martyrs of armed conflict. Among the actors are 36 members of community theaters and school-based cultural organizations as well as select students of SPA in Bicol.—Report and photos by Joanna Melody Lerio
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The True Pride of Paombong Spotlight on theVisual Artists of a Bulacan Town
P
aombong in Bulacan celebrated the National Arts Month with the mounting of “Paombong: Bulacan’s Prime
Pride,” a visual arts exhibit highlighting the town’s artists at the gymnasium of the Paombong Municipal Hall. The exhibit aimed to showcase the town’s heritage in art and its artists, foster appreciation for them and engender a sense of pride in the people of Paombong. “It’s not only the vinegar we are famous for, not only the Cuaresma, but also the people themselves, the artists,” said Jose Clemente, fashion designer, art patron and collector, who spearheaded the exhibit. “We are very proud to have Teodoro Buenaventura who we consider the ‘father of the Bulacan artists.’ He is one of the founders of the UP Fine Arts Department, one of the professors of Fernando Amorsolo. He’s just one of those multi-awarded (personalities) from Paombong. Not only him but also Miguel Galvez, Tomas Bernardo, Cesar Buenaventura, Alfred Buenaventura, Jose Marasigan, and Macario Pahati. These are the
The St. Martin Parish Church School Flute Ensemble
2015 • Number 1 • Agung 17 senior masters of Paombong. For junior masters of Paombong, (we have) Froiland Calayag, Walbert Bartolome, Abi Dionisio, because they are grand winners. They won at Petron, Metrobank and Philip Morris (art competitions).” Held from February 23 to 27, 2015, “Paombong: Bulacan’s Prime Pride” featured about 30 Paombong artists, including Teodoro Buenaventura. The works generally depicted the local culture of the town and bucolic everyday scenes. The opening ceremony was preceded by a flag-raising ceremony of the municipal employees, where Paombong mayor Isagani Castro presided over the oath-taking ceremony of the fourteen new officers of the newly re-established Paombong Arts, Culture, and Tourism Council (PACTC), with Myrna Valencia, Sangguniang Bayan member in charge of the Committee on Tourism, Culture, and Special Projects, as president. The St. Martin Parish Church School Flute Ensemble, Melodian Ensemble of Paombong Central School, and students of the San Roque National High School performed during the program. There were also
on-the-spot drawing and painting sessions facilitated by the Lakan Sining, and exhibit of local products of Paombong’s fourteen barangays. Valencia, together with special guests Dianne SyAlvarado and Chito Sumera, led the ribbon-cutting for “Paombong: Bulacan’s Prime Pride.” “Karangalan ko po na ipakilala ang mga mahuhusay po na yaman na maituturing mong mga tourist attraction ng ating bayan. Iyon po iyong ating magagaling na artist dito sa ating bayan ng Paombong,” (I am honored to introduce to you the treasures of our town, which we can consider tourist attractions. These are the excellent artists of Paombong.) Valencia said.—Report by Mark Gregor P. Dela Cruz and photos by Randolf Clarito
The special exhibit highlighted works by the artists of Paombong
PAOMBONG, BULACAN At the southwestern part of the province of Bulacan, the town of Paombong is well known for producing vinegar, known as sukang Paombong, made from the sap of the sasa or nipa palms, which thrive along the riverbanks near the delta. Paombong is also known for its Good Friday rituals, particularly the reenactment of the crucifixion, in the barangay of Kapitangan. /Photo by Randolph Clarito
18 Agung • Number 1 • 2015 Vilma Santos was recognized for winning the Best Actress trophy at the 2014 Dhaka International Film Festival for the Jeffrey Jeturian film Ekstra
Vilma Santos Leads Ani ng Dangal Awardees I
conic actress and Batangas governor Vilma Santos led this year’s roster of about 50 Ani ng Dangal awardees. They were honored on February
12, 2015, at the Old Senate Hall of the National Museum of the Philippines. Organized by the NCCA, the Ani ng Dangal (meaning, “harvest of honors”) Awards recognizes artists, cultural workers and works that have earned international awards and accolades during the past year.
This year’s roster of honorees
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Santos was recognized for winning the Best Actress trophy at the 2014 Dhaka International Film Festival for the Jeffrey Jeturian film Ekstra. Other internationally acclaimed awardees included Leonardo Katigbak of ABS-CBN and GMA News TV’s Bayan Ko in the broadcast arts; Siege Ledesma’s Shift, Jun Lana, Ronnie Quizon, Mikhail Red, Pamela Reyes’s Rekorder, Patricia Evangelista’s The Barber of Guiuan, Lav Diaz, Will Fredo and Ida Tiongson’s In Nominee Matris, Hazel Tapales Orencio, Jake Cuenca, Joel Lamangan’s Kamkam, Liza Diño, Allen Dizon, Diane Ventura, Mark Justen Aguillon, Nerissa Picadizo, Francis Xavier Pasion’s Bwaya, Roberto Reyes Ang’s TNT, Carlo Obispo’s Purok 7, Sandy Talag, Eduardo Roy Jr.’s Quick Change and Miggs Cuaderno for
cinema; Halili Cruz Ballet Company, A Team, Xtreme Dancers, Johnny Sustantivo Villanueva, Kayleen Mae Ortiz and Margaret Chua Lao, and Miguel Leopoldo Ignacio for dance; Sophia Marie Lee for the literary arts; Lloyd Edisonne Judilla Montebon, Novo Concertante Manila Choir, Saint Louie University Glee Club, Alvin Paulin and Aleron Choir for music; and Ronnie Dayo, Robert John Cabagnot, Glenn Isaac, Mario Cardenas, Kenneth Cobonpue, Jophel Botero Ybiosa, Gina Meneses, Phoebelyn Gullunan, Jamille Blanca Aguilar, James Singlador, Danilo Victoriano, Ruston Banal, Trisha Co Reyes, Justen Paul Tolentino, Jamia Mei Tolentino, Jesus Ramos Tejada and Maria Angelica Tejada for visual arts. The awardees’ trophies, clippings
and ephemera were featured at the Ani ng Dangal exhibit, which was unveiled at the event. The exhibit traveled to SM North EDSA, SM Megamall, and the Rizal Park. Selected awardees gave performances around Metro Manila—Halili Cruz Ballet Company at the SM Mall of Asia; A Team, Bayanihan Philippine National Folk Dance Company and Aleron Choir at the Rizal Park; the Xtreme Dancers, the Bayanihan Philippine National Folk Dance Company and Novo Concertante at the Rizal Park; Halili Cruz Ballet Company, Novo Concertante, SLU Glee Club and The Crew at SM North EDSA; and the A Team, UPSA, SLU Glee Club and the Bayanihan Philippine National Folk Dance Company at the SM Megamall.
20 Agung • Number 1 • 2015
The Ties of Creativity
Gathering Communities in Baliuag for Culture and the Arts
T
he Baliuag Historical Association (BHA) held a series of cultural and arts events called Sudlong I:
Linangin ang Ugnayan ng Bayan at Pamayanan para sa Likhang Sining ng Mamamayan in the town of Baliuag in Bulacan. The series of events consisted of a parade, a
forum, visual arts exhibits and perfromances. A fusion of different art forms during the opening of “Fragmented Histories” exhibit with kulintang music, dance and live painting demo
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The exhibit “Luntian” at Baliuag Library and Museum explored the themes of environment, culture and history, and featured local visual artists
Cultural workers, artists, students, senior citizens, and employees of the local government of Baliuag participated in a parade in the morning of February 16, 2015, for the pasinaya or opening of Sudlong I. They were joined by the Baliwag Musical Band and representatives from the Immaculate Conception of Baliuag, Baliuag North Central School, Baliuag South Central School, Mariano Ponce High School, Baliuag University and the Baliuag Emergency Response Team. On February 18, “Tertulia: Talang Maliwanag sa Tangi Kong Pagibig” was held at Baliuag Library and Museum, housed at the old municipal hall, where students Jairah Garcia, Isabela Valiente, Glenys Cabana and Every Mendiola sang songs by Filipino composers, joined by Roinalyn Parulan and Patrick Parfan who performed songs written by music icons and National Artists such as “Nasaan Ka Irog” and “Mutya ng Pasig” by Nicanor Abelardo; “Gaano Kita Kamahal” by Ernani Cuenco; and “Sa Ugoy ng Duyan” by Lucio D. San Pedro. On the other hand, BHA president and visual artist Mark Villanueva performed on violin. The event was graced by Baliuag mayor Carolina Dellosa. On February 20, the exhibit “Luntian” opened at Baliuag Library and Museum, exploring the themes of environment, culture and history, and featuring local visual artists Jose Castro, Reynaldo “Tats” Villanueva,
Luis Castro, Francisco Verano, Bing Siochi, Mark Villanueva, Edgar Talusan Fernandez, Veejay Villafranca, J. Pacena II, Ernie Patricio, Kermit Tesoro and Franklin Caña. The exhibit also featured reproductions from the book Flora de Filipinas by Father Manuel Blanco, together with drawings, paintings, photographs, installation art and found object, spanning the period from 1971 to 2014. Curated by Jesusa Garcia of the University of the Philippines’ Vargas Museum, it was on view until March 23. Baliuag University hosted “Sandiwaan” on February 21, attended by select students and teachers of Baliuag University and Baliwag Polytechnic College. Cora Dandan shared insights on prominent Baliuag writer Pedro Dandan while Glecy Atienza talked about the two facets of the artist. Historian Fe Mangahas discussed how a revolutionary group in Bulacan fought and won against the American forces during the Philippine-American War. Another exhibit, “Fragmented Histology” by Japanese artist Atsuko Yamagata, was mounted at SM City Baliuag from February 22 to March 7. It featured paintings depicting Japan and the Philippines inspired by the artist’s life in the country. The opening was graced by Japan Embassy’s minister and deputy chief of mission Tetsuro Amano, Bulacan vice governor Daniel Fernando, Dellosa, SM Baliuag manager Andrew Cristobal, visual artist Andrew De Guzman and
Villanueva. The final day of Sudlong I on February 23 was marked by “Indak at Padyak ng Katutubo at Kontemporaryong Sayaw” at the activity center of SM City Baliwag, where dance groups from Santa Barbara Elementary School, Mariano Ponce High School, and Baliuag University performed folk and popular dances.—Report by Mark Gregor P. Dela Cruz
BALIUAG, BULACAN Baliuag was founded in 1732 by the Augustinian friars and was incorporated by the Spanish governor-general in 1733. The town is famous for its hats, woven from buntal fibers extracted from buri palm leaves. The Saint Augustine Parish Church, completed in early nineteenth century, is the most prominent heritage structure and the focal place of Holy Week processions, known to be long and spectacular. /Photo by the Camera Club of Baliuag
22 Agung • Number 1 • 2015
Building Bridges
Tawid Taoid Celebrates the Different Cultures of La Union
T
he Saint Louis College (SLC) of San Fernando City, La Union, held a show and exhibit called “Tawid Taoid: Bridging Cultures,” which toured
the town of Santol, La Union; the Don Pacoy Ortega Memorial Auditorium of the La Union National High School in San Fernando City; and the Fr. Burgos Gymnasium of Saint Louis College on February 20.
Paintings and sculptures of students were put on display.
“Tawid Taoid” showcased the cultures of the different ethnic groups of the province—the Ilocano, the Bago, the Kankana-ey, the Ibaloi and the Pangasinan—as well as provided venue for talented students to perform and show their works. It also made its audience of students, which was estimated to be at about 3,200, aware of the cultural heritage of the province. “Tawid Taoid” brought together students from the arts schools of La Union and SLC performing groups for this celebration of the National Arts Month. In 2014, SLC’s Center for Culture and the Arts and Extension Services Office conducted extension programs to La Union National High School’s (LUNHS) Special Program for the Arts (SPA) and La Union Special School for Culture and the Arts (LUSSCA). Trainings in dance, drama, choral music, creative writing and visual arts were conducted at the SPA while cultural mapping and documentation of the intangible heritage of the Bago group of Manggaan, Santol, were conducted with LUSSCA. “Tawid Taoid” harnessed the fruits of these programs and featured about 140 performers.
2015 • Number 1 • Agung 23 The LUNHS-SPA Chorale sang Ilocano church songs such as “Santo, Santo, Santo;” “Basaem Ti Biblia” (Read the Bible); “Ti Naragsak a Puso” (The Happy Heart); and “Adda Balay Ko Idiay Langit” (I Have a House in Heaven); as well as “Orde-e,” a traditional upland song, and “O Naraniag A Bulan” (Bright Moon), an Ilocano kundiman. The SLC-CCA Chorale, on the other hand, sang popular Ilocano folk songs such as “Manang Biday,” “Ti Ayat ti Maysa A Ubing” (The Love of a Child), and “Pamulinawen” as well as traditional upland songs “Nu Duduaem Pay” (If You Still Doubt) and “Ballaygi” (Victory) LUSSCA performed a dance showing the uses of the Bago traditional tapis (wraparound) for women and bahag (G-string) for men called “Kam-an Gamet Ya Wanes.” On the other hand, the SPA Dance Troupe danced the tiklos or pintakasi, depicting the practice of bayanihan, and a dance featuring the Ilocano salakot or payabyab, while the SLC CCA Dance Troupe performed a dance-drama on fishing in Amianan called “Kalap” (Fishing) and on the different ethnic groups of La Union. The SPA drama company mounted comedic skits called “Natayen!” and “Naganaken!” while the SLC-CCA Theatre Company made a theatrical adaptation of a scene in the Ilocano epic Biag ni Lam-ang. LUSSCA’s dance depicted the folk story of the discovery of Liang Bengag (literally, “cave of bats”) in the barangay of Sasaba in Santol. They also performed a Bago and Kankana-ey ritual pakde and the bagnes. The pakde is a ceremony performed before planting and harvesting, while bagnes The event featured several performances.
LA UNION The province is called thus because it was formed by uniting nine towns of Pangasinan, three of Ilocos Sur and the villages of the Eastern Pais del Igorotes in the Cordilleras. Presently known as a surfing area, particularly in Urbiztondo, San Juan, La Union offers heritage sites such as the Pindanagan Ruins, Baluarte Watchtower in Luna and the Centennial Tunnel. While dominantly Ilocano, it is home of the Bago (Bago Igorot) ethnic group, first identified in the municipality of Pugo. Their major ritual practices and beliefs are somewhat related to the northern Kankanay, thus the idea that the people were migrants because of trade from the western Mountain Province. /Photo of the Pindangan Ruins by Roel Hoang Manipon
is a feast and celebratory thanksgiving after a bountiful harvest among agricultural communities in Santol. Simultaneously, paintings and sculptures of students were exhibited nearby.— Report and photos by John Michael R. Saavedra
24 Agung • Number 1 • 2015
Reliving the Legends of Northern Mindanao Ranaw: Isang Alamat Restaged in Iligan City
T
he Integrated Performing Arts Guild (IPAG), a leading dance-theater company based at the Mindanao State University-Iligan Institute
of Technology (MSU-IIT ) in Iligan City, restaged Ranaw: Isang Alamat (Ranaw: A Legand) at the MSU-IIT Mini Theatre. Ranaw: Isang Alamat is a multi-media production of the CCP Playwriting Award-winning script based on the research work of Dr. Steven Patrick C. Fernandez, IPAG’s artistic director, on the San Miguel fiesta rituals of Iligan City. The study stemmed from the revelation of pre-colonial events that link the communities of Maguindanon, Meranaw, Higaonon, and Iliganun, as narrated by the late Iliganiana scholar Dionisio Orellana. The narrative of the production focuses on the adventures of the ancient Mindanao epic hero Bato Lakungan. According to Fernandez, “Ranaw is significant especially to Iliganons because this was adapted from the research of Nong Diony Orellana, and is a fictional adaptation of Iligan’s ancestor—Bato Lakungan—from whom many original Iliganon families claim their roots. It adapts from research on Northern Mindanao’s epic tales that articulate historical truths about our fragmented cultures today.” In the story, Bato¸ who is unjustly accused of seducing his foster mother, escapes and goes on an eventful journey aided by four enchanted weapons. Along the danger-
2015 • Number 1 • Agung 25
Scenes from the play, which is based on the adventures of the ancient Mindanao epic hero Bato Lakungan. /Photos by Ramon Raquid
ous route, he saves peoples and communities from natural, mythical and manmade disasters. Overcoming all hazards, he rescues Kamayungan, a princess of a rival tribe; a datu and his wife; and the couple’s village from the scourge of the niaga (dragon) and the warlord Baringigan. In gratitude, the villagers crown him datu, and the couple adopts him as their heir. The elders offer him a wife to consummate his claim on the village. Circumstances lead him to relate and fall in love with the mysterious Kamayungan, Baringigan’s betrothed bride and heiress of a rival tribe. Insulted, Baringigan vows to destroy Bato’s village. The conflict intensifies with the news that “white men” have plundered the coasts and are on their way to their villages even as Bato tries to unify the warring peoples. In the center of the conflict are four enchanted weapons, kept in an old kaban, to where Bato Lakungan is led by an heirloom
that suddenly becomes alive under the torogan (royal house). One of the four enchanted weapons (also heirlooms, or posaka) is in the possession of a prominent Iliganun family. The other three are still to be discovered. Ranaw: Isang Alamat was staged at the Cultural Center of the Philippines’ (CCP) Tanghalang Aurelio Tolentino (Little Theater) in 2009 for the cultural institution’s fortieth anniversary. It has been extensively toured around the country. This recent staging from February 18 to 24, 2015, had 22 performances, closing IPAG’s 37th season. On February 22, about 160 students from the Sultan Mamarinta Panandigan Integrated School came down from the hinterlands to watch Ranaw: Isang Alamat. From mountainous Bonbonon, settlers, Meranaws and Higaonons experienced theatre for the first time in their lives. They were the beneficiaries of IPAG’s outreach program, courtesy of a grant from the NCCA.
ILIGAN CITY Iligan City in northern Mindanao likes to be called the City of Majestic Waterfalls because of the presence of more than 20 waterfalls in the city. Maria Cristina Falls is the most known. It now powers the Agus VI Hydroelectric Plant, one of the several hydroelectric plants that harness the Agus River. The city has a dominant Cebuano Christian population although other ethnic groups—Higaonons, Maranao and Kolibugan—call it home. /Photo by Marvin Alcaraz
26 Agung • Number 1 • 2015
A Bounty in Spirit
Harvesting the CreativeWorks in Negros Occidental
T
he “Ani nga Sanag” was mounted at the Silay City public plaza in Silay City and at the Colegio San Agustin (CSA) auditorium in Bacolod City, Negros
Occidental. It featured performances of traditional and contemporary artistic creations in the province of Negros Occidental to promote the contributions of artists, cultural groups and institutions in the province of Negros Occidental.
SILAY CITY, NEGROS OCCIDENTAL Silay City is at the central portion of Negros Occidental, 14 kilometers north of Bacolod City, the province’s capital. The city is known for its old ancestral houses. One, the Don Victor Gaston Heritage House, was transformed into a lifestyle museum, the Balay Negrense on historic Cinco de Noviembre Street. Also a museum, the Don Bernardino Lopez Jalandoni Heritage House houses a collection of rare and priceless pieces from Silay’s rich past. /Photo by Roel Hoang Manipon
The Marikudo School of living Traditions (SLT) on Ati Performing Arts presented Ati songs and dances. The SLT has been a part of CSA-B performing arts program to assist the Ati people in the revitalization of their vanishing indigenous knowledge systems and practices through transmission from the elders to the younger generation. The Kanlaon Theater Guild mounted the skit “Iska Ang Bata Nga Permi Handa,” created and previously presented to the children of Estancia and Cardel, Iloilo, after the super typhoon Haiyan, to help them prepare for similar disasters. It also staged Pangapkap, an improvisational play by Peque Gallaga and Rodolfo Reveche, previously presented at the Third National Theater Festival in Laguna and portraying various scenes during brown-outs. On the other hand, Baganihan, written by Fr. Miguel Carreon, was performed by Christian Community Theater. The Kagayon Dance Troupe presented Papa Isio featuring the choreography of Jacinto Cruz, first staged at the National Theater Festival of the Cultural Center of the Philippines in 1996. A fashion show featured the patadyong, the Visayan wraparound skirt, traditionally hand-woven, and a performance of “Babaeng Negrosano” by Charles Tan. The Christian Community Theater put up Al Cinco de Noviembre, which tells about the revolution in Negros that ended Spanish control over the island on November 5, 1898, and Gugma Nga Indi Mapunggan, which was presented during the Sarsuwela Festival and the Seventh Tanghal in Bohol in 2012. Both were written by Armin Paredes. Critical Breakdown Crew’s “Circulo” is a hip-hop dance entry of the CSA-B to Tanghal in Dumaguete City. A Masskara Festival dance number was performed by Kagayan Dance Troupe. According to Rodolfo Reveche, artistic director of the Kanlaon Theater Guild and director of the show, “Ani nga Sanag” is “for the young people to appreciate and to know na may ganoon pala (that there are things like these) in the past. Historically, hindi na naabutan ng mga bata, but showcasing that, nai-inform sila. And with the new forms, nakaka-relate sila, iyong mga young people, because intentionally para ito talaga sa mga bata. We showcase the pride of place. At the same time, ang ownership na kapag sinabing Negros, may Papa Isio ka pala, may Masskara ka pala, at may patadyong ka pala.”—Report by Mark Gregor P. Dela Cruz
2015 • Number 1 • Agung 27
Bonifacio in a Cockpit
Bohol Community Theater Group Mounts Play in an Unlikely Place
A
place for cockfights and gambling was transformed, though temporarily, into a theater and space for artistic creation when Dulaang Kasing Sining staged the play Teatro Porvenir inside a cockpit arena in the town of Baclayon, Bohol. Spearheading the project was Lutgardo Labad, artistic and musical director and founder of the recently-formed community theater group. For Prof. Felipe M. de Leon, Jr., NCCA chair, the cockpit’s round structure is a most appropriate way to manifest Filipino cultural values in theater and other performing arts. Our culture has always been participatory. We gather around foods served all at once on the dining table and we choose the food we like to eat at any given time, unlike in the West were foods are served one at a time by the host, reducing the eater into a passive consumer. Likewise in a rectangular performing space, those closest to the stage have a hierarchic advantage compared to the ones sitting at the back. Dulaang Kasing Sining staged a play inside a cockpit in Baclayon, Bohol
In a circular structure, however, the elite-mass divide is reduced to a minimum, and will find much favor in traditional Filipino culture. Prof. De Leon has long been advocating the circular cockpit structure as a culturally-appropriate venue for artistic performances. Its emergence in Dulaang Kasing Sining’s staging of Teatro Porvenir is an inevitable development in the continuing indigenization of Philippine theater, thanks to the sensitivity of Labad to Filipino cultural values. According to Labad, turning the cockpit into a theater venue is a kind of “creative adaptive reuse.” “I have always been endlessly smitten by the idea of doing drama presentation inside the cockpit,” he said. “Its semi-theater in the round resembles the Elizabethan stages of William Shakespeare; the frontal area is so conducive for building a two-storey stage for multi-level productions. The audience space is not so vast; the communication and interaction with the audience is so direct and can be magnetic. With the audience surrounding the actors and the action, the fluidity and electricity of communication can be astonishing. But most important of all, the buangan or sabungan has been an icon of local cultural heritage. For many, a cockpit has become a venue nourishing a lot of social ills. But on the whole, it has
28 Agung • Number 1 • 2015
Dulaang Kasing Sining’s maiden production, Teatro Porvenir, was a fusion of two Carlos Palanca Award-winning oneact plays of the same title. The first act is written by Edward Perez and the second by Tim Dacanay. Both plays tackle the story of Andres Bonifacio as a theater artist, his times and his role in Philippine history.
been accepted as a people’s socio-economic and cultural site, part and parcel of many a community’s folkways.” The idea of cockpit theater is not new in the Philippines. Music artists Gilopez Kabayao and his wife, who put up concerts around the country, sometimes performed in cockpits. Cockpits were sometimes used to stage linambay, the Visayan komedya. Some theater groups have also performed in cockpits from time to time, usually when there is no suitable venue available. The Baclayon Cockpit, whose original owners were Sergio Patis, Col. Guillermo Oppus and Jonas Patis, was built after World War II. Presently owned by the Uy and Ramo families, the cockpit, like many others, has fallen into disuse in the past three years because of a national law allowing cockfights only on Sundays, forcing many Boholano cockfight aficionados to troop to bigger cockpits like the one in the capital Tagbilaran. The Baclayon Cockpit has been used only during town fiestas. In temporarily reviving the Baclayon Cockpit, Labad named it Teatro Buangan de Baclayon. Teatro Porvenir, which staged on January 31 and then on February 7, 8, 11, 12, 13, 14 and 21, 2015, was the maiden production
2015 • Number 1 • Agung 29
of Dulaang Kasing Sining, which is a revitalized Teatro Bol-anon. Founded in 1996 by Philippine Educational Theater Association (PETA) artist-leader Labad, Teatro Bol-anon was conceived as a community-based semi-professional repertory theater company aimed at the development of theater in Bohol. Inspired and modeled after the PETA Kalinangan Ensemble, it was envisioned as a well-rounded group of theater and drama performers and creators, developing original plays that utilized the Cebuano and other languages of the country; that portrayed the historical, cultural, socio-political conditions of the province in a most imaginative manner; that drew from the rich heritage of cultural forms in the Visayas for its form, style and genre; and conveyed messages and themes which reflect the needs, aspirations, and spirit of the Boholano people. Its major productions included Dagon sa Hoyohoy, Hanas/Birtuso, Ang Tagbalantay, Sandugo Oracles, Karaang Balay, and Oktubre 15: Memoirs of a People’s Faith. When the deadly earthquake hit Bohol on October 15, 2013, resulting in a massive loss and ruin of historical churches and homes, Teatro Bol-anon developed, in collaboration with national agencies like PETA and the NCCA, programs and activities which would aid in the cultural restoration and rehabilitation of impacted communities through psycho-social support using the arts and the theater. With this mandate
of responding to the new situation in Bohol and to provide a more regular season of plays aimed at evolving a process for sustainability, Labad decided to rebuild Teatro Bol-anon with a fresh and new membership and with a reinvigorated program of training and creation to be based in the cockpit of his hometown of Baclayon. The new repertory group, Dulaang Kasing Sining, Ang Bag-ong Teatro Bol-anon is under the Kasing Sining Organization. Dulaang Kasing Sining’s maiden production, which is the organization’s first in Filipino, is a fusion of two Carlos Palanca Award-winning one-act plays of the same title. The first act is written by Edward Perez (who won the Palanca in 2003) and the second by Tim Dacanay (Palanca in 2006). Both plays tackle the story of Andres Bonifacio as a theater artist, his times and his role in Philippine history. Bonifacio was the leader of a drama group called Teatro Porvenir, producing popular komedyas or moro-moros in his home district of Tondo in Manila. Perez’s play focuses on the years of its establishment around 1886 to 1887 and follows the struggle of a group trying to remold the old theater form into a more relevant indigenous drama expression and the influence of Rizal’s novels on Bonifacio. Dacanay’s play is set in the years 1892 to 1902, when, in historical fiction, Bonifacio takes Teatro Porvenir to higher strides by recasting its plays into a more revolutionary mode, as the group swells into the birth of the Katipunan. Dacanay takes the spirit of the theater group further into the Philippine Revolution against Spain and against the United States of America. The play ends with a dream, in which Rizal and Bonifacio exchange views on life and destiny. The production employed the use of ritual and dance movements from the tradition of the Boholano komedya or linambay, arnis, pangalay and kuntao. The cast was led by Jerrey David Aguilar (Andres Bonifacio/ Bernardo Carpio), Tertuliano Camacho Jr.
(Arturo Tolentino/Simon), Keats Ronquillo (Macario Sakay/ Jose Rizal/Bernardo Carpio), Rodolfo Cuhit (Ciriaco Bonifacio), Jay Banquil (Procopio Bonifacio), Naneth Sevilla (Espiridiona Bonifacio), Isabel Jamora (Gregoria De Jesus/ Ina/Inang Bayan), Paul Vistal (Teo/Padre Damaso/Carreon), Leonardo Planas (Doro/Plata/ Sikatuna/Kawal) and Jason Acosta (Diwa/ Legazpi), among others. The technical and artistic staff included Rama C. Marcaida (choreography), Amihan T.Ruiz (stage management and acting training), Nino Janus Guidaben (stage architecture), Rudy Aviles (costume design), Odoni Pestelos (musical direction), Rexcel De Asis (sets design), Jerameel Decasa (lights design), Franz Emmanuel Labad (multi media) and Charo Mae Apipe (technical direction). With Teatro Provenir and Teatro Buangan de Baclayon, Labad hopes that they provided a venue for Boholano talents to display and develop their artistic talents; a means for the people to watch these kinds of productions; and showed that sites such as cockpits can be used as venues for cultural events such as concerts, exhibits, lectures and workshops as well as a destination for cultural tourism.
BACLAYON, BOHOL Baclayon, in the eastern part of Bohol, is the first municipality to be established by the Spaniards in the province. It is known for its Immaculate Conception of the Virgin Mary Parish Church, declared a National Cultural Treasure in 1995. It is considered the best preserved of its kind in the region. Its first structure was built in 1595, but the current building is from 1724. In 2013, the church was heavily damaged by a 7.2-magnitude earthquake./Photo by Roel Hoang Manipon
30 Agung • Number 1 • 2015
IN MEMORIAM
Nights of Songs and Poetry in Bacolod City Local Performing Groups CelebrateYears of Creativity
Maskara Theatre Ensemble
“Ani Dos” was mounted at the Santuario de la Salle of University of St. La Salle in Bacolod City, Negros Occidental. This was in celebration of the fortieth anniversary of the Maskara Theater Ensemble and 25th anniversary of the La Salle Chorale as well as in celebration of the National Arts Month. Held on February 23 and 24, 2015, “Ani Dos” was a collaboration of both organizations highlighting regional culture and sensibilities of the Visayas through a fusion of music, poetry and movement. It highlighted the creative works of the Maskara Theatre Ensemble, Santermo Writer’s Group and the La Salle Chorale with the special participation of the Negros Occidental Singing Ambassadors. The performance featured poetry of Filipino writers and Visayan folk songs, aimed at engendering awareness and appreciation on art, especially among college students. The La Salle Chorale and Negros Oriental Singing Ambassadors sang Benny Castillon’s “Kruhay,” Kiniray-a word for “welcome”; a medley of Hiligaynon folk songs arranged by Romulo Pangan; “Masdan Mo, Ang Kapaligiran,” arranged by Alejandro Consolacion II; “Isang Dugo, Isang Lahi at Musika,” arranged by Robert Delgado; “Panaghoy ng Kalikasan,” arranged by Romulo Pangan; and “Piliin Mo Ang Pilipinas,” arranged by Normita Bing-Pablico. The chorale and Maskara Theater Ensemble performed “Ili-ili Tulog Anay,” a female duet based on the SATB and arrangement by Patricia V. Magdamo. Maskara Theater Ensemble performed Jonathan Davila’s poems “Labandero,” “Estribo Lang” and “Ang Larong Dama,” while Mary Anne and Nenen Espina sang “Ikaw Lamang,” arranged by Eudenice Palaruan; “Caturog Na, Nonoy,” arranged by Alejandro Consolacion II; “Sampung Mga Daliri,” also arranged by Consolacion. As finale, all performers sang “Bayan Ko,” an excerpt from the sarsuwela Walang Sugat, arranged by Chino Toledo. The La Salle Chorale
BACOLOD CITY, NEGROS OCCIDENTAL Bacolod City is the capital of the province of Negros Occidental. It is known for its Masskara Festival, held every third weekend of October. It is a portmanteau of the English word mass (people), and the Spanish word cara (face) to mean face of the masses. The festival began in 1980, a time of the sugar crisis and a ferry tragedy, to uplift the spirits of the people. /Photo by Roel Hoang Manipon
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Singer Aiza Seguerra and actress Lizo Diño performed together during the National Arts Month closing program./Photo by Israel Etabag
A Closing with Colors On the last day of February 2015, the National Arts Month ended with a blast of colorful performances from various groups. The NAM closing program was held at the Rizal Park Open Air Auditorium with performances led by an ethnic dance by the University of the Philippines Kontra Gapi. Traditional and contemporary dances were also performed by different groups such as the Unibersidad de Manila’s Sinag Lahi Dance and The Nuno Dance Troupe of Angono. They made the stage vibrant with folk dances, from pandanggo sa ilaw, pandanggo sa baso, tinikling and jotas, to the Cordilleran dances. J-Crisis contrast-
ed this traditional tone with heart-stopping, acrobatic hip-hop routines. Ani ng Dangal awardee Halili-Cruz Dance Company came in with their grand ballet and contemporary numbers. Actress Liza Diño was accompanied by her life partner, singer Aiza Seguerra, in a flamenco performance to the tune of “Makita Kang Muli.” Joanna Ampil sang one of her original singles from her latest album, as well as the song “Memories” from the Broadway musical Cats. Besides dance and musical performances, theatrical pieces were mounted by the Sining Banwa performers of Ligao National High School, Ligao, Albay; and
members of Artist, Inc. from the Southern Tagalog region. Sining Banwa rendered a dramatic excerpt from the Bikolano epic Ibalong, while Artist, Inc. showcased a musical excerpt, mounted during the Sining Tsinelasan sa Liliw, about the life of Apolinario Mabini. Also, the Art Circle, a student organization from the Pamantasan ng Lungsod ng Maynila, conducted the “SELFE: Engage, Encourage, Express, Explore through Arts.” The closing ritual was Sinukwan Kapampangan’s “Graci Angeles,” giving thanks to the angels, after which Angeles City in Pampanga was named.
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NCCA GALLERY
The Imagery of Dried Leaves Fernando “Pando” Manipon, ready-to-wear designer and leaf collage artist, mounted his third solo exhibit “Portraits of Glory and Decay” at the NCCA Gallery. The exhibit, mounted from November 7 to 30, 2014, presented the grandeur of the history of Catholicism in the Philippines using primarily dried leaves. Featured were the four Baroque churches in the Philippines included in the UNESCO World Heritage list and the heritage churches damaged or destroyed in the Bohol earthquake of 2014. Manipon also depicted prominent religious structures from around the world such as the Notre Dame and its North Rose Window, the La Sagrada Familia of Barcelona, the Chartres of France as well as notable religious icons such as The Pieta, Our Lady of Manaoag, and the Shroud of Turin. A highlight of the exhibit was an ostrich egg with the image of the façade of St. Peter’s Square in the Vatican City, made of leaf mosaic. The artist held a leaf collage demonstration on November 24.
The artist Pando Manipon (rightmost) and his works using dried leaves depicting Fort Santiago, the Miag-ao Church and the North Rose Window
A Challenge to Contemporary Fashions From November 15 to 30, 2014, the exhibit “Beyond Borders and Out of the Box: Endangered Visions at the NCCA” was mounted at the NCCA Gallery. The group exhibition depicted the surreal, the visionary, and the fantastic. “Beyond Borders…” featured local and international artists and aimed to provoke the audiences with works they deemed unique, fresh and original, works that explored the exotic, mystical, and magical. The exhibit was said to reflect “how rare the visions of these artists are and how their works are endangered by the broader contemporary fashions in international art. The exhibition seeks to counterbalance an art world driven by a rapacious market with something more contemplative, subtle and challenging.”
Two works showing surrealistic and fantastic leanings
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Kite (2014); Final Touch: Interaction Series (2005); and Priest: Illuminated Series (2012)
A Celebration of Cacnio Prominent brass sculptor and 2006 TOYM Awardee Michael Cacnio marked his 45th birthday with a traveling exhibition that parlayed his personal creative evolution over almost two and a half decades of exploring three-dimensional forms. At the NCCA Gallery from December 16 to 30, 2014, “Brass Act: Michael Cacnio at 45” presented a summary of the artist’s ouvre that is a cultural cache which cusps Filipino traditions, values, and images with more trying contemporary realities. The artworks in the exhibit were largely from The Fatima University Gallery collection where Cacnio’s pieces have been with the school’s Humanities program. Cacnio graduated from the University of the Philippines’ College of Fine Arts, majoring in Painting, and his body of works features a tableaux of characters inspired by traditional
Filipino archetypes depicted in his signature style, revealing enduring truths about human nature, family, and community. Spurred with fond memories of a childhood growing up near the fishing port of Malabon, he debuted as a sculptor with renditions of Filipino games he played. Luksong Baka captures a leaping boy in mid-air, suspended as if weightless, his legs spread and his hands on the back of his stooped playmates. It was the bobbing movement of long curving brass lines in kites soaring as in Saranggola or in fishing lines swaying with breezes in Huli that enchanted the artist’s first collectors. The choice of brass, which has long been used in traditional crafts such as indigenous musical instruments and ornate jewelry, thus takes on further function as Michael’s constant, if inadvertent, heritage
preservation material. His method, too, of cutting and soldering seems to be a metaphor for the myriad influences that affect the Filipino psyche and image. Audiences saw in this celebratory miniretrospective his evolving use of brass, from pairings with wood and rock and moldings of fiber glass to inclusions of elements in differing media such as glass, semi-precious stones, electric lighting and Lego blocks. His compositions began with a linear trajectory that eventually segues into many avenues. His Giacometti-inspired, elongated figures have been joined by rotund physiques and smoother finishes. Perhaps the greatest tribute Michael Cacnio paid was to his father. A collaborative artwork depicts the artist as a boy watching his dad, Angel Cacnio, work on a real painting.
The creation of the NCCA Gallery dedicated to contemporary arts was a joint initiative by 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.
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IN MEMORIAM
Abdulmari Asia
Imao
National Artist for Visual Arts
The necrological rites held at the CCP Main Theater (above, left), where Toym de Leon Imao, son of the National Artist, spoke in behalf of the family (above, right). /Photos by Orly Daquipil, courtesy of the CCP
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National Artist for visual arts Abdulmari Asia Imao at work. /Photos courtesy of the Imao family
he late National Artist for visual arts Abdulmari Asia Imao was given a tribute by family and friends in a necrological ceremony held on December 21, 2014, at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (Main Theater), followed by an interment held at the Libingan ng mga Bayani. Imao
died on December 16 at the age of 78. Among those who attended the necrological ceremony were National Artists Bienvenido Lumbera and F. Sionil Jose, NCCA officer in charge-executive director Adelina Suemith, CCP Board chair Emily Abrera, CCP president Raul Sunico, and CCP artistic director Chris Millado. The program included performances by singer Joey Ayala and De La Salle University Dasmariñas Chorale, a message by Abrera, an audio-visual presentation on the late National Artist, a video tribute by National Artist Benedicto Cabrera, reminiscences by Roberto Whitaker Ansaldo, Ibba Rasul Bernardo and senator Grace Poe-Llamanzares, and a tribute from Suemith. Imao’s son Toym de Leon Imao spoke in behalf of the family. Abdulmari Asia Imao earned a degree in fine arts from the University of the Philippines in 1959, and a master of fine arts degree from the University of Kansas under a Schmidt- Fullbright Scholarship in 1962, and studied creative sculpture and ceramics at the Rhode Island School of Design in Providence Rhode Island. He also took up photography and documentary motion picture production and direction at the Co-
lumbia University in New York City. A sculptor, painter, photographer, professor, metal-casting consultant and cultural researcher, Imao drew his inspiration from the Tausug and Maranao artistic traditions of southern Philippines, particularly the art of the okir wood carving design. His art evolved into four distinct but interrelated themes: Islamic calligraphy, the sarimosque (a design combining the sarimanok and the form of the mosque), the sari-okir and the famous Filipino mythical bird with fish called sarimanok, which earned him the name “Mr. Sarimanok.” His major works include the Antonio Pigafetta Monument in Fort San Pedro, Cebu City; the President Elpidio Quirino Monument on Roxas Boulevard; Amandagat Monument in Batanes; Sultan Kudarat mural at the Philippine International Convention Center; sarimanok paintings at the Central Bank and National Museum; and calligraphic brass sculpture at the University of the Philippines and at the Philippine Embassy in Riyadh, Saudi Arabia, among other works. Abdulmari Asia Imao was the first Fili-
pino Muslim to receive the TOYM Award in 1968 for art and culture and the first Asian to receive the famous MOMA or the New York Museum of Modern Art Grant in 1963. He was listed in the Encyclopedia of World’s Art in 1968 and the Encyclopedia Americana in 1983. He also served as United Nations brass casting consultant for Sri Lanka from 1987 to 1988 and metal casting consultant for Thailand from 1988 to 1989. Imao received the Gawad CCP Para sa Sining in 1990 and was conferred the Presidential Merit award in 2005. Mari, as he is fondly called by Muslim professionals, was one of the core groups of the Sulu-TawiTawi Professionals Incorporated, where he served as chairman of the Committee on Arts and Culture. Imao was named National Artist for Visual Arts in 2006, the first Filipino Muslim awardee. He was cited for his “sculptures of diverse mediums and styles, as well as his refined and innovative rendering of indigenous art images and motifs” which were “testimonies of his highly developed aesthetic sensibility, ingenuity and wideranging experience as an artist.”
Empowering the Filipino Imagination Send your comments and inquiries to The Editor, NCCA, Public Affairs and Information Office
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