Agung Vol XIX No. 2 March-April 2016

Volume XIX • Number 2• 2016 • For Artists and Cultural Workers • ISSN 0119-5948

Gathering Greatness

Official Newsletter of the National Commission for Culture and the Arts

The National Commission for Culture and the Arts

MESSAGE FROM THE CHAIRMAN What Makes Us Human?

What makes us distinctly human? What is the essential identity of the human being? It is not rationality as many have presumed. How can we consider rational the kind of human behavior that led to the mass murder of Jews, the killing fields of Cambodia, the beheading of innocent women and children by ISIS, and the endless production of weapons of mass destruction that can annihilate all life on earth—not to mention the greed of neo-liberal economies that threaten us with global warming and extreme weather conditions.

The characteristic faculty of humanity, one that is not present in animals, is our capacity for self-awareness.

We can be conscious that we are conscious, think about thinking, feel about feeling, reflect upon reflection.

Higher animals seem to possess this ability to a certain degree, but not in the magnitude humans are capable of.

While animals are instinct-driven, the powers of self-awareness enable human beings to have freedom of choice. And the only limit to this freedom is the latitude of free play and imagination we permit ourselves to experience.

Confronted with the myriad possibilities of choice, what is the best way to grapple with the uncertainties, vicissitudes, paradoxes and anxieties of human existence? Do we live like the gods, kings, nobles, heroes, geniuses; like the charlatan, vagabond, thrill seeker, narcissist, rogue; like the ordinary men and women of everyday life going about their daily rituals; or many other possible ways of living?

Life is a wondrous, creative adventure but most people are bogged down by self-imposed limitations. Instead of cultivating the infinite potentials of being human, we become attracted, attached, and addicted to many limiting idols of the marketplace, objects of commerce, or pleasure.

It is high time that we turn to the liberating power of the arts—artistic creativity being the freest exploration of the human imagination, and thus can provide us with the widest interplay of possible directions that human life can take.

Together with philosophy, the arts have guided cultures and civilizations through the ages by offering us the widest scope of alternative ways of life to choose from.

What is the wisest way to live? What is the meaning of human existence? What is the purpose of our lives here on earth? The arts have provided the most diverse interpretations and offered the most creative responses to these questions.

The arts give us stories, ideas, and the words that help us make sense of our lives and our world. Through vivid, experiential, vicarious ways, they introduce us to people we have never met, places we have never visited, and ideas that may have never crossed our minds. By showing how others have lived and thought about life, the arts help us decide what is important in our own lives and what we can do to make them better.

The arts, par excellence, provide us the widest range of possibilities for helping us choose the most meaningful way to live, enabling us to exercise our uniquely human gift—the freedom of choice. Through the arts, we affirm our humanity.

Behold the arts! Honor their creators. Know your artists!

FELIPE M. DE LEON, JR.

Vol. XIX, No. 2 March-April 2016 ISSN 0119-5948

FELIPE M. DE LEON, JR. chairman

Errata

ADELINA M. SUEMITH oic-executive director MARICHU G. TELLANO 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 Glaiza Lee writer Marvin Alcaraz photographer

About the cover Front cover shows the Order of the National Artist Grand Collar and medallion /Photo by Mervin Concepcion Vergara Leihdee Anne Cabrera Manny Arawe May Corre Tuazon Roezielle Joy Iglesia Christine Sarah Sy paio staff Emilie V. Tiongco editorial consultant

Two photos for the article “Dayaw 2015: Highlighting Philippine Indigenous Cultures,” which appeared in Agung, number 5, 2015 (SeptemberOctober), issue, were misidentified. For a photo on page 28, the caption read “Agta from Pampanga.” It should be “Aeta from Pampanga.” Another photo on the same page was captioned “Performance of the Bugkalot at Plaza Anghel.” The correct ethnic group is Gad’dang. We regret and apologize for the misidentification.

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.

Exaltations Exultations and

Nine Filipino Artists Formally Join Illustrious Order of National Artists President Benigno S. Aquino III (center) with (from left) Manuel “Jun” Urbano, son of late National Artist for film Manuel Conde; NCCA chairman Felipe M. de Leon, Jr.; National Artist for dance Alice Reyes; Rebecca Feliciano, wife of late National Artist for music Francisco Feliciano; Presidential Communications Operation Office Secretary Sonny Coloma; Filomena Coching, wife of late National Arist for visual arts Francisco V. Coching; Emily A. Abrera, CCP Board or Trustees chair; National Artist for literature Cirilo Bautista; CCP president Raul Sunico; National Artist for music Ramon Santos; Pilar Zaragoza, wife of late National Artist for architecture Jose Maria Zaragoza; Raphael Francisco, son of late National Artist for literature Lazaro Francisco; and Christian Alcuaz, son of late National Artist for visual arts Federico Alcuaz, during the conferment ceremonies at the Rizal Hall of the Malacañan Palace on April 14, 2016. /Photo by Lauro Montellano, Jr., Malacañang Photo Bureau

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resident Benigno S. Aquino III formally conferred the National Artist awards on nine Filipino artists, on April 14, 2016, at the Malacanan Palace. The recently recognized National Artists were Federico Aguilar Alcuaz for visual arts, Cirilo F. Bautista for literature, Francisco Coching for visual arts, Manuel Conde for film, Francisco Feliciano for music, Lazaro Francisco for literature, Alicia Reyes for dance, Ramon Santos for music, and Jose Maria Zaragoza for architecture.

Six of them were posthumously honored–Alcuaz, Coching, Conde, Feliciano, Francisco and Zaragoza. Three artists—Alcuaz, Conde and Francisco—were delcared National Artists in 2009, while six—Bautista, Coching, Feliciano, Reyes, Santos and Zaragoza—were declared in 2014.

In 2009, then President Gloria Macapagal-Arroyo declared seven National Artists, four of which did not undergo the rigorous selection process jointly administered by the NCCA and the Cultural Center of the Philippines (CCP) and were therefore not in the final list of recommended awardees. Composer Ramon Santos, who passed the selection and deliberation processes and was in the final list of awardees, was dropped. This created considerable controversy, engendering widespread protests and condemnations. Many artists and cultural workers, including most of the National Artists who were still alive, brought the matter to court and were able to acquire a temporary restraining order on the awarding rites. On July 16, 2013, the Supreme Court decided to invalidate Macapagal-Arroyo’s proclamations on the four artists due

to “grave abuse of discretion.”

In 2014, President Aquino declared six National Artists but deferred the conferment rites. Alive during the declarations, Alcuaz and Feliciano passed away, in 2011 and 2014 respectively, before conferment.

“Bukod sa pagiging pinakamagagaling na pintor, manunulat, musikero, mananayaw, artista, at iba pa, higit sa lahat, mabuti silang Filipino (Aside from being the best painter, writer, musician, dancer, artist and more, above all, they are good Filipinos),” stated President Aquino during the conferrment ceremony.

“Nariyan po si Dr. Cirilo Bautista, sa kanyang natatanging ambag sa pagpapaunlad ng sining pampanitikan, at pagbabahagi nito sa mas nakababatang henerasyon (There’s Dr. Cirilo Bautista, for his outstanding contribution to the development of the literary arts and for imparting these to the younger generation),” he continued. “Si Lazaro Francisco, sa kanyang mga klasikong panitikang nagsusulong ng nasyonalismo at nagpayaman ng wikang pambansa (Lazaro Francisco, for his literary classics which furthered nationalism and enriched our national language).”

The President cited the qualities and achievements of the rest of the awardees: “Si Federico Aguilar Alcuaz, sa kanyang pambihirang kahusayan sa sining biswal, sa pagpipinta man, eskultura o mixed media; si Francisco Coching, sa kanyang mga akdang komiks na tumatalakay sa kultura ng mga Filipino at mga usaping panlipunan; si Dr. Francisco Feliciano, na nagpakilala ng ating katutubong musika, ‘di lang sa Asya, kundi maging sa buong mundo.

THE NATIONAL ARTISTS OF THE PHILIPPINES Architecture and Allied Arts Pablo S. Antonio Leandro V. Locsin Juan F. Nakpil Ildefonso P. Santos Jose Maria Zaragoza Design Ramon Valera Cinema Lamberto V. Avellana Ishmael Bernal Lino Brocka Manuel Conde Gerardo de Leon Ronald Alan K. Poe Eddie S. Romero Dance Francisca Reyes Aquino Leonor Orosa-Goquingco

Ramón Obusan Alice Reyes Lucrecia Reyes Úrtula Literature Francisco Arcellana Virgilio S. Almario Cirilo F. Bautista Lázaro Francisco NVM Gonzalez Amado V. Hernández Nick Joaquín F. Sioníl José Bienvenido Lumbera Alejándro R. Roces Carlos P. Rómulo Edith L. Tiempo José García Villa Historical Literature Carlos Quirino

“Pinaparangalan din natin si Alice Reyes bilang mananayaw, choreographer, guro at direktor—isinulong at pinaunlad niya ang kontemporanyong sayaw sa bansa; si Dr. Ramon Santos sa kanyang di-matatawarang pananaliksik at pagsusulong ng modernong musika na nakaugat sa tradisyonal na musika sa Asya; si Jose Maria Zaragoza, sa pagsisilbing pundasyon ng modernong arkitektura sa bansa, lalo na sa mga relihiyosong estruktura; at si Manuel Conde, sa kanyang mga pelikulang sumasalamin sa ating kaugalian, kasaysayan at mga isyu ng lipunan na patuloy na nagpapamulat sa nagdaan at kasalukuyang henerasyon.”

(Federico Aguilar Alcuaz, for his exceptional skill in the visual arts, whether it be through painting, sculpture or mixed media; Francisco Coching, for his comic books that deal with Filipino culture and social issues; Dr. Francisco Feliciano, who introduced our indigenous music not only to Asia but to the world.

(We also honor Alice Reyes as a dancer, choreographer, teacher and director—she promoted and developed contemporary dance in the country; Dr Ramon Santos, for his important research on and development of contemporary music that is rooted in traditional musics of Asia; Jose Maria Zaragosa, for serving as the foundation of modern architecture in the country, especially for religious structures; and Manuel Conde, for his films that reflect our customs, history and social issues that continue making the past and present generations aware of.)

“Nagpakadalubhasa man ang marami sa inyo sa ibang bansa, pinili pa rin ninyong bumalik at ibahagi ang inyong nalalaman sa

Music Antonio R. Buenaventura Ernani Joson Cuenco Felipe Padilla de León Francisco Feliciano Jovita Fuentes Lucrecia R. Kasilag José Maceda Antonio J. Molina Lucio D. San Pedro Ramón Santos Andrea O. Veneración Music and Literature Levi Celério Theater Daisy Avellana Honorata “Atang” de la Rama Lamberto V. Avellana Wilfrido Ma. Guerrero Severino Montano Theater and Literature Rolando S. Tínio

2016 • Number 2 • Agung 5 sariling bayan (You may have honed your talents in other countries, but you chose to return and share your knowledge to your nation),” the President further said.

“Naabot man ninyo ang tuktok ng inyong propesyon, hindi kayo basta lang nakuntento.

Sa halip, patuloy ninyong pinagyaman ang inyong mga kaalaman at kakayahan (Even if you may have reached the peak of your profession, you did not rest on your laurels.

Instead, you continue to enrich your own knowledge and hone your abilities).”

After the conferment rites, the new National Artists were feted at CCP’s traditional performance tribute at the Tanghalang Nicanor Abelardo. Directed by Paul Morales, the tribute included performances by Ballet Philippines, the Philippine Madrigal Singers and some of the country’s leading artists as well as multi-media presentations on the National Artists.

Conferred by the President of the Philippines upon recommendation by the NCCA and the CCP, the Order of National Artists or Orden ng Pambansang Alagad ng Sining is the highest recognition bestowed by the nation to Filipino artists The insignia of the Order of National Artists is composed of a Grand Collar featuring circular links portraying the arts, and an eight-pointed conventionalized sunburst suspended from a sampaguita wreath in green and white enamel. The central badge is a medallion divided into three equal portions, red, white, and blue, recalling the Philippine flag, with three letter K’s in old Philippine script or baybayin, which stand for “katotohanan, kabutihan, at kagandahan” (the true, the good, and the beautiful). The composition of the Grand Collar is silver gilt bronze. In place of a rosette there is an enameled pin in the form of the insignia of the order.

Theater Design Salvador F. Bernál Visual Arts Napoleón V. Abueva Federico Aguilar Alcuáz Fernando C. Amorsolo Benedicto “BenCab” Cabrera Francisco Coching Victorio C. Edades Carlos “Botong” V. Francisco Abdulmari Asia Imao José T. Joya Ang Kiukok César Legaspi Arturo R. Luz Vicente S. Manansala J. Elizalde Navarro Hernándo R. Ocampo Guillermo E. Tolentino

who have made significant contributions to the development of Philippine arts.

The year-long selection process for National Artists follows a multi-layer procedure. It begins with an initial deliberation and shortlisting by a Council of Experts made up of artist peers. This is then followed by a second deliberation by the Jury of Experts who in turn submits its recommendations to the boards of the NCCA and the CCP. The NCCA and the CCP board members are joined by current National Artists to vote on the final nominees to be recommended to the President. The list is reviewed by the Office of the President’s Honors Committee before it is transmitted to the President.

The President may affirm all or some of the recommended names but he is not allowed to add to what has been submitted by the NCCA and the CCP. The presidential authority to affirm or not affirm the recommendations was vested in the 2013 Supreme Court ruling that disallowed a set of National Artists named by Macapagal-Arroyo which had not undergone the deliberation and selection process.

HISTORY The National Artist award was created in April 27, 1972, through Proclamation No. 1001,“to give appropriate recognition and prestige to Filipinos who have distinguished themselves and made outstanding contributions to Philippine arts and letters.” Painter Fernando Amorsolo, who had died earlier that year, was the first artist to be conferred the National Artist award. In 2003, through Executive Order 236, the National Artist award was elevated and included in the newly created Honors Code of the Philippines, which consolidated all the awards given by the government and established an order of precedence. Through this order, the National Artists award was renamed Order of National Artists (Orden ng Gawad Pambansang Alagad ng Sining).

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Federico Aguilar Alcuaz National Artist for Visual Arts

Federico Aguilar y Alcuaz, who signed his works as Aguilar Alcuaz, was an artist of voluminous output. He was known mainly for his gestural paintings in acrylic and oil, as well as sketches in ink, watercolor and pencil. He was also a sculptor of note and has rendered abstract and figurative works in ceramics, tapestries and even in relief sculptures made of paper and mixed media, which he simply calls “Alcuazaics.” The preference to use his maternal name was more for practical reasons; it was also simpler to drop the customary “y” between the two names.

Born on June 6, 1932, Alcuaz belonged to the second generation of Filipino modernists after the fabled Thirteen Moderns, credited along with Jose Joya, Constancio Bernardo, Fernando Zobel and Arturo Luz, for building a significant body of abstract art from the arguable more tentative efforts of their predecessors. Theirs is said to be a more confident generation, having attained their art instruction in the period of transition between the Philippine conservatives and modernists.

Alcuaz went to the UP College of Fine Arts in Diliman, while also taking up his pre-law course at San Beda College.

Napoleon Abueva, Jose Joya and Juvenal Sanso were also in school with him at that time, studying under Fernando Amorsolo, Guillermo Tolentino, Irineo Miranda, Constancio Bernardo and Toribio Herrera.

He would go on to win prizes at UP and at the National Shell Art Competition, and embark on several solo exhibits after graduating from San Beda.

Alcuaz would go on to obtain a law degree in 1955 at Ateneo de Manila in Padre Faura, Manila, in deference to his father’s wishes. But after mounting an exhibit at the legendary Philippine Art Gallery, he received a fellowship from the Ministry of Foreign Affairs in Spain and proceeded to study at the Academia de Bellas Artes de San Fernando in Madrid, where other Filipino expatriates like Juan Luna, Felix Resurreccion Hidalgo, Fernando Amorsolo, Fabian dela Rosa and Jose Ma. Asuncion received a similar classical training.

After his studies, he stayed on to live and familiarize himself with the art and culture of Europe. He had exhibits in Madrid and then in Barcelona, where he met his future wife Ute Schmidt who he married in 1959. They have three children. In 1964, the family moved to Manila, but after four years, his wife returned to Germany with their three sons whereupon, Alcuaz embarked once more on shuttling between Europe

to see his family and mount exhibits, and then to Manila where he prefers to do his studio at the Manila Hilton (now Manila Pavilion).

His works are highly favored, not only for its studied refinement and European flair, but also for the ease and pleasure conveyed by his choice of light, color and composition; all of which add up to scenes which are always quite playful but never cluttered. His love for classical music is also apparent in this constant fluidity.

Critic Alice Guillermo notes that his talent is in bringing out the best of whatever material he uses, and that indeed his works have a delicacy and vitality that promises universal appeal. Alcuaz is a continuing success story of the global Filipino, enjoying an international career yet able to establish roots in his home country.

Alcuaz also successfully reconciled his many dualities—that of student juggling art with law studies; and later that of expat longing both for home and for his family in another land; that of a local ensconced in a hotel like an eternal tourist; to that of an extremely flexible artist equally exuberant, inventive and playful with both the abstract and the representational—by assuming the compleat disposition of a creative and strategic traveler; steadfast, flexible and infinitely open to possibilities.

These were choices, which would later evolve into bouts of whimsy bordering into the eccentric; yet despite coming from a privileged background and imbibing the entitlements of an artist with global credentials, Alcuaz interestingly was representative of travails and the stubborn optimism of Filipino diaspora.

As chronicler, Alcuaz’s vast landscapes of Manila scenery possibly stand as his version of the commemorative or monumental, although they were made entirely from his own volition and were not commissioned or specifically made for public art venues. One may add to this trove of memory of his works of Manila’s hotel and restaurant interiors.

Before his death on February 2, 2011, Alcuaz continued to be a philanthropist trough his art. His exhibits have raised funds for the University of the Philippines, San Beda College and the Ateneo de Manila, out of sheer gratitude for the education he received. While in Manila, he lived at the Manila Pavilion, purposely overlooking his studio of old when he was still as student in Padre Faura Street. — From the Order of National Artists Secretariat

Above: Alcuaz’s Untitled (oil on canvas, 28.75 by 34.75 inches, 1976). Facing page: Frederico Aguilar Alcuaz /Photo by Jose “Pinggot” Zulueta

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Manuel Conde National Artist for Cinema

Manuel Conde was a film actor, writer, director and producer with a grand vision for Philippine cinema—that its quality and artistic excellence be recognized beyond the boundaries of its country of origin.

This the pioneer filmmaker accomplished through his film Genghis Khan (1950), which was shown at the prestigious Venice Film Festival where it was critically acclaimed and received a citation. The following year, the film was similarly acclaimed at the Edinburgh Film Festival.

Aside from being the first Filipino film to receive international accolade, it was the first film to be distributed in the United States by United Artists.

Born on October 9, 1915, as Manuel Pabustan Urbano, Conde broke into the movies in 1939 as assistant director for LVN Pictures.

In 1940, he was hired to direct Sawing Gantingpala. With the success of his screen debut, he went on to direct an average of four films a year from 1940 to 1942. Maginoong Takas (1940), Hiyas ng Dagat (1941) and Caviteno (1942) earned him the title Best Director from the Philippine Movie News Reel.

Early in his filmmaking career, Conde made waves by pioneering in adapting Philippine folklore and traditional cultural forms of expression onto the wide screen.

He adapted the korido Ang Ibong Adarna twice, in 1941 and 1955. He also did metrical romances such as Prinsipe Tenoso (1941) and Prinsipe Paris (1949). He popularized the use of swordplay in local films, and trained actors and stuntmen to master the skill. Prinsipe Paris introduced realistically choreographed eskrimahan in local filmdom, performed by the SOS Daredevils, a stunt group that Conde helped establish.

In 1950, Conde wrote, directed and starred in Siete Infantes de Lara, which critic Delfin Gamboa described as “the best made costume picture ever to come out of the talents of local directors and producers.”

His Ibong Adarna (1955) was the first Filipino film in color. Here, Conde pioneered in matte shots and background projections, which were innovative filmmaking techniques then.

Apart from Genghis Khan, Conde’s claim to fame comes through his satires that used a Filipino folk character, Juan Tamad. In such films as Si Juan Tamad (1947), Si Juan Daldal: Anak ni Juan Tamad (1947), Juan Tamad Goes to Congress (1959), Juan Tamad Goes to Society (1960), and Juan Tamad at Juan Masipag Sa Pulitikang Walang Hanggan (1963),

Conde points out—with delightful wit and folk humor—the idiosyncrasies and ills of his people and society.

His Juan Tamad films were made under his own outfit, Manuel Conde (MC) Productions, which he established so that he could do the movies he really wanted to do, but which major studios would not risk producing.

As part of his prize for winning the Philippine Movie Popularity Poll of The Philippines Herald-DMHM newspaper management, Conde went to the United States to “study the latest techniques in movie acting, directing and production.” After shuttling between the US, Europe and the Philippines for one and a half years, Conde came home and directed a string of hits for LVN Studio, thus branding him as the “box-office director.”

Both in his comedies directed for LVN, such as Pilipino Kustom—No Touch (1955), Ikaw Kasi (1955), Bahala Na (1956), Basta Ikaw (1957), as well as costume drama-action films that he directed for his own production outfit, Conde has extolled Filipino positive traditions and values, even as he criticized excesses.

His last work was the pre-Spanish episode, from Lapu-Lapu to Sulayman, in Tadhana: Ito Ang Lahing Pilipino (1977). In several of his works, he collaborated with National Artist Carlos “Botong” Francisco for production and costume designs.

He died on August 11, 1985, at the age of 70. In 1999, Conde was posthumously conferred the Parangal Sentenyal sa Sining at Kultura by the Cultural Center of the Philippines “for his sharp criticism of society’s excesses, for his innovative use of ethnic characters and traditions, and for setting up new concepts and trends in filmmaking in the Philippines.”

In 2008, Conde was awarded the Gawad CCP Para sa Sining by the CCP for “being a film director and producer who was proud to harness the rich Filipino cultural heritage in his works, who achieved social responsibility through his socially astute body of works.”

By revitalizing folk culture, depicting and critiquing Filipino customs and values, innovating on traditional genres, and bringing our films to the world, Conde’s contributions to Philippine cinema are distinct and everlasting.—From the Order of National Artists Secretariat

Above: A scene from Conde’s Genghis Khan (1950). Facing page: Manuel Conde in Juan Tamad Goes to Society (1960)

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Lazaro A. Francisco National Artist for Literature

Prize-winning writer Lazaro A. Francisco developed the social realist tradition in Philippine fiction. His eleven novels, now acknowledged classics of Philippine literature, embody the author’s commitment to nationalism.

Amadis Ma. Guerrero wrote: “Francisco championed the cause of the common man, specifically the oppressed peasants. His novels exposed the evils of tenancy system, the exploitation of farmers by unscrupulous landlords, and foreign domination.”

Teodoro Valencia also observed: “His pen dignifies the Filipino and accents all positives about the Filipino way of life. His writings have contributed much to the formation of a Filipino nationalism.”

National Artist and literary historian-critic Bienvenido Lumbera also wrote: “When history of the Filipino novel is written, Francisco is likely to occupy an eminent place in it. Already in Tagalog literature, he ranks among the finest novelists since the beginning of the 20th century. In addition to a deft hand at characterization, Francisco has a supple prose style responsive to the subtlest nuances of ideas and the sternest stuff of passions.”

Born on February 22, 1898, Francisco gained prominence as a writer not only for his social conscience but also for his “masterful handling of the Tagalog language” and “supple prose style.” With his literary output in Tagalog, he contributed to the enrichment of the Filipino language and literature for which he is a staunch advocate. He put an arm to his advocacy of Tagalog as a national language by establishing the Kapatiran ng mga Alagad ng Wikang Pilipino in 1958.

He published novels serialized in weekly magazines of national

circulation and uplifted the sensibilities of a wider Filipino readership. His novel Sa Paanan ng Krus, serialized in Liwayway in 1934, was the first Tagalog novel circulated nationwide, translated in four Philippine languages, and published in four sister weeklies. Moreover, many of his works have been adapted for stage and film in the 1930s. His other serialized novels include Sugat ng Alaala (1951, 1985); Ilaw sa Hilaga (1946 to 1947, 1997); Singsing na Pangkasal (1939 to 1940); Bago Lumubog ang Araw (1936); Ang Pamana ng Pulubi (1935); Cesar (1927); and Binhi at Bunga (1925, 1927).

In an age of commercial writing, Francisco remained a dedicated craftsman and a socially committed writer. Affirmation of the enduring value of his novels is the increasing attention to and appreciation of his works by contemporary intellectuals. There are some 20 serious reviews of his various works by significant literary scholars.

His reputation as the “master of Tagalog novel” is backed up by numerous awards he received for his meritorious novels in particular and for his contribution to Philippine literature and culture in general. His masterpieces—Ama (1929, 1997), Bayang Nagpatiwakal, Maganda Pa Ang Daigdig (1956, 1982), and Daluyong (1961, 1986)—affirm his eminent place in Philippine literature.

In 1977, he was honored by the University of the Philippines with a special convocation, where he was cited as the “foremost Filipino novelist of his generation” and “champion of the Filipino writer’s struggle for national identity.”

He died on June 17, 1980, at the age of 82.—From the Order of National Artists Secretariat

Above: Francisco’s Maganda Pa ang Daigdig, first serialized in 1955 in Liwayway and first published in book form by the Ateneo de Manila University Press in 1982.

Facing page: Lazaro A. Francisco /Photo courtesy of the Francisco family

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Cirilo F. Bautista National Artist for Literature

Born on July 9, 1941, Cirilo F. Bautista is a poet, fictionist and essayist with exceptional achievements and significant contributions to the development of the country’s literary art. He is acknowledged by peers and critics, and the nation at large as the foremost writer of his generation.

Throughout his career that spans more than four decades, he has established a reputation for fine and profound artistry; his books, lectures, poetry readings and creative writing workshops continue to influence his peers and generations of young writers.

His epic, Trilogy of Saint Lazarus, is an astounding visualization of Philippine history and nationhood, crucial in shaping the direction and character of Philippine poetics. In an essay on contemporary Philippine poetry, National Artist Bienvenido Lumbera wrote that this epic trilogy “drew its narrative material from the history starting from contact times and extending to contemporary times as these were lived by Filipinos.” The trilogy stands out as a monumental text that crowns Bautista’s literary career.

Other National Artists in literature place Bautista in a position of importance in the country’s literary hierarchy. In 1973, Jose Garcia Villa said: “Already, you write like a master: with genius in language and genius in imagination. No poet in contemporary America or Britain has your magnitude. Therefore, to salute you is my honor.” Nick Joaquin (1968) called Bautista “the long-needed breakaway from the lyric tradition that Villa created.”

Francisco Arcellana (1990) wrote: “What is it that sets your poetry apart? I think, now, I know: it’s the philosophy.” Edith Tiempo (2007), in nominating him National Artist, said: “I single out his great contribution toward our expanded sense of nationhood. His writings have done much to enhance the framework of Philippine nationalism be-

yond the narrow bounds of the traditional concepts of what is Filipino, and brought in a global inclusiveness that has set the Philippines as a vibrant member among the other nations of the world.” And F. Sionil Jose (2007) wrote: “I told Cirilo he should stop quoting Jose Garcia Villa’s approval of his work in the blurbs of his poetry books because he is much better as a poet than Villa himself.”

As a fine fictionist in both English and Filipino, his Galaw ng Asoge —first of his trilogy of novels—has received commendation. Landmark books tracing and illustrating the growth of his literary consciousness— The Bautista Reader and Reading Cirilo F. Bautista— further stress his importance as literary artist.

As a way of bringing poetry and fiction closer to the people who otherwise would not have the opportunity to develop their creative talent, Bautista has been holding regular funded and unfunded workshops throughout the country. In his campus lecture circuits, Bautista has updated students and student-writers on literary developments and techniques.

As a teacher of literature, Bautista realized that the classroom is an important training ground for Filipino writers. In De La Salle University, he was instrumental in the formation of the Bienvenido N. Santos Creative Writing Center. He was also the moving spirit behind the founding of the Philippine Literary Arts Council in 1981, the Iligan National Writers Workshop in 1993, and the Baguio Writers Group.

Thus, Bautista continues to contribute to the development of Philippine literature: as a writer through his significant body of works; as a teacher, through his discovery and encouragement of young writers in workshops and lectures; and as a critic, through his essays that provide insights into the craft of writing and correctives to misconceptions about the art.—From the Order of National Artists Secretariat

Above: Bautista’s Trilogy of Saint Lazarus (De La Salle University Press, 2001). Facing page: Cirilo F. Bautista at his home /Photo by Mervin Concepcion Vergara

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14 Agung • Number 2 • 2016

Francisco V. Coching National Artist for Visual Arts

Born on January 29, 1919, Francisco V. Coching, acknowledged as the “Dean of Filipino Illustrators,” and son of noted Tagalog novelist and comics illustrator Gregorio Coching, was a master storyteller—in images and in print. His illustrations and novels were products of that happy combination of fertile imagination, a love of storytelling, and fine draftsmanship. He synthesized images and stories informing Philippine folk and popular imagination of culture. His career spanned four decades.

Starting his career in 1934, he was a central force in the formation of the popular art form of comics. He was a part of the golden age of the Filipino comics in the 1950s and ‘60s. Until his early retirement in 1973, Coching mesmerized the comics-reading public as well as his fellow artists, cartoonists and writers. Filmmakers like National Artists Lamberto Javellana and Gerardo de Leon translated his novels into films.

He created a pantheon of memorable characters that from the 1950s onwards were fleshed out by the men and women of Philippine cinema who are now also icons in their own right: Gloria Romero, Fernando Poe Jr., Tita Duran, Pancho Magalona and Rita Gomez.

Writing about Coching, Alice Guillermo zeroes in on the specificities of comics as an art form, as premised on supple and fluid line, drawing, and on the narrative unfolded in sequences of framed images and accompanying balloon texts that do not interfere with the images.

What Coching brought to comics as a specific art form was his consummate draftsmanship and his strong yet elegant lines. Artists have noted his expertise in anatomy, perspective and dynamic compositions, coupled with unerring sense of the perfect angle, which lent drama that revealed character.

The impact of his art had not lessened with the mediation of the printing press of the comics medium, nor in the wake of other comics artists of more recent times. His comics arts also provided material for cinematic art. Such was his unerring feel for drama, the correct angle and the telling detail. It is believed that directors who translated his works into films shot their pictures with the comic book in hand, guided frame by frame by his actual work.

The stories he created are a universe that tapped into the well springs of Filipino imagination and emotion. It is, according to Guill-

ermo, a universe that lends itself well to the portrayal of metrical romance, heroic exploits and other interesting enchantments.

The source of his imagery can be traced to the Philippine culture from the 19th century to the 1960s. His works reflected the dynamics brought about by the racial and class conflict in Philippine colonial society in the 19th century, a theme that continued to be dealt with for a long time in Philippine cinema.

He valorized the indigenous, untrammeled Filipino in LapuLapu and Sagisag ng Lahing Pilipino, and created the types that affirm the native sense of self in his Malay heroes of stunning physique. His women are beautiful and gentle, but at the same time can be warrior-like, as in Marabini (Marahas na Binibini) or the strong seductive, modern women of his comics in the 1950s and 1960s.

There are also myths and fantasy, featuring the grotesque characters, vampire bats, shriveled witches as in Haring Ulupong. Yet, Coching grounded his works in the experience of war during the Japanese occupation. He was a guerilla of the Kamagong Unit, Las Piñas branch of the ROTC hunters in the Philippines.

He also drew from the popular post-war culture of the 1950s, as seen in Movie Fan. At this point, his settings and characters became more urbane, and the narratives he weaved scanned the changing times and mores, as in Pusakal, Talipandas, Gigolo and Maldita.

In his characters and storylines, Coching brought to popular consciousness the issues concerning race and identity. He also discussed in his works the concept of hero, which resonate through the characters on his comics like Dimasalang and El Vibora.

Coching’s works were anthologized in the Hannes Bok Showcase of Fantasy Art in 1974. Though offered a chance to practice his art in the United States, he preferred honing his talent in his native land. How works were the delight and inspirations of peers and mentors alike.

Coching, who died on September 1, 1998 at the age of 79, also left a lasting influence on the succeeding generations of younger cartoonist such as Larry Alcala, Ben Infante and Nestor Redondo. The comics as popular art also helped forge the practice and consciousness as a national language. —From the Order of National Artists Secretariat

Above: Sabas, Ang Barbaro, an adventure komiks novel written and illustrated by Coching and serialized in Pilipino Komiks in 1952. Facing page: Francisco V. Coching at 70 /Photo from the book The Life and Art of Francisco Coching, Vibal Foundation

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16 Agung • Number 2 • 2016

Francisco F. Feliciano National Artist for Music

Born on February 19, 1941, Francisco Feliciano’s corpus of creative work attests to the exceptional talent of the Filipino as an artist.

His lifetime conscientiousness in bringing out the “Asianness” in his music, whether as a composer, conductor or educator, has contributed to bringing the awareness of people all over the world to view the Asian culture as a rich source of inspiration and a celebration of our ethnicity, particularly the Philippines.

He has brought out the unique sounds of our indigenous music in compositions that have high technical demands equal to the compositions of masters in the western world.

By his numerous creative outputs, he has elevated the Filipino artistry into one that is highly esteemed by the people all over the world.

Many of his choral compositions have been performed by the best choirs in the country such as the world renowned Philippine Madrigal Singers, UST Singers and the Novo Concertante Manila, and have won for them numerous awards in international choral competitions.

The technical requirement of his choral pieces are almost at the tip of the scale that many who listen to their rendition are awed, especially because he incorporates the many subtleties of rhythmic vitality and intricate interweaving of lines inspired from the songs of our indigenous groups.

He not only borrows these musical lines, albeit he quotes them and transforms them into completely energetic fusions of sound and culture that does nothing less than celebrate our various ethnicities.

His operas and orchestral works also showcase the masterful treatment of a musical language that is unique and carries with it a contemporary style that allows for the use of modal scales, Feliciano’s preferred tonality. The influence of bringing out the indigenous culture, particularly in sound, is strongly evident in La Loba Negra, Ashen Wings and Yerma.

In his modest hymns, Feliciano was able to bring out the Filipino mysticism in the simple harmonies that is able to captivate and charm

his audiences. It is his matchless genius in choosing to state his ideas in their simplest state but producing a haunting and long-lasting impact on the listening soul that makes his music extraordinary.

Feliciano’s philosophy in music is multiplied through his lifelong mission of propagating a new language for religious music, more realistically fulfilled by his numerous students at the Asian Institute for Liturgy and Music (AILM), which he founded in 1981. Many of the churches in the neighboring Asian countries have seen a renewed worship repertoire because of his strong influence among those who have come to AILM to study.

Because of his tireless dedication to educating many Filipinos and other Asian students to embrace their indigenous cultures, particularly their traditional music, rituals and dances, and showcase them in their compositions, Feliciano has earned the respect of many esteemed musicians and church leaders around the world. Many of his students have established music schools and institutions in their respective countries and continue to propagate the seeds implanted in them at the AILM. As performer, Feliciano has also brought the Philippines at par with the rest of the European and American worlds. He has been invited to conduct the major orchestras of Europe and America, most especially in Asia, and this is a strong indication that his conducting abilities have been highly respected by his western counterparts. His nationalism is highly evident in all these endeavors because he would insist to always include at least one Filipino composition in his program. Feliciano is convinced that when Filipino compositions are done well, in terms of composition and performance, they can stand at par with their western counterparts.

He died on September 19, 2014. —From the Order of National Artists Secretariat

Above: Feliciano conducting the Philippine Philharmonic Orchestra. Facing page: Francisco Feliciano /Photo courtesy of the Feliciano family

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Alice G. Reyes National Artist for Dance

Alice Reyes is the founder of Ballet Philippines, which in its 43 years of existence, is still the strongest ballet company in the country.

This she propagated under the Summer Dance Workshop of the Cultural Center of the Philippines, which was established in 1970, within the year that the CCP was inaugurated and became an institution in itself, as it had through decades beckoned dance students from all over the country, nurturing many of these students into dancers, choreographers and teachers for several generations.

Born on October 14, 1942, Reyes was already a renowned figure in the dance scene from as early as fourteen years of age, when she and her dad had a famous partnership at the Bayanihan Philippines (now National) Folk Dance Company. After graduating from Maryknoll College with a bachelor’s degree in History and Foreign Affairs, she won a scholarship to pursue a master’s degree in Fine Arts, majoring in Dance, at Sarah Lawrence College.

Visiting home after college graduation, she independently set up a concert, titled “Alice Reyes + Modern Dance Concert,” to showcase the choreographies she created in the United States. Seeing the potential with the newly inaugurated CCP, she proposed to direct a resident dance company and school, which are today Ballet Philippines and the CCP Dance School, respectively.

Ballet Philippines began as Alice Reyes + Modern Dance Company, then later renamed to CCP Dance Company, before it was renamed again to Ballet Philippines to show how the company encompassed the art form and was representative not only of the CCP, as implied by the name CCP Dance Company, but the whole of the Philippines.

The repertoire of the company was programmed and developed by Reyes, who sought to balance ballet classics, to showcase the capability of our homegrown dancers as world-class performers, with original Filipino choreographies.

She collaborated with Filipino artists from other genres in various programs of the CCP such as the Philippine Music Festival, and works of total theater such as Tales of the Manuvu, Bayanihan Remembered, and Rama, Hari. At the most recent staging of Rama, Hari in November 2012, Reyes was back at the CCP to oversee the restaging, but more importantly to guide the new generation of dancers to perform a work that was created thirty years before.

Alice Reyes performed in many of the works she staged in the early years of the CCP Dance Company, and her photos performing the title roles in her own Amada and Itim Asu have become iconic.

The Philippine Music Festivals promoted the creation of original Filipino works and featured collaborations between local music com-

posers, including Jose Maceda, Ramon Santos, Rodolfo Cornejo, Eliseo Pajaro and Antonino Buenaventura, and the local choreographers that Reyes nurtured and mentored in her company. From the Philippine Music Festivals came now legendary works such as Gener Caringal’s Ang Sultan to the music by Lucresia Kasilag, and Reyes’s own works such as Bungkos Suite, Dugso and Anting Anting.

Alice Reyes relied on her co-founder Eddie Elejar to train their dancers in classical ballet, but did her best to invite world class ballet masters to teach for periods at the CCP, including Mikhail Kukharev, Kenneth Gillespie, Alfred Rodriguez, Armind Wild, Luminita Dumitrescu, and most importantly, William Morgan who was to be ballet master for several years and honed Ballet Philippines to become one of the best ballet companies in Asia. These invitations to foreign artists, she was able to achieve through tireless applications for grants from embassies and other cultural agencies.

Reyes programmed her company’s seasons to include a Christmas ballet, starting the Philippine tradition for families to come to the ballet as part of their holiday activities. She choreographed Cinderella and commissioned several Nutcrackers, a Prince of the Pagodas, a short version of The Sleeping Beauty, a Peter Pan and an Alice in Wonderland, and even a Filipino-themed ballet, Tony Fabella’s Noche Buena.

To push the world-class quality of her ballet company, she invited foreign guest stars to perform with the company, most notably prima ballerina Natalia Makarova in a 1979 Giselle, but also Fernando Bujones, Yoko Morishita, Patrick Bissell, Eleanor D’Antuono, among others. She also invited foreign choreographers not just to mount works on the company, but also to help develop the talents and skills of the potential choreographers among her company dancers. Most helpful in this respect was Norman Walker.

Reyes established the off-season show, titled Five Young Choreographers, to further encourage her choreographers, producing works that eventually entered the company’s repertoire notably from Edna Vida and Gener Caringal. She guided Vida in her ascension to artistic associate, Caringal in his appointment as director of the junior CCP Dance Company, and Denisa Reyes who succeeded her as artistic director in 1991.

Setting a solid foundation that would allow the resilience of 40 years of existence, Ballet Philippines owes its present successes to its founder, Alice Reyes, who contributes to motivate and inspire generations of dancers, dance makers, dance audiences in the Philippines.— From the Order of National Artists Secretariat

Above: Alice Reyes in Itim-Asu, November 1970 /Photo by Rudy Vidad. Facing page: Alice Reyes /Photo by Kai Huang for High Life magazine

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20 Agung • Number 2 • 2016

Ramon P. Santos National Artist for Music

Born on February 25, 1941, Ramon Pagayon Santos, composer, conductor and musicologist, is currently the country’s foremost exponent of contemporary Filipino music. A prime figure in the second generation of Filipino composers in the modern idiom, Santos has contributed greatly to the quest for new directions in music, taking as basis non-Western traditions in the Philippines and Southeast Asia.

He graduated in 1965 from the University of the Philippines’ College of Music with a teacher’s diploma and a bachelor of music degree in both Composition and Conducting. Higher studies in the United States under a Fulbright Scholarship at Indiana University (for a master’s degree, 1968) and at the State University of New York at Buffalo (for a doctorate, 1972) exposed him to the world of contemporary and avant-garde musical idioms: the rigorous processes of serialism, electronic and contemporary music, indeterminacy, and new vocal and improvisational techniques. He received further training in New Music in Darmstadt, Germany, and in Utrecht, the Netherlands.

His initial interest in Mahler and Debussy while still a student at UP waned as his compositional style shifted to Neo Classicism, and finally to a distinct merging of the varied influences that he had assimilated abroad.

His return to the Philippines marked a new path in his style. After immersing himself in indigenous Philippine and Asian (Javanese music and dance, Chinese nan kuan music) musics, he became more interested in open-ended structures of time and space, function as a compositional concept, environmental works, non-conventional instruments, the dialectics of control and non-control, and the incorporation of natural forces in the execution of sound-creating tasks.

All these would lead to the forging of a new alternative musical language founded on a profound understanding and a thriving and sensitive awareness of Asian music aesthetics and culture.

Simultaneous with this was a reverting to more orthodox performance modes: chamber works and multimedia works for dance and theater. “Panaghoy” (1984), for reader, voices, gongs and bass drum, on the poetry of Benigno Aquino Jr., was a powerful musical discourse on the fallen leader’s assassination in 1983, which subsequently brought on the victorious People Power uprising in 1986.

An active musicologist, Santos’s interest in traditional music cultures was heretofore realized in 1976 by embarking on field work to collect and document music from folk religious groups in Quezon. He has also done research and field work among the Ibaloi of northern Luzon. His ethnomusicological orientation has but richly enhanced his compositional outlook.

Embedded in the works of this period are the people-specific concepts central to the ethnomusicological discipline, the translation of indigenous musical systems into modern musical discourse, and the marriage of Western and non-Western sound.

An intense and avid pedagogue, Santos, as chair of the Department of Composition and Theory (formerly, as dean) of the College of Music, UP, has remained instrumental in espousing a modern Philippine music rooted in old Asian practices and life concepts.

With generation upon generation of students and teachers that have come under his wing, he continues to shape a legacy of modernity anchored on the values of traditional Asian music. —From the Order of National Artists Secretariat

Above: Santos conducting in Tagum City. Facing page: Ramon Santos

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22 Agung • Number 2 • 2016

Jose Maria V. Zaragoza National Artist for Architecture

Jose Maria Velez Zaragoza’s place in the Philippine architecture history is defined by a significant body of modern edifices that address spiritual and secular requirements. Zaragoza’s name is synonymous to modern ecclesiastical architecture. Notwithstanding his affinity to liturgical structures, he greatly excelled in secular works: 36 office buildings, four hotels, two hospitals, five low-cost and middle-income housing projects, and more than 270 residences—all demonstrating his typological versatility and his mastery of modernist architectural vocabulary.

Born on December 6, 1912, Zaragoza graduated from the University of Santo Tomas in Manila in 1936, passing the licensure examinations in 1938 to become the 82nd architect of the Philippines. With growing interest in specializing in religious architecture, Zaragoza also studied at the International Institute of Liturgical Art (IILA) in Rome in the late 1950s, where he obtained a diploma in liturgical art and architecture. His training in Rome resulted in innovative approaches, setting new standards for the design of mid-century Catholic churches in the Philippines.

His prolificacy in designing religious edifices was reflected in his body of works that was predominated by about 45 churches and religious centers including the Santo Domingo Church, Our Lady of Rosary in Tala, Don Bosco Church, the Convent of the Pink Sisters, the San Beda Convent, Villa San Miguel, Pius XII Center, the Union Church and the controversial restoration of the Quiapo Church, among others.

His postwar commission, the Holy Rosary Church (1950) at Tala, demonstrates his skill at architectural improvisation. Amidst postwar shortage of building materials, he was able to ingeniously refunction Quonset roof donated by the Americans from the Clark Air Base as a focal feature in this modern house of worship.

His reputation as designer architecture for worship reached its pinnacle in 1954 when he designed the plans and supervised the construction of Santo Domingo Church in Quezon City. Unlike his contemporaries who looked towards the United States for inspiration, Zaragoza found his in Europe and Latin America. That influence set him apart.

Turning away from baroque ornamentation of precedent churches, the Santo Domingo Church exploited the frankness of concrete using a modern unornamented rendition of the Hispanic Mission Revival.

His designs for residential architecture in 1950s and 1960s developed an identifiable visual framework that fused into co-existence the nostalgic neo-Castilian style and the Wrightian functionality. This created a new stylistic prototype that paid homage to the Philippine Hispanic ancestry and yet modern in essence. This stylistic fusion is best illustrated in Zaragoza’s Casino Espanol de Manila (1951), featuring a series of interior courtyards framed with arcaded loggias, arched door and window openings. Terracotta tiles frame the edges of low-pitched roofs. Heavily varnished wooden beams support sloping interior ceilings. In the rooms are red cement title floors and plain painted concrete walls.

In 1960, the world-renowned Brazilian architects Oscar Niemeyer and Lucio Costa invited Zaragoza to be among the guest architects participating in the massive project of designing Brasilia, the new capital for Brazil. This Latin American exposure added a new flair in his modern repertoire that hinted towards the tropicalization of the international style.

His endeavor to tropicalize modern architectural design assumed an expedient transformative intervention that coincided with the process of liberating oneself from the political and taste-dictates of former colonial masters. This was attained by transforming the imported vocabularies of modern architecture in accordance within the context of tropical and cultural environment.

His post-Brazil work, notably the Meralco Building along Ortigas Avenue and the Philbanking Building in Port Area, demonstrate the remarkable use of the brise soleil not just as a device to modulate the tropical heat and glare, but also as an expressive and sculptural element to nullify the sterility and anonymity of the international style.

The Philippine Banking Corporation (1968) was an L-shaped building located at the corner lot along Ayala Avenue. The exterior of the building was entirely covered by egg-crate type sun baffles, except the mezzanine which was protected by vertical louvers.

His 14-storey Meralco Building (1968) earned distinction as the first building to rise along Ortigas Avenue.

The most prominent feature of the Meralco building was the series of tapering mullions that defines the façade.

The vertical sun breaker with a slight curvature was conceived not only for decorative purpose but also for the deflection of light and sound. The ends of the building were emphasized by two massive marble-surfaced walls splayed at an angle.

His work later gravitated towards the biomorphic forms popularized by South America. These works exploited the plasticity of concrete to generate organic and sculptural designs as evidenced in the Commercial Bank and Trust Company Building in Escolta, Manila (1969), Virra Mall in Greenhills (1975), Union Church in Makati (built in 1975, now demolished), Saint John Bosco Church in Makati (1977), and Our Lady of the Miraculous Medal Shrine in Sucat, Paranaque (1979).

Evocative of Niemeyer’s cathedral in Brasilia, Zaragoza capped the Union Church with a crown of monolithic concrete folded plates.

Here, Zaragoza departed from the traditional cruciform plan of churches to adapt a radial configuration. The Commercial Bank and Trust Company Building and Virra Mall were his visions of futuristic design and an interpretation of space-age aesthetics.

Zaragoza, who died on November 26, 1994 at the age of 82, was a pillar of modern architecture in the Philippines, buttressed by a half-century career that produced ecclesiastical edifices and structures of modernity in the service of God and humanity. —From the Order of National Artists Secretariat

Above: The Minor Basilica of the Black Nazarene in Quiapo, Manila, for which José Maria V. Zaragoza designed the expansion in 1984. /Photo by Roel Hoang Manipon.

Facing page: Jose Maria V. Zaragoza /Photo by Erwin Obcemea (from the book Jose Maria V. Zaragoza: Architecture for God, for Man, ArtPostAsia, Inc., 2004)

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24 Agung • Number 2 • 2016

T

he seventeenth branch of Sento Rizal, a cultural office under the NCCA, was formally inaugurated at the Chancery of the Embassy of the Republic of the Philippines in Seoul, Korea, on March 6, 2016. NCCA chairperson Felipe M. de Leon, Jr. and Philippine ambassador to South Korea Raul Hernandez led the inauguration.

In his welcome remarks, Hernandez noted the importance of cultural awareness in strengthening diplomatic relations among nations.

“Culture is an extension of a human expression through which our respective heritage and identity can be experienced, interpreted and understood. It is primarily for these reasons that the Philippine Embassy has always placed cultural diplomacy high above the hierarchy of its priorities

Ambassador Raul Hernandez and NCCA chairman Felipe M. de Leon, Jr. at the opening of Sentro Rizal Korea. /Photo by Maria Shaina Santiago

Seventeenth Sentro Rizal Opens in Seoul, South Korea and one of the thrusts of our cultural diplomacy efforts,” he said.

The ambassador also stressed the relevance of Sentro Rizal Korea in building the image of the Philippines as a nation in Korea and its assistance to their advocacy of educating Filipino-Korean children.

Aside from the inauguration, De Leon conducted a lecture on Filipino identity

for students, teachers and members of the Filipino community in Korea. The films Heneral Luna and Bonifacio, Ang Unang Pangulo were also screened for an audience of over 200 at the Lee Byung Hyung Hall at the War Memorial of Korea.

There was also a courtesy meeting between De Leon and Vice Minister Chung Kwanjoo of the Ministry of Cul-

ture, Sports, and Tourism to highlight the strengthened bilateral cultural relations and a desire to elevate cultural cooperation between both countries.

For more details on the services and projects of the Sentro Rizal, contact Maria Shaina Santiago of the Sentro Rizal main office through numbers (+63 2) 527-2192 local 605 or email sentrorizal@gmail.com.

Students, teachers and members of the Filipino community in Korea as well as NCCA and Philippine embassy officials at the showing of Heneral Luna. /Photo by Maria Shaina Santiago

2016 • Number 2 • Agung 25

NCCA Celebrates 29th Anniversary NCCA Secretariat employees with guests and NCCA officials pose for a group photo after the anniversary program at the CCP /Photo by Marvin Alcaraz

T

he NCCA Secretariat celebrated the 29th anniversary of the NCCA with “Alab NCCA: An Evening of Recognition and Showcase of Talents” on April 28, 2016, at the Tanghalang Aurelio Tolentino of the Cultural Center of the Philippines.

The highlight of the program was the awarding of employees for their length of service and exemplary achievements. The Tipong Pinoy awards were bestowed on Elizabeth B. Cabaya, Edmarie I. Bun-as and Roman L. Encina while the Career and Self Development awards were bestowed to Miller C. Lopez, Argentina B. Cavalida-Guiposposa and Angeliza Z. Olaya. A Special Achievement Award was given to Manolito D. Lladoc.

Gantimpala Agad honoree was the Public Affairs and Information Office, while the Employee of the Year was Kathleen F. Cruzat. A Special Citation for Outstanding Work Performance was given to Sharry B. Talens while the Perfect Attendance of the Year award was given to

Abdulnasser M. Kali. Room 6-B (PMED), Room 5-A (SSCTA, SB, SCD and Special Pojects) and Room 4-D (GAA) were hailed the Three Most Orderly and Cleanest Rooms of the Year. Deputy executive director Marichu G. Tellano was hailed Leader of the Year.

Service awards or Gawad Paglilingkod were also given out. The Five-Year Service awardees included Leihdee Anne M. Cabrera, Rosavilla D. Mananes, Mylene F. Yap, Joel R. Templo, Jr., Angelina R. Carillo, Joseph Patrick V. Lee, Dinalyn F. de Luna, Mark Gregor P. dela Cruz, and Catherine S. Santros. The Ten-Year Service awardees were Sherwin Pangan and Rene S. Napenas.

The Fifteen-Year Service awardees included Urbana B. Cadiz, Corinnah Anne C. Olazo, while Nemelyn G. Galan, Gregorio Glenn R. Ababat, Abdulnasser M. Kali, Cynthia R. Sandoval, Manolito D. Lladoc, Monica C. Flaviano, Percival B. Tumlos, Hernane Tumlos, Alvin C. Sonie-

ga and Juan M. Mendoza were honored for their 20 years of service.

Loyalty or Gawad Katapatan awardees were Dolores A. Damaso (25 years); Herencio Y. Llapitan, Renee C. Talavera and Abdulnasser M. Kali (20 years); NCCA OIC-executive director Adelina M. Suemith (15 years); and Corinnah Anne C. Olazo and Marites B. Pitalbo (10 years).

The recognition night featured performances by Chino Gutierrez, Greg Zuniega, the Philippine Opera Company, Triple Fret and Ligaya Fernando-Amilbangsa. Also a highlight was the awarding of the CNA from Noel V. Salumbides, Director II of Civil Service Commission’s OP-Field Office. The event was graced by NCCA chairman Felipe M. de Leon Jr., NCCA deputy executive director Marichu G. Tellano, Noel V. Salumbides and Assistant Secretary Eddie M. Nuque from the Office of the Executive Secretary, Malacanan Palace.

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W

riters, artists, scholars, students, teachers, officials of different cultural agencies and local government officials gathered early morning of April 2, 2016, in Orion, Bataan, to pay tribute to Francisco “Balagtas” Baltazar and lay flowers at the recently installed monument by the shore of the barangay of Wawa.

It was the 228th birth anniversary of the 19th century poet, considered the greatest poet in the Tagalog language, and most likely the greatest in the entire Philippines.

The celebration, which carried the theme “Si Balagtas at ang Manlilikhang Filipino” (Balagtas and the Filipino Creator), also consisted of a youth camp from April 1 to 3 called Kampo Balagtas, where select student-writers were gathered in Orion, where Balagtas spent a substantial part of his life, and the honoring of writers as well as served as opening of the second celebration of Buwan ng Panitikan ng Filipinas or National Literature Month.

“Unang-una, nais nating gunitain ang kapanganakan ni Francisco ‘Balagtas’ Baltazar. Ikalawa, ito ang pagdiriwang ng Buwan ng Panitikan. Magkaugnay ‘yung dalawang ‘yan. Kaya natin pinili na gawin sa Abril ang Buwan ng Pantikan ay dahil ito rin ang buwan ng kapanganakan ni Balagtas na ipinapalagay natin na pinakadakilang manunulat ng Filipinas noong panahon ng Kastila bago magkaroon ng rebolusyon,” explained Virgilio Almario, National Artist for literature and chairman of the Komisyon sa Wikang Filipino (KWF), who led in the Balagtas Day celebration and is instrumental in the institutionalization of National Literature Month.

The monument, which was created by sculptor Julie Lluch and was installed only last year, sits in a garden, which is still in progress, and faces the Manila Bay. Nearby, a library had just opened, where children gathered for a story-telling session. Almario envisions the place as a place for inspiration and the pursuit of knowledge and creativity, aside from serving as a reminder of the greatness of Balagtas, which has lagged behind revolutionary patriots and politicians in terms of recognition and remembrance.

“Ginawa natin ito hindi lamang para muling basahin si Balagtas. Binabasa naman sa iskul ang kanyang mga akda.

Pero nais nating ipaggunita sa mga tao na hindi karaniwang manunulat si Balagtas.

An Enduring a Heroism National Artist Virgilio Almario on

Ang kanyang Florante at Laura ay hindi karaniwang awit or metrical romance. Itong Florante at Laura ay naging popular at binasa kahit ng mga Espanyol at intelektuwal.

Noong panahon na ‘yun, ang tinatawag na awit at korido ay ang katumbas ng popular literature ngayon. Binabasa lamang ito ng masa, katulad ngayon na mayroong babasahin na naiiba ang masa kesa sa babasahin na binabasa ng mga edukado,” Almario further said.

The National Artist expounded more on Balagtas:

The Importance of Balagtas “‘Yung akda ni Balagtas, kahit naging popular at binabasa ng masa ay binasa rin ng mga edukado. Kahit mga Espanyol nga, nagbigay ng komentaryo. Sinasabi ng ibang mga Espanyol na wala kang mababasa na mabuting panitikan noong panahon na ‘yun kundi ‘yung sinulat lang ni Balagtas.

“Si Rizal ang isa sa nagsabi na kung may dapat lingunin na manunulat bago ang kanilang panahon, ang manunulat na iyon ay si Balagtas. Hindi man niya deretsong sinabi ‘yun, ipinahiwatig niya ito sa iba’t ibang paraan. Una, sa Noli Me Tangere, ‘pag binasa mong mabuti, ang narrative ay tulad ng Florante at Laura.

“Sa loob ng Noli, makakakita kayo ng mga sipi or quotations mula sa Florante at Laura na pinasok ni Rizal sa kanyang aklat, bukod sa deretso na sinabi ito ni Pilosopo Tacio, na tinuturing na spokesman ni Rizal dahil siya ang pinakamatalinong karakter sa Noli. Dapat mong basahing mabuti si Balagtas, sabi niya kay Ibarra, dahil si Balagtas ay makata at pilosopo. Biruin mo ‘yun, sinabi ng pinakapilosopo na si Balagtas ay makata at pilosopo.

“Ang pagtatangi kay Balagtas ay dahil sa iba’t ibang rason. Unang-una, sa pagsulat ng awit at korido. Sa aking pag-aaral, pinakamakinis ang pagkakasulat ng Florante at Laura. Maraming lumabas noon

na awit at korido. Sabi ni Dr. Damiana Eugenio na iskolar ng metrical romance, more than 200 titles ang lumabas during the Spanish period pero ang naging pinakakatangi-tangi ay ang Florante at Laura.

“Ikalawa, para kina Rizal, itinatangi ang Florante dahil sa kabuluhang pampulitika nito. Sa kauna-unahang pagkakataon, may isang literary work na nagbigay ng mga pahayag tungkol sa katotohanan ng buhay sa Filipinas noong panahon ng Kastila. Sa umpisa, ‘Sa loob at labas ng bayan kong sawi.’ Lagi nating sina-cite, ‘yung unang statement ni Florante: ‘Sa loob at labas ng bayan kong sawi/kaliluha’y siyang nangyayaring hari.’ Ang buong part na iyon ay paglalarawan, simbolikong paglalawaran ni Balagtas tungkol sa kalagayan ng bayan sa ilalim ng mga Espanyol.

“Si Rizal, ang kanyang pagtatangi kay Balagtas ay hindi lang bilang mahusay na manunulat ngunit bilang ninuno niya sa kanyang pagsusuri sa kalagayang pampulitikal ng bayan.

“Ganoon din si Andres Bonifacio. Si Bonifacio mismo ay isa ring makata. At kapag tumula si Bonifacio, maraming phrases na ginagamit niya na galing sa Florante at Laura.

“Ang isa sa may pinakamabigat na pagtatangi ay si Apolinario Mabini. Bakit?

Ano’ng ginawa ni Mabini noong wala siyang magawa sa Guam habang siya ay naka-exile doon? Ipinagmalaki niya sa pinunong Amerikano roon sa kanilang kampo kung ano ang pinakamahusay na akda sa Filipinas. At itinanong ng Amerikano kung nasaan na iyon. Kaya ang ginawa ni Mabini, isinulat niya from memory ang Florante at Laura. Sa aking pagsusuri, ‘yung sinulat niya na Florante at Laura ay halos perpekto na kamukha ng existing edition noong panahon ng Kastila. Ganoon kalaki ang pagpapahalaga niya.

“Noon naman talaga minimemorize ang awit at korido. Kinakanta ‘yan ng mga

2016 • Number 2 • Agung 27

g Legacy, in Creativity Francisco “Balagtas” Baltazar karaniwang tao. Pero bihira ‘yung nakakamemorize nang buo. Kumukuha lang sila ng mga passages at ‘yun ang inaawit sa pagtatrabaho. Pero si Mabini, minemorize niya ang buong Florante at Laura. Kayo nga, walang mamemorize kahit isang stanza; may mga favorite passages lang.”

On His Heroism “Kaya natin kinakampanya na mailagay sa dambana ng mga bayani [si Balagtas], napatunayan na ‘yung kanyang mga akda ay maikukumpara sa akda nina Shakespeare, Cervantes at Dante na patuloy na binabasa sa labas ng kanilang panahon.

“Si Balagtas ay patuloy na binabasa sa loob ng almost two centuries. Hanggang ngayon, kinakakitaan ng relevance ‘yung kanyang sinulat. Noong panahon ng feminism, feminist si Florida. Kung naghahanap ng example na pinapakita na mabuti ang Muslim at hindi salbahe, nandiyan si Aladdin.

Maraming issue na maaaring mapulot kay Balagtas na relevant sa kasalukuyan.

“Ngunit ang gusto namin ay makilala ng tao, lalo ng gobyerno, na napakahalaga ng kultura.

Napakahalaga ng panitikan. Kung tutuusin, kung paano mag-isip ang tao sa kasalukuyan ay epekto ng kultura na kanilang kinamihasnan. Kung masama ang kulturang kinamihasnan, ganoon ang nangyayari sa atin ngayon, masama ang uri ng pag-iisip, ni hindi tayo marunong ng matalinong pagboto. Dahil hindi tayo natuturuan ng matalinong pagboto ng ating kultura.

“Wala tayong bayani na kakatawan sa kultura. Ang mga bayani natin laging mga martir, namatay sa kagitingan, ginarote at binaril, mga heneral, statesmen, mga pangulo. Walang bayani na dinadakila dahil may talino siya at ginamit niya nang mabuti ang katalinuhan na lumikha ng bagay na kahanga-hanga. Wala tayong ganoon.

“Sa aking palagay, kung gusto nating bigyan ng diin ang halaga ng kultura sa lipunan, hindi ekonomiya o politika lang, mahalaga ito sa pag-iisip at paggagawa ng programang pang-gobyerno.

Kung magkakaroon ng bayani na nagmula sa kultura, hindi sa politika, ekonomiya at relihiyon, ang pinakaunang maikakandidato natin ay si Balagtas.”

28 Agung • Number 2 • 2016

The Kampo Balagtas 2016

A library was inaugurated at the Hardin ni Balagtas during the commemorative event

On Balagtas Scholarship and the Filipino Language “Marami tayong itinutuwid tungkol sa buhay ni Balagtas. Nagaanyaya tayo ng higit na matalinong paraan ng pagbasa ng Florante at Laura. Hindi na namin masyadong ini-emphasize ‘yung basta kahit ano na lang na klase ng pagsusuri kay Balagtas. Gusto namin ngayon na ang mismong pagususuri kay Balagtas ay maging halimbawa ng matalino at siyentipikong paraan ng paggamit ng wikang Filipino.

“Gusto natin na ang wikang ginagamit sa pagsusuri ay maging wika ng karunungan, wikang matalino. Hindi wikang ginagamit lang sa tsismisan. Wikang magagamit sa seryosong pag-uusap at diskurso. Wikang magagamit sa pag-aaral ng agham at matematika. Para magamit ang wika sa paglikha at imbensyon. Sa ngayon, walang mahuhusay na inventor sa bansa. Nagpapakadalubhasa muna sa Ingles bago umimbento. Maraming panahon ang nauubos para lang matutunan ang Ingles. Kung madali ang wikang ginagamit, mas maraming oras na magugugol sa pag-iisip para sa kailangang imbensyon sa panahon natin ngayon.

“Kaya si Balagtas, hindi lamang natin siya itinuturing na magaling na manunulat, kundi ginamit niya ang wika para mag-express ng makabuluhang bagay noong panahon ng Kastila. Gusto naman natin na ang wika ngayon ang makapag-express ng makabuluhang bagay para sa ating panahon.” — Text and photos by Roel Hoang Manipon

A story-telling session at the newly-opened library

Organized by the Komisyon sa Wikang Filipino (KWF), the Kampo Balagtas was held from April 1 to 3, 2016, at the Orion Elementary School in Orion, Bataan.

It was participated in by student-writers from different regions of the Philippines, with the aim of honing their writing through lectures, workshops and discussions.

KWF chairman Virgilio Almario said, “Simula ngayong taon, nais naming ilagay sa kasaysayan na ang Kampo Balagtas ay isang pagtitipon ng mga kabataang manunulat sa hay-iskul, may workshop at seminar para sa pagsulat, at inaalay natin kay Balagtas. Nais din naming isulong ang deklarasyon kay Balagtas bilang bayani dahil wala tayong bayaning manunulat at cultural worker…Kapag pinagaralan ang kasaysayan ng panitikan sa loob ng 300 taong pananakop ng Espanyol, nagsulong ng isang himagsik pampanitikan ang Florante at Laura ni Balagtas.”

The facilitators included poet and screenwriter Jerry B. Gracio and fictionist Dr. Edgar Calabia Samar. The participants came from such palces as Eastern Samar; Navotas City; San Pablo City, Laguna; Borongan, Samar; Quezon City; Alangalang, Leyte; Los Baños, Laguna; Zamboanga City; Bautista, Pangasinan); Agno, Pangasinan; Iloilo; and Cauayan, Isabela On April 2, the winners of the poetry competition Talaang Ginto were recognized including Levine Andro H. Lao (third prize), Adelma L. Salvador (second prize) and Mark Anthony S. Angeles, who was declared Makata ng Taon 2016. Jose F. Lacaba received Dangal ni Balagtas 2016 for his contribution to literature.

Poet Jerry Gracio conducting a lecture on poetry

2016 • Number 2 • Agung 29

Traveling by the Page

Charting Passions through a Short Tour of Filipino Bookstores in Metro Manila and Northern Luzon

By Maria Glaiza Lee

A

s part of the National Literature Month celebration, the Pinoy Bookstore Tour (PBST), organized by the National Book Development Board, in partnership with the NCCA and Komisyon sa Wikang Filipino (KWF), was held from April 8 to 10, 2016.

The tour featured six independent bookstores located within and north of Metro Manila, selected for their significant collections of books by Filipino authors and publishers. Among them, the quaint Solidaridad Bookstore, located along Padre Faura Street in Ermita Manila, stands out for its prominent display of Filipino titles on its windows and for carrying many

works by Filipino authors.

The visit at Solidaridad commenced with a short talk by its owner, National Artist for literature F. Sionil Jose. Manong Frankie recalled how he and his wife Tessie established the bookstore. In the 1960s, he was working as an information officer for the Colombo Plan in Sri Lanka but she found the work boring. At the same time, he was receiving an annual grant from the Congress for Cultural Freedom of the United States to create Solidarity, a journal for the arts and humanities of Southeast Asia.

That was when establishing a publishing house crossed his mind.

When he returned to the Philippines,

he began searching for an office space for the planned publishing house. His fatherin-law suggested the old family house in Ermita, but Manong Frankie found it too big.

It was then that his wife Tessie proposed a bookstore. Solidaridad opened its door in June 1965. In the same year, they published their first journal, Carlos P. Romulo’s Identity and Change: Toward a National Definition.

When asked about running the bookshop, Manong Frankie admitted that they would have already closed the bookstore if they don’t own the building.

“Rent is high,” he quipped, adding that “selling books is bad business. Nobody buys

We are still here because we love books...

There is nothing like holding a book.

— F. Sionil Jose, National Artist for literature

Uno Morato bookstore in Quezon City /Photo by Cherry Malvar

30 Agung • Number 2 • 2016 books anymore, unless they are textbooks.”

But he mentioned a study that showed that people who read printed books retain words and stories better than those who read digital files. There is another study showing that people who read fiction are more likely to become better executives.

“Because reading fiction helps you understand human beings,” said Manong Frankie.

Lively literary conversations with authors Nikki Alfar, Kilates and Jack John Wigley followed at the table where prominent personalities, such as Nobel laureates Mario Vargas Llosa of Peru, Wole Soyinka of Nigeria and Günter Grass of German, once upon a time sat and engaged in intellectual discussions with the National Artist.

Next stop was the artbooks.ph in Mandaluyong City. It is managed by Pioneer Studios, a company of artists dedicated to the promotion of Philippine arts and culture. According to owner, artist Ringo Bunoan, it is perhaps the only bookstore in Manila that focuses on Philippine art. On display are titles on visual arts, architecture, film and photography, performance arts such as theater, dance and music, cultural heritage and history, among others.

They also have new, previously-owned and out-of-print art books, monographs, exhibition catalogs, reference books, journals and other printed materials which are mostly directly sourced from the artists, independent publishers and small presses in the Philippines.

Here, the participants of the bookstore tour met author Regina Abuyuan who talked about how she and her team created Agam, an anthology on climate change without mentioning the term climate change and the usual environmental jargon related to it. Author Norma Respicio shared her lifetime of research for The Journey of A Thousand Shuttles: The Philippine Weave.

The first day of the tour ended at Uno Morato, an independent bookstore located along Timog Avenue in Quezon City.

One of the owners, Harris Guevarra, talked about the challenges of running an independent bookstore, saying that “a bookstore has

Mt. Cloud bookshop in Baguio City (top) offers a wide range of children’s books (top, facing page) / Photos by Cherry Malvar. Meanwhile, books by National Artist for literature F. Sionil Jose are highlighted at his bookstore Solidaridad in Manila (above). During the Pinoy Bookstore Tour, he delivered a talk (above, facing page). /Photos by Glaiza Lee

to be self-sustainable, which means it has to exist within their means and resources.”

He shared how future writers can create their own books using their own resources: “Magsulat, mag-print, tapos ipa-photocopy nila ang kanilang mga obra at i-bind. Tapos puwede nilang i-consign dito sa Uno Morato.”

On this last stop for the first day, poets Ayer Arguelles talked about his work Pesoa and the art of erasure, while Kristian Corde-

ro talked about his book, Labi: Mga Tula.

The following day, the tour continued on to Pandayan Bookstore in Malolos, Bulacan. Jacob Cabochan, the son of the bookstore owner, welcomed the participants to one of their 88 branches. Here, the discussion revolved around graphic literature. Borg Sinaban discussed how his PilandoKomics came to be, while Mervin Malonzo talked about his creative process on Tabi Po. After the discussion, Cabochan

2016 • Number 2 • Agung 31 be healthy humor. Huwag maninira ng kapwa para maging nakakatawa. Humor is not always the answer. There are situations that don’t need it. Humor is power. It makes people laugh, share and do something.

Gamitin ng tama kung kailangan at kung may mensahe. Humor is a serious business.

Be conscious when to make a joke and what joke to tell.”

The last leg of the bookstore tour was in Baguio City. The participants visited the Mt. Cloud Bookshop, owned by sisters Padmapani and Feliz Perez who believe that the Cordilleran city deserves to have a decent bookshop.

Featured authors were poet-novelist Egay Samar, who is known for his Janus Silang series, and cartoonist Manix Abrera, popular for his Kiko Machine comics.

During the discussion, Samar shared his strong interest on Philippine mythology; while Abrera enthused that the Philippine culture and environment is a great source of humor.

Despite the flourishing of digital technology that threatens to render the physical, printed book obsolete, there are still passionate souls that still love physical books and strive to provide a haven to nurture that love.

“We are still here because we love books,” said F. Sionil Jose. “There is nothing like holding a book.”

treated the participants to a lunch at Bistro Maloleño, featuring dishes that are believed to be our heroes’ comfort food such as Tinola ni Rizal and Pochero ni Plaridel.

Next stop was the Orchids Bookstore in San Fernando, Pampanga. Owned by Lydia So, the bookstore has five branches in Pampanga. Laughter and humor filled the afternoon as humorists Joselito de los Reyes and Beband Siy talked about their books iStatus Nation and It’s Raining Mens, respectively.

They shared pieces of advice about hu-

mor writing.

“There is a thin line between a good joke and a bad joke. There are different theories we can use for humor: feeling of superiority, which is not a good way to bring humor; incongruity (the ‘what is’ doesn’t match the ‘what should be’); and relief theory,” shared Bebang Siy. She added: “You have to know your audience. Laugh with the audience, not at the audience. Humor eases tension, not causes tension.”

De los Reyes agreed, saying, “It has to

32 Agung • Number 2 • 2016

WORDS and ACTIONS Uswag: Dangal ng Filipino The Uswag: Dangal ng Filipino, a seminar-workshop on the national language, was held from April 6 to 8, 2016, at the Alvaro Rabina Hall of Central Bicol State University of Agriculture, Pili, Camarines Sur. KWF director general Roberto Añonuevo talked about Philippine orthography, while Ateneo de Manila’s Dr. Edgar Samar discussed the “Manwal sa Masinop na Pagsulat,” a style guide on writing standards, and KWF’s Lourdes Hinampas shared her knowledge on Korespondensiya Opisyal.

Peregrinasyong Jacinto A commemorative pilgrimage to Majayjay, Laguna, was held on April 16, 2016, for the 117th death anniversary of Emilio Jacinto, the Brain of the Katipunan. A program in Majayjay featured a skit about Jacinto’s life by local students and poems by Christian Ray Pilares and Dr. Michael Coroza. Also, a plan for a monument called Si Jacinto at Inang Kalayaan by Priscillano Vicaldo, Jr., was unveiled. The pilgrimage made a stop in the town of Magdalena, also a significant site in the life of Jacinto.

Tertulyang Pampanitikan The Tertulyang Pampanitikan was a series of events in different universities held every Tuesday for the whole month of April. The first Tertulyang Pampanitikan happened on April 5, 2016, at the De La Salle University Manila, featuring Brian Allan Encarncion, dubber and translator at Hero TV and ABS-CBN, for “Tertulya 2016: Mga Isyu at Kalakaran sa Pagsasaling Pampanitikan sa Midya.” The Ateneo de Manila University hosted the second session on April 12. For the third installment, Filipino musicians Ely Buendia, Ebe Dancel and Lourd De Veyra were featured in “Titik at Himig: Philippine Contemporary Songwriting at OPM,” on April 20 at the UST Civil Law Auditorium. They shared insights on songwriting and gave their stands on issues about Filipino music. In “Kuwentuhan sa Panitikan ng Filipinas at Kulturang Popular,” the Tertulyang Pampanitikan, held on April 26 at the University Center of the Far Eastern University, Ateneo de Manila’s Allan Popa, University of Santo Tomas’ Joselito delos Reyes, KWF Makata ng Taon 2016 Mark Angeles and Diary ng Panget author Paulyn Bando were guest speakers.

The “Literaturang Pang-Mass Media” Lecture Series The Polytechnic University of the Philippines Center for Creative Writing organized the lecture series “Literaturang Pang-Mass Media” from April 13 to 15, 2016, at the Ninoy Aquino Library and Learning Resource Center. The speakers were Jerry Gracio on teleplay, Sigfreid Barros Sanchez on screenplay and Manix Abrera on graphic literature.

The lectures did not delve into the techniques of scriptwriting, but discussed whether television scripts can be considered literary works.

A Sampling of National Literature Month Events

2016 • Number 2 • Agung 33

Pagtuturo ng Panitikang Gender-Based The Komisyon ng Wikang Filipino held the Pambansang Seminar sa Pagtuturo ng Panitikang Gender-Based from April 13 to 15, 2016, at the Jose Rizal Memorial State University in Dapitan City, Zamboanga del Norte. The seminar aimed to raise the awareness of the Filipino teachers on gender-based literature. There were discussions on various topics including literature, language and gender.

World Book Day 2016 The National Book Development Board celebrated World Book Day on April 23, with a book development and readership activity as well as other events held at the Ayala Triangle Gardens in Makati City. This year, Instituto Cervantes, which is holding its own Día del Libro for several years now, joined in. The Book Stop, a pop-up reading library where people can borrow or swap books, was set up. Instituto Cervantes gave out roses as well as facilitated the copying by hand of Cervantes’s Don Quixote de La Mancha by 500 volunteers. Other events included lectures, a book fair, a food fair, a balagtasan, an improv performance, story-telling and puppet show, and musical performances. Día del Libro has its origin in Barcelona, Spain, where they exchange roses and books. In 1995, UNESCO designated the date as World Book and Copyright Day.

16th Iyas National Writers’ Workshop The Iyas National Writers’ Workshop answers the need for a creative exchange among young writers to improve and perfect their crafts, encourage them to commit to their writing and contribute to the improvement of Philippine literature. Held from April 24 to 30, at Balay Kalinungan Complex, University of St. La Salle in Bacolod City, the 16th edition of the workshop selected 15 young writers, out of 119 applicants nationwide, whose works (poetry, short fiction and drama, written in English, Filipino, Hiligaynon, Kinaray-a and Cebuano) were critiqued and clinicked.

7th Philippine International Literary Festival The 7th Philippine Literary Festival, a landmark project of the National Book Development Board, promoted the best publishing practices and initiated discussions on issues of authorship and readership that shape the local book industry in a two-day affair held from April 28 to 29 in Quezon City. Activities included plenary sessions on social issues related to the theme “Against Forgetting,” workshops on literary editing and roundtable discussions on writing, alternative publishing, rights trading and readership.

UMPIL Pambansang Kongreso ng mga Manunulat The Unyon ng mga Manunulat sa Pilipinas (UMPIL) held its national congress with the theme “A Nation in Translation,” on April 30, 2016, at the Faura Hall Audio-Visual Room of the Ateneo de Manila University. University of Asia and the Pacific’s Dr. Paul Dumol delivered the keynote lecture. It also featured a panel discussion on the art and industry of translation. The panel included Kristian Sendon Cordero, Joaquin Sy, Danton Remoto and Hope Sabanpan-Yu. These were followed by the Pambansang Alagad ni Balagtas, Gawad Paz Marquez Benitez and Gawad Pedro Bucaneg awarding rites. UMPIL was established in 1974 as the Writers’ Union of the Philippines at the Social Security System Building in Quezon City. Its main aim is to unite Filipino writers and promote Philippine literature.

34 Agung • Number 2 • 2016

Pandacan

A Cultural Tour Text and Photos by Roel Hoang Manipon

T

he Pandacan LiteraTour was conducted on April 11, 2016, guided by historian Sixto Carlos, Jr., of the Samahang Sining at Kultura ng Pilipinas. The walking tour went to the culturally and historically important landmarks of the district of Manila, where poet Francisco “Balagtas” Baltazar loved and lived a part of his life. The tour started at the plaza dedicated to Balagtas and went to the birthplace of Father Jacinto Zamora; the Thelmo House, popularly called Bahay na Tisa, considered the oldest house in the district; the Ladislao Bonus Historical Marker; the Kapitan Mendoza Public Library; the Romualdez Mansion; the Sto. Niño de Pandacan Parish Church; the Beata River; and the Philippine Independent Church. The tour ended with a merienda and a short program at the Carlos residence. Prior to the tour, The Polytechnic University of the Philippines, led by its president Emanuel de Guzman, and the NCCA, led by its OIC-executive director Adelina M. Suemith, signed a memorandum of agreement for cultural partnership through PUP’s University Center for Culture and the Arts, led by its director Bely R. Ygot.

Built in 1732, the Santo Niño de Pandacan Parish Church is the oldest structure in Pandacan. The Ladislao Bonus Historical Marker, along San Luis street, honors the composer, conductor, contrabass player and teacher, regarded as the “Father of the Filipino Opera.” Born on June 27, 1854, and raised in Pandacan, Bonus was instrumental in forming and leading several bands and orchestras. He led the unique, all-women orchestra called Orkestrang Babae. The Romualdez Mansion, at corner of Jesus and San Luis streets, belongs to the Romualdez family to which former First Lady Imelda R. Marcos belongs. The ancestral house belongs to Daniel Romualdez, who served as cabeza de barangay here and as speaker pro tempore of the House of Representative. The Thelmo House, popularly called Bahay na Tisa, is considered the oldest house in Pandacan, built in 1854. In the 1930s, the house was owned by German-American film producer George Musser. A studio he operated in the house produced the first Filipino film with sounds in 1931, titled Aswang. From the Tagalog buling-buli, meaning “wellpolished” or “well-prepared,” the buling-buling dance is said to have started in 1800, performed by the beautiful and skillful women of Pandacan in honor of and as thanksgiving to the Santo Niño de Pandacan. The practice stopped during World War II and was revived in the late 1970s. In the recent years, the fiesta in honor of their patron is celebrated with the Buling-Buling Festival every third of January. The Polytechnic University of the Philippines president Emanuel de Guzman and NCCA OIC-executive director Adelina M. Suemith signed a memorandum of agreement on cultural partnership.

2016 • Number 2 • Agung 35

Marichu G. Tellano is NCCA’s New Deputy Executive Director

M

arichu G. Tellano took her oath of office on March 2, 2016, as the NCCA’s new deputy executive director. The ceremony was presided by OIC-executive director Adelina Suemith and witnessed by Myla Buan, board secretary, and Rosemarie Sales, human resource officer.

She replaced Marlene Ruth Sanchez, who served as deputy executive director for several years before her retirement in December 2015. Prior to her promotion, Tellano was the chief of the Plan/Policy Formulation and Programming Division (PPFPD), a position she ably held for many years.

Tellano is a licensed chemical engineer who started her career as researcher at the National Institute for Science and Mathematics Education Development, then as Chemistry, Physics, and Mathematics teacher in St. Pedro Poveda College, Holy Family School, Ateneo de Davao University and as instructor at the College of Arts and Sciences of Far Eastern University. She completed her Master’s Degree in Educational Management at the University of the Philippines, Quezon City. Tellano also completed a six–month arts management course in South Korea in 2006.

Tellano first worked at the NCCA as a Project Development Officer in charge of the National Committee on Cultural Education before she was designated as the head of the Planning and Policy Office.

Years after, she was appointed as the chief of the Project Management Division which eventually became PPFPD.

NCCA OIC-executive director Adelina M. Suemith congratulates Marichu G. Tellano after taking oath as NCCA’s new deupty exectuive director. /Photo by Marvin Alcaraz

NCLA Head Christine Godinez-Ortega and NCC Member Tito Valiente Receive UMPIL Honors

N

UMPIL secretary-general Michael Coroza bestows the Gawad Paz Marquez Benitez to NCLA head Christine Godinez-Ortega

CCA’s National Committee on Literary Arts head and poet Christine Godinez-Ortega was honored with the Gawad Paz Marquez Benitez, an award for achievement in literary education, while National Committee on Cinema member Tito Valiente received the Gawad Alagad ni Francisco Balagtas for essay in English, during the Ika-42 Pambansang Kongreso ng mga Manunulat (42nd National Writers Congress) of the Unyon ng Manunulat sa Pilipinas (UMPIL) on April 30, 2016, at the Faura Hall Audio-Visual Room, Ateneo de Manila University, Quezon City.

Dr. Godinez-Ortega is also the longtime director of the Iligan National Writers Workshop, and professor of literature at the Mindanao State University-Iligan Institute of Technology, while Valiente is an anthropologist, film critic and professor at the Ateneo de Naga University. They joined fellow awardees including Maria Josephine “Joi” Barrios-Leblanc (poetry in

Filipino), Victor Sugbo (poetry in English and Waray), Macario Tiu (fiction in English and Cebuano), Nicolas Pichay (drama in Filipino), Resurrecion Hidalgo (fiction in Hiligaynon), Wilmer Joseph Tria, SJ (essay in Bikol and translation), and Susie Tan (essay in Chinese), recipients of the Gawad Alagad ni Francisco Balagtas, a lifetime achievement award for literary writing; the Chinese-Filipino Literary Society, recipient of the Gawad Pedro Bucaneg, an award for literary organizations.

The awarding ceremonies was the highlight of the congress, which included a writers’ forum, the election of the new set of UMPIL officers and the application for new members.

In celebration of National Literature Month, the congress was supported by the Kagawaran ng Filipino of the School of Humanities at Ateneo de Manila University, the Komisyon sa Wikang Filipino, and the NCCA.

D

ance has always been present throughout history, playing a huge part in the development of a society and giving a different perspective on life and the world in general. This is one of the messages that the NCCA shares to the public.

The NCCA’s National Committee on Dance, headed by Josefina Guillen, celebrated International Dance Day and National Dance Week “to bring together dancers to demonstrate and realize the function of dance in society and the rest of the world” with a simultaneous dance rally called “Yugyugan Para sa Kultura ng Bayan” in the different parts of the coun-

try from April 24 to 30, 2016.

Featuring numerous dancers, choreographers, school troupes and companies performing together as one, the highlight of the celebration was the simultaneous dance performance to the Sagisag Kultura song “Filipino Ako, Filipino Tayo” at 6 P.M. on April 29.

For its part, Ballet Manila held the second Ballet Manila X NCCA International Dance Day Festival 2016 on April 29, with a matinee show at 3 P.M. and a gala show at 7 P.M., at the Aliw Theater at the Cultural Center of the Philippines Complex in Pasay City.

Hosted by Ballet Manila artistic director and prima ballerina Lisa Macuja-Elizalde and Osias Barroso Jr. as festival directors, the BM-NCCA IDD Festival showcased various dance genres, from classical ballet to modern, hip-hop, folk and ethnic dances.

For the matinee show, there were two segments. The first featured performances by Pink Toes, Dance Theater Arts, Ecole de Ballet Manille, Vella C. Damian School, Ridgepoint Ballet, Nilda Gomez School of Ballet from Iloilo, Hampton Court of Dance, The Dance Conservatory from Pampanga, CCP Dance School,

Shirley Halili Cruz School of Ballet, FEU Dance Group, while the second featured Ballet Baguio, Perry Sevidal Ballet School, St. Theresa Radaic Ballet School, ACTS Manila, Academy One, Danspace Manila, STEPS Dance Studio, LPU Dance Troupe, Lahing Kayumanggi Mananayaw ng Marikina, Sining Lahi Dance Troupe of Lakandula High School, and PNU Balingsasayaw.

For the gala show, Bayanihan, Pole Cats, Indian Cultural Dance, Korean Cultural Center, Katutubo Exchange, Air Dance, G Force, Daloy, Manoeuvres, Philippine Ballet Theater, Ballet Philippines and Ballet Manila 2 performed.

Meanwhile, the Luzon cluster of the NCD held the dance rally on April 27 at the CCA Theater of Saint Louis University in Baguio City. In partnership with the Sinulog Foundation, Inc., the Visayas dance rally was held on April 29 at the Abellana Sports Complex Ground in Cebu City.

The International Dance Day was created under the auspices of UNESCO in Paris and held all over the world by the International Theater Institute (ITI) on April 29. Its mission is to celebrate dance, revel in the universality of this art form and transcend political, social and ethnic barriers and bring people together through the common language of dance. On the other hand, the Philippines celebrates National Dance Week every fourth week of April, pursuant to Presidential Proclamation no. 154.

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

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