Agung Vol. XVIII No. 3 July 2015

Volume XVIII • Number 3 • 2015 • For Artists and Cultural Workers • ISSN 0119-5948

Capturing the World with Our Creativity Official Newsletter of the National Commission for Culture and the Arts

2 | Agung March - May 2014

The National Commission for Culture and the Arts

MESSAGE FROM THE CHAIRMAN

P

olitically, decentralized self-sufficient village communities have been the way of life for centuries now among the vast majority of Filipinos. Thus, in their collective psyche is a profound aversion to centralized rule, more so to domination by empire-building cultures which originate in societies inhabiting wide swathes of continental flat plains. The passion for freedom, justice and dignity became the potent force that toppled a dictatorship through the now internationally-hailed peaceful, people-power uprising known as the EDSA Revolution of 1986.

No matter how symbolic, poetic and allegorical, the Filipino participation in the Venice Biennale of 2015 highlights—through film and visual arts—the indomitable, freedomseeking, peace-loving spirit of archipelagic peoples pitted against the empire-building syndrome of continental plains peoples driven by the lust for conquest, led by warrior overlords. Being the most lucid mirrors of sensibility, harnessing the arts in this Philippine entry can be a most effective and peaceful way of enabling other people to see the world as Filipinos perceive it.

FELIPE M. DE LEON, JR.

NCCA chairman and commissioner of the Philippine Pavilion Felipe M. de Leon, Jr. (second from left) with (from left) artist Manny Montelibano, artist Jose Tence Ruiz and Senator Loren Legarda. Behind them is Ruiz’s Shoal.

Vol. XVIII, No. 3 July 2015 ISSN 0119-5948

FELIPE M. DE LEON, JR. chairman

About the cover

ADELINA M. SUEMITH oic-executive director MARLENE RUTH S. SANCHEZ, MNSA deputy executive director Rene Sanchez Napeñas editor-in-chief

The agung is a knobbed metal gong of the Philippines used in various communal rituals.

Suspended in the air by rope or metal chains, the musical instrument is also employed by some indigenous groups as a means to announce community events, and as an indicator of the passage of time.

Agung is published bimonthly by the National Commission for Culture and the Arts.

Roel Hoang Manipon managing editor Mervin Concepcion Vergara art director Maria Glaiza Lee writer

Marvin Alcaraz photographer Leihdee Anne Cabrera Manny Arawe Alinor Maqueda May Corre Tuazon Roezielle Joy Iglesia Francisco del Rosario III paio staff

A scene from Manuel Conde’s Genghis Khan, photographed by Emmanuel Rojas in 1950 Facing page: Detail of Jose Tence Ruiz’s installation, Shoal, at the Venice Biennale, in collaboration with Danilo Ilag-Ilag and Jeremy Guiab / Photo by MM Yu

Emilie V. Tiongco editorial consultant

As the government arm for culture and the arts, the National Commission for Culture and the Arts (NCCA) is the overall policy-making, coordinating, and grants-giving agency for the preservation, development and promotion of Philippine arts and culture; and executing agency for the policies it formulates; and an agency tasked to administer the National Endowment Fund for Culture and the Arts (NEFCA). The NCCA traces its roots to the Presidential Commission for Culture and the Arts (PCCA), which was created when President Corazon Aquino signed Executive Order No. 118 on January 30, 1987, “mindful of the fact that there is a need for a national body to articulate a national policy on culture, to conserve and promote national heritage, and to guarantee a climate of freedom, support and dissemination for all forms of artistic and cultural expression.”

On April 3, 1992, President Aquino signed Republic Act No. 7356 creating the NCCA and establishing the NEFCA, a result of over two years of legislative consultations among government and private sector representatives.

The bill was sponsored by senators Edgardo J. Angara, Leticia RamosShahani, Heherson T. Alvarez and congressman Carlos Padilla.

The NCCA Secretariat, headed by the executive director and headquartered at the historic district of Intramuros, provides administrative and technical support to the NCCA and other units, and delivers assistance to the culture and arts community and the public.

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A still photograph from the film Genghis Khan, photographed by Emmanuel Rojas (above).

Carlos Francisco’ s production design for Genghis Khan (below)

The Philippines Reconnecting at the Venice Biennale

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he Philippines successfully made a comeback with its own pavilion at the 56th International Art Exhibition of la Biennale di Venezia or the Venice Biennale.

Patrick Flores is the curator for the Philippine Pavilion, one of the 88 national pavilions, with the exhibit titled “Tie A String Around The World,” featuring the works of artists Manuel Conde, Carlos Francisco, Manny Montelibano and Jose Tence Ruiz. His curatorial concept, which was selected through a democratic open call, also responds to the 2015 Venice Biennale theme, “All The World’s Futures,” set out by renowned curator Okwui Enwezor.

Flores’ curatorial concept pivots around Manuel Conde’s seminal film Genghis Khan, co-written by Carlos Francisco, which was done in 1950 and celebrated in the Venice Film Festival and exhibited at the Museum of Modern Art in New York in 1952. Around this premise, Jose Tence Ruiz intimates the specter of the Philippine ship on the South China Sea, at once “slum fortress” and armature of archipelago. Manny Montelibano refunctions the sound and image of a threshold of territory to scan both

the epic of survival and the radio frequency of incursion.

The concept brilliantly links the artworks of four Filipino artists—Conde and Francisco for Genghis Khan, Montelibano for A Dashed State, and Ruiz for Shoal—to raise the issue of the disputed West Philippine Sea/South China Sea, although Flores clarifies that the exhibit is not limited to this explosive political issue but instead aims to encourage conversation on “what makes a common sea and where lie frontier and edge, melancholy and migration.”

“There is a specific focus on the particular situation in the West Philippine Sea that the pavilion is trying to respond to,” said Flores. “But we do not want to reduce the message of the pavilion to that situation. So while it is sharply engaged with, it doesn’t totally determine the outcome of the pavilion,” he added.

On the other hand, Montelibano said his work, A Dashed State, automatically links to China’s Nine Dash Line, while Ruiz’ Shoal references the BRP Sierra Madre at the Ayungin Shoal in the West Philippine Sea. Montelibano’s work, a 20-minute, threechannel video with sound installation, pon-

Jose Tence Ruiz's installation, Shoal, at the Philippine Pavilion of the Venice Biennale

ders on “the creation of new boundaries and territories, like the Nine Dash Line. It is a reflection of the state of our people, the state of our country, and the state of the world.”

The Bacolod-based filmmaker explained, “A Dashed State tackles the different levels of bodies, the physical body which is the source of history, the body of land, air and sea, a body of people. But also considering that there are other bodies that exist— bodies that have different needs, culture and tradition and how they affect each other.

The incursion of Chinese radio signals into the local radio exposes this effect. It affects us, our family, beliefs and tradition, culture, and our world in the making.”

“My work focuses on how Filipinos behave in a certain situation wherein they don’t know what’s really happening in the world, in a specific area like Southern Palawan. I think, what is important is that we are telling the truth and the state that I am going to present with my work is the state that I have experienced in that area,” he further said.

In a way, the exhibit hopes to elicit awareness to China’s aggressive infiltration and reclamation activities in the West Philippine Sea/South China Sea.

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From left: Artist Manny Montelibano, DFA Undersecretary Evan Garcia, curator Patrick Flores, Senator Loren Legarda, artist Jose Tence Ruiz, and commissioner of the Philippine Pavilion and NCCA chairman Felipe M. de Leon, Jr. during the vernissage (above). Tence’s Shoal in progress (below).

The vernissage of the Philippine Pavilion was held on May 8, 2015, at the sixteenth century building Palazzo Mora. The Pavilion was opened to the public on May 9 and runs until November 22.

“Our return is triumph enough. There has been so much interest and excitement over the Philippines’ return.

The use of multichannel video installation of Manny Montelibano on a subject so current has generated much anticipation in Venice. The installation of Jose Tence Ruiz in conversation with the restored Genghis Khan is simply creative and impressive,” said Senator Loren Legarda, who was the leading proponent in the country’s return to the biennale.

The Philippine Pavilion at the 2015 Venice Biennale is the country’s second official national participation. The first Philippine Pavilion was at the 1964 Venice Biennale, when Jose Joya and Napoleon Abueva, who are now both National Artists, represented

the country.

Italian ambassador Massimo Roscigno described the Philippines’ return to the Venice Biennale as “a fantastic achievement that rightly gives tribute to the richness and vitality of the Philippines’ art scene, which definitely deserves to be more internationally exposed, better known and more appreciated.”

Roscigno hosted a reception in honor of the curator, artists and the team of the Philippine Art Venice Biennale (PAVB) composed of the NCCA, the Department of Foreign Affairs (DFA), and the Office of Senator Loren Legarda.

NCCA chairman and commissioner of the Philippine Pavilion, Felipe M. de Leon Jr., stressed the importance of being represented in this prestigious contemporary art exhibition: “It is important that we are represented there because the world does not know enough about who we are. The talents have been here for centuries but we can show the world that these talents can be harnessed in a very contemporary and relevant way. The more we represent ourselves in the global arena, the more we harness what is called cultural energy. If Filipinos feel that they matter, they will become more productive in all areas of their work. This is what is engendered by what is called cultural energy, which is the motivation for work and achievement.”

On the other hand, DFA Secretary Albert F. Del Rosario said that the Philippine Pavilion will contribute to the dynamism of the dialogue of ideas and philosophies among artists and visitors to the Venice Biennale: “We are proud of the astounding diversity and multi-faceted aspects of Philippine arts and culture. We present to the world the immense talent and creativity of the Filipino artists. At the 56th edition of the Venice Biennale, we all look forward to sharing with the international audience the emergence of the Philippines as an important and rich cultural force.”

The return of the Philippines to the Venice Art Biennale in 2015 is an opportunity for the country to re-establish and reaffirm its presence in the international contemporary art scene since the Philippines’ first participation at the prestigious event in 1964.

Through the collaborative efforts of the NCCA, the DFA and the Office of Senator Loren Legarda, the Philippines is once again embarking on a journey that re-connects it to the Venice Biennale, after a 50-year hiatus.

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After having evaded the blockade of Chinese Coast Guard ships, soldiers who boarded the BRP Sierra Madre take out a new Philippine flag to raise over the decrepit Philippine ship. The Philippine national anthem is sung on deck, in full view of the Chinese Coast Guard ships circling Ayungin Shoal.

(From the film A Dashed State by Manny Montelibano)

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A Celebration for Heritage T he NCCA spotlighted the nation’s wealth of cultural heritage as it celebrated National Heritage Month last

May. The NCCA’s Subcommission on Cultural Heritage (SCH), headed by Rev. Fr. Harold Ll. Rentoria, OSA, lined up activities not only for one month but for the rest of the year as well through the celebration and the Taoid Heritage Program. Taoid is an Ilocano word for “inheritance” or “mana.” The word has been adopted by the NCCA as the official name of the annual year-long heritage program conceptualized, implemented and overseen by the SCH to emphasize the importance of bequeathing culture and tradition to succeeding generations.

With this year’s theme, “Heritage: New Fruits, Ancient Roots,” Taoid 2015 kicked off at the University of Santo Tomas, the oldest university in Asia and the custodian of the most complete handwritten baybayin documents recently declared as National Cultural Treasure.

On May 4, 2015, a memorandum of understanding was signed by the NCCA and UST, led by Fr. Rentoria and Fr. Rolando dela Rosa,

OP, director of the UST Research and Endowment Foundation. The objective of the MOU is to establish a mutually beneficial relationship between the two institutions “in the preservation, conservation and promotion of the cultural heritage of the Philippines.”

Both institutions agreed to “encourage and facilitate mutual access to knowledge sources such as publications and researches related to cultural heritage preservation, protection and promotion ensuring the protection of Intellectual Property Rights of such knowledge sources; provide mutual funding support to projects and activities; provide technical expertise in the fields of archives, art galleries, historical research, libraries and information services, monuments and sites and museums in mutually approved projects and activities; conduct capability-building seminar-workshops for cultural workers and artists; and undertake national promotion of projects and activities related to cultural heritage.”

The MOU signing was followed by the Manila unveiling of the “Santo Niño: Hope of the People,” a photo exhibit by Angelo Bacani

and Paul Quiambao, which is part of the 450th year of the finding of the Santo Niño de Cebu, at the lobby of the Buenaventura Garcia Paredes, O.P. Building.

During the day, Eggie Apostol Foundation’s documentary “National Treasures: A Journey Through History” was shown and it was followed by the UST J. Elizalde Navarro Round-Table Discussion on Cultural and Heritage Issues tackling “Standards on the Conservation of Heritage Churches” at the second floor ballroom of Buenaventura Garcia Paredes Building. The discussants were Carmen Bettina Bulaong of Escuela Taller de Filipinas Foundation, Inc.; Liliane Manahan of the Heritage Conservation Society of the Philippines; Fr. Milan Ted Torralba of the Catholic Bishops’ Conference of the Philippines’s Permanent Committee for the Cultural Heritage of the Church; Tina Paterno of the San Sebastian Basilica Conservation and Development Foundation, Inc.; Dominic Galicia or ICOMOS; and Atty.

Lucille Karen Isberto and Ruel Ramirez of the NCCA Committee on Monuments and

From left: John Dellan Robillos, vice-head of the National Committee on Art Galleries; Atty. Lucille Karen E. Malilong-Isberto, SCH secretary and head of the National Committee on Monuments and Sites; Fr. Rolando dela Rosa, OP, director of the UST Research and Endowment Foundation; Rev. Fr. Harold Ll. Rentoria, OSA, Subcommission on Cultural Heritage head; Silverio Ambrosio, NCAG assistant secretary; and Amado Alvarez, NCOM head./Photo by Marvin Alcaraz

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FILMING HERITAGE

“Santo Niño: Hope of the People,” a photo exhibit at the lobby of the Buenaventura Garcia Paredes, O.P. Building of UST /Photo by Marvin Alcaraz

Sites. “National Treasures” was also shown at the Rizal Park Open-Air Auditorium on May 8 and at the NCCA auditorium on May 11.

On the same day, “Kristo Manila” was unveiled at the NCCA Gallery. Since 2005, The Artery Manila has been presenting the “Kristo Manila” Lenten exhibitions which offer viewers a venue, via the visual arts, for reflection and meditation in observance of the Holy Week. The annual presentation, inspired by the Passion of the Christ, has become something that generates a consciousness of cultural heritage as Christian iconography is prominent in Philippine culture, specifically in ecclesiastical art. For the second time, the exhibit was at the NCCA Gallery to celebrate National Heritage Month.

From May 6 to 10, the Tam-awan Village in Baguio City mounted for the sixth time its annual Tam-awan International Arts Festival with the theme, “A Global Cordillera: Heroes, Legends and Treasures.” On the other hand, the Taoid Heritage Concert was held at the Terraces of Ayala Center Cebu in Cebu City on May 23, produced and directed by the NCCA Public Affairs and Information Office.

Aside from the heritage concert, there were a series of heritage-related activities in Cebu from May 16 to 31. These included the “Kristo Niño” exhibit by the National Committee on Art Galleries; a storytelling session by the National Committee on Libraries and Information Service; local history writing workshop by the National Committee on Historical Research; a training-workshop on archive management by the National Committee on Archives; and the Gabii sa Kabilin, participated in by the National Committee on Museums.

Starting in May, the NCCA goes to different communities in the country for cultural profiling and mapping. A part of its grassroots heritage program, it is implemented for the rest of the year.

Awareness and preservation of heritage are

vital in the construction and strengthening of our national identity, which will engender pride, enabling us to overcome crises, and guide us towards progress. Because of these, Proclamation No. 439 was signed on August 11, 2003, declaring the month of May of every year as National Heritage Month. This is “in recognition of the need to create among the people a consciousness, respect and pride for the legacies of Filipino cultural history and love of country.”

The Taoid Heritage Program Celebration aims to provide a glimpse of the legacies of the past and how it remains to shape the present and the future. It is a recognition and celebration of the different aspects of our national cultural heritage—our traditional art forms and practices, important cultural structures both movable and immovable and other objects of national importance whether tangible and intangible.

The steering committee of the Taoid Heritage Program 2015 is composed of Rev. Fr. Harold Ll. Rentoria, OSA, head of SCH and the National Committee on Archives; Dr. Stephen S. Totanes, vice head of SCH and head of the National Committee on Historical Research; Lucille Karen E. Malilong-Isberto, SCH secretary and head of the National Committee on Monuments and Sites; Dr. Marilou P. Tadlip, assistant secretary and head of the National Committee on Libraries and Information Service; John Dellan Robillos, SCH member and Vicehead of the National Committee on Art Galleries; and Amado R. Alvarez, SCH member and head of the National Committee on Museums.

They are assisted by the NCCA secretariat, particularly NCCA Plan/Policy Formulation and Programming Division chief Marichu Tellano, Cultural Heritage section head Bernan Corpuz, and Taoid Heritage Program managers Divine Arariwan and Loida Olegario.

The fourth episode of the landmark historical series “National Treasures: A Journey Through History” was selected by the NCCA as its premiere film offering for National Heritage Month.

Entitled “Why Heritage?”, the hourlong documentary focuses on the history of the heritage conservation movement in the country, with special emphasis on Republic Act 10066 (The Cultural Heritage Act of 2009), and the various government agencies, NGOs and “heritage heroes” who are engaged in the challenging task of preserving our invaluable heritage.

“National Treasures: A Journey Through History” is a four-part series which explores key events in Philippine history, from the pre-colonial to the Spanish and American periods, through several of the country’s most significant heritage structures, monuments and sites.

A project of the Eggie Apostol Foundation (formerly the Foundation for Worldwide People Power), with additional funding from the NCCA, “National Treasures” is produced and directed by award-winning director Butch Nolasco. Providing script and narration is architect Augusto Villalon, one of the country’s leading heritage conservation advocates, who also acts as the series’ host/presenter. Nolasco and Villalon previously collaborated on the documentary “Legacy: Philippine World Heritage Sites” in 2003.

During the shooting of “National Treasures,” which lasted over a year, the production team was able to visit and document some of the most impressive heritage structures erected during the Spanish and American periods, as well as archaeological artifacts created long before the coming of colonizers.

Nolasco and Villalon also interviewed some of the most respected historians and heritage architects in the country, who provided the series with additional commentary and unique insights.

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Concert for Heritage

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concert featuring different artists and performers was mounted to drum up interest in the NCCA celebration of National Heritage Month.

On May 23, 2015, the Taoid Heritage Concert at the Terraces of Ayala Center mall in Cebu City, Cebu, was headlined by singer-songwriter Joey Ayala and TV5’s Star Factor and The Voice of the Philippines runner-up Morrisette Amon.

They were joined by singing priest Fr. Jonas Mejares, the NCCA Rondalla, the choral group 450 Voices, Aretha Angcao, the Cebu Normal University Dance Troupe and the University of the Visayas Dance Troupe.

The NCCA Rondalla is composed of NCCA executive director Adelina M. Suemith and Maria Elaine E. Cajucom as conductor and banduria player with NCCA secretariat employees Arlene Flores, Emma Parada, Suzanne Faramil, Irene Barnal, Sheryl Alba, Dinalyn De Luna as banduria players; Maricel C. Malalad, Wilma Saputalo, Patrick Lee and Lawrence Emil Gonzales as octavina players; Susan C. Dayao, Dolores Damaso, Ryan Arengo and Ronald Pre as guitarists; and Prince John Barnal and Paulito Viray, Jr. as bass players.

Behind the concert were director Rene Sanchez Napeñas; stage directors Sharon Arawe and Anne Cabrera; lighting director Tony Esteban with light and sound provider Raymon Guinto; rondalla conductor Elaine Cajucom; 450 Voices musical directors Joshua Montayre and Nino James Banares with Marilou Sanchez; choreographers Victor Hao Cuenco and Angelo Manapsal; documentation director CJ Andaluz of Pixel Art Media; production managers Alinor del Rosario, Joy Iglesia and May Tuazon; and Cebu promotions head Gloria Villarojo.

The concert was first mounted last year at the UNESCO World Heritagelisted San Agustin Church in Intramuros, Manila. This was an initiative of the Subcommission on Cultural Heritage, headed by Rev. Fr. Harold Ll. Rentoria, OSA, with NCCA secretariat’s Cultural Heritage section head Bernan Corpuz The concert featured Morrisette Amon, Joey Ayala, Aretha Angcao, Fr. Jonas Mejares, 450 Voices, NCCA Rondalla, the Cebu Normal University Dance Troupe and the University of the Visayas Dance Troupe /Photos by Marvin Alcaraz

Safeguarding of Cultural Pr Post-Disaster Management Plan in the Province of Bohol

By Angel P. Bautista and Ernesto B. Toribio, Jr.

operty During Crisis Period The extensive damage at the Saint Peter the Apostle Church of Loboc, Bohol., after the earthquake in 2013. /Photo by Paulo Alcazaren LIPAD Aerial Photography

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The illicit trafficking in cultural property is a setback that affects all nations in a global scale. It is hurled by a demand from the collectors of antiquities and antique markets, and has become more prevalent due to the improvement in communication and transportation, and less restrictions in international borders, political and religious unrest, and natural calamities and disasters.

N

From top: Stolen heritage objects undergoing conservation at the National Museum Tagbilaran branch; billboards warning against smuggling of cultural properties; and stolen sacred images at the Philippine National Police office with National Museum personnel and National Museum Cultural Deputy /Photos courtesy of the authors

atural disasters represent a major threat to cultural heritage.

Earthquakes, typhoon, floods, fires, environmental fatigue or similar long-term climate effects sometimes cause irreversible damage to cultural heritage or completely destroy entire areas of cultural heritage, both tangible and intangible; and movable and immovable. Many heritage objects are further damaged by inadequate emergency interventions (M. Drdáckýet. al.2007). Furthermore, lack of appropriate security management plan leaves them susceptible to looting, and exposes these heritage objects from theft and illicit traffic in cultural property.

In the Philippines, priceless cultural properties were exposed to risks because of the recent calamities and disasters that hit heritage sites in Central Visayas for the past two years. On October 15, 2013, an earthquake with a magnitude of 7.2 occurred in the Central Visayas region (Central Philippines), with epicenter in Sagbayan, Bohol.

Reports were transmitted regarding heavy damage to cultural properties in several provinces including those that were declared National Cultural Treasures and Important Cultural Properties and protected by the state through the National Commission for Culture and the Arts (NCCA) and its affiliated cultural agencies, the National Historical Commission of the Philippines (NHCP) and the National Museum (NM) under Republic Act No. 10066, otherwise known as the National Cultural Heritage Act of 2009, and various other laws and issuances (Barns 2014).

Two months later, typhoon Haiyan, known locally as Yolanda, one of the strongest tropical typhoons ever recorded, devastated portions of the Philippines, specifically the Visayas, in early November 2013. It was the deadliest Philippine typhoon recorded in modern history, killing at least 6,300 people in the country. In December 2014, another typhoon (Seniang, known also as Jangmi) hit Central Visayas and caused floods up to seven feet, destroying properties including liturgical objects and elements of immovable cultural property that were salvaged after the earthquake in Loboc, Bohol.

Because of the lack of appropriate emergency management plans, reports were received by the National Museum regarding the looting of sites and theft of cultural properties like sacred images at the National Cultural Treasures in the province of Bohol. Sacred images were stolen in several chapels and churches. Fortunately, these were not taken out of the province and were later recovered by concerned citizens.

These were eventually turned over to the Philippine National Police, and documented and assessed by the National Museum personnel.

On July 1, 2014, the National Museum acted on the reported five stolen sacred images that were recovered by Mr. Cesar Diez of the Bohol Environmental Management Office and a barangay official of Poblacion, Tagbilaran City. With damages as result of the calamities, the stolen images were turned over by Mr. Diez to the Tagbilaran City Police. As mandated by law, the National Museum personnel in Bohol conducted assessment and documentation, and facilitated the turnover of the three images to the National Museum to ensure their immediate preservation (Tantingco 2014).

There are also reports that several images and other liturgical objects were illegally transported to unknown places within the province. This has to be verified by the National Museum.

These disasters have brought destruction to cultural properties in the province of Bohol, which threaten their integrity and may compromise their values; and facilitated the illicit traffic in cultural properties. The loss of these outstanding properties would adversely affect local and national

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The Santisima Trinidad Church of Loay, Bohol, heavily damaged after the 2013 earthquake (above) /Photo by Roel Hoang Manipon. Cultural property under rubbles of the Nuestra Señora de la Luz Church in Loon, Bohol (right) /Photo courtesy of the authors.

communities, both for their cultural significance as symbols of identity, and for their socio-economic value. Hence, preserving the cultural heritage after disasters and calamities and preventing the illicit traffic are challenging tasks not only to the National Museum and other government agencies mandated by law but to all stakeholders in the Philippines.

After the calamities, the National Museum does not have any established policy and plans for managing and reducing risks associated with disasters. Furthermore, existing national and local disaster preparedness and response mechanisms usually do not include cultural workers or heritage expertise in their operations. Consequently, several sites are almost unprotected with respect to disasters and expose the liturgical objects to risks.

Given the increasing occurrence of natural disasters and their impact on cultural heritage, a spirit of cooperation and collective responsibility in the protection and preservation of Philippine cultural heritage is the driving force of the National Museum in fulfilling its mission.

As an immediate response to the disasters in heritage sites, cultural agencies, the Diocese of Tagbilaran and other institutions created an inter-agency Bohol Emergency Heritage Task Force with the aims of establishing the severity of the damage; identifying properties that immediately need to be secured; preventing illicit traffic in cultural property; drawing up priorities for restoration; estimating the amount of human and financial resources necessary to undertake work; and establishing important linkages with stakeholders.

Most of damaged cultural treasures were churches or places of

worship. Declared National Cultural Treasures and Important Cultural Properties in the province of Bohol include ten churches, one government building and six watchtowers. As to the severity of the damage, the affected National Cultural Treasures were classified into categories, such as, “minimal damage,” “moderate damage,” “largescale extensive damage,” and “ruin.”

In these sites, the activities undertaken by the Heritage Task Force were securing the place; clearing and recovery; inventory of movable cultural properties as well as the elements of immovable cultural property; inventory and registration; conservation, shoring of

16 Agung • Number 3 • 2015 unstable structures; three-dimensional scanning; construction of storage facilities; and detailed engineering studies.

Furthermore the Bohol Heritage Task Force’s Phase 1 (PreRestoration Phase Management Plan for Disaster Mitigation and Recovery Effort Manual) was prepared by the National Museum in collaboration with the Diocese of Tagbilaran.

Because of the current state of damage and the lack of security, the sites are vulnerable to looting and exposed to theft. Hence, the National Museum as lead cultural agency in the preservation and protection of cultural properties conducted the lectures on the laws governing the preservation of cultural properties; capabilitybuilding workshops on the prevention of illicit traffic in cultural property; designation of cultural deputies from the local community to assist authorities in the protection of cultural properties; designation of heritage site officers from the local community; registration and inventory of movable cultural properties to establish a cultural heritage database; installation of billboards on the prevention of illicit traffic in cultural property; and coordination with stakeholders (the Diocese of Tagbilaran, ICOMOS and UNESCO representatives, local government units, DPWH, embassies of Spain and the United States, local communities and private sector organizations, universities, law enforcers, the Philippine National Police, Office of Special Envoy on Transnational Crime, Philippine Commission on Transnational Crime, National Law Enforcing Coordination Committee and the Interpol).

Illicit traffic in cultural property is the third most common form of illegal traffic always mentioned in international conferences, after drug and arms traffic. Hence, coordination with the law-enforcing agencies and the Interpol is crucial in the prevention of this crime in the Philippines.

The participation of the Philippines in the Interpol 9th International Symposium on Theft of and Illicit Traffic in Works of Arts, Cultural Property and Antiques is a great opportunity to share experiences of cooperation in preventing illicit traffic in cultural property, specifically on looting of archaeological sites, thefts from places of worship and safeguarding of cultural heritage during and after crisis or calamity periods. Likewise, this is an opportunity for the National Museum representatives to learn from colleagues from different countries regarding their activities in preventing illicit traffic in cultural property. The most significant component of the symposium is the interaction among officers and cultural workers where they discussed and exchanged information that will hopefully lead to the eradication or minimization of this crime globally.

NOTES Barns, Jeremy R. Bohol Heritage Taskforce. Report. Manila: National Museum, 2014 Drdácký, M, Binda,L, Herle I, Dresden, T U, Lanza, L G, Maxwell, I , and Pospíšil, S., Protecting the Cultural Heritage from Natural Disasters. Brussels: Department Structural and Cohesion Policies, European Parliament’s committee on Culture and Education,European Parliament, 2007 (http://www. europarl.europa.eu/activities/expert/eStudies.do?language=EN) Tantingco, C., “Report on Stolen Sacred Images, Tagbilaran. Bohol.” Tagbilaran: National Museum.

The Interpol participants from Europe, Africa, Asia, Middle East and USA

THE PHILIPPINES PARTICIPATES IN THE INTERPOL 9TH INTERNATIONAL SYMPOSIUM IN FRANCE Angel P. Bautista, acting assistant director and curator II of the National Museum of the Philippines and member of the NCCA National Committee on Monuments and Sites; and Ernesto B. Toribio, Jr., cultural officer, both from the Cultural Properties Division of the National Museum of the Philippines, participated in the Interpol 9th International Symposium on the Theft of and Illicit Traffic in Works of Art, Cultural Property and Antiques at the ICPO- Interpol General Secretariat, 220, quai Charles de Gaulle, Lyon, France from March 11 to 13, 2015.

Participated in by more than 50 law enforcers, museum workers, antique dealers and other stakeholders from Europe, Middle East, Africa, Asia, and United States of America, the symposium brought together specialists from Interpol member countries to share their experiences of cooperation in investigations and legal proceedings against offenders in cases of cultural property trafficking. It drew attention to current issues regarding the theft, forgery/counterfeiting of and illicit traffic in works of art, cultural property and antiques; and enabled the international police community, together with other concerned agencies and organizations like museums, to discuss ways to tackle this type of crime.

Bautista delivered a paper, “Safeguarding of Cultural Heritage during Crisis Periods (Natural Disasters)” while Toribio participated in the discussion on looting of archaeological sites.

The participation of the NM staff was made possible through the endorsement of the Philippine Commission for Transnational Crime.

The illicit trafficking in cultural objects is a problem that affects both developed and developing countries alike. It is driven by a demand within the art/antique market and has become more prevalent due to the improvement in transport, the opening of international borders, political and religious instability in some regions and natural disasters. This type of illicit traffic is being handled by the Interpol in a global scale.

The National Museum of the Philippines is one of the cultural agencies in the country that is tasked to monitor the movement of antiquities and to prevent the illicit traffic in cultural property, such as looting of cultural sites, smuggling or illegal export and import, theft and forgery.

The most significant component of the symposium was the interaction among officers and cultural workers where the participants discussed and exchanged information that will hopefully eradicate or minimize this crime globally.

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T

he NCCA and the Philippine Embassy in Cambodia led the inauguration of the Sentro Rizal Phnom Penh (SRPP) on June 19, 2015, at the Philippine Embassy grounds, coinciding with the commemoration of Dr. Jose Rizal’s 154th birth anniversary.

“What a better way to commemorate the birth anniversary of Dr. Jose Rizal than by honoring him with a place here in Cambodia that bears his noble name and legacy.

This is a fitting tribute to our foremost Filipino patriot and nationalist, who is perhaps the most celebrated OFW in the late 19th century,” Philippine ambassador to Cambodia Christopher B. Montero told Filipino attendees during the inauguration ceremony. “More than a platform to promote our culture, this Sentro Rizal will be a gleaming symbol of who we are as Filipinos, as well as an enduring representation of our firm re-

Sentro Rizal Inaugurated in Cambodia NCCA chairman Felipe M. de Leon, Jr. and Phoeung Sakona, Minister for Culture and Fine Arts of Cambodia, signed a cultural agreement between the Philippines and the Kingdom of Cambodia during a bilateral meeting (above). The recently inaugurated Sentro Rizal in Phnom Penh (left).

solve to preserve and propagate the richness and diversity of our culture as a people.”

The opening of the SRPP marked the first time the NCCA delegation was in attendance in an international inauguration of a Sentro Rizal branch.

In line with the objective of the SRPP to promote Filipino culture and heritage abroad, NCCA chairman Felipe M. De Leon, Jr. attended a bilateral meeting with Phoeung Sa-

kona, Minister for Culture and Fine Arts of Cambodia. In the meeting, they signed a cultural agreement between the Philippines and the Kingdom of Cambodia.

“The agreement is a concrete step towards encouraging closer people-to-people relations between [our] two countries and in promoting mutual understanding and appreciation of the culture and history of both Filipinos and Cambodians,” Montero noted.

As an initial activity for the SRPP, De Leon delivered a public lecture titled “What Makes Filipinos Filipino?” to the Filipino community in Phnom Penh who in turn expressed delight in the comprehensive discussion on the unique genius inherent in the Filipino. Following the inauguration of the SRPP, he conducted a second public lecture, “Philippine Society in the ASEAN Community,” to the students of the Royal University of Phnom Penh on June 20.

For 2015, SRPP will open a Filipino language and culture class for children of overseas Filipino workers and migrants who wish to retain and enrich their identity. Film showings, poetry readings and story-telling sessions are also listed as some of the up-and-coming activities of the SRPP. The establishment of the SRPP is in line with the mandate provided for under Republic Act No. 10066 or the National Cultural Heritage Act of 2009, which aims to promote Philippine culture, arts and language throughout the world.

18 Agung • Number 3 • 2015

The Pillar of Dupax del Sur The Church of Saint Vincent Ferrer of Nueva Vizcaya Text and Photos by Roel Hoang Manipon

I

n the southern part of Nueva Vizcaya, a sprawling province about 200 kilometers northeast of Metro Manila, one arrives at Dupax del Sur. Being off the Cagayan Valley Road, where one frequently travels from Central Luzon into the Cagayan Valley and vise versa, the town doesn’t see much traffic of passers-by and visitors, remaining sleepy and almost frozen in time. Its leafy quietness proves to be soothing, beguiling.

The poblacion or town center is immediately a collection of small buildings, houses and makeshift stalls serving as stores, surrounded by rice fields, green-golden in that season, and in turn surrounded by a chain of hills and mountains in varying shades of

bluish or brownish green. The covered court or plaza is perhaps the biggest structure with its arching iron roof in dark red and a big sign on the front “Welcome (to) Dupax del Sur.” In the afternoon, a few boys were playing basketball, making the only noise in the poblacion.

Behind the court, the municipal hall sits quietly. Its front yard is adorned with a dead tree stump and a couple of curious statues lying around it, painted in dark red and wearing native G-strings. A sign says, “Monument depicting historical origin of the name of the town Dupax. It evolved from the Isinay word dopaj, which means to lie down in complete relaxation, a customary diversion of the na-

The ornately carved pillars (this page) are one of the focal objects of the Saint Vincent Ferrer Church, a National Cultural Treasure (facing page)

tives after their hunting spree.”

Dopaj is actually the name now of the poblacion barangay in Dupax del Sur. Taking or doing a “dopaj” is said to be once a common activity seen in the place after hunting and heavy meals. Folk stories tell that the place was a sort of encampment or stopover of natives in the area after days hunting in nearby mountains, where they celebrate after hard work and feast on their catch. Here, they would rest fully before returning to their homes.

The early settlers of Dupax is said to be of Cordilleran origin, particularly the Isinai, formerly called Malaats or Imalaats, although some contend the Malaats were a different

2015 • Number 3 • Agung 19

20 Agung • Number 3 • 2015 group. The group, mostly farmers, fishermen and hunters, are also known as Inmeas.

The Isinai population is at 5,624 (1980), most of them (5,003) can be found in the province of Nueva Vizcaya, and the town of Dupax del Sur has the highest concentration at 2,865, out of the town’s population of 18,146 people (2010). Other Nueva Vizcaya towns that have Isinai populations are Bambang (1,856) and Aritao (300). The three towns comprised the Isinai settlement called Ituy. These towns now are predominantly Ilocano, a result of later migrations and settlings, with sprinklings of other ethnic groups such as the Tagalog, being near the predominantly Tagalog Central Luzon.

Over time, the Isinai have integrated into the “mainstream” culture that there are little traces of their traditional culture left.

The Christianization of the area is said to have begun in June 1726 with the arrival of Agustinian missionaries led by Fathers Nicolas Norbante and Agustin San Juan, converting the natives and organizing them into a settlement now known as Dupax. Dominican priests though are said to attempt Christianization from 1602 to 1704. Records also tell that Dominican and Franciscan missionaries arrived in the area in 1632. Because of lack of personnel, the missions were turned over to the Augustinians. In 1740, the missions in Nueva Vizcaya were returned to the administration of the Dominicans. The founding of Dupax is accepted to be on April 22, 1731, with Fathers Norbante and San Juan planting a cross in honor of Nuestra Señora del Socorro in a little chapel on a spot near the present church. Dupax was once the largest town in Nueva Vizcaya until it was divided into Dupax del Norte and Dupax del Sur in 1974.

In present-day Dupax del Sur, there are litlle traces of the old colonial settlement.

Three are well-known.

At one corner of the plaza is the often inconspicuous flag pole stand made of bricks.

Used to hold the Spanish flag, it was constructed in 1878 under then parish priest Fr. Antonio Xabet. Also inconspicuous is the earlier Dampol Bridge, an arch bridge of bricks and single arch, spanning the Abanatan Creek. From the barangay of Dumang, one crosses it on the way to Dopaj. Dampol Bridge is said to be constructed by the natives—from making the bricks to building whole structure—under Dominican priest Manuel Corripio, facilitating the movement of people and products from those times until now. The first bridge was constructed in 1773, but it collapsed on August 17, 1812, and was rebuilt in 1819. Other reports credit Dominican Fray Francisco Rocamora for the bridge, which is said to be built in 1818, and local kapitan Dionicio Telmo in 1778.

Earthquakes in 1880 and 1881 brought minor damages to the bridge.

Of recent, the old bridge was perceived to face a new threat. In 2014, the Department of Public Works and Highways (DPWH) began a reconstruction of the Dampol Bridge after cracks were observed underneath it.

However, the repair was said to threaten the integrity of the heritage structure, and heritage advocates as well as the Isinai community voiced out their concerns. The retrofitting and widening were halted after the DPWH met with the NCCA. Instead, a bypass road was proposed. Once completed, this road can accommodate bigger vehicles while only lighter ones will be allowed on Dampol Bridge.

But the most promiment and perhaps

The interiors of the church (below) and a view of the town proper with the covered plaza (right)

the oldest of the Spanish colonial structures in Dupax del Sur is the Church of Saint Vicent Ferrer. It may be not as grand as many churches in the country but it is charming in its size and picturesque. In fact, the 18thcentury Baroque church, under the jurisdiction of the Roman Catholic Diocese of Bayombong, was declared a National Cultural Treasure (NCT) by the National Museum of the Philippines (NM) in July 2001.

The church is made of bricks, a common building material for the churches in the Cagayan Valley Region, with river stones, covered with traditional plastering. It stands on an area of 7,200 square meters. The grassy church yard is expansive, surrounded by a low wall, and has a concrete cross, said to once crown the church until it was toppled down by the 7.8-intensity earthquake of July 16, 1990.

The design of the Saint Vicent Ferrer Chuch, particularly its façade, resembles the Saints Peter and Paul Metropolitan Cathedral of Tuguegarao in the province of Cagayan, although less ornate, and the Catholic churches of Bayombong and Bambang.

Presently in cream paint, the façade is refreshingly austere, and the only major ornamentations are the arched main door and the two windows, and its crown of finials.

Also, decorative moldings seem to divide the facade into four horizontal sections or levels.

Terracotta bricks, with embossed symbols of the Dominican Order, crown the main door, and on its sides are embossed symbols of the Holy Eucharist. Right above the door is a niche bearing the statue of the Holy Infant, flanked by the arched windows, framed and decorated with embossed bricks. Above the niche is a deeply recessed oculus, and above it an embossed cross. The facade ends

2015 • Number 3 • Agung 21 NAUT DI SAN VICENTEAR (HYMN FOR SAINT VINCENT)

Uatoy siat patron min tua ot ammain tuar gloriamar, San Vicente ypajogos daami toy mansor amit dadamar.

Siri Espaniat osan bebeoy an Valenciar ngaronar An sirir nianaamar mu impabautizo amos sin inmommoy Mapear tua rien bebeoy, toy sirir nitajuanar.

San Vicente ypajogos daami toy mansor amit dadamar.

Vicenter bautismomar, mangamis si atodajamar, Ngaron die mipajna ysia toy ammair panarawum muar.

San Vicente ypajogos daami toy mansor amit dadamar.

Ari siri aungamar la, ot impaulim mos mataju si osan ejao Si impangibusuoy muar la wa bumangun a ayta amoy tat panescuelamar.

San Vicente ypajogos daami toy mansor amit dadamar.

Uara mos si najanapan si simpiyu ta weyun taw-on ya in-eeng mur Abiton Sto. Domingo de Guzman on toy sia mos si niamam dinapat mur inapiamar.

San Vicente ypajogos daami toy mansor amit dadamar.

Osan diablos guet mardaj, babain immoy nanojso y-sia mu impabatar muar la Ya inpapti mut manajtaj nanbuti di diablosar maspaj toy timaut si asdeamar.

San Vicente ypajogos daami toy mansor amit dadamar.

Uean siat mansersermon, si baba an man Valencia mandonge on manpenitencia Di tajuaran nanbob-on mariran mirngue lan lojom toy nilossuang dar lom-anar.

San Vicente ypajogos daami toy mansor amit dadamar.

Simpiu ta liman libu judios si nabautiswan da on weun libun moros payla Toy uar tongtong muar on ynnu herejes alibulibun magaset casalananar.

San Vicente ypajogos daami toy mansor amit dadamar.

Simpiu ta liman tinapay si inpaan muar tua si libun tajun mabua an niunur Da y-sia, adday milagros mos tien amma-y si atdit urumar ynapiam.

San Vicente ypajogos daami toy mansor amit dadamar.

Osan babait nanpinsan toy nataje ot namatoy si ananar on nangui-oy Siu lom-anar ta ysiram mu siri lat nampauliam matajun ynentregam si amanar.

San Vicente ypajogos daami toy mansor amit dadamar.

Nanquing-quing a on nangompan si pangayaj mut man-atung nu neir masait si atung, Si ynuriam diran uar atungar darin lom-an, binumti dat nancruzamar.

San Vicente ypajogos daami toy mansor amit dadamar.

Uarat osan natoy babayi on ylubu da mos otia mu ympamangun mue Ysiat osan linsangan ammai atdiona tutuwon yu at tajuar toy tueyan tuar ybajanar.

San Vicente ypajogos daami toy mansor amit dadamar.

Ampaylamu siat dauay ya ansan di ynpanparirdirila mar si batang muar natilang, Urum mi on natoy a adday ymmoy at viopar ymmoy toy sirin tua gloriamar.

San Vicente ypajogos daami toy mansor amit dadamar.

This hymn is in the Isinai language, culled from the Novena to Saint Vincent Ferrer, published by the Parish of Saint Vincent Ferrer of Dupax del Sur

The decorative reliefs in the baptistery, which had undergone conservation treatment

with seven finials with the center one topped with a cross.

At the church’s left stands a rectangular bell tower with four levels and narrow arched windows. Also made of bricks, it is without plaster covering. On its top is a parapet, a small cupola and a cross.

On the other side is the two-story convent, which now houses the parish office and a small makeshift musuem displaying church materials as well as Isinai crafts. Interestingly, the convent’s walls have slits, said to be for archers to defend against attacks.

The Saint Vincent Ferrer Church is said to be built in 1773 under Father Manuel Corripio. A sacristy behind the convent was

built in 1771, and the convent completed in 1776. On the other hand, the bell tower was erected in stages for fifteen years—the first level in 1773, the second in 1776, the third in 1786, and the fourth in 1788. During the construction of the church, two kilns were made near the church complex, one for firing the bricks and the other for preparing lime.

Some accounts tell that the present church is the second in the area. When Fathers Nogrante and San Juan planted a cross at the foot of a hill, which was called Cudus (“cross” in Isinai), they also built a chapel in honor of Nuestra Señora de Socorro or Our Lady of Perpetual Help. A local lore tells why a second church Turn to page 29

22 Agung • Number 3 • 2015

NCCA Joins Celebration of 117th Anniversary of the Proclamation of Philippine Independence

Philippine ambassador to Israel Neal Imperial and Mark Sofer, deputy director general for Asia and the Pacific of the Israeli Ministry of Foreign Affairs, in the cake-cutting ceremony

Celebrating Kalayaan 2015 in Israel

E

ven if they are not currently residing in the country, many Filipinos living and working around the world still celebrate the anniversary of the proclamation of Philippine independence on June 12. In Israel, for example, where there are about 25,000 Filipinos, the Embassy of the Republic of the Philippines in Israel raised the national flag in a traditional flagraising ceremony on June 12, 2015, kicking off a weeklong celebration The Embassy hosted a diplomatic reception on June 15 at the Sheraton Hotel in Tel Aviv, graced by around 240 guests, composed of Israeli government officials, members of the diplomatic corps, important partners from the business community, Filipino community leaders and embassy friends, among others. Ministry of Foreign Affairs deputy director general for AsiaPacific Mark Sofer served as the guest of honor.

After ambassador Nathaniel G. Imperial and Sofer delivered their speeches, Sindaw Philippines Performing Arts Guild Inc. (Sindaw) captivated the guests with their performances highlighting the traditional dances of the Philippines. Sofer and other guests participated in the tinikling suite. Dinner included a kosher version of batchoy to give guests a taste of Philippine cuisine.

Meanwhile, to increase awareness on and appreciation for the Philippines’ cultural heritage and history, the embassy organized a two-day Philippine Tourism and Country Fair on June 17 and 18 at the Castra Mall in Haifa. Imperial, Haifa mayor Yona Yahav and Castra Mall owner Gil Dankner formally opened the fair by beating a Cordilleran gong after a canao ritual performed by Sindaw, which flew all the way from the Philippines through the support of the NCCA. Sindaw also performed folk songs and dances from the different regions of the Philippines. Other performers included X Factor Israel champion Rose “Osang” Fostanes, Israel’s Beit Sefer Le Musica 2010 second winner Kathleen Eligado, Israeli singer Tal Kravitz and Lightning Scientific Arnis School, among others.

The fair highlighted not only the culture of the Philippines but also promoted the country as a tourism destination to the eight million Israelis, 4.5 million of whom have traveled abroad in 2014. During the cultural show, the embassy launched the “Visit the Philippines 2015” and “It’s More Fun in the Philippines” videos, as well as the “It’s More Fun in the Philippines: A Tourism Exhibition.”

Celebrating the relationship between Israel and the Philippines, the embassy also mounted an exhibit titled “An Open Door: Philippine Sanctuary for Jewish Refugees (1937-1941),” which showed the important role that President Manuel L. Quezon played during the Holocaust. In Turn to page 25

T

he NCCA participated in the celebration of 117th anniversary of the Proclamation of Philippine Independence on June 12, 2015.

With the theme, “Kalayaan 2015: Tagumpay ng Pagbabagong Nasimulan, AbotKamay na ng Bayan,” the independence anniversary celebrations were led by the National Historical Commission of the Philippines (NHCP) and highlighted by a ceremony at the Santa Barbara Plaza, in front of Santa Barbara Church, in Santa Barbara, Iloilo, with President Benigno S. Aquino III, commemorating the Visayan contribution to Philippine independence. The provisional revolutionary government of the Visayas was inaugurated at the plaza of Santa Barbara on November 17, The NCCA booth at the Rizal Park /Photo by Marvin Alcaraz

2015 • Number 3 • Agung 23 1898. General Martin Delgado raised the Philippine flag, marking the first time the national flag was hoisted outside of Luzon.

Ceremonies were also held at the Rizal National Monument, Rizal Park, Manila; General Emilio Aguinaldo Shrine, Kawit, Cavite; Pinaglabanan Memorial Shrine, San Juan City; Pamintuan Mansion, Angeles City, Pampanga; Barasoain Church Historical Landmark, Malolos City, Bulacan; Mausoleo de los Veteranos de la Revolucion, Manila North Cemetery; and Bonifacio National Monument, Caloocan City.

Local government units around the country as well as Philippine embassies and consulates abroad also commemorated the 117th anniversary of the Proclamation of Philippine Independence with their own events and activities.

Meanwhile, government agencies featured their services around the Lapu-Lapu monument at the Rizal Park from June 11 to 12. The NCCA set up a booth showcasing the colors and richness of Philippine arts and culture. Aside from displaying books, audio-visual materials and crafts, the NCCA also featured Filipino dances performed by the Sindaw Performing Arts Guild, on-thespot sketching by visual artists and a cosplay of Filipino komiks characters. The NCCA Rondalla also performed and the iconic higantes of Angono, Rizal, made the booth more attractive. The NCCA won second place in the best booth contest.

The NCCA also held the “Malikhaing Filipino...Kalayaan at Pagbabago: An Independence Day Concert Series” which started at SM Mall of Asia Main Mall Atrium on June 12, featuring artists and performers including Asia’s Got Talent finalist Gerphil Flores.

The Philippine Madrigal Singers meets the students of the International Philippine School of Shanghai

Philippine Madrigal Singers Embarks on Goodwill Choral Concert Tour in China

W

hen the Filipino revolutionaries, led by then President Emilio Aguinaldo, declared the Philippine Independence on June 12, 1898 in Kawit, Cavite, music played an important role in the fight for freedom in the most trying years, giving a sense of unity and courage to the Filipino people and sustaining the faith, morale and hope for a future free from oppression.

On that momentous occasion, the Banda San Francisco de Malabon solemnly played the national anthem. Back then, it had no lyrics, just the music composed by Julian Felipe. A year later, Jose Palma wrote and published “Filipinas, Letra Para La Marcha Nacional,” which became the lyrics of the national anthem. In 1943, then President Jose P. Laurel ordered the original Spanish text to be translated into Filipino.

Deep in the collective consciousness, our music becomes our own identity and builds a strong sense of self and community. In more ways than one, Filipino music gives life to religious and cultural rituals, communicates social values and celebrates life’s precious memories.

Intensely melodious and deeply profound, it continues to be intimately attached to the cycles of life and conveys strong ideas.

Whether people realize it or not, music has real power. And the Philippine Madrigal Singers knows this, as well as the responsibilities that come with music. Fifty years since it was organized by esteemed conductor and National Artist for music Andrea Veneracion, the Madz become “music that travels.”

As part of the 117th anniversary celebration of the declaration of Philippine independence, the Madz regaled both Filipino and international audiences in China, performing a wide repertoire, from Renaissance to the classical, from Filipino and international folk songs, from contemporary to avant-garde, from opera to popular songs. Their specialization and focus on the madrigal idiom have inspired their unique set-up of singing while seated in a semi-circle, without a conductor.

Turn to page 25

24 Agung • Number 3 • 2015

The INELI-ASEAN (IA) sponsors with the IA Project Team: National library directors of Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, Vietnam and Timor Leste; and presidents of library associations of Brunei, Cambodia, Singapore and Malaysia.

National Library of the Philippines Implements the INELI-ASEAN Project

By Blesila P. Velasco

T

aking on the challenge to facilitate information exchange through an innovative learning strategy and mechanisms across borders in the universal landscapes, the Global Libraries (GL) initiative of the Bill and Melinda Gates Foundation (BMGF) started in 2011. They believed that “the most effective way to ensure that emerging library leaders don’t act with yesterday’s logic is to provide them with opportunities to connect with each other to explore new ideas, experiment with new services, and to learn from one another.” One very significant effort that the BMGF began to support, as a strategy to address public libraries’ issues, is the International Network of Emerging Library Innovators (INELI). It is a network of library leaders around the world who have skills and experiences in developing innovative services for library users.

Established in 2011, the first INELI Cohort consisted of nineteen library workers from seventeen countries including the Philippines. It was a two-year project which was implemented from October 2011 to October 2013. Three convenings were held in New Zealand, South Korea and the Netherlands. Based on the success of this cohort, GL decided to create the second cohort that is still ongoing and which will run from October 2013 to October 2015. Their first convening was held in the Netherlands, the second convening in Chile and last convening will be held in Cape Town, South Africa, in October 2015.

The GL started to wind down in March 2014 and prompted the BMGF to communicate with INELI first cohort mentors and sponsors via e-mail. In June 2015, the BMGF decided to exit the field of global library leadership, but wanted to leave the sector strong. They identified legacy partners and asked to submit concept papers and/or proposals to carry forward the GL’s strategy goals of improving lives through public libraries around the world which they call INELI Regional Network Development or INELI Track. At present, there are seven existing INELI Tracks, namely, INELI-ASEAN, INELI-Balkans, INELI-India, INELI-Latin America, INELI-MENA, INELI-Oceania and INELI-Sub-Saharan Africa. The INELI-Oceania was the first to implement INELI in their region, followed by INELI-Balkans, INELI-

Latin America, INELI-ASEAN and INELI-MENA. The rest are still working on their proposals for approval of the BMGF. After almost a year of haggling and meticulously going through the process of applying a grant, on April 30, 2015, the BMGF has finally awarded it to the National Library of the Philippines (NLP) to fund its INELI-ASEAN Project. On June 11, 2015, the INELI-ASEAN Launching and Pre-Convening activities were held at the Bangkok International Trade and Exhibition Centre, Bangkok, Thailand.

This was the first activity of the project which coincided with the Congress of Southeast Asian Librarians (CONSAL). The launching and pre-convening activities primarily aimed to brief national library directors and/or national library association presidents on the INELIASEAN Project. The reception of the project was overwhelming as there were a number of questions raised, and further highlighted with the willingness and eagerness of some ASEAN member countries to host the convenings. The INELI-ASEAN Project Team took also the opportunity to visit booths of publishers and providers of electronic resources to promote the project, and to ask for their support.

The INELI-ASEAN project involves ASEAN member countries such as Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, Timor Leste and Vietnam. The Project participants will be brought together in three convenings to be held in Malaysia from October 21to 24, 2015; Singapore in October 2016; and Vietnam in October 2017. The project will build the skills level of forty Innovators through online learning modules and workshops during the convenings. There will be experienced mentors and learning facilitators who will guide the participants/Innovators throughout the duration of the program.

The Innovators will be selected and nominated by the sponsors consisting of national library directors and presidents of national library associations of the ASEAN countries. Submission of the names of nominations shall be done by the sponsors via e-mail to the INELIASEAN Project Team (ia.secretariat@nlp.gov.ph) on or before July 31, 2015. The eligible Innovators are expected to be talented and highly-

2015 • Number 3 • Agung 25 skilled library professionals. Although, there is no age limit for Innovators, it is expected that those selected will be closer to the beginning or middle of their career rather than being close to retirement. In addition, the criteria for nomination/selection of Innovators include abilities to demonstrate a potential for leadership, innovation, and collaboration; completion of at least two years’ work experience in the home organization; good command of the English language; and knowledge, skills and access to reliable and robust technology (computer, software, Internet connectivity) at work or home and sufficient computer skills (proficient in Word, email, etc.) to enable to participate in INELIASEAN activities. Final selection of Innovators will be the responsibility of the INELIASEAN Project Team, based on the results of evaluation and interview, if necessary.

Antonio M. Santos, director of NLP leads the INELI-ASEAN Project Team as project director; Blesila P. Velasco and Melody M. Madrid as assistant project directors; Chona S. Galo and Xenia B. Romero as technical senior staff; Fe B. Basagre and Roman G. Bersamira as finance staff; Ginalene M. Magallano as administrative staff; Christopher T. Diaz as support staff; and Joel C. Cruz as project consultant. The INELI-ASEAN Project Team is still in the process of selecting and recruiting two Learning Facilitators to complete the Project Team.

The core goal of the INELI-ASEAN Project is the establishment of ASEAN Public Libraries Information Network (APLiN), which is expected to be organized during the last convening in October 2017. This will be participated in by public libraries with all innovators serving as its first organizational founders and members. APLiN will serve as a network, information hub, common and practical platform wherein public libraries in Southeast Asia can connect with each other. It is a mechanism that will create future collaboration and partnerships among stakeholders within the region. It will provide easy access to vital information and a conducive venue for relevant knowledge, information exchange and best practices.

To ensure successful implementation of INELI-ASEAN Project and sustainability of the APLiN, national libraries in Southeast Asia; local, national and international library associations; government agencies; non-government organizations; public libraries; local government units; and providers of electronic resources from the private sector, will be tapped as potential partners to assist the funding of the three-year project.

Israel...

From page 22

1939, during the Commonwealth Government, Quezon signed a policy that allowed European Jews fleeing Nazi tyranny to find refuge in the Philippine. About 1,300 European Jews made it to the country.

The diplomatic relations between the Philippines and Israel dated back in 1948 when the state was established. In 1947, the Philippines casted a vote in favor of the passage of the UN Partition Plan that led to the creation of the State of Israel. Currently, the Embassy estimated that there are approximately 25,000 Filipinos in Israel. Of this figure, 15,000 are overseas workers, mostly caregivers and nursing aides, 4,000 are permanent migrants and 6,000 are undocumented migrants. Largely concentrated in Tel Aviv, Jerusalem and Haifa, these Filipinos become the “faces” of the Philippines in Israel and the source of information that the Israelis have about the country.

Madrigal...

From page 23

The Philippine Madrigal Singers Goodwill Choral Concert Tour in China 2015 was a project of the Philippine Consulate Generals in Chongjing, Shanghai, Xiamen and Hong Kong, which was also in celebration of the 40th anniversary of PhilippineChina Diplomatic Relations.

The Madz staged full concerts in various venues in Chongqing, Shanghai, Xiamen and Hong Kong. They also attended significant diplomatic receptions; spearheaded choral workshops in Hong Kong and Xiamen; sang for a Eucharistic Celebration in Xiamen; and met with the students of an international school in Shanghai.

With over 200 attendees, including members of the international and local communities and headed by the overseas Filipino workers (OFWs), the choral group performed a varied repertoire, with “Happy” and “Da Coconut Nat” as the crowd’s favorites, in a concert on May 30 at the Hotel Intercontinental in Chongqing. On June 2, the group headed to Shanghai and performed in front of a huge crowd at the Shanghaio Center Theater. In his opening remarks, consul general Wilfredo Cuyugan emphasized the importance of diplomacy in the peace process and recognized the effort of the choir in promoting peace. The following day, the

Madz gave a sneak peek at the Philippine International School and exchanged stories with the students, parents and teachers.

While the Madz performed three songs, the students showcased their talents as well.

At the Xiamen University, the choral group conducted a workshop for selected students and the choir of the School of International Relations of Xiamen University, with artistic director Mark Antony Carpio facilitating a few breathing and vocal exercises. The workshop was capped with selected performances from both the Madz and the university-based choir.

On June 5, it was a full house—with over 800 guests—at the Grand Fujian Theater in the Fujian Province when the Madz staged a concert there. The audience applauded the group’s Chinese songs, and even asked for two encore numbers.

The concert at the Kempinski Hotel in Xiamen on June 6 was a triple celebration, commemorating also the 20th anniversary of the Philippine consulate in the Chinese province. Meanwhile, at the Xiamen Cathedral, church-goers witnessed the musicality of the Philippine choral group as they obliged with performances of inspirational and Filipino songs after the mass on June 7.

Their tour continued in Hong Kong on June 9, with a benefit concert for the empowerment of the domestic help force. The consulate worked with Service 100, a project of the Centre of Development and Resources for Students of the Hong Kong University for the benefit of the domestic help force. After the testimonies from representatives of the domestic help force and the volunteers, the Filipino choir took the center stage, singing out their hearts for the men and women who were part of this worthwhile endeavor. The following day, the group held a workshop for the student volunteers of Service 100, along with some Filipino choir members who work as domestic help, and other Hong Kongbased choir members at the Hui Pun Hing Lecture Hall of the HKU Main Library.

The Madz capped their concert tour with an intimate performance, with over 80 guests, at the Miller Theater of the Asia Society Hong Kong Center. After their performance, the choral group answered inquiries from the audiences.

Through the concert tour, the Madz hoped to increase awareness amongst the audiences about the Philippine culture and music through the choral genre and strengthen the Filipino spirit among the OFWs and keep the Filipino choral legacy alive.

26 Agung • Number 3 • 2015

THE SIXTH TIAF

Arts Festival that Crosses Cultures An

By Maria Elena Catajan

T

he Tam-awan International Arts Festival in Baguio City offered the world its treasures.

Chanum Foundation, with its continued partnership with the NCCA, held the 6th Tam-awan International Arts Festival (TIAF), themed “Global Cordillera: Heroes, Legends and Treasures,” from May 6 to 10, 2015.

Now on its sixth year, the TIAF presents cultures from all over the world with an international delegation led by Joyce Toh, senior curator of Singapore Arts Museum and Park Hyung-Jun from the United Koren Association. Artists from all over the Philippines converged and collaborated with the Tam-awan group of artists, including those from General Santos City, Sarangani; Binangonan, Rizal; Batanes; Pampanga; Iloilo; Siquijor; San Pablo, Laguna; Jolo, Sulu; Cagayan De Oro City; Bacolod City, Negros Occidental; and Dumaguete, Negros Oriental.

The festival aimed to empower artists as well as communities highlighting the arts, culture and heritage as well as the capacity of artists to contribute to society and reach people with their arts.

The festival opened on May 6 and 7 with the International Watercolor Society Philippines, Tam-awan Village artist Patrick Palasi imparting the art of “coffee painting,” the Philippine Art Educators Association featuring kite making design, and the Women’s Association of Bokod highlighting traditional bead-making.

A performance by Tam-awan artist Art Lozano called “May Magagawa Ka: Padyak Para sa Kalikasan,” a bike run spanning the Baguio route engaging, bikers to highlight love for the environment. Lozano also performed this piece at the Upper Session Road.

The Ayala Museum opened the exhibit “Rueda de la Fortuna,” board games created by hero Jose Rizal, and the museum’s traditional doll collection at the Village Gallery.

Added to the festivities was the exposition of the Pampanga Literature’s Aguman group featuring their “Kulitan,” while evening performances of the Tam-awan International Arts Festival exhibit at the SM City Baguio basement.

An exposition of regional and international games included tikyaw by the Iloilo contingent,

Performances by Tanghalang Saint Louis University (left) and the Pangalay Artist Circle (above), and a session of the International Watercolor Society Philippines.

Siquijor’s terno game, war games from the Pampanga Ayta Mag-antsi Tribe, General Santos’s luthang and yut-nori from the Korean delegation.

The formal opening of TIAF kicked off with a Cordilleran ritual; a cultural performance by the Bokod Women’s Association; a press conference by the Philippine Information Agency; and a cultural show featuring the Pan-ayoan School of Living Traditions in Buguias, Benguet, the Pudoc West Integrated School of Culture and Arts from Tagudin, Ilocos Sur, and the Tamawan Village Dancers.

Afternoon talks commenced with Emil Suntay, managing director of the Emilio Aguinaldo Museum, discussing “Emilio Agunaldo’s Heroism and his Cordillera Connection,” followed by Orlando Abon, president of PAEA, with his talk, “Empowering Art Teachers in The K-12 Curriculum Through Culture.”

The documentary “National Treasures: A Journey Through History” was also shown.

In the evening, the TIAF Cultural Performance Night featured Tanghalang Saint Louis University, Saint Louis University Dance Troupe, Tam-awan Village Dancers, Saint Louis

Performances by students of the School of Living Traditions on Ibaloy performing arts from the Kiwas Elementary School (top), and the Pampanga Ayta Mag-antsi Tribe (above)

University Glee Club, Pudoc West Integrated School of Culture and Arts and Elemento.

A talk on Cordilleran games opened May 9 with Dr. Ike Picpican, curator of Saint Louis University Museum , followed by Father Harold Rentoria, head of the NCCA Subcommission on Cultural Heritage, leading a round-table discussion on heritage and preservation. Toh aimed to empower artists and stakeholders with her talk on curatorial perspectives.

Performances of the University of Baguio Voices, Pangalay Artist Circle, University of Baguio Ethnic Group, University of Baguio Graces, the United Korean Association in Northern Luzon Philippines, Pampanga Ayta Mag-antsi Tribe and University of Baguio International Students entertained guests that evening.

Capping the festival were performances by the School of Living Traditions on Ibaloy performing arts from the Kiwas Elementary School in Tadiangan, Tuba, Benguet, and a talk on the Heritage Law by legal consultant to the NCCA chairman and heritage advocate Rose Beatrix Cruz-Angeles.

28 Agung • Number 3 • 2015

The street dancing and float parades of the Gotad ad Ifugao /Photos by Marvin Alcaraz

T

he province of Ifugao celebrated its 49th founding anniversary with Gotad ad Ifugao, held from June 12 to 19, 2015, with this year’s theme, ”A celebration of cultural heritage as foundation of self-determination and sustainable development” and a lineup of different events in the capital, Lagawe.

The celebration started with an independence day program and a concert on June 12.

The following day, a marathon in G-string was held. On June 15, festivities included a civic parade, awarding of the province’s achievers, the opening of the indigenous culinary arts

festival, the opening of the an agri-tourismindustrial fair, an agri-industrial skills competition and a musical theater contest.

The cultural skills competition on June 16 included munlagga, mun-abol, mun-paot, muntuknul, muntalik dakdakan di Daulon ya bihibihan and munkiwa. Native blacksmithing was featured at the cultural skill demonstration. Meanwhile the cultural arts contest pitted participants against each other in the performance of liwliwa, hudhud, native dance, and creative ethnic ensemble.

The coronation night of the beauty contest Bugan ya WIgan di Gotad capped the day.

Ifugao

The street dancing was the highlight of June 17, while the grand cultural parade, float contest and the grand Gotad program were mounted the following day. The indigenous sports competitions were also held featuring the uggub, akkad, kayyatan, hinnukting, labba/caba race, bultung and guyyudan. The bowwot was demonstrated.

Ifugao was formerly a part of the old Mountain Province and became a province on June 18, 1966, with the signing of House Bill No. 1526, also known as Republic Act No. 4695 or the Division Law of Mountain Province.

Province of Celebrates Foundation Anniversary The rice terraces in Batad, Banaue /Photo by Marvin Alcaraz

2015 • Number 3 • Agung 29

The Pillar...

From page 21

was built near the chapel. While the chapel was being constructed, the legend says, the parish priest and some parishioners frequently obeserved amorseco seeds clinging to the robe of the image of the Holy Infant enshrined at the chapel. Some villagers also reported seeing the image in a particular area, where amorseco grew. They concluded that the image preferred the spot for the new church. This story though is similar with stories told in many areas of the Philippines on the construction of churches. The original titular patron the Nuestra Señora del Socorro of the Augustinians was replaced by Saint Vicent Ferrer by the Dominicans.

The church was damaged during World War II, and was reconstructed from 1946 to 1947 through the efforts of Belgian missionary Father Jose Anseew. It also underwent repair and rehabilitation from 1978 to 1979 under Fr. Paul Bollen. In July 1990, a strong earthquake severely damaged the church, but it was repaired and restored.

Perhaps more interesting than the exterior of the church is what are inside it. The wooded retablo or altarpiece and the pulpit are said to be original. The original images, whose heads and hands were made of ivory, are said to have been stolen in different occassions and were replaced with replicas. A small sanctuary has relief sculptures and an altar. But the most important features of the church are the pillars and the baptistry.

At the narthex, two massive pillars, supporting the choir loft, welcome visitors. The

cylindrical pillars are made of clay bricks and is hollow, filled with brick fragments, rubble and stones. But they are ornate, covered with reliefs of angels, shells, flowers and arabesques. Lime-sand stucco was used as extension coating for the bulding and surfacing of ornamental details on the pillars.

On the other hand, the baptistery, located near the entrance, is also decorated with the same stucco carvings. The walls and ceilings are of clay bricks plastered with lime-sand mixture. The wall relief sculpture depicts a Bibilical scene—the baptism of Jesus Christ

by John the Baptist at the Jordan River—surrounded with floral designs. The domed ceiling has a dove and light rays.

These pieces of heritage treasures also suffered damages and deterioration over time.

According to NM, most of these are from atmosphere, surface erosion, internal mositure and biodeterioration.

The pillars were applied with inappropriate paint. Paint layers have become soft and powdery due to disintegration of the stucco and clay. Also, water accelarated the decomposition of calcium carbonate in the building material.

During heary rains, it was found out water entered through the broken glass of the oculus.

Water seeped from the choir loft as well as rose from the base of the pillars.

In the baptistery, sculptures were also severely damaged because of water accumulating from the ceiling and the ground. There were no apt water drainage system, and aggaravating the situation was a reservoir directly above the baptistery, which overflowed from time to time, with water seeping through the concrete ceiling. Also, the baptistery was painted over with several layers of industrial

paint, sealing off the porous materials.

In 2005, NM and the NCCA, with support from the United States Department of State through its Ambassador’s Fund for Cultural Preservation Projects, embarked on a conservation effort to prevent further deterioration of the relief sculptures of the two pillars and baptistery.

For the pillars, NM technicians and experts gingerly stripped off layers of industrial paint with appropriate stripper and applied the surface with the more apt water-based acrylic paint. For the baptistery, the roofing was repaired as well as the windows. The paint was removed, and exposed bricks and plaster were consolidated. Cracks were filled with a mixture of hydrated lime and sand with small amount of white cement, and the missing portions of the scultures were replaced with similarly looking parts made of materials close to the original The pillars and baptistery though are still constant threats after treatment such as exposure to extreme weather. The NM regularly conducts inspectations, and at the same time is still studying to find better conservation treatement of stucco in a tropical climate such as ours.

While there are more to be done to fully rehabilitate and repair Saint Vincent Ferrer Church, these are important steps in conserving the heritage structures that have become important part of the life and culture of Dupax del Sur. “Due to its influential role, historic past, and being the most prominent image in Dupax del Sur, this cultural heritage site is the de facto heart of Dupax Isinay country,” said Charles P. Castro, a forester from Dupax del Sur, who writes about his childhood in the town and as part-Isinay.

The Saint Vincent Ferrer Church in 1954 (left) and in 2015

30 Agung • Number 3 • 2015

Call for Curatorial Proposals for Philippine Participation at the 15th Venice Architecture Biennale 2016 The NCCA, in partnership with the Department of Foreign Affairs (DFA) and the Office of Senator Loren Legarda, announces an open call for curatorial proposals for a Philippine Pavilion that will officially represent the Philippines in its first participation at the 15th International Architecture Exhibition in 2016 under the auspices of La Biennale di Venezia. NCCA chairman Felipe De Leon, Jr. is the commissioner of the Philippine Pavilion. Filipino architects, curators, practicing artists from the different disciplines, urban planners, ecological activists, geographers, historians and critics of space, heritage workers, and others are encouraged to participate. The call is open to proposals by a single curator or by a team of curators.

As a vital part of the selection process, consultation meetings will be held in Metro Manila, the Visayas, and Mindanao for engaged discussion and interaction among organizers and the public on matters pertaining to the preparation of curatorial proposal for the Architecture Biennale. Submitted proposals will be deliberated upon by a panel of jurors to assess the most suitable curatorial proposal.

The selected proposal will be realized as the Philippine Pavilion in Venice to be opened on May 28, 2016, and will run until November 27, 2016.

La Biennale di Venezia has appointed Alejandro Aravena director of the 15th Venice Architecture Biennale. He has stated that “there are several battles that need to be won and several frontiers that need to be expanded in order to improve the quality of built environment and the people’s quality of life.” In the light of such a vision and advocacy, he imagines the 2016 Exhibition to display “success stories worth to be told and exemplary cases worth to be shared where architecture did, is and will make a difference in those battles and frontiers.” He points to “cases that, despite difficulties, instead of resignation or bitterness, propose and do something.” The 2016 Exhibition is action-driven, he points out: “In the permanent debate about the quality of the built environment, there is not only need but also a room for action,” Defining Architecture in the Context of La Biennale di Venezia The term architecture is conceived broadly in the context of the Biennale. It is not confined to built form and the planned and designed environment. In the imagination of the Biennale, it refers to the range of ways in which space is sensed, appropriated, inhabited, transformed, and conceptualized in relation to an array of relationships playing out in the field of history and

culture. In other words, architecture is rendered responsive to the contemporary conditions and therefore becomes a central concern not only of professional architects but of other social agents and space makers as well who are keen to reflect on the complex situations of space and its making in current social life.

Since architecture is located within an expanded field and becomes an extensive term to refer to a gamut of articulations, the proposal for the Philippine Pavilion benefits from a wide latitude of interpretation. It can freely converse with historical artifacts at the same time that it involves contemporary artists across media. It can speculate on geographies of migration alongside a reflection on the cycle of calamities that constantly remake the natural terrain. It can be an ethnography of a place and its densities; a thesis on the speed and sedimentation of a street or a city; a critique of how power constructs a square or a house; and an argument on how people recast their myriad loci performatively. These are only some of the options and permutations in the ever-shifting, though never groundless, algorithms of the architectural.

Brief History of Architecture Biennale The Venice International Architecture Biennale is relatively the newest addition to the oldest and foremost biennale structure conceived by La Biennale di Venezia for more than a century of its existence. It began in 1980 with the exhibition organized and curated by Paolo Portoghesi.

In it was Strada Novissma, an exhibition where twenty façades designed by the most celebrated architects were set up, rendered theatrically, and constituted in an imaginary postmodern “street.”

The impetus of the event, however, is traced to A proposito del Mulino Stucky (A proposition for the Molino Stucky) organized in 1975 and curated by Vottorio Gregotti.

The schedule of the International Architecture Exhibition from the first to the seventh edition was erratic, and was only pegged as a biennale in 2000. In its 30 years of existence, a total of 14 Exhibitions have been organized and mounted at the Arsenale and the Giardini. The participation for the first four Exhibitions was restricted to the renowned architects of the time.

During its fifth exhibition in 1991, it took the form of an Art Biennale and opened its doors to national participation.

On National Participation Only one project is recognized by la Biennale for each participating country. Thus, the for-

mal invitation to participate is coursed through the highest concerned government agency of a country, which in turn initiates a distinct process of selecting and realizing a proposal for the country pavilion. The exhibition that officially represents a country will be recognized in all the materials produced by La Biennale di Venezia, particularly the catalogue, as the only participation of the country.

The content of the proposal must have the title of the exhibition, curatorial concept (800 to 1,000 words only), proposed exhibition lay-out, CV of proponent/s (include sample works), CV of the exhibitor/s (include sample works), budget (production of the works only), production timeline and contact information.

Proponent/s and exhibitor/s must be Filipino citizens and Filipinos with dual citizenship, and have participated in at least one international contemporary exhibition or related projects/platforms. (Attach proof of identification/citizenship) The curator/s determine the curatorial direction of the exhibition; manage the concretization of the curatorial proposal from the preparatory phase to the mounting of the exhibition in Venice; initiate a consultative process between and among exhibitor/s; supervise the exhibitor/s in realizing the curatorial concept; prepare the production schedule of the exhibition and manage its implementation; prepare content and collaborate with a designer for the exhibition catalogue and other printed materials of the exhibition; write exhibition notes and wall texts for the exhibition; prepare writeups on the exhibition for the official la Biennale catalogue and for promotional purposes of the Philippine participation at the Venice Biennale; edit and write for the catalogue and other collateral materials; coordinate with the Philippine Art Venice Biennale (PAVB) committee; officially represent the Philippines in all meetings, events and other activities related to the Architecture Biennale; and propose collateral events for the Pavilion and help manage its implementation.

Interested parties can download open call proposal form from philartvenicebiennale. com. Submit the completed form and all the necessary documents only via email to info@ philarchvenicebiennale.net, with subject heading “Curatorial Proposal,” on or before October 7, 2015. Emailed proposals will be duly acknowledged upon receipt. Announcement of result is on October 15, 2015. For more information, call (+632) 527-2175. Visit Web site www.philartvenicebiennale.com.

THE NCCA GALLERY 2015 • Number 3 • Agung 31

An Artistic Rebirthing Graduating students of the Visual Arts and Design program of the St. Scholastica’s College’s Department of Fine Arts and Interior Design mounted an exhibit, “Resurgence: A VAD Voice,” at the NCCA Gallery from January 14 to 31, 2015.

The exhibition featured paintings and mixed media works of four artists: Pawee Dimla, Aphro De la Rosa, Caia Sison and Kristina Silangcruz. “Resurgence” spoke of ideas reborn, dreams aspired and awareness renewed through the power of the paintbrush.

Straddling realms from the depths of undersea to myths, reflections and fantasies in fabric, their thoughts came together to affirm their personal triumphs through finding inspiration from empowered women able to pursue their passions, express their visions and rise up as nurturers of the earth.

“Resurgence” was part of the Artekolasa, St. Scholastica’s College’s umbrella event held since 2009 to coincide with the National Arts Month in February. The ArteKolasa started early in January in anticipation of the week-long Papal visit. The Department of Fine Arts and Interior Design presented four major exhibitions including “Resurgence: A VAD Voice.”

Silangcruz’s Earth and Dimia’s Mutya ng Pasig

Sto Manggagamot, 27 by 49 inches, acrylic on canvas

Sto Mananari, 27 by 49 inches, acrylic on canvas

Sabong and santo Mounted from March 7 to 31, 2015, “Gallum Sanctos: The Art of Nestor Ong” explored the culture of sabong or cockfighting.

“Sabong is not a mere manifestation of the Filipino culture but a culture in itself. Surrounding this culture are political, spiritual and social forces,” shared Ong. According to him, the sabong is deeply entrenched in our culture, and Filipinos have been enjoying it even before Spanish colonization.

In “Gallum Sanctos,” a collection paintings on the sabong in surrealist mode, Ong depicted the various characters in a typical sabungan setting like the mananari, cristo, manggagamot, among others, but spirituality and superstition were highlighted.

The Catholic concepts of the Holy Trinity, Christ and communion were interpreted. Each painting was accompanied by a prayer of the mananabong to the various santos. These prayers were written in old Filipino text with a mixture of Latin.

Besides working as creative director for Filipino Artists magazine, Ong also does commissioned work and organizes exhibits through Pintig Art Circle.

32 Agung • Number 3 • 2015

From the Fringe There is a growing renaissance of art by future movers and shakers in the industry that create work that is driven by their experience and social consciousness. The art that we see right now is bold, new, and unapologetic—a reflection of how far we’ve come in expressing our unique identity. It is a reflection of how we are perceived as a people and as art practitioners, and a reflection of the universality of art as it transcends cultures and continue to break barriers.

The exhibit “UnderEXPOSED” provided a platform for international visual arts participants Paulo Abe, Kelvin Atmadibrata, and Daniel Djamo’s works to be seen and heard. It was mounted at the NCCA Gallery from February 14 to March 1, 2015.

In The Banned Library, Brazilian writer and artist based in São Paulo Paulo Abe discussed the censorship still prevalent around the world. In the work were some of the world’s greatest novels, victims of censorship throughout the modern age, showing that the liberty to show our thoughts and feelings is still in check, excluded from the public, imprisoned, etc.

Stimulated by a fictional claim that vitamin C is effective for penis enlargement, Indonesian Kelvin Atmadibrata’s multi-disciplinary presentation, “There’s an albatross around your neck…. Can you carry it with no regrets? Bastille, Weight of Living pt.1,” explored facets of masculine expectations. The works took references from Filipino narratives such as the macho dancers, Ifugao bulols as well as Baguio barrel man souvenirs. Visually inspired by the late American minimalist artist Felix Gonzalez-Torres, the drawings, installations, objects and performance were continuations of the artist’s short residency in Manila in 2013.

Young Romanian artist and film director Daniel Djamo presemted “The Birds,” based on fragments of interviews of Romanian immigrants living in Paris in 2011, 2013 and 2014, shot in Nogent sur Vernisson, Loiret, on December 28, 2013. He describes: “‘The Birds’ presents seven minutes of French sunset, on continuous shooting, with the migratory birds preparing to leave. It presents the sunset of the West, with governments taking measures belonging to the right. I chose to draw a parallel Daniel Djamo’s “The Birds”

Kelvin Atmadibrata’s “There’s an albatross around your neck….

Can you carry it with no regrets? Bastille, Weight of Living pt.1v”

Paulo Abe’s The Banned Library

between this story and statements that I had previously recorded in Paris, belonging to Romanian immigrants. The work is part of a larger project regarding the migration phenomena, entitled ‘Nomadaptation.’”

“UnderEXPOSED” was part of the inaugural Fringe Manila Festival, a multi-arts festival held from February 12 to March 1, 2015, in different venues around the Metro Manila.

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

NEWS BRIEFS 2015 • Number 3 • Agung 33 UNIVERSITY OF ST. LA SALLE MOUNTS IYAS CREATIVE WRITING WORKSHOP The University of St. La Salle, in cooperation with the Bienvenido N. Santos Creative Writing Center of De La Salle University Manila and the NCCA, answered the need for a creative exchange through the Iyas Creative Writing Workshop held from April 16 to May 2, 2015, at the Balay Kalinungan Complex of University of St. La Salle, Bacolod City, Negros Occidental.

Established in 2001, Iyas aims to assist young writers in improving and perfecting their crafts, encourage them to commit to their crafts and contribute to the improvement of the quality of literature in the country. Writing fellows were selected in poetry, short story and drama not only in English and Filipino, but also in Hiligaynon, Cebuano and Kiniray-a.

Among the 72 applicants, 14 fellows were selected and participated in the workshop. In the fiction category, the fellows were Deo Charis Mostrales and Arnel Murga (English), Heidi Sarno (Filipino), Meryl Panuncio (Hiligaynon) and Mechelle Centurias (Cebuano). For the poetry category, the fellows were Catherine Regina Borlaza, Elijah Maria Pascual and Maria Camille Rivera (English), Juleini Vivien Nicdao and Aldrin Pentero (Filipino), Dave Pregoner (Cebuano) and Patrick Jay Pangilinan (Hiligaynon). Eljay Deldoc and Bernalyn Sastrillo were the fellows in drama.

This year’s workshop director was Dr. Marjorie Evasco. The panelists included Grace Monte de Ramos-Arcellana, Glenn Mas, Danilo M. Reyes, Dr. Dinah RomaSianturi, John Iremil Teodoro and visiting writer Tim Tomlinson from the Asian American Writers’ Workshop of New York City.

Each session concluded with a plenary, in which panelists discussed literary issues including gay and post-gay literature, shifting into different literary crafts, spoken word poetry, experimental literature, development of creative non-fiction and concerns about techniques in writing.

Other activities included the launching of Marcel William’s book Human (is) Nature: A Year in Haiku, a poetry reading titled “World Book Day: Escritorio 3: Secreto” by the Santermo Writers’ Circle of Bacolod City, and the launching of Dr. Dinah Roma’s book Naming the Ruins. — John Michael Saavedra

SAGADA CELEBRATES ETAG FESTIVAL Now on its fifth year, the local government of Sagada in Mountain Province celebrated its rich culture and community involvement through the Etag Festival, a week-long affair centered on the native food item made from smoked meat and is used in almost all rituals from birth to death, from January 30 to February 2, 2015.

With the theme, “Cooperation Amidst Diversity,” the festival aimed to create a heritage-based economy focusing not only on reigniting Sagada cultural identity but also to maximize its economic potential. It also aimed at instilling in the minds of the younger generation the importance of the cultural values and practices in Sagada.

To open the festival, indigenous peoples representative Jaime “Tigan-o” Dugao led the “Pitik ya Watwat di Etag,” a prayer to ask for blessings and the success of the Etag Festival. Sagada mayor Eduardo Latawan, Jr. welcomed guests from sister municipalities of Hungduan in Ifugao, Tagudin in Ilocos Sur, Kabayan in Benguet and Pasil in Kalinga. His message centered on the culture of Sagada and the importance of the participation of other municipalities in their festival, revealing that these sister municipalities have all agreed to share tourism and trade support with each other.

The highlight of the festival was the Etag Cookfest, where 19 barangays—divided into four zones—showcased their culinary skills to come up with different ways of cooking the local smoked meat. The winning recipe came from Zone Two with its etag with gabi and coconut milk. Other featured dishes were etag cooked in tapey (local rice wine), etag sisig, and boiled etag and pinikpikan.

Japanese coffee researcher Hirofumi Yamamoto and coffee-taster Sly Samonte conducted a coffee-cupping lecture, enabling Sagada coffee farmers gain additional understanding about the process and help them make better products.

Throughout festival, there were guided tours of Sagada’s caves and mountains such as the Sumaguing and Balangagan caves.

Participants also joined the Sagada EcoWalk, a four-hour hike traversing the Echo Valley, the hanging coffins area, the Kiltipan View Deck and the Bokong Falls.

In the Solidarity Friendship Night, Sagada elders performed the lugin di tadek (the arrival of tapey) and pitik di tapey (the toast for a successful festival). Other activities included indigenous and sports games, cultural nights featuring the performing

group Atok Pagano at mga Nitibo, which is known for using native instruments and their artistic performances, as well as environmental and cultural dance shows and beauty contests. — John Paul T. Orallo PAOAY CELEBRATES GULING GULING FESTIVAL At the break of dawn, the Ilocano would rise from their beds, wear their finest dress and dance their way to the place where dudol, a native delicacy made from bel-laay (rice flour), coconut milk, sugarcane juice and anis, would be made using the anawang (a makeshift oven made from dried sugar cane pulp).

It was a day before Ash Wednesday. They were waiting for the town mayor to imprint them with guling, sign of the cross, on their forehead using wet rice flour. It is believed that putting guling would cleanse them of all their sins. The whiteness of the flour also symbolized purity.

After the ritual, the people would enjoy binugbug and basi (local wine made from sugarcane) and parade towards the church, down the streets and finally to the town plaza where the festivities and merry-making would continue. The people would enjoy a night filled with music, laughter and dancing, before they would fast and do some penitence during Lent.

Panaguringan, or the practice of imprinting ash on the forehead to commemorate Ash Wednesday, is an Ilocano tradition that has been introduced by Spanish priests in the 16th century as a way to usher in the Lenten season. This practice was a way for the church to interact with its parishioners.

In 1990, then Ilocos Norte governor Ferdinand “Bong-Bong” Marcos Jr. revived the Guling Guling Festival of the town of Paoay to promote Ilocano culture and heritage. The former governor also saw this event as a good opportunity to revive the dying industry of abel Iloco (Ilocano hand-woven textile).

This year, the local government of Ilocos Norte celebrated the festival from February 15 to 17, 2015, with a series of activities including an inabel fashion show, a dudol making fair, Miss Guling Guling beauty pageant, and a trade fair and garden show.

“Guling Guling is a celebration of the remarkable faith and resiliency of Ilocanos. Despite the difficulties that they experienced, Ilocanos still find time to be resilient, to be proud and to remain Christian and prayerful,” said Ilocos Norte governor Imee Marcos in her speech.

The highlight of the festival was the Guling Guling Street Dance Parade and Showdown. Competing for the street parade and dance showdown components were 10 competing groups. Three to four barangays were grouped together to form one contingent.

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NEWS BRIEFS

Each group has about 100 members.

The first part of the competition was the street parade. The groups paraded from the national highway, at the corner of Pasil Road in Barangay 11 San Blas, and ended at the Saint Augustine Church, also known as the Paoay Church.

Since the festival has a religious tone, the church was a fitting venue for the showdown not only because it has been declared as one of the country’s national treasures and a UNESCO World Heritage Site, but also because the church plays an important role in the life of the Ilocanos.

Dressed in Filipiniana attire and other costumes made from inabel textile, the dancers bearing the guling on their forehead performed choreographies inspired by binatbatan, the traditional dance that depicts the weaving of inabel.

Featuring the interesting facets of the Ilocano culture such as the sugarcane planting, inabel weaving, the Paoay Church and the balikbayans from Hawaii, their performances were accompanied by the sabunganay (which means “banana blossoms” in Ilocano), a traditional music depicting a young lady who is still too young to be courted.

In the street parade category, contingent number 10 (from the barangays of Laoa, San Roque and Bacsil) was declared the champion, winning a trophy and P75,000 cash prize. First runner-up was Contingent number eight (Sangladan, Cayubog and Veronica Pambaran); and second runner-up the contingent from Masintoc, Callaguip and OaigUpay-Abulao. The group composed of Cabaguan, Dolores and Cabang-aran was the third runner up.

In the dance showdown portion, the championship went to Contingent number five, composed of the barangays of San Pedro, Sta. Rita and Sideg. Contingent number eight (Sangladan, Cayubog and Veronica Pambaran) won the first runner up, while Contingent number nine (Salbang, Surgui and San Agustin) was the second runner up.

Taking the third runner-up place was Contingent number four (Nanguyudan, Pasil and Sungadan). Non-winning contingents received consolation prizes.

The board of judges, which included NCCA Committee on Dance head Josefina Guillen, Robert Hayden, NCCA Committee on Dance member Rebecca Nullud, Emman Peregrin and Jericho Reynalde, judged the groups on the dance showdown category on the choreography and theatrical appeal, the performance, costume, props and musical accompaniment. Great performance and stunning costume were the criteria for the street parade. — Maricel C. Diaz

A DANCE AND STREET THEATER FESTIVAL IN LEGAZPI CITY What was once a university-based street pageant has become a full-blown festival in Legazpi City, Albay. Now on its 14th year, Rokyaw has evolved into an annual street theater and dance festival that features the stories, traditions and values of the Bicol Region.

Using the Bicolano term which means “to celebrate,” the Rokyaw street theater was first conceptualized in 2000 and spearheaded by the NCCA Committee on Dramatic Arts head Jazmin Llana. That time, roving floats featured traditional stories from the region that were dramatized by contingents from various college departments of Aquinas University of Legazpi.

Full performances of the dramatized pieces were staged during the culminating part of the pageant. Its first show, “Mga Istoryang Bikolnon” (Bikolano Stories), marked the opening ceremonies during the celebration of the founding of the university. Pintakasi nin Arte Bikolnon, meanwhile, was the National Arts Month celebration of the region. In subsequent years, the university pageant became known as Rokyaw.

Following the theme “Buhay na Pagtubod, Tibay Paurogon” (Relive and Strengthen One’s Faith), this year’s street theater and dance festival aims to educate the public on Bicol culture, creative expressions, and rarely heard traditional and contemporary stories.

Seven short plays and street dance demo on love and Bicol values took the center stage on February 5, 2015, at the St. Dominic Quadrangle inside the Aquinas University. The drama pieces mostly revolved around the concept of love, coupled with Bicolano values such as devotion, prayerfulness, determination, studiousness, optimism and honesty.

Among the scripts submitted last November 2014, the original plays that made it to the list were “Pagkamoot sa Tahaw nin Kadipisilan “ (Love Amidst Hardships) by Partner Community; “An Sakuyang Pagada” (My Education) by the Non-Academic Personnel; “Mautik o Dai Mautik” (To Lie or Not To Lie) by Frankilino (AQUI); “Paglaom” (Hope) by CASE; “Biyaya kan Pagtubod” (Blessing from Belief ) by CBMA; “Pagtubod, Liwanag sa Tahaw nin Diklom” (Belief, Light Amidst Darkness) by Rene Cos of CEAFA; and “Debosyon” (Devotion)

by Marvin Bermillo and Krystyn Banega (CNHS).

AUP vice-president for Religious Affairs Fr. Roberto Reyes welcomed more than

over 3,500 spectators and guests from Albay and neighboring areas. — Joanna Melody Lerio PARANAQUE CITY HOLDS THE LAMBAT STREET DANCING COMPETITION FOR ITS SUNDUAN FESTIVAL Once known for its salt and marine products, Paranaque City paid homage to these coastal economic traditions through the Sunduan Festival. In line with the 16th founding anniversary of the city, the festival aims to perpetuate and promote the coastal village traditions, as well as pay tribute to Saint Andrew, their patron saint who was a fisherman.

As part of the festival, the local government held the Lambat Street Dancing Competition which was inspired by the salt-making and fishing industries, once the source of livelihood among the Paranaquenos during the early years.

The competition was held on February 12, 2015, at the open parking area of SM City Sucat in Paranaque. It began with a parade, starting from the Citimall Building, along Dr. A. Santos Avenue, and ended at the SM City Sucat parking area. Kicking off the program was a lively performance by the Xin Hua Lion Dance.

Twelve barangays competed in the street dancing—Moonwalk, San Antonio, Tambo, Vitalez, Baclaran, Santo Niño, B.F. Homes, Marcelo Green, San Isidro, Don Galo, San Dionisio and La Huerta. Each contingent was composed of 60 to 80 participants who were all residents of their respective barangays.

Dressed in festive and colorful costumes depicting creatures from the sea, all groups performed using the same music prepared by the organizers, a mash-up of contemporary instrumental melodies. All groups were required to creatively use the lambat (fishing net) in their performances.

The performances were judged based on choreography, gracefulness and uniformity of movements, creativity of costumes, strong projection and appeal to the audience. The board of judges was composed of Dr. Allan Baggayon, Alex Cerillo, Christine Barrios, Luis Salenga and Paul Richard Francisco.

San Isidro took home the championship, earning a trophy and cash prize worth P70,000. La Huerta and San Dionisio won the second and third places, respectively.

Gracing the event were mayor Edwin Olivarez and his wife, councilor Bernadette Berenguel (who is also the chief of Paranaque Tourism Office), former mayor and barangay captain Pablo Olivarez and other barangay officials. Over 2,000 people witnessed the street dancing competition. — Maricel C. Diaz

2015 • Number 3 • Agung 35

Tiboli weaver Lang Dulay /Photo by Renato Rastrollo

Lang Dulay IN MEMORIAM

Manlilikha ng Bayan

E

motions ran high as the remains of Manlilikha ng Bayan Lang Dulay was being laid to rest at the Manlilikha ng Bayan Training Center in the sitio of T'bong, barangay of Lamdalag in Lake Sebu, South Cotabato, in May 28, 2015. Her family, friends and the community celebrated her remarkable life in a necrological service prior to her interment. Lang Dulay died on April 30, 2015, at age 91.

Among those who gave their last respects were Lake Sebu mayor Antonio B. Fungan, NCCA chairman Felipe M. De Leon Jr., South Cotabato governor Daisy P. Avance-Fuentes, and Gawad sa Manlilikha ng Bayan committee secretary Aurora Roxas-Lim. Giving testimonials on the life and works of the master weaver were professor Cherubim Quizon, Indigenous People's mandatory representative Edgar Sambog and her granddaughter Noemi Dulay.

Manlilikha ng Bayan Uwang Ahadas and Teofilo Garcia showed their grief and sadness on the passing of their fellow awardee, offering prayers and white flowers. An audio-video presentation was played during the service. Her youngest son, Florencio Dulay, spoke in behalf of the whole family.

Lang Dulay died after being comatose for nearly three months. The Tiboli weaver suffered a mild stroke in late January 2015 and had been in coma since. Two days prior to her death, the doctors had removed her ventilator.

Because of her efforts to promote the Tiboli culture and preserve the tinalak weaving tradition, Lang Dulay was conferred the Gawad ng Manlilikha ng Bayan or the National Living Treasure award by the NCCA in 1998.

Through the tinalak she created, Lang Dulay kept her people's identity, heritage and history alive. Each fine abaca fiber she weaved reflected her passion, coupled with the knowledge bestowed by her ancestors and the fine workmanship honed through the years.

Her textiles are judged excellent because of the “fine even quality

of the yarn, the close interweaving of the warp and weft, the precision in the forms and patterns, the chromatic integrity of the dye, and the consistency of the finish.”

Since she first learned how to weave from her mother when she was only 12 years old, her fragile yet agile hands had created over a hundred tinalak designs including the bulinglangit (clouds), the bankiring (hair bangs) and the kabangi (butterfly), among others. Each design had an interesting story, but all had come to her through dreams. Oftentimes, it was a symbol, a narration, a person that the weaver saw in her unconscious state. Lang Dulay believed they were gifts from Fu Dalu, the spirit of abaca.

The Gawad ng Manlilikha spent her remaining years keeping the tinalak weaving tradition alive, insisting to keep the centuriesold method of back-strap loom weaving and passing the skills to the young women in her community.

The remains of Lang Dulay being led to her final resting place in T’bong, Lamdalag, after the necrological service /Photo by Marvin Alcaraz

Still from A Dashed State (Manny Montelibano, 2015, multi-channel video)

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

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