Agung Vol. XVIII No. 5 Sep-Oct 2015

Volume XVIII • Number 5• 2015 • For Artists and Cultural Workers • ISSN 0119-5948

Crafting Characters

for the Collective Consciousness Official Newsletter of the National Commission for Culture and the Arts

The National Commission for Culture and the Arts

MESSAGE FROM THE CHAIRMAN The Mythic Hero

A

“hero” is a mortal who has done something so far beyond the ordinary range of human experience. He is thus elevated and worshipped as divine or God-like. Heroes were not necessarily good, but they were always extraordinary. A hero expands people’s idea of what is humanly possible.

We need heroes because they help define the limits of our aspirations. We largely define our ideals by the heroes we choose, and our ideals—things like courage, honor, and justice—largely define us. Our heroes are symbols for us of all the qualities we would like to possess and all the ambitions we would like to satisfy. A person who chooses Dr. Jose Rizal or Gen. Antonio Luna as a hero will have a very different sense of what human excellence involves than someone who chooses the Beatles or Serena Williams, for example. And because the ideals to which we aspire do so much to determine the ways in which we behave, we all have a vested interest in each person having heroes, and in the choice of heroes each of us makes.

The heroes of myths are the outer representations or personifications of the inner spirit, psychic forces, human powers and energies that shape us and give meaning to our lives. They help define our connections with each other, society and the world. People nowadays often treat myths as nothing more than entertaining stories, thereby casting aside the guidance and wisdom of the past. Our media make it all too easy for us to confuse celebrity with excellence. If asked to choose their heroes, many students will likely choose an athlete, a movie star, or a musician.

Modern culture does little to foster spiritual growth, and so many of us have fumbled in the dark, trying to make our own spiritual journey without the kind of guidance and wisdom available to people of the past. Luckily, though, myths both old and new are waiting to speak to those who know their language. The myth of the hero journey, for instance, is one of rejuvenation. It begins with a problem, with society out of balance and in decay. The hero is called to adventure, and must leave the ordinary (human) world and enter the dangerous and mysterious world of the divine, such as a magic realm or the wilderness. The hero is tested, and his reward is the Ultimate Boon.

He carries this boon back with him to the ordinary world and uses it to rejuvenate, to redeem the world.

FELIPE M. DE LEON, JR.

Vol. XVIII, No. 5 September-October 2015 ISSN 0119-5948

FELIPE M. DE LEON, JR. chairman

About the cover

ADELINA M. SUEMITH oic-executive director

Front cover shows Luyung Baybay

by Marrz Harley Quip G. Capanang, Back: Crisanto Aquino’s Kagitingan at Pag-asa Facing page: Marvin Samonte’s Handiong of Ibalong

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 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

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.

n

4 Agung • Number 5 • 2015

ANCIENT HERO MODERN IM The finalists of the Bayaning Bayan: Sa Ating mga Katutubong Epiko, Mito at Alamat painting contest were recognized during the awarding ceremony on September 13, 2015, at The Block, SM City North Edsa, where their works were exhibited. Joining them were NCCA chairman Felipe M. de Leon, Jr., NCCA OICexecutive director Adelina Suemith, SM North EDSA regional operations manager Renee Bacani, NCCA Subcommission on Cultural Dissemination head Orlando Magno, artistic consultant Salvador Ching, and PCEP director Joseph “Sonny” Cristobal. /Photo by Alinor Maqueda

T

he Philippines, home of numerous ethnic groups, has a treasure trove of epics, myths and legends, populated by fascinating characters—brave heroes, fearsome villains and monsters, etc. However, these mythic and folkloric characters seldom figure in Filipino mainstream culture, and comic superheroes, specifically foreign ones, have become more popular. One reason perhaps is the lack of definitive or distinctively clear representations of these heroes to become iconic.

The Philippine Cultural Education Program (PCEP), NCCA’s program that aims to increase cultural literacy among Filipinos as widely as possible, formed a project to “develop and establish clear images and visualization of Philippine myth, epic and folklore characters.”

Called Bayaning Bayan: Sa Ating mga Katutubong Epiko, Mito at Alamat, the project tapped local visual artists from all over the country, selected through a visual arts/ painting contest, to create the images, which PCEP plans to publish and popularize, as part of the Sagisag Kultura ng Filipinas, a major

undertaking that creates a registry of cultural icons of the country. Conferences, exhibits, critiquing, patent/registration to support the establishment of Philippine Cultural Index of Knowledge and development of mother tongue-based multilingual education (MTBMLE) local instructional materials were also planned for the Bayaning Bayan project.

Researcher and professor Dr. Galileo Zafra, consultant for literature for the Bayaning Bayan project, identified twenty-six characters from fourteen folk and oral literatures of the different ethnic groups of the country to be rendered by visual artists.

From Luzon cluster, the identified characters were Pumbakhayon, Bugan and Aliguyon from the hudhud chants of the Ifugao; Banna from the ullalim ballads of the Kalinga; Lam-ang from Biag ni Lam-ang of the Ilocano; Ibalon of the Bikolano; and Kudaman from Kudaman of Palaw-an.

From the Visayas were Dumalapdap, Humadapnon, Baranugun and Labaw Donggon from Hinilawod epic of the Panay Bukidnon.

From Mindanao, identified characters

were Sandayo, Bolak Sonday and Benebong of the Keg Sumba neg Sandayo of the Subanon of Zamboanga; Taake and Tomitib Manaon of the Ag Tobig Nog Keboklagan (The Kingdom of Keboklagan) of the Subanon; Sakandal and Pailalam ri Bolak of the guman or origin tales also of the Subanon; Agyu and his son Tanagyaw from the Agyu of the Ilianon of Northern Cotabato; Agyu, his son Baybayan and his brother Lena (also known as Lono) from the Ulahingan of the Livunganen-Arumanen; Bantugan from the Darangen of the Maranao; Panglima Hassan from the “Parang Sabil hi Panglima Hassan” of the Tausug; and Tuwaang from the Tuwaang epics of the Manobo.

Zafra also devised a list of references from which artist may base their interpretations of the characters they wish to give face.

The Bayaning Bayan visual arts contest was launched in March 2015, open to Filipino artists 18 years old and above.

On July 9, 2015, the submitted works were judged by National Artist for visual arts Benedicto Cabrera, anthropologist and

2015 • Number 5 • Agung 5

ROES, IMAGINATION NCCA consultant Dr. Jesus Peralta, NCCA chairman Felipe M. de Leon, Jr. Reconfirmation of judgment on July 23 was made

by Orlando Magno, head of NCCA Subcommission on Cultural Dissemination; Dr. Zafra; Salvador “Buddy” Ching, Bayaning Bayan consultant for visual arts; and PCEP director Joseph “Sonny” Cristobal.

Nine finalists were selected, each receiving P30, 000 in cash as well as the honor of having their works used in instructional materials. The finalists were Waldz Villanueva for his Dumalapdap; Marrz Harley Quip Capanang for her Luyung Baybay; Marvin Samonte for his Handiong of Ibalong; Emile Aldrine

Alarcon for her Oryol; Juanito Peñera for his Baltog; Edu Perrera for his Ang Paghihiganting Nauwi sa Pag-ibig; Crisanto Aquino for his Kagitingan at Pag-Asa; Michael Briquillo for his Tuwaang, Bagobo’s Lightning Rider; and Resty Lopez for his Banna.

They were honored on September 11, 2015, at The Block of SM City North EDSA in Quezon City, where their works were exhibited until September 14. Furthermore, the artists were also commissioned to create images/artworks of other mythic and folkloric characters—Villanueva will do Panglima Hassan and Taake; Alarcon, Sandayo and Bolak Sonday; Briquillo, Agyu and Tan-

agyaw; Samonte, Bantugan and Kudaman; Capanang, Baybayan and Baranugun; Perreras, Pumbakhayon and Tomitib Manaon; Lopez, Lena/Lono and Palaisgen; Aquino, Humadapnon and Benebong; and Peñera, Sakandal and Pailalim ri Bolak On the other hand, a conference was held at the Darangen Hall of the NCCA on September 18, facilitated by Dr. Alvin Yapan of Ateneo de Manila University’s Department of Filipino and Prof. Ferdie Lopez of the University of Santo Tomas. Dr. Yapan presented his paper, “Mga Mungkahing Paraan ng Pagtuturo ng Epiko sa Basic Education Hanggang Kolehiyo.”

From left: Salvador Ching, artistic consultant for Bayaning Bayan; National Artist for visual arts Benedicto Cabrera; anthropologist and NCCA consultant Dr. Jesus Peralta; NCCA chairman Felipe M. de Leon, Jr. and PCEP director Joseph “Sonny” Cristobal during the judging session of the Bayaning Bayan painting contest. /Photo

by Marvin Alcaraz

6 Agung • Number 5 • 2015

LUYONG BAYBAY Diwata of the tides of the Panay Bukidnon

LUYONG BAYBAY is the diwata or deity who controls the tides of the sea of the Panay Bukidnon people of Western Visayas.

SULOD DIVINITIES The Sulod of Central Panay, in Western Bisayas, conceived of the universe as divided into three regions: lbabawnun (upperworld), Pagtungan (Middleworld), and Idadalmunun (Underworld).

The lbabawnun was divided into two dominions—one occupied by the male diwata and the other by the female diwata. The most powerful male diwata was called Tungkung Langit which name means “pillar of the skies.”

His origin was not known. He merely appeared in this realm one day and proclaimed his power. He was assisted by other less powerful deities, viz., Bangun-bangun, the deity of universal time who regulated the cosmic movements; Bahulangkug, the diwata who changed seasons; Ribun-linti, god of lightning and thunderstorms; Sumalongson, god of the river and seas; Santon Tiyo, the deity of good graces, and Munsad Burulakaw, the god who had direct power over men. The latter was the most respected and feared among the deities of the Upperworld.

The all-powerful female diwata was Alunsina. She was assisted in her activities

by many lesser divinities, among whom were Muropuro, goddess of the spring, rivers and lakes; Labing Daut, goddess-in-charge of rainclouds; Tibang-Tibang, goddess whose charge

was to keep the balance of earth and maintain the succession of night and day and so many other heavenly chores.

The powerful deity of the Pagtung-an is Paiburong and his wife, Bulawanon. Where these two came from was also not known.

They had five children: Ginbitinan, who became the wife of Munsad Burulakaw; Matanayon, goddesswife of Sulod culture-hero, Labaw Dunggun; Layang Sukla, goddess of beauty, Surangaun, god of the sea, and Tugang Tubig, the god of rivers, streams, and lakes. The lesser divinities of Pagtung-an were headed by Pabuaya and his wife, Durunuun.

The Underworld of ldadalmunon, also swarmed with different diwatas. The highest ranking diwata was Panlinugon, the diwata of earthquake. He was assisted by his brother Tungkung Langit (not the same deity from the Upperworld) who supported the world as his name denotes, and his wife, Luyong Kabig, the diwata who controlled the stream of snakes at the entrance of the Underworld.

Luyong Kabig had a sister named Luyong Baybay, the diwata who controlled the rising and falling of tides.

She married Paigrab, an unknown diwata, and they had one child, Magsanladung Biday.—F. Landa Jocano, “The Sulod: A Mountain People of Central Panay,” Philippine Studies, 1958 .

MARRZ HARLEY QUIP G. CAPANANG, LUYUNG BAYBAY Iloilo-based visual artist Marrz Capanang took up Fine Arts at the University of San Agustin. The 29-year old visual artist has won accolades in various art competitions including the first place in Philippine Postal Corporation Regional Stamp Design Competition 2014, the grand champion in DAR Regional On-the-Spot Poster-Making Contest 2008, first place in 39th Paraw Regatta:Pintawo in 2011, a finalist in the 41st Shell National Student Art Competition in 2008, among others. He has also joined various group exhibitions. “Napili ko si Luyung Baybay dahil malapit ang aking puso sa karagatan....Napili ko sya dahil nais kong maging huwaran ang kanyang pagmamahal sa napakamagandang paraiso; pinoprotektahan niya ito mula sa kapahamakan. Nais ko ring ibahagi ang kagandahan ng sining at kulturang Panayanon,” he said. “Ipinapakita dito ang kapangyarihan at kakayahan ng kababaihan sa pamamahala. Maituturing ko itong pagkabayani—inaalay niya ang kanyang buhay upang masiguro na maayos ang Lim-Awon. Kapuri-puri rin ang kanyang puso sa pagtulong sa mga bangkang pumapalaot pabalik sa Middle Earth. Siya ay makapangyarihan pero mahinahon. Siya ay bayani na nagsasalamin sa puso ng mga kababaihan.”

2015 • Number 5 • Agung 7 the maiden. Although his mother discourages him, he goes anyway, dressed in gold and accompanied by his pet rooster and white dog.

The giant Sumarang blocks his way and belittles him. Lam-ang defeats him in a duel and hurls him nine hills away. Later, Sarindadan tries to seduce him but Lam-ang rejects her advances.

Reaching Kalanutian, he impresses Ines with his magic. His rooster crows and topples a small outhouse. His dog barks and the outhouse is rebuilt. Ines invites him to the house where the rooster acts as Lam-ang’s spokesperson.

Ines’ parents ask for a bride price, which Lam-ang agrees to give.

Lam-ang returns home to prepare for the wedding and the presents. He and his townsfolk sail on two golden ships to Kalanutian where Lam-ang and Ines have a

LAM-ANG is the hero of one of the most popular Philippine folk epics, Biag ni Lam-ang (Life of Lam-Ang). The Biag ni Lam-ang, from the people of the northern Philippines, is said to be the only complete epic from a Christianized Philippine indigenous group. Exhibiting a mixture of Spanish and indigenous cultures, the earliest written record of the epic was in 1889. There are at least ten versions of the epic.

LAM-ANG Hero of the epic Biag ni Lam-ang of the Ilocano

SYNOSPIS OF BIAG NI LAM-ANG Namongan gives birth to a baby with incredible strength and courage, named Lam-ang. The boy asks his mother about his father’s whereabouts and learns that he has gone to fight the Igorot. Lam-ang arms himself with charms and decides to look for his father. From a dream, he learns that his father, Don Juan Panganiban, had been killed by the Igorot.

Later, Lam-ang finds the Igorot in a sagang, a feast celebrating a successful headhunting expedition. His father’s head is displayed in the feast. Lam-ang slays them all

with his spear and mutilates the last among them.

When Lam-ang returns home, 99 maidens wash his hair in the river. For his shampoo, he burns so many rice straw that the communities near the river are alarmed by the smoke. The dirt from his hair kills all the fishes in the river. He then kills a crocodile and carries it on his shoulder ashore amidst the applause of his companions.

Lam-ang hears about a beautiful maiden named Ines Cannoyan, the daughter of the richest man in the town of Kalanutian.

He tells his mother of his desire to court

Catholic wedding. The townspeople board the two ships to Nalbuan, Lam-ang’s birthplace, to continue the celebration.

After the celebration, Lam-ang agrees to hunt rarang, a shellfish. He is swallowed by a giant fish, called berkakang, as he has dreamt so. However, a diver recovers his bones. The pet rooster flaps its wings and resurrects Lam-ang. He then rewards the diver and lives happily with his wife and pets.— CCP Encyclopedia of Philippine Art: Philippine Literature, Volume 9 (Cultural Center of the Philippines, 1994)

CRISANTO AQUINO, KAGITINGAN AT PAG-ASA Tarlac-based artist Crisanto N. Aquino graduated with a degree in Fine Arts (major in Advertising) at the Tarlac State University. He won the grand prize in the watercolor category of the Art Petron 2010, and was a semi-finalist in the oil/acrylic category of the Art Petron in 2007. He was also a semi-finalist in the Metrobank MADE in 2008. He won third place in the oil/acrylic category of the Shell Art Competition in 2010. “Napili ko ang alamat ni Lam-Ang dahil gusto kong maipagmalaki ang epiko ng Ilokano. Dahil isa akong Ilokano, gusto kong maipakita ang kuwento sa likod ng alamat na si Lam-Ang. Nagustuhan ko ang taglay na lakas at tapang ni Lam-Ang, at higit sa lahat ang pagmamahal niya sa kanyang magulang, na isang tradisyon nating mga Filipino ang pagiging mapagmahal at ‘di paaapi kanino man,” he said. “Siguro mahahalintulad ko si Lam-Ang sa aking sarili sa pagiging matatag sa lahat ng pagsubok, na sa kahit anumang dami ng problemang dumadating nananatili pa rin akong nananalig at umaasang matutupad ko ang aking mga pangarap, na inaalay ko sa aking pamilya.”

HANDIONG

8 Agung • Number 5 • 2015

Warrior-hero of the epic Ibalon of the Bikolano

HANDIONG is one of the three main heroes of the Ibalon, widely considered to be an epic of the Bicol Region. Ibalon today exists in fragments. It is said to be transcribed by Franciscan missionary Bernardino de Melendreras, from which Fray Jose Castaño published a short fragment in 1895. Sixty stanzas, of the presumably 400, are only what is known today of the Ibalon.

After Baltog, Handiong comes to Bikol and destroys different monsters and wild creatures. When not fighting them, he devotes himself to a domestic life, encouraging people to cultivate taro and building the first boat. His men invent implements and other things.

Handiong and his men also establish towns as well as create laws. But the settlements suffer from great cataclysms as well as from Rabot, a fierce monster who was half-man and half-beast.

Handiong entrusts the task of getting rid of Rabot to his close companion, the young warrior Bantong.

MARVIN SAMONTE, HANDIONG OF IBALONG Marvin Samonte is a fine arts graduate of the University of the East-Caloocan. The 35-year-old artist has joined different competitions such as the GSIS National Painting Contest in 2015, Metrobank MADE, AAP, Philip Morris, Petron, and Shell National Art, Competition among others. He lives in General Trias, Cavite. “Napili ko ang bayaning si Handiong ng Ibalong, sapagkat nais kong ibahagi ang kanyang kwento. Ang kanyang epiko ay mula sa Bikol. At ako rin ay taga-Bikol. Napakarami niyang katangian na dapat tularan. Ang mga katangian ng pagkabayani na gusto kong ipakita sa aking ipininta ay ang pagiging matapang sa pagtugon sa mga problema. Huwag susuko hangga’t hindi nagtatagumpay. At ang pagiging isang modelong lider o pinuno. Si Handiong ay hindi tumigil sa pagsugpo sa mga mababangis na hayop at mga halimaw. Maging si Oryol na mahirap talunin ay napaamo at naging kakampi at asawa niya,” he said. “Pinamunuan niya ang pagtuturo at pamamahala sa pagtatanim ng palay, maging ang paggawa ng bangka. Hindi lamang sa pakikipagdigma siya nabuhay, inisip din niya ang kinabukasan ng kanyang pamilya at mga nasasakupan. Maging isinakrispisyo niya ang kanyang buhay, kapalit ng buhay ng kanyang anak para muli itong mabuhay.”

In one episode of Ibalon, Handiong faces a dilemma when an advesary turns out to be an equal and a seductress, making her a formidable enemy. When he arrives in Bikol, Handiong vanquishes many monsters and wild creatures save for one. Despite all his efforts, he fails to defeat Oryol, who is sometimes a serpent and sometimes a woman. Even when Handiong binds her over a thousand times, she scoffs mockingly at him and unties the knots. Oryol entices Handiong who would search the forests for her. Seductive as well as deceitful, she thwarts his labors and interferes with his battles, although there are times when she helps him destroy other beasts infesting the place.

EMIL ALDRINE B. ALARCON, ORYOL

Serpent woman of the epic Ibalon of the Bikolano

ORYOL

An advertising in public relations graduate of the Polytechnic University of the Philippines, Emil Aldrine B. Alarcon is a veteran in art competitions.

He has joined and won the grand prizes in the 2013 Philippine Blood Center Competition, the 2013 National Kidney and Transplant Institute Competition, the National Shell Art Competition (calendar category) in 2012 and 2011, 2011 Art Petron Digital T-Shirt Design, and the 2010 Ateneo Book Cover Design, among others. “Ipinapakita ko sa obrang ito ang natatanging ganda ng karakter na si Oryol (ang babaeng ahas) mula sa epikong Ibalong,” he said. “Dahil sa likod ng kanyang natatanging ganda ay isa rin pala siyang malakas at matinding kalaban. Napili ko siya dahil sa pagiging babae niya ay kaya niyang makipagsabayan sa malalakas at mababangis na halimaw na sumisimbolo na kaya ng babae ang ginagawa ng mga lalaki.”

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10 Agung • Number 5 • 2015

BALTOG Pioneer in the epic Ibalon of the Bikolano

SYNOPSIS OF IBALON Yling, a bird reputed to talk, asks Cadugnung, a wise man, to sing of the ancient story of Handiong. This is the story he tells: Bikol was a land of wide plains and fertile fields; anything planted in its soil yielded bountiful harvests. The first man was Baltog, originally from Botavara and of the race Lipod. His linsa or gabi plants were the lushiest in the place but were destroyed by a great Tandayag boar.

Furious, Baltog pursued the boar and killed it, not with lance but by breaking its jaws with his own strong arms. The supersized boar had jawbones as wide as two arms extended, and tusks which measured about twothirds longer than the handle of his lance. He hung the gigantic jawbone on a talisay tree near his house in Tondol. All the people who came from as far as Panicuason were struck by the monstrous size of the dead boar.

Soon after, Handiong came to Bikol and destroyed the wild creatures roaming the land. In Ponong, he slew, after a tenmonth fight, the beasts with one eye and three throats, winged sharks under the sea, wild carabaos and man-eating crocodiles bigger than boats. To the mountain Kulasi, he exiled the sarimaw and buried in Hantik all the serpents whose voices rang like sirens.

However, he failed to subdue, despite all his efforts, one elusive snake. Known as Oryol, the snake was sometimes a serpent, and sometimes a woman. To Handiong, Oryol was a challenge, for even when he binds her over a thousand times, she would scoff mockingly at him and cleverly untie her knots.

With sweet words, she would entice Handiong who would search the forests for her. But she was seductive as well as deceitful. She would thwart his labors and inter-

BALTOG is considered the first man to settle in Bikol, who came from Botavara and of the race Lipod.

He slays a great boar with his bare hands when it destroyed his taro field.

fere with his battle; although there were occasions when she helped fight and kill the animals infesting the place.

In the fight with giant crocodiles, which colored the Bikol river red, he emerged unhurt while the apes of the pongo and orangutan variety who had watched with horror were finally driven to the mountain Isarog.

Having freed the land from wild beasts, he devoted himself to a settled life. He exhorted his people to plant linsa and rice.

He built the first boat ever to play the Bikol river; its rudder and sail were contributions of Guimantong, one of his men, who also invented the plow, harrow and roll, including the ganta and other measures, the yoke, bolo and hoe.

Hablon invented a weaving loom and bobbins. The native of Dinahon worked on the jar, claypot, stove, earthen bowl and other household utensils. Sural carved a Bikol syllabary out of a stone from Libong, and polished to shine by Gapon.

Handiong and his men built towns.

The houses of varying sizes hung from the branches of the banasi and the kamagong trees. The reason was that it was only up in the moog, as the houses were called, that one could escape the heat, swarming insects and wild animals.

Laws were set to ensure protection of life and honor, and accord equality to all without distinction. With this, respect for rights of heritage and succession were guaranteed, and slave and master kept to his own place.

Suddenly, the great deluge caused by tempests brought havoc and destruction to

the growing civilization. The catastrophe completely transformed the land. Three volcanoes—Hamtik, Kulasi and Isarog—erupted simultaneously, and caused a strip of land, now known as Pasacao, to rise from the sea.

Torn apart from the mainland was Malbogon, now as islet, where two witches Hilan and Lariong lived. The Inarihan river turned its course and overflowed to Ponong.

In Bato, a big mountain sank, and in its place, up came a lake which supplied fish to all of Ibalon. The Dagatnon tribe, from which had come the Dumagats from Cotmon, was wiped out as the gulf of Calabagnan overflowed.

Handiong had a close companion, the young warrior Bantong. To him, Handiong entrusted the job of getting rid of Rabot, a fierce monster who was half-man and halfbeast. How many of the people that came near his lair were turned into stone by the beast? The plague of the land, he was also known as the great liar.

Smart Bantong first tried to find out about the monster’s habits. And he guessed right: Rabot slept heavily all day as he simply rolled over the ground. After watching him for days, Bantong slew the monster in two parts and brought the corpse to Libmanan where Handiong viewed the remains amidst the loud rejoicing of his people.

But the sight of Rabot shocked Handiong. For a long time, he remained stupefied. Why and what else happened is not known as Cadugnung stops his narration and promises to talk about it next time.— Maria Lilia F. Realubit, Bikols of the Philippines, Naga City, 1983

JUANITO G. PEÑERA, BALTOG Naga City-based Juanito G. Penera likes to express his ideas through his paintings of mothers-and-children and rural scenes.The 63-year-old artist has joined several art competitions including the Pintahan sa Dalan and Philip Morris Painting Competition. “Si Baltog ay anak ni Handiong. Sa bayan nila nagamamatay ang mga tao dahil sa kahirapan kaya sinabihan ang kanyang anak na si Baltog na maghanap ng lugar kaya naglayag siya. Nakarating siya sa Kabikolan, sa bundok ng Isarog at bundok ng Asog. Iba’t-ibang hayop ang kanyang nakalaban gaya ng buwaya na may pakpak, babaeng nagkatawang ahas, higanteng may isang mata. Si Baltog dito nanirahan sa Kabikolan. Dito naging maayos ang kanyang kabuhayan at lumago ang mga pananim,” he said.

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ALIGUYON is the most prominent hero in the hudhuds, particularly the Hudhud hi Aliguyon. Declared by the UNESCO as one of the “Masterpieces of the Oral and Intangible Heritage of Humanity,” the hudhud is the narrative chant of the Ifugao of northern Luzon. It is recited and chanted during the harvesting and weeding of rice, funeral wakes and bone-washing (bogwa) rituals. Estimated to have originated before the seventh century, the hudhud comprises over 200 stories with about 40 episodes each. It may take days to complete a story, depending on the situation. The hudhud is a celebration of Ifugao heroes, heroines, wealth and culture.

ALIGUYON Hero of the hudhud chants of the Ifugao

SYNOPSIS OF HUDHUD HI ALIGUYON A long time ago, Aliguyon was born in the village of Hannanga. His father was Amtalao; his mother was Dumulao. When he was a little boy, his father used to tell him stories of his own adventures, in love and in war. His father also taught him the use of the spear and shield. Aliguyon learned quickly.

When he was old enough, his father made him a top. He taught Aliguyon how to spin it and how to break the tops of his playmates. His father also taught him how to cut runo spears and fight using them.

Listening to the war prayers of the community, Aliguyon also learned to say the magic words of the priests and priestesses. In time, he became the undisputed leader of the children of his community.

When he reached adolescence, he gathered his comrades and led them to confront the enemy of his father, Pangaiwan of Daligdigan. In Daligdigan, however, he faced Pangaiwan’s son, Pumbakhayon, who was as spirited and lusty as Aliguyon.

Their fight lasted three years with no end in sight or any sign of defeat.

Throughout the protracted warfare, the heroes learned to admire each other’s abilities. Their fight finally ended in a peace pact formed in Daligdigan, in the home of Pumbakhayon, and at the instance of old Pangaiwan.

During the conclusion of the peace pact, Aliguyon saw and courted Bugan, the youngest of the beautiful sisters of Pumbakhayon. Aliguyon brought his bride, a mere child, to his home in Hannanga where Bugan grew up to be a beautiful woman.

Then, Pumbakhayon went to Hannanga to witness his sister’s formal marriage to Aliguyon. Aliguyon and Bugan had many children and both became prosperous and beloved by the people of Hannanga. Pumbakhayon later courted Aginaya, the sister of Aliguyon, and brought her to his father’s home in Daligdigan. There, they were happily married and became prosperous. — Summarized from the 1952 English translation of Amador T. Daguio

EDU PERRERAS, ALIGUYON, ANG PAGHIHIGANTING NAUWI SA PAG-IBIG Born in Angeles City, Pampanga, Edu Perreras is a self-taught artist who is guided and encouraged by his eldest brother Eliseo. He started painting and joining art competitions, using watercolor as his medium, during his high school years. A member of the Art Association of the Philippines in Central Luzon, he is currently into hyper-realism and surrealism. He won the grand prize at the Vision Petron Lakbay Tagumpay in 2013, first place at the first Galal Kalalangan Pampanga Art Awards in 2012, and second places at Pagsanjan’s Bangkero Festival 2012, DC Artdeck Painting Competition 2010 and San Bartolome Parish Church Painting 2013. “Maganda ang istorya ni Aliguyon sapagkat ipinaghiganti niya ang pagkamatay ng kanyang ama. Ngunit ang kanyang paghihiganti ay nauwi sa pag-ibig, sa kapatid ni Pumbakhayon na si Bugan. Naging matalik na magkaibigan sina Aliguyon at Pumbakhayon dahil pareho silang nagtataglay ng kalakasan at kagalingan,” he said.

2015 • Number 5 • Agung 13

14 Agung • Number 5 • 2015 TUWAANG is the hero of several epics or songs of the Bagobo, indigenous group of southern Mindanao, which has several subgroups. Anthropologist E. Arsenio Manuel was able to acquire and publish two songs in the late 1950s to 1970s, The Maiden of the Buhong Sky, A Complete Song from the Manuvu Bagobo Folk Epic Tuwaang and Tuwaang Attends a Wedding, with key informant Saddani Pagayaw, who learned the epics from the bard Inuk.

TUWAANG Hero of theTuwaang epics of the Bagobo

SYNOPSIS OF TUWAANG ATTENDS A WEDDING After finishing some work, Tuwaang calls his aunt aside and informs her that the wind has brought him a message. He is to attend the wedding of the Maiden of Mo:nawon. The aunt tries to dissuade him from going because she foresees trouble. Tuwaang, however, is determined to go.

He picks the heart-shaped costume made by the goddess, arms himself with a long blade and a dagger, and takes his shield and spear. He rides on a flash of lightning and arrives at the kawkawangan grassland.

While resting there a while, he hears a gungutan bird crowing. He decides to catch the fowl, but soon sees the gungutan with a dagger-like spur. The gungutan tells Tuwaang he came to know of his coming in a dream and that he wants to go with him to the wedding celebration. Tuwaang agrees to bring the gungutan along. The two shake their shoulders and are carried into space.

Upon arriving at Mo:nawon, Tuwaang is admitted into the hall. He sits on a golden stool, while the gungutan perches on a crossbeam. In the meantime, enchanting sounds from afar and flowering trees signal the arrival of the Young Man of Panayangan. Other gallants— the Young Man of Liwanon and the Young Man of the Rising Sun—arrive.

Finally, the groom—the Young Man of Sakadna—arrives with a hundred followers.

He haughtily asks the owner of the house to clear the house “of dirt,” implying the people in the house who do not count. To this insult, Tuwaang answers there are “red leaves” (i.e. heroes) in the house.

Preliminaries of the wedding ceremony start. The savakan (bride-wealth consisting of articles and wrapped food to be paid for by the groom’s kinsmen) are offered one by one until two of the costliest remain. One is given the value of an ancient gong with ten bosses and nine relief-rings; the other is redeemable only by a golden guitar and a golden flute.

The groom confesses his inability to redeem these articles. Tuwaang saves the groom from the embarrassing predicament by taking his place. Through his magic breath, he produces a more ancient gong, which is accepted by the bride’s family. He also produces the golden flute and golden guitar.

The bride is now asked to come out of her room and serve the guests some areca nut chew. She commands her areca nut box to serve everyone. Magically, the box obeys, with the areca nut chew jumping into the mouths of the guests. After two areca nut chews leap into the groom’s mouth, the box moves on to Tuwaang before whom it stops altogether. Tuwaang brushes it away, but the box doesn’t budge. The bride decides to sit beside Tuwaang.

The groom blushes; he is shamed. He decides to challenge Tuwaang to a fight. He

goes down the house and challenges Tuwaang to come down to the yard. After the bride unrolls and combs his hair, Tuwaang goes down to fight. The gungutan, meanwhile, has been fighting the groom’s men and has slain a number of them until only the six gallants remain. Tuwaang and the gungutan engage the six gallants.

Finally, only Tuwaang and the Young Man of Sakadna are left. Tuwaang is thrown against a boulder, which turns into dust.

Trees get bent and topple. Tuwaang gets hold of his foe and throws him down so hard that he sinks into the earth.

The Young Man of Sakadna resurfaces quickly and confronts Tuwaang once more.

Tuwaang is thrust into the earth and sinks into the underworld where he talks to Tuhawa, god of the underworld, who tells him the secret in overcoming his foe.

Tuwaang surfaces and summons the golden flute in which the Young Man of Sakadna keeps his life. Tuwaang asks his foe to become his vassal in exchange for his life.

The groom prefers death. Tuwaang therefore destroys the golden flute, ending his life.

Accompanied by the gungutan, Tuwaang takes the bride home to Kuaman, where he rules forever. —E. Arsenio Manuel, Tuwaang Attends a Wedding, (Ateneo de Manila University Press, Quezon City, 1975), recorded in 1957 as told by Saddani Pagayaw

MICHAEL O. BRIQUILLO, TUWAANG, BAGOBO’S LIGHTNING RIDER Michael Briquillo, from Angono, Rizal, finished his computer technology degree at the Technological Institute of the Philippines. He works as a traditional and visual artist at Artcore-Bo8, an art and craft shop in Angono. He worked as an artist at the Top Draw Animation Studio in 2006.

“Si Tuwaang ang napili kong bayani dahil sa kanyang lakas na taglay na kapangyarihan na nagmumula sa hangin at kidlat,” he said. “Ipinakikita niya ang katangian ng isang magiting, matulungin at matapang na bayani. Ibinatay ito sa ating mga ninuno, ang ating kulturang minana, pamanang kaugalian o katangian at pagmamahal sa sariling atin.”

2015 • Number 5 • Agung 15

16 Agung • Number 5 • 2015 DUMALAPDAP is one of the heroes of the epic Hinilawod, chanted by the Panay Bukidnon of the island of Panay in Western Visayas. The epic has two cycles: “Labaw Donggon” and “Humadapnon.” Dumalapdap is a prominent figure in “Humadapnon.” He is the brother of heroes Labaw Donggon and Humadapnon. In another version, he and Humadapnon are the nephews of Labaw Donggon.

DUMALAPDAP Hero of the epic Hinalawod of the Panay Bukidnon

SYNOPSIS OF HUMADAPNON Humadapnon dreams of a binukot named Tubigon Daligan-umis Kuyam-isan, who lives in a tower surrounded by bamboo thickets. He wants to seek her out. His mother Anggoy Ginbitinan protests, saying there are other binukots in their village. He is adamant. He prepares for a ten-year journey. His younger brother Dumalapdap insists on going with him.

The brothers sail from their home along the Halawod River. They are beset with difficulties when they reach the river Mabkad, which is ruled by two datus: Mamang Mangalayo, the prince who occupies the upstream part of the river, and Mamang Dumadakung Dagat, the ruler who occupies the mouth of the river. Humadapnon and Dumalapdap’s sailing route is blocked. A battle ensues for days with Mangalayo. Humadapnon wins and they are allowed passage. Then, Dumadakung Dagat engages Humadapnon in an aerial battle which lasts for several days. Humadapnon weakens and asks for water from his eagle. Dumalapdap, seeing his brother weakened, flies to his rescue.

Meanwhile, along the river Makutaykutay, Baranugon and his younger brother Padanong Palinti are having a drink. They are the sons of Labaw Donggon, and cousins of Humadapnon and Dumalapdap. Padanong Palinti goes down the river to catch fish, only to find it overflowing with blood. His net catches a stranger’s head. Thinking their cousins are in trouble, they rush to the scene of the battle. Baranugon takes the place of Dumalapdap against Dumadakung Dagat and defeats

him. Baranugon asks Dumalapdap to give him Tubigon Daligan, who is Dumadakung Dagat’s binukot, in exchange for his sister Nagmalitong Yawa. Dumalapdap refers him to Humadapnon, who consents.

Dumalapdap goes on his own journey to the house of Mamang Tumpong Langit, ruler of the river Mabun-ag. Finding him asleep, Dumalapdap casts a sleeping spell over him and steals his binukot, Huyohuyong Adlaw. Later, when Tumpong Langit discovers this, he calls upon his brothers for aid and challenges Dumalapdap to combat. They fight for days and nights.

Meanwhile, Baranugon and Padanong Palinti reach the river Maragkot, where Abyang Mangalayo whom Humadapnon defeated, blocks their path. They fight and Mangalayo is killed. Baranugon claims the binukot but restrains himself since he has to attend to other obligations.

The two datus reach the place of Abyang Lumbanglantang at Mabun-ag River and threaten to kill him if he does not give up his binukot Labi-labing Anyang. He does not resist.

The two datus later reach Baliwagan River where they demand for the binukot Layalaynga Sukla.

Abyang Sumagogong gives her up without a fight. However, Sumagogong journeys to win the binukot Nagmalitong Yawa, Baranugon’s sister. When Baranugon arrives, Sumagogong has already offered his bride price. When he realized that Sumagogong already has an edge over winning his sister’s hand, Baranugon shapes a dough from powdered rice to make a copy of Nagmalitong Yawa, then tells his sister to go to

the Halawod River to their younger sister’s place.

The next day, Humadapnon presents his suit to Nagmalitong Yawa’s mother Matanayon who favors Sumagogong. As Sumagogong was on their honeymoon, Baranugon tells Humadapnon that the real Nagmalitong Yawa is still his.

Back at Mamang Tumpong Langit’s house, Dumalapdap weakens in his fight with Mamang Tumpong Langit. He asks for help from Humadapnon. Humadapnon goes to his aid, but it is their ancestors that settle the fight. Dumalapdap is grateful and tells Baranugon that his father, Labaw Donggon, is kept prisoner by Mamang Magtungub, a witch in a mountain cave. Dumalapdap, Humadapnon and Baranugon head for the Magtungub Cave fortress but find Labaw Donggon already a skeleton. They force Magtungub to restore him. The revived Labaw Donggon fights Magtungub in a battle that lasts for days where he wins with the help of his ancestors.

The datus sail home and pass by caves inhabited by fairies. Humadapnon is seduced and decides to stay. He is transformed into a witch and imprisoned by the fairies. Dumalapdap asks for aid from his mother, Anggoy Ginbitinan, to rescue him. All the binukots respond, but only Nagmalitong Yawa succeeds in opening the cave door.

She kills all the fairies with her bolo. She also kills Humadapnon, but Anggoy Ginbitinan insists that she brings him back to life. Humadapnon is revived and they board their biday (vessel or sailboat) and sail home to Halawod River where they celebrate the wedding of Nagmalitong Yawa and Humadapnon. —F. Landa Jocano

WALDO “WALDZ” VILLANUEVA, DUMALAPDAP Son and nephew of visual artists Fred Villanueva, Teofilo Villanueva and Nestor Villanueva, Waldz Villanueva leans towards expressionism and is known for his contemporary subjects. He was one of the 25 Filipino visual artists who painted the mural The History of the Nation for President Joseph Ejercito Estrada at the Malacañan Palace in 2000. He won the grand prizes at the AAP-ECCA Art Competition in 2010, 1998 Ocean World Philippines Painting Competition, and first DLSU-Hermano San Miguel Forbes Cordero National Painting Competition, among others. “Napili ko itong bayani sa katangian niyang simbolo na magpapakita ng isang tunay na lahing Filipino,” he said. “Ang mga katangian ng bayani na ipinakita sa likhang sining ay ang tapang, kakisigan at kagitingan. Makikita ang simbolo dito ng buhay na kanilang kamalayan. Ibinatay ang interpretasyon ng katangian ng bayani sa kuwento ng Hinilawod. Siya ay isa sa mga anak ni Alusina, sa triplet niyang isinilang.”

2015 • Number 5 • Agung 17

18 Agung • Number 5 • 2015 BANNA is the hero of the ullalim Magic Birth of Banna, chanted by Madukayong. The non-ritual ullalim is chanted by the mansaw-ay (chanters) far into the night during celebrations, recreational gatherings and peace pact assemblies. It is an epic, romance as well as a ballad, usually recounting great battles, heroic achievements and magical performances of hero Banna or Dulliyaw. According to Francisco Billiet, CICM, and Francis Lambrecht, CICM, “The ullalim among the Kalinga is not the epic itself, but the medium for epic stories and ballad rendition, i.e. the music for storytelling and ballad rendition.”

BANNA Hero of the ullalim ballads of the Kalinga

SYNOPSIS OF THE MAGIC BIRTH OF BANNA The story begins when the betrothed couple, Dulaw of Kagayan and Ya-u, find an areca nut that invites them to a feast in Madogyaya. At the village of Madogyaya, Dulaw attracts the attention of Dulliyaw of Dulawon.

Planning to court Dulaw, Dulliyaw makes Ya-u drink sugarcane wine until he is intoxicated. While Ya-u lies asleep in one of the houses, Dulliyaw courts Dulaw and dupes her by cunningly making her his chewing partner. Afterwards, Dulliyaw triumphantly tells her that by accepting his areca nut slice, she has had actually accepted his marriage proposal. Before Dulaw goes home toward the evening, Dulliyaw tells her to expect him on the second night.

Indeed, in the middle of the second night, Dulliyaw arrives at Dulaw’s house.

While Dulliyaw chews areca nuts with Dulaw, he tells her that he had come to take her to his home at Dulawon. But then the rooster has crowed. The people of the village have awakened.

Dulliyaw leaves Dulaw’s house, but he meets a man with an ax and kills him. The men of the village close in upon Dulliyaw who climbs a nearby tree to escape from them. Since no one dares to attack Dulliyaw, Ya-u decides to call the Spanish soldiers of

Sakbawan (at the eastern boundary of Kalinga land).

With his men, the commander of the garrison named Guwela ascends the heights of Kalinag land and arrives at Kagayan. He orders the soldiers to take a hold of Dulliyaw who is still sitting on a branch of a tree.

Knowing that the odds are against him, Dulliyaw offers no resistance when the soldiers handcuff him. Upon Guwela’s order, the soldiers also arrest Dulaw. At Sakbawan, the prisoners are kept in the stockade.

The scene shifts to three years after the imprisonment of Dulliyaw and Dulaw. The prisoners have grown exceedingly thin. Trying to alleviate her sufferings in some ways, Dulaw asks Dulliyaw for a betel nut slice. Dulliyaw takes the last betel nut in his bag and cuts it into slices. Before the betel nut slice is offered to Dulaw, it magically disappears.

At this point, the bard abruptly transfers the scene of her tale to the village of Magobya. There, a wealthy unmarried girl named Dinanaw is taking a bath in the river.

After bathing, she sees a slice of areca nut which she picks and chews.

Without saying a word more about the slice of areca nut (that it was the slice of areca nut that had mysteriously vanished when Dulliyaw was about to give it to Dulaw and that by chewing it, Dinanaw had conceived and given birth to a son whom she named

Banna), the bard describes what happened three years later.

The little Banna plays with the boys of Magobya. Teasingly, they tell him that, if he is the genuine Banna, then he is the son of Dulliyaw whom the Spanish soldiers kept in the stockade of Sakbawan. Banna reports to his mother what the agta boys have said; she answers that none of it is true.

In a magic instant, little Banna becomes a vigorous young man craving for revenge. A magic force transports him and his companions to the plain of Sakbawan. Banna kills Dulaw. One of Banna’s companions informs Dulliyaw that Banna is his son.

Banna, his companion and Dulliyaw all ride on the red beam of light and, in a single magic instant, reach the village of Magobya.

Banna tells his mother that the handsome gentleman who accompanies him is his father and her husband. Dinanaw accepts with smiling lips the betel nut chew that Dulliyaw offers her. They rejoice, they chew, they eat, and they sleep.

The following day, a magic force carries the whole village of Magobya and all its inhabitants to Dulawon where, without delay, merry-making begins and goes on day after day. —Francisco Billiet, CICM, and Francis Lambrecht, CICM, Studies on Kalinga Ullalim and Ifugaw Orthography (Baguio City, 1970)

RESTY C. LOPEZ, BANNA Born in Bolinao, Pangasinan, 34-year-old Resty Lopez is a self-taught artist who describes his still life and abstract artworks as depictions and portrayals of the unique and different lifestyle of every individual and love for nature. He has joined several art competitions such as the Metrobank MADE Painting Contest in 2006 and then in 2008 to 2011. He was a semi-finalist in the LRTart in 2009. “Dahil sa kanya nagkaroon ng pagkakaisa ng dalawang magkalabang grupo at naipamalas niya ang pagiging magaling na lider sa pagkakabuklod ng kanyang nasasakupan at napatunayan niya ang lubos na pagmamahal sa kanyang naging asawa,” he said about Banna. “Sa pagiging mabuti at magaling na lider, may tapang at lakas, buo ang loob at totoo sa sarili, may paninindigan, marunong makisama at mapagmahal sa sariling bayan.”

2015 • Number 5 • Agung 19

20 Agung • Number 5 • 2015

KNOWING THE ICONS

Diwang: The Sagisag Kultura ng Filipinas Competition

By Maria Glaiza Lee • Photos by Marvin Akcaraz

Seventeen contestants from all over the country competed at the Diwang: The Sagisag Kultura ng Filipinas competition finals

What do you call the traditional sword used by the Meranaw? Answer: kumpilan.

Do you know what karinyosa is? Hint: a traditional courtship dance from Panay Island.

Have you heard about the babaylan?

Or perhaps, are you familiar with Victorio Edades and his significant contributions to the Philippine arts? If you know the answers to these questions and have learned the Philippine icons by heart, chances are you could be the next champion in Diwang: Sagisag Kultura ng Filipinas competition, a nationwide competition on Philippine cultural symbols. Just like Nelvin Amonsot, a student of Matalan High School in the Central Mindanao Region.

With his teacher-coach Riza Guadalupe, Amonsot flew all the way from Mindanao, competed with and bested 16 other finalists who all won in the regional qualifying examinations held simultaneously in each of the island clusters in September 30, 2015, winning for himself a P50,000 cash prize.

Ilon Siena Integrate School’s Jowayriyyah Abduljabar and Ligao National High School’s Verwen Cogasa took home the

silver and bronze places, and P30,000 and P20,000 each respectively.

The regional qualifiers were Mayway Bulao from Tabuk City National High School; Alvia Poquiz from Turac National High School; Andrew Jerome Antonio from Cagayan National High School; Christine Joy Salameña from San Isidro San Roque Academy; Jahzeel Fetalino from Lipa City National High School; Rodney Ballaran from Palawan National High School; Edgar Solano from Parada National High School; Edric John Tabares from Cabatuan National Comprehensive High School; Jeliel Bolido from Infant King Academy; Rolan Labong from Silang National High School; Vinyet Raquel Lasco from Jose Rizal Memorial State University; Cyrel James Arquita from Cogon National High School; Genie Belle Atacador from Tagum City National Comprehensive High School; and Regin Mahinay from Mount Carmel National High School. The 14 participants received a consolation prize of P10,000 each.

All student competitors answered questions on national and local symbols, with a short essay, in three different categories: easy

round, average round and difficult round.

In the easy round, pictures of the different Sagisag Kultura items were projected on the screen and the participants had to identify them within 10 seconds.

The average round was a multiplechoice type of quiz. The proctor would read the question and the choices once, and the students had to pick the letter of the correct answer within five seconds. In the difficult round, they had to identify within15 seconds a Sagisag Kultura based on the clue words that the quizmaster spelled out.

Spearheaded by the NCCA, in cooperation with the Department of Education (DepED), the third Diwang: Sagisag Kultura ng Filipinas Competition aims to promote awareness and appreciation of more than 2,000 Philippine national and local cultural icons.

The quiz competition doesn’t only mean memorizing all the listed Philippine icons, but for these symbols to be part of the consciousness of the Filipino youth and serve as a guide in the molding of their national identity. Aside from promoting Filipino cultural symbols among students, the competition also aims for the teachers to facilitate better lesson plans on Filipino, English, math, science, social studies, values education, arts and music, among others, as well as create effective learning tools on Filipino icons.

The first Diwang competition was held in 2013 in Malolos, Bulacan, with a rap contest for elementary students and Kwiz for high school and lesson exemplar contest for teachers. In the second Diwang, the components included Kwiz for elementary and high school students, creation of lesson exemplars for teachers, local SK exhibition for schools and HEI’s partners, Sagisag Kultura Filipino Award for the local govenrment and media personalities and awards for DepED Regional Diwang Coordinators.

The contest was one of the three primary components of the institutional flagship project of the NCCA’s Subcommission on Cultural Dissemination (SCD), under the Philippine Cultural Education Program (PCEP). The other components were the conference and demonstration on culture-

2015 • Number 5 • Agung 21 based lesson exemplar for teachers, and the exhibition of Filipino cultural icons at different local government offices.

The Diwang: Sagisag Kultura ng Filipinas project also involved other NCCA national committees like on Communication, Cultural Education, and Language and Translation, including the Filipinas Institute of Translation (FIT) and Wika ng Kultura at Agham (WIKA).

The cultural education project was initiated by National Artist for Literature Virgilio S. Almario who wrote a letter to NCCA chairman Felipe M. de Leon. In his letter “Mungkahing Focus ng Cultural Education Mulang 2011,” the National Artist emphasized the important role that the commission could do in the K-12 program in the national education.

With the revisions in curriculum, preparation of teaching guides and model lesson plans, and teacher training, the NCCA, Almario said, could take this opportune time to advance its two advocacies of a culturebased education and Filipino as the language of instruction.

During the first phase of the project, cultural icons from all over the country were

gathered and reviewed. The committee then identified which among the Filipino symbols should be taught throughout the country.

On the second phase, over 800 icons which are considered priorities were defined, creating the first entries to the database and registry of the Philippine cultural symbols. The database has soon grown to 2,000 national cultural symbols, which will be disseminated in parts.

The cultural icons were gathered from all the spectrum of Filipino heritage. The list includes persons and heroes who are naturalborn Filipino citizens, have made significant contributions to the country’s progress and exemplify important traits and values that make them good role models for the Filipino youth. Most of those listed include National Scientists, National Artists, presidents and heroes in Philippine history.

There were also icons of heritage, which are more than 50 years old, native or indigenous, and/or important in national history.

They must be products of Filipino imagination and intelligence which we can be proud of. Historical sites, native flora and fauna, inventions and important researches are also included.

Nelvin Amonsot of Matalan High School in the Central Mindanao Region (middle) won the gold prize, while Ilon Siena Integrate School’s Jowayriyyah Abduljabar (leftmost) and Ligao National High School’s Verwen Cogasa (rightmost) took home the silver and bronze prizes respectively.

THE PHILIPPINE CULTURAL EDUCATION PROGRAM The Philippine Cultural Education Program (PCEP) is a comprehensive medium-term plan that outlines goals, policies, programs and projects on cultural education through formal, non-formal and informal systems. PCEP envisions “a nation of culturally literate and empowered Filipinos” by ensuring that culture is the core and foundation of education, governance, and sustainable development. It seeks to develop among Filipinos greater awareness, understanding, and appreciation of their culture and arts, towards the evolution of a consciousness that will improve the quality of their lives. It was designed to make cultural education accessible to all sectors of Philippine society, particularly the youth, teachers, artists and cultural workers, officials and employees of the government, members of the media, and civil society.

22 Agung • Number 5 • 2015

MANILART 2015

By Maria Glaiza Lee

I

t is often said that we reveal our identity with the art we consume. Art—whether it is the music we listen to, the sculpture we admire, the architecture we shape, the films we watch—reflects and expresses who we are, not just as an individual but as a nation.

Art is a stimulus that rouses our national consciousness into constantly changing and moving forward, keeping it from being static and enabling it to be more fluid. Art is a catalyst, enabling the audience to question commonly held notions and seek answers, to gain understanding and respect, to learn and appreciate.

Touted as the largest and most comprehensive visual arts fair in the Philippines, ManilaArt has been the perfect venue for people to immerse themselves in the arts, engage in conversations and nurture stronger interest in the arts. Presented by the Bonafide Art Galleries Organization (BAGO) and the NCCA, the art fair was held from October 8 to 11, 2015, at the SMX Convention Center of SM Aura Premier in Bonifacio Global City, Taguig City.

In celebration of Museums and Galleries Month, ManilArt is now on its seventh year and remains a very important international venue for the exhibition and promotion of Philippine contemporary art.

Over 30 art galleries participated in the fair, including 1335 Mabini, 371 Art Space, Archivo, Arte Pintura, Artery Manila, Artes

Orientes, Art for Space, Art Galileia, Artologist, Big and Small, CMG Gallerie, Gabaldon Heritage, Galerie Anna, Galerie Artes, Galerie Francesca, Galerie Nicolas, Galerie Raphael, Galerie Y, Gallery Big, Gallery Nine, Quattrocento, Renaissance and Vmeme.

To give it an international flavor, the Singaporean galleries Art Prime Contemporary and Bruno Gallery of the Bruno Art Group, which also has offices and galleries in Israel, Turks and Caicos Islands, and the United States, were among the exhibitors.

A celebration of talents, the art fair featured various genres of visual arts—figurative, abstract, kinetic, conceptual and contemporary—all thoughtful and sometimes provocative. Take for instance, the art installation of sculptor and stage designer Bonifacio Juan, which was unveiled during the opening day. Juan was one of the art fair’s overall curator, along with artists Gerry Torres and Jonathan Olazo.

The installation is a strong commentary on the Torre de Manila controversy.

Many criticize the residential condominium development for marring the sightline and panorama of the Rizal Monument at the Rizal Park. The installation has a tenfoot wall showing the Manila skyline with the Torre Manila and the Rizal Park. The artist gave this scene a twist. The Rizal statue stepped down and insinuated himself in

Showing the Myriad Colors of Philippine Visual Arts

2015 • Number 5 • Agung 23

5

ts

Clockwise from top left: ManilArt 2015 opening reception; Fr. Harold Ll. Rentoria, OSA, head of the Subcommission on Cultural Heritage, with Bonifacio Juan’s installation on the Torre de Manila controversy; the exhibit about the Philippine Pavilion at the Venice Biennale; Hippo Bellissima L by Arnaud and Adeline Nazare-Aga of Artheline (resin and fiberglass); and Burning Lips by David Gerstein (hand-painted steel cutouts)

24 Agung • Number 5 • 2015

the “selfies” of the fair-goers. Rizal became the photo bomber, much like the Torre de Manila.

The country’s longest-running art fair revolved around the theme “Raising the Filipino Colors on the World Stage,” celebrating the historic return of the Philippines this year to the Venice Biennale International Art Exhibition after about 50 years of hiatus. The first and last time Manila took part in the international art fair was for its 32nd edition in 1964.

“In this year’s edition of ManilArt…we celebrate our collective memory as a people with the highlights such as the showcase of the country’s momentous participation to the Venice Biennale, featuring a glimpse of the 1964 and 2015 pavilions,” said Rev. Fr. Harold Ll. Rentoria, OSA, head of the NCCA’s Subcommission on Cultural Heritage. He added that the exhibit didn’t only allow fairgoers to revisit the country’s 1964 entry, it also gave a sneak peek of the 2015 Philippine Pavilion and a behind-the-scenes access to the efforts that went into the historic return.

Main proponents of the historic comeback were the Department of Foreign Affairs, the Office of Sen. Loren Legarda, and the NCCA. Representing the country at the 56th Venice Biennale were curator Dr. Patrick Flores, filmmaker Mariano “Manny” Montelibano III, and artist Jose Tence Ruiz.

Artist/curator Torres headed a ManilArt tradition, the walking tour, where fairgoers had the chance to tour around the exhibition floor and get a deeper art appreciation as the curator explained and shared knowledge on arts.

There were also something to learn at the Metrobank Lecture Series which presented a wide range of topics that are less

2015 • Number 5 • Agung 25

discussed in symposiums on culture and the arts such as the therapeutic nature of the visual arts in “Art and Healing” and disaster preparedness and art conservation in “Art Go Bag 101.” In “Private Collection and the PRECUP,” the speakers tried to answer the long-standing question on whether the registration of privatelyowned artworks is a mere option or a national obligation.

ManilArt 2015 is a major project of the NCCA’s National Committee on Art Galleries, headed by Robert Bjorn O. Santos, with John Delan L. Robillos, vice head; Agnes A. Romero, secretary; Silverio Q. Ambrosio, assistant secretary; and Gerald Christian D. Yusi, Susanne S. Tiausas, Danilo L. Sollesta, Maria Elena G. Catajan, Angeline S. Cukingnan, members.

Clockwise from facing page, top: Eve in Lavender, glass sculpture by Ramon Orlina; Close My Eyes and Leap by Ferdinand Cacnio; one of Tebs Gomez’s carabao skull creations; Mananayaw (Dancer) by Rex Aguilar; an abstract-still life piece by National Artist Federico Aguilar Alcuaz; Senator Loren Legarda and Venice Biennale Philippine Pavilion curator Dr. Patrick Flores; and Touchdown in London by Charles Fazzino (monoprint)

DAYAW 2015

26 Agung • Number 5 • 2015

Highlighting Philippine Indigenous Cultures

2015 • Number 5 • Agung 27

T

he Philippines celebrated National Indigenous Peoples’ Month in October 2015 and the most prominent event was NCCA’s annual Dayaw: The In-

digenous Peoples Festival, touted to be the biggest gathering of Philippine indigenous peoples. Under the NCCA’s Subcommission on Cultural Communities and Traditional Arts (SCCTA), the festival aims to showcase the different indigenous groups of the country and their cultures through different activities such as public performances and rituals, forums, traditional cuisine demos, traditional games demos, arts and crafts exhibit and cultural and outreach tours.

Dayaw Festival 2015 was held in Pampanga, from October 15 to 17, 2015, with the theme “Katutubong Kaalaman para sa Kalikasan at Kapayapaan” (Indigenous knowledge for environment and peace), with aims to highlight the importance and richness of indigenous cultures, to discuss issues indigenous peoples face today and facilitate interactions with other indigenous peoples. It was attended by 400 participants from 72 indigenous ethnic groups from all over the country. These included the Apayao, Applai, Ayta (from Zambales, Pampanga, Bataan and Tarlac), Balangao, Bolinao, Bontok, Bugkalot, Gad’dang, Ibaloi, Ifugao, Ilocano, Isinay, Isnag, Itawit, Itneg, Ivanag, Ivatan, Kalinga, Kankana-ey, Malaweg, Pampangan, Pangasinense, Sambal, Tagalog, Tinggian and Yogad from the north; the central cultural communities of the Abaknon, Agta, Ati (of Aklan, Antique, Iloilo, Guimaras and Capiz), Ati of Negros, Cebuano, Dumagat, Hiligaynon, Jama Mapun, Kinaray-a, Mangyan, Palaw-an, Panay Bukidnon, Tagbanwa, Waray and Rombloanon; and the Bagobo, B’laan, Bukidnon, Higaonon, Iranun, Kaagan, Maguindanao, Mamanwa, Manobo, Matigsalug, Sama Badjao, Sangir, Subanen, Talaandig, Tausug, T’boli, Teduray, Tigwahanon and Yakan of the south.

The opening ceremonies on October 15 were held at the Bayanihan Park in Angeles City, where delegates paraded and were presented in their traditional attire. It was graced by NCCA chairman Felipe M. de Leon, Jr., Senator Loren Legarda, Angeles City mayor Edgardo Pamintuan, and the three heads of the SCCTA, SCCTA commissioner and National Committee on Southern Cultural Communities head Al-Anwar Anzar, National Committee on Central Cultural Communities head Alphonsus Tesoro and National Committee on Northern Cultural Communities head Edwin V. Antonio. Manlilikha ng Bayan awardees Alonzo Saclag, Federico Caballero, Eduardo Mutuc, Magdalena Gamayo and Teofilo Garcia were also present.

“Ang katutubong Filipino ay ugat ng kaunlaran, tagapagtaguyod ng kalikasan, at pinagmumulan ng kagalingan,” declared De Leon.

The grand opening was followed by the unveiling of an exhibit at the Activity Center of SM City Clark mall. Curated by Maria Cristina Subido, the exhibit consisted of a section on Philippine traditional attires, which included some indigenous textiles and the attire of the Tiboli, Kalinga, Ifugao, Bagobo, Subanen, Iranon, Isnag, Ivatan, Yakan, Panay Bukidnon, Waray, Jama Mapun and Palaw-an; and a section on the Gawad Manlilikha ng Bayan, which featured the biographies of the 13 Manlilikha ng Bayan as well as samples of their works.

Demonstrations of traditional games, cuisine and crafts-making were also conducted. There were also booths selling traditional crafts such as accessories with Panay Bukidnon embroidery or panubok, Ilocano hand-woven textiles, T’boli wear and Iranun brasswear. The Dayaw delegates performed traditional songs, dances, chants and music during an outdoor gala show at Plaza Anghel in Angeles City, with the special participation of Sinukwan Kapampangan Performing Arts group.

On October 16, the Indigenous Peoples’ Summit was held at the Bren Z. Guiao Convention Center in San Fernando, Pampanga,

Ang katutubong Filipino ay ugat ng kaunlaran, tagapagtaguyod ng kalikasan, at pinagmumulan ng kagalingan

attended by community leaders and SCCTA cluster representatives, to issues and concerns of the indigenous peoples. Presentations and discussions included “Mga Dambuhalang Dam Sa Sierra Madre” by the Tribal Center for Development Foundation, Inc.; “Pagbabahagi ng Kalagayan ng mga Katutubo at ng IPRA of 1997” by Ramcy Astorega; “Culture and Environmental Protection” by Florence Daguitan; “Indigenous Political Protection” by Datu Roldan Babelon; “Indigenous Peoples in Bangsamoro Basic Law” by Alim Bandara; and man-induced climate change and the indigenous peoples.

The Dayaw delegates were spread out to different municipalities (Macabebe, Mabalacat, Lubao, Sta. Rita, Porac and San Fernando City), schools (Holy Angel University, Republic Central College, City College of Angeles and Holy Rosary Parish) and malls (Robinsons Starmills in San Fernando and SM City Clark) for outreach performances.

The festival ended with a Solidarity Night at the City College of Angeles, where “cultural masters” of NCCA’s School of Living Traditions program were recognized.

The Dayaw Festival was co-organized with Sining Bulakenyo Pangkat Mananayaw ng Bulakan and with the support of the NCCA Secretariat led by Marichu Tellano, chief of Plan/ Policy Formulation and Programming Division, and Renee Talavera, Cultural Communities and Traditional Arts Section head.

Facing page: Rombloanon delegation during the opening parade. /Photo by Marvin Alcaraz.

This page: Jama Mapun mat made of pandanus leaves at the exhibit. /Photo by Roel Hoang Manipon.

Right: Tausug girl performing the pangalay /Photo by Marvin Alcaraz

28 Agung • Number 5 • 2015

From left: National Committee on Central Cultural Communities head Alphonsus Tesoro; National Committee on Northern Cultural Communities head Edwin V. Antonio; Angeles City mayor Edgardo D. Pamintuan; National Committee on Southern Cultural Communities head and Subcommission on Cultural Communities and Traditional Arts commissioner Al-Anwar Anzar; NCCA chairman Felipe M. de Leon, Jr.; Senator Loren Legarda; and Manlilikha ng Bayan Teofilo Garcia /Photo by Marvin Alcaraz

The Bugkalot delegation from Quirino /Photo by Roel Hoang Manipon

Agta from Pampanga /Photo by Marvin Alcaraz

Demonstration of Jama Mapun mat weaving /Photo by Marvin Alcaraz

Performance of the Bugkalot at Plaza Anghel /Photo by Marvin Alcaraz

Panay Bukidnon embroidery or panubok /Photo by Roel Hoang Manipon

2015 • Number 5 • Agung 29

The closing ceremony was marked by recognition of cultural masters of NCCA’s School of Living Traditions program, with the SCCTA heads and Manlilikha ng Bayan Teofilo Garcia, Frederico Caballero, Magdalena Gamayo, Alonzo Saclag and Eduardo Mutuc /Photo by Marvin Alcaraz Tausug performer /Photo by Marvin Alcaraz

The Indigenous Peoples’ Summit /Photo by Marvin Alcaraz

Arumanen Manobo delegation /Photo by Marvin Alcaraz

30 Agung • Number 5 • 2015 THE NCCA GALLERY

Concentrating on Color The exhibit “Synesthesia: The Secret Language of Color” was mounted from May 11 to 29, 2015, at the NCCA Gallery.

It presented the possibility of color to permeate our different senses in a manner that is as powerful as its presence in our everyday lives. Several artists were asked for certain hues relating them to human emotions, memories, social connotations and further exploring their impacts on the human social experience. The artists included Alma Quinto, Aze Ong, Vivian Limpin, Jerone Atria Ballarta, Danielle Riña, Rhine Bernardino, Ian Carlo Jaucian, Van Cleef Emnacen, Sergio Bumatay III, Rex Tatlonghari, Tet and Maggie, Bianca Ma-alat, Buddy Ching, Victoria Caedo, John Paul Diciembre, Cathryn G. Trinidad, and Kat Gosiengfiao.

“Synesthesia” surveyed the intricacies of one of the most basic elements in visual arts—color. By posing the question of what certain colors mean to participating artists, Kat Gosiengfiao’s Bilingual (2015, epoxy and galvanized nails)

Creme de la Somber Creme, Dual Fascination of Sublimity and Surfeit of Charms (all 24 by 36 inches, golden beeswax and car paint)

Architect and artist Jesus Guevara Casus

the exhibit sought to unearth the secret language of color. The concomitance of the senses experienced by synesthetes was what characterized the spirit of this exhibition on color meaning. It demonstrated how color weaves itself into our lives, following the textbook meanings associated with each one.

In works in different media were fields of emotions, memories and beliefs, and the colors that trickle down to meaning in an almost subliminal fashion. The fluidity of color does not allow for each one to be encased in a singular meaning.

A collaborative space invited the viewers to join in on the conversation and answer the question, “How do you color your life?”

The exhibit was curated by the University of the Philippines Art Studies 195 Curatorship class (Ken Abad Aliliran, Koki Bautista, Louise Lane Calicdan, Kara De Guzman, Bianca Ma-alat, Job Marco Sauler), with Dr. Norma Respicio as project adviser.

Working on Beeswax “Golden Beeswax,” an exhibit by architect Jesus Guevara Casus, was held at the NCCA Gallery from June 8 to 21, 2015.

It featured 32 pieces of vibrantly colored encaustic paintings. Casus employed acrylic paint and car paint mixed with beeswax to engender vividly colored pigments against wood.

Though the use of beeswax on paintings dates back to the Greeks and Egyptians of the first and second centuries BCE, Casus emphasized that this is the first time that beeswax will be used for paintings in abstract form.

As an architect, Jesus Guevara Casus finished large scale development projects specializing in all types of housing through the help of groups composed of architects, lawyers, engineers, financial experts, doctors (for the design of hospitals, retirement village nursing care) and a host of marketing experts. He has also authored several books on architecture and founded the Casus, Medialdea, Siloe Corporation.

THE NCCA GALLERY 2015 • Number 5 • Agung 31

Shit Happening

Holy Shower Beautiful Shit (7 by 6 feet, oil on canvas, 2015) by Marcus Black

Meth-Man (Scotch tape sculpture, 2015)

by Michael Adam Flores

Visions in Rubber Baguio City's Tam-awan Village Artists gathered over 30 works for their first all-rubber art exhibit, “Rubber Cuts,” mounted from August 4 to 31, 2015.

The exhibit showed the artists’ interpretations of culture, struggle and surroundings. Jordan Mang-osan, solar painter and Chanum Foundation president, led the artists, composed of Art Lozano, Edwin Macadaeg, Patric Palasi, Ged Alangui, Tara Lalaine Natividad, Randy Nimer, Clinton Aniversario, Marlyn Delazo Bulayo, Lily Castillo, Alfonso and Alfred Dato, Jen Lorenzo, Herwin Buccat, Gretta Apolinar and Rodrigo John Sanches.

With the popularization of the art of print making in the 1960s, Mang-osan noted the importance of rubber cut. “Ang rubber cut ay isang klase ng print making…’Yung rubber cut ‘yung pinakauna, isa ring pinaka-old-school na kind of print making,” he said.

The artworks were mostly made out of flat rubber sheets, carved in relief. According to Mang-osan, they also used mud guards or tapalodo of vehicles.

One of Mang-osan’s works was a tribute to Kalinga hero, Macli-ing Dulag, a pangat or village leader who relentlessly struggled against the World Bank-funded Chico Dam project during the Marcos regime. Other symbols of Cordillera culture usch as the lingling-o, the bul’ol, the Ifugao hut as well as various sceneries were also depicted in the art works.

In the hope to inspire the next generation, the TVA team, under Chanum Foundation, teaches arts to children through various workshops conducted all over the country. A solar-painting workshop was held at the NCCA on August 27, 2015.

From July 2 to 30, 2015, the NCCA Gallery mounted “Vitamin Sh*t,” an exhibit by a group of ten artists, comprising Frances Abrigo, Bryan Araneta, Marius Black, Adam Flores, Mara Herrera, Sharla O’Hara, Tad Pagaduan, Jhemuel Slavador, Rem San Pedro and Joum Valera.

They attempted to express how “shit” becomes a good drive for artistry and creativity.

“The group art exhibit about being fearless, about defying the odds when creating an artwork…It’s about turning shit into sugar, of turning our own worst experiences into vitamins that remind us how to survive,” shared Black, one of the participating artists.

“The state of well-being is viewed primarily as the absence of disease or defect. In practice, the symptomatic approach to ill health and disease are fixed with specific medication, treatment or cure causing those symptoms. Correlating to this, culture as a social determinant of health is measured according to various factors that have direct impact on health at the individual level such as social environments, social justice, education level, cultural identity, gender, coping skills and resilience, infrastructure, geography, community, political stability, and many ways these intersect with and complement world views and values,” stated guest curator Noell EL Farol. “Seeing health inequalities of social conditions, the imbalances, disruption and destruction of our culture, values, and structures as booster dose, this group of ten young artists take pleasure in associating aesthetic possibility brought about by experienced emotions in the struggle to avoid presence of resistance and disruption.

‘Vitamin Shit’ boosts their short-lived excitement, locates their vulnerability to fear, trauma, pursuit of pleasure, and excitement.

“The works seem to appear like simultaneous experiences, to capture the consequences of the effects of struggle, both in sustaining resources and values,” he further said. “This is their dose of self-immunization.”

Water Element (rubber cut, 12 by 12 inches) by Edwin Macadaeg The Man of Chico River (rubber cut, 4 by 3 feet) by Jordan Mang-osan

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

32 Agung • Number 5 • 2015

NEWS BRIEFS

MUSEO CLEMENTE CONSTRUCTS ANNEX AND UNDERGOES IMPROVEMENTS

What do National Artists Jose Joya and Guillermo Tolentino, and Jose Marasigan, Fil dela Cruz and Philip Victor have all in common?

For one, they are all Filipino artists who became big names in the Philippine arts scene. Another, they are all from Bulacan. Their artworks can be seen at Museo Clemente in Paombong, Bulacan.

The Bulacan-based museum is owned by Jose Celemente who has been collecting artworks for years which he displays in the edifice which once served as his ancestral home. He has collected about 2,000 paintings and 100 sculptures, including works by National Artists Fernando Amorsolo, Napoleon Abueva, H. R. Ocampo, Ang Kiukok and Abdulmari Asia Imao.

In 2010, the NCCA bestowed on Museo Clemente a grant, which the owner used to improve the museum, particularly, the electrical system, flooring and exhibit areas.

Since his artwork collection continues to grow, Clemente this year decided to build an annex to the current museum building. He hopes for Museo Clemente to be a reputable art museum. He also aims to showcase artworks created

by Bulacan artists in one single collection.

Through the help of Arte Bulakenyo, he again sought assistance from the NCCA, which provided technical and financial assistance to the project.

On February 2015, the National Committee on Museums, headed by Amado Alvarez, conducted technical assessment of the museum. They inspected the space inside the structure as well as the collection exhibited. Alvarez recommended that the collection should be segregated by historical and cultural significance. He also recommended that the first floor should be devoted for changing exhibitions, while the second floor for the permanent exhibition. He also advised to have a section for the murals on the political history and cultural festivals of Bulacan. There can also be a unique exhibit on Tomas Bernardino, a Bulakenyo artist who served as a curator of the Malacañan Museum.

Soon after the technical assessment, the construction of the annex began. Developments included the placing of white sand to prevent flood waters from entering the annex building, construction of the roof with reinforced insulation to protect them from the elements, creating frameworks and footing using steel bars and hollow blocks, and installation of tornado coolers to ensure proper ventilation inside the museum.

With the additional space, Clemente has devoted a section for Froilan Calayag and assigned a mural by Godofredo Reyes to be placed at the ceiling. The museum also has a storage facility, housed in a separate building.

While the museum has yet to have its own conservation laboratory, Clemente has learned the basics of cleaning artworks through Ruben Defeo, an art history professor from the University of the Philippines.—Carolle Adrianne Manalastas

AN ARTS FESTIVAL FOR THE MANGROVE FORESTS

Being an archipelagic country often visited by typhoons, the Philippines relies on its natural defense. One is the bakawan or mangrove, which helps protect the inland areas from storms and high tides as well as absorbs pollutants from organic wastes.

In recent years, the country’s mangrove forests have been threatened and depleted because of many factors. With this loss, coastal communities have become vulnerable to natural hazards.

The Artletics, Inc., headed by its president Alexander Tan and project coordinator Rina Lee Garibay, believes that it is not too late to remedy this alarming situation. Inspired by the symbolisms of the mangrove system, the group initiated the Project Bakawan, a collaborative art festival and community-building initiative to increase people’s awareness of current environmental issues.

Project Bakawan aims to gather artists, cultural workers and educators to develop a critical consciousness on ecological issues; create spaces that facilitate the exchange and development of knowledge, analyses, and solutions on the given issues; promote awareness of the facts involved in the ecological crisis and the pursuit of sustainability; and build a sustained network that will pursue the achievements of the project.

Held from February 5 to March 14, 2015, at University of the Philippines (UP) in Diliman, Quezon City, the project featured multimedia installations, art exhibitions, film screen-

ings, live art, music and dance performances, street theater productions, and a unity concert.

From February 6 to March 6, there was an art exhibit, titled “Hold Everything Dear,” featuring television and video installation works, photographs and a contemporary image of a sungka, with a kite-making and flying workshop. The exhibit explored the idea of “the commons,” meaning the natural resources and cultural spheres shared by the entire humanity. Participating artists were given the freedom to create works, hold talks and facilitate workshops that looked into the ideas of communal stewardship, shared heritage vis-à-vis the discourses of exclusion and privatization.

Another major part of the 37-day festival was the Off-Site/Out of Sight, an art installation mounted from February 16 to March 16 at the old UP Stud Farm. Presenting the productive, artistic and progressive interactions between people, spaces and the contexts bound up with these encounters, it takes from the idea that much of the mangrove systems constitute hid-

den, but vital reproduction grounds for life.

The participating artists underwent a sixmonth, immersive collaboration with willing households to creatively depict their conditions, alongside their competing interests in land and other resources.

“Submergence” was a performance art activity held on February 23 at the Sunken Garden, featuring Mindanao artist Nic Aca from Cagayan de Oro and the Talaandig community, headed by Datu Waway Saway from Bukidnon.

A film festival, called Luntiang Tabing Film Festival, screened environmental-themed works by acclaimed filmmakers from March 4 to 6 at the UP Film Institute. Some of the featured films were “Gikan sa Ngitngit nga Kinailadman” by Kiri Dalena, “Selling the Right to Name a Pile of Garbage” by Yoshinori Niwa, “Project Fukushima” by Hikaru Fuji, Nick and Chai by Wena Sanchez and Cha Escala, “Cross Currents: Journey to Asian Environments” by Nick De Ocampo, and Mga Anak ng Unos by Lav Diaz. —Mark Gregor P. Dela Cruz

FORUM-WORKSHOP ON CORDILLERA ARTS AND CULTURES FOR YOUNGER GENERATIONS

The Cordillera Peoples Alliance (CPA), which was founded in 1984 in Bontoc, Mountain Province, by the leaders from different indigenous communities in the Cordillera region, conducted a forum-workshop called Cordillera Elders and Youth Exchange Program from April 18 to 24, 2015, at the Baguio City National High School.

The forum aimed to improve the level of awareness and appreciation of Cordillera traditional cultures and arts. In recent years, younger generations have been observed to have become increasingly disinterested in the significance, proper use and execution of traditional dances, songs, chants, music and indigenous attires.

Through the Liwliwa Ya Sursuro cultural workshop, the elders passed down traditional knowledge and skills to the younger generation. The event also hoped to strengthen and develop the capabilities of the young cultural workers.

With over 30 students from the five provinces of Cordillera Administrative Region participating, the forum made efforts to revive Tambulian, Baguio City National High School’s cultural group. The organizer also aimed to create awareness on the Cordillera history, culture and indigenous knowledge by participating in the Cordillera Day, an annual event where the indigenous peoples of CAR gather to observe the death anniversary of Kalinga hero Macliing Dulag, killed for his resistance against the construction of the Chico River Dam. Sharing their knowledge to the young participants were Elvira Taguba, the focal person for the Indigenous Learning Institute which is a joint program of CPA and the Asia Indigenous Peoples Pact; Julius Caesar Daguitan, a youth leader and current secretary general of the Asia Pacific Indigenous Youth

NEWS BRIEFS 2015 • Number 5 • Agung 33 Network; Martin Bacgalang, a respected leader in Mountain Province who helps facilitate conflicts in the province; and Peter Falyao, also an elder who is knowledgeable on the situation of the indigenous groups in Benguet and Mountain Province.—John Paul T. Orallo

22ND ILIGAN NATIONAL WRITERS’ WORKSHOP

The Mindanao State University-Iligan Institute of Technology (MSU-IIT) and the Mindanao Creative Writers Group, Inc. held the Iligan National Writers Workshop (INWW) from May 25 to 29, 2015 at the MSU-IIT campus and Macaraeg-Macapagal Ancestral House in Iligan City.

Now on its 22nd year, the workshop provided training to young beginning writers in the local languages through critiquing of their literary works and aims to encourage production of high-quality, responsible and relevant literary works.

Eighteen writers were selected to participate in this year’s writing workshop—Joel Donato C. Jacob, Mark Joseph Natividad Rafal, Ana Felisa E. Lorenzo, Danilo Nino R. Calalang, Amado Anthony G. Mendoza III, Maynard G. Manansala, Kenneth Alvin Cinco (a Boy Abunda Writing Fellow), Jethro C. Monares, Silvin Federic R. Maceren, Jesson J. Morata, Seneca Pellano, Jondy M. Arpilleda, Angelito G. Nambata (a Ricardo Jorge S. Caluen Writing Fellow), Adonis R. Enricuso, John Michael C. Lagura, Benedicto P. Aguilar, NurSaleha D. Dadayan (a Manuel Buenafe Writing Fellow) and Jim C. Raborar. They submitted poems, short stories and excerpts of novels in English, Filipino, Waray and Cebuano.

The panelists included Dr. J. Neil Garcia, John Iremil Teodoro, Macario D. Tiu, Victorio N. Sugbo, Erlinda Kintanar Alburo, Tim Tomlinson, who joined resident panelists Steven Patrick C. Fernandez, German V. Gervacio and workshop director Christine Godinez Ortega, head of NCCA National Committee on Literary Arts, who welcomed the participants during the opening program.

In the closing program, Tomlinson delivered an inspirational talk. This was followed by the presentation of the Jimmy Balacuit Literary Awards. For the poetry category, Adonis Enricuso won the top prize for his poem “Haya sa Coffee Shop” while Jethro Monares’s “Huring” and Mark Joseph Rafal’s “Kung Di Mo Man Ramdam Ang Lukso ng Dugo” were named honorable mentions.

First place in the short story category went to Jondy Arpilleda who wrote “Bunok.”

Honorable mentions were Danilo Nino Calalang. Maynard Manansala garnered first place in the play category for his work Dalawang Gabi.

In the novel category, Amado Anthony Mendoza III’s Monovug: Isang Diksyunaryo won first place while Memories of a Forgotten War by Ana Felisa Lorenzo was honorable mention.

To Voice My Own, a book on the proceedings of the 21st INWW, was also launched during the closing program, which culminated in a reading of selected works from the book.

—John Michael Saavedra

NATIONAL WORKSHOP ON ART AND CULTURAL CRITICISM

The De La Salle University (DLSU) Bienvenido N. Santos Creative Writing Center, in cooperation with the University of San Agustin’s (USA) Fray Luis De Leon Creative Writing Center and the USA Graduate School, organized a summer workshop on art and cultural criticism, Kritika 2015, held from May 3 to 7, 2015, at the University of San Agustin in Iloilo City.

Supported by the DLSU Office of the Vice Chancellor for Research and Innovation and NCCA, the workshop covered different areas in arts and culture including architecture, literature, theater, multi-art, popular culture and gastronomy.

The one-week, live-in workshop gathered established art critics and talented young scholars. Aiming to train young scholars and promote a critical forum in the criticism of Philippine art forms, Kritika retains its interdisciplinary and multi-disciplinary critical approach in examining art and cultural forms as texts. It hopes to enrich this practice with the creative integration of concepts and modes from diverse disciplines.

Applications were received from February to March, and ten fellows were selected to be part of the workshop—DLSU Panitikan lecturer Vijae Orquia Alquisola, University of the Philippines Diliman lecturer and political cartoonist Jose Santos P. Ardivilla, electronics and communication engineer Gregory Mark del Carmen, theater practitioner Olivia Kristine Nieto, creative writing student Seneca N. Pellano, graduate student Tito R. Quiling Jr., graduate student Juan Miguel Leandro L. Quizon, consumer service publication writer Guillermo Ramos Jr., features writer and social media manager Angela Velasco, and comparative literature student Mavreen Yapchiongco.

Sharing their expertise were UP College of Mass Communication dean and critic Rolando Tolentino (who also acted as the workshop director), urban design and landscape architect Paulo Alcazaren, critic and educator Isagani R. Cruz, literature professor Isidoro M. Cruz, heritage conservationist and architect Rene Luis Mata, visual arts critic and artist Cid Reyes, culinary expert and visual artist Claude Tayag and cultural historian Jose Victor Torres.

On the first day of workshop, three manuscripts were discussed—“Pa(g)salubong: Analyzing the Salubong and Balikbayan Culture of Filipinos at NAIA;” “Terminal Syncopation: Attempt at the Rhythmanalysis of NAIA Passenger Terminal 1” by Quizon; “Wartime Fiction and the Filipino Writer-Intellectual: A Thematic Analysis of Short Stories in English Published in The Philippine Review (19431944)” by Pellano; and “Dila at Bandila” by Ramos.

Four manuscripts were critiqued on the second day—“Marcocian Memes and the Manipulation of Memory” by Ardivilla; “Dinuguan as Violence in Dulaang UP’s Tinarantadong Asintado” by Nieto; “Tastes Throughout Time: What Changes and Remains in Filipino Cuisine” by Velasco; and “Dating ng Laswa, Talim ng Tugma: Pagmumuni sa Estetika ng

Luwa ng Sampaloc, Quezon” by Alquisola.

In the afternoon, the University of San Agustin Little Theater staged imagine/a/nation, a play about the struggles of typhoon Yolanda victims. A forum with USALT director Eric Divinagracia and the members of the theater company was held afterwards.

Three more manuscripts were reviewed on

the third day: “A Sense of Place: Atmospheric Disturbances in Peque Gallaga’s Oro, Plata, Mata (1982)” by Quiling; “Imagined Cities: A Textual Analysis of Cities in Selected Short Stories by Lakambini A. Sitoy and Angelo R. Lacuesta” by Yapchiongco; and “Understanding Survivor Philippines and the Paradoxical Manifestation of Philippine Neocolonial Culture” by Del Carmen.

In the afternoon, after the discussion of the manuscripts, Alcarazen, Mata and Torres led the forum on the issues concerning the preservation of cultural heritage, with Iloilo-based architects Dolly Zoluaga, Jigger Latoza and Wilfredo Sy as reactors. —John Michael Saavedra

54TH UNIVERSITY OF THE PHILIPPINES NATIONAL WRITERS WORKSHOP

The University of the Philippines Institute of Creative Writing (UP-ICW) held a writing workshop for advanced writers, the UP National Writers Workshop, from May 10 to 17, 2015, at the AIM Igorot Lodge in Baguio City.

Born out of the need to address the dearth of venues for writers in mid-career to exchange ideas on their craft, the workshop aims to help advanced writers improve their literary projects.

The UP-ICW selected twelve writers to participate in the annual workshop. They were Isidro T. Marinay with his entry “Jose S. Palma: In the Palm of God’s Hand;” Jack A. Alvarez with “Ang Autobiografia ng Ibang Lady Gaga: Ang Muling Pag-ariba;” Segundo D. Matias Jr with his children’s stories “May Bolang Kristal ba si Inay?” and “Uncle Sam o Tita Samantha;” Kristoffer Brugada and his “Ang Kagila-gilalas na (Sikretong) Buhay ni Og (o Ang Mga Angst ng Unico Hijo nina Mystica at El Capitan);” Armida Mabitad Azada and her poetry collection “Miranda Rights: Poems One and Twenty;” and Will P. Ortiz and his novel Si Mariang Makiling at ang Alamat ng Animas Anya (Ikalawang Aklat).

Other participants were Benedict Bautista and his poetry collection “Tilt Me and I Bend”; Charlie Samuya and his poetry collection “Notes on the Town of My Boyhood;” Resty Cena and his novel Ginto’t Pilak Namumulaklak; Eliza

34 Agung • Number 5 • 2015 NEWS BRIEFS Victoria and his work of fiction “Hopper (from Nightfall);” Gutierrez M. Mangansakan II and his creative non-fiction works “The Dhikr’s Last Stand” and “Traveling Without Moving;” and Rhoderick V. Nuncio and his novel Logos at Ang Nobela ng mga Hinuha.

The panel was composed of the advisers, fellows and associates of the UP-ICW: Gemino H. Abad, Jose Y. Dalisay Jr., Charlson Ong, Cristina Pantoja Hidalgo, J. Neil Garcia, Jun Cruz Reyes, Victor Emmanuel Carmelo Nadera Jr., Rosario Cruz Lucero, Eugene Y. Evasco, Isabela Banzon Mooney, UP ICW acting director Rolando B. Tolentino and National Artist for literature Virgilio S. Almario. UP ICW associate professor Luna Sicat Cleto headed the workshop.

During the workshop, the authors presented their works. Each author had a partner panelist-mentor to assist them in the discussion. For two hours, the fellows and the panelists reviewed and critiqued each work.

The committee also held a Talastasan Lecture Series, where the public was invited to attend lectures on writing conducted by Eugene Evasco, Will Ortiz and Segundo Matias, Jr. Over 100 students from UP Baguio and other universities based in Baguio attended the affair.

On the sixth day of workshop, the fellows and panelists headed to Café Yagam for a night of poetry, Summer Poetry Slam 2015, where local poets participated and competed. Five fellows joined the poetry slam, two of them won the second and third places. Abad also performed during the open mike session. —John Michael Saavedra

ATENEO NATIONAL WRITERS WORKSHOP

In an effort to provide a venue for aspiring writers to interact with seasoned writers, the Ateneo Institute of Literary Arts and Practices (AILAP) conducted the Ateneo National Writers Workshop (ANWW), in which twenty young writers from around the country underwent training in their respective genres such as fiction, poetry, drama and criticism.

Held from May 11 to 15, 2015, at the Ateneo de Manila University (AdMU), the workshop accepted fellows for essay and hybrid text in line with its effort to facilitate discourses in emerging literary genres. In collaboration with AdMU-based journal of language, literary and cultural studies Kritika Kultura, the ANWW also accommodated for the first time fellows working on critical essays on the theme of Philippine literature and diaspora.

Aside from providing a venue for literary exchange, the workshop aims to train and prepare young writers for the rigor and demand of their chosen genre through critique and assessment of their creative and critical work.

This year’s fellows included Marc Josiah Lapus Pranza, Bernidick Bryan Punzalan Hosmillo and Joshua Eric Romulo B. Uhyeng for poetry in English; Noel Galon, Juleini Vivien I. Nicdao and Miguel Enrico C. Paala III for poetry in Filipino; Nimruz A. De Castro and Edmond Julian Y. Dela Cerna for fiction in English; and Emmanuel T. Barrameda and

Jolly M. Lugod for fiction in Filipino.

For drama, the participating writers were Andrew Bonifacio L. Clete and Rouchelle R. Dinglasan. Stephanie Shi and Rhea B. Gulin were selected for the essay category, while Carlos Quijon Jr. for hybrid text. For criticism, there were Sylvelyn Jo Almanzor, Kathrine D. Ojano, Oscar Tantoco Serquina, Jr., Christian Tablazon and Jillian Joyce O. Tan. The panelists for creative writing included Alexis Abola, Mark Anthony Cayanan, Michael Coroza, Conchitina Cruz, Daryll Delgado, Mikael de Lara Co, Allan Derain, Laurel Fantauzzo, Vicente Groyon III, Eli Guieb III, Ramon Guillermo, Jason Jacobo, Rosario Cruz-Lucero, Glenn Sevilla Mas, Allan Papa, Jerry Respeto, Joseph Salazar, Edgar Samar, Benilda Santos, Vincenz Serrano, Martin Villanueva and Alvin Yapan. For the criticism, the panel comprised Oscar Campomanes, Jayeel Serrano Cornelio, Francis Gealogo, Ramon Guillermo and Lily Rose Tope. Martin Villanueva acted as this year’s workshop director.

About 30 creative pieces and five critical works were critiqued in the workshop.

Other activities included a poetry and fiction reading by Cruz and Yapan, a conversation on hybrid text with Ramon Guillermo and Serrano, and a collaborative workshop between the creative writing and criticism fellows which aims to tackle the concept of hybridity in writing. —John Michael Saavedra

NATIONAL PHOTOGRAPHY COMPETITION ON CEBU’S HERITAGE CHURCHES

With centuries-old Spanish colonial churches, Cebu prides itself as one of the most historical provinces in the Philippines. Four of these churches were declared by the National Historical Commission of the Philippines as National Historical Landmarks. Unfortunately, the province was devastated by strong earthquakes and typhoons in 2013, damaging many of these treasures.

This inspired PUSOD, headed by its president Feb Lotus Therese Alesna and project coordinator Gemma Grace Pineda, to conduct a national photography competition that pays tribute to the various churches in Cebu.

Titled “Simbahan sa Sugbo,” the threemonth-long photography competition brought to fore the urgent need to conserve and preserve the tangible heritage of the province. Aside from promoting photography in the region as legitimate art, it aimed to document these churches so that it would inspire the community to help in their preservation and make the public become more aware of the importance of these heritage treasures.

The project was in conjunction with the three-tiered national program for photography competition initiated by the National Committee on Visual Arts (NCVA). The other projects were the first Rio de Quingua National Photography Competition and the first Mindanao National Photography Competition.

The competition kicked off on April 25, 2015, at the Handuraw Café in Cebu City, with 19 Cebu-based photographers gracing

the launch. Jose Villacin and Palmy Tudtud, NCVA members, discussed the guidelines and other NCCA programs, while Feb Alesna provided significant inputs during the open forum.

Around 77 photographers submitted their entries. Majority of whom are based in Cebu and affiliated with different photography clubs in the region such as the Cebu City Images, Shutter Eight, Istorya, Lucida, IPC, Photographers, Studio Jumpshot, PCC, Romans, Images Camera, and Cebu Digital. There were also participants from Luzon, Mindanao, Bohol and Leyte.

Over 220 entries submitted were judged for their technical competence, visual impact and artistry, and relevance to the theme. After much deliberation, the judges—photographers Bob Lim and Joseph Ong, Joey Tañedo, Carlos Apuhin and architect Lizeta Uy— selected eight outstanding photos.

The top three winners were Richodavid Rebecca, Leon Molina and Sydney Dyguani who took photos of the Chapel of the First Cebuano Saint, Holy Sound (Simala Shrine) and Oslob Church, respectively. The other finalists were Eric Palmares for his “The Farmer Church (San Isidro Labrador of San Fernando)”; Oscar Machacon, Jr., for “Of Walls and Walkways (Pedro Calungsod Chapel)”; Oliver Echevarria for “Nuestra Señora Patricinio de Maria Church”; Erwin Lim for “Our Heritage (Nuestra Señora del Pilar of Sibonga); and Noel Salcedo for his photo of San Roque Church of Mandaue City.

Other Cebu heritage churches documented during the competition were Basilica Del Santo Niño; Argao Church; Saint Joseph the Worker of Catmon; Samboan Church; Cebu Metropolitan Cathedral; Carcar Church; Santa Anna Church in Barili; Saint Francis of Assisi in Dumanjug; Our Lady of Immaculata Concepcion of Oslob; Malabuyoc Church; Sacred Heart Parish; Minglanilla Church; Santo Tomas de Villanueva in Pardo; and Carmen Church.

Other churches included Talaga Parish Church in Argao; Temple of the Church of Jesus Christ of latter day Saints; Señor Santiago Apostol de Compostela of Compostela; Liloan Church; San Guillermo de Quitana of Dalaguete; La Cueva dela Nuestra Señora de Guadalupe; Santo Niño de Mactan Church; Our Lady of Mount Carmel in Lutopan; Ginatilan Church; Santa Teresa de Avila in Talisay; Birhen sa Regla of Lapu-Lapu; Redemptorist Church; the Archbishop Palace; Santa Monica Church; Raphael Archangel of Aloguinsan; Our Lady of Mount Carmel in Mabolo; Saint Joseph of Mandaue City; Camotes Church; Iglesia ni Cristo of Cebu; Shangri-la Resort and Spa Chapel; Santa Cruz Chapel of Capitol; Holy Rosary Church in Tuyan; Our Lady of Remedies; and San Antonio de Padua of Tuburan.

The awarding ceremony was held on July 24, 2015, followed by a photo exhibit at The Gallery in Ayala Center Cebu. Alesna, Villacin, Tañedo and Rev. Fr. Brigoli led the ribbon cutting to formally open the exhibit, which showcased the top 50 photo entries. The exhibit ran until July 29, 2015.—Mark Gregor P. Dela Cruz

IN MEMORIAM

Antonio M. Santos

Director, National Library of the Philippines

A

ntonio M. Santos, director of the National Library of the Philippines (NLP), a member of the NCCA and National Historical Commission of the Philippines (NHCP) boards, and former head of the NCCA National Committee on Libraries and Information Service (NCLIS), passed away on October 22, 2015, at the age of 63. He suffered from a heart attack while on tour of duty in Kuala Lumpur, Malaysia.

His remains were brought back to the Philippines on October 27, arriving in the afternoon.

From the airport, his body passed by the NCCA building and NLP, where officials paid their respect. A necrological service was held at the University of the Philippines College of Law that night. The following morning, a tribute was held by the UP College of Law and Philippine Librarians Association, Inc. (PLAI). Santos’s remains were then transferred to Paket Santiago Funeral Homes in San Roque, Marikina City, where the NLP and the NCCA gave tribute on October 29.

Interment was held on November 3 at Heaven’s Gate 1, Cogeo, Antipolo, Rizal.

“His contribution to society will forever be cherished. He will be missed by friends, colleagues and family,” announced NLP. “We lost an outstanding pillar of the library profession and a very good man,” NCCA said in a statement, particularly, the members of the NCCA Subcommission on Cultural Heritage, through its commissioner, Fr. Harold Ll. Rentoria, OSA, and the executive council members of the National Committee on Libraries and Information Services, through its head, Dr. Marilou Tadlip.

“IFLA colleagues will remember him fondly for his leadership and his concern for the library community, and the library user community, particularly in times of suffering through recent natural disasters. We are proud to have had Tony participate in IFLA, and as one of our Leaders

Associates,” said Jennefer Nicolson, Secretary General of International Federation of Library Associations and Institutions (IFLA) “He spoke with passion for the profession, and was not afraid of raising difficult issues. He had led the library profession in the Philippines with great commitment and dedication and he participated in all CONSAL matters with deep interest,” said Ngian Lek Choh of the IFLA Governing Board.

Born on February 25, 1952, Antonio Santos had been the director of the National Library of the Philippines for almost four years, and was the law librarian at the University of the Philippines for more than 30 years.

Among his many commitments, he served as national president of the Philippine Librarians Association for three terms, becoming a member of the Congress of Southeast Asian Librarians (CONSAL) Executive Board.

He was also an active member of the IFLA International Leaders Programme from 2012 to 2014 and initiated a study on library copyright issues with his team.

Santos has received various Outstanding Librarian awards, notably from the University of the Philippines, Professional Regulation Commission, Philippine Association of Academic and Research Librarians, and the Philippine Group of Law Librarians. He was also named Outstanding Librarian of Southeast Asia by CONSAL, its first awardee.

In February 2011, President Benigno Aquino III appointed him NLP director. During his term, he presided over the revitalization of this institution, with its current budget more than double its 2010 budget. He began the longdelayed structural retrofitting of the National Library building as well as the digitization of the photo collection and library services.

Vehicle bearing Santos’s remains passing by the NCCA building

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

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