Agung XIX No.6 November-December 2016

Volume XIX • Number 6 • November-December 2016 • For Artists and Cultural Workers • ISSN 0119-5948

Preserving Culture, Transforming Lives

Official Newsletter of the National Commission for Culture and the Arts

Vol. XIX, No. 6 • November-December 2016 ISSN 0119-5948 The agung is a knobbed metal gong of the Philippines used in various communal rituals.

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

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

FELIPE M. DE LEON, JR. chairman

About the cover

MARICHU G. TELLANO oic-executive director

Front cover shows Varicolored by Judy Rose T. Lipaopao with the National Cultural Treasure, Metropolitan Theater of Manila, as subject

Rene Sanchez Napeñas editor-in-chief Roel Hoang Manipon managing editor Mervin Concepcion Vergara art director Marvin Alcaraz photographer

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

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

On April 3, 1992, President Aquino signed Republic Act No. 7356 creating the NCCA and establishing the NEFCA, a result of over two years of legislative consultations among government and private sector representatives. The bill was sponsored by senators Edgardo J. Angara, Leticia Ramos-Shahani, Heherson T. Alvarez and congressman Carlos Padilla.

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

A Rich Tapestry

An I

y of Indigenous Cultures,

Interweaving for Peace and Growth Dayaw: Philippine International Indigenous Peoples Festival 2016

P

hilippine indigenous groups provided glimpses of the richness of their cultures to wider audiences

as well as interacted with other indigenous groups from around Asia in the 2016 stag-

ing of the Dayaw: Philippine International Indigenous Peoples Festival.

A Tausug delegation at the Dayaw 2016: Indigenous Peoples’ Festival dancing the traditional pangalay /Photo by Roel Hoang Manipon

4 Agung • Number 6 • November-December 2016 The annual festival was organized by the NCCA’s Subcommission on Cultural Communities and Traditional Arts (SCCTA), in partnership with the Office of the Cabinet Secretary, National Commission on Indigenous Peoples, city government of Quezon City, Department of Education and Bulacan Arts, Culture and History Institute, from November 22 to 24, 2016, at the Quezon City Memorial Circle in Quezon City.

The event, highlighted by performances of traditional musics and dances, demos on crafts and practices, exhibits and forums, was participated in by 185 delegates from different cultural communities from all over the Philippines, and 23 delegates from South Korea, Indonesia, Thailand, Australia, Myanmar and Malaysia.

The year’s theme, “Weaving Asian Cultures: Promoting Peace and Sustainable Growth,” underscored traditional and local knowledge on environment protection and advocacy for peace while making manifest the uniqueness of each cultural community Tboli cultural master Linda Weaver performs using traditional musical instruments such as the gong /Photo by Marvin Alcaraz

in the Philippines. The festival also provided venue for cultural exchanges hoped to cultivate deeper understanding among different groups in order to sustain a culture of peace.

Touted as the biggest gathering of Philippine indigenous peoples, Dayaw Festival is in celebration of National Indigenous Peoples’ Month, which is observed every October, and showcases the different indigenous groups of the country through an enriching and interesting array of activities including performances, forums, demos of traditional culture, exhibits and cultural exchanges, among others.

A prelude was held on October 28, 2016, at the Quezon City Experience and Liwasang Aurora at the Quezon City Memorial Circle, participated in by 94 delegates from different ethnic groups including the Gaddang, Ibaloi, Ifugao, Rombloanon, Panay Bukidnon, Ati of Negros, Tausug, Tboli and Suban-on. There were interactive demonstrations of traditional cuisines and crafts, attended by about 200 people, mainly composed of government employees, students and park goers. Booths were also set up for displays and sale of traditional crafts such as textiles and accessories. An exhibit on the Gawad sa Manlilikha ng Bayan was mounted at the Quezon City. The day culminated with the IP Pride Night, featuring performances of traditional dances, music and rituals.

More traditional dances, music and rituals were featured at the Dayaw main event in November, most of which were performed in outreach performances at Quezon City and Malolos, Bulacan, schools. The Kalinga, Tboli, Tagbanua, Manobo, Bagobo Manobo, Bugkalot, and Thailand groups went to the Batasan Hills National High School, while the Bukidnon, Mamanwa and Indonesian groups performed at the Cecilia Munoz Palma High School. The Blaan, Maguindanao, Korean and Tagalog performers went to Lagro High School, while the Bontoc-Applai, Boholano Cebuano, Casiguran Agta, Sama, Tausug and Teduray went to Commonwealth High School.

The Korean, Thai, and Indonesian groups showcased their dances at the Marcelo H. Del Pilar High School in Malolos, Bulacan.

At the QCX Mu-

seum, the exhibit “Mana: Tracing Heritage through ASEAN Arts and Crafts” was mounted, featuring works of the Manlilikha ng Bayan and traditional crafts from participating Asian countries such as textiles, attires, accessories, musical instruments, baskets, mats and ambahan inscribed on bamboo. At the museum, Kalinga dancer and musician Alonzo Saclag and Ilocano gourd hat maker Teofilo Garcia, both Manlilikha ng Bayan, conducted an interactive lecture and demonstration.

Saclag and Garcia were two of the Manlilikha ng Bayan who graced the festival. The others were Ilocano textile weaver Magdalena Gamayo, Yakan musician Uwang Ahadas, Panay Bukidnon chanter Federico Caballero and Pampangan metal worker Eduardo Mutuc.

Another important component of Dayaw is the forum, which served as a venue for representatives to meet and discuss issues and concerns on indigenous peoples. Representatives from government agencies and community leaders are often invited to the forum.

This year’s forum was held on November 23 at the Manansala Ballroom of Sulo Riviera Hotel, with the theme “Weaving Asian Cultures: Promoting Sustainable and Inclusive Peace and Development in Multicultural Communities.”

NCCA xhairman Felipe M. De Leon, Jr., delivered the keynote address with his lecture “Cultural Context of ASEAN Creativity.”

This year’s forum saw the participation of international representatives. Indonesian Ruliyah Hasyim delivered her paper, “Intercultural Dialogue for Promoting and Sustaining a Culture of Peace,” emphasizing the active involvement of her country in the ASEAN projects.

Australian aboriginal artist Jayson Donovan gave a lecture on traditional music and culture, and performed using traditional musical instruments such as the didgeridoo.

The forum also had workshops where participants discussed issues on local governance and IP leaders engagements in legislative actions; youth initiatives in advancing peace and development in local IP communities; reframing the Schools for Living Traditions towards strengthening culture of peace and inclusive growth; and strengthening the role of women in sustaining peace and inclusive development of multicultural communities. It enabled IP representatives to speak up, and share ideas, community accomplishments and aspirations, which were included in a drafted declaration.

The Dayaw festival’s closing ceremony at the Liwasang Aurora of the Quezon City Circle was a spectacle that showed the interplay of the richness of traditional cultures. The program’s highlight was the collaborative performances.

Ethnic groups of the Luzon island group performed together with the Thailand group, the

November-December 2016 • Number 6 • Agung 5 Visayas groups with the group from South Korean; and the Mindanao groups with the group from Indonesia. These culminated with a single performance by all delegates.

The closing ceremony also featured the recognition of the best students of the Manlilikha ng Bayan Saclag (Salinda Eway), Ahadas (Najeer Alipin), Caballero (Fritz Cire Yangco), Gamayo (Pacita Galinato), and Garcia (Kimi Angeli Pascua). Senator Loren Legarda was also honored with the Padya Pag-ulikid sa Tumandok or the Gawad Katutubong Pagkalinga by NCCA SCCTA for her support and contribution to the indigenous cultures and peoples of the country by creating policies and programs for them.

The festival ended with a solidarity dance around a big bonfire.—With reports

from Mark Gregor P. Dela Cruz and John Paul T. Orallo, NCCA Program Monitoring and Evaluation Division

Performance of the delegation from Thailand /Photo by Marvin Alcaraz

THE DAYAW FESTIVAL Presidential Proclamation 1906 was signed on October 5, 2009, declaring October as National Indigenous Peoples’ Month. Prior to this, the NCCA has been mounting big celebrations of indigenous cultures. In December 3 to 9, 2000, for example, it held Dayaw: Philippine Cultural Communities Arts Festival at the Rizal Park, featuring performers, craftsmen, scholars, artists and cultural practitioners from different cultural communities. In 2007, Kalimudan: Panaghi-usa sa Mindanao (Mindanao Indigenous Peoples’ Gathering) was held in Davao City in November, featuring Mindanao’s ethnic groups. The following year, Timpuyog: Indigenous Peoples’ Month Celebration in Luzon was held in Santiago City, Isabela, focusing on Luzon ethnic groups. In 2009, the Indigenous Peoples’ Festival was held in Roxas City, Capiz, called Dungog.

Dayaw 2010 was held in Metro Manila, and in 2011, it was held in Tagum City, Davao del Norte. In 2012, Dayaw graced the province of Bulacan. In 2013, Dayaw was slated to be held in Tacloban City but super typhoon Yolanda hit the region. It was reprogrammed into psychosocial and arts for healing activities in Leyte, Bohol, Aklan and Cebu. In 2014, Dayaw was held in three legs in the three island clusters—Baguio City in Luzon; Bacolod City, Negros Occidental, in the Visayas; and Zamboanga City in Mindanao. Last year, the Dayaw Festival was held in Angeles City, Pampanga.

Collaborative performance of northern Philippine groups and the delegation from South Korea during the closing ceremony /Photo by Marvin Alcaraz

International delegates in a cultural tour in Bulacan /Photo by Marvin Alcaraz

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NCCA Subcommission on Cultural Dissemination commissioner Orlando Magno; Komisyon sa Wikang Filipino chairman and National Artist for literature Virgilio S. Almario; Senator Loren Legarda; NCCA chairman Felipe M. de Leon, Jr.; NCCA National Committee on Central Communities head Alphonsus Tesoro; NCCA National Committee on Northern Communities head Dr. Edwin Antonio; and NCCA Subcommission on Cultural Communities and Traditional Arts commissioner Al-Anwar Anzar. /Photo by Marvin Alcaraz

A collaborative performance of the delagates during the closing ceremony at Liwasang Aurora /Photo by Marvin Alcaraz

Najeer Alipin, the best SLT student of Manlilikha ng Bayan Uwang Ahadas, playing the gabbang, the Yakan xylophone made of wood and bamboo /Photo by Marvin Alcaraz

The Subcommission on Cultural Communities and Traditional Arts The Subcommission on Cultural Communities and Traditional Arts (SCCTA) covers the arts and culture of indigenous groups and cultural communities of the country. The SCCTA is made up of three national committees: National Committee on Southern Cultural Communities headed by Dr. Al-Anwar Anzar, National Committee on Northern Cultural Communities headed by Dr. Edwin V. Antonio, the National Committee on Central Cultural Communities headed by Alphonsus Tesoro. They are assisted by the SCCTA Section, headed by Renee Talavera, under the Plan/Policy Formulation and Programming Division of the NCCA secretariat.

Kim Jup Youb and Lee Si Yeon of the delegation from South Korea perform a traditional dance /Photo by Marvin Alcaraz

Katutubo Exchange Outreach Program Goes to Macau

The members of the Filipino community wear traditional attire of the Ilocano, Ivatan, Kalinga, Ifugao and Tboli during the Katutubo Exchange outreach program at the Asilo de Betania. They are joined in this photo by members of the NCCA and Katutubo Exchange Philippines, Dr. Edwin Antonio, Elnora Dudang, Rosavilla Mananes and Basco mayor Anastacia Viola.

The Amianan in Macau 2016: A Katutubo Exchange Outreach Program for the Filipino Community and the Macanese People was held at the Asilo de Betania, Macau Special Administrative Region in China, on November 19, 2016. It was hosted by the Philippine Consulate General in Macau.

Consul general Lilybeth Deapera, in traditional Tboli attire, welcomed the delegation composed of Dr. Edwin Antonio; Basco, Batanes, mayor Anastacia Viola; professor Elnora Dudang; and Rosavilla Mananes at the consulate.

The objective of Amianan in Macau 2016 was to promote indigenous cultures and traditional arts among overseas Filipinos and foreign nationals.

The program was initiated by the Katutubo Exchange Philippines, a volunteer organization of cultural workers headed by its founder Dr. Edwin Antonio, who serves as the head of the National Committee on Northern Cultural Communities of the NCCA. According to him, “it is very important for Filipinos to relearn their cultural heritage amidst the influence of foreign culture through a program such as this to instill the sense of pride of being Filipinos.�

This program was implemented in partnership with the NCCA, Philippine Consulate General in Macau, Philippine Overseas Labor Office in Macau and Caritas Macau.

Activities included a lecture on Philippine indigenous culture, workshop on traditional attire and singing of folk songs, and distribution of books and reading materials from NCCA.

Consul general Lilybeth Deapera welcomes the NCCA committee members and Katutubo Exchange delegation composed of Dr. Edwin Antonio, Basco mayor Anastacia Viola, Rosavilla Mananes, and professor Elnora Dudang at the consulate general.

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TRADITIO MINDANA TEXTILES

TO COTABATO CITY

Tboli, Blaan, Mandaya, Suban-on and Bagobo Manobo hand-woven, ikatdyed and abaca textiles

otabato City, within the province of Maguindanao, comes alive with its Shariff Kabunsuan Festival, which the city in southwestern Mindanao has been celebrating annually for over a decade now. The celebration adopts components considered de-rigueur in Philippine festivals such as a fair, a street-dancing parade, different contests and shows.

The recent festival, held from December 15 to 19, 2016, included a bazaar, a cooking competition and a sports tournament. At the city plaza, a series of nightly shows called “Colors of Cotabato” proved more interesting with performances of traditional musics and dances of different ethnic groups of the city as well as of other parts of Mindanao including the Teduray, Meranaw, Maguindanao, Tausug and Yakan. The Kuyog Street Dancing Competition on December 18 provided the spec-

tacle with two competing contingents, both showing in dance-drama, colorful costumes and props some aspects of the cultures of the peoples of Maguindanao.

Several aspects of the festival were mindfully infused with local culture as well as recognized the place’s Muslim heritage. After all, the festival is named after a man who is widely considered to be the one who introduced Islam to mainland Mindanao, which now has highest concentration of Muslims in the country. About eleven percent of Filipinos professed to the faith.

Shariff Kabunsuan, or Shariff Muhammed Kabungsuwan or Muhammad Kebungsuwan, an Arab-Malay missionary from Johore, is said to have arrived in late sixteenth century and landed on the banks of the Masla Pulangi, now known as Rio Grande de Mindanao. According to local accounts, Shariff Kabunsuan established himself as a sultan in Malabang in what is now Lanao del Sur and married Maguindanao princess Paramisuli of Dulawan.

Tboli weaver from Lake Sebu

A Meranaw weaver from Marawi City

C

One of the highlights of the festival is the regular re-enactment of his landing on the banks of Rio Grande de Mindanao, which snakes across the city. This year, a grand parade on December 19 ushered in the re-enactment, which saw gaily decorated boats traversing the river in a fluvial parade. It culminated in a grand pagana or communal feasting. Additionally, the city also held a contest on the making of small guinakits, the local term for “boat,” and the entries, eye-catching and with flags like bright colorful spews fluttering in the wind, adorned the city hall grounds in the duration of the festival.

What made the Shariff Kabunsuan Festival more interesting this year was the Bangala Fashion Fair, an international fashion and textile event organized by the Department of Tourism Region 12 and the local government unit of Cotabato City, in collaboration with the NCCA, Mindanao Development Authority and the Bureau of Cultural Heritage of the Autonomous Region in Muslim Mindanao. It showcased a culture that is more ancient than the arrival of Shariff Kabunsuan.

The Bangala, which is a Maguindanao term for “attire” or “dress,” had several events a fashBlaan weavers Lamina D. Gulili and Myrna

November-December 2016 • Number 6 • Agung 9

IONAL NAO ADD COLOR AND SIGNIFICANCE Text and photos by Roel Hoang Manipon

TY’S SHARIFF KABUNSUAN FESTIVAL Meranaw and Maguindanao textiles

ion show, an exhibit, a photo competition, and a heritage forum. It was part of the promotion of the Brunei-Indonesia-Malaysia-Philippines East Asean Growth Areas (BIMP-EAGA), and thus saw participation from the involved countries.

In the past, the Shariff Kabunsuan Festival had a fashion and textile event such as the Inaul Fashion Showcase, which was mounted for several years. It featured the hand-woven textile of the Maguindanao. The fashion and textile event last year was wider in scope.

The Bangala Fashion Show on December 15 was held at the newly-opened City Mall Cotabato City and featured Muslim fashion, particularly the hijab. They invited hijab-wearing women who have become popular on social networking site Instagram. The hijabis were Dian Pelangi and Indah Nadah Puspita from Indonesia, Shea Rasol and Dayah Bakar from Malaysia and Ammarah Dumama from Cotabato City, and they were dubbed as the hijab ambassadress. The hijabis brought their collections to be showcased in the fashion show.

Less showy but more intriguing was the exhibit “Bangala: Dress and Textile Traditions Brunei, Indonesia, Malaysia and the Philip-

Myrna M. Sarino from South Cotabato

pines” at Al-Nor Activity Center. Curated

by Leonard Rey Carino, the exhibit featured mostly traditional hand-woven textiles of several Mindanao ethnic groups. Also showcased were the contemporary dresses by Mindanao designers Windell Mira, Wilfred Yee, Mark Joseph Sayad, Emi Englis and Rebert Torres, using the inaul, hand-woven textile of the Maguindanao. The exhibit was complemented by a forum discussing Mindanao textile-making traditions which featured traditional weaving scholar Norma Respicio, among others.

The exhibit was beautifully mounted with sections made to look like portions of bamboo-made traditional houses on stilts. Lovely hand-woven textiles were draped all-over the place. Hand-woven fabrics of the Mandaya, Bagobo Manobo, Blaan, Tboli, Meranaw, Maguindanao and Suban-on were on display, cascading like colorful dreams. At the each section, there were actual weavers going through the weaving process in their traditional attires, some of them respected masters.

The Yakan weavers from Lamitan, Basilan, were Nur-aiza Atalan, Kijong Atalan,

Yakan master weaver Ambalang Ausalin from Basilan

Vilma Ausalin and Ambalang Ausalin, who is known as the best weaver of the Yakan cloth.

They brought with them the intricate and dazzling seputangan, a head covering for women, and the pis, head covering for men.

Lamina D. Gulili and Myrna M. Sarino from Landan, Polomolok, South Cotabato, demonstrated the making of the mabal tabih of the Blaan, a textile of abaca fibers dyed in the ikat technique. Tboli weavers Sima Mensun Bantal and Barbara Mensun Ofong from Lamdalag, Lake Sebu, South Cotabato, showcased their t’nalak, also of abaca fibers and using the ikat technique.

Saida Abdurrahman Taher, Sambai Macaraya and Noraya Usman from Marawi City, Lanao del Sur, represented the Meranaw weavers, known for the brightly-colored tubular skirt landap. Sittie Dumacil of Sultan Kudarat, Maguindanao, showed how to weave the Maguindanao inaul.

For a few days, at a quiet part of a mall, these weavers kept alive dying crafts, fashioning age-old patterns of colors and designs of their peoples with their patient hands.

Maguindanao weaver Sittie Dumacil

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he Metropolitan Theater celebrated its 85th anniversary on December 14, 2016, opening its doors to the public for one whole day of festivities. The celebration was called “Banyuhay,” a Filipino term for “metamorphosis,” to signal the transformation of the Metropolitan Theater, honoring the history and story of the Met and its people, while unveiling the future direction of the cultural landmark.

The anniversary celebration paid tribute to the men and women who played a part in the storied journey of the Metropolitan Theater, reuniting actors, producers and staff with the performing space. It also gave thanks to the countless volunteers and the public for their participation and efforts in the various programs of METamorphosis including the clean-up drives and the London Biennale Manila Pollination.

Among the activities were the launching of the much anticipated Metropolitan Theater Coloring Book, a volume in English and Filipino charting the history of the theater and showcasing the exquisite art-deco ornamentation as well as the presentation of the Metropolitan Theater’s future direction; and performances by the NCCA Rondalla, the Met Chorus, the Met Dance Company, the University of the Philippines Dance Company and other groups. Capping off the celebration was the re-energizing of the theater and the lighting of its façade, allowing Manila’s Art Deco jewel to shine through the holiday season.

The Metropolitan Theater, a National Cultural Treasure, is undergoing a comprehensive restoration program under the aegis of the NCCA after more than eight decades of existence.

The NCCA aims to breathe new life into the once neglected cultural landmark, envisioning it to be a beautiful and modern structure, emblematic and welcoming of Filipino artistry.

Guest performers UP Dance Company and the Met Chorus, and guest of honor Tony Mabesa (right) /Photos by Marvin Alcaraz

The Metropolitan Theater at 85 The celebration was capped by the re-energizing of the theater and lighting of its facade / Photo

by Timothy Augustus Ong

METROPOLITAN THEATER: A STAR WILL SHINE AGAIN TANGHALANG METROPOLITAN: ANG BITUIN AY MULING MAGNININGNING

T

he Metropolitan Theater, a National Cultural Treasure, is undergoing a comprehensive restoration program under the aegis of the National Commission for Culture and the Arts (NCCA) after more than eight decades of existence. In 1978, the old Metropolitan Theater had undergone a complete restoration after its destruction in the Battle for the Liberation of Manila in 1945 and postwar decline and misuse. The cultural renaissance it enjoyed since it reopened in 1978 was short-lived as political change marred its very existence and was forced to close its doors in 1996. The curtain went up again in 2010 but due financial constraints and contest over ownership it was forced to dim its lights once more. In May 2015, the NCCA was authorized by the government to purchase the Metropolitan Theater at 270 million pesos to jumpstart the rehabilitation procedure and breathe new life to the once neglected cultural landmark.

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ng Tanghalang Metropolitan na isang Pambansang Yamang Pangkalinangan ay kasalukuyang sumasailalim sa restorasyon sa pangunguna ng Pambansang Komisyon para sa Kultura at mga Sining (NCCA), makaraan ang walong dekadang pananatili. Ang Tanghalan ay nawasak sa Labanan ng Maynila sa panahon ng Ikalawang Pandaigdigang Digmaan noong 1945. Ang maling paggamit at kapabayaan ay dumagdag rin sa pagkasira nito pagkatapos ng digmaan. Kaya naman noong 1978 ay nagkaroon ng isang komprehensibong restorasyon ang Tanghalan. Nanumbalik ang sigla nito matapos ang isinigawang pagsasaayos subalit ito ay panandalian lamang dahil na rin sa pagbabagong pampulitika na siyang naging daan upang muling ipinid ang kanyang mga pinto sa publiko noong 1996. Muli itong nagbukas noong 2010 ngunit dahil sa kakulangan sa pananalapi at pagtatalo sa pagmamay-ari ay muli na naman itong nagsara. Noong Mayo 2015, ang NCCA ay pinahintulutan ng pamahalaan na bilihin ang Tanghalang Metropolitan sa halagang 270 milyong piso upang simulan ang rehabilitasyon at pagbibigay ng bagong buhay sa minsang napabayaang pangkulturang muhon.

Sites of Lunan Urban Transformation ng Pagbabagong Anyo ng Lungsod The Metropolitan Theater occupies an important historical and archeological site in the district of Arroceros.

Ang lokasyon ng Tanghalang Metropolitan ay nasasakupan ng makasaysayang distrito ng Arroceros.

1 The Teatro del Principe Alfonso at the Jardin Botanico from the 19th century rendering of Honorato Lozano 2 The Teatro del Principe Alfonso viewed from the Pasig River 3 Insular Ice Plant and Cold Storage 4 - 6 Mehan Gardens

Genesis of the Cultur

Ang Simula ng Pagpapatayo ng Pambaya

In response to the need for a “national theater� for concerts, operas and theatrical performances, the City of Manila, acting on the appeal of Mayor Earnshaw, provided in 1929 to the Metropolitan Theater Company 8,293.58 square meters of public land, then being used as the flower market of the Mehan Gardens.

A contest was subsequently held to select the name of this proposed theater.

The entry of Evelyn Thorstensen, otherwise known in Philippine movies as Eva Lyn, was chosen - The Metropolitan Theater.

Bilang tugon sa pangangailangan para sa isang "pambansang tanghalan" para sa mga konsiyerto, mga opera at dulaang pagtatanghal, ang Lungsod ng Maynila sa pangunguna ni Alkalde Earnshaw, ay itinalaga noong 1929 sa Metropolitan Theater Company ang 8,293.58 metro kwadrado na mga pampublikong

November-December 2016 • Number 6 • Agung 15

ural Landmark

ambayang Tanghalan lupain na siyang ginagamit noon bilang pamilihan ng bulaklak ng Mehan Gardens.

Isang paligsahan ay inilunsad upang bigyang pangalan ang mungkahing teatro. Ang pangalang isinumite ni Evelyn Thorstensen, na siya ring kilala bilang Eva Lyn sa larangan ng pelikulang Filipino, ang napili – Ang Metropolitan Theater.

8 - 9 Architect Juan Arellano 10 Blueprint of the Metropolitan Theater 11 The Metropolitan Theater as part of the civic core of 1930s Manila

Architecture as Frozen Music Natatanging Arkitektura ng Pangkulturang Muhon The architecture of the Met is energized by a mélange of ornaments with allure and fantasy. Juan Arellano adapted the stylistic language of art deco which had originated in the Paris Exposition of 1925 to convey local identities and meanings using native decorative forms and subject matter.

Ang makulay at mapalamuti na sumisibol na estilo na art deco ang kanyang piniling gamitin para sa Tanghalan. Iniangkop ni Juan Arellano ang art deco na nagmula sa Paris Exposition ng 1925 upang maihatid ang mga lokal na pagkakakailanlan gamit ang mga palamuting hango sa katutubong anyo at paksa.

The exterior proscenium was set against undulating walls decorated with brilliantly colored tile works reminiscent of traditional Southeast Asian batik patterns.

Napapalamutian ito ng mga baldosang alun-alon na may makikinang na kulay na nahahalintulad sa tradisyonal na disenyo ng mga batik mula sa Timog-Silangang Asya.

12 Newly-built Metropolitan Theater in 1931 13 Feature article on Metropolitan Theater in the Philippine Magazine after it opened in 1931 14 Metropolitan Theater postcard that circulated in the 1930s 15 Postcard featuring the Manila Post Office, Jones Bridge and the Metropolitan — all works of architect Juan Arellano 16 Ground floor plan of the Metropolitan Theater 17 Second floor plan of the Metropolitan Theater

November-December 2016 • Number 6 • Agung 17

18 Batik-inspired tile work reminiscent of Southeast Asian decorative patterns 19 Metropolitan Theater Ballroom, 1931 20 Auditorium and balcony of the Met, 1931 21 Stage and proscenium of the Metropolitan Theater, 1931 22 Relief ornaments designed by Italian scuptor Francesco Monti that frames the proscenium 23 Detail of the mural, The Dance by Fernando Amorsolo 24 Detail of the Amorsolo mural, History of Music, found at the lobby 25 Mango relief at the auditorium ceiling 26 Banana relief ornament at the ceiling 27 Modern reclining statues depicting Eve

by Italian sculptor Francesco Monti placed at one end of the lobby 28 Adam by Francesco Monti at the opposite end of the lobby 29 Low-relief sculpture by Francesco Monti that frames the stage area as a rectangular tableau

Enshrined above the proscenium were figures depicting Music, Tragedy, Comedy, and Poetry, set amid a cascade of jewel-like plaques. Adorning the plain walls were lamps, tall tapering tubes of translucent glass in the form of bamboo stalks, which terminated up to a ceiling bursting with a luxuriant cornucopia of tropical fruits and foliage such as mangoes and bananas.

Sa itaas ng mismong proseniyum ay mga pigurang naglalarawan ng Musika, Trahedya, Komedya, at Panulaan. Nakagayak naman sa mga pader ang mga lampara, mga matataas na hugis-kandilang tubong gawa sa salamin na nakaporma sa mga anyong tangkay ng kawayan. Umaabot ang mga ito hanggang sa kisame at sa dulo nito ay may malabay na kornukopya ng mga tropikal na prutas at mga dahong tulad ng mga mangga at saging.

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November-December 2016 • Number 6 • Agung 21

Post-war Decline and Rebirth Pagbagsak at Pagbangon Pagkaraan ng Digmaan Like most of the other buildings that lay in the path of retreat of the Japanese soldiers, the Met was ruthlessly bombed and indiscriminately shelled by the American liberation forces.

Tulad ng karamihan sa iba pang mga gusali sa Kamaynilaan, ang Met ay walang habas na binomba at walang pakundangang kinanyon ng pwersang Amerikano bilang bahagi ng pagtugis sa mga sundalong Hapon.

30 The theater proper was flanked by garden courts around which were two-story buildings housing the ballroom, restaurant, offices, and shops. The front of the theater was crowned by a wall gently curved at the top, against which rose a series of pinnacles.

31 The east wing of the Met where the café could be accessed directly from the street. Above the café was the grand ballroom.

32 - 34 Met was sacrificed in the Battle for the Liberation of Manila (February 3, 1945 to March 3, 1945) in the last days of WWII. Met was a survivor, unlike most of the buildings in Manila, it merely lost its roof, but its walls withstood the barrage of enemy and ally fires. Someofthe battle scars are still left in some parts of the building.

22 Agung • Number 6 • November-December 2016

RISING FROM THE RUINS Pagbangon mula sa Guho The very first comprehensive renovation effort on the Met came from former First Lady Imelda Marcos in 1978, and was overseen by the late socialite Conchita Sunico. The building was restored under the supervision of Otilio Arellano, a nephew of Juan Arellano, and was reinaugurated on December 10, 1978.

Ang pinakaunang komprehensibong renobasyon sa Met ay nagmula sa pangunguna ng dating Unang Ginang Imelda Marcos noong 1978 at pinamahalaan ng yumaong socialite na si Conchita Sunico. Ang gusali ay ipinaubaya sa ilalim ng pangangasiwa ni Otilio Arellano, pamangkin ni Juan Arellano, at muling pinasinayaan noong Disyembre 10, 1978.

35 Aerial view of the vicinity of the Met after the WWII. Most of the structures were reduced to rubble.

36 - 38 The Met in the aftermath of the Battle for Liberation in 1945 39 A rare colored photograph of the Met taken in 1953 40 The newly opened Magnolia Rendezvous at the Met in 1948 41 By virtue of the Philippine Rehabilitation Act of 1946, partial restorations were made after World War II, but luster was gone from the Art Deco gem. In the 1950s, the Met, still partly in ruins, experienced a gradual decline 42 Inauguration of the Met in 1978 led by Ferdinand and Imelda Marcos with (from right) Mayor Ramon Bagatsing, Conchita Sunico and Otilio Arellano 43 Cover of the Philippine Panorama featuring Conchita Sunico and Gilopez Kabayao as the new administrators of the soon-to-be opened Met in December 1978

24 Agung • Number 6 • November-December 2016

November-December 2016 • Number 6 • Agung 25

44 The Met under the auspices of the Marcos regime in 1979 45 Souvenir program for the reopening of the Met in 1978 46 The newly restored Metropolitan Theater in 1978 47 Restored ballroom in 1978 48 Stage area, 1978 49 Ceiling ornaments, 1978 50 Music Room. 1978 51 The audience seating, 1978 52 The off-white facade of the Met in 1978 53 The lobby in 1978 54 The newly restored auditorium of the Metropolitan Theater in 1978

NEW METAMORPHOSIS Bagong Banyuhay Despite a brief attempt to revive the Met in the last decade, what is happening now represents the third — and hopefully far more lasting — founding of a cultural landmark that was originally envisioned as beautiful, modern, artistically diverse and excellent, operationally viable, and emblematic of the great worth given to culture by the Filipino people. We encourage you, the people, through our collective effort to ensure the completion of Met's latest metamorphosis.

Ang restorasyon na ito ay nagnanais na muling pasiglahin ang Met at siguraduhing magiging pangmatagalan ang buhay nito. Hinihikayat namin kayo, ang mga mamamayan, na makibahagi sa adhikain upang matiyak ang ganap na pagbabanyuhay ng Met sa pinakahuling pagkakataon.

55 Aerial shot of the Metropolitan Theater in 2016 56 President Gloria Macapagal-Arroyo unveiled the marker declaring the Metropolitan Theater as a National Cultural Treasure in June 2010 57 - 58 The signing of the Deed of Absolute Sale of the Met at the GSIS office in June 2015. The purchase of the Met Theater by the NCCA was the first step in a conservation efforts spearheaded by the cultural agency.

59 Three-dimensional laser scanning and digital imaging, 2016 60 Drone-shot of the Metropolitan Theater, 2016

28 Agung • Number 6 • November-December 2016

T

he culture sector recognizes the government support for culture across different administrations. The passage of different laws—such as the Republic Act (RA) No. 7356, the law creating the NCCA and the National Endowment Fund for Culture and the Arts, the fund to support cultural development programs; RA No. 10066, the Cultural Heritage Law of 2009; as well as other legislations to institutionalize government support for culture—are proofs of such intent.

President Rodrigo Roa Duterte’s administration wants to push this further as it now places culture at the heart of a positive transformative change. The administration’s socio-economic agenda unequivocally include a goal that explicitly focused on culture and creativity. Goal 5 of the Social Development Agenda states, “Develop a culture-sensitive development program that advances artistic expression and strengthens Filipino identity and nationalism.”

On the other hand, the networks of cultural workers, artists, educators, social activists and development workers throughout the country are resolute to prove that culture indeed can aid the fight

strategies to address the identified challenges on culture for 20172022; and to provide input for the “Chapter on Culture” of the Philippine Development Plan 2017-2022 Several challenges and recommended strategies were raised during the summit. In addition, the participants expressed confidence that the present administration would build more windows, open more doors, as well as pave more pathways to strengthen the Filipino culture as a crucial pillar in sustainable and inclusive growth of the Philippine society.

CHALLENGES IN PHILIPPINE CULTURE Significant issues on cultural practice were raised in four thematic workshops. Generally, the participants commented that “while countless policies and programs on culture have been made at both the national and local levels, the gap between this discourse and actual practice remains very wide.”

Hence, culture takes a back seat in development leaving the enormous cultural assets or resources of the communities contin-

THE SUMMIT ON CULTURAL PRO

Addressing Challenges, Crafting Strategies and Putt

against poverty, the war against drugs, the resolve to restore peace and order, and the effort to strengthen communities in achieving freedom of want and freedom from fear.

In order to provide a venue for multi-stakeholder discussion on goals, challenges and outcomes on culture as well as craft strategies to address priority challenges for 2017 to 2022, the Summit on Cultural Protection and Development was conducted from October 6 to 7, 2016, at the Heritage Hotel in Pasay City. It was organized

by NCCA Secretariat’s Planning and Policy Office of the Plan/Policy Formulation and Programming Division.

More than 200 participants from cultural workers’ and artists’ groups, government agencies (cultural and allied), regional development councils, local governments, private sector, and international partners attended the summit.

The objectives were to provide a venue for multi-stakeholder discussion on challenges, goals and outcomes on culture; to craft

uously depreciate because most policy makers and development administrators in the local levels consider viable culture-led development policies and programs as the least in their priorities. This neglect is evident, among others in the following negative, albeit challenging conditions mentioned in here.

There were many challenges identified during the summit.

They have been clustered into (1) shallow understanding and experiencing of Philippine culture, and weak appreciation of the impacts of culture, and the importance of cultural education; (2) inadequate and restrictive state policies on culture; (3) insufficient and inappropriate promotion of culture; (4) challenges related to culture, tourism and the private sector; (5) human resource-related challenges in culture; (6) weaknesses in soft and hard infrastructure support for culture; (7) onerous access to funding support, and limited funding for culture; (8) challenges concerning indigenous peoples (IPs) and Bangsamoro; and (9) limited constituency and champions for cul-

ROTECTION AND DEVELOPMENT

utting Culture and the Arts into the National Agenda ture, and governance weaknesses in cultural processes.

Shallow Understanding and Experiencing of Philippine Culture, and Weak Appreciation of the Impacts of Culture, and the Importance of Cultural Education Philippine mainstream society’s identity was shaped by the experience of imperialism and colonization by Spain for almost four centuries.

This had an impact in various levels—governance (by the mestizo class); feudal-based economy; European-influenced arts; and religion.

This identity created dualities. Those who were not subject to Spanish rule were branded as infieles y barbaro (infidels and barbarians), the label attached to communities who practiced pre-colonial cultures. Thus, the other came to be defined as the Philippine indigenous peoples.

Colonization became a defining feature of who the indigenous and non-indigenous population at present. The United States occupied the country roughly only 50 years, yet Philippine identity continues to be shaped by the U.S. through neo-colonialist strategies.

The Philippine economy has become dependent on American capitalist policies. Economic dependence has its own social effects: the creation of class difference and diaspora of the Filipino as early as the 1950s. Even among mainstream cultures, emulated identities come from an American society. The effect has permeated in many aspects of the Filipino life such as in education, expressions of art, and media.

There is an elitist view of art and culture that favours Western tastes, styles, and practices. Besides, there is a commercial appreciation of culture that looks for “star value.”

Furthermore, a mind-set privileges the dictates of economy over the needs of culture. A strong colonial education reinforces alienating Western aesthetics. The absence and/or ignorance of culture-rooted governance devalued our own cultural integrity and sense of pride as a nation. The elitist and commercialized view of art and culture undermine the rich cultural resource left untapped.

In more contemporary times, a rampant disregard for human rights that hinder the protection of cultural resources has been not-

First of two parts

ed. This violation of human rights is seen the aspects of welfare and life of the indigenous peoples; present condition of marginalized sectors; natural heritage and climate injustice; and peace and security.

It was only quite recently that the Philippine educational system emphasized the need to localize and contextualize content in the formal educational setting. Localization, according to Department of Education (DepEd), means “freedom for schools or local authorities to adapt the curriculum to local conditions and relating the context of the curriculum and the process of teaching and learning to the local environment.” (Taylor 2004).

Since 2014, teachers and school heads have been encouraged to localize cultural content in their respective schools. However, this has been a painstaking process. Teachers across the nation complain that there is a dearth of learning materials, which are localized.

Indeed, years of colonial educational system has produced a generation of skilled, educated Filipinos but with little or no rootedness to culture. While attempts have been made by the DepEd to create a culture-based program, this has been rather too slow and derailed by so much bureaucracy. It has been observed, for example, that textbooks do not even reflect the different cultural communities of the country.

Consensus was reached on the need to mainstream cultural education not just in the nation’s educational system (basic to tertiary and technical vocational) but also in alternative learning modalities that allow out-of-campus, lifelong, culture-focused, rights-based education of fellow Filipinos. Such a program must be designed to strengthen national identity, instill pride of place, and celebrate the shared heritage of our multicultural peoples in the shared journey toward a sustainable, resilient, and inclusive future.

Likewise, a strong consensus was reached in the institutionalization and mainstreaming of crosscutting cultural education in formal, out-of-campus and alternative learning systems. Such culture-focused and rights-based comprehensive education program celebrates the shared heritage designed to strengthen national identity in the context of multicultural diversity.

There is a need to develop a more comprehensive and sustain

30 Agung • Number 6 • November-December 2016 training program encompassing basic, advance and specialized skills and knowledge.

Cultural education should not only be confined in the formal educational setting. This can also be sustained in the non-formal and alternative settings. Very few academic institutions embark on programs that focus on culture and the arts, much more its institutionalization.

Included in the system is the need to overhaul the curriculum from the basic to higher education to make teaching culturally relevant. As enablers of culture, teachers need to be trained and rooted in a culture-based philosophy and pedagogy.

Inadequate and Restrictive State Policies on Culture All cultural institutions of government have their respective laws and mandates. A cursory look at those laws manifests an overlap on the tasks of conservation and protection of cultural resources, despite delineation on the areas or subjects of actual conservation.

Hence, there is a need to review all existing laws on heritage and the charters of these cultural agencies.

On the other hand, there has been failure to adopt international covenants and resolutions on culture.

Lack of inclusive responsive policy on culture needs to be felt in the grassroots whereby an inter-agency convergence is encouraged. Management of cultural resources, especially access, safeguarding and conservation and education should be prioritized over tourism programs.

There is also lack of penalty clauses in state policies, hence, local government may choose not to enforce stipulations of laws that allow wider culture dissemination.

There are limitations posed by the Cultural Heritage Act. It does not relate or make reference to other laws like the Philippine Mining Act of 1995, the Indigenous Peoples’ Rights Act of 1997 or the IPRA law, etc. There are no related heritage policies in the Philippine Disaster Risk Reduction and Management Act of 2010 (RA 10121). In the Yolanda affected areas, the damages identified for rehabilitation were only those declared as cultural landmarks or treasures. Some local government units proposed rehabilitation for structures without considering that there were significant old municipal buildings that needed attention too as well.

Policies on protection, export, sale and the acquisition of cultural properties are wanting, including coordination system and protocols in planning and implementing conservation projects. In several cases, parish priests are not informed of conservation policies before they undergo rehabilitation of damaged churches or convents.

Local community stakeholders expressed the lack of consultation or discussion on plans for the rehabilitation of their cultural structures.

There indeed is a need to revisit all existing laws on heritage.

The workshop noted that there is a lack of congruence among these laws and policies on heritage conservation, and these do not provide clear guidelines for conservation of cultural property and the safeguarding of cultural resources. This fact accentuates the possibility of creating a single comprehensive law on heritage.

While there is absence or lack of awareness and appreciation of cultural heritage there is also lack of incentives to private owners to preserve cultural properties.

Insufficient and Inappropriate Promotion of Culture There are few incentives or encouragement for greater participation and involvement in state-sponsored programs and projects by communities. There are very few sustained consultations or dialogues between culture agencies, local governments, non-government organizations and indigenous communities. If these venues for conversations are ill-sustained, local ownership and active participation in culture is not encouraged. Thus, little or no investment is given to social issues that affect the life ways of communities and culture is rarely mobilized to foster greater ends.

Bureaucracy and the tedious processes it spawns greatly prevent active participation of peoples in the cultural life of their communities.

The media is a powerful tool for education. However, in the Philippine setting, its influence pervades Philippine culture, oftentimes to the detriment of a healthy Filipino consciousness. Most of the programs portray negative images of the Filipino, which contribute to a sense of inferiority. Instead of highlighting Filipino strengths and characteristics, the media especially television and film depict a Filipino image of subservience and colonial mentality.

Through the years, there are attempts by media practitioners to contribute to nation building through the various documentaries and programs, which portray the diversity of Philippine cultures, but these programs remain on the fringes rarely landing on a prime time slot in television. Film producers will have to take a substantial risk if the film is about a historical figure or event. With majority of the Filipinos in the youth bracket, the media can be tapped to enhance cultural education all over the country.

Challenges Related to Culture, Tourism and the Private Sector The perception that higher economic gains can be derived from tourism rather than culture affects support for culture.

There are no incentives to private owners to preserve cultural heritage.

There are also no incentives for investment in culture to advance corporate social responsibility; and new models of innovative Investment for culture are not available.

Human Resource-Related Challenges in Culture There is a lack of professional cultural workers for the conservation and safeguarding of the Philippine heritage.

The recent process of rehabilitating the damaged churches and civic structures after the Bohol and Cebu earthquake and the Yolanda storm surge reveals many realities in the praxis of cultural conservation.

Our local communities, architects, engineers are not fully and adequately equipped with the knowledge of materials and skills in conservation processes and methods. No one ever thought that such devastation would happen in such a great scale. Foreign experts had to be flown in to study the nature and extent of the damage and propose solutions. In almost all the cases, there are no comprehensive documentation/record of the structures, to which rehabilitation could be based.

Important centers of cultural conservation are few and far between in the Philippines. The National Historical Commission of the Philippines, the National Museum of the Philippines, the UST Graduate School’s Center for Conservation of Cultural Property and Environment in the Tropics, and the Conservation Studio under the College of Architecture at the University of San Carlos in Cebu City are just but few centers that concentrate of scientific conservation. There is a crying need to develop more expertise in this important field that will encompass the protection of both tangible and intangible cultural resources that will take into account the local cultural context.

There is a dearth in conservation and safeguarding skills, especially in the research and documentation of cultural resources.

This leads to an absence of comprehensive data on local heritage, undermining cultural mapping and documentation efforts by cultural agencies.

There is need to define career opportunities for culture and the arts.

There are around 1,200 secondary schools in the Philippines offering Special Program for the Arts of the junior high school program. Through the senior high school program, students have the choice to take the Arts and Design Track Program. In both cases (in junior and senior high school), students may opt to pursue their college education in the field of arts and culture. A wide range of employment is open to either high school or college graduates,

November-December 2016 • Number 6 • Agung 31

From left: NCCA chariman Felipe M. de Leon, Jr.; NCCA OIC-executive director Marichu Tellano; National Museum director Jeremy Barns; NHCP chair Ma. Serena Diokno; and CCP president Raul Sunico /Photos by Marvin Alcaraz

which include career opportunities in art management, advertising, cultural researcher, teaching arts and culture, art production and other related field.

Unfortunately, there has been a predominant perception that career opportunities for culture and the arts are limited. AmbisyonNatin 2040 report enumerated the most preferred field of study. Sadly, careers related to culture and arts do not even get a five percent share.

Weaknesses in Hard and Soft Infrastructure Support for Culture Support for cultural infrastructure is weak and insufficient. All participants spoke from their direct experience of implementing cultural programs. These endeavours are little helped by the lack of required infrastructure for culture. It was noted there are few efforts at promoting and developing culture, art and artists at the local level.

There are very few resources or content in languages other than Filipino and English. Others raised issues of inclusivity especially for people with disabilities and special needs. There are few facilities, services and resources and inclusivity is not actively promoted.

There were also concerns regarding the “carrying capacity” of institutions, notably frontline services. An illustration was when the National Museum lifted its entrance fees, audience numbers rose but there consequent burdens on museum services (e.g., exhibit guides) and infrastructure like the underground river.

There is need for more scholarly and new researchers on cultural education.

Research informs and builds a discipline. Research also plays an important role in education, as its output becomes the source of materials that can be taught in the classroom setting. Research that focuses on cultural education is almost non-existent. This is perhaps the field of cultural education has not been given much attention. Aside from this, the Commission on Higher Education (CHEd) and other research funding agencies have always encouraged research in the sciences. The government supported scholars who were sent for further study abroad only if this was again in the field of sciences and engineering.

Despite the long-standing efforts of the cultural agencies, research about culture still needs to be pursued.

Recent findings of historical researches on how the Americans colonizers controlled and manipulated our system of education have not yet been clearly explained and incorporated into the history textbooks and curriculum. The Filipino-biased perspective in histo-

ry still takes the back seat.

Though we recognize multiple perspectives, it is necessary to give primary emphasis on Filipino perspective in looking at the history. On the other hand, the effects of Martial Law, such as the emergence of extra-judicial killings; massive violations of human rights; prevalent control of government agencies by the Marcos cronies; as well as how the Filipino people through the EDSA uprising brought back the democratic space and institutions, are some of the historical accounts that have not been incorporated into the curriculum and textbooks of secondary and college education. Errors and omissions in history need to be corrected.

Moreover, there is a need for a comprehensive cultural database that covers cultural statistics, inventory, and disaggregated data.

The need for access to cultural resources and database calls for an establishment of a comprehensive functional local culture and arts councils. An inter-agency mechanism in collation of national statistics calls for an evidence-based-policy-making. Inform agenda for creative industry building and other development agenda.

Onerous Access to Funding Support, and Limited Funding for Culture Numerous concerns fall under the key challenge broadening information dissemination and access to available cultural resources.

There is little effort to popularise and promote cultural resource in a way that is attractive and compelling to grassroots communities.

One reason this is not implemented is that there are very few marketing arms and promotional strategies for cultural agencies; hence, there is little clarity on information on what exactly that can be accessed.

A related but very salient concern would be the relevance of these resources to the everyday life of communities. Two workshop participants eloquently discussed this issue: what do communities, especially those impoverished prioritise, their daily needs or those offered by cultural agencies like performances or venues like public libraries? The cost of physical access (i.e., entrance fees, ticket prices) as well as proximity in terms of physical distance was raised as strong determinants. A representative from a youth peasant group noted there is limited dissemination of information regarding resources like funding and venues.

Indeed, majority of the Summit participants have had experience in working with limited or insufficient funding to propel their projects forward.

Whatever budget is allotted for the sector tends to be inadequate.

Moreover, whatever funding there may be is perceived to be unequal

32 Agung • Number 6 • November-December 2016 and unsustainable, and rarely enjoyed by the marginalized sectors.

Members from the national cultural agencies present lamented over their limited physical space, program support, staff personnel and field operations. The Komisyon sa Wikang Filipino, National Archives of the Philippines and the National Historical Commission of the Philippines need more land area and infrastructure to carry on their work.

The government released an initial rehabilitation budget to restore, repair, reconstruct damaged churches and civic structures in Bohol, Cebu and Leyte, but the actual envisioned expenditures are indeed enormous. On top of these, there are still quite a number of built heritage structures across the country that pleads for attention, from north to south, across regions and cultures.

Likewise, limited funds are aggravated by tedious process of applying for grants and funds. A good number of participants noted the perceived bureaucracy in the DBM, DSWD and COA chain, the result of corruption cases and the siphoning of funds to bogus organizations.

This caused the low NEFCA disbursement or absorptive capacity in 2016. Everyone agreed that cultural groups should not be burdened by application requirements for funding. As it is, there is already great difficulty for sourcing support to sustain the cultural practice.

Moreover, funding for the wide range of scientific methods of conservation and safeguarding our cultural resources are indeed wanting. The workshop group also stressed that conservation processes and materials are expensive.

Aside from the need to restore tangible cultural properties, there is an equally important urgency to document, identify, protect and safeguard the best of our country’s intangible cultural heritage. Much misunderstood, marginalized, easy victims to disintegration due to outside influences, our oral traditions, performing arts, traditional local crafts, rituals, customs, ways of life, are besieged by outside global fads and trends, and easy prey to emasculation and disappearance.

Many youths of the indigenous peoples move to the cities to find work, and the elders who are bearers of their heritage are getting fewer by the day. There has been no systematic funding support to conserve these delicately ephemeral cultural treasures and provide venues for their continued practice.

On the other hand, there is a perception that funds for cultural programs may be misused or diverted through various forms of corruption or utilized, if at all, in “incestuous” arrangements by barkadas of cultural, if not political, decision-makers.

The culture of patronage among LGUs abuses funds intended for the art and culture programs often less prioritized or worst diverted to fund personal agendas of policy makers. The critical safeguarding of fund allocation against organized corruption needs the proactive assertions of proper and appropriate utilization of funds intended for the art and culture especially cultural minorities.

Challenges Concerning IPs and Bangsamoro Consultations with indigenous peoples on education strategies are limited and recognition of indigenous knowledge systems and practices (IKSP) remain low.

Despite passing the Indigenous Peoples Rights Act (IPRA), there remains an urgent need to consult indigenous peoples on the integration of IP education and history within the formal education curriculum. A participant from an indigenous community strongly noted that while some aspects of indigenous culture have already been integrated into school curricula, teachers tasked to facilitate classes are rarely informed about indigenous culture.

Among the possible cultural education program that should be pursued are research and documentation of IKSP. Efforts for cultural education programs and IKSP documentation support initiatives to protect cultures. 67.3 percent of Filipinos deemed cultural diversity and its protection important.

There is need for strong institutional support for IPs and Bang-

samoro.

IPs and the Bangsamoro lack opportunities to earn from their crafts and products, including knowledge products and systems.

There is a lot of difficulty in the implementation of programs for the IPs’ ancestral domains. Their traditional practices are ignored or given mere cursory value. The right to self-determination and assertion of the IPs and Bangsamoro is intrinsic in their language, chants, dances and material culture.

A strong institutional support is needed to ensure the continuity and survival of our living art and culture. Likewise, a specialized IP desk is needed to address the IP specific programs on product development, social enterprise, IPR. The weak implementation of the IPRA law prompts NCIP assertion and visibility in the LGUs mandated to protect, uphold, safeguard and promote the rights and IKSP of the IPs and CCs. Observably, there does not seem to be respect for or protection of the community intellectual property rights (CIPR) of indigenous community and the Bangsamoro.

Limited Constituency and Champions for Culture in Governance, and Governance Weaknesses in Cultural Processes It is difficult to mainstream culture in governance.

Patronage politics and political intervention get in the way of anchoring and sustaining art and culture with local government units (LGUs) and their development plans. Likewise, cultural initiatives face the lack of appreciation and cooperation of government institutions and legislators. A representative from a congressional office noted there are few and competent heads of government agencies that implement programs to address and advance culture-in-governance. There is also the lack of participatory governance for art and culture project implementation in local government units especially in areas where culture and arts councils are non-existence. As observed, except for very few instances, the mandated establishment of culture and arts councils in all LGUs remains unfulfilled. On the other hand, cultural groups, programs and institutions are faced with inadequate financing, insufficient resources, and the only partial recognition of the economic and social importance of culture.

Indeed, local politics was deemed influential on outcomes of initiative concerned with access to cultural programs and resources as well as on conservation of cultural properties. The local autonomy clause also hinders the implementation and realization of projects to make resources available to a wide community base.

Moreover, there were specific cases cited on the negative impacts of local partisan politics on indigenous political structures.

And the absence or non-representation from indigenous peoples or cultural experts in the local councils continues to degrade the quality of implementation and mainstreaming of culture in governance for a nationwide policy reforms.

Culture-based approaches to disaster preparedness are an imperative.

The climate crisis calls for a serious change in governance in bridging the gaps in preparedness, survival, resilience, recovery, rehabilitation and rebuild. The short-sighted mechanism of emergency relief reflects a future urban setting of bunkhouses. A homogeneous emergency response mechanism lacks the sensitivity to tap into local resource and utilization of IKSP and local experts. Disaster preparedness and management needs to understand the local environment with culture-focused interventions in the local CCA-DRR. There is need for mechanism responsive to proper management of cultural diversity.

In an archipelago of about 7,100 islands, there is a dire need to welcome cultural pluralism in policies, programs, partnerships, and constituency-building initiatives. The current homogenous programming in education calls for a new perspective to welcome the

November-December 2016 • Number 6 • Agung 33

potentials of cultural diversity and rich pluralism with empowered local actors asserting their unique cultural identity.

A people-centered governance calls for decentralization and localization of local government codes, policies and programs addressing specific needs of each of the stakeholders, IPs and cultural communities.

GOALS AND OUTCOMES President Rodrigo Duterte’s administration does recognize culture as both a sector and a development theme. The long-term goal as well as the intermediate outcomes of culture uphold the 2017-2022 Vision Statement—“AmbisyonNatin”—aptly translated as the “Life We Want.” The document from NEDA declares that “AmbisyonNatin” is a long-term (25 years) vision for the Philippines; a basis for unity among Filipinos; a vision, not a plan; an anchor for development planning across administrations; and a guide for engaging with international development partners.

Here are the elements of the Goals and Outcomes of Culture, in relation to the over-all vision of the current administration, and the hierarchy of results that culture, both as a theme and a sector aspires to achieve.

The three layers of Vision for 2017 to 2022, as articulated by the National Economic Development Authority, are Vision of Filipinos for Self (“In 2040, we will all enjoy a stable and comfortable lifestyle, secure in the knowledge that we have enough for our daily needs and unexpected expenses, that we can plan and prepare for our own and our children’s future. Our family lives together in a place of our own, and we have the freedom to go where we desire, protected and enabled by a clean, efficient, and fair government”); Vision of Filipinos for Country (“The Philippines shall be a country where all citizens are free from hunger and poverty, have equal opportunities, enabled by fair and just society that is governed with order and unity. A nation where families live together, thriving in vibrant, culturally diverse, and resilient communities.”); and Vision of Filipinos for Action (“Build trust in government, enforces peace and order, resume peace talks, and create social and cultural awareness and values formation”).

Furthermore, the Philippine Development Plan (PDP) 20172022 Framework shows two complementary results: balancing growth and development opportunities and enhancing the social fabric.

Enhancing the social fabric by promoting awareness in and valuing cultural diversity means building trust in public institutions through efficient delivery of public services, swift and fair administration of justice; promoting peace, public order and ensuring

security through relentless drive against criminality and pursuing an inclusive peace process; promoting and valuing cultural diversity through awareness, sensitivity and embracing a shared heritage.

On the other hand, Agenda # 8, as culled from the Socio-Economic Agenda crafted by the Department of Finance, is stated as: “Promote S&T and CA (creative arts) to enhance innovative and creative capacities needed for self-sustaining inclusive development and participation in global knowledge economy.”

In the Social Development Initiatives Summit, held last August in Davao City, emerged three high-level goal statements that have bearing on culture. These higher goals emerge out of agenda-setting processes that were initiated by agencies with representation in the Cabinet. These are Goal # 5 (“Develop a culture-sensitive development program that advances artistic expression and strengthens Filipino identity and nationalism”), Goal # 4 (“Promote accessible, inclusive, nationalist, all-encompassing, and rights-based education”) and Goals # 10 (“Uphold rights to self-determination of IPs, Bangsamoro and other peoples”).

Finally, for the Cultural Summit, the proposed primary Goal for Culture takes off from Social Development Goal # 5, and is consistent with and contributes to the vision of the Duterte administration. However, this statement of outcomes has been enhanced to go beyond being a program; encompass not just artistic expression but the broader cultural expression; and recognize the links between culture and development.

For the AmbisyonNatin Vision for the Country (2017-2022) (“The Philippines shall be a country where all citizens are free from hunger and poverty, have equal opportunities, enabled by fair and just society that is governed with order and unity. A nation where families live together, thriving in vibrant, culturally diverse, and resilient communities”), the proposed strategic results on culture are “enhanced social fabric and valuing of cultural diversity.”

For the statement, “Culture-sensitive development that advances cultural expressions and strengthens Filipino identity and nationalism,” the outcomes are aimed to be equitable access to cultural resources; improved conservation and safeguarding of cultural resources; enhanced cultural education; and strengthened culturedriven sustainable development.

Lastly, it was emphasized during the inter-agency, pre-summit meetings that the elements of cultural awareness and values formation articulated in the 2017-2022 vision to action have already been incorporated in the four above-stated outcomes statements.

To be continued next issue

34 Agung • Number 6 • November-December 2016 NCCA GALLERY

Glimpses of the Past

A

s the Philippines entered the twentieth century, the Philippine-American War came to an end and American colonial rule began. In a desire to accumulate knowledge about the new colony, to publicize its economic and social resources, and to memorialize their own experiences abroad, a large number of Americans in the Philippines took photographs and collected souvenirs and objects for study. Some of these photographs were reproduced in

“Images from the Past: A Pictorial Essay of Philippine History and Heritage,” on view from August 30 to September 4, 2016. In time for National History Month and coinciding with Manila Studies Association’s 25th Annual Manila Studies Conference on August 30 and 31, the exhibit displayed photographs that come from the early efforts to document Philippine life in the early decades of the twentieth century and capture a slice of it for posterity.

Disturbing the Quiet

M

ounted from September 8 to 30, 2016, “Sound of Silence: Remembering Martial Law” showcased Edgar Talusan Fernandez’s recollections on an era of rage, repression and revolution, with new images that unsurprisingly still reflect the nation’s current socio-political situation.

Known for tackling socio-political issues in his art, Fernandez presented images of torture, repression and abuses during the time when Marcos imposed martial law on the Philippines from 1972 to 1981. He also depicted situations happening today, which echoed many aspects of the Martial Law pe-

Huag Tularan

Crossroad

Remembering 1081

riod, such as in Huag Tularan! an installation showing a tape-covered face and the words “Huag Tularan!” scribbled on the wall. The installation Writings on the Wall is a dark room with walls riddled with glow-in-thedark number marks and a Pieta-like figure, a commentary on the extrajudicial killings.

With a hero’s burial for the late dictator Ferdinand Marcos and in time for the 44th anniversary of his declaration of Martial Law, the exhibit was a call to remember what that period meant for nation, and what it should stand for in the present. For the artist, the idea of forgetting is fearful but the distortion of histro is more abhorrent.

NCCA GALLERY November-December 2016 • Number 6 • Agung 35

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Capturing Cordilleran Weaves

n celebration of the Indigenous People's Month, NCCA Gallery presented “Tradisyunal na Habi ng Kordilyera” (Traditional weave of the Cordiella), a photo exhibit by Baguio-based freelance photojournalist Dave Leprozo, Jr., from October 3 to 30 2016. In about 50 photographs, Leprozo captured beautiful glimpses of Cordilleran cultures particularly the traditions of textile weaving. This exhibit was mounted at the Asian Cultural Center of the University

of the Cordilleras and at the University of Baguio before coming to Manila.

Leprozo has been capturing the beauty of Cordilleran cultures for many years now.

Before this, he has photographed the rice culture of the region for the exhibit “Rice Culture of the Cordilleras.” He has also exhibited in Hawaii his collection of photographs called “Ilocandia, A Photographic Odyssey,” as a tribute to the first Filipino migrants in Hawaii.

Encircling the Meanings

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group exhibit of University of the Philippines’ College of Fine Arts students, “(X,Y),” was mounted at NCCA Gallery from September 8 to 30, 2016, side-by-side with Edgar Talusan Fernandez’s “Sound of Silence: Remembering Martial Law.” Where “Sound of Silence” reminds us of what is real about the nation given what are historical truths, “(X, Y)” revealed the idealism of the current Millennial generation. Curated by Jonathan Olazo, “(X, Y)” was necessarily a response to, as it was the audience of, Fernandez’s exhibit.

What were revealed here was a dialogue between the Millennial generation and the generation of those who lived through and survived history in “Sound of Silence.” It is

a discussion that needs to be had about nation, now so painfully divided by politics, and ultimately rendered unstable by the inability to look at the past and learn what we need from it, towards forging a present and future with a sense of justice and change. “(X, Y)” was also the different perceptions and interpretations of the circle as symbol.

The participating artists were Philip Aldefolio, Brenner Almirol, Jomari Arinas, Kean Barrameda, Joaquin Buenaobra, Dave Cielo, Kathleen Dagum, Della de Leos, JP de Vera, Gab Ferrer, Natt Juliano, Keigh Keigh, Tiffany Lafuente, Julienne Ng, Jonathan Olazo, Iona Plaza, Bryan Pollero, Julio San Jose, Patricia Tanedo, Abie Soroño, Gabriela Vano and Salvador Luis Varron.

Journey (mixed media, 31 by 55 inches, 2016) by Julienne T. Ng

Circle of Friends (acrylic on canvas, 12 by 14 inches, 2016) by Iona Plaza

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.

CHED and NCCA Offer First-Ever Arts Grants for College Faculty

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he Commission on Higher Education (CHED) and the NCCA formalized a partnership that would make available scholarship grants for higher education institution (HEI) faculty in the arts and the humanities.

Through the Grants for Creative Projects, an initiative under the CHED K to 12 Transition Program, the CHED-NCCA partnership will look to support de-loaded or displaced HEI faculty affected during the K to 12 transition period.

The project aims to fund 900 grants over the next two years and will enable faculty and staff to promote Philippine culture by engaging in arts research or creative projects for publication, exhibition, and production, among others. Art forms or areas for research include performing arts such as music and theater, visual arts such as paintings and filmmaking, and literature.

“This partnership is unprecedented and marks a milestone for CHED as this is the first time we are offering a grant exclusive to arts and humanities. It is our priority to promote arts, culture, and humanities alongside other strands of study such as science, technology, and innovation,” shared CHED chairperson Patricia Licuanan.

While guidelines are still to be established by both agencies, projects may be undertaken individually or as a team. NCCA has also identified that the proposals must forward sustainable development through culture, depict creativity and diversity through artistic expression, and promote a strong sense of nationhood and pride in being a Filipino.

“Broad, humanistic social sciences education is important because it gives

us a chance to be able to relate to society as a whole,” said NCCA chairperson Felipe M. de Leon, Jr., relating that education in the arts and humanities would give way to social consciousness and gaining pride as Filipino people.

Licuanan added, “It is our hope that these grants inspire our artists in higher education to produce their own original works of art. We are very much looking forward to what they could contribute to our thriving local art scene, and in doing so, deepen the roots of our diverse and rich Filipino culture.”

As raised in the Education Summit held in November 2016, the Grants for Creative Projects is aligned with President Rodrigo Duterte’s ten-point socio-economic agenda, which includes promoting the arts “to enhance innovation and creative capacity towards self-sustaining inclusive development.”

Based on the summit, key missions identified were the utilization of higher education as a force for social and cultural transformation, as well as an accelerator of innovation and inclusive economic development. Another priority was to develop greater collaboration among government agencies toward education goals.

The K to 12 Transition Program To support the full implementation of the K to 12 Program, CHED’s K to 12 Transition Program is aimed at the strategic development of higher education institutions (HEIs) and personnel during the transition period from 2016 to 2021. The program includes a range of programs to support faculty and staff through scholarships for master’s and doctoral programs, locally and abroad, non-degree programs, as well as institutional grants for HEIs.

CHED and NCCA formalize a partnership to offer arts grants for college faculty with (from left) Karol Mark Yee, program director, CHED K to 12 Transition Program; Dr. Patricia B. Licuanan, chairperson, CHED; Dr. Felipe M. de Leon, Jr., chairperson, NCCA; Marichu Tellano, OIC-executive director, NCCA

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

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