Volume XXIII • Number 1 • al Workers • ISSN 0119-5948

Catriona Gray Ambassador for the Arts Official Publication of the National Commission for Culture and the Arts NCCA BOARD OF COMMISSIONERS

Arsenio “Nick” J. Lizaso Chairman, NCCA; and President, Cultural Center of the

Vol.ume XXIII, Number 1 Sherwin T. Gatchalian Chairman, Senate Committee on Education, Arts, and Culture, Senate of the Philippines January-March 2020 Maria Lourdes Nancy S. Binay (Alternate) ISSN 0119-5948 Senate of the Philippines Roman T. Romulo The agung is a knobbed metal gong of the Philippines used in various communal Chairman, House Committee on Basic Education and Culture, House of Representatives rituals. Suspended in the air by rope or metal chains, the musical instrument is also Annalyn M. Sevilla employed by some indigenous groups as a means to announce community events, and Undersecretary for Finance-Budget and Performance Monitoring, Department of Education as an indicator of the passage of time. Agung is published quarterly by the National Commission for Culture and the Arts. Edwin R. Enrile Undersecretary for Legal and Special Concerns, Department of Tourism Roberto P. Alabado III (Alternate) Assistant Secretary, Department of Tourism Rene Sanchez Napeñas Editor-in-Chief Rene R. Escalante Chairman, National Historical Commission of the Philippines Roel Hoang Manipon Executive Editor Jeremy R. Barns Director-General, National Museum of the Philippines

Mervin Concepcion Vergara Cesar Gilbert Q. Adriano Art Director Director IV, National Library of the Philippines

Roezielle Joy Iglesia Arthur P. Casanova Chairman, Komisyon sa Wikang Filipino Writer Victorino Mapa Manalo Faith L. Yangyang Executive Director, National Archives of the Philippines Graphic Artist and Photographer Rolando B. Tolentino Head, NCCA Subcommission on the Arts Paul Vincent Rae N. Sugano Photographer Vicente C. Handa Head, NCCA Subcommission on Cultural Dissemination

About the cover: 2018 at the National Museum of Fine Michael F. Manalo Arts of the National Museum of the Philippines /Photo by Charisma Lico Head, NCCA Subcommission on Cultural Heritage

Abubacar M. Datumanong Head, NCCA Subcommission on Cultural Communities and Traditional Arts PUBLIC AFFAIRS AND INFORMATION SECTION Rene Sanchez Napeñas, Head • Leihdee Anne Cabrera, May Corre Tuazon, Roel Hoang Al Ryan S. Alejandre Manipon, Mervin Concepcion Vergara, Roezielle Joy Iglesia, Angelica T. Bobiles, Faith Executive Director, NCCA Secretariat L. Yangyang, Shaina Louise C. Kim, Niello F. Mariano, Michael V. Navarro, Staff NCCA SECRETARIAT MANAGEMENT COMMITEE Al Ryan S. Alejandre, Executive Director • Marichu G. Tellano, Deputy Executive Director • Bernan Joseph R. Corpuz, Supervising Officer for Administration • Adelina M. Suemith, Chief, Program Monitoring and Evaluation Division • Susan C. Dayao, Chief, Administrative and Finance Division • Herencio Y. Llapitan, Chief, National Endowment Fund for Culture and the Arts • Ferdinand P. Isleta, Officer-in-Charge, Plan/Policy Formulation and Programing Division • Rene S. Napeñas, NEO President The National Commission SUBCOMMISSION ON THE ARTS Dr. Rolando B. Tolentino, Commissioner • Shirley Halili-Cruz, Vice-Head • Geraldine B. Araneta, Secretary • Felimon B. Blanco, Assistant for Culture and the Arts Secretary • Zenaida DC Galingan, Dr. Julieta C. Mallari, Felipe de Leon, Jr., Members. NATIONAL COMMITTEE ON ARCHITECTURE AND ALLIED ARTS: Zenaida DC Galingan, Head • Minerva C. Rosel, Vice Head • Bernadette A. David, Secretary • Katherine Anne Correa, Assistant Secretary • Esmeralda Ayag, Aida Cabang, Omar Maxwell Espina, Benedict Hermoso, Rommel Reyes, Chona Ponce, Wilfredo Sy, Jr., Members. NATIONAL COMMITTEE ON CINEMA: Dr. Roland B. Tolentino, Head • Vicente R. Nebrida, Vice Head • As the government arm for culture and the arts, the National Ramon Alberto L. Garilao, Secretary • Dr. Michael Kho Lim, Assistant Secretary • Richard B. Bolisay, Mahar Sulayman Ibañez, Benjamin M. Marasigan, Jr. , Ryan Joseph Murcia, Roberto Y. Nepomuceno, Ronald D. Rios, Joel Arthur P. Tibaldo, Adrian T. Torres, Members. Commission for Culture and the Arts (NCCA) is the overall NATIONAL COMMITTEE ON DANCE: Shirley Halili Cruz, Head • Dr. Larry A. Gabao, Vice Head • Rodel M. Fronda, Secretary • Franco M. Velas, Assistant Secretary • Generosa A. Caringal, Pepito O. Mosquito, Adonis Voltaite M. Villanueva, Rebecca L. Nulud, Patricio policy-making, coordinating, and grants-giving agency for the E. Primor, Jr., Odysso D. Oyales, Maria Antonia E. Villegas, Chiedel Joan G. San Diego, Randyll V. Villiones, Members. NATIONAL COMMITTEE ON DRAMATIC ARTS: Felimon Blanco, Head • Eduardo Perez, Vice Head • Denise M. Aguilar, Secretary • Jerrey D. Aguilar, preservation, development and promotion of Philippine arts Assistant Secretary • Bernardo O. Aguay, Jr., Anthony I. Cruz, Jazmin B. Llana, Roberto DC. Mendoza, Romeo F. Narvaez, Ricardo M. Salanap, Jr., Matyline C. Talastas, Members. NATIONAL COMMITTEE ON LITERARY ARTS: Dr. Julieta C. Mallari, Head • John B. Bengan, and culture; and executing agency for the policies it formulates; Vice Head • Dr. Joyce L. Arriola, Secretary • Yvonne M. Esperas, Assistant Secretary • Niles Jordan B. Breis, Dr. Maria Luna Sicat-Cleto, Dr. May Anne T. Jaro, Dr. Priscilla S. Macansantos, Merdeka C. Morales, Haidee Emmie K. Palapar, Neyo E. Valdez, Members. NATIONAL COMMITTEE ON MUSIC: Felipe de Leon, Jr., Head • Eugene A. Delos Santos, Vice Head • Maria Austregelina E. Alfornon, Secretary • Jose and an agency tasked to administer the National Endowment S. Soliman Jr., Diomar C. Abrio, Francisco A. Englis, Lucien Y. Letaba, Jay D. Sarita, Arvin R. Villalon, Members. NATIONAL COMMITTEE ON VISUAL ARTS: Geraldine B. Araneta, Head • Dennis E. Montera, Vice Head • Raquel L. Oyek, Secretary • Moreen T. Austria, Assistant Fund for Culture and the Arts (NEFCA). The NCCA traces its Secretary • Errol P. Balcos, Salvador J. Ching, Patrick U. Chong, Noel E. Farol, Arnel D. Garcia, Joel L. Geolamen, Vicente Laput, Errol P. roots to the Presidential Commission for Culture and the Arts Balcos, Vicente C. Laput, Jose Alberto C. Tanedo, Valente P. Villanueva, Members. SUBCOMMISSION ON CULTURAL HERITAGE (PCCA), which was created when President Michael F. Manalo, Commissioner • Dr. Emmanuel Franco Calairo, Vice-Head • Arnulfo O. Junio, Secretary • Danilo Rayos Del Sol, Assistant Secretary • Salvacion M. Arlante, Jose Eleazar Bersales, Members. NATIONAL COMMITTEE ON ARCHIVES: Arnulfo O. Junio, Head • signed Executive Order No. 118 on January 30, 1987, “mindful Carina C. Samaniego, Vice Head • Rosemarie O. Roque, Secretary • Gladys Joy E. Entico, Assistant Secretary • Maita Espina Abunales, Jocelyn E. Marcos, Maria Teresa Bondoc, Teofilo Mendoza, Rosemarie L. Calaranan, Divina S. Medina, Remedios E. Ballesfin, Henry P. of the fact that there is a need for a national body to articulate Tomalabcad, Members. NATIONAL COMMITTEE ON ART GALLERIES: Danilo Rayos del Sol, Head • Chit Asignacion, Vice Head • Flor E. Baradi, Secretary • Carla Jean de Jesus-Teotico, Assistant Secretary • Alyosha J. Robillos, Cristina S. Taniguchi, Manuel F. Romero, Abigail a national policy on culture, to conserve and promote national Felix Esguerra, Liz Heidelle Bacalso, Members. NATIONAL COMMITTEE ON HISTORICAL RESEARCH: Dr. Emmanuel Franco Calairo, Head • Dr. Neil Martial del Rosario Santillan, Vice Head • Dr. George Emmanuel Ragrag Borrinaga, Secretary • Dr. Arleigh Ross Dy dela heritage, and to guarantee a climate of freedom, support and Cruz, Assistant Secretary • Dr. David Ozaraga Lozada III, Dr. Lars Raymund C. Ubaldo, Dr. Antonio Calleja Hila, Regan Pyponco Jomao- as, Dr. Lino Lenon Dizon, Adam T. Acmad, Dr. Calbi Anji Asain, Alvin Roman Alcid, Members. NATIONAL COMMITTEE ON LIBRARIES dissemination for all forms of artistic and cultural expression.” AND INFORMATION SERVICES: Salvacion M. Arlante, Head • Nora Fe H. Alajar, Vice Head • Alice C. Esguerra, Secretary • Andreli D. Pardales, Assistant Secretary • Edgardo B. Quiros, Dolores Carungui, Susan J. Fetalco, Dolores R.Cayaban, Rainera C. Boholst, Regina A. On April 3, 1992, President Aquino signed Republic Act No. Maligad, Mila M. Lacson, Anita C. Sornito, Members. NATIONAL COMMITTEE ON MONUMENTS AND SITES: Michael F. Manalo, Head • Jayson B. Portem, Vice Head • Lilian R. Manahan, Secretary • Dr. Richard Daenos, Assistant Secretary • Jainab Aimee Altillero, Reynaldo 7356 creating the NCCA and establishing the NEFCA, a result of G. Tagudando, Kathleen DC. Tantuico, Elizabeth Hautea-Espino, Melva R. Java, German Janus Nino Guidaben, Tirmizy E. Abdullah, Members. NATIONAL COMMITTEE ON MUSEUMS: Dr. Jose Eleazar Reynes Bersales, Head • Peter John Natividad, Vice Head • Carl Jamie over two years of legislative consultations among government Simple Sanchez Bordeos, Secretary • Remedios Garcia Baretto, Maritess Paz Tauro, Bryan Anthony Paraiso, Angelina Libang Amat, Irene Suarez Magallon, Edmundo Reyes Acaylar, Rasul Majid Sabal, Karen Nina Lacsamana Carrera, Members. and private sector representatives. The bill was sponsored by SUBCOMMISSION ON CULTURAL DISSEMINATION Dr. Vicente C. Handa, Commissioner • Ricardo C. Juliano, Vice-Head • Dr. Michael M. Coroza, Secretary. NATIONAL COMMITTEE ON senators Edgardo J. Angara, Leticia Ramos-Shahani, COMMUNICATION: Ricardo C. Juliano, Head • Gina Angela N. Ty, Vice Head • Haidee Cortez-Estrada, Secretary • Catherine C. Olog, Assistant Secretary • Mary Joyce M. Monzon, Dr. Eduardo R. Zafra, Arturo A. Dy, Joycie D. Alegre, Gil Banaag, Victoria R. Franco, Heherson T. Alvarez and congressman Carlos Padilla. Donald Lim, Members. NATIONAL COMMITTEE ON CULTURAL EDUCATION: Dr. Vicente C. Handa, Head • Carlo B. Ebeo, Vice Head • Dr. Josephine D. Rosos, Secretary • Mohamar D. Rindo, Assistant Secretary • Rodel M. Bugarin, Timothy P. Dacanay, Dr. Aida A. Paraguison, The NCCA Secretariat, headed by the executive director and Dr. Levita A. Duhaylungsod, Agnes G. Lacasin, Phil Harold L. Mercurio, Dan Ralph M. Subla, Lucio “Jun” B. Jamero, Analyn M. Sevilla, Lino Magtalang, Jr., Members. NATIONAL COMMITTEE ON LANGUAGE AND TRANSLATION: Dr. Michael M. Coroza, Head • Dr. Raquel headquartered at the historic district of Intramuros, provides E. Sison-Buban, Vice Head • Dr. Alvin Ringgo C. Reyes, Secretary • Romeo G. Peña, Assistant Secretary • Dr. Imelda P. De Castro, Dr. administrative and technical support to the NCCA Jimmuel C. Naval, Sandor B. Abad, Dr. Ernesto V. Carandang II, Jonathan V. Geronimo, Dr. E. Batnag, Members. SUBCOMMISSION ON CULTURAL COMMUNITIES AND TRADITIONAL ARTS and other units, and delivers assistance to the Dr. Abubacar M. Datumanong, Commissioner • Dr. Edwin V. Antonio, Pablito C. Gonzales, Members. NATIONAL COMMITTEE ON NORTHERN CULTURAL COMMUNITIES: Dr. Edwin Antonio, Head • Phylis Anudon, Vice Head • Joel Mallari, Secretary • Heather Janet culture and arts community and the public. Dizon, Assistant Secretary • Willy Sinoli, Carina Amsiwen, Elnora Dudang, Teresita Bulsao, Members. NATIONAL COMMITTEE ON CENTRAL CULTURAL COMMUNITIES: Pablito Gonzales, Head • Rafe Laluma, Vice Head • Herminigildo Sanchez, Secretary • Renilda Dulay, Assistant Secretary • Harlyn Edenden, Felicitas C. Catedrilla, Maria Lyn Magbanua, Delia Pauden, Members. NATIONAL COMMITTEE ON SOUTHERN CULTURAL COMMUNITIES: Dr. Abubacar Datumanong, Head • Michael Angelo Yambok, Vice Head • Arthur Gulili, Secretary • Fat-Maheaba Edward, Assistant Secretary • Dr. Hanbal Bara, Ammalun Salahuddin, Fatima Kanakan, Noel Umbac, Members. Intersections and Margins for National Arts Month

or the 2020 celebration of the National Arts Month (NAM) in February, NCCA lined up several events exploring convergences, collaborations, interdisciplinary activities and intersectionality of an Fart form and others as well as of the arts and other social and creative practices and aspects of culture. Some events also focused on art making outside the center, highlighting regional creative practices as well as incorporating traditional and indigenous crafts, art forms and creative expressions. The 2020 NAM was celebrated with Ani ng Sining: Philippine Arts Festival, spearheaded by NCCA’s Subcommission on the Arts (SCA), a series of events in different parts of the country featuring exhibits, workshops, shows, concerts, lectures, tours and others in the seven fields of the arts. Also aimed at showcasing the richness of artistic endeavors and heritage of local communities, supporting artists and organizations in these communities as well as highlighting the bountiful harvest of the Philippine arts, Ani ng Sining: Philippine Arts Festival was composed of the flagship projects of SCA’s seven national committees—Architecture and Allied Arts, Cinema, Dance, Literary Arts, Music, Dramatic Arts and Visual Arts. NCCA also held opening programs for NAM in the National Capital Region (NCR), , Visayas and . For NCR, the opening program was held in Intramuros, , while the Visayas opening program was hosted by Ormoc City, . The Luzon leg was in Puerto Princesa City, , while the Mindanao leg was in Tangub City, . The planned Ani ng Sining events, spread out throughout the month and country, were “Tertulia de Arkitektura: Espasyo, Disenyo at Paglulunang Bayan;” the 12th Cinema Rehiyon Film Festival; “Sayaw Pinoy;” Tampok: Regional Theater Conference and Festival; “Reading the Regions: A National Arts Month Celebration 2020;” Musicapuluan: Music of the Islands; and the Philippine Visual Arts Festival (PVAF): TransARTlokal. However, because of the spread of the coronavirus disease 2019 (covid‑19), caused by the severe acute respiratory syndrome coronavirus 2 (SARS‑CoV‑2), which is said to originate from Wuhan, China, many events were indefinitely postponed or cancelled, except for “Reading the Regions;” some legs of “Sayaw Pinoy;” and the Cinema Rehiyon Film Festival. Covid-19 would be later be declared a pandemic on March 11, 2020, causing the Philippines to impose lockdowns or the so-called “community quarantines.” The annual celebration of National Arts Month started with the signing of Presidential Proclamation 683, in 1991, declaring February as National Arts Month. Over the years, the NCCA, as well as private and government agencies, has been organizing events and activities to highlight the artistic brilliance of the . 4 Agung • Number 1 • January-March 2020

Unity Dance at the Park

Celebration at the Capital

By Angelica T. Bobiles Photos by Paul Vincent Rae N. Sugano

he NCCA held an opening performances from Filipino artists. Singer and program and ceremony of its NAM The workshops in the different booths, NCCA’s music ambassador celebration for the National Capital facilitated by the national committees of TRegion (NCR) at the Rizal Park in Manila NCCA’s Subcommission on the Arts and for National Arts Month KZ on the first day of February 2020. Tandingan In partnership with the Negros Museum, the event had various activities such as workshops on the seven art fields (architecture and allied arts, cinema, dance, dramatic arts, literary arts, music, and visual arts); a flash mob; and a show featuring A medley of folk dances

NCCA executive director Al Ryan S. Alejandre and National Committee on Dance head Shirley Halili-Cruz with the participants of flash mob performance at Rizal Park January-March 2020 • Number 1 • Agung 5

A medley of folk dances

A medley of folk dances free to the public, included an interior design workshop by interior designer Sophia Calima, National Committee on Architecture and Allied Arts assistant secretary; a film appreciation workshop; a Workshop on the playing of traditional musical dance (hip-hop, folk and ballet) workshop; a instruments movement in drama workshop by Anthony Cruz, National Committee in Dramatic Arts member; a session on the basics of spoken- word poetry by Prolet Sanchez; the playing of traditional instruments; script or and workshop by Raymond Cosare; and a workshop on shirt design printing using traditional patterns. After the workshops, the participants together with the performers and NCCA committee members gathered in front of the Workshop on T-shirt design printing Rizal Park Open-Air Auditorium for a flash- welcomed the audience and encouraged NCCA executive director Al Ryan S. Alejandre mob performance of its Unity Dance, facilitated them to be part of the celebration of NAM, by the National Committee on Dance, which while deputy executive director Marichu was headed by Shirley Halili-Cruz. G. Tellano delivered the rationale of the The day culminated with a launching national celebration. program and ceremony. NCCA executive The show was highlighted by a ritual director Al Ryan S. Alejandre officially depicting the seven arts, performed by the Sinukwan Kapampangan. NCCA music ambassador KZ Tandingan also joined the program with a message of hope: “Sana po ay huwag nating i-limit lang sa buwan ng Pebrero ang ating pagmamahal at pagsuporta sa ating sining.” The rest of the show featured performances from Halili-Cruz Dance Company, Prolet Sanchez, Anima Tierra, Junior New System, Tanghalang Bagong Sibol, Bayanihan National Folkdance Company, and veteran singer and actress . This was capped by the NCCA deputy executive director Marichu G. Tellano Unity Dance, participated in by all.

Veteran actress and singer Pilita Corrrales Workshop on the baybayin 6 Agung • Number 1 • January-March 2020 Promoting the Arts In Puerto Princesa City

NCCA NAM celebrity ambassador and Miss Universe By Edgar Allan M. Sembrano 2018 Catriona Gray delights Palaweños as she garces Photos by Paul Vincent Rae N. Sugano the NAM Luzon opening ceremony

he province of Palawan celebrated Teodora Conde-Prieto, Luzerino “Ka Lui” National Arts Month with an array Oliva, and Bea Zobel de Ayala, Jr. of activities fit for its culturally and new NCCA Tdiverse people and hosted the Luzon opening NAM ambassador Catriona Gray graced the ceremony. opening program. The month-long celebration in the In her speech during the event, Gray province included art and dance workshops, underscored the importance of the arts since an art installation project, a talk on the these “enable us to tell a story of all those Palawan contemporary art, and a host of who came before us, and of who we are, how cultural performances, all in the provincial we express ourselves, what we hold dear.” capital, Puerto Princesa City. She described Filipino talent as strong and The impressive opening program at the unique as exemplified by the Philippine textiles Puerto Princesa City Coliseum on February 4, and the costume she used when she competed 2020, featured hip-hop dance exhibitions from at the international pageant two years ago. local school groups; dance performances Provincial culture and the arts program inspired by the four elements—earth, air, manager Ceasar Sammy Magbanua said the water, and fire; indigenous dances; and events were part of Sikatugyaw (portmanteau performances from tenor Ervin of sining or art, kanta or song, tugtog or Lumauag who was awarded at the Gawad Parangal para sa mga Alagad ng Sining in Palawan together with dozens other Palaweños who promoted and supported the culture and the arts of the province. Other awardees included Tagbanua visual artist Elordie Mesoc; filmmaker Aureaus Solito of Busong and Ang Pagdadalaga ni Maximo Oliveros fame; Dante NCCA executive director Al Ryan Alejandre, provincial culture and the arts program manager Nico Garcia of the movie ; Ceasar Sammy Magbanua, and NCCA National and cafe and gallery owners Maria Committee on Visual Arts head Egay Talusan Binasuan dance Fernandez opening the visual arts exhibit January-March 2020 • Number 1 • Agung 7

NCCA executive director Al Ryan Alejandre led the opening ceremony of NAM in Luzon together with NCCA NAM celebrity ambassador and Miss Universe 2018 Catriona Gray, Puerto Princesa vice mayor Maria Nancy Socrates, and provincial culture and the arts program manager Ceasar Sammy Magbanua music, and sayaw or dance) Festival, their own NAM celebration. He added that the four themes for the fest are the four most important elements in Palawan culture. Puerto Princesa vice mayor Maria Nancy Socrates thanked the NCCA for the celebration in the province. She also said that it is of utmost importance to promote and safeguard the country’s cultural and artistic patrimony. “We are indeed honored and proud to be part of this noble intention to conserve, promote, and popularize the nation’s historical and cultural heritage and resources, as well as its artistic creations,” she said. “Please be assured that we stand united with you and in full support of the Dancers perform a number inspired by the Jama Mapun, one of the three Muslim ethnic groups of Palawan Commission’s mandate to encourage the continuing and balanced development of a pluralistic society by the people themselves, to conserve, promote and protect the nation’s historical and cultural heritage, to ensure the widest dissemination of artistic and cultural products among the greatest number of people across the country and overseas for their appreciation and enjoyment, and to An exhibit of Palawan visual artists preserve and integrate traditional culture and A medley of folk dances its various creative expressions and dynamic part of the national cultural mainstream.” She said these kinds of activities foster appreciation and love for the nation’s rich cultures among the youth of today. She further said that such activity let everyone reflect on the value of the arts and culture and how these influence interests and societal values. “After all, it is arguably our culture that determines who we are and builds our Palawan State University Singers and the PSU Sining character and teaches us how to deal with Palawan Dance Troupe with officials and other Tenor Ervin Lumauag who was an awarded at the Gawad our fellowmen,” she added. performers Parangal para sa mga Alagad ng Sining in Palawan

Edgar Allan M. Sembrano obtained his Master of Arts in Cultural Heritage Studies degree at the University of Santo Tomas Graduate School and has a Bachelor’s Degree in Journalism from the Polytechnic University of the Philippines, Manila. Sembrano is a writer/contributor for The Philippine Daily Inquirer and The Daily Tribune, covering the arts, culture, heritage, and heritage conservation issues. He is the assistant area editor for architecture of the revised edition of the CCP Encyclopedia of Philippine Art. He also used to co-anchor “Ang Ating ” of DZAR Angel Radyo 1026 and “RMN Journalism Hour” of RMN Manila DZXL 558. 8 Agung • Number 1 • January-March 2020 Cultivating Culture in Ormoc City

By Roezielle Joy Iglesia

Richard Gomez, mayor of Ormoc City, Leyte The workshops, participated in by students, were conducted in different venues within the city, organized by the Ormoc Festival and Cultural Foundation led by its president Estrella Marie Serafica Pangilinan. Within the city quadrangle, the workshops on face painting, writing the Old Tagalog or baybayin and henna tattoo designs using the baybayin, mask painting and silkscreen t-shirt printing were facilitated for students engaged in the visual arts. The Visayas opening of NCCA’s NAM celebration was led by Lucy Torres-Gomez, as Leyte’s Fourth District In the nearby STI College campus, a congresswoman and NCCA National Committee on Visual Arts head Egai Talusan Fernandez culinary heritage workshop was conducted for food enthusiasts and students of the he province of Palawan celebrated Committee on Dance member Peter De culinary arts. Facilitators Emelyn Cuyos, National Arts Month with an array Veyra, and Ferdinand Isleta, head of the Melvin Baldomar and Keena Kangleon, of activities fit for its culturally Arts Section of the NCCA Secretariat. among others, taught participants the Tdiverse people and hosted the Luzon opening ceremony. The Visayas leg of the NCCA’s celebration of National Arts Month was held in Ormoc City, Leyte, in partnership with the local government headed by entertainers-turned-politicians as mayor and his wife, Lucy Torres-Gomez, as Leyte’s Fourth District congresswoman. A series of workshops officially opened on January 31, 2020, in a ceremony held at the Old Ocmoc City Hall, which was rehabilitated with a grant from the National Heritage Month celebration in 2017 and now serves as the Ormoc City Museum. Attending the ceremony are councilor Peter Rodriguez and NCCA’s NAM committee led by National Committee on Visual Arts (NCVA) head Egai Talusan Fernandez, NCVA member Billy Pomida, National The literary workshop January-March 2020 • Number 1 • Agung 9

The culinary workshop recipes for Ormocanon dishes such as the balbacua or slow-cooked beef stew, tablea cake, pako (fern fiddlehead) salad, and Native Chicken Rhapsody. Dancers gathered and sweated out at the gymnasium-quadrangle for the dance workshops on hip-hop and ballroom led by Bong Marquez, Sharry Tucad and Lema Diaz. Meanwhile, the Katig Writers Network Inc. of led the workshop on literature held alongside the public speaking workshop at the New Ormoc City Hall. Also included in the workshop series were the traditional crafts of puni or leaf folding, and the borlas de pastillas, the colorful and decorative wrappers of the sweet and creamy candy. During the opening ceremonies, Gomez remarked how the art scene is very much alive in Ormoc City. He related his experience as a young visual artist while also The borlas de pastillas acting in films, which as inspired him to make Ormoc a haven for emerging artists. Pinoy” were a group from STI College “When I became mayor of the city, Ormoc, the New Ormoc City Senior I made sure na buhay ang ating art scene High School Dance Troupe, Astrophile dito. Visual arts, music, dance, pati sports Dance Company, Eastern Visayas State included. Everybody should be included,” University’s (EVSU) Alugyaw Dance Gomez said, emphasizing the importance Troupe, Dancesport Team Ormoc, and of engaging the young people of Ormoc in Sinukuan Kapampangan Performing Arts various sports- and art-related activities. Guild from . The city was also a beneficiary of the After “Sayaw Pinoy,” which ended in a Unity Dance, facilitators and participants cultural mapping program of the NCCA, The public speaking workshop which led to the commissioning of the of the different workshops joined in on a Ormoc City Hymn. parade called “Pasigarbo sa Ormoc,” as The opening dance, led by the On the other hand, Representative a prelude to the MAN Visayas opening Sinukwan Kapampangan Performing Lucy Torres-Gomez encouraged the young ceremony. Arts Guild, featured seven plants held by attendees to participate in the different Gracing the event were Gomez and his representatives of the seven arts. They were activities of the city throughout February, wife, regional director Karen Tiopez of the watered by representatives from institutions noting that the month-long activities will Department of Tourism and NCCA deputy that collaborated for the NAM event, end with a performance from the Philippine executive director Marichu Tellano. symbolizing cultivation and growth among Philharmonic Orchestra. Tellano underscored the importance artists and cultural workers. It was also a call After the arts and culture workshops, of the enriching workshops: “We want to to address anthropogenic climate change Ormocanons were treated to a showcase make you a part of the creative process.” and protect the environment. Facilitators of dances as part of the “Sayaw Pinoy,” She also said that the program was not just and participants in the workshops were the traveling dance concert series, which an opening of a month-long celebration but also presented with certificates during the is the flagship NAM project of the NCCA also an opening for a stronger partnership program. The program concluded with through its National Committee on Dance. between the NCCA and the local dance and musical performances from Among those who performed in “Sayaw government of Ormoc. Ormoc City and the Eastern Visayas. 10 Agung • Number 1 • January-March 2020 Toast to Tangub City Text and photos by Roel Hoang Manipon

angub City in Misamis Occidental, which claims to be the “Christmas Symbols Capital of the Philippines,” Thosted the NCCA-sponsored National Arts Month (NAM) opening ceremony for Mindanao on February 15 The whole program aimed to be both educational and entertaining with workshops on visual arts, dance, theater and music conducted in the morning for the youth of Tangub City and a showcase in the afternoon including the opening ritual. The opening show was held at the Sinanduloy Cultural Centre, basically a cavernous gymnasium-like venue with a small portion housing the Museo Handurawan, where Tangub City mayor Jennifer Wee Tan and her husband, lawyer and Misamis Occidental governor Philip Tan, together with several members of the NCCA National Committee on Dance, banged the gongs to signal the start of the National Arts Month celebration in Mindanao. Both local government officials expressed their The ritual for pagsalabok or “gathering” by the Subanen community of Dumingag, , appreciation for the arts, and encouraged the ushered in the National Arts Month opening program for Mindanao at the Sinanduloy Cultural Center public to patronize and love the arts. by it, and learn how to spread,” she added. “When I am hearing the young people On the other hand, the governor appreciating the dances and the songs, admitted, “I don’t know how to sing and nakakataba ng puso (it warms the heart),” dance. I am not an artist but I’m an avid fan Wee Tan said. “If you are really a true artist, of culture and the arts.” you must learn to embrace the different “Loving and being the center for culture cultures. then you must start appreciating and the arts in Misamis Occudental is not the different cultures.” just about celebrating National Arts Month “When I say appreciate, let’s live with and here. You have to live with it. I mean, to all the teachers and students who are right here, if I say you have to live with it, meaning

Melengas Dance Ensemble from Zamboanga del Sur National High School in Pagadian City performed a Meranaw dance your breakfast, lunch and dinner must be all about culture and the arts. The way you move, the way you live, the way you speak, the way you dance, the way you hear music should be geared towards culture and the arts,” he said. “It’s very important for all of us to realize that in culture and the arts, the first thing to do is to identify yourself who you are and appreciate your being a Filipino,” Tan added. The opening program was ushered in

Dles Su Dance Company from La Salle University in Ozamiz City January-March 2020 • Number 1 • Agung 11 by a ritual for pagsalabok or “gathering” by the Subanen community from the town of Dumingag in the neigboring province of . The Subanen group also performed a traditional courtship dance. The show also highlighted by performances of Tangub’s own Sinanduloy Cultural Dance Troupe and Sinanduloy Singers. Other featured performers were part of the “Sayaw Pinoy” touring dance concert, a NCCA NAM flagship event, which was currently

Tangub City mayor Jennifer Wee Tan and her husband, lawyer and Misamis Occidental governor Philip Tan, together with several members of the NCCA National Committee on Dance, led the opening ceremony. touring northwestern Mindanao starting at Sinanduloy Cultural Troupe of Tangub City the La Salle University in provincial capital Ozamiz City on February 14. Performing groups were from Tangub City, Ozamiz City and other parts of , highlighting the wealth of talents in this part of the country, and these included the La Salle University Acapella from La Salle University (LSU) in Ozamiz City; students from the Misamis Occidental National High School; the Dles Su Dance Company from LSU; the Bughaw Dance Troupe of Northwestern Mindanao Milky Mitch School of Dance of Ozamis City Bughaw Dance Troupe of Northwestern Mindanao State College of Science and Technology in Tangub City

A Manobo dance by Saint Michael College of TESAW Performing Arts Guild from Nasipit, Energetic LSU Green Dynamics (above) and the Unity Dance culminating the program (below) State College of Science and Technology in Tangub City; the Tangub City Dance Sport Society; the Milky Mitch School of Dance from Ozamiz; LSU Green Dynamics; Melengas Dance Ensemble from Zamboanga del Sur National High School in Pagadian City; and Saint Michael College of Caraga TESAW (teatro, sayaw at awit) Performing Arts Guild from Nasipit, Agusan del Norte. Performances ranged from the traditional Meranaw, Subanen, Manobo and Filipino dances to the modern dances such as jazz, ballet and dance sports. The program culminated in the Unity Dance by all of the performers and the audience. 12 Agung • Number 1 • January-March 2020

ancer and dance instructor Shirley Halili-Cruz spread the joys and beauty of dance all over the country with the Sayaw Pinoy Dtraveling dance concert “Sayaw Pinoy,” part of the NCCA’s celebration of NAM. “Sayaw Pinoy,” the flagship program of Spreading the Gospel the NCCA National Committee on Dance, headed by Halili-Cruz, is the longest-running of Dance program for NAM. It highlights various dance genres such folk dance, traditional dance, contemporary dance, neoclassical dance, ballet, modern dance and hip-hop. Since its inception in 2009, different local government units, schools, private institutions and commercial enterprises in different parts of the country have been part of the decade-long journey of Sayaw Pinoy. Annually, for the whole month of February, Sayaw Pinoy draw audiences of about 65,000 in all its performances. For 2020, performances from different dance companies from Luzon, Mindanao, National Capital Region (NCR) and the Visayas were featured as “Sayaw Pinoy” graced all the regional openings of NAM in Ormoc City, Leyte; Rizal Park in Manila; Puerto Princesa, Palawan; and Tangub City, Misamis Occidental. “Sayaw Pinoy” was staged in Lucena City, ; Ozamiz City, ; Pasay City; Dumingag, Zamboanga del Sur; City, Cebu; Marikina City; City; Nasipit, Agusan del Norte; City, Iloilo; City; and Silay City, Victorias City, Cadiz City, Talisay City, EB Magalona, Himamaylan, La Castellana and Valladolid, all in . Additionally, “Sayaw Pinoy” became a regular program at Rizal Park every Sunday of February. Participating dance groups included Halili-Cruz Dance Company; Parañaque National High School’s Special Program for the Arts; Philippine High School for the Arts; Philippine Normal University Kislap Sining; FCPC Baliktanaw; SiBul; Philippine Folk Dance Society Quezon Province Chapter; Atimonan DYD, Inc.; Sinag Banahaw Cultural Troupe; Alabat Island National High School; Recto Memorial National High School; Terpsichorean Performing Arts Academy; Butwa’an Dance Ensemble; Melengas Dance Ensemble; Dles Su Dance Company; University of Santo Tomas Salinggawi Dance Troupe; Far Eastern University Dance Company; Jaguio; University of the East Silanganan; Saint Michael College of Caraga TESAW (teatro, sayaw at awit) Performing Arts Guild; LSU Green Dynamics; Tangub City Dance Sport Society; Milky Mitch School of Dance; Sinanduloy Cultural Dance Troupe; Bughaw Dance Troupe; Junior New System; J.Crisis; Ballet Manila; Lahing Batangan; HC Conservatory; Bayanihan, The Philippine CEU Folk Dance Troupe Folk Dance Company; Sindaw Philippines January-March 2020 • Number 1 • Agung 13

Troupe; SMCC Perforrming Arts Guild; Hugis Dance Project; Libertad National High School Dance Troupe; Riza and Alex of City Dancesport Club; Power Se7en Dancers; IDMM Ballet; Tanghalang Bagong Sibol; Saint Dominic Savio Performing Arts; Ballet Dance Academy; Philippine Ballet Theatre; Centro Escolar University Folk Dance Troupe; Batang Mama; Earthsavers Dream Academy; Pink Toes; Wanatkilab Hitters; Philippine Team Para Dancesport; University of San Agustin Kawilihan Dance Troupe; Irong-Irong Dance Troupe; Born to Dance; SF School of Dance; PCD School of Performing Arts; Claravall-Gonzalez School of Classical Ballet; Padayon; Annie Divinagracia Sartorio School of Performing Arts; Kagayon Dance Troupe; Hinugyaw Dance Troupe; Nonecost Integrated Performing Arts Group; Silay National High School Special Program for the Arts; Silay Dancesport Team; Kabataang Silay Ensemble; Manapla High School Dance Consortium; Vincentian Dance Sport Team; Vincentian Hiphop Crew; Pasundayag Dance Group; Teatro Laragway; Upbeat Dance Troupe; Juvenile Dancesport Team of EB Magalona Elementary School; Inocencio V. Ferrer Memorial School of Fisheries Dance Pop; Association of Performing Arts of Rafael B. Lacson Memorial Bayanihan, the National Folk Dance Company High School; Talisay City Folk Dance Troupe; Performing Arts; USJ-R Adelante Dance Minuluan Festival Dancers; Poseidon Dance Troupe; ANS Dance Troupe; ANHS Bahandi Theater; Himamaylan National High School Folkloric Dance Group; CIT-U Dance Special Program for the Arts; STI West Visayas Troupe; CDU Dance Troupe; CNU Kudyapi University; Himamaylan Street Dance Corps; Folkloric Ensemble; ManSci Dance Company Himayon Festival Dancers; STI West Visayas of City Science High School; SPCFI University; La Castellana Elementary and Dance Troupe; UV Filipiniana Dance Troupe; High School Special Program for the Arts; Lapu-lapu City Performing Arts; University Malabon Theater and Dance Collectives; of San Carlos Dance Troupe; UC Dance Tanghalang Tugatog of Tugatog National High Company; Don Juan Dance Crew; Knapsack School; Longos Monternos Saltator of Longos Dancers; KDF Dancers; Anselmo Estellore National High School; Hiyas ng Sining Dance and Mae Pabuaya of Dancesports Group of Malabon National High School; Team; Marikina Cultural Group; Marikina Themuaro of Panghulo National High School; Elementary School; Pamantasan ng Lungsod Saliwindakan Dance Company of Potrero ng Marikina Dance Troupe; Marikina Dance National High School; and Entablado ni Juan Guild; Marikina Polytechnic College Dance of the barangay of San Agustin, Malabon City.

NCD head Shirley Halili-Cruz with the Halili-Cruz Dance Company

FCPC Baliktanaw 14 Agung • Number 1 • January-March 2020 14 Agung •Number 1•January-March At the Crossroads of Cinema’sCentury F of filmic outputs from the of filmicoutputsfrom the workers toPhilippine cinema contributions ofBikolano and thecitygovernment of theFilmArts, Development Ateneo deNaga University of Naga from February Committee onCinema Opening frompoint ofview thefilmmakers, screenwriters, castandcrew, viewers, andcritics.” to thecrossroads oftheregions astheyendeavor toshowcase which films,andanactofviewing refers tofilmlanguage’s Dalan” (roughly, inaramified road), inwhichtheCentral century Bikol word formandindustry,the art especiallyregional filmmaking,asencapsulated by itsslogan“ Philippine cinema.Thefilmfestival aimed,besidecelebrating onehundred yearsofhistory, toponder thefuture of different ofthe parts the different regions championing films NCC head Teddy Coandfestival director Noel Volante thefestival withanopening ofADNUofficiallystarted of This Cinema momentousbecausethe nationwascelebratingthecentennialanniversary Rehiyon wasalso very In 2020,the Arts Month,Arts a traditional or twelve years Film FestivalinNagaCity Twelfth CinemaRehiyon Text andphotos by HoangManipon Roel previous years. previous years. (NCC) was hosted by the historic city (NCC) washostedby thehistoriccity dalan ismeanttomean“a road thatrefers now, theCinemaRehiyon Film Festival, part ofNCCA’spart celebrationofNational alongside showcasing a bountiful harvest alongside showcasing abountifulharvest has beenproviding platformsfor and filmmakers, actors and other film filmmakers, actorsandotherfilm Naga. Thisfestival highlightedthe made outsideMetro Manila, from flagship project ofNCCA National Council of the Philippines (FDCP), Council ofthePhilippines (FDCP), (ADNU) CenterforCulture andthe 24 to29,incollaborationwiththe of thePhilippines, andisheldin country. Sarong Gatos saSanga-sangang January-March 2020 • Number 1 • Agung 15 of Cinema’s Century

program at the Naga City People’s Hall, where the parade of fifty- two delegates, mostly filmmakers, from around the country were welcomed by the Voyadores Festival dancers and organizers. The afternoon program included the screening of the short films “Ang Patuloy na Kuwento ni Juan Gulay” and “Manila Scream” by cartoonist and filmmaker Rox Lee, who was born in Naga City. It was graced by National Artist for cinema who talked The parade of delegates ended at the city hall of Naga for the opening program about a filmmaker’s creative process. The 1941 film adaptation of the popular metrical romance , a classic in Philippine literature, was chosen as the opening film, shown at a theater of SM City Naga, the following day. The classic film by National Artist for film , who was born in Daet, , was restored by ABS-CBN Film Restoration. Adapted by Vincente Salumbides and starring , Fred Cortes, Ester Magalona, Vicente Oliver, Deanna Prieto and Ben Rubio, the pre-World War II film tells the story of three princes, Don Pedro, Don Diego and Don Juan, in search of the magical bird Adarna, whose song is the cure for the mysterious affliction of their father, Fernando, king of Berbanya. During their adventures, their true characters emerge and their adventures lead to deceit, murder and reconciliation. During restoration process, the film was scanned in 4K using The Voyadores Festival dancers welcoming the delegates at the Naga City Hall the 35 millimeter print of LVN Pictures, which was stored at the ABS-CBN Film Archives. The sixth part was missing in the print source, and the Betacam copy was used in getting the missing part, which was inserted into the newly scanned film, resulting

Director Jay Altarejos discusses his film Pink Halo-Halo after the screening

NCC head Teddy Co with film scholar and incoming NCC head Roland Tolentino in a different image resolution. The film underwent 2K digital automated restoration in 2020 at the ABS-CBN Film Archives.

Screenings Cinema Rehiyon screened seventy-one short films and seven feature-length films mostly at ADNU’s different venues—Arrupe Convention Hall, Alingal Multipurpose Hall, Fernando Hall, Instructional Media Center—accompanied by discussions with filmmakers. Reruns were held at the Savage Mind Booskhop and at CinePlaza at the Plaza Real. Most of the films were culled from different film festivals such as Sinulog Film Festival of Cebu; Festival de Cine Paz Mindanao 16 Agung • Number 1 • January-March 2020

of ; Cine Animo Film Festival in Ozamis City, Misamis Occidental; Cine de Oro Film Festival of de Oro City; Ngilngig Asian Fantastic Film Festival Davao; Nabunturan Independent Film Exhibition from Nabunturan, ; Mindanao Film Festival of ; Salamindanaw Asian Film Festival of City; Sine Bugsay of Butuan City, Agusan del Norte; Pelicula Union; Cine Kabalen of Pampanga; Pelikultura: The Film Festival; Pasale Film Festival of Naga City; Sine Negrense: The Negros Island Film Festival of City, Negros Occidental; Bakunawa Cinema of the Young; CineKasimanwa of Iloilo; Lutas: The Film Festival; Binisaya Film Festival of Cebu; and Film Festival of .

Rainbow from the Regions Over the years, Cinema Rehiyon has become a platform for different voices and visions as well as for other not used in mainstream films. Prominent film critic and scholar Roland Tolentino, incoming NCC and NCCA Subcommission on the Arts head, pointed out in his lecture that Cinema Rehiyon has become a venue to express the views and to share the narratives of different sectors such as women, peasants, indigenous communities, the youth and the LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others) as well as intersections of their issues and stories. Film festivals have been including LGBTQ+ sections in their programming because of the wealth of queer voices and creativity that have been manifesting in the past years, brought about by the progress in advancing of understanding of the LGBTQ+. The 2020 Cinema Rehiyon had a handful of LGBTQ+ films, affording us a glimpse of LGBTQ+ stories from different parts of the country, a panorama of pain, desire and dreams. Leading the roster was one of the featured full-length films,Pink Halo-Halo, by director Jay Altarejos. Altarejos hails from Ticao Island, , and has emerged to be one of the most prominent filmmakers National Artist for cinema Kidlat Tahimik, NCC head Teddy Co and cartoonist of the . Moreover, he also become one of the notable gay and filmmaker Rox Lee at the screening of Ibong Adarna at SM City Naga

The Ateneo de Naga University served as the main venue of the film festival January-March 2020 • Number 1 • Agung 17 filmmakers with such works as Ang Lalake sa Parola (The Man in the Lighthouse, 2007) and Ang Lihim ni Antonio (Antonio’s Secret, 2008). Pink Halo-Halo was included in the first Directors Showcase Category of the 2010 Cinemalaya Philippine Independent Film Festival, noted for its use of the Masbatenyo language. It is the most autobiographical of Altarejos’s films, depicting his own childhood in the island. The film follows the story of a child and shows much of the local culture and everyday life. Interestingly, many men in the island are soldiers—becoming a soldier is a way out of poverty—and the sleepy island life would be intermittently broken by grief when a soldier dies. The main character Natoy’s father is also a soldier who would be assigned to Mindanao and would die there. Natoy’s being gay is revealed through very few scenes—one shows him pretending to put on lipstick and another shows him being teased as “bakla.” His gender is not the source of conflict here but is as natural as everything around him. The film intends to make a statement on militarization, which can come out as ambiguous. The short film screenings were ushered in by a cluster of LGBTQ+ films, made by very young filmmakers. The youngest filmmaker in the batch was Elijah Japheth Macatiag, a student of Alaminos City National High School in Alaminos City, , who made “Duruko” (Cheater) at the age of fifteen. Inspired by a story of his classmate, the short film, which won Third Best Film at the Urduja Film Festival in 2019, tells the story of a boy (John Paul Fernandez) and his father (Daniel Camba Gallentes), who tries to mold him with typical Ilocano machismo. A hint of gayness would incur physical violence. It does not end well for the boy. Shot at the Bued Salt Farm and in the barangay of Inerangan, the film uses the and shows salt farming in Alaminos City. Another father-and-son story is “Gulis” (Lines) by twenty-six- year-old Kyle Jumayne Francisco from Pampanga. The film was a Critics’ Choice awardee at the CineSpectra Short Film Festival 2019, and a finalist at the Festival de Cine Paz in Zamboanga City and Salamindanaw Asian Film Festival in General Santos City. A quiet film, it shows the strained relation between a father (Menggie The opening film of Cinema Rehiyon is Ibong Adarna, a classic 1941 film Cobarrubias) and his son, Andrei (Jal Galang). Andrei reveals to his restored by ABS-CBN Restoration father, who is coping from a loss, that he is HIV positive, and both film shows main character Cedric going to the wake of his lover, find ways of coping with the situation. Here, a highly stigmatized James, to reveal to his mother about their relationship. Both recall disease becomes a way of mending a relationship. memories with James as they cope with their grief. Another kind of relationship is tackled in “Para kay James” “Sa Ating Simula” (In Our Beginning), by Jasper Ramon (For James) by student filmmaker Steven Paul Evangelio from Tulabot from , who started his journey into filmmaking in . This short film was shown at the C1 Originals Festival and 2013, follows call center agent Camille as she befriends Rachel, Indie Un-film Festival 2019, and won the Best Film in the Student a new employee and an introvert artist. During a team-building Category at the 2019 Pelikultura: The Calabarzon Film Festival. The session, she encourages Rachel to socialize more and at the same time develops more intimate feelings for her. The film hints the start of a relationship by the end. “Gidid-an” (Prohibited), by Juvy Ann C. Clarito and Angeline Lumiguid from Nabunturan, Davao de Oro, was shown at the seventh Nabunturan Independent Film Exhibition and the second Sinelamdag Film Festival 2019 in Koronadal City, South . It explores the sad reality of a gay relationship when one opts to be in a heterosexual partnership. With this crop of films, one sees a radiant rainbow for LGBTQ+ filmmaking and Philippine cinema in general to usher in a new era, one emanating from the regions. Other feature-length films screened were A for Agustin by Grace Simbulan; Note from Unknown Maladies by Liryc dela Cruz; John Denver Trending by Arden Rod Condez, Huwebes-Huwebes by Don Altarejos flanked by NCC members Tito NCC head Teddy Co with festival Frasco, Kris Villarino and January Yap, Jr.; Kaaway sa Sulod by Arbi Genova Valiente and Baby Ruth Villarama director Noel Volante Barbarona; and Dungan: Spirit Within by Kyle Fermindoza. 18 Agung • Number 1 • January-March 2020

Lectures and workshops Simultaneously happening with the screenings were workshops and lectures by industry experts headlined by Tolentino’s lecture on the history of Philippine cinema, tracing it from the beginnings—1917 newsreel in Cebu, the incorporation of Malayan Films in 1918, and the showing of the first Philippine-made feature film Dalagang Bukid in 1919—to the present, mentioning its three Golden Ages— the first from 1950 to 1964 marked local artistic excellence, the second from 1975 to 1989 with New Wave and anti-Martial Law and anti-Marcos works, and the third from 2005 to 2016 with the advent of digital technology. He also discussed possible futures and challenges of regional filmmaking in the coming years. Pink Halo-Halo, by Jay Altarejos, shows his childhood in Ticao, Masbate The workshops were on film directing conducted by filmmaker Raymond Red, on film criticism by Chris Fujiwara, and on film marketing and distribution by Don Senoc. Additionally, a pocket event, a conversation with Jay Altarejos, was held at the Savage Mind Bookshop.

Closing The closing day of Cinema Rehiyon was virtually a tribute to the Philippines’ most iconic actress, , who hails from Iriga City, . Her 1978 film, Atsay, was shown at Foundation University. It was directed by , who was The short film “Sa Ating Simula” by Jasper Ramon Tulabot from Tarlac born in Juban, , another well-respected actor. On the other hand, writer Kristian Sendon Cordero delivered his lecture, “The Canticles of Salvacion and Nora Aunor: On Poetry, Translation, and Cinema,” and the Nora Aunor issue of the Bikol Studies Journal, edited by Dr. Jaya Jacobo, was launched. Cinema Rehiyon concluded with an optimistic projection for regional filmmaking, unaware of an impending drastic world event that would alter lives and even the art form.

ABOUT THE LOGO

The short film “Gulis” by Kyle Jumayne Francisco from Pampanga

The short film “Gidid-an” (Prohibited) by Juvy Ann C. Clarito and Angeline The logo of the twelfth Cinema Rehiyon is depicted to Lumiguid from Nabunturan, Davao de Oro be floating on water, as the Bicol Region mostly surrounded by water. The golden color of the word Cinema reflects the devotion to Our Lady of Peñafrancia, Bicol’s patroness. The figure 1 of 12 is in the shape of a water snake from which the name Naga is said to taken. It has a crown, as Naga City is one of the first three royal cities in the Philippines as declared by Spain during its colonial years. The figure 2 of 12 is the classic film strip taking shape from the river flow in blue color on the word Rehiyon, depicting the winding curves and meandering course of the river from which the name of the region is derived. The overlapping strips of film forming as O of the word rehiyon is a regular fixture of the festival logo.

The short film “Pikpik” January-March 2020 • Number 1 • Agung 19

Reading the Regions and Literary Diversity By Angelica T. Bobiles

n 2019, the NCCA National Committee on Literary Arts Visayas; Dr. Yu, Francis Luis Torre, and Bea Martinez for Central (NCLA), headed by Dr. Hope Sabanpan Yu, conceptualized Visayas; Michael Carlo Villas and Merlie Alunan for Eastern Visayas; Reading the Regions: Teaching Philippine Literature from Darren Bendanillo and Floraine Pantaleta for Western Mindanao; IMulti-Perspectives, a teaching-module project that would include German Gervacio for Northern and Central Mindanao; and John B. regional literary works and instructional design materials intended Bengan and Jay Jomar Quintos for Eastern and Southern Mindanao. for high school and college teachers. The editor of the module is Dr. Isidoro Cruz. After months of meetings, content conceptualizations, writing, The Reading the Regions Conference brought artists, writers revisions, and printing, the module was launched at and educators together for plenaries and discussions on the Pinnacle Hotel Suites in Davao City, as part of the various approaches in teaching art and literature that Reading the Regions Conference, held from February 28 showcases traditions from different regions. to 29, 2020, NCLA’s flagship project for celebration of The conference opened with performances from National Arts Month. the University of the Philippines (UP) Mindanao Koro The commissioned writers for the module were Joyce Kantahanay, Teatro Humanidades, and UP Mindanao Arriola, Isiah Garcia, Ruth Torres, Maria Luna Sicat-Cleto, Dance Ensemble. They were followed by a welcome address Victor Emmanuel Nadera Jr., Lenin Mirasol, Mark Rafal, from the mayor, Sara Duterte and first district councilor, and Soliman Santos for the National Capital Region; Pilar Braga. National Artist for literature Resil B. Mojares Monica Macansantos for the Cordillera Administrative Region; delivered the keynote address on writings from the different regions. George B Andal, Carina Pelagio, Rosario Patino-Yap and Ethel On the first day, there were six parallel sessions simultaneously Zinampan for Northern Luzon; Dr. Juliet Mallari for ; happening in the morning and afternoon: “Reading Oral Narratives” Paz Verdades Santos and Marifa-Borja Prado for Southern Luzon; with five papers, Paglala“ at Pagbasa sa Mito ng Paglalang ng Higaonon” Dr. Isidoro Cruz, John Iremil Teodoro and John Barrios for Western by Gervacio, “On Blaan Oral Narratives” by Elizabeth Joy Serrano- 20 Agung • Number 1 • January-March 2020

Quijano, “Reading Tuwaang Attends a Wedding of the Obo Manobo” by John Bengan, “Paano Maaring Basahin ang Epikong Berinareu ng mga Teduray?” by Jay Jomar F. Quintos, and “Publishing the Hulubaton of the Mandaya” by Genevieve Jorolan Quintero and Emmanuel Nabayra; “Reading Contemporary Poetry” with four papers, “Paghihimay sa Tulang Chabacanong ‘Para con mi Anak Mujer’ ni Francis C. Macansantos” by Darren Bendanillo, “The Importance of Allowing Poems to Speak to Us” by Dr. Yu, “Kontemporanyong Tula sa Bikol: Pagbasa ng Sidok ni Estelito B. Jacob” by Marifa Borja-Prado, and “Writing Akeanon Resilience in Melchor F. Cichon’s ‘Ham-at Madueom ro Gabii, Inay?’” by John Barrios and Mary OvetaVillareal; “Issues and Perspective on Literature from the National Artist for literature Resil Mojares delivered his keynote address Regions” that included four lectures, “A Guide to Reading Works by Three Writers in the Cordillera: Sinai Hamada, Amador Daguio, and Francis C. Macansantos” by Monica S. Macansantos, “Reading West Visayan Children’s Literature: Literary Criticism for Children and Young Adults” by Isidoro M. Cruz, “Abadillismo” by Nadera, and “Teaching the Dula” by Layeta Bucoy; “Reading Contemporary Fiction” which included “F.H. Batacan’s Smaller and Smaller Circles as Urban/City Fiction” by Joyce L. Arriola, “Smaller and Smaller Circles as a Catholic Novel” by Isaiah F. Garcia, “Smaller And Smaller Circles as Detective Fiction” by Ruth Claire G. Torres, and “Pagbabasa sa Panahon ng War on Drugs: Ilang Pamamaraan sa Pagbabasa ng ‘Drug War’ ni Norman Wilwayco” by Lenin Carlos Mirasol; “Reading Poetry and Folk Songs” with “Reading Ringginding-Ginding and Lubi-Lubi” by Merlie Alunan, “Kita Tanan si Tarpolano: Ekokritikal na Pagbasa NCLA head Dr. Hope Sabanpan Yu at Pagturo ng Kanta sa Kinaray-a na ‘Tarpolano’ ni Sammy Rubido” by John Iremil Teodoro, “Panitikang Pambayan sa Bikol: Tigsik” by Paz Verdades M. Santos, and “Understanding Kapampangan Folk Songs” by Julieta C. Mallari; and “Reading Oral Narratives II” with “Understanding Cagayan through Narratives” by George B. Andal, Jr., Carina V. Pelagio, and Rosario Patino-Yap, “Intertextual Productions: Rewriting Oral Tradition for Multilingual Learners” by May Ann Jaro, and “The Susumaton of Leyte: Poetics, History, and Community” by Michael Carlo C. Villas. The plenary session was facilitated by Brother Karl Gaspar. The second day of the conference started with the viewing of a short film, discussion on local cinema, and conversation with Davao Writers Guild. The parallel sessions on this day were the second part of “Issues and Perspective on Literature from the Regions” with “Locating the Nation in the 21st Century Philippine Literature Textbooks of the Senior High School Curriculum” by Jeanette P. Grajo, “Pagtingin sa Revered Waray writer Merle Alunan Monumento: Isang Pagbasa sa Monumento ni Ninoy ni U Z. Eliserio” by Lambong tungong Pulang Lupa: Isang Intertextual na Pagbasa sa Kuwento Soliman Agulto Santos, “On Young Writers” by Gutierrez ni Kabesang Tales” by Maria Luna Sicat-Cleto, “Reality and Transgression Mangansakan II, and “Paglingon sa Pinanggalingan, Pagdating sa in Philippine Speculative Fiction” by Anna Felicia Sanchez, “El Conocida Paroroonan: Mga Munting Pagmumuni, Isang Mungkahing Pagbasa at del Otro (Recognizing the Strange): Dismantling Self and Other in Ilang Ehersisyo sa Pagsulat ng Tula” by Mark Joseph Rafal, as well as the ‘The Last of the Sama-Sellang’” by Floraime O. Pantaleta, and “K-12 second part of “Reading Contemporary Fiction” with “Pulang Ulap na Teaching Module for Ernesto Lariosa’s ‘Sakdapanay’” by Bea Martinez. The plenary session was moderated by UP Visayas in Tacloban professor emeritus Merlie Alunan. Apart from these, teaching demonstrations were also conducted, assisted by Charles Dominic Sanchez, Raphael Dean Polinar, Madonna Valencia, Lareane Ampaguey, Edgardo Cusipag, Michelle Samuel, Earl Van Aquilam, Desiree Mesias, Gritchen Lyn Shien Ramas, and Fernan Fernandez. The conference wrapped up with more performances from Koro Kantahanay, UP Mindanao Dance Ensemble, Teatro Humanidades, Contributors received their copies of Reading the Regions Hikot-Hungitong Art Collective, and Kuntaw. January-March 2020 • Number 1 • Agung 21

President Rodrigo Roa Duterte poses with NCCA chairman Arsenio “Nick” Lizaso and the 12th Ani ng Dangal awardees during the presentation of awards at the Malacañan Palace on February 26, 2020 /Photo by Simeon Celi, Jr., presidential photo Artists HONORED at the Ani ng Dangal Awards

ational Artist for literature , and actors The seventeen awardees in the field of cinema were Angeli Judy Anne Santos and are among the fifty- Bayani, Alden Richards, Barbara Miguel, Crisel Consunji, Dante two awardees of the 2020 Ani ng Dangal Awards bestowed Rivero, Judy Anne Lumagui Santos-Agoncillo, Jun Robles Lana, Nby the NCCA. The awarding ceremony was held on February 26, Kristoffer King, the movie Mamang (produced and directed by 2020, at the Malacañan Palace. Denise O’Hara), Martina Eileen Hernandez delas Alas-Sibayan, The Ani ng Dangal (Harvest of Honors) Award recognizes Maxine Eigenmann, the movie Musmos na Sumibol sa Gubat artists who have earned international awards and accolades during ng Digma (Mac Cosico), the short film “Palabas: A Country in the past year. It served as the culmination of the National Arts Moving Pictures” (produced and directed by Arjanmar H. Rebeta), Month celebration. Rina Marie Padilla Raymundo, Rody Vera, the movie Signal Rock In the architecture and allied arts category, there was one (directed by Chito Roňo), and the short documentary “Wing Chair” awardee—Mactan Cebu International Airport Terminal 2, which (produced and directed by Arjanmar H. Rebeta) won at the 2019 International Architecture Award in Athens, In dance, the seven awardees were Angelo Marquez and Greece, and the 2019 World Architecture Festival Award in Stephanie Sabalo, Bayanihan National Dance Company, Halili- Amsterdam, the Netherlands. Cruz Dance Company, Lairca Reigne Nicdao, Sean Mischa Aranar

National Artist for literature Bienvenido Lumbera with NCCA chairman Arsenio Members of the NCCA National Committee on Dance headed by Shirley Halili- “Nick” Lizaso and NCCA SCCTA head Abubacar M. Datumanong /Photo by Faith Cruz /Photo by Paul Sugano Yangyang 22 Agung • Number 1 • January-March 2020

NCCA chairman Arsenio “Nick” Lizaso with Ai-Ai delas Alas and Ina Raymundo /Photo by Paul Sugano

NCCA chairman Arsenio “Nick” Lizaso and NCCA executive director Al Ryan Alejandre with actress President Rodrigo Roa Duterte chats with some of the guests during the awarding ceremony /Photo by Ai-Ai delas Alas /Photo by Paul Sugano Richard Madelo, presidential photo and Ana Leonila Nualla, Mark Jayson Gayon and Mary Joy Renigen, and Wilbert Aunzo and Pearl Marie Caňeda. The three awardees in the literary arts were Bienvenido Lumbera, Kristian Sendon Cordero and Ricardo de Ungria. In music, Acapellago, Imusicapella Chamber Choir, Joana Ruth Tumpalan, Ligao National High School Choral, Mark Raeniel B. Agpasa, Nilo Alcala, Ramon Lijauco, Jr., and the University of the Philippines Los Baños Choral Ensemble received accolades. Sixteen visual artists received the award—Allan Rey Salazar, Anthony Into, Celso Beringuel Creer II, Danilo O.

NCCA chairman Arsenio “Nick” Lizaso with some of the awardees /Photo by Paul Sugano

NCCA deputy executive director Marichu Tellano with actor Alden Richards and PCOO Usec. Ana Maria Paz Rafael /Photo by Paul Sugano Victoriano, Jr., Donell C. Gumiran, Glenn Campanilla, Jesus Ramos Tejada, Jophel Botero Ybiosa, Jun Epifanio Pagalilauan, Leonard Pauig Ranjo, Maria Felicity Tejada, NCCA chairman Arsenio “Nick” Lizaso and NCCA Marwin Javier, Mia Serano, Rhedel Cabrera executive director Al Ryan Alejandre with actor Sy, Rogel Cabisidan, and Worth Wisdom Dante Rivero /Photo by Paul Sugano Lodriga. The Ani ng Dangal trophy /Photo by Paul Sugano January-March 2020 • Number 1 • Agung 23

NCCA Writer’s Prize winners with NCCA executive director Al Ryan S. Alejandre, NCCA supervising officer for administration Bernan Joseph Corpuz, NCLA head Dr. Hope Sabanpan-Yu, and guest of honor Dr. Jose “Butch” Y. Dalisay /Photo by Faith Yangyang NCCA Writer’s Prize Awardees Feted

n the evening of December 2, 2019, at The Bayleaf while Yap is a Palanca award-wining writer and a faculty member in Intramuros, Manila, distinguished members of the the College of Communication, Art and Design at the UP Cebu. Philippines literary community gathered for the awarding Pagunsan is the founder and president of Dungug Kinaray-a, while Oceremony of the NCCA 2019 Writers’ Prize. Andal is with the Tagapagtaguyod ng Sining at Kultura ng Pilipinas The event was graced by members of the NCCA National Chapter. Committee on Literary Arts, headed by Dr. Hope Sabanpan-Yu, Institutionalized by National Artist Virgilio S. Almario, the and guest of honor and speaker, Dr. Jose “Butch” Y. Dalisay. NCCA Writers’ Prize is a biennial award, giving writers a writing The 2019 grantees are Firie Jill Ramos in the novel in the Waray grant amounting to P250,000 to assist them during the writing language category for her Estiling; Januar E. Yap in short story in the stage of their proposed works. The award is good for one year, after for his “Mata’g Adlaw”; Ritchie D. Pagunsan in which a manuscript of the writing project will be submitted to the essay/creative non-fiction in the Kinaray-a language for his “Sa Ili-ili NCCA. kang mga Handumanan”; and George B. Andal, Jr. in the drama in The awarding of winners were also led by NCCA Secretariat the Ibanag language for his Vulag I Vulan. officials Al Ryan S. Alejandre, executive director; Bernan Joseph Ramos is a member of Katig Writers’ Network in Eastern Corpuz, supervising officer for administration; and Ferdinand Visayas and author of Tinalunay: Hinugpong nga Panurat ha Waray Isleta, Arts Section head. Attendees were serenaded by the Dawani published by the University of the Philippines (UP) Press in 2017, Women’s Choir.

The guest of honor and speaker, Dr. Jose “Butch” Y. Dalisay /Photo by Paul Sugano The NCCA National Committee on Literary Arts /Photo by Paul Sugano 24 Agung • Number 1 • January-March 2020 Who in the World is Pedro Bucaneg and Why Do We Remain Ignorant About Our Past?

hy Do We Need Pedro Bucaneg?” goes the title of Almario is quick to point out in his introduction that his Virgilio S. Almario’s latest book—written in Filipino, intentions of paggunita or recovering the rich national memory are as he does in all his books—as we translate the title not new. He is merely repeating now, he writes, the remembering “Winto our ubiquitous borrowed tongue. To the many who know even and recovery undertaken by Jose Rizal and Isabelo de los Reyes prior less, or concerned to a lesser degree, the next question is even more to the Revolution of 1896, and that of later scholars like Epifanio puzzling. Who on earth is Pedro Bucaneg de los Santos, Teodoro M. Kalaw, E. Arsenio Manuel, F. Landa and does it even matter at all? Jocano, Francisco Demetrio, Damiana Bucaneg, of course, is the supposed L. Eugenio, including Dean author of the Ilocano epic, Biag ni S. Fansler, Fay-Cooper Cole, Lam-ang (The Life of Lam-ang), who and H. Otley Beyer. like the Greek Homer was purportedly “All of them sparked off blind, and it is even doubtful that he this flurry of scholarly action could write the epic if did not dictate at the peripheries of our it to someone who had his or her sense political and economic history of sight intact. from the American era to the These are the questions and end of the 20th century.” a host of other intriguing related While the essays have interrogatives that in fact, swirl around not been collected as organic in the literary sociocultural maelstrom parts of a book, Almario says that Almario stirs up in the nine essays that they perform a major that make up Bakit Kailangan Natin si role in the redirection and Pedro Bucaneg? (Komisyon sa Wikang refocusing towards intangible Filipino, 2019), part of the Aklat ng cultural heritage he has initiated Bayan series, launched on March as chairman of the NCCA, and 16, 2019, at the Vargas Museum of his expansions on the task on the University of the Philippines in language of the Komisyon sa Diliman, , where UP Wikang Filipino (KWF) as its Diliman chancellor Dr. Michael L. concurrent chairman. Tan, and Vargas Museum’s curator He also acknowledges that the Dr. Patrick D. Flores delivered their essays may tend to be repetitive in remarks. discussing his favorite themes and Just going by the titles of the methods of looking deep into the essays gives us an idea of what turns national cultural heritage, especially out to be thorny issues taken up in his scrutiny of what he calls the in the book: “Isang Paunang-Salitâ “culture of ignorance” pervading all sa Pambansang Paggunita;” “Kung sectors of society, and in his long- Bakit Mahalaga si Pedro Bucaneg;” ranging look at the history of the “Bathalà, Kabunyian, Kaptán, country during four centuries of Western Manáma, Atbp.;” “Mga Diwa ng colonization. Salawikain;” “Ang Pag-anyo sa Katutubong He warns, however, that his survey Saknong;” “Ang Pagbabalik ng Ibong Adarna;” “Pilosopiya ng and scrutiny are limited to literature, Búhay-Alamang;” “Bakit Manipis ang Tsapter Hinggil sa Panitikang- especially in the study of poetic forms, and do not thrust or sortie Bayan?”; and “Reconstructing the National Memory Towards into the other arts and other forms of national memory. He says he Nation-Building.” does not pretend to omnipotent knowledge and thus seeks to incite all Apart from Bucaneg, the thoroughly Westernized among us who are interested to involve themselves in this task of every Filipino. would wonder who , Kabunyian, Kaptan and Manama would The principal task of the book, Almario writes, is to assign a new be, or for those for whom these things matter little, it would be too function to the old proverb, “Ang hindi lumingon sa pinanggalíngan/ much to expect them to bother about “Why the Chapter on Folk Di makararating sa paroroonan” (Who does not know how to look Literature is So Slim or Insubstantial” (in our books of literary history). back/Cannot get where he’s going). “‘Looking back’ is still supremely January-March 2020 • Number 1 • Agung 25 Who in the World is Pedro Bucaneg and Why Do We Remain Ignorant About Our Past?

important until now—looking back to and remembering history— consciousness cannot be easily trusted and must be scrutinized. in order to pinpoint a beneficial future.” Second, proper research and inquiry must be offered to the He notes, however, that judging from his present studies, liberation of national memory. This proposal devotes itself to there are even more urgent tasks. The whole project, Almario says, promoting the health of national memory. Health is necessary to necessitates and gives the highest value to research. And this is combat any form of ignorance. Still, the more meaningful challenge not the random or unplanned research like the many theses and to research is to harvest liberating ideas that contribute to a more dissertations E. Arsenio Manuel scrutinized during the decade of durable and progressive nation. the 1960s, but research that is methodical, prudent, careful, broad “This is my guiding notion in my advocacy for the Filipino in scope while deeply probing, “but most of all possessing what I perspective—a national and nationalist perspective that will align call the ‘Filipino perspective.’” with the re-imagination of the nation.” Almario proposes a tandem assignment to research advocating “We do not seek the robustness and vigor of the national memory the recovery of national memory. First, what is needed is the proper and recalling the past only for us to understand humanity,” Almario method of inquiry so the recovery of memory can be more beneficial writes. “That is the trap for archaeologists and anthropologists. to the country. The educated Filipino has long been said to be a Instead, we want to actively involve the recovery of memory in the product of “mis-education,” not only of “bad” education but even resolution of current problems and the rejection of every hindrance of the sort of education that is the mixture of excessive religiosity or to the freedom and liberation of the Filipino mind and sense.” what Rizal and Del Pilar called the “obscurantism” of the “monarchial The relevance and meaning of research, Almario further says, sovereignty” and the awe and deep reverence Filipinos hold for is to teach or lead us to the native heritage bearing the liberating Western culture which is the product of widespread Americanization. strength and virtue. It is a fine and seductive dream, he warns, but Due to such blinders, Almario explains, the educated consciousness difficult to attain. Thus it must be planned, and carefully sequenced, is often distorted (kubikong). “Distorted,” as would a hardwood first things first. board like narra can twist or contort when long waterlogged. Such a The themes and issues of a national research agenda are elucidated in more detail in the book’s eight articles that explain in varying detail why we need Pedro Bucaneg, Bathala, and Kabunyian in our national life, and why we must seriously revisit folk literature to recover our unwritten national memory. It has been more than adequately articulated that cultural heritage is an incalculable national treasure. It is described as “the repository of the racial mind, the most monumental and resplendent expression of ancestors’ experience and memory, the core and précis of their history, the lessons they extracted from their triumphs and defeats, their celebrations of love and rage and noble feelings,

Almario with fellow National Artists , Bienvenido Lumbera and Almario signing books at the launch at Vargas Museum /Photo by Mervin /Photo by Mervin Concepcion Vergara Concepcion Vergara 26 Agung • Number 1 • January-March 2020

Imprinting Tradition Book on Schools of Living Traditions Launched Text and photos by Roel Hoang Manipon

he NCCA has been implementing the School of Living foment deeper awareness and appreciation on our heritage, to instill Traditions (SLT) for many years now, and the state arts a sense of pride on being Filipino and to show sources of inspiration and culture agency has come out with a book about the for artists and other creative individuals. Tgroundbreaking flagship project. The book was launched during opening program of the Everyday Culture: Our School of Living Traditions is part of a Harvest Food and Arts Fair at the Robinsons Mall of Antique, San series of books on SLT, spearheaded by the NCCA and supported by Jose de Buenavista, Antique, which was held from March 20 to 26, the Office of Senator Loren Legarda, emphasizing how SLTs serve as 2019. The fair showcased the products of the province including food instruments in safeguarding traditional cultures. and crafts from different enterprises, community cooperatives and The first volume serves as an introduction to the project, Schools of Living Traditions. The program was led by then senator featuring numerous pictures of selected arts and crafts. It features the Loren Legarda and was graced by senator Cynthia Villar; Rhodora J. basket weaving of the Ibaloi of Atok, ; gong making of the Cadiao, governor of Antique; Elmer C. Untaran, mayor of San Jose de Kankanai of , Benguet; mat weaving of the Jama Mapun Buenavista; and Bernan Joseph R. Corpuz, then chief of the Plan/Policy of Sofronio Española, Palawan; embroidery, binanog dance, narrative Formulation and Programming Division of the NCCA Secretariat. As chanting, ornaments and music of the Panay of Calinog, intermission, the traditional binanog dance was performed. Iloilo; performance arts, textile weaving, music and traditional attire of the T’boli of Lake Sebu, ; rattan basketry, dance and embroidery of the Subanen of Pagadian City, Zamboanga del Sur; mat weaving of the of Kumalarang, Zamboanga del Sur; and buri and nito weaving, embroidery, patik-kawayan musical instrument playing and making of the Ati of Antique. Everyday Culture aims to be an educational resource material for students, researchers, artists and cultural workers as well as a way to Hand-woven plain-weave textiles from Bagtason, Bugasong January-March 2020 • Number 1 • Agung 27

their insights into their struggle with the gigantic challenges of the environment and nature.” This memory is not “new,” Almario points out, considering that D. S. Fansler has calculated this period to be lasting no more three thousand years. But archaeologists have dug up in Tabon Cave and Callao Cave evidence that our ancestors have been here for 30,000 years. “Our forebears moved among mastodons and large cats, traversed lakes and mountain crests, slunk into the wild undergrowth even as they created the language and tools they needed for life.” Almario continues: “In their language is the character and for their every need, the first images of their world of experience, the first summation and analysis of the tests they underwent, the nouns and adjectives their senses elicited, the alertness and aches of their health, and the noble thoughts and deep The Antique Harvest Food and Arts Fair at the Robinsons Antique feelings they needed to share when they gathered at their meals.” Almario concludes his broad-ranging literary exploration—he apologizes for not covering the other arts because he is not a know-it- all but challenges others to join in the task—with his address to the International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) in Osaka, Japan, discussing the country’s program for the preservation of cultural heritage. In the relatively brief remarks, Almario makes an exception and writes it English, to reach the like-minded international scholars who know the unparalleled value of intangible cultural heritage. In conclusion, Almario addresses the more mundane concerns of mapping out and providing proper support and resources for a national research agenda. “The national research agenda,” Almario says, “can truly serve as guide in identifying gaps and areas which need more research, Buri products from the School of Living Traditions in Dao encourage the generation of more scholarly proposals, and support the more productive allocation of resources by expanding financing to more research areas while preventing the duplication of projects.” “But more than these,” he continues, “we want our enriched knowledge of the past to contribute to the solution of problems commonly confronting developing countries—like for example, the problem of national identity. We want our enlightened memory of the past to lead us to a heightened and national consciousness of our identity as a people.” Again, the problem is not new, Almario points out. “Our intellectuals and academicians passionately tackled the search for national identity in the 1960s, more than half a century ago, and failed to agree on a useful image of the ‘Filipino.’” Looking back at huge efforts of the past, Almario says that he could see many reasons for their failure. “First of all, they searched using a foreign language and all the Western perspectives they Bags of native materials and modern design made by a community in Pandan learned in school. They were not able to form a vision of our national history. Most of them exhibited values inherited from colonial tutelage. And most of all, they did not seriously take the advice of E. Arsenio Manuel, F. Landa Jocano, and the other leading folklorists and anthropologists to study our myths and legends as sources of information about our original self as a people.” It is for the newer Filipino scholar to discover and recover this vast territory of the national memory. Not three thousand but even thirty thousand years. Beyond and prior to the oft-repeated “300 years of the Spanish convent, fifty years of Hollywood…” but millennia of Bucaneg and other folk epics of the Manobo, , Sama, Tausug, to name a few, a pantheon of divine Bathala, Captan, Kabunyian, Manama, and undiscovered reams of wisdom in salawikain and poetry—while deriving from them the strength and virtues of being Filipino even when the people were not yet called by that name. And the Filipino scholar and researcher, generating important knowledge on his own, would have no reason to complain of the slim and insubstantial chapter on folk literature in our literary history, nor The Panay Bukidnon participated in the fair with their traditional crafts even of a paucity of knowledge of ourselves, our elusive national identity. 28 Agung • Number 1 • January-March 2020 An Anthology of Regional Writings

bod: New Writers Anthology (2016, 374 pages) is an all the regions of the country, all these to enrich national literature. anthology of regional writings in different Philippine But to say that literature of the regions should be confined to the languages and English. Featuring poetry and fiction by regions is a form of cultural dictatorship that has no place in the Ucontemporary writers from all over the Philippines, the book also space of freedom we have gained from revolutions won in the past. contains translations of literary contributions into Filipino or “English and Filipino, surely, have a special place in our national English. The anthology “usually features the life of local Philippine life. They are indispensable particularly as , a vital link languages energized by budding of communication between writers who have started to regional languages. Without create a new literary age,” wrote them we would have Babel. University of the Philippines For this reason, translation of professor Juliet Mallari, one of literary works from the regional the editors and main proponent languages into Tagalog or of the project, in her preface. English should be encouraged. The book is divided in “… If we do not write in accordance to the three island our mother tongues, we end up clusters of the country— developing a literature that is, Luzon, Visayas and Mindanao. at best, a marginal part of quite The Luzon section is divided another community, whose into Northern Luzon (edited concerns are, naturally, not our by Francis and Priscilla own.” Macansantos), Central Luzon He concludes his (edited by Mallari and Dr. introduction thus: “We can Victor Sugbo), and Bikol say with deserving pride that (edited by Kristian Cordero) the harvest from the North while the Visayas (edited by has been rich and varied. From Dr. Victor Sugbo) is divided the Ilocos and the Cordillera into Eastern Visayas (edited come vibrant young voices by Sugbo), all in their mother tongues: and . The Ifugao, , Kankanaey, Mindanao section is edited by Ibaloi and Ilocano—translated Macansantos, Servando Halili, into the lingua franca of their Jr. and Monica Macansantos. choice. The wealth of difference is not simply a static array, of Northern Luzon Writings course. History has visited these The section on northern communities, recent events have Luzon writing includes poetry impinged into them, catalyzing and fiction written in Ilocano, change. The poems and stories Kankanaey, Banao Kalinga, reflect this ferment, and this is Bontok, Ibaloy and Tuwali an indication of literary vigor Ifugao. and promise.” Ubod is a first insofar as the Among the writers publication of contemporary included in the anthology are writing in the Cordillera - and La Trinidad-based languages is concerned. In his introduction to the northern Luzon writers Jaime Agpalo, Scott Saboy, Io Jularbal, Junley Lazaga, collection, Francis Macansantos writes: “It is wise of the cultural Richard Kinnud, Florenda Pedro and Janice Bagawi. agencies of government to fund the development of literatures in the Ubod: New Writers Anthology was launched in City mother tongue. If things work out well, literature would flourish in on June 6, 2016. January-March 2020 • Number 1 • Agung 29

Delegates and student-participants of Bantula: International Conference on National Artist for cinema Kidlat Tahimik and his wife Katrin de Guia Culture-Based Research Culture-Based Research as “Weapon”

By Amadís Ma. Guerrero

e are wanting in research as a particular area of from Asia, Africa and , among these are Ilustrado by culture, so we are providing an area for researches to Miguel Syjuco (Philippines), The White Tiger by Aravind Adiga be heard. There are misconceptions that we would (India) and Death in the Andes by Mario Vargas Llosa (Peru). “Wlike to rectify that culture is not art alone. We hope to compile and He concluded that “the main characters are overrated, over- publish the works discussed here.” The remarks were from Joseph studied. Characters are marginalized. The subalterns are the masses “Sonny” Cristobal, director of the Philippine Cultural Education migrant workers, women and indigenous people. They remain Program (PCEP) of the NCCA, as he opened the NCCA-organized passive or fight back. The masses are oppressed while the oppressors Bantula: International Conference on Culture-Based Research, are politicians (Ilustrado). They may sometimes be more heroic which was held from October 18 to 20, 2019, at the Holy Angel than the protagonists but are naturally less articulate. They are still University (HAU) in Angeles City, Pampanga. victims in postcolonial world.” A surprise speaker in the conference was National Artist for Fr. Ewald Dinter, SVD, spoke on the Mangyans: “Land is film Kidlat Tahimik, whose wife Katrin de Guia, a scholar of the life to them but land is getting scarce due to land-grabbing and indigenous ways of life, was a resource person. Caparisoned in his dispossession, and increase in the population. Mangyans are still trademark traditional Cordilleran attire, the Baguio-based filmmaker waiting for the land use plan of the National Commission on said, “The beautiful cultures in Baguio City, like the Kalinga, Ifugao Indigenous People. Where can they go? What will time leave the are being threatened. Foreign culture is still strong. I am not saying Mangyans? The onslaught of new ideas will continue.” this is bad, but they tried to eliminate our culture.” On the matter of intellectual property and researches, Michael He called for a revival of Cordillera culture: “To this day, Jorge N. Peralta of the University of Santo Tomas said, “Let people use it many Filipino youths still feel native culture is inferior. A lot of our (your researches). Intellectual properties are not worth much unless they practices and beliefs are still there, so why not assimilate these into are used by the public. Machines… according to studies, will replace modern culture? What becomes of our planet if Hollywood films you. Reading, writing will decline by 2022. Intellectual production with their sex and violence push aside these beautiful cultures?” is measured by the number of publications and patents. We need to The filmmaker added, “Besides entertaining, movies are the innovate. We need to have more literary and creative workers.” language of a certain culture.” Jacob Maentz, an American photographer who documented the De Guia, who is German, observed that “you have Captain way of life of the Aytas and other indigenous peoples, said, “Aytas are Marvel, Spiderman, Wonder Woman but you don’t get stories of our close to the land, and Pinatubo is sacred to them. Anthropologists culture. ‘Ati Ku Pu Singsing’ (a popular Pampangan folk song) was say seventy percent of learning is through stories, while psychologists an important song for revolutionaries. The ring was important for say eighty percent of communication is nonverbal. You can say that them. Kapampangan churches are a symbol of European architecture the Bible is a collection of stories. Storytelling is a way of engaging and pre-colonial architecture, with love for translated into people, and we need more (storytellers).” love for the saints.” He added, “I have a great relationship with the indigenous Dr. James M. Fajarito of HAU studied contemporary novels people, and they tell me their stories.”

Amadis Ma. Guerrero is an author, short story writer and culture and travel journalist. He has been awarded by the Don Carlos Palanca Memorial Awards for Literature and the Manila Critics Circle. His short stories have been translated into Filipino, German and Czech. He contributes regularly to The Philippine Daily Inquirer. 30 Agung • Number 1 • January-March 2020

Spoliarium is one of the highlights of the National Museum of Fine Arts. Juan Luna painted what is now regarded as his most famous work from July 1883 to March 1884 while he was in Rome as a scholar of the Ayuntamiento de Manila. Measuring 4.26 meters high and 7.72 meters long, the grand painting was inspired by Louis Charles Dezobry’s book, Rome au siècle d’Auguste, ou Voyage d’un Gaulois à Rome à l’époque du règne d’Auguste et pendant une partie du règne de Tibère (1835), and depicts the barbarism of the despoiling of dead gladiators in a Roman circus. It won the first gold medal, out of three, at the Exposición Nacional de Bellas Artes in Madrid, Spain, in 1884. Miss Universe 2018 and NCCA Ambassador for the Arts Catriona Gray (middle) with NCCA chairman Arsenio “Nick” Lizaso (right) /Photo by Paul Sugano n occasion of NCCA’s celebration of National Arts Month (NAM) in February, the cultural agency chose Miss Universe 2018 Catriona Gray as its new IAmbassador for the Arts not only to promote NAM events but also to help spread awareness on Philippine culture and the arts. Prior to winning the Miss Universe crown in 2018, the Filipino-Australian model and singer competed at the 2016, becoming one of the top five finalists. Born in Cairns, Queensland, to an Australian father of Scottish descent, Ian Gray, and a Filipina mother, Normita Ragas Magnayon, from Oas, , Gray attended Berklee College of Music in Boston, Massachusetts and later earned a master certificate in Music Theory. She is currently working closely with Young Focus Philippines, an education-based, nonprofit organization, which supports free education mainly for the children of Tondo, Manila. She also works for international charitable cause, Smile Train, a nonprofit organization of and charity providing corrective surgery for children with cleft lips and palates. She is also actively supporting free testing, education, and treatment on AIDS/HIV. Gray feels honored being an NCCA Ambassador for the Arts as promoting culture and arts becomes one of her advocacies. Upon being chosen as endorser, she commented: “I believe artists always create with Portraits intention. And in my pursuit to conquer my universe and to achieve my dream, I sought to take the opportunity to celebrate our national Philippine heritage, art, history, textiles, music and dance to bring forth a new-found interest in Philippine arts to the younger generation. It brings me great pride to continue sharing our unique, Filipino heritage in the arts to my universal platform as Catriona it has become my advocacy, aside from advocating for education and HIV/AIDS, to love of country.” Gray

Gray with NCCA secretariat officials and management committee members Annie Luis, Charles Salazar, Ferdinand Isleta, deputy executive director Marichu Tellano, chairman Lizaso, supervising officer for Administration Bernan Joseph R. Corpuz, Renee Talavera and Rene Sanchez Napeñas and Jayson Sarmiento of the talent agency Cornerstone Entertainment /Photo by Paul Sugano January-March 2020 • Number 1 • Agung 31

of Portraits Catriona Gray

Photo by Charisma Lico At the National Museum of Fine Arts, Manila 32 Agung • Number 1 • January-March 2020

Art is a way of expressing where simple words my fail. The arts give our human experiences a “ medium that have the ability to surpass borders of language and is the materialization of creativity. Without the arts, I think we’d have a hard time connecting and expressing all the joys and challenges of what it means to be human.”

Photo by Paul Sugano At NCCA Building, Intramuros, Manila January-March 2020 • Number 1 • Agung 33

My appreciation for arts is not something I can really attribute to“ a single thing, but perhaps it runs in my blood. On my father’s side, my grandmother was a painter and my grandfather a self-taught violinist. Also, I always love listening to music of all genres growing up, and that eventually led to my participation in my school choir from Grade 3 onwards. I also naturally gravitate towards painting and sketching. I feel a personal connection to the arts as a form of self expression and storytelling, and I guess that’s why until now, I have a great appreciation for the arts. ”

Photo by Charisma Lico At the National Museum of Fine Arts, Manila 34 Agung • Number 1 • January-March 2020

The arts express and also allow us to tell and to preserve stories of human experiences, and our Filipino heritage, which sets us apart. Our identity lies in our heritage, in our stories and arts. It would be a grave injustice “ for us to lose the very essence of who we are as a people. This is why we need to constantly shine the spotlight on our arts and heritage.”

Photo by Charisma Lico At the National Museum of Fine Arts, Manila January-March 2020 • Number 1 • Agung 35

Photo by Charisma Lico Fashion by Jearson Demavivas At Puerta Real Garden, Intramuros, Manila 36 Agung • Number 1 • January-March 2020

The Old Senate Session Hall of the National Museum of Fine Arts at the Old Legislative Building now houses National Artist Carlos “Botong” V. Francisco’s monumental work, Filipino Struggles Through History, also known as History of Manila, a series of paintings commissioned from 1962 to 1971 by then Manila mayor Antonio J. Villegas for the Manila City Hall, where it was first installed at the Bulwagang Katipunan. January-March 2020 • Number 1 • Agung 37

I will forever raise our flag and use my platforms and voice to elevate and shine a spotlight on Filipino arts and culture, not “ because I was a Miss Philippines but because I am a Filipino.”

Photo by Charisma Lico At the National Museum of Fine Arts, Manila 38 Agung • Number 1 • January-March 2020

n celebration of the National Indigenous Peoples’ Month in October and the year 2019 as International Year of the Indigenous Languages, as declared by the United Nations, Katutubo Exchange IPhilippines, a volunteer cultural organization, founded and headed by Dr. Edwin V. Antonio, held its seventh annual program Katutubo Exchange in the province of Maguindanao from October 10 to 13, 2019, supported by Mindanao’s academic institutions and local government units and the NCCA through its outreach program. The 2019 Katutubo Exchange carried the theme “Preservation of Indigenous Culture and Languages Towards Sustainable Cultural Development,” and showcased indigenous performances including dances, songs and chants. It also conducted a cultural education campaign which focused on indigenous languages. The delegation shared some of their indigenous words to the locals of Maguindanao and highlighted the script, ambahan and pasangay of the Mangyan Katutubo Exchange delegation at the Grand Mosque in and excerpts from hudhud of the Ifugao and the darangen of the safe and enjoyable to explore and had observed that the tri-people, Meranaw, both included in the UNESCO Representative List of the namely, , Moro and Christian people co-exist in harmony.” Intangible Cultural Heritage of Humanity. A forum on lumad and Moro culture, entitled “Kambityala,” was Participating communities and individuals who have shared conducted as an opening program, hosted by the city government of their indigenous cultures and traditions and contributed to the Cotabato. Members of the Teduray and Maguindanao communities success to Katutubo Exchange were Margarita Balansi and Allen attended to share their cultures to the delegates. They, too, were in Gumaad of the Ga’dang community of ; Rosita turn surprised to learn the cultures of the IPs from Luzon. Montajes and Jhay Ar Mararac of the Buhid Mangyan of Occidental The delegation had the opportunity to visit for the first time the ; Dareen Grace Bogbog and Dim Murille Lunag of the Grand Mosque as well as the Pink Mosque in Datu Saudi. They paid Ifugao of Ifugao; Glen Andreigh Senio of the Ibaloy of Benguet; a courtesy visit at the Municipal Hall of Datu Odin Sinsuat, where Husnie Abdul Malik of the Meranaw of ; Abdulfarid they tasted some local snacks such as tinumis, komokonsi, bulibid Guinomla of the Maguindanao of Maguindanao; George Kimboy and others. “Kalimudan,” an interactive seminar and a showcase of the Iranun of Maguindanao; and Maricel Salinda-Kasaligan and of Philippine indigenous performances, was held at the Mindanao A Celebration of Cultural Diversity in Maguindanao

Kemuel Kasaligan of the Blaan of . State University in the same town. Various Maguindanao dances Dr Antonio related that “it’s the second time of Katutubo were shown to the delegation. Similar activity was conducted at the Exchange in Mindanao but this time around the local folks were Cotabato City State Polytechnic College, where students had a great truly amazed and appreciative to see in person the indigenous time dancing with the Luzon delegates. peoples wearing loincloth or bahag that they only see in books Celebrating National Museums and Galleries Month, the and on the internet. Despite some fears of the delegates to be in delegates had the chance to see and visit the Bangsamoro Museum, Maguindanao, they have proven during the program that it was very managed by the Bureau of Cultural Heritage, where local musical

The Katutubo Exchange delegation, headed by Dr. Antonio, with the Teduray The delegation of the seventh Katutubo Exchange with KX founder Dr. Edwin community in the town of Upi, Maguindanao, during the “Selimud-limud” Antonio (center) at the Office of the Bangsamoro People in Cotabato City celebration and closing ceremony January-March 2020 • Number 1 • Agung 39

Katutubo Exchange delegation’s visit to the Bangsamoro Museum in Cotabato City in celebration of the National Museums and Galleries Month A Celebration of Cultural Diversity in Maguindanao

instruments, traditional attires and other artefacts were exhibited. A municipality of Upi, headed by mayor Ramon Piang. The delegates short program was conducted with presentation of some indigenous were welcomed at the municipal gymnasium with a walk through performances by the delegates who were later treated with local a stretch of handwoven mat with pillows at the venue, a Teduray snacks such as tinadtag, dudol, bulwa and apa. tradition symbolizing the open arms and hearts of the local people Concluding with the cultural exchange program, a closing for their guests. A spectacle of traditional performances of dances, ceremony, entitled “Selimud-limud,” a community celebration musical instruments, chants and songs were presented, and the of indigenous culture with the Teduray, was hosted by the event was capped with a sumptuous lunch.

Introduction of Gad’ang culture to the Teduray community with Margarita Ibaloy youth delegate Glen Andreigh Senio teaches the Teduray people the Balansi being interviewed by Dr. Antonio while Allen Gumaad demonstrates Ibaloy traditional dance or tayaw wearing of the traditional attire 40 Agung • Number 1 • January-March 2020

Pulled by Punnuk January-March 2020 • Number 1 • Agung 41

An Ifugao POST-harvest Ritual in Hungduan Pulled by PunnukText and photos by Roel Hoang Manipon

The punnuk tug-of-war game and ritual is the culmination of the Ifugao harvest ritual huwah. Instead of a rope, locals use a long piece of tree, usually the attoba, with a hook at one end, called pakkid. The punnuk, together other East Asian tug-of-war rituals and games, is inscribed in the UNESCO Representative List of Intangible Cultural Heritage of Humanity. he terraced rice fields were increasingly becoming a patchwork of tan, sepia and chocolate colors, shattered by bristling green which was slowly turning to buff, in the barangay of Hapao at Tthe southern part of Hungduan, a town in the northwest part of the province of Ifugao. It was August 2019, a time of harvest. The big house of the Uyammi family, a handsome and modern stucture enveloped with semi-riprap walls, faced the fields, fringed by a stretch of hills that appeared like undulating dark green shadows from afar and when shrouded by the mist. In front of the house was a small hut, the traditional granary of the Ifugao people, now filled with newly harvested rice. The harvest—little, aureate hillocks of a rice variety called tino-on, or tinawon, which literally means “yearly” because it can only be harvested once a year—was guarded by a pair of black, wooden , the bulol, the guardian of the grains. The Uyammi family is considered a dumupag or kadangyan, the landed and wealthy class in traditional Ifugao society. Ifugao children playing in the rice paddies “Kung sa ating mga Filipino…may mga levels din po tayo. May mga indios, may mga ganoon, may mga maharlika. Sa amin din po sa mga Ifugao, mayroon ‘yun noon. Actually, ‘yung mga kadangyan noon ay tinatawag naming…mga wadwadaan. Wadwadaan, meaning they are landowners of a big land (Like other Filipinos, we also have levels. There were indios, maharlika, like those. We Ifugao also have those. The kadangyan is also called wadwadaan, which means they are landowners of a big land),” explained Jeremiah Ipan, a twenty- four-year-old councilor of Hapao. “Kasi noon…wala kasi sa metro- metro ang pagbibigayan ng mga lupa sa mga anak. Pumunta lang kayo sa pinakamataas na banda ng bundok, then ‘yung tatay mo sabihin lang sa ‘yo, itong parte na ‘to sa ‘yo ‘yan, anak. Ikaw namang pangalawa, parteng ‘yan, sa ‘yo ‘yan. Ganoon lang ang hatian noon. ‘Yung mga wala The nunhipukanan of the Hapao River is the traditional site of the punnuk namang lupa na nakiki-cultivate lang ng lupa, sila lang ‘yung mama- idan…So doon nasusukat ‘yung level noon. Kaya ‘yung mga dumupag, The harvested rice inside the grain store house with guardians of the grain. The they are considered as sa Tagalog maharlika or wadwadaan. In other rice variety cultivated here is called tino-on (sometimes spelled tinawon), which term, kadangyan. Kasi sila ‘yung mga landowner na…hindi naman literally means “yearly,” because it can only be harvested once a year. Most of the rice has been harvested in the terraced rice fields of Hapao, Hungduan in the province of Ifugao, northern Luzon Island. The harvest season is concluded with the ritual huwah sila ‘yung mga nag-cucultivate talaga sa lupa kasi mayroon na nga silang “Ang dumupag, kasi sa amin, bihira lang ‘yung nakarating sa mga tauhan, ‘di ba? (Before, we did not measure land by the meter when it ganoong posisyon. Kungbaga…sila ‘yung mga datu. So, iilan lang ang came to partition for the children. They would go to the highest point nakaka-reach ng pagka-datu or pagiging kadangyan. Kaya sila ‘yung of a mountain, and the father would say to his child this part is for mga tinitingala ng mga tao noon…Sa Ifugao culture kasi wala silang you, and you, second child, this part is for you. That was how land was government noon. So ang government nila noon is kung sino ‘yung partitioned. Those without land, they cultivate other’s land. They are maharlika or someone like kadangyan. Sila ‘yung namumuno sa isang the mama-idan. So that was how they determine the social level before. lugar. So, parang sila ‘yung mga pinapaniwalaan. Sila ‘yung sinusunod The dumupag, they are the equivalent of the Tagalog maharlika, the (In our culture, attaining the position of dumupag is rare. They are like wadwadaan. In another term, kadangyan. They are the landowners. the datu. So, only few reached the status of being a datu or kadangyan. They did not cultivate their own lands but they have workers).” People looked up to them then. In Ifugao culture, there were no The Uyammi household was bustling, and relatives came as far government. So the closest thing to government was the maharlika or as from abroad, their children frolicking in the fields, some dressed the kadangyan. They were the ones who led in a place. They were the in traditional attire, connecting to their roots. It was the time of a ones who were believed and followed),” Ipan explained. festive post-harvest tradition, the huwah, sometimes spelled as hwah He added: “Sila rin lang ‘yung may mga karapatang magmay-ari ng and huowah. mga hagabi. ‘Yung ang hagabi hindi puwedeng basta putol lang ng kahoy. Usually held in June, July or August, the huwah seems to be May mga ritwal ‘yan. At simbolo kasi ng mga ritwal noon ang pagkatay present only in the municipality of Hungduan, particularly in the ng baboy. Hindi basta-basta. Kasi ang pagkatay ng baboy…meaning, Tuwali Ifugao villages of Hapao, Baang and Nungulunan. Ipan isa kang mayaman. Ang manok noon…nandoon ka sa middle class. Sa remembered his elders saying that the ritual was also practiced in the atin kasi ngayon, puwede kang magkatay ng baboy, ganyan-ganyan…Kasi villages of Bokiawan and Lubo-ong, but eventually vanished. may mga ritwal po na ginagawa noon [like] katayan ng baboy. So parang The huwah is divided into three stages of rituals—the baki, ‘yun ‘yung sukatan noon, kung ano ba ‘yung mayroon ‘yung isang pamilya. ancestral and divination rite; the inum, the partaking of sacrificial So, ang dumupag ngayon, sila ‘yung mga nakarating sa pinakamataas na food and drink, the rice wine called bayah; and the punnuk, the stage…Bago mo sabihin mayaman ang isang tao, kailangan niyang ipakita culminating tug-of-war, a game as well as ritual. dito sa komunidad (They were also the one who had the right to own Under the Uyammi’s granary, which was a small hut standing on hagabi. In making the hagabi, trees are not just cut down. There are stilts, a mat was laid out and jars of bayah and trays of freshly cooked rituals involved. An important part of the ritual is the slaughter of the rice were prepared for the baki. The dumupag of a village traditionally pig, which is not a simple thing because you have to be wealthy to afford hosts and sponsors the baki and inum. a pig to be slaughtered. The chicken was for the middle class. Now, it is 44 Agung • Number 1 • January-March 2020

After the ritual slaughter of the chickens, the mumbaki saw that their blood augured well and went to an open area to chant, signifying the end of the The mumbaki performs a baki ritual, also part of the huwah, a declaration of the baki and that a punnuk can be held tomorrow. One of the men seconded by conclusion of harvest, which concludes in the punnuk. He will divine through the announcing to the whole community about the punnuk tomorrow, by perching sacrificial chicken’s gallbladder if it is good to hold the punnuk the following day. on a high place and shouting. This will be repeated at another place or house.

just ordinary to slaughter a pig…Then, there are rituals involved the So, the mumbaki first seek the approval of the one above if he accepts slaughter of a pig. That was how the wealth of a family is gauged. The our offerings and if we are allowed to do the punnuk the coming day. dumapag are the ones who had attained the highest level…Before one So, the ritual is performed in preparation. If you notice the chickens can say that he is wealthy, he has to show it to the community).” and the rice wine that have been laid out, they are the first offerings).” An old man appeared among the quivering rice stalks as if He further explained: “Noong binuksan ‘yung manok, noon emerging from the dark hills themselves, now blurred by the softly tiningnan kung mayroon ba ‘yung apdo or lumabas ba ‘yung apdo doon descending mist. Said to be more than eighty years old, Bandao sa pagitan ng puso. Noong nakita nila na maganda naman at medyo Atolba was one of the few mumbakis, Ifugao ritual specialists or lumabas ‘yung apdo, meaning to say, tinatanggap ng nasa itaas ‘yung shamans, left in the area. He gingerly made his way under the aming offerings para sa kanila. Kaya ayun, tuloy na tuloy ang punnuk. granary, and the baki began, declaring the conclusion of harvest. Kung hindi ‘yun tinanggap, meaning may kulang. Kulang pa ‘yung Atolba chanted and took sips of bayah in between. Chickens offerings, so kailangan pang magkatay nang magkatay hanggang were slaughtered and sliced open. The mumbaki looked at the darating ‘yung point na talagang lumabas or makita nila ‘yung apdo, gallbladder and the bile, and he said that they augured favorably. meaning pinapahintulutan na kaming gawin ‘yung ritwal or the “Before we were…Christian…we believed in many gods. So ang tugging ritual kinabukasan (When the chicken was cut open, he sa aming mga Ifugao ay kay Kabunyan (Before we were…Christian… looked at the gallbladder, if it appeared between the heart. When we believed in many gods. For us Ifugao, it’s Kabunyan),” Ipan said. they saw that it was good and the gallbladder emerged, that meant “So parang kailangan na muna naming ipahintulot sa kanya kung maari our offerings are accepted by the ones above. Thus, the punnuk na ba naming gawin ang punnuk. Kasi ang meaning naman ng punnuk will proceed. If they are not accepted, it means there is something is a celebration after harvest. So, parang hihingi muna ng permiso ang lacking. The offerings are not sufficient so we need to slaughter mumbaki doon sa itaas kung tanggap ba nila ang offerings namin or more until it comes to the point that the gallbladder will emerge, pinapahintulutan ba kami gawin ang punnuk sa darating na araw. So which means we are allowed to do the tugging ritual tomorrow).” ‘yun po, ginawa ‘yung mga ritwal in preparation. Kung napansin niyo After approval was seen in the chicken, the mumbaki went to an po, may mga manok, may mga bayah na inihain. Kasi ‘yun po ‘yung mga open area to chant, signifying the end of the baki and that a punnuk parang first offerings (We need to ask permission from him if we can can be held tomorrow. One of the men who attended the ritual hold the punnuk. The meaning of punnuk is celebration after harvest. perched on an elevated place and shouted to announce to the whole January-March 2020 • Number 1 • Agung 45

The mumbaki, Ifugao ritual specialist or shaman, Bandao Atolba, who is said to be more than eighty years old 46 Agung • Number 1 • January-March 2020

The hook of the pakkid to be used in punnuk

National Artist for cinema Kidlat Tahimik participates in the baki ritual The barangay captain of Hapao prepares his barangay’s pakkid, attaching a sheaf of dongla leaves at one end, for the punnuk in which three barangays— Hapao, Baang and Nungulunan—participate at the Hapao River.

community that the punnuk will proceed tomorrow. This would be repeated at another place or house. Then, the inum immediately followed. The sacrificial chickens were cooked with water and salt, to partaken with the rice. Norma A. Respicio, professor emeritus of the Department of Art Studies of the University of the Philippines who have been studying the punnuk, wrote: “After the baki, three jars of varying sizes containing rice wine (prepared by the dumupag) are brought to the ritual area for the inum. Between chanted prayers, the mumbaki opens each jar. After he takes the first sip of the finest wine from the small jar, others are then allowed to partake of the wine from the large jar. Slaughtering the chickens in the baki ritual Shouts of revelry signal to the rest of the community to open their other people so that when they get home they will inform and enjoin own jar of rice wine and join the night-long booze of merrymaking their companions about the event tomorrow).” before the following day’s punnuk.” (“Punnuk: Unwinding After the Once relatively unknown in the country, punnuk came to national Harvest, the Tugging Ritual in the Philippines,” in Tugging Rituals and international attention when the punnuk was inscribed in 2015 in and Games: A Common Element, Diverse Approaches, published by the UNESCO (United Nations Educational, Scientific and Cultural International Information and Networking Centre for Intangible Organization) Representative List of Intangible Cultural Heritage Cultural Heritage in the Asia-Pacific Region under the auspices of of Humanity, together with other tugging rituals and games of rice- UNESCO and Dangjin City; 2019, South Korea) cultivating cultures in East Asia— the juldarigi in South Korea; the teanh The mumbaki took his leave and proceeded to another house for prot in Cambodia; and keo co, nhanh vai, so vai, or na bai in Vietnam. another rounds of bayah. The inum is celebratory and also a way of The following day, August 10, 2019, was the day of the punnuk socializing and disseminating news, according to Ipan. of the three villages in the area of the Hapao rice terraces, which are “Kasi nga mag-iinuman tayo para ba ipaalam sa kanila na bukas na part of the Cordilleran rice terraces inscribed in the UNESCO World gaganapin ‘yung punnuk (We drink to let them know that the punnuk Heritage site list. will happen tomorrow),” he said. “Kasi kumbaga kung mag-isa mo In Hapao, preparations had begun. The barangay captain, Ramon lang ginawa ‘yung ritwal, paano malalaman ng mga nasa komunidad Gayyadang, brought their pakid, a long piece of wood used in the tug- na bukas na ang punnuk? So, kailangan mong magtawag para sila of-war instead of the usual rope. Made from the attoba (Callicarpa mismo pag-uwi nila, magtatawag din sila ng mga companion or mga formosana) tree, belonging to the beautyberry genus, said to have a very kasama para bukas (If you drink alone, how will the community resilient wood, the pakid is cut and trimmed to form a hook at one know that the punnuk will happen tomorrow? So, you need to enjoin end. A sheaf of dong-a (Cordyline fructicosa) or palm lily leaves, streaked January-March 2020 • Number 1 • Agung 47

Delivering the kina-ag to the site of the punnuk

parang ide-determine kung ikaw, sa inyo ba ngayon kayo ngayon ang may pinakamagandang ani or kayo ba pinakasuwerte…Ganoon lang ‘yung ibig-sabihin ng kina-ag—it’s a representation of also kayamanan ng isang komunidad (The kina-ag is like a way of determining if you The kina-ag of the barangay of Baang. Traditionally made of dagami or dried have a good harvest or you are the most fortunate. That is what the rice straws, the kina-ag is thrown to the river after the punnuk to make known kina-ag means. It’s also a representation of a community’s wealth).” to other people that a punnuk has concluded. As soon as the teams were all at the nunhipukana, they taunted with red and green, was attached to another end of the pakid. and teased their opponents, adding to the merriment of the event. With their pakid, the three village teams hiked to Hapao River, Many men were still drunk from bayah and became rowdy or playful. particularly at the nunhipukana part, the confluence of the Hapao and To play the game, one group’s pakid was linked to their opponent’s. the Baang-Nungulunan rivers. Hapao descended from the east, Baang The kina-ag was placed in the middle. The rushing water seemed to from the southwest, and Nungulunan from the west, converging at rage as the men pulled with brute strength. The team which got the the river, waving sheafs of dong-a, each team having their own areas kina-ag won. The team from Hapao emerged victorious. There were by the river, almost inundating the dominant colors of green, gray and also categories for women, young girls and boys, a recent development. brown of the place with white, black and intense red, the dominant After the games, the kina-ag was thrown into the river, carried colors of their traditional attires. Each team had their own kina-ag, by the swift currents. This is said to inform other people in other as if a mascot, an object with humanlike figure traditionally made of areas that a punnuk has concluded. The kina-ag would reach to dagami or dried rice straws tied with a vine called itlig. “where the water ends” and Binongbong, the rice deity. It would “Actually, it’s not a form of a human, not a form of monkey let him know that a punnuk has ended and he would bless the land. pero basta kina-ag. Wala siyang nirerepresenta kasi ‘yun ‘yung sabi sa amin According to Monaliza Uyammi Bimuyag, a member of the ng mga ninuno.... Actually before, kailangan naming mag-meeting. kadangyan Uyammi, the flowing water washes away bad fortune, Ano ba talaga ‘yang formation ng kina-ag? Sabi nila, wala namang… even for those not participating in the tug-of-war. Visitors are hindi naman kailangan talagang lima ang kamay ng kina-ag or encouraged to bathe or wade into the water on punnuk day. magmukha siyang ka-ag. Ang ka-ag kasi is a monkey sa amin. Ang kina- According to Ipan, “Kapag hinagis na ‘yan sa ilog…nagpapahiwatig ag or somewhat like tao, hindi naman kailangang ganoon siya tingnan na tapos na, tapos na ang punnuk, at isa pa, puwede nang kumain ng (Actually, it’s not a form of a human, not a form of monkey but just malalansa ang komunidad. Kasi during harvest time…mga one month kina-ag. According to our ancestors, it does not represent anything. and a half…hindi mo puwedeng hulihin [ang mga isda] at hindi ka Actually before, we had a meeting to determine what really is the puwedeng mag-ulam….It’s a taboo na ‘pag kinain mo ‘yun magkakaroon shape of the kina-ag. They said nothing in particular. The kina-ag ng ganito, ganyan so bawal silang kumain ng malalansa. Pati ‘yung mga does not need to have five fingers in its hand or it has to look like a nakukuha sa mga palayan. Bawal silang mag-ulam up until time na ka-ag. Ka-ag means ‘monkey.’ The kina-ag may look human but it ‘pag inanod na ‘yung kina-ag parang meaning, ayun na. Tapos, puwede does not need to be that way),” Ipan explained. “Ang kina-ag kasi… na kayong kumain; naanod na lahat ng malas (If the kina-ag is thrown 48 Agung • Number 1 • January-March 2020

The women of Baang arrive at the banks of Hapao River for the culmination of the Ifugao harvest ritual huwah, the punnuk

The women’s turn to participate in the punnuk into the river, it means the punnuk has ended. Also, it also signifies that the community can now eat fishy food. During harvest time, about one month and a half, you cannot catch fish and eat fish. It’s taboo. If you break it, you may contract something. So, it is forbidden to eat something fishy, even those caught in the fields, until the time when the kina-ag is carried away by the river. That means it is okay to eat forbidden things, the bad luck has been washed away).” Although it is believed that winners will have good harvest in the next planting season, he said that winning is not important in punnuk. “Ang sinisimbolo n’un kasiyahan. So kung manalo o matalo, ang importante nandoon ka. Kasi ang pinaka-importante nga kailangan mong sumasawsaw sa tubig para matanggal kung ano man mga malas mo, mga hindi na magandang nangyari during your harvest or ‘yung pagtanim palang, para rin sa susunod mabiyayayaan ka rin lang (Punnuk means celebration. Whether you lose or win, what is important is that you were there. The most important thing is wading into the water to cleanse the bad luck, the bad things that happened to you during harvest and planting. So that you will blessed the next time).” Respicio wrote: “As a whole, the punnuk ritual is a time for the men and women of Hapao, Baang, and Nungulunan, who toil in the fields to relax and enjoy themselves after months of agricultural Young boys also have a chance to join the punnuk labor, to wash away hardships and frustrations, freshen up, and Research and Exchange Program, co-organized with the NCCA and recharged before the next agricultural cycle begins.” with the support of the Ifugao provincial government, Hungduan local government, Korea’s Dangjin City, and the Cultural Heritage Visit of Korean Juldarigi Practitioners Administration of the Republic of Korea. The 2019 huwah was made more momentous with special visitors The visiting juldarigi practitioners from Dangjin City included from South Korea—practitioners of the Korean tugging ritual, juldarigi, Koo Ja Dong, Won Chang Jae, Kim Gap Sun, An Bon Hwan, Kim which was inscribed in the UNESCO list together with punnuk. Byung Jae, Kim Yeong Su, and Koo Eun Mo, all mature men and The delegation was brought by the International Information members of the safeguarding association of Gijisi. and Networking Centre for Intangible Cultural Heritage in the Asia- The program and workshop, which was held on August 11 at the Pacific Region under the auspices of UNESCO (ICHCAP), which is Hapao Elementary School, aimed to afford practitioners of the two based in Jeonju, South Korea, for the Korea-Philippines Tug of War countries to experience each other’s traditions and to enable experts to January-March 2020 • Number 1 • Agung 49

The three competing barangays of the punnuk tug-of-war game and ritual converge at the Hapao River—Hapao at right, Nungulunan at left and Baang in the foreground. Before the game begins, they hector each other in a good-natured way. observe the practice and to conduct field survey and data collection. It The tug-of-war itself normally lasts three hours, participated in was also in preparation for the celebration of the fifth anniversary of by hundreds of people. the UNESCO inscription of their traditions next year. Aside from being a ritual to ask for abundance, the tug-of-war This “networking opportunity for local practitioners and is also done in the spirit of fun, play and competition. After the communities will contribute to enlightening the importance of game, practitioners dance, and merriment ensues. It also strengthens the element and raising awareness on safeguarding it,” according social unity. It has become very large event, attended by numerous to Weonmo Park, director of the Office of Cooperation and teams carrying their own flags. Networking of ICHCAP. Heo observed the punnuk and said that he was moved by what Park shared his report, “International Cooperation and Multi- he had learned. National Nomination for the Safeguarding of Tugging Rituals and Respicio noted that the punnuk is a celebration of the harvest Games in Asia.” The rest of program consisted of the showing of a short season as well as of the whole year, from the planting to harvest, documentary on the tugging games and rituals; lectures on punnuk serving as a climax of the whole agricultural season. She has by Resipicio and juldarigi by Yongho Heo, professor at the Korea observed the practice in mid-1970s and was struck by the colors of National University of the Arts; a small exhibit of photographs of the the event—the bright green of the surroundings clashing with the juldarigi; talks on the practice of punnuk by locals; and an interactive bright red of the attires—which she described as “astounding.” In demonstration of the juldarigi. National Artist for cinema, Kidlat early 1980s, she learned that it could have been discontinued and Tahimik who has embraced Cordilleran culture for many years now and surmised that the reason may be political. In late 1980s, the practice who observed the huwah the previous days, also joined the program. came back, and she observed that the political and social climate was Heo introduced the audience to Korea’s tug-of-war, juldarigi, conducive enough for it to continue. which is being practiced in 161 agricultural regions, mostly in Respicio also mentioned safeguarding measures for the punnuk the agricultural areas of the southern part of South Korea. Those including the continued protection of watersheds and maintenance inscribed in the UNESCO list includes the Youngsan juldarigi, irrigation canals; a program for mumbaki that includes mechanisms Gijisi juldarigi, Samcheok gijuldarigi, Gamnae gejuldarigi, Uiryeong for the transfer of knowledge such as apprenticeship; the raising keunjulttaenggigi and Namhae Seonju julkkeutgi. of pigs and chicken, which are important to the rituals; research Aside from being a thanksgiving event, it is also practiced and propagation of traditional rice varieties; promotion and in special cases such as droughts and epidemics and during fairs, documentation of the rituals; as well as informed tourism programs. traditional festival days and holidays. The 2019 punnuk was said to be the twenty-second year since Three types of rope are used in the juldarigi, mostly made of its revival. For Bimuyag, the punnuk did not really vanished. She straw—the single rope, the double rope and the crab-shaped rope. said her family has always hosted the baki and the inum and has There also the “male” rope, which has no loop at one end, and the always made declarations that a punnuk can held the following day. female rope, which has a loop or a “hole.” The rope is created with But for several years, people did not go to the river for the punnuk. small ropes until it becomes humongous, measuring about 200 But the huwah has been continuously practiced. meters and weighing about twenty tons. Ipan remembered observing the huwah as a child: “Mga bata pa 50 Agung • Number 1 • January-March 2020

Juldagiri practitioners from Gijisi, Dangjin City, South Korea

Hungduan locals try the juldagiri at the workshop at Hapao Elementary School ako, actually mga Grade 2 palang ako nandito na ako….Siyempre noong bata pa ako, hindi ko pa [alam], ano kaya ginagawa ng mga ninuno ko or mga taga-dito, but as I grow up parang na-engganyo rin ako. That’s By Weonmo Park why gustong-gusto ko na sumasali ako sa mga ganitong kultura namin ug-of-war is a universal cultural phenomenon all around the world. Especially in Asia, tug-of- kasi that’s how it proves who you are and what you do and how are war is related to rice farming and thus commonly found in the farming cultures of Northeast and you going to transfer this culture to the next generation (Since I was in TSoutheast Asia. As practiced in Asia, tug-of-war is performed either as a prayer for rain or as a sign of good harvest, or to foretell whether the year’s harvest will be good or bad. Tugging wars have Grade 2, I was already participating in the punnuk. Of course, when similarities including the rules by which two teams pull at the opposite ends of a rope. They have also you are a child, you don’t know what they are doing, but as I grew up, distinctness, individuality and creativity interacting with the climate or environment, making tug-of- I became more engaged. I really like participating in activities of our war worth preserving as a common element of intangible cultural heritage of Asia. own culture. That’s how it proves who you are and what you do and Recognizing the universality and distinctness of tug-of-war traditions in Asia, Cambodia, Korea, how are you going to transfer this culture to the next generation).” the Philippines and Vietnam prepared a multi-national nomination of tugging rituals and games to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity through mutual Veronica Pocdihon, a teacher of Hapao Elementary School, communications and meetings. On behalf of the four countries, Korea submitted the nomination to the has also experienced huwah and punnuk since she was a child, Convention Secretariat on March 31, 2014. The nomination was eventually recognized on December 2, emphasizing that it is performed as a thanksgiving after the rice 2015. The nomination and inscription process is briefly explained below. harvest. During the program, she spoke about the meanings of some 1) Identification of the tug-of-war element aspects of the game ritual such as the throwing of the kina-ag to the In October 2012, ICHCAP and the Ministry of Education and Culture of the Republic of Indonesia flowing water. She said that she has been teaching the practice to her jointly organized the first Sub-regional Network Meeting on the Safeguarding of Intangible students so they can continue the tradition. Cultural Heritage in Jakarta. During the meeting, ICHCAP held a session to identify the current state of tug- Ipan added: “Ang kagandahan naman sa mga bisita is nilalagay of-war practices in Southeast Asian countries through which the possibility of a multi-national nomination nila sa libro. Pero sa mga kabataan, kailangan mo talagang sabihin sa of the heritage was discussed. As a result, ICHCAP found that there were various types of tug-of-war in many countries, and Cambodia, Philippines and Vietnam expressed their intention to participate. kanila ganito-ganyan…kami ngayon ginagawa namin ‘to. Kailangan mo lang silang i-educate—ano bang ‘yung kagandahan nito? Bakit ba natin 2) Investigation of the current state of tug-of-war practices ginagawa nito? Kaya nga pumupunta kami sa punnuk para tanggalin ICHCAP investigated the current state of traditional tug-of-war in Southeast Asia for three months ‘yung mga malas, ‘yung mga hindi magandang biyaya na nagawa sa from late 2012 to early 2013, sponsored by the city of Dangjin, Korea. Cambodia, the Philippines, and mga palayan ngayon. So, kailangan mo lang ipaalam sa kanila ano ba Vietnam participated in the study. Consequently, important cases related to farming rituals were discovered. Cambodia (Ministry of Culture and Fine Art, Royal University of Fine Art), Philippines (National Commission talaga ang kagandahan, bakit ganito. It’s not just because it is being for Culture and the Arts), and Vietnam (Vietnam Institute of Culture and Arts Studies, VICAS) carried out local recognized by other people pero ugali natin ‘to eh. So kung kayo man, field research and submitted reports and related photo materials to ICHCAP. huwag niyong hintayin pa na mamalasin din kayo sa palayan bago niyo ma-realize ulit kung anong ka-importantehan nito. Kailangan tuloy-tuloy 3) The 2013 international symposium on tug-of-war ‘yan at dapat sinasapuso niyo kung ano ‘yung ginagawa niyo, ginagawa The research findings on tug-of-war in Cambodia, the Philippines and Vietnam were presented at the International Symposium on Traditional Tugging Rituals and Games in East Asia in April 2013 in ng mga ninuno niyo (It is good that the visitors have recorded this in Dangjin (co-hosted by ICHCAP and Dangjin). The symposium also featured reports on the current state books. For the youth here, you need to tell them about it. You need to of the safeguarding of traditional tug-of-war in Japan (Tokyo National Research Institute for Cultural educate them about its beauty, why it is being practiced. We do this to Properties). The city of Dangjin issued the Dangjin Proclamation at the reception for the symposium, get rid of bad luck, the unfortunate things that happened. You need promising to actively promote the safeguarding of traditional tug-of-war in Asia. to make them aware of its importance. It’s not just because it is being 4) Information session prior for multi-national nomination recognized by other people but because this is our custom. Don’t wait The 2013 International Symposium on Traditional Tugging Rituals and Games offered an for bad luck to happen to you before realizing its importance. This important opportunity for Cambodia, Korea, the Philippines, and Vietnam. At an unofficial meeting held needs to continue. They need to take it to heart what they are doing, right after the symposium, the representatives from the five participating countries shared recognition what their ancestors did).” about the importance of safeguarding traditional tug-of-war and its transmission in each country, and January-March 2020 • Number 1 • Agung 51 International Cooperation and Multi-national Nomination for the Safeguarding of Tugging Rituals and Games in Asia they came to discuss the possibility of pursuing a joint inscription on the Representative List. light on traditional tug-of-war practices in Asia from the “community” viewpoint as emphasized in the Convention. Presentations were given by the four countries involved in the multi-national nomination, 5) Confirmation of participation in a multi-national nomination and also by Thailand that delivered case studies that enriched discussions. After the unofficial meeting, the Korean government (Cultural Heritage Administration) sent an official letter to Southeast Asian countries, China and Japan, asking whether they were willing to participate 9) The secretariat’s request for supplementation in a multi-national nomination of tug-of-war. China did not respond to the letter. Japan replied that it would The nomination file submitted on March 31, 2014, was finally recognized at the tenth session not be available, saying the nomination schedule proposed by Korea would be too difficult to follow due to of the Intergovernmental Committee for Safeguarding of the Intangible Cultural Heritage held on domestic affairs. Among the Southeast Asian countries, Cambodia, the Philippines, and Vietnam confirmed December 2, 2015. The inscription process was not all smooth sailing, however. In November 2014, the their intention to participate in the multi-national nomination through official letters. secretariat requested the Cultural Heritage Administration of Korea to improve the nomination materials. The reasons were: first, Cambodia’s documentary evidence of community consent was not accompanied 6) The first intergovernmental meeting by a translation in English; second, additional documents should be submitted in English or French, as The first intergovernmental meeting for the multi-national nomination of traditional tug-of-war well as concerned language if different, regarding the inventory; and third, the word count in the fifth was hosted by the Korean government (Cultural Heritage Administration) in October 2013. The conference item of the nomination file should be two times the existing counts. In response, Korean government aimed to coordinate opinions of the governments and prepare the nomination and explained the (Cultural Heritage Administration) presented the augmented nomination file and supplementary nomination procedure and the schedule to be followed. At the meeting, the basic information and definition materials obtained from Cambodia, the Philippines and Vietnam to the secretariat on February 10, 2015. of the element were introduced to make the first draft of the nomination file, and the participants agreed On 18 February 2015, however, the secretariat requested reducing the excess word counts in to promote awareness and dialogue for the safeguarding of tug-of-war. They also discussed the significance certain sections of the nomination file. It also requested submission of evidence concerning Cambodia’s of the multi-national nomination through an efficient strategy for the preparation of the nomination file. inventory, citing that it was not adequately demonstrated. The secretariat requested presentation The main structure of the meeting were: first, discussions on the construction and operation of evidence that substantiates Cambodia’s inventory, which should include the description of the of the intergovernmental meeting (nomination background and progress report, review of the element, relevant communities, and revisions, as well as the government decision. Cambodia prepared nomination procedure and schedule, discussion on the composition of the meeting and different roles and submitted the government decision on the inventory of tug-of-war, the inventory list, and “ICH of each country); second, presentations on the transmission of traditional tug-of-war in each country Cambodia,” co-published by the UNESCO Phnom Penh Office in 2003, among others. (Cambodia, Korea, the Philippines, and Vietnam); and third, preparation of a draft nomination file through discussions (basic information and definition of the heritage, promotion of awareness and 10) Review by the Evaluation Body dialogue, safeguarding measures, community participation and consent, and so on). In early November 2015, the Evaluation Body of the Intergovernmental Committee announced that it At the meeting, the official name of the heritage for the multi-national nomination was agreed considered “Tugging Rituals and Games,” co-proposed by Korea and the three Southeast Asian countries, to be as “Traditional Tugging Rituals and Games,” emphasizing that it was not a mere performance but had incomplete under criterion R5 for inscription on the Representative List. Criterion R5 requires an explanation of significance as a ritual and a game. There was heated discussion among experts about whether tug- the “participation of communities, groups and relevant non-governmental organizations” in identifying and of-war should be primarily considered as a ritual or a game. As the ritual characteristics of tug-of-war defining ICH elements (Articles 11(b) of the Convention), as well as a demonstration of regular updates of the gained more weight, it was decided to place “rituals” before “games” in the official name. inventory (Articles 12). The review result said: “Two states parties have not submitted an extract of the inventory as required in Decision 8 of the eighth session of the Intergovernmental Committee (8.COM.8) and have just 7) The second intergovernmental meeting submitted the inventory list that includes the element,” suggesting that the submitted information does not The second intergovernmental meeting took place in December 2013, two months after the satisfy R5. 8.COM 8 (2013) requires submission of documentary evidence of the inventory in English or French, first meeting. The second gathering aimed to review the revisions of the first draft submitted by each whereas, previously states parties just had to present addresses of relevant websites. country to determine a final draft. In addition, discussions were made on domestic and international administrative procedures for the multi-national nomination, which included country-specific approval 11) Preparation of an aide memoire procedures and the submission of the nomination to the Secretariat. The four submitting countries took immediate action in response to the announcement. They The main structure of the meeting included the following: first, review of the revised draft of prepared a joint aide memoire concerning R5 in a well-coordinated and urgent manner. They sent the each country (presentations on the revisions that each country made from the first draft written during joint aide memoire to twenty-eight States Parties to the Committee through respective diplomatic the first meeting); second, inspection of domestic and international procedures concerning the multi- relations to support the nomination during a committee meeting. national nomination (country-specific nomination procedures and schedules; the deadline for submitting the nomination to the secretariat; request made for each country to report domestic nomination approval 12) Review by the Intergovernmental Committee procedures); and third, selection of video footage and photos for the nomination (review of a ten-minute The tenth session of the Intergovernmental Committee took place from November 30 to video produced by an external company and reviewed by the National Research Institute of Cultural Heritage December 4, 2015, in the capital city of , Windhoek. The four submitting countries made a joint in Korea, selection of ten photos submitted by the countries, and review of intellectual property rights). effort to obtain a positive result for the multi-national nomination which had received recommendations At the second meeting, the countries agreed to change the official name of the nominated for supplementary information from the Evaluation Body concerning criterion R5. element to “Tugging Rituals and Games.” The term tradition was eliminated, as it was being negatively Brazil, one of the committee members, raised an issue against the examination result of the Evaluation evaluated in discourses of postmodernism, among other reasons. The four countries, including Korea, Body, claiming that the nomination seems to satisfy the inventory-related requirement as defined in R5 when created a second draft of the nomination file. They agreed to submit a final version to the Korean considering the aide memoire and explanations of the four countries while stressing that it is a good example of government by January 20, 2014, and complete all preparation work for the nomination, including the the spirit of international cooperation as a multi-national nomination requires great collaborative effort. Finally, signing of the nomination by March 15. The meeting also featured a preview of a ten-minute video on December 2, the nomination was accepted with support of a majority of the committee members, including produced for the nomination with advice from the National Research Institute of Cultural Heritage. Peru, Kyrgyzstan, Mongolia, , Uruguay, Algeria, Latvia, Ethiopia, Congo and Turkey. The two intergovernmental meeting had great significance, as it helped build a regional cooperation system among the four countries (Cambodia, Korea, the Philippines, and Vietnam) for the 13) Multi-national inscription of Tugging Rituals and Games safeguarding of intangible cultural heritage. Korea, on behalf of the countries, submitted the multi- Consequently, traditional tug-of-war in Asia was listed on the Representative List as a multi- national nomination online to the secretariat on March 31, 2014 (Paris local time). national nomination by Cambodia, Korea, the Philippines, and Vietnam under the name of “Tugging Rituals and Games” at the tenth session of the Intergovernmental Committee held from November 30 to 8) The 2015 international symposium on tug-of-war December 4, 2015 in Namibia. In April 2015, ICHCAP held an international symposium titled “Shared Value of Tugging Rituals The nomination as brought about many changes. The news of the nomination was covered in a and Games in Asia: ICH Community-based Perspectives,” sponsored by Dangjin City. The symposium slew of media outlets in each country, and there have been exhibitions and publications that introduce aimed to further raise awareness about tug-of-war traditions in Asia and promote international tug-of-war practices in the four countries. More recently, communities concerned are communicating cooperation as a follow-up effort for the multi-national nomination. The symposium shed special with each other through global exchange projects.

Weonmo Park is director of the Cooperation and Networking Office of the International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO. This article was delivered during the Korea-Philippines Tug of War Research and Exchange Program on August 11, 2019, in Hapao, Hungduan, Ifugao. 52 Agung • Number 1 • January-March 2020

Terno interpretation by Lesley Mobo

2020 The Terno in Contemporary Times

TernoConBy C. Mendez Legaspi Photographs by Charles Villaruz

he TernoCon, the “terno-making convention and competition for emerging Filipino designers and a showcase of new ternos by professional/ senior designers,” aims “to encourage the use of the terno as a popular formT of formal dress; and to inspire and motivate emerging designers to create ternos that are at par with the construction skills of senior designers.” Like the first staging in 2018, TernoCon 2020 was a spectacular fashion, and musical and cultural showcase. It was also, as CCP board chairperson Margarita Moran-Floirendo emphasized in her welcome remarks, “to sustain the revitalized interest in the national dress.” A brainchild of stage designer and author Gino Gonzales, TernoCon was underwritten by the Cultural Center of the Philippines (CCP) and Ben Chan of Bench/Suyen Corp. It started with preparatory workshops and mentoring in May 2019 and culminated in a finals night on January 26, 2020, at the Tanghalang Nicanor Abelardo of the CCP. Music was arranged by National Artist Ryan Cayabyab and performed by the Philippine Philharmonic Orchestra, with styling by Noel Manapat and direction by Dexter Santos.

The TernoCon 2018 Impact “It was a sheer surprise when I was announced the double-gold awardee of the first TernoCon. That night is still vivid in my mind. I still express my gratitude to God endlessly, and to Ben Chan for the opportunities he gave me to design ternos and clothes for celebrities and key persons in various industries,” said a still- in-awe Marlon Tuazon from Pampanga. January-March 2020 • Number 1 • Agung 53

Terno interpretation by Philip Rodriguez

2020 The Terno in Contemporary Times

TernoConBy C. Mendez Legaspi Photographs by Charles Villaruz he TernoCon, the “terno-making convention and competition for emerging Filipino designers and a showcase of new ternos by professional/ senior designers,” aims “to encourage the use of the terno as a popular formT of formal dress; and to inspire and motivate emerging designers to create ternos that are at par with the construction skills of senior designers.” Like the first staging in 2018, TernoCon 2020 was a spectacular fashion, and musical and cultural showcase. It was also, as CCP board chairperson Margarita Moran-Floirendo emphasized in her welcome remarks, “to sustain the revitalized interest in the national dress.” A brainchild of stage designer and author Gino Gonzales, TernoCon was underwritten by the Cultural Center of the Philippines (CCP) and Ben Chan of Bench/Suyen Corp. It started with preparatory workshops and mentoring in May 2019 and culminated in a finals night on January 26, 2020, at the Tanghalang Nicanor Abelardo of the CCP. Music was arranged by National Artist Ryan Cayabyab and performed by the Philippine Philharmonic Orchestra, with styling by Noel Manapat and direction by Dexter Santos.

The TernoCon 2018 Impact “It was a sheer surprise when I was announced the double-gold awardee of the first TernoCon. That night is still vivid in my mind. I still express my gratitude to God endlessly, and to Ben Chan for the opportunities he gave me to design ternos and clothes for celebrities and key persons in various industries,” said a still- in-awe Marlon Tuazon from Pampanga. 54 Agung • Number 1 • January-March 2020

Terno In a remarkable feat, Tuazon topped both the Formal Terno and interpretation Balintawak categories in 2018. He showcased his growth since his by Ivarluski triumph in a collection inspired by the legendary actresses of the Aseron LVN and era. “Each piece is wearable and not ‘costumey’ because I want the modern Filipina to feel the comfort of wearing a terno in affairs all throughout the year, not just during the August Linggo ng Wika or June 12 Independence Day celebrations,” Tuazon said. “I want to campaign that nationalism, love of country, starts by wearing a terno by the empowered Filipina.”

The Finalists This year’s judges were the 2018 mentors such as Mindano’s Len Cabili, the Visayas’ Cary Santiago and Luzon’s JC Buendia, and Chito Vijandre. Inno Sotto returned as head mentor, alongside new mentors Ivarluski Aseron, Lesley Mobo and Philip Rodriguez. The thirteen TernoCon finalists were Abdul Gaffar A. Dianalan ( City), Christian Jay P. Martin (), Rogelio Samson Pugat Jr. (), Renz Edward L. Reyes (Cavite), Hanz Herzl Pableo (Cebu City), Christopher L. Zamora (Davao City), Hannah Francesca L. Adrias (Pasay City), Jennifer Jean A. Dee (Manila), Jayson “Jaggy” A. Glarino (General Santos City), Krizia Kaita A. Jimenez (Quezon City), Windell B. Madis (Ilocos Norte), Dinnes Obusan (Camarines Sur), and John Gavin B. Ruffy (Las Pinas City).

The Winners Each finalist was required to design and execute a capsule collection of three ternos. And each of them delivered, each piece a construction marvel, all imbued with youthful vigor. But there can only be three winners. The gold medal went to Adrias, a bespoke tailoring scholar at Slim’s Fashion and Arts School; silver medal to Glarino, a registered nurse and self-taught designer who previously won at Bench Design Awards 2017; and the bronze medal to Obusan, a former sacristan and descendant of National Artist for dance . With their triumphs at TernoCon, the three propelled themselves to the frontline of Filipino fashion.

Hannah Adrias, 24, Pasay City “The vision and inspiration behind my collection is a strong Filipina. One who is confident enough to wear menswear pieces. “First, I already have a color palette in mind. Our initial designs changed throughout the entire production of the pieces. My mentor was Lesley Mobo. He helped me conceptualize the silhouette, make

Designs by Hannah Adrias January-March 2020 • Number 1 • Agung 55

BenchSetters with Ben Chan and CCP chairperson in Lesley Mobo: Rhys Miguel in Randolf Clothing, in Windell Madis, Grae Fernandez in Joey Samson, Enrique Gil in Rhett Eala, , Richard Poon in Francis Libiran, in Frederick Policarpio, Pancho Magno in Marlon Tuazon, in Cocoy Lizaso, Ricci Rivero in Jor-el Espina, in Rhett Eala, in Marlon Tuazon, Michelle Dee in Joey Samson, Kisses Delavin in Philip Rodriguez, Ariella Arida in Marlon Tuazon, in Lesley Mobo, Max Collins in JC Buendia, Liza Soberano in Marlon Tuazon, Maricar Reyes in Ivarluski Aseron and Angelina Cruz in Frederick Policarpio.

to be ready for major adjustments last minute. On the other hand, in TernoCon, there are assigned mentors. I was assigned to Ivarluski Aseron. Everyone also has the chance to ask advice from the main creative mentor who is Inno Sotto. I also feel like in BDA, you have more freedom. You get to tackle your chosen theme with less restrictions whereas in TernoCon, you have to be very considerate of the terno’s cultural value, which is a bit challenging. “My collection is a collage of three ideas. First, I wanted to liken the terno, the butterfly sleeves, to a butterfly. A very direct and literal comparison. In fact, it was my intent to explore the cliché in the butterfly’s metamorphosis, a very exploited theme if you will. I also wanted to incorporate the influence of Parisian/European fashion to earlier ternos. I was eager to explore the modernity in 1950s haute couture, Dior’s New Look. Thirdly, making the innerwear the outerwear this time. We wanted to subliminally reference the corpiño by the use of exquisite laces, and suggest the idea of women’s liberation by making undergarments a statement of empowerment Designs by Dinnes Obusan and bold femininity. The use of fine silk organdy was an attempt to it look more loose fitting, for a much comfortable and laidback recreate the delicate nature of cocoons. look. He helped me hone my aesthetic, and use my tailoring skills. “Ivar advised me to edit but never hold back. Be confident and “Winning at TernoCon 2020 is a blessing. I never expected it. unapologetic in speaking your fashion language. It showed on my face when I won. Been having a lot of inquiries and “It is always good to challenge your limits as a designer. opportunities lately and I’m forever grateful for it.” Competitions, they always keep me on my toes. I do not intend to rest on my laurels, ever. Having said that, I think this win has been Jaggy Glarino, 32, General Santos City very significant in a way that it has allowed me to know more about “TernoCon is very different. In the Bench Design Awards, myself, my way of thinking and my creative process. I think that is judges criticized our works during pre-judging. Technically, the very important. It equips you. It somehow makes you ready to be an pieces were seventy percent done at that point so you would have effective collaborator. An effective designer for your clients.” 56 Agung • Number 1 • January-March 2020

Ternocon 2020 winnners and their winning designs: Dinnes Obusan, bronze medalist; Hannah Adrias, gold medalist; and Jaggy Glarino, silver medalist

Dinnes Obusan, 37, Camarines Sur producing intricate patterns and using different weaving techniques. “Ang collection ko po ay galing sa final exam ko sa dressmaking It became my inspiration, thus producing different patterns of sa Slim’s Fashion and Arts School. Noong 2018 ang Slim’s exhibit ay weaves. I used beige and black strips of fabrics to weave the pieces. may theme na ‘Laro’ at ang naging final exam kong terno ang naging The collection is a mix of fitted and loose silhouettes. inspiration ko ay Chinese garter. Doon galing ‘yong naging collection “[Mentoring new talents] was an experience I will never forget. ko rito sa TernoCon. ‘Yong fabric na ginamit ko ay same pa rin nung It was also a learning experience for me. Mentoring is all about sa exam ko, neoprene, kasi mas magandang gawing loops ang neo, nurturing natural talents and skills as well as vision. And it’s always mas bumibilog siya. But for this collection, gumamit ako ng ibang a good thing to meet new people and make friends.” fabric like velvet and American tulle, na naging base fabric, and ‘yong color niya is all black base sa suggestions ng mga mentors ko. Lesley Mobo (/) “‘Yong movements naman ng mga loops ang naging inspiration “The collection started with a 1910 image of pillow sellers from ko ay ang fingerprint. Kaya gumamit ako ng iba’t-ibang shades ng black the book, Fashionable Filipinas. I discussed with Gino Gonzales para mas makita ang mga movements ng loops. ‘Yong mga loops ay lahat (TernoCon artistic director) that I interpreted the image as women bias cut and tinahi ko siya sa wrong side. After that binaliktad isa-isa. running away from their villages with their luggage on their heads Same din sa pagkabit nito sa base na isa-isa kong tinahi by hand para ma- during the war. So I started my collection from there really. I wanted achieve ‘yong gusto kong movements ng loops. About sa silhouette, mas to tell a poetic story or show a metaphor of how Filipinos, based prefer ko ‘yong fitted sa katawan para mas kita ‘yong shape ng katawan. on our history and my personal point of view, are always running “Ang naging mentor ko ay si Lesley Mobo. Magaling siya, very away from their own homes and villages. We Filipinos seem to be hands-on siya sa amin. Weekly kami nag-a-update sa development ng always running away from the colonizers—the Spaniards, Japanese, mga collection namin. Malaki ang naitulong sa akin ng pagkapanalo Americans…leaving our homes, our villages somewhere else for safety. bilang third place. Marami nakakilala sa akin at nagbukas ito para In a way, some of us became nomads in our country…people that own sa mga future clients and nakatulong din para madagdagan ang self- the land but somehow regularly move and with no fixed residence. confidence ko. Dahil dati takot akong humarap sa client pero ngayon Even with the modern Filipinos, we all have that trauma in all of us medyo okey na kahit may konti pang pag-aalangan sa kadahilanang di to always leave our homes or country for a better life somewhere else ako masyado marunong mag-English.” or abroad. So, this is how the storyboard goes: Filipinos packing their belongings, running away from their homes and villages…with their The Mentors tampipi and trying to find hope somewhere else. “I hope to tell a story of fear, happiness, journey, love found and Ivarluski Aseron () lost, and trying to start all over again. We wanted it to be fun and “My collection is called ‘Himlay.’ In years gone by, Filipinos funny but also sad and emotional. So, it was complemented by the slept on banigs underneath a kulambo. Banigs were essential to brilliant musical arrangement by our National Artist for music Ryan daily living then. The weavers kept the banigs from being boring by Cayabyab’s ‘Pen Pen de Sarapen,’ which started out fun and became January-March 2020 • Number 1 • Agung 57 emotional towards the end as they abandon their homes to find a better place. The sunglasses were supposedly about trying to look at things in a different perspective. They stand for hope. I also added each dress and looks with little traditional trinkets of mythical stories that are customs mostly in the provinces to complete the storytelling. “Because of the richness of the inspiration, I wanted each looks to be as rich as well and layered. All the ternos are complete with panel, camisa, tapis and saya. I used some of our old traditional techniques hidden in every piece of the ternos. For example, in one terno, on embellishment I highlighted the crafts of pinukpok the silver metal with each tiny metal piece sewn into the saya and panel. I also incorporated hand printing ‘woodblock’-style technique on cotton fabric using leaves and flowers as dye ink for printing in one of my terno butterfly sleeves. “I layered all of these tiny details along with tulle, organza, pinya fabric, cottons, silks, linens and adapted and rethought for the collection. Designs by Jaggy Glarino The shoes or the bakya are especially custom-made in Marikina (our in collaboration with the women of ’s palm leaves-weaving Philippine shoe capital) in collaboration with Jojo Bragais and his community. Each piece of the terno dress consists of layers: a camisa with artisanal team. The tampipis are custom-made and brought in by Gino terno sleeves, draped saya, tapis, and panel. But I played a lot with the proportions and exaggerated it to give it an Old-World feel but modern at the same time. Visually, it was all historically right with regards to components but if you look closely when it comes to cutting and techniques, it is done in a very modern and contemporary way. “The mentorship lasted almost one year so the whole experience is something else. My approach on mentoring process was a bit personal (well it had to be). It had to be that way if you want to make it more effective. I am overwhelmed with the amount of talents we have in the country. I mean, I told the young designers in the beginning that I personally don’t believe in competition and that the whole process is not really about winning but rather a chance and an opportunity to improve their skills, cultivate networks within the fashion industry (which is acritical factor in career success and progression), and promote their works.”

Philip Rodriguez (Cebu/) “I was inspired by the Catholic religion practices introduced by Spain to our culture. So you can see pieces of hand embroideries made of gold thread in the bleeding-heart designs and Augustinian seals. Cherubims and floral designs that remind you of frescoes in the ceilings of our churches; veils and flowers and pienetas as well as the use of lagang, a Cebuano craft of using the nautilus shell into flower accents that were used for décor in front of the images as well as Tres Potencias adorned the heads of our models. “I used jewel-colored dyed piña callado tops and paired them with layers of tulle. I also used silk gazar, and dupione and Spanish lace. Antique Philippine filigree jewelries courtesy of Natalya Lagdameo accented the whole collection to make it look old-world luxe as well as the repousse bags by Earl Gariando. We also had a piece that reminds you of the Infanta with her huge gold and tussled cross neckpiece by Ann Ong. It was like a trip back in time and yet the treatment of the collection was very contemporary. “The whole mentoring experience was very enriching as I had the opportunity to research more deeply with our culture as well as guide our mentees in their entries in bringing the terno relevant to modern time.”

#LoveLocal “I’ always be a proud advocate of #LoveLocal. It will always be an honor to help in promoting and paying tribute to our Philippine culture and ensure the preservation of the Philippine terno. Afyer all, that’s the least we can do for our motherland,” Ben Chan said. “Let’s impart the skills and knowledge involved in crafting the terno to the next generation.” Terno interpretation by Marlon Tuazon

C. Mendez Legaspi is a fashion and lifestyle journalist whose works have been published in different Philippine periodicals such asThe Philippines Today, Metro Working Mom, Metro Weddings, S magazine, Celebrity Living, Showbiz Sosyal, People Asia, Experience Travel and Living, The , Interaksyon.com and Philstar.com. With a developing blog, misscharlize.wordpress.com, he is a beauty, travel, celebrity and fashion columnist for the business daily BusinessMirror. 58 Agung • Number 1 • January-March 2020

Philippine Docu Triumphs at Amsterdam Fest

Philippine documentary won the FIPRESCI ((Fédération Internationale de la Presse CInématographique or International Federation of Film Critics) Award at the InternationalA Documentary Film Festival Amsterdam (IDFA) Competition for First Appearance 2019 in the Netherlands. Twelve entries were in the running including Aswang by Alyx Ayn Arumpac, whose participation was partially supported by the NCCA. The jury citation read: “It is a film that tells us something that has to be said. A courageous statement of current politics and the power of media. But at the same time, it is a very human story, imbued with the subtle presence of folk legends. It is conveyed in a subjective form, creating a haunting visual and soundscape that evokes a broad spectrum of emotional reactions. The aesthetic choices stress the complexity of the story, creating a gripping cinematic experience.” Aswang, a co-production among the Philippines, France, Norway, Qatar, and Germany, was up against productions and co-productions from Spain, Russia, Qatar, Denmark, Brazil, Poland, China, the United Kingdom, Serbia, Croatia, Colombia, and . The IDFA, now on its thirty-second year, is widely regarded as the Cannes of documentary filmmaking. It has screened over three- hundred films annually, making it among the leading documentary film fests in the world. The IDFA Competition for First Appearance 2019 was deliberated on by five jury members, with no less than Delegate General of the Cannes Directors’ Fortnight Paolo Moretti leading the pack. Joining him were editor and filmmaker Maya Hawke, and filmmakers Tatiana Huezo, Anand Patwardhan, and Emma Davie. The inclusion of Aswang in the IDFA Competition for First Appearance made it possible for the eighty-five-minute documentary on the bloody and misguided war on drugs in the Philippines to have a world premiere in Amsterdam on November 21, 2019. “We’re very proud and grateful to premiere at IDFA, and happy The poster designed by Justin Besana January-March 2020 • Number 1 • Agung 59

that we were selected for the competition lineup. IDFA is one of work, and we are so thankful and proud to be supported by these the film’s biggest supporters, through its Bertha Fund, IDFAcademy institutions,” Arumpac related. Summer School, and the IDFA Forum. Despite this, all films still Despite the difficulties they faced, Arumpac and Cacanindin have to undergo a selection process to be able to screen or compete proved their mettle, with a world premiere to boot. Cacanindin in the festival,” said director Arumpac, who eagerly announced that then offered pieces of advice for budding documentary filmmakers: her film’s first two screenings in Amsterdam were sold out. “Timing played a big part in our grant application process. It is best In 2018, Aswang received 40,000 euros for Europe: to do research on the grants and their past supported projects to International Co-production from the IDFA Bertha Fund, which understand them better. Another advice is to turn in a well-written supports developing countries by co-funding their documentary and thorough application. Do not cram, take time in crafting the projects. It was also part of the 2018 IDFAcademy Summer School essays and treatment because these are very competitive. Hundreds Script which offered trainings for promising documentary talents. of projects are all applying for the same thing.” It also received support from Aide aux cinémas du monde-Centre The screenings for Aswang were on November 21, 23, 27, national du cinéma et de l’image animée/Institut Français, Sundance and 29, 2019, with an additional event on November 23 for the Institute Documentary Film Program, Berlinale World Cinema press and industry screening. The international companies that co- Fund, Purin Pictures, White Light Post, Doha Film Institute, produced with Cinematografica are Les Films de l’œil sauvage, Stray Tan Ean Kiam Foundation-SGIFF Southeast Asian Documentary Dog Productions AS, and Razor Film Produktion GmbH. Quentin Grant, PACA Provence-Alpes-Côte d’Azur, Un Monde par tous Laurent was the creative producer while Kristine Ann Skaret, Roman foundation, Société des Producteurs et de l’ANGOA, DMZ Docs Paul, and Henrik Underbjerg were co-producers. Fund, and Talents Tokyo Next Masters Support Grant. Cinematography is by Arumpac and Tanya Haurylchyk, The team behind Aswang received additional support from La editing by Anne Fabini and Fatima Bianchi, and the trailer by Carlo Societe Civile des Auteurs Multimedias (La SCAM) Brouillon d’un Manatad. Akritchalerm Kalayanamitr was at the helm of sound mix. rêve, Sarah Jacobson Film Grant Free History Project, NCCA, and John Michael Perez and Mikko Quizon were in charge of sound Film Development Council of the Philippines (FDCP). design. Music was taken care of by Teresa Barrozo, and narration “The FDCP and NCCA helped us through their filmmaker was done by Fabini and Giancarlo Abrahan. Philippine Docu Triumphs at Amsterdam Fest

travel assistance program which paid for our flights for some of the Aswang may be the only documentary with Philippine production development workshops and pitches. This was very important for us credits at IDFA 2019, but there were two other documentaries and we are very grateful for this,” added Arumpac, who also served scheduled for Dutch premieres that tackle Filipino topics. as the film’s producer together with Armi Rae S. Cacanindin for Overseas (Belgium and France) by Sung-A Yoon features the ACC Cinematografica Films. trainings and ordeals of future Filipino overseas housekeepers, while Cacanindin elaborated on FDCP’s International Film Studies The Kingmaker ( and Denmark) by Lauren Greenfield Assistance Program (IFSAP). is about the family of the late former President and dictator “We started developing this project in 2016 and FDCP has , with focus on former First Lady Imelda Marcos. supported us since early 2017. Their IFSAP partly covered the expenses Since 1988, only one Philippine production has won an IDFA, we incurred to be able to attend the IDFA Forum where we pitched the Kano: An American and His Harem (2010) by Monster Jimenez, project and had one-on-one meetings with potential funders and co- which bagged the IDFA Award for Best First Appearance in 2010. producers. We also received the same travel assistance program last year The IDFA ran from November 20 to December 1, 2019. when we were chosen to be part of IDFAcademy Summer School. Our project was presented to mentors who gave us valuable feedback and helped us strengthen the narrative structure,” she said. “The support that we received gave the filmmaker the space and freedom to pursue the direction she wanted, with no creative and editorial compromises. We are so honored that these institutions trusted us.” However, Cacanindin and Arumpac clarified that securing grants for Aswang was certainly not a walk in the park. “Compared to fiction films, there is not a lot of support structures for documentaries (especially of a political nature) in the Philippines. And it is also not at all easy to get support anywhere if you are a first-time filmmaker from the Philippines. It was purely self-funded during the first year, and it took over a year before we received any support. Asian initiatives such as the DMZ Docs Fund in South Korea, Talents Tokyo Next Masters Grant in Japan, and Docs By The Sea in Indonesia helped the project move forward in the early development stage and connected us to our future partners. As the film took shape, then we could try for other grants appropriate to our stage of production. It was a great amount of Filmmakers accepting the FIPRESCI Award at the IDFA 60 Agung • Number 1 • January-March 2020

he exhibit “Jose V. Ayala” was mounted at the NCCA Gallery from March 12 to April 3, 2018, with Marleena Litton as guest curator, TJose V. Ayala, Jr. (born on April 22, 1932 in Ermita, Manila) was a noted writer in his mid-thirties when he surprised many with a sudden shift from literary to visual arts. His works in the 1960s were done in his bedroom-studio on 20th Avenue in Cubao, Quezon City. Upon moving to Davao in the 1970s, he continued to paint by the sea in Hijo Plantation, Madaum in Tagum, , and later in his final home-studio also in Tagum. His career has been described by critics Leonidas Benesa, Manila Studies Conference participants with president emeritus Bernardita Reyes Churchill (center) Raymundo Albano and Jose Lansang, Jr. as phenomenal, and he is a “tremendous splash” and a scene unto himself for his time. Joe, as he was fondly called, created several hundred paintings in his lifetime. Despite the artist’s reluctance to exhibit his early works, it was said MSA is Thirty that Ayala had already overshadowed many a contemporary. In 1968, he emerged as a visual artist in the group show “Artist-Writers Group By Edgar Allan M. Sembrano Exhibit.” Shows came one after another in the years that followed with one-man shows held at the Solidaridad Gallery (Manila, 1973), Heritage Art Center (Manila, 1976), Davao Art Museum (1980), he Manila Studies Association (MSA) marked its thirtieth Cultural Center of the Philippines (Manila, 1980), and Asiatic anniversary in 2019 with the staging of the 28th Manila Studies Gallery (Davao, 1982). Conference at the Mapua University in Intramuros, Manila. Ayala’s body of work and exhibits placed him as a renaissance TFirst held in 1989 with the exception of 1991, 2000, and 2001, artist who appeared to possess no limits. Literary artist that he was, the Manila Studies Conference is dedicated to studies on Manila in various fields such as archaeology, architecture, and history. That year, presenters delivered papers in cultural heritage, urban sprawl, World War II, Martial Law, and tourism. Paper presentations included “An Archaeology of Manila” by Victor Paz of the University of the Philippines (UP) Diliman; “Las Aves de la Fuerza: Fort Santiago as an Avian Sanctuary” by Jose Alain Austria of the De La Salle-College of Saint Benilde; “Placuna Placenta: Re-visioning and Conservation of Built Heritage in Manila” by Arnulfo Dado of the National Museum; “The Paternos of the Spanish Era: History of a Family as History of Nation” by independent researcher Jena Marie Paterno; “Morphology of East- Blue Dancers of Mount Apo (acrylic on wood, 28 by 48 inches, 1979) side Quiapo Residential Neighborhood” by Anna Christina Ealdama of Mapua University; “Gentrification in the Sampaloc District in the City of Manila with Implications to Land Use Planning” by Sylvia Clemente of the University of Santo Tomas (UST); “From the Rubbles of War: The De La Salle College, 1946-1975” by Jose Victor Jimenez of the University of Santo Tomas Graduate School; “Does Imperial Manila Justify Federalism?” by Jan Carlo Punongbayan of UP; “Teaching Martial Law in High School” by Christina Cristobal of the Philippine Science High School; “Humanism in the Urban Design: The Case of the City of Manila, Philippines” by Cecilia May Villanueva of UST; “The Faces and Phases of Quiapo” by Martin Emile Lopez of the Far Eastern University; and “Commemorating the Heroes of the Second World War through a Heritage Tourism Master Plan” by Felicisimo Tejuco Jr. of UST. The two-day event held from November 28 to 29, 2019, also had a film showing of “Honor: The Legacy of Jose Abad Santos,” a documentary on the life of one of the greatest Filipino heroes of World War II who chose to be executed instead of collaborating with the Japanese imperial forces. A biography of Abad Santos by Desiree Ann Cua Benipayo of the Philippine WWII Memorial Foundation was also made available during the last day of the conference. The event was capped off by a tour of the newly-opened Museo de Intramuros at the reconstructed San Ignacio Church and Convent on Arzobispado Street. Untitled 1 (mixed media, 38 by 34 inches, undated) NCCA GALLERY January-March 2020 • Number 1 • Agung 61

Untitled 82-7 (mixed media, 93 by 177 inches, 1982) Remembering Jose V. Ayala, Jr. his art was akin to spontaneous dithyrambs (exalted, unrestraint and-surreal, are now referred to as visionary or visionary-fantastic—a poems) that left audiences and critics spellbound. Watercolor, pen fitting description for what he explored between established art genres. and ink, and acrylic were only but a few of the standard mediums Ayala himself described his art thusly: “The paintings are universal— he experimented with. He was also noted for using space as his they can be appreciated by a German, a Frenchman, etc.—because centerpiece which he made best use of in a literal and metaphorical they are drawn from the collective human subconscious… People say sense. Pure form or a meditative state is felt from his art whether that the stuff I paint is surreal—or a combination of the abstract and these be a rendering of a kaleidoscopic kind in Three Worlds or those the surreal—if such is possible ….” inspired by ambient monotones of Nature, such that in Blue Dancers In the spirit of his ideals, beliefs, and untamed approach to of Mt. Apo. art, Ayala’s remarkable works now serve as enticement for young Ayala’s steadfast devotion to his path is met with fresh relevance artists and for each of us to look beyond the layers of everyday today, more than a decade after his passing. Eastern and aboriginal consciousness. worldviews permeate his body of work and are in synch with the rising Jose V. Ayala, Jr.’s works are tales of his evolutionary spirit. For energies of Asia. His works, perceived then as being vaguely abstract- them to be viewed was among his desires.

Still Life (acrylic on canvas, 12 by 18 inches, 1968) The painter’s wife, the poet Tita Lacambra-Ayala, contemplating on one of his works during the opening reception on March 8, 2018 /Photo by Faith Yangyang 62 Agung • Number 1 • January-March 2020 NCCA GALLERY Immortally Imprinted By Annatha Lilo Gutierrez

studio and art history at the University of the Philippines, University of Minnesota, Boston University and Central Washington State College. Before going into art criticism and authoring art books, he indulged himself into going into the meticulous art medium of woodblock printing. His desire to be contrasting and distinct shows in his early works in different mediums such as oil, acrylic, ceramics, brass, furniture and ink. Dr. Paras-Perez would continue to show his other talents until his death on March 30, 2011. The Florante at Laura series was conceptualized in between Francisco Balagtas (woodblock print, 16.5 by 10.5 inches, 1977) writing art books and columns for local and international dailies and magazines. His design and style is closely associated with wooden he original prints rendered by Dr. Rod Paras-Perez in 1977, carvings of an Antillan Home—his mother’s ancestral home featuring his interpretation of the iconic metrical romance behind a church in Macabebe, Pampanga—as he described. This Florante at Laura of Francisco Balagtas was on exhibit at the is where his parents TNCCA Gallery from April 4 to 30, 2018. The illustrations were based moved at the onset of on the translation of E. San Juan from the original of Apolinario Mabini, World War II. The which was originally published by the University of Santo Tomas. Filipino design under The idea for the exhibit emerged as the son Odel Perez’s the influence of the tribute to his father on his birth anniversary. The exhibit, “Florante indigenous, the Spanish, at Laura,” was also to commemorate the birth of Balagtas and to the Japanese and the celebrate National Literature Month. American were sources Born in Tondo, Manila, on April 7, 1934, to Atilano Velasquez of his inspiration. This Perez and Anicia Paras, Rod made it clear to his parents at an early age shows his concern in that he was definitely going to be an artist. When the family moved to defining what is Filipino Pasig City, his love for writing developed during his high school days in Philippine art. at Rizal High School. He made drawings for the school paper and In one of his calligraphy for diplomas and awards. He worked and studied hard to journals, Paras-Perez earn his scholarships and so he went on his way towards his destiny. wrote on October 20, He received his PhD in Art History from in 1977: “Study: that you 1971, the first Filipino to do so. He earned his MFA in painting and may teach the future. Do MA in Art History from the University of Minnesota and his BFA in it quietly and effectively Votary (woodblock print, 16.5 by 10.5 inches, 1977) painting and design from the University of the Philippines. He taught as you can in the shortest possible time. Tall order, I know. But heroes are not made in short order. “I will do my part on this end too. Right now to finish this book (Florante) so it can give me wings to touch dreams: only in this light will it give meaning…or relevance. Perhaps there is still time for the mind to be over matter and catch the rainbow with artworks instead of blood. “Take care: fishes get hooked on their mouths and martyr’s deaths signed with pens. As you know fishes caught are eaten and martyrs can no longer fight.” Florina H. Capistrano-Baker commented: “Rod Paras-Perez, artist, art historian, teacher, mentor, has illuminated the paths of aspiring artists, art collectors, students and scholars, museum professionals and the nation’s cultural leaders.” The Florante at Laura woodblock prints are a rare example of the many ways Dr. Rod. Paras-Perez imprinted his name in the Philippine art scene. Kiss (woodblock print, 16.5 by 10.5 inches, 1977)

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 8 A.M. to 5 P.M., Monday to Friday. Visits on weekends and holidays are by appointment. For guided tours and other details, contact telephone number 527-2192 local 324 and 328, and look for Bryan Llapitan; or email [email protected]. IN MEMORIAM January-March 2020 • Number 1 • Agung 63

ctress Liberty Ilagan passed away on March 17, 2020, due to cardiac arrest and complications from chronicA obstructive pulmonary disease, at the age of seventy-six. Born on July 6, 1943, Ilagan was the daughter of director and National Artist for film Gerry de Leon and Patricia Dicks, and the granddaughter of Hermogenes Ilagan, pioneer of the Philippine sarsuwela. She started appearing in movies at the age of four for her father, first in So Long, America (1946) with her stepmother Fely Vallejo and grandfather Angel, and then in Isumpa Mo, Giliw (Swear it, My Love, 1947); Hindi Kita Malimot (I Can’t Forget You, 1948); and Selosa (Jealous Woman, 1948). By the time she was six, she entered school and left the movies. As a young student, though, she observed her father during shootings. At fifteen years old, she was offered a contract by Sampaguita Pictures producer Dr. Jose Vera Perez. She was a sagala in a Santracruzan when he first saw her. Her father warned Liberty of the perils of show business, saying that it could bring pain to an actor’s life. It was not an easy job, he said. Liberty insisted and pointed out that her father could not dissuade her, considering that he himself was in the movies when he could have been a physician because he was trained for the profession. When she finally joined the movies, it was he who signed the contract since Liberty was not yet of legal age. But that would be his only role in her acting career, because he never interfered with her after. Years later, she asked him to direct the film, Brownout, which she produced, but De Leon turned down his daughter’s offer. Liberty took the Ilagan family name, which is her father’s middle name. The Ilagans have always been known in Philippine theater and entertainment. In 1958, she appeared in the comedy Lover Boy opposite Jose Mari. She also starred in Anghel sa Lansangan (Angel of the Street, 1959); Kuwintas ng Alaala (Necklace of Memory, 1960); Laura Actor (1960); Dalawang Kalbaryo ni Dr. Mendez (The Two Calvaries of Dr. Mendez, 1961); Liberty considered Lover Boy, directed by an expertise that she put to good use when CarlosLiberty Vander Tolosa, as her favorite. HerIlagan renovating her restaurants. Liberty and Rod Estela Mondragon (1960); Apat na Anak ni David (Four Children of David, 1963); other favorite was I Miss You So, which she separated after twenty-four years, and she Tatlong Patak ng Luha (Three Drops of Tears, herself wrote. It was produced by Larry married real estate lawyer Carlos Lardizabal. 1960); Leron, Leron Sinta (Leron, My Dear, Santiago Productions. Ilagan is survived by her husband, and 1959); Tindahan ni Aling Epang (Store of In 1971, at the height of bomba movies, her childen, Happy Ongpauco-Tiu, Love Aling Epang, 1961); Kaming Mga Talyada she retired and married Rod Ongpauco. Ongpauco-Fallorina, and Soeng Ongpauco. (1962); Umibig Ay ‘Di Biro (Loving is Not a Her last film though was Tatlong Patak “Mom was a beautiful woman with Joke, 1964); Alipin ng Busabos (Slave of the ng Dugo ni Adan (Three Drops of Adam’s a golden heart. She was a loving and Lowly, 1968); and Mga Espada ng Rubitanya Blood) in 1980. wonderful mother to us, a doting Mamam (The Swords of Rubitania, 1965), her last The couple started several restaurants— to her grandchildren, and a caring and movie with Sampaguita Pictures. She mostly Barrio Fiesta, Foreign Side, Bakahan at devoted wife. Above all, our mother was a appeared in movies opposite Jose Mari. Manukan and Kalde-Kaldero Singing Cooks true and faithful child of God,” said Happy Among her Sampaguita movies, and Waiters. She took up Interior Design, Ongpauco-Tiu. 64 Agung • Number 1 • January-March 2020 IN MEMORIAM

their Fine Arts program was quite limited and they urged me to go to a better school. And they suggested that I go to Chicago or to San Francisco because of the Art Institute,” he told The Daily Tribune. He fell in love with and decided to stay in San Francisco and forfeited his scholarship. He graduated from the certificate program of the Academy of Arts and finished with a Bachelor of Fine Arts degree from the University of San Francisco. “Painting was my major. My minor was photography. Sculpture also,” he said. But fashion, as it turned out, was always his end game. In 2013, he explained his career trajectory. “Twenty five years ago—August 8, 1988, to be exact—I embarked on a new career. But first the history behind that decision. After graduating from college in the early 1980s, I was hired by a San Francisco bank. Then in 1988, a major restructuring in the bank left me without a job; however, this forced resignation provided me with a very lucrative severance package. “The package provided the impetus to do what I always had wanted to do—become a fashion designer. Naively, I set up my shop and waited for the clients to fill my small reception area. Weeks went by and there were no clients. So much for my naiveté. In order for me to pay the bills, I did what most designers say they won’t do. I did alterations. Lots of them. After a few months, I was excited to accept my first commission—a wedding gown. Little by little, other orders came in and my financial worries abated—somewhat. “By the late 1990’s, my partner was thinking of retiring early and he wanted to know if I would consider moving to the Philippines. I wasn’t ready to retire (I was too young!) but told him that I was ready to reduce my workload and a move might help. The Elegant Life That hasn’t happened, but at least here, I don’t have to do my own laundry. Ito Curata “Like any businessman, I have had my By C. Mendez Legaspi

aute couture, international Hollywood siren Sharon Stone wearing his pageantry and high society lost creation on the cover of Movieline magazine’s one of their most high-profile tenth anniversary issue in 1999; a 2014 shot Hfixtures when fashion designer Ito Curata, of him and his longtime partner, American succumbed to pneumonia due to coronavirus Robert H. Miller, who later died a few days disease 2019 (covid-19) complications on after Curata, on a gondola ride in Venice, March 26, 2020. He was sixty years old. Italy; and a beaming photo of the proud In hindsight, Curata’s final posts on couple with their teenaged son, Taj, at an Facebook summed up his wonderful life Angels to Street Kids outreach event. and accomplished career. He posted about Born on November 2, 1959, Curata attending People Asia magazine’s People of the grew up in . He was seventeen years Year Awards 2020, where he annually dressed old when he left his hometown in 1977. some of the glamorous guests. He shared a He to took up Fine Arts for a year at the “Memory” from 2017: “I finally made it to the University of the Philippines before leaving Oscars.....Well, Kit Zobel did and she wore one for the United States. of my creations. That’s good enough for me!” “I had a scholarship at the Clarion State He uploaded a photograph of College in Pennsylvania, near Pittsburgh. But Binibining Pilipinas 2019 candidates Hannah Arnold and Patch Magtanong in Ito Curata gowns IN MEMORIAM January-March 2020 • Number 1 • Agung 65

A Curata favorite, Miss Universe 1973 Margarita Moran itocurata, death took you like a thief in the night. I mourn your passing in silence and solitude but with joy in my heart to have known the person that you were—thoughtful, sincerely loving and extremely generous and my gosh, a great designer. How fortunate I am to learn more about life from you. I am certain you are enjoying eternal life that you are beginning because for God’s children death leads to the best.” Actor Sharon Stone in Curata In his first feature, in the San Francisco breathtakingly divine creation made me feel Chronicle in 1991, Curata’s aesthetics was like a princess, a beauty queen and Hollywood described as “impeccably crafted gowns are Ito Curata photographs Leslie Parker in his own understated with a twist” and “high quality design during 1990s star rolled into one….The first time [I wore your creation] it was magical. I was Cinderella, without sacrificing the mortgage.” ‘ups and downs’ over the past twenty-five Eliza and Sabrina all rolled into one.” “I try to come up with designs that years. However, any success I have had is Curata’s sumptuous couture gowns complement a woman’s attributable to the many employees—past were also showcased in beauty pageants. body type while and present—who have been there when I Miss Georgia Nuka Karalashvili wore his bringing out her really needed them.” ravishing red number for a fashion fete innate inner beauty,” Curata and Miller built a palatial home at in Metro Manila. Curata disclosed to in Ayala Alabang in , Metro Binibining Pilipinas 2019 candidates Preview magazine, Manila, and cultivated a loyal clientele. wore his joyful yellow dresses for a pre- citing Vogue editor From the onset of his homecoming, he pageant activity, with Binibining Pilipinas Diana Vreeland, dressed up actress and then International Patricia Magtanong sasahying Jackie O and President Gloria Macapagal-Arroyo. in his matcha-green gown on her Audrey Hepburn As much a party host, being an excellent way to a top-eight finish at Miss as his fashion cook, as well as a sought-after guest in society International 2019. icons. “My soirees and ardent supporter of charity causes, A personal Curata favorite, style can be Curata counted among his clients socialite- Miss Universe 1973 Margarita summed philanthropists Anna Sia, Moran, is also a personal up in three Len Olbes, Linda Ley, friend. In attribute post, the words: simple Nikki Tang, and Audrey current chairperson of the but elegant.” Zubiri. One of his muses, Cultural Center of the Malu Francisco, Philippines wrote: “My said, “Your dear beautiful soul, @

“Face-off” in 2014 /Photo by Bruce Casanova

Grace Tagle in Curata, fall- winter of 2008

During his sixtieth birthday 66 Agung • Number 1 • January-March 2020 IN MEMORIAM

Dancer, Choreographer and Activist Marlonancer, choreographer, culturalMaldos plight of farmers, workers, fishermen and other the murderous Oplan Sauron raging across worker and peasant advocate marginalized groups. He also conducted dance the Visayas. During the height of 2019’s Marlon Maldos passed away on workshops for several cultural organizations in militarization, Marlon locked arms with DMay 17, 2020, at the age of twenty-five. different communities. It is said that he had like-minded freedom fighters for the cross- He was gunned down in broad daylight on been a subject of red-tagging or the accusation country protest caravan Lakbayan. CAP had the street in Dela Paz, Cortes, just outside of involvement with communist groups, and the good fortune to spend time with this City in . His killer/s harassment by military forces. young talent, and we saw Negrenese peasant remains unknown. The Concerned Artists of the Philippines struggle through his eyes,” the organization Maldos was a member of Bol-anong said that Maldos was “a valued friend, a related. “Marlon chose to return to his Artista nga may Diwang Dagohoy welcoming collaborator, and an inspiration.” beleaguered Bohol community. Their fight (Bansiwag), which advocates for genuine “Last October’s Peasant Month, CAP against landlessness and feudal exploitation land reform. He became the community built an effigy with Respond and Break was a call he could not deny. Marlon devoted performing group’s lead choreographer, when the Silence (RESBAK). Marlon was among himself to distilling people’s realities through its artistic director, choreographer Alvin the volunteer artists who helped sculpt this his art. It seems complex, a rejection of Fortaliza, was arrested on March 4, 2019, collaborative work. Marlon shared more complicity in an impossibly violent reality. It and incarcerated on false murder charges. than his labor. He told stories of Boholano is not. It was a simple choice. Marlon was Maldos’s choreography depicted the and Negrense cultural workers who braved devoted to the people. That was his reality.” IN MEMORIAM January-March 2020 • Number 1 • Agung 67

eteran actor Domingo “Menggie” Cobarrubias passed away on March 26, 2020, due to pneumonia, a complicationV of the coronavirus disease 2019, at the Asian Hospital in Alabang, Muntinlupa. He was sixty-six years old. Born on August 10, 1953, Cobarrubias studied at the University of the Philippines in Quezon City and worked as a salesman who began acting. He first appeared in a theater production, The Heart of Emptiness is Black, in 1974. Director Behn Cervantes gave him his first break with the film Sakada (1976). He used the screen name Dom Cobarrubias before changing to Menggie Cobarrubias. His acting career spanned over three decades with appearances in the movies Jaguar (1979); Angela Markado (1980); Orapronobis (Fight for Us, 1989); Bakit May Kahapon Pa? (Why Is There a Yesterday? 1996); Bata, Bata… Pa’no Ka Ginawa? (literally, Child, Child…How Were you Made? but titled as Lea’s Story; 1998); Deathrow (2000); (2002); Manila (2009); Impostor (2010); Mater Dolorosa (2012); Graceland (2012); Tuhog (Skewered, 2013); Mauban: Ang Resiko (2014); (2015); Felix Manalo (2015); Echorsis (2016); (2016); Hele Sa Hiwagang Hapis (A Lullaby to the Sorrowful Mystery, 2016); Moonlight Over Baler (2017); Seven Sundays (2017); Signal Rock (2018); Kung Paano Hinihintay ang Dapithapon (Waiting for Sunset, 2018); Last Fool Show (2019); and Eerie (2019). Cobarrubias also appeared in television including the series Sa Puso Ko Iingatan Ka (2001); Wagas (2015 to 2019); (2010); and (2020). He won the 1980 Gawad Urian Best Supporting Actor Award for his performance in Jaguar and the Best Actor award at the 2014 QCinema International Film Festival his work in Mauban: Ang Resiko. According to the Directors’ Guild of the Philippines, Cobarrubias “was also known for being a generous artist, Actor assisting new actors find their footing in the industry, selflessly shared his talents to Menggie Cobarrubias student productions, and devoted his free time to charity work.” 68 Agung • Number 1 • January-March 2020 IN MEMORIAM

Writer, Editor and Radio DJ

Adel GabotPhilippines riter, blogger, editor and teacher magazine. He served as editor- 2003. Adel Gabot passed away on in-chief for the magazines Manual, Images, He co-wrote the song “Out in the March 25, 2020. He was also a Pinoy Rider Extreme, Mobile Philippines PC Open,” and became a finalist at the 1996 voiceW talent and radio DJ. Philippines, Golf Digest Philippines, and Metro Manila Popular Music Festival or Born on February 15, 1963, he Maxim Philippines. He was also a copy chief Metropop. He also taught a post-graduate graduated high school at the University of for ABS-CBN Publishing from 2010 to course on magazine writing and publishing the Philippines (UP) Integrated School in 2011; editor for Mega Publishing Group in at the De La Salle-College of Saint Benilde’s 1979, and took up Mass Communication, 2007; and group editor for Hinge Inquirer School of Professional and Continuing Journalism and Psychology at UP Los Publications from 2005 to 2008. In 2015, Education from January 2008 to September Baños in , graduating in 1983. He he was the business and technology sections 2008 also attended De La Salle-College of Saint “curator” at Manila Standard PH website. Gabot also wrote fiction. His short Benilde. Gabot also became a DJ for FM radio story won first prize at the 1985 UP Creative Gabot wrote for and edited several under the name Little David for almost Writing workshop. In 2000, he won third publications. He had been contributing two decades. He co-hosted “Twisted on a prize in the Future Fiction category at the articles to the Philippine Daily Inquirer Sunday” with writer Jessica Zafra for nine Don Carlos Palanca Memorial Awards for since August 2008 to the day he died. A years. Moreover, he was a regional manager “The Field.” His short story, “Beggar of gadget geek, he also regularly wrote for at DWTM from 1986 to 2005; a station Description,” is included in the anthology the websites Technoodling, Manifesto manager at 103.5 K-Lite; and president/ Nine Supernatural Stories (2005, University and GamesMaster Philippines. He had general manager at Advanced Media of the Philippines Press), edited by April a column, “Control Panel,” in Explore Broadcasting Corporation from 1995 to Timbol Yap (Editor) and Lara Saguisag. IN MEMORIAM January-March 2020 • Number 1 • Agung 69

Journalist and Children’s StoryTwink Writer Macaraig eteran broadcast journalist Muriel Her children’s story, “What is Philippine Star on March 24, 2019, and in “Twink” Macaraig passed away on Serendipity?,” won first prize at the 1994 which she wrote about her illness, likening on January 14, 2020, at the age Don Carlos Palanca Memorial Awards for it to what was happening to the country. ofV fifty-six, after a long battle with breast Literature. She also authored The Ultimate, “Because not fighting would ignore the cancer, which was first diagnosed in 2000. Absolutely Indispensable Guide to Food very real option that still exists: the handful Born in 1964, Twink was the Delivery in Metro Manila. of brave, honorable souls putting their youngest daughter of Catalino T. Macaraig, One her death, several of her lives on the line on the firm belief that the Jr., executive secretary during the colleagues—journalists and professors— Filipino people can get better; can choose to administration of Corazon Aquino, and paid tribute to her on social media. get better; deserve better. They represent, if Araceli Villareal Andaya. She received her “Farewell, valiant journalist Twink not a cure, the lone path to a cure too late bachelor’s degree in Mass Communications Macaraig! Even in illness, she refused to for my benefit, perhaps, but for the next from the University of the Philippines (UP). succumb to despair, using her time and generation,” she wrote. She joined the Probe team then with talent as a critic of human rights violations, “I look at this world [that] I’m struggling ABS-CBN and became a news anchor at corruption and, abuse. We feel the loss to stay in and feel only despair. The despot ABS-CBN News Channel (ANC), where badly,” wrote journalist and activist Inday Filipinos elected to the presidency has she appeared in Dateline Philippines and Espina-Varona. infected the populace with a malignance co-hosted The Brew. She also served as the managing editor Glenda unmatched by the deadliest of cancers,” Philippine bureau chief for Channel News Gloria said: “Those precious December she went on. “As tumors have spread to Asia. In February 2012, she moved to TV5, hours with you will forever stay in my heart. most of my organs, so have his poisonous where she served as news anchor of News5 They will serve as constant reminders of politics invaded practically every branch of and a senior news manager. what truly matters: love, family, friendship. government — the well-entrenched system Macaraig wrote for Esquire Philippines, So long, Twink Macaraig. And thank you.” of checks and balances now applicable only and the column “Deliberately” for The Mila D. Aguilar described Macaraig as “a to your personal bank account.” Philippine Star. She also served as a part- gem to all who fight the cancer in our society.” Macaraig is survived by her husband, time faculty member and lecturer at the UP One of her best remembered columns architect Paulo Alcazaren, and their teenage College of Mass Communication. is “Why I Fight,” which appeared in The son, Juancho. 70 Agung • Number 1 • January-March 2020 IN MEMORIAM

nown for his sculptures in brass, metal and wood, Ben-Hur Gorospe Villanueva passed away on January K25, 2020, at the age of eighty-one. Born on October 28, 1938, in San Mateo, Rizal, he graduated with a Fine Arts degree from the Philippine Women’s University. He became an art teacher at the grade school of the Ateneo de Manila University (ADMU) in Quezon City in 1962 and retired in 1992. He also worked as a ceramic designer at MARA Filipinas of Margarita Ramos from 1974 to 1976; set designer and art consultant of the Ateneo Children’s Theater from 1973 to 1980; resident artist at the People’s Council for Culture, Education, Development and International Understanding from 1987 to 1989; and set designer for the PTV 4 television drama series Balintataw from 1988 to 1989. Villanueva also served as member of the board of directors of the Society of Philippine

Visual Artist and Educator Sculptors from 1990 to 1991. Ben-Huralso had several international engagements G. Villanuevain Bonifacio Global City, City; Upon his retirement from ADMU including being the Philippine representative Kapit-Bisig (1987), a sculpture of four after three decades, he decided to move to for sculpture at the Segunda Biennale de la figures locking arms made of narra wood, Baguio City to be with his younger brother Habana in Habana, Cuba, in 1971 and at commissioned by Fr. James Reuter, S.J. and Roberto, also an artist, who died in 1995. the seventh Biennale International in Paris, presented by the President Corazon Aquino He eventually relocated to Baguio in 1997 France, also in 1971, where he presented his to the Filipino people on the first anniversary and devoted his time to making and teaching wood sculpture Kabuanan. of the 1986 EDSA ; art. He garnered honorable mention in the Thy Will Be Done at the campus of Saint In 1998, he opened his gallery, home sculpture category of the Art Association Paul University in Quezon City; a sculpture and studio, Arko ni Apo (“Ark of the ” of the Philippines’ 31st Annual Art of Saint Aloysius Gonzaga at the campus of in Ilocano) on Tacay Road in Pinsao Proper, Competition in 1978 and the gold medal Saint Louis University in Baguio; the twelve- just across art space Tam-awan Village. at the thirty-third competition in October foot, five-figure, bronze The Builders (2009) Villanueva’s first one-man exhibit was 1984 for his metal sculpture Protection. at the Centennial Park for the centennial held at the Quad Gallery in 1975. Another Villanueva is known for several anniversary celebration of Baguio; and Risen solo exhibit, “Sculptures,” was mounted at major works including the three-meter Christ in Nasugbu, Batangas. the Crucible Gallery in November 1996. He high Ang Supremo (1998), a sculpture of Villanueva is survived by his wife Lolit had participated in several group shows. He Andres Bonifacio clutching a torn cedula, and their eight children. IN MEMORIAM January-March 2020 • Number 1 • Agung 71

Singapore, 2015). Barredo also participated in several group exhibitions including the 13th Asian International Art Exhibition (National Art Gallery, , Malaysia, 1998), “The Islands of the Day Before” (Kuandu Museum of Fine Arts, Taipei, , 2013), “Clouds: Power of Asian Contemporary Art” (Soka Art Center, Beijing, China, 2010) and “The Night is Restless, The Day is Scornful” (ARNDT Gallery, , 2014). Barredo was the Philippine representative to the Havana Biennale in Cuba in 1985, and the Sao Paulo Biennale in Brazil in 1994. In 2013, he was one of the featured artists at the first Art Fair Philippines where he created Asphalt, a thirty-feet long assemblage. In 2016, he created a monumental three-level set for Ballet Philippines’ Opera, based on his 2015 exhibit, Barredo had won awards for his works and achievements. His work, Inner Vision, won the grand prize in the 1981 Art Association of the Philippines competition for painting. The following year, he bagged the gold medal for Primal Scream at the same Photo courtesy Silverlens Gallery, Manila

Visual Artist Gabrielabriel Barredo, known for his kineticBarredo BFA in Advertising degree in 1991. competition in the sculpture category. His sculptures and installations, passed Described as reclusive, Barredo had Mindscape No. 6 won first prize at the annual away on January 6, 2020, at the age a penchant for creating bricolage of found competition of the Metrobank Foundation Gof sixty-two. objects and junk. In 1993, he held two solo in 1984. In 1994, he received the Diwa Born in Manila on October 6, 1957, exhibits, “Mindscape” (Gallery Genesis, SM ng Sining Awards from NCCA and the to Eugenio Barredo and Criselda Imutan, Megamall, City) and “Manila Patnubay ng Sining at Kalinangan from the he was the brother of ballet dancer Maniya ’93” (Phil-Am Life Auditorium, Manila). city of Manila in 1998. Barredo, cousin of singer , and These were followed by more solo exhibits Isa Lorenzo of Silverlens Galleries uncle of actor and singer Cara Barredo. He including “Mindscape II” (Art Center, described Barredo as an “incomparable artist, initially dreamed of becoming a ballet dancer Mandaluyong City, 1996), “Mindscapes” a generous collaborator, and a loving friend” and musician and joined his sister in a ballet (Gallery Genesis, Mandaluyong City, 1996), and “an artist who pushed the limits of what company in Atlanta, Georgia, United States, “Anima & Persona” (Hiraya Gallery, Manila, art and its magical experiences can be.” making costumes and sets. While in Atlanta, 1999), “[IN] VISIBLE” (Ayala Museum, he mounted his first solo exhibit in 1984 at City, 2005), “Visions” (Soka Art Reference: “Barredo, Gabriel” by Alice G. Guillermo and Cecilia S. De La Paz in CCP Encyclopedia of Philippine the Ann Jacobs Gallery. Center, Beijing, China, 2008), “Opera” Art Digital Edition (Cultural Center of the Philippines, He studied sculpture at the University (Silverlens Galleries, Makati City, 2015), November 18, 2020; https://epa.culturalcenter.gov. of Santo Tomas, where he graduated with a and “Opera” (Silverlens Galleries, Helutrans, ph/3/17/3437/) Arsenio “Nick” Lizaso is New NCCA Chairman

he NCCA welcomes its new chairman, Arsenio “Nick” Lizaso. Mr. Lizaso, who is the president of the Cultural Center of the Philippines (CCP). He was elected by the NCCA Board of Commissioners during its meeting on January 16, 2020. Lizaso will Tserve from 2020 until 2022. Lizaso is a renowned actor, director, and producer, working for more than sixty years in theater, television, and film. He has been in the field of theatre since his college years, founding the University of the East (UE) Dramatic Guild and co-founded the Philippine Educational Theatre Association (PETA) with Cecile Guidote-Alvarez. Lizaso has been part more than fifty stage plays, establishing his niche in the sector. In 2009, Nick Lizaso was also the only Asian invited to be part of the jury for the sixth International Student Theatre Festival held in Belarus, where he also conducted workshops on voice performance for theatre. Apart from theatre, Lizaso also became a known figure in the film industry. He appeared in films such as Anak ng Dilim, Ulo ng Gapo, and many others, and also ventured into directing and producing television series and anthologies. With his years of service to the arts and culture sector, Lizaso became part of the CCP Board of Trustees in 2010 and was elected as CCP president in June 2017.

Lizaso took his oath as new NCCA chairman on February 4, 2020, at the Supreme Court Dignitaries Lounge /Photo by Faith Yangyang

Lizaso with NCCA Secretariat’s International Affairs Section head Annie Luis, supervising officer for Administration Joseph Bernan R. Corpuz, and deputy executive director Marichu G. Tellano /Photo by Faith Yangyang

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: [email protected], [email protected] • 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 to postal inspection.