- THE CULTURAL CENTER OF THE PHILIPPINES

Asia's Mecca of the Arts

THE CULTURAL CENTER FROM THE AIR - A scale model of the CCP as completed . gives us a breathtaking view of the complex from th~ air. The Theatre for the Perform· By PEDRO R. NARVASA ing Arts Is at the center with the open air theatre to its right and above it th" Museum . and Art Gallery complex.

Early this month, a goateed firstly, a tribute' to Miss Quach's truant from the demos group attired sure and precise baton and the in a democratic polo shirt came to MSO's emergence as a fine musical 'the Theater For The Performing instrument. Then, of course, it was Arts of the Cultural Center of the a tribute to the excellent acoustics Philippines on Roxas Blvd. to listen and the people behind the building to the final performance of the of the magnificent edifice by the Manila- SympflOny Orchestra under bay, . which Miss Quach praised as Maestra Helen Quach. He sat through "very elegant, extraordinary and the whole night's program up on vibrant . . . better than Philhar­ the upper balcony, silent and trans­ monic Hall at Lincoln Center." , fixed. Barely after the last strains of the powerful and heroic coda Miss Quach, who has been assist­ of the Finale of Jan Sibelius's' pa­ ant conductor (1967-1968 season) pular Symphony NO. ,2 in D Major, of the prestigious New York Phi~ he jump~tl to his feet like an un­ harmonic Orchestra under Leonard coiled spring, clapped his hands, Bernstein, has conducted with great and shouted '- "Bravo! " distinction symphnoy Japan' and Korea. . but in a way, this demonstrator's She is now Chairman-Director of bravo was a multiple tribute: It was, the Jua Kang Music Camp of the 8 The Cultural Center. Cradle for Filipino artistry. We ~re 100% Filipino. This 100% Filipino structure is a loud cry In ownership. In work. In spirit. . towards our own self-sufficiency in the. arts. And everything about us. Millions of pounds of enduring Filipinas Cement Our strength goes beyond cement. helped make this a louder cry. And naturally.

DIstributed by ~ :tJ./ipin.n..s MARKETING CORPORATION 800 E. de los Santos Avenue, Quezon City. Tel. 99-87-26 THE MSO AT THE CENTER - Queen of the Baton Helen Quach (right photo) rehearses the Manila Symphony Orchestra in one of her appearances at the center. Above, the MSO and Choir with Maestro Herbert Zipper perform a Mahler op,us.

College of Chinese Culture in Yang­ to : "Terrific! " mingshan, Taiwan. She was referring of course to Miss Quach's appearance that the Cultural Center's excellent faci­ lities: very wide stage, lighting, stage night wa~ the third and final one props and perfect acoustics. with the MSO this season. Foreign artists have unstintedly Ever since the curtain first rose praised the theater. to usher in the opening performance of the commissioned "Dularawan" After witnessing Dularawan, New last September 8, the Cultural Cen~ York Times Music Critic Howard ter has become, as one enthusiastic Taubman wrote of his impression writer p,anegyrized it, "The Mecca of the multipurpose theater: of the Arts in Asia." "What is certain is that the Phi· "The dream of all young Fili­ lippines have acquired not only a pinos at long last comes true," building that looks handsome inside Soprano Dalisay J. Aldaba, founder " and out but also one that works as and president of the Opera Guild of well. It is almost impossible to build ' the Philippines said during the OGP's a large house that will be equally first presentation at the Center of congenial for drama, instrumental and vocal music and dance, but La Serva Padrona and PagliLzcci. - Leandro V. Locsin, an enormously ,"Opera, ultimate synthesis of the gifted young Filipino architect, arts - visual, vocal, orchestral, dra­ seems to have brought it off. matic ... performed by a Filipino I company in a FilIpino setting of "Since tonight's dularawan con· unsurpassed beauty. The goal of tained all these elements, it provided establishing a permanent national a good test. The spoken word cal" opera company which can support ried well through the 2,OOO-seat the musical standards,of profession­ auditorium without amplification, alism ,rto longer seems illusory." 'and the singers on the stage as well as the' instruments in the pit sound­ ed natural and balanced. One has Julie Borromeo, danseuse in and almost no doubt that a symphony choreographer of the first full-length orchestra would also be well served Filipino ballet Mir-i-nisa,commiss­ by the successful acoustics. As for ioned by the First Lady as part of the visual side, the viewing was LEANDRO V. LOCSIN - Howard Taubman calls Leandro V. Locsin (above) the Center's Philippine Music Fe~ excellent ,from every part of the "an enoflnously gifted architect who has brought off the impossible" feat a · tival, and Aldonza ,of the CCP box house." ,"large house that will be equ,ally congenial for drama, instrumental and vo~1 office hit Man of La- Mancha, re­ music and dance.',' duced her impression of the Center 10 WE ARE · PROUD

' TO HAVE SHARED IN I THE BUILDING OF THE

CULTURAL .' CENTER

... ~ ..... ~,...... ,.

", d\ ", : :.i". "',. 1\ ,,:.! ';'f,';:' 'j" "l1c(1 ,: .; \ ' \· ' l l ~ i w . i'. ..Hd io '...... 7TH FLOOR DONA NARCISA BLDG., 8751 PASEO DE ROXAS, MAK~TI, Rt,Z:AL P.O. BOX 953 MANILA TELS. 89"18 ! ~1I THRU ' 15 ~ , , t; " :-!: ':"·1 , CENTER SPARK PLUG - The Fin Lady, Mrs. Imelda Rpmualdez Marc< the human dynamo behind the Cultw Center of the Philippines·project, cuts t ceremonial ribbon marking the comp tion of the CCP's Theatre for the Perf 01 . ing A~ts , while those closely associat with her project watch. From left; De Lucrecia R. Kasilag, CCP Theatre Din tor, Emesto Rufino , Fr. Horacio de Costa, SJ. CCP tnlstees; Jaime Zobel Ayala , CCP President ; and Architect Lel dro Locsin, who designed the CCP co plex.

artistic director of t he Warsaw Na­ For the Grand Ball et Classique an easy one. Director Kqsil ag ma­ with wlwt we may cal/apathY-1ll tional Philharmonic Orchestra - du France, there wa s plenty of naged remarkab Iy welL" mentum, partisan politics, critic; whose reading of 13eethoven's Sym­ space for vicious and tender piro­ pessimists, irrepressible detractor phony No. Sin C Minor at the uettes and soaring trajectories. two would-b e national theaters th: The array of local and foreign had to be converted into cinel! Center recently was "a II lucidity artists that have performed at the and logic" - praised the CCP's houses, a pervading belief that U American Music crit ic Shirley center for nine months since Sep­ Philippines does not have a sustaiJ "theater for the performing arts as Fleming, who was witness to the tember before capacity aud iences one of the best in the world. ing audience to justify it , and th; Center's baptism of controversy appears to be a solid testament of modern social phenomena, demon complete with placard-bear.ing de­ the hope and faith that bu ilt this trators. '. The London Philharmonic Or­ monstrators and a skeptical press, "intended guardian of the Filipino chestra - already booked at the said of Dularawan, the Center's soul." Center for a second appearance curta in-ra ising presenta tion: in 1971 - remarked that it was TRUE NATIONAL THEATER acoustically the best they have "The b·est · moments . on stage But, the fact that the Cultural performed in. . Center ever got built was in itself were contributed by the various Ever since the Metropolitan the: dance troupes, including the inter­ a miracle. ter on Plaza Lawton, originally d, nationally· known Bayanihan. In signed as a theater for the perforn fact, if anybody deserVed a golden MIRACLE OF UNITY In Europe and the U.S.A. cul­ ing arts, deteriorated into a secon hat that evening it was Lucrecia tural centers, in Howard Taubman's run movie house before World Wi Kasilag, the. Bayanihan music di­ words "are a dime a dozen." But, II for lack of enough theater faJ rector, who wrote the score and nonetheless, in some cu Iturally de­ and the audience to sustain it ' A member of the Indian Dance , directed an orchestra of gongs, veloped and economically rich cities people talked and dreamed of Party of Sanjukta Panigrahi said conch shells, and innumerable bam­ in Europe, America, Australia and true national theater. wistfully, "This theater is a miracle boo flutes, lutes, xylophones, blocks, Asia, it is a long and tedious process o[ ·harmony." Celebrated solo vir­ sticks, and chimes - all native and for a cultural center to reach the The hist ~ ry of such a nation; ..tuoso Eugene Istomin, whose per- A~ian instruments . . . Most of . completion stage. Imagine, then, theater in this country is a litan formance of Beethoven's Emp.eror them individually are as delicate the difficulties such a planned cen- of grandiose plans and comic fru Concerto at the Mapua auditorium in tone as a breeze through a mango ter has to face and did face in a trations. It started with the desu many years ago · was a t.riumph tree, and colleCtively they are as developing country like the Philip­ of the Spanish colonizers to brir against poor ayoustics, and Ruma­ subtle in shading and introverted pines. to trus land they named after Kir lilian Mindru Katz, Herr Klaus Hell­ in spirit. Only the flu tes are basically Prulipp the art and culture ( ,wig and French pianist Allain Mo­ melodic, and the probtem of weld­ Europe. Foreign and local artis tard, all made 'the center's Stein­ ing this quietly percussive collection Aside from the monumental pro- had to perform either at the pala( way sing with exuberance. into an opera orchestra ,¥as not blem of funding, it had to contend of the governor general, the mansic CULTURAL CENTER of the PHIUPPIN -·--dii ~ r.-' -~, f .A...*'. • -- , • no. . ~ Operation and Maintenance Service Contractor for the Cu Itura I Ce~ter of the Philippines

HAN OF LA MANCHA - Sancho (Errol Mendoza) kneels as he sings the humorous ballad "I Like Ifim" to explain his master's (Don Quixote) eccentricity to Aldonza (Julie Borromeo) in the CCP hif musicar"Man If La Mancha."

;( a local Spanish Don or the theater wor thy of its counterparts IUditorium of the University of all over the world. They named it ;anto Tomas. the Metropolitan Theater and bu ilt it at the civic center of pre-war , Manila. There were fervent hopes A t the turn of the century, the ihat it will acquire the same fame l1anila ·Grand Opera House was and distinction that its famous lUilt to serve as the citade l of the namesake in New York City achieved. )erforming arts. For 'a time, it ;erved theater fare, zarzuelas, con­ certs, and opera '- performances. , However, like the Opera House, When the first Philippine Assembly the Me tropolitan became a movie wa s formed, it · held its initia I ses­ house. It now pll ts up a weekly sions at the opera house. In time, boxing match. the opera house management put up crowd-attracting entertainment like boxing matches to make ends meet until it was bought by the Since liberation, cultural per- late Don Toribio Teodoro, who fonn ances had to be presented in rebuilt it into a first class cinema school auditoriums without acous­ shortly before the war. tics. , Things began improvin'g for the performing arts when Far East­ EACON,INC. ern University, Insular Life, Phil­ During ·the Commonwealth era, amlife and others built auditoriums 2170 PASONG TAMO, MAKATI gbvernmen t and civic leaders worked with proper acoustical provision. P. O. BOX 3796 MANILA hand in hand to build a 'national But, there was no national theater. CABLE : SEACONI MANILA CALL: 88-51-371 87-13-16 88-02-22

Genercrl Contractors • BUILDERS • ENGINEERING CONSULTANTS • CONSTRUCTION MANAGERS • WORKS ENGINEERS

"ANG MESTlSA", - Dorotea Iris (Lilia Reyes, at right) finds herself talked about by Turing (Oscar Miranda) and Tanki (Rosa Rosal) when ,she came to the baIl in mourning clothes in the CCP-PTPA zanuela, "Ang Mestiza." MAV 'll. lQ70 13 i', AFTER PILE DRIvING - Piles driven deep into the Giltural Center site look like a THE CENTER IN APRIL 19~7 - The First Lady (extreme left) views progress of c,?ns- . . row of skyscrapers from the air. ' truction work at the Center. ."

" f, t "For a time, there was a move to undertake if her husband were elect­ secutive terms (1964-1966).: marked: ,rehabilitate ,the old Metropolitan ed President: "an integrated Social t ' bu t this petered ,ou t. And every Welfare Program to 'improve the But for the First Lady's purpose, "The most important thmg is not ,'" time talk of building - ' ~ national well-being of the people, and the Locsin is a pianist of no mean dex­ a formula but a person who wil theater afresh starts, pessimists and construction , of a cultural center terity, ' having earned an Associate be a catalyst for the project - I critics pOiiH to the old "National , for the development 'oftlie Filipino inlArts (Major in Music) degree, and ~meone so dedicated to the pur theatd' or Plaza Lawton to dampen soul which," she said, "is just qS more important, had done theatrical pose that he will stay with it unti I the hope of the dreamers. " essential to nation-building." work in his st udent days and shortly the job is completed, This is some before taking the board examina­ thing that no committee, or groul Then in 1957, the U.S. and Phi- . tions for architects. He was invo lv ed can do; it must begin and end will 'i lippine Governments decided to set ARCHITECTURAL LANDMARK. , in the production, with Maestro , one person who will stay with it al up a bi-national cultural project to Federico Elizalde, of Lady Be Good the way." . ' , make use of ,some of the former's at the FEU auditorium. excess funds here. Bothgovenlments She envisioned the Center to be established the Philippine-American a showcase of 'Filipino artistic ex­ In that memorable party, Mrs. COMMITTED AND DEqtCATED Cultural Foundation composed of pression and an architectural land­ Marcos discussed the center she had . Filipino and American trustees. The mark. "It wOl)ld foster the arts of , in' mind with Locsin and the other i ' foundation decided to build a thea­ our time and preserve the heritage guests. Soon after, she commissioned Fortunately for the Cultural Cen L ter for the performing arts at a 'of the past." Locsin to design the cultural center ter, Mrs, Marcos is such a committed Io-hectare site in Quezon City. complex. But the main work - rais­ and dedicated 'individ,ual, and more They commissiohed Architect Lean­ When she became . First Lady, ing the necessary funds -- was yet dro V. Locsin to design the theater, Mrs. Marcos attended a party in to begin in earnest. Even before her husband assumec However,'the Filipino trust~es, com­ her honor where most of the guests the presidency, she was alread) posed of Dr. Vidal Tan, Purita were art connoisseurs. Among the Many planned cultural ' centers busy organizing her fund drive fOI ... ' Kalaw-Ledesnla, Benito Legarda guests ~as Leandro V. LocsiIi. abroad never got completed for the center - initially - with tIl! ~nd Antonio Quintos, and one Ame­ lack of funds. One such center in' premier stage presentation of "Flow Llcan trustee, Earl Carroll , had a By then Locsin had achieved Australia, already a beautiful archi­ er Drum Song," f~isagreement with the U.S. embassy international recognition having . tectural landmark, began almost a iOn how to continue the project. So, been awarded the Pan Pacific Archi­ , decade ago, is far from getting "We raised half a million pesb: !the whole thing was scrapped. tectural Citation by the American ';,completed. that evening and we became jubi: Institute o{ Architects, Hawaii lant and emboldened to think thai ~hapte: f?,f '.'Consistent Excellence '::{,~,: EFFECTI~ LEADERSHIP' ' we had successfully taken the firsl m DeSign m 1962. He was also ;.,,({:t: '("""" concrete step toward the realiza recipient of tl1e TOYM Award f9d ;;t', "!!';.,"'::\~' :":!;~" ."',' ''':;''·· '''' ------~ tion of our dream. Private citizen: Architecture from the P.hilippine 'U~,fTh~;;~ cal.is~ · could be anything themselves were anxious to hell In September, 1965, at the height ' Chamber of Commerce (1959); Ri~ ~\' frorri' lack' offunds to a leadership build the Center," the First Lad) of the presidential campaign and zal Centennial Presidential Awardee ; '," problem .., as 'i1:\ ' the case of many recalls.. ' in the midst of a proclamation for Outstanding Work in Architec- >,aportedcentersabroad. ' rally in Cebu City, Imelda Romual­ ture (l962);[ecipient of t~e Gold The critics were harsh and skep dez Marcos, helping then Senate Medal as , the most 'distinguished When asked what formula she tical. The project, they chorused President Ferdinand Marcos ' cam- alumnus of the University of Santo followed in raising $35.5 million was too ,grandiose and ambitious. , paign for the presidency, first voiced , Tomas in 1968; and recently ele­ for the Los Angeles Musi,c Center And they enumerated "factors thai her desire to build a cultural center. vated as Fellow by the Philippine for the Performing Arts, one of the foreshadowed its failure.", But Mrs Institute of Architectsfor outstand­ most beautifully desigJled and exe­ Marcos was undaunted. Later, in an interview with writer irtg contribution .to the profession cuted in the world, Dorothy Buffum " 'Alice Coseteng, Mrs. Marcos men­ last year. He was also the youngest Chandler, wife of Los Angeles Times ' Soon she invited , a small grouJ tioned two main projects she would president of the PIA for two con~ Publisher Norman Chandler re- ' in Malacaflang for what ' was th

...... ~1 =4 =_""""~...... _ ,.""" ",",-"-,~",,:,,,_ """"~~kL....:""",","""':'\...... ;.,... "--..."""" ~~::";",,...;..,,,,,, ...... ,. _ .....' ~' ...._ ,"", ' ~""", ____ -,--,",-,,«.... ,.... _C ...Y,-L_T ... U_R_A_L ...,, ~... ~.. N... :_E .... R.;..0 ..);.; ' t.;..h.;.e.;..P.,iI.... IL;.I;.PP_I.;..N_E! -, Center's first organizational meet­ ing. The group included Locsin, Chronicle columnist 1. p, Soliongco, Juan Ponce Enrile, Estefania Aldaba Lim and Lourdes S, Villacorta, Afterwards, an ad hoc committee was organizeg to help . evolve the philosophical concept of the Cultu­ ral Center. The group included Lam­ berto Avellana, Lucrecia R. Kasilag (now director of the Center's Thea­ ter forJhe Performing Arts), Locsin, former National Museum Director Galo B. Ocampo, National Library Director Serafin Quiazon, Estefania Aldaba-Lim, Ileana Marllmag, Alfre­ do R. Roces, presiding officer, Sebastian Santiago of the Presiden­ tial Economic 3taff, Virginia J. Ve­ lasquez and Lourdes S. Villacorta. (Mrs. Villacorta pursued and coor­ dinated the Cultural Center's deve­ lopment programme from its in­ ception, while Mrs. Rose Duavit­ Cruz served the Center with equal dedication as accountant-comptrol­ THE CENTER BY EARLY 1969 ler.)

WORK STARTS Mrs. Marcos had approy,ed Locsin's the Philippines, President Marcos retary of National Defense and design for the Center, and had ob­ appointed the seven members of the counsel for the Center during its Groundbreaking ceremonies for 'tained financial pledges from pri­ CCP Board of Trustees, all of them inception; Antonio P. Madrigal, the Center at a secured site, ideally vate groups - many of them volun­ distinguished cit izens. Aside from busmessman and industrialist ; Er­ located by the edge of Manila Bay tary - to fund the project. the First Lady, those named to the nesto Rufino, prominent business (set aside by presidential proclama­ board were Horacio de Ia Costa, and civic leader; J.P. Soliongco; , tion No. 20 of March 12, 1966), By virtue of Executive Order No. S.J., distinguished scholar and his­ were held in April 1966. 30, creating the Cultural Center of torian ; Juan Ponce Enrile, now Sec- Continued WHEN THEY ASKED FOR BUilDING MATERIAlS THAT COUlD BEST BEAUTIFY THE "CRUCIBlE OF CUlTURE" IN THE -COUNTRY JODAY... THE MEN AT REYNOlDS GAVE THEM ElEGANT, VERSATilE AND·lONG-lASTING AlUMINUM. When the Cultural Center of the Philippines needed entrance doors, windows, curtain walls and expanded acoustical ceiling, the people behind the project knew their best [i] REYNOLDS bet was aluminum from REYNOLDS. Because aluminum could be .specifically tailored 'ftl to meet all their requirements. So, they called the men at REYNOLDS. They also c:i~ - AU'heLrenUewMideas1taNke sUhaPMein knew that REYNOLDS is the pioneer in aluminum here in the Philippines. .='\ HERNANDO OCAMPO'S "GENESIS - Painter Hernando Ocampo donated his paint­ PRODUCnON PHASE OF CURTAIN - Above, Bizenya Weaving Co. (of .Kyoto) Pres~ ing "Genesis" which was utilized as the CCp's curtain design. Above, after completion of dent Toshio Nagoshi rush work on the CCP curtain. the weaving phase in Japan.

Artists donated their masterpieces and talents to help ensure the Center~s success

and Andres Soriano, Jr. , business gan to rise slowly but dramatically aborted theat er. ter. Mrs. Patricia Keller volunteer ed tycoon. At their first meeting, the at its site beside the Philippine her services in designing the Philip Trustees elected Mrs. Marcos chair­ Navy headquarters compound. The first foreign dOllor, a Japa­ pine-made capiz chandeliers no\\ man, Mr. Madrigal, treasurer ; and mi'se philanthropist, donated 20,000 hanging over the Center's foyer Mr. Rufino, assistant treasurer. FOREIGN.DON ATIONS bags of cement. Three Filipino cor­ while Federico Aguilar evolved thl porations matched this donation. curtains' des ign for the smaller ex Impatient to get things done, In the meantime, Mrs. Marcos Marinduque Mining and Industr·ial perimenta I theater now under cons Mrs. Marcos saw to it that work received voluntary donations for Corporation contributed 8,000 bags ; truction below the Theater for thl was immediately begun in May her project. The Philippine-Ame­ Filipinas Cement Corporation, 4,- - Performing Arts. 1966 to reclaim some 28 hectares rican Cultural Foundation, repre­ 000 bags ; Mindanao Portland Ce­ from the sea. Pile-driving was done sented by Hr. Vidal A. Tan, decided ment Corporation, 10,000 bags. Philip Morris International 0 simtiltaneously. Ten months later, to turn ov'er the P 100,000 that Many other businessmen contribut­ New York, through its Presiden in February, 1967, the Center be- the Filipino sector had raised for its ed their bit to help build the Center. Hugh Cu llm an, donated a fuJI COil ce rt Steinway grand pia no. A Secon, VALUABLE COLLECTIONS full concert grand piano wa s give: by an anonymous donor. House 0 Philipps donated all the exteric Several art co llectors volunteered lighting requirements of the Cer to turn over their collections to the ter's facad e and grounds, wllile th Center. These include the priceless Ermita Lions Club volunteered t collection of Oriental pottery and provide the flag pole and otll( objects d'art of Dr . . Arturo de sundries needed. The British G( Santos; the collection of Moslem vernment contributed a collectio art of Potenciano Badillo; and inva­ of Shakespearean costumes. luable artifacts of Spanish colonial origin from the Antonio Bantug and Arsenio Escudero families. The LARGEST DONATION Zobels. similarly expressed a wish to donate dioramas depicting historical During President Marcos' Sta l events for our Museum gallery. Visit to the United States in Sel tember 1966, Mrs. Marcos was ab Four artists contributed their to interest President Johnson t works and ' services to the Ce nter. provide U.S. support for the Cent, Hernando Ocampo donated his The result was the passage of tt painting "Genesis" which tapestry bill covering the $28-million Speci weavers in Kyoto, Japan utilized ' Fund for Education that heretofoJ as the design for the curtain of the had been shelved by the U.S. Co Center's Theater for the Perfonning gress. With the assistance of Senat( Arts. Fernando Zobel, Arturo Luz ' Mike Mansfield, the bill was passe. AT THE NATIONAL THEATRE JAPAN -Architects Leandro Locsin and Antonio S. and Cesar Legaspi agreed to do alloting $3.5 million of the Fur. Dimalanta with a Japanese expert are shown in front of the National Theatre of Japan murals for various areas of the to the Cen ter. during a survey and inspection of the latest sound system during the CCp's design stage. Center, while Vicente Manansala gave the bronze wall sculpture that Thisamount, equivalent to po 13 dominates the entrance to the thea- million, plus an additional PI 16 CULTURAL CENTER of the PIDLIPPINE Nine countries ~ent their top artists for ·the CCP 's International Music festival

illion raised by the First Lady, the Eltra Corporation of New York, pient of this bounty. the Fund's chosen fields of activity. Italling P'IS .S million, was created had become impressed with the lluough represen tations made by to a Cultural Development Fund First Lady's self-in1posed responsibi­ These donations, however, were Ileana Maramag, in behalf of the Iministered by Bancom Develop­ lity to build the Center. Thus, on not sufficient to underwrite the First Lady, the JDR 3rd Fund lent Corporation. Based on the his in it iat ive, Eltra Corporation projected P'40-million cost/of the awarded two grants to support the )tes of agreement exchanged bet­ through Mergenthaler ' Linotype -Center. The increase in cost of Cultural Center's staff development een the Philippine and U.S. go­ Company do.nated a r I-million construction and equipment further programme. Rob erto Chabet, cura­ !rnments, the enduring character fully equipped printing press. This compound ed the financial problems tor of the CCP museum and art f the Fund is ensured in that the will provide the hard core nucleus of of the Center, forcing the Board of galJery, was' provided a year's trave1- rincipal remains intact and only tlie educational and cultural com­ , Trustees to seCilre a $7-million loan study amounting to $8,300 to study s investment portfolio earnings will muni cations of the Center. from abroad, guarantekd by the museum procedures and organiza­ e utilized to finance the Center's NIDC. tion in the United States, including peration and activities. The latest administration, installation, hand­ nancial report dated June 30, 1969 EFFECTIVE LEADERSHIP Simultaneous with the Center's ling registration, publications and lbmitted by Bancom Development construction, Mrs. Marcos delegated educational services. Chabe t return­ orporation, indicates that the Cen­ Mrs. Estefania Aldaba Lim - while ' ed home via Europe and studied !r's investment portfolio has P' 17,- Adequate financing for the Cen­ on two separate UNESCO-sponsored museum procedures in Germany, 28,737.79 at cost with a market ter's construction became the First trips- to finalize arrangements with the United Kingdom, France, Italy llue of P'20,008,209.S8. Lady' s perennial problem. Largely different European countries to par- and India asguest of these countries, because of this, Mrs. Marcos accept­ . ticipate in the month-long Interna­ also through arrangements made by With this arrangement, the Center ed social engagements to snip a tional Music Festival that highfight­ Miss Maramag at the behest of Mrs. . not likely to follow the fate of ribbon here, unveil a marker there ed the Center's inauguration. Nine Ma·rcos. 1e Metropolitan theater. to subtly secure additional oontri-; countries - - France, Germany, butions for the Center. India, Israel, Japan, United King­ The second JOR 3rd Fund grant, BIGGEST SINGLE DONATION dom and United States - - sent their consisting of an $11,300 felJowship distinguised artists to the Festival. for study and travel in the U.S., During her visit to New York was awarded to Alejandrino Hufana. :ity in May 1968, Mrs. Marcos At the same time, the First Lady He is now completing his Master eceived the biggest single donation denied herself personal gifts on her of Science degree in Art Librarian­ 1 kind from abroad through an birthday, wedding anniversary, In January 1967, Mrs. Marcos ship at Columbia University pfepa­ unerican businessman she met for Christmas or other significant mile­ met with Porter A. McCray, visiting ratory to his duties as Chief Libra­ he first time. It appeared that stones. Instead, she signified her pre­ director of the John D, Rockefeller rian of the Cultural Center's Art {hile visiting the Philippines, Ma­ ference that they issue a check in 1II Fund in New York, whose ex­ ion H. An to ttini, Vice President favor of any of her projects. The pertise the First Lady had sought, Continued or International Development of Center beca me the principal reci- the performing arts being one of

For'

Where he can paint and dream. In a peaceful, the• artist undisturbed atmosphere. Free ' of petty human griefs. Celebrating life through the different forms of art.

In every man: FGU upholds the belief that the arts can truly flourish in a tranquil, progressive society. Where people have time for beauty and order. ,Where .a future home they meet at a common place to bring their common joys and other human emotions. FGU will help them build together. Perhaps, hope together. And face the future unafraid.

FGU INSURANCE GROUP FGU Insurance Corporation The Phi lippine Guaranty Company, Inc. Universal Insurance & Indemnity Company Insular Life Building, 6781 Ayala Avenue Makati, Rizal • Telephone No. 88-75-41

••• ",., .. 1n""l\ 17 ADMINISTRATIVE STAFF - Th~ Cu~ tural Center of the Philippines' adminis­ trative staff meets to discuss the CCP's program of activities. From left: Museum Curator Robert OIabet, President Jaime Zobel de Ayala, Theater Director Luc­ recia KasiJag, Asst. Theater Director Ted· dy Hilado, Auditor Rafael Binaday, and Deputy Director Antonio Quintos. Not in photo (on study leave) is Library Director Alejandrino Hufana.

and Music Library. The Fund has was subjected to political attacks nessman and industrialist, has a famed Bayanihan Folk Arts Centel also assured assistance to equip the a!Jd its legality was questioned. Bachelor of Arts degree in Architect­ and DanCe Company. A Master of Library within the limits of its ural Sciences fr01l1 HalY ard Uni­ !>1usic from the University of Ro­ budget. Then Justice Secretary Juan Pon­ versity. chester, U.S.A., Miss Kasilag is 2 ce Emile ruled on February 12, composer of note and a recipienl CULTURAL EXCHANGE 1969 that the Cultural Center was of several awards for her leadershir At the same time, Mrs. Marcos perfectly legal. This opinion was and outstanding contribution te recently upheld by the Courts. One of the youngest Filipino music and art. j had undertaken the organization in businessmen and industrialists to­ the United States of the Friends day, he is Senior Vice Presid ent and of the Philippines Foundation, Inc. Shortly before the , scheduled opening performances at the Cen­ Chairman of the Board of the Ayala One of its purposes will be to pro­ Corporation, a' family enterprise. He mote frequent exchanges in the ter's Theater for the Performing Arts, Mrs. Marcos aijd her fellow is al,so president of the Shell Che­ field of the performing -arts and mical Co. of the Philippines; and other forms of artistic expression. trustees formed the Cultural Center Staff. member of board of directors of various affiliated companies of Aya­ The four-year struggle to build la Corporation. the Cultural Center has . not been Named executive director and without sQme drama. Early last later President Jaime Zobel de year, just when the Center had Ayala agreed to selYe without Deputy Director is Aten eo gra­ become an ,incredible reality, it pay . Mr. Zobel de Ayala, a busi- duate and practising law yer, Anto­ nio Quintos, executive director of the Cultural Foundation of the Philippines and member of the board of the erstwhile Philippine American Cultural Foundation. He headed the Philippine Cultural Mis­ sion to Southeast Asia in 1957.

A technical and legal assistant of the Tanada Law Office, Quintos CHINESE PARTICIPATION - Nation used to teach Philosophy, Commer­ alist China sent its top OIinese Oper. cial Law and Spanish in several troupe (above) for. the CO' Internatiooa {J,,1I .. ,4l {Jon I" colleges and law schools in Manila. Music FestivaL ~J ·'Ih. qJkili,Jpines 8a.nclucu:y of the For the important post of Direct- Filipino Soul • or of the Theater, the trustees appoin~ed Dean Lucrecia R. Kasilag of the College of Music and Fine COMMEMORATIVE STAMP - Above are two of the stamps ~sued by the Bureau Arts, Philippine Women's University - of Post to commemorate the opening of the Center. and music director of the world- 18 CULTURAL CENTER of the PIDUPPINE! Named Director of the Center's Procedures and Techniques, 1967- Museum was Roberto Chabet, oile 1969. of the · country's distinguished painters. A graduate architect from . Appointed Library Director, was . the University of Sto. Tomas, Cha­ writer Alejandrino Hufana, who is bet is a First Prize winner in Paint­ -now completing his Master · of ing, Art Association of the Philip­ Science degree in Art Librarianship pines annual competition, 1961. He at .Columbia. was recipient of the John D. Rocke­ feller III Fund Grant on Museum Continued

\

FOREJGN BALLET AT THE CENTER - Two top foreign ballet troupes performed at the CCP last Sep­ tember - the Grand Yunost Cultural Troupe (above) and the Grand B-allet Classique de France (below). ,

DESIGNED TO STAND OUT MARlWASA Glazed Tiles FROM TIlE MAKERS OF EXPORT· QUALITY TILES ~ MARIWASA ~c~UI~&\UfI~g· ',••• , Sarrio Ro""io , P,.ig, Rizai T,\. No . 692·30-44 \0 48

•. Di.tributed By: THEO H. DAVIES & co., FAR EAST. LTD. Davie. Far Eart Bldg .• 222 Buendi. Ave., Maka., Ril.1 T~L: 88-7>11 ; 1J9.2G.91 PRIMA MERCANTILE 30 bUOlon Blvd. Extan.ion. QUlZon City, Tal •. : 61 ·21 ·04; 6()'8t.57

MAY'll. IQ70 '; Named auditor and Assistant Di­ best known theatrical personalities ' Architect Locsin has designed rectbr of the ,Theater were ' Rafael in the country ', today. He joined the Cultural Center complex as Binaday and Teodoro , Hilado, res- . ,the Bayanihan Dance Company in contemporary and ' functional in pectively. ' 1964 for its Australian and Latin . strllcture; simple and elegant in 'American tours and has since been tone .. its Technical Director. Consequent­ ~ , Actor, director and producer in ly, he was also named Technical Continued radio" television and motion pic­ and assistant Director of the Center's tures, Teddy Hiladd is one ,of the .' theater for the Performing Arts. • j \ . } , COMMISSIONED BALLET - The CCP's ' first commissoned baDet, Mir-i-nisa, is shown above in fuD splendor. Below left is the Theater for the Performing Arts in color. Below right is a colored perspective , of the wpole CCP complex.

20 INAUGURAL VARIATIONS - Above, the" gala op~ning crowd is seen above the sparkling chandeliers. Below right, first day guest in salakot is greeted "by the First Lady along with (I-r) eep Trustee Ernesto Rufino, eep President Jaime Zobel de Ayala and Architect Leandro V. I,ocsin.

M AV '11 lQ70 21 • . Marble Floorings. Marble Stairways • Marble Counters and Lavato'ry Tops lor the Cultu ral Center 01 the Philippines , ·Supplied ,and Installed by

/ MARBLE .. 'tar . CORPO~ATION\ ) , 1515 ROXAS BOULEVARD BLDG. • TELS~: 50·15·48 • 59·16·01

22 CULTURAL CENTER.ofthe PHIliPPINES "I have envisioned the Center as create a different world of art, a complex of pavilions leading one sparkling waters, fountains. and gar~ to the other interspersed by plazas, dens. It will be composed of four" lush gardens, serene reflecting pools pav ilions and connected to one ano­ and shaded covered areas, rather ther by a system of open court­ than a single monumental structure. yards and cQ.vered walks. The main In this way, the public is -beguiled features of the museum will be: at every tuin as'new vistas unfold," he explains. 1. A Painting and Sculpture Hall Aside from the n~w functioning with special section for con tempo­ Theater for the Performing Arts, -rary art. the architectural complex will even­ tually consist of a museum and art 2. A Colonial Art Pavilion - split into two levels with a chapel in gallery which shall serve as the which the San Jose Church baroque treasure house of cultural artifacts altar, donated by Antonio Bantug, and works ofart;an art and music will be displayed . . library; an open amphitheater for outdoor concerts, pageants, and other artistic performances. 3. The De Santos Pavilion - to contain the large and magnificent Pile driving have been completed De Santos art collections', part of on the museum, library and amphi- _ which will soon be displayed at the theater structures. But early this temporary museum on the Theater's ORATORIO PAGTUBOS - Sister Rosalina Abejo, R.V.M. year, the fourth floor lobby of the fourth floor. It is a most ou ~stand- ' conducts the Philippine Symphony Orchestra in a per· Theater had been set aside to tem- I ing collection of European, Spanish- formance of her own composition, Pagtubos, a commilr porarily house the Museum while colonial art in the Philippines. gold sioned oratorio. the third floor lobby, the art gallery. and other artifacts and what is one The temporary art gallery has al- of the world's largest collection ready exhibited two foreign paint- of export ceramics (Chinese, An- ing exhibitions. The temporary namcse and Siamese) excavated in folk a,?d prinlitive art. designed a museum which is in museum and library will soon be the Philippines. effect a complex of smaller struo­ ready for the pUblic. 5. A Library for Art and Music. tures surrounded by gardens, play­ ing fountains, serene reflecting pools 4. The Filipino Muslim Pavilion and plazas. One would be able to When completed the Museum - to house the Filipino Muslim Mr. Locsin has refrained .from go from one pavilion to the other, and Art Gallery complex will be art collection of Potenciano Badillo, designing one_ large structure to surrounded by high walls - to and a separate section for Filipino house these exhibits. Instead, he (Continued on page 26)

For Your Electrical Problems Call:

Telephone: 1057 G. AP AClBLE ST. 59-24-14 PACO. MANILA (Formerly Oregon St.)

We are proud to have undertaken the electrical works .

of the new Cultural Center of the P'h-i'lippines

23 SUMMER YOUTH WORKSHOP IN DRAMA - The Philippine Educational Theater Association (PETA) and the Cultural Center of the Philippines (CCP) are currently sponsoring a seven-week Summer Youth Workshop in Drama at the Center. Above PETA Execu­ tive Director Cecile R. Guidote (seated, second from left) and CCP President Jaime Zobel de Ayala 8ign workshop agreement. Watching, seated, are Dr. Henry Popkin and Miss Lucrecia R. Kasilag; standing (I·r), Robert Chabet, Teddy Hilado, Antonio Quintos, and Leandro V. Locsin. "

THE NEW YORK CHAMBER SOLOISTS AT THE CULTURAL CENTER 24 CULTURAL CENTER of the PIDUPfINES e MODERN DANCE WORKSHOP - Alice Reyes and the CCP are likewise jointly sponsoring a Modem Dance Workshop at the Center. Above , Miss Reyes (in bell bottom pants) watches a group of her workshop students perform warm up 'exercise at the Center's spacious basement rehearsal room.

Manufacturer & Supplier of Built: up Roofing for the Cultural Center of the Philippines t. c. tirona corporation 7248·E MALUGAY ST . , MAKATI, RIZAL • TELS. 88·62·37 • 87·48·90

Exclusive distributors ..f •E CERTAINTEED BUILT-UP ROOFING SYSTEMS

MAV'll 10'70 The Center's staff has geared Inevitably, the success of the its initial programs to "selling" the Cultural Center won for the First Center and its cultural offerings to Lady a number of detractors. How­ the public. The result, so far, has ever, even the most rabid detractor confounded the dire predictions will be hard put to deny the need of its detractors, To keep the public for such a Center and that without in tab with artistic current s and feel Mrs. Marcos the Center would have involved as spectator and participant remained an unfulfilled dream. Far in the development of their own from being discouraged by her cri­ culture, the Center has formulated tics, the First Lady came out of till'; an integrated program of cultural experience with an even more steel- . activities. hardy determination to complete the Center complex. Since September, the Center has offered concerts, plays, dance pre­ sentations, operas, exhibits, confe­ To critics of the Center who - 'rences and workshops. advance the argument that for art

JAPANESE OPERA - At the CCP last September were (I-r) Yoshinobu Kuribayashi, Tadashi Mayamoto, and Yukitsuna Sasaki in Ikuma Dan's ,modern opera Yuzuru

(Twilight Heron). 0

refreshed, he walks through lush Already long lines of people gardens and shaded covered areas, queue at the ticket windows of the surprised at every turn as new vistas Theater for the Performing Arts unfold. - to place reservations for perfor­ mances weeks away. An average of A grand staircase leads to the 5,000 people visit the Center . to upper decks. One could climb to admire its sweeping lines, feel the upper gardens interspersed with caress of soft carpets or just rest sculpture and ,tropical plants to weary feet and escape {nto other THE MANILA CHOIR - Mrs. Louis Bello (above right) is sh~wn conducting tht view historic Manila Bay and its worlds hinted- by music along the Manila Concert Choir which appeared in the Opera Guild of the Philippines' iRitia colorful sunsets. cool lobbies and corridors. offering at the Center - PagIiacc. . Our humble tribute to the Cultural Center of the Philippines

Man ufacturer and Supplier of CCP Seats PHILIPP~NE SEATING CO .. , -INC. SEAT DIVISION '0' Philippines' Largest Manufacturer of Public Seats" 2ND STREET., PASIG, RIZAL • TEL. NO. 692 - 335 I Our first thought ... to make products that last!

I, CULTURAL-CENTER of the PHILIPPINE1 to be ',:ielevant" ,it must stir up r es~ cuse for us to wish for tlus coopera­ ponsible social action, CCP president tion to continue, if only for the Jaime Zobel de Ayala said, in ' the sake of those among us who feel course of , the Third Music Con­ that the spirit is entitled to equal ferencesponsored by 'the National nourislunent as the body," Music Council of the , Philippines " - Mrs, Marcos said at the opening a t the Cen ter. of the Center theater last Sept em- . ber, "A nation mU,st have a place for "The artist, JW'hen he depicts Art, or it remains a stranger sitting suffering, pain and J chaos, which in the shadow, outside , the sunlit are part of the , human condition, circle of the human family". - . is spurred by his own creative im­ pulse to express his own perception If the pride felt by' the thousands of reality. His artistic creation is who have visited the Center's theater hOt the product of the dictate of - the past seven months w~re to be a his creed or political affiliation or measure of what the future of the ideological belief. Art's only com­ Cultural Center 'of the Philippines mittment , is to truth and beauty. ' will be, the Philippines is in the "cir­ It does -not seek to divjde, nor to cle of the human family." It, could aliennate. It addresses itself to all indeed be, if it is not yet, the Mecca MODERN GENUIS OF MIME - 'The CCp's Theater for the Performing' Arts recently classes of people and not to , any of the Arts in/Asia. more than did justice to the genu is of French Mast~r of Mime, Marcel Marceau (above), particular class to the ' exclusion who cap tivated his Manila audience "by carving unforgettable meaning out of indifferent of others. It can be shared by all ,On any given day and at alLtimes, space" through four consecutive performances. because the artist picks his subject this massive' masterpiecy of func- from reality and offe rs the beauty o tional architecture and solid engi­ of his artistic creation to all'huma- ' neering pulses with life. A provin­ nity. " ciano would, more than likely, be joined by' a becamera'd tourist up cians and carpenters continue the It s staff is trying to see through In its May 17 editorial, The the escalators to view the exhib its unceasmg task of completing the forever with plans evolved to bridge Manila Times said: at the temporary art gallery. On work that never seems to get done. the art and culture of our past, pre­ . stage, hands would be testing cables That's the Center night and day. sent, and the foreseable future. SPIRITUAL NOURISHMENT and props for the next performance. "The' increasing cooperation bet­ At the basement rehearsal room The center - to PClfaphrase the ween the Cultural Center and our Maestro Eliseo Pajaro would likely From ' afar, the Center is already - hit . mUsic

Painting Job for Cultural Center d 'one' by-\ /

LlBRADO P. CABAUTAN PROP. - MANAGER OFFICE: 48 INT. C. JOSE MALIBAY, PASAY CITY TEL. 80-64,95