agung # 4 (august) 2015

Volume XVIII • Number 4 • 2015 • For Artists and Cultural Workers • ISSN 0119-5948

Official Newsletter of the National Commission for Culture and the Arts

Weaving the Word, Wording the Weave

Vol. XVIII, No. 4August 2015ISSN 0119-5948

The agung is a knobbed metal gong of the Philippines used in various communal rituals. Suspended in the air by rope or metal chains, the musical instrument is also employed by some indigenous groups as a means to announce community events, and as an indicator of the passage of time.

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

Cover and facing page show the textiles woven by hand using pedal looms by the women of Lumbaan-Bicbica, Pinili, Ilocos Norte, all under the guidance and inspiration of Manlilikha ng Bayan Magdalena Gamayo. The textiles show some of the weaving and design techniques employed by the community such as the pinilian (back), impalagto, and the special kind of plain weave, the binakul (facing). /Photos by Roel Hoang Manipon

A Heritage of Creativity

It has been well established that creative breakthroughs happen when fields, disciplines and cultures intersect because you can combine existing concepts into a large number of extraordinary new ideas. The generalist, interdisciplinary and highly communal nature of traditional Philippine cultures fulfills this essential requirement of creativity. This integral, holistic character of the Filipino mindset is manifested in all aspects of traditional Filipino village life and, to a great extent, even in urban settings.

Philippine traditional arts most sensitively reflect this creative mindset, especially in our weaving traditions. In Filipino traditional communities, everybody is regarded as a participant in the creative process. Nobody is a mere spectator. Everybody is expected to be an artist and engage in creative, expressive activities, thus resulting in a vast creative resource pool, as clearly seen in the great variety of weaving patterns and styles in the textile arts of the Manlilikha ng Bayan and weaving communities throughout the archipelago.

But as the Philippines undertakes modernization, particularly in the urbanized and industrialized cities, these attributes of traditional art are replaced by their exact opposites. Artistic creation becomes highly specialized, separate from everyday life, a glorification of the individual ego, and obsessed with commercial success. The creative act becomes the exclusive province of specialists, and the rest of society becomes mere consumers. Creative diversity suffers.

Let us all hope that the thrusts of the NCCA, which underscores Filipino creativity and ingenuity as essential components of national development and heritage, will be able to counter this trend towards mere consumerism and creatively re-empower the Filipino.

FELIPE M. DE LEON, JR.

FELIPE M. DE LEON, JR.chairman

ADELINA M. SUEMITHoic-executive director

MARLENE RUTH S. SANCHEZ, MNSAdeputy executive director

Rene Sanchez Napeñaseditor-in-chief

Roel Hoang Maniponmanaging editor

Mervin Concepcion Vergara art director

Maria Glaiza LeeWriter

Marvin Alcarazphotographer

Leihdee Anne CabreraManny AraweAlinor MaquedaMay Corre TuazonRoezielle Joy IglesiaFrancisco del Rosario IIIpaio staff

About the cover and facing page

The National Commission for Culture and the Arts

As the government arm for culture and the arts, the National Commission for Culture and the Arts (NCCA) is the overall policy-making, coordinating,

and grants-giving agency for the preservation, development and

promotion of Philippine arts and culture; and executing agency for the policies it formulates; and an agency

tasked to administer the National Endowment Fund for Culture and

the Arts (NEFCA). The NCCA traces its roots to the Presidential Commission

for Culture and the Arts (PCCA), which was created when President Corazon Aquino signed Executive Order No. 118 on January 30, 1987, “mindful of the fact that there is a need for a

national body to articulate a national policy on culture, to conserve and promote national heritage, and to guarantee a climate of freedom, support and dissemination for all forms of artistic and cultural

expression.” On April 3, 1992, President Aquino

signed Republic Act No. 7356 creating the NCCA and establishing the NEFCA, a result of over two years of legislative

consultations among government and private sector representatives. The bill was sponsored by senators Edgardo J. Angara, Leticia Ramos-Shahani, Heherson T. Alvarez and

congressman Carlos Padilla.The NCCA Secretariat, headed by the

executive director and headquartered at the historic district of Intramuros,

provides administrative and technical support to the NCCA and other units, and delivers assistance to the culture and arts community and the public.

Emilie V. Tiongcoeditorial consultant

MESSAGE FROM THE CHAIRMAN

A String of FlowersMeeting Magdalena Gamayo

Text and photos by Roel Hoang Manipon

Midmorning in the purok of Ulidan was bright and quiet, with the sun slowly gilding the great Cordillera

mountain range with its mantle of varying shades of greens and browns that counter-balanced the almost arid looking fields and scorching temperature.

Part of Lumbaan-Bicbica, a barangay of Pinili, Ulidan is almost remote, sitting at the easternmost border of the town, past fields of rice and tobacco, near the town of Nueva Era, where one can get a glimpse of the hills and mountains in the province of Abra. Here, be-side a house that has been worn down by time and weather was a small shack, by a field that was tilled, ready for planting, with the roll-ing mountains forming a pensive backdrop. Nearby, a pedal loom was in process of being repaired or constructed under a thick clump of bamboo. With iron sheet and grass roofing, the shack was almost open, save for waist-high walls of concrete blocks and pieces of woven bamboo slats used to shield from the glare of the sun. It was brimming with looms, spilling into what looked like a patio.

An old woman, hunched with age, came out and began swiftly sweeping the floor as if readying the place for visitors. She greeted us with a smile, obscured by the deep lines on her face, as we reached the gate. She wore a pale green blouse embroidered with designs of flowers and curling leaves around the neckline, and a white skirt embellished with crisscrossing green dashes that became florets at the intersections. The skirt she said she made herself, bearing her favorite design. By “made,” she meant “woven” by hand, skilfully and meticulously interlacing the threads and yarns to form the fabric and us-ing techniques to create designs that emerge

as the cloth takes form out of the well-worn loom. The design of the skirt she called “inu-bon a sabong” in Ilocano, string of flowers or flowers strung together, created through a curious weaving technique called pinilian.

Ninety-one-year-old Magdalena Ga-mayo, fondly called Nana Daleng, is currently the most celebrated weaver in the Ilocos re-gion. In 2012, President Benigno S. Aquino III bestowed on her the Gawad sa Manlilikha ng Bayan, or the National Living Treasures Awards, the Philippines’ highest honor to traditional artisans, craftsmen and folk artists, who have displayed exemplary skills and art-istry in and devotion to their crafts. She is the first Ilocano weaver to be recognized since the award was institutionalized in 1992.

The Ilocano of northwestern Philippines have been known for their hand-weaving, a tradition with ancient roots as evidenced by its mention in songs and oral literature, ac-cording to traditional arts scholar and profes-sor Norma A. Respicio. They had cultivated the kapas or cotton, which is the main mate-rial for their textile, to spin it into yarns by hand and weave them with pedal looms, lo-cally called pangablan. They also employed several dyeing techniques and had created nu-merous designs/patterns. The Ilocano weavers know different weaving techniques such as the basic plain weave, the double-toned bas-ket weave or binakul, the multi-heddle weave (binetwagan or tinumballitian), the brocade weave or pinilian, and the discontinuous sup-plementary weft weave or insukit, among oth-ers. Each weaving community came to spe-cialize in and became known for a weaving and design technique.

According to Respicio’s book, Journey of a Thousand Shuttles: The Philippine Weave

(2014), when Spain colonized the Philippines in the sixteenth century, the colonial govern-ment recognized the beauty and strength of the Ilocano textile and was known to send bolts and bolts of it, along with gold collect-ed in the region, to Europe. The eighteenth century is considered to be a high point for Ilocos weaving when there was great demand for Ilocano textiles in the European markets. In the late nineteenth-century and early twen-tieth century, Ilocano textiles experienced demand for Katipunero uniforms as well as for traditional attires, encouraged during the time of Manuel L. Quezon. The popularity of Ilocano textiles, however, waned over time, especially when tobacco was introduced, re-placing cotton as cash crops and the advent of machine-produced textiles.

While losing popularity, the Ilocano textile never lost its reputation. The Ilocano hand-woven cloth, Respicio believes, “is dis-tinguished from all other Philippine and even Asian textiles for its sturdiness in construc-tion, stark simplicity of design, and practical-ity in function.” (The 2012 Gawad sa Manli-likha ng Bayan Folio, NCCA, 2012).

In recent years, there have been sev-eral movements to revitalize Ilocano hand-weaving. The common Ilocano words for “to weave,” “abel,” and for a woven material, “inabel,” have become terms used by outside the region to mean textiles hand-woven by the Ilocano.

While traditional hand weaving has died out in many areas of the Ilocos region, there are several communities that still con-tinue the tradition. Known weaving centers in the region are the towns of Paoay and Sar-rat in Ilocos Norte; Caoayan, Santa, Bantay, Santa Maria and Tagudin in Ilocos Sur; and Bangar in La Union.

Unknown to many is the town of Pin-ili, one of the southernmost towns of Ilocos Norte. Dr. Respicio accidentally stumbled upon the town in the 1980s while research-ing the oral traditions and material culture of the Itneg in neighboring Nueva Era, which has a sizable Itneg population. Locals, knowing she was also interested in weaving, brought her to meet weavers in Lumbaan-Bicbica, about two-kilometer walk from her area of research. There, she first met Gamayo, who was still actively weaving. Concentrated on Itneg oral traditions, Respicio was not able to delve more on the weaving in Pinili.

When she was doing research on Ilocano weaving and visiting the different weaving centers in the region in the 1990s, she remem-

The weaving center in Ulipan, Lumbaan-Bicbica, Pinili, Ilocos Norte, set up after Gamayo was proclaimed Manlilikha ng Bayan

6 Agung • Number 4 • 2015

bered the weavers of Pinili and went back to the town. Gamayo was still there but no longer weaving due to the lack of good cotton yarns. Her loom though was still set up in her house and she was teaching her cousin’s daughter-in-law, who had moved into the community after marrying into Gamayo’s family.

In the largely agricultural town of Pin-ili, Lumbaan-Bicbica, a barangay of about 600 people, has the most weavers, and Res-picio took particular interest in the weaving community here. One immediately notices the weavers’ penchant for vibrant and bold colors. According to Respicio, their color schemes are different from other Ilocano groups. Their weaves are marked by crea-tive and innovative combinations of colors as well as by more intricate designs. More importantly, the weavers use weaving tech-niques unknown in other places in the whole Ilocos region, as well as know other numerous techniques. One is the compli-cated pinilian, which uses sticks inserted on selected warp threads to create designs that

float on the threads. The Pinili weavers are said to be adept in the simultaneous warp and weft-float type of pinilian called the im-palagto, a technique unique in Pinili. Weav-ers such as Inocencia Gampong are adept in weft impalagto. Gamayo produced the weft impalagto crossed by warp-float pinilian. The inubon nga sabong design is her masterpiece in this unique pinilian technique.

Born on August 13, 1924, Gamayo has lived all of her life in the farming and weav-ing community of Ulidan. “Dittoyak latta (I’m from here),” she told of her rootedness to the land.

“Agtaltalon da (They were farmers),” she remembered of her parents. Nana Daleng was the first-born of nine children—five boys and four girls—and faintly remem-bered her mother weaving.

“Agab-abel met lang ngem adu ti nai-yanakna. Adukami nga agkakabsat. Siamkami nga agkakabsat ngamin; madi unay makaobra idi (She also wove but she had many children to take care of. We were nine, thus she was not

able to do much weaving then),” she related.Her mother though taught her the ru-

diments of hand-weaving and from then on she learned from her aunts starting at the age of fifteen.

“Dagiti iikit ko ta adda babbaket a babbalasang a kakabsat ni tatangko. Isuda ti agab-abel a dati idi (My aunts, who were sis-ters of my father, were spinsters. They were dedicated weavers),” Nana Daleng said.

She remembered her youth when weaving was still a common activity in her neighborhood: “Adukami idi. Adda iti pang-ablan dagiti babbaket ken balbalay ditoy idi ta manmano pay lang iti balbalay ditoy idi. Saggaysakami idi, ngem idi naisardeng, isu idin naan-anay dagitoyen. Isu dagitoy ket baro laeng nga impaaramidmi (We [weavers] were many then. The old folks had looms in their houses because there were just a few houses here. We had one loom for each house. But weaving stopped and some looms were eaten by termites. These looms [here at the center] are new ones we had them made).”

Several women of Pinili continue the tradition of Ilocano hand-weaving and are known for employing many techniques. Above is a textile of common pattern being finished with an old piece of textile to cover the new work.

2015 • Number 4 • Agung 7

Nana Daleng had her first loom at the age of nineteen. Her father acquired the wood and employed a carpenter to build the loom, and it lasted about thirty years. She bought a second-hand one when her first loom went into disrepair. During these times, the girls in the neighborhood could get competitive, try-ing to be the fastest weaver.

“Nagtalonak met idi kabaelak pay ti ag-talon. No malpas ti talon, obraekon ti agabel ta adda met latta ti gumatang no agabelka. Kakasta ti ab-abelenmi idi. (I also did farm-ing when I was able to farm. After working in the fields, we would weave. Because there

were buyers as long as you weave. This is what we wove then,” she further said, run-ning her fingers over the threads of a half-finished binakul cloth still on the loom.

Nana Daleng remembered harvest-ing cotton from the field and spinning it by hand to make the threads. The threads were then brushed with beeswax to make them more resilient. After World War II, the weavers used commercial threads, choosing the best ones apt for weaving, but threads were often in short supply. And this affected the practice of weaving.

“Awan met ti sag-ot idi nga magatangen,

sa‘dimi met kabaelan a babbaketen ti agabel isu a naisardeng. (There were no threads to buy and the old weavers could not weave anymore so the weaving stopped),” Nana Daleng related. “Nabayag a ta idi naguba, awan ti magatang a sag-ot idi, ngem idi kua adda manen. Isu a naggatangkami manen.Adda dita Santa Rosa ti pagalaanmi idi iti kakasta a sag-ot, dagitay natibker a sag-ot (ti magatang) dita Santa Rosa isu nagababelkami met latta idi. (We stopped weaving for a long time, when we could not get more yarns. Then, there were yarns again. We got them from Santa Rosa. The yarns from Santa Rosa were resilient. Thus, we resumed weaving.)

Aggravating the situation was a local belief. According to Respicio, when there is a death in the community, weaving stops, some-times for almost a year, a time lost for honing and passing on the craft. But most deleterious is the lack of interest in the tradition.

“Ngem idi kua nagsardeng manen. Awan mayaten idi madik kabaelanen. (In the long run, the weaving stopped because no one wanted to weave anymore by the time I could no longer weave),” Nana Daleng said.

In her family, Nana Daleng is the only weaver left for quite some time.

“Daydi la adiek a dumna kaniak ti nagabel ta idi dimmakkel dagidiay dua a babbain, na-panda met nagobra idiay Manilan. Nagpa-ali-lada metten a, ta awan met laeng ti kasasaadda. (My sister who came after also wove but when they got older my two sisters went to work in Manila. They worked as maids there because there is nothing here),” she related.

Gamayo’s husband died long ago, and her only child, a daughter, died during child-birth, leaving a grandson who now works in a bank in Metro Manila. Nana Daleng virtu-ally has no descendant to pass on the craft. Instead, she shared her expertise with the few interested weavers in community, keeping the lovely craft alive.

She was regarded as a master weaver and informally a mentor in her community. Ac-cording to Respicio, it is a rare thing to find a weaving community which employs many weaving techniques, and even rarer to find a person who knows most, if not all, of the techniques and designs. Nana Daleng is one such weaver. Her body of work—textiles used for skirts and blouses, etc.—has been passed on from generation to generation, and dis-plays fine craftsmanship honed by years of dedication to the craft and her eye for colors and designs, showing her innate artistry.

When the search for another batch of Manlilikha ng Bayan was on, facilitated by the NCCA, Gamayo was considered. In Sep-tember 13, 2012, President Aquino signed

A young girl and a middle-age housewife are among Gamayo’s students


Proclamation Number 474, which declares Nana Daleng a Manlilikha ng Bayan, for hav-ing “contributed to the development of the Ilocano abel by using traditional designs in her work as well as perfecting weaving tech-niques that further enhance the uniqueness of these designs,” and “passionately taught the art of weaving and traditional designs to her community, thus helping others identify with their traditional culture through weaving.”

The proclamation ceremonies were held at the Malacanan Palace on November 8, 2012. She was feted together with Teofilo Garcia, fellow Ilocano and maker of gourd hats from San Quintin, Abra. It was her first time to be that far from her hometown and in a whirlwind of activities and emotions in which she was at the center. From then, her days became busy not only in teaching weav-ing in her community but also talking about traditional Ilocano hand-weaving and inspir-ing other people in other parts of the country.

After the awarding, she was able to set up a weaving center beside the house of her parents, where she lives with her nephew, son of a recently deceased brother. She was able to procure eleven pedal looms.

“Ginatangmi idiay Paoay dagitoy daan a pagabelanmi. Tallo ti ginatangmi idiay Paoay idi a nangrugrugiananmi a nagabel (Our old looms we bought from Paoay. We bought three then with which we started to weave),” she related.

They found a carpenter in the barangay of Liliputen who made the additional looms.

Aside from the daughter-in-law, a sister-in-law became one of her students. There are now about ten weavers at her center, most of them neighbors. Some of them have aban-doned weaving but picked it up again with the establishment of the weaving center. Most of them are in their middle age but a couple are preteen girls, one riding a motorbike and sporting a tablet as if going to summer school.

According to Gamayo, patience is needed in learning the intricate craft.

“Saanen. Saan la ngaruden ta diak met kayan. Bagbagaaklang idan kadagidiay arara-midenda no kasano ti pamay-anda nga aga-ramid. Ngem isuda ti agub-obra (No, I can’t weave anymore. I just tell them how to do it and they do the weaving),” she said.

She has a bounty of patience as she goes through the process with each student. She only wishes for a longer life to continue this

work.Nana Daleng took out an old photo al-

bum containing swatches of some weaving patterns and designs—the inal-alsong (X’s), sinan-bola-bola (ball-like), different patterns for the binakol, checkers for plain weaves, pinaglatuan. She gently traced with her wiz-ened fingers the inubon a sabong, white on indigo, red and yellow on orange.

It was already high noon and the sun laid bare the landscape of predominantly brown and green. The unpaved road sometimes bil-lowed with dust from the occasional traysikel or motorcycle. Inside the shack, the clacks of the looms could be heard as they churned out rainbows of vivid colors determined by the hands and imagination of weavers.

Nana Daleng instructed a weaver how the string of flowers can be made, to emerge from the neat rows of thread. She is often soft-spoken and succinct, but was elaborate and animated with her weaves. She may not be able to do the weaving herself now, but she has nurtured a string of weavers who will car-ry on the age-old tradition of Ilocano weav-ing, contributing to the myriad blossoming of our culture and tying us as a people.

Manlilikha ng Bayan Magdalena Gamayo surrounded by her weavers and students at her weaving center


Women and their Weaves

THE GAWAD SA MANLILIKHA NG BAYAN (NATIONAL LIVING TREASURES AWARD)

In April 3, 1992, President Corazon C. Aquino signed Republic Act Number 7355, providing for the recognition of the national living treasures, otherwise known as the Manlilikha ng Bayan, and the promotion and development of traditional folk arts. It has its roots in the 1988 National Folk Artists Award organized by the Rotary Club of Makati-Ayala. The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award gives recognition to Filipino traditional craftsmen whose skills have reached a high level of technical and artistic excellence and who are tasked to pass on to the present generation knowledge threatened with extinction. In September 19, 2003, Executive Order No. 236 was signed, conferring additional prestige on the Gawad sa Manlilikha ng Bayan by raising it to the level of a Cultural Order, fourth in precedence among the orders and decorations that comprise the Honors of the Philippines, and equal in rank to the National Artist Award and the Order of National Scientists. The NCCA, through the Gawad sa Manlilikha ng Bayan Committee and an ad hoc panel of experts, conducts the search for the finest practitioners of traditional arts and crafts, adopts a program that will ensure the transfer of their skills to others and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.

Of the thirteen Manlilikha ng Bayan, five are women. All of them are weavers. Except for Magdalena Gamayo who lives in Ilocos Norte, all of them hail from Mindanao. Except for Haja Amina Appi from Tawi-Tawi, who wove colorful pandanus mats, all of them are textile weavers.

LANG DULAY T’boliLake Sebu, South Cotabato

Lang Dulay was a T’boli weaver from Lake Sebu, South Cotabato. She was known for weaving the traditional t’nalak or the abaca ikat cloth of the T’boli. She produced creations of high quality, displaying rich colors and fine workmanship. She knew a hundred designs, spun in textiles reflecting the wisdom and visions of her people. She was conferred the Gawad sa Manlilikha ng Bayan in 1998 and died on April 30, 2015, at the age of 86.

SALINTA MONON Tagabawa BagoboBansalan, Davao del Sur

Salinta Monon of Davao del Sur fully demonstrated the creative and expressive aspects of the Bagobo abaca ikat weaving, the inabal, at a time when such art was threatened with extinction. Her mastery of the inabal was unparalleled. With her keen eye for traditional designs, she used to identify the design as well as the weaver just by a glance. She was conferred the Gawad sa Manlilikha ng Bayan in 1998 and passed away on June 4, 2009, at the age of 88.

DARHATA SAWABI TausugParang, Sulu

From Sulu, Darhata Sawabi was hailed as an expert in weaving colorful squares of cloth used for the pis syabit¸ the traditional head covering of the Tausug, and for adornment of the native attire, bags and accessories as well as in teaching the art to the younger generation. Her art is distinguished for its bold, contrasting colors, the evenness of the weave and faithfulness to traditional designs. She was conferred the Gawad sa Manlilikha ng Bayan in 2004 and died on March 12, 2005.

Photos by Renato S. Rastrollo


There are only twenty-eight Ifugao ikat hand-weavers in Banaue, according to the Lugo, Amaganad and Banaue Tie-Dye Weavers Association (LABTDWA). To these, six more were added recently as the community orga-nization, which was formed in 2009 to revive, popularize and promote the Ifugao ikat, held a training on ikat and weaving as one of its steps to transfer the traditional practice to other members of the Ifugao community.

The ikat is a dyeing technique that uses the resist dyeing process on the yarns before weaving and dyeing the fabric. It is practiced in many parts of Southeast Asia, including the Philip-pines where it is practiced by the Ifugao as well as the T’boli and Blaan in the south, among

others.The ikat training was held from May 20

to June 5, 2015, at the sitio of South Pungot in Amganad, Banaue, Ifugao, spearheaded by LABTDWA.

The trainees were 47-year-old Norma Aligwa, 56-year-old Rosa Lumidao, Jacinta An-gayon, 55-year-old Adela Angayon, 56-year-old Mary Gumunut, and Alice Bulawan, the young-est at 25 years old. With just two of them able to finish college, these women earn by weaving, farming and sewing. They were taught one-to-one by master weavers for one month.

The five expert ikat weavers were Dud-duli Dumangeng, Analiza Kangngitit, Alicia Nadiahon, Benita Balangto, Virginia Cabbi-

gat and Felisa Dulnuan. Dudduli, the oldest of the group at 92, learned the ikat technique and weaving from another veteran weaver, Ka-himgan Palatih. On the other hand, 57-year-old Nadiahon learned from Dudduli, while 62-year-old Balangto, 58-year-old Cabbigat and 53-year-old Dulnuan were taught by an-other late master, Kittayan Niploy. Kangngitit is the youngest among them at 39.

These experts taught the trainees the dif-ferent steps in dyeing and weaving including winding, warping, separation of thread, fram-ing, tying, dyeing, drying, untying and the actual weaving. The LABTDWA has six back-strap looms, which are being used by the weav-ers and were used for the training. They also planted pandan and bulubulu, from which they extract the dyes. There are plans to improve the LABTDWA headquarters and training area such as concretization and the setting up of a drying area for the dyed textiles, and members are seeking assistance from the local govern-ment. The organization will next conduct a training on the making of the kinutiyyan and inladdang (blanket) which would take a month to finish.— Report by John Paul T. Orallo

A Training on the Ifugao Ikat

Teacher-weavers showing students how to tie the warp for the dye-resist process (left). The expert weavers of the community tapped to train new weavers and holding a kinutiyyan (below). /Photos by John Paul T. Orallo

Banaue Weavers Endeavor to Enliven Traditional Textile Weaving


THE TEXTILE GALLERIES OF THE NATIONAL MUSEUM

Text and photos by Roel Hoang Manipon Inside the glass encasement, with its mi-cro-weather of controlled temperature and humidity to halt further damage,

the object appears to be a map of ancient lands, very different from what we know of present geography, its crannies remain-ing uncharted. At one point, it looks like an old puzzle, with pieces forever missing and patterns, obscured by age, at once fa-miliar and inscrutable.

This is actually the oldest piece of textile in existence in the Philippines. Called the Banton cloth, it is estimated to be from the thirteenth to the early four-teenth century. Considered to be the ear-liest specimen of wrap tie-dyed textile in Southeast Asia, the Banton cloth was dis-covered in April 22, 1966 by a team from National Museum, after being informed by a local of a cave complex, an ancient burial site, in Banton Island of the prov-ince of Rombon in Central Philippines. Inside the already disturbed cave, the team found wooden coffins, Chinese stone jars, Chinese and Siamese plates and bowls, ornaments, glass beads, turtle shell combs and the abaca cloth, which measures 74.5 centimeters in length and 75 centimeters in width. It was declared a National Cul-tural Treasure in 2010.

Museologist and anthropologist Ana Maria Theresa Labrador, assistant director of the National Museum of the Philip-pines, theorizes that the Banton cloth may be a trade object, brought to the island from other areas, even from outside of the Philippines.

On the other hand, Philippine tradi-tional arts professor Norma Respicio, in her book Journey of a Thousand Shuttles: The Philippine Weave (2014), writes: “The interplay of plain stripes and designed bands in the Banton cloths attests to the dexterity of the textile producer in the art and technology of weaving, dyeing and ikat designing where interfaced designs are produced through the tying of certain parts of the warp yarns in a series of folds. Moreover, the designs, both the non-figu-rative and the figurative forms, bear social and cultural significations in traditional Philippine aesthetics.”

Which ever, the Banton cloth re-mains to be a mystery that tantalizes both the scholars and the layman visitors, an

THE TEXTILE GALLERIES OF THE NATIONAL MUSEUM

enigmatic gem of the National Museum (NM) for several years. Now, the precious artefact has a new home, though still within NM. The museum has unveiled a new section dedicated to Philippine textiles and the art and technology of weaving at the third floor of the Museum of the Filipino People (old Finance Building). The Queen Sofia Hall and Hall 318 were converted into the Textile Galleries, which was formally unveiled in May 18, 2012. In September 21, their permanent exhibit, “Hibla ng Lahing Filipino: The Artistry of Philippine Textiles,” began seeing visitors.

The idea for the Textile Galleries sparked when like-minded individu-als met and then collaborated. NM credits Loren Legarda as a moving force behind the creation of the galleries. The senator¸ who chairs the Senate Committee on Cultural Communities, has been promoting traditional wo-ven textiles, her passion which became part of her advocacy to preserve indigenous culture. Legarda has been known for wearing gowns fashioned from hand-woven traditional fabrics and has showcased native fabrics and Philippine attires in several exhibits in the Senate.

“But I have long dreamed of seeing a textile museum in my own coun-try,” she revealed. “With more than a hundred indigenous cultural com-munities in our country, we should showcase our rich culture and the dis-tinctiveness of our own habi.”

In 2010, Legarda met NM director Jeremy Barns and Labrador, which started the ball rolling, overcoming the hurdles that came their way.

NM sourced from its own collections to put into the Textile Galler-ies. Other government agencies and institutions became partners and sup-porters in the endeavour including the Office of Senator Loren Legarda, the Fiber Industry Development Authority (FIDA) of the Department of Agriculture, the Philippine Textile Research Institute (PTRI) of the Depart-ment of Science and Technology, and the University of the Philippines’ Asian Center.

The Aklan Provincial Tourism Council and HIBLA contributed addi-tional looms. Congressman Victor Ortega of the First District of La Union, Ilocos Sur vice governor Deogracias Victor Savellano and councilor Ed-mund Gavina of Bangar, La Union also contributed items to the museum.

“It’s really convergence,” Legarda said. “There is really cooperation and convergence among government agencies.”

Labrador served as chief curator of the exhibition, which aims to pro-vide a preliminary survey and study of the similarities of the traditional textiles.

“We finally thought we should really think about nation and how tex-

The exhibition features different kinds of looms in the Philippines as well as other implements for weaving and the finished textiles. Large-scale photographs by Wig Tysman features selected indigenous peoples in their tradtional wears.


The Banton cloth, estimated to be from the thirteenth to the early fourteenth century, is the oldest exsiting piece of cloth in the Philippines and is considered to be the earliest specimen of wrap tie-dyed textile in Southeast Asia. It was discovered in a disturbed burial site in Banton Island, Romblon, along with other artefacts. /Photo from the National Museum of the Philippines

tiles bind us a nation,” Labrador related. “So, we look at the common practices, common threads, common fibers, that are really kind of found all over the country.”

“The word is commonality and the ties that bind, the threads of life,” Legarda af-firmed. “These are perhaps three phrases or words that formed part of the work we’ve done here, because we are an archi-pelago, we have many ethno-linguistic groups, we have about 80 provinces with about 41,000 barangays, we have more than a hundred of languages. We’re so diverse. But textiles, and with the various textiles, however, we try to find the com-monality, the unity amidst this diversity. That is what we’re pushing for here. We do not want to further divide the nation by displaying the textiles geographically.

So, what Ana did was to find the ikat of the North and the ikat of the South, or the embroideries of the Cordilleras, which have commonality with those of the Mus-lim groups….”

“Hibla ng Lahing Filipino” looks into the likenesses, exchanges and borrowing of designs and forms in local weaves, be-lieving that they can be coaxed to reveal visions of a national identity through threads that when woven as textile, may piece together their different stories.

The exhibition tells the processes of weaving, informing visitors first of the dif-ferent fibers used by the different ethnic groups with weaving traditions. Abaca and cotton are commonly used by many ethnic groups. An attractive chart, reproduced from the 2009 book Bahaghari: Colors of

the Philippines, shows the natural dyes that have been used all over the Philippines, from the karimbabul to the malunggay.

The different looms used by differ-ent groups, such as the foot loom and the back-strap loom, are displayed in one area, enabling visitors to compare and contrast. Other production materials can also be seen and marveled at. The finished textiles are laid out to reveal their beauty..

The exhibit illustrates the social sig-nificance of textiles in different communi-ties, the roles they play in rituals and in life, from birth to death. Aside from the Banton cloth, another National Cultural Treasure is on display—the kinuttiyan of the Ifugao, a ritual death blanket of the ka-dangyan, the high-ranking members of the Ifugao community. The one here is col-


The kinuttiyan, made of cotton and dyed using the binudbudan or wrap-ikat tie-dyed resist technique, is the ritual death blanket of the kadangyan, the high-ranking members of the Ifugao community. This specimen, declared a National Cultural Treasure, was collected in June 13, 1968 by William Beyer in Amanagad, Banaue, Ifugao. /Photo from the National Museum of the Philippines

lected in June 13, 1968 by William Beyer in Amanagad, Banaue, Ifugao.

Additionally, large photographs of several indigenous people wear-ing their traditional attires, such as the Mandaya, decorate the walls, taken by prominent photographer Wyg Tysmans. At another part are historic photographs of several ethnic groups in traditional garb at the 1904 St. Louis Exposition (courtesy of the American Museum of National His-tory archives).

Also part of the exhibit are gowns, dresses and barong Tagalog by prominent fashion designers such as Jojie Lloren, Cesar Gaupo, Barge Ra-mos, Frederick Peralta, Milka Quin and Roy Gonzales.

The Textile Galleries are not only repositories of precious artefacts and specimens but they also serve as ven-ues for lectures and live weaving dem-onstrations by actual weavers, which are occasionally mounted during Fri-days and Saturdays.

The Senator Loren Legarda Lec-ture Series on Philippine Traditional Textiles and Indigenous Knowledge officially started on March 13, 2012, along with the preview of the Textile Galleries.

“In this modern day and age, it is quite a difficult task to make our peo-ple embrace our culture since many may have long forgotten about it. But if they refuse to visit our history, we must let history visit them. These Textile Galleries and the lecture series we organized are some of our efforts towards that,” Legarda commented.

Tagabawa Bagobo weavers, piña weavers from Aklan, weavers from the Cordilleras as well as from the Ilocos Region have been brought in for visitors to witness and experience actual weaving. Mat and basket weav-ers from different cultural communi-ties have also been invited.

Labrador admitted that the gal-leries are not thoroughly comprehen-sive. “We chose because it can’t pos-sibly accommodate everything, but we’re hoping someday we can have a standalone museum for textiles,” she said.

“It’s a work in progress,” Legarda added. “I’m not saying it’s perfect but


we’re trying.”Right now, ideas, plans and dreams are being woven.Legarda mentioned plans of bringing in the textile collection of

one of Philippines’ most revered heroes, Jose Rizal. It is presently at the Ethnological Museum of Berlin in Germany. Another plan is the collection of sketches of Filipino fashion designers, which are usually discarded after use.

“What we want to do is also to create an archive of Filipino fash-ion designs,” Labrador revealed. “We want to be a reference later on for maybe designers or merchandisers, [a place to] look at what we have. It’s really to inspire later on to generate more innovations and designs.”

She also said that they’re starting a program on “economic bot-any” in collaboration with FIDA and PTRI “because we want to be more relevant to local people.”

“So, we’re experimenting now with fibers to see if we can harness them that can be turned into something else so that local people could actually have a means of livelihood,” Labrador said.

With these, the National Museum is tying together life and death, tradition and innovation, past and future, and the different cultures with imagination and the fibers of our country.

The National Museum of the Philippines is the country’s premier institution and re-pository of its heritage with an aim of inspiring people to learn from their traditions so as to help shape a better future. It is also dedicated to the mission of collecting, preserving, studying, interpreting and exhibiting the cultural and natural history speci-mens of the Philippines, from the historic times to the present, albeit the diversity of their cultural origins. The Museum of the Filipino People, where the Textile Galleries are, is part of the National Museum complex and is located along Finance Road, Ermita, Manila. Visiting hours are from 10 A.M. to 5 P.M., Tuesdays to Sundays. For more infor-mation, visit www.nationalmuseum.gov.ph.

THE NATIONAL MUSEUM OF THE PHILIPPINES

Both traditional attires and gowns made by contemporary designers, using hand-woven fabrics, are on display at the Textile Galleries


TW

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One day a man said to his wife: “My wife, we are getting very poor, and I must go into business to earn some money.”

“That is a good idea,” replied his wife. “How much capital have you?”

“I have twenty-five centavos,” answered the man, “and I am going to buy rice and carry it to the mines, for I have heard that it brings a good price there.”

So he took his twenty-five centavos and bought a half-cavan of rice which he carried on his shoulder to the mine. Arriving there, he told the people that he had rice for sale, and they asked eagerly how much he wanted for it.

“Why, have you forgotten the regular price of rice?” asked the man. “It is twenty-five centavos.”

They at once bought the rice, and the man was very glad because he would not have to carry it any longer. He put the money in his belt and asked if they would like to buy any

MANSUMANDIGA Visayan folk tale

Illustrations by Ryan Arengo

more.“Yes,” said they, “we will buy as many cavans as

you will bring.”When the man reached home his wife asked if

he had been successful.“Oh, my wife,” he answered. “It is a very good

business. I could not take the rice off my shoulder before the people came to buy it.”

“Well, that is good,” said the wife; “we shall become very rich.”

The next morning the man bought a half-cavan of rice the same as before and carried it to the mine and when they asked how much it would be, he said:

“It is the same as before—twenty-five centavos.” He received the money and went home.

“How is the business today?” asked his wife.“Oh, it is the same as before,” he said. “I could

not take the rice off my shoulder before they came for it.”

And so he went on with his business for a year,


each day buying a half-cavan of rice and selling it for the price he had paid for it. Then one day his wife said that they would balance accounts, and she spread a mat on the floor and sat down on one side of it, telling her husband to sit on the opposite side. When she asked him for the money he had made during the year, he asked: “What money?”

“Why, give me the money you have received,” answered his wife, “and then we can see how much you have made.”

“Oh, here it is,” said the man, and he took the twenty-five centavos out of his belt and handed it to her.

“Is that all you have received this year?” cried his wife angrily. “Haven’t you said that rice brought a good price at the mines?”

“That is all,” he replied.“How much did you pay for the rice?”“Twenty-five centavos.”“How much did you receive for it?”“Twenty-five centavos.”“Oh, my husband,” cried his wife, “how can you

make any gain if you sell it for just what you paid for it.”

The man leaned his head against the wall and thought. Ever since then he has been called “Mansumandig,” a man who leans back and thinks.

Then the wife said, “Give me the twenty-five centavos, and I will try to make some money.” So he handed it to her, and she said, “Now, you go to the field where the people are gathering hemp and buy twenty-five centavos worth for me, and I will weave it into cloth.”

When Mansumandig returned with the hemp she spread it in the sun, and as soon as it was dry she tied it into a long thread and put it on the loom to weave. Night and day she worked on her cloth, and when it was finished she had eight varas. This she sold for twelve and a half centavos a vara, and with this money she bought more hemp. She continued weaving and selling her

NOTE: This story is culled from book Philippine Folk Tales (A.C. McClurg & Co., 1916, Chicago), compiled and annotated by American anthropologist Mabel Cook Cole

cloth, and her work was so good that people were glad to buy from her.

At the end of a year she again spread the mat on the floor and took her place on one side of it, while her husband sat on the opposite side. Then she poured the money out of the blanket in which she kept it upon the mat. She held aside her capital, which was twenty-five centavos, and when she counted the remainder she found that she had three hundred pesos. Mansumandig was greatly ashamed when he remembered that he had not made cent, and he leaned his head against the wall and thought. After a while the woman pitied him, so she gave him the money and told him to buy a carabao.

He was able to buy ten carabaos and with these he plowed his fields. By raising good crops they were able to live comfortably all the rest of their lives.


THE LEGEND OF T’NALAK WEAVING

A T’boli myth

Once upon a time, princess and the first weaver Boi Henwu fell in love with Lemugut Mangay, a man who lives in the sky. She

decided to go live with him in the sky.From earth, Boi Henwu ascended towards the

sky together with her house, bringing with her different kinds of birds and animals.

While on the journey to the sky, she continued to do household chores and other things she used to do while on Earth.

She took her bogul lemubag and threw it out of the window. It became a bird called Fu.

The bird Fu sings at night to the weavers to remind them to continue the tradition of weaving.

Boi Henwu remembered she had to leave behind several designs for the weavers to follow. She threw out her pet python and her blouse, which turned into a flying lemur.

These animals would inspire people to create designs for their t’nalak and embroidery.

Boi Henwu continued to appear in their dreams to teach women more designs for the t’nalak. She also continued to work in the sky.

When Tudbulul needed a new shirt, Boi Henwu would extract the spittle of the sun with which to weave him a new shirt. When this happened, there was a solar eclipse.

When the sister of Tudbulul, Kenaban, needed her blouse to be embroidered, Boi Henwu would extract the spittle of the moon, which she used to embroider the blouse. This is why there is a lunar eclipse. Illustration by Ryan Arengo

NOTE: This story is one of the folk stories collected by the students and teachers of Santa Cruz Mission School of Lake Sebu, South Cotabato. It is here retold by Roel Hoang Manipon. Boi Henwu is a popular character in T’boli folklore and myths, described as the first woman created by T’boli supreme deity D’wata, the first princess and the first weaver. Tudbulul is the great mythical hero of the T’boli. Bogul lemubag is an implement used for pounding the t’nalak to make it smooth and flat while being washed in the river.


Weaving techniques and em-broideries symbolize Southeast Asian’s unique identity, tradition

and heritage. A glimpse of these are afforded at the exhibit, “Woven Identities: Clothing Traditions of ASEAN,” which is mounted by the NCCA, in cooperation with SM Super-malls.

“Woven Identities: Clothing Traditions of ASEAN” tours different SM malls around Metro Manila and some parts of Luzon from June through December this year as part of the awareness campaign towards the realiza-tion of the ASEAN community in 2015.

This is part of its continuing commit-ment to the ASEAN (Association of South-east Asian Nations) Committee on Culture and Information (ASEAN-COCI) in imple-menting the commemorative activities for the ASEAN Integration 2015.

“Woven Identities” started its tour at the Event Centre 2 of SM City Clark in Pampanga from June 10 to 15, 2015. From there, it was transferred SM City Lucena Atrium from June 23 to 28; and SM City Baliuag from August 5 to 9. It will also be

Geared for ASEAN IntegrationSoutheast Asian Attires Exhibit Travels Around Luzon

at the SM City Marikina from September 18 to 24; SM City Masinag from September 38 to October 4; SM Center Angono from October 5 to 11; SM City San Mateo from October 12 to 18; SM City Taytay from October 19 to 25 and SM San Lazaro from October 26 to 29.

Featured in the exhibit are the full traditional attire of the ten member states, complete from footwear and accessories—the terno and the barong Tagalog of the Philippines; the ao dai and ao gam of Viet-nam; Laoatian xout lou; Cambodia’s sampot; Myanmar’s yinzi and tikepon; suea phrarat-chathan and chong kraben of Thailand; Ma-laysia and Brunei Darussalam’s variants of their baju kurungand baju Melayu; the Indo-nesian kebaya and jas betawi; and Singapore’s traditional Peranakan attire.

According to NCCA’s OIC-executive director Adelina Suemith, the exhibit is a way of conveying a message of affirmation of the Philippines’ unity and solidarity with its fellow ASEAN member states, especially on the cusp of the ASEAN Integration 2015.

“Through this project, we hope to bring

several messages to the public. First, that the Philippines is a member of the ASEAN, and second, that it shares a rich textile and cloth-ing tradition that stands parallel with its ASEAN neighbours,” Suemith said.

Charisse Aquino-Tugade, head of the curatorial team, noted the identifying qual-ity of the wrap-around skirt among the Southeast Asian community as each ASEAN member state sports its own variant and use of the piece of clothing—the malong of the Philippines, the sampot of Cambodia and the sarong of Indonesia.

The exhibit was initially installed at the Bulwagang Apolinario Mabini of the De-partment of Foreign Affairs on the occasion of the commemorative reception of the 47th ASEAN Day Celebration in Manila in Au-gust 2014. Gretchen del Rosario and NCCA chairman Felipe de Leon Jr., along with heads of missions and representatives from the embassies of ASEAN Member States, led the opening of the exhibit. “Woven Identi-ties” was also mounted at the Senate of the Philippines in Pasay City, and the NCCA Gallery in Intramuros, Manila.

The baro’t saya is a traditional attire for women comprising of a kamisa (blouse), saya (skirt), kamison (undergarment), sobra palda or tapis (overskirt), and panuelo (collared shawl). The blouse has a specific bell sleeve, which was modified in the mid-twentieth century into a butterfly sleeve and called a terno. The barong Tagalog is the national formal attire for men. It is a lightweight long-sleeved top complemented by black or dark-colored pants.

THE PHILIPPINES

In Southeast Asia, traditional attire has played a significant societal role. Depicting ethnic affiliation, social status and religion, traditional attire not only serves as ornamentation but also embodies the development and heritage of a nation and transforms an individual person into a bearer of tradition.

The countries that belong to the Association of Southeast Asian Nations (ASEAN)—Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand and Vietnam—carry age-old traditions of dressing. With ancient kingdoms and belief systems that span millennia, dressing has been relegated to an art form, following certain protocol and mores, and modified further due to economic changes, foreign influences, or when commanded by a ruling party. A simple fold may signify a difference in position or status.

Trade plays an essential key in the exchange of ideas and traditions, which is exemplified in the many shared forms among Southeast Asian attires and textiles. The wrap-around skirt, for example, is the quintessential Southeast Asian garment. Although it may all look the same to the untrained eye, a single piece of fabric can be twisted, knotted and folded in a myriad of ways depicting where the person is from, and even his religious beliefs.

With a plethora of weaving techniques, dyeing styles, and raw material, the woven textiles that make up the fabrics and attire in Southeast Asia are unparalleled. Today, bright gold and colorful tapestries and patterns along with exquisite drapings and embroideries are common in Southeast Asian attires.

The Southeast Asian dress of today employs designs from the ancient past while utilizing present weaving techniques and style. Clothing doesn’t only serve as decoration but becomes an active participant in molding and shaping the culturescape of a nation.


MYANMARTHAILAND

CAMBODIA

LAOS

VIETNAM

The Myanmar longyi is the national attire for both men and women. It is a cylindrical shaped cloth which men slipped over their head and stepped into by women. It is tucked at the waist and fastened at different ways. Men fold the garment into two panels and knot it at the waist, and women tucked it on the side of the waist.

Te sampot is the classic attire of Cambodians. It is a lower garment used by both men

and women. Women wear the chang pok , a kind of covering.

The national costume of Laos (xout lou) has similarities with its Southeast Asian neighbors, although the styling and design are uniquely Laotian, with regional and ethnic variations. In Luang Prabang, gold and silver threads are prevalent, while designs from the south include elephants motifs and beadworks.

The ao dài is the Vietnamese national attire for women, which

comprises a long-sleeved tunic with a slit on both sides over a

silk pants.Áo gam is the attire for

men. Áo gam is crafted from a thicker fabric with Vietnamese embroidery and worn loosely

above pantaloons.

The chut Thai chakkraphat consists of a tube top, a na-nang skirt and a shawl with fine embroidery and decorated with beautiful ornaments. Suea phraratchathan is the national male attire and literally means “royally bestowed shirt.” It has five round buttons on the front with similar fabric to that of the jacket.


INDONESIA

MALAYSIA

SINGAPORE

BRUNEI DARUSSALAM

The kebaya is the national costume for women in Indonesia. It is a basic blouse with a V- or U-shaped neckline that comes down to the waist or knees. It is crafted from silk, cotton and other blended materials and is adorned with brocade and floral embroidery. The jas betawi is the national costume for men, consisting of a black blazer with a gold trimmings and slacks along with a colorful sarong and a songkok or brimless, dark-colored hat.

For the traditional Peranakan attire, women wear the Nyonya

kebaya with a translucent top, worn over an undershirt and a batik-designed sarong. For the men,

batik shirt and black pants are worn.

The baju kurong is the national dress for women,

consisting of a loose tunic along with a tube skirt and is

complimented with a head scarf. The baju cara Melayu is

the national attire for men that includes a loose, long-sleeved

shirt or baju seluar or trousers, and a sarong worn around the waist

over the shirt and pants called kain sinjang or kain samping.

National attire for women is the baju kurung ensemble, a loose, long-

sleeved, collarless blouse worn over a long skirt. For men, the baju Melayo comprises a loose tunic with a cekak musang collar, trousers and a sarong

tied around the waist.Text by Charisse Aquino-Tugade

Art by Rosalie Norico Mendiola


AN ENLIGHTENING COMPANION

TO PHILIPPINE WEAVESReading Norma Absing Respicio’s Journey of a Thousand Shuttles: The Philippine Weave


For anyone interested in traditional hand-weaving and textiles and is looking for a place to start learning about, Norma A. Respicio’s book Journey of a Thousand Shuttles: The Philippine Weave is a very apt introduction.

The 154-page book, published by the National Commission for Culture and the Arts and partially funded by the United States Embassy Manila under its Cultural Heritage program in 2014, is the perfect com-panion to embark on a journey of knowing the precious craft of hand-weaving and an important aspect of Fili-pino heritage and culture. And Respicio is an excellent teacher and storyteller for this.

Respicio really meant Journey of a Thousand Shut-tles to be an introduction, part of an envisioned series of seven books on Philippine textile weaving, corresponding to the number of major culture groupings in textile craft.

“It is hoped that this introductory book will allow the reader, particularly the Philippine audience, to have a more expansive and critical view of their textiles as an artistic expression and a cultural heritage,” Dr. Respicio wrote in the preface.

She proves to be a most apt guide for this journey of learning. Respicio is a professor in art studies at the University of the Philippines with specialization on the history and aesthetics of traditional art forms, particu-larly textiles. Regarded as an outstanding researcher, she co-authored the 2010 book Tawid, The Living Treasures of Ilocos Sur.

Respicio has been researching about Philippine tex-tiles for many years now, particularly from 1981 until

the present. Not only that, she comes from a family of Ilocano weavers. Her grandmother and grandaunt were weavers while her great grandmother was “an expert cotton yarn spinner using the spindle whorls.” Thus, there is an intimate feel in the way she goes through the story of weaving, and there are many stories about the craft, which she deftly gathered to weave into a tapestry that tells the colorful and rich narrative of our culture.

Journey of a Thousand Shuttles starts by situating the cultural practice in a place and blooms into map pointing the locations of the different ethnic groups with strong weaving traditions as well as the materi-als they use. The book proceeds to tell the history of weaving in the country. Different sections delve into the different fibers used for weaving (abaca, bast and plant fibers, cotton, pineapple leaves and silk), the dyestuffs, the looms (back-strap and pedal), the de-sign techniques and the weaving communities. The book also illustrates the economic, religious/spiritu-al, cultural and social significance of the textiles, end-ing with comments on the present situation.

The book is interspersed with interesting bits of information and attractive photographs, making the learning journey a colorful and pleasureable one, with the author’s voice and words inviting and gra-cious.

Journey of a Thousand Shuttles was a finalist in the Art Category of the 34th National Book Awards. It has also been accepted to be part of the New York Public Library’s collection.


Not many people are aware that Cebu has a very rich and colorful film history. During the golden years of Philippine cinema, far from the mainstream film grid, there was a blossoming of a cinema industry that

reflected the social realities in the province of Cebu, showing the inner lives, senti-ments and inclinations of its people.

As early as 1906, movie houses had mushroomed throughout the province where large crowds would gather to watch homegrown movies such as Piux Ka-bahar’s Bertoldo ug Baludoy, considered as Cebu’s first talking film.

The oldest theater in Cebu was Teatro Junquera, which was originally built in 1895. When the fire razed it down, the owners rebuilt and renamed it Cine Oriente. Perdo Royo transformed his cockpit into a movie house and called it Cine Royo. In 1927, Cine Magallanes was opened.

After a short respite because of World War II, the Cebuano film industry made a comeback with Manuel Velez’s Sa Kabukiran in 1947 and continued to flourish. From 1950 to 1957, the second golden era of the Cebuano cinema, there were about 30 Cebuano film production companies that had produced over 50 movies. Until the later part of the 1970s, the Cebuano local film industry con-tinued to produce films such as Bulawan sa Lapok, Ay Takya, ay Takya, and Ulan Udtong Tutok, among others.

The succeeding years have seen the slow decline in the local movie scene. Producers suddenly shifted to television for economic reasons. Cebuano actors started looking for more lucrative options. What was once a booming industry became a non-sustainable economy, hence, the beginning of the long hibernation of Cebuano cinema.

Lifeline, 1969The NCCA recognizes Cebu as the second largest film-producing region in

the country after Metro Manila, especially during the 1950s and 1960s. Cin-ema Rehiyon, the flagship project of NCCA’s National Committee on Cinema (NCC), headed by filmmaker William Mayo, aims to enrich Philippine cinema with largely undiscovered filmic creativity from the regions and made its way to the heart of the Central Visayas.

“Every year, the Cinema Rehiyon has the mission to reinvigorate national cinema by putting the spotlight on the regions. Before Cinema Rehiyon, Cebu has contributed talents both on-screen and off-screen, as well as a unique cinema culture to the diversity that has always been present yet understated in Philippine cinema,” enthused festival director Maria Victoria Bambi Beltran.

With the theme “At the Crossroads of the Seventh Art,” this year’s festival was held in Cebu to recognize Cebu’s role in Philippine cinema.

“Cebu has a unique situation. A local industry sprung from the province around 1932 to 1975. Also, there is a resurgence of a new breed of Cebuano film-makers,” shared NCC vice head Teddy Co.

Kicking off Cinema Rehiyon 7 was Badlis sa Kinabuhi (Lifeline), a 1969 Ce-buano box-office hit directed by Leroy Salvador and starred Mat Ranillo Jr. and Gloria Sevilla. Through the years, Cebu has lost most of its more than 200 films that have been produced during the last decades, including Badlis sa Kinabuhi. But through joint efforts, what was once thought to be lost has been resurrected.

The newly- restored Cebuano film follows the story of a Cebuano family

Spotlights CebuBy Maria Glaiza Lee

Cinema Rehiyon 726 Agung • Number 4 • 2015

that has been torn apart when the mother (played by Sevilla) kills her harsh stepfa-ther who tried to rape her. Playing signifi-cant roles were Mat Ranillo Jr., Felix De Catalina, Danilo Nuñez, Aurora Villa, Siux Cabase, Frankie Navaja, Jr. and Re-medios Atillio Alivio.

In 1970, the film made its debut in its original Cebuano version in Manila and did well at the box office. It even re-ceived 12 nominations at the 18th FAMAS Awards, winning the Best Actress award for Sevilla and Best Child Performer award for Frankie Navaja Jr. A posthumous award was given to Ranillo, who died the previ-ous year in a plane crash.

Badlis sa Kinabuhi was the Philippine entry to the ASEAN Film Festival in Ja-karta, Indonesia, and was showcased under

the informative division of the Berlin Film Festival. Years after, Sevilla and her daugh-ter Suzette Ranillo won the FAMAS Best Actress and Supporting Actress awards re-spectively for their 1974 film Gimingaw Ako.

During Cinema Rehiyon 7, Sevilla re-ceived the Hara Humamay Award from the Cebuano Cinema Development Council. Aside from Badlis sa Kinabuhi and Gimin-gaw Ako, Sevilla also starred in and won the Best Supporting Actress award for Madu-gong Paghihiganti. In 2007, FAMAS gave her a Lifetime Achievement Award. Today, Sevilla continues to appear in Philippine films and television. She recently won New Wave Best Supporting Actress award at the 40th Metro Manila Film Festival in 2014 for the film M Mother’s Maiden Name.

The King of Visayan Movies, Ranillo, was awarded the Rajah Humabon Award. The Bulakna awards went to actress Pilar Pilapil and Suzette Ranillo. Cebuano ac-tors Julian Daan and Undo Juizan (first Cebuano FAMAS Best Child Actor award-ee for Salingsing sa Kasakit) took home the Lapu-Lapu Award.

Cinema in the RegionsFrom August 6 to 9, 2015, the Cin-

ema Rehiyon 7 showcased 17 full-length features and 57 short films sourced from all over the country and chosen to celebrate the diverse Filipino heritage and present a discourse on cinema in the regions being a big part of the national film industry.

Screened at SM City Cebu, Cine Ori-ente and Film Media Arts Academy, the

The Cinema Rehiyon opening film is the classic Cebuano film Badlis sa Kinabuhi, first shown in April 1969. Long thought to be “lost,” Badlis sa Kinabuhi, directed by Leroy Salvador and written by Junipher, stars Gloria Sevilla and Mat Ranillo Jr.


films were clustered into thematic catego-ries. The category delving in the aftermaths of super typhoon Haiyan (locally called Yolanda) featured T.M. Malones’s Dapya Sang Paglaum, Charena Escala and Rowena Sanches’s documentary Nick and Chai, and Thomas Fitzgerald’s Tigdong.

Films focusing on indigenous tradi-tions included Nef Luczon’s documentary on the Panay Bukidnon titled Father Said, Let’s Return Home, Lester del Valle’s Walang Rape sa Bontok, Adjani Arumpac’s War is a Tender Thing, and Ivy Universe Baldosa’s Marciano.

Other notable works were Boyong and Sendong’s Busol: The Last Headhunters, Remton Zuasola’s Soap Opera (the festival’s pre-opening film), Baby Ruth Villarama’s Little Azkals, Bagane Fiola’s Sonata Maria, John Paul Laxamana’s Magkakabaung, Le-muel Lorca’s Mauban: Ang Resiko, Charli-ebeb Gohetia’s Chasing the Waves, and Alec Figuracion’s Bitukang Manok.

In between the screenings were the various forums such as “Re-Imagining Re-gional Cinema,” which looked into the no-

During Cinema Rehiyon 7, Gloria Sevilla received the Hara Humamay Award from the Cebuano Cinema Development Council, while fellow Cebuano actors Suzette Ranillo and Pilar Pilapil received the Bulakna awards. Kidlat Tahimik (below) was also present at the festival, where his Balikbayan #1: Memories of Overdevelopment Redux III closed the event. /Photos by Marvin Alcaraz


Presently located at the Colonnade Mall in downtown Cebu City, Cine Oriente is widely considered the oldest surviving movie house in Cebu. It started out as a theater where musical programs, operas, plays, vaudeville and even silent movies, were shown. It was known as Teatro Junquera, established in 1895.

Teatro Junquera was witness to many significant events. It was here Governor General William Howard Taft and the members of the Philippine Commission spoke before Cebuanos in 1901. Vi-cente Sotto staged his play Ang Gugma sa Yutang Natawhan in 1902.

In 1915, Don Jose Avila purchased Teatro Junquera and re-named it Cine Oriente. By 1920, Cine Oriente became the pre-mier venue for silent films in Cebu City. With this, Avila started his career in show business, which eventually earned him the title “Father of Cebu Cinema.”

In March 1930, Cine Oriente initiated Cebuanos into sound film by premiering The Singing Fool, a Warner Brothers’ part-talkie musical drama.

Between 1941 and 1945, the theater was destroyed, along with many areas of the city, during the Japanese invasion. After the war, Cine Oriente was reconstructed in 1952 with Don Jose’s son, Jesus Avila, taking on the business.

Cine Oriente was burnt down in 1969, but two years after it reopened. In the early 1980s, it underwent major renovation, unveiling the refurbished look in 1984. In 1995, it underwent an-other extensive renovation. The other theater was demolished to become the present mall. Oriente became the first movie theater in Cebu City to use Dolby Digital Surround Sound in 1996.

On May 2013, Cine Oriente closed for renovation and was reopened after several months, in December 2013, to feature new digital projectors for high-definition quality viewing experience.

“Oriente has a long history. It has transitioned from stage plays in the early 1900s to the silent movies, to 35-millimeter films with sounds, and finally to what you see today, a digital system with Dolby surround. For generations, this theater has been the source of entertainment for the Cebuanos, screening English, Tagalog and Cebuano films. We will continue to support Cebuano films,” says Rene Avila, the grandson of Don Jose Avila.

THE OLDEST THEATER IN CEBU

tion of cinema from the region and revisited their aspect of au-thenticity, subversion and contribution to the national cinema, and “The Regional as the Other in Cinema,” which explored to what degree the region has accepted the peripheralization that the regional film industry has produced.

There were also talks, including “Getting the World to See Your Films,” which addressed the crisis of arts and discussed audience development, film education and marketable forms and contents; and “Film As Heritage: Restoring and Remem-bering Cebuano Film Classics.”

Closing the festival was Kidlat Tahimik’s Balikbayan #1: Memories of Overdevelopment Redux III, a tribute to the pre-Hispanic Cebuano. It presupposes that Enrique of Malacca, a Visayan slave brought by Portuguese navigator Ferdinand Ma-gellan, could possibly be considered the first man to circum-navigate the world. Tahimik starred as Enrique, with George Steinberg, Kawayan de Guia, Wigs Tysman, Katrin de Guia, Kabunyan de Guia and Danny Orquico. The film won the Caligari Film Prize at the 65th Berlin International Forum of New Cinema in February 2015. It was also screened and well-received at the Singaporean Biennale and the 39th Hong Kong International Film Festival in April.

Now on its seventh year, Cinema Rehiyon features works of Filipino filmmakers from all over the Philippines, especially outside of Metro Manila, raising awareness on the efforts on and progress of filmmaking in the different regions. It becomes a platform for these films from the regions, most of which are in local languages and showing culturally-rooted narratives, to be exhibited and appreciated by a wider audience, and for the filmmakers to interact with fellow filmmakers and stakehold-ers.

Cinema Rehiyon has been a major part of the Philippine Arts Festival, NCCA’s celebration of the National Arts Month every February. The first two years of Cinema Rehiyon was held at the Cultural Center of the Philippines in Pasay City. Since 2011, it was held in different parts of the country—Davao City in 2011; Bacolod City, Negros Occidental, in 2012; Los Banos, Laguna, in 2013; and Cagayan de Oro City in 2014.

This year’s Cinema Rehiyon was led by NCC head Wil-liam Mayo, NCC vice-head Teddy Co and festival director Maria Victoria Beltran. Other NCC members include Rosanni R. Sarile (secretary), Ramon Sixto C. Nocon (assistant secre-tary), Tito G. Valiente, Patrick F. Campos, Archi R. Adamos, Ramon F. Ramos, Ellen O. Marfil, Katrina Ross A. Tan, Lou Rafael B. Canedo and Martin R. Masadao (members).

The forum /Photo by Marvin Alcaraz


Pinangunahan ng Komisyon sa Wikang Filipino (KWF) ang pagdiriwang ng Buwan ng Wika tuwing Agosto,

alinsunod sa Pampanguluhang Proklamasyon Bilang 1041. Ngayong taon, ang tema ng pagdiriwang ay “Filipino: Wika ng Pambansang Kaunlaran.”

Layunin ng taunang pagdiriwang na mahikayat ang iba’t iabng ahensiyang pampamahalaan at pampribado na makiisa sa mga programang nagpapataas ng kamalayang pangwika at sibiko, at nagpapakita ng kahalagahan ng wika na higit pa sa pambansang kaunlaran.

Pormal na sinimulan ang pagdiriwang ng Buwan ng Wika sa pamamagitan ng pagtataas ng watawat noong ika-3 ng Agosto 2015 sa Taguig City Hall sa lungsod ng Taguig. Sa pagpapaunlak ng pamunuang panglungsod ng Taguig, nakiisa ang KWF sa pagtataas ng watawat na sumasagisag sa isang buwang pagdiriwang na siksik sa mga aktibidad para sa wikang pambansa, ang Filipino.

Sa nasabing programa, tinanggap ng punong lungsod na si Maria Laarni Cayetano ang Kampeon ng Wika mula sa KWF para sa kaniyang masigasig na paggamit at pagpapalaganap ng wikang Filipino sa kanyang nasasakupan. Bilang pagsuporta sa adhikain ng KWF at sa pagtataguyod ng wikang pambansa, nagpasa ng resolusyon ang sangguniang bayan na naghihikayat sa malawakang paggamit ng Filipino sa lahat ng opisyal na korespondensiya ng lungsod.

Dinaluhan nina National Artist at tagapangulo ng KWF Virgilio S. Almario, direktor heneral Roberto T. Añonuevo, mga komisyoner na sina Lorna E. Flores, Jimmy Fong at Orlando B. Magno at mga piling kawani ng KWF ang nasabing pagdiriwang.

Sa kanyang talumpati, idiniin ni Almario na magkakabit ang pag-unlad ng wikang pambansa at ang pambansang kaunlaran. Idinagdag niya na ang mataas na pagpapahalaga ng mga Filipino sa sariling wika ay katumbas ng mataas na pagpapahalaga niya sa kanyang sarili bilang Filipino.

“Nais naming itampok ang Filipino bílang isang wikang patuloy na umuunlad. Makikita ito sa paggamit ng Filipino sa iba’t ibang larang gaya ng siyensiya, teknolohiya, pilosopiya, at iba pa,” wika ni Almario.

Nitong ika-20 ng Agosto, hinirang din ng KWF ang lungsod ng Muntinlupa bilang kauna-unahang lungsod na Kampeon ng Wika dahil sa aktibo nitong pagpapalaganap at paggamit ng Filipino sa iba’t ibang aspeto ng pamumuhay mula pa nang maitatag ang lungsod noong 1995. Ngayon pa lamang kinilala ang isang lungsod sa Filipinas bílang Kampeon ng Wika.

Tinanggap ng punong lungsod ng Muntinlupa na si Jaime R. Fresnedi ang pagkilala sa lungsod. Dumalo sa nasabing pagtitipon sina komisyoner Purificacion G. Delima at direktor heneral Añonuevo.

Patunay sa malawakang paggamit ng Filipino sa nasabing lungsod ang pagsunod nito sa E.O. 335 na humihimok sa mga kagawaran, kawanihan, ahensiya at instrumentalidad ng pamahalaan na gamitin ang pambansang wika sa lahat ng opisyal na transaksiyon, komunikasyon at korespondensiya.

Samantala, pinangunahan ng pamahalaang panlalawigan ng Pangasinan, katuwang ang KWF, ang Pambansang Kongreso sa Pagpaplanong Wika noong ika-5 hanggang ika-7 ng Agosto sa Sison Auditorium, Capitol Compound, Lingayen, Pangasinan.

Dinaluhan ang naturang programa ng mahigit sa isang libong katao, kasama ang mga guro, kawani ng iba’t ibang ahensiya ng pamahalaan at lokal na yunit ng pamahalaan, mga manunulat, at interesadong mga indibidwal mula sa iba’t ibang panig ng Filipinas.

Kabilang sa mga tagapanayam sa unang araw sina Dr. Galileo S. Zafra ng Unibersidad ng Pilipinas Diliman para sa kasaysayan at tunguhin ng ortograpiyang Filipino; Dr. Jimmy Balud Fong, komisyoner para sa mga wika sa kahilagaang pamayanang kultural at propesor sa UP Baguio, para sa mga wikang katutubo at ang wikang Filipino; Celso Santiago ng Presidential Communications and Operations Office ng Opisina ng Pangulo para sa “Wikang Filipino bilang Wikang Opisyal;” Dr. Ruth Elynia Mabanglo ng University of Hawaii para sa “Pagtuturo ng Filipino bilang Ikalawang Wika.”

Tagapanayam naman sa ikalawang araw sina Dr. Joseph Salazar ng Ateneo de Manila University para sa “Adyenda sa Araling Kultural;” Dr. Mario Miclat ng Pambansang Lupon sa Wika at Salin (National Committee on Language and Translation) ng Pambansang Komisyon para sa Kultura at mga Sining (NCCA) para sa “Adyenda sa Pagsasalin;” Leonor Oralde-Quintayo, tagapangulo ng Pambansang Komisyon sa mga Katutubong Mamamayan o National Commission on Indigenous Peoples (NCIP), para sa “Pangangalaga sa mga Wikang Katutubo;” at Dr. Purificacion G. Delima, komisyoner para sa wikang Ilokano, para sa “Gramatikang Filipino.”

Ipinagdiwang din ng lungsod-pulo ng Samal ang Buwan ng Wika sa pamamagitan ng seminar-workshop na Uswag: Dangal

Ang Pagdiriwang ng Buwan ng WikaWikang Filipino at Pambansang Kaunlaran

Ang Pambansang Kongreso sa Pagpaplanong Wika sa Lingayen, Pangasinan, (ibabang larawan, kaliwa) at ang seminar-workshop na Uswag: Dangal ng Filipino 2015 sa Samal (ibaba, kanan) /Mga larawang-kuha mula sa KWF


ng Filipino 2015. Nilahukan ang seminar-workshop ng mahigit 150 guro, prinsipal at iba pang opisyal pang-edukasyon ng Samal.

Sa buong buwan ng Agosto, nagkaroon na iba’t ibang aktibidad sa iba’t ibang parte ng bansa. Idinaos sa Cebu Normal University ang isang seminar-workshop na may paksang “Guro at Mga Hamon sa K to 12 sa Grade 10” noong ika-4 ng Agosto. Ginanap naman sa ika-11 ng Agosto sa Lyceum University ang “Panayam: Filipino, Wika ng Pambansang Kaunlaran.”

Samantala, sinimulan ang taunang pagdiriwang ng Buwan ng Wika sa Western Visayas University sa lungsod ng Iloilo sa pamamagitan ng pagtatanghal sa mga dulang Ilonggo noong ika-14 ng Agosto. Kasunod nito ang dagliang talumpati at masining na pagkukuwento na ginanap noong ika-19 ng Agosto at Ginoo at Binibining Wika 2015 noong ika-26 ng Agosto. Idinaos din ang

Wikang Filipino at Pambansang Kaunlaran

Pista sa Nayon, tampok ang Mga Laro ng Lahi, noong ika-28 ng Agosto.

Tagisan sa talino, pagsusulat ng islogan at paggawa ng poster ang hatid ng Western Mindanao State University sa pagbubukas ng pagdiriwang ng Buwan ng Wika noong ika-7 ng Agosto. Sinundan ito ng patimpalak sa pagsusulat ng sanaysay at kundiman noong ika-16 ng Agosto, at balagtasan at interpretatibong sayaw noong ika-21 ng Agosto.

Ipinagdiwang ng Central Bicol State University of Agriculture ang Buwan ng Wika sa pamamagitan ng paligsahan sa pagsulat ng sanaysay, tula, tigsik, islogan, pagbuo ng poster, talumpati, modernong balagtasan at pag-awit. Gayundin, idinaos ang paligsahan sa mga laro ng lahi at timpalak sa Mutya at Lakan 2015.

Sa Mindanao State University sa Marawi, nagkaroon ng palarong Pinoy,

Pinoy Cheers, at eksibit sa mga pagkaing Meranaw at kakanin. Samantala, sa Sulu State University, ginanap ang isang forum tungkol sa ortograpiya noong ika-26 hanggang 27 ng Agosto. Kasunod ang patimpalak na Mutya at Ginoo ng Wika.

Dinaluhan din ng mga piling manunulat at mga estudyante ang Kumperensiya sa Wika at Panitikan sa Bulacan State University. Pinangunahan ng KASUGFIl ang isang taunang panayam ng mga guro sa Filipino na may temang “Ang Pagtuturo ng Panitikang Gender-Based, Isang Hamon sa Pagkakakilanlan” sa lungsod ng Imus sa Cavite. Tampok din sa pagdiriwang ng Buwan ng Wika ang mga Seminar sa Korespondensiya Opisyal sa lungsod ng Pasig, Kagawaran ng Interyor at Pamahalaang Lokal, lungsod ng Parañaque, Philippine Deposit Insurance Corporation, Komisyon ng Serbisyo Sibil, at iba pa.

Pormal na sinimulan ang pagdiriwang ng Buwan ng Wika sa pamamagitan ng pagtataas ng watawat noong ika-3 ng Agosto 2015 sa lungsod ng Taguig na pinangunahan ng punong lungsod ng Taguig na si Maria Laarni Cayetano at tagapangulo ng KWF Virgilio S. Almario


NEWS BRIEFS32 Agung • Number 4 • 2015

TRAINING ON CULTURAL AWARE-NESS AND CULTURE-BASED GOV-ERNANCE FOR LGU EXECUTIVES

The Bulacan Arts, Culture and History Institute, Inc. conducted a three-day train-ing session from March 5 to 8, 2015, in Basco, Batanes, for local government unit executives to help develop greater aware-ness, understanding and appreciation of the Philippine culture towards the evolution of a consciousness that will improve the quality of lives of Filipinos.

During the three-day seminar, the top-ics that were discussed included the insti-tutionalization of local cultural education courses in the Institute of Local Culture and Governance, the cultural vibrancy in local governance culture-based youth empower-ment and the development of culture-based tourism programs, among others.

They also shared experiences and ap-proaches in managing heritage sites, cultural events, artist development and cultural educa-tion. They were encouraged to develop mod-ules on LGUs’ cultural education plan, and formulate local ordinances to institutionalize culture and arts programs by creating a Culture and Arts office with annual budget allocations.

Batanes governor Vicente Gato wel-comed the participants, composed of pro-vincial and municipal heads and city execu-tives such as governor, vice-governor, board members, mayor, vice mayor, councilors, department heads, planning officer, tourism stakeholders, and community school heads, among others. The governor sought the help of everyone, including the National Com-mission for Culture and the Arts, to work for the inscription of Batanes in the UNESCO World Heritage Sites list.

Dr. Orlando Magno, NCCA commis-sioner of the Subcommission on Cultural Dissemination, said that the project was aimed to develop concrete proposals for the consideration of the NCCA and the LGUs that will prepare the education sector to deal with a new world system, help people to function in their own culture and address people’s cultural needs, rights and responsi-bilities. Director Sonny Cristobal introduced

the Philippine Cultural Education Program (PCEP), where they learned about how to access funding assistance from NCCA.

Richard Philip Gonzalo presented the conference rationale and objectives such as fostering nationalism, encouraging critical and creative thinking among the different sectors and exercising leadership skills in culture-based initiatives.

Divided into five groups, the partici-pants were also engaged in a cultural map-ping exposure session and tasked to go around their communities to rediscover what makes Batanes special. The Heritage Group visited the Basco Cathedral, the Batanes Na-tional Science High School, which houses a small museum, and the Amboy House which is a renovated traditional Ivatan house currently serving as a café.

The Education Group headed to the different schools around the area, while the Tourism Group visited the airport, an inn, souvenir shops and other tourism-related places. The Arts Group went to the cathe-dral and an art museum, as well as witnessed the preparation and cooking of traditional Ivatan rice and the making of handicrafts. —Maricel C. Diaz

RONDALLA AND CHORAL CON-DUCTING AND MANAGEMENT TRAINING IN SURALLAH

The local government of Surallah or-ganized the Regional Trainers’ Training for

Rondalla and Choral Conducting Manage-ment, a five-day training for conductors and members of various rondalla and choral groups in Region XII, from May 25 to 29, 2015, in Surallah, South Cotabato.

The training aimed to establish a rondalla and choral community in the re-gion, as well as train and develop conduc-tors and members of various music groups in rondalla music playing and choral singing.

UP College of Music faculty members Elaine Espejo-Cajucom and Arwin Q. Tan facilitated the training. Espejo-Cajucom is the trainor of the UP Rondalla and Es-pejo Rondalla, while Tan is the founder and choirmaster of Novo Concertante Manila.

For the rondalla training, about 115 people participated, including Cotabato City Polytechnic State College, Surallah Central Elementary School, Lambontong Elementary School, Tupi National High School, South Cotabato Family Rondalla and General San-tos City National High School.

All rondalla participants underwent diag-nostic activities such as playing the most diffi-cult repertoire that they know so that the facili-tators could determine the levels of skills both of the teachers and participants, composed of elementary and high school students.

The diagnostic test showed that no rondalla group among the participating schools could play the scores accordingly. Conducting skills and even organizational mastery of the conductors were wanting, based on the performances of the group and the way the teachers managed their group and the instruments during the diagnostic session.

With the assessment result, Espejo-Cajucom was able to tailor-fit modules that could be used for basic and advance players and identified training activities for teach-ers and conductors. She divided each train-ing day into three sessions: teaching of basic playing techniques for the young and new members, advance classes and teaching basic organization techniques for trainers. She also conducted critiquing of the repertoires per-formed during the diagnostic session.

Tan conducted the choral training, starting with studying the basic techniques and theories and continued with practicing several pieces such as “Sanctus,” “Kordero ng Diyos,” “Holy, Holy,” “Ubi Caritas,” “Praise the Lord,” “Ave Regina Calorum,” “Agnus Dei,” “Ikaw anf Mahal Ko,” “Miserere” and “I Will Arise.” The participants came from Cotabato City Polytechnic State College, DepED in Cotabato City Division, Cotaba-to City Institute, Notre Dame University in General Santos, Marbel Elementary School, BNHS Sarangani and the LGU of Surallah.

On the third day, NCCA chairman Fe-lipe M. de Leon, Jr. graced the training event and delivered inspirational messages to the rondalla and choral participants. This was followed by a recital.

The rondalla participants were able to perform two new pieces: “The Philippine Medley No. 1” (arranged by J. Dadap and performed by the basic group) and “Palla-dio” by K. Jenkins (arranged for rondalla by EJ Espejo-Cajum and performed by the ad-vance group). They were able to re-stage the five clinicked version of their existing reper-toires such as CCPSC’s “Ilocana A Nasudi” (arranged by Edna Culig); Surallah Rondal-la’s “Lee Mack Ritenour jazz piece; Tupi’s “Spanish Eyes” (arranged by Pacita Narzo);

NEWS BRIEFS 2015 • Number 4 • Agung 33

South Cotabato Family Rondalla’s “Itik-Itik” (arranged by Edna Culig); and General San-tos City’s “New York, New York” (arranged by EJ Espejo-Cajucom).

The choral participants managed to per-form six new musical pieces conducted by both the conductors and choral members. Among the conductors were Cyd Albon for “Praise the Lord” by Hito Kiho; Nida Lumunsad for “Kordero ng Diyos” by Ralf Hoffman; David Capundan for “I Will Arise” by Alice Parker and Robert Shaw; “Jonar Narvacan for “Ubi Caritas” by Maurice Durufle; Nida Lumunsad for “Holy, Holy” by Ralf Hoffman; and Albas-er Usman for “Ikaw ang Mahal Ko” by Jona-than Velasco. —Arlene E. Flores

MUSICAL ON KANKANAEY-APPLAI CULTURE IN TAMBOAN, BESAO, MOUNTAIN PROVINCE

When he first heard the beautiful voices of the parents of the students during a meet-ing, Steve Dagacan, a head teacher in the Tamboan High School, thought about creat-ing a play that would showcase their talents as well as the traditions and cultural expres-sions of the community.

After proposing to the Department of Education for the production of a musical, he then tapped Sagada-based cultural worker Bernard Makellay. Together, they immersed themselves in the Kankanaey-Applai culture, did some ethnological research and incorpo-rated what they have learned into the musical.

Makellay, who acted as the director, pooled together an artistic and production staff composed of 10 teachers and 20 men and women as cast. They started the rehears-als sometime in December 2014. Six months after, from June 8 to 18, 2015, the play had its final rehearsal-show where the commu-nity members were able to watch the run.

The play premiered on July 19, 2015, at the Tamboan High School in Besao, Moun-tain Province. Located at the boundary of Mountain Province, Abra and Ilocos Sur, the school became the perfect backdrop for the play. The school building and dormitory used to be the Anglican Church and Semi-nary, which was built in the 1950s. In the late 1990s, it was donated to the Kankanaey-Applai and was used as a school since.

The play starts with a linayaan or gob-gobbaw as blessing for the birth of Bal-isongen. As a tradition, only the first born is accorded such special ritual in which the elder asks the community what to name the child. The relatives and other members of the community would bring an etag or salted smoked pork to the house of the baby. Meanwhile, the mother recovers from the birthing wound through the use of koba,

a bark that is traditionally used as sanitary napkin but is found effective to heal repro-ductive wounds.

In the next scene, Balisongen grows up into a good boy who performs tasks for the community such as running errands in the dap-ay, the place where the Council of Elders meet to discuss and decide about the welfare of the community. As he grows up, he serves as a mendekat, a messenger to neighboring villages.

Adulthood makes Balisongen realize the rigors of life. One time, he is wounded in the forest and women came to help him. He also finds the woman he would soon marry. He eventually finds work in a large-scale mining company in Benguet, but soon he longs for home.

When he comes back home, he seeks for his love by going to the began, a house where single ladies sleep and are being court-ed by the bachelors. He falls in love and asks the lady’s hand in matrimony by performing the dok-ong where he gathers firewood and presents them to the lady’s house.

After a series of visits until the parents agree to their matrimony, they perform the sukat di makan, a ritual where both parties exchange food to solidify their acceptance to the dawak. The play shows the preparations that the whole village does for the wedding ceremony, as well as the various traditions that come with it.

The play ends with Balisongen becom-ing the community leader. According to the director and writer, “Even though the title suggests the life cycle, death is excluded be-cause it is a sacrosanct taboo.”

The play also aimed to promote and re-vitalize Tamboan indigenous traditions and customs, such as dagdagay (traditional foot massage using two sticks), pipidwa (a second matrimonial celebration) and dalidummay and daing chants. —Joanna Melody Lerio

PERFORMANCE ART COMPETI-TION IN SANTIAGO CITY, ISABELA

German artist Evamaria Schaller lay down on the cemented ground inside the Apo Art Space in Santiago City, Isabela, holding a round heavy stone. Stuck on her mouth was a deflated balloon, which served as a breathing instrument. Slowly, she crawled towards one of the walls inside the art space.

As the distance between her and the wall got smaller, the balloon in her mouth came to life. Halfway through her destina-tion, Schaller stood up and blew air into the balloon. After tucking the balloon under her shirt, she ran towards the wall and crashed her body against it, producing a resonating sound as the balloon exploded.

The German artist used her body, mate-rial and space. She explained that it was all about the picture and how to use these three components in that very moment.

“It can turn out into something funny. It can be sad or something. It depends on the mo-ment. I don’t put effort into telling a story. I just read pictures, and everybody interprets it in his or her way. They are often works with the topic of liminality” explained the German artist.

Her 15-minute performance was one of the performance arts during the Dugtungan 2015, a new media performance art compe-tition organized by the Santiago Living Tra-dition Foundation, Inc. led by its president Patrick Kahyan Uy Chong and project coor-dinator Juan “Yuan Mor’O” Ocampo.

Held from February 7 to 9, 2015, in different venues in Santiago City, the per-formance art competition aims to nurture independent artists and their creative artis-tic expression and promote art appreciation in the community. Eighteen artists partici-pated in the event, 14 of whom were from Luzon, Visayas, Mindanao and National Capital Region, and four international art-ists: Thai artist Chimpun Apisuk, German artists Schaller and Rolf Hinterecker and Mexican artist Lala Monada.

Apisuk did a one-hour public perfor-mance art, titled Standing, at the market. He paid homage to the farmers who, he believed, are “the real public, real people.” Collaborating with him were artists Nic Aca, Lala Monada and two local Santiago artists who played the guitars and wooden flute. For her Sin Titulo, Monada created a bed made of coal. She lay down on the bed and even ate some coals.

Among the local participants, six joined the competition. Juan Crisostomo per-formed Interpolation, trying to define and amplify the line and sound out of a fast trav-eling plastic tied with the domain of a string. Rommel Espinosa, meanwhile, showed his sympathy to the Mamasapano victims, par-ticularly the SAF 44, in his performance called Your Journey is my Journey.

Mannet Villariba explored the fragility of the societal system in Life’s Fragility, using bubbles as metaphorical symbols. Mel Ara-

The NCCA Committee on Communications (NCCom), headed by Estrellita J. Tamano, spearhead-ed a short lecture on the principles of journalism, con-ducted by Rodrigo G. Cornejo, NCCom vice head, on August 7, 2015, at the multi-purpose hall of the province of Palawan.

The lecture was attended by about 250 commu-nications students and high school students from dif-ferent schools in the province, including the Palawan National School, San Miguel National High School, Palawan Polytechnic College, Inc., Palawan State Uni-versity and Western Philippines University, along with faculty members.

Philippine Information Office head Gil Acosta welcomed the students and guests. This was followed by a short message from Tamano. The event also had a screening of the documentary “Likhang Yaman ng Palawan.”

The lecture ended with an open forum and dis-cussion about the documentary.

NCCom Mounts Lecture on Journalism and Screening of Documentary on Palawan


neta presented Life as If, where he recycled some surplus objects to create a junk musical instrument which he connected to an ampli-fier and continuously played for 48 hours.

Kenneth “Calayo” Po used didgeridoo (an indigenous instrument from Australia) in his performance of Urbanization of Life and Spirit. Using fish net, several canned sar-dines, some paint and a cauldron, Nic Aca made an environmental and political com-mentary on what is happening in northern Mindanao in his performance art.

Winners of the competitions were Maneth Villariba, Rommel Espinosa, Mel Araneta and Nic Aca, who received a Yuan Mor’O Ocampo sculpture each. The judges were composed of Yuan Ocampo, Santiago City former cultural officer Susan Fiado and visual artist Romeo Baoson.

Some local artists also showcased their artworks. Sam Penaso presented Acid Trip-ping; while Lorina Javier performed Relive. Boyet de Mesa made a social commentary through Genocide by Uncle Sam. Martin de Mesa did a performance about transgender, titled Bagit Pamhod (My Love in Ifugao). Patrick Chong also did a performance art.

Kaye Oyek’s 10-minute performance art featured burning a paper using a lit cigarette that she continuously puffed amid the hyp-notic sound of the metal pot. She allowed the paper to completely burn, keeping the fire alive by blowing it until she gasped for air.

The artists conducted art talks with the

students of Patria Sable Corpuz College, La Salette University, and Northeastern College, sharing ideas on performance art and its po-tential relations with photography and nudity.

“Performance art is not dance, music, literature, painting, architecture and theater. But it has all the elements of what art should be. Basically, it is an art expression, telling of a story, your story, to liberate others,” concluded project coordinator Ocampo. —Mark Gregor O. dela Cruz

MEDICAL AND HEALTH LIBRARI-ANS GATHER FOR NATIONAL CON-GRESS AND SEMINAR-TRAINING-WORKSHOP

To further develop the skills of the medical and health professional librarians in the country, the Medical and Health Li-brarians Association of the Philippines Inc. (MAHLAP) conducted the National Con-gress and Seminar Training Workshop from March 25 to 27, 2015 at the Marco Polo Hotel in Davao City.

Now on its 27th year, the seminar-work-shop focused on how the Filipino librarians can gain accreditations from the Philippine Accrediting Association of Schools, Colleges and Universities (PAASCU), the Philippine Association of Colleges and Universities Commission on Accreditation (PACUCOA) and International Organization for Stan-dardization (ISO).

Headed by MAHLAP president Joena-

bie Encanto and vice president Maria Juliana Noces-Gasmen, the seminar aimed to edu-cate the participants on the processes, basic documents needed, and evaluation tools used to gain those accreditations.

Over 90 participants learned about the ASEAN Integration 2015 and its objectives, as well as the current situation of the coun-try in regards to its implementation, and the implications of the integration to the Philip-pine libraries and culture.

During the seminar, Corazon M. Nera talked about the impact of the Outcome Based Education (OBE) in the library col-lection. Dr. Ronie V. Amorado shared his insights on ISO accreditation, while Dr. Ma. Lindie D. Masalinto talked about the evalu-ation tools of PACU-COA. Michael Pinto discussed about how to prepare a standard-ized library action plan and a library devel-opment plan.

Dr. Briccio M. Merced Jr. delivered a lecture on the ASEAN Integration and its implications to the libraries and Filipino cul-ture. He emphasized on the Filipino cultural identity and gave special attention to the tra-ditions and practices of the indigenous groups in the country which are slowly dying.

“Because Mindanao is a culturally di-verse island and home to a lot of indigenous groups, there is a need to document these practices and keep reference materials on them in the libraries,” he said.—Carolle Adrianne Manalastas

NCCom vice head Rod Cornejo delivering a lecture to students in Palawan

The NCCA’s Sentro Rizal branch in Phnom Penh (SRPP) launched its pilot course on Filipino language on

August 15, 2015, at the Philippine Embassy Grounds in Phnom Penh, Cambodia.

In line with the celebration of Buwan ng Wika, the program is aimed to educate Filipino migrant children in Cambodia of the importance of learning and preserving the use of the Filipino language, as well as other Philippine languages as key to retrac-ing and appreciating their Filipino heritage.

“The need to learn and speak Filipino is more felt for Filipino children abroad in

Sentro Rizal in Phnom Penh Launches Pilot Filipino Language Course

order for them to better understand and ap-preciate their cultural heritage and identity,” noted Christopher B. Montero, Philippine ambassador to the Kingdom of Cambodia.

NCCA deputy executive director Mar-lene Ruth Sanchez attended the launching of the language course along with University of the Philippines College of Education dean Rosario Alonzo, who devised the language module which will guide the program. Called “Masayang Matuto ng Wikang Filipino,” the 12-session module will be used in teaching Fili-pino language courses to Filipino overseas chil-dren in the other Sentro Rizal branches abroad.

On August 13 and 14, Dr. Alonzo conducted a two-day training program for volunteer teachers to provide an overview of the module and at the same time conducted a lecture on Filipino language. These were aimed to empower the volunteer teachers and give a more comprehensive background on the language course.

Ruth Peñano, one of the volunteer teachers, expressed joy in participating in the SRPP’s language course: “Nagagalak po akong maging bahagi ng proyektong ito. As I had a chance to live in different countries, I met a lot of Filipino children who do not know how to speak Filipino. They don’t know about our culture either. This is a beautiful way to im-part to them our heritage.”

Inaugurated in June 19, 2015, the Sen-tro Rizal of Phnom Penh aims to promote Philippine arts, culture and language and serve as a platform from where Filipinos in

Cambodia, as well as in other countries with Sentro Rizal branches, can reconnect with their cultural and artistic heritage.

Filipino families in Cambodia are highly encouraged to enrol their children in the said program. Twenty-two Filipino children have already enrolled in the free Filipino language course starting in August until October 2015 with classes scheduled every Sunday.

For more information on the Filipino language course offered in SRPP as well as other Sentro Rizal activities, you may call the Sentro Rizal office through 527-2192 loc. 605 and look for Shaina Santiago.

Filipino children in Cambodia attending the pilot class

Dean Rosario Alonzo, Philippine ambassador to

the Kingdom of Cambodia Christopher Montero,

NCCA deputy executive director Marlene Ruth

Sanchez and Sentro Rizal project development

officer Shaina Santiago with volunteer teachers

who attended the workshop.


BUSINESS MAIL: Entered as second-class mail at Manila Central Post Office under Permit No. 755-02 NCR, dated June 3, 2002. Subject for postal inspection

Empoweringthe 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

Ilocano textile, by a weaver in Pinili, Ilocos Norte, in weft impalagto crossed by warp-float pinilian. Exhibiting the inubon nga sabong design, the upper portion is the front side while the lower is the back.

agung # 4 (august) 2015

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