Professional Documents
Culture Documents
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.
ADELINA M. SUEMITH
oic-executive director
MARLENE RUTH S.
SANCHEZ, MNSA
deputy executive director
Rene Sanchez Napeas
editor-in-chief
A String of Flowers
Meeting Magdalena Gamayo
Text and photos by Roel Hoang Manipon
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.
work.
Nana Daleng took out an old photo album containing swatches of some weaving
patterns and designsthe inal-alsong (Xs),
sinan-bola-bola (ball-like), different patterns
for the binakol, checkers for plain weaves,
pinaglatuan. She gently traced with her wizened 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 billowed 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 softspoken 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 carry on the age-old tradition of Ilocano weaving, 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
SALINTA MONON
Tagabawa Bagobo
Bansalan, 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
Tausug
Parang, 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.
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.
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 Angayon, 55-year-old Adela Angayon, 56-year-old
Mary Gumunut, and Alice Bulawan, the youngest 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-toone by master weavers for one month.
The five expert ikat weavers were Dudduli Dumangeng, Analiza Kangngitit, Alicia
Nadiahon, Benita Balangto, Virginia Cabbi-
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 individuals 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 woven 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 country, she revealed. With more than a hundred indigenous cultural communities in our country, we should showcase our rich culture and the distinctiveness 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 Galleries. Other government agencies and institutions became partners and supporters 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 Department of Science and Technology, and the University of the Philippines
Asian Center.
The Aklan Provincial Tourism Council and HIBLA contributed additional looms. Congressman Victor Ortega of the First District of La Union,
Ilocos Sur vice governor Deogracias Victor Savellano and councilor Edmund Gavina of Bangar, La Union also contributed items to the museum.
Its really convergence, Legarda said. There is really cooperation and
convergence among government agencies.
Labrador served as chief curator of the exhibition, which aims to provide 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 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
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
were 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 fashion designs, Labrador revealed. We want to be a reference later on
for maybe designers or merchandisers, [a place to] look at what we
have. Its really to inspire later on to generate more innovations and
designs.
She also said that theyre starting a program on economic botany in collaboration with FIDA and PTRI because we want to be
more relevant to local people.
So, were 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.
MANSUMANDIG
A Visayan folk tale
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 halfcavan 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 beforetwenty-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,
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
THE LEGEND
OF TNALAK WEAVING
A Tboli myth
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 Tboli folklore and myths, described as the first woman created by Tboli
supreme deity Dwata, the first princess and the first weaver. Tudbulul is the great mythical hero of the Tboli. Bogul lemubag is an implement used
for pounding the tnalak to make it smooth and flat while being washed in the river.
THE
PHILIPPINES
THAILAND
MYANMAR
CAMBODIA
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.
LAOS
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.
VIETNAM
The ao di is the Vietnamese
national attire for women, which
comprises a long-sleeved tunic
with a slit on both sides over a
silk pants.
o gam is the attire for
men. o gam is crafted from a
thicker fabric with Vietnamese
embroidery and worn loosely
above pantaloons.
BRUNEI
DARUSSALAM
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.
INDONESIA
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.
SINGAPORE
MALAYSIA
National attire for women is the baju
kurung ensemble, a loose, longsleeved, 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.
AN ENLIGHTENING
COMPANION
TO PHILIPPINE WEAVES
Reading Norma Absing Respicios Journey of a Thousand Shuttles: The Philippine Weave
Cinema Rehiyon 7
Spotlights Cebu
By Maria Glaiza Lee
ot 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, sentiments 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 Kabahars Bertoldo ug Baludoy, considered as Cebus 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 Velezs 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 continued 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, 1969
The NCCA recognizes Cebu as the second largest film-producing region in
the country after Metro Manila, especially during the 1950s and 1960s. Cinema Rehiyon, the flagship project of NCCAs 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 years festival
was held in Cebu to recognize Cebus 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 filmmakers, shared NCC vice head Teddy Co.
Kicking off Cinema Rehiyon 7 was Badlis sa Kinabuhi (Lifeline), a 1969 Cebuano 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
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.
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
films were clustered into thematic categories. The category delving in the aftermaths
of super typhoon Haiyan (locally called
Yolanda) featured T.M. Maloness Dapya
Sang Paglaum, Charena Escala and Rowena
Sanchess documentary Nick and Chai, and
Thomas Fitzgeralds Tigdong.
Films focusing on indigenous traditions included Nef Luczons documentary
on the Panay Bukidnon titled Father Said,
Lets Return Home, Lester del Valles Walang
Rape sa Bontok, Adjani Arumpacs War is
a Tender Thing, and Ivy Universe Baldosas
Marciano.
Other notable works were Boyong
and Sendongs Busol: The Last Headhunters,
Remton Zuasolas Soap Opera (the festivals
pre-opening film), Baby Ruth Villaramas
Little Azkals, Bagane Fiolas Sonata Maria,
John Paul Laxamanas Magkakabaung, Lemuel Lorcas Mauban: Ang Resiko, Charliebeb Gohetias Chasing the Waves, and Alec
Figuracions Bitukang Manok.
In between the screenings were the
various forums such as Re-Imagining Regional Cinema, which looked into the no-
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
mbansang Kaunlaran
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
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 meeting, Steve Dagacan, a head teacher in the
Tamboan High School, thought about creating a play that would showcase their talents
as well as the traditions and cultural expressions 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 incorporated 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 rehearsals sometime in December 2014. Six months
after, from June 8 to 18, 2015, the play had
its final rehearsal-show where the community members were able to watch the run.
The play premiered on July 19, 2015, at
the Tamboan High School in Besao, Mountain 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 Seminary, which was built in the 1950s. In the
late 1990s, it was donated to the KankanaeyApplai and was used as a school since.
The play starts with a linayaan or gobgobbaw as blessing for the birth of Balisongen. 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,
The German artist used her body, material 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 moment. I dont 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 competition organized by the Santiago Living Tradition Foundation, Inc. led by its president
Patrick Kahyan Uy Chong and project coordinator Juan Yuan MorO Ocampo.
Held from February 7 to 9, 2015, in
different venues in Santiago City, the performance art competition aims to nurture
independent artists and their creative artistic expression and promote art appreciation
in the community. Eighteen artists participated in the event, 14 of whom were from
Luzon, Visayas, Mindanao and National
Capital Region, and four international artists: Thai artist Chimpun Apisuk, German
artists Schaller and Rolf Hinterecker and
Mexican artist Lala Monada.
Apisuk did a one-hour public performance 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 performed Interpolation, trying to define and
amplify the line and sound out of a fast traveling plastic tied with the domain of a string.
Rommel Espinosa, meanwhile, showed his
sympathy to the Mamasapano victims, particularly the SAF 44, in his performance
called Your Journey is my Journey.
Mannet Villariba explored the fragility
of the societal system in Lifes Fragility, using
bubbles as metaphorical symbols. Mel Ara-
MEDICAL AND HEALTH LIBRARIANS GATHER FOR NATIONAL CONGRESS AND SEMINAR-TRAININGWORKSHOP
To further develop the skills of the
medical and health professional librarians
in the country, the Medical and Health Librarians Association of the Philippines Inc.
(MAHLAP) conducted the National Congress 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-workshop 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 Standardization (ISO).
Headed by MAHLAP president Joena-
order for them to better understand and appreciate their cultural heritage and identity,
noted Christopher B. Montero, Philippine
ambassador to the Kingdom of Cambodia.
NCCA deputy executive director Marlene 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 Filipino language courses to Filipino overseas children in the other Sentro Rizal branches abroad.
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.
Empowering
the Filipino
Imagination
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