SAVING SARIAYA

Official Logo of PAMANLAHI

To see one person fight for his heritage is admirable... to see a community do the same thing is so freakin' AWESOME!!! 

Ms Marquez receiving PAMANLAHI's position letter as board-members look on

Last Tuesday, 15, September, five members of AHP who concurrently serve as members of the board of DAKILA'NG PAMANA NG LAHI took the time to drive to Sariaya, Quezon to express support for the preservation of Sariaya's heritage zone and to take part in the mediation conference between the Department of Public Works and Highways, The Local Govenrment unit and the stakeholders of Sariaya.

Ka Lino and Mye Atienza, Ms Boots Mejia, Ms Febe Sevilla and myself with Ms Rina Marquez

This is actually, also the first official act undertaken by PAMANLAHI as a duly registered, fully functioning NGO. A letter of support for the work stoppage on the construction of loading bays along the heritage zone of Sariaya would have to be submitted to the municipal hall, the mayor's office, the NCCA, and Sariaya's stakeholders.

groupie at the Sala of the Enriquez house

Our effort was duly recognized and appreciated by one of the home-owners in Sariaya, Rina Marquez and her mother who live in the Natalio Enriquez heritage home right beside the Church. The owners graciously welcomed us into their well-appointed mansion. The imposing structure was designed by Andres Luna de San Pedro and is prominently located across the town plaza, off tangent to the municipal hall (also by the same architect.) The Town Plaza was actually land owned by the church which was donated to the LGU for public use. The monument of Jose Rizal along with a bandstand flanked by caryatids has all but been obliterated from view by a sports center and by a playground. 

Plaza de Shalom is behind this beautiful heritage home 

By two p.m. an expected audience of 20+ had bloomed to 50 plus homeowners and stakeholders of the heritage zone of Sariaya, Quezon. Physical arrangements had to be augmented to accommodate everyone who wanted their two-cents worth to be heard. The National Commission for Culture and the Arts' Atty. Trixie Angeles was present as mediating officer between local government, DPWH and homeowners. The sole purpose of the meeting was to find a common ground at which everyone represented will be happy with the options presented. The cease and desist order for road widening had been issued. However, DPWH and local government were pushing for the construction of loading bays essentially to "alleviate traffic flow along the heritage zone.

The venue setting

As fate would have it, the stakeholders opposed the construction of loading bays in the area in convincing fashion. DPWH, represented by a certain Engr. Racelis has reiterated that all road widening projects along the heritage zone has been discontinued but DPWH is appealing for the construction of the loading bays at certain points along the highway. Rina Marquez presented the detrimental effects of loading bays along the heritage cluster in a study done by no less than Toti Villalon along with UP engineering and architectural stalwarts. And since it was a mediation conference, the stakeholders were enjoined to find ideal alternative areas where the loading bays could be constructed without endangering the homes, causing anxiety and distrust among home-owners, and avoiding misgivings towards the local government. 

Home-owners and Mye Atienza intently participating in the mediation

Another mediation conference to present these alternative sites is scheduled for the 26th of October, 2015. By then, it is hoped all parties would amicably settle the issue for good. Failure to find common ground among all parties concerned would result in the case reverting back to a trial in court. The home-owners were adamant in voicing their concern as they were often not informed by the LGU or are commonly left out in the dark as to public projects were concerned. This far into the issue, stakeholders claim no plans were publicly posted either in the municipal hall nor bulletin boards. An irate municipal administrator even went so far as lambasting a certain Mr De Luna who was a member of Sariaya's Heritage Preservation group. It would be worth noting that a mediation is not a trial, ergo nothing expressed in mediation can be used as evidence. So, trying to convince an already emotional group of homeowners by slinging mud at "one of their own" does not make for good governance. What was he thinking?

PANGALAY PRIESTESS

Madam Ligaya Fernando-Amilbangsa

I have devoted practically two thirds of my life to dance. From time to time, I get to dabble in a dance form I have no experience in because sometimes contemporary choreographers from Ballet Philippines invite traditional dancers as sources of inspiration they can "borrow" movement from. I put the word borrow in quotes as indigenous movement is far removed from the dance form I grew up in.

Imitating an Albatross

Fortunately, Ballet Philippines has nurtured in its dancers a deep love for both classical Ballet and contemporary dance techniques transposing historical accounts, Filipino legends and myths into uniquely Filipino works of art. This year however, my interest in the performing arts has been rekindled with the conferment of the Ramon Magsaysay Award to LIGAYA FERNANDO-AMILBANGSA. Madam Amilbangsa has been cited for her unwavering crusade in preserving an endangered artistic heritage of southern Philippines - the PANGALAY.

Preening her feathers

What thrills me most about her work is that I have always admired people who can do indigenous dances such as the Pangalay. I didn't think I could do it... It can be strenuous after a few minutes. Fact is, I have always known about her work for decades. I am personal friends with her daughter Grace and it was a blast spending time with her again, if only briefly. When I was a lot younger, I used to hang out with Grace. What eludes me is why I never, ever took the time to learn how to do Pangalay in all its many myriad forms.

Grace Amilbangsa and moi catching up

The Ramon Magsaysay Awards Foundation organized a lecture demo for all of the awardees this year. I made it a point to attend Madam Amilbangsa's lecture at the RM Building along Roxas Bouleard on 2 September, 2015. I was pleasantly surprised that the hall was packed with students and a smattering of people like me who weren't as young but perhaps, more passionate about heritage preservation. The lecture was interspersed with pieces choreographed by Mrs. Amilbangsa herself; one choreographed to Yoyoy Villame's recording even. Of particular interest to me was the piece performed to Lucio San Pedro's "Sa Ugoy ng Duyan" done in the pangalay idiom. I refer to it as a dance idiom because it is unique to the southern Philippines and a few Southeast Asian countries like Bali,Indonesia, Thailand, Southern India and Malaysia.

Cecilia Garucho giving annotation to Pangalay movement

 Pangalay is an ancient dance form that ante dates the arrival of Islam (ca.14th century) in the country. This dance has roots among the Badjao, Jama Mapun, Samal and Tausug tribes of Mindanao. Madam Amilbangsa asked the audience to get up from their seats and learn the most basic rudiment of the dance form... BREATHING! Madam believes that if you can breathe (and who'd want to hold their breath?), you can dance Pangalay. And that's where I have the problem. Decades of classical ballet training run counter to learning Pangalay. In ballet, one is supposed to keep the spine pulled up to maximize that long lean look and in proper alignment, butt tucked in, core muscles strong and engaged, shoulder blades expanded nearly touching each other, arms curved and tense to prepare for action, head and chin angled to look up at the most expensive seats in the theater. In Pangalay, your knees are bent, your torso is set forward, arms  bent and sticking out to the sides, nape and head angled forward. Complete opposite of what I've been trained to do. 

Pangalay ensemble members 

She relates how, as a young girl attending a school fair at the Far Eastern University, she visited a booth decorated in southern Philippine finery for a Muslim wedding. She met the young gentleman who was responsible for the authentic array and even asked for his autograph. He left a lasting impression on her.  Little did she know, he was smitten as well. She ended up marrying her Muslim admirer and re-located to Tawi-Tawi.  They attended a Muslim wedding ceremony and part of the entertainment was this pangalay dancer. Her life was never the same!

Brass nails enhance the hand movements

It was there in Sulu that she honed her technique and came up with the Amilbangsa Instruction Method. After all, it is useless to be perfect at something and not  be able to pass it on. She has formed a dance troupe that goes all over the world promoting Pangalay. Like any advocacy, it needs structure to hold the members together. They have a board of trustees that oversees the group's activities and keeps them going. Madam Amilbangsa does the lectures and the choreography and continues to dance Pangalay at the youthful age of seventy two. Just as she was transfixed while watching Pangalay many moons ago,  Ligaya Fernando-Amilbangsa continues to dance to the beat of her own inner rhythm and vows to preserve Pangalay as younger dancers learn how to move in hypnotic pace with their own breath...

the future of Pangalay

SEEKING ETHNIC INSPIRATION

B'laan elders

It's been a while since I've posted a blog entryioI realize that even if I'm online from time to time, it becomes difficult  to upload and post articles to my blog because of the effects of bad weather on the information highway. Take it from me, the pace is dragging especially when one is uploading pictures.

Tabih cloth

In any case, I have been busy: with work... with life... and the many myriad, minutae that comes to my attention each day. Lately, I've been working on a school production slated for January 2016. Yes, it takes at least six months from concept to actual execution of costumes. Even then, when the cast gets on stage, one may have to tweak the designs a little bit if only to make the participants look good.

Tabih panel ready for the market

In previous posts on this blog, I wrote about Senator Loren Legarda's efforts at bringing our local fabrics to the fore through a special exhibit of Philippine hand made textiles. The exhibit was entitled HABI. Indigenous fabric is painstakingly difficult to produce because of the seemingly endless man-hours it takes to make one panel of fabric. I bring this up because my production uses some ethnic influence in manner of dress for both boys and girls. The music is mostly OPM (that's Original Pinoy Music, for the unitiated). So what do I do? I turn to our indigenous tribes for that unmistakable Filino touch.

Bonifacio Guerrero with B'laan school teacher  who teaches native dance to kids

I have an ally on this in the person of an apprentice of Ballet Philippines, dance major at the University of the Philippines and graduating student Bonifacio Guerrero, who is currently working on his thesis as a pre-requisite to earning his degree. 

Tabih specimen

The two of us were inspired by the B'laan: he for their dance movement, I for their clothing! B'laan actually springs from the root word "bla" meaning opposing or opponent and the suffix "an" denotes the people.

Tabih composite weave with border

The B'laan are a proud indigenous people of southern Mindanao. They are mostly situated around the picturesque Lake Seibu and are conveniently, neighbors to the T'boli. The B'laan used to occupy most of the area of General Santos City, formerly known as Koronadal. The name itself is taken from the native B'laan language. Koron means cogon grass and nadal means plains - which is actually a pictographic use of language to describe the area of their location. Eventually, the tribes were pushed back to the hinterlands when Gen. Santos City was established in 1939. The proud B'laan now occupy areas in Lake Seibu, South Cotabato, Sarangani, southeastern parts of Davao, and around Lake Buluan and North Cotabato.

B'laan weavers

Their manner of dress consists of a cloth woven on backstrap looms called tabih; akin to the T'nalak of the T'boli. Their blouses are heavily embroidered by utilizing hand embroidered geometric patterns. Women are also known to wear layers of glass beads on their  neck and waist bands made up of either colorful beads or thousands of links of hand forged brass with tassels of tiny bells. This is how you know they are arriving as they make tinkling sounds from far away.  The men wear vests and sawal (pants done in tabih weave) and sometimes a head scarf called tubaw. 

more complicated designs

The Tabih is different from t'nalak in the sense that the colors and patterns deviate strongly from the dream weavers of the T'boli. One sees more of the red dyes taken from local plants giving it a more vibrant hue. There are also no animated forms of lizards and humans that are sometimes included in t'nalak. Thanks to an exchange of ideas with Bonifacio Guerrero, I veered towards using that same kind of colorful influence for my production for an exclusive Catholic school in the south of Manila. 

Complicated antique patterns on a panel

*Pictures of antique B'lann tabih collection of RMMC by Michelle Lopez Solon through Bonnie Guerrero

Nag Car Lang to Nagcarlan

I know, it's a cheesy title! But hey, the beauty of it is... instant recall! On our roadtrip with Mabuhay Guide Yael Fernandez and her family, we motored down to this small sleepy town which is 103 km south of Manila.

Nagcarlan during its pre-colonial years was ruled by Gat Lakilaw. Fr Juan de Placencia and  Fr. Diego de Oropesa are credited for the town's conversion into Catholicism. The town, however, takes its name after a pious woman by the name of Ana Kalang whose charity was epic. She was said to have given alms to the needy out of her own personal wealth. To commemorate her passing, the town was supposed to have honored her memory by building giant effigies known as Kalang-Kalang. Eventually, the  town became known as Nagcarlan.

The town of Nagcarlan is often overlooked since it lies in close proximity to more popular towns of San Pablo and Liliw, Laguna. It's not lacking in attractions, though. Nagcarlan is blessed with waterfalls, a lake, a cool climate, nature resorts and  the magnificent St. Bartholomew church.  But its main draw is the underground cemetery.  Fr. Vicente Belloc, a Franciscan priest who served as parish priest for twenty years started the construction of the underground cemetery. Originally a final resting place for the Spanish friars, the underground cemetery served as a secret meeting place for the Filipino revolutionaries who conspired to overthrow the Spanish colonizers; among them Pedro Paterno and Gen. Severino Taino who planned the Pact of Biac na Bato within those premises.

It is said the when Gen. Emilio Jacinto was wounded in a battle in Majayjay, Laguna, he hid in the underground chambers of the cemetery and was captured there in 1898. The underground cemetery is a dimly lit chamber that is currently succumbing to the destruction borne by draft and time. Most of the frescoes have sadly been fading over the centuries.

If you're on a road trip to nearby Liliw, veer towards the Nagcarlan highway and visit the chapel. Don't forget to sign the guestbook before you descend into the depths of the chamber. Don't worry, it's not as ghoulish as you think. It actually is very welcoming...

HIE OFF TO MAJAYJAY!

Just last week I went off to nearby Majayjay, Laguna to check out some sights for an upcoming tour assignment with colleague Yael and her family. They wanted to take advantage of the long weekend  as well as do some homework for our tour with Ramon Maaysay awardees and their families. It is customary for us Mabuhay Guides to do our homework so we made the more than two hour trip to three places: Paete, Majayjay and Nagcarlan.

I've done my post on Paete. So if you read my blog, you'd know I have a strong affinity with that area. Majayjay and Nagcarlan are two different stories, though. Both lie along the way to the Paete and Pakil areas But I never really had to experience going there. Now I had good reason!

Majayjay takes its name from the sighs elicited by the locals as they were carrying loads of personal belongings owned by friars on their way to the location to evangelize the natives.  Every so often, as they stopped periodically along the way to the site of the church, the laborers would let out a "haaaaay" "haaaay". Hence, the town was named Majayjay.

The town of Majayjay is situated at the foot of Mount Banahaw. It is bounded on the north by Magadalena, on the east by Luisiana, on the south by Lucban and on the west by Liliw. Approximately 120km south of Manila, Majayjay is a small sleepy town that boasts of natural waterways such as three rivers and a waterfall (Taytay Falls). No less than former first lady, Imelda Romualdez Marcos tried to set it up as a tourist destination when she saw the falls. However, it was the World Bank that funded the project. The falls is a short  tricycle ride from the town proper and a clamber through a forest pathway.

The main visual point of the town are its many heritage houses and the magnificent  church of San Gregorio Magno. The church was built in 1575 and  burned in 1576, 1606 and 1660. Built through conscripted labor from the residents, the church sits atop a hill and beside it is the Liceo which retains much of the architecture of the time. Part of it was destroyed during the tropical storm, Melindo. But most of the beams that were not destroyed have the typical colonial style of interlocking notches that hold the roof up... one was even inscribed with the date December 1896 on it. The side entrance has the image of St. Michael over the covered arched doorway. Two plumeria trees flank the entrance, The gnarled trunks belie these aged living sentries having been planted by Spanish friars.

It was fortuitous that as the school principal of the Liceo showed me around the old building, Yael met the current parish priest was I was admiring creaking floorboards. He was gracious and friendly even giving us directions to a shortcut back to Manila. It was worth the trip and since I ruined my chances of taking great photos because I had forgotten to load my SD card into the camera. I think a trip back is forthcoming...

STAKING OUT STA. ROSA AND BINAN

Sta. Rosa de Lima

I wrote about the Advocates for Heritage Preservation tour of Malolos last month. I've been looking forward to this heritage tour Of Binan and Sta. Rosa, Laguna for weeks. Finally, Saturday, the 27th came along. I was up early so I won't miss the carpool ably arranged by Johnson Bernardo. While waiting for the van, I met a few other AHP members I haven't met before, Fritzie Ramos, Waff Recalde and Tan Ocampo.

Sta. Rosa de Lima Church

And then the van arrived on the dot. We loaded up and sped off towards Sta. Rosa and Binan. Sta' Rosa is approximately 38 km south of Manila. Named after, St. Rose of Lima, the town was elevated to city status covering an area of 54.13km2. Discovered in 1573 by Spanish explorer Juan de Salcedo, the area was annexed to Tabuco, now known as Cabuyao, Laguna. Then it was annexed to Binan and by 1688, it was separated from Binan to be named Barrio Bucol (Bucal?) Then by 15 January 1792, the city of Sta. Rosa was founded. 

Zavalla house

Formerly an agricultural area, it's rich soil and abundant water was a hot target for Tulisanes (bandits) during harvest time for them to replenish provisions and stock up on supplies for long, lean months of fighting against the guardia civil. Yes, some revolutionaries were branded as merely bandits who were discontented with their lot in life. That's where the short sighted vision of the Spaniards failed them. They didn't realize the discontent would fester into all out revolution. 

Tiongco house

Anyway,  the Jesuits usurped the lands from the local landowners. They gathered the residents into communities and hamlets and the prominent families were given prominent positions in their barrio. Upon expulsion of the Jesuits, the Dominicans took over the management of these friar estates and remained under the control of the friars reaching as far out to the north in San Pedro de Tunasan and as far south west to Silang and Amadeo, Cavite.  

Gonzales house

General Pio del Pilar fought alongside Filipino revolutionaries against the Americans in this area. Its rich history is further enhanced with the city's participation against the Japanese forces. As the American forces were pushing their way to Manila from Tagaytay, the Japanese continued to wreak havoc in areas they retreated to. By 5 February, 1945 the Japanese had abandoned Sta. Rosa. 

Almeda Heritage house

Binan, on the other hand was the richest city in Laguna prior to American occupation. It is approximately 34km southwest of Manila. It was used as a base for Spanish forces to combat the Tulisanes. Eventually, it became a hub for business. Then the area became more popular as an industrial hub when then Governor of MetroManila, Imelda Romualdez Marcos wanted to decongest Manila of factories. Some of them moved to Sta. Rosa and Binan. 

Former munisipyo, then hospital

This visit was made special as the AHP members were allowed access to ancestral homes in Sta. Rosa. We visited three homes The Zavalla, Tiongson and Gonzales homes before we moved on to Binan, Laguna to experience the Almeda and another Gonzales home then visited the Cuarteles.of We got to visit and see for ourselves, the former detention cell occupied successively by three controversial detainees: Nur Misuari, Erap Estrada and Janette Lim-Napoles. That was pretty cool! before the sun went down, the AHP group disbanded and went our merry way.

Cuarteles 

Looking forward to our next heritage tour in Sta. Ana, Manila next month. That's 25, July, 2015! If you're looking for a brilliant way to spend a lazy weekend... you're invited to join the Advocates for Heritage Preservation. Look up the Facebook page headed by Tito Encarnacion. It isn't just a fun way to learn history and culture, it's a cool way to meet new people and embrace your identity as a Filipino.

piitan ni Janette Lim-Napoles, Erap at Misuari

NYMFA'S WOMEN OF CURIOSITY

I've known Nymfa Maligaya Ursabia for a couple of years. The first time I met her was while she was still in college at the Philippine Women's University finishing her Bachelor of Fine Arts degree. Of course, both she and now husband,  Victor Ursabia were still courting back then. Victor had become an apprentice and moved on to become a company member at ballet Philippines. After a few more years, he had become director of the Ballet Philippines Dance School.

Me with Nymfa Ursabia

Eventually, she and Victor got caught up in making a life together and raising a family. Meanwhile, both have pursued different careers. Nymfa stuck to making art. Her first show was at Whitespace in Pasong Tamo, Makati where she collaborated with other visual artists. That was a success. But you know what they say... you're only as good as your last exhibit...

So this exhibit is special for both artist and patrons. This is Nymfa's first solo exhibit where she showcases her identity as an artist. I asked her what took her so long... the ever soft spoken Nymfa coyly smiles and shrugs her shoulders... She had nothing! Honestly, Nymfa is so self effacing you'll wonder how she mustered up the courage to come up with her first show.

Her style is elegant and understated.  Most of the frames are small, 81/2 x 11 inch standard sizes. One can either acquire two to three frames and cluster the pieces together. But they are good enough to stand alone. She has mastered her mixing different media to a point where one can't tell how the collages are pieced together to form a whole.

Russian lady mesmerized by Nymfa's work

All the pieces were immaculate! It was hard to tell where cut pieces of paper met acrylic or oil paint. The focal point of every frame was the portrait of women, naturally. Hence, the title. I get the concept, though. Nymfa manipulates the pictures of different women: from Infantas, to Madonnas to La Gioconda, even and gives them her own spin. Perhaps, culled from her own journey of growth and maturity. she imbues the women with different characters and flavors.

She also has little installations of  winged creatures. Heads of madonnas have been embellished with head gear: crowns, tiaras and diadems. The wings were mounted on pine card boxes and the insides were  decked with different items like coins, tinsel and sundries. These are rather small and can be used  as accent pieces  for coffee tables or mantles. Interesting... very, very interesting!

Somehow, her works remind me of a Primo de Rivera but a more feminine and starkly simple one. Her pieces are different because they command a second... even third look. What he uses for scroll work, Nymfa makes up for in subtle details of torn pieces of paper and splotches of deep color. Somehow, the Ayala Museum's Artist Space is the perfect venue for Nymfa's maiden outing. The subtlety of her work matches the stark interiors of the gallery. Do I hear a husband and wife exhibit in the offing soon?

Women of Curiosity will be at the Ayala Museum from 24-June until the 8th of July.