Lantawan Socsksargen Film Festival (LSFF), a regional film festival organized by the SOCSKSARGEN Center for Film and Arts (SCFA), is now accepting entries for the second film fest and competition of Region XII.

Interested filmmakers may submit short narrative film entries with a maximum length of fifteen minutes to the two categories identified by SCFA. Sine Socsksargen is open to high school and college students currently enrolled in any learning institution in SOCSKSARGEN (South Cotabato, Sultan Kudarat, Sarangani Province and General Santos City). For this category, participating schools may submit a maximun of three entries. Sine Mindanaw is an open category to any filmmaker from the region.

The deadline of submission is on November 10.

As a regional fest, LSSF aims to showcase films that reflect the region’s “collective endeavor as a progressive region.”

The pilot of Lantawan was held in General Santos in January with a total of 14 entries. Workshops, pre-fest screenings and open-air showing were among the fruitful activities in the first festivals.

As part of its mandate to promote Filipino arts and culture, the National Commission for Culture and the Arts (NCCA) funds LSFF along with various regional film festivals across the nation.

For complete information on the mechanics, contact Weng Carillo at 0923-5747674 or e-mail to scfa.official@gmail.com.

Francis Fest, which marks the 40th year of Santuario de San Antonio as a parish, presented the country’s leading international pianist Cecile Licad and the ABS-CBN Philharmonic under conductor Gerard Salonga, filling the church to capacity.

Bartok’s overwhelming propulsive and percussive Concerto No. 1 is largely a dialogue between piano and drums, a huge drum and two smaller ones enlarging the orchestra. The Concerto, daunting and perilous even for the most seasoned virtuoso, is replete with dissonant chords requiring tremendous energy and vitality, abrupt, shifting accents and rhythmic changes—original and innovative for 20th century music. All these were met with Licad’s phenomenal technique.

Big screens showed close-ups of Licad’s strikingly nimble and forceful fingers; indeed Licad is one of the very few women pianists I have heard who possesses masculine power, consistently manifesting this in the Concerto’s hard texture and abounding atonalities.

Steadily descriptive and expressive, Licad evoked poignant beauty in Chopin’s Ballade No. 1 in G Minor, deep melancholy in Macdowell’s Sonata No. 1 (Tragica) which laments the death of a friend; a vivid, intoxicating Spanish spirit in Gottschalk’s La Jota Aragonesa, Manchega and Souvenir d’ Andalousie, therein, the audience “hearing” the clicking of castanets, the snapping of fingers, the strumming of guitars, the thunder of zapateados. Or “seeing” dizzying turns and twirls. How brilliantly Licad had captured the essence, the substance of Spanish music!

Musicologists describe Liszt’s St. Francis Walking on Waters an “impressionistic acquarelle.” Licad’s subtle nuances delineated the calm of the sea, and a storm surging and ebbing, then rising to a torrential triumph, with Licad’s overwhelming chordal passages, in the swiftest tempo, covering the entire keyboard.

In sum, Licad brought to mind what her legendary mentor Rudolf Serkin observed: “She is at home in any style.” And awesomely so! The deafening clamor led to two native encores, the first converted into a dazzling bravura piece, both works signifying Licad’s pride in being Filipino. The third was an excerpt from “Embraceable You,” which the pianist dedicated to her son who was celebrating his birthday.

The concert opened with welcome remarks from Francis Fest chairperson Amelita Guevara, followed by a disciplined, cohesive, engaging orchestral rendition of Liszt’s Les Preludes conducted by Salonga.

To Karla Gutierrez, Philippine Opera Company head, traditional and contemporary Filipino songs are our very own. We must preserve our heritage; if we ourselves do not perform, render and interpret them, who else will? Karla proudly and eloquently states that for the last 15 years, POC artists have been staging successful native programs ranging from children’s songs to tribal chants, from planting songs to courtship ditties, from exquisite kundimans to Sylvia la Torre’s enchanting showstoppers.

Selections in the Ang Bagong Harana concert will be culled from the best of them, including songs by Filipino composers of various genres: Abelardo, Cayabyab, Willy Cruz, Santiago, Molina, Umali, Tanseco, Cuenco, Celerio, Estella, de Guzman, de Leon, etc .

The presentations, reasoned Karla, which will mark POC’s 15th (Pearl) Anniversary on October 17 and 24 at 8 p.m., on October 18, 24 and 25 at 3 p.m. at the RCBC Theater in Makati, are envisioned as the love song of the country. Karla wishes to perpetrate and preserve our own because it is endangered by foreign songs.

St. Paul University presented “Memories of Broadway” to celebrate the 75th anniversary of its College of Music headed by Dean Sr. Anunciata Sta. Ana. In past decades, the College staged musicals so regularly, it earned the soubriquet “Broadway on Herran St.” Indeed, Broadway songs have become a part of our culture; thus the show last October 8 featured alumni, faculty and students singing them with gusto.

Ballet Manila Stuns Anew
With the mighty baton of Russian conductor Alexander Vikulov over the Manila Symphony Orchestra infusing life into Prokofiev’s music, and the music, in turn, infusing life into the dance, Ballet Manila’s staging of Romeo and Juliet stunned the Aliw Theater audience anew.

Typical of the company’s standards, the performance manifested the highest degree of discipline and cohesion, the ballerinas fluidly graceful, the danseurs buoyantly brisk and virile, both ballerinas and danseurs light and fleet-footed.

Amidst ravishing, eye-catching stage sets complemented by elaborate, opulent costumes befitting the aristocratic Capulets (Juliet’s family) and Montagues (Romeo’s family), the long-standing feud between them unfolded through emotive, dramatic, balletic – indeed, immensely descriptive idiom – choreographed by Paul Vasterling who worked with a veritably huge cast.

The pas de deux in both the balcony and bedroom scenes, delineated, with exquisite poignancy, intense, and passionate youthful love. The beautiful, winsome Katherine Barkman radiantly portrayed Juliet, and seasoned Rudy de Dios, Romeo.

In the opening episode and later episodes, Gerard Francisco (Mercutio) and Rudolph Capongcol (Benvolio) stood out for their admirable dancing; the petite Pia Danes, spritely and sparkling, was brilliant as Mecurtio’s Gypsy.

Barkman was intensely touching, her every movement and facial expression revealing overwhelming pain and grief over the passing of her beloved Romeo.

The stirring and exciting duels, the crowd scenes, alternately festive and furious, enriched the beguiling production.

Special mention should be made of Liza Macuja-Elizalde, the company’s artistic director and hitherto, its incomparable prima ballerina, as Lady Capulet; Nonoy Froilan, whom I have highly praised in the past, as Lord Capulet; German Ambassador Thomas Ossowski, as the Prince of Varona.

To say that I was getting bored with local art would be an understatement—it might also seem a tad bit dismissive, which to me is unacceptable. Boredom after all is a matter of taste still, which is not to say that mine is leveling up (or down, as the case may be) as it is to say that the redundancy of works has become more and more obvious the past three years or so, where the young(er) artists are being copied by the even young(er) artists, and the art that sells is being done over and over.

Daniel dela Cruz’s ‘Border Dispute’

One would like to imagine that this is a matter of the market dictating what is created as art—one can’t fault artists for wanting to earn after all. But then again there are old(er) artists still doing “new” things—which is to say still engaging with nation through their art, changing as the landscape of nation is. Jose Tence Ruiz, Antipas Delotavo, Agnes Arellano, come to mind. They remind that commodification need not be the end all and be all.

The art fair conundrum
There is no greater indication of art’s commodification than the two art fairs in the country: ManilArt of the Bonafide Art Galleries Organization (BAGO) and the National Commission for Culture and the Arts (NCCA), and Art Fair Philippines of the trio of Trickie Lopa, Dindin Araneta, and Lisa Ongpin-Periquet.

Art by Jukus Sepada

A major difference between the two is the fact that one has as co-organizer the NCCA, a government institution for culture, and the other is a private enterprise. That does demand of us to be more critical of ManilArt, because that is public money after all, spent on mounting an art fair that has as primary task the selling of art: getting galleries to pay an amount for a stall at the fair, which ensures for them and the artists they carry a sale or 10. It’s a win-win-win situation.

Except that one does wonder why the NCCA is working with gallery owners at all, given that these are already people who have the capital to invest in art. One would like to think that the NCCA could do better than to mount art fairs. On the other hand, my tendency is to demand for more transparency as far as expenses and earnings are concerned, and then ask how exactly the NCCA disburses funds as it is tasked to give grants to local artists and their projects.

My bigger issue is NCCA’s aesthetic predisposition towards certain works and artists, and how this is removed from the kinds of creativities that exist, disenfranchising artists who might want to go beyond the aesthetics of commodified art and artmaking.

#ManilArt2015 and the ‘new’
Although if there is anything that I appreciated about Manila Art this year, it’s that I walked in there and found unfamiliar galleries carrying works I would otherwise not get to see.

Azor Pazcoguin’s works (Artery Manila) were a breath of fresh air, hyperrealist renditions of work and labor as symbolized by objects: an apron with a Starbucks logo, a typewriter. I would’ve wanted to be served it without the accompanying poetry though, which would’ve made it more powerful as a statement on capitalism and consumption.

Tebs Gomez’s works (Ysobel Art Gallery) were curated against another artist’s colorful (forgettable) paintings, which made the animal heads and horns even more haunting. Up close each head was intricately carved with whimsical details, the irony so in your face as you’re drawn towards the dead, skinned animal’s head.

Daniel dela Cruz’s sculptures (371 Art Space) were also such a welcome up-yours to the more famous and now repetitive Michael Cacnio sculptures that have lost its edge, now looking like nothing but vignettes about nation, like pretty sculptural postcards of nation that appeal to tourists, if not to the nostalgia of the elite for the simplicity of childhood.

Dela Cruz’s sculptures does one (10!) over Cacnio as he portrays children’s play with the truths of our contemporary existence: a tug of war with barbed wire, a skeleton teaching a kid how to shoot with gun fingers, a kid playing with tanks that have “killed” a doll fallen on one side, a kid playing on a noose, unable to get down.

Honesto Guiruela’s “Sagot sa Dayo” (Artepintura Gallery) is a small sculpture of shanties, one on top of another, crowded the way we know them to be so, refusing the tendency at whimsy and cuteness despite its size, given the magnitude of its statement about urban migration and poverty, development and need.

Before changing the system
And then one realizes that one can’t blame artists for not taking a stand against art fairs. After all they have a bigger chance at sales in spaces like this one, no matter who organizes it. It is also an easier way to be considered as “established” artist, without having to do press releases or getting an art critic or academic to praise your work.
Here, in this art fair, across all these galleries that are not the usual ones we see in Manila, there’s still a sense that one has a fighting chance amidst all the more famous names and sought-after artists. And maybe until we have the balls to change the system, well, getting more artists earning from their works, is enough reason to keep going.

In 2001, businessman Dr. Dante A. Ang acquired ownership and operation of The Manila Times, the oldest newspaper in the Philippines.

Heralding a new beginning in the print industry, the publisher also embarked on a unique venture later in the same year. He established the first ever mass media institution in the county to be run by a newspaper called The Manila Times School of Journalism.

It was then duly registered with the Securities and Exchange Commission (SEC) under SEC registered No. A200113698 on November 19, 2001.

The institution further grew and became The Manila Times College (TMTC) that now offers a full-fledged three-year baccalaureate program through its School of Journalism in Manila.

Asked why he established a training ground for future journalists by professional journalists, Dante Ang 2nd, president and executive editor of The Manila Times, in an interview for www.josiahgo.com, shared, “The Manila Times College was created to fill a need. We needed to hire fresh graduates who were also competent journalists. We also noticed something missing in the skills set of new graduates, and that was practical experience in reporting and composing stories.”

To achieve this, TMTC Manila carries specialized subjects to enhance the students’ writing and speaking skills like English proficiency, Print and Broadcast (TV and Radio).
These are all on top of the regular subjects prescribed by the Commission on High Education.

The Manila Times College provides high-end facilities for training in print and broadcast journalism. With its tie-up with The Manila Times newspaper, students enjoy free and unlimited access to the editorial and production facilities of the newspaper. As such, they experience hands-on training in news and feature writing, layout, and newspaper production.

“We have evolved to be a teaching newspaper, the only one in the country and perhaps in Southeast Asia. And so at our school, we provide students with the academic preparation along with the practical experience in working with a national daily from Day One,” concluded Ang.

Name: Jemaima Rae Porter
Nickname: Jem
Age: 19
Favorite writing subject: Motoring. “I love cars and I also race.”
Other interests: Photography, racing, food

Name: Lance Gabrielle Librorania
Nickname: Lance
Age: 18
Favorite writing subject/s: Art, book reviews, art criticism, opinion
Other interests: Painting, skateboarding

Name: Nicolle Morales
Nickname: Nicolle
Age: 16
Favorite writing subject/s: Food
Other interests: Dancing and singing

Name: Mamoru Tochizawa
Nickname: Moe
Age: 18
Favorite writing subject/s: Spirituality or “psychological self-exploration a la-Terrence McKenna.”
Other interests: Guitar playing, music

Meet Lance Gabrielle Librorania, Jemaima Rae Porter, Nicolle Morales, and Mamoru Tochizawa—the proud and deserving Journalism scholars of The Manila Times College

The Manila Times College’s free education program saves four teenagers from shattered dreams

Society can sometimes be harsh toward today’s teenagers. Raised in the age of the Internet, where everything is easily a click away, they generally are deemed as spoiled and privileged, and oblivious to real world problems.

But not all millenials—the collective term for people under the age of 34—are born the proverbial silver spoon. And, to be more precise, not all millenials born with a silver spoon are apathetic.

In today’s special anniversary issue, The Sunday Times Magazine spotlights four millenials who may look like regular teenagers in their jeans, sneakers and backpacks. In reality, however, they are, as this story will prove, extraordinary youths fighting for their right to education and the right to nourish their passions.

Meet Jemaima Rae Porter, Lance Gabrielle Librorania, Nicolle Morales, and Mamoru Tochizawa—the proud and deserving Journalism scholars of The Manila Times College.

The call of journalism
Jemaima, or Jem to her friends, looks up to her late father who was a multi-lingual literary writer. It was he who inspired her to pursue the call of journalism.

Nicolle conquered shyness to pursue journalism

And so, even during her elementary days, Jem already joined her school paper as a feature writer. However, being the youngest in a family of campus journalists, Jem manifested the youngest child syndrome and felt the burden of living behind the shadows of her older siblings.

Thankfully, she shook off her insecurities in high school when fate gifted her with a mentor.

“I loved journ so much that I almost didn’t want to attend my other subjects,” Jem recalled happily. “And it was in high school when I met Palanca Award-winner Charito Palanca who became my campus journalism mentor. I look up to her to this day because she has penned a lot of books and published numerous works.”

Curiously, as she neared high school graduation, Jem had no intentions of pursuing Journalism in college. As many teenagers tend to be, she was confused about choosing a future career.

Jem looks up to her late father who was a literary write

“I loved writing so I thought I’d take AB English. But I also loved cooking so I even thought about taking up Culinary Arts until an uncle discouraged me to do that,” she shared. “He said I should challenge myself, and that was when I went back to my original interest in Journalism.”

As she looked into colleges offering the course, someone suggested considering The Manila Times College. And so Jem did, and just as quickly felt intimidated.

“Honestly, just the name ‘The Manila Times’ made me anxious,” she confessed. “And when I told someone else I’d try out [for the school], I was told, ‘Ikaw? Maga-apply ka sa The Manila Times?’ Ipapahiya mo lang ang sarili mo dun. [You’ll just make a fool of yourself applying at The Manila Times College].”

Then and there, Jem felt like her dreams were shattered. She cried over the remark, but, as the insult washed over and she thought back to her love for writing, Jem decided to prove her confidant wrong.

Lover of words
Lance Gabrielle Librorania has always been infatuated with the world of words but lacked the confidence to join his campus paper. Thankfully, his class adviser picked up on his potential for writing, and asked him to join the paper.

“I was too shy and I didn’t want to attend the required meetings, so instead of joining full time, they allowed me to be a contributor,” the college boy recalled his first foray into campus news writing.

He enjoyed his stint at the paper but unfortunately had a difficult time getting along with other staffers. Because of the latter, he decided against taking Journalism in college and took up Multimedia Arts at Mapua Institute of Techonology.

Lance has always been infatuated with the world of words

“For a whole year taking up the course, I would tell myself, ‘If I continue pursuing this, I might not be able to make a career out of it.’ I also saw the ‘competition’ and felt I wasn’t at par with my more talented classmates.”

As he continued to rethink his options, Lance unfortunately had to take a leave of absence from school, because of limited resources.

“Back then, I was contemplating what I really wanted to pursue and realized I was wasting money in something I didn’t want to do,” he revealed. “After some time, I reconsidered Journalism and I guess you could say I grew up because I realized it was the people in my school paper that I didn’t like, and not Journalism itself.”

Lance reconnected with his love for words and found a way to be where he truly wanted to be.

The ‘quitter’ and the ‘dancer’
Mamoru Tochizawa confessed, he had once quit his dream of working in the world of news.
“My interest in journalism started in high school when I saw an opening for campus reporters one day,” Moe, as he is known to friends, recalled. “I tried to audition [for broadcasting] and as luck would have it, they liked my voice so I got in.

“I was even asked to compete with other reporters from other schools all the way to the national level. But during our training, I got so pressured, and because I only do something if I find it fun, I ditched our training in the middle of Tagaytay and quit.”
Nicolle Morales also turned her back on writing once out of pressure.

“In elementary, I signed up for campus journalism and because of my English teacher’s confidence in my writing,” she related. “She even signed me up for a writing competition. But when that day came, I got so nervous that I ran away from the contest, so much so that my teacher did not speak to me for a week!”

So traumatized was Nicolle over the incident that she gave up writing all together and shifted her time and effort in learning to dance. She succeeded and fell in love with the art, but when college came around, her parents frowned on her wishes to take up Performing Arts.

“They asked for an alternative, and I realized I wanted to go back to writing,” she continued. “I felt that just like dancing, writing allowed me to express my feelings.”
Finally telling her father about her change of heart, she surprisingly elicited the discouraging words, “But you’re too shy!”

Determined not to quit again, Nicolle instead used her father’s opinion as a challenge to pursue Journalism anew.

“Hindi ko laging nagagawa yung gusto ko kasi pinapangunahan ako ng hiya at kaba [I’ve never done anything I really liked because shyness and nervousness always get in the way],” she realized.

Reality bites
Both Moe and Nicolle, however—as well as Jem and Lance—explained that Journalism was not their last option for a college course, as it may seem.

“I want to write—I find comfort in writing. I find self-expression in writing. Whenever I can’t express myself verbally, I write,” Jem volunteered.

Lance, on the other hand, declared, “Aside from art, this [writing] is my best outlet for expression as well, and the talent I really want to develop.”

Seconding his friend, Moe clarified, “I’ve also enjoyed writing since I was young—whenever I’m mad, whenever I’m happy, I write.”

On hindsight, they admit to giving in to insecurities and peer pressure—trademarks of youth—in finding the long way around to their passion.

And then, there is also the heavy weight of reality. For, just when these teenagers convinced themselves that Journalism is the perfect course for them, new stumbling blocks get in the way.

Jem, whose family relies on her maternal grandmother’s financial support and her mother’s meager salary as a medical assistant at a government hospital, was suddenly faced with outstanding bills, even she prided herself in finally getting into The Manila Times College.

“I remember my friends teasing me, ‘Uy, may utang ka [You’re still in debt]’,” she shyly related. “I felt strange being with them.”

Lance, who had to quit his first college course in Mapua because of financial difficulties, neither had his family’s support in going into Journalism.

“They know that a career in journalism doesn’t pay much and being the eldest child in the family, I owe it to them to help my younger siblings,” he opened up. “My parents asked me, ‘If you pursue journalism and if we spend money on your tuition, are you sure you’ll be able to help your two siblings after graduation?” Lance had no answer, but was still determined to pursue his dream.

As for Moe, whose Japanese father, Filipina mother and younger brother are now living in Japan, the choices that faced him when he finally decided to pursue Journalism proved very difficult.

“They wanted me to move with them to Japan or pay for my own schooling here,” he explained. “First of all, I don’t know how to speak Japanese and to be honest, my family’s not doing great there as well, so I was left with no choice but to fend for myself.”

Nicolle, with both her parents well into their 60s, also had to deal with financial limitations. Both her parents were jobless at the time she was about to enter college and though all of her siblings had graduated from college and were already working, they were unable to help her since they were already starting families of their own.

“I was given an ultimatum,” she shared, either I take up Computer Science in Asian Institute of Science where tuition is not as high, or not go to college at all.”

At such a young age, these teenagers had such a difficult start on a very significant crossroads in their lives. But, with determination—and the help of an organization that is just as determined to ensure the training of future journalists—Jem, Lance, Nicolle and Moe fought for their right to education, and their right to carve their own futures.

‘Times’ to the rescue
They will not deny that they were almost on the verge of giving up their dreams and succumbing to the wishes of their family. But just in the nick of time, a school with compassion, run by the country’s longest-running national broadsheet, The Manila Times, came to their rescue.

The Manila Times College is the very first mass media institution in the country to fully support a full-fledged three-year baccalaureate program. It was founded by Dr. Dante A. Ang about the same time he revived The Manila Times in 2001.

With TMTC’s belief that students who are financially challenged should also be given an opportunity to education, the school started accepting scholars every year.

Jem, a current third year student, was saved with the offer to work as an external and student affairs assistant to cover 100 percent of her tuition fee.

Lance, Nicolle and Moe all took their chances by taking TMTC’s entrance exam, which they passed with flying colors. They too were given 100-percent free tuition.

Today, these four millenials enjoy the perks and responsibilities of being TMTC scholars—juggling school and administrative duties (all of them work as student assistants) with a required 2.0 general weighed average, and 500 hours of work per semester.

Asked how else TMTC’s scholarship has helped them, Jem was first to reply, unable to hide her emotions.

“I was on the point of giving up everything but then the TMTC opportunity came. I grabbed it then and until now, I’m still holding on to it. It was my lifesaver. They gave me the chance to grow as a journalist and because they have entrusted responsibilities to me [as a student assistant], I developed confidence, and I became more responsible. I grew into a mature person,” she related.

Giving a different spin to the question, Lance answered with a what-if scenario: “If not for the scholarship, right now, I’d be pursuing a course that I don’t like in a school that I don’t like. The scholarship convinced my parents this is what I want to do and the opportunity to become a journalist. At least now they don’t have to worry about my tuition except for my everyday expenses.”

Nicolle echoed Lance’s sentiment. “If it weren’t for the scholarship, I would be in Bicutan, crying over math,” she jested. But turning serious, she added, “I might be taking a course I dislike, and my parents would still have problems supporting my college education.”

Carefully finding the words to say, Moe took a moment before giving the final answer.

“This is really a huge help. If not for the scholarship, I might be in Japan or a home bum, doing nothing. My mind might rot away. I was so happy to get accepted in TMTC because I was given the chance to stand up and rebuild my confidence.”

Moreover, with a real deal editorial office just below the school’s floor at The Manila Times building in Intramuros, these students feel both fortunate and ever excited to see journalists hard at work everyday. They get to talk to reporters, editors, and even the paper’s top executives, most of whom also handle classes for the school.

“We know the challenges of being journalists. We see how tiring it is, the long hours, the sacrifices. But we also see passion at work at The Manila Times, and just thinking that one day, we’ll see our own bylines, hopefully, in this newspaper, we’re embracing all the challenges with both arms,” Jem spoke for her peers.

And with these young minds, their passionate hearts, and unaffected expectations from these four The Manila Times College’s scholars, the future indeed looks bright for The Manila Times, if not for Philippine journalism.

The Philippine National Historical Society Inc. (PNHS) holds its 36th National Conference on National and Local History on October 22 to 24 at the Casa Real de Iloilo (Old Iloilo Provincial Capitol) Iloilo City. The conference is a flagship project of the National Commission for Culture and the Arts’ Committee on Historical Research.

PNHS is the oldest professional organization of professional historians and practitioners of history in the Philippines. Through their annual conference, it aims to present researches on mainstream national history and local or regional histories that enrich the understanding of the cultural diversity of Philippines society.

For 2015, PNHS commemorates the end of World War 2 (WW2) in the Pacific with Japan’s formal surrender on September 2, 1945. Several sessions are dedicated to discussions on national and local histories during wartime Philippines. Although highly historical in approach, the conference is not limited to discussion of history. Paper presentations also include studies related to social science disciplines and the humanities.

Some of the topics to be covered in the conference are Iloilo’s local history, historic documents, jawi text, baybayin, Doctrina Christiana and other writings, Christianization and migration and role of woman in different aspects of Philipine history among others.

Iloilo City will host this year’s PNHS conference, through the Office of the Governor headed by Gov. Arthur Defensor Sr. The city is said to be the second most damaged city in the Philippines during WW2, making it a relevant venue for the conference.

Pre-registration for the conference will start on October 21, 4 p.m. to 6 p.m. at the lobby of Casa Real de Iloilo. Interested participants shall pay a sharing fee of P3,500. Registration fee for enrolled undergraduate students (with valid school ID) is P1,500, inclusive of all the handouts given to regular participants.

For inquiries, call Dr. Bernardita Churchill, President and National Convener of PNHS at (02) 921-4575, 09194905371.

NCAA search for young historians
The National Commission for Culture and the Arts (NCCA), through the Executive Council of the National Committee on Historical Research (NCHR), launches the official call for nominations for the 2016 Young Historian’s Prize (YHP).

Since the inception of YHP, NCCA have recognized outstanding scholars who have contributed significantly to the field of history and historiography. Nominations are open for young historians and scholars aged 21 to 40. Chosen scholars are judged based on a single work in the field of history.

Now on its fifth year, NCCA continues to encourage the study of history through its 2016 Young Historian’s Prize. Interested scholars must submit unpublished manuscripts of historical academic works (i.e journal, articles, thesis and dissertations) clearly demonstrating the use of primary sources and written in the proper academic format. Entries must be completed in the last three years and must have single authorship.

Copies of the Nomination Form may be obtained at the Cultural Heritage Section or may be downloaded at the NCCA website. Nominations may be submitted through ordinary mail to the National Committee on Historical Research, Cultural Heritage Section, Room 5C, 5th Floor, National Commission for Culture and the Arts (NCCA), 633 General Luna St., Intramuros, Manila. Submissions are accepted until November 16, 2015.

For other inquiries, you may call Mr. Bernan Corpuz, Head of the NCCA Cultural Heritage Section at (02) 527-2192 local 505.

Czech Ambassador Jaroslav Olša Jr. and KWF Chairman Virgilio Almario (second and third from right) with the translators and editors of ‘Sa Praga’ PHOTOS BY ABBY PALMONES

The Czech Embassy in the Philippines finally launched the first output of its participation in a joint translation exchange program initiated by the Komisyon ng Wikang Filipino (KWF) in 2014.

At the 37th Manila International Book Fair at the SMX Convention Center in Pasay City, Czech Ambassador Jaroslav Olša Jr. and KWF Chairman Virgilio Almario unveiled Sa Praga: Mga Piling Tula by great Czech author Jaroslav Seifert.

The book launch took place shortly after Filipino literary pieces from the late 19th century to the early 21st century were translated and published at Czech’s literary monthly called Plav. The August 2015 issue entitled “Literatura ng Pilipinas” was successfully launched in Prague.

The said efforts of the Czech Embassy show Olša’s avid support for the arts even as he has only held his position for a year.

In an interview with The Manila Times, the envoy said, “I want to put focus on the arts because it makes a difference in a country. I also feel that supporting the arts will bring together the different cultures of our countries, which is why I wanted to take part in this literary project.”

National Artist for Literature Virgilio Almario acknowledged Ambassador Olša’s efforts as he said, “I am very happy that among the 10 embassies I wrote to last year regarding the commission’s translation program, Ambassador Olša was first to respond. What is nicer is that immediately after he responded he really involved us in frenetic activities to finish the project within this year.”

The Czech ambassador greets special guest, National Artist for Literature F. Sionil Jose

The Czech ambassador for his part recalled, “When I met with Chairman Almario, we found out we share a common goal. And when you share something in common, it’s easier to go on from there.”

A series of meetings resulted in a project that will translate three Filipino titles into Czech and three Czech titles into Filipino.

Asked why they began with Seifert’s poems first, Olša replied, “It was an idea of Chairman Almario’s because he had translated the author years ago. He asked if it will be possible to do so in Filipino and I told him it will be quite difficult because Seifert is the only Noble Prize winning Czech writer. Still, we agreed to do it and planned how to arrange for the rights of the books for translation.”

Almario added, “The ambassador considered it as his personal project. He did all the networking and talking to private individuals from the Czech Republic to get us started.”
The ambassador considers Seifert an “important writer in a global sense,” as Sa Praga carries the poem, “Left Wing, erotic, Avant-Garde, and human rights.”

The collection was translated by group of young poets LIRA (Linangan sa Imahen, Retorika, at Anyo) led by Roberto Anonuevo and Gian Lauro Abrahan 5th.

Asked about the next titles and authors whose works will be translated into Czech, Olša said he personally prefers an anthology of Filipino short stories.

“I think it’s quite difficult [to choose just one Filipino author] for translation. Because when the literature is not quite well known [to another country], it needs to have a wider selection. That is why the anthology must also be balanced. We must decide well which names or topics should be there,” Olsa explained.

In return, Almario hopes to translate an entire Filipino novel to Czech. He shared, “I have two novels in mind. One by the latest National Artist, Francisco Lazaro called Ilaw sa Hilaga; the other is Edgardo M. Reyes’ Sa Kuko ng Liwanag.”

The performance of the predominantly Korean cast was highlighted by the tall and beautiful soprano Yeh-Jin Han as Tosca. Her full, resonant voice soared to the heavens as she dramatically and vocally portrayed her role to the hilt, indeed with utter conviction. How meaningful was her every gesture!

Baritone Daesan No was a grim, menacing Scarpia, chief of police who is fatally attracted to Tosca but who later succumbs to her knife thrusts. Tenor Ji-Ho Kim was the painter Mario Cavaradossi, frustrated lover of Tosca. Both male singers manifested a high degree of vocal competence as well as acting ability, the former evoking abject sadness, the latter, grim realism.

Greatly enhancing the arias were Tosca’s Vissi d’arte (Love and Music) and Cavaradossi’s E lucevan le Estelle (The Stars Were Shining) rendered in his prison cell to remind Tosca of their happy days together.

Baritone Byeong-In Park as the political plotter Angelotti, tenor Lemuel de la Cruz as Spoletta, a police agent, baritone Noel Azcona as the Sacristan, and basso Greg de Leon as Sciarrone, a gendarme, lent distinction to their respective roles.

Although the opera is a tale of horror, murder, death (Mario’s) and suicide (Tosca’s), there were static moments, with little or no action or movement onstage. Was this inherent in the opera? Large, ravishing portrait paintings stressing Cavaradossi’s vocation, served as
stage settings.

Korean Jae-Joon Lee, excellent as music director, infused the arias, duos and ensemble songs with arresting dynamics and diverse nuances. Ronan Ferrer and Ma. Teresa Roldan conducted the Coro Tomasino and the Children’s Chopir, respectively, with both vocal groups enriching the presentation.

Stage direction was by Floy Quintos.

Enchanting ‘Harana’
The “Haranas” presented by avid music lover-patron and fervent nationalist Danny Dolor hark back to the Tribung Pinoy which, organized by him years ago, exclusively rendered traditional Filipino music. The most recent Harana held at the CCP main lobby manifested the phenomenal memory and versatility of celebrated international pianist Raul Sunico who played his solo pieces and accompanied the singers without a score, and who arranged some of the numbers interpreted.

Wearing a fetching, elaborately embroidered gown, Rachelle Gerodias, a leading soprano, fascinated listeners with her superb control of dynamics—a single pianissimo note would turn fortissimo and end pianissimo all in one breath—and with her dramatic talent that expressed widely diverse emotions.

Sunico played relatively and comparatively easy selections in supremely effortless, fluent manner. The works had no discords, atonalities, dissonances, abrupt or arresting changes of rhythms. Characteristically, they were exquisitely lyrical and melodious, their technical devices bearing similarities. Usahay/Matud Nila by Gonzalez and Zubiri, the most daunting, demonstrated Sunico’s masterful skill.

Gerodias and Korean baritone Byeong-In Park charmed and endeared as they intoned love songs, Park surprising listeners with his fluency in Pilipino. He was an ardent, persistent suitor as he approached Rachelle with a rose. She, in turn, was alternately coy, reluctant, unbelieving, even defiant but finally responsive and affectionate.

As their voices rose forcefully and sonorously, the singers’ romantic interaction onstage gained deeper meaning with the realization that they are husband and wife, off.

Indigenous Festival
Sen. Loren Legarda, Commissioner Al-anwar Anzur, Dr. Edwin Antonio and Mr. Alphonsus Tesoro discussed the Indigenous Peoples Festival “Dayaw” which the National Commission of Culture and Arts, headed by Felipe de Leon, Jr. later celebrated in Pampanga.

Young Writers Awards
Under the auspices of PEN, the F. Sionil Jose Young Writers awards ceremony was recently held at the De La Salle University Library.

(With the goal of getting more of our The Manila Times College students writing about local culture, here’s a review of Kanakan-Balintagos’s Mga Buhay Na Apoy, edited and trimmed down for publication. I take as much responsibility as an editor [and teacher] should for agreeing to publish any review, but all credit goes to the writer of this piece, Gian Baltazar Franco)

Mga Buhay na Apoy is a timely discussion of our country’s misfortunes in this time of decay of family relations, national pride, morality, ethics, and conscience. Director and playwright Kanakan-Balintagos (formerly Aureos Solito) calls it activist theater. The play was a work he had lost and found in 2014. It would win first prize in the Carlos Palanca Awards in 2015. It speaks of his love and pride for his lineage of Shaman-Kings from the indigenous Palawan of South Palawan.

Pacing a four-act play
The prodigal play stringed together four acts, one that tiptoed the golden mean of rushing and dragging, into a coherent memory of one Leda Santos (Irma Adlawan). The pacing of the dialogue though was faster than one would like, leaving the audience wondering how much of the drama was lost in the banter. You might also be left behind if you’re concerned about the causal chain of conflicts among the characters, all of which had opposing beliefs, values, and attitudes. Depending on whether or not you catch up, you might also conclude that this was a theater technique that sought to pique your curiosity.

The satisfying reward, however, is the prompt realization that it made perfect sense to call all the characters Mga Buhay na Apoy. Fire licks combustible material and spreads quickly after all. Or, as others have said, this could simply refer to the Palawan legend of how humans come from fire.

The storytelling also went smoothly in parts where an audience unfamiliar with the rituals would be treated to dynamic descriptions of primordial divinities, a gong ensemble, and Ate Lili’s Palawán incantations. It helped that lighting director Dennis Marasigan used selective visibility to emphasize emotions that happen alongside indigenous rituals.

Feminism and religion
The second act reveals Leda’s troubled past and Aran’s secret in the greenhouse, as stage designer Paulo Alcazaren’s set turns 90 degrees. The towering tree itself, a replica of the one in Balintagos’ backyard in Santolan, blooms with self-explanatory symbols from beginning to end. That tree deserves its own curtain call, one might joke.

But no one can upstage Irma Adlawan—not even that tree. Only Irma can be the face of Leda. You will believe that Adlawan is walking across the living room of her house, hands meeting frequently across her stomach, with that parched personality acquired from passionate Christian piety and adherence to social conventions.

Balintagos provides a rigid dichotomy between Leda and Lili as symbols of Christianity and Paganism. Leda found newfound faith in a European religion that promises eternal paradise as consolation for the oppressed, while Lili fears the erosion of Palawan traditions and rituals. Rather than weakness and neglect, we see strength in Leda who struggles to shake off bitter memories while turning a blind eye to everything associated with Palawan. She hides the truth to prevent its repercussions on her family relations, as well as to keep her sanity, while seeking solace from the God who understands her.

But her motherhood is her undoing. Leda’s son Aran (Russel Legaspi) is the curious Palawan child that she tries to suppress. Aran reminds of the simpler days of childhood, when folk stories were told among family, and imagination was boundless.

The language divide
A recurring flashpoint between family members is linguistic imperialism. Aran disapproved of his aunt Selmah (Malou Crisologo) enforcing the use of the King’s language with her daughter Topaz. The conflict between the two highlights the wall that separates the English-speaking intelligentsia from the Filipino masses, which also represents a divide in cultural taste that nurtures misunderstandings and conflicts of interest.

Modernism of course is critical to this discussion of language, where Leda herself vacillated between religion and science to dismiss the ideological underpinnings of her Palawan past. For example, she rebutted the effectiveness of gayuma in Manila for lack of scientific evidence, while at the same time claiming it to be the work of the devil. Topaz and her stepfather Ringgo (JV Ibasate) meanwhile represented modernism given their knowledge of the English names of animals endemic to Palawan.

The Lumad killings as context
Mga Buhay na Apoy points out that we forget to appreciate and take pride in our indigenous culture and that we mistake everything that is indigenous as resistance against the current of development.

International indigenous activist of Igorot descent Victoria Tauli-Corpuz has spoken of how the tendency is to see indigenous movements as dangerous because their notion of communal living is seen as contrary to dominant beliefs in private property, capitalism and development. This brings us to the recent spate of Lumad killings and displacements from Surigao del Sur to Davao del Norte, a product of militarization across indigenous people’s (IP) communities that own land being eyed by mining companies.

It is in light of this state of our IP communities that Mga Buhay na Apoy could have done more. Balintagos could have ended with Leda bringing the family to Palawan, instead of just telling stories about it inside Aran’s greenhouse. That is, if the goal is to get the current generation to take interest in indigenous culture, which demands that they participate in it, that they practice it in order to keep it alive.

I caught a whiff of this powerful potential in the ending of Mga Buhay na Apoy. In the end though what it does is let your imagination work on its own, which can rejuvenate—if not change—you. Whether or not this materializes into anything productive remains to be seen, especially since this play does not find the need to answer the question: what can we do now?

ONE of the most influential people in my life is my mother. Feisty and determined, my mother has proved that women can be strong and independent through her own life experiences. She has shown this in the way she has raised my siblings and I, however, she has done so with the help of another influential person in my life: my dad.

However, as I have grown wiser, I have come to understand that not everyone has the same story to share. In fact, some women are left to care and provide for their children on their own. Single moms have always been a source of inspiration for me simply because they’ve always been an epitome of strength and confidence.

One of these women is Nina Castro, who I met earlier this year through our common friend, Jodi Sta. Maria.

Nins, as I fondly called her, always seemed to exude such a confident and vibrant outlook in life which is why it was surprising for me to find out that she is a single mom of two and has gone through the darkest of times with no one but herself to pick her up.

Now, she is a thriving career woman who runs her own business while also taking care of her two beautiful girls: Cassie and Sasha. She can’t help but recall the dark times in her life as a way of inspiring other single mothers that they too can stand on their own two feet.

She says rather candidly, “There was a dark period in my life when I was having marital problems and I was going through quick fixes to make me escape reality. At the beginning,
I was too fearful to face my problems, I was not functioning well, I couldn’t even take care of my kids because the situation was too painful and traumatizing. I just kept on praying until one day I just woke up, packed my bags, found a job as a real estate broker, and started again.”

Nins emphasizes on the importance of having a solid support system, in helping her pick up the pieces. She explains, “At that time, I thought it was the end of my life. I was too scared, too weak and too negative. But God sent the right people to help you find your way
again, trust yourself, and pick up the broken pieces of your past.”

What seemed like a dead end was only a “shift.” From her days as a real estate broker, the determination in Nins led her to go back to her first love: clothing. With a degree in Export Management from De La Salle University-College of St. Benilde, Nins has an extensive
background in clothing because of her family’s business.

She continues, “My parents have been in the garments business for as long as I can remember. My dad has a manufacturing factory and after college, I immediately opened shops in Greenhills.”

And although she stopped for awhile once she got married, she immediately went back to her first love and now has her own shop called Nina’s Closet located in Circle C Mall in Quezon City which specializes in casual and office wear for women of all shapes and sizes, including plus-sized women. She continues to help with her family business and recently opened the online version of Nina’s Closet on Instagram and Facebook to cater to a wider audience.

Despite her full schedule, her top priority is still her kids. She relates, “I make sure to be present in every milestone of their childhood. At times on weekends, I bring my kids to my shop so I can spend more time with them. And while being separated is hard because I still feel guilty, I hope that my love will be enough to fill whatever is lacking. I am not perfect but I try my best. God is the man in our home and that alone is enough to make us complete.”

And as for her advice to other single moms, she says, “With every big decision I make in my life, I make sure to always talk to my kids about it. They may be young but they understand, don’t underestimate your kids’ capacity to understand because they can, no matter how young they are.”

It’s people like Nina who reminds me that while life may not end up the way we want it to, it doesn’t mean it cannot be better than what we have imagined.
Check out Nina’s Closet on Facebook and Instagram.

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www.carlabiancaravanes.com

REDWOOD SHORES, California: ABS-CBN The Filipino Channel (TFC) senior reporter Henni Espinosa and Bay Area correspondent Rommel Conclara of TFC’s Balitang America won top honors at the 2015 Plaridel Awards of the Philippine American Press Club (PAPC) held on October 9 at the Fort McKinley Restaurant in South San Francisco.

‘balitang america’ senior reporter Henni espinosa and bay area correspondent rommel conclara with their respective trophies

ABS-CBN TFC received the 2015 Torch Bearer award for its 20 years of continuous broadcasting and community building in America. The other recipient of this year’s Torch Bearer Award is Foreign Affairs Secretary Albert del Rosario, for steadfastly leading the Philippines in its fight against China aggression over the West Philippine Sea.

The Torch Bearer Award is given to journalists and community leaders “For bearing the torch of the Filipino ideal and keeping it aflame through the winds of change and the passage of time in their work as journalists and community leaders, and for selflessly dedicating unmeasured time and boundless energy towards their mission.”

Espinosa topped the TV Personality Profile category for her work entitled, Pinoy Mortician, besting Balitang America colleagues, East Coast correspondent Don Tagala of New York (“Meet the FilAm Navy Capt Commanding a Major Warship Upgrade Project),” and ABS-CBN North America News Bureau Chief Paul Henson and Associate Producer Troy Espera who both executive produced Legacy: The Pacquiao-Mayweather Ultimate Showdown.

abS-cbn na news bureau chief Paul Henson and east coast correspondent don Tagala of ny with Filipino-american businesswoman and philanthropist loida nicolas lewis

Conclara won for his work, “Grandson and Grandma Create Memories through Art” in the TV Community Reporting category, also over Balitang America, ABS-CBN North America News Bureau Chief Paul Henson and Associate Producer Troy Espera (executive producers, “Balitang America Yearend Special”) and other nominees: Rick Delos Reyes of Power ng Pinoy (Power ng Pinoy Returns to Hollywood); Giselle Toengi of KSCI-LA18’s Kababayan Today (“Road to Merrie Finale”); and Rachell Ocampo, et. al. of Makilala TV (“Episode 16: Trans Awareness – Dealing with Ignorance and Bigotry”).

‘Balitang America’ associate producer Troy espera is also a finalist

Though the Plaridel Awards, PAPC aims “to acknowledge and celebrate the contribution of outstanding writers and publishers in the Filipino American community, as they chronicle the lives and times of our kababayan, promote our ethnicity, champion our causes and provide a venue for our people to voice out their concerns, and ideas for the betterment of our society and the community at large.”

Award categories covered articles on print and online, broadcast segments on television and radio, and photojournalism.

This year’s Plaridel Awards was presided by PAPC President Esther “Boots” Misa Chavez, Inquirer.net’s Vice President for Marketing and Sales and Regional Director for North America. Consul General Henry Bensurto Jr. of the Philippine Consulate General in San Francisco also graced the event and gave his remarks.

Senator Vicente ‘Tito’ Sotto 3rd

AN accomplished public servant, a conscientious lawmaker, a champion sportsman and a multi-awarded artist, Sen. Vicente ‘Tito’ Sotto 3rd has long led his life with a quest for excellence.

“Since childhood, it has always been my practice to do the best in everything I choose to pursue,” said the re-electionist and frontrunner in 2016’s senatorial race.

“I don’t divide my attention among politics, showbiz, sports or even my family,” he continued. “I weave them all together because I find that only then can I do my best in all
of them.”

True enough, the 67-year-old man of many distinguished hats transitioned quickly from comedian to political subject in this exclusive interview with The Sunday Times Magazine.

The senator is part of the Committee on Youth, Women and Family Relations with Sen. Juan Ponce Enrile and committee chairman, Sen. Pia Cayetano

He had just finished another live episode of the country’s longest running television program—the iconic noontime show Eat Bulaga, led by his legendary troika “Tito, Vic and Joey”—without even pausing to rest. Yet, he was a hundred percent in taking every question in the next hour that followed, with a genuine interest and effort in providing insightful answers for a public still eager to know more about him.

At the height of his career as an accomplished actor, singer, and musician, Sotto realized he had a calling for public service. But while he faced what others might mistake for a crossroads in one’s life and career, Sotto, like he said, “weaved” both his celebrity stature and impulse to solve the worsening drug problem in Quezon City together.

Besides being a comedian and a politician, Sotto is also an athlete who dreams of being the first national senior golf champion

Knowing his reach and influence as a movie and TV personality, he ran on a platform of championing the war against illegal drugs, and won by a landslide as city vice mayor in 1988.

Immediately, he founded and organized the highly effective Quezon City Anti-Drug Council, which was replicated in many local government units.

“When I became vice mayor of Quezon City and was given the opportunity to head the Anti-Drug Council, I eventually saw the bigger picture of the drug problem in the country,” he recalled. “I knew I could do better in the fight so after my first term, I decided to run for the Senate with the revision of the Dangerous Act of 1992 as my goal,” he explained.

Sotto untiringly pursued the war against illegal drugs until the Comprehensive Dangerous Act of 2002 was ratified. He was honored twice by the US-based International Narcotics Enforcement Officers Association for this achievement, but instead found fulfillment in knowing how the law would save lives of countless Filipinos.

Sotto with co-hosts Vic Sotto and Allan K at ‘Eat Bulaga,’ the longest running television show in the Philippines PHOTO BY RUSSEL PALMA

In Sotto’s last 24 years as a public servant, he has spent three six-year terms (1992 to 1998, 1998 to 2004, and 2010 to present) as senator, and two years serving as chairman of the
Dangerous Drugs Board under the Office of the President.

On October 14, he filed his certificate of candidacy (COC) for another term in the Senate beginning 2016 so that he may continue to strive in finding ways to enhance and improve his pro-life, pro-peace and pro-Filipino family advocacies, which in many ways are interrelated with his anti-drug campaign.

“It’s because of these goals that I distinctively declined to run for higher office despite offers from other politicians. I’m focused on doing my best for these causes,” Sotto declared

With every accomplishment in Tito Sotto’s public life already written about—be it his evolution as an artist to his growth as a veteran lawmaker —today’s interview interestingly discovers the smaller details on how he traverses his quest for excellence in his craft, calling and even his personal life. In doing so, the best of Tito Sotto is uncovered, as a public servant, a celebrity, a friend, a husband, father and grandfather.

Sunday Times Magazine (STM): As Deputy Minority Leader, what are your current functions in the Senate?

Sotto: When Senator Juan Ponce Enrile was incarcerated, we automatically became the minority and I acted as the minority leader. Now that he’s back, I act as the assistant minority leader. We support the minority and serve as fiscalizers in the Senate.

Senator Sotto with wife Helen and son Gian together with his family

STM: Among the 103 laws you authored and supported in your three Senate terms, which do you believe are most significant?

Sotto: Besides the Comprehensive Dangerous Act of 2002 that I principally authored, I am partial to all the laws that concern the Filipino family—those that are pro-life [and] pro-peace, as well as those that will benefit the youth and the underprivileged. I am particularly proud of the law that established the Family Courts (Republic Act 8369) because it fortifies my advocacy in uplifting the situation of every Filipino.

Another law that I am proud of is the law that converted many municipalities into cities like Makati, Marikina, Pasig, Parañaque, and Muntinlupa, among others. I authored this law with the late Sen. Joker Arroyo. These almost 25 municipalities will not be as progressive as they are today had they not been converted into cities. This was one of my priority bills because of my experience as a vice mayor. I knew that one of the major problems of local government units is funding and this law helped these cities uplift their income. I was also the president of the Vice Mayor League of the Philippines at that time so I saw and learned about the problems of LGUs firsthand.

STM: Why did you support the RH Bill when you have always had a pro-life stance.

Sotto: There are laws that I don’t like but I support because I know that all the provisions were scrutinized and studied before they were passed. I was very much aware that before RH Bill was passed, it went through a very rigid and strict study.

STM: With the coming elections, you had also declared, besides running for reelection, that you would support Sen. Grace Poe in her bid for the presidency.

Sotto: Yes, I believe Grace is sincere. She’s a fast learner and has a good heart. To top it all, the people love her. I think that is the most important thing that a leader should possess—people must love him or her. I’m also keen on supporting her because of our relationship with her family—the late Fernando Poe Jr., his wife Susan, and myself my wife Helen [Gamboa] are family friends. Secretary Mar (Roxas) and Vice President (Jejomar) Binay understand my situation.

STM: How do you manage your time as a Senator with your hosting duties in ‘Eat Bulaga?’

Sotto: I attend the Senate sessions Mondays to Wednesdays and spend two days with Eat Bulaga every week. But now that the Senate is on break, I can host Eat Bulaga every day.
You see, I enjoy being in the show and being with our Dabarkads [the show’s nickname for its audience]. It’s a kind of therapy for me.

The legendary troika of Tito, Vic and Joey

STM: Do you think being an Eat Bulaga host helps you in your job as a senator?

Sotto: Oh yes, I think being a host of Eat Bulaga is an advantage for me because my personal encounter with everyday folk in the audience help me zero in on the real needs of the Filipino people. Most of our audiences in Eat Bulaga are marginalized Filipinos.

And besides, the therapeutic factor and the income I get from the show is lot more lucrative than my pay as senator. (Laughs). Because of the length of time that Eat Bulaga has been on air, 37 years to be exact, my salary from this show is a big factor and serves as my insulation from graft and corruption.

STM: What is the secret of your strong friendship with Vic Sotto and Joey de Leon who make up “Tito, Vic and Joey”?

Sotto: Our friendship is very special. We have long decided to be one for all, all for one.
Yes, we are the original “Juan For All, All for Juan” [a segment in the Eat Bulaga] especially in decision-making when it comes to our endeavors as a group. When someone doesn’t agree with something, we don’t do it. That, I think, is our secret in staying together and going strong.

STM: What can you say about the AlDub phenomenon?

Sotto: It was an unexpected blessing for Eat Bulaga and we believe that it became a phenomenon because AlDub transformed the show into becoming a vehicle for popularizing good Filipino family values. We owe it to our Dabarkads for making AlDub what it is today.

We never planned it to be this way but everything fell into place, and we are very grateful for that. At first we had Lola Nidora (Wally Bayola) who gives health tips and medicines to different barangays, and then we thought of adding Yaya Dub (Maine Mendoza) as Lola Nidora’s assistant. It turned out she was a dubsmash phenomenon on YouTube, so as everyone knows, she wasn’t meant to talk or smile but she saw Alden Richards who also hosts the show, we noticed her face light up and just as quickly, she became self-conscious. The rest is history.

At our core, I do believe Eat Bulaga is now a public affairs program masquerading as an entertainment show. The heart of the program is in public service, which is why the show goes out to barangays to help as many Filipinos as we can. After 37 years, it’s all about giving back time now for Eat Bulaga, be it through giving people happiness, “kilig” like AlDub, or helping them better their lives.

STM: What many Filipinos, especially the young ones do not know, is that you are also a multi-awarded sportsman. Can you tell The Sunday Times more about this facet of your life.

Sotto: As I said before, I always give my best in everything that I do. I took up bowling and won gold in several international bowling competitions as part of the Philippine Bowling Team. [In 1978, Sotto represented the Philippines at the AMF Bowling World Cup in Bogota, Colombia, and again in1984, in Sydney, Australia].

There’s also one thing that I discovered lately in my career as an athlete. I was the first athlete who won three perfect games in bowling and three perfect hole in one in golf tournaments.

If I can still dream about being a sportsman, I would very much like to be the first national senior champion in golf.

STM: Do you have idols and mentors?

Sotto: I have many idols and mentors especially in my political career, and they are also the very same ones who tormented me during debates in the Senate. They were the ones who taught me and guided me to to be a better public servant and senator.

STM: After revealing your secret in friendship, what has kept your marriage and family life successful as well?

Sotto: I’ve been married for 46 years now and I give credit to Helen for keeping our family close and happy. I also look up to my parents Marcelino Ojeda Sotto and Dr. Herminia Castelo Sotto who taught me and my siblings, Vic, Val and Maru the value of family. And by the way, my mother was the first medical commissioner of the Workmen’s Compensation Commission.

Regularly, the whole family still gets together so that our children and grandchildren are close to each other—a typical Filipino trait we witnessed and experienced from our parents.

I have four children Romina, Diorella, Gian and Ciara, and seven grandsons and one granddaughter. Another one is coming and we’re praying we’ll be blessed with another girl in the family.

CARLA BIANCA V. RAVANES

“When women empower each other, incredible things happen.”

As a woman, I firmly believe that it is incredibly important to surround one’s self with women who encourage, empower, and promote each other.

When we were younger, bickering and competing with each other seemed to be the way women treat each other. However, as you grow older, you realize that nothing brings greater joy than having a solid group of girlfriends who would tell you what selfie you should post, when to cut communication with that flaky guy, and women who would cheer you on when you’re both losing and winning in life.

Because of this belief, I always strive to be this kind of friend to the girlfriends that God has blessed me with. In the same breath, I make sure to consciously surround myself with women of substance and positivity.

One of my favorite girlfriends in the world is Angela Medalla-Yeo. The wife of famed Green Archer and now professional basketball player, Joseph Yeo, Angela and I met when Joseph and my dad were in the same basketball team together. We then developed a friendship out of our common love for optimism and everything else in between.

In my head, I would often describe Angela as a superwoman who does it all. A graduate of De La Salle University, the commercial model used to be a pre-school teacher before becoming a hands-on mom to her two adorable daughters, Mariana and Helena.

Aside from taking care of her girls 24/7, Angela is also an entrepreneur who has Fizzle Fries branches of her own.

But Angela’s biggest passion lies in the field of make-up. After giving birth to her first child, Angela, pursued her interest in make up by studying in the famed Center for Aesthetic Studies. This led to bigger stints with Mega Fashion Crew and opportunities to share her work through magazine editorials and print ads.

However, what excites Angela the most is the opportunity to empower women through make up. She shares, “Make up empowers women in a way that makes her feel good about herself. It makes her feel confident and gives her the power to interact with people daily.”

This is the reason why she set up Beautylista on both Instagram and YouTube and launched her very own blog that will soon host her make up tutorials and other how-tos that will guide other super mommies like her.

Angela stumbled upon the idea when followers of her personal account started asking how she did her make up and what products to use. She then decided to use the power of the Internet for good and decided to pay it forward. She said, “I learned so many things from watching YouTube videos so I felt this was a good way to share what I know.”

A one-woman team, Angela meticulously takes care of the production of her videos and she finds it a lot of fun, especially since she is able to do it while her girls are in school. For her, the greatest satisfaction is found in knowing that other women, through her tips, will be able to find ways to empower themselves, even through something as simple as perfecting their eyebrows before leaving the house.

When asked what the secret was to her superwoman lifestyle, she was quick to say, “ Learn how to take care of yourself so you can take better care of others and don’t worry if you’re not perfect because there’s always another day to make things better.”

Follow Angela on Youtube and Instagram @beautylista and visit her blog www.beautylista.com.

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www.carlabiancaravanes.com

THE 2015 Festival-Conference of The Asian Composers’ League (ACL) will present concerts, lectures, conference, and workshops linking new music and nature under the theme of “Likha-Likas: Reconfiguring Music, Nature, and Myth” from November 6 to 11.

The Asian Composers’ League (ACL) is an international organization of composers, music practitioners, and music enthusiasts. Member nations include the Philippines, Hong Kong, Singapore, Korea, Japan, Taiwan, Indonesia, Thailand, Indonesia, Malaysia, Pacific islands like New Zealand, Australia and Western Asian nations like Turkey and Israel.

Various independent composers not affiliated with a national chapter also hold ACL memberships. 18 years have passed since the Philippines hosted the International Festival and Conference of ACL.

The 33rd Festival coincides with the integration of ASEAN, music from Cambodia, Laos, Thailand and Vietnam will enjoy greater visibility than in previous festivals.

This international event is made possible through the support of the National Commission for Culture and the Arts (NCCA), the Cultural Center of the Philippines, the Asian Cultural Council (ACC), the Japan Foundation Asia Center, The University of the Philippines Center for Ethnomusicology, UP Office of International Linkages, UP Office for Initiatives in Culture and the Arts, University of Santo Tomas and its Rector Office, the College of St. Benilde and its Department of Sound Design and Arts, and Centro Escolar University (CEU).

The schedule is as follows  Saturday, November 7

• 9 a.m.: Workshop-Demo by renowned composer Chinary Ung; Black Box Theater, School of Design & Arts, College of St. Benilde

• 1 p.m.: Concerts of Art Songs, Ethno-Pop & Electronic Music; Black Box Theater, School of Design & Arts, College of St. Benilde

• 3:30 p.m.: Workshop by Taiwanese electronic music composer Yu Chung Tseng; Black Box Theater, School of Design & Arts, College of St. Benilde

• 7:30 p.m.: Young Composers Prize (Competition); Tanghalang Aurelio Tolentino, Cultural Center of the Philippines

*Workshops on the music of Thailand and Cambodia will be held at Centro Escolar University led by Koji Nakano, Maria Christine Muyco and Sophy Keo. Featured Cambodian group: “The Tray So.”

Sunday, November 8
• 1 p.m.: Young Composers Forum; CCP Main Theater Lobby

• 2:30 p.m.: Composition Workshop led by Dr. Jonas Baes; CCP Main Theater Lobby

• 4:30 p.m.: Traditional Music Concert featuring music from Laos, Vietnam, Cambodia & Thailand; Main Theater Lobby, Cultural Center of the Philippines

• 8 p.m.: Concert of Orchestral Works by Asian Composers, Josefino Chino Toledo, conductor. CCP Tanghalang Nicanor Abelardo

*The Opening Ceremonies is invitational. Other events will also be held at the Abelardo Hall Auditorium, UP College of Music.

This international event is made possible through the support of the National Commission for Culture and the Arts (NCCA), the Cultural Center of the Philippines, the Asian Cultural Council (ACC), the Japan Foundation Asia Center, The University of the Philippines Center for Ethnomusicology, UP Office of International Linkages, UP Office for Initiatives in Culture and the Arts, University of Santo Tomas and its Rector Office, the College of St. Benilde and its Department of Sound Design and Arts, and Centro Escolar University (CEU).

For more information, e-mail asiancomposersleague.ph@gmail.com.

The conference highlights the national competition dubbed as ‘Sayaw Pinoy’

Sayaw Pinoy National Dance Competition 2015, the flagship program of the National Committee on Dance (NCD) of the National Commission for Culture and the Arts (NCCA), is set to gather dancers and dance enthusiasts in a three-day conference and competition from December 4 to 6 in Angeles City, Pampanga.

The dance committee envisions this project to gather all dance sectors in a forum that will update teachers, practitioners, artists, and enthusiasts about the role of dance in bridging Philippine culture and the promotion of artistic excellence. The conference highlights the national competition dubbed as Sayaw Pinoy, which will be participated in by dance artists and choreographers of folk, fontemporary, and hip-hop dances.

For the past 11 years, the National Committee on Dance of the NCCA has been organizing Sayaw Pinoy: as part of its efforts to promote dance in its various forms. It has been providing opportunities for artists to maximize their potentials; and aims to raise the artists’ consciousness on the value of artistic excellence.

It has served as a venue for convergence of dancers of various dance form since its conception in 2009. This year, under the leadership of Josefina Guillen, the National Committee on Dance has merged the National Dance Competition and Dance Congress into the Sayaw Pinoy. The conference and competition will bring stakeholders together in a showcase of dance talents, discussions, and workshops.

Through Sayaw Pinoy, Filipino dancers unveil their potential they nurture values of dependability, responsibility, commitment, sportsmanship, discipline, teamwork and creativity employed in the art of dancing.

The 2015 National Dance Conference and Competition is an offshoot of the annual Sayaw Pinoy dance competition and congress celebrated every April during the International Dance Day.

Last year, Sayaw Pinoy was held in Saint Louis University, Baguio City with FOS 417 claiming the 2014 Sayaw Pinoy Championship.

Interested groups may download competition guidelines and entry form from the NCCA website (ncca.gov.ph). Deadline for the submission of entries is on November 14.

For inquiries, contact the NCCA Arts Section at 527-2192, 527-2198 or ncca.dancecommittee2014@gmail.com.

Upcoming archives congress set in Vigan

The National Commission for Culture and the Arts (NCCA) together with the National Archives of the Philippines (NAP), University of the Philippines School for Library and Information Service (UP-SLIS) and the City Government of Vigan will host the 3rd National Archives Congress.

Themed “Archives @ Risk: Mitigation and Empowerment,” the congress is happening from November 11 to 13 at Ilocos Sur. It will serve as a platform for valuable exchange of information and expertise in records management and archives administration.

Archivists, record officers, LGU secretaries and general service officers gather to develop standards, as well as share their best practices in records and archives management.

Victorino Mapa Manalo, NAP head, will speak on Empowering Archivists through the National Archives of the Philippines. He will also present guidelines on disaster management in order to address issues of archives management on the face of climate change.

Inorder to achieve a professionalized and recognized archives management program, stakeholders will be engaged to provide inputs for the development of an archives management module during the Congress. UP-SLIS will undertake the development of the said module.

Also joining the congress are Sen. Pia Cayetano, Chairman of the Senate Committee on Education, Arts and Culture, and Vigan City Mayor Eva Marie Medina.

For more information, contact April Pabon of the NCCA Cultural Heritage Section at 527-2192 local 308.

NCAA opens nationwide search for young historians
The National Commission for Culture and the Arts (NCCA), through the Executive Council of the National Committee on Historical Research (NCHR), launches the official call for nominations for the 2016 Young Historian’s Prize (YHP).

Since the inception of YHP, NCCA have recognized outstanding scholars who have contributed significantly to the field of history and historiography. Nominations are open for young historians and scholars aged 21 to 40. Chosen scholars are judged based on a single work in the field of history.

Now on its fifth year, NCCA continues to encourage the study of history through its 2016 Young Historian’s Prize. Interested scholars must submit unpublished manuscripts of historical academic works (i.e journal, articles, thesis and dissertations) clearly demonstrating the use of primary sources and written in the proper academic format. Entries must be completed in the last three years and must have single authorship.

Copies of the Nomination Form may be obtained at the Cultural Heritage Section or may be downloaded at the NCCA website. Nominations may be submitted through ordinary mail to the National Committee on Historical Research, Cultural Heritage Section, Room 5C, 5th Floor, National Commission for Culture and the Arts, 633 General Luna St., Intramuros, Manila. Submissions are accepted until November 16.

For inquiries, call Bernan Corpuz, head of the NCCA Cultural Heritage Section at 527-2192 local 505.

“What does it mean to be poor, abuelo?”—A good question.

1. Balut Dump, Tondo
Dawn is pale on these waifs’ faces,
Sun rays striking their thin backs.
The colour of refuse here is bright:
Worms sepia, cans gooey, faeces black.
A country will rise from excreta.

2. At Retiro St., Thinking about Joining the Movement
Rain coming through this window is warm
Slithering from hot tin gutters;
Bullet-hot roofs sizzle in the rain,
Bloated foetuses float in city waters.
“The baby’s wet! Plug the roof hole, Lakay!”*
(*Ilocano for Husband.)

3. At Vinzons Hall with Tera Atbp.
Windows close storms out of houses here.
Lust within dribbling gumlike on sheets
Hallowed by suffrage and vote.
Harsh rain breaks molave branches,
Window panes, other things. A storm looms.

4. From His Letter to Vi: Mene, Phares
“…the child’s body is covered with flies,
sores oozing with pus. The next man shoos him
from the queue: Lintik ka, aaah! Hahawaan mo**
pa yata ako, aaah! Mabaho ka pa sa bigas. “iz d’yan!.”
The flies are jolted off their feast.
(**Damn you! You will infect me, too, huh?
You stink like this rice! Get the hell out of here!)

5. At Senator Tanada’s Office Toilet
Ears stop listening involuntarily
When one begins relieving
The devil-may-care-wot in toilets
Built for senators who smile and smile…
In Tondo’s outhouses, I’d be praying.

6. Rebel Shot – News the Morning After
“Your plate will be there, Lakay,
where it will always be,
your side of the dulang,*
your slippers beneath the bed
where, waiting, our child asleep, I shall be.”

(*Low table used by squatting on the mud floor)

Rosalinda L. Orosa

AT least two major dailies conspicuously published the Forbes’ list of Asia’s richest tycoons—the Sy, Zobel and Aboitiz families. A million pesos from each family would be a mere drop in the bucket, yet it would go a long way toward refurbishing the Cultural Center of the Philippines.

To begin with, its carpets are so old, so dilapidated and wrinkled, they are a risk to the safety of the theater-goers who could trip over the antique furnishings.

Music and art lovers will eternally be grateful for the tycoons’ noblesse oblige and to the other wealthy, civic-minded, potential donors who will help finance the country’s premier exhibition hall and performance venue.

The UST Singers’ concert at the CCP theater was fittingly titled A Joyful Noise, the songs, particularly in Part I, sounding like a not-so-joyful “noise” to devotees of classic and romantic music.

Founded in 1992 by Fidel Calalang Jr.—pianist, choral conductor, arranger who has served as juror in international competitions, and conducted famous foreign choral groups—the UST Singers has garnered various national and international awards, and was named twice “Choir of the World” (1995 and 2010) in the oldest vocal tilt held annually in Wales, U.K.

Listening to the group, one quickly understood why it has achieved incomparable distinctions.

Under Calalang’s rigorous, unrelenting direction, the UST Singers manifested incredible discipline, cohesion, precision, the clearest articulation, and the widest range of dynamics ever expressed by a choir.

Part I consisted mostly of contemporary selections heralding an incredible and admirable variety of inflections: the second song Vi Adora (I Adore) by Manolo da Rold (b. 1976) began pianissimo, then very slowly increased in volume, and just as gradually returned to pianissimo strains.

The pieces were replete with dissonances, discords, atonalities, exclamatory staccato words and phrases, marked by arresting accents or pauses. All these offered a veritable challenge to any seasoned choir and the 31-member UST Singers amazed the audience with its impeccable fluency, and amazed even more by performing throughout without scores.

The native songs in Part II, by contrast, were lyrical and melodious, with Calalang on the piano as assisting artist. Abrupt accents and pauses were absent. Just as much as in the preceding part, the renditions were enriched by slow or brisk movements, as quirky, jerky and energetic as those in Rock and Roll, with hand-clapping—the audience joining this—foot-stamping, and swift changes of line formations. What an agile ensemble!
Auditory pleasure or surprise was enhanced by the visual: the women’s eye-catching, glittering gowns in black and later in dazzling red.

CCP President and UST Conservatory dean Dr. Raul Sunico delivered opening remarks pointing up the significance of the concert presented by the country’s oldest educational institution.

I was misinformed regarding the time of the UST Orchestra concert; thus when I arrived at the theater, the usher told me the ensemble was ending its last piece. I missed the performance of one of our country’s leading ensembles.

Chino’s loss in German tilt was a triumph of his spirit
A letter from Belinda Olivares-Cunanan, avid supporter of violin virtuoso Chino Gutierrez, bears the most incredible news I have heard in decades, namely, that Chino did not win in the recent Joachim International Violin Concert in Hannover, Germany. Over 200 “exceptionally gifted” violinists from all over the world had auditioned, and Chino was the only Filipino among 39 who had qualified to compete.

Before Chino left for Germany, I heard his private recital at the residence of the German Ambassador Thomas Ossowski. I was so overwhelmed by Chino’s performance it led me to assume that he was another Paganini-in-the-making. I was told later that Mr. Ossowski, by coincidence, had also likened Chino to the legendary violinist.

Chino’s failure to qualify among the 12 finalists was met with disbelief by various observers, including those who watched the live-stream broadcasts.
Herewith are excerpts of Chino’s email to Belinda, sent after the tilt:

“My first round on Tuesday, Sept. 29 included the Bach Chaconne, Yssaye Sonata No.6, and the compulsory Joseph Joachim Romanze. That went without a hitch. In the second round on Thursday, October 1. I did the Beethoven Sonata No.1 and the Wieniawski Variations on an Original Theme, with my pianist Rohan de Silva. I am exceedingly happy and proud of that round, the Beethoven Sonata highlighted one’s sensitivity as an artist in the context of playing chamber music, and I think Rohan and I had perfect rapport throughout. That’s perhaps why Tita Rose (Panlilio) fell in love with it and was moved to tears.

“As for the Wieniawski, I was very happy with how it turned out. This particular piece of Wieniawski has an extremely high level of difficulty, loaded with potential technical pitfalls. Playing it is much like traversing—or running through—a minefield at top speed, yet graceful and lyrical while doing it. My Mom was up in the balcony, calling on the Sacred Heart of Jesus, the Holy Spirit, and Mary, Undoer of Knots, to grant me perfect notes. Her prayers were granted, as all my notes and grand leaps on the finger board were spot on from beginning to end. It was a performance to remember, and I’m happy I have something like that recorded for posterity.

“Still, my Mom and I kept telling ourselves not to expect anything. So when the announcement of the semifinalists came and my name was not mentioned, I did not feel devastated. I knew I had given a performance that was hard to beat. That, to me, mattered most. I was able to test my mettle alongside other fantastically gifted violinists, and discovered that I could hold my own. I felt that I was being taken very seriously, and that I was on par with all the others. But once we enter a competition, we are fully aware of the subjective nature of judging. I accept that as a given: it all boils down to the judges’ taste.

“I want to thank all who kept me in their prayers. I’m sure the Lord heard your prayers—my bow didn’t slip, my fingers landed in all the right places, I didn’t forget my notes, I didn’t make a fool of myself on stage and embarrass my country. However, the Lord, in His goodness, knows that despite all my efforts, this is not yet the time for me to win a prize. I am willing to wait and work even harder for that day to come. The journey goes on.

“God bless Ms Offie Bakker and Lyn Gamboa for coming up with the idea of raising funds for a new violin for me. I find it very exciting. One cannot stress enough the importance of a good instrument in international competitions. Iba talaga ang tunog ng fine instruments. Dagdag puntos din. I hope and pray that something comes out of their campaign, and that I can have a better violin in time for other competitions.”

To the letter, Belinda adds:

“Mabuhay ka, Chino Gutierrez, as the first Filipino to participate in this toughest of violin competitions in Germany and perhaps one of the world’s toughest. You held the flag high for your country by playing with all the tough notes ‘hitting on spot.’ Your indomitable will to prevail over a setback and seek to try again is a model and inspiration not only for our Filipino youth, but also for all of us your compatriots. God bless you—and YES, LET’S FIND WAYS TO GET YOU A SUPERIOR VIOLIN.”

Rotunda Dome inside the National Gallery Singapore

Opening in November 2015, National Gallery Singapore is a brand new visual arts museum that engages, excites and inspires with the art of Singapore, Southeast Asia and the world. The Gallery will contribute to Singapore’s ambition to become a global city for the arts.

Located in the heart of the Civic District, two monumental buildings—the City Hall and the former Supreme Court—have been refurbished and will be reborn as National Gallery Singapore. At 64,000 square metres, we will not only be the largest visual arts venue in Singapore but also one of the largest in the region.

The museum’s Rotunda Library

The Gallery will focus on displaying Singapore and Southeast Asian art from the 19th century to the present day. Through a comprehensive collection, the Gallery will present the development of Singapore and regional cultures to tell their social, economic and political histories.

While the body of works at the Gallery falls largely within the area of modern art, the Gallery strives towards understanding the collection in new and varied ways—taking on a contemporary approach and interpretation of the development of Southeast Asian art. The Gallery will look beyond national and regional boundaries of art to take on a wider

■ A glimpse of the Southeast Asia Gallery

ambit of international visual arts culture, research into our Asian heritage and cultural affiliations, and engage with global cultures and discourses.

source: www.nationalgallery.sg

Director Dr. Eugene Tan

National Gallery Singapore Director Dr. Eugene Tan sets off to piece together Southeast Asian art history in this The Sunday Times Magazine Exclusive

For someone who has attained an impressive profile in the Asian art scene, it is quite ironic that Dr. Eugene Tan—most likely the busiest man behind the highly anticipated National Gallery Singapore—only developed an appreciation for man’s visual creativity as a student in university.

Today, as director of a gallery that is touted to have the largest public collection of modern Southeast Asian art in the world, Tan was very candid in this exclusive interview with The Sunday Times Magazine, as he admitted to be a late bloomer of sorts in the path he eventually chose to pursue.

“My degree had nothing to do with art,” he further confessed with a smile. Tan was on a brief business trip to Manila but generously devoted his time to this one-on-one interview at a Makati City hotel.

“I was studying Economics and Politics in London when I suddenly became interested in art,” he continued. “I toured all the museums and galleries they had, and it was from there and in that sense that I hoped to make Singapore just like London—a city where they have so much art that inspires people, and makes them interested, curious and even passionate to take up careers in art.”

As such, even as Tan secured his Bachelor of Science in Economics and Politics from Queen Mary University of London and gone home to Singapore, he soon found himself retuning to the English capital to pursue a Masters of Arts in Post-War and Contemporary Art from the Sotheby’s Institute of Art, and subsequently, a Doctorate in Art History from the University of Manchester.

Artful resume
Prior to joining National Gallery Singapore, Dr. Tan built his resume curating various exhibitions, among them the Singapore Pavilion at the 51st Venice Biennale (2005); the inaugural Singapore Biennale (2006); thematic exhibitions such as Of Human Scale and
Beyond: Experience and Transcendence (2012) and The Burden of Representation: Abstraction in Asia Today (2010), among others; as well as solo exhibitions by Singaporean artists Charwei Tsai (2012), Lee Mingwei (2010) and Jompet (2010).

He also co-authored the publication Contemporary Art in Singapore (2007), and has contributed writings to exhibition catalogues and publications by NUS Press, Hatje Cantz and Phaidon, as well as art journals such as Art Asia Pacific and Art Review, and more.

Tan has further presented at art conferences and symposia around the world, including Australia, France, Germany, Netherlands, Hong Kong, Korea, New Zealand, Singapore, Spain, Taiwan and United Kingdom.

Asked how exactly he began his career in Singapore’s art scene, The Gallery’s director said he zeroed in on the management side, serving as program director for Special Projects at the Singapore Economic Development Board (EDB). There, he oversaw the development of Gillman Barracks, a visual arts hub in Singapore.

After this initial foray into art management, Tan assumed various other positions in Singapore’s most prestigious art institutions, namely director of Exhibitions for Osage Gallery; director of Contemporary Art at the Sotheby’s Institute of Art—Singapore; and Institute of Contemporary Arts Singapore Director.

For all these, Tan recently and rightfully earned an inclusion in the British contemporary art publication ArtReview Magazine’s “Power 100 List”—the day’s guide to the most powerful figures in contemporary.

The Singaporean Supreme Court building and City Hall will soon be transformed into the National Gallery Singapore, the only museum dedicated to Singaporean and Southeast Asian art from 19th century up to the present ADDITIONAL PHOTOS COURTESY OF NATIONAL GALLERY SINGAPORE

Nevertheless, even with his rich experience in the art scene, Tan humbly told The Sunday Times Magazine that it took a year and a half for National Gallery Singapore—or simply “The Gallery” to the passionate arts man—to select him for one of its key positions upon its inception. The lengthy period was worth the wait all the same, as Tan had initially thought his belated exposure to arts might not bode well for his application.

Officially, in 2013, Tan was appointed as director of The Gallery, beating both local and foreign candidates in an extensive search.

“It was after previous director Kwok Kian Chow stepped down [and assumed the role of senior advisor] that The Gallery started the international search for his replacement. I was invited to apply but I was also working on another project at that time in Singapore, and it was important for me to finish that project first. I did apply eventually and went through the process of selection,” he recalled.

The Gallery’s genesis
The National Gallery Singapore was the brainchild of Prime Minister Lee Hsien Loong, who, in 2005 first announced the government’s plan to convert two important heritage buildings of the Lion City into a new national gallery. These were the former Supreme Court building and City Hall, both symbolic structures in Singapore’s nationhood.

‘National Language Class’ by Chua Mia Tee (1959

To ensure The Gallery would be worthy to occupy the historical structures, architectural design competition was launched in 2007 for the buildings’ conversion. A French firm, Studio Milou, which also operates in Singapore, won the contract to design and build The Gallery in 2008.

Subsequent planning took another three years and it was only in 2011 that Studio Milou began constructing The Gallery with Tan very much involved every step of the way.
“Another three years passed, and we’re finally opening this November,” he excitedly declared.

On the surface, the decade it took to see the birth of The Gallery seemed so smooth albeit lengthy, but Tan, honest as can be, dispelled that impression.

“Actually, construction was meant to begin in 2009 but it was delayed for two years because at that time, Singapore was going through an economic boom. There was so much construction happening in Singapore—the Marina Bay Sands, for one—that it drew up the cost of construction so the government decided to delay the project for a while,” he explained.

Asked how much The Gallery eventually cost the Singaporean government, Tan openly replied, “Converting the two buildings into the National Gallery cost the government 530 million Singapore dollars [P17.7 billion] for the structure, and for the rest, we secured quite generous sponsorships from various corporations.”

Explaining further, he said, “For example, our Singapore Gallery has been named after a bank in Singapore, so it is now called DBS Singapore Gallery. Likewise, for the Southeast Asia Gallery, we’ve named it UOB [United Overseas Bank] Southeast Asia Gallery, after another bank, UOB.

“Our center for education, which is one of the largest centers of its kind, is named after Keppel, while our special exhibitions phase has been named by Singtel,” he enumerated. “As for our roof garden gallery, which was sponsored by a private individual, we named it Ng Ten Fong.”

Artistic connections

Drying Salted Fish by Cheong Soo Pieng (1978)

Come The Gallery’s official opening in November, Singaporeans and neighboring Southeast Asian nations, including the Philippines, can look forward to a rich storytelling of Southeast Asian art history through a remarkable 8,000 art pieces in total.

“We will be the only museum dedicated to and focused on art from Singapore and Southeast Asia—our key highlights. These two permanent galleries will show the art histories of Singapore and Southeast Asia through long-term and comprehensive exhibitions,” Tan explained. “They start from the 19th century until the present, so it will be the first time anywhere in the world that visitors can come and see the art histories of this side of the world.”

In addition to these permanent displays, The Gallery will also run continuous special exhibitions where they aim to explore the links and connections between the art of Southeast Asia and other parts of the world.

“You can see that we have set two clear goals, one is to further the appreciation of art among Singaporeans, and the other is to further the understanding and the appreciation of art from Singaporeans and Southeast Asians internationally, Tan enumerated.

Epic Poem of Malaya by Chua Mia Tee (1955)

“I think myself and all our curators have traveled widely to see many museums around the world so we kind of have a good sense of how museums operate, the levels and standards that we try to adhere to internationally. But, at the same time, we have also realized that each institution has to be rooted locally and it has to kind of grow on its own local conditions and be relevant within its more local context. So what we aim to do at The Gallery is not to copy what other museums around the world but making sure that it’s relevant in the context in which we are operating.”

PH in The Gallery
Further explaining his role as gallery director, Dr. Tan related, “As director, I oversee areas relating to the exhibitions, the research, the programming, education, as well as our visitor experience—anything that our visitors come face to face with.

“The area regarding the exhibition and the research take most of my time—working with the curators to plan and organize types of exhibitions that we will have, as well as developing our art collections, while also making sure that our education team and program team device the appropriate types of programs to engage our audiences.”
It is this very task that actually took The Gallery’s director to Philippine shores.

“As the focus of our museum is the art of Singapore and Southeast Asia, the Philippine art is very much included in our exhibits, which is why we are often here for meetings,” he enthused.

Dr. Tan and his team are in continuous collaboration with seven institutions in the Philippines dedicated to art including the National Museum, Central Bank, Cultural Center of the Philippines, Ateneo Art Gallery, Metropolitan Museum of Manila, UST Museum, and Ayala Museum.

One of the more notable artworks The Gallery has borrowed for exhibition is a painting by National Artist Jose Joya from the National Museum.

“We borrowed ‘Hills of Nikko’ by Jose Joya, so if you go there [at the National Museum] now, there’s an empty space on the wall with the label that says the work is out,” Tan jested.

Aside from these institutions, The Gallery has also been in touch with private Filipino art collectors—six to be exact—for future exhibits.

“We are very pleased that these institutions and individuals see the value that the National Gallery will bring and, we are all the more pleased that they are very supportive of our exhibits,” he added.

Asked how these collaborations began, Tan replied, “We first identified key works by Filipino artists we wanted to show in the exhibition and then we approached the institutions and the collectors and explained to them how their pieces played a part in the Southeast Asian art history we want to tell.

“I think the Philippines is one of the most vibrant and dynamic art scene in Southeast Asia and has one of the longest histories well,” he continued. “And in saying that, it is definitely an important part of the region’s art history as a whole.”

On a side note, Dr. Tan also excitedly shared that there is a Filipino curator in their pool at The Gallery by the name of Clarissa “Lisa” Chikiamco.

Asian art appreciation
“I think we’ve come a long way since the government decided that art is something important and since it invested a lot in the arts back to 1989,” Tan said of Singapore’s support for the arts.

“There was a policy paper put forward by the Advisory Council on Culture and the Arts (ACCA) on how Singapore should develop our art scene over time. As result, they set up the National Arts Council, the National Heritage Board, which in turn resulted in Singapore Art Museum and the Asian Civilisations Museum. It was after that—in 1989—that they all said we should plan for national gallery as well.”

Despite the support of government, however, Tan still does not consider Singaporeans to be among the biggest art patrons in the world.

“There’s still work to be done [in terms of art appreciation in Singapore], but I think people are more aware about art now than before. This awareness has come primarily through the market and through contemporary art, through biennales like the Singapore Biennale for example, through galleries, art fairs and auctions.”

While awareness is growing, what Singaporeans—and Asians—lack in terms of art appreciation is knowing the history behind the cultures of art within the region.

“When the public learns about art through biennale and art fairs, they don’t really get the sense of how the art developed to get to the state where we are today—and I think that’s where The Gallery comes in.”

Aptly, he took this point to round up his hopes for the National Gallery Singapore from the day it officially opens next month: “I hope The Gallery will become a catalyst for further development of art in Southeast Asia. I hope we will be able to promote Southeast Asian art in a bigger way internationally, and bring more focus, understanding and appreciation for what it is and how it got here.”

With such lofty goals and so much work to do, Dr. Eugene Tan’s parting shot proved he too is where he should be: “Working everyday with art and artists is something that is very fulfilling. Beyond that, in my role as a director now, I think what I find most fulfilling is when the curators come up with really interesting ideas, either for exhibition or for research, that reveal new areas about art that we never knew before. And finally, to see their work ultimately engage the public, that is what makes our work immensely fulfilling.”
The National Gallery Singapore opens its doors to the public on November 24. Entrance to the gallery for the first two weeks, from November 24 to December 6, is free.

For more information about The Gallery and its upcoming shows and exhibitions, visit www.nationalgallery.sg.