They may not have made the Dutertesque sound bites that made headlines and hooked social media, but the Filipinos who made it to the Palace last Thursday deserved the attention and admiration (click “Like”) of every Filipino—they who so quietly yet exceptionally devoted a lifetime to creating works that helped define our race and serve as beacon to the next generation.
Last Thursday, President Aquino gave the Order of the National Artists (ONA) on nine Filipinos in the biggest conferment (nine) since the award was established in 1972.
It was also the first conferment since 2009, when controversy arising from the selection of National Artists by then President Gloria Macapagal-Arroyo derailed the awards. But that’s all history now.
The Cultural Center of the Philippines (CCP) chair of the board, Emily Abrera, was right when she said in the opening remarks in Thursday’s rites that this conferment was like rain in the summer drought.
But it wasn’t only the summer heat that we got respite from that morning at the Ceremonial Hall. Being with the National Artists was, in truth, a break from the noise pollution—the “trapo” sound bites—that has been incessant and unforgiving these days.
Looking at these artists—both the newly named National Artists and the existing ones—rather advanced in years but still bearing the traces of passion for creativity, we realized how they truly have been the marginalized members of society. Why—simply because they’ve created, achieved and plodded on quietly, oftentimes with hardly any guarantees of pay and social security. Simply put, they cannot compete for space and air—indeed, public attention—with the lies-peddling politicians.
Freedom to choose
But that has always been the case in society, from the ancient to the present. It is invariably divided between the artists and the politicians, both of whom have the freedom to choose—to do good or to be bad and mediocre.
And just as what we’ve been seeing the past few years, in the demolition of heritage architecture, politicians can destroy what artists build.
At last came the news that toward the end of its term, the Aquino administration was finally holding the conferment at the Palace. Better late than never, we overheard some of the culturati saying, as they trooped to the gate of Malacañang last Thursday, right at the appointed time, 11:30 a.m.
Even in the noonday oppressive heat, the excitement of the guests and artists was palpable as some of them took selfies at the gate.
Culture was not a highlight of this administration that hit the ground running in 2010, and has had, not only to clean house as it pried open a Pandora’s box of anomalies, but also to cope with one disaster after another. Logically, the economy, indeed sheer survival, became its focus, along with mitigating corruption.
However, what perhaps is not disseminated well to the public is that the Aquino administration has given what must have been the biggest budget allocation to culture, since perhaps the Marcos regime.
This is ironic for an administration that doesn’t crow about culture and didn’t use it for self-promotion.
From the budget department, the National Commission for Culture and the Arts (NCCA) was able to purchase the rundown Metropolitan Theater for P270 million.
Before the conferment rites, NCCA head Felipe de Leon Jr. told us that NCCA is in the process of planning the restoration of the Metropolitan, and just that day, he met with experts on the restoration plan of the Met.
‘Pandayan ng Sining’
“I just proposed that in this multi-use plan, the Met’s identity as a creator [of the country’s cultural endeavor] be stressed—as the Pandayan ng Sining,” De Leon told us. And we agree with the thrust.
At last, after languishing for decades, the Metropolitan is getting a new lease on life. We just hope that the funds will be spent in a viable manner for its reinvention into the 21st century.
Another noteworthy spend of the Aquino administration has been for the repurposing of the Department of Finance building into the Museum of Natural History under the National Museum.
National Museum director Jeremy Barns told us, also last Thursday, that the old Finance building is being repurposed into Natural History museum, using the P1.7-billion allocation from the government given over the past few years. When it is done, hopefully in June, the public and tourists will have a new destination, apart from the National Museum.
Also this year, according to CCP President Raul Sunico, the CCP starts its much-needed renovations—finally. Last year it received its P300-million allocation.
But beyond the funding, what is noteworthy is that this President didn’t turn the culture institutions into his plaything; he didn’t appoint lackeys to culture positions. For instance, he kept the composition of the CCP board.
‘Rondalla’
While waiting for the rites to start, we got to chat with Dean Ramon Santos, who, after the controversial delay, would finally receive the Order of the National Artist for Music that morning. The dean told us how he continues to teach music and organize rondalla festivals here and abroad, from Tagum in the south to Metro Manila.
Do today’s young still take to playing the rondalla, we asked him. Somehow, yes, he said, “and it’s noteworthy that they study to play various genres, not only the traditional rondalla music.”
Pilar Zaragoza, the widow of the newly conferred National Artist for Architecture José Maria Zaragoza (Meralco building, Sto. Domingo Church were among his works), was seated at the table with Alice Reyes, also to be conferred the ONA (Dance) that morning. They were talking about how heritage buildings continue to be demolished. Just set for demolition is the Philbanking building in Port Area, built by Zaragoza in 1965.
Cirilo Bautista, about to receive the ONA for Literature, told us about the poetry he’s been meaning to send Inquirer, and we welcomed the move.
At one corner of the room were National Artist Bienvenido Lumbera, who chatted animatedly with well-wishers, and National Artist Virgilio Almario who posed gamely for photos with National Artist Benedicto “BenCab” Cabrera.
Wheelchair or walker
Although it was a gathering that saw a wheelchair or a walker here and there, still it was invigorating to be in the company of artists and culture workers who remind you of what’s noble, positive and productive about the Filipino. It’s not every day that people like that get to step foot in the Palace.
Our heart swelled with pride as we stood at the entrance of the Ceremonial Hall and watched these National Artists stride one by one onto the hall, as their name was announced, escorted by a barong-clad usher, the National Artist medallion glinting around each one’s neck.
Former CCP President Nes Jardin noted how this must have been the most elaborate National Artists’ gathering at the Palace. Indeed it was heartwarming to see how the administration pulled out all the stops to have a tasteful and special reception for the artists.
After the conferment rites, the artists, their guests and the culture community enjoyed the merienda of local fare (fresh and fried lumpia, longganisa rice, salads, a most filling congee, pastillas, among other favorites) and Italian pastas and pancit.
“Hindi tinipid. Hindi labis, hindi kulang. Karapat-dapat lang sa init na ito,” an artist described candidly the fare done by Margarita Fores and setup, as usual, by Social Secretary Susan Reyes and her staff.
Conferred the ONA awards were Bautista, Reyes, Santos, Zaragoza, Francisco Feliciano (posthumous, Music), Francisco Coching (posthumous, Visual Arts), Manuel Conde (posthumous, Cinema), Federico Aguilar Alcuaz (posthumous, Visual Arts), Lazaro Francisco (posthumous, Literature).
We learned from Deedee Siytangco how Coching’s widow, Filomena, had written the President last year expressing her hope that she would live to see her husband conferred.
At the end of the rites, as the new National Artists or their heirs and spouses were called to the platform, with the other National Artists, to join President Aquino for a requisite shot, we couldn’t help but notice how Mrs. Coching, who was hardly able to walk, stood feebly beside Mr. Aquino, and to steady her stand, he held her hand and let it rest on his arm.
In that pictorial that took some minutes, the President smiled—a rare smile on a busy morning that had seen him come from a political rally, without having breakfast, and he might not have time to sit down to lunch before the meeting with the US defense official. But he smiled nonetheless as Mrs. Coching held on to his arm, like a good son to a mother.
