Posts Tagged ‘national commisson for culture and the arts’

pop goes the world: a primer on the national artist award

POP GOES THE WORLD  By Jenny Ortuoste

Published in two parts: Manila Standard-Today,  19 July 2012 and Manila Standard-Today, 26 July 2012

A Primer on the National Artist Award

The Philippines was plunged into mourning by the recent death of the media-dubbed “Comedy King”, actor Rodolfo “Dolphy” Quizon.

To a degree unprecedented, the nation avidly followed the 24/7 media reports and coverage of his illness, death, wake, and funeral rites over several weeks until its culmination with the interment of the actor in his massive metal casket last July 15.

The Dolphenomenon spawned renewed interest in the actor’s life and his career. Born into an impoverished family, from an early age he had to work selling peanuts at theaters to support himself and loved ones.

Given a break to learn the thespian’s craft and allowed to hone his technique in vaudeville skits, he learned to sing, dance, and act, and found he had a knack for comedy. This he parlayed into fame and fortune with his drag-dressed portrayal of gays and carefree enactment of poor men in films and on television.

Not only was Dolphy an excellent all-around actor (all too rare in these times where mere good looks without talent are enough to merit media exposure), he was also that uncommon thing, a genuinely good man, who had not a bad or mean thing to say about anybody, who welcomed all into his fold, who emptied his pockets to help those less fortunate.

It is not surprising then that a grateful and sentimental nation wishes to honor such an admirable man in any way it can. Thus the clamor for the conferment upon Dolphy of the National Artist Award.

This was debated as early as 2009. In a July 5 article that appeared in another publication, former NCCA executive director Cecille Guidote-Alvarez said in a radio interview that were it not for the disapproval of Dr. Nicanor Tiongson at the second stage of deliberations, Dolphy could have received the award back then.

A noted author, academician, and critic, Dr. Tiongson was once vice-president and artistic director of the CCP in the late 1980s to mid 1990s and chairman of the Movie and Television Review and Classification Board.

Tiongson replied soon after saying that the “accusations” made by Guidote-Alvarez are “selective and misleading,” making it “appear that one person (in this case, myself) can actually engineer the outcome of the second stage of the National Artist selection process, when in reality it is a council of about 20 experts representing various disciplines that chooses, through majority and secret vote, the candidates to be short-listed for the final deliberations.

The selection of a National Artist is done in three stages by three bodies and it is simply impossible for any one person to influence all of them into making the same decision.”

Tiongson also said Guidote-Alvarez’s revelation was a “grave breach of the confidentiality” since she was co-chair of the 2009 National Artist Awards Selection Committee, and questioned its timing, made three years after the fact.

Tiongson also clarified that the opinion he expressed on Dolphy’s body of work “in no way diminishes my continuing admiration and respect for Dolphy as a most talented comedian and a very kind human being.”

The conflict between the two led to more questions on the award, its criteria, and its very purpose.

What is the National Order of Artists?

According to information on the National Commission for Culture and the Arts website, it is “the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater, Visual Arts, Literature, Film and Broadcast Arts, and Architecture and Allied Arts. The order is jointly administered by the NCCA and Cultural Center of the Philippines and conferred by the President of the Philippines upon recommendation by both institutions.”

What are the criteria?

Apart from citizenship requirements, the National Artist award is to be given to “artists who through the content and form of their works have contributed in building a Filipino sense of nationhood…who have pioneered in a mode of creative expression or style, thus, earning distinction and making an impact on succeeding generations of artists…who have created a substantial and significant body of works and/or consistently displayed excellence in the practice of their art form thus enriching artistic expression or style; and…who enjoy broad acceptance through prestigious national and/or international recognition, such as the Gawad CCP Para sa Sining, CCP Thirteen Artists Award, and NCCA Alab ng Haraya; critical acclaim and/or reviews of their works; respect and esteem from peers.”

The NCCA also recognizes folk and traditional artists through the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award. Established in April 1992 through Republic Act No. 7335, the GAMABA honors artists who “reflect the diverse heritage and cultural traditions that transcend their beginnings to become part of our national character” and engage in a traditional art uniquely Filipino and characterized by a “high level of technical and artistic excellence.” Their presence is required at NCCA events such as “the Philippine National Arts Month, the National Heritage Month, and other important national and regional cultural celebrations.”

Palace spokesman Edwin Lacierda said last month that President Benigno Aquino III “personally believes that Dolphy has contributed immensely to the arts. And in fact, in his words, he has contributed tremendously to what we call ‘art for man’s sake’.”

Since it is the NCCA and the CCP that recommends the awardees after much research and discussion, the President himself cannot give the award. Lacierda also cited the temporary restraining order that the Supreme Court issued in 2009, after a group of national artists led by Dr. Bienvenido Lumbera and Dr. Virgilio Almario accused former president Gloria Macapagal- Arroyo of “grave abuse of discretion” for adding the names of director Carlo J. Caparas, Cecile Guidote-Alvarez, architect Francisco Mañosa, and fashion designer Jose “Pitoy” Moreno to the list of National Artist awardees.

The President did give Dolphy an honor that was within the scope of his powers to confer. In November 2010, within a few months of his assumption of office, the President invited the actor to Malacañang Palace to receive the Order of the Grand Collar of the Golden Heart, which was first awarded to humanitarian Helen Keller in 1955.

At the occasion, the comedian joked that he no longer wished to be given the National Artist award, and that at his age, a “National Arthritis Award” would be enough.

It is clear that the conferment of the National Artist award is a multi-layered process that cannot – and should not, like Macapagal-Arroyo tried to do – be influenced by the head of state or partisan politics.

There are strict criteria regarding its bestowal that must be honored if the award is to have any credibility. If it can be conferred without a rigorous and objective selection process, if it can be swayed by sentiment or clamor, it is worthless.

Dolphy could have been given the award upon further deliberation after 2009, if so deemed worthy by the selection committee. However, they could not do so because of the TRO issued by the Supreme Court.

At the moment, then, it is up to the SC to take the next step, so that the NCCA and the CCP can get on with its task of sifting the nominees for this supreme cultural honor. It is too late to award it to the living Dolphy; perhaps he may still receive it posthumously?

As to its purpose of the National Artist award, that remains part of the ongoing discourse. But if we agree that a nation’s art contains and reflects its heart and soul, then it is essential for us to honor its creators, either through such an award, conferred by the state, or through popular acclaim, manifested in the tears and laughter that accompanied the beloved Dolphy to his final rest.   ***

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remembering the galleons

For many of us, the word ‘galleon’ brings to mind the times we fell asleep listening to Philippine history teachers drone on about the “galleon trade” between the Philippines and Mexico. Come exam time, we’d frantically scramble to memorize dates and places and names and other bits of trivia, without realizing the significant impact of this era upon our country’s economy during that time, and how it extends to the present day.

The National Commission for Culture and the Arts commemorates the enduring influence of the galleon trade with its Dia del Galeon Festival, which kicked off earlier today at the National Museum.

From the NCCA event handout:

With a 250-year history that connected four continents, the Galleon Trade was an essential trade route that served as a vessel for cultural exchange.

The whole world knows about the Silk Route, the Amber Road, but what about the Galleon Trade? For more than 250 years, the Philippines was the center of the world, with Asian, European and Latin American goods being traded on its very soil.  The galleon ships, the largest vessels during the time, were built by hand from Philippine hardwoods. Built by  expert seafarers, the Filipinos, these ships would travel for the next  two and a half centuries, changing the face of the world as we know it.

Via the galleons, Mexican chocolate was brought to Asia, Spanish music was brought to the Philippines, and the world was introduced to Philippine abaca and flowers like the ylang-ylang.

Somewhere in Mexico, there is an entire clan with the last name “Maganda”. They have lived there for more than 200 years.  In that same coastal region, the locals like to drink the sap of the coconut, which they call tuba.  Today Filipinos enjoy eating champorado and tamales. Coincidence – or the Galleon Trade?

What’s interesting to learn is that not only goods like shawls (manton de Manila), hemp, and sugar were traded, but also culture. Like the overland Silk Road that connected China to Africa and the Middle East, the maritime trade carried influences from around the world to the Philippines, through food, customs, art, and knowledge.

The Galleon Trade was a result of our colonial past, which, for all its disadvantages, also brought positive influences that helped shape our country into what it is today.

The NCCA has lined up other activities in connection with this event:

September 24-28

·      Lectures on arts, heritage, and indigenous impact
·      Music and movement workshops

Venue: National Museum of the Filipino People
Admission: P2,500  or P3,800 with food

October 8
An intercultural dialogue and culminating activity for workshop participants and guests; these will include presentations, creative industry exhibits, and declarations for unified action on the themes and impact of the galleon trade. Major resolutions and artistic results will be highlighted.

Venue: TBA
Admission: Open to the public

October 5,6
A forum organized by the Philippine Academic Consortium of Latin American Studies that  brings together scholars to share current research.  This year’s theme is “The Bicentennial of the Independence of Latin American Nations”.

Venues: October 5 De la Salle University, October 6 University of Sto. Tomas
Admission:  Go to

October 6- October 8
A harvest of performances and media arts modules reflecting on the themes of the galleon trade through its history and impact. It will include multi-cultural performances with a  production of Juana La Loca by Mexican playwright Miguel Sabido.  The play will fuse Spanish and Filipino languages with a multinational cast.

Price: TBA
For Reservations: To be announced, but please send an email to NCCA  if you are interested

October 5-9
A replica of a 17th-century galleon from Spain will dock at the Manila Pier for public viewing. Guests can climb aboard and experience life as it was during the period.

Venue: TBA
Admission: FREE, by donation
For Reservations: To be announced, but please send an email to NCCA if you are interested

October 8–11
A four-day educational trip from Manila to Cebu with on-board activities and tours around Cebu. The conference and workshop participants will lead the activities, to be shared with youth passengers.
·      On-board seminars, interactive performances, exhibits
·      On-land Galleon Trade significance reenactments, city and heritage tours

Venue: Manila and Cebu
For Reservations: Closed, the trip is fully booked

A series of commemorative events wll be held including:

·      Commemorative stamp displaying the Galleon Trade Route
·      Bilingual declamation and oratorical contests
·      Pilgrimage to 35 Philippine Heritage Churches

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