Magkaisa

The song "Magkaisa" was first sung by a singer named Virna Lisa.

Searching Google, not much is known about her and "Magkaisa" is the only song attributed to her.

My theory is that "Virna Lisa" may just be a name to hide her real identity since President Marcos was still in power in 1983 when the song was first released after Senator Ninoy Aquino was assassinated. (Will the real Virna Lisa please stand up?)

Further searching the net, the song's composer is former senator Tito Sotto.

The video below is a rendition of the song by Sarah Geronimo during the Requiem Mass for the late president Corazon Aquino.


Magkaisa

Ngayon ganap ang hirap sa mundo
Unawa ang kailangan ng tao
Ang pagmamahal sa kapwa ilaan

Isa lang ang ugat ng ating pinagmulan
Tayong lahat ay magkakalahi
Sa unos at agos ay huwag padadala

Panahon na (may pagasa pang matatanaw)
Ng pagkakaisa (bagong umaga, bagong araw)
Kahit ito (sa atin Siya'y nagmamahal)
Ay hirap at dusa

Magkaisa (may pag-asa pang matatanaw)
At magsama (bagong umaga, bagong araw)
Kapit kamay (sa atin Siya'y nagmamahal)
Sa bagong pag-asa

Ngayon may pag-asang natatanaw
May bagong araw, bagong umaga
Pagmamahal ng Diyos, isipin mo tuwina

Jose Rizal Dances the Cha-cha.

148 years ago, on June 19, our national hero José Protacio Mercado Rizal Alonso y Realonda was born in Calamba, Laguna to Don Francisco Mercado and Doña Teodora.

Many titles honor him as the "Pride of the Malay Race," "the First Filipino", "Greatest Man of the Brown Race," and many others. He's a genuis and his works, writings and thoughts were ahead of his time.

Now what does it have to do with him dancing the cha-cha. It's not really the dance this time around but to what many people call as charter change. I just need to clarify that this doesn't have anything to do with term extensions. The cha-cha issue is more than that.

Then what does Rizal really have to do with cha-cha?

Well it is about an insight on our nation which he wrote as part of his article "Filipinas de cien años" or "The Philippines a Century Hence." In the translation by Charles E. Derbyshire, it reads:

"...when they once shake off the yoke, is to adopt the freest government, like a boy leaving school, like the beat of the pendulum or by a law of reaction, the Islands will probably declare themselves a federal republic."

If the United States had not entered the picture (which Rizal also saw as a possibility in the same article BTW), we could have easily become a federal republic after the Philippine Revolution.

Now remember that Rizal's ideas and insight were ahead of his time. He saw the good fit of the federal system of government for our country. I think it's time we heed his idea.

The only thing is, how we do that change he does not say. Con-Ass or Con-Con? Just don't be afraid (or paranoid). Any proposed change has to be approved by us through a plebiscite where we'll vote "Yes" or "No" to the proposed changes.

Is Rizal for federalism? I think he says "Yes."

(PS. To read the quoted text in its context just go to this Jose Rizal site, press Ctrl+F then type federal. The word federal will be highlighted and you can read the entire paragraph where he mentions the idea.)

Credits to Wikipedia, JoseRizal.info, and Flicker's Manfrommanila.

Imagine a World Without Filipinos

I'm not refering to the brand of chocolate biscuits (Although they're really tasty!) but to the people who, in their own little way, has valuably contributed to every level of society worldwide. This article, written by a non-Filipino, honors them.

Imagine a world without Filipinos
Abdullah Al-Maghlooth Al-Watan, almaghlooth@alwatan.com.sa

Muhammad Al-Maghrabi became handicapped and shut down his flower and gifts shop business in Jeddah after his Filipino workers insisted on leaving and returning home. He says: “When they left, I felt as if I had lost my arms. I was so sad that I lost my appetite.”

Al-Maghrabi then flew to Manila to look for two other Filipino workers to replace the ones who had left. Previously, he had tried workers of different nationalities but they did not impress him. “There is no comparison between Filipinos and others,” he says. Whenever I see Filipinos working in the Kingdom, I wonder what our life would be without them.

Saudi Arabia has the largest number of Filipino workers — 1,019,577 — outside the Philippines. In 2006 alone, the Kingdom recruited more than 223,000 workers from the Philippines and their numbers are still increasing. Filipinos not only play an important and effective role in the Kingdom, they also perform different jobs in countries across the world, including working as sailors. They are known for their professionalism and the quality of their work.

Nobody here can think of a life without Filipinos, who make up around 20 percent of the world’s seafarers. There are 1.2 million Filipino sailors.

So if Filipinos decided one day to stop working or go on strike for any reason, who would transport oil, food and heavy equipment across the world? We can only imagine the disaster that would happen.

What makes Filipinos unique is their ability to speak very good English and the technical training they receive in the early stages of their education. There are several specialized training institutes in the Philippines, including those specializing in engineering and road maintenance. This training background makes them highly competent in these vital areas.

When speaking about the Philippines, we should not forget Filipino nurses. They are some 23 percent of the world’s total number of nurses. The Philippines is home to over 190 accredited nursing colleges and institutes, from which some 9,000 nurses graduate each year. Many of them work abroad in countries such as the US, the UK, Saudi Arabia, the United Arab Emirates, Kuwait and Singapore.

Cathy Ann, a 35-year-old Filipino nurse who has been working in the Kingdom for the last five years and before that in Singapore, said she does not feel homesick abroad because “I am surrounded by my compatriots everywhere.” Ann thinks that early training allows Filipinos to excel in nursing and other vocations. She started learning this profession at the age of four as her aunt, a nurse, used to take her to hospital and ask her to watch the work. “She used to kiss me whenever I learned a new thing. At the age of 11, I could do a lot. I began doing things like measuring my grandfather’s blood pressure and giving my mother her insulin injections,” she said.

This type of early education system is lacking in the Kingdom. Many of our children reach the university stage without learning anything except boredom.

The Philippines, which you can barely see on the map, is a very effective country thanks to its people. It has the ability to influence the entire world economy.

We should pay respect to Filipino workers, not only by employing them but also by learning from their valuable experiences.

We should learn and educate our children on how to operate and maintain ships and oil tankers, as well as planning and nursing and how to achieve perfection in our work. This is a must so that we do not become like Muhammad Al-Maghrabi who lost his interest and appetite when Filipino workers left his flower shop.

We have to remember that we are very much dependent on the Filipinos around us. We could die a slow death if they chose to leave us.

Credits to Arab News and Mari1r

Whatta Watawat 2! Your Guide to Hanging the Flag over Streets

You might have seen large flags hung vertically over streets in places abroad. But how do we do that with our Philippine flag? You don't want to declare the Philippines at war by mistake do you?

I have prepared a quick guide to help you.

If you haven't read the previous post's concept of "Place of Honor" yet, it is the right side of any object and in our case, it's our Flag. Thus the blue field of the Flag is placed to its right (the observer's left).

This principle is expanded for areas where the Flag is seen from more than one vantage point. In cases like this, the Place of Honor changes from the Flag's right side to the place's north, east, or center.

This is specially applicable to Philippine flags hung over two-way streets and open spaces.

If the road lies on the east-west axis, the Flag's blue field must always point towards the north.


If the road lies on the north-south axis, the Flag's blue field shall point towards the east.


For cases that the street does not fall on any of the axes mentioned, the best compromise is to direct the blue field towards the northeast.

Finally another way of hanging the Flag is to have the blue field towards the center or middle of the road. This is normally done when the Flags are in tandem.

Now what if the street curves, or worse a zigzag? Then that's when a compass comes in handy I suppose. ☺

With that, let's display our colors with pride and celebrate freedom. A happy Independence Day to everyone!

Whatta Watawat 1! Your Guide To Displaying Your Flag

Everyone knows how to display their National Flag right? You just make sure that the blue field is above the red one before you raise it on a pole.

But how about when you don't have a pole and you'll just hang it vertically on a wall? Nice question.

Well here's an easy tip to help you with that: Just remember the blue field's "Place of Honor".

The Place of Honor.

Any object's Place of Honor is always to it's right. (That's why we raise our RIGHT HAND in pledge because we are speaking our words of HONOR.) And this is the same with our flag. So just remember to put the blue field to the flag's right. It's your left if you're looking at the flag.


That's easy. Just remember that the Filipino flag is a sacred object and it has to be treated as such. You are not only following the law but also respecting the blood our lolos, lolas even tatays and nanays shed so that we could freely display and identify with our flag's colors. You wouldn't put an altar near a trash bin or on the ground would you?

Ok, Ok! But how about hanging the flag over a street? That's even better question. The answer coming on the next post. :)

Photo credit to AlchemyWebsite.com for the room wall picture.

May 28 to June 12 are National Flag Days

On May 28, 1898 our National Flag was first unfurled to celebrate the Filipino victory in the Battle of Alapan (in Imus, Cavite) against the Spanish forces.

Since 1998, this day (May 28th) up to Independence Day has been designated as Flag Days. Everyone is enjoined to proudly display our Flag in our respective homes and celebrate the colorful history and the valiant people it represents.

The period from May 28 to June 12 of each year is declared as Flag Days, during which period all offices, agencies and instrumentalities of government, business establishments, institutions of learning and private homes are enjoined to display the flag.

- Section 26, Flag and Heraldic Code of the Philippines (Republic Act No. 8491)

Photo credit to Shoalin Tiger through Flicker and JLPLaw.com.

Better Late Than Never :)

A few may only be aware of it (so am I) but every month of May since 2004 the Philippines celebrates not just fiestas but our Filipino identity and cultural heritage. By virtue of Proclamation 439 issued August 2003, May is NATIONAL HERITAGE MONTH. "The event is in recognition of the need to create among the people a consciousness, respect, and pride for thr legacies of Filipino cultural history, and love of country."


Celebrations of Pinoy culture and heritage are held at various locations throughout the country through the Filipino Heritage Festival supported by the National Commission for Culture and the Arts (NCCA). This year's theme is Awit at Sayaw (song and dance).

Although we only have a few days left, check here if there's a celebration near you!

Credits to Filipino Heritage Festival and the National Commission for Culture and the Arts.

Our ‘Pasaway’ Culture

This is an article by columnist Ambeth Ocampo, Chairperson of the Pambansang Suriang Pangkasaysayan (National Historical Institute) published on the Philippine Daily Inquirer on May 13, 2009.

Our 'Pasaway' Culture
By Ambeth Ocampo

Much has been said for and against Martin Nievera’s pop rendition of our National Anthem before the Pacquiao fight last week, and I just wish to add the last word before we move on to the next big issue and forget about flag and anthem once again.

After the live telecast of the fight, the delayed version by Solar Sports aired on GMA-7 was edited to incorporate some commercials, thus Philippine Airlines flies twice while Nievera sings the altered anthem in the background.

Nievera started slowly, as reverently as one does “Ama Namin” believing, like devout churchgoers, that dragging the tune to a funeral dirge makes it more solemn. Then Nievera picked up speed to mark the historical marching tempo of the anthem, slowing down again towards the end, gathering momentum to belt out the last line where he missed a high note. This was not lost on the audience which wanted him out of the ring so the much-awaited fight could begin. After the anthem, for a split-second, the seal of the National Historical Institute was flashed on screen, with the words, “Approved by the National Historic (sic) Institute.” The use of the seal was unauthorized.

Claiming that the NHI approved the Nievera version of the anthem was a misrepresentation. It was a lie.

I spoke out to remind Nievera and others who want to copy or outdo him that the National Anthem is not an ordinary piece of music that can be arranged and sung according to the singer’s musical taste. Our anthem, by law, should be sung or played as close as possible to the original composed by Julian Felipe in 1898. For the NHI to remain silent would have meant being remiss as implementing agency of the Flag Law.

To call public attention to the breach of the law is seen by some to be petty and kulang sa pansin. Now I am charged with going against freedom of expression and artistic license.

Without a Flag Law, there would be no issue here. But even the Cabinet secretary, instead of allowing the NHI to recommend as it so fit, spoke from a Malacañang perch and prejudged the issue in Nievera’s favor.

Two lawmakers declared the law outdated, thus encouraging more Nievera copycats. I am naïve to believe that we are a country of laws; if we do not agree with a law, we work for its repeal or amendment, but while it is in force we should not encourage people to flout it.

These lawmakers did not realize that the NHI has been following up amendments to the Flag Law since January that would allow a number of things: for example, the proper use of the flag or its representation on clothing and other objects. Our police and military have flags on their uniforms, so do our Olympic team. Will we make them liable under the law?

To nitpick a bit more, I should call attention to Nievera’s earpiece conspicuously displayed at the side of his face he prefers. Pasting the stylized flag on the earpiece was unlawful.

Worse, the flag was depicted the wrong way! While I agree that Pacquiao was fighting for his country and countrymen, it was not appropriate to display our flag the way it should be in times of war.

Ignorance of the law excuses no one, and everyone would accept a sincere apology. Nievera to-date has yet to do so. I was willing to give Nievera the benefit of the doubt because nobody knowingly disrespects our flag and anthem, but then Ryan Cayabyab, who was given a CD copy of the arrangement before the Pacquiao fight, had advised Nievera not to alter the anthem.

That Americans play and mangle their anthem is their business, not ours. That Americans burn their flag under the protection of free speech is their business, not ours. This is precisely the attitude that led lawmakers to draft RA 8491 which President Fidel V. Ramos signed into law at the height of the 1998 Philippine Centennial.

Pending amendments to the Flag Law, I plan to convene a meeting of deans of conservatories of music, composers, arrangers and recording artists to discuss and define the parameters of the playing and singing of the anthem. Then schools should be reminded to revive respect for flag, anthem and the nation these represent.

I know now what a bibingka feels like: roasted from below by those who want the Flag Law enforced, and roasted from above by others who disagree and insist that the NHI (actually the law) is opposed to artistic license. I will leave all this for the Office of the Solicitor General to act on.

Is respect for the flag and anthem irrelevant to our times? If it is considered petty to enforce a simple law, how do we expect others to follow greater, more difficult laws?

Two decades ago, James Fallows wrote about our “damaged culture” and reaped a whirlwind. We should update this to “pasaway culture” of our times.

Why do we have issues with authority and law? History gives us a hint: Rizal and Bonifacio went against Spanish laws and became heroes. Aguinaldo went against American laws and became a hero. Jose Abad Santos went against Japanese laws and became a hero. Today we are a free and independent nation, with Filipinos making laws for Filipinos who unfortunately have been historically conditioned to flout the law and hope to get away with it. Read the exchange on whether Nievera was right or wrong, and ask yourself why laws in this country are mere suggestions. Why can we not agree on how to best respect the symbols of the nation?

I should blame history for this confusion, but then maybe we should blame ourselves and our pasaway culture.

Comments are welcome at aocampo@ateneo.edu

What's the Fuzz?

The Pambansang Suriang Pangkasaysayan (National Historical Institute) has reprimanded singer Martin Nievera for his rendition of the "Lupang Hinirang" (Philippine National Anthem) during the Pacquiao-Hatton fight last May 3, 2009.

Here is a video showing how he intended to sing it during the fight:


His intention may be good but he violated the Flag and Heraldic Code of the Philippines (Republic Act No. 8491) which on Section 37 clearly says,

"The rendition of the National Anthem, whether played or sung, shall be in accordance with the musical arrangement and composition of Julian Felipe."

Click here for a sample of the Julian Felipe's arrangement from the NHI's website.

Please click here for more on this issue.

Credit to the Pambansang Suriang Pangkasaysayan, aldr1025 through YouTube's dude2nuckle, and the Chan Robles Virtual Law Library.

The Sablay: No Togas for Graduation

No togas for graduation!?

This is specially true for those graduating from the Philippines' national university this April. For many years now, the University of the Philippines has done away with the western style academic dress (cap, hood, gown and all) and turned to our heritage for the inspiration of its official academic costume -- the Sablay.

The term "sablay" has two meanings: one, a loose piece of clothing, worn by a person, that is simple yet elegant and joined in front by an ornament, and two, the draping of object or fabric on the shoulder. "Nakasablay sa balikat."



The Sablay is inspired from the malong of muslim Mindanao. It has the colors of the University maroon and green as well as yellow gold which stands for the high standards of values and excellence. It features the indigenous baybayin characters for "U" and "P" ( and respectively) and the curvilinear design called ukkil or ukit, resembling a sprouting plant which symbolizes life. Also found on the Sablay are geometric designs (in zigzag and diamond patterns) which we also find on the attires and functional objects of indigenous peoples from Batanes to Tawi Tawi. "Arranged continuously and rhythmically, these geometric designs highlight the diverse cultural communities in the Philippines and the University’s pursuit of knowledge, cultural enrichment, and scientific advancement."

During the commencement ceremony, graduates wear the sablay at the right shoulder, it is then moved to the left shoulder after the President of the University confers their degree, "similar to the moving of the tassel of the academic cap." The movement is done without taking the Sablay off -- a special "maneouvre" the professors proudly teach their students.

The Sablay is worn over a Filipiniana attire, usually a Barong Tagalog and black pants for men or an ecru dress for women.


So far, the use of the Sablay is only exclusive to the University of the Philippines and it would be wonderful if the other academic institutions follow suit -- especially since togas are kinda hot! It is not just a mere graduation garb but a symbol of our rich culture and heritage.

It is surprising to note that this is just a young tradition that began in the 90's. It just goes to show how digging deep into our culture and heritage can bring out something unique, remarkable, and practical.

Credits to The Corsarius, The Lefthandedwanderer, the UP Office of the Vice Chancellor for Research and Development and Wikipedia.

Haven't found the right graduation gift yet? Then this Mahusay Pogi Shirt, might just be the perfect gift to mark this milestone. You may also check out other Pogi Shirts at our Tindahan.

Vote Earth for Earth Hour

As I write this post, it's already 3 hours before the Earth Hour. It's never too late to encourage everyone to vote against global warming by switching off your lights for 1 hour from 8:30-9:30 PM.

Pogi Shirts supports Earth Hour. I hope you do so too.

"Quote Unquote"

"A people that take no pride in the noble achievements of remote ancestors will never achieve anything worthy to be remembered with pride by remote descendants. "

- Lord Thomas B. Macaulay

Courtesy of Conrado A. Bugayong II via e-mail.

Joint Statement of the Heritage Conservation Society and ICOMOS Philippines on the Dingras Church

The Tale of Two Facades

The Planned Demolition of our the Historic Dingras Church Facade

A call to arms and a sound of alarms! Once again, a historic structure in our country is threatened. What makes it even more alarming is that it happens in the same province, Ilocos Norte in almost the same period of time. First the planned demolition of the Laoag Central Elementary School, a perfectly usable, intact and beautiful example of 1920's education architecture in exchange for a mall, and now the proposed demolition of the centuries old façade of the Church of San José de Dingras to be replaced by what would most likely be a poor replica of the former.

What gives? Dingras is one of the most picturesque facades in the country not due to its Baroque grandeur, but because of its perfectly beautiful proportions, the patina of the ancient bricks and more importantly its enduring and eternal visage of a ruin. The church of Dingras like most colonial churches in the country experienced numerous re-buildings during its course in history, and like similar structures in Ilocos have conflicting information. An earlier structure, presumably made of light materials was built before 1620, which was damaged during the earthquake of November 11 of the same year. Another conflicting report this time by Captain Don Lucas Mariano de Ochoa, together with his barangay heads in 1710, mentions that the church of Dingras had been constructed by their minister Fray Alonso Cortes OSA 30 years ago, c. 1678-1680 and that by the year of writing, 1710, only the brick walls remained. Noted Church historian Regalado Trota-Jose on the other hand mentions a brick church being built in the late 1670's collapsing in the earthquake of 1707. Whichever information is correct it is presumed that this solid structure may be surmised as the second church of Dingras.

This structure may have undergone rebuilding but was subsequently consumed by fire in 1838, which also gutted the whole town. Father Pedro Galende OSA mentions that in 1879, Fray Damask Vieytez OSA built the present church, which is described as being huge and massive. But Trota-Jose corrects this by stating that the church was built sometime during the priorship of Fray Vieytez from 1846 to 1854, the year the said builder died. The church again underwent renovation, this time fixing the roof and replacing it with metal sheets during the incumbencies of Fray Ricardo Diaz OSA (1879-1893) and Fray Fidel Franco OSA (1894-1898), whom Galende identifies as Saturnino Franco. Fire and earthquake again destroyed the church in 1914 and 1931, which made the structure unsafe and subsequently abandoned. A smaller concrete structure was built on the plaza across the street, which served as the house of worship for the town. The ruins of the old church remained standing throughout this time and became a beautiful and nostalgic setting for pictorials and even concerts. In the past decade the church has been re-opened and masses again have been conducted inside the refurbished and retrofitted structure.

The architecture of Dingras is also significant not only in the annals of Philippine architectural history but more importantly Ilocos Architecture for this together with the facades of the churches of San Nicolas, Piddig, and the original pre-1984 facades of Sarrat and Vintar follow the manner and character of the Vignola masterpiece of the Church of Il Gesu in Rome. Sadly with the proposed demolition of this façade gone would be this fine example, with only that of the Church of San Nicolas serving as the only remnant to this once popular style.

Why demolish this ancient brick façade? It would appear that the ruin is precariously leaning on to the newly built gym like shed built by the parish during the early parts of this century. After standing and buffeting typhoons, earthquakes, wars, pollution and other unknown forces, the façade, though showing its age is still massively strong and with the proper methods of conservation and shoring would allow it to continue gracing and serving the populace of Dingras and people who appreciate and understand the meaning of continuity.

Other leaning facades have been shored up and made safe for people to appreciate. One does not need to travel far to see how, through a concerted effort, a historic ruin was saved and even elevated to become not just an icon of a community but a whole promotional tool of a region, a people and a country.

Macao's world renowned ruins of the Jesuit Church of Saint Paul are a prime example of how a façade could be shored up, strengthened and saved for generations to come. Began in 1602, the church like those in the Philippines suffered numerous travails in its colorful history. In 1835 fire destroyed the church leaving only a pile of rubble and a wonderful façade standing. Restoration efforts in the early 1990's resulted in supporting the ruins by building a concrete inner stencil that would serve as a reinforcement of the Baroque façade. Today, the ruins of St. Paul are the must see tourist destination aside from the Casinos that litter today Macao's quaint islands.

What was done in Macao, can be done in Dingras. Economically speaking it may even be more prudent to just build a retaining inner wall than to tear down a heavy masonry façade and rebuild it following the same lines and specifications of the original. Artistically and technically speaking, the methods, know-how and artistry of today compare poorly to the craftsmanship of the 19th century. Finally, do the people of Dingras understand the repercussions of loosing a vital piece of their heritage even if the façade were to be replaced by a replica! A replica remember does not replace the original, for whatever reason one gives. The best is still the original, and a replica is but considered a fake.

One wonders why this project is even being considered. True, the need to shore up the façade is pressing. The safety of anyone visiting this shrine of faith is the paramount concern of the parish. But do the necessary agencies both local and national know of the proposed demolition of this historic façade! If they do, are they inept enough to even suggest the demolition instead of alternative processes of rehabilitation of a vital monument! One wonders again at the ineptitude of government and the people elected therein in suggesting the opposite of the complete conservation, preservation and rehabilitation of such vital infrastructure. Though the building is a private structure, its heart and soul lie deep in every Catholic and Filipino that roams the land.

Credits: Ivan Anthony Henares

The La Madre Filipina and the Jones Bridge

If you happen to stroll around Rizal Park in Manila, I'm sure you have encountered this statue to the left of the Rizal Monument. It is a classical statue named La Madre Filipina (roughly "The Filipino Mother").

It is a picture of a wayward son repenting before his mother who is silently comforting him with eyes looking forward as if praying. Next to the mother is her young daughter seemingly absorbing the example of her caring mother. A very poignant picture indeed.

This statue did not originally belong to Rizal Park but to another landmark. It was part of Architect Juan Arellano's design of the Jones Bridge.

If you watched the tour of Manila video posted earlier, you would see it part of one of the posts forming the entrance of the bridge. Look closely, it's shown from 8:04 to 8:07!

There where four of them in all depicting different scenes but this seems to be the only one left. Post-war pictures show that all four posts bearing the statues definitely survived the war but were gone by the bridge's reconstruction in 1949.

Well who knows, one day we might see them reunited and restored.

Photo credits to Carinoza, Wikipedia, Hawayano, and LIFE.

Education Handed Over to the Malls

This is a statement of the Heritage Conservation Society on the Laoag Central Elementary School.

Education handed over to the malls

The sad desecration of our built education heritage

It is sad to note that as the Philippines strives to move forward into the new millennium, we have forgotten to understand the true meaning and value of what makes us a people, a nation, and a country as a whole. The random destruction and desecration of our historic sites manifests total disregard for the past, the contributions of our forefathers, and the collective suffering of our people.

This is true particularly in the unwarranted need to promote growth through the demolition of historic sites and structures for what is today perceived as the most needed infrastructure project around, the shopping mall.

The historic city of Laoag, Ilocos Norte is one case in point. The Laoag Central Elementary School, built in 1929, is a fine example of educational architecture designed to provide first class instruction even in the farthest reaches of our archipelago. Designed in accordance to the Gabaldon Law (which stipulated that education is for all thus necessitating the construction of school buildings far and wide), these centers of education and the symbolism architecture they provide have shaped, molded and inspired generations upon generations of Filipinos. For a building, historic in its significance in the annals of Ilocos history if not Filipino history, its unwarranted destruction and conversion into another center of consumerism is another sign of our low regard for our rich cultural past.

Some sectors claim that the building and its grounds are ripe for development. Sitting right smack in the center of Laoag, indeed the site is prime real estate. But its building, particularly its main administrative structure, needs to be preserved, conserved and above all saved from the wrecking balls of greed. Even though the building is not yet listed by the National Historical Institute as historic, it is historic no doubt. It is expected of the people of Laoag, Ilocos Norte and the Filipino nation as a whole to preserve the fast dwindling historical buildings still standing.

Heritage is defined not solely as a structure with an official plaque as designated by these government agencies. Heritage is the heart and soul of a people, community, and nation. Heritage embraces the memories of the past. Heritage gives identity to a people, city, place, and country. As such, heritage is rendered with age, grace, beauty, nobility, significance and above all love. For if we love our country, then we should love the vestiges of what this country stands for.

That this historic structure should be demolished for yet another shopping mall, is a complete insult and disregard for love of country.

Heritage Conservation Society

http://www.heritage.org.ph/

Board of Trustees

Gemma Cruz-Araneta (Chairperson & President)

Christian Aguilar

Dr. Nathaniel von Einsiedel, FPIEP

Ivan Anthony Henares

Archt. Rene Luis Mata

Archt. Manuel Maximo Noche

Archt. Melvin Patawaran

Atty. Lucille Karen Isberto (Corporate Secretary)

Adoracion Soriano (Executive Director)

Advisory Council

Archt. Augusto F. Villalon, Ph.D. (Founding Chairperson)

Bambi L. Harper (Founding President)

Archt. Bettina Bonoan

Archt. Dominic Q. Galicia

Amb. Raul Goco

Edda V. Henson

Richard B. Lopez

Juan Miguel Luz

Maria Isabel Ongpin

Photo credit to Ivan Anthony Henares

Death of a Laoag Heritage School

It's always sad to hear stories like these since part of our collective soul is in danger of getting lost. This is an article from the Philippine Daily Inquirer.

Death of a Laoag Heritage School

By Cristina Arzadon

Philippine Daily Inquirer

First Posted 00:13am (Mla time) 01/07/2009

LAOAG CITY – Heritage advocates refuse to throw in the towel on the conversion of Laoag City’s heritage school to a shopping center even as the mall project appears to be a done deal.

The conversion of the Laoag Central Elementary School, housing historic Gabaldon-type buildings, to a mall has caught the attention of conservationists who foresee another heritage disaster similar to the fate of other structures and buildings with historical significance.

Based on a marker inscribed on its façade, the school building was built in 1929 after the 1.3-hectare property, owned by the Roman Catholic Church, was donated to the then town of Laoag by Nueva Segovia Bishop Santiago Sancho in 1924.

The other Gabaldon structure within the lot is the Home Economics building.

Laoag is also home to another schoolhouse, the Gabaldon Elementary School, named after Rep. Isauro Gabaldon, who sponsored Act 1801 of the National Assembly for the construction of elementary schools around the country during the American period.

Travel writer and heritage advocate Ivan Anthony Henares started posting comments on his blog and generated reactions calling attention to the demolition and relocation of the LCES building to another area.

Misplaced priorities

“Another heritage school could soon become a victim of misplaced priorities if nothing is done to stop the rampage,” said Henares, a member of the Heritage Conservation Society (HCS) board of trustees.

He echoed the community’s concern that the proposed mall would disturb the city’s historical landscape while ground movements might pose a threat to the structural stability of the ancient belfry right beside the school compound. The belfry is a major historical, cultural and religious icon.

The need to relocate the school has been the subject of discussions for many years by the city government due to the growing congestion around the premises of the school in the middle of downtown’s commercial district.

The city government started public hearings in June last year following negotiations by officials with the mall developer.

Expectedly, the project was met with stiff opposition from small businessmen and the school’s Parents-Teachers Community Association.

The business community raised the fear that the presence of a giant mall would dominate competition and eventually render small business operators bankrupt.

The school’s PTCA lamented that the historical landmark would be erased in the name of commercialization.

“Education should never be sacrificed for commercialization, no matter the perceived increase in income that the Roman Catholic Church and the city government will realize from the conversion,” the parents and teachers said in a published manifesto.

“The LCES for its more than 80 years of existence has become a historical landmark of the City of Laoag as a bastion of education,” they said.

Restoration program

The Department of Education and the HCS have embarked on a project to restore historic school buildings through a heritage program. Funds are provided to restore one heritage schoolhouse per region around the country for the benefit of teachers and students.

There is no showing, however, that the Laoag school has been lined up for rehabilitation under the program.

Mayor Michael Fariñas is mindful of the community’s sentiments but he noted that the LCES has not been declared a historic site.

“[The school] is not in its original state. It has already undergone several renovations. What is there to preserve?” he asked.

Fariñas obtained a certification from the National Historical Institute that the LCES was not among the seven sites declared national shrines and national historical landmarks in Ilocos Norte.

He said benefits and drawbacks were carefully weighed before the city government and the Catholic Church decided to push through with the school’s relocation. The project, he said, would provide job opportunities, increase city revenues and perk up business activities.

“Ultimately, the LCES is no longer convenient for education purposes. Children and teachers are surrounded by constant distractions,” he said.

The expanding business district is a growing threat to the school necessitating its relocation to another area, the mayor said.

“We are not sacrificing education. We are offering a healthier environment for our children,” he said.

The mall project is covered by a 25-year lease agreement entered into by the city government, the Catholic Church and Pampanga-based mall developer Bellagio Holdings Inc.

The agreement was signed in December last year. The developers have not indicated when construction will begin.

Under the agreement, the school will be relocated to a five-hectare lot fronting the Laoag bishop’s residence at the northern section and away from downtown.

Photo credit to Ivan Anthony Henares

Take a Tour of Manila!

If the extended holiday is not long enough for you to go places. This is a travel video might be for you.

"But it's still Manila. Ilang tambling lang andun na ako," you might say. But don't close this browser yet! Read further, it's the Manila that you probably have not seen before -- it's Manila, 1938!

Courtesy of the Travel Film Archive on YouTube, this video gives us a glimpse of what Manila was before it was destroyed by the Second World War.

See how majestic Jones Bridge was and how fantastic Intramuros was with its well preserved Spanish-colonial architecture. It's no wonder Manila is called the Pearl of the Orient. Now, if you have a 50-peso bill, compare what you see with that on the bill. The building then had much intricate details than now.

Well, don't despair if we lost so much. We still have some just needing our attention and care. It's just under the dirt and grime of neglect.

Asia's Latin City

This article is taken from Augusto Villalon's weekly article Pride of Place in the Philippine Daily Inquirer published November 24, 2008.

Pride of Place

Asia’s Latin City
By Augusto Villalon

Philippine Daily Inquirer

MANILA, Philippines - Bienvenidos, buenas dias contigo,” my host said, her eyes lighting up into a radiant smile as I walked into the Zamboanga airport terminal.

It was my first time there, but with a welcome like that, I knew this was one of those special places in the Philippines that was going to be an experience to remember.

Filipinos imagine Zamboanga as the gracious city in the southern tip of Mindanao; a seaside city profuse with flowers whose residents have long been a mix of religions and cultures; an old settlement upgraded by the Spanish conquerors whose fortifications remained long after the city became the leading American colonial stronghold in the far south.

The city is one of the few in the country where heritage survives intact, evidenced in so many historic structures still in use today. Church and mosque spires mark the skyline despite rapid construction of commercial structures that are now beginning to change the traditional low-rise profile of the city.

On weekends, crowds of people picnic and swim on city beaches along the tree-lined boulevards which arc to follow the shoreline. In the foreground of the pristine blue water is Sta. Rosa Island, famous for its pink-sand beaches. Just behind it looms Basilan island, about an hour by boat from Zamboanga.
Chabacano

Zamboanga bills itself as Asia’s Latin City. Absolutely Latino-based is Chabacano, its spoken language, a Spanish-Bisaya patois of “60-percent Español and 40-percent nativo words,” says the city brochure, a living language unique to the place and its people that continues to evolve today by absorbing words from the vocabularies of the different cultural communities who inhabit the city.

Zamboanga’s edge over other Asian cities of Latin heritage—Goa, Malacca, Macau—is language. While those Asian cities may have retained some practices and landmarks of shared Latin heritage, they have pretty much lost their Latin languages.

Chabacano remains the lingua franca uniting the fusion of diverse cultures coexisting in the city for generations. A cultural melting pot better than Zamboanga probably does not exist anywhere else in the Philippines.

Their spoken language is the definite Zamboangueño identifying mark. It perfectly encapsulates the city’s multiculturalism. With a lifestyle as charming as their native language, Zamboanga is enchantingly different from anywhere else in the Philippines.

Enchantingly different is the city center, radiating from the former city wharf with the city hall as its centerpiece, which was originally constructed by the American colonial government in early 20th century as the provincial capitol.

From the ceremonial balcony on its second floor, Mayor Celso Lobregat treated us to a sweeping vista that took in avenues surrounding the Rizal statue among the flowers in the plaza fronting the city hall, where generation after generation of parades and processions must have passed in review beneath dignitaries standing on the balcony.

Plaza Pershing, named in memory of the American Gen. “Black Jack” Pershing, who figured prominently in establishing American colonial rule in Mindanao, is another small plaza close to the city hall.

Although modern construction threatens to engulf Plaza Pershing, heritage trees continue to shade the open area. One example of an early gas-lit lamp (whether it is an original or a reproduction is undetermined) still exists, unused, on one of the plaza walking paths that lead to a pair of round, colonnaded glorietas built in early 20th century.

Architectural gems

Compact and walkable, downtown streets lead to a maze of shops and businesses punctuated by some architectural gems. The Art Deco-style police station, built during the Japanese occupation of Zamboanga in the 1940s, stands out. Another unrecognized gem is the Art Deco Philippine National Bank building, dating back to the ’50s.

On a street leading away from the city hall, with many heritage residences, a total surprise is stumbling upon a plain shop front of Malaysian kopi tiam, a small restaurant serving incredible roti canai and Malay breakfast food.

Outstanding are the houses on this street which maintain their heritage architecture while now in 21st-century use as banks, restaurants and commercial offices.

More outstanding than anything I saw in Zamboanga is the main building of Western Mindanao State University. An undiscovered gem of American colonial architecture from the early 20th century, it is a wonderful example of Beaux Arts favored by the American colonial government, which was adapted to tropical conditions with large window openings, high ceilings with floor-through interior ventilation and excellent architectural craftsmanship in its moldings, doors and wrought-iron grillwork.

Zamboanga is one of the few cities in the country where heritage from different historical eras and a variety of people coexist, where the local vocabulary fuses words from different cultural origins.

In the Yakan Village, some textiles are still woven on the spot, more or less still following the traditional manner, and sold as tourist souvenirs. At the Barter Trade market is found all sorts of merchandise from cheap souvenirs, traditional craft by local tribes, Indonesian textiles and Chinese food.

Most importantly, Chabacano says it all for Zamboanga. How amazing it is that a city’s spoken language not only reflects its heritage and lifestyle but also establishes the city’s image, which Zamboangueños are determined to keep as their edge against globalization.

E-mail the author at pride.place@gmail.com.

Photo credits to Flickr's Bobbykm for the Zamboanga pictures and to Pelikula Atbp. for the Chabacano movie poster.

The Belle Bids Farewell

Another of our dwindling number of our built heritage in the city is lost and along with it the countless life stories intertwined with this landmark.

Original text and photos submitted to Fudge Magazine. March 2008
Edited (uncredited) by Vicente Garcia Groyon III
With acknowledgements to Ms. Anna Gan, Managing Editor of Fudge Magazine
Double cover issue: Indiana Jones or the 'Hot Issue' with Beng of Drip, Karen Agarrado, Caren of Sigh and Sara Marco of Taken by Cars
Pages 18 to 20. Fudge/ Magazine. Entertainment/ Pop Culture. Yr.4/ISS.0/May2008.

The Belle bids farewell
By Melanie Casul

It doesn’t have the name of a National Artist for Architecture associated with it, nor was it ever considered a first-class cinema with famous personalities attending its inauguration. Appropriately, this anticipated obituary of Bellevue Theater located at 1115-1117 Pedro Gil Street is written by a non-architect, a non-historian, an ordinary person.

The “For Rent/Lease” sign that hung on its marquee since December 2006 has been taken down, and its box office sold its last ticket on January 28, 2008 to a meager number of people who came to watch “She Walks By Night” starring Belinda Bright doubled with the Russian horror flick “Daywatch.”

The Bellevue stood, until then, as one of the two oldest remaining and functioning pre-war movie theaters in Manila. Now it is survived only by the Times Theater (opened in 1941) on Quezon Boulevard.

The Bellevue, as a space of spectatorship for the moving image, appears as early as 1933 in the book “Manila and the Philippines” published by the American Express Company, although a number of architect academicians estimate this structure to have been built between 1931 and 1933. It was listed among 10 other cinemas, with its address indicated as 932 R. Hidalgo. It survived World War II, the seasonal floods in the area, and the migration of audiences to nearby Robinson’s Place Ermita and other multiplexes with up-to-date screening technologies and better parking spaces. Sadly, her marquee is now dimmed, after almost 75 years, as she bids farewell to the urban jungle of megamalls and disappears into the cracks of history.

The theater property is owned by the ALC Theater Circuit, which also runs the Vista Pasay and the Vista Recto. It was purchased from the family of its second owner, Enrique Gruenberg, in 1981 along with the Joy Theater in Pasay.

The facts of its origins prior to this are hazy. Enrique’s wife Candelaria said in a 2001 interview that her husband worked as manager of the Bellevue around 1952 and later purchased it from her Spanish mestiza owner in 1971. On the other hand, Pabling Honrado, an employee of the theater since 1961, recalls the original owner as an Arab (or Indian) that paid off his huge debt to Enrique with the sale of both the Bellevue and the Joy.

The Gruenberg brothers—William, Alfredo, and Enrique—owned and managed a number of theaters during the 60s and 70s. When Enrique died in 1980, the theater was sold for 10 million pesos since none of the family members wanted or were prepared to run the theater.

Like Toto in the film “Cinema Paradiso,” its current owner Ambassador Antonio Cabangon Chua of ALC fell in love with the movies in this theater when he was a young boy. He told his mother that he would one day own it so that they could watch movies any time. He did just that and more—created a film production company called Libran Motion Pictures which produced their last movies in 1997 entitled “Butas ng Karayom” and “Tapusin Natin ang Laban.”

My love affair with the Bellevue started, like most relationships, with an ordinary introduction. In 2000, I was Project Director for the national touring exhibit and lecture series called “Arkitekturang Filipino: Spaces and Places in History,” funded by the National Commission for Culture and Arts. I saw the first photo of this magnificent structure on the glossy photo panels of the exhibit taken by architect academician Dr. Gerard Rey A. Lico. I’ve been hooked on Bellevue since, investing the next six years to researching my recently defended master’s thesis on her and other movie palaces.

As if summoned by forces beyond our understanding, in mid-February I received a call from Gerard, asking for the Bellevue’s number, as his regular throng of UP Architecture students was set to make a plate on the cine. I was only able to text him the digits of the Bellevue the following morning, and to my surprise I received a call from him minutes after, informing me that the cine was in its final phase of demolition. I quickly placed a call to theater manager Frank Lamila and then to ALC’s head office in Makati to confirm the sad truth.

As I relayed news of the tragedy to my friend Gerard, little did I know that he had already hatched a plan to salvage what he could of the Belle. He obtained details from me of whom to write a letter requesting to have the cine artifacts donated to the soon-to-be-opened Museum of Filipino Architecture at the University of the Philippines in Diliman. This was not difficult to do, as I already knew all the details by heart, and with that, a fax was sent and I raced to the site to assess the damage, hold the fort, and get permission to document the theater.

Even in her heyday Bellevue was always a double-feature cine unlike her movie palace counterparts in downtown Manila, but despite this, the Bellevue still held her own. Various architect academicians and art historians hail the Bellevue as a fine example of Art Deco architecture despite her lack of pedigree. Her Islamic/ Moorish design is described as being in the Neo-mudejar style. Typical of this style are the gilded harem maidens bronzed by time and dust gracing her lobby and façade. She also features a pseudo-grand staircase in the middle of the lobby and a chandelier with small glass globes.

The two domes visible from the street enclose the high ceilings of the male and female toilets on the second level. As an occasional patron, I can say that the theater was kept clean and sanitary. Also cunningly disguised are the fire exits which look like tall gates with arched sculpted doors. The second level still retains the original Tanguile wood flooring. The orchestra section seats 400 and the balcony 200. The auditorium is topped by a huge dome with wooden rafters while is screen is framed by carved wooden “curtains.” However, the Bellevue’s visually striking design fails to compensate for its technology—it is only ventilated by fan blowers and a noisy Porta-Cool system, and its ancient Super Simplex projector which has only survived thanks to numerous repairs over the decades.

A few years back, I chatted with Honrado before he retired. ALC’s retired billboard painter told me that they found an old war-time helmet, perhaps a Japanese soldier’s, under the basement trap door at the rear left side (now covered with concrete). Tito Frank Lamila fondly recounts that an elderly balikbayan who told him the sculpture of a lion with his paws once sprawled lazily in the middle of the lobby.

Perhaps more could have been done to save it? We did not visit her as regularly as we should have, and Tito Frank had lost my cell phone number. As much as he wanted to tell me the news earlier, he could not reach me. I was caught off-guard despite my steadfast championing of our Belle.

Since I started documenting Bellevue’s significance as a public space of socialization for her disenfranchised audience, I have subtly rallied her employees to take up the cause with their bosses. They have even given him samples of the studies I conducted. However, the realities of her dwindling economics were too harsh to ignore and it being a private establishment, certain boundaries could not be crossed. I have become quite close to the employees of the Bellevue over the years, including her former manager, the late Romeo Oseo, retired theater booker Pat Alvis of Libran, and a regular lame-mute patron nicknamed “Putol” who got around with a makeshift skateboard. I wonder where he would watch movies now.

I became less of a historian and more of a loyal patron, simply enjoying the banter with the blue-collar workers in the lobby between shows and sharing a laugh with the occasional sex cruiser over a soft drink at the commissary. And there lies my regret at not having been more aggressive with the politics of saving her. I accepted the fact that the end of her days was imminent and thus I simply chose to love her as a spectator for as long as I possibly could.
With the green light from management to document the demolition, a day after the news came of her curtain call, three neurotic devotees of the Belle met in the disheveled orchestra pit amidst the smoke of a makeshift fire to help illuminate the darkness that enveloped the construction workers as they pounded away at the ground. Dr. Gerard Lico, his apprentice Foom Cobilla, and I—two architects and an ethnographer—fell silent at the scene that lay before them.

All 600 seats had been taken out in sets of five and donated to a cockpit arena in Meycauayan, Bulacan and the famous harem maidens guarding the staircase were resting in wooden crates lovingly constructed by Tito Frank and carefully transported to a warehouse in Guadalupe. All was set for the next tenants of this historic landmark—a clothing department store called Novo that would take up residence with a 5-year lease.

As the workers continued to demolish the interiors Gerard and I went up to the mezzanine to say our goodbyes to the façade maidens that stood steadfast despite the destruction below. All that is left of my muse is a rusted screw and washer, pocketed from the balcony in the insidious smoke that rose from the pits, and broken blocks of marble from the staircase.

But my Belle, never one to disappoint, bequeathed a final gift to her audience... a glimpse of her soul: glorious red and blue hand-painted wall ornamentation behind a demolished wooden wall in the orchestra foyer. As we carefully chipped away at the wood to reveal the treasured find, we were astonished to discover the same ornamentation all over the orchestra walls, hidden for decades underneath acoustic paneling. This was a revelation that would ignite our romantic memories of her forever.

There are no movie lines good enough to express how sad I am for her demise. However, some silver yet glimmers from the tatters of her screen—her owners are intent on keeping the Moorish façade intact and have expressed interest in reviving the Bellevue after five years. Wishful thinking, perhaps, but in the wake of your muse’s death, wouldn’t you gratefully accept every scrap of hope, albeit offered in memoriam?

Gratitude goes to Melanie Casul for allowing Pogi Shirts to post her article.

Vote for the Philippines' 7 Natural Wonders!

The Philippines is internationally known for its rich biodiversity. And it is not surprising since the Philippines is blessed with a fantastic natural environment (just get out of the city Ü).

Now it's time we bring it out for the world to see by voting for the Philippines to be part of the world's New7Wonders of Nature!

The first round of voting is up until July 7, 2009. After that, 21 finalists will be selected by experts from the top 77 which will be announced on July 21, 2009. The New7Wonders of Nature will be selected from these 21 by popular vote.

The Philippines has 7 nominees lead by the Puerto Princesa Subterranean River National Park, at the No. 1 spot as of Oct 28, 2008.

The Philippines' seven nominated natural wonders are:
1. Mount Pinatubo
2. Hundred Islands National Park
3. Chocolate Hills
4. Taal Volcano
5. Mayon Volcano
6. Puerto Princesa Subterranean River National Park
7. Tubbataha Reef

Please vote for all these seven here. :)