Diwata, a new metaphor, in the 105th graduation rites of UP Diliman

The installation art by Toym Imao is inspired by the sarimanok.

"Ako ay isang diwata. Lahat tayo ay diwata. [I am a fairy. All of us are fairies.] We, the graduates, have the potential to soar through the stratosphere. From the rocks of Oble on the ground to the cosmic domain of Diwata [the first micro-satellite of the Philippines], our family, friends, university officials, and professors have shaped us to take flight. Let us thank them by soaring to the sky. Pumailanlang na tayo. Mabuhay ang mga bagong diwata! [Let's all soar. Long live the new fairies!]"

That's how Alexander Atrio Lim Lopez invited his fellow graduates to go out to the world during the 105th Pangkalahatang Pagtatapos [General Commencement Exercises] of the University of the Philippines Diliman on 26 June 2016.  He was speaking on their behalf along the theme"Diwata and Oble, Me and You." 

Alexander Lopez, summa, spreads his arms as if  to soar like Diwata (the satellite), or a diwata (mythical fairy).

Lopez was one of the thirty summa cum laude that led Class 2016 comprising 4,552 graduates from 27 degree-granting units: 3,580 who received their undergraduate degrees and 972 their graduate degrees (70 of which were conferred their doctorates).

The top three among the summa were Miguel Ricardo R. Leung, BS Molecular Biology and Biotechnology (WAG of 1.0375); Miguel Raymundo C. Gutierrez, BS Economics (1.064) and Danilo Lorenzo S. Atanacio, BS Economics (1.074).  

The six summa from the College of Engineering with college and university officials.

Lopez was a former student of UP Manila where he earned his BS Basic Medical Sciences degree under the 7-year Intarmed program. Instead of pursuing the MD program, he opted to enroll at the College of Social Sciences and Philosphy in the Diliman campus. He earned hi BA Philosophy with a WAG of 1.1810.

He recalled that back then in his third year of Intarmed, he knew that he will not be a medical doctor.

"I already knew I loved philosophy," he said, "but I also thought about the lower pay that philosophers got compared to medical doctors and maybe more importantly, the lower respect that philosophers received. My failure was I wasn’t brave enough to accept and fully defend what I loved."

Even if his classmates were being shaped by the UP College of Medicine, he wanted his "rock to have a shape different from medicine to support Oble."

Lopez looked at Oble [the Oblation] as a representation of "each Iska and Isko [short for scholar of the people, or Iskolar ng bayan] and each person,"   The iconic statue of UP stands with its head looking up, its arms outstretched with palms up standing on a pedestal of rocks. "The rocks are like the differently-shaped disciplines that make up UP" and "[e]ach discipline, whether it be from the sciences or humanities, has a different character. The combination of these differences allows humans to soar," he said.

A graduating UP Pep Squad 'soars' as her dean presented the members of their class.

He reminded Class 2016:  "When we are inspired, we do our best work. When we do our best work, we can offer the best service to our countrymen, which is after all, what Oble is known to symbolize. It is in the interest of society that we put each other in situations that will inspire us to do our best work for the people. When scientists, artists, and philosophers do their best, it is not only the individual but also society that soars.

"We need all of them. In a tragedy where 49 people were shot dead, it’s medical science that heals the victims’ bodies and minds, it’s art that inspires survivors to move forward, and it’s philosophy that forms ethics to prevent another moral disaster.  

Pledge of loyalty to the University.

"I have acquired scientific precision from medicine, artistic expression from creative writing, and rational open-mindedness from philosophy. All these have shaped the rock that  I give in support of Oble’s soaring.  Fellow graduates, we all have our shapes that are distinct and beautiful—beautiful like a diwata."

As each one builds his or her life in the real world, UP President Alfredo Pascual invoked in his keynote speech that this be done with integrity and honor, tenets that the university builds into the minds of its students. 

The clinched fist in the singing of the University Hymn.

Pascual invited them to give this a thought: join the academe and help mold the minds of future nation-builders.

Up above Quezon Hall and the colorful installation art based on the sarimanok by Toym Imao is t he call to graduates of UP, the national university: Paglingkuran Ang Sambayanan [Serve the People].

The lightning protest toward the end of graduation rites each year.

Christmas in UP Diliman 2015

Pag-iilaw based on design concept of artist Toym Imao.

The University of the Philippines Diliman campus closed 2015 with Christmas festivities that played on the motif of light and embodied in the theme "Dingas: Adhikaing Diliman, Adhikaing Bayan [Sparks: Diliman and Country Aspirations]'.

'Ang "dingas" bilang simbolikong kahulugan ng Kapaskuhan,' Chancellor Michael Tan said, 'ay napakagandang pagsasalarawan sa UP. Bilang lunsaran ng mga radikal na kaisipan, kamulatan sa mga usaping pambayan at mga pagkilos, ang pamana ng UP ay mistulang maliit na ningas ng apoy na unti-unting lumalagablab. Pinag-aalab nito ang damdaming makabayan at pagmamahal sa bayan ng ating mga mag-aaral, guro at kawani.'  [The spark as symbol of the meaning of Christmas is a beautiful description of UP. As platform for launching radical ideas, consciousness of national issues and actions, the heritage of UP seems to be a small spark that slowly spreads out to fire the patriotism and love of country among our students, faculty and personnel.]

The festival mood was turned on by Aninag [Reflection] 2015 on 27 November: a procession around the campus led by university students carrying intricate Pampanga lanterns mounted on bamboo poles, which was capped by Pag-iilaw, the lighting of the campus, the Oblation and plaza through the latest installation art of sculptor Toym Imao. One hundred seven (107) lighted balloons, representing UP's 107th anniversary, were also released to symbolize the new hope of the nation, 

College of Social Work and Community Development.

The Aninag was inspired by the Lubenas, a Kapampangan tradition of evening processions to the church during the nine days of the “simbang gabi” leading to up to Christmas Eve. In Diliman, it stopped at six stations where a light show, puppel show and choral singing of Christmas songs were staged, and culminated at the Oblation plaza where universty officials turned on the lights for the Pag-iilaw. 

With multi-color lighting and three flame components, Imao refashioned the Oblation to symbolize a sulo [torch], the three towers in the Quezon Hall as lighthouses, the lights in the Oblation Plaza as sails and the trees around Quezon Hall, adorned with red lights for the season, as fire trees. According to the Imao, these metaphors are for the University’s roles as a spark for new ideas, a guide to action and the beacon for public service.

"The Pag-iilaw," explained Chancellor Michael Tan, "played on the theme of dingas, a spark that catches on and spreads, lumalagablab,"  

Other festivities followed:

The Carillon Plaza became the concert arena for the Krizzmazz Jazz of the UP Jazz Band on 10 December for all jazz enthusiasts and music lovers.  The bells also opened, closed the concert with UP Naming Mahal and rendered Christmas songs for some time in the early evening,

College of Arts and Letters

The UP Filipiniana Folk Dance Gorup, including some 50 alumni, in celebration of its 80th anniversary staged Tanglaw 2015: Isang Pamaskong Konsyerto [Beacon 2015: A Christmas Concert] on 11 December,  The dance concert comprised two parts: folk dances from all over the archipelago, and modern dances choreographed to local love and Chrismas songs.

The climax, of course, of Christmas in UP Diliman, was Parada ng mga Parol [Lantern Parade] 2015 of 14 December evening.  This is the lastes continuation of a university tradition that started almost a hundred years ago (1922), albeit interrupted by the Second World War and the hiatus due to martial law in 1970-1976, or cancelled due to 'security threats' in 2006.  

It was also inspired by the folk custom of carrying lanterns of various shapes and sizes to light the way to the church for the nine-day early morning misas de aguinaldo or the midnight misa de gallo of Chrismas eve during the Spanish period.

The Lantern Parade has evolved with the times reflecting the changing social and political landscape of the University and the country. Modern technology like computers and robotics has also influenced the creation of lanterns and floats. The parade has also shown the diverse faces of university such as the LGBT sector (UP Babaylan) and the Muslim community,

This year, several academic units highlighted their foundation anniversaries with colorful lanterns: College of Social Sciences and Philosophy (float/lantern depicted a 'solar system' of thoughts), College of Dentistry (used a fully-dressed female figure ala Oblation with the iconic sablay), School of Urban and Regional Planning (had Oblation with symbolic urban structural icons), and the Cesar E.A. Virata School of Business (float/lantern a towering 100th birthday cake).

Institute of Islamic Studies.

UP Mindanao had a delegation in southern Philippines costume; their float/lantern was a typical Muslim house; likewise, the participants from the Institute of Islamic Studies, Other academic units had the vinta and sari-manok as motif. The College of Architecture had a massive Muslim Mindanao house from which a giant sari-manok emerged when it split into three.  The College of Arts and Letters used the Manobo story as float theme: man and woman confronting an eagle.

University and national issues were subjects of the protest floats/lanterns of SAMASA (the student political party), College of Mass Communications and the All UP Workers Alliance.

SAMASA: Never Again! Never Forget!

SAMASA had a 'military tank' painted with the slogans protesting 'the resurgence of fascism' and enjoining spectators  to 'Never Again! Never Forget!' martial law and the Marcos dictatorship. This is the same tank sans the slogans and the mounted lights that Toym Imao and his friends use in the reenactment of Second World War scenes during Independence Day or Bataan Day celebtations.

The College of Mass Communications had a giant microphone decorated with CDs and live-streaming TV sets vis-a-vis their protest theme of 'Stop Killing Journalists!'.

The All UP Workers Alliance came with banners, streamers and a float/lantern to voice out their concerns about university policies affecting them.

The most awaited part of the parade featured the depiction by the College of Fine Arts students of classic Filipino films:  

• float/lanterns for Dalagang Bukid (vintage 1919), Dyesebel (the original had Edna Luna as the mermaid), Pedro Penduko, Juan Tamad Goes to Congress (directed by and starring National Artist Manuel Conde), Facifica Falayfay (a Dolphy movie), Asiong Salonga (Joseph Estrada in the starring role), Ang Panday (Fernando Poe as Flavio), Burlesk Queen (Vilma Santos as the dancer), Ganito Kami Noon (National Artist Eddie Romero film) and Maynila Sa Kuko ng Liwanag (National Artist Lino Brocka film); the last one was intriguing - a massive box painted black being pulled with large ropes; and

Juan Tamad Goes to Congress

• costumed participants for Genghis Khan (National Artist Manuel Conde film), Sister Stella L (Mike de Leon, director; Vilma Santos, title role), and Bagets (UP alumnus Mario de los Reyes, director).

Sister Stella L served as a vehicle for protest: re-enactmenf of violence during labor union strikes, and some participants carried protest slogans like 'Stop Lumad Killings!'.

Asiong Salonga

Fine Arts, already a Hall-of-Famer was not in the competition for the best lantern (won by the College of Engineering). The different classes competed among themselves. Ang Panday was declared best; Juan Tamad and Asiong Salonga were the runners-up.

Ang Panday

To us the winner was 'Juan Tamad Goes to Congress'. The congressman was depicted as a pig wearing the Juan Tamad mask: an allusion to pork barrel and the workstyle of our lawmakers.

Maligayang Pasko 2015!!

APO closes 2014 with its Great Oblation Run at UP Diliman

Note: FilAm Star, the weekly 'newspaper for Filipinos in mainstream America' featured one picture I took during the subject Oblation Run in the front page of the 19-25 December edition, which also carries my photo-essay on the Lantern Parade at UP Diliman, The online pdf copy can be downloaded from http://www.filamstar.net/images/stories/pdf/301.pdf.

Picture cured for 'general patronage'

The Alpha Phi Omega Fraternity (APO) held their traditional Great Oblation Run at the Palma Hall of the University of the Philippines Diliman campus on 12 December 2014. This is the 37th year when members of the fraternity run naked as a symbolic protest action to issues presently confronting the nation. APO calls this Run their Ritual Dance of the Brave.

In a public statement, APO called for "accountability and sustained action on the part of those in power to respect the rule of law."

It called attention to the "latest addition to the still-existing pork barrel system" particularly the "insertion of various lump allocations in the 2015 budget." In this regard, it said, government leaders should "comply with the Constitution, respect rather than challenge its authority on this matter, and strike down such policies that will violate our country's dignity."

 

Original picture.

APO also urged government "to address the culture of impunity" in the country today, citing several manifestations like the case of the slain transgender Jennifer Laude involving an American service man, the squalor of evacuation camps in Zamboanga City, the plight of Yolanda victims who have yet to achieve normalcy in their lives, the millions of farmers who are still denied right to own lands they till, struggles of workers for better wages, the lives of more than 300 political prisoners, and the lack of progress in the Maguindanao Massacre trials.

In hoping for a better future, APO called Filipinos to work together towards restoration of the rule of law, to take action towards the legislation of the Bangsamoro Basic Law, Genuine Agrarian Reform Bill, and the Genuine Freedom of Information Bill. 

Pilipinas Christmas 2013

When we left Manila for the old hometown on Monday, 16^th of December, people were on their way to church for the first simbang gabi, which is not really an evening mass but properly the misa de gallo when the roosters crow at dawn. On our way back early evening, we passed by churches celebrating truly simbang gabi probably for those who failed to join the early morning service.  Thus began the traditional nine-day devotional masses to culminate with what used to be the midnight mass of Christmas eve.

History tells us that the dawn masses were set up during the Spanish colonial times for the farmers who began toiling the croplands before sunrise.  When we were young in the province, getting up early for the mass was one great effort; the joy came when we went around town with the church choir serenading parish folks with local carols and Spanish villancicos after the mass.  As kid, our mother enticed us to go with them to the midnight mass so that we can see the “walking star,” actually a big lighted five-pointed star parol rolling down the rope from the choir loft to the belen at one side of the altar with all the church lights turned off.  Our father who was not a churchgoer attended the dawn masses though before boarding the commuter bus to his work at the U.S. naval base in Subic an hour away. 

We learned parol making when we were in primary school using bamboo strips to form the star, covering this with Japanese paper or colored cellophane, and from two star tips, we hang paper “tails”. The last time we fashioned star parols was at the Manila Center on Mission St. in San Francisco, CA for the first Parol Lantern Festival there in December 2003.

Through the years, the parol has morphed from the five-point pattern to various decorative structures associated with Christmas.  Houses, stores, town and city halls, and town and city streets brighten up with lighted parols in the evening. We treasured a smaller version of the San Fernando, Pampanga parol for several seasons until the colored wrapping started to fade. Of course, San Fernando glows with giant lanterns skilfully crafted by barangay artisans to dazzle spectators with a display of rhythmic changing of lighted colorful patterns. 

 

As an alumnus of the University of the Philippines, one knows that Christmas vacation is coming when a big white star parol glows behind the Oblation in the Diliman campus in the evening. The buzz starts for the much-awaited lantern parade held during the last week of classes when the faculty and students of different colleges and members of campus organizations carry lanterns that reflect the year's theme.  This year, it was “Maalab na Serbisyo Publiko ng Mapagkalingang Kampus” dedicated to the victims of typhoon Yolanda.  The lanterns were made of relief goods like T-shirts, slippers, canned goods, etc. all of which were collected for eventual distribution in the calamity areas. The College of Fine Arts contingent do not compete for 'bests' of several categories, they simply provide the climax of the event.  This year their lanterns were reflective of the cultural color of various indigenous peoples of the country.  

A College of Fine Arts lantern: a mythical bird.

One UP Diliman annual tradition we have missed since after graduation is the free annual Handel’s Messiah concert at the university theatre.  A good friend saved us from the no-ticket line last week when she came out of the theatre with a spare seating ticket.  It was labelled “a Christmas benefit concert for the calamity victims” and had the students who were relocated from the Tacloban campus to Diliman as special guests.  

For the first time, choral groups from Diliman, UP Manila and UP Los Baños came together for the Messian concert.  There were 270 voices all in all.  They did a choral rendition of “Kilos, Iskolar”, a hymn composed by Vernie de la Peña and lyrics by poet Reuel Aguila, which calls UP students and alumni to help rehabilitate the nation after the calamities.

We had an incidental Christmas treat at the Archdiocesan Archives in Intramuros before the last weekend.  It was the launching of the annual display of the belen collection of Fr. Genaro Diwa.  The manger scenes on exhibit vary in size and style, and definitely, they are far from the depiction done by St. Francis of Assisi who did the first one with a live ox and ass in Greccio in 1223. 

The Filipino belens are eye-catching in terms of costumes and interpretations.  One incorporates the Three Kings in Moro, Igorot and barong tagalog costumes.  Another has visitors around the manger representing various indigenous groups.  Another belen had us chuckling because there’s a group making lechon beside the manger scene.

The last one reminds that Philippine Christmas is one seasonal food trip for families and clans.  It is not unusual, for example, to see families in some communities coming out of the church during dawn masses to head straight for stalls selling hot bibingka (rice cakes) or puto bumbong for a breakfast of native fare.  Then comes the first feast, which is the noche buena held after the midnight mass of Christmas eve.  The big one is on Christmas Day when families in grand happy reunion gather around a festive lunch with a lechon as centerpiece usually.

One would think that the long Pilipinas Christmas that starts with the first –ber month of the year, September, ends on Christmas Day.  To the religious, it still extends to the feast of the Epiphany, the 12^th day of Christmas, according to the popular song, which for many years was fixed on the 6^th of January.  Until now, three men of one barangay in our town costumed as the Three Kings Melchor, Gaspar and Baltazar lead the parade highlighting their fiesta on this day.

Where are Guillermo Tolentino's "Rizal's Dreams" and other patriotic works?

Guillermo Tolentino could have created "Rizal's Dreams" when he was still a student at the Royal Italian Academy of Fine Arts or when he had just graduated from there with honors.  A young Filipina woman looking far away was his sculptural interpretation of the fourth stanza of the national hero's Mi Ultimo Adios (My Last Farewell) --

Mis sueños cuando apenas muchacho adolescente,
Mis sueños cuando joven ya lleno de vigor,
Fueron el verte un día, joya del mar de oriente
Secos los negros ojos, alta la tersa frente,
Sin ceño, sin arrugas, sin manchas de rubor.

My dreams, when life first opened to me,
My dreams, when the hopes of youth beat high,
Were to see thy loved face, O gem of the Orient Sea,
From gloom and grief, from care and sorrow free;
No blush on thy brow, no tear in thine   eye.
          -  Tr. by Charles Derbyshire, 1911.

Tolentino could have included this work in his sculpture exhibition that opened at the Casa d'Arte in Rome on April 24, 1924.  It was reported that "the Royal Princesses, Giovanna and Mafalda, paid Tolentino the honor of attending his exhibition, and were lavish in their praises of his work, obtaining for the young Filipino sculptor considerable favourable publicity in the Rome newspapers and art journals."

We have not yet seen any reference to this inspired creation in existing webpages about the National Artists of the Philippines, in general, or Guillermo Tolentino, in particular. 

Except for an article in The Philippine Republic (1924), there is nothing else also on the "Peace" statue that he did while he was a waiter in Washington DC to commemorate American President Woodrow Wilson's struggle for peace, and which he presented to the president himself on August 21, 1921.  

Millinoire Bernard Baruch was inspired to send the struggling Filipino artist to study in Italy after Wilson showed him the art piece. He paid for Tolentino's expenses there for two years. 

Neither are there references to his patriotic creations in Rome that could have been in his public exhibition there in 1924 like "The Philippine Republic" and "The Filipinos."  The first one had three figures, one of them representing a Filipina and the other two, the forces that saved the Philippines from the Spaniards. Tolentino intended this for consideration in a proposed monument in Malolos, Bulacan to commemorate the short-lived republic.  The second piece represented "a group of powerful Filipinos, who by their united strength, are able to successfully carry a great rock on which appears in bas relief a map of the Philippine Islands."

Tolentino could also have carved "The Philippines" in Rome, it's picture was in the cover of the January 1924 issue of The Philippine Republic.  The caption said that it was "the creation of a young Filipino sculptor, Guillermo Tolentino. He molded it with loving hands, inspired by the hope it might prove (sic) an urge to the American Congress to grant his country’s independence."

After his graduation in Italy, Tolentino made plans to go home to the Philippines soonest and possibly put up an exhibition in Manila.  It would be very interesting to know if the works exhibited in Casa d'Arte in Rome came home with him, and if they did, where are they now?

A report said that "Tolentino has been made a tentative proposition to design an elaborate and costly chapel and monument to be erected in the Manila Cemetery for one of the most prominent and wealthy families of the Philippines."   This could not have pushed through because there are no citations of it in any Tolentino literature.  Otherwise this would be listed alongside his popular statues -- the Oblation of the University of the Philippines (UP) and the Bonifacio monument in Caloocan City.

The Oblation, dedicated at the original UP site in Manila in 1939, was inspired by the second verse in Rizal's Mi Ultimo Adios --

          En campos de batalla, luchando con delirio
          Otros te dan sus vidas sin dudas, sin pesar;
          El sitio nada importa, ciprés, laurel ó lirio,
          Cadalso ó campo abierto, combate ó cruel martirio,
          Lo mismo es si lo piden la patria y el hogar.

          On the field of battle, 'mid the frenzy of fight,
          Others have given their lives, without doubt or heed;

          The place matters not-cypress or laurel or lily white,

          Scaffold or open plain, combat or martyrdom's plight,
          'Tis ever the same, to serve our home and country's need.

                -  Tr. by Charles Derbyshire, 1911.

What we see today at the back of the pedestal are not these inspirational verses in Spanish or English.  It's Rizal speaking in Pilipino through the translation (pagsasalin) of Andres Bonifacio:

Saan man mautas ay di kailangan,
cipres o laurel, lirio ma'y patungan
pakikipaghamok, at ang bibitayan,
yaon ay gayon din kung hiling ng Bayan.

Here in these sculptures, we see Tolentino portraying a Motherland as a young Filipina embodying Rizal's dreams, happy after being freed from Spanish tyranny and yet fettered in struggling for independence from the United States, and her native son offering his life for country and people.

There has been a very wide gulf of changes since Tolentino's patriotic statements in stone, marble or bronze. Are they still relevant to ponder as the May 2010 election approaches.  Has the Motherland achieved her dreams? Is she happy--or frustrated--with her sons?

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Note:  Except for the picture of the UP Oblation, which we took ourselves, all the other illustrations and historical information in this article about National Artist Guillermo Tolentino were taken from articles in the January, May and August-September 1924 issues of The Philippine Republic, a magazine published in Washington DC.