NEWS

Tuesday, August 21, 2007

5 ART SHOWS AT NINEVEH ARTSPACE




“God Bless Noypi”, the the first solo exhibit of CRIS SIPAT (Metrobank 2005 grand prize awardee), tackles social realities in an unconventional manner.

“Memory and Amnesia” by multi-awarded young artists JOVEN MANSIT, RONALD REMOLACIO AND JAYPEE SAMSON.

“Kaloob” by Laguna artists JOSEPH “OTEP” BAÑEZ, FELIX TIGLAO AND BERNARD VISTA unravels mundane pursuits in both realistic and surreal modes.

“Sensory Overload” by Las Piñas artists RENE CUVOS and CHRISTOPHER GUILLERGAN is a comic and tragicomic take on everyday life.

“Hunghang” by Manila-based artists DEMOSTHENES CAMPOS and LED PAMITTAN is an abstract depiction of life’s absurdities.




August 26 to September 19, 2007


Nineveh Artspace is at 2452 1st Avenue, Villa Silangan, Sta. Cruz, Laguna.

For details call 0916-7720368 or (049) 808-6617 look for Louie Sevilla or Marvien De Leon.


THE SOUND OF 2 FEET CLAPPING


Cesare A.X. Syjuco
"the sound of 2 feet clapping"

Saturday, August 25, 8 pm
Fashion Art (F*ART) Gallery
24 K-D cor. K-1st, Kamuning, Quezon City


About the Artist:

Cesare A.X. Syjuco is undoubtedly the most acclaimed Filipino multi-media artist of our time, and is likewise a prizewinning painter, poet, composer and art critic of international stature. Once widely regarded as "the Golden Boy of Philippine Art", his remarkably varied distinctions have included the prestigious TOYM (Ten Outstanding Young Men of the Philippines) Award for Art & Culture Advancement; the Gerry Roxas Foundation Presidential Award for Outstanding Achievement in the Arts; the Gawad CCP Sa Sining Biswal from the Cultural Center of the Philippines; the AAP Grand Prize and Gold Medal for Painting from the Art Association of the Philippines; the Don Carlos Palanca Memorial Award for Literature in English Poetry; the UNESCO Paris Gold Medals for Photography and Design; the CMMA Outstanding Filipino Communicator Citation from The Catholic Mass Media Awards; and the first Purita Kalaw-Ledesma Award for Art Criticism, among many others - all before the age of 40.

Cesare’s sudden and mysterious disappearance in 1992 – at the height of his tumultuous and often controversial art career – transformed him, in the words of one writer, “from the country’s most visible art renegade.. into something even larger than life.. a cult figure of legend among his peers”. But it is largely for his groundbreaking experimental works in “visual-literary transmedia” that his reputation as a world-class Filipino artist endures to this day.

(Text: Eliseo “Spike” Madriaga)

A JOURNEY THROUGH TEN STRINGS



SinagTala and A Different Bookstore
Present
Perf de Castro
10 String Guitarist
Performance and CD Launch



Perf de Castro is back. Yes, the former guitarist of a Rivermaya and Triaxis is back with not only a more sophisticated sound but a new instrument as well: the 10-string guitar. Hailed as one of the best Filipino guitarists ever, he releases his latest album, Perfecto de Castro, A Journey Through Ten Strings. This compilation is the combination of Filipino classics such as “Dahil sa Isang Bulaklak” by Leopoldo Silos and “Hatinggabi” by Antonio Molina and foreign masterpieces including “Sylph Dance” by Rohan Leach, especially composed for him.


August 22, 2007 6PM, The 2nd Floor Lounge, Podium, Ortigas Center , Pasig City , FREE
August 23, 2007 6PM, Central Plaza , Eastwood, Libis, Quezon City , FREE
August 24, 2007 7PM, 2nd Floor Café, A Different Bookstore, Serendra, Taguig City ,
P250 includes cocktails and drinks.


Please visit www.sinagtala.net or sinagtala1.multiply.com for more information.
To reserve for Serendra please call 0918 XIN TALA (946 8252) or 0917 854 3989

Monday, August 20, 2007

PARALLEL WOUNDS


The Cultural Center of the Philippines
presents
"Parallel Wounds"
An Exhibition of Mixed Media works by J.Pacena II
at the Pasilyo Guillermo Tolentino (3rd Floor Hallway)
Opens August 22, 2007
Drinks will be served at 6PM
Exhibition runs till the 7th of October.





Pacena's "Parallel Wounds" explores Digital based materials in print and in video. He tackles his own observation on the parallelism of the worlds we all live in, the human psyche...the parallelism of human conditions and emotions. An Exhibition of computer-generated art by Jaime Jesus Pacena II. Pacena explores the use of new technology and techniques giving value to reproductions as an original work of art.




J. Pacena II is a graduate of University of Santo Tomas and is currently enrolled at the UP Diliman College of Fine Arts taking up his masteral studies. He is also a practicing music video director; one of his prominent works is Gloc-9 featuring Francis M's "Lando" which features some of our country's prominent visual artists, poets, musicians and filmmakers.

For details regarding the exhibit please contact J. Pacena at 0915-7810135 or sogno_jay@yahoo.com.

Or contact The Cultural Center of the Phillipines, CCP Complex, Roxas Blvd. Pasay City. Telephone number: 8323702. Gallery Hours: 10AM to 6PM Daily except mondays and holidays. Admission is free.

THE 3RD BACKDOOR VENTURES ARTS AND MUSIC FESTIVAL AND TRADE FAIR


Art Materials, Art Schools, Music Schools, Art Stuff, Musical Equipment, Music Stores, Recording Companies, Paintings, CD's, Photography Equipment, Tattoo Shops, Dance Schools,
Theatre Schools, Paintings you can eat...

The Backdoor Ventures Arts and Music Festival and Trade Fair
-is a Trade Fair

• it’s a first-of-its kind annual trade exposition that fuses the expansive world of the Arts and Music with the world of commerce and business;

• it’s a one-stop-shop, buyers’-and-sellers’ market that niches on products, merchandize, supplies, and services that artists (whether visual, graphic, performance, theatrical), art students, art lovers, gallery owners, hobbyists, musicians, music lovers would require and patronize;

• it’s a unique marketplace where the artist/musician in all of us can both be the seller (selling art) and the buyer (buying art materials) all at once and under one roof.

-is a Lifestyle Festival

• it’s a unique celebration of the Arts and Music and the lifestyle/subculture that it inspires – unique in that it has never before been celebrated in the context of a trade fair;

• it’s a venue for showcasing talent, creative expression and product innovations that appeal not only to this market segment which embodies this lifestyle but also to a broad, mass audience owing to the universal reach of Music and the Arts.

For Inquiries and Reservations contact (0916)7814785; 029513646 or email backdoorventures@mac.com; backdoorventures@gmail.com

Link: http://backdoorvent.multiply.com/

TAIWAN INTERNATIONAL PERFORMANCE ART FESTIVAL

TIPAF ’07 REBORN Salute to 80s

Taiwan International Performance Art Festival

GLT’s 2007 Anniversary Celebration Event





Performance art workshop


8.22-23 19:00-22:00

Image Museum of Hsinchu Culture Bureau & Waterfield Studio

65 Tsong Tseng Rd., Hsichu

Tutor: Wen Yau, Hongkong




Performances


8.24 19:00-21:30 GLT, Taipei


8.25 10:00-12:00 The East Gate, Hsinchu


8.25 19:00-21:30 GLT, Taipei


8.26 14:00-17:00 Shi-Da Park, Taipei


8:26 19:00-21:30 GLT, Taipei




Performance artists


Australia : Alan SCHACHER


China : Chuyu WANG


Hongkong : Wen YAU / Kin-leng YUEN / Chiu Yu MOK


Japan : Seiji SHIMODA / Shinya MISAWA


Korea : Sang Jin LEE


Macau : Fong Chao NG / Cindy NG


Netherland : Lilia SCHEERDER


Philippines : Marlon MAGBANUA / Ronaldo RUIZ


Switzerland : Pascale GRAU


Taiwan : Shih-wei LIN / Der-Fong KE / Yiling CHEN / Ching-chih WU / Yi-li YEH / Yu-chung DING / Shih Chun CHENG / Watan UMA / Jui-Chung YAO / Tzu-chi YEH / Adaw PALAF / Mo-lin WONG / Chieh-jen CHEN / Ju LIN / Ming-Sheng LEE





Curator : Watan Uma, Lee-chun Yao


Producer : Body Phase Studio


Host organization : Guling Street Avant-garde Theatre (GLT)


Co-Producer : Image Museum of Hsinchu Culture Bureau & Waterfield Studio


Presenting Sponsors
Taipei City Department of Cultural Affairs
Ministry of Foreign Affairs of the Republic of China (Taiwan)



For more information, visit www.glt.org.tw or call (02)23919393

PAL PHOTO CONTEST FREE PHOTO SEMINAR


PAL Photo Contest Free Photo Seminar
SM Iloilo on August 24, from 2pm-5pm.
Vic Sison, a veteran Artist Photographer will give you tips and
guides on how toproduce award-winning images.





About Vic Sison

Vic started his career as a professional photographer in 1979 after discovering that photography is an effective as medium as painting. He has gone a long way from his artist /photographer days at various government offices and advertising firms to his present stature as a respected and multi-awarded photographer.

Paintography is how Victor "Vic' Sison calls as a unique art of using brushstrokes to achieve painting-like effect in his photographs. A Photographer and painter by profession and academic training, vic developed paintography as a new art form for self expression. By adding brushstrokes to his black and white photographs, vic is able to convey distinct moods in his works....


Check out more with images at http://www.philphotography.net/index.php?/content/view/49/35/
Register now for the free photo seminar at http://www.philphotography.net/index.php?/component/option,com_fireboard/Itemid,33/
func,view/id,390/catid,48/

IMAGES OF SWITZERLAND AND FRANCE: PEOPLE, PLACES AND EVENTS



Creative partners Rossano Capili and OWG Creative Centre’s EPSON ProLab proudly present the latest exhibition by celebrated photographer Raul Teehankee. The exhibition showcases Teehankee’s newest images printed using state-of-the art EPSON archival printing technology. We can appreciate the splendor of Madame Sophia Loren and the urbane country of Switzerland through images taken by respected photographer Raul Teehankee in his exhibit Images of Switzerland and France: people, places and events. In this endeavor, Teehankee, who lived and worked in Geneva for several years, teamed-up with EPSON and OWG’s Rossano Capili as master digital fine art printmaker.

Raul Teehankee’s exhibit opens on August 22, 2007, 6 p.m. on the third level of the Shangri-La Plaza Mall. The exhibit will run until August 31.

Saturday, August 18, 2007

MUSEUM FOUNDATION OF THE PHILIPPINES Mid-year Curiosities : Lectures, Cuisine, Tour



MFP Mid-year Curiosities : Lectures, Cuisine, Tour



Aug. 18, Sat – An Intimate Portrait Of Juan Luna by Ambeth Ocampo. This National Hero celebrates his 150th birth anniversary this October. NCCA Chairman, author, and expert, Prof. Ambeth Ocampo, promises an interesting take on this National Hero. The talk will deal with Luna as an artist in the context of the emergence of the Filipino nation as well as his human side.


Spolarium, a Juan Luna painting measuring 4.22 by 7.67 meters. It won the First Medal Award in the Madrid, Spain Exposition of 1884. The painting shows the Spoliarium of the Roman Coliseum where the dead gladiators were taken from the arena above. The Spolarium belongs to the National Museum Collection.

10 am – 12 nn, Ablaza Hall, National Art Gallery (P300 Museum Foundation members, P400 non-members)


Aug. 18, Sat – Stories About Philippine Art: Obra Maestra Mamera by Dr. Roland Tolentino and Prof. Reuben. Dr Tolentino will discuss how art is made original or one-of-a-kind, how it transposes from the aesthetic to the commercial, anthropological, folk, kitsch and touristic. Prof Cañete, for his part, will delineate the development of an aesthetics of "mass sacralization" done by museums to address the shift of marketing focus from elite to mass audience

2pm – 4pm, Auditorium of the UP College of Mass Communication. (P50 for students, P100 for MF members, P150 for non-members.)


Aug. 23, Thu – Power, Palace And A Shot Of Beer: A tour of Malacañang Palace and San Miguel mansions with Ivan Man Dy. This deluxe walk includes a private tour inside the Malacañang Palace Museum as well as an excellent merienda at the Legarda Mansion. Meeting point: San Sebastian Church steps. 9am – 2pm. (P1000 for members and P1200 for non-members.)


Sept. 1, Sat – Culinary Tour: Pampanga
Travelers who pass by Pampanga encounter all sorts of rice cakes, sweets, snacks and delicatessen. To name a few, the turones de casoy and sans rival of Sta Rita; the tamales and puto seco of Bacolor; pastillas de leche of Magalang. Don't miss this cultural and culinary roadtrip to Pampanga, the culinary center of the Philippines!

Meeting point: Santuario de San Antonio, Forbes Park, Makati. 6am – 6pm. (P1900 for members, P2200 for non-members.)


Sept. 8, Sat - Stories About Philippine Art: Topic and speaker to be confirmed.Sept. 29, Sat - Cultural Study Tour: The Lake Towns Of Laguna with Ino Manalo. Itinerary and pricing to be confirmed.


* Schedule and prices are subject to change. In case of bad weather, we may be forced to postpone our events.




For inquiries or reservations, call Museum Foundation of the Philippines at telefax 404.2685 or mobile 0928.503.9392 and look for Elvie Magpayo or Tricia Limon or call 722-9073 and look for Flor.E-mail: office@museumfoundationph.org
Website: www.museumfoundation.ph.org



Membership renewals are ongoing. Current members are entitled to enter the National Museum for free upon presentation of their membership cards.



For more Museum Foundation events and activities please visit their website at http://museumfoundationph.org/news

Thursday, August 16, 2007

THE GREAT PAGLIACCI DUET



Soprano Rachelle Gerodias who will sing Liu in a 2008 Vienna production of Turandot opposite the Calaf of tenor Otoniel Gonzaga will join baritone Andrew Fernando in a special recital on Saturday, August 18, 2007 at the Philamlife Theater with pianist Mary Anne Espina.



Fernando and Espina will resume the 2007 Great Performance Series sponsored by the Philippine American Life Insurance Company on the occasion of its 60th anniversary.



Both Fernando and Gerodias were also the acclaimed lead singers in the last production of Tchaikovsky’s Eugene Onegin at the Cultural Center of the Philippines.



“It’s great to sing again with Rachelle,” said Fernando who was hailed a “major presence” in the world premiere of the opera “Pocahontas” in Virginia, USA. “We had such good rapport in Eugene Onegin I can hardly wait to work with her again,” he added.



In the August 18 Fernando recital, Gerodias will sing Nedda’s aria from Pagliacci and will do a duet from the same opera with Fernando.



Described by the Los Angeles Times as “the young singer to watch,” Fernando has just wrapped up a title role in Rigoletto in California and has played the part of Zweiter Soldat in the Hong Kong Arts Festival production of Salome by Strauss.



Of his title role in Rigoletto, an American critic noted: “Andrew Fernando offer compelling performances. The Filipino baritone who plays the title role conveys anguish and anger with his voice.”



Also described by the Irvine World News as “stunningly moving” and by the Los Angeles Weekly as a “show-stealer with high bravado” in the rendition of a Goethe ballad, Fernando has appeared with the Los Angeles Metropolitan Symphony, the Philippine Philharmonic and the Bangkok Symphony.



Fernando’s August 18 program includes selected lieder songs by Schumann, Broadway songs by Jerome Kern, Romberg and Hammerstein and arias and duets from Pagliacci, Pearl Fishers and Carmen.



Fernando with pianist Espina will also be heard in Bacolod City Friday, September 7 at the L’ Fisher Hotel Ballroom.




For inquiries, please call (02) 900-7023, (02) 497-2971 or cell 0906-5104270.




FIFTY - FIFTY


ELEMENTS



Founded in August 1928, the Camera Club of the Philippines is the oldest photographic society in Asia. It will launch its 80th year with an exhibition entitled Elements: Photoconstructed Realities.



In this exhibit, the Camera Club will show visual interpretations of four major elements of nature: earth, wind, fire, and water. Using LCD and multi-media technology and state-of-the-art printing, master photographers will showcase images that are exemplars of contemporary Philippine photography. The CCP recognizes the digital revolution that is happening in photography and this exhibit showcases the vast opportunities for art and creativity that are brought about by digital photography and imaging.


Today the CCP lists over a hundred living members, more than half regularly attend the monthly club gatherings at the Hotel Intercontinental Manila, home to these meetings for more than two decades. The members—male and female, from their thirties to their eighties—come from diverse backgrounds and sectors: private corporations and government employees, executives, lawyers, engineers, architects, doctors, accountants, business persons, and professional photographers. What bonds them is their friendship that has grown out of their shared passion for photography. Many have exhibited their works in public like Jaime Zobel de Ayala, Pancho Escaler, Emil Davocol, Bien Bautista, Quincy Castillo, and many others, are well known photographers who have exhibited their work to the public here and abroad.


Ayala Museum is located at the corner of Makati Avenue and De la Rosa Streets, Makati City. It is open from Tuesday-Friday (9AM-6PM); Saturday-Sunday (10AM-7PM). Visit www.ayalamuseum.org.





Monday, August 13, 2007

2007 AAP-ECCA SEMIANNUAL ABSTRACT ART COMPETITION




RULES AND REGULATIONS


1. The Competition is open to all artists who are Filipino citizens, 21 years old and above. AAP Officers are disqualified from entering the competition.


2. The contest has an open theme. Only non-representational (abstract) paintings should be submitted.


3. Participants may submit only one entry each. Choices for artwork size are 3' X 4', 4' X 3' OR 4' X 4' maximum, excluding frame. No irregularly-shaped paintings allowed.


4. Submission Day shall be on September 1, 2007, from 10:00 am to 7:00 pm, at the Exhibition Center for Contemporary Art, Ground Floor, Chateau Verde Building, Valle Verde I Gate 2, C-5, Pasig City.


5. An entry is considered to be an artistic product of an individual. No group entries will be allowed. All artworks should be the original artistic creation of the participating artist. Non-compliance will result to disqualification or revocation of the award.


6. All entries must be SIGNED, with a piece of paper attached to the back of the entry bearing necessary details such as artist's name, address, contact number/s, entry title, dimension and price.


7. Each entry should be accompanied by a 5" x 7" (5R) colored photograph of the artwork, with the same information as above written at the back of the photo.


8. The artist must submit a properly accomplished Official Entry Form with a 1" x 1" ID photo and Bio Data/Curriculum Vitae. The artist's Affidavit shall be accomplished in the submission venue. Official Entry Forms are available at the ECCA, AAP Kanlungan ng Sining and Pinoy-AAP@yahoogroups.com. Rules and entry forms may also be photocopied.


9. ALL ENTRIES SHOULD HAVE PROVISION FOR HANGING. WET PAINTINGS WILL NOT BE ACCEPTED.



10. Artworks may be any pigment on ground, e.g. oil / acrylic on canvas, watercolor on paper, tempera on board, collage, found objects, and other mixed media. Tarpaulin or digital prints are not allowed.


11. Entries with incomplete requirements will not be accepted.


12. Winners will be awarded as follows:

First Prize P 50,000 cash prize and trophy
Second Prize P 30,000 cash prize and trophy
Third Prize P 20,000 cash prize and trophy
7 Honorable Mention Awardees P 10,000 cash prize and AAP medal


13. Entries will be screened by a panel of judges selected by the AAP and the ECCA. All decisions of the Panel of Judges shall be final.


14. The announcement of winners and Awarding Ceremony will be on September 15, 2007 at the Exhibition Center for Contemporary Art. Retrieval of artworks will be from October 15 to November 15, 2007.


15. All entries will be considered in the forthcoming publication A "Contemporary Philippine Abstracts". Outstanding paintings from the 2007 competition will be chosen by the judges to add to the 2006 competition finalists. All paintings included in the book will automatically become properties of ECCA.


16. SUBMISSION OF ENTRIES SIGNIFIES THE ACCEPTANCE OF THE RULES AND REGULATIONS OF THE COMPETITION AND THE CONSENT OF THE ARTIST FOR HIS/HER PAINTING TO BE PUBLISHED BY MR. MANUEL DULDULAO IN HIS FORTHCOMING BOOK. ARTISTS WILL BE GIVEN A CERTIFICATE OF INCLUSION IN CASE THEIR ARTWORKS ARE CHOSEN FOR THE PUBLICATION.


17. The AAP and ECCA shall NOT be held legally liable for any damages to the artwork as a result of the competition, or the failure of the participant to follow the rules and regulations.


For more information and details of the competition, please call 6377875 / 6712069 (ECCA) or 3030907 (AAP).


You may also visit the ECCA, the AAP Office and Gallery in Rizal Park, Manila, and Pinoy-AAP@yahoogroups.com on the web for inquiries.




IN FOCUS : WAWI NAVARROZA


WAWI NAVARROZA

WINNER
ATENEO ART AWARDS 2007

RECIPIENT
2007 ATENEO ART GALLERY – ARTESAN GALLERY SINGAPORE RESIDENCY GRANT


SATURNINE A COLLECTION OF PORTRAITS, CREATURES, GLASS & SHADOW
shown at SILVERLENS GALLERY (Manila)
January 18 - February 17, 2007
• • •
Saturnine is about the aftermath of loss, of things that went away.
It speaks about temporality and the inevitable passage of time (Saturn/Chronos).
And also, of the Eternal that exists all the while...
• • •





THE CITATION


Ansel Adams once wrote that, “You don’t take a photograph, you make it.” Wawi Navarroza takes this to heart. Her photographs, “starts in the head. All the tableaus / plates are already done in the head and all I have to do is to shoot….” She not merely takes photographs; she creates photographs as recreation of the images in her mind.

Her interrogations into the nature and duality of light and shadows, musings on myth and mysticism, and contemplations on Conscious and Unconscious are coupled with a mature manipulation of the photographic medium. Using monochrome film to capture the images, she goes through the process of altering the negatives using chemicals, creating chaos, disintegration, control and destruction. The act of destruction is part of the moment of creation.

She does not turn her back to photography’s heritage but instead pays homage and embraces its past and connects with its present as she renders her manipulated negatives into the digital format and the final output is printed in digital.

The richly textured and multi-layered images in Navarroza’s photographs, images of “creatures (things created) and anthrophomorphised ideas devised by my imagination,” isa a result of Navarroza’s experiments with the photographic process which is for her akin to alchemy – a mixture of chemistry, spirituality, philosophy, psychology, and art, all metamorphose into an array of visually stunning, thought-provoking, and melancholy-inducing images, her “songs of shade.”


- Eloisa May P. Hernandez

THE ARTIST


WAWI NAVARROZA is a full-time photographer and a visual poet. She holds a Bachelor of Arts degree, Major in Communication Arts-Photography from De La Salle University, Manila, mentored by the acclaimed Filipina contemporary artist/curator Judy Sibayan. Navarroza uses photography to depict the imaginal world behind her eyes where visions, observations, emotions, and thoughts crystalize into symbolic portraits and visual poems. She's a pilgrim-gypsy traveling the wet royal road of dreams, mindscapes and psychological dark corners in silent pursuit of mapping out the Self. Her imagery stands with the backbone of myth, poetry, and song. Storytelling and narrative are common in her works. The dark and brooding melancholy present in her tableaus are direct mirrors of her musings on the ephemeral nature of things. Her portraits are both disturbing and subtle at the same time; the acidic darkroom experiments extensions of her study. For her, "distressing the negative emulsion is a symbolic process akin to scratching the gelatinous eye of the subconscious wherein one can see lucid truths about this whole business of being "Human"." Her works have been awarded in a number of contests/ocassions, such as the ones by the Art Association of the Philippines (2000, 2003), and in "Con Otros Ojos" Barcelona, Spain (2000). In 2006, she received citation as one of the awardees for the Ateneo Art Awards, the Philippines' premiere museum of Philippine contemporary art. Some of her images appear in the art book "Delve: An Exploration of Visual Culture" (New York), and in coffeetable books "Epson Imaging Exposition Best Images 2005" (Manila) and Aurora Borealis' "Noorderlicht: Another Asia" (Netherlands). In 2006, her successful début photo exhibition entitled "POLYSACCHARIDE: THE DOLLHOUSE DRAMA" (2005) has commenced its international tour: in Malaysia at the Universiti Sains Malaysia Museum & Gallery (July) and in the Netherlands for the Noorderlicht Photography Festival main exhibition entitled "Another Asia" at the Fries Museum (September). It continues its journey to Siem Reap, Cambodia at the Angkor Photography Festival 2006 (November). She recently launched her second one-person fine art photography exhibit SATURNINE: A COLLECTION OF PORTRAITS, CREATURES, GLASS & SHADOW at Silver Lens Gallery (Manila) in January 2007. She lives beside the lake and collects dust on her eyelashes.


All data extracted 12 August 2007 from Ms. Navarroza’s online sites:
http://www.flickr.com/photos/wawinavarroza
http://wawinavarroza.multiply.com
http://wawinavarroza.blogspot.com

ISA LORENZO, 001



Isa Lorenzo,001
August 7 - September 1, 2007
Silverlens Gallery


These are one of a kind collaged darkroom photographs of the old Malate, Manila house Isa Lorenzo grew up in.

"I got to thinking about my mother's house, how it is a repository of installations: the height markings on the edge of a bedroom door, tableaus of decorative trinkets, walls and walls of photographs - and I thought to photograph these installations, these collections of objects left behind by the generations of the house's occupants."

"After a couple of times shooting, I realized that more than the objects, it was the house itself. The wooden floors in various patterns, the steps in the hallways, the grills on the windows and doors, the doorstops, the clocks and the banisters - these are most vivid."

"So I shot those and I shot the installations and in the darkroom, started the process of laying down memories to print in a way not unlike remembering - In layers, selectively, with images that come forward and some that recede, depending on the memories and their meanings. I laid them out in my storyboard book, and made notations as to which should touch, overlap, or be far apart in the same sheet of paper. I printed according to densities, according to contrasts, and mostly, according to feel."

Sunday, August 12, 2007

REFLECTIONS



REFLECTIONS
A Painting & Photography Exhibit



A Group Exhibit featuring: Jose Barja, Grandier Bella, Jes Evangelista, Lucy Fernando, Kara Iñigo and Dennis Rito present photos and paintings in "Reflections," which opens on August 10, 2007, 6 p.m., at Granos de Café, 39 Timog Avenue, Quezon City (front of Zirkoh). As the title of the show suggests, the works represent each artists' personal interpretation of different subjects through two mediums, the camera and the brush. Exhibit runs until September 10, 2007. For information, email at: reflections_exhibit@yahoo.com or text/ call: 09154814388 / 09209071303

Saturday, August 11, 2007

SPECIAL FEATURE : THE 2007 MOONRISE FILM FESTIVAL


MOONRISE FILM FESTIVAL 2007


The 3rd Annual Moonrise Filmfest features more documentaries than ever. Riveting footage of national treasure and a cause to support the environment are two reasons to come this year.

CEAE in cooperation with the Independent Filmmaker's Cooperative present a varied line-up of documentaries on the country's foremost cultural, environmental and social issues.


When: August 15-21
Where: Robinson’s Galleria
When: 12:00 - 10:00 p.m. daily
Tickets are pre-sold at P100 through CEAE office. Call 7217360


SCHEDULE OF FILMS 2007

Wednesday, August 15
12:00 - 2:00 p.m. Moving Mountains, No More Dead Seasons
2:00 - 4:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, Caubian: An Island Under Siege
4:00 - 6:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of Agutayan
6:00 - 8:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate
8:00 - 10:00 p.m. Memories of the Sea, Colours of the Philippines, Tamaraw Quest


Thursday, August 16
12:00 - 2:00 p.m. Children of the Mountains, Endangered Tales
2:00 - 4:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate
4:00 - 6:00 p.m. Wailing of Paradise, Paang Walang Saplot, At the Edge of Paradise
6:00 - 8:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy
8:00 - 10:00 p.m. A Wonderful World, Hinga, Hingal, Hingalo, Winning the War on Garbage


Friday, August 17
12:00 - 2:00 p.m. Legacy: World Heritage Sites, Gods of Rice
2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy
4:00 - 6:00 p.m. Moving Mountains, No More Dead Seasons
6:00 - 8:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege
8:00 -10:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of Agutayan


Saturday, August 18
12:00 - 2:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege
2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy
4:00 - 6:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate
6:00 - 8:00 p.m. Children of the Mountains, Endangered Tales


-------AWARDS NIGHT --------
8:00 - 10:00 p.m.




Sunday, August 19
12:00 - 2:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate
2:00 - 4:00 p.m. Moving Mountains, No More Dead Seasons
4:00 - 6:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy
6:00 - 8:00 p.m. Children of the Mountains, Moving Mountains
8:00 - 10:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege


Monday, August 20
12:00 - 2:00 p.m. Wailing of Paradise, Paang Walang Saplot, At the Edge of Paradise
2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy
4:00 - 6:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of Agutayan
6:00 - 8:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate
8:00 - 10:00 p.m. Children of the Mountains, Endangered Tales


Tuesday, August 21
12:00 - 2:00 p.m. Memories of the Sea, Tamaraw Quest, Colours of the Philippines
2:00 - 4:00 p.m. Children of the Mountains, Endangered Tales
4:00 - 6:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege
6:00 - 8:00 p.m. Moving Mountains, No More Dead Seasons
8:00 - 10:00 p.m. Legacy: World Heritage Sites, Gods of Rice



Building a Venue for Documentaries



In 2005, just after making Children of the Mountains, we decided to embark on yet another pioneer project: the creation of the country´s first ever Environmental documentary filmfest. By creating a venue, we hoped to encourage filmmakers to turn their cameras toward conservation and cultural issues.
The Moonrise Film Festival was and continues to be a very important project for us. The proliferation of film and media is a quick avenue for environmental education. The first festival attracted over 16 filmmakers and four major sponsors. Last year´s participation doubled, and this year we are glad to say that more films on critical issues are being made thanks to Moonrise.



Education Solutions to the Environmental Crisis



Founded in 1999, Center for Environmental Awareness and Education (CEAE) is a leader in environmental education and environmental awareness initiatives in the Philippines. CEAE offers the internationally-acclaimed Project Learning Tree (PLT) and Project Water Education for Teacher (WET) workshops, which aim to facilitate environmental learning through engaging, innovative, and interdisciplinary activities.The organization´s fundamental principle rests on the power of awareness and education as an impetus for positive change and a more environmentally-responsible generation. By working towards self-sustainability and capitalizing on our strength as an all-inclusive people organization, CEAE serves as a nerve center, directing projects involving environmental awareness and education.


At CEAE, we believe that education is the starting point for change. Those of us who work here share a strong commitment to protecting the planet. We believe in using the power of education and film to inspire solutions to the environmental crisis. The organization has spearheaded a variety of projects such as Moonrise Film Festival, the first environmental film festival in the Philippines. CEAE constantly produces and distributes new content such as the award winning documentary Children of the Mountains, Endangered Tales, and other environmental festival winners.


LOMOMANILA



LomoManila goes to Mag:net Bonifacio High Street




Local photography movement LomoManila splashes its vibrant images on to the walls of the new Mag:net Café High Street in The Fort Global City from August 13 to September 10. The ever growing group of toy camera lovers unveils their collages of exciting and colorful lomographs with a launch on Monday, August 13, 8pm featuring five themed lomowalls and musical performances by Kate Torralba, Mozzie, Shoulder State, Mobster Manila, Top Junk, Free Beer and Sanity Kit.


Lomomanila is a community of toy camera photographers who advocate the use of film and a non-traditional approach to photography, disregarding the basic rules of composition and exposure. With hundreds of members in the community, this exhibit will have more than 250 lomographs from about 50 active Lomographers using a variety of film and toy cameras.


"We have taken Lomography and Lomomanila into the mainstream, exhibiting in a high profile location such as Mag:net in the Fort. We hope we can get the interest of more people in Lomography and appreciation for our style and brand of images. We appreciate Mag:net for supporting our movement and the art community in general," Robert Rojales, LomoManila President, comments.


The exhibit, dubbed the Crapshoot, dedicates entire walls to shots of body parts, flash photographs, self portraits and the best work of some LomoManila members with over-the-top angles, colors and techniques. “LomoManila’s exhibits are not only exhibits; they are a celebration of creativity and friendship. When you join LomoManila you’re not only joining a photography club but an entire barkada full of fascinating and wonderful people,” LomoManila Founder At Maculangan emphasizes.


The group started in 2003 as an e-group of Filipino artists drawn to the lomography movement which started in Vienna, Austria. Since LomoManila’s inception, it has held exhibits in BlackSoup Projects in Marikina Shoe Expo Cubao, Route 196 Bar and Mag:Net in Katipunan, and DPI Photography Center in Ortigas. It is a mix of artistic individuals from students to corporate executives, writers, visual artists and professional photographers.




KAIBA / KAISA




In celebration of the

Linggo ng Bulakan

GSIS Museo ng Sining


presents:

KAIBA / KAISA

"Images of Divergence and Unity"

32nd Anniversary Art Exhibition

August 13, 2007, 6pm

GSIS Museo ng Sining, Financial Center, Pasay City

Friday, August 10, 2007

MATCH



MATCH

Melvin Arlegui, Raymond Go, Marcial Pontillas, Jon Jaylo


Opens August11, 2007 Saturday, 6 p.m.
WHITEbox Studio
Stall59 Cubao Expo, Araneta Center, Cubao, Quezon City



CIFF 07 - ASEAN CINEMA FOCUS


In commemoration of the ASEAN’s 40th year anniversary, the 9th Cinemanila International Film Festival (CIFF) will be showcasing several of the region’s best films in an ASEAN Cinema Focus. The official line-up will include Thailand’s The Dorm, Alone, and Syndromes and a Century; and Malaysia’s Village People Radio Show and Love Conquers All. The Festival will screen several films of Pen-ek Ratanaruang and Garin Nugroho, including the latter’s Leaf on a Pillow, winner of the Lino Brocka Award in the first CIFF in 1999. As part of its Competition highlights, the CIFF will give an award to the Best ASEAN Film of the year. A cash prize of PhP250,000.00 will be presented to the winner of this award. The Best ASEAN Short Film will be similarly honored; the winner will receive a prize of PhP50,000.00. These competitions and awards are made possible by the joint efforts of the Film Development Council of the Philippines (FDCP), and Cinemanila.


Seeking to promote the identity of ASEAN cinema, CIFF will also be launching the SEAWAVE project this year. Some of the most prominent filmmakers of the region will each be contributing 3- to 5-minute films revolving around the theme of “A Journey.” The project will culminate in the production of a 90-minute feature from the contributions, to be previewed during the Festival. Among the filmmakers who have been invited to participate in the SEAWAVE project are Riri Riza, Garin Nugrotto, Nan Achnas, and the I-Cinema Group of Indonesia; U-Wei Bin Hajissari, James Lee, Ho Yu Hang, Tan Chui Mui, and Amir Muhammad of Malaysia; Eric Khoo, Royston Tan, and Kelvin Tong of Singapore; Nonzee Nimibutr, Apitchatpong Weerasititakiul, Wisit Sasanathieng, and Penek Rattanaruang of Thailand; and Lav Diaz, John Torres, Raya Martin, Jeffrey Jeturian, Dante Mendoza, Auraeus Solito, and Rox Lee of the Philippines.


The 9th Cinemanila International Film Festival will have its run from 8 to 19 August 2007 at Gateway Mall Cineplex 10 in Araneta Center, Quezon City, and from 17 to 19 August 2007 in Boracay Island. The CIFF is organized jointly by the Independent Cinema Association of the Philippines (ICAP), the Film Development Council of the Philippines (FDCP), the National Commission for Culture and the Arts (NCCA), and a specially commissioned inter-agency committee.


PILIPINAS CIRCA 1907


PILIPINAS CIRCA 1907


The landmark sarswela by Dr. Nicanor G. Tiongson is revived in a new production as Tanghalang Pilipinos 21st theater season opener. PILIPINAS CIRCA 1907 will run at the CCP Tanghalang Aurelio Tolentino from August 10 to September 2, 2007. The production, set in the period prior to the national elections in 1907, tells about political conflict and family relations getting in the way of two pairs of star-crossed lovers when America was more in the heart.

Leading the remarkable cast are two of Manilas finest sopranos alternating as Leonor, Ana Feleo and Lani Mabilangan Ligot. Theaters most beloved leading men, Arnold Reyes and Miguel Castro, alternate as Leonors lover, the poet-journalist Emilio. Classical singer Nazer Salcedo and Tanghalang Pilipino Actors Company member Bong Cabrera alternately play Andres, the supervisor of the familys tobacco factory. Alternating as Pura, Andres object of affection, are Aliw Best Supporting Actress nominee, Wenah Nagales and Sugar Hiccup lead vocalist Jeanette Reyna. The bane to the star-crossed lovers is Don Pardo, played by character actor Dido dela Paz, the Federalista whos at political odds with his family. Doa Pilar, the family matriarch, is alternately played by Mia Bolaos and Clotilde Lucero. Veteran actor Lu Veloso and comedian Garry Lim lend their comic talents as the balikbayan trumpet player Porong. Also in the cast is Andrew Cruz and Bong Embile (Juan/Pedro) , Eric dela Cruz and Roeder Camaag (Robert), Jean Judith Javier (Dorothy), and the Tanghalang Pilipino Actors Company.

The libretto is by Nicanor Tiongson, with music by Lutgardo Labad, Louie Pascasio, Chino Toledo, Lucien Letaba, Nicanor Abelardo, Scott Joplin and Barry Fagan. Musical direction is by Chino Toledo, with production design by Leo Abaya. Notable fashion designer, Danilo Franco, creates fabulous ternos for the production. Legendary Dance artist Edna Vida Froilan provides the choreography while Barbie Tan Tiongco handles technical direction. At the directors helm is Dennis Marasigan. The production is his first directorial assignment with Tanghalang Pilipino after assuming the companys Artistic Director seat. He also doubles as the productions lighting designer.

PILIPINAS CIRCA 1907 has all the elements that made the sarswela very popular with audiences love between gallant heroes and beautiful heroines, poignant solos and lavish choruses, comic songs and characters, period manners and domestic situations. But more than these, PILIPINAS CIRCA 1907 also has contemporary themes politics and tradition, human tragedy and conflict, and the search for realistic solutions that make a point for today while retaining the sarswelas old charms. This production caters to all ages and persuasions, but more specifically for music theater enthusiasts and students of Philippine history, literature, political science, and humanities. And plain old romantic lovers, too.



PILIPINAS CIRCA 1907

Libretto by Nicanor G.Tiogson

Music by Lutgardo Labad, Louie Pascasio,Chino Toledo,et al.

Directed by Dennis Marasigan
Political conflict and family relations get in the way of two pairs of star-crossed lovers when America was more than in the heart, in a new production of the landmark sarwela set in the period prior to the natioinal elections in 1907.

This production caters to all ages and persuasions, but more specifically for music theater enthuasiasts and students of Philippine history, literature, political science, and humanities.


Thursday, August 9, 2007

CENTER OF THE CENTER





CENTER of the CENTER:
A CONCERT TO SAVE CALATAGAN REEF

Film Showing and Musical Performances

Friday 10th August 2007
5:00PM
Mag:net Katipunan
335 Katipunan Avenue, Quezon City, Philippines



PROGRAM:
Features two short films, one documentary by award-winning investigative journalist Howie Severino and one narrative by Rommel Eclarinal, a Filipino filmmaker based in Austin, Texas; and a musical program featuring group and solo artists; and an educational presentation by SAMMACA representative Jessie de los Reyes.





SOUND FORMS



NOTES ON THE EXHIBIT



Inner voice


Magbanua’s works is all about shifting of medium from sound, digital works to performance art to abstract paintings. He belongs to a new generation of painters whose first medium is the computer. His compositional technique is based on musical sound akin to the theory of Kandinsky on the stressed and distressed of forms, with a twist of technology. The gray space corresponds to semi- low notes while his black forms are the lowest pitch the white is the highest pitch and so on.

The output of his own painting formula becomes a seduction of the image and pleasure of the visual. The means always justified by the end–product, the works border between the conventional and non-conventional; it does not attempt to decorate but it attracts and penetrate.

His works is the embodiment of struggle by middle-class Filipino to step out of mediocrity, neither derivativeness of artistic statements without any umbrella of acceptance from the greater westernized art theorist nor any assumption of validation from it.


“The call from the wild is somehow heard because the most powerful noise is to listen to our inner voice”.




- - - Bobby Nuestro













Wednesday, August 8, 2007

RIZAL REVISITED / DOUBLE TAKES





RIZAL REVISITED / DOUBLE TAKES


SCRIPT/LIBRETTO: FLOY QUINTOS


CHOREOGRAPHY:
BAM DAMIAN
ALDEN LUGNASIN
JEFFREY ESPEJO

GUEST ARTIST:
BONNIE PICKARD
Principal Dancer, Suzanne Farrell Ballet,
Principal Dancer, BalletNY


CCP Main Theater
August 10, 2007 (3pm & 8pm)
August 11, 2007 (3pm & 8pm)
August 12, 2007 (3pm)
(*Dates subject to change)




A one night, two billing performance, Ballet Philippines will take its audience through ruminations on our National Hero, Jose Rizal in Rizal Revisited. Like an easy stroll down memory lane, select memoirs of Jose Rizal's life unfold through dance. An educational experience as well as an artistic encounter, the first half of the evening brings together Philippine history with a fresh sense of contemporary movement.


The performance begins with a young boy cramming for his exam. He gets on the MRT while studying his book on Jose Rizal. As in a dream, the commuters on the train begin mouthing Rizal's words from "Noli Me Tangere", "El Filibusterismo" and "Letter to the Women of Malolos". This leads into "Mi Ultimo Adios", which is the first full dance interpretation.


The MRT station transforms into the boat "Tabo" as the end of "Mi Ultimo Adios" is reached.


The stage transforms once again and highlights from "El Filibusterismo" and "Noli Me Tangere" are presented, introducing Rizal's characters Simoun, the jeweller: Doña Victorina and her beautiful niece, Paulina. Don Custodio, Father Salvi, Father Damaso. Ibarra, Maria Clara, Sisa, Dona Consolacion, to name a few.


The story takes us to the boy reading "The Letter to the Women of Malolos" as it is interpreted in dance set to classical music.


Rizal Revisited ends in Dapitan, depicting the last moments of Rizal to his death by firing squad. All the characters in Rizal's stories appear with old and young Filipinos solemnly viewing his body.


The boy takes his book, touches Rizal with the book, cradles it as the lights fade out.


Double Takes is an ambitious project inspired by a piece created by Geminal Casado, Artistic Director and choreographer of the Karlsruhe Ballet, Germany. Casado interpreted the same etude of Baroque music with simultaneous genres of dance – while a modern-based choreography was being performed on stage, a classical version to the very same music was taking place in the orchestra pit. Ballet Philippines ' version will take this idea a notch further.


The exhibit "Jose Rizal: Noli Me Tangere – oil paintings by Leandro V. Cruz" will be featured at the Main Theater Lobby.


Be a Ballet Philippines Subscriber!!
BOOK YOUR TICKETS NOW!!!


Tickets available at the CCP Box Office, TicketWorld outlets and through Ballet Philippines Tel#: 5510221;5511003; 8326011 / Fax: 5510144
Email: balletphilippines@pldtdsl.net
Website: www.ballet.com.ph


Tuesday, August 7, 2007

THE RETURN OF NEIL MANALO






The Return Of Neil Manalo


Tall, quiet and reserved, Antipolo-based artist Neil Manalo has distinguished himself in all the local major art awards, including a two-time juror’s choice finish at the prestigious Philip Morris Philippine Art Awards. In 2000, he was conferred the Thirteen Artists Award by the Cultural Center of the Philippines. After a trailblazing 10 years of a young artist’s career, Manalo took a long pause to reassess his work.

“For years, I have been painting for competitions,” says Manalo. “I realize an artist can get trapped in that habit. I started to think how I could develop works for exhibitions instead of contests.”

Manalo’s award-winning works were all about ordinary people being affected by the conflict of political and societal forces.

“These battles of good versus evil were influenced by the moro-moro and komedya,” explains the artist. “I wanted to show that life is like a moro-moro play where the two sides of good and evil vie for a man’s soul. In my work, I see different forces in society that are after transforming children’s innocence.”

His new paintings in the “Dumadaan” series, however, depict a different scenario. Manalo’s exhibit at Art Informal — which opens on Aug. 11, 6 p.m. — features the artist’s new series that shows no contestation, but a parade of characters from both camps of the komedya. The show is on view until Aug. 30.

“My new paintings show that neither good nor bad people actually have center stage,” says Manalo. “Both sets of people are just part of a grand march or pilgrimage. And as an artist, I am but an interested observer. I see how these forces, these people come and go. They are all part of a cast to a large play that is life.”

The new works are done in acrylic on canvas in a horizontal format. All of the works present Manalo’s deft handling of tone and color to accentuate dramatic lighting. The result is a series that has the power of Manalo’s earlier work, notably his TV series of the 1990s. The highlight piece of that series is a large canvas titled “Nang Muli’y Biglang Sumingit ang Tagapagparangal” (1992), now part of the Singapore Art Museum collection. Manalo recently visited the work at the Singapore Heritage Conservation Center where it currently rests after being shown in Beijing for the First Asian Art Museum Directors Forum last September 2006. The said work is also featured on a set of buses plying routes in Singapore’s business district as part of the Museum’s campaign for bringing art to the public. Manalo’s work is the only Filipino featured in the campaign.

“It is a popular work,” says Zhen Min, assistant curator for SAM. “When we get requests from our director to have it pulled out from the conservation center, the technicians would remark, ‘Oh it’s that large painting again with the angels and the TV!’ Everyone at the Center and the Museum is fond of it.”

Boosted by this welcome accolade from Singapore, Manalo hopes to revisit the TV series and probably make a new set for his upcoming shows at the Lion City for the year’s end and for next year. The shows will be co-produced by Manalo’s art manager Ronnel Britania of Britania Art Projects.

“It is a pity that Neil Manalo’s work is not given its due in the local art market,” says Britania on his assessment of Manalo’s work.

What we have now is a more mature artist in Neil Manalo, Britania adds. “His style may have become more refined, but nonetheless his iconography is truly his. A Manalo work has the signature style recognizable among his peers. People overlook the fact that Neil is a Salingpusa artist as was Elmer Borlongan, Mark Justiniani, Emmanuel Garibay and Ferdinand Montemayor.”


* * *


Neil Manalo’s ‘Dumadaan’ solo exhibit is organized by the Britania Art Projects (britania.artprojects@gmail.com) and will be on view Aug. 30 at Art Informal, 277 Connecticut St., Greenhills East, San Juan City. A public opening of his show will take place in Art Informal on Aug. 11, 6 p.m. For inquiries, call 725-8518.





By Nathaniel Guzman
Tuesday, August 7, 2007

Extracted from http://www.philstar.com/index.php?Arts%20and%20Culture&p=49&type=2&sec=40&aid=2007080653



NEW YORK-MANILA-NEW YORK






NEW YORK-MANILA-NEW YORK
The Society of Philippine American Artists


Artist Space
2nd Floor, Glass Wing, Ayala Museum
August 9 to 23, 2007

Mondays to Fridays, 9am to 6pm
Saturdays and Sundays, 10am to 7pm








Monday, August 6, 2007

LOW TIDE



Low Tide

August 7 to 27, 2007


In Juan Alcazaren's "Low Tide" opening on August 7 at the Finale Art File, the artist discloses his interest on objects and creatures hidden from plain sight and yet existing independently from the commotion transpiring on the surface. "Some of the strangest , most interesting, most disgusting, wondrous, beautiful and dangerous things reveal themselves to the atmosphere breathing world at low tide," he says. "This is a metaphor for my process and how I see how things can be engaging once out of their element or safety zone."

The work "Ladrones," for example, is a community of screws in various sizes driven, though not totally, on a piece of metal. They betray their torques, those spirals that make screws bore effortlessly in any surface. Instead of purpose, the artist shows us the mechanism of what is generally perceived as a simple object. Clustering and constellating, the screws create the syntax of their meaningfulness, asserting that the utilitarian could provoke, and that function does dictate the form.

"Low Tide" is on view until August 27.



Juan Alcazaren

Born 1960, Philippines
Lives and works in the Philippines

Art Studies
1983 Bachelor of Landscape Architecture, University of the Philippines, Diliman, Quezon City


Awards
2000 Thirteen Artists Awardee, Cultural Center of the Philippines

Selected Solo Exhibitions
2003 Familiarity Breeds, Art Center, SM Megamall, Mandaluyong City, Philippines
1995 FRNAUT, West Gallery, Quezon City, Philippines
1992 Arthropophilia, Cukltural Center of the Philippines, Manila, Philippines

Selected Group Exhibitions
1999 O-O, Brix Gallery, makati City, Philippines
1998 Illumined Passions, Art Center, SM Megamall, Mandaluyong City, Philippines
1998 Grace Period, West Gallery, Quezon City, Philippines
1997 Doll, Ayala Museum, Makati City, Philippines
1996 Painting by Numbers, Cultural Center of the Philippines
1995 Square One, Museo Iloilo, Iloilo City, Philippines
1993 Facts and Figures, Cultural Center of the Philippines, Manila, Philippines
1993 Large Animal Surgery, West Gallery, Quezon City, Philippines
1992 Source: Manila, Museo Iloilo, Iloilo, Philippines


FRACTAL VISIONS








NEW ARTIST SHINES IN SHOW OF SCULPTURES AND PAINTINGS



He has been an avid art collector turned-gallery owner but Seb Chua’s creative spirit and passion for art has spurred him to continue with his engagement in the art world. He has produced a body of work in both sculpture and painting media that he is unveiling in his first solo exhibit, “Fractal Vision,” at ArtAsia in the Art Walk of SM Megamall come Aug. 8.

Chua had taken up sculpture some time ago to indulge in a hobby that he later discovered provided untold pleasures and endless possibilities. A successful businessman in his own right, with extensive background in product research and design, the idea of exploring forms, both hidden and manifest, was a constant source of stimulus. A Xavier school alumnus who pursued studies at the University of Sto. Tomas and Columbia College in Vancouver, Canada, he was attracted to the modern, abstract style with its emphasis on form and negative space.

In the beginning, Chua was doing art intermittently, only when the occasion and the group presented themselves. Little did he know that his casual interest and momentary fascination would soon turn into a passion, more so when he realized that there is a dearth of professional sculptors in the art scene and space for them was rather lacking and insufficient. Thus, he and his partner decided to open ArtAsia when its space at SM Megamall became available just a couple of years back.

Likewise, the budding sculptor had set his mind on experimenting with bronze, marble and brass as mediums, and later casting his figures. Lured by friends to join the Annual Competition of the Art Association of the Philippines, he submitted a piece of sculpture, “Solitude,” which won the judges’ nod for honorable mention. It was the best compliment a neophyte like him could possibly earn.

For his first solo show, Chua has lined up a total of 18 medium-sized sculptures, majority of which explore the human figure, in his signature synthesized bronze medium and marble casting. The wide variety of colors --- pristine white, green, and polished brass plates --- shows Chua’s endless exploration of medium. The imagery yields a wealth of the artist’s multi-faceted examination into the internal states of the human condition.

Using a professedly modernist angle, particularly cubist in influence, and geometric in rendering, the artist shows his partiality to the angular form, emphasizing the inner strength of the figure while at the same time showing suppleness and grace in the posture delineated. While highlighting the quiet and restrained states of repose, as in “Soulmates” and “Contemplation,” he eschews the trite and trivial theatrics and instead opens up a multiplicity of meanings and the wealth of perspectives that can be deduced in these figures.

The size of Chua’s sculptures radiates a feeling of intimacy between viewer and object, as these works are meant for closer scrutiny, a private conversation by a coffeetable, a commode, or a shelf of personal mementos. The distinctive casting applied by the artist in retaining the grainy textures of his work speaks highly of his lofty sense of artistry and his emphasis on exploring all possibilities with his mediums.

Equally daring in showing his recent work in the painting medium, Chua has another body of work in oil on canvas, all rendered in the style of abstract expressionism. These paintings are stunning in their application of color and palette, revealing the untamed, if unpredictable, side of the artist whose journey won’t be complete without taking personal risks with his choice of concept and imagery. Using colors that can indeed be chaotic --- reds, greens and yellows --- and brushwork that is brisk, bold and brazen in application, Chua is proving to all and sundry that he is himself a work in progress. For giving us a new lease on art, exploring the medium and pushing it beyond its limits, an exciting new artist has arrived.

We can’t help, as we wish him well, but also watch this promising artist closely.




- - - Gino Dormiendo



FRACTAL VISIONS
The Seb Chua First Solo Exhibit

Opens August 8, 2007 at 6:00 p.m.
Art Asia Fine Art Gallery

Level IV Bldg. A. SM Megamall
Mandaluyong City, Philippines

Sunday, August 5, 2007

TONDO BOYS WIN BIG AT THE CINEMALAYA

Tondo boys win big at the Cinemalaya
By Jose Angelo D. Cantera, THE MANILA TIMES
Special to the Times




NON-ACTORS from Tondo made the biggest splash at the Cinemalaya Independent Film Festival awards night last weekend by winning the award for best actor. The jury decided to give an ensemble acting award this year to honor the wonderful performances of the young male cast of the Jim Libiran entry, Tribu.

Tribu won Best Full-Length Feature Film at the glittering rites attended by artists and supporters of independent cinema at the Cultural Center of the Philippine's Tanghalang Nicanor Abelardo, hosted by Agot Isidro and Sid Lucero.

The Cinemalaya jury declared Tribu as best film "for its grand and graphic depiction of contemporary Tondo, Manila, its raw passion and searing violence, its terrible social conditions and conflicting social mores, and its people's coruscating embrace of both the sacred and the profane, the filial and the tribal, the tender and the vicious." As Best Full-Length Feature Film, Tribu received a grant of P200,000 from the Film Development Council of the Philippines (FDCP), the Balanghai Trophy and a P1-million Post Production grant from Roadrunner.

Tribu also took home the Best Sound award for Mark Laccay for "its masterful rendering of the noise and hum of the inner cities, the racket and resonance of the asphalt jungle."

Upon receiving the award, Libiran, who is a proud resident of Tondo, got sustained ovations from the jam-packed hall when he gave a message to the law enforcers of Tondo, reminding them to not harm these kids as they might very well be dealing with the next National Artists of the Philippines.

Jade Castro's Endo won the P50,000 Special Jury Prize "for its revealing take on the lives of "end-of-contract" casual workers in the retail and services sectors, and for its subtle and moving rendering of a love story amid an otherwise deprived social milieu, pitting romance against economics, drawing out both winners and losers, gainers and losers, hope and heartbreak." Endo's Ina Feleo, daughter of Cinemalaya executive Laurice Guillen won Best Actress.

The highly regarded Auraeus Solito of Maximo Oliveros fame won as Best Director for Pisay, about the stories of students enrolled at the Philippine Science High School. Best Screenplay went to Dennis Marasigan, Nikki Torres and Mara Paulina Marasigan for Tukso; Rodolfo Aves Jr. was so deserving to win the Best Cinematography award for his amazing photography of Batanes in Adolfo Alix's Kadin.

Other technical and creative winners were: Best Production Design - Martin Masadao, Regie Regalado, Dante Garcia and Endi Balbuena for Pisay; Best Editing - JD Domingo for Endo and Best Original Music Score - Jerrold Tarog for Kadin.

In the Short Feature category, the Best Film award went to Rolyo by Alvin B. Yapan. Rolyo was cited for "its lyrical depiction of the idyllic life of a young girl in the province, its rich symbolism, and its effective counterpoint of images that pit the materialistic with the simple, the pure and the pastoral."

As Best Film in the Short Feature category, Rolyo received P100,000 from FDCP, the Balanghai Trophy, and a One Term Training of the filmmaker's choice and P25,000 from the International Academy of Film and Television.

Special Jury Prize in the Short Feature Category went to Nineball by Enrico Aragon. It was cited for "its hilarious and satiric take on the national pastime, billiards and its engaging characterization."

The 2007 Cinemalaya jury was composed of National Artist Salvador F. Bernal; Jeremy Segay, Asian specialist of the Cannes Film Festival Directors' Fortnight section; Joselito "Lito" B. Zulueta, writer, critic, teacher and editor of the Arts and Culture section of the Philippine Daily Inquirer; Max Tessier, film critic and expert in Japanese and Asian films; and Marianne "Ma-an" Beloso Hontiveros, media practitioner, film critic, environmentalist and writer.

A new award – the Audience Choice - was launched this year in Cinemalaya. Pisay won for the Full-Length Feature Category and Doble Vista won for the Short Feature category.


(Jose Angelo Cantero is a student of the Manila Times School of Journalism.)


IDEAL THEORIES AND OTHER TRIVIAL MATTERS OF THE HEART

Paulo Vinluan
Ideal Theories and Other Trivial Matters of the Heart
blanc
August 8 - August 29, 2007



ARTIST'S STATEMENT

We paint pictures in our heads. Mental notes of what we want to happen, having a vision of our future selves. Inspired by a paint-by-numbers painting I saw in a flea market, I saw a relationship between the paint-by-numbers painting and that of my own mental picture of my moving to Brooklyn last February of this year. My paintings have always been a reflection of myself in current situations that I am in. The paintings in this exhibition is a dialogue between the ideals we set ourselves to do and the reality of striving to paint that picture, by the numbers, as we it.



Paulo Romuáldez Vinluan
b. November 23, 1980 Queens, NY USA

Education 2003 BFA(cum laude), Painting
University of the Philippines, College of Fine Arts, Diliman QC

Awards and Distinctions
2003 20th Metrobank Young Painters’ Annual, finalist (water media category)
2003 Philip Morris Philippine Art Awards, finalist

Solo Exhibitions
2006 Oh The Things You Do, Finale Art Gallery, SM Megamall
2004 Speck curated by Roberto Chabet, Finale Art Gallery, SM Megamall

Group Exhibitions
2004 Neverland, Mag:net ABS-CBN
2004 Gamit, Vargas Museum, UP Diliman
2004 Security Blanket, Donada Art Gallery, Katipunan
2004 Inventory, Cubicle Gallery, Pasig
2003 Picture This curated by Roberto Chabet, The Art Center, SM Megamall
2003 NexGen: Art in the Genes curated by Albert Avellana, Intercon Manila
2003 20th Metrobank Young Painters’ Annual, Metrobank Plaza
2003 Philip Morris Philippine Art Awards, Metropolitan Museum
2002 Trap Doors and False Bottoms curated by Roberto Chabet, West Gallery, Q.C.
2002 Toys, Ayala Museum, Makati
2002 One over One, Makati Skyline Gallery, Pasig
2002 New Ground, Aresi Restaurant and Bar, Q.C.
2002 Small Projects 2, Likha Diwa, Diliman Q.C.
2002 Dogshow, Surrounded By Water, Cubao
2001 Multiformity, MSG Gallery, Q.C.
2001 Landscapes, Situ Gallery, Q.C.
2001 Six Squares, Donada Art Gallery, Manila
1999 Maskara, MSG Gallery
1993 Pagpugay Kay Ama, Liongoren Gallery, SM Megamall




"Ideal Theories and Other Trivial Matters of the Heart" will open on Wednesday, August 8 6PM at blanc. blanc is located at 2E Crown Tower 107 H.V. dela Costa St. Salcedo Village, Makati city. For more information please call/sms 0920-9276436, email info@blanc.ph or visit www.blanc.ph



Saturday, August 4, 2007

IN FOCUS : MARLON MAGBANUA


MARLON MAGBANUA

Art Studies
2001 Bachelor of Fine Arts, TUP Technological University of the Philippines Ayala Blvd. Manila

Solo Exhibition
2006 Lucidity Roundeyeglass Kape, 1774 M. Adriatico St. Malate, Manila

Selected Group Exhibitions
2006 Uncontrolled Control , 318-A LRI Business Plaza, Nicanor Garcia St., Makati City
2006 Unorthodox<>, 318-A LRI Business Plaza,Nicanor Garcia St., Makati City
2006 Nature in Abstraction Contemporary Art Exhibition Center (CAEC), Ground Floor Chateau Verde Bldg. Valle Verde I Gate 2, C-5 Pasig City
2006 NovBlue2 Blueroom Art Gallery, A collective performance by Re4mmath Bangkal, Makati City
2006 Cognitive Galerie Astra, Fl,LRI Business Plaza Nicanor Garcia St. Makati City
2004 Reformat,Galerie Astra 2nd FL LRI Business Plaza Nicanor Garcia St. Makati City
2003 Talyer,Donada Art Gallery Vito Cruz Malate,Manila.
2002 332 Images of Makati,( curated by Albert Avellana) Hotel Inter-Continental Manila.
2001 Technological University of the Philippines group show, Development Bank of the Philippines, Makati City
2001 “ELEMENTO: PANGUNAHING UDYOK- IKATLONG YUGTO” Surrounded by Water

Selected Performance Art
2006 TAMA’06 THE 3rd Tupada International Action Art Event, Sambalikhaan,Q.C.
2005 The Last Performance, 4th PIPAF Philippine international Performance Art Festival, Art Association of the Philippines, Luneta Grounds Manila
2004 Reformat, Galerie Astra LRI Business Plaza N. Garcia St. Manila
2003 “Running X-Relationships 2” A collaborative Performance 1st Tupada International Action Art Event.Pasig Museum Pasig City
2003 Tupada Asian Performance Art Event, Penguin Café Malate, Manila
2003 “Running X-Relationships 1”, A collaborative Performance, Philcoa overpass, TUPADA Asian Performance Art Event.
2003 Tupada Action Art Event, Department of Art Studies, University of the Philippines Q.C.
2003 NGONIAN Arts Festival A collective Performance, Cagsawa Daraga, Albay Bicol Province
2002 “Indio-Graph-X” LAKARAN, 3rd Philippine International Performance Art Festival., Kanlungan ng Sining Manila.
2002 Densities-making sense of dense cities, Cultural Center of the Philippines Front Lawn, Roxas Blvd., Manila.




SPECIAL FEATURE : HAW-ANG (BEFORE HARVEST)


AN INDEPENDENT REVIEW
A First Look Into The Movie “Haw-Ang”
By Ewong Martinez (Manila film critic)
May 2007

Haw-ang (English title: Before Harvest) tells the plight of Sister Adel, a nun who goes on a mission to a tribal town in the mountains. There she teaches Christianity along with counting, reading and writing, builds a schoolhouse and a home, and ultimately, she forges a friendship with the villagers that prove to last beyond her lifetime. This is told through the eyes of Dacmay who returns to her hometown after more than a decade of weaving a good future which Sister Adel has wished for her and the other children of their village. Dacmay looks back to when she was seven years old, to that season of “Haw-ang”…….the local term for the period of preparing the terraced fields for rice planting. It was during this time when Sister Adel arrives in the village to help till their lives and cultivate their dreams.

Just like the story’s setting, the movie itself is a wonderful piece that promises a bountiful harvest, both commercially and critically. The foremost selling point of Haw-ang is that it fits into both the commercial theatre and the art house. Simply put, it is both a “movie” and a “film.” The technical splendor and dramatic value conveniently put Haw-ang in the mainstream breed; whereas its narrative and its social themes touching on femininity, ethnicity, religion, education and politics render it a progeny of the re-emerging Filipino art cinema.

The most obvious gem of this movie is, of course, its imagery. Haw-ang‘s excellent photography challenges the visual superiority of celluloid over video. The lens has captured the awe-inspiring rice terraces, raging streams, stunning scopes of valleys and hills, vivid flora and fauna, and other breathtaking sites of the mountains so gracefully that this movie could as well provide good material for tourism purposes. The film’s visual tone is vibrantly warm or cool depending on the mood of the scene. And although some interior shots might be deemed too dim, the movie as a whole puts its characters in harmonious interplay with nature.

It is a relief that a movie that could be an export showcases the natural beauty of our country. Remember that Lino Brocka’s classics, which were well-received at the Festival de Cannes in the 70s and 80s, were set in the slum areas of Manila. Then recently, our proud representatives in the international film festival circuit— The Blossoming of Maximo Oliveros (2005), The Bet Collector (2006), and even Foster Child (which premieres at the Cannes this year)—all follow Brocka’s legacy by featuring poignant tales of the impoverished Filipino amidst the noisy, filthy and Riotous labyrinths of makeshift houses and putrid sewers. And so this time, it is just so propitious for Haw-ang to finally present to the world that the Philippines is not just a poor nation but a very beautiful country as well.

Acting-wise, Haw-ang is a big hit. The nun, Sister Adel, is not an easy role to portray as her character overlapping religiosity with vanity, and lightheartedness with dramatic depth inevitably brings the actress to the dangers of “overacting.” But Kalila Aguilos (in her very first starring role) provides a sincere performance that exudes the naturalness of a nun who sings and dances jovially at one point, and weeps and struggles fiercely at another. Kalila’s acting unarguably helps make the character of Sister Adel the most memorable nun in recent Philippine cinema—following “Sister Stella L.” portrayed by legendary actress Vilma Santos in 1984.

Other than Kalila, the kids of the actual Ifugao village pull off their roles with incredible effortlessness. Dacmay Tangliban, who plays seven-year-old Dacmay, has unwittingly made herself an instant “girl-wonder.” If given due recognition, she would surely be following the feat of Rebecca Lusterio, the child actress discovered in Bohol for the movie Reef Hunters (1999). Together with the adorable young cast (all first-time actors) picked on location, Dacmay acts faithfully on camera what her role demanded, without hesitation or any hints of being an amateur. The village children’s raw emotions prove to aid in summoning tears from the viewers. And unlike in many Filipino independent films where casting non-actors due to limited budget consequently makes a poor acting ensemble, the Haw-ang team was lucky to have literally discovered an amazing “village” of actors.

All other aspects of Haw-ang are commendable. The editing and sound are both fluid; and despite the scoring being typical of ethnic films, the music is haunting and mellifluously “tribal.” The theme song which plays at the end of the film (performed and composed by Bayang Barrios who also did the theme of Maximo Oliveros) marks a catharthic wrap-up of less than two hours of a finely directed mosaic of comic, romantic, dramatic, and tragic elements. Music seems so integral to the movie that one feels like joining Sister Adel as she cheerfully performs “Making Melodies in My Heart” in front of her students. Despite the apparent lack of some shots in certain scenes (which can be alluded to either a directorial philosophy or the practical limitations of independent filmmaking, or maybe both), the movie is a beautiful précis of what is actually a complex mesh of histories. If one follows the story closely, it must be recognized that it is replete with many “backstories” and potential sub-threads springing from the main story arc. Even the main characters Sister Adel and Dacmay have personal histories that are not fully explored, made explicit by the line saying these are “without details.”

Furthermore, critics and viewers could identify Haw-ang as narration-heavy, thus violating the “show, don’t tell” rule. But this is precisely the device used in the screenplay to tone down the epic proportions of the rich story, and to eventually give us a simple yet emotional piece of fiction. Albeit an age-old and conventional technique, the voice-overed narration of Dacmay (and at one part, Sister Adel’s) in this long flashback of a movie bestows Haw-ang an artistic, mainstream charm. And like in many good dramas, this impassioned narration doesn’t fail to touch every viewer’s heart. Although produced by an Australian entrepreneur, Haw-ang is proudly Filipino in every facet. (The production team of Sizzling Gambas Productions Inc. and its head office are also Philippine based).

It may not be a unique or an altogether “new” movie (as this is not the first Filipino film about a missionary, or a teacher of poor students, or set in a mountain village), but it has succeeded in elevating the usual drama into something that is not emotionally draining, in concocting a story that is profound yet simple, and in creating a beauteous film that is fictive yet very faithful to real life. Most of our internationally acclaimed films have been either too deep or “artsy,” or focus on subjects that are too delicate or political, or are presented in narratives too radical or experimental that our own people couldn’t get to comprehend or even just consider them.
What makes Haw-ang great is that it appeals to everyone’s sensibilities, it caters to both the laypeople and the elite. It is a movie bound to reach out to cinephiles the world over. The social commentaries in the movie are essential but kept at bay, and the movie manages to remind us that love transcends ages or cultures, that even in our own little ways, we can greatly transform others’ lives. Finally, the movie tells us that learning is not only to think but more importantly, to feel. In a third-world industry like ours, it is rare to have a film that flaunts technical seamlessness, and at the same time, prides on creative integrity. Hopefully, Haw-ang would become another template for future Filipino productions to not only aim to gross at the box office, but also to uplift the cinematic culture of our nation. Whichever artistic perspectives one may take, Haw-ang simply evokes beauty. It is a moving painting. Or a literary piece realized. It is a movie, a film. It is a fresh Filipino masterpiece.



Synopsis

Through the eyes of a young woman Dacmay, who has returned to her native village after 14 years, we discover the remarkable and tender story of missionary Sister Adel and the special bond that formed between them years earlier and the events which re-shaped their lives forever. Set in a breathtakingly beautiful yet remote provincial region, the story not only captures the true essence of Philippines natural beauty, but also the unique complexities of life in a remote village. Sent to teach Christianity at the village, Sister Adel encounters battles that continually test her will and determination. She faces a village that resent her ways, the saddening poverty within the village, the lack of modern education for the children and a feisty young Dacmay who can test the will of the strongest. And in the background was a continuing conflict between local rebels and government soldiers that further hinder her progress. Determined to succeed and improve the life and future for the children, she must take on the roles of Sister, teacher, mentor, social advocate, guardian and even that of mother-like figure to Dacmay. Yet her biggest test was still to come when she falls in love. Would she unveil and consent to a night of forbidden passion that would leave her torn between her faith, her love, her bond with Dacmay and her fondness of a village that would condemn her?


Papel, Putik, at Pilapil:
Ang Pulitika ng Edukasyon sa pelikulang Haw-Ang
Rebyu ni John Francis C. Losaria (Philippine Collegian)


Binabagtas ng mga kabataan ng Tuwali ang pakitid-palawak na mga pilapil. Tinatawid ang mga ilog at mga kanal. May kasanayan na kaya naman naiiwasang mahulog sa putikan. Iba-ibang landas ang maaaring patunguhan ng mga nagsasangang daanan. Pawang mahahaba at malalayong pagtahak sa mga inaabot nilang mga pangarap.


Pagpupunla

Panahon ng paghahanda sa pag-ani o haw-ang nang madestino noon ang misyonaryang si Sister Adel sa isang pamayanang Ifugao. Sa pagtungtong niya sa mayamang lupang ito, sinalubong si Sister Adel ng isang mayabong na kulturang katutubo. Mahusay itong ipinakita sa lokasyong iniinugan ng kamera at sa sinematograpiyang nagpalitaw ng likas na kagandahan ng lugar.
Mainit ang pagtanggap ng mga residente sa madre. Napalapit si Adel sa mga batang taga-roon, na mahusay na ginampanan ng mga batang aktwal na nakatira sa lugar. Kabilang dito ang batang si Dacmay na gumanap bilang isang ulila na sa ina at anak ng mga kasapi ng New People's Army (NPA).
Tungkulin ni Sister Adel na magturo ng katesismo, lalo na sa mga bata roon na di nakakapag-aral. Ngunit hindi naging madali ang panimula nito dahil sa walang paaralan o komportableng lugar na mapagdadausan ng klase. Kaya naman, hinangad ni Adel na makapagpatayo ng eskwelahan sa naturang bayan.

Pagtatanim

"Pulitika pa rin ang nagdidikta kung magpapatayo ng eskwelahan sa baryong ito." Ito ang mga naunang tugon ng kapitan ng baryo nang konsultahin siya ni Adel ukol sa pagpapatayo ng eskwelahan. Mukha ito ng marami pang liblib na mga bayan sa bansa. May mga kabataang kinakailangan pang maglakad at maglakbay ng maraming oras upang marating ang mga paaralang nasa karatig na mga baryo.
Matapang na isinawalat ng pelikula ang relasyon ng pulitikal na pamumuno sa ganitong krisis sa kanayunan. Samantalang sa panig ng mga magsasaka, lubos nilang ninanais na isakatuparan ang pagpapalawak ng edukasyon bilang batayang pangangailangan ng mamamayan. Sa pagtutulungan, sinisikap ng komunidad na mapaglaanan ng sapat na materyal ang pagbubuo ng isang pook-aralan. Kung hindi man, nakikipagnegosasyon sila sa lokal na pamahalaan sa tulong ng mga rebolusyonaryong gerilya o mga NPA na batid din ang kahalagahan ng edukasyon sa kanayunan.

Pag-ani

Marami-rami na ring pelikula ang tumalakay sa krisis ng edukasyon sa Pilipinas. Ayon sa isang panayam sa direktor nitong si Bong Ramos, ang ipinagkaiba raw ng haw-Ang sa iba pang pelikula ay ang pagkilala nito sa uri ng edukasyong labas sa konsepto ng klasrum. Natututo rin ang kabataan mula sa kultura at kapaligirang ginagalawan nito—ang katutubong pamumuhay nila at ang ugnayan sa mga rabolusyonaryong kanilang nakakatuwang.
Ipinakita ng Haw-Ang ang isang magandang pananaw sa edukasyon ng mga taga-kanayunan. Kinakitaan ang mga tauhan ng pelikula ng paggamit nila sa kanilang edukasyon, ano man ang antas nito, para magsilbi sa nakararami. Sa paglipas ng panahon, ang bagong henerasyon sa katauhan ni Dacmay at ng mga kaibigan nito ay muling tatalima sa ganitong papaunlad na relasyon ng pagkatuto at pagsisilbi.

(Bahagyang iniklian ang bersyong ito ng artikulong inilathala noong ika-21 ng Hunyo sa seksyong pang-Kultura ng Philippine Collegian, opisyal na lingguhang pahayagan ng mga mag-aaral ng Unibersidad ng Pilipinas-Diliman. Maaari nang i-download sa PDF ang pahayagan sa http://kule0708. deviantart. com.)


Opens 08 August 2007
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