Encyclopedia of the Philippines [Volume 4 : Art - Part 1 of 2] by Filipiniana Online

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FILIPINAS HERITAGE LIBRARY

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Encyclopedia of the Philippines

ENCYCLOPEDIA OF THE

PHILIPPINES THE LIBRARY OF PHILIPPINE LITERATURE ART AND SCIENCE

ZOlLO M. GALANG Author of L eonor Rivera Diar of a Traveler

VOLUME FOUR

ART ILLUSTRATED

PUBLISHED BY

P. VERA & SONS COMPANY (VERSONCO)

Manila, Philippine Islands

1935

2691 L

PREFACE When alone with Nature, have you ever felt that elation of the spirit, that longing for something mystic yet soothing, grand yet enervating? Pictures with quiet colors, music with tender harmonies and objects with subtle qualities have grown upon us every time we look at or listen to them. It is the call of life, of Art, because art lifts the soul of man to a higher plane, makes it greater, and much nearer to his creator. Art, like beauty, belongs to the spirit. Real beauty is art, and the nearer art is to nature the more sublime it becomes, the more beautiful it shall ever be. That is the art that lives, the art that withstands the test of time. It is always inspiring, always beautiful; for it is transcendental in its scope, universal in its appeal. The Philippines should develop and produce its own art, an art distinct, so to speak, from the rest of the world-distinctly, typically Philippine, like, for example, Santiago's Kundiman or Amorsolo's Balintawak creations. "A people without vision shall perish". If the people of the Philippines shall have a vision and shall work for the realization of that art-vision which is truly Philippine, they will live and their works will be among those in the gallery of the immortal. The foreigners' tribute that "the Filipinos are artists to the tips of their fingers" will al5

ways continue to be a living tradition, true and factual, enduring and original, thus becoming, as it were, the proudest contribution of this country to the world and to humanity. Grateful acknowledgment is :hereby made to Mr. M. M. Kalaw for permission to republish Mr. 1. Manlapaz's Filipino Art contained in Philippine Social Science, to Mr. P. Lucas, Director of the Bureau of Printing for permitting us to use Luna and Hidalgo's color plates, to Mr. R. E. Galang of the National Museum, to Dr. Santiago of the Conservatory of Music, to Mr. A. de la Rosa of the Art Gallery, the National Library, and to all persons whose works and collections were used and consulted in the preparation of this volume.

Manila, Jun 1935.

M. G.

TABLE OF CONTENTS BOOK ONE ART IN THE PHILIPPINES

Page PREFACE THE CULTURAL VALUE OF ART .... . Fabian de la Rosa

5 17

BRIEF HISTORY OF PLASTIC-GRAPHIC ARTS IN THE PHILIPPINES ....................... Fabian de la Rosa Architecture ........... . ............. .. ............... Sculpture ..... . ........ ..... ....................... ' .' Painting ....... . ..................................... Resume .................. . .. .. .. . ....................

27 35 41 47

OUR LUNA AND HIDALGO ................... Jose Rizal 49 THE PAINTINGS OF JUAN LUNA AND FELIX RESURRECCION HIDALGO .. . ..... . .... Gmcia1'l.o Lopez Jaena 54 FILIPINO ART ......................... Ig1'l(Mio Manlapaz 56 FILIPINO CULTlTRE .............. .. . Norberto Romualdez Fine Arts ............ .... .. . ......................... 66 Painting ................... .. . .... ................... 68 Sculpture .. . ................................ .. ....... 70 Architecture ........................ .. ................ 72 Wearing Apparel ..................................... 75 Theatres ............ . ............... ... .............. 80 The World's Unique Organ ................ . ........... 82 Our Ancient Beginnings .............................. 84 Growth Under Wise Guidance ......................... 85 FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO ............................... Norbe1"to Romualdez Percussion Instruments ............................... 90 Wind Instruments .................................... 102 Stringed Instruments ...................... . .......... 110 Musical Airs ......................................... 119 THE DEVELOPMENT OF MUSIC IN 1'HE PHILIPPINES ...................... Fmncisco Santiago Introduction .......................................... 129 The Pre-Historic Period ............................ . .. 130 The Spanish Period ................................... 140 The American Period .................................. 147 Conclusion ........................................... 153 FILIPINO MUSIC THAT LIVE 1. Popular .......................................... 155 II. Classical ......................................... 155 III. Other Artists .................................... J 56

OUTSTANDING FILIPINO COMPOSERS ................ THE PHILOSOPHY OF ART ...........................

BOOK

158 165

Two

ILLUSTRATIONS

PHILIPPINE ANCIENT ARTS ............ Jose P. Bantug ANCIENT DECORATIVE ART IN THE PHILIPPINES The N:egritos ......................................... The Indonesians ...................................... The Malayans ........................................ The Hindu or the Indian ............................. The Mohanunedan .......................... '" ....... The Chinese .......................................... The Spaniard .. . ..................................... Conclusion ........................................... MEDALLIC ART IN THE PHILIPPINE ISLANDS Gilbert S. Perez ANCIENT ARTISTIC PHILIPPINES ..................... A PROPOSED ART CREED ..... . ........... Camilo Osias PAINTING Luna and Hidalgo .................................... De la Rosa and Amorsolo .............................. Miscellaneous ...... . .................................. Ruiz and Edades ...................................... SCULPTURE ............................................ ARCHITECTURE PHOTOGRAPHY

171 203 204 205 208 209 209 209 210 225 241 246 251 299 351 439 457 503 547

ILLUSTRATIONS SPOLIARIUM-Juan Luna ....................... FRONTISPIECE Page Cover Sheet of the Holy Sepulcher ( Ivory) ................. 177 Institution of the Eucharist (Beads) ...................... 177 Old Vintar Chair ......................................... 179 Samples of Ancient Philippine Embroidery ................. 181 A Small Carved Shrine with Ivory Statue of the Virgin ..... 183 Native Weapons Showing Handles in Horn, Wood, Silver and Gold ................................................... 185 Virgin of Antipolo .................................... . ... 187 Scapularies in Beads, Silver and Gold ..................... 189 Wood Carving ............................................ 191 Ancient Native Furniture .................................. 193 Bamboo Carving .......................................... 193 Bronze Work .................... . ........................ 195 Some Ancient Pottery ..................................... 197 Ivory Plaque of the Circumcision .......................... 199 Buyo and Cigarette Tray in Silver ......................... 199 The Bamboo Organ of Las Piiias, Rizal ..................... 201 Negrito Combs ............ . ............................... 211 Moro Shields ............................................. 213 Moro Betel-nut Boxes ..................................... 215 Sulu Moro Food Covers . ..... . ........................... 217 Manobo Combs ............... . ........................... 219 Moro Brass Vase ......................................... 221 Kalinga Pottery .......................................... 221 Manobo Lime Tubes ...................................... 223 Medals of the Sociedad Economica de los Amigos del Pais engraved by Gil of the Mint of Mexico City ................. 229 Silver Medal of the Sociedad Economica de los Amigos del Pais engraved by Bru at Manila in 1868 ..................... 229 Medal of Escuela Normal de Maestras ..................... 231 Inauguration of the Work on Carriedo Water System, Gov. Moriones ............................................... 231 Final Inauguration of the Carriedo Water System, Gov. Marques de Estella ......................................... 231 Medal Commemorating Treaty between Germany and Spain relative to the Caroline Islands ............................ 231 Commemoration of Sta. Teresa ............................ 231 Inauguration of Railroad from Manila to Dagupan ........... 231 Celebration of St. Augustine ............................... 231 Confradia Nazareno--Recoletos ............................ 233 Profesorado, University of Sto. Tomas ...................... 233 Sociedad Economica de los Amigos del Pais ................ 233 Exposition Medals ........................................ 235 Exposition Medals ........................................ 237 Woodrow Wilson ......................................... 239 Juan Luna ............................................... 253 TRICLINIUM (In Color) .................................... 257 9

Spain and the Philippines ................................ . A Flemish Soldier ....................................... . Painting on a Plate ..................................... . Portrait: Jose Rizal .................................... . THE BLOOD COMPACT (In Color) .......................... . Don Ramon Blanco y Erenas ............................. . Felix Resurreccion Hidalgo .............................. . CHRISTIAN MARTYRS (In Color) .......................... . The Violinist ............................................ . Through Peace and Liberty .............................. . Don Luis Perez Dasmarifias ............................. . A Tiffin Out in the Country ............................. . In the Fields ............................................ . ARTIST AND MODEL (In Color) ........................... . Portrait ................................................ . "To Sister Rosario" ...................................... . The Beggars ..... . ...................................... . Filipino Beauty of Yesterday ............................. . Filipino Girl ............................................ . After the Storm ......................................... . Calm Sea . .. . . .......................................... . The Greek Philosopher at Work . . ........................ . La Barca de Aqueronte .................................. . PORTRAIT (In Color) .................................... . Mariquina Road ......................................... . Portrait: Pur ita Ka aw .................................. . II Tramonto ............................................. . The Kundiman ..... \..' : : ...... . .......................... . The LegE'nd of M t. Maklhng ... . .......................... . Lavanderas (Washerwomen) ............................. . Gen. Antonio Luna ...................................... . Filipino Girl Students ................................... . Planting Rice ........................................... . A Suburban Scene ... . ................................... . THE BALINTAWAK GIRL (In Color) ....................... . Pre-Hispanic Beauty .................................... . Dance .................................................. . Washing Clothes ........................................ . Gathering Mangoes " ..................................... . Rice Planting ........................................... . From the Market ........................................ . Baptism of Humabon's Daughter ......................... . My Daughter With Her Doll ...... . ..................... . Symbolizing the Island of I,uzon ......................... . Symbolizing the Vi sayan Islands .......................... . Symbolizing the Island of Mindanao ....................... . The Ret~rn of the Fishermen ............................ . Sylvan Nook .................. . ......................... . Ripples of the Sea ...................................... . The Blind Singer ........................................ . Sedes Sapientiae ........................................ . Little Hidalgo and His Grandfather ...................... . Steamship "Buenaventura" ............................... . The First Mass ......................................... .

259 261 263 265 267 269 271

273 275 277 279 281 283 285 287 289 291 291 293 293 295 295 297 301 303 305 307 309 311 313 315 317 319 321 323 325 327 329 331 333 335 337 339 341 343 345 347 347 347 349 351 353 355 357

Santa Filomena .......................................... Seashore ................................................. Nipa House Under the Mango Tree........................ An Old House ............................................ The Baptism ..........................................â&#x20AC;˘.. Antipolo Street ........................................... Don Jose de Lachambre ................................... Portrait: Juanita Angeles ................................. Landscape .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. St. Francis Xavier ....................................... An Idyll ................................................. St. Peter ClaveI' ......................................... The Death of Simon de Anda y Salazar .................... Idilio Campestre .......................................... The Rosary ......................................... .. ... Country Life ............................................. Portrait: Rafael Enriquez ................................ Lapu-Lapu ............................................. . . Lakandola ..... . ..................................... . .... The Spanish Galleon ...................................... Fishers ...................... . ........................... An American Girl ........................................ Talim Island .................... . ........................ My Daughter Loreto ...................................... Portrait After the Fire ...... . ...... . .............................. Selecting Mangoes ........................................ The Winding River ....................................... Landscape Some Ruins ........................... ... ................ A Castle ................................................. Bellevue ................................................. My Boy.................................................. Portrait: Joaquin Herrer ........ . ......................... A Native Home .......................................... Near the Sea ............................................ A Filipino Woman ........... .. ".......................... Maternity ................................................ Sur L'Herbe .............................................. Roman Fascist ........................................... The Boy on the Mule ..................................... Sarasvati ................................................ Lanzones ............... . ........ . ........................ Rhada Darshan ........................................... Sulu's Tribute to Minda Mora .............................. Lakambini and the Peacock ................................ In Doubt ................................................. Rising Philippines ........................................ Give Us This Day Our Daily Bread ...................... The Arts ................................................ Jesus Christ Meets Veronica .............................. The Crucifixion .......................................... Jesus Christ Is Taken from the Cross ..................... The Altar of St. Ignatius Church ......................... 11

359 361 363 365 367 369 371 373 375 377 379 381 383 385 387 389 391 393 395 397 399 401 403 405 407 409 411 413 415 417 419 419 421 423 425 427 429 431 433 435 437 439 441 443 445 447 449 451 453 455 459 461 463 465

Triumph of Knowledge Over Death ....................... Triumph of Death Over Life .............................. Dapitan Woman .......................................... Josephine Bracken ........................................ Father Guerrico .......................................... Nipa Shack .............................................. Abraham Lincoln ......................................... Madonna and Child ...................................... Philosopher Tasio ........................................ Psyche ................................................... Music .................................................... Painting ................................................. 11 Rimorso ............................................... The Pearl of the Orient ................................... The Slave ................................................ Luisetta ................................................. Lello .................................................... Bonifacio Monument ...................................... Industry ................................................. Science .................................................. Happiness .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fort Santiago Gate ....................................... Residence ................................................. Mansion of Dr. Baldomero Roxas ......................... The "Nest" .............................................. Don Jacobo Zobel Residence ................................ Luis Perez Samanillo Building ............................ Crystal Arcade ........................................... The Arellano Home ....................................... The Jones Bridge ........................................ The Metropolitan Theatre ................................. Front of Villamor Hall ................................... Rizal Memorial Tennis Stadium ............................ Mapua Residence ........................................ Universit~ of Santo Tomas Semin.ary ....................... Geronimo de los Reyes Building .......................... Bautista Mausoleum ...................................... Mau~oleum of the Filipino Veterans of the Revolution ....... Sculptural Works at the N ol'th Cemetery ................. Ideal Theatre ............................ . ............... Government Buildings ..................................... Provincial Churches ...... . ............................... Native Ai'chitecture ....................................... The Dail~ Toil ........................................... Oriental Sunset ........................................... Fishing .................................................. Going Home .......................... .'................... Hidalgo's Palette and Brushes ..............................

467 469 471 473 473 475 477 479 481 483 485 487 489 489 491 491 493 495 497 499 501 505 507 509 511 513 515 517 519 521 523 525 527 529 531 533 535 537 539 541 543 545 549 551 553 555 557 559

BOOK ONE

ART IN THE PHILIPPINES

The Cultural Value of Art By

FABIAN DE LA ROSA

Di1'ecto?', School of Fine Arts, University of the Philippines

Art, as a moral element, should occupy a position more elevated in human progress, so that it can serve as a check to the gross materialism of life. If, at times, art should lend its prestige to industrial products, it should alway.s be with the object of refining and raising the aesthetic taste of man in his materialistic works. This would not be pure art, but it will be a reflection of beauty which makes matter more worth while for its receiving her sp'i ritual impact, changing thus an industrial product in order to help in the cultural task of refining and ennobling the taste of the community or of the nation. It is because of this idea that European nations, especially those in the vanguard of artistic progress, greatly exert themselves in their efforts to multiply centers of art instruction, surrounding them with prestige and considering such teaching as of indispensable and great value, irreplaceable in a sense, in helping the better and prompt development of the aesthetic sense in individuals, beginning such artistic education in primary schools and continuing it up to more advanced classes. From all these we can deduce that these nations are preoccupied in conserving this educational role of art in promoting man's spiritual well-being, so that in this way, he, in producing aesthetic works, may give them the refined seal of intellectual and artistic perfection. And in this way art may and should be considered an indispensable part of modern education in all the civilized world. N ow I am going to treat of a point of primary importance in this same subject: I refer to the artist. All of us know the meaning of this word artist. Its defini17

ENCYCLOPEDIA OF THE PHILIPPINES tion is too well known to be repeated, but in reality this word should be applied only to those who possess art in its highest sense; because in fact, if we should consider as artists those who merely possess technical knowledge, no matter how superior they may be, the word or the name could be applied al'so, with greater reason, to one of those machines which manufacture sausages or hot dogs. I believe, as those who have a true knowledge of the matter believe, that such a name should be applied properly to those privileged ones or fortunate people with highly cultivated intellects and refined sentiments, capable of producing works of grand artistic value-a perfect whole in idea and in form. I am going to make this idea clearer, citing a practical example. When the Hungarian painter Munkacsy exhibited his picture entitled "Chdst before Pilate" in Paris in 1882, it produced such a general amazement that many I\eople from l짜 orth and South America crossed the Atlantic just to see it. Their desire was confirmed. They left marvelling. And what was in that picture that caused so much wonder among both Americans and Europeans? It was simply, that Munkacsy put all his 'soul, his great intellect, and his enormous culture in the development or unfolding of his idea, over and above the refinements of professional technique. His profound knowledge of human psychology made him capable of presenting in his marvelous painting the feelings which predominated in each figure. This means that he understood that, in order that his work might be successful, he had to feel primarily, himself, as the author, the subject that he intended to develop in order to find a sure response in others. And this is the main psychological quality that each creative artist should possess. For this reason, I will not tire of repeating to the young artists, my countrymen, that they should cram themselves with culture, not only professional or artistic, but also social and moral. Perhaps this will appear difficult to them. I agree with 18

ART them; but it is not impossible. They should pledge themselves to this, because it is a question of life and death for art which is beginning to germinate in our country. Should the Filipino arti's t be a mere imitator of the works of others, or an original creator who knows only nature for his model? Making reference to the economic aspect which can result from the artistic expansion in our country, I am going to cite again the example of European countries which are in the vanguard of artistic culture in all its aspects. Twenty-five years ago, more or less, when I went to Europe for the first time, pensioned by the old cigar and cigarette factory "Germinal," one of my first desires was to observe the number of visitors to museums, artistic monuments, private and national art collections, and art exhibitions in Paris where I was then residing. This was a few steps from the Pantheon, situated, as all travelers to Europe know, in the Latin quarter. One morning I went out of the hoU'se with a little note book and pencil, placed myself on the sidewalk of a cafe which faced the Pantheon, for the purpose of figuring out the number of people who visited it. In fact, on the stroke of ten, the visitors began to arrive. By twelve noon, I had put down 600; then in the afternoon, I went back to my place of observation to continue my counting. From three to five 480 persons visited the Pantheon, with a gate receipt of 2,400 francs, which, added to the morning receipts, reached a total of 5,400 francs, which in those days equalled more than P2,000 in our money. This was in one single day with respect only to one monument; but, since there are thousands of them in Paris, you can figure out the enormous sum that those foreigners leave during their simple visits, to the benefit of the treasury and the people of that nation. And here I have to assign as the prin19

ENCYCLOPEDIA OF THE PHILIPPINES cipal cause motivating the great attendance of visitors to the Pantheon, the mural paintings executed by Puvis de Chavannes, the great French artist now dead, who developed in magnificent decorative paintings, the history of the foundation of the City of Paris, known to all. Consequently, I can say that what the French government spends-and the amount is not small-in maintaining its artistic institutions, is indirectly paid back in the manner just cited. Therefore, I believe, and I am sure you will agree with me, that art thus developed some day, We also in the Philippines would gain much, without any doubt, from both the economic and the moral standpoint; but in order to facilitate the arrival of this event" it is necessary that we banish from our minds, as an obstacle to that end, the idea still prevalent among our fellow citizens, that art is merely an adornment, a perishable pastime, 'agreeable, yes, but costly to the state which should use it'S money in other mo,re positive and practical activities. I have heard this opinion expressed by Filipinos of recognized culture, many of whom are occupying high official positions. If this opinion should continue to the misfortune of the country and allowed to remain for a long time, the Dante's celebrated phrase "Lasciate ogni esperanza" could be applied to the Philippines. N ow I am going to say something about the responsibility of our people in this respect. In order that art may be developed in whatever country, it is necessary that its society should posses's sufficient culture and at least elementary knowledge of artistic subjects. Because it is clear that, without these requisites, no work of art could be appreciated, not to say in its intrinsic value but at least in its material a:s,p ect; and therefore what encouragement can one who creates artistic works have, if this, after all is considered less than an ordinary piece of furniture, a chair or a table or a bed? It follows that if we truly wish to appear before the world as a really cultured people, 20

ART there is need that artistic culture should be diffused among all our people, without letting a long time to elapse before the realization of this high ideal, that is to 's,ay, our aesthetic culture. The means to this end are many and varied, as practised in more progressive and cultured nations on the face of the globe. They are, for example, in the form of museums, public monuments, official and private art .collections, art conferences for litterateurs and writers, visits to the studios of the artists, talks with these artists, etc.; but above all there is an infallible and powerful means of developing artistic culture and, therefore, the aesthetic feeling among all the classes of society now and in the future. I refer to the school. Really, if in government or private elementary schools art is taught properly and methodically until certain advanced classes, as is being done in European and American nations, at the end of a short time, we would doubtless see rise a new society endowed with better attitudes and sentiments towards the work of art. There would not then be that kind of antagonism or indifference born of misunderstanding between the artists, and the community. When that day comes, we shall witness the birth of true art, that which depicts directly the expression of the life of the race, and consequently there will be more originality in the productions of native artists, stimulated by the understanding and help of the people, already sufficiently prepared and therefore in possession of the intellectual and sentimental means for the true appreciation of the works of the spirit. I shall permit myself to make a strenuous attempt towards the great advantage brought about by the power to dispose of the various art elements for the cultural ends of the people. I shall mention once again another' example. I found myself one morning in my home in Patios ready to go to the academy which I attended. The landlady asked permission to enter, saying that she wished to let me know of an ordinary episode, which she felt I should 21

ENCYCLOPEDIA OF THE PHILIPPINES know. The lady limited herself by telling me the following: "Mr. De la Rosa, the maid who fixes your room cannot do her work today, because it is Wednesday and she has to attend a lecture to be given this morning in the hall of the Conservatory of Arts and Occupations, on the history of French art. She has had since she began to work for me, my permission to absent herself once a week with the exclusive object of hearing art lectures given each \Vednesday in certain places in Paris." "Does she paint or model, then?" I asked. "N 0," the lady answered me, "she does it with the sole object of kno'wing tholse art subjects, especially those which refer to France. I myself and my daughters attend these lectures once in a while. And like us, many people belonging td various classes of society, do the same. We attend these lectures in the same way as we attend conc.erts and dramatic performances. It i's. so interesting to hear these lectures, because commonly the lecturer is a literary man, a newspaper man, and at times even a poet, but all well informed on their subjects; and being men of letters, they present and develop their theme deliciously and attractively." And then I asked, "Do many people attend the lecture, Madam?" "Very many," she answered me, "that is why one has to go an hour early if one does not wush to miss a seat." And she added later. "This is not done only in France. You will see the same thing if you go to Rome, BeTlin, or Madrid." After hearing this, as it was already late, I left in order to arrive on time at the academy. This notice given me by my landlady impressed me profoundly, sinc.e I was not used to seeing or hearing anything like it in my own 22

ART country, and the contrast is so great as to reach a painful point for us who believe that we are already on the same level as those countries in matters of spiritual culture. And now the memory of our immortal countryman, Rizal, comes back to me. He believed, during his stay in Europe, that spending a few hours in exercising himself in the practice of any plastic in graphic art, no matter how elementary, would be beneficial to the intelligence and would refine aesthetic sensibilities. This was what he did in fact; he matriculated in the School of Fine Arts in Madrid, working conscientiously and with fervent enthusiasm on the study of design until he reached the natural, up to the point of meriting the pr:aises of his professors, especially when they learned that he did not intend to become a professional artist. And this knowledge of art must have influenced favorably his literary productions, since there are descriptive passages in them which seemed to be pictures done by an inspired artist. That is why I believe that if any artists should wish some day to take out of Rizal's pages any Is ubject or episode of the many that abound in them, it would not be difficult for them to interpret it, as the only thing that would have to be done would be to put it down in. line and color. As for the rest, like the composition and the character of each person in the scene, everything is already admirably described. I desire to see some day our beloved Philippines really endowed with true culture, let us work-both the people and the government--in order that the question of art as an integral part of education, should gain the attention of those in charge of our national affairs, since it affects not only a part of our people but the entire community, without any exception whatsoever. After all-and this is more important-the reign of the spirit is the only thing 23

ENCYCLOPEDIA OF THE PHILIPPINES that can offer humanity moments of true pleasure, happiness, and beauty in contradistinction to the morbid abundance of material life.

Brief History of Plastic-Graphic Arts the Philippines

By FABIAN DE LA ROSA Director, School of Fine A1"tS, University of the Philippines

The best starting point in the history of Philippine art is probably the Sixteenth century, with the implantation of Spanish sovereignty over the islands. During the pre-Spanish period, the Philippines already enjoyed! a certain degree of .civilization. The unit of <social and political organization varied in size from 5 to 7,000 inhabitants, and was known as a "Barangay". The people fabricated different kinds of boats, fishing apparatus, and finished arts; they wove textiles from abaca, pineapple, cotton and silk which came from China; they embroidered and carved SCUlptures symbolic of their ancestors whom they called "anitos." According to Pardo de Tavera, they were expert silVier, gold and coppersmiths" working on these /minerals for artistic jewels and for bedecking their weapons and arms. The late distinguished artist and sculptor, Jose Ma. Asuncion, says in this connection: "During the first period (pre-Spanish) Filipino art was but the shadow of that existing in the Asiatic continent, eminently oriental, with some local characteristics which were developed in a manner parallel to the different foci of Oriental civilization with which we were in close contact, such as India, China, Indo China, Japan, Borneo, Sumatra, Java and the Moluccas. . . . Upon the implantation of Spanish sovereignty over these Islands, every vestige of this Oriental art was swept away in the center of the Philippine Archipelago." Further he 's,a ys, "architecture, sculpture and painting, if at all they existed by reason of the necessities and beliefs then obtaining, left no archeological traces in forgotten corners of the Philippines." 25

ENCYCLOPEDIA OF THE PHILIPPINES Until now, these are the only available data on Filipino art during the pre-Spanish period. As can easily be seen, these observations are based on deductions which may be cons.idered reasonable, but for the purpose of the present treatment, it would seem desirable to look for more authoritative sources. On the other hand, the bows and arrows, spears, blades, poniards, coselettes, and helmets of wooel or copper, etc., as the collars, bracelets and other objects of more or less artistic value that can still be seen in our days, cannot be considered as basic elements for our starting point in the treatment of Filipino art. Having thus considered briefly the character of Filipino art during the pre-Spanish period, we now come to the period of the Spanish conquest in order to understand the trend of th~ development of our plastic-graphic arts.

ARCHITECTURE

When the Spaniards landed in the Philippines they found no other kind of buildings than houses or huts made of wood, bamboo and nipa. These were constructed over high wooden posts, in order to afford enough room f or the servants. Very frequently towns were found raised on water, at the mouth of rivers, lake or on the seashores. This architecture of purely Malayan taste, made of available materials abundantly provided by the flora of this country prevailed unchallenged until the beginnings of the Seventeenth century, during which the new San Augustine Church was erected, made entirely of brick and stone under the direction of Architect Juan Macias, who passed away shortly after the first foundations were laid down. The work was continued by Father Antonio Herrera, son or nephew of the famous architect of the same name who built the Escorial of Spain. The Church of Saint Augustine is a mixture of Romanic and Renaissance style. A feature to be admired in the interior is the two elliptical arches supporting the choir as well as the dome. It does not seem to keep the right ceiling in proportion because of the height of the parabolas although such apparent disproportion obeys more to a deviation of the established principles of the architecture of the Renais.sance to the desire of the builder to safeguard the structure from the frequent earthquakes and violent seismic disturbances of the country and to the prevalence then of the architectural school of Herrera, which centralized the beauty in the solidity and magnificence of the massive parts. The Monastery of Saint Dominic followed this church of Saint Augustine in point of antiquity of construction. It Was built in 1587, having been designed by a member of the same order, but the church and monastery which now s.tand were created in 1870 by the 27

ENCYCLOPEDIA OF THE PHILIPPINES noted Filipino Architect Roxas. The style employed was the Gothic. Regarding this architect, Miss N. Norton, a noted American writer, who resided in the country for several years, says in one of her books: "Manila has many notable monuments in domestic architecture. If the blending of romanic and renaissance styles and its native adaptation did not always become a success, the City can at least be proud of having had an architect which left an impress in the temples and private buildings of which he has constructed many a number- the stamp of his genius." Mr. Roxas stayed for three years in Calcutta, way back in 1840, and from thence he left for England where he resided for fourteen years and two in France and Spain. His long residence in Great Britain is responsible for his preference, upon h~s return to the Islands, of Roman and Greek features. Aecorwing to critics in architecture, Mr. Roxa:s had the rare privilege, seldom given to artists, of stamping his creation with dignity and circumspection, aside from the feeling of ,a,g reeable pleasantness which they produce in the soul of visitors and observers as a result of harmony of the whole. He left notable works, among which those that deserve special mention are: the Church of Saint Domingo, that of Bacoor in Cavite and those in other places of the Philippines. He also collaborated in the designing of the temple of the Jesuits and in order not to unduly prolong the enumeration, among those private residences constructed by him" the peer of them all is the residence of Sra. Carmen Roxas, on Calle Solano, an edifice which is considered without equal in its class in point of its lines of elegant style and its perfect proportions enjoying the distinction of presenting "no trace of asperity nor a suggestion of vulgarity in that conglomeration of molave." 28

ART Since the first century of the Spanish rule, important buildings have been erected, among which are the Royal Pal~ce, with the Royal Cha,pel, constructed in 1690; the Real Fuerza de Santiago by Legaspi reconstructed by Goiti and later fortified and then reconstructed as it is today by D. Diego Jordan, during the time of Governor Dasma,.. rinas; the old Ayuntamiento, destroyed during the memorable earthquake of 1863 "more beautiful in its external aspect than the present edifice"; the Church of the Franciscan Order; the Cathedral, of Byzantine style, was erected during the years 1878-79; the temple of San Sebastian, of Gothic architecture, of iron forged in Belgium, and finally some private residences situated in Intramuros in General Solano and San Sebastian streets (now R. Hidalgo) and in the districts of Ermita and Malate. All these ancient and modern buildings, besides others which have been omitted in the interest of brevity, truly merit to be considered as monumental accomplishments not only because of their antiquity or their artistic merits but also because in some of them, those of a religious nature, the whole history of Christian civilization is impressed, in beautiful and indelible characters. It could be noticed: during the past regime that, notwithstanding the heterogeneity in the styles of architecture, the greater part of which were imported from Europe, there were certain local tendencies thriving in the architectural field which, if onward march, would have in the long run climaxed into a combined Oriental-European architecture. Manila had the rare fortune of having the services of another notable architect-builder in the person of a Spaniard, Senor Hervas, who occupied the position of municipal architect of the City of Manila during the years 18871893. He specially excelled in the construction of residences, not merely dwelling places, the mos,t notable among 29

ENCYCLOPEDIA OF THE PHILIPPINES which are the office of Rafael Perez, on Galle Anloague, the InchaU'sti brothers, the Central Station of the ManilaDagupan Railroad in Manila, the Hospital of San Pablo, of Byzantine style; the convent of the Asuncion on Calle Henan, the "Estrella del Norte" on the Escolta; "El Oriente," plaza de Binondo and last, the tobacco factory of "La Insular." According to many, however, his masterpiece is the edifice now known as "Monte de Piedad" of Greek style, whose marble columns were imported from Italy. Thus was the normal course of events relative to the progress in the arts in our country when, unexpectedly, the war between Spain and the United States of America broke out. Having displaced Spain, United States took the reins of power and established in this country a new system of educaiion, implanted and imported new industries and with these opened up new sources of income for the government. The new government gave impetus to public works, and to other lines, and even in the realms of the spirit, considereCL as a sacred depositary of great ideas and noble thoughts., and radical changes were brought about by the new regime. In the realm of Art, however, it did not go to the sad extreme of destroying what had been created by artists of the preceding regime, similar to that which happened with the artistic works. of Malayan Filipinos at the time when they were conquered by Spain during the Sixteenth century. And now, one may ask: What is the actual status of Philippine architecture? Attention is invited to the following considerations: As already alluded to above, during the p.ast regime certain tendencies were already observable looking toward the crystallization in the more or lesB immediate future, of a real national architecture. The child, as it were, had 30

ART already gone through the period of adolescence, and was advancing to manhood, when unfortunately the war between Spain and the United States broke out, and impeded his growth. Since this historic event, the social stage has been transformed and consequently the work started! under favorable auspices during the old regime had to suffer a setback. In its place, there is now beginning to assert itself a new mentality and with it is coming new orientation in the art of the constructor, although with still vague character. And this is undoubtedly the most crucial moment in the history of Philippine architecture, in which is required not only talent but also and perhaps in greater quantity prudence and a sense of proportion on the part of our architects and builders, as well as a s.ane and clear vision of the future. In line with these observations, it may be pertinent to note what Dr. T. Pardo de Tavera says: "The great defect consisted in the lack of a solid foundation of study, and therefore, the adaptation and introduction of different styles, without previous considerations of their suitability. The combination of forty individual musicians, each playing an entirely different tone does. not constitute an orchestra. Therefore, many exotic importations joined together do not constitute an artistic harmonious whole. This same situation we find confirmed in some industrial arts-in embroidery, for example, in which they have adopted European patterns without exhibiting any originality. With respect to form, there exists clear indications of native genius, but not in composition and style. Japan, on the other hand, has preserved its own school intact, almost free from foreign influences." Luckily not all is lost. The present generation counts on a good number of young architects who already constitute more of a reality than a promise. The country expects much of them in the development of their art, in the 31

ENCYCLOPEDIA OF THE PHILIPPINES conservation of the spirit of the race, not in archaic efforts indicative of an atavistic existence but in actual manifestations in which the dynamism of the inner national feeling go together with the inescapable principles of the universal art, to pres.ent a faithful mirror of human progress. From this union of two distinct elements so harmoniously blended by a well-balanced mind will surge what is called originality in art, in the highest sense of the term. The experiences of the past and the present point to one incontrovertible conclusion; that the Filipino, like the European or the American, is capable of scaling the highest 'Summit of art, so long as he is given opportunity, time and money. As it is not my intention, in starting this work, to devote much attention to a summary of Philippine architecture from the incipiency of American occupation, I shall only limit to give a few of my present impressions on the matter. There are already sufficient numbers of constructions, some reproducing wholly European creations and' styles.; others, with seeming pretentions at originality, paying more attention to superfluity rather than to necessity; this being a fundamental requirement of architecture. As a result of this mixture, there is commingling too heterogeneous for the formation of a harmonious and typical whole,-such as that which exist in a family, for example, whose members, while different from one another in facial features, color, stature, and in other respects, still preserve the link of common semblance popularly known as the "family .a ir." By means of this they do not greatly differ among themselves, preserving in this wise their unity in spite of their variety, one of the eternal and immutable principles of universal harmony. Aside from these defects which are natural, in every formative period of arts in every country, if we are going to consider separately each 32

ART work, we will find that some bring great credit to their authors, and they will win prize even if brought to other soils where a true and intense appreciation of the beauty of architecture prevails. Probably the one who distinguished himself most in stimulating original designing in architecture was Arcadio Arellano, son of an old- native architect. Unlike some of his contemporaries, he tried and succeeded to depart from European and American models and started to use native plants and objects as decorative motives of his designs. He erected many monumental buildings, like those of "EI 82" in Binondo and "Hotel de Francia" in Plaza Santa Cruz in the down-town districts. He also designed many beautiful resi路dences in the different sections of the City of Manila and in the provinces. To the Insular government belongs in a great measure the credit of being an effective instrumentality in bringing about great stimulus and remarkable progress in architecture. As early 路a s the American occupation, the position of Consulting Architect was created in the Bureau of Public Works for the planning and designing of all insular, provincial and municipal works throughout the Philippine Islands. Many public school buildings, markets, town-halls and provincial capitols in all parts of the Philippine Islands had been constructed under the direction of the Bureau of Public Works. The schools and markets are necessarily of uniform standards but a great number of provincial capitols stand as monumental structures whose grandeur and beauty are unsurpassed anywhere. Mr. Burnham, the well-known American architect on city planning, was brought over in 1909, and after making an exhaustive study of the available sites for government buildings and private zones, in Manila and in Baguio with special reference to future growth and progress, left a manuscript of his work in what is known as the "Burnham 33

ENCYCLOPEDIA OF THE PHILIPPINES Plan," which gave the Insular government a definite layout to follow in building constructions, especially those pertaining to the government. Among the buildings of architectural significance and beauty worth mentioning erected by the Insular government in the City of Manila are the National Library (now called the Legislative building) the Post Office, the Normal Hall, the Philippine General Hospital and the Manila Hotel. Following in the footsteps of the government, many private firms and' business houses have endeavored to build splendid structures which constitute the pride and the beauty of the City. The Masonic Temple can be mentioned as the forerunner of the "sky-scraper" type. It is made of concrete and rises in seven stories, of beautiful and dignified treatment and designing it can stand comparison with the pretentious buildings constructed in later years. The Pacific Commercial Co. building, the Chartered Bank building, the Perez Samanillo building, the Heacock building, the Lyric house, and innumerable others in the downtown districts and in Dewey boulevard are changing the sky-line of Manila and transforming it into a dazzling site and beautiful to look at. Among the most notable living Filipino architects who are contributing to the glorification of Manila are men of artistic taste and ability, such as Juan Arellano, Andres Luna de San Pedro, Tomas Mapua, Carlos A. Barretto, Fernando Ocampo, Juan Nakpil and Antonio Toledo. Before closing this part dealing on architecture, I wish to call attention to the fact that it has been my intention to enumerate in this pamphlet only a few of the best architects who have already passed away, with examples of their masterpieces.

SCULPTURE

In sculpture, we are face to face with a problem more difficult perhaps than that which we have encountered in the consideration of Philippine architecture, considering the fact that there is a scarcity of authoritative data and proofs of the existence of an autochthonous art in sculpture. Not even the later epochs of pre-historic times, such as for example, that when for the first time Spain set her foot on this soil and found a civilization far advanced than that which she did imagine to exist among the Malayan Filipinos of those times, judging not according to western standards but merely reflecting the civilization of India, China, Arabia and Japan, were they able to leave a legacy to Spanish-Filipino generation something conclusive in matters of sculpture sufficient to enable that generation to determine the peculiarities of style even sculptural psy'chology, with which the artist, archeologist or the historian of art could solve more or less the problem touching the relation that could have existed between the pre-Spanish and the Hispano-Filipino styles. The earliest works of a sculptural character, found in the Philippines consisted of little figures of clay, tile, porcelain and wood which were brought to the country by Indian, Chinese, Japanese and Javanese emigrants who in coming had as their principal desire the establishment of commercial relations with the natives. Among the various articles intended for sale some were of an artistic character. These objects at the beginning did not arouse among the natives more than simple curiosity; then, later, they began to buy some of these articles as household decorations; but a little later more this. simple curiosity and the constant sight of such artistic objects, may have probably induced those who were artistically inclined to imitate the little figures. They had no tools for such work but the desire was greater than this handicap, and they 35

ENCYCLOPEDIA OF THE PHILIPPINES had campilanes, alfanges, sand'a tas and bolos of the finest steel and well-sharpened, they, with a few cuts here, a few strokes there using the available implements, found the none too difficult task of converting a branch of a tree into some artistic figure. But it happened that the Filipinos were divided into small social units called "barangays" and were in constant -warfare among themselves. TUis at times }resulted li n mutual destruction. As there was no larger political organization or central authority, might was the ruler. Naturally, this state of affairs constituted a great obstacle to the development of art, which can only be adequately cultivated in an atmosphere of sustained peace and order. It can thus be inferred that those unsettled conditions were the principal cause for the scarcity and slow progress of original Philippine art. And for this reason, when the Spaniards settled iN these Islands they found the plasticgraphic arts in a lower degree of development than that obtaining in India, China, and even Java and Sumatra. But notwithstanding this relative inferiority in which native artisans found themselves, they were of great help to the newly settled Spanish colony for works of defense of the places conquered by soldiers and as laborers. in the construction of churches and other religious constructions. But in certain works which were more difficult and required technical skill in their execution, the conquerors employed the services of Chinese carpenters who directed native laborers. Before the end of the Sixteenth century, the Augustinian fathers had edablished in their own convent an elementary school for the natives, which later on was converted into an Academy of Arts and Sciences, until the arrival of the Jesuits who took charge of the same. The artistic instruction gave good results; there sprung up a group of good artisans and artists of more than ordinary 36

ART

skill, who found continuous employment in works of ornamentation, especially in wood carving and in the making of religious figures of saints of which the churches and convents were in constant need during the first years of the conquest. Sculpture of this kind had to exhibit a severe hieratism, almost archaic and of Byzantine taste, in their gestures and attitudes, in conformity with the Christian ideal imposed on the religious art. The artist on his. part, in order to insure his job in conventual works which formed the only source of income for the sculptors and painters of those days, had to show religiosity and devotion and there were not a few who went to confession and communion before starting their day's work. To all this may be added a det~lI which is not altogether destitute of interest, and which is this the calling of the painter and the sculptor in the colonies of Spain was made difficult because of the interference of a class of individuals wellknown for their systematic bigotry in opposition to the independence of art. Fortunately, however, for all particularly for art, on the first of May, 1785 during the reign of Charles III, a royal decree was promulgated authorizing the free exercise of the ,a rt profession by nationals as well as by foreigners, without restriction or payment of fees. This happy event should have caused great satisfaction among artists because of the undeniable benefit that said decree meant from a material and spiritual standpoint, but they did not seem to understand it that way or were not made acquainted with the real meaning of the royal document. The fact is that, accustomed as they were to work from immemorial time under forced conditions, they barely profited from that generous concession. I

However, the reason of the apparent indifference shown by the artist is in that case should not be attributed exclusively to said circumstances. In those times the 37

ENCYCLOPEDIA OF THE PHILIPPINES country .did not have true educators and good models who could duly help them in the difficult training of art. They have acquired their meager technical and artistic knowledge only from amateur instructors with poor qualifications for the teaching of art. Notwithstanding these shortcomings, art gradually developed, impelled by the irresistible force of universal progress, and the influence of Spanish arts became more and more noticeable; sculpture in its progressive evolution evinced in an indubitable manner the influence of the school of Martinez Montafiez y Arcillo, illustrious Spanish sculptor of the Seventeenth century who was a specialist in wooden religious sculpture. From time to time there came from far Mexico works of art which, with those coming from Spain, increased the number of models of which our artists were in great need, but it is to be wondered that notwithstanding these foreign influences, which left their impress on the production of Philippine sculptors, nevertheless it cou}.d be seen in them unmistakable traces of original aesthetic feelings deeply rooted in the MalayanOriental soul. In the first half of the Nineteenth century, sculpture like its kindred arts-Architecture and Painting-acquired a notable development, with a predominance of works of a religious and mystical nature both in number and in quality which sculpture from life and monumental sculpture were almost unknown. The opening of the Suez Canal was the starting point for the development of the fine arts in the Philippines, for the voyage between the ,Philippines and Spain, having been reduced to one month, instead of several that were before required, by going around the Cape of Good Hope, many Spaniards and other European artists began to come to the country among whom there were some professional artists as well as amateurs attracted ones by the desire of 38

ART a.dventuring in new countries and others with the aim of establishing themselves, in these privileged lands, hoping that some time or other, they could find some way of earning a living. However, whatever may have been the motives for this influx of people coming from different places of Europe, the fact is that their mingling with the natives had given a good result in so far as the interests of art are concerned. The artists saw new horizons, acquired new ideas and succeeded in using new modes of expression each one following his own inclinations and artistic preferences. And thus, slowly" considering the imperfect elements with which the Filipino artists could avail of to improve their calling, a few personalities began to shine and works were performed in which no longer prevailed in an exasperating and tiresome way, the monotony in color and in line as well as in the gestures and in the technique. We do not have the means of those sculptors who lived before the Nineteenth century but we can mention the names of some of those who become prominent in the last third of the same century until the beginnings of the present century, all of them now dead; Manuel Asuncion, Leoncio Asuncion, Jose Arev.alo, Romualdo de Jesus, Domingo Teotico, Sotero G.arcia, Manuel Flores, Crispulo Jocson, Hipolito Salas. I see no reason why I should not add to this distinguished list the glorious name of Rizal, who we are proud to designate as our greatest patriot. He was not a professional sculptor in the ordinary sense of this word. His desire, in learning sculpture, was no other, judging from what can be inferred! from his plastic creations, than to be able to make use of such artistic means, the most emphatical of all, for the externp.l expression of his. feelings and ideas in precise, sensible and eloquent manner, conditions which only can be found in the highest degrees in sculpture. Rizal, as a physician, 39

ENCYCLOPEDIA OF THE PHILIPPINES was fully conversant with the human anatomy, a knowledge of which enabled Michael Angelo and August Rodin to produce their marvellous and unsurpassed paintings, overflowing with life and evocative of eternity. Such knowledge enabled our illustrious countryman to finish his most perfect work in modelling, the beautiful bust of the Jesuit, P. Guerrico, who was his professor at the Ateneo de Manila. This is a work which I may dare classify among the best sculptural portraits ever produced in the Philippines by native artists, because of the harmonious blending of the physical likeness of the person and the faithful interpretation of his moral character. With a little variance in wording, the following sentences of a famous Spanish lecturer can be aptly applied to him. "He had the complete mastery of the ways and means of the special technique of his art, at the same time he posses1sed a thorough and exact knowledge of man, which can only be attained through a philosophical study of the human being as well 路a s of the constitution and the different parts of the human body, specially the face with its numberless variations, some of which of such subtlety and delicacy, that required for its discovery a sort of intellectual microscope."

PAINTING

Although the art of painting is quite developed nowadays in this country we do not unfortunately have any positive evidence of its existence before the coming of the Spaniards. We should not be regretting this unfortunate condition had the Filipinos, during the pre-Spanish times, counted with buildings made of stone or other materials of greater resistance and durability than wood, bamboo and nipa. Because in such case, even assuming that earthquakes and typhoons could have totally or partially des. troyed s'a id constructions, we can safely say that the drawings, paintings and bass reliefs contained therein would not have completely disappeared, as. it happened in other countries very much older than ours wherein archeology has discovered and is still discovering fragments of artistic obj ects, some of them in good condition in the midst of the ruins and rubbish of buildings already demolished centuries ago either by a catastrophe of geological or atmospherical origin or by men themselves. Like Sculpture, pictorial arts in the Philippines began with the settlement of the Spaniards in the country. As in the case of architecture and sculpture, it was the priests who first made use of painting to fill certain conditions in religious cult. They kept the painters busy, some in the reproduction in oil of images of the Virgin and other saints, other in copying from engravings brought from the Mother country certain miraculous facts, religious events and other kindred subjects. And the artists, with little knowledge of painting, perspective and color and completely ignorant of the human anatomy, engaged themselves enthusiastically in their tasks, with solemn pride that their works were destined to find places in the altars or hung on the walls of the church and to be regarded therefore, as sacred objects, respected and honored by the 41

ENCYCLOPEDIA OF THE PHILIPPINES big crowd which usually went to the church to discharge their duties as Christians. In the meantime, the influence of the Spanish school became more noticeable from day to day, especially that of Seville, at the head of which are such luminaries of the pictorial arts as Murillo, Alonzo Cano and Pedro de Moya to which school, it wrus said, they gave to the Catholic religion all the sincerity and ingenuity that could entice the human soul and ingrained therein all Christian beliefs. At last came the 19th century. Between the years 1815-1820, the first school of fine arts was founded in the Philippines, and located at its capital, through the private initiative of a Filipino painter, Damian Domingo, a native of Tondo. This school achieved an enviable record a few years after its foundation. The "Real Sociedad Econ6mica" of these Islands.. seeing the increasing number of students enrolled in the school, decided on June 13, 1829, to take over the management of the school, retaining at its head, its founder. Damian Domingo, with a monthly compensation of twenty-five pesos. I believe it is not out of place here to mention that before the opening of this school, or to be exact, since the last years of the 18th century, the Filipino painter.s were not confined anymore to religious painting; also they were making life portraits. Their technique consisted in polishing a: cloth to the extreme and softly extending over it the color in order that the slight brush traces may not appear. They took great路 care even of the slightest details, from the beginning to the end, and took pride in showing one by one the hair and eyebrows.. They lacked the real technique, and did not understand that besides the likeness of the portraits, it was necessary, through the attitude and expression, to represent that what is called character. It can be said that they had a uniform standard in pictures. 42

ART

In the meantime, Damian Domingo was gammg renown as an artist, to such an extent that even GovernorsGeneral themselves called him to paint their pictures, some of which still can be seen in the gallery of the Malacafiang Palace. He died at the age of 34. Upon the death of Damian Domingo, teaching in said school was temporarily suspended. The Spanish government, out of interest felt towards the Filipino youth who had shown aptitude in the cultivation of plastic arts, has.tened to establish an officia-l Academy of Fine Arts to succeed that of Damian Domingo. In order to give encouragement and increase the efficiency of artistic education through up-to-date methods, similar to those given in Spain, the government brought some experienced professors like Cortina, Nieto and another who remained in the Islands until 1860, having as their assistants Filipino painters. They were succeeded by a distinguished Spanish painter, Agustin Saez, well-known for his eminent qualifications as art teacher. He was appointed Head of the Academia with Sr. Lorenzo Guerrero and Sr. Lorenzo Rocha, both Filipinos, to assist him. In 1891, sickly and enfeebled, he had to resign his position from the Academy. He was succeeded by Mr. Lorenzo Rocha, under whose time the reorganization of the said institution took place giving more encouragement to the technique .a'Ild introducing more theoretical and practical subjects., and changing the name of the Academy into that of "Escuela Superior de Pintura, Escultura y Grabado de Manila." Other painters who came after Damian Domingo achieved, success in their profession, among whom were Antonio Malantic, author of numerous pictures of outstanding merits as far as likeness was concerned; Isidro Arceo, Jose Asuncion, Antonio Asuncion, Hilarion Asuncion, D. Gomez who not only devoted themselves to the making of religious paintings but also to portraits. Later on came 43

ENCYCLOPEDIA OF THE PHILIPPINES other groups of painters who showed higher culture, better technique, greater knowledge and more proper application of certain sciences allied to painting. I remember the following: Felipe Roxas, a landscape painter and the most learned oopyist among the Filipinos that I remember; Lorenzo Guerrero, the most learned Filipino painter who cultivated poetry and literature at the same time and was not indifferent to music. This artist possessed, in the highest degree never yet attained by anyone, the art of artis.t ic instruction. His great success in the profession lasted as long as he lived, and we can say that the best artists produced by the country since then acquired more or less their training from his. teaching and seasoned counsels. Miguel Zaragosa is another painter who, in addition to his polished technique and his deep understanding of the different schools and styles of Europe, was also a writer, newspaperman, short-story writer, and an art critic; Toribio Antil16n was the most popul~r among the few Filipinos who took up scenographic painting. He learned his art from the Italian masters, Alberoni and Dibella, authors of the decorative painting in the church of Saint Augustine; Eusebio Santos, Manuel and Anselmo Espiritu brothers, took up historical painting; Simeon Flores y de la Rosa, life painter of strong artistic personality, who painted also religious pictures, some of which have been awarded prizes in national and foreign expositions; Felix Martinez, landscape painter, author of land sketches and religious painting; Jose M. Asunci6n, who especialized in the branch of painting known as "still life" and at the same time devoted himself with notable ability, to the studies of art, archeology, and journali:s.m; Rafeal Enriquez, who spent the greater part of his life in Europe and whose best works remained there. He was an enthusiastic admirer of Goya and Velasquez, the author of "La Rendici6n de Breda" and "Las Hilanderas," which exerted a very strong influence on his works. We cannot conclude this narration without men44

ART tioning the two indisputable sovereigns of Philippine painting, Juan Luna and Felix R. Hidalgo. After his preliminary study of art under the authorship of Agustin Saez, Luna continued practising painting, but this time under the guidance of the illustrious Lorenzo Guerrero, mentioned above who, in fact, paved for him the way to glory and immortality, urging him to go to Europe, where shortly afterwards he won artistic triumphs which found echo in all the parts of the civilized world, raising him to the rank of world celebrity when he had scarcely reached 27 years. Notwithstanding his great admiration for Velasquez, he was rather influenced in some of his works, though slightly by the admirable technique of the great Rosales; on the other hand, in his other productions, there are traces of Velasquez' art, as can be detected in some of his pictures, as for example, "La Muerte de Cleopatra," "El Pacto de Sangre," "Ecce Homo," and others. Having moved to Paris, where he lived for many years, we need not say that, the modern French school accorded a good deal of influence upon him, as can be noticed from his most disputed picture "Pueblo y Reyes" in regard to color and atmosphere. But what was admirable in Luna is that in spite of these influences, he preserved intact and strong his artistic individuality, a quality inherent in genius. Like Luna, Resurreccion Hidalgo was a pupil of Saez, while he was studying in Manila. Later on he left for Europe for the purpose of furthering his artistic knowledge. He studied for sometime in the School of Fine Arts in Madrid, moving after to Rome, and lastly to the capital of art and culture, Paris, where he lived for more than twenty years. There he produced his best pictures, among which the following deserve special mention: "Las Virgenes Cristianas," "Edipo y Antigona," "El Aqueronte," etc. He distinguished himself to the highest degree by 45

ENCYCLOPEDIA OF THE PHILIPPINES his knowledge of drawing, modelling and working on darkness and light. He had a complete mastery of composition. He was very fond of music, his favorite instrument being violin which he played with perfection. His pictures are scattered in Europe, in the Philippines and in America. He was an artist of vast culture, a fact which made him highly appreciated by the intellectuals of the capital of France. Luna and Hidalgo in raising the name of the Philippines to great heights, showed to the world that our country, with due training, can reach the level reached by other more advanced nations and can cooperate with them in the grand undertaking of human progress, not only in material things, but also in those and selected of the spirit, indestructible and imperishable. "La Escuela Superior de Pintura, gscultura y Grabado de Manila" closed its doors at the end of the Spanish sovereignty. In mentioning this school, it is not possible to forget the illustrious name of Melecio Figueroa, professor of engraving in the same, who was awarded various pri~es and diploma,s in Europe and America, the immortal author of our national currency, the Conant. He is the only Filipino engraver who had developed said art from its purely artistic aspect with unsurpassed efficiency and enviable success. It is indeed a matter of regret that this art, of delicate and gracious beauty, could not count on more devotees in the country. In Europe, America and Japan there are many who devote their time to this art as can be seen from the national and international expositions held in said countries. In 1909, a new School of Fine Arts was established through the initiative of local artists supported by other persons interested in art. It was made a branch of the State University, its first director being the painter Rafael Enriquez, and its first secretary, Jose M. Asuncion, mentioned above. 46

RESUME

From the above account we can draw clearly one inference, and that is, that the history of Philippine art is very brief, especially if it is taken as a whole and compared with those of the great nations, not only in Europe but also in Asia and America; for strange as it may seem, in such a long span of time, almost four centuries, the Philippines did not produce but four or . five artists of international renown, when other nations produced hundreds of them in the same space of time. I think we can attribute this scarcity of artists to various causes. First, that we lived almost isolated from the advanced western nations, the cradle of our present culture and civilization, and then the means of transportation between Europe and the Philippines at the time were very inadequate as a consequence of which the Filipino artists could not establish direct contact with that environment of incessant artistic activity and to have an interchange of impression and ideas with the most accomplished, in art, of that powerful society; because it is a matter of common knowledge that art, in order to thrive and develop in a certain country, needs inspiration from what is produced beyond the national frontiers. A prolonged isolation will give place to decline and deterioration a's can be learned from history; but above all, it is absolutely indispensable, necessary for the art, to breathe the air of freedom, for a subject country can hardly give artists in the strict meaning of the word. In the second place, . . . and here we shall quote a paragraph from a lecture of an eminent Filipino statesman, who died a few years ago, touching upon a plan (or a dream, according to him) of a tendencious, conservative and exclusivistic education. .. "It is not surprising to find such desideratum in a people who were up to this time educated under a Catholic monarchy, whose teachings have always been dogmatic and fenced within conservative ground. In 47

ENCYCLOPEDIA OF THE PHILIPPINES politics, the principle of divine rights, of king was taught, to which principle was, of course, subordinated the blind obedience to the authority, the nation of the governing classes, who derive its power from royal authority and of the subject classes who are formed by the people born to serve the king and had to mould their desires, aspirations and actions to the desires, aspirations and actions of the sovereign or his representatives. In religion, beliefs are not deduced by the individual from his own observations or individual judgments but he learns them in the form of dogmas and principles which under faith he had to accept from others as good, truthful, indisputable and absolute." I will conclude with the following phrases of a great Spanish art critic: "Art, because of its abstract character, its spiritual nature, is always at the head of all psychic energies, looking in the infinite the supreme human ideal. For this reason, art cannot be subject to anything nor to anybody; for this reason art needs complete freedom where it can move, develop and expand, and for this rearson it sides always with the political and religious schools which offer broader horizons to man."

Our Luna and Hidalgo By

JOSE RIZAL

I desire to unite with you in a single thought, in one sole aspiration: the glorification of genius, the exaltation of the Fatherland. Such is, indeed, the reason for this gathering. In the history of mankind there are names which in themselves signify an achievement, which call up reverence and greatness-names which, like magic formulas, invoke agreeable and pleasant ideas, names which come to form a compact, a token of peace, a bond of love among the nations. Among them belong the names of Luna and Hidalgo: their splendor illuminates two hemispheres of the globe, the Orient and the Occident, Spain and the Philippines. As I utter those names, I seem to see two luminous: arches that rise from each region to blend there on high, impelled by the sympathy of a common origin; and, from that height, to unite two peoples with eternal bonds, two peoples among whom do not germinate the seeds of disunion blindly sown by men and their despotism. Luna and Hidalgo are the pride of Spain as well as of the Philippines. Though born in the Philippines, they might have been born in Spain, for genius has no country, genius bursts forth everywhere, genius is like light and air-the patrimony of all: cosmopolitan as space, as life, and as God. The patriarchal era in the Philippines is passing away; the illustrious deeds of its sons are not circumscribed by the home. The Oriental chrysalis is emerging from its cocoon; the dawn of a broader day is heralded for those regions in brilliant tints and rosy-dawn hues, and that race, lethargic during the night of history while the sun was illuminating other continents, begins to awake-urged by the dynamic shock produced by contact 49

ENCYCLOPEDIA OF THE PHILIPPINES with Occidental peoples-begs for light, life, and the civilization that once might have been its heritage, and thus confirms the eternal law of constant evolution, of transformation, of recurring phenomena" of progress. They imbibed there the poetry of nature-nature grand and terrible in her cataclysms, in her transformations, in her conflict of forces: nature sweet, peaceful, and melancholy in her constant manifestation, unchanging; nature that stamps her seal upon whatsoever she creates or produces. Her sons carry it wherever they go. Analyze, if not her characteristics, her works; and little as you may know that people, you will see her in everything moulding its knowledge, as the soul that everywhere presides, as the spring of the mechanism, as the substantial form, as the raw material. It is impossible not to show what one feels, it is impossible to be one thing and to do another-contradictions are only apparent, they are merely paradoxes. In El Spoliarium, on that canvas which is not mute, is heard the tumult of the throng, the cry of slives, the metallic rattle of the armor on the corpses, the sobs of orphans, the hum of prayers, with as much force and realism as is heard in the crash of the thunder amid the roar of the cataracts, or in the fearful and frightful rumble of the earthquake. The same nature that conceives such phenomena has also a share in those lines. On the other hand, in Hidalgo's work there are revealed feelings of the purest kind, an ideal expression of melancholy, beauty, and weakness,-the victims of brute force. And this is because Hidalgo was born beneath the dazzling azure of that sky, to the murmur of the breezes of her seas, in the placidity of her lakes, the poetry of her valleys, and the maj estic harmony of her hills and mountains. So in Luna we find the shades, the contrasts, the fading lights, the mysterious and the terrible, like an echo 50

ART

of the dark storms of the tropics, its thunderbolts, and the destructive eruptions of its volcanoes. So in Hidalgo we find everything light in color, harmony, feeling, clearness, like the Philippines on moonlight nights, with her horizons that invite meditation and suggest infinity. Yet both of them, although they are very different in appearance, are fundamentally one,-in the same way that our hearts beat in unison in spite of striking differences,. Both, by depicting from their palettes the dazzling rays of the tropical sun, have transformed into rays of unfading glory the beauties of the Fatherland. Both express the spirit of our social, moral, and political life: humanity subjected to hard trials, humanity unredeemed, reason and aspiration in open fight with prejudice, fanaticism, and injustice, because feeling and opinion make their way through the thickest walls, because for them all bodies are porous, all are transparent; and if the pen fails them and the printed word does not come to their aid, then the palette and the brush are not only a delight to the view, but are also eloquent advocates. If the mother teaches her child her language in order to understand its joys, its needs, and its woes, so Spain, like that mother, also teaches her language to the Philippines, in spite of the opposition of the purblind pygmies who, sure of the present, are unable to extend their vision into the future and do not weigh the consequences---,sickly nurses, corrupted and corrupting, perverting the heart of the peoples, sowing among them the seeds of discord, to reap later the harvest, the aconite, the death of future generations. But, away with these woes! Peace to the dead, because they are dead-breath and soul are lacking them, worms do eat them! Let us not invoke their sad remembrance; let us not drag their ghastliness into our rejoicing! Happily, brothers we are once more-generosity and 51

ENCYCLOPEDIA OF THE PHILIPPINES nobility are innate under the sky of Spain-of this fact you are all patent proof. You have unanimously responded, you have cooperated, and you would have done more had more been asked. Seated at our festal board and honoring the illustrious sons of the Philippines" you also honor Spain, because, as you are well aware, Spain's boundaries are not the Atlantic or the Bay of Biscay or the Mediterraneana shame would it be for water to place a barrier to her greatness, her thought-Spain is there, there where her beneficent influence is exerted; and even though her flag should disappear, there would remain her memory,-eternal, imperishable. What matters a strip of red and yellow cloth" what matter the guns and cannons, there where a feeling of love, of affection, does not flourish-there where there is no fusion of ideas, no harmony of opinions? Luna and Hidalgo belong to you as much a-s they do to us-you love them, you see in them noble hopes, valuable examples. The Filipino youth of Europe, always enthusiastic, and some other per'sons whose hearts remain ever young through the disinterestedness and enthusiasm that characterize their actions, tender Luna a crown, a humble tribute, small indeed compared to our enthusiasm, but the most spontaneous and freest of all the tributes yet paid to him. But the gratitude of the Philippine-s to her illustrious sons was yet unsatisfied; and desiring to give free rein to the thoughts that stir in her mind, to the feelings that overflow her heart" and to the words that escape from her lips, we have all come together here at this banquet to consecrate our vows together, to give shape to that mutual understanding between two races that love and care for each other,-united morally, socially, and politically for the ISlp ace of four centuries, so that they may form in the future a single nation in spirit, in duties" in aims, in rights. I drink, then, to the health of our artists, Luna and 52

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Hidalgo, genuine and sterling glories of two peoples! I drink to the health of the persons who have given them aid on the uncertain pilgrimage of art! I drink that the Filipino youth, the sacred hope of my mother Spain, solicitous and heedful of the welfare of her provinces, may quickly put into practice the reforms she has 'so long planned-as the furrow is laid out and the land is not barren! And, finally, I drink to the happiness of those parents who, deprived of their sons' affection, follow them from those distant regions with moist eyes and throbbing hearts across the 's eas and the distance, by consecrating on the altar of the common good the sweet consolations that are so scarce in the decline of life,-precious and solitary flowers that spring up on the edge of the grave.

The Paintings of Juan Luna and Felix Res~rreccion Hidalgo By GRACIANO LOPEZ JAENA

El SpoliJ1路r ium and Las Virgenes Cristia.nas Expuestas al Populacho are the expression of the 's,i ghs and laments which are given forth by this race on whom has fastened for a long time the stigma of unjustified prejudices. When I behold the painting of Luna, above the terrible, above the union of all the horrors which present to my sight a barbaric scene, I feel something that moves me, that something which is lost in the mind of the artist and which the brush cannot transmit to the canvas. For me, if there is something grand, something sublime in El Spoliarium, it is because behimi the canvas, behind those painted figures, behind those colored figures there floats the living image of the Filipino people sighing its mi'sfortune. Because, gentlemen, the Philippines is nothing more than a real Spoliarium with all its horrors. There, in all parts lie despoliation, human dignity is there ridiculed; the rights of man have been trampled upon; equality is nowhere; and liberty, ashes and smoke. To speak of Luna, of his glories, triumphs, is to speak necessarily of the Philippines, of those beautiful borders of the Orient, his native country, which is a beat~ng part of the heart ;of Spain, which nourished the genius to whom we are now giving homage. Those most beautiful regions of the Pacific, still lie prostrate in the /IDost vile Is ubjugation, without rightS', without liberty; rendering tributes to the friars and helots of absolute, dictatorial Caesarian governments:. The time has come, gentlemen, to vindicate the Phil,i ppines from the bitter invectives, from the sarcasms 54

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which it has been the object on the part of certain writers, our countrymen from the Peninsula, who say that we are useful for nothing; that the Filipinos are dwarfs, of little intellectual acumen, incapable of progress, incompetent for scientific work. Persons who are dwarfish never grow; dwarfish countries on the other hand, become giants in the course of time. . This is like a dumb protest which warns the fathers of the country that there, beyond the seas, across the Suez Canal, farther there in the China Sea, there exists a country, which is more Spanish than anybody. It has proven its loyalty in a thousand and one battles; it continues to be faithful and submissive to the metropolis and yet it is still an orphan in the matter of representation. Bereft of its rights, it is at the mercy of the oppressive aristocracy and exploiting bureaucracy. La Batalla de Lepanto, placed on the august temple of the laws, gentlemen, is the expression of the sublime sighs of a people which demands its representation, its rights, its liberty to all the constituted powers.

Filipino Art By

IGNACIO MANLAPAZ

"It is difficult," says Karl Bucher, "to say where work leaves off and art begins." Since the earliest beginnings of human culture, the production of art has always been a vital feature of man's activity. So basic a function indeed is artistic creation that it may perhaps be safely asserted that wherever there is human life there is art. Anthropologists tell us that savages would not do sustained work without strong and continuous stimulus. The most effective stimuli are the need of food, the desire to conquer and loot their enemies, the desire to render themselves attractive to the opposite sex, and the desTre to exercise a control over natural forces before which they often shake with fear. The responses to such stimuli generally assume the form of hunting 'and fishing, war, personal decoration, and religious and magic rites. It is these chief activities of savages which gave rise to the different arts and which, through con'Cinuous evolution, themselves became art. It is well-known that savages celebrate the exploits of their great hunters in songs 'a nd pantomimes and 'Sometimes chisel out the likeness of the animal on their hunting tools with magical intent. They likewise have their wardances, war-songs, and standards embellished with the images of gods or totem animals. Their men paint, tattoo, and scar their bodies and bedeck themselves with feathers, shells, and the scalps of their enemies to win the admiration of their women; and both sexes indulge in love dances designed to display their bodily charms. They also execute religious dances to induce the gods or demons to turn a sympathetic ear to their prayers. All these simply go to show how intimately the principal interests of savages are bound up with the different forms of art. "If the energy 56

ART which man devotes to aesthetic creation and enjoyments were lost in the earnest and essential task of life, if art were indeed only idle play, then natural selection should have long ago rejected the peoples which wasted their forces in so purposeless a way, in favor of other peoples of practical talents; and art could not possibly have been developed so highly and richly as it has been," says Grosse rightly in his Beginnings of Art. The role of art in civilized life, thoqgh perhaps not so strikingly evident as it is in savage life, is nevertheless no less vital. According to K. Gordon" civilized art has a great effect 'o n practical activities and that it differs from primitive art chiefly in its greater remoteness from its practical issue. We may go further. Civilization is an art, and the civilized man's life is penetrated through and through with artistic influences whether he knows it or not. It may be that the average civilized man comprehends art not a whit better than the average savage does, but his activities have almost all been developed to such a pitch that, compared to those of the savage, they may truly and justly be called art.

We have often been styled an artistic nation. Foreign observers say of us that we are born poets and musicanseven behind our backs. Perhaps they are not wholly wrong. But as Epifanio de los Santos has humorously observed, our being born artists is perhaps responsible for our being bad artists. We are so contented with our gifts that we do not bother to develop them. As imitators, we are perhaps even worse. We copy European art uncritically and unwi,sely. The profoundest achievement of Western painters is commonly held to be the rhythmic organization of voluminous form, the translation of poly dimensional conceptions on the flat surface of the canvas. And yet our artists insist on painting flat pictures and consider the realistic trans.cription of nature the highest achievement in painting. But if Filipino artists are to procted along European lines" it is obvious that they must set before themselves higher aims and take the matter of volume and organization in real earnest. Luna is perhaps among all Filipino painters the one who has best grasped the significance of volume and organization. His greater works show a genuine feeling for solid form and a skill in composition of a high distinctive order, But his success in this direction 'was far from complete. He might have oriented his lines more markedly in depth; he might have modelled his form to appeal to the tactile sense more emphatically and insistently. And above all, he could have availed himself of the findings of Chevreul and others in chromatics and thus. used color functionally rather than merely decoratively or dramatically. But, after all, why cavil at him when he has accomplished so much? Indeed Filipino painters would do well to study him and acquire his passion for voluminous form and composi58

ART tion. For after Cezanne, flat painting no longer has any excuse, and mere pattern melody, depth through perspective, and photographic realism no longer satisfy. The oldfashioned use of color as a decorative or dramatic element has also given way to the scientifically discriminating use of it based on the discoveries of Chevreul, Rood and TudorHart. The Impressionists and post-Impressionists are the best guide in this, matter, although they are by no means infallible. Filipino art is frankly and unblushingly an imitation of European art. It therefore behooves路 our artists to adapt the best in European art or else-strike out new paths for themselves.

III In Lorenzo Rocha we have one of the most remarkable of Filipino primitives, and in the portrait of J osefa Angeles, undoubtedly one of his most remarkable works. This canvas is valuable not only as a work of art but also as a fine index of the manners of the artist's time. The face of the girl with its distinguished but unsophisticated expression, the hair embemshed with two scarlet roses, the barro of embroidered pina with sleeves sloping down, the paiio of blue silk fringed with piiia and dotted with gold, and the gold crucifix studded with pearls suspended from the ribbon encircling the neck are all beautifully reminiscent of Grandmother's younger days. There is a certain hardness in the modelling very common among primitives. The tones are subtly modulated, and it is only in the pano that we note a bold venture into chiaroscuro. But what purity of line and freshness of color! Another fine picture by a Filipino primitive ilSi Antonio Malantic's portrait of Dean F. Benitez's mother. The painter is a meticulous draughtsman with a DUrer-like passion for detail. The picture is a most realistic rendering of the subject and possesses genuine psychological interest. Line is the artist's preoccupation, but his color, though archaically flat, is not uninteresting. From Rocha and Malantic to Luna is quite a far cry. Luna is, beyond cavil, the greatest master of form among Filipino artists. Consider his celebrated Spoliarium. There is in this. canvas a certain solidity of modelling, a skillful disposition of figures into quite voluminous aggregations that one looks for in vain in other Filipino painters. The artilst's passionate love of exuberant human form reminds one of Michelangelo, the supreme magician of form. Unfortunately, Luna had not emancipated himself from the tyranny of bitumen, and his preference for what Delacroix 60

ART called "earth tones" tends to diminish his effect. But for all these, he certainly succeeded in translating his colossal vision into a vigorous composition full of movement and pounding rhythm. There is another canvas by Luna showing a woman sitting at a dining table before a colored lamp. It is entitled Fantasy and is, in a way, an unusually interesting and significant work. The featheriness of brushing, the atmosphere color, the glow of artificial light producing a certain aerial effect all distinctly echo the wonderful balletgirl pictures of Degas. As from Degas to his Impress.ionist colleagues is not a big leap, we could only regret that Luna did not have the artistic courage to adopt their revolutionary and much-jeered-at color technic while overlooking their formlessness, their invertebrate tendencies. Hidalgo is in many respects the antithesis of Luna. Rizal was. the first to point this out. To Hidalgo life is literally a dream. He seems to see the world through halfclosed eyes. How strikingly does his Oedipus and Antigone-a picture inspired by Sophocles' Oedipus at Colonus--contrast with Luna's Spoliarium! There is here no exuberant form, no fiery temperament and Oriental love of strong colors. Instead we find an atmospheric languor, a soft melting quality strongly reminiscent of the vaporous effect of Carriere or Murillo's later canvases. While Luna's contours are generally sharply defined, Hidalgo's show a tendency to sensuous indefiniteness. For Hidalgo is obsessed by a passion for delicate misty effects. His pictures are usually spread o'er with the enchantment of fine dreamy haze. Thus it is that his forms often have a velvety texture, a certain richness of plane that harmonizes so exquisitely with the fluidity of his rhythms. The profound change in Fabian de la Rosa's present 61

ENCYCLOPEDIA OF THE PHILIPPINES manner is a dark puzzle to many. The old-time ease and spontaneity are no more, having given way to a nervous, perhaps even labored style. Is this, however, a sign of failing strength of approaching artistic senility? The answer, I am inclined to believe, ilS: an emphatic no. If de Ia Rosa's want of technical felicity, his hesitating touch and constant re-touchings tempt us to shake our heads, it may simply be because we do not understand his passionate striving after pictorial subtleties" after strange psychological effects. For not without reason did he cast his original popular manner. Shallow transcription of nature no longer satisfied him, and he began to ' dream of stretching the resources of his, art to the utmost,. of compassing results J:arely, if ever, achieved before. And such is the nature of his problems that even Delacroix, Rousseau and Gaugin, distinguished painters of Oriental and tropical 'scenes, are scarcely of help to him. No wonder h gropes and wavers. An astute foreign critic has lately remarked that de la Rosa was the only Filipino artist who could paint the tropical heat. Perhaps his curious experiments with color and his straining at strange effects have begun to tell. If Hidalgo is the antithesis of Luna, so Fernando Amorsolo is, in many important points, the perfect antipode of de la Rosa. What first strikes one in Amorsolo is his brilliant technical mastery. There is nothing labored about him; his brush-strokes are broad la nd sweeping. His line has nothing of the wiriness that one often finds in de la Rosa's. Its richness, indeed, often makes: up for his want of fullness of form. He is a most sensitive colorist, and may perhaps even be said to have路 brought a new palette to his art, so 'strikingly original is his color scheme. And how wonderfully cool are his tones! He often so charms us' indeed by the beauty of his color and 62

ART the singing fluency of his touch that we forget to look for more solid qualities behind the surface. And that is perhaps very fortunate. For Amorsolo, like his aesthetic kin, the Impressionists, is so absorbed in the problem of light and color that he fails to give proper attention to form and solid construction. That is why his attempts at allegoric or historical painting which, as everybody knows, generally demands elaborate composition have almost all fallen flat. This too,. perhaps, is the explanation of his delight in simple, one-figure arrangements, in the girl in parti-colored Balintawak. Juan Arellano's being an architect has a considerable influence on his painting. His strong sense of form, his predilection for straight lines, and his feeling for the solidity and, at times, even of the hardness. of objects are all directly traceable to his architectural training. He is more frankly impre~sionistic than Amorsolo, employing dots and dabs in place of the latter's broad dashes. He builds up his objects with color-spots, recording their atmospheric aspects with surprising faithfulness. How superbly does he depict nature's fleeting appearances, those exquisitely uncertain moods evoked by a slowly fading light! Arellano's landscapes are all in fact simply moods immortalized-either nature's or his own. A thoroughly subjective painter, he joys in the graphic representation of curious mental images. There is a canvas of his entitled Adolescence showing a Javanese girl with the grotesque spirit, wayang, hovering sinisterly over her head. This picture is done in strong, flat colors, and has rather heavy and sharply defined contours which strongly savor of the modern primitives. The conception is unusually daring, representing as it does. the appearance as well as the thought of the subject. Arellano's sense of form, has, it would seem, been 63

ENCYCLOPEDIA OF THE PHILIPPINES arrested in its development. This is undoubtedly due to his contact with Malayan art. For instead of manifesting itself more and more in 'solid, polydimensional compositions, we very frequently find its ils sue in simple rhythmic arrangements on a flat surface. But from the standpoint of Oriental art, this is a result "devoutly to be wished." Guillermo Tolentino, the most distinguished Filipino He does sculptor, excels by sheer beauty of execution. not sympathize with artists who glory in anatomical deformations and sensational burlesques of nature; nor has he a kind word for the simplification ad absurdum of the modern primitives. But he has not, on the whole, been His interest in light, insensitive to modern influences. for instance, puts one in mind of Rodin. He modulates his surfaces to enable the light to play freely on them. He contrives delicious planes that emphasize the pleasure of mass, instead of diminishing irt. When modelling for bronze, he is carefu~ to juxtapose the large patches. catching high lights with broken planes to avoid the tight surfaces that make for coldness and monotony. He generally eschews finish and detail. "Sculpture," says Rodin, "is the art of the hole and the lump." Mindful of this, Tolentino models his hollows with painstaking care, with a keen eye on their quality and value. It is thus that he achieves that firmness of form and that full, rich rhythm of line which characterize most of his greater works. There is also in Tolentino a fine musical quality which Epifanio de los Santos noticed. In his Bonifacio monument, for instance, we find a detail-the ravished woman reclining limply in her father's arm, with her baby crawling at her feet-that stands out by dint of his singing lyricism. How deliciously is the woman's rounded form felt through her clothes! The influence of modernists is most plainly dis64

ART cernible in Victorio Edades' canvases.. Most of his pictures have all the bizarre appearance of modern art. He employs heavy contours and large irregular patches of color which, designed no doubt to emphasize form, sometimes, however, only produce a sensation of heaviness. On the other hand,. in his picture of his wife and her mother, the treatment is quite light and we feel the charm of space and air. Enrique Ruiz is a mural painter, and as, such, frankly renounces depth in his paintings. Profoundly influenced by Oriental art, he delights in arbitrary arrangements of human figures and natural objects, frequently achieving thereby a truly harmonious decorative rhythm. The artists I have discussed above constitute only a small fraction of the number which this country has produced. They are, however, I l.believe,. among the most significant of them. That at least is my reason for considering them at some length and passing over the others who are certainly not without their own peculiar merits.

Filipino Culture By

NORBERTO ROMUALDEZ

Forrne?'ly Associate Justice of the Supreme Court of the PhiliplJines F1NE ARTS

If we turn to the fine arts, such as painting, sculpture, architecture, and music, all of which, are included in the broad subject of art, we shall also find ,that the Filipino mentality has given,and is 'still giving, under its surrounding circumstances, strong signs of its existence and potentiality. Of course, a people which goes by beauty, rather than by utility, must, of necessity, be fond of art.

When I speak of art, I refer to that expression of beauty, not only according to the Occidental taste, but also according to the Oriental conception. No attempt will be made at a critical Istudy of the technique of the different arts to be taken up, for I shall not go beyond a superficial discussion of the subject, Of course, we cannot affirm with absolute certainty that Filipino art is completely developed because the vicissitudes under which the Filipino has been laboring have hindered the full growth and developm~nt of his own artistic ideas, many of which are natural and inborn, some inherited from the ancient civilization of India, and a great part conceived in the Is pecial environment in this Archipelago. As to the optical arts', I shall venture to say that reminiscences of the arts of the Oriental countries that excelled in these ,a rts in antiquity may be traced in the Filipino mind. Here is what Francisco de P. Valladar, a Spanish author, says about the Filipino arts, in his work Historia del Arte, published in Barcelona, in 1909 (Vol. I, p. 310) : 66

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The Filipino Archipelago belongs to the Oceanic West (Ancient Malaysia, or land inhabited by Malays) , called Asiatic Islands. This circumstance and the archeological discoveriesl which have disclosed remains of temples bearing Indian, Egyptian, and Chaldean character in the more ancient and of China and Japan in the more recent, together with the Filipino Exposition at Madrid, and the pavilions which have been preserved in perfect order and condition, give a clear idea of the arts in those beautiful i's,l ands which are not as yet well known, in spite of the notable works which may be consulted on this subject in the Bulletin of the Geographical Society of Madrid. To-day, our arts are being modeled after Occidental forms, without altogether effacing certain traces of our individuality, which will be hard to do away with, and which must be cultivated, fostered, and perfected.

PAINTING

The Filipino, as I have already indicated, has not had the opportunity to develop his own art in painting. The art of painting, however, in its Occidental forms, exists here, and many Filipinos have been and are cultivating it. Juan Luna, F. Resurreccion Hidalgo, Lorenzo Guerrero, Zaragoza, de la Rosa, Amorsolo, Asuncion, Pineda, and others make the long list of Filipinos who have been cultivating this art in its Occidental forms. Mr. Augusto Fuster, of the Ateneo faculty, must also be mentioned. Mr. Fuster hals been a pupil of the well-known Spanish painter, Sorolla. Although he is a Spaniard, Mr. Fuster has taken a keen interest in Filipino art. Among the Filipinos who have excelled in this art, as cultivated in the Occident" Luna and Hidalgo, whose paintings have received marked distinction abroad, deserve special mention. Luna has painted the "Spoliarium," the "En el Triclinium," "Pueblo y Reyes," and many others. Among the paintings of Hidalgo, we may mention his "Las Virgenes Cristianas Expuestas al Populacho," his "Antigona," and many others. The "Spoliarium" of Luna, a copy of which we have in the Marble Hall in the City of Manila, is now in Barcelona. I had the pleaJsure of admiring this work of art in the session hall of the Assembly of the M ancomunidail in Barcelona when I went there in 1920 with instructions of the Philippine Government to make negotiations for . the acquisition of this canvas for our government. These two artists, Luna and Hidalgo, have specialties of their own. Hidalgo's characteristics are correctness in technique and neatness in details. Luna's specialty is his genius, his artistic boldness, resembling that of 68

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the very well-known American painter, John Singer Sargent. Original paintings of many, if not all, of the Filipino artists may be found in the private museum of Mr. Ongpin, the proprietor of the store HEI 82."

SCULPTURE

In pre-Spanish times, the Filipinos carved their idols. Of course their carvings were of primitive forms because in many instances the people were untrained carvers. As a matter of fact, we know that anatomy, as a science, did not exist in Europe before the thirteenth century, and that only in the fifteenth and sixteenth centuries, Mundini de Luzi and Leonardo da Vinci made real anatomical studies, and wrote books on the subj ect. The Filipinos carved the figures of their native idols by memory, or else imitated figures of the idols imported here by thems1elves, or by some Chinese or Japanese. Hence it is that the prehistpric Filipino idols bear resemblance to those of anciept Oriental countries. With the advent of the Spanish sovereignty, Occidental ideas on 's.culpture reached the Philippines, and the natives began to adopt and assimilate them after their own way. In some towns in the provinces, there were, and still are, amateurs in this art, who either imitated European models, or gave sculptural forms to pictures. The town of Paete, Laguna, has, since olden times, attracted attention for the ability of its people in sculpture. Such ability in this art must be traditional and innate, judging from the name of the town itself. Paet, a Tagalog word, means chisel, an important tool for wood-carving, which is the most gener,al form of sculpture in the Philippines. And this word, paet, must be the original native name of that town, because several persons are found there who handle the chisel with skill. Its transformation from Paet to Paete is explained by the fact that Sp,a nish .phonios is averse to the sound of soft-consonant-ending, and this was avoided by adding an e to the final consonant. Coming back to sculpture, the traces of Indian influence are les's noticeable than those of Chinese. Chi70

ART nese sculpture, of course, like the Japanese, has the same remote origin-Indian sculpture. The designs which we very often see on 'some objects, such ,a s handles and scabbards of bolos, prows of boats, etc., are, to my judg)TIent, originally Indian in taste. Mention may also be made in this connection of the different designs and ' engravings on our antique jewelry. But the Occidental influence is aSls erting itself, and it can be assured that Filipino sculptors are assimilating Western ideas very fast. Go into the San Ignacio Church and there you will find an example of the ability of the Filipino wood carver and his capacity for assimilating foreign ideas. Among those who have distinguished themselves, in this art, mentioh. must be made of Tampingco, Flameiio Tolentino, Vicente, and many others. As to Guillermo Tolentino, he is winning fame a s a sculptor, some of his best works being the groups "The Filipina," "The Filipinos," "Peace," "The Philippines," etc. Mention must aliso be made of one of the alumni of the Ateneo de Manila, Dr. Jose Rizal, who, although he did not devote himself entirely to sculpture, still showed a knowledge of, and ability for, sculpture, having made some carvings abroad, in this very college, and during his exile in Dapitan. The bust of Fr. Guerrico, a Jesuit, and other carvings by Rizal are well known among our people. The small sta,t ue of the Sacred Heart of Jesus, carved by Rizal with a penknife while he was still a youngster, is worth mentioning. This image was路 instrumental in enlightening his mind; for Providence made use of it in bringing him back to the Catholic Faith in his last moments, thereby preparing him for a Christian death. Numberless images, busts, and figures on countles'S monuments in the public plazas of our towns are products of the Filipino artists. 71

ARCHITECTURE

We have in the Philippines not only terrestrial, but also naval architecture, for it must be remembered that these I.slands form an archipelago. It is a general rule that the architecture of a country is primarily an outgrowth of its local needs and conditions. For this reason, even supposing that the Indonesian and Malay immigrants brought with them their native ideas on architecture, ideas which must have been quite advanced, yet those ideas could not have had a thorough application in the new territory occupied by them. So it is not strange that the first settlers should have abandoned, to a certain extent, the ideas that they might have introduced here, because they had to adapt the same to the new conditions and environment, and make use of the materials they found. Buildings of stone and concrete are not the most healthful constructions in this tropical country, where winter is not known) and where the rather sultry and dry atmosphere requires greater ventilation. Hence, the houses of the great majority of the Filipinos are of more appropriate materials, such as wood" bamboo, and nipa. These are the very materials that Nature has seen fit to give us in abundance. On account of this tropical climate, and for purposes of sanitation, the Filipinos have from time immemorial chosen for their homes and towns, the shores and banks of rivers, for which reason, and because of the special tendency of the primitive inhabitants to live either on the banks of the rivers or in rafts or water craft, the people of such regions were called Tagalogs. Several families still live permanently on such water craft known to-day as kaskos which we often see in the Pasig River. The people living in boats or near the banks of the rivers were 72

ART called Tagalog, this word being a contraction of the phrase taga ilog, taga meaning of, resident of, native of, and ilog meaning river. The Filipino house, in general, has an open porch on its three sides, the floor of which supports the upper end of the main staircase. The floor of the porch is usually lower than that of the principal part of the building. When it rains, the Filipino works on his porch, cleanses the rattan, weaves his nipa for roofing, or knits his fishing nets, etc., and the children pound rice. This porch is adjacent to the drawing-room, which, generally, is continuous to the bedrooms and to the dining room, which leads to the kitchen. The floor of these last parts of the house is also usually lower than that of the drawing-room and the bedrooms, which constitute the main part of the building. The house is usually built somewhat apart from the street, leaving a space for courtyard, garden, and orchard with trees and medicinal plants. Primitive streets in the Philippines were very narrow, in conformity with the needs of the times when there was not much traffic. Even in the old parts. of big European and American cities, there are narrow streets. Remember some old streets of Toledo, Spain, and even some of old New York. In architecture, the Spaniards also imported Occidental ideas to the Philippines. Our building construction received such Occidental influence and adopted its taste readily. Hence we find in Manila, and in some provincial towns, many houses. of Spanish type: with the Andalusian courtyard inside. This interior yard is as adaptable and convenient in this tropical climate as it is useful and pJ.'lactical in the meridional climate of Andalusia. As to the form of the roof of the Filipino nipa houses, it may be observed that in places where rains are 73

ENCYCLOPEDIA OF THE PHILIPPINES usually heavy, the roof,s are of an acute angle upwards, while in places where rain's are not so heavy the roofs are not made so high. This is ,also the case where typhoons are strong and frequent. High roofs are found in some regions of Luzon, while low roofs are ordinarily used in the Visayan Islands. Decidedly Occidental architecture, with all its different branches and styles, is gaining ground in the Philippines, where American architectural principles, which are more after strength -a nd ventilation of buildings and light and comfort in the compartments, are now being adopted, combine.d' with the European taste of emphasizing the exterior and interior ornamentations and of giving a pleasing ::esthetic impression. In thi,s: art, among the contemporary architects, Arellano, Argiielles, M路a pua, and several others are worthy of mention. As to naval architecture, you will readily understand that the inhabitants of the Philippines, especially those living in the maritime regions, were compelled by necessity to engage in the construction of boats and water craft for voyage and fishing purposes. Experts in the construction. of boats, from a simple fishing boat to a paraw, capable of crossing interisland seas, may be readily found in towns along the coasts. The word paraW' is properly a corruption of palay, a name given to the inhabitants of the Marianas Islands, who are used to making long trips on sea. As to ships of greater 'size and tonnage, Sorsogon is one of the regions which has excelled in the construction of lorchas and galleys. Before closing this subject, I must make mention of building construction of the old days. I need only to call your attention to edifices, public buildings, and private homes that have stood the test of time and weather, in order to give an idea of their ma's.sive and solid construction. 74

WEARING ApPAREL

I shall also speak of wearing apparel as one of the manifestations of a people's art. The Filipino costume, like the costumes of other peoples, has been undergoing changes and modifications in the course of time. There were, originally, various forms of wearing apparel for both men and women; but two of these forms which were widely in vogue, even before the coming of the Spaniard!s., may well be considered here, the tight form and the loose form. It is possible that the tight form was of Indonesian or Malay creation, while the loose form may have been imported by the Chinese. Hence it is that, in ancient times, and even now, the tight form is usuially worn by inhabitants of reg路ons of Mindanao and its adjacent islands, where the Chinese influence was not so keenly felt as in other parts of the Archipelago. As may be observed, the native costume consists of two main pieces: the shirt and the trousers among the men, and the skirt and the camisa or bodice among the Women. As to the woman's 'skirt, it should be noted that there is a native skirt which is called patadyong. This is a kind of wide pillow-case sufficiently long to cover the length from the waist line to the heels and without any cut or slope. This is why it is called patadyong, from patadlog, formed by the words pa (to the left) and tadlog straight, without slope. It is simply a cylinder of cloth with which the lower half of the body is wrapped and, being wide, is adjusted to the waist by making two big folds, which meet each other in opposite directions, and is then twisted either upwards or downwards, as the wearer 75

ENCYCLOPEDIA OF THE PHILIPPINES thinks best, to fasten the folds in place and thereby prevent the patadyong from falling. Apart from the linen or inner garments" there is another piece of woman's dress, the scarf, which is that piece of cloth folded, nowadays, in the form of a triangle, covering the back, the two ends meeting in front and being fastened together by a pin. The origin of this piece was probably the necessity of a protection for women against the sun. This kerchief was sometimes tied around the head, forming the costume now known a's b'a lintawak, or it was worn as a cover for the neck. In the course of time, it became an integral part of the Filipino woman's costume on social occasions. At the beginning, the form of this piece was a square which was folded diagonally to form a triangle. At first the two ends were left loose. Afterwards, the two ends were closed very near the neck, and later the folds became complicated, aad the ends are joined at a lower point as at present. It is interesting to note the successive changes of the Filipino woman's camisa or bodice. Originally the sleeves were narrow, and reached the wrists. Then, the original length being preserved, the lower ends were widened until they reached the present form. The sleeves were folded outward, the fold being about two inches wide. The edge of the Isleeve was scalloped after the fashion of Chambery (France). About the beginning of the last century, the sleeves, which were wide at the lower ends, were left loose and allowed to fall. Later small parallel plaits were made, extending from the shoulders downwards to a considerable distance. The bulging of the sleeves has increased more and more until the long parallel plaits have been suppresBed, as in the present form and shape. As to the skirt, at the time of the adoption of the 76

ART girdle or waistband, subsequent to the use of the pata4yong, which had no belt, the skirt was made very wide, but was gathered or plaited all around the waist. Later, the gathers were limited to the back part of the skirt, leaving the front part plain. But now, the fulness h'as been entirely suppressed, the cut of the skirt being tightly adjusted to the body, so that it has become too extremely and ridiculously narrow to be graceful. There is another piece of the Filipino woman's dress which is characteristic of the Tagalog women, but is not usual in the Visayan Islands: the tapis. It is a black apron, the purpose of which is, in f'act, to protect the skirt from being soiled. The word tapis is derived from tapi (cover) . In getting ready for ordinary household work, and for work in the farms and fields, the Visayan woman in Panay and N egros wears the patadyong. The Tagalog woman uses the tapis, but places. the opening of the tapis in front or on one side. But on social occasions, the tapis is worn with the opening at the back, leaving thereby greater freedom of movement to the long train of the skirt. Originally the material used for the tapis was coarse black cloth. Gradually it lost its original purpose as a covering of the skirt, and, in the cours,e of time, the textile used became finer and finer, until it has become totally replaced by fine, black tulle. The original tapis is now used only for work, while the fine, transparent tulle is appropriate only for social occasions. Generally, the term Filipino dress or traje de m.estiza excludes the tapis. It is called mestiza dress" because the daughters of Spaniards in the days of old did not, usually, wear the tapis and this distinguished them from the Tagalas. As to the colors preferred for the tapis, it must be 77

ENCYCLOPEDIA OF THE PHILIPPINES noted that the Filipino woman's truste is for colors darker than the skirt itself. Furthermore, it is generally considered very poor taste to wear a skirt of lighter color than the camisa and the scarf. Originally any color of the bodice matched with a dark skirt, and it was not essenti'al that the scarf should match with the color of the camisa or bodice. Later Dame Fashion dictated that the bodice and the scarf should match in color. This was s:o about the latter third of the past century. Still later, fashion had it that the skirt, bodice, and scarf should match each other, not only in color, but also in design" although the skirt was of thicker material than the bodice and scarf. These last two pieces were of the same textile. If I am correct in my observations, it seem'S to me that the latest evolution of the Filipino clhess is to have the skirt plain with no deI&ign or embroidery; on it, but the embroideries of the bodice, scarf, and tapis a:re of the same material, color, and design. Men's clothes, like those of women, have also undergone changes and have also followed fashion to a certain degree. In olden times, the Filipino men used putog, or pudog, which was a piece of cloth about one foot wide and three or four feet long, wrapped around the head. This is an Indonesian and Malay headdress which originated in Indi'a. Since the coming of the Spaniards, European and Mexican fashions and styles have considerably influenced the Filipino wearing apparel. The blouse without lapels, provided with a stiff collar, but without an opening in front of the neck, in Isuch a way as to exclude the use of the necktie, is a blouse 'after the Mexican style, hence such a garment is called americana. The coat and trousers were sometimes short, then long, then short again; sometimes tight, then loose, then tight again. 78

ART As I have said, the Filipino used his headdress. called Later the men wore, in place of the putog, a big handkerchief, which they wore wrapped around the head while on the streets, but placed around the neck when inside the house on social occasions. The loose form with some embroidery on the edges of the sleeves and also of the trousers., was usual in Manila and in big towns or cities, among the well-to-do, up to the beginning of the nineteenth century. Since about the second half of the past century, however, the Filipino men in the cities have worn European clothes on social occasions, although at home they use lighter garments, usually the camisa china. (Chinese shirt) and European troU'sers.

putog.

THEATERS

Neither' do we have reliable data regarding the existence of theaters in the Philippines during the pre-historic times. But it is safe to believe that in those ancient times, at least, the rude beginnings of a theater existed here, and it must have developed in a form similar to the Greek drama, which was an outgrowth of the popular festivals at which rustic worshipers, gathering around some deity, rang and danced. Aeschylus founded the dramatic art about five centuries before Christ. In the Philippines, the ceremonies which preceded, accompanied, and followed marriage celebrations, were of a social and public character; and, according to the authors, these ceremonies were very often solemn and pompous. At the nuptial ceremonies which lasted for several days, speeches were extempor aneously delivered, and singing and dancing to the tune of native musical instruments were indulged in. Popular celebrations were usually in the public Is quares, and at such festivals the Suluan war dance was generally represented, especially in some Bisayan regions. This dance was called sinulog, that is, after the fashion of the Sulu people, the native name for Sulu being Sulog, which means current, because strong ocean currents are frequent in that small archipelago. During the Spanish times, many towns in the Philippines built theaters, on the occasion of the local festivities, and the performances were entirely free and public. In those theaters, the performances were generally comedias. Among the representations, there was now and then an original production by a native author. There were also translations of Spanish works called corridos, already mentioned. 80

ART Later, the Spanish zarzuela, a general name given in Spain to a kind of light dramatic performance, was introduced in Manila and in the provinces. Among the modern Tagalog playwrights, Severino de los Reyes, has distinguished himself by his. literary productions, which are widely accepted and applauded by the Tagalog public. There are many Filipinos in our day Who have taken up literary pursuits, and cultivate the art of dramawriting both in Spanish and in English.

THE WORLD'S UNIQUE ORGAN

In this connection mention must be made of an instrument which, although not Filipino in its original plan was made, however, in the Philippines and of Filipino bamboo. I refer to the famous organ which may be seen and heard in the Catholic Church of Las Piiias, province of Rizal. This bamboo organ was constructed in that locality in the year 1818, i.e. 117 years ago, under the direction of the parish priest of that town, Fr. Diego Ciera, a Recollect father, fifty-six years after the construction of the church of that locality. We may al'so mention those musical bands, known in Tagalog as musikong buho, composed of instruments made of bamboo. Filipino m~sic has been undergoing modifications because of foreign influences, especially from European music. We all know that the great distinction between the ancient and the m@dern music lies in the peculiarity of the !Scale. You will remember that it was only in the beginning of the eleventh century that Guido Aretius invented in Europe the musical scale of six notes, taking the names of the notes from the first syllable of each of the six verses of the hymn to St. John: "Ut queant laxis-Resonare fibris-Mira gestorum-Famuli tuorum-Solve pollute-Labii reatum." You will also remember that, afterwards, when the scale w~s made of seven notes, as it is now, the name of the seventh note added to the scale was taken from the first letters of that hymn to St. John, to wit: "Sancte Ioannes." On the whole, primitive Filipino music like the saloma is composed of six notes. The regular Chinese scale has only five notes, and the modern European scale seven notes. I do not think, however, that the Chinese influence has been greatly felt in Filipino music. The fact that some primitive 82

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Filipino airs have only six or four notes does not prove any relation with the Chinese scale. The six or four notes of the primitive Filipino scale are not the same as the five notes of the Chinese music. The thought and路 modulation in Filipino music are languid, but spontaneous and natural, while in Chinese music the modulation is not, in my judgment, spontaneous and natural, but arbitrary and distorted.

OUR ANCIENT BEGINNINGS

The Filipino is here presented to you in his orIgm, history, and development, and in the artistic manifestations of his ideals and Is entiments. You have seen that he belongs to a race which peopled countries that in times past enjoyed their lown civili:aation, whose existence History confirms and whose traces are being unearthed now and then by archaeological discoveries. This ancient civilization to which I refer, and which you all know, is the Oriental civilization which served as a fundamental basis for the structure of what we now know as Occidental culture and refinement. These various features of Filipino culture which, generally speaking, are not of easy comprehension "Co the people of the West, may be summarized as follows: A certain degree of reserv.e in intercourse, which it would be unjust to regard as hypocrisy or treachery, it being simply an unavoidable manifestation of our peculiar idiosyncrasy; a fancy for the weird and fantastic, probably inherited from the Indian and Malay forefathers, an inclination towards the spiritual, and a taste and love for the abstract and unknown; a fondness for mournful music, a possible manifestation of their traditional yearnings for home-these are some of the characteristics of the Filipino placed under the unique influence of this tropical sun.

GROWTH UNDER WISE GUIDANCE

The Filipino idiosyncrasy in all its manifestation did not, nor could it, escape the subtle observation of the Jesuit Fathers of the Ateneo de Manila. The Spanish Fathers, first, and now the American Fathers, have both recognized the fact that our mind is of an Oriental temperament, and both have aimed at a harmonious development of our faculties-although each group may have employed different means for the attainment of a common end-regard having been always shown for our peculiarities and characteristics. The Spanish Jesuit Fathers gave lustre to our dignity which, because it was originally built upon our idiosyncra'sies, was very sensitive to extraneous influence. They impressed deep in the minds of the students the fact that men are created equal, that right is the patrimony of mankind, and wrong an incidental of human frailty common to all peoples. They especially insisted on these points so as to prevent their pupils from falling into the possible extreme of believing themselves inferior creatures by reason of their innate reserve. The American Fathers, in my observation, already comprehend the Filipino mind and heart, and are adapting accordingly their ideas and ideals to the need and conditions of their students. The American Fathers, impelled by the same desire to develop their students not only intellectually and physically, but also morally, are wisely insisting on the cultivation of moral character, by fostering in their pupils self-reverence, self-knowledge and self-control. While the Spanish Fathers emphasized dignity, the American Fathers lay stress on character. One quality is a complement to the other; and on this account we have every reason to be proud of -chis blending of two pedagogical systems in this institution of learning. 85

Filipino Musical Instruments and Airs of Long Ago By NORBERTO ROMUALDEZ F0 1'm er A ssociate Justice of the Supreme COU?"t of the Philippines Inasmuch as my subject is the Filipino Music, let me tell you a story about an agong. Long ago, there was in one of the villages. of Sulu a big agong. I t was tied to one of the branches of a tree in the middle of the village. Whenever the proximity of inva ders was noticed, the agofig was sounded to warn the villagers. To sound the agong there was hanging from t he same tree a piece of rock tied with a rope, the lower end of which dangled to the ground. One night, Samburaya, an inhabitant of the village, was on his way home, having taken in the market more wine than was good for him. He was walking in the zigzaggy gait natural with a drunk man, and his feet got entangled with the rope of the agong. He fell down, and in doing so, he jerked the rope, thus causing the instrument to sound very loudly. The villagers were, of course, alarmed, and they gathered their weapons. and they all r an to the tree only to find Samburaya there, dead-drunk and lying on the ground. So, they took hold of him, and as a punishment, they tied him to the tree. The next morning, they found him there, apostrophizing the agong, gnashing his teeth at it and saying: "You, trouble maker, with your empty head and noisy tongue!" Now, I hope, my dear music lovers, that none of you will find this lecture empty and noisy like that Suluan agong.

The story goes on and says that the people since then called Samburaya gonggong, possibly from agong. The word gonggong is equivalent to the Tagalog h'a ngal and to the Bisayan hungog, and probably to the English dumbbell. 86

ART Now, coming to my subject, we all know that Music was known in the Philippines even before the coming of the Spaniards. The most primitive inhabitants of these Islands,-the Negritos,-whom we call ita in Tagalog, and ati or agta in Bisayan, had their own music, before the Indonesians and the Malays brought theirs upon these shores. At a later pel,iod the Chinese land Japanese lmerchants left their types of reed, stringed and percussion instruments. These diverse music influences were already at work when the Occidental people reached these Islands. Many articles have been written about the subject. Pigafetta, Magellan's companion, the Jesuit Father Chirino, and Delgado, also Wans' y Merino, and Mallat have dealt with Filipino Music in their works. Later on, Mr. Dean C. Worcester in his book entitled "The N on-Christian Tribes of Northern Luzon" refers to some native musical instruments, airs, and dances. Mr. W. A. Reed, in his study of the Negritos of Zambales, describes some native instruments of music. Professor Otto J. Scheerer's "The Nabaloi Dialect" contains an account of the music of the Benguet Igorot. The late Mr. Epifanio de los Santos published an article entitled "Folklore Musical de Filipinas," where some musical instruments, airs and dances are described. In the Census of the Philippines of 1903, some reference is made to the Filipino music (Cf. Vol. pp. 535-571). Professor Otley H. Beyer's "Manuscript Sources in Philippine Ethnography" contains descriptions of the music life in the entire Islands. The Director of this Conservatory, Dr. Francisco Santiago, in his published work entitled "The Development of Music in the Philippine Islands'" has attracted the history of the Filipino Music. Mr. Alfred L. Kroeber in his work entitled "Peoples of the Philippines," published in New York in 1919, mentions some Filipino musical 87

ENCYCLOPEDIA OF THE PHILIPPINES instruments. Mr. Raymundo C. Banas in his book "The Music and Theater of the Filipino People" also speaks of the early music of the Filipinos. But the phrase Filipino Music, as we now understand it in common parlance, requires an explanation. Strictly speaking, not all music claimed to be Filipino, are of real Filipino origin. We call now Filipino music, any music adapted to the peculiar taste of the Filipino people, although of foreign origin. The fact is that due to the influence of the Occidental culture which is deeply rooted in our ways and customs since the sixteenth century, the native arts, have suffered a great deal of transformation and our fundamental ideas, as well as the way of giving expression to the feelings of our soul have underg..one a change on account of their subjection to new modalities. And the change has been to such an extent tha~ the native ways and ideas appear to us now as mere vague reminiscences of a remote past, a picture rendered nebulous with the passing on of the years,. Our music has suffered the same fate; but, thanks to a patriotic spirit of Renaissance, and to the enthusiasm of scholars in digging up the Pfrst to study Filipino culture and art in all their pristine forms, something is now done to preserve with endearing loyalty, the few remnants of our old, truly oriental civilization. Thus we perpetuate the vibrations of the Filipino soul for music-sad and melancholic but, withal, clearly energetic in spite of its softness and delicacy. Let us popularize the knowledge of what is. our own in music. This is an important manifestation of the psychology of a people. We would like to help spread out among our youth, the knowledge of, and- appreciation for our native airs, so that we may price and treasure, love and cherish them, in the archives of our most dear traditions in the reliquary of our hearts. 88

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I shall begin with the musical instruments, and after, I shall pass to the musical airs. The field is large. The material on hand is not abundant. My preparation and ability to undertake the subject are very limited. In addition to all that, the time, I would better say the odd times, I could spare on the work were scarce and .short. Therefore, I appeal in advance to your generous indulgence. In presenting the native musical instruments, I shall follow the classification generally adopted, to wit: percussion instruments', wind instruments, and stringed instruments.

PERCUSSION INSTRUMENTS

Instruments of percussion are supposedly the most primitive. The clapping of the hands and the stamping of the feet exemplify the first and crudest attempts of man at rhythm and music. Generally, the percus's.ion instruments are intended only for rhythm, but there are some that produce a kind of melody. To give you an idea of these instruments, I shall show some reproductions of several of them. One of the most primitive of our percussion instruments is undoubtedly the kalutang which is still used in some Tagalog province-so, as for instance, in Marinduque. The instrument is composed of two pieces of sticks of about 45 and 40 centimeters long and 4 centimeters in diameter, made from a certain kind of wood called t'an-ag. It j'g! sounded by simply striking the two pieces, one against the other. The following is a reproduction of the kalutang:

KALUTAAG

ART

As to the word kalutaiig, I think that it is a compound of the particle ka (which in this case means company like in ka-sama, kababayan, etc.) and the root luta which in Bisayan means separated. This compound name therefore kalutaiig, suggests the instrument itself; i. e. two separate pieces of wood, sounded together. Bunkaka--This bamboo instrument about 40 centimeters long is also called bilbil and it is, very much used among the Tiiigyans and the Benguet Igorots. I think that the terms bunkaka and bilbil are both onomatopoetic names; that is to say, taken from the very sound produced by the instrument. It is played by striking the splitted end of a bamboo against the left palm. The following figure is that of a b~m1c'aka:

II.

BUNKAKA

01'

BILBIL

It also produces some limited melody,-the change of tune being effected by the different way-s of striking it against the palm and also by leaving open or by stopping with the right thumb, the hole in the handle. The etymology of the term bunkaka is very apparent. It bears the Filipino philological characteristic which means open. The instrument is open at one end. By way of digression, Filipino dialects are eminently onomatopoetic, and the vowels play an important part in the conveyance of ideas. For example, to express the idea of open, the principal vowel sounds produced in opening the mouth are used, U-A. Conversely, to express the idea of closing the corresponding vowel sounds produced in 91

ENCYCLOPEDIA OF THE PHILIPPINES closing the mouth are used,-A-V. Thus, we have in Tagalog, Bisayan and Ilokano, the buka, which means to open or to untie. In Bisayan, we have the word takup (accidentally pronounced in Tagalog ta,kip) which means to cover or close. The term bunka,ka, therefore, with the vowels A-U, suggests the idea of opening, in accordance with these laws of Philology. Sulibaw-This is a hollow wooden drum in use among the Ibaloi Igorots. The head of the instrument is covered with the skin of an animal. The player must be halfseated and the Sulib'aw is held on his lap. A reproduction of the instrument is shown below. Its actual length is about half a meter, the diameter of the head being about 15 centimeters.

III.

SULIBAW

I t is played by striking the palms of the hand against the tight-fitting skin diaphragm. It is simply a rhythm instrument to mark the time of dance. As to the etymology of the name sulib'a,w, it is undoubtedly a compound 92

ART of the particle suli which conveys the idea of repetition, i. e. "repeated striking," and baw the onomatopoetic expression of the sound produced. In itself suli must be a compound of the words. "sa-uli" from uli the root of muli, ulit, sulit of the Tagalog dialect. Tugo-Among the Tiruray people in Cotabato, there is a drum called tugo. This word tugo must be an original native word because it has only two syllables. It is my persuasion that in the Filipino dialects, the original roots are of no more than two syllables. The root tugo may have served' as such for the Bisayan word tugod which means, the bottom. The idea of the bottom is not altogether foreign to the shape and form of this drum. The tugo is about 25 centimeters long and about 20 centimeters in diameter, its shape being as follows:

IV.

TUGO

In Basilan, Mindanao, they have a long and rather small drum with skin at both ends, called agong bowa. There is a great variety of native drums. We have for instance the drum of the Apayaws called lud'ag which is shown in the next reproduction. The actual length of 93

ENCYCLOPEDIA OF THE PHILIPPINES the drum is about one meter and a half. It is made of wood hollowed in its whole length, its lower end being closed. The name ludag which in Bisayan dialect means to lay down, is given to the instruments, probably on account of the way of it is played, that is, by having it laid on the laps of the performer. The figure of ludag is presented below. The instrument is about one meter and 20 centimeters long, being about 30 centimeters the diameter of its head.

Among the Tirurays of Kotabato there is another drum called neguet a reproduction of which is here. The n eguet is about 30 centimeters high, its head being of about 20 centimeters in diameter. It is made of the base of the trunk of palma brava, hollowed and open on its 'upper part, this part being covered with deer skin. The neguet reminds the Indian drum whose chief representative to the Nagara known as Dundubhi in the old Sanskrit epics. Such drum is reported by Dr. A. M. Meerwarth, Asst. Curator, Ethnographical Museum, Petrograd, Russia, in his work entitled "Guide to the Musical Instruments Exhibited in the Indian Museum, Calcutta," published in Calcutta, India, in 1917, (page 18, plate XII, Nos. 204, 222.) With reference to drums there is in Bisayan a general name, guimbal, used in Tagalog, Bisayan and Bikol dialects meaning drum. It is to be noted that one of the 94

ART

VI.

NEGUET

towns of Iloilo Province bears this name of Guimbal, probably becaus'e in ancient times many drums were manufactured there, in the same way in which a town of Laguna is called Paete, from paet (chisel) because in past years there were many carpenters and sculptors in that locality. It may be said in passing that the word paet was added a final e at the end to give it a Spanish form, like Kabite from Kawit, Paranaque from Palanyag, Malate from Maalat, Marinduque from Maalindok, Masbate from Masbat, from Masibat, Antique from Hamtik and so on. In some regions of Northern Luzon there is a drum called tambul, a name which I think is a corruption of the Spanish "tambor." Gans'a--This is a general name applied to a kind of bronze gong. Among the Apayaws and the Ifugaws, the common denomination is gansa, the bigger one being called koO?igan and the smaller one, kalos, while in Sulu, the bigger one is named m-akatupag. In Mindanaw and 95

ENCYCLOPEDIA OF THE PHILIPPINES Sulu the generic name is agong, named also gansa in some localities in Mindanaw. The gansa is played by holding with one hand the cord which holds the gong in position, and with the other beating it with the palm of the hand or with a padded drumstick. The figures below are those of a gansa and its corresponding stick. The diameter of the gansa is about 25 centimeters.

VII.

GANSA

Let me say a word about the name g'ansa. As, you see, I write it gansa without any nasal sound in the first syllable, that is to say, following the most common orthography, without g after the n. My reason is that gansa is an old Filipino name of copper or brass. The word is reported by Fr. Cosgaya in his dictionary as used in Pangasinan in the year 1865. The late Mr. Epifanio de los Santos in his article above mentioned writes the word g'ansa, without g after n. 96

ART

In the census of the Philippine Islands of 1903, (page 536, Volume I) the word is printed gantas which must be a misprint. Kulintanga'Ylr-This is a graduated gong the sets of which have a range from one and a half to two octaves. Sometimes there are eight gongs in a set.

The kulintaiigan shown in the figure below has only seven gongs. The usual size of a kulintaiigan is about

VIII.

one meter long.

KULINTAlil'GAN

This instrument is used in Sulu.

The name kulintaiigan is a derivative of kulintaiig because the ending an is Filipino suffix which, among other meanings, signifies a place where a certain thing is usually done or made, like saboiigan from saboiig, upo-an from upo in Tagalog; the same rule being found in force in the other Filipino Mialects. The word kulintang, I think, is very similar in its formation to the word sulibaw, the origin of whose root uli means repetition. The word kulintaiig may be decomposed into kulin a contraction of ka-ulin, from mi, and the onomatopoetic word ta?ig, expressing the sound produced by each gong of the instrument. The idea of repetition is of course unavoidable because of the different gongs composing the keyboard. 97

ENCYCLOPEDIA OF THE PHILIPPINES Gabbang-It is a native xylophone used in Sulu. In the beginning it was constructed out of wood with a bamboo keyboard on top. In modern times, however, instead of the bamboo keyboard, it is made of metal.

The most ordinary gabbang has its main body shaped like a coffin and made out of wood. Across its open top are laid wooden sticks (usually seven in number) of different lengths and sizes and placed about one centimeter or less apart from each other. Across the extreme wider end of course is placed' the biggest and largest stick and the rest are placed alongside with it respectively according to their length and size. The sticks are sometimes cushioned on a layer of insulating cloth in order that, as they vibrate when struck, the sound is clear and pure, padded, soft, but not deadened by direct contact with the wooden body. A figure of a gUJbbang is given below.

IX. GABBAl'l"G

The g'abba?ig is about 60 centimeters long, its width on each end being proportionate to the length of the instrument. The gabbang reminds us of the cymbalum or dulci98

ART

mer, of which the authors speak as the predecessor of the old clavichord. The gabbaiig is played by hammering the crossing sticks with a wooden hammer; and, although as we have already said, percussion instruments were primarily and are generally intended for rhythm, still, it is also true, that some Filipino percus's ion instruments develop some melody like the bunkaka or bilbil. Now, the gabbaiig on the other hand is more than an exception to the rule. Because although it is a percussion instrument, yet it is more mainly melodic rather than rhythmic only. The construction of its keyboard, the different lengths and sizes of the sticks afford the varied tunes necessary for melody. The ancient gabbaiig, that is, the one with a wooden keyboard may mo e properly be called xylophone, than some native gabbaiigs of today. From the etymology of the word in Greek, kylo means wood and the ending phone, as you know, means sound.

Subiiig-We may include among the percussion instruments a Jew's harp made of bamboo called subing, mentioned by Pigafetta, Magellan's companion, in his book Prilmmo viaggio intorno al globo terra;,queo. The subiiig presents a great variety in shapes and names according to the regions where it is used. It is made of a piece of bamboo, one end of which is cut off so as to leave a projecting tongue. This tongue when struck causes the movement of an inside split of the same piece of bamboo, the end of which split, being in front of a concavity and free to move across a small longitudinal hole along both sides of said split, causes the vibration of the air through the small long opening. 99

ENCYCLOPEDIA OF THE PHILIPPINES Here is the figure of one kind of subiiig ~

SUBIRG

(front and back sides)

This subiiig is about 40 centimeters long. It is played by striking to and fro and with the right thumb, the projecting tongue, and placing the instrument horizontally in between the lips precisely at the concavity where the end of the interior split moves. The mouth of the performer thus serves as the resounder of the instrument which may produce 'some limited melody by increasing or decreasing the force of air blown through the said concavity, and also, by projecting or withdrawing the lips accordingly but without separating them from the instrument. The subiiig is called kullibaw among the N egritos, aphiw among the Igorots of Bontok, barilmbaw among the Tagalog people, subiiig in the Bisayan Islands, K ulaing in Kotabato and kubing in Lanaw. All of these names are onomatopoetic. Of course, I do not include as musical percussion instrument, the hollow log beaten with the end of a club, which was called in Bisayan bayog and used as an official announcer of the town, for which reason it was usually hung either in the municipal building or near it. The bayog was used to call the cuadrilleros or policemen, the somatenes, the alguaciles, or the polistas, or to announce to the inhabitants of the town, an extraordinary occurrence. 100

ART

Neither do I include the Bisayan kCkratong or the Pangasinan lipakpak, or lipalp'ak as called in a Pangasinan Dictionary above cited, written by Fr. Cogaya. The karatong is like a bay6g but made of bamboo and, of course, very much smaller. The lipalcpak is a bamboo divided at one end into two segments which sound when clapped against each other. It was used as a "matraca" during the latter part of the Holy Week, for occasions or instances when the bells ordinarily should be used. Both iCaratong and lipakpCkk are also onomatopoetic names.

101

WIND INSTRUMENTS

Among the musical wind instruments, we must not forget of course, to mention first and foremost, the human lips, with which we can produce the most perfect melodies by whistling which is common to all human races and very much indulged in by the Filipinos. Leaves of certain plants are also used by some naturally gifted Filipinos as musical instruments by simply applying them to the lips and blowing in a certain way so as to produce a solid sound like that of a clarinet and thus play all kinds of melodies. Butt coming to the real contrivances made by man, by which musical sounds are produced with the wind as a principal factor, I shall first mention the flute. There is a great variety of Filipino flutes not only as to the number of holes, bue also as to the length. There are flutes. more than one meter long. There is one called unguing among the Ifugaos, and palandofi,g-giang'a n among the people of Davao, Mindanaw. This instrument is made of bamboo and has one hole for the mouth and three for the _ fingers. There is a four-hole flute called bansik among the N egritos of Zambales, and made of mountain cane. This is one of the musical instruments, referred to by Allan Reed in his work mentioned hereinbefore. Here is a bansik which is about 40 centimeters long and about two and a half centimeters in diameter:

XI.

BANSIK

Among the Tifigyans there is a bamboo flute called kalaleng which the late Mr. Epifanio de los Santos men-

tioned in his article above referred to. 102

ART The people of Igbaras, Iloilo, have their flute called tUlali very much like that European flute, with one hole for the mouth and six for the fingers. In some regions of Samar and Leyte it is called palawta, a name corrupted evidently from the Spanish {laut'a. The figure shown below is that of a tUlali, an instrument of about 50 centimeters long and about 3 centimeters in diameter:

XII.

TULALI

In Pangas~nan they have a flute named tUlali, described by Mr. Juan Banes in his, article entitled "Some Native Musical Instruments of Pangasinan" published in the monthly called "The Music Lover" in its last is'sue. There is a nose flute called balinging or baliing among the Apayaws, and named kipanaw among the Tifigyans of Abraz and which has three or four holes. It is also made of bamboo. The player plugs up one nostril with a mass of soft vegetable fiber and blows the flute with the other nostril. The flute rs. played pressed against the open nostril. The balinging is about 45 centimeters long and about 3 centimeters in diameter. Its figure is shown on page 104. Among the Bisayan people there is a clarinet called lantoy but named subing among the Subanos of Mindanaw. It is also made of bamboo and has four or six holes for the fingers. The lantoy is mentioned in the Bi's ayan version of that Oriental fable called "The Turtle and the Monkey" which in Ilokano is called "Ni Pag-ong ken ni Amken",- in Tagalog, "Ang Buhay ni Pagong at ni Matsing" and in Leyte Bisayan "Si Amotiy ug si Hafigagay", reported by Dr. Rizal in a journal in London in the year 103

ENCYCLOPEDIA OF THE PHILIPPINES

XIII,

BALH<GIRG

1889, where he compares the story with a Japanese fable entitled "Sa,ru ka,ni Ka,ssen" (The War between the Monkey and the Crab). (Vide "Escritos Ineditos del Dr. Rizal" by E. de los Santos, published in "Cultura Filipina" of December, 1911). There are different ways of preparing the la,ntoy, a's may be seen in figures in the reproduction below. The la,ntoy is about 50 centimeters long and about 3 centimeters in diameter.

XIV. LANTOY (The addition'a! figures above and below the LANTOY show two different ways of preparing its mouthpiece).

104

ART

I remember that when I was a small boy, I used to see the boys of my town make lantoys with the petiole of the papaya leaf. The natives of Sulu have a bamboo flute called sahunay. It has six holes for the fingers and one for the mouth. A trumpet made of coconut leaf is attached to the lower end. Here is the figure of a sahunay:

xv.

SAHUNAY

The sahunay ,is. about 50 centimeters long, its main body being about 3 centimeters in diameter. A water whistle called pasiyak is still used in some regions of the island of Panay. It is a pipe-like instrument played by putting water in the tube thus producing a whistle-like sound and by blowing into the pipe through a small hole at the end of the pipe, like the lantoy of figure a. The variation is obtained by applying more or less force of air. The main part of the pasiyak is about 15 centimeters long and about 3 centimeters in diameter. The name pasiyak is composed of the particle pa and the root siyak which means, whistle, acute sound or to cry out. 105

ENCYCLOPEDIA OF THE PHILIPPINES

XVI.

P ASIY AK

The root siyak is a variation of the Tagalog word iyak (to cry) and t~e Bisayan iyak (to cry out). In Bisayan, the cry of the chicken is called piyak. Among the Tagalog people there is an instrument called pasyok, not pasiyak, which is made from rice stalk cut at both ends. The center of the stalk is crushed between the fingers so as to break it into five or six strips. The two ends of the stalk are then pushed a little toward _ the center, making the strips convex. The convex portion is then put inside the lips and is blown. The music emitted is similar to that of a small oboe. Its figure is as follows:

XVII.

PASYOK

The pasyok is one of those toy instruments like the turutot, made of leaf of coconut or nipa, and well known among the Tagalog, Pampangan and Bisayan people. We now come to the especially interesting wind instrument used among the Tiiigyans of Abra, called diwdwv-as, a pan-pipe made of several pieces of bamboo reeds 106

ART . and blown at their open ends by moving the instrument is played mostly by women. The figure of the diwdiw-as is this:

XVIII.

DlWDIW-AS.

Upon seeing the diwdiw-as, one cannot help remembering the Chinese musical instrument called sheng, because both have pipes. It is not impossible that the Chinese sheng or the Filipino diwdiw-as is the origin of the ancient Greek musical instrument called syrinx, from which according to the belief of some authors, our organ of today has been derived after passing through many different stages of form. In fact, we know that there was a time when all musical instruments were called organs. Really, one of the meanings of the word organ is that of an instrument or implement. It is interesting to know that in the Indian Museum at Calcutta there is an Indian musical instrument similar to the Chinese Sheng, which they called Gourd Flute. (Vide, the cited work of Dr. Meerwarth, page 13, plate VII, No. 117). As you see, this diwdi~v-as has five pipes. Now, the song reported by the late Mr. Epifanio de los Santos which you will hear by and by is ah;.o called diwdiw-as and has five notes only. But the diwdiw-as sometimes has more than five' pipes. One word about the way I write the name diwdiw-as. I take it that .the name is a derivation of the old root diw107

ENCYCLOPEDIA OF THE PHILIPPINES

diw which is preserved in Bikol, Bisayan and Pangasinan dialects, although in this last dialect it has the form of diwriw for euphonical reasons. Diwdiw means to approach, almost to reach an object especially with the end of the fingers or with the lips, this last being the way in which the instrument is played, as the lips, during the performance, pass from one tube to another without touching the tubes. The ending as' is found in some Filipino dialects as a suffix meaning opening, absence, separation, distance. Thus we have the Tagalog words butas, bukas, kupas, taas, luwas, etc. and the Bisayan words baw-fLs, takas, haw-as, lukas, lugas, etc. In the word d'iwdiw-as, the ending as means distance, separation of the mouth from the instrument. I separate the suffix as with a hyphen in order to avoid wrong pronunciation.

XIX.

PLAYING THE DIWDIW-AS

108

ART The diwdiw-(J,s is played in the form shown in the figure above which is a hand made copy of a picture appearing in Mr. Worcester's above mentioned book (p. 873, plate LVII). As you see, the diwdiw-(J,s in this figure has seven pipes. To this kind of instruments we may add the Tagalog t(J,mbul~ which is generally a trumpet made of horn used to call people.

109

STRINGED INSTRUMENTS

The pas-ing among the Apayaws, Igorots, is a guitar made of bamboo. The bamboo is cut before one nod and after the next. Two cords are slit loose side by side from the outer skin fibers of the bamboo itself and these are given tension by means of brides. A hole (sometimes two) is then bored or cut into bamboo just under the two cords, to serve as resounding holes. The strings are picked with the fingers or beaten with a stick. Here is the figure of the pas-ing:

XX.

PAS路Ifl'G

The pas-ing is about 45 centimeters long and about 10 centimeter-s in diameter. The pas-ing of the Apayaw must be the guitar called kudlong of the Bagobos and Atas of Mindanaw. Similar to the pas-ing, there is among the Iphugaws a guitar which they call pantig. This way of using as strings the outer skin fibers of the bamboo itself is also followed among the Karaga people on the east coast of Mindanaw, who have their guitar made of bamboo with the 's ame kind of strings around the bamboo, as shown on page 111. Judging from the sound, "pas-iiig" it must have been derived, as from hampas, lipas, kupas, la.mpas, in Taga110

ART

XXI.

KARAGA GUITAR

log and paspas, upa,s in Bisayan from the word "pas" meaning to strike or to go through, curiously enough almost identical to t~e English pass, and to the Spanish pasar, compas, and ifig the onomatopoetic word from the sound produced. Among the N egritos of Bataan there is a guitar called kabungbung, similar to the pas-ing of the Igorots. This kabungbufig must be the same guitar found by Mr. Allan Reed among the N egritos of Zambales and reported by him in his work mentioned before. It is identical to the guitar called kufigkofig in Pangasinan and to the Ilokano guitar found among the Bugney people in Cagayan Valley. It is remarkable that in India they have a musical instrument almost identical to the pas-ing, which they called over there Tsaung, (Vide, Dr. Meerwarth's work above cited, page 5, plate I, No.7). There is in some regions of the Bisayan islands a guitar called buktot, a word in the Filipino dialect generally meaning a hump-backed person, to which the in111

ENCYCLOPEDIA OF THE PHILIPPINES strument resembles in its resonator which is usually a coconut shell and sometimes is gourd. Here is the figure of the buktot:

XXII.

BUKTOT

We find also a native guitar which is very likely of European origin. It is called kutibeng in IIokos, bigwela in Tagalog (evidently from the Spanish vihuela, a diminutive of viola) and sisto, (from the Spanish sexta) in the regions. of Samar and Leyte. Probably the IIokano name of kutibeng applied before to the real native guitar, the old pas-ing, but also used to the occidentalized guitar, for which reason the present kutibeng is also called in Isabela cinco-cinco, from the Spanish "cinco" (five) on account of its five strings: a more exact name than the Spanish-Bisayan sisto,. In Leyte there is a guitar like ukulele called guitara from the Spanish guitarra. We also have among the Yogad people of Isabela a guitar called butting whose figure appears below:

XXIII.

BUTTmG

112

ART The buttmg is about one meter long. The name of the instrument which in English would be pronounced butting into a subject where I necessarily plead guilty of scarce knowledge, music not being in line with my profession. You know very well that I am not a professional musician. At any rate, going back to our subject let me tell you that buttifig is a bamboo bow tied with hemp or lukmoy fibers or even banana fibers as strings. There is also among the N egritos of Zambales a musical instrument like the Yo gad butting and which is also described in Mr. Allan Reed's work. The buttitiig is very similar to the bamboo bow found among the Apayaws, the only difference being that the Apayaw bow bears a coconut shell on the ventral side of the interior middle of the bow, to act as a resonator. This Apayaw instrument is the so-called gurimbaw among the Negritos of Tayabas, where the bow is called busog, the bamboo joint-bias, the string-gaka; made from fibers of a vine called lukmoy the same as in Isabela, while the coconut resonator is called kuhitan. Here is the figure of a gurimbaw:

XXIV.

GURIMBAW

This instrument is also about one meter long. If the Chinese had the theory that only eight are the sound-giving bodies, to wit: stone, metal, silk, bamboo, wood, 'Skin, gourd and clay, in the Philippines we use besides these materials, others like rice stalk, and also hemp, and several fibers for strings and bows. The butting is. played by holding it with one hand 113

ENCYCLOPEDIA OF THE PHILIPPINES and picking the strings with the other with the aid of a stick. Si.nce both hands are busy, the tune is then varied by running along any edged, fixed obj ect such as a post, for example, or the like. There is no doubt that the bow as musical instrument is known from the most ancient times. The classics empha's.ize the terrible sound of Apollo's bow when he killed the Greeks to avenge Chryses, his priest. Because the sound of the string is thin and weak, the inventive mind of man in the Philippines like in Asia, found the idea of resonator. Thus we have that of the gurimbaw.

Another Filipino stringed instrument is the kudyapi, made of wood which resembles an elongated guitar usually having two strings. On account of its size it is played in similar position as a cello, for which reason it has at its lower end a sti<\k in a way of support. Here is a figure of the kudyapi:

xxv.

KUDYAPI

114

ART The kudyapi varies in size. one and .a half meter long.

Generally, it is about

For the benefit of those who are interested in seeing a kudyapi actually, I may mention that there is one in the Museum of the Ateneo de Manila which I gave to the Jesuit Fathers. in 1914. It was played on for me by some Tagbawa people of the island of Palawan when I was in Puerto Princesa presiding over the court of first instance. As above indicated, the Filipino musical instruments, in a similar way as the Filipino airs, have undergone foreign influence, like the tulali in Panay, the palawta in Leyte and Samar, the kutibeng in Ilokos, the bigwela among the Tagalog people and the sista or g~titar among the natives of Bisaya~, or kitara in some regions of Luzon. In the kudyapi we have a detail which denotes the Chinese influence. I refer to the nods placed for changing the notes of the string, and which remind those of Chinese stringed instruments. The kudyapi is called ketY'aphi among the Tiruray people in Kotabato. There is a great variety of long guitars similar to the kudyapi, like the k~tglong of the Bagobos and Atas, the aydluing of the Mamanwas; the tampipi of the Subanon people; and the kudlong of the Manubos, which instruments are made caIled saguibadbad or banti which woodl is light and tough. As to the name kudyapi, or ketyaphi according to the Tiruray people, it must be noted that in India there is a stringed instrument whose resonator is called kachapi, which means tortoise. As you see the word kachapi is close to the Tiruray ketyaphi (Vide, the cited work of Dr. Meerwarth, p. 8) . In the line of violins, we have among the Negritos of Tapas, Kapis, a bamboo violin called litguit. It is made in a peculiar form with two strings. 115

ENCYCLOPEDIA OF THE PHILIPPINES Here is a litguit about 45 centimeters long and about 4 centimeters in diameter and a Bontok violin of about the same length.

~-----~ XXVI. and XXVII. LITGUIT and BONTOK VIOLIN

It i's to be observed that the name litguit which means "to rub or produce friction," thus indicating the way the instrument is played, presents a variation in Leyte. There we pronounce it lutgot, not litguit, although it is the same word with the same meaning. This is due to the Filipino dialectal phonology, where the sounds of i and u are interchangeable. The real pronunciation of the vowel u can yet be detected among Filipino i"nhabitants in some regions, especially in Pangasinan. In pronouncing the u, they do not project their lips like the Spaniards in pro116

ART nouncing the u in the word tu, or the Americans in pronouncing double 0 as in book, look, took, etc. The ancient Filipino way of pronouncing the vowel u is by withdrawing a little, and not projecting, the lips, as in the Bisayan words kaun, bug-at, takup, a pronunciation which is very close to the Tagalog words, kain, itim, big-'a t, takip. In the Pangasinan dialect there are many words where such vowel still has special pronunciation, as tanem (to plant), piket (to adhere), kalateket (Spanish matraca) and many others. This word litguit or lutgot has variations in the Bisayan ludgod, and lidguid, both bearing the idea of rubbitng. The foreign influence is also shown in the Filipino violin. Among the Bontok people, we see how the litguit has evolutionized into a bamboo violin already with a bamboo handle. Finally the Filipinos are adding to their musical instruments a kind of violin more similar still to the European violin, as we see in this ~eproduction of a violin of the N egritos of Zambales.

XXVIII.

NEGRITO VIOLIN

117

ENCYCLOPEDIA OF THE PHILIPPINES There are many other Filipino musical instruments, but I limit myself to those already presented because they are, I think, the most representative. I do not forget that imprecation of Samburaya to the Suluan big agoiig. Lest your patience be taxed too much, not only with the noise, but also with the length of this lecture. I finish with the musical instruments.

118

MUSICAL AIRS

Not being a professional musician, I prefer to leave to those more learned and better prepared the analytical study of our old musical airs from the standpoint of the principles and theories of the art, rather, Science of Music. I shall confine my efforts to the presentation of the different airs that I have found, commencing from the simplest ones, as far as the width of the scale used is concerned. We have fir's t this simple air of only two notes used among the Bontok Igorot people, who call it ayegkha, an evening song or a serenade. This song was dictated to me in 1926 by some Bontok people.

jjtยงl! d I Fir

n'""rrTr I';] tr' Ufr I

J Id I

AYE<GKHA (This piece is taken from the Progressive Music Series, Philippine Edition, Book One, page XXXIX, 2nd edition, and is here published by permission of the ;>ublishers, Silver, BUl'dett and Co., New York.)

The next is a song of three notes dictated to me by one called Utek, a native of Santa Cruz, Dabaw,. in the same year 1926. The name of the song is toddanan.

TODDANAN (This piece belongs to the collection of Filipino folk airs sent by the author of this leoture to Silver, Burdett & Co., New York, under number 146, a's source material prepared for The Progressive Music Series, Philippine Edition, and is now published by permissiqn.) .

119

ENCYCLOPEDIA OF THE PHILIPPINES I think these songs ,a nd the following may be used as themes by our composers for fugues, sonatas, etc. The following song has three notes, and is called pagpag and used among the Bontok people. It was sung to me by Manuel Lafasne (alias Aniktol) and by three Bontok women named Agnes Tsoyapan, Adela Gablay and Ursula Kanayan. The song is used in pounding rice in wedding occasions. The first part is sung by girls and the second' part by boys.

PAGPAG (ThiS piece is the number 140 of the collection of Filipino folk airs sent by the author of this lecture to Silver, Burdett and Co., New York, as source material prepared for The Progressive Music Series, Philippine Edition, and is now published by permission.)

This theme may, perhaps, be developed into a real cannon. You will now hear another air of three notes also.

4) ~~

t' ~~.JI~ JIF~: tit ~Ttnl

I;'

tÂ˘J~41~ ~1#Jr'f;zrl

AYOWENG (This piece bears number 134 in the collection of Filipino folk airs furnished Silver, Burdett & Co., New York, by the author of this lecture, as source materia.! prepa.rcd for The Progressive Music Series, Philippine Edition, and is now publiShed by permission.)

120

ART This is one of the songs called, among the Bontok Igorot people with the generic name of ayoweng which means "evening song". This is sung in social gatherings and repeated until the 's ingers are exhausted in answering one another with their impromptu words. This song was sung to me by Lorenzo Tangad, Kayad, Tsaykon, Tsuaya and Mariano Almendral in 1926. You will notice that it contains some contrapuntal design. Of course the strict occidental rules of Harmony are not in force in those regions where these songs remain in full use. N ow we come to a four-notes Igorot song, a milling ayoweng. This name of ayoweng, as above indicated is similar to the Tagalog kundiman, and to the Bisayan balitaw, in that these two last are also generic names. The ayoweng is usually sung during the sugar cane milling. Two groups of men engaged in the work turn around the mill and sing alternately.

MILLING AYOWENG (This piece is taken from The Progressive Music Series, Philippine Edition, Book Two, page XL, 2nd edition, and is here published by permission of the publishers, Silver, Burdett & Co., New York.)

The song of four notes to be heard now is from Agusan, Mindanaw, called tud-ob, used in the harvest of rice. It was dictated to me by Gregorio Barrios, a Manubo, native of Bunawan, Agusan. The first three bars of the music are hummed. 121

ENCYCLOPEDIA OF THE PHILIPPINES

TUD-OB. (This piece is the number 147 of the collection of Filipino folk airs sent by the author of this lecture to Silver, Burdett & Co., New York, as source material prepared far The Progressive Music Series, Philippine Edition, and is now published by permission).

N OW let us hear an air from Zambales. This is a whistle air of four notes, used by the sailors to call the wind. AtI~iIuM

7)@ rvYtltrrfl7Ltr~Llf\Pi' cfWflP Hef~~路'f:b z~~~ Gt~J] WHISTLE. (This piece bears the number 114 in the collection of Filipino folk airs sent by the author of this lecture to Silver, Burdett & Co., New York, as source material prepared for the The Progressive Music Series, Philippine Edition, and is now published by permission.)

The next is a music played on four agongs. originated from Sulu. Its name is tagungo.

It is

TAGUNGO. (This piece is taken from The Progressive Music Series, Philippine Editiom, Book Two, page XXXVI, second edition and is here published by permission of the publishers, Silver, Burdett & Co., New York.)

122

ART

In presenting these songs we cannot go by regions if, as announced by me, we follow order according to complexity. So, having heard a song from Sulu, we shall now hear a song from Bontok, called annaoy. This air of five notes is sung by the Igorot people when they build rice terraces for their rice plantations. The men do the digging of earth and building of the terraces and the women transport the earth to the places for terraces. The song commences when the load of earth is placed on the head of the women who do the transporting.

9) ~~ j IJ. II; IJ IJ. JI)nl; rIr-EfH g I IJJIJJIJ I,J I J77 JIJ.)I; I ANNAOY. (This is the piece number 137 in the collection of Filipino folk airs sent by the author of this lecture to Silver. Burdett &. Co., New York, as source material prepared for The Progressive Music Series, Philippine Edition, and is IflOW published by permission.)

Let US now hear a song of five notes, which some beggars of Bakulod, Occidental N egros, used at the time I was there, from 1914 to 1919. The song commences with the phrase kalooye nWin ninyo.

KALOOYE. (This piece bears number 66 in the collection of Filipino folk airs sent by the author of this lecture to Silver, BUl'dett and Co., New York, as source material prepared for the Progressive Music Series, Philippine Edition, and is now published by permission.)

123

ENCYCLOPEDIA OF THE PHILIPPINES The influence of the Spanish music is, I think, clear in this piece. The next air is one called kadumang, a song of five notes also used by the Ibilaws or Ilongotes of Nueva Ecija, reported by the late Mr. Epifanio de los Santos.

£.

to iji nIJ J IJ ; IJ ~ IJ·I;;I <tJ IJ ~I J.lvii Sa/o. lor~etlo

awru

(;jjjjJ; IJHIJJJIJjJlflJ;IJJIJtgI~J I KADUMA~G

(This piece is the number 247 in t h e collection of Filip ino folk air s Se\tl.t by t he a uthor of this leoture to Silver, Bur dett & Co., New York. as source material prepared f or The P J;ogr essive Music Ser ies, Philippine Edition, and is now published by p ermission.)

Among the N egritos of Zambales, there is a song of five notes called panilan. It is used by them when they are dancing while one of them is cutting the bee-hive. Before the last note, the dancers set up a shout. The dance is repeated-the beginning representing the fight with some bee and the last part the taking of the bee-hive.

aery

lQ3 lnnl;1n l J I JI PANILAN. (This piece b ears the number 115 in the collection of Filipino folk airs sent by th e au t hor of this lecture to Silver, Bm'dett & Co .• N ew York. as source materia.l prep a;red f or The Progressive Music Series. Philippine Edition. and is now published by perm ission.)

We shall hear now the song called diwdiw-as, not played on the instrument bearing the s,a me name, but 124

ART

having before us again the picture of the Igorot lady playing the diwd'fi,~v-as. This air has been collected by the late Mr. Epifanio de los Santos when he was provincial governor of Nueva Ecija.

DIWDIW-AS. (This piece bears the number 247 in the collection CYf Filipino folk airs sent by the authol' of this lecture to Silver, Burdett & Co., New York, as source material prepared for The Progressive Music Series, Philippine Edition, and is now pub. lished by permissian.)

PLAYING THE DIWDIW-AS

125

ENCYCLOPEDIA OF THE PHILIPPINES The following song is from Batanes Island and has six notes. It was dictated to me in 1923 by Atanasio Dapilan. It is a rowing song where the pilot sings and the crew answers.

K ALUSA N. (T h is piece is taken f rom T he Progress;'ve Musice Series, Philippine Edition, Book Two, page XXII, 2nd edition, and is h ere published by permission of the p ublish ers, Silver, Burdett & Co., N ew York.)

Lastly, I shall present a native piece called bunkaka. We have come across the t erm before, while speaking about percussion instrument s (See Figure II, pages 91,92) but this time it is the name given to a song. It has six notes. It was played to me in the year 1926 on a violin by Demetrio Masa :'Vay, a Tifigy.an, native of Peiiarrubia, Abra. I think it i a piece very little influenced if at all by European music.

~!H ~t' ~'lttrnQEIII_mIJJIHt tWG.CtI$j~IJJJjJjIBBI!3 31 BUNKAKA. (This piece is the number 142 in the coll ectian of Filipino folk airs sent by th e au t hor of t his lectur e to Silver, Burdett & Co., New York, 2lS source material p repar ed for The P r ogressive Music Series, Philippine Edition, and is now published by p ermission.)

There are many other Filipino musical airs., but, in my opinion, the ones you heard here tonight, are the most typically native, at least from among those of my collection. 126

ART Before coming however to closing remarks, before leaving, I think that it is my duty to thank Prof. Antonio J. Molina, for his valuable suggestions with regard to the presentation of the subject and especially, for the honor of appearing before you tonight. I also want to thank Mr. Ricardo E. Galang, Curator of the Division of Anthropology of the National Museum, for the facilities he 'so helpfully afforded me in my research work. Of course, I appreciate the help rend'ered me tonight by Miss Amelia Marfori, Mr. Martiniano Esguerra, Mr. Francisco Dumlao, and Mr. Heraclio Guevara in playing the musical airs.

127

CLOSING REMARKS

Notwithstanding the fact that I have (I am afraid) abused ~our patience with this lengthy lecture, much remains to be said about the subject and much more remains to be researched for and studied. I rejoice to learn that the corresponding authorities are planning to attend to this important matter by creating a commission to go to our provinces and to gather first-hand information, de visu et (J;ure, regarding our old musical instruments and airs. I certainly hope that this excellent idea will be carried out in the firm conviction that much very valuable and interesting information will be gathered. In the meantime, I humbly pray my gentle readers to take this lecture as a humble tribute, a, s:incere attempt to render some se:rvice to Filipino musical art.

128

The Development of Music in the Philippine Islands By FRANCISCO SANTIAGO Acting Director, Conservatory of Music, University of the Philippines INTRODUCTION

No attempt is made in the present work to write a history of Philippine music, as that would be rather difficult due to the scarcity of authoritative sources. Philippine musical liter.a ture is decidedly meager. This writing, therefore, makes no pretense at completeness and thoroughness, and i~ merely a modest compilation of data obtained from different sources and intended to, in a sketchy manner, trace the development of Philippine music from the earliest days to the present time. This paper purports to cover three major periods of Philippine music, to wit: (1) the pre-historic period, (2) the Spani's h period, and (3) the periodl of American occupation. The influences wielded by the last two periods will be stressed in the course of this narration.

129

THE PRE-HISTORIC PERIOD

In every country, music, like literature, is the most beautiful and the most spontaneous expression of the character and individuality of the people. Whether in the midst of civilization or in barbarism, in joys or in 'Sorrows, at their temples or at their festive tables, in war or in peace, in victory or in defeat, every people resorts to music to give vent to the feelings of their soul. The Filipinos as a people are endowed with a natural gift for music. They appreciate and love music to a degree comparable to that professed and manifested路 by other civilized peoples of the world. Thi'g. is the concensus of opinion among many foreigners who have lived in the Philippines and who have come in contact with the Filipinos for many years. The autochthonous, originall andl primitive music is found preserved even to these days in all its pristine beauty and purity among the groups of Philippine population which did not entirely yield to foreign domination and Who now inhabit the mountain fastnesses of the northern provinces of the Jis.land of Luzon and the forest regions of the Island of Mindanao. Among the Christian groups, however, autochthonous music has practically disappeared. having succumbed to the influences of Spanish and American musical airs and forms. There is, however, noticeable today, in the wake of a growing sense of nationalistic spirit, a growing tendency to purge thi's autochthonous music of its foreign essence. Ancient musical instruments.-According to historians, Philippine primitive musical instruments were many and varied. Pigafetta, who was with Magellan on the first circumnavigation of the world, records in his famous book "Primo Vaggie Ritorno Al Mundo" a fiesta (party) 130

ART offered by a kin of the King of the I's land of Cebu, wherein he observed four young women performing on typical instruments like a drum fixed on the ground, known as timpanos sounded with pieces of palms; platillos (cymbals) which, when struck together, emit a soft sound, and subing, a bamboo instrument to accompany singing. But these were not the only musical instruments of the old days. The Aetas, the primitive Negrito people, had a large variety. The Jew's harp made of native bamboo, bansic, a four holed flute made also of bamboo, and a bamboo violin provided with three hemp strings and played with a bow with hemp fibers, are included in the variety. As may be seen, most of these instruments are made of bamboo, a native material which is an index of primitiveness. Pedro A. Paterno (1857-1911), cultured Filipino scholar, poet, historian and dramatist, records among the musical instruments, characteristic of the Philippines, the colit-teng, a five string coconut guitar; the brucacas, a bamboo accompaniment instrument, used for festive songs; the galibao, a large and narrow drum; the ganza, a brass gong the handle of which is. hooked to the belts of the men's trousers and is beaten with the palm of the hand; the cala-ling, a flute of three holes, sounded with the nose, together with another flute of six holes, sounded by the mouth; and the dio-dio-as consisting of a series of six willows of bamboo of different lengths blown with the mouth from a distance of one inch. These last two instruments were widely used by the Tinguianes. A very popular instrument was a type of guitar known as K udyapi, with wire string, which is still found in certain remote districts of the Philippines in Palawan. A gong of Chinese origin is commonly used in Mindanao. This instrument is quite different from the ganza 131

ENCYCLOPEDIA OF THE PHILIPPINES of the north. But their characteristic musical instrument is the metal kettle-drum placed over a wooden frame. This instrument is usually played' by a woman kneeling, who beats it with a pair of sticks. It is tuned to the notes of the scale. It involves a large amount of paraphernalia. From the ceiling, large kettle-drums are suspended and on the floor several wooden drums with heads of python skin are placed when playing. This instrument is used for solo playing or for accompaniment. The modern Xylophone has originated perhaps from one of the ancient instruments of the Moros of Mindanao, which was of 12 or 13 bars of bamboo attached to pieces of wood serving as floor support. While playing this instrument, the player remains in squatting position on the floor before the instrument, which he strikes with strips of bamboo. The bars have different pitches corresponding to their differences in length. It is an instrument used or played as accompaniment for Moro dances on joyful occasions such as marriages. The musical instruments of Mindanao are not all percussion instruments. They also have a flute called Lentuy. Their common stringed' instrument i's a two stringed guitar, called kuglung by the Bagobos and the Aetas tribes and aidlu.ting by the Mamanua tribe; kodloug by the MaDobo tribe and tampipi by the Subanun tribe. The size of the guitar is usually 5 to 6 inches wide and 56 to 60 inches in length. The two strings are of abaca fiber and the body is made of solid wood hollowed at the bottom. This peculiar guitar is played in family circles when the player is in the mood, but it is neither used for dances nor on solemn occasions. With the imperfection of these primitive musical instruments, it is not strange that primitive Philippine 132

ART music should be able to produce only rhythmical tone and not real melody. The Honorable Norberto Romualdez, another Filipino scholar and linguist, in his lecture on "The Psychology of the Filipino" delivered at the Ateneo de Manila on February 13, 1924, after discus-sing the Saloma, a primitive Filipino music composed of six notes, concludes that "The Chinese influence has not been greatly felt in Filipino music," contending that the fact some primitive Filipino airs have only six or four notes does not prove any relation with the Chinese scale of only four notes. "The musical thought," 's aid Mr. Romualdez, "and modulations in Chinese music are not, in my judgment, spontaneous or natural as in Filipino music but artificially distorted." Filipino folk songs.-Accor ding to Paterno, ancient Filipino songs may be classified as religious, belligerent, funeral and festive. Religious, belligerent and fune~al songs, were performed by many persons in a circle formation, the hand of one on the hip of the next, jumping alternately on each foot in monotonous tempo at first, to the tune of rustic instruments or slow songs, then later accelerated with sad or gay, serious or warlike attitudes, according to the nature of the occasion. Among the belligerent folk songs, we may mention what is known as Tagumpay, sung when great tribal battles are commemorated, and whose purpose was to acclaim, as chieftain of the victorious tribes, the man who had excelled in the fight. Then we have the sambotani, performed by the people accompanied by shouting and clapping of hands, and singing and playing to the tempo of the kudyapi. The Ilongots have very characteristic musical airs and poems of relative beauty, indicative of the purity of their 133

ENCYCLOPEDIA OF THE PHILIPPINES customs and family affections. The late Epifanio de los Santos, one of the foremost Filipino scholars, says that their songs 'Were generally denominated as Cadumang. The words of their songs were not versified, but there was rhythm nevertheless in their monotony indicating their s.imple ways and the environment in which they lived. They have pious prayers to heaven and songs that evoke gentleness in friendship and tenderness in home life. The Tinguianes have two songs accompanied with the caleleng and the dio-dio-as, instruments already cited above. The song accompanied with caleleng is a light sonatina in the form of a love poem. The song sung with the accompaniment of dio-dio-as is an air, imitating a long receding echo, first perceptible, then dying out in the distance. The music of the Tinguianes is primitive and descriptive of their natural environment and rustic simplicity. The lagui, the song of the Balugas (Aetas) denotes better taste and a musical culture. Besides, they have a greater variety of songs and dances. The Tagalogs had lullaby songs as the H ele-hele, technically known as Oyapi. This later developed into a love song. The most popular songs mentioned by Paterno in his book "Los Aetas" are the daleleng of the Tinguianes., a festive路 song; the Salaguintoc, a song to friendship and love; the danio, and the dal-lot both religious songs; the SaVampOJte, a song of the people of Albay, a characteristic air of this province. Among the Christianized Filipino groups, the comintang is the ~ldest and most popular song, which better than any other expresses the history, character and tradition of the people. Its rhythm is that of the songs of Malaya, especially of Java, with reminiscences of Indian, 134

ART Arab and even of Andalucian songs not only in the song itself but in the musical phrasing. The comintang is a dance and song at the same time. Historians trace it as. originating from Batangas. This belief is due to the popularity of the song there where it was sun~ at most any time of the day. There are, how路 ever, traces of evidence to the effect that it was also known in other provinces with which Batangas had means of communication. In its beginnings, the comintang was a war song rendered to inflame the spirit of the combatants. Later it lost much of its belligerent air to become a plaintive song. When it was sung and danced at the same time, it became pantomimic. It may be described thus: The dance is started by a woman. She comes out with a cup of sasa (nipa palm wine) in her hand dancing wi-&h light steps and approaching the man with whom she desires to dance. She moves carefully so as not to spill even a drop of the wine, and after sipping a little of the wine, she offers it to the man. She returns to her original place, and then approaches the man again, dipping her fingers in the wine in order to wet the man's cheeks. She retires after that and once more goes near the man, and surrounds his neck with her arms. Then she sits on his knees and both of them finally finish the remainder of the wine in the cup. According to the notes of Retana to Sucesos de las Islas Filipinas of Morga, three classes of comintang were known: (1) the comintang of the conquest; (2) the comitntang of the Balayans or Tagalog bridal feasts; and (3) the comintang with which the awits (narrative songs) are accompanied. The comintang of the conquest is a music of pristine beauty. Coquettish and romantic, it indicates the use to 135

ENCYCLOPEDIA OF THE PHILIPPINES which it was generally applied-courtship. But from some fragmentary words of the song preserved to the present day, it seems that the comintang was also sung as a chant of the sea, by boatmen to keep time with the rowing. According to Retana, the comintang of the Bala;yan known as the Tagalog bridal song, is the legitimate comi~ tang consisting of an introduction and three parts. Contrasting the two, it is believed that the former is more autochthonous than the latter, because the second breathes much of the influence of Spanish music. The third comintang is used as accompaniment for the awits, a musical declamations, if we may use the expression. A wits were common in any town fiesta. Rizal says that in these aw{;ts legendary genealogies and frivolous deeds of princes and princesses and the saints were narrated. They were a source of pride to the poet of the barrio, known then as foliador, who, in displaying with an .ability, would extemporize in the middle of the song, without departing from the rhythm and melody of the comintang. The dal-lot of the Ilocanos is believed by de los Santos to be one of the most ancient in the Philippines. It is the musical frame to the narrative poem of the heroic feats of Lam-ang, the Ilocano Cid, who wiped out Igorots from the plains of Luzon. So far we have tried to record primitive Filipino songs.. By primitive songs we mean those which were already known in the Philippines prior to the Spanish conquest. We have not touched upon others mentioned by some writers in as much as we believe they are not of such pristine simplicity, of such naked beauty that they coule! be classified as purely autochthonous. The product of the intermixing of primitive songs with tho'se of exotic origin by force of tradition became known as Filipino music or folk songs. 136

ART Filipino primitive dances.-Following the same method used in describing Filipino folk songs, we shall distinguish primitive dances from those that more or less have been modified by foreign influences.. The richness and variety of autochthonous dances denote that the ancestors of the Filipinos were prone to give vent to their feelings through songs and dances. The most primitive dances were the war dances. We know that quite frequently the early inhabitants engaged in battles among themselves. To incite war-like enthusiasm, they dance to the rhythmical tempo of the drum played in the palm of the hand, a ceremony which is. still preserved in certain backward parts of Africa, Asia and America. The Aetas, considered the aborigines of the Philippines, held their dances not as an entertainment but a serious occupation associated with all phases of their lives. When it became necessary for two tribes to hold a war council, their parleyers performed a solemn dance. If war was declared on the enemy, they dance a peculiar dance expressive of their harbored resentment and of the vengeance they had planned. The birth of a child, the death of a friend or of any member of the family found graphic expression in an appropriate dance. Some of the primitive dances of the Aetas were the duel dance, the torture dance, the lovers' dance, the camote dance, and the bee dance. The Duel dance is performed by two warriors in an imaginary fight, armed with bows and arrows and bolos. One of them falls to the ground, while the other pretends to cut off the head of his opponent with a bolo. The Torture dance is performed to commemorate the capture of an enemy by a group of persons. executing a circle dance about a person represented by a captive. The Lovers' dance is performed by a man and a wom137

ENCYCLOPEDIA OF THE PHILIPPINES an. While going around the woman, who keeps her feet moving in one place, to the rhythm of the music, the man gesticulates with his arms and hands. The dance is sometimes performed by a group of men encircling a group of women. The Camote dance is performed by a man simulating one stealing camote:s in the field. The Bee dance is performed by a man acting as though he were gathering honey from a tree. The Bontoc Igorots have also their characteristic dances; the head dance and the funeral dance. The head dance is performed by a group of eight or ten men with gangas in their hands, dancing counterclockwise around a small circle, beating their gangas with emotion and joy. The Funeral dance is performed by a long line of men standing side by side with arms on each other's shoulders. While in this position, they sway and sometimes paw the air with one foot,thus effectinig a lifeless and lazy movement. The Tagbanuas of Palawan have dances sometimes performed singly and' sometimes in pair:s,. They have a mixture known as "Macasla" which they execute. They hold the "Macasla" festival to cure illness. When a Tagbanua becomes ill" others play upon their gongs and drums with shark-skin heads to cure the sick, in the belief that the music will frighten the evil 's pirits, which caused the sickness. It is likewise performed when a person dies. In this case, they sprinkle ashes around the corpse to see whether the soul leaving the body has left any footprints. Then they encircle the corpse, singing in honor of the departed' soul. The Tadec is a dance of the Tinguianes described by 1. de los Reyes, thus: "In the T(J;dec, a couple consisting of a man and a woman, dance on tiptoe, without raising the feet from the floor, simulating a general shaking of 138

ART the body to the tune of the noisy tambul and ganza. Each of the dancers holds a piece of red cloth, or a piece of white cloth with red trimming which he waves with both hands on one side, so that if the woman has her cloth on the right, the man will transfer his to the left, and if the woman changes position, the man must imitate her." Among the various !locano dances which survived in their original purity, we may mention the Kinnota.n or ants' dance, in which the dancer gesticulates toward a person attacked by ants, and with a quick motIon scratches the body with his fingers. The Kinnal-logong is another Ilocano dance. A man and a woman stand face to face. The man remains stationary while the woman, who is singing and dancing, approaches him. She has a hat which she continually moves with her hands, intending repeatedly to put it on the man's head. Finally she places it on the man's head, and thus ends the dance. The comintang as a dance ha:s been the subject of different descriptions due to the various transformations through which it has passed. The Subli of Batangas is akin to the cominta,ng. Bauan, Batangas, is given as its birthplace. It is performed by several couples or by but one.

139

THE SPANISH PERIOD

Influence of Spanish Music on Philippine Folk Songs and Dances The contact with western civilization, on the advent of Spanish sovereignty, became reflected on Filipino music. It is only obvious that with the passing of years, Spanish influences should creep into our autochthonous music, supplanting its primitive form, and giving it a western cas.te, joining melody and harmony to rhythm. However, the contact with western civilization, while it wrought disaster to the fountain of purity of our autochthonous music, marked the beginning of the cultivation of music as a fine art. The group of Spanish colonizers who came with Legaspi was made up of soldiers and priests, the latter headed by Fray Urdaneta. As the 's oldiers were busy in pacifying the natives, they neither had time nor the necessary qualifications to teach music among the natives, a task which was performed by the missionaries. The first to have the distinction of teaching music to the Filipino was a Franciscan, Fray Geronimo de Aguilar. As was to be expected, the natives were first instructed in sacred music for the chapels which were organized first among the Tagalogs and later on in the whole Archipelago.

The Passion Song.-With the impetus given to sacred music, it is no wonder that the Passion Song should be the first to become popular among the people. During Lent and Holy Week, the majority of the people, male and female singers, recited the Passion of our Lord, Jesus Chri:st, in public plazas and private grounds. A music stand was placed on the platform built "ad-hoc" of bamboo for the Passion book. The Passion Song afforded a real competition of "styles" among the different "turns" or 140

ART groups of dalag'as (single maids) and bagongtaos (single men) . The style is the special manner of embellishing the song. It is not exactly a cadenza, because it is the very song. The Passion Song does not have a single written "parpetura." Its characteri'stic is the style, which varies in different provinces and even in the same place, according to the taste and ability of the singers. The Palimos, the song of the blind, is another song of Spanish origin. Beggary was unknown in the Philippines prior to the conquest. Favored by tropical abundance, the land provides the real necessities of life to all with the least amount of effort. But changes wrought by Spanish settlement brought difficulties to the native inhabitants and the perennial plenty became perennial necessity, which forced them to mendicate, and hence the Palimos, or the beggar's song. The KundYiman.-No song can excel the Kundiman in

popularity. It is today the love song par excellence of the Filipinos, the plaintive song which goes deepest into their heart, the song which brings them untold emotions. With the advent of Spanish sovereignty, the habaneras tangos and jotas brought by the Spaniards invaded the sanctum of autochthonous purity of native music. Thus, the comintang yielded its. place to the Kundiman. This song is known as K undiman, because the first stanza begun thus: "Rele nang cundiman Rele nang cundangan." Santos graphically described Kundiman as a "lyric piece, almost a ballad or madrigal. Its sadness is persistent, but occasionally it is. marred by the cry of passion, later returning to the same sorrowful modulation of the beginning." 141

ENCYCLOPEDIA OF THE PHILIPPINES Rizal has consecrated the K undiman in his famous social novel "Noli Me Tangere". Not only this but he himself wrote a Kund'iman which is not of the elegiac type because its rhythm sounds the threat, the reproach and the revindication of the rights of the race. Several authors have developed the Kundiman to such an extent that it became popular not only in the Philippines but aliSO in the United States, in China, in Japan and in Hawaii and other parts where there are Filipinos, and also in the musical centers of cultured Europe. Walls-Merino praises the Kundiman highly by saying: "It is not before the feudal castle which projects on high rocks that the Kundiman is sung. The Filipino plaintive song is lost in the thick forests of overgreen and ancient trees, or on the tranquil seashore caressed by the waves, and close to a bamboo and nipa hut, inhabited by a gracious and sunburned maiden, whose inciting breast inspires the singer to sing the most erotic songs. The Bagongtao (single man) does not write to her on shiny cartuline, instead, he holds the guitar, and in squat posture, sends to his beloved a shower of endless tenderness, at times without sense; but he considers himself the most happy man on ea.rth if the dalaga (maiden) responds to the pla.intive echo of his excited of fantasy."

Walls-Merino is authority for the statement that the ignorance of some writers led them to accept as typical customs of the country what are nothing but customs imported from Spain and which the natives adopted and kept. The habit of singing a kind of a fandango during the labor of sowing palay i's one such instance. This music, according to him, is eminently Spanish, and still observed in some rural communities of Spain. 142

ART

To sing during the pounding of rice is another imported Spanish custom. This song is known as that of Batyuhwn. E. de of Dolores Mestiza of saguer are and tango.

los Santos believes that "La Flor de Manila" Paterno, commonly knoWn rus Sampaguit'a, La P. Castaneda and La Bella Filipina of J. Masthree neat imitations of the Spanish hab'anera

Not only has Spanish conquest influenced materially Philippine autochthonous music and folk songs but it has also invaded the region of primitive dances. The Balitao, the Curacha and the Fandango, the most popular folk dances with ,s avor distinctly Spanish, have preserved that "unexplainable phrasing of uniform and long echos pleasant to the ear, but la,cking that piquant taste and that passionate accent crudely plebeian that features the popular Spanish song."

The Balitao.-The Balitao is more played than danced. While a man and a woman stand vis-a-vis, they responsively or alternately sing a love ditty. The girl pretends to refuse the pleading of love. Further explanation follows in a poetic dialogue as they dance with each other, keeping time with the music, until the love of the man is accepted. The Curacha.-The Curacha was such a popular dance that it constituted the main attraction in all parties of the Visayan regions. It is danced thus: The lalaqu~ (man) goes to the babae (woman), with whom he desires to dance. If the latter accepts, he leads her from the group to one side, and then goes to the other side opposite her. Walking lightly to the tune of the music, and gesticulating as he walks, he goes to his partner, and when he reaches her, then he retraces his steps backward. This movement is repeated in the second part, although more briskly this time. The woman then per143

ENCYCLOPEDIA OF THE PHILIPPINES forms the same steps, with accelerated movements of hips and arms. This is repeated alternately by each one until they tire out, and a new pair takes their place.

The Fan&ango.-The Fandango or Pandanguhan is a pantomimic dance. The man approaches the woman with whom he wishes to dance, walking to the tune of the music and offers the salakot (small hat) which covers his head. If the girl accepts it, she places it on her head and both continue to dance. When the girl wants to end the dance, she removes the salakot from her head and the man escorts her to her original place. The accompaniment is usually played on guitar accompanied by a basso played with the fingers. These are other dances quite popular among Christian Filipinos: Pagtatanim ng Palay.-The Planting Rice dance, Pagtatanim ng Palay is 2 by 4 danza, sung and danced while planting rice in the field. Lulay-lulJay is even today very popular. It is a Tagalo serenada and a dance. The poem is about the hardship of winning the love of a maiden, modest and true. Cariiiosa and Surtido.-The Carinosa and Surtido were originally two well-known Visayan dances. But their popularity now extends throughout the Philippines. The theme is likewise a love story. Musical organizations.-During the last decades of the Spanish sovereignty, the musical art received intelligent orientation. Music was not only considered as merely an art, but also as. a science and profession. In 1877, the "Liceo-Cientifico-Artistico-Literario" was founded, but it lasted until only 1879 and during the month of November of the same year, a competition in the various branches of art was held, including music, after which it 144

ART dies a natural death. Other musical organizations were established, as the "Union Artistico Musical" (1885), "Sociedad Musical Filipino de Sta. Cecilia" (1888), "Cireulo Musical de Pandacan" (1893) organized by the Priest of Pandacan, Fray Cipriano Gonzales, the "Sociedad Literaria de Iloilo" (1893) organized with the approval of the Provincial government of Iloilo, <lEI Porvenir" established by the Italian musician, Mr. Coppa (1900), "Centro Artistieo" (1901), "Centro de Artistas" (1904), "Asociacion Musical" (1907) and "Club Tuterpe" (1907). All these organizations were founded with the laudable purpose of stimulating the study of music and other branches of art, but unfortunately most of them enjoyed only a brief existence. They, however, left a permanent footprint in the development of Filipino music. . These organizations stimulated inclination to, and love for, music, and what was m<i>re, they developed interest among our moneyed people who were encouraged actually to finance musical enterprises, not to mention their invaluable contribution-that of raising the musician in the esteem of his countrymen. We cannot speak of musical development in the Philippines without mentioning the prominent part played by the religious order of the Augustine friars.. Among the priests of the order who came to the Philippines, there were those who were endowed with high musical training and ability in the use of instruments, such as Fray Marcelo of Saint Agustin, teacher of singing, composer and organist; Fray Juan Boliver, master in the playing of harp, organ, violin, flute and other instruments. The latter was. a singer with well trained voice and his reputation as such attracted the attention of people from remote places. A church orchestra was organized in 1870, with the Filipino composer, Marcelo Adonay, as its first director, aided by his four brothers, all musicians. It attained a well de145

ENCYCLOPEDIA OF THE PHILIPPINES served reputation for its interpretation of classical music, until it disbanded during the revolution against Spain. In this connection, we cannot neglect to mention the "Colegios de Nifios Tiples de la Catedral de Manila," because this was the Alma Mater of many prominent Filipino musicians, including the late Antonio Garcia, composer, pianist, violinist and cellist of note who deserved eUlogistic comment of :s uch an eminent musician as Remenyi, the Hungarian concert master.

146

THE AMERICAN PERIOD

The implantation of American sovereignty in the Philippines has afforded new orientation to Philippine music. While during the Spanish regime, the tendency was for local authors blindly to imitate foreign music, the spirit of nationalism fanned by the struggle for freedom developed, under the American occupation, a sense of love and admiration for what is primitive and autochthonousso that the success of any composition is judged by the perfect blending of the modern melody and the old air. The early manifestation of this new tendency appeared in the vernacular theatrical plays. The mora-mora and the carrillo were about the most popular plays known during the Spanish regime. The carrillo used as performers cardboard figures moved by skillful fingers between a white curtain and a lighted lamp, similar to the marionettes of the present day theater, although these are presented on the stage directly to the public and are moved by persons stationed above the stage. The mora-mora was a .rudimentary adaptation of medieval legends about knight-errants and princesses, or picturing the long standing struggles between Christians and Moros. Both the mora-mora and carrillo rendered with musical adaptation of popular Spanish music which accompanied the triumphant entrance or exit of the victor or the funeral of the vanquished. The ideal of freedom lent new vitality to the native theater, and furnished material for plays. In the early days of American regime, an aggressive campaign was Launched against the mora-mora presentation because of its imaginary characters, in order to cause it to give way to productions more true and akin to life. Among the most noted zarzuelas (musical comedies) produced at that time were Walang Sugat (No Wound) 147

ENCYCLOPEDIA OF THE PHILIPPINES by Severino Reyes with mU'sic by Tolentino; Minda Mora (Minda the Moro Girl) by Reyes and music by J. Hernandez; Mabuhay ang Filipitnas (Long Live the Philippines) of intense patriotic taste and Tanikalang Guinto, (Chain of Gold) which gave rise to a libel suit against the author, Juan Abad. Pagibig sa Lupang Titnubuan, (Love of the Fatherland) a dramatic zarzuela by Pascual H. Poblete, with music by Severino Bautista, was staged first in September, 1899 at the Oriental Theater, Manila. This play became famous on account of an incident that happened in its performance on March 25, 1900. The theater was packed to capacity, ins, performance was halted at the middle of the third act by the police, who rushed to the stage and confiscated every sword and rifle used by the actors. The head of the squad grabbed the Filipino flag from the hands of an actress and trampled upon it. This scene aroused the ire and indignation of the public who shouted at the police. The performanre was ended by thi's unpleasant incident. The author of the play, Mr. Poblete and the owner of the theater were lodged in the jail of the Police Station. Paterno was more ambitious than any of his contemporaries. He wrote the libretto for two operas-La Alianza Sonada (The Dream Alliance) and Sandugong Panaguinip (The Bloody Dream) with music by Ladislao Bonus. The presentation of both operas was attended with no little success. We can mention other successful compos,e rs like Carluen, Abelardo, Buencamino and others who have enriched the vernacular theater with the products of their musical talent. Suffice it to say, their work supplied the very foundation, for the native theater which in a short time has attained a higher degree of development. Some of the plays, both in the libretto and in the music, compare favorably with the best production of other countries. 148

ART With regard to popular music, it is sad to say that the genius of the native composers did not escape the baneful influence of the new environment, as evidenced by their adoption of American airs, from the old cakewalk, the noisy march of Sousa, and the deafening and somewhat distorted jazz.

Philippine Band Organization.-An outward indication of the musical instinct of the Filipinos is found in the existence of many brass: bands in Manila and provinces beside other musical organizations made of players using stringed instruments, known as murg'as or rondallas. But the organization that gives most credit to the Filipinos and makes its name widely known abroad is the famous Constabulary Band. It belongs to the Insular Police organiz.ation and was founded on October 15, 1903, with 40 Filipino musicians, and Major W. H. Loving as its conductor. In 1904, the Band was taken along to attend the St. Louis Exposition in Missouri, U. S., upon the request of the Exposition Board. That opportunity was great propaganda for the band. Through the musical talent and genius of the band members, their hard and constant training under the able direction of Major Loving, the Constabulary Band gained the reputation of being one of the finest band organizations of the world and was awarded second prize in the International Band Contest heIdi under the auspices of the Exposition. In 1909, the Band was again sent to Washington, D. C. to take part in the inaugural ceremonies of President Taft and afterward toured 'extensively throughout the United States. Then came the Panama Canal Exposition in 1915, which gave the Band another occasion to make a good showing. The world's greatest band master, John Philip Sousa, said at the end of its last concert that he recognized the Filipino band as the best that attended that exposition. 149

ENCYCLOPEDIA OF THE PHILIPPINES Lt. Pedro Navarro, now retired, succeeded Major Loving as Conductor, and upon the retirement of the latter, Lt. Alfonso Fresnido, who had previously been sent to specialize in band conducting at Dana's musical institute in Ohio, was appointed to take his place.

The Conservatory of Music.-The most definite step taken to place the development of music on a scientific and permanent basis was the organization of the Conservatory of Music as a branch or department of the University of the Philippines. Due to the successful effort of prominent Filipinos and especially of Senator Joaquin Luna who sponsored the bill for the creation of the Conservatory of Musk, a new avenue was opened to Filipino youth to take up music as a worthy profession. The introduction of American popular music created at a time a dangerous tendency for imitation. Its influence became so overwhelming that even Filipino composers who have made quite a name for themselves could not resist the temptation of composing cheap dance music, to meet the increasing demand for light music. Music houses harvested good crops, because with very few exceptions, they bought the rights of composers. Then, the royalty was not known here. That dangerous tendency caused much serious thought among well-meaning Filipinos, professional musicians and dilettantes, who were interested in the development of classical music and who envisioned the advent of a new era, in which music as a science could be firmly established in the Philippines, by directing the much-vaunted inborn musical inclination to something permanent and enduring. The Conservatory of Music neutralized the tendency towards cheap music, enhanced the liking for music as a dignified profession, and promoted interest in the cultiva150

ART tion of Filipino folksongs, handed down from older times. Soon the influence of the Conservatory of Music made itself felt. Some members of the teaching staff initiated the work of digging into the past to revive national airs. At first, they used them in short compositions of the Kundiman type, no longer in their pristine 's implicity but already clad with contemporary harmony. Later, folksongs were developed in the highest forms of musical composition. Equipped with necessary knowledge in the technique of composition, in its present state of refined advancement, the popular songs on Filipino autochthonous airs, gave way to musical compositions, of the highest type. Thus, our musicians surprised those who would not believe that Filipino folksongs could be developed according to the exacting requirements of modern harmony, counterpoint, canon and fugue. When the Conservatory of Music was inaugurated in 1916, Mr. Wallace W. George from Boston, U. S. A., was appointed its first director, and at the expiration of his contract, he wa's replaced by Dr. Robert L. Schofield, another American who, in turn, was succeeded by Mr. Alexander Lippay, a Czeko-Slovakian. On June 1, 1931, the author was appointed Acting Director. Recorded Music.-The last valuable contribution to national music was supplied by recording companies. Although during the early years of the present regime, an American company recorded few songs by Filipino zarzuela singers, the records were so deficient that they did not meet with the favor of the public. With progress in the method of recording, by means of the so-called electric process, a German firm pioneered the recording of Filipino records in Germany, using Filipino singers who were in Europe taking advanced training in voice culture under the tutorship of first class teachers. The records, when imported were sold "like hot cakes," and the same firm 151

ENCYCLOPEDIA OF THE PHILIPPINES brought its recording machine to the Philippines to make a score of records of Philippine folk :songs. Their acceptance by the public was so unusually large that some American recording companies followed suit. It is now estimated that about two thousand records of Filipino songs by Filipino artists have been recorded here and abroad during the last few years. The demand for them is 'so great that it constitutes the major portion of the business of the selling agents of recording companies. Public and private music schools.-The University Conservatory of Music is not the only institution which has helped check the ever increasing liking for cheap music and has developed interest in musical research. Private music schools and entities, following the lead of the Conservatory of Music, are now contributing, with their efforts, to the task of musical uplift in the Philippines. No less prominent role has been played by the public schools established by the Government, as music is included as a required subject in the curriculum, and in the last few years, the textbooks for music have been prepared by trained Filipino musicians. Naturally, most of their contents were Filipino :folksongs.

152

CONCLUSION

Although music, as the most beautiful medium of expression for our emotions is not bound by frontiers, a s others would have it, the ethnic and ethnographic features of different regions greatly influenced its external manifestations. And so, we come to distinguish, by analytical method, the distinctive character of the music of each region or country. Human emotions are the same the world over, but vary in their manifestations in different localities, as far as they are influenced by the beliefs, usages, religion and degree of civilization attained. In this unpretentious writing, we have endeavored to prove it. The earliest Filipino music waS' savage, naked, tribal as befitted the primitive stage of their civilization. But the essence of musical rhythm was there. With the advent of Spanish sovereignty, the Fi~ ipino could not, in the process of assimilation, escape the Spanish influence in their music. Again, when the Spanish rule was superseded by the American, the Filipino music could not altogether resist the peculiarities of American music. Despite these Latin and Anglo-Saxon influences, Filipinos have music of their own, and to preserve it for posterity should constitute one of our national endeavors. Of course, in the present stage of civilization and progress of the Philippines, it should not be our aim to return to primitive music, as this would be tantamount to retrogres'sion, a historical absurdity. Music is affected by environment, and progress in civilization reflects in the progress of music. A wave of tense nationalism is sweeping over the country. Nationalils.m in Filipino music does not and cannot mean the empty and vain attempt to return to the 153

ENCYCLOPEDIA OF THE PHILIPPINES simple music of days gone-by, but the preservation of its essence for posterity, improved and enriched with the best elements of Spanish and American forms, keeping alive and vigorous the traits and peculiarities which broadly distinguish Filipino music ws. such.

154

Filipino Music That Live I POPULAR

The masterpieces of the Filipino composers which are popularly known in all parts of the archipelago constitute a volume in themselves. These are called kundimans, danzas, minores, kumintangs and awits. Dr. Francisco Santiago, the most nationalistic of all Filipino composers, has written samples of most of these kinds of native mus,ic, like, for example, Madaling A r'aw , Pakiusap, his first Kund~man, and many other unpublished compositions that are considered the most popular of their kind in the Philippines. The late Prof. Nicanor Abelardo has written also several kundimans, bu't the most popular among his works is the piece entitled Na Saan Ka frog. Some composers, like Professors Estella, Hernandez, Buencamino, Abdon, Ignacio, Carluen, and many others, have produced already several zarzuelas and other musical pieces, but for lack of technique and a new style of composing up-to-date music, the above mentioned composers are handicapped in producing originally good compositions that would gain popularity, success and admiration abroad. II CLASSICAL

The Conservatory of Music of the University of the Philippines has produced graduates in Theory and Composition. It was, however, Dr. Santiago who in 1922 intro155

ENCYCLOPEDIA OF THE PHILIPPINES duced for the first time his Sonata FiLipina in D Flat Major in connection with his graduation as composer from the Conservatory of Music of the University of the Philippines. He has composed also Ave Maria and Canto Filipino published in America. In 1923 and 1924 he has written in the United States one String Quartette in full movement and one Piano Concerto with full orchestra, based on Filipino themes. He also wrote a trio ,for piano, violin and cello called Remembrance which won prize in America. Dr. Santiago's sacred music, The First Eucharistic Hymn also won prize in 1929. It was written in the Filipino sacred style. Prof. Abelardo has written some compositions of native s,t yle, such as his Cabatina published in America in 1926 and his Suite for orchestra. But his classic Panoramas for quintette is today considered his masterpiece. Prof. Molina also produced musical pieces; his Trio for piano and violin and cello is beautiful. "The last movement headed by President Jorge Bocobo of the University of the Philippines in fostering Philippine mus,ic is an essential step towards the development of our budding composers," observed Dr. F. Santiago who has furnished most of this information. "I believe that our talented composers can be helped in no better way than this." For he is after music which is nationalistic, yet original, and native yet classical.

III OTHER ARTISTS

The Philippines has famous interpreters of the art of music, the one thing that poets say amuses the soul and makes one enveloped with thâ&#x201A;Ź beautiful, the ideal and the infinite. 156

ART Among these outstanding names are Jose Mossesgeld Santiago who has achieved eminence in America and Europe, Jovita Fuentes and Isang Tapales who have carved their names in the musical and theatrical world in their principal roles. in Madame Butterfly and La Boheme in Europe and America, as well as Galia Arellano and Mercedes Matias who are popularly known in Italy. The Filipino virtuoso is Ernesto Vallej o. Ramon Tapales is another noted violinist. In piano there is incomparable Dr. Santiago. Among Filipino women Dolores Heras stands with few equals. This list is short, and there are other talented composers, musicians and musical artists in the Islands who should not be without their own merits, but the above list contains the most significant of them all.

157

Outstanding Filipino Composers BONIFACIO ABDON

A violin teacher, conductor and composer, Abdon was born in Sta. Cruz, Manila, May 14, 1878. He wrote several zarzuelas; among the most important being Anak ng Dagat, Ang Masamang Kaulalian, Dilingkente, and Declaracion de Amor, many songs, hymns and orches,t ral pieces, mixed chorus a capella or with orchestra accompaniment, including a short religious cantata entitled Ok Dios sa Kalaiigitan written for solo voice, mixed chorus and full orchestra. NICANOR ABELARDO

Head of the Department (i)f Theory and Composition in the Conservatory of Musie, University of the Philippines, he obtained in 1932 the degrees of Bachelor of Music and Master of Music from the Chicago Musical College. He was born at San Miguel de Mayumo, Bulacan, and died on March 21, 1934. He was a prominent Filipino composer, an excellent theoretician, and a great teacher. His works embrace all branches and styles of composition such as kundimans, waltzes, marches, with first-prize-winning hymns, zarzuelas, sonatas for piano solo, piano and violin, suites for .peculiar instrumental combinations, string quartets, and -overtures for all orchestra. His unusual facility in writing his compositions at any place, at any time and under any circumstance was so ~trikini that his fellow composers consider him a veritable wizard in this particular branch of human activity. 158

ART MARCELO ADONA Y

Gifted composer of religious music, organist, violinist, chorus master, conductor and teacher. Born in Pakil, Laguna, on January 16, 1848, he died in Manila on February 8, 1928. His best known works were Grand M'ass for voices and full orchestra; The Chant of Zacarias, for voices and string quintet; Liberame Domine, for solo voice and double bass accompaniment; Rizal Glorified', a descriptive music for orchestra; four different funeral marches-Te Deum for voices and full orchestra; Invitatory for the Nativ'ity; Offertorium; Benedictus; Solemn Mass for voices and orchestra, based upon Gregorian chants; Diaes [rae; Tocata in D Sharp minor; 路and several descriptive pieces for voices and band. LADISLAO BONUS

In the Philippines he was the first who wrote a complete opera. The famous musical organization, Banda de Arevalo, was admirably directed by him in the International Exposition at Hanoi, French Indo-China. Born at Pandacan, Manila, in 1854 and died March 28, 1908. He wrote many fantasies, military marches for band, church music pieces, skillful orchestrations of the most popular waltzes of the day, besides the famous opera Sandugong Parwginip (Blood Compact) based upon the libretto by the Don Pedro A. Paterno. JOSE CANSECO

Teacher of harmony, singer, composer and conductor, Jose Canseco wrote several descriptive compositions, mili159

ENCYCLOPEDIA OF THE PHILIPPINES tary marches for band, many motets and other church music pieces, songs, hymns, and several Filipino operettas called "Zarzuelas". After passing brilliantly a rigid examination he was appointed bandmaster of the Regiment No. 71 in Zamboanga, lV!indanao. Here he invented a musical apparatus called "Tonopsis Mecanica" to facilitate the knowledge of intervals and construction of chords. This apparatus has been presented in the Regional Exposition in Manila in 1895. After his death, his family presented again this graphical apparatus in the Saint Louis Exposition in 1904, winning a gold medal prize. He was born in Manila in 1843. He died on June 12, 1902. Some of his motets are Salve, Letania Liberame Domine, Plegaria a la Dolorosa, and two hymns in honor of the Holy Virgin. Some of his songs are La Desped'rida, La Ausencia, and El Pesdador. The best known of his operettas is The Death of Lucrecia. GAVINO CARLUEN

A piano teacher and composer, he has published many sets of waltzes which won popularity throughout the Philippines. He was born on February 19, 1874. Among his most important compositions can be included two zarzuelas, Manga Karaniwang Ugali and Ang Dapat Pagsakitan and a descriptive music for the orchestra Rizal in Lonesome Dapitan. JOSE

A. ESTELLA

A great composer, pianist and conductor, he composed more than a hundred sets of waltzes, most of them published 160

ART for piano solo and some of them orchestrated in manuscript. He was born in Escolta, Manila, in 1870. The composer of hymns, polkas, military marches, several zarzuelas, including an operetta in one act, a symphony, a symphonic poem, short pieces for string quartet, quintet or sextet, and many others, he was considered one of the most prolific Filipino composers. These are worth mentioning-The opera in one act: Veni, Vidi, Vici; Filipinas, a symphony; Ultimo Adios de Rizal, an ode; and the following zarzuelas: Sangla ni Rita, Ang Opera ltaliana, Fililpinas para los Filipinos, and La Venta de Filipinas al J apon. ANTONIO GARCIA

A virtuoso and piano teacher, violinist, violoncellist, composer and conductor. Born in Santa Cruz, Manila, on June 13, 1865; died in April, 1919. Trained at the celebrated Colegio de Nifios Tiples of the Manila Cathedral, he showed in the early stages of his studies an extraordinary versatility of his talent in music. Some of his compositions were performed in different school programs of the Ateneo de Manila. In concerts, he appeared sometimes as piano soloist, or accompanist, sometimes as violinist, and sometimes as violoncellist, and in all these capacities he always showed that divine spark of ability, specially in sight-reading, improvisation and transposition. JUAN DE

HERNANDEZ

A well known teacher and conductor, he published many beautiful sets of waltzes and wrote several operet161

ENCYCLOPEDIA OF THE PHILIPPINES tag., many songs, kundimans, piano, violin, orchestra and other instrumental pieces. His most famous zarzuelas are Minda, Lukso ng Dugo, and Ang Puso ng /sang Filipina. He had obtained the degree of Bachelor of Music from the Conservatory of Music, University of the Philippines, where he actually is a professor in Theory and Composition. CAYETANO JACOBE

A virtuoso and violin teacher, conductor and composer, Jacobe was from 1916 to 1931 professor of violin in the Conservatory of Music, University of the Philippines. He also taught in many prominent colleges in Manila. Born on August 7, 1876, in Lumbang, Laguna. For many years he also conducted the band and orchestra of Pagsanjan, Laguna, and Kawit, Cavite. Among his many compositions are Mabuhay ang Filipinas and Ang Tatlong Maria, both of them operettas; Polka de Concierto for full orchestra, Mazurka de Concierto and Song of the Beggar for violin and piano. Actually he is the Municipal President of his home town, Lumbang, Laguna. ANTONIO J. MOLINA

A composer, a violoncellist, a chorus master, conductor, music essayist and historian, he was born in Quiapo, Manila, on December 26, 1894. His works embrace songs, waltzes, kundimans, serenades for violin and piano, Prelude, Rom'anza and Rond'o in F, for violoncello and piano, many orches,t ral pieces and arrangements, school and religious hymns, a tone-poem for symphony orchestra, and two pieces for string quartet; all of which with but few exceptions, remain unpublished. 162

ART He wrote Trio in four movements, a complete Quintet for piano and strings, also in four movements, and a Choral Cycle of five pieces, all based on Filipino airs. HIPOLITO RIVERA

A well known music teacher, organist, chorus master and composer, he was born in Tacloban, Leyte, in 1866. As organist he worked in different churches, both in Manila and in the provinces. He taught music in the most prominent colleges in the city. Rivera was an orchestra director in Lucban, Tayabas, and later the conductor of the Municipal Band of Sta. Cruz, Laguna. The best known of his works are Wagas Na Pag /rog, De Mindanao 'a Jolo, and My. Jjast Thought, adapted to the celebrated poem of Dr. Jose Rizal. FRANCISCO SANTIAGO

Master of Music and Doctor of Music from the American Conservatory of Music and the Chicago Musical College in 1924, he was the first Filipino to be appointed Director of the Conservatory of Music, University of the Philippines since 1930. . Dr. Santiago was born in Santa Maria, Bulacan, January 29, 1889. A great nationalist composer, a piano virtuoso and pedagogue, an outstanding accompanist and brilliant conductor, he was the first to write a complete sonata in the classical style based upon Filipino airs. He published many famous Filipino songs, waltzes, ballads, and won many first prizes in different music contests. Among his most important compositions are a short zarzuela in one act Margarita, La Costurera, Concerto in 163

ENCYCLOPEDIA OF THE PHILIPPINES

B Flat Minor for piano and orchestra in three movements, the String Quartet in G Major in four movements; Sonata Filipino, in D Flat Major in three movements, Philippine Overture for orchestra, Funeral Mareh for chamber orchestra, a concert-etude Souvenir of the Philippines, Rondo in G Major for two violins and piano and Awit (Romanza Filipina) for soprano and orchestra, trio for piano, violin and cello. His prized hymns are Primer Congreso Euearistieo and Cristo Rey. SIMPLICIO SOLIS

Religious music composer, violinist and conductor. Born in Paombong, Bulacan, on March 2, 1864, and died on October 18, 1903. He wrote many motets, hymns, prayers to the Holy Virgin, songs, romances, and several zarzuelas, including a Tagalog opera entitled Rizal y los Dioses (Rizal and the Gods), libretto by the noted writer, Aurelio Tolentino.

164

The Philosophy of Art "Art," said Goethe, "is the medium of what no tongue can utter." A thing of beauty is a joy forever ... Beauty is truth, truth beauty,-that is all Ye know on earth, and all ye need to know.-Keats. To define beauty, not in the most abstract, but in the most concrete terms possible, to find not a universal formula for it, but the formula which expresses most adequately this or that special manifestation of it, is the aim of the true student of aesthetics.-Walter Pater. Through intuition, upon the basis of many personal experiences, without conventionalities or prejudices, is Roerich's formula for the judgment of beauty. Beauty is a mirror to nature-poetry, "emotion remembered in tranquillity." To the artist, it is a fine arrangement of line and tone, mass and color. One of the spirit, liberated and living, for the faculties to appreciate. It is, as Michael Angelo said, a kind of music, but it stirs no chords in those who ask first for a beautiful subject and are blind to the manner and style of the artist's interpretation. Harmony is and ever will remain the essence of art, its primary impulse and its ultimate impulse. It means the satisfaction of man's sense of form.-Waldstein. The best of artists hath no thought to show which the rough stone in its superfluous shell doth not include.Michael Angelo. There is a profound rule of art, bidding a man in the midst of all his study of various styles or the pursuit of his own peculiar imaginations, from time to time to steep himself again in Nature.-Gilbert Murray. He will see a beauty eternal, not growing or decaying, not waxing or waning: nor will it be fair here or foul 165

ENCYCLOPEDIA OF THE PHILIPPINES there, nor depending on time or circumstance or place, as if fair to some and foul to others; nor shall beauty appear to him in the likeness of a face or a hand, nor embodied in any sort of form whatever, whether of heaven or earth; but beauty absolute, separate, simple and everlasting; which, lending of its virtue to all beautiful things that we see born to decay, itself suffers neither increase or diminution, nor any other change.-Plato. This is the spirit that beauty must ever induce; wonderment and a delicious trouble, longing and love, and a trembling that is also delight. For the unseen all this may be felt as for the seen and these souls feel for it, every soul in some degree, but those the more deeply who are the more apt to this higher love-just as all take delight in the beauty of the body, but all are not stung as sharply, and those only that feel the keener wound are known as lovers.-Plotinus. W. S. Lilly defined Art as "the external manifestation of the idea, the revelation of the invisible through the senses." Art is the utmost effort to expressl soul forces-naked truth, stark despair, love and hope, life and death-joy and sorrow-"tears from the depth of a fine despair"the book of life and love, of poetry and immortality. Nudity appeals to the best in men and women. It is said that "at the trial of Phryne, Hyperides, seeing the verdict of the court was against her, rent her robe before the stern judges, who, awed by her grace, acquitted her." Is that not an instance of power, an appeal of beauty? The splendid harmony of Nature, Truth, Nudity, Love. The Greek Ideal. About 500 B.C. the sculptor Polyclitus produced a statue called Oryphorus, or lance-carrier, so excellent in proportion that the Greeks named it the Canon or Rule. Lysippus, Pythagoras and the rest 166

ART followed it. It is now classic. The Greek ideal-or the classic ideal beauty of strength and beauty. "Composition means, literally and simply, putting several things together so as! to make one thing of them," says John Ruskin. It is Law and Order, Unity, Balance, Radiation, Continuity, Contrast, Variety, Stability, Repetition and Rhythm. Such are found in the works of Pythagoras, Michael Angelo, Rodin, Velasquez, Corot, Rembrandt, da Vinci and others; found in such masterpieces as the Parthenon, Venus de Milo, Mona Lisa, Notre Dame, II Trovatore. For Art is Beauty, Life, Truth-living, faithful, natural, eternal. While some believe in Art for Art's Sake and others in Art .for Life's Sake, we should always have in mind that Nature is tf!,e mother of OJll Arts. But 路 Art must, after all, be the ideal or spiritual expression of the physical or material. How true is the statement of Rizal on the universality of genius! "For genius has no country, genius bursts forth everywhere, genhls is like light and air-the patrimony of all: cosmopolitan as space, as life, and as God." N ow for the most important part of the book-the illustrations. True art belongs to no place. It belongs to all countries, of every creed and color. It is, as the Greeks expressed it, "the good and the beautiful." Should we not therefore love art, that Art which lifts us to heaven above, making us nearer to God, the Almighty Artist?

167

BOOK

Two

ILLUSTRATIONS

169

Philippine Ancient Arts By DR. JOSE P. BANTUG President, Philippine Numismatic and Antiquarian Society and the "Balagtasiana" Antiques have been defined in our statutes as objects that are more than 100 years old, and include coins" arms, tools, furniture, decorations, manuscripts, ships and their separate parts, articles of ,a dornment, stones with inscriptions or figures, agricultural implements, sculptures, carvings, and other works or articles of art, industry and commerce. Interest in Philippine antiques has, of late, grown by leaps and bounds as may be appreciated by a number of local shops that have specialized in handling them, and the Government, in order to preserve the few that are still left in the open market, has prohibited their exportation. Governor-General Murphy, in an Executive Order, in naming the personnel of the Hils torical Research and Markers' Committee, stressed the importance of identifying, designating and appropriately marking the many historical antiquities abounding in the Philippine Islands that the present generation may be impressed with the significance and value of these antiquities so that they may not be lost to posterity here and throughout the world. No doubt can be entertained as to the early development of the arts in the Philippines. Weaving was a household industry long before the Spaniards set foot on Philippine soil. Cotton fabrics were the ordinary products of these native looms but work on the finer textiles such as abaca, silk and piiia were also produced in quantities. Centers of the weaving industry may still be found in the Ilocos provinces, in La Union, Pangasinan, Pampanga, Bulacan, Iloilo, Rizal, Camarines Sur, Albay, and Batangas. 171

ENCYCLOPEDIA OF THE PHILIPPINES We know from the Chinese accounts of Chau-Ju-Kua, early in the 13th century, that one of the most important imports to the Islands was iron needles. As an offshoot of -chis commerce, there was developed in certain regions of the Islands the embroidery industry. Ermita, Malate, and Sta. Ana in Manila have for a long time enjoyed the distinction of being the centefls of this activity and the women at these places have reached such height of perfection in their art that their work will not suffer when compared with those produced at the present time. Carving may next be considered. In the olden times carving the statues (anitos) of our ancestors as they leave this earth, was a family duty so that there was a number of them in each household. These anitos formed an integral part in the mythology of the ancient Filipinos. They were believed to act as intermediaries between their descendants and Bathala, the Supreme Being, and as such they were regarded as protectors of the homes. They were generally made of wood, but in a number of instances, as we gleaned from the ancient friar chronicles, many were made also of stone and not a few of ivory or gold. Painting is probably the youngest of the fine arts in the Philippines as its history can be traced back only to the latter part of the 18th century, the chief exponent of which was Don Damian Domingo who, early in the 19th century, established the first school of painting in Manila. From this modest beginning grew a host of artists, a few of whom in later days like Luna, Resurreccion-Hidalgo, Zaragoza, Herrer and Enriquez have won renown abroad. The making of iron weapons and the casting of bronze cannon were the monopoly of a few Filipinos and so adept were they that Legaspi, in establishing the Ordnance Department of his army after the foundation of Manila in 1571, had to take into his employ a native of Pampanga by the name of Panday Pira to supervise the 172

ART casting of his artillery pieces. This art, however, appears not to have progressed much in the Christian provinces, and the casting of bronze, chiefly confined to the making of bells, was, until lately, mainly in the hands of Chinese, with one notable exception, that of Hilarion Sunico y Herederos. Work on iron and steel was and still is confined to the making of domestic utensils and agricultural implements, the notable centers of this industry being the towns of Lucban in Tayabas, Apalit in Pampanga, and Angat in Bulacan. In the region inhabited by Moros, however, native art continued to flourish, although a marked Arabic influence may be noted in many of the designs, the strictly Malay motifs being in the background. There are three distinct centers of wrought metal industry in the south, at the present time, namely, Lanao, Cotabato and Sulu, each characterized by its own peculiar style. As regards the making of weapons, the Mohammedan Filipinos appear to have developed a superi(!)r skill, especially in tempering steels. Besides tracing dec'o rations in the blades, they also inlay them with copper, silver or gold and the handles show the skill of the native carvers on wood, horn and ivory. In the Mountain Province, the non-Christians show a wonderful skill in wood carving. Metal work is confined to the making of eanings and bracelets and pipes with simple decorative motifs. In the Christian provinces there are districts or towns renowned for wood carving or sculpture like San Vicente in !locos Sur, Paete in Laguna, and Quiapo in Manila. It is, however, in gold smithing that a marked foreign influence may be noted, particularly that of the Chinese. In fact, of about 20 implements used in connection with the art, fully three-fourths bear Chinese names and are so known today to the profession. The motifs found in the early pieces of jewelry were decidedly Chinese in origin and samples of these may still be found in local collections. 173

ENCYCLOPEDIA OF THE PHILIPPINES A great many of the pieces, since the advent of the Spaniards, are linked with Christian practice, such as rosaries and scapularies, and the objects connected with Catholic worship bear decidedly European influence. The silver smith art may also be appreciated in the decorated salakots (native helmets) and also in that adjunct to personal hygiene, the toothpick stands (paliteras), and cigarette and buyo trays. Sta. Cruz in Manila is especially noted as a center of silver smithing work in the Islands. Cabinet making was at first confined to the making of duVangs (low tables), salong-puit (tools), and caban (chests), but as the Spanish sphere of influence became larger European style became more and more widely adopted, especially in the making of household furniture, although the original decorative motifs were those developed here. For instance, inlay work, either with bone or mother-of-pearl, the three primary motifs remain the same: the tinik-buli or the triangle, the hi lis puto or the trapezoid, and the matang pusa or the eat's eye. The less common motifls were the p'atak luha (tear drop) and the moth or paroparo. The English models of the 18th century were adopted, notably those of Sheraton, Hepple-white and others. In the middle of the 19th century, however, the Victorian, the Isabel II became the style and later that of the so-called Louis XV style became the rage. The making of potteries is an ancient art in the Philippines and -chere have been numerous centers of pottery making in pre-Spanish Philippines as has been repeatedly verified in recent excavations, notably in Rizal, Laguna, Batangas, Cebu, Bohol, Leyte, Samar, Zamboanga and Misamis. Probably due to the lack of prime material, the kaolin, no further development has been made along this line, especially in porcelain making. The most recent attempt was the Zobel enterprise. All the pieces of ancient porcelain that have been found in the Philippines are of 174

ART Chinese or Siamese origin, denoting by the way, a long and commâ&#x201A;Źrcial intercourse between the Philippines and the peoples of southeastern Asia. The center of the pottery industry was and still is in Makati, Rizal, and Tiwi, Albay, although for artistic products, one has to go to the Cagayan Valley where during the 18th century large kilns were put up, the ruins of . which may still be seen in Tuguegarao, Cagayan. The most sumptuous monuments of this industry are the town church of Tumawini in Isabela and the Cathedral of the Diocese of Tuguegarao in Cagayan.

175

COVER SHEET OF THE HOLY SEPULCHER (Ivory) J. P. Ba.nt1.g's CoUection

INSTITUTION OF THE EUCHARIST J. P. Bant"g's CoUection

177

(Beads)

OLD VINTAR CHAIR,

179

1702

SAMPLES OF ANCIENT PHILIPPINE EMBROIDERY, J. P . Ba.ntug's CoUection

181

1750-1850

SMALL CARVED SHRINE WITH IVORY STATUE OF THE VIRGIN J . P. Bamtug's CoUection

183

NATIVE WEAPONS SHOWING HANDLES IN HORN, WOOD, SILVER AND GOLD J . P. Ban t" u's Collection

185

VIRGIN OF ANTIPOLO

Embroidered in Gold Threads J. P. Bantug's CoU:ection

187

SCAPULARIES IN BEADS, SILVER AND GOLD J. P. Ba.ntuu's Collection

]89

WOOD CARVING J. P. BlIhttug's Collection

191

193

BRONZE WORK G. S. Perez Co!!ectiO'n

195

SOME ANCIENT POTTERY

197

IVORY PLAQUE OF THE CIRCUMCISION J. P . Ba,nt~~y's Collection

Buyo

AND CIGARETTE TRAY IN SILVER J. P . Ba,ntuy's Collection

199

THE BAMBOO ORGAN OF LAS PIN-AS, RIZAL, 1818

201

Ancient Decorative Art in the Philippines In discussing the decorative art in the Philippines, one is confronted with the great task of unweaving a tangled web. It is generally known that the Philippines has been the goal of migratory peoples, many of whom staying long enough not only to modify the physical types of the several ethnic groups, but also to introduce their distinctive cultures. It is therefore necessary to consider several types of these cultures introduced by peoples from Asia and Europe which have affected the style of decorative art in this country. THE NEGRITOS

In dealing with the subject of decorative art in the Philippines, the N egritos cannot be entirely ignored. Although they do little decorative craft work, still some very good examples of their primitive ornamentation can be found. These are confined almost entirely to cut patterns on bamboo combs, lime tubes, and war arrows. The ornamental carvings on combs, are patterned after objects more familiar to them, such as the skin, mouth, and teeth of snakes; the scales of fish; the bottom of a rice winnowing tray, and the zigzag design called siko-siko, from siko, meaning "elbow". These decorative carvings (guhit) are made with the point of a bolo or a knife covered with charcoal, and are said to be able to keep away evil spirits. The carvings on lime tubes are mostly patterned after the tail of a dDve (salubong); those on the war arrows are taken from snakes, leaves of plants, and also from the tail of a dove. 203

ENCYCLOPEDIA OF THE PHILIPPINES THE INDONESIANS

The Indonesian art, like that of the N egritos, has undergone many changes. The best surviving representatives of the Indonesians are found among the Pagan mountain inhaoitants of northern Luzon. The Kalingas wear skirts, jackets, and blankets which are beautiful examples of harmonious material put in stripes. Red and gold are color combination that appeals most to these people. Interesting interlacing of geometric forms appears in the ornamental stripes upon the skirts and clouts of the Apayaos. Other groups of the Indonesians are found in Mindanao. On the camisas (shirts) of the Bukidnons, the zigzag, dove-tail, and interesting geometric designs are often found. The clothing of the Bagobos is also covered with geometric designs. But intricate patterns路, some realistic, others highly conventionalized, are also used. Wonderful designs in beads appear on coats, jackets, and carrying bags while at the neck, waist, shoulder, and at the bottom of the sleeves and trousers are other figures in fine embroidery designs. The knives of the路 warrior are ornamented with caps of brass and with cast patterns on its surface, while the sheath and carrying belt are covered with hanging bells. The Bagobo makes use of certain realistic designs which in some cases have become conventionalized, but the greater part of the decoration in beads., shell disks, and embroidery, or applique, have no meaning to the people of the present day, and are added only to make the objects more beautiful in the eyes of the owners. These are not set patterns, and each artist gives full rein to the fancy in producing his figures. The ideas for the patterns inlaid and cast in brass or copper are furnished by the examples of this work coming from the Malayan of the south. 204

ART

Even in this case the artist has taken great liberties in the execution of the design. The cut figures or designs on their lime tubes suggest the possible influence of Melanesia on the artistic ideas of the people. The decorative art of the Mandayas is similar in many respects to that of the Bagobos, yet in part it differs greatly from it. The weavers use many figures which they do not associate with any living forms but which, nevertheless, are strongly realistic. In addition to such patterns, they frequently employ figures which are intentional copies of human or animal forms. The crocodile is held in great regard, and in some sections it is considered sacred. Its importance in the minds of the people is well shown by the frequency with which it appears in their decorative designs. Mandaya cloth is made of abaca fiber. The design is worked out through the process of "tie and dye," which is common among the Malayan peoples, varying only in details路 in different places. THE MALAYANS Th~ culture of the Malayans who followed the Indonesians may at first have been similar to that of the latter, but subsequently became changed by absorption of the elements of Indian civilization, or it may have been Hinduized before its earliest carriers reached the Philippines. The selection of designs of Malayan origin may be a puzzling task. Malayan art shows so many Indonesian and Indo-European influences that its distinction will not be clear to the casual observer. Simplicity of design is a distinctive feature of Malayan decorative art. Malay design, especially where it shows Indonesian influence, is often of high order. The decorations on clothing, weapons, and utensils of the non-Christian Filipinos offer

205

ENCYCLOPEDIA OF THE PHILIPPINES much that are worthy of observation. However, these designs belong to the broad field of Malayan decorative art and are not peculiar to the Philippines. The Malay was accustomed to the use of wood carving as a means of ornamenting his house, utensils, weapons, and boats. Some interesting examples of this art may be found in ~istricts populated by the Christian Filipinos where evidence of Malay influence is still strong. On bolo handles and the prows of boats, the Malayan type of ornament is generally preserved entirely. In the region about Banaue, Mountain Province, wood carving is a common craft. The Ifugaos in this section make curious images. of their anitos or spirits which they worship. These images are used as ornamental handles for spoons and forks, legs for stools and tables, as decorations on wooden hats or other articles of everyday use. These are often remarkably good conventional treatments of the human figure. The decorations on wooden shields of the Bontoc Igorots and other neighboring tribes are again examples of primitive ornament. The shields and pipe bowls are elaborately carved with geometric figures in relief or with realistic designs. Since the weaving of cloth is an indigenous craft and is followed by Christian and non-Christian Filipinos, it is路 a comparatively wide and interesting field for the study of Malayan decorative art. In the Province of Iloilo, the decoration upon native cloth is of modern aspect, but the native characteristics are present in the names given to the designs, which are traceable to the superstitions and fancies of a' primitive people. The binarifigay ("like little crabs," in endless procession in rivers during the rainy season) and the moroporo (constellation) were two popular designs on the patadiongs, or cylindrical skirt, in vogue about a century 206

ART

ago and a symbol of wealth and plenty. This symbolic representation is still prevalent, as is shown by other examples, such as two interlaced squares or two entwined blossoms representing two lovers. The cotton blanket is put to various uses among the native people. It serves not only as a bed cover, but also as a protection from the weather, a wrapping for the dead, a canopy under which different ceremonies may be perform~d, a wall decoration, and a hammock. Figuring so largely as it does in the social life of the people, it is not surprising that its decoration is an important activity. The death blankets from northern Luzon show a unique design in which highly conventionalized figures are used with excellent results. The Dupax blanket (called ues pinutuan), which is typical of the old Isinay culture, is one of the best .examples. The design which is worked out through the "tie and dye" process is in white upon a dark blue or black background with two dark-red stripes running lengthwise as far as t~e edges. The designs are highly conventionalized human and animal forms-. The death blanket of the Ifugaos, though less ornate than the Dupax blankets, shows sound principles in spacing and arrangement of units, which results in a marked repose and dignity of design. This is increased by the pleasing color combination in dark brown, white and low tones of red. The blanket is made entirely of woven bark of a tree called lai-i. The weaving and decorating of these blankets are closely associated with the religious beliefs of the Ifugaos. The loom itself is considered as a God-given possession. The gathering of dye woods and the dyeing are thought to be accomplished through the aid of beneficent spirits. The units in designs are conventionalized forms of animals, usually with sacred significance, or other objects from 207

ENCYCLOPEDIA OF THE PHILIPPINES everyday life which have great value for one reason or another. Other influences which later affected the culture of the Filipinos and their decorative art are the Indian, the Mohammedan, the Chinese, and the Spaniard. THE HINDU OR THE INDIAN

The art of the Indian began in the mysteries of the age described in the sacred writings of the Hihdus, a thousand years or more before Christ. It has, retained to this day its essentially religious character and meaning. India exchanged ideas in art with Egypt and Assyria; the Buddhist faith was introduced in the sixth century B.C.; Mohammedanism spread to India in its great wave of progress; and in the beginning of the Christian era Western influences came in. Through all of these changes, however, the_art of the Hindus has taken to itself and absorbed each new influence and has reproduced every new idea with a distinct Hindu stamp which bears all evidences of originality. Everywhere in their art we find the gods and the symbols which represent them; beasts, dedicated to the gods, of which the cow is the most highly reverenced, and sacred trees and mountains. The forms of the serpent and of the peacock are perhaps the most widely used, since they lend themselves best to artistic representation. The elephant which supports, the world, the tortoise on which the elephant stands, and dogs which also occur in the ancient mythology are also their favorite patterns. The Indian influences have perhaps affected Philippine civilization most profoundly. Two circumstances are of importance regarding them. First, they seem to have carried with them a number of cultural elements whose ultimate origin was not Hindu but Western, as shown by 208

ART

the use of iron in religious divination and sacrifice; second, at least the bulk and perhaps all the Indian importation took place through the more or less Hinduized Malayans who visited or settled the Philippines from other parts of the East Indies, rather than through the Hindu. THE MOHAMMEDAN

Mohammedanism forbids the use of the human figure or of any animal or vegetable form as an element of design. Accordingly geometric decoration is the leading feature of Arabic and Moorish art. Figures are formed by the crossing and interlacing of lines. 'l'he Philippines owes no small proportion of its decorative designs to the Moros. The most beautiful examples are those upon metal in repousse, inlay, and cut patterns. Metal work in these styles, as well as in damascene or niel10, is common throughout the Archipelago. THE CHINESE

Though in evidence here' and there, the Chinese influence is, apparently of small importance in its effect upon native crafts. Decorated pottery jars, much-prized heirlooms among native Filipinos, are found in numerous places in the Islands. Most of these were manufactured during the periods of the Sung and Ming dynasties. THE SPANIARD

The effect of Spanish influence, though of considerable extent, is the least interesting of all. It presents another example of the deterioration through the policy of graftin짜 entirely the decorative art and craft of one people 209

ENCYCLOPEDIA OF THE PHILIPPINES upon another quite different in culture and instinct. As it is, the Christian Filipino has been dominated by and imbued with Spanish culture at the expense of much of his Malayan inheritance. The art of embroidery introduced by the Spanish nuns reached a high degree of excellence in technic; but whatever was superior in design seems to have left no lasting imprint, except in the oldest embroidery work. CONCLUSION

As one pursues the subject' of decorative art, it becomes quite evident that the Philippines" although by no means poor in decorative designs, offers a much less abundant amount of ornament than other Malayan countries. Whether this is attributable to the fact that craft work here has never reached the standard of other countries, or whether it has been depleted through many changes in cultural conditions, is a mooted question; but in either case, the fact remains that Malayan decorative art is, the rightful heritage of the Filipino people and a legitimate source which may be drawn upon without the destructive effect which is always the result of copying from an entirely foreign people.

210

NEGRITO COMBS. The ornamental carvings on combs are patterned after objects more familiar to them, such as the skin, mouth, and teeth of snakes; the scales of fish; the bottom of a rice winnowing traoy, and the zigzag design called siko silto, from siko mea.ning elbow. These decorative carvings (guhit) are made with the point of a bolo or a knife covered with charcoal, and are said to be able to keep away evil sp:rits.

211

(\:l

CI:>

very ralc.

MORO SHIELDS. Th e shields al路e usually ornamented with geometric designs. Charcoal and lime al路e u sed in their design s on shi elds. BAGOBO SASH. The Bagobo sash (sina-Iapid) is m ade of beads and abaca fibers. The design is geometric. Th e sash is worn by women over t he shoulder on festive occasions. These are considered

""'

I':)

MORO BETRL-NUT BOXESo The most bea,utiful examp les of the Moro betel-nut boxes are those ll1lon metal in repousse. inlay. and cut patte,onso

r-:l ......

-:)

SULU MORO FOOD COVERS. The food covers ar e made of nipa leaves dyed in various colors with geometric patterns.

t>:l .....

MANOBO COMBS. The bamboo combs of the M&nobos are ornamented with geometric cut patterns.

MORO BRASS VASE. The brass vases of the Moros are often inlaid with silver with geometric patterns. KALINGA POTTERY. tric designs.

The Kalinga pots are often ornamented with geome-

221

MANOBO LIME TUBES. The lime tubes of the Manobos are likewise ornamented with geometric patterns.

223

Medallic Art in the Philippine Islands By GILBERT S. PEREZ Vice-President, Philippine Numismatic and Archeological Society Medals are coins which are not used for currency but are coined especially for use either as amulets or for the commemoration of persons or historical events. The oldest medal relating to the Philippines, of which there are known records, is one issued in Ulrich, Holland, to commemorate the battle between the Dutch and the powerful Spanish squadron under Governor Juan de Silva in the Moluccas in 1616. From 1616 to the end of the eighteenth century and under the reign of Carlos III, a series of medals was issued by the Sociedad Economica de Amigos del Pais. These were minted in Mexico City and the dies were engraved by Geronimo Gil. Four different issues of these medals were made. The adverse bore the bust. of King Carlos III but the reverses differ, depending upon the activity for which the medal was awarded. Those which were awarded for commercial activities showed the picture of a Spanish sailing vessel; those issued for bravery in battle showed on the reverse two-crossed Igorot shields; those for agriculture depicted a plow and a palm tree; and those awarded for industry showed the picture of two natives with native salakots. It is believed that these medals were issued in subsequent reigns, but there is only one of these medals in local collections. This was issued during the reign of Fernando VII and is in the collection of Mr. Inocencio Delgado. There is another silver medal issued in 1834 in commemoration of the accession of Isabela II as queen of Spain. This is a small silver medal about the size of a peseta and sometimes erroneously believed to be a coin issued for currency purposes. With the opening of the Philippine 225

ENCYCLOPEDIA OF THE PHILIPPINES mint in 1861, a large number of medals was issued by the Spanish authorities. Among these are two interesting medals struck both in gold' and silver, one commemorating the opening of the mint in Manila in 1861, and the other the opening of the Puente Tubular in 1862. These were engraved by the engraver of the Madrid mint, but most of the subsequent medals from dies were made by Mr. Antonio Garcia Granda, chief engraver of the Manila mint. Among the most notable of these are the medals commemorating the celebration of the centenary of Santa Teresa in 1882 and the commemorative medal of 1878 and 1881 commemorating the inauguration and completion of the Moriones Water Works, and the medal commemorating the opening of the railroad from Manila to Dagupan in 1891 and the medal of the N orrnal School for women. The first notable Filipino engraver was Mr. Melecio Figueroa, the Filipino artist who designed the medal for the Philippine Exposition in Madrid in 1887, the medal of the Exposicion Regional de Filipinas in 1895, and the dies for the conant currency which were first coined in 1903 and which are still in use. Among the recent notable medallic productions are those issued to commemorate the third centenary of the Santo Tomas University, those commemorating the coronation of Nuestra Senora Del Rosario in 1907, and the medal to Governor Wright and commemorating the first electric railroad in 1905. All these were engraved by the firm of Crispulo Zamora. Most of these medals were engraved directly by hand, although there are two engraving machines in the Philippines, one in the University of the Philippines and the other in the firm of Crispulo Zamora. The other machine was not used for a long time and only about three or four medals were engraved by this machine. Those were the medals to commemorate the silver jubilee in the priesthood of Archbishop Michael J. O'Douherty in 1922, the medal issued for the Superintendent of Schools 226

ART of Tayabas in 1923. The Ayala commemorative medal of 1934, the medal of St. Augustine's commemoration in 1930, and the medal commemorating the visit of the Prince of Brabant, now the King of Belgium, in 1932, issued by the Philippine Numusmatic Society, are among the most notable ones recently struck.

227

Medaols of the Sociedad Economica de los Amigos del Pais engraved by Gil of the Mint of Mexico City. Silver Medal of the Sociedad Economica de los Amigos del Pais engraved by Bru at Manila in 1868.

G. S. Perez Collectitm

229

Medal of Escuela Normal de l\'Iaestras Ia,augura<tion of the Work on Carriedo Water System, Gov. Morio-n es, 1878 Final Inauguration of Caniedo Water System, Gov. Marques de Estella, 1882 Medal Comme~Ol'ating treaty between Germany and Spain relative to the Cll<l'oline Islands, 1888 Comm'emoration of Sta. Teresa, 1882 Inaug w'ation of Railroad from Manila to D&gupan, 1892 Celebration of St. Augustine, 1886 G. S. P e.re.z Collection

231

Confradia Nazareno- R ecoletos Profesorado. Uiniversity of Sto. Tomas Sociedad Economica de los Amigos del Pais

G. S. Perez CoUection.

233

1887, 1895 By MELECIO FIGUEROA

EXPOSITION MEDALS,

G. S. Perez Coll.ection

235

1887, 1895 By MELECIO FIGUEROA

EXPOSITION MEDALS,

G. S . P erez Collection

237

WOODROW WILSON

By V.

RAMIREZ

G. S. P e" ez Collection

239

Ancient Artistic Philippines "Manila, when it was first founded, was composed of wooden houses covered with thatch of palm leaves, which are used by the natives in their buildings; this (inflammable material) had resulted in many fires which in several years and on various occasions had burned and consumed the wealth of Manila. In order to provide agains.t these disasters from fire, the Spaniards commenced to build their houses of stones and tiles, without any pressing fear of the earthquakes-which, although they usually occur here every year, have not (before) caused destruction (which could arouse much) apprehension. Accordingly, during the forty years, more or less, that have elapsed since the last fire, beautiful edifices were erected and buildings were built so high and spacious that they seemed like palaces. Magnificent temples, with stately and beautiful towers were created within and without the walls of Manila, rendering it very handsome and distinguished: and it was not less suitable for health and enjoyment. But the result has proved that the inhabitants of Manila while avoiding in their buildings the activity of fire fell into the power of the earth," wrote Fray Joseph Payol. "The houses in the city, before the earthquakes of the yearS' '45 and '58, numbered six hundred (many of which must by this time be rebuilt), most of them hewed of stone and handsome iron balconies and rows of windows, and built in costly style," Fray Diego Zapanta wrote. "The walls of the city of Manila and the houses are built of stone, in the modern fashion ... ," remarked Oliver Van Nordt, the first Dutch navigator. P. de S. M. in his letter to the Spanish Minister Balesteros, dated Madrid, July 15, 1827, said: "They are inclined to arts and sciences, and learn quickly, and their deficiencies therein are due only to lack 241

ENCYCLOPEDIA OF THE PHILIPPINES of books for their instruction, and tools with which to finish off their work ... They have taste in fine arts, and almost all buildings are planned by them ... " Remarks on the Philippine Islands and on their capital, Manila. 1819 to 1822. By an Englishman. " ... He possesses an acute ear, and a good taste for music and painting, but little inclination for abstruse studies. He has from nature excell~mt talents, these are useless for want of instruction ... " Wickham wrote, " ... They read all their verses in a singing tone, and the quatrains of the twelve syllable verses are read with the motif of the cumintan, which is their national song. The custom of singing while reading poetry is a practice of China and all Asiatic peoples whom I have visited... There are several cumintans, just as there are different boleros, Polish dances or Troylian dances. Some of them have a great resemblance to the music of Arabia." Murillo Velarde, the famous scientist, said: "They have remarkable skill in music; and there is no village however small, that has not a respectable musician to officiate in church. Among them are excellent voices, trebles, contraltos, tenors, and basses; almost all can play on the harp, and there are many violinists and players on the oboe and flute. It is especially noticeable that not only those whose trade it is to make these instruments do so, but various Indians (Filipinos) through love (for such work), make guitars, harps, flutes, and violins with their bolos or machetes; and they learn to play these instruments by only seeing them played without any special instruction." Pedro Chirino, the learned priest, remarked on Filipino art and culture: "... There are, furthermore, little poems, corridas, epithalamiums, and songs. These last, especially, are very numerous and have special names, such as the comintang de la conquista, the sinanpablo, the ba,.. 242

ART

tangueiio, the caviteg'an. Not only are the words of these songs but also the melodies, national, and the Indians (Filipinos) note the music in them with prodigious cleverness. All the Indians (Filipinos), in fact, are naturally given to music and there are some of them who piay five or six instruments. Also there is not a village, however small it be, where mass is not accompanied by music for lack of an organ ... "Thus, as we have just said, the Indians (Filipinos) are born musicians路. Those who before knew only the Chinese tam-tam, the Javanese drum, and a kind of flute of Pan, made of a bit of bamboo, today cultivate the European instruments with a love which comes to be a passion. They are not, for the most part, very strong in vocal music, for they have little or no voice. Nevertheless, their singing offers in our opinion a certain character of originality which is not unworthy of attention. "Scarcely had the Spanish conquered that archipelago than its inhabitants tried to imitate the musical instrument of Europe and the vigueta, a kind of guitar having a great number of strings but which is not always the same, soon became their favorite instrument. They manufactured it with remarkable perfection. And besides, they themselves made the strings. "The bandolin is another guitar, but smaller; having 24 metallic strings joined by fours. They are skilful in playing that instrument and they make use either of one of their finger nails which they allow to grow to a very great length, or of a little bit of wood. We do not know from what nation they borrowed that instrument, which we have never seen in Spain. "The music of the villages of which we have spoken is generally composed of violins, of ebony flutes" or even bamboo in the remote provinces, and of a bajo de vigue la, a large guitar of the size of a violoncello, which is played 243

ENCYCLOPEDIA OF THE PHILIPPINES with a horn or ebony finger expressively made (for that purpose). They draw from it very agreeable sounds. That music, somewhat discordant, is not wholly without something agreeable in it. We cannot help admiring men who can reach that point without taking lessons, and of whom the majority have perhaps. never had occasion to meet an artist. "The military music of the regiments. of the garrison at Manila, and in some large villages of the provinces, has reached a point of perfection which is astonishing. We have never heard better in Spain, not even in Madrid. It is at the square of the palace that on Thursdays, Sundays, and fete days, at eight o'clock in the evening at the time when the retreat is beaten, the society of Manila and the foreigners. and travelers, assemble to hear the concert. The Ind"ians (Filipinos) play from memory for two or three hours alternately, from great overtures of Rossini and Meyerbeer, to contra dances, and vaudevilles. They owe the great progress which they have made for some time in their military music to the French masters who direct them. These same musicians are also summoned to the great balls, where they execute pieces among the contra dances played by other instruments. "We have stated that the vocal music of the Indians (Filipinos) is not equal to their instrumental music, which is especially true of the quality of their voice, which is sharp and shrill. All their airs are applied to words of love; they are regrets and reproaches addressed to a faithless swain, and sometimes allusions drawn from the history of ancient kings, or from holy Scriptures. "Sometimes a number of Indians (Filipinos) gather in a house of one of them and form a concert of amateurs. At that time they sing the Passion to the accompaniment of a full orchestra. At other times, five, seven or nine bagontaos (young bachelors) assemble at night in a beau244

ART tiful clear moonlight and run about the villages in the vicinity of Manila where they serenade their sweethearts. Their dalagas, or donzellas [i.e. d)oncellas (maidens)] whom the Tagalogs who are the more distinguished rank and who speak Spanish call their novias (Le. sweethearts). One could imagine nothing more singular and more picturesque than to see during the brilliant night of the torrid zones when the moon sheds. floods of silver light, and the balmy breeze tempers the burning heat of the atmosphere, to see, we say, the Indian (Filipino) crouched en cuclillas for entire hours without getting tired of that position, which we would find uncomfortable, singing their love under the windows of their mistresses."

245

A Proposed Art Creed By

CAl\-ULO OSIAS

President, National University

In a land of wondrous beauty such as ours there should be better art education in the schools. The artcrafts of old which turned out products of rare artistic merit should be ,a n index to the esthetic potentialities of the people. The beautiful landscapes in many parts of the Philippines should be sources of inspiration. The stately churches, the magnificent buildings, and the attractive monuments should prove helpful and suggestive. Beautiful objects, such as garments, textiles, furniture, furnishings, baskets, pottery, streets, pictures, statuary,-all these should be studied for their esthetic value. It should be a part of the education of every cultivated citizen to be able to appreciate the good and the beautiful in man and nature. We believe th~t art work which is mere imitation of what is done in the schools of' other countries cannot possibly satisfy the demands of the Philippine school system. We believe that mere adaptation of art works already published: for other school systems would not be satisfactory. We believe that art books related to life needs and interests and evolved from Philippine experience and Philippine conditions are essential and necessary. We believe that the esthetic education desirable in our school system will never be fully met until adequate art books suitable to the age of the learner and to the ideals, desires, and demands of the Filipinos are prepared. N aturally they must undergo improvement from time to time as experimentation and usage dictate. We believe that the idea of art for art's sake and the idea of art for life's sake should be combined and harmo246

ART nized and as nearly as possible incorporated in the art books that should be used for Philippine schools. We believe that drawing and art work should be more greatly utilized for purposes of developing expression and of revitalizing 'Che other subjects in the curriculum. We believe that a great many things Philippine should be conventionalized with a view to working them into the fabric and workmanship of Philippine industrial and commercial products. We believe that the artistic po'Centiality of the Filipinos is far greater than superficial observers can possibly realize. We believe that the poss.ibilities for art development in th~ Philippines are practically unlimited.

247

249

LUNA AND HIDALGO

251

JUAN LUNA

SPOLIARIUM

See Frontispiece

Spoliarium was the name of a place adj acent to the Roman Amphitheater where the bodies of the gladiators were stripped and those combatants were dispatched who had been mortally wounded. "Traversing the ample galleries surrounding the circus and descending its magnificent stone staircase I heard something like suppressed moans and as I was listening, some one passing quickly by my side said to me: Those aTe echoes from the Spoliarium. I advanced, descending towards the place where that strange noise came from, under the lowest vaults of the amphitheater, and arrived in a vast room, poorly lighted and illuminated only in parts by smoking torches. There I saw a horrible spectacle; a lugubrious procession of dead or dying gladiators, dragged in by means of hooks in the hands of circus attendants who were passing, blaspheming and imprecating all the gods of A vernus. On a small stairway oppo253

ART site from where I was, a crowd of curious persons had gathered; there were the Roman woman, the dissolute youth, and all the dregs of the barbarous people, mingled with others who, judging by the expression of their countenance, seemed to belong to the sect of the N azarenes. Little by little, my eye became accustomed to the gloom and I perceived a young woman piously seated there, among the bodies of men, women and wild beasts sprawling in smoking blood." -Dezovry: Rome in Augustus' Time. Juan Luna y Novicio's painting entitled Spoliarium which was based on the description above quoted, was painted in Rome and exhibited at the National Exposition of Fine Arts held at Madrid in 1884. The figures are over life-size. The painting represents several circus slaves dragging dead bodies; these figures occupy the center and left of the picture; to the left, also, but in the middle background, t'~ere is a group of various persons, most of them old, perhaps parents or relatives of the dead gladiat'ors. To the right of the picture there is a young woman, seated with her back towards the spectator, with her hair in disorder, mourning the deat'h of her beloved. This is the most touching figure in the painting and gives an impressive note of beauty to the dramatic scene depicted. In the further background, almost in the darkness, an old woman is visible, holding a light in her right hand by the rays of which she endeavors to find the body of some beloved being among the remains scattered upon the ground. Beyond are visible the rays of the dying sun. This painting caused a great sensation among the public as well as the artists and brought t'he artist as reward a gold medal of the first class. The original is now in the "Museo Moderno" of Barcelona (Spain). The painting in the National Art Gallery is a copy made by the famous Spanish painter, Jose Benllure, and donated to the Filipino People by the Spanish Community of the Philippines. 255

TRICLINIUM

J N AN LUNA

257

,;, c.

•,

SPAIN AND THE PHILIPPINES

JUAN LUNA

259

A FLEMISH SOLDIER

JUAN LUNA, PARIS, 1896 S . Garcia, .Romas Collection

261

PAINTING ON A PI,ATE

By JUAN LUNA B. Roxas Collectio,n

263

PORTRAIT: JOSE RIZAL By JUAN LUNA

265

THE BLOOD COMPACT

JUAN LUNA

)

267

DON RAMON BLANCO y ERENAS By JUAN LUNA,

269

1896

FELIX RESURRECCION HIDALGO

Courtesy of Mr. Felipe Resurreccion Hidalgo Reproduction Prohibited

271

CHRISTIAN MARTYRS

(J ovenes Cristianas Expuestas al Populacho)

By FELIX RESURRECCION HIDALGO

273

THE VIOLINIST

By FELIX RESURRECCION HIDALGO

275

THROUGH PEACE AND LIBERTY

By FELIX RESURRECCION HIDALGO, 1904

277

-'l

'1路4

FELIX RESURRECCION HIDALGO, PARIS,

DON LUIS PEREZ DASMARINAS

~~,

1896

......

t'-' 00

A TIFFIN OUT IN THE COUNTRY

FELIX RESURRECCION HIDALGO, PARIS,

1911

IN THE FIELDS FELIX RESURRECCION HIDALGO FeliJJe R. Hidalgo Collection

283

ARTIST AND MODEL

FELIX RESURRECCION HIDALGO

285

PORTRAIT FELIX RESURRECCION HIDALGO

287

00 0:0

"To

SISTER ROSARIO"

FELIX RESURRECCION HIDALGO, PARIS, Felipe R. H idalgo Collectirm

1908