Gallery

Birth Anniversary of Cesar T. Legaspi

The #NationalMuseumPH celebrates the 105th birth anniversary of Modernist painter Cesar T. Legaspi, born #OnThisDay in 1917.

Cesar T. Legaspi was one of the Thirteen Moderns considered forerunners and pioneering advocates of modern art in the country. The group was formed before World War II and led by National Artist Victorio C. Edades (1895-1985). After the war, Legaspi joined the Neo-realist movement as one of its core members. The group produced works that feature Philippine themes in a style that is representational in form but more open to various degrees of abstraction.

The National Fine Arts Collection has six paintings by Legaspi, including “Mother and Child.” Created in 1952, this oil on panel painting represents the influence of the neo-realism style. It is on display at the National Museum of Fine Arts, Gallery XVIII as part of the exhibition “Pillars of Philippine Modernism (II),” featuring modern art in the Philippines from the 1940s to 1980s. This exhibition presents the works of Cesar T. Legaspi and his fellow modernists and National Artist awardees Carlos V. Francisco (1912-1969), Jose T. Joya (1931-1995), and Abdumalri Asia Imao (1936-2014). 

Legaspi was born on April 2, 1917, in Tondo, Manila. His art training started at the University of the Philippines where he received his Certificate of Proficiency in 1936. After this, he continued his training under Pablo C. Amorsolo (1898-1945). In 1950, he exhibited his works at the Manila Hotel along with the other neo-realists. He later flew to Madrid, Spain in 1953 to study at the Cultura Hispanica as a scholar. He took an art course at the Academie Ranson in Paris, France under French American surrealist painter and engraver Henri Bernard Goetz. Upon his return, he held his first one-man show at the Luz Gallery in 1963. While practicing his art, he also worked as an artist for Elizalde & Company and as art director and vice president for creative planning for an advertising agency Philprom. In 1968, he retired from advertising and focused on his art as a full-time painter. He participated in several exhibitions abroad including the First Plastic Arts Conference in Rome (1953), São Paulo Biennial in Graphic Arts (1967 and 1969), and Wraxall Gallery in London (1982). He held retrospective exhibitions in the country at the Museum of Philippine Art (1978), National Museum (1988), Metropolitan Museum (1988), Luz Gallery (1990), and Cultural Center of the Philippines (1990). Legaspi was an active member of the Art Association of the Philippines and became the head of the famous Saturday Group of Artists from 1978 to 1994. 

While Legaspi suffered from color blindness, this did not deter him from pursuing his love for art. His life is an inspiration to everyone as seen in how he overcame his challenge and made an important contribution to Philippine art. Legaspi was awarded National Artist for Visual Arts in 1990, four years before he passed away on April 7, 1994. 

The National Museum of Fine Arts is now open for walk-in visitors! You may also view the 360 degrees virtual tour of selected NMFA galleries on the link https://www.nationalmuseum.gov.ph/nmfa360/HTML5/NMFA360.html. See you at the National Museum!

#CesarLegaspi
#OnThisDay
#BeatCOVID19

Text by NMP-FAD

Photo by Bengy Toda

© 2022 National Museum of the Philippines

Ramadan Mubarak to our Muslim brothers and sisters!

As our Muslim brothers and sisters observe the start of Ramadan this 2nd day of April, the #NationalMuseumPH features the lihar (Qur’an stand) from the National Ethnographic Collection that is of important cultural significance to the Muslim communities in the country.

During Ramadan, Muslims refrain from food from the break of dawn until sunset. It is also a time for abstaining from practices dissonant with Islamic teachings, such as inappropriate speech, indulging in excessive recreational activities, and unkind behavior towards the needy. These actions are said to divert their focus away from the spiritual realm. Instead, they show kindness and charity through zakat (giving alms) and more importantly, worship through prayer and recitation of selected verses from the Qur’an.

The Qur’an is an important book for Muslims as it contains all the teachings of Allah. During recitations, it is placed on an X-shaped foldable book stand made of wood and sometimes decorated with okir design patterns. Locally, it is called lihar among the Maranao and Tausug and lihal among the Jama Mapun and Sama. It is used to hold and ensure that the Qur’an is respected by keeping it elevated off the floor. Its foldable design is also a way to showcase the Qur’an as a precious manuscript among Muslims. The lihar is considered to be one of the most valuable elements inside the mosque. 

A collection of the lihar is currently exhibited at the “Faith, Tradition, and Place: Bangsamoro Art from the National Ethnographic Collection” exhibition at the 3F, National Museum of Anthropology in Manila. Visit the museum from Tuesday to Sunday, 9:00 AM–4:00 PM, and know more about the rich material culture of the Bangsamoro communities in the country.

#Ramadan2022
#Lihar
#MuseumFromHome

Text and poster by the NMP Ethnology Division

© 2022 National Museum of the Philippines

Apuh Ambalang and the Yakan Weaving Tradition

Apuh Ambalang and the Yakan Weaving Tradition

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Weaving is an extremely important craft in the Yakan community. All Yakan women in the past were trained in weaving. Long ago, a common practice among the Yakan was that, when a female was born, the pandey, traditional midwife, would cut the umbilical cord using a wooden bar called bayre (other Yakan pronounce this as beyde). That bar was used for ‘beating-in’ the weft of the loom. By thus severing of the umbilical cord, it was believed that the infant would grow up to become an accomplished weaver. This, and all other aspects of the Yakan weaving tradition, is best personified by a seventy-three-year-old virtuoso from the weaving domicile of the Yakan in Parangbasak, Lamitan City: Ambalang Ausalin. (Pasilan, 2016a)

Ambalang Ausalin, a Manlilikha ng Bayan from Parangbasak, Lamitan City, was born on March 4, 1943. She is known among the weavers as “Apuh Ambalang.“ She is knowledgeable of the entire weaving process, from the meghani (warping), nuwah (filling-in the comb), meneh (creating the design), and nennun (the actual weaving). Aside from this, she could clearly define and express the cultural significance of each textile design or category. When she was a young girl, her mother, who was the best weaver during her time, tutored her. The young Ambalang would use strips of coconut leaves (used in mat-making) as practice material, and having taught by her mother – Apuh Bariya, she started to weave using the back strap loom. From the “bunga- sama teed peneh pitumpuh,” to trying the “sineluan” and then, the “seputangan.” These are three of most intricate textiles in Yakan weaving, as these would require the filling of miniscule details of geometric designs on the warp.

Yakan weavers, like Apuh Ambalang, would use the tennun or the body tension loom or the back strap tension loom where the weaver sits on the floor with the loom being controlled by her body. Yakan looms can be small or large depending on the type of cloth or design to be woven, and they can be rolled up, carried, and easily set up. The rolled-up warp can be held up in one of the beams at a traditional home. The weaver sits on the floor before the loom with a belt on her waist called awit also called ikus and a warp beam, deddug, suspended on a house beam, diagonally in front of her. She braces her feet against a piece of wood called tindakan, and uses her body to keep the warp threads taut and in place. The warp is wound eight to ten meters or longer, just enough to make it easy for setting up the loom inside the house in a process known among the weavers as peghani. The threads are pulled through a bamboo comb, sud, one at a time, in a procedure called nuwah, so that the threads will be evenly spaced. The secret of an intricately woven cloth lies in the comb, sud dendam: the more the number of sticks that make up the comb, the closer its teeth, therefore, the tighter and more embossed or lifted the designs will be. The pattern or design is made by counting the threads of the loom for each row. Each row is bundled with a separate piece of yarn or sack thread, tabid, so it can be used throughout the length of the loom. This process is called megpeneh (choosing the threads/making up the design). In this way the whole pattern is pre-programmed. This method is used in almost all cloth designs except for the seputangan (female head cloth). The sellag or thread for the background color of the woof is wound on a stick called anak tulak that can turn into a bamboo shuttle called tulak. A proficient weaver would require a lesser number of threads in the tulak, which they would refer as “sellag mintedde” or a single weft thread, resulting to an embossed and tight cloth. Thicker threads that make up the pattern called “sulip” (supplementary weft) are placed in between the warp threads as the pattern requires.

The word “tennun” in Yakan generally means “woven cloth.” These cloths are used in making the Yakan dress. Often, Yakan textiles are mistakenly described as ‘embroidered’ by people not familiar with the production process. In addition, there are different categories of a Yakan cloth. All these have been mastered by Ambalang. Her artistry and craftsmanship is best expressed in the bunga sama, sinelu’an, and seputangan categories.

First, the Bunga-sama, also, “fruit of the ancestors,” referring to rice, is a design or category of cloth or weaving with the rice grain-like motif, with elaborate and bolder designs. It is utilized as blouse and pants material and restricted only to a high status Yakan, specially the suwah bekkat (cross-stitch-like embellishment) and suwah pendan (embroidery-like embellishment) pieces. Motifs in the bunga-sama are inspired by the plants and animals in their surroundings, and more importantly, of the Yakan’s great respect for the “paley (rice),” as diamonds and grain-like motifs are often seen on the span of the warp. A master weaver like Apuh Ambalang can execute the bunga-sama teed peneh pitumpuh (the cloth with seventy-designs; at times with seven different colors of thread), the peneh sawe-sawe (snake skin-like), peneh dawen-dawen (leaf-like), peneh palipattang which is archaic for peneh beras-beras (rows of unhusked grains or grain-like), peneh kenna-kenna (fish-like), peneh manuk-manuk (bird-like), peneh kaka-kaka (crab-like), and the peneh ampat kaban-buddi (four diamonds within a frame; patchwork-like). (Pasilan, 2016b)

Another exemplary work of Apuh is the sinelu’an teed which is regarded as the most intricate of all Yakan textiles. This is a cloth or design utilized for blouse (for men only) and trouser material. This a type of weaving with vertical stripes. Each of the stripes has an elaborate pattern of miniscule diamonds and incised triangles resembling the sections of the bamboo, coming from a belief, that the “paley” should grow tall and strong like the bamboo. This bamboo-like patterned cloth has tiny bands of zigzags called kalis-kalis (incisions), miniscule diamonds called bulak-bulak (grain-like), minute horizontal lines called “babag” or commonly referred nowadays as “birey-birey,” that separate the motifs into tiny segments resembling the sections of the bamboo called batak or honga. Also, there are small bands of diamonds inside the bulak-bulak called lepoq-lepoq, and in its center, the apuh-apuh, a dot-like motif. There are also vertical rows of small dashes called olet-olet, sipit-sipit, or lelipan-lelipan (caterpillarlike), rows of crab like motifs called kaka-kaka, a panel of jarlike motif called komboh-komboh, and plain vertical lines or columns called bettik (resembling the contour of the land when planting in straight lines). (Pasilan, 2016b)

The seputangan teed, which required any weaver’s utmost precision, as it does not have a tangible guide nor it is pre-patterned, (which not all Yakan weavers could do) is the most intricate in a Yakan female ensemble. It is a meter square in size with geometric designs and is the most expensive article of Yakan clothing due to its intricacy. . The pussuk labung (saw tooth design), harren owak (crow steps gable-like) sipit-sipit or subid-subid (twilled like), dawen-dawen (leaf like), harren-harren (staircases), kaban-buddi (diamonds/ triangles), dinglu-dinglu or mata-mata (diamond/ eye), and buwani-buwani (honeycomb-like) designs are evident in this type of cloth. The term balikat-balikat refers to the sides of the “seputangan” woven with small triangulate or diamond patterns. The pinggil-pinggil refers to the in-woven triangles and diamonds of a balikat-balikat section of the seputangan. The seputangan is a symbolic representation of the Yakan’s pangubatan (altar set at the center of the field before the actual planting) and its diamonds, symbolized the palay. This piece of cloth is folded and tied over the olos to tighten the hold of the skirt on the waist. It may also be worn as a head covering. It is also placed on the shoulders of brides and grooms during weddings.

To Ambalang’s belief, which she took from her ancestors, diamonds represent rice grains and symbolize wealth. When four stars form together like a single diamond at the sky meant that harvest is approaching and will be plentiful. The diamonds are called “mata-mata” or “dinglu-dinglu”. The depiction of mountains, “punoh-punoh” (mountain like), is set at the sides of the bunga-sama called “higad-higad” or “sing” or the “balikat-balikat” of the saputangan”. The Xs represent rice mortars which are arranged in clusters along with the diamonds to form an interesting illusion. The interplay of Xs and diamonds symbolizes wealth and abundance in harvest. This particular pattern is seen on a seputangan, a Yakan headcloth, and inalaman, a high status over-skirt. A floral motif is considered to be one of the most popular sources seen on bunga-sama or border of an inalaman. The fairy or butterfly wings, locally known as the “kaba-kaba” or wing-like motif, as seen in the “bunga-sama teed peneh pitumpuh”, is the most intricate in the “bunga-sama” category. The snake is considered as a vehicle of the spirits as in the “mailikidjabaniya.” This particular pattern, seen on the “bunga-sama”, is used for making pants which symbolizes power and authority and was mainly reserved only for male members of royalty or rich clans. (Pasilan, 2016a)

In Yakan weaving, most of the animal and plant motifs are realistically represented in their textiles. They have deemed nature as the mother of art and they wanted to record their pure naturalistic beauty. The designs reflect the Yakan’s nature of habitation or occupation as agriculturists as each cloth patterning is symbolic of the “palay,” which also depicted power, social status and self-expression. The minuteness and compressed detail of a motif or design symbolizes the Yakan’s sense of “community”, “togetherness” or “harmony”.

Through her recollection of the earliest strategies and techniques learned from her mother, Ambalang started training Vilma, her daughter, and some of her nieces, of whom she sees good future for the continuity of her craft and a culture passed on through generations of gifted weavers. For Ambalang to create such artistry, she has to be in harmony with her soul, her spirit ancestors, her environment, her tools, her threads, her loom, and her Creator. The Yakan weaving engages the weaver’s body and soul, and all the elements that surround her.

The tennun Yakan is an important embodiment of Yakan culture. Its categories, colors, designs or motifs and significance will continually remind Ambalang, and her works of what it means to be a Yakan – people of the earth— who may have lived in an island that have been through human created conflicts, yet through her craft, Ambalang reaffirms their Yakan identity as a people who continuously weaves the threads of culture from the past to the present and become cultural treasures for the new generation Yakan, the Filipinos and all of humanity in the future. (Pasilan, 2016a)

Author: Pasilan, Earl Francis C.

Photos: National Museum Western-Southern Mindanao

References: Pasilan, Earl Francis C. (2016a) “Ambalang Ausalin: A’a Pandey Megtetennun” in 2016 National Living Treasures/ GAMABA Folio. Manila: National Commission for Culture and the Arts. ——- (2016b) “Pansak Yakan: Dances of the Yakan from Lamitan, Basilan” (Master’s Thesis, Southwestern University PHINMA, Cebu City).

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#MineraloftheMonth

For today’s feature, let us talk about a mineral with a thousand uses – Bentonite. 

Bentonite is a naturally-occurring material made essentially of clay minerals belonging to the smectite group. These clay minerals are hydrous aluminum silicates composing iron and magnesium and either sodium or calcium.  Most bentonites are formed when minute glassy materials derived from volcanic ashes are decomposed after intense contact with water. 

It is a plastic material that swells or shrinks in response to either the addition or removal of water respectively.  And it has an incredible ability to expand up to 14 times its original volume when coming into contact with water, creating a gelatinous and viscous substance. 

Do you know that bentonite occurs in rocks that were deposited about 488.3 to 2.6 million years ago (Ordovician to Neogene)? The formation of a large volume of deposit of bentonite requires rather special geologic conditions. 

Owing to its structure, small crystal size, chemical composition, and exchangeable ions, bentonite has several unique properties. These include large chemically active surface area, unusual hydration characteristics, ability to modify considerably the flow behavior of liquids, strong colloidal properties, high viscosity, water absorption, and many more. These are the reasons for its wide range of applications. 

Bentonite is an important mineral commodity used in several industries. Locally produced and processed bentonites are used as additives, grouting, binders in foundry sand, and filler in animal feeds. It is also used to seal dams, as drilling muds, in Portland cement and concrete, insecticides, soaps, pharmaceuticals, paints, in the manufacture of paper, and many more! Plus, it’s also already entered the world of skincare as its natural properties are said to be beneficial for our skin. 

This important resource offers a thousand benefits and applications. With our advancing technologies, we are also taking advantage of this wonderful mineral. Visit us and see for yourself this mineral along with our other mineral collections. 

Text and image by the NMP Geology and Paleontology Division

© 2022 National Museum of the Philippines

ICYMI: LECTURE ON WOMEN IN ARCHAEOLOGY CONCLUDED

ICYMI: LECTURE ON WOMEN IN ARCHAEOLOGY CONCLUDED

As we draw to a close the celebration of #NationalWomenMonth2022, we are sharing the highlights of the #NationalMuseumPH lecture She Digs: Women in Archaeology, held online yesterday, March 29, 2022.

The presentations, which aimed to highlight and discuss the contributions, involvement, and visibility of women of and in archaeology, were delivered by four competent archaeologists from the Archaeological Studies Program of the University of the Philippines-Diliman (UP-ASP).

Dr. Mary Jane Louise Bolunia, Museum Curator II and Officer-in-Charge of the Archaeology Division, officially opened the program and welcomed students, educators, museum and heritage workers, as well as colleagues from various academic institutions and local government units nationwide. In her remarks, she shared about the prevailing challenges, social pressures, and misconceptions when she was starting in the discipline, and how she envisions more women in the field recognized as archaeologists without the gender qualifier. 

The first lecture was on women in the history of Philippine archaeology, presented by Dr. Ligaya Lacsina, highlighting the few women pioneers in both terrestrial and underwater archaeology who paved the way and are still continuing to do so with the new generations that sprung from their breaking of barriers. Andrea Dominique Cosalan’s presentation focused on the Tabon (Wo)Man as a talking point for the invisibility of women in prehistory, the importance of inclusivity, and the use of gender-fair language in academic and public discussions. A slide show of archaeologists-at-work and students-in-training signaled an intermission for the second half of the program.

Dr. Grace Barretto-Tesoro discussed where the women are in Philippine archaeological sites and suggested methods on how their presence may be observed in the archaeological record. Marie Louise Antoinette Sioco presented last on a co-authored research on an examination of experiences in the archaeology of females and LGBTQIA+ in the Philippines, with recommendations and mitigating measures for a more gender-safe working environment.

An open forum was very lively and interactive and there was not enough time to entertain the questions from the attentive participants. Bobby Orillaneda, Senior Museum Researcher and Officer-in-Charge of the Maritime and Underwater Cultural Heritage Division provided an in-depth recap of the wonderful talks, which he described as enriching and an eye-opener. He hoped that the participants learned from the webinar and that this knowledge equips them when confronted with gender issues in the field. He expressed support for women’s endeavors and agreed that archaeology is for everyone interested, regardless of gender. 

The lecture was organized by the NMP-Archaeology Division, and the Maritime and Underwater Cultural Heritage Division, supported by the agency’s Gender and Development Focal Point System.

#MuseumFromHome #TrowelTuesday #PurpleYourIcon #PurpleTuesday #WeMakeChangeWorkForWomen #BabaeHindiBabaeLang #WomenCan

Text and photos by NMP-AD, NMP-MUCHD, and NMP-GFPS

© 2022 National Museum of the Philippines

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Birth Anniv of Chabet

Birth Anniversary of Roberto Chabet

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On the occasion of the 85th birth anniversary of conceptual artist Roberto Chabet, the #NationalMuseumPh features “Ceche Series” from the 1974 Core Collection of the Philippine Center New York to honor the artist born #OnThisDay in 1937.

A multi-faceted artist, Chabet ventured into painting, printmaking, sculpting, stage designing, and writing. He was widely recognized as the father of conceptual art in the Philippines and acknowledged as the “most influential Filipino artist of the postwar generation.” He was highly regarded for his experimental art, evidenced by his drawings, collages, sculptures, and allegorical installations and question modernity. 

Chabet graduated in 1961 with a degree in Architecture from the University of Santo Tomas. In the same year, he held his first solo exhibition at the Luz Gallery and won the top prize at the Art Association of the Philippines’ annual art competition. In 1968, he received a grant from the John D. Rockefeller 3rd Fund (now Asian Cultural Council) to observe museum and collections practices, as well as contemporary art developments in the United States, Mexico, and Europe in preparation for his appointment as the founding museum director of the Cultural Center of the Philippines (CCP). During his tenure as director of CCP, he initiated the first 13 Artists Awards, recognizing young artists whose works “showed recentness, a turning away from the past, and familiar modes of art-making.” Furthermore, he taught at the University of the Philippines College of Fine Arts where he nurtured and inspired generations of Filipino artists for over three decades from 1971 to 2002. 

Among the awards he received were the Republic Cultural Heritage Award (1972), the Araw ng Maynila Award for the Visual Arts (1972), and the CCP Centennial Award of Honor for the Arts (1998). His works are now part of the collections of the National Museum of the Philippines, Ateneo Art Gallery, Cultural Center of the Philippines, and several private lenders. 

“Ceche Series” is a noteworthy example of Chabet’s conceptual art exhibited in a collage of his own cut-up drawings, unlike his usual collages that utilized found materials and imagery. These works may be viewed at “The Philippine Center New York Core Collection of 1974: A Homecoming Exhibition” in Galleries XXVII and XVIII of the National Museum of Fine Arts. The exhibition features a collection of 115 artworks by 52 Filipino artists which National Artist Arturo Luz gathered with the help of renowned designer Wil Fernandez for the inauguration of the Philippine Center New York on November 14, 1974. 

#MuseumFromHome
#Roberto Chabet
#ConceptualArt
#PhilippineArt
#PhilippineCenterNewYork
#PCNYCoreCollection

Text and photo by NMP FAD

© 2022 National Museum of the Philippines

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