Birth Anniversary of Virginia Ty-Navarro
(July 5, 1922 – January 28, 1996)

The #NationalMuseumPH celebrates the 100th birth anniversary of Filipina painter-sculptor Virginia Ty-Navarro born #OnThisDay in 1922, by featuring her oil painting entitled “The Fishermen.”

This artwork, on display at the National Museum of Fine Arts (NMFA), along the GSIS Northwest Hallway Gallery of The Senate Floor (Third Floor) was completed in 1983 and became part of the National Fine Arts Collection the following year.  

Virginia Ty-Navarro was born in Manila on July 5, 1922. Showing interest in art, her father provided her with private lessons under a Chinese artist. This was further honed under the supervision of a German nun while studying at St. Scholastica College in Vito Cruz. In 1949, she graduated with high honors from the University of Santo Tomas (UST) with a degree in fine arts. She served as part of the faculty of the fine arts department of UST right after her graduation until 1960 and from 1964-1969, as faculty of the College of the Holy Spirit.

She pioneered “incision painting,” which according to Leonidas V. Benesa, is “a combination of carving, painting, and sculpture.” She produced several paintings but also experimented with sculptures. Her husband, painter, sculptor, printmaker, and 1999 National Artist for Visual Arts, Jeremias Elizalde-Navarro, may be one of the influences on why she pursued and experimented with sculpture, having shared a studio with him.

In 1960, despite the demands of family life, she was able to launch her first solo exhibition featuring her paintings and sculptures at the Philippine Art Gallery. In 1966, she represented the country at the international art congress in Tokyo, Japan. She joined group shows organized by the Art Association of the Philippines and Society of Philippine Sculptors where she also sat as one of the board members. 

Her best-known work is the statue of Our Lady, Queen of Peace at the EDSA Shrine. This monumental sculpture, in size and significance, was sculpted in bronze and can be found at the intersection of EDSA and Ortigas in Mandaluyong City. The artist passed away in Manila on January 28, 1996. 

The National Museum of Fine Arts (NMFA) is reopening after a month-long temporary closure. You may view two other works of Virginia Ty-Navarro from the National Fine Arts Collection, namely: Taurus (1975, bronze and brass, Gallery XXIX) and Abstraction (Undated, oil on canvas, 3F South Hallway Gallery). 

#VirginiaTyNavarro

SAGAYAN FESTIVAL

SAGAYAN FESTIVAL

For our #MuseumFromHome series, the #NationalMuseumPH features the Sagayan Festival celebrated by the peoples of Maguindanao and Maranao in the Lanao del Norte. This festival highlights the sagayan, a war dance depicting the adventures of Datu Bantugan in the Darangen epic.

The hero of the Darangen, Datu Bantugan, from the kingdom of Bumbaran, embarks on a quest to search for his younger sister Arcata Lawanen, who was abducted by Ayonan Dimasangkay of the kingdom of Sagorongan-a-Ragat. Sagayan, the war dance, ensues during the battle to rescue his sister from captivity. Despite the clash, the rift ultimately ends in the pacification and peace between the two kingdoms. Because of this, the people of Lanao del Norte consider this act beyond just being a war dance; it is a symbol for protecting communities, reconciliation, and promoting peace among folks. 

Prior to the first Sagayan Festival in 2010, the dance was usually performed during special celebrations among the Maguindanao and Maranao. Traditionally, the dancers of the sagayan wear a long-sleeved top, tiered bottoms, and a headpiece in bright colors, like golden yellow, orange, and red interspersed with earthy tones such as dark green and brown, and adorned with brass bells. They hold a kampilan, a single-edged sword used by Muslim groups in southern Philippines, and a klung (shield) as they dance to the rhythmic beats of the tagunggo or gong ensemble. The pulsing cadence of the music accompanying the dance is captured in the dance steps consisting of fast stomping, jumping, rolling, kicking, and a sweeping of the arms punctuated by an elegant curving movement of the hands. 

Today, the youth is involved in the showcase of the sagayan during festivals to represent their respective schools and compete with each other for the best performance. The yearly celebration has also effected several changes in the staging of the dance as performances are enriched by the use of other colorful props and backdrops of the environment in Lanao del Norte.   

The rich cultural meanings and heritage embodied in the sagayan, through the dance, music, traditional clothing, bladed weapon, and epic literature, has led to its official adoption by the Province of Lanao del Norte as their cultural dance through a Sangguniang Bayan resolution in 1994.  

Learn more about the rich material culture of the Maranao and Maguindanao in the Faith, Tradition, and Place: Bangsamoro Art in the National Ethnographic Collection, a permanent exhibition at the 3F of the National Museum of Anthropology in Manila. 

Text by the NMP Ethnology Division

Photos courtesy of the Province of Lanao del Norte

© 2022 National Museum of the Philippines

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Pintados Festival

The #NationalMuseumPH brings you another colorful celebration in the country—the Pintados Festival celebrated in the Visayas. In the City of Passi in Iloilo, Pintados Festival is held every 3rd week of March but for todays’ #MuseumFromHome series, we focus on the Pintados-Kasadyaan Festival in Leyte celebrated every 29th of June, also the Feast Day of Señor Santo Niño de Leyte.

Historical records suggest that the first image of the Child Jesus was brought by Spanish missionaries to the island of Leyte in 1888. The Pintados Festival can be traced back to the formation of Pintados Foundation, Inc. in 1986 by the people of Tacloban, who began organizing religious cultural activities in honor of the Señor Santo Niño. A year later, the first Pintados Festival was held on June 29 and was later merged with the Kasadyaan Festival. As the term kasadya-an in the Visayan language means merriment or happiness, the festival portrays the unique and colorful historical background of Leyte. 

More than just celebrating the feast of the Santo Niño, this festival also commemorates the pre-Spanish tradition of tattooing among warriors locally known as pintados. Spanish Friar, Fr. Ignacio Francisco Alcina S.J., on the other hand, mentioned in “Historia de las Islas e Indios de Bisayas 1668” that almost all Visayans had tattoos except the children and the asug (homosexuals), suggesting that the tradition is not only limited to warriors. 

There are multiple events throughout the celebration of Pintados-Kasadyaan Festival – the Festival of festivals of Leyte, the Ritual Dance Presentation of Pintados and the Pagrayhay (or pagrayhak meaning to celebrate) for the Grand Parade. Various municipalities of the province participate and gather in Tacloban City to join the celebration. For this reason, the festival is said to promote a sense of pride and solidarity as every municipality presents their own local folklore and legends. 

The folk dances presented during the festival depict the pre-Spanish practices of our ancestors, which include worship of idols, and performance of indigenous music and epics. Dancers fill the streets of the city wearing colorful garbs along with intricate body paintings consisting of different shapes, figures and colors, as if one is wearing an armor. The festival concludes with a merry-making or a traditional Filipino fiesta. 

To know more about the tradition of tattooing in the Visayas, check out the featured articles of the National Museum Western Visayas on #Pintados in #KwentongKultura here: https://bit.ly/NMWesternVisayas-Pintados

Text and poster by the NMP Ethnology Division

Photo courtesy of Mr. Ricky D. Alejo

© 2022 National Museum of the Philippines

BALOBOK ROCKSHELTER

As #CelebrateTheSeaMonth draws to a close this June, this week’s #TrowelTuesday features the Balobok Rockshelter, a prehistoric archaeological site by the sea.

Located in the southeast part of Tawi-Tawi Province, in a cove facing the Sulu Sea at Sanga-Sanga, the Balobok Rockshelter yielded early evidence of human presence in Mindanao as a result of extensive archaeological excavations undertaken by the #NationalMuseumPH. The site is a prehistoric habitation site from 6810–3190 Before Common Era or BCE (8760–5140 years ago), as evidenced by a shell midden that yielded a considerable amount of animal remains in all three of its cultural layers.

The Balobok Rockshelter was accidentally discovered in 1963 by Mr. Assiong Bangali of Tubig Basag Primary School while fishing near the shore. He saw the rockshelter as he took refuge during a sudden downpour. In 1966, Mr. Eric Casino of the #NationalMuseumPH reported the existence of the rockshelter when he visited it during his fieldwork in Cagayan de Sulu Island. His report described the rockshelter as an archaeological site with shell and stone adzes, flaked tools, earthenware sherds, and shell remains. Later that year, a team of archaeologists led by Mr. Casino conducted an initial excavation of the site. This was succeeded with a partial excavation in 1969 by American anthropologist Alexander Spoehr, and a re-excavation in 1992 and 2007 by the #NationalMuseumPH.

Excavated artifacts included polished shell adzes made from the giant clam Tridacna gigas, flake and polished stone tools, red slipped earthenware sherds with lime impressed designs, and animal remains like shells which delivered the site’s radiocarbon dates. These archaeological materials are significant evidence indicating that the Balobok Rockshelter is one of the earliest habitation sites in the region. Their recovery suggests that the site may have played a significant role in the movements of people into the Southwest Pacific and to the Pacific World. 

In 2008, the Site Development of the Balobok Rockshelter was realized through assistance from the United States Ambassador in the Philippines’ Heritage Conservation Fund. This project was implemented by the #NationalMuseumPH, the Local Government of Bongao, the Provincial Government of Tawi-Tawi, with the active participation of the Mindanao State University – Tawi-Tawi Campus.

The #NationalMuseumPH declared the Balobok Rockshelter as an Important Cultural Property (ICP) by virtue of Museum Declaration No. 24-2016 on December 16, 2016.

Text by Giovanni Bautista, and poster by Timothy James Vitales | NMP ArchaeologyDivision

© 2022 National Museum of the Philippines

BIRDS OF “OLD” MANILA

A snapshot of history…

Before the Spaniards invaded Manila, active trade was already taking place along the Pasig River such that rulers of Muslim communities who settled there already imposed custom duties on all commerce passing up the river.  In 1571, the fortress city of Intramuros was founded under the leadership of Miguel Lopez de Legaspi, a spanish conquistador and the first governor-general of the Philippines.  During that time, Manila became the capital of the newly established colony.

As the nation’s capital, Manila has been seriously threatened and even occupied by other foreign powers (i.e. the Chinese in 1574, the Dutch in mid 17th century, and the British in 1762 but was restored back to Spain after the Treaty of Paris in 1763).  Furthermore, Manila was opened to foreign trade in 1832 which was fueled more by the opening of the Suez Canal in 1869.  It is also during the late 19th century that the height of the Filipino revolution against the spaniards was witnessed especially after the execution of Dr. Jose Rizal in December 1896 – the same year that, the other part of the world is celebrating the discovery of the Philippine eagle.

In 1898, the Americans win the war against the spaniards.  And for at least 4 decades, the Philippines was under U.S. colonial rule.  It was during this period that the US promote social and economic improvement for the city and encourage gradual Filipino political autonomy.  It is also during this period that the famous Bureau of Science was founded (October 26, 1905).  The Bureau houses some 25,000 bird skins collected in more than three decades under the leadership of Richard C. McGregor – who also became the first Chief of the Natural History Division during the American period.  Sadly, all of the collections were destroyed during the Battle of Manila in February 1945.

Shortly after the war, Filipino collectors under the leadership of Dr. Canuto G. Manuel, Curator of the Zoological Collection, Philippine National Museum started to rebuild the Philippine Zoological Collections.  Interestingly, at least 62 birds were first collected in the vicinities of Manila right after the termination of hostilities.

Text by RC Urriza

Layout & graphics by AM Domingo

Photos by AM Domingo and RC Urriza

© 2022 National Museum of the Philippines

Arbor Day

Arbor Day

  • Deforestation through logging and kaingin (slash and burn faming) contributes to the rapid increase in greenhouse gases that speed up the adverse effects of climate change.

  • Our tropical forest serves as a carbon sink that stores greenhouse gases which are the main cause of climate change. We need to plant native trees in our area to avoid the unnecessary accidental introduction of invasive alien species.

  • A single tree you planted might have an insignificant impact but our collective efforts of planting trees will slowly create a big impact to save our planet Earth.

In the recent trends, climate scientists say it’s ‘now or never’ to climate change’s critical limits which they are struggling to convince and call for action of every political leader to take it seriously. It is a moral responsibility of every nation and us as individuals to take care of our only home, the planet earth. The government must now look for alternative sources of renewable energy, lessen reliance on fossil fuels, and come up with solutions to mitigate climate change.

Planting a tree during #ArborDay is a simple act of commitment to help save our planet Earth. Why should we plant more trees? First, it can combat Climate Change, through photosynthesis, the harmful carbon dioxide from the air is absorbed and stored in the trees. In return, oxygen is released by the trees for us to breathe easily.

Urban trees provide shade, shelter, and a source of food for many native animals residing in the city. Urban trees are good for our mental and physical health and have proven to reduce our stress and anxiety. Trees in the watershed safeguard our water supply during long droughts.

But we must consider choosing the right species of trees to be planted in the right place to avoid possible invasive alien species. We should promote planting native and/or endemic species in our forests to enhance the local biodiversity.

The tree that we planted today might have no visible impact today but as it grows its many ecological services will benefit our future generation far beyond our lifetime. Now is the time for us to start planting a tree.

© 2022 National Museum of the Philippines

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