By Minerva Zamora-Arceo
Column Title: Let’s Talk About It
Article Title: Vibrant Pampanga
September 8, 2008
At no other point in time since I settled in Pampanga in the late 90’s that the province is as lively and as vibrant as it is today.
Inside the government buildings, malls, coffee shops, public markets, private offices, conventions, sari-sari stores and almost in every household, Kapampangans talk of their government, socio-political conditions and even culture and arts.
With the ongoing recall move against Gov. Among Ed Panlilio and the numerous events all over the province, Pampanga’s energy transcends geographical boundaries. At present, the true essence of democracy lives in the province. The different views on the current political turmoil whether this may be reform, resign or recall Among Ed, are an indication of the Kapampangan’s maturity as nation.
I say nation because as people, we are bonded not only by our physical location but of our shared identity and aspirations. Even Kapampangans abroad are actively participating in intellectual and political debates online. Two of the leading Kapampangan forums are now making waves in the net. These are the www.groups.yahoo.com/group/ALAYA and the www.groups.yahoo.com/group/AMANUNG SISUAN. Try visiting the sites and you will be surprised on how far Kapampangans have “conquered” the new electronic medium.
The ambience is too intense that many issues were passionately argued either in person or on-line. I look at this as a healthy exercise in enhancing our competence as individuals and enriching our culture as nation.
One interesting topic though is the “debate” on the definition of Kapampangan Art. Some of our Kabalens believe that an artwork becomes “Kapampangan” when it is created by a Kapampangan or when a “Kapampangan” material or subject is used as a medium like lahar. Others, however, oppose this concept believing that it doesn’t resolve paradoxical situations like for example, a Kapampangan creating “rice gods” of Benguet using materials from Baguio City. Does it follow then that what this artist created can already be considered as “Kapampangan Art” just because he is a native Kapampangan? Or take another example, a non-Kapampangan using lahar for his subject rice gods, which are identified with the Ibaloys and Kankanaeuys. Would you call his creation “Kapampangan Art”?
These are only few of the problematic issues that must be addressed properly in order to come with a concrete and accepted definition of Kapampangan Art.
But an interesting philosophy of the movement of Alaya made me realize a different meaning to Kapampangan Art. Our “Art” by the way should not be limited to visual arts. The Kapampangan Art is everywhere, visible and existent anytime in our midst.
Our language for example is part of our artistic superiority as nation. We Kapampangans talk in metaphors and symbolisms in our everyday life. Far from our ethnic group counterparts all over the country, it is possible that we are the only people who might be using metaphors in our daily conversations. Take for example the words “Salangi ko pu!” which does not simply mean “go inside” or “come inside” instead, from the root word “sala” means light, we mean “Please come in and give light (to my home/abode).” This is a metaphor for how can a human being give light in its literal sense? Adapin, nanu ka wari bombilya? But of course, we actually mean “give light and warmth (to my home/abode).”
And why do we say “manese na ka” in ordering someone to cook rice? The word manese means “to nurture.” Kapampangans don’t usually say “maglutu kang nasi” or “cook rice” instead we say “manese na ka.” Realize how profound our language is. We see rice as a basic food to nurture our family.
But going back to the examples given in visual arts, how can we say that an artwork is indeed a Kapampangan Art?
I believe that in order to define Kapampangan Art, it is necessary to analyze how Kapampangans think. And this can be seen in our basulto, an ancient form of Kapampangan song that is metered in eight lines with six syllables per line which appears to be meaningless but pose an enigma to enrich a person’s intuition.
Our ancestors talk in riddles. They speak in metaphors. This show how rich our culture is. And so, most of the works of our visual artists, particularly the Pampanga Arts Guild (PAG), can also be seen in this consciousness. In most of their exhibits under the National Commission on Culture and Arts (NCCA) projects, known Kapampangan sculptor Edille Paras said their works were identified from the others because of their distinctive use of mixed media. But most of their subjects have underlying meanings that are inspired by the Alaya or “that which is not there,” the empty space inside the ring. (By the way, I will write another column for the Alaya movement to give further background on this Kapampangan philosophy.)
And the underlying meanings seem to be “not there” but they are “there.” This makes their works enigmatic. And for me, enigmatic would best define our “Art” for it is reflective in our everyday life…in our language, in our culture, from the old days up to now. (30)
