NaSi: A Kapampangan Perspective of the Changing World

You are invited!

Join us in the momentous NaSi Kapampangan visual arts exhibit on November 24-30 at the San Francisco de Javier Building, Holy Angel University, Angeles City. For inquiries, please call Minerva Zamora-Arceo at 0917-510-4998, 888-4363 or email us.

Project Title and Description

NaSi, an abbreviation for National Situation and a Kapampangan word for rice, is a social realism visual arts exhibit that aims to express the ideas, sentiments, aspirations and visions of the Kapampangan people in relation to the global and domestic economic crisis.

Rationale

Being known as resilient and gifted people, the Kapampangans always take the lead in nation-building through advocacy and social action. Art, being an effective medium of expression, will be used to ignite the imagination, interest and participation of various sectors in addressing the current economic crisis in the country.

The exhibit is likewise part of our joint commitment to promote the Kapampangan culture and arts as an effective medium for social and economic change.

Program and Concept

NaSi, the first-ever collaborative work of major Kapampangan visual arts groups, private sector groups and the Holy Angel University will showcase some 100 artworks including paintings, art installations, sculptures, digital media art, photography and film.

The exhibit will run for seven (7) days and will be participated in by some 50 Kapampangan artists. There will be daily short programs from 4 to 7 p.m. and small cocktails for invited guests.

The Pampanga Chamber of Commerce and Industry (Pamcham) and ADCL will invite specific private sector groups for chosen dates during the duration of the exhibit (i.e. CILA-Nov.25, Fil-Chi Angeles-Nov. 26, etc.).

As our commitment to help the Kapampangan artists as well, all artworks in the exhibit will be for sale. Only the artists will benefit from the sales of their respective artworks.

The major organizers will solicit sponsorships to cover all the expenses for the exhibit except for the venue, which was offered by the Holy Angel University for free in support of the project.

The organizers will also publish a special magazine for the exhibit. All major sponsors and invited guests will be given copies of the magazine as their souvenir. The arts exhibit will be advertised and plugged in leading television and radio stations in Central Luzon, local newspapers and selected national dailies.

'Tapestries' at the Aftershack

‘Tapestries’ at the After Shack
By Mini Zamora-Arceo
October 6, 2008

A night of arts for the soul. A night of sumptuous Kapampangan cuisine for the body. And a night of music for the heart. A night of tapestries of people and life.

Last Saturday’s (October 4) opening of the After Shack Gallery and Artists’ Venue is a one of a kind experience for all Kapampangans who seek time and space to express their feelings, sentiments, desires, aspirations and anything that pleases the senses.

The gallery was full of energy. The soft yellow lights gently cast life to some 30 paintings, photographs and sculptures inside the gallery. Most of them are works of the seasoned and revered Pampanga Arts Guild clan. Few are works of equally skilled artists like Conderlos Lingat, Boy Arceo, and Don Reich De Dios of the Kalinangan Telabastagan, Stephanie Zamora, Badet Totuico and Bruno Tiotuico.

PAG Past President Norman Tiotuico’s protruding faces molded in plaster of Paris relay stories of street children longing for love and compassion. His award-winning sculpture titled “Equilibrium” speaks of the humanity’s sense of balance. Made from wood, fiber glass, brass and clear cast resin, the 60x72x24-inch sculpture exudes the life of men struggling to create stability amidst the intricacies of this material world.

The seasoned sculptor Edille Paras, who recently created the life-size bronze-finish statue of the late Cardinal Rufino Santos, showcased his skill in perfecting replicas of drapery using mixed media. The precision and details of his works exhibit his mastery of the visual arts, making a common weave design a pleasant artwork for the eyes which likewise creates an illusion that tests the mind.

Acrylic and fabric in color. That is Jerry Bautista. Another vanguard of PAG and a living advocate of Kapampangan culture and arts. A master of abstract art, his works communicates to the senses using visual language. The colorful lines and colors provide balance opposite the furrowed fabric. A visual statement that portrays the tapestries of life itself. The irony of bliss in a world inundated by hatred, poverty and despair.

Contrary to the typical picture of sunrise, Reynaldo “Jun Bap” Cruz gave life to “Munag Sumala,” the Kapampangan epic goddess and eldest daughter of Aldo, also known as Aring Sinukuan. His mastery of the use of resin creating strands of lace meandering and creating a visual illusion completing the magical sunrise.

The revered elders of PAG, Rafael Maniago and Ronnie Tayag exhibited their prowess in the use of oil and acrylic. More of an impressionist, Maniago created a replica of the Kalinga houses built inside the Nayong Pilipino Expo Clark. Capturing the perceived light at the time he was painting the image of the houses, Maniago gave justice to the grandeur of these indigenous people’s cultural icon. Tayag’s “Talangka” on acrylic is simply a masterpiece coming from a homegrown artist, nurtured and bred as a pure-blooded Kapampangan. Also coming from the talented and patriotic Tayag clan, known for their love and dedication to Kapampangan culture and arts, Ronnie Tayag likewise made his name as an excellent creator of mixed media art.

Long Melo’s “Satellite Love” in pencil and crayons on canvass poses a bold message to those who believe in the mystical unknown. Like the intangibilities of art, Melo’s creations transcend the boundaries of the unit mind and the physical world. He is one of the few visual artists who have distinctive art that speaks aloud to their audience’s psyche. When you see one of his works, you immediately know that it’s Melo’s.

Paks Pineda’s “blue” paintings are surreal. Not that they are literally blue but the aura is more striking than real. Like Melo, Pineda’s works are so distinctive. His paintings are pictures of deep emotions that continuously perpetuates through time. Created in acrylic, Pineda gives a different meaning to “blue.” Not despair and loneliness but another life. Another air, another world beyond.

“Circus” and “Reng Kakayung Karapatan” by Paul Del Mundo are expressive, daring and screaming images in pen and ink. For others, Del Mundo’s drawings might be seen as murky and sad. As for me, they are excellent visual statements that readily call for radical change. Their simplicity is their most powerful feature.

Lorina Tayag-Capitulo’s untitled series in mixed media are another face of abstract art. Her works perfectly represent the philosophy of abstraction, the presentation of fundamental changes in the society. A colorful message depicting the intellectual and social unrest felt by either an individual or a group.

Scrap metal put together to give life to another subject. A genius artwork using mixed media. Another PAG oldie, Robert Odejar showcased a totally different style from his usual caricatures, watercolor and acrylic paintings.

John Pangilinan’s bronze-finish rubber foam picture of a lady is a breakaway from the traditional. Pangilinan gave a different texture to portraiture. The bronze-finish likewise gave his creation a classy projection despite the subject’s plainness.

Borg Meneses is a master of digital art. Meneses’ perfection of perspective and colors gives seamless attribute to his subjects. His photographs’ excellent perspective provides depth to his subjects and gives another life to a supposedly flat image. His subjects’ statements are another thing to consider. Pictures of people from Apo market, the common folk living the ordinary life yet immortalized in a perfect image of reddish skies and vanishing light.

The mixed media works of Lingat, de Dios and Arceo are similarly impressive. The found objects and indigenous material such as bones, wires, rope and bamboo illustrate the artists’ exceptional imagination. As for Badet’s and Stephanie’s collography works are likewise impressive. Still life suspended in eternal image. Relics of earth materials captured in an artwork are something to behold.

And Bruno, the youngest artist amongst the exhibitors is a promising photography genius. His frame of the children of Quezon province was the only piece sold last Saturday. A beautiful image of children clad in their colorful household clothes posing side-by-side under a collapsing nipa shack.

As I have said earlier, the opening of the gallery was a delight especially to the guests. Kapampangan culture and arts advocates like Renato Tayag, Rene Romero, Myrna Bituin, Tess Guanzon, Agnes Romero, Willie Villarama, Angeles Vice Mayor Vicky Vega-Cabigting, Dir. Ronnie Tiotuico of the DOT Region 3, Cris Cadiang, Averell Laquindanum and more were simply happy to be with the artists. Their support and that of the media people is greatly appreciated.

The legendary son of Mabalacat, Ysagani “Yatu” Ybarra led the musicians in a night of singing and serenading. His soulful song “Yuhya” tells a story of one’s pleasure and longing of the rich Kapampangan language and culture. The Kapampangan youth likewise intensified the energy by singing original Kapampangan songs. The Five Against the Wall, T.H.E.M., Mental Floss and Ram Nulud rocked the night.

But the most pleasing of all is the sumptuous food provided by Cioccolo Restaurant, owned by the Ruperto Cruz and Family. Pasta in red sauce with crunchy olives and wheat bread, fresh sashimi, tasty apple and potato salad with bits of meatballs, dumplings and barbeque.

Cioccolo is one of the most patronized restaurants in Pampanga today. It is located at the Grand Palazzo Royale grounds in Cutcut, Angeles City. Managed by Chef Froilan Cruz, it is the best stop for pasta and salad lovers craving for a touch of fused European and Kapampangan cuisine.

The magical night of After Shack is however dedicated to the Alaya Movement. The believers of Alaya and vanguards of the message of Atin Cu Pung Singsing. The organizers and movers of After Shack. For all the children of Alaya – Mang Dan, Norman, Badet, Jerry and all PAG members, Mike, yaku, Rey, Andy, Jon, Dani, Ram, Marlon, Bruno, Den, Ave, Tita Ces, Yatu and the rest – a toast to us! (end)

Vibrant Pampanga

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)