Rizal: Angono is the Art Capital of the Philippines

Since Angono was small anyway, we decided to try our luck and drove towards the hills since that would be the best place to look for them. We made a turn towards the Eastridge Golf and Country Club and saw a sign pointing to the Nemiranda Family Museum. Now this is something I wanted to see having heard of the artist from television features to newspaper and magazine articles.

The entrance fee to the museum was PHP30 but since it was fiesta, they let us in for free. And the great thing about our visit was we got to meet the artist himself! Normally, they also offer lunch for visitors at PHP150 per head if I'm not mistaken. But he kindly offered us and other visitors to partake of the lunch which was served since it was fiesta. The food was great!

We had a nice chat about his place and how Angono transformed itself into the Art Capital of the Philippines. There are so many art galleries in the town such as his, Blanco Family, Vicente Reyes, Orville DR Tiamson, Ang Nuno, etc. I also asked him about the higantes and its history. He also shared with us his experiences with Botong Francisco, how his father and Botong were very good friends and how he could have been the last artist to talk with Botong before he passed away since they chatted (Miranda was a junior college student then) on the morning the very day Botong died.

Part 1: Viva San Clemente! Higantes of Angono, Rizal
Part 3: Angono Petroglyphs in Binangonan, Rizal

Rizal: Viva San Clemente! Higantes of Angono, Rizal

Today, I finally got to visit the town of Angono, Rizal which is known as the Art Capital of the Philippines and the hometown of two national artists namely Carlos "Botong" V. Francisco for painting and Lucio D. San Pedro for music. Our purpose was to check out the annual Higantes Festival as well as the fluvial procession in honor of the town patron San Clemente held every November 23.

But what a way to start my day! Since on the way to Angono, I got to witness Philippine road courtesy at its worst! Despite the fact that it was still early in the morning, traffic was slow no thanks to the jeepneys who had virtually occupied all three lanes of the road to pick up passengers. Ironically, the shoulders and parking slots on the side of Sta. Lucia East for example was empty and available for use. If we phase out jeepneys from the streets and replace them with an efficient transport system, I could bet you we wouldn't have traffic since most of the grind is a result of undisciplined jeepney drivers and that is virtually all of them!

You had tricycles on the left as well as center lanes when these slow creatures should use the right lanes. In fact, the law does not allow them on national roads! They are being tolerated and yet they cruise along the busy metropolis streets as if there are no vehicles impatiently following behind them. You had vehicles creating their own counter-flows. Indeed, what a way to start my day!

But my excitement overtook my impatience and lack of sleep especially as we neared Angono. The access road to the town was blocked so we had to enter it through a side street. We were able to park in front of the town plaza. From there, it was a 1 kilometer walk to the church where the parade and procession was going to originate from. We arrived at the church just in time for the ending of the Mass and the beginning of the festivities in honor of San Clemente.

It was one big party on the streets of Angono as the loud and rambunctious mardi gras-like parade made its way around town. Of course, there were the higantes, which are colorful paper mache giants measuring about ten to twelve feet in height.

I heard that higantes used to be found in fiesta celebrations around the country. One story of its origin traces back the roots of this practice to the Spanish colonial period. Hacienda owners were wary of expenses and thus prohibited all celebrations except for one annual fiesta. To make the best of a gloomy situation, the townsfolk borrowed an art form imported from Mexico by Spanish friars and created larger-than-life caricatures of their Spanish landlords, a sly joke to get back at them.

As Angono-based painter Nemiranda recounts, there used to be only two or three higantes at the start of the procession. But because of the large number of artists, which at that time included Botong Francisco, Angono was not only able to maintain this practice. The town elevated it to an art form thanks to creativity of the many artists of the town who made their own versions of the higantes.

But I would learn that the higantes are just one aspect of this merrymaking. Following them was the procession proper. But this was quite an unusual procession led by altar boys in shorts and rowdy revelers following close behind. Expect to get wet since water is flying all over the place as participants chant "Tubig! Tubig!" asking the people around to throw water at them. Just pray that you don't get hit by a water gun of some wise guy who gets his supply of water from the canal along the street.

The bulk of the procession was composed of parehadoras, groups of young girls from every barangay, in colorful costumes, wearing wooden slippers (bakya), and each holding a wooden boat paddle (sagwan), marching together and stomping the ground in a uniform beat as they walked around town followed by a marching band.

And there were various groups of townsfolk in themed spoofs of pop culture icons. I wonder how Kris Aquino would react if she saw who spoofed her and the 26K. Haha! Towards the end of the procession were the andas bearing three images. The first was that of San Isidro Labrador. A little further back was that of the town patron San Clemente escorted by the Knights of St. Clement in red t-shirts. And at the end of the procession was the image of the Virgin Mary escorted by a bevy of young girls in white dresses. Bamboo pole-bars with hanging ornaments were installed along the route. These were raised by levers on either side as an image passed under it.

We met up again with the parade at the town plaza where it slowed down as louder chants of "Tubig! Tubig!" could be heard, with the crowd summoning the operators of a water truck from Manila Water to hose them down and drench them wet! Everyone wanted his or her share of the water as if it were manna from Heaven.

But the activities did not end there. The images still had to be brought to the banks of the Laguna de Bay where they would be enshrined in a floating pagoda for a fluvial procession. We decided to take a tricycle going there since it was still a distance away. The pagoda was a simple tent constructed from bamboo. As the last image was brought on board, the pagoda set sail.

We didn't finish the entire procession since we wanted to visit the Angono Petroglyphs. On the way back to the plaza, we saw the Blanco Family Museum but since we were on a tricycle, we couldn't stop.

We got my car and tried to ask around for the petroglyphs. Everyone we asked from the tricycle drivers, the traffic enforcers to the car wash attendants (my car was full of mud so I had it cleaned) had this puzzled look on their faces when we asked about the petroglyphs. Ordinary people in Angono do not know that they have a national cultural treasure in their town. And there were no signages along the main roads pointing to it either!

Part 2: Angono is the Art Capital of the Philippines
Part 3: Angono Petroglyphs in Binangonan, Rizal

Bulacan: Bulacan heritage groups react to imminent transfer of Mercado House

I have not seen the Bagac project personally. But from several friends in the Heritage Conservation Society, I was able to get the following: there are already about eight to ten heritage houses that have been transferred to the property in Bagac, Bataan. Many of them are reportedly from Bulacan. From Pampanga, there are two namely the Reyes House from Candaba, which was said to be the oldest and one of the grandest homes in Pampanga before it was transferred, and an unidentified house from Mexico. Also purchased was the Enriquez Mansion on Hidalgo Street, Quiapo which will be transferred soon.

Another home rumored to have been purchased is the Mercado House in Bustos, Bulacan which was ironically featured in the 2006 heritage homes calendar of Shell. Obviously, this house does not need to be “saved” and is best kept where it is standing right now.

Bustos, Bulacan has a very unique architectural style found nowhere else in the country. Because of its proximity to the forest and mountains, the Mercado House was built like a fortress. This unique type of 19th century house found only in Bustos is characterized by its all stone exterior since it was unlike the regular bahay na bato which was stone below and wood above. There are said to be about 2 to 3 of these houses left in Bustos and the Mercado House is arguably the best and grandest example of these.

It has carved stone corner pillars and carved stone garland and crucifix motifs in the entrance. The house also had peep holes for rifles to aim at tulisanes. The town thus has a different air and taking the house out would leave a large vacuum in the historical fabric of the community.

After hearing of the news, the Pamanang Bulacan Foundation immediately called for an emergency meeting of its Board of Directors. They have also alerted Governor Josie dela Cruz about these developments and we will get her response soon. I spoke with the chairman of the foundation who voiced out his strong opposition to the move. Maybe for the less-signifcant houses, it would not raise too much of an alarm. But for a house as prominent as the Mercado House in Bustos which is significant not only to the town but to the entire province of Bulacan, that is a different question. It just shows that when you go around shopping for the best examples of Philippine heritage and uproot them from their communities, a lot of ethical questions arise.

The problem is the fact that the purchases are sometimes kept from the local community, especially the local heritage foundations. And thus, they are caught off guard. When they find out, it is already too late. Watch out Bulacan since they're also after the Constantino House in Balagtas (Bigaa).

On the Bagac property, it was also discovered that there are many issues regarding the location and there is a large possibility that transferring them may do more harm than good in the long-term. First, no lime plaster was used to protect the stones. And given that the houses were reconstructed right beside the sea, the strong winds could easily wear out and weather the delicate adobe. The air will also cause salt encrustation on the stone which would lead to the disintegration of the adobe. Damage to the adobe would thus be faster because of its location by the sea.

Second issue is the fact that the person tasked with reconstructing the homes is not a trained restoration architect. As a result, the reassembling of the houses is not correct, proportions are wrong, unnecessary embellishments were added, and the setting is just not right so houses look funny and out of context. The way the “town” is laid-out does not follow any Spanish colonial tradition in the Philippines and is not authentic to any period of our history.

Some homes are from urban areas where in the natural setting, they are supposed to stand side-by-side and close to the street. One example is a house from Binondo which is a row house. It is funny to see a row house without the row and even a garden in front!

Issues of flooding also came out. The houses should have been reconstructed further inland. It is reported that the Bagac Church which is already one kilometer inland is still reached by flood waters especially when the waves are high. Moreover, we all remember the West Luzon Fault which became news when the issue of the safety of the Bataan Nuclear Power Plant in neighboring Morong was raised. Thus, the proximity of Bagac to a faultline makes the property prone to earthquakes and more so, because of its seaside location, to tsunamis.

Again, we repeat our call for a moratorium on this project until it is discussed in length in the proper forum.

OT: Congratulations to Manny Pacquiao on his victory! Thank you for lifting up the spirits of the Filipino nation. But Santa Banana! I will have to agree with Emil Jurado on his spending and gambling spree. As he writes "somebody like Pacquiao who is idolized by millions of Filipinos also has an obligation not to indulge in conspicuous consumption while millions languish in poverty." Check out the full column here.

Photo credits: Philippine Ancestral Houses (by Fernando N. Zialcita, et al)