TIM eMagazine Vol.3 Issue 8
Kidlat Tahimik
Credits : culturalcenter.gov.ph
editor, lexicographer, and
novelist who authored an
unprecedented 61 completed
novels. Some of his works
represent groundbreaking
“firsts’ in Hiligaynon literature
such as the feminist Ang Bag-
ong Maria Clara, the roman
a clef Maambong Nga Sapat
(Magnificent Brute,1940), the
comic Si Tamblot (1946), the
politically satirical Si Tamblot
Kandidato Man (Tamblot is
Also a Candidate, 1949), the
125-installment longest seri-
alized novel Dama de Noche
(1982-84), etc.
Hailed by his peers as the
longest reigning (1938-1972)
among “the three kings of the
Hiligaynon novel,” Muzones
Ryan Cayabyab
brought about its most radical
changes while ushering in
modernism. With a literary
career that spanned fifty-three years (1938-1990), his evolution covers the whole
history of the Hiligaynon novel from its rise in the 1940s to its decline in the 1970s.
Muzones tried his hand at a variety of types and proved adept in all as literary
fashions. In the process, he not only extended with remarkable versatility and
inventiveness the scope and style of the Hiligaynon novel, he enriched Hiligaynon
literature’s dramatis personae.
In his prepared speech, Duterte urged the newly-proclaimed National Artists
to never hesitate to pass down their knowledge and skills to the younger genera-
tions "because it is only by educating and training the youth that the legacy and
work of our artists can live on.”
“To this year’s awardees, I laud you for the passion and dedication to your
chosen craft. Your outstanding work does not only inspire self-determination, but
likewise instills patriotism and brings prestige to our beloved country. As we cel-
ebrate Filipino excellence in all forms, may your creativity and artistry continue to
inspire our people to become positive in building a more progressive and vibrant
Philippines," said the President.
Duterte recognized the role of arts in the development of the Filipino society.
"In ways more than one, art has been a witness to this storied history of our na-
tion. It gave rise to the revolutions and served as a voice to those who fought for
democracy and emboldened the spirit of the Filipino during the turbulent times.
Indeed, art has gone as a general service and we recognize this by supporting our
local and traditional artist and spearheading initiatives to safeguard, preserve, and
protect our cultural sites.”
The selection for the new National Artists, jointly administer by the CCP and
NCCA, began after the call for nominations on June 2017. A council of experts
conducted the initial deliberation and shortlisted the nominees. The second
deliberation by a Jury of experts further evaluated the nominees and their body of
works.
After which, the Jury submitted their recommendations to the boards of the
CCP and the NCCA. Joined by current and living National Artists, the boards voted
on the final nominees, which they recommended to the President. The Office of
the President’s Honors Committee reviewed the final list before transmitting to
the President, who has the prerogative to affirm all or just some of the recom-
mended names, but he is not allowed to add to what has been submitted by the
NCCA and the CCP.
National Artist Virgilio Almario, who is also the NCCA chairman, congratulated
the new National Artists and believed that the diversity and excellence of this
year’s awardees is a reflection of the Filipino imagination.
“Bagama’t iba’t-iba ang larangan, lahat ito ay konektado, sumasalamin at
kumakatawan sa kung ano ang pinakamainam at pinakamagaling sa Filipino at
sa kulturang Filipino. Hindi lamang simpleng pagkilala ito kundi ito ay isa ring
paglulok sa mga sagisag ng ating bansa na may mahabang kasaysayan ng haraya,
pagkamalikhain at kagalingan para sa lahat,” he enthused.
www.cultur-
alcenter.gov.ph
by many as a pioneering postcolonial essay film. Kidlat’s “imperfect” film is an
exemplar of what is worldwide known as “Third Cinema,” a cinema that is critical
of neocolonial exploitation and state oppression. But, unlike other Third Cinema
films, Kidlat’s work does not glory in ugliness. His films, even those that lament in-
justice and violence, are premised on the hope of possible, though yet unrealized,
triumph. His constant claim is that whatever “progress” has relegated to the realm
of sadness and poverty should never remain self-referentially sad or poor.
In his more than 60 years of architecture life, Mañosa designed Filipino. From
the 1960s until his retirement in 2015, he courageously and passionately created
original Filipino forms, spaces with intricate and refined details. Through the years,
he successfully and even playfully constructed these forms and spaces into mas-
terpieces for both the poor and the rich. Mañosa knew that real creative growth
happens when his architecture is isomorphic to the true nature of Filipino clients,
in his Philippines.
At the heart and soul of a Philippine architectural movement, he intensively
studied, mastered and interpreted many Filipino visual imageries. He passionately
and painstakingly developed the use of indigenous materials, bamboo, coconut,
rattan, capiz, and various kinds of inlay and applied all these into first class archi-
tectural finishes, furniture and furnishings.
Mañosa championed that Philippine architecture must be “true to itself, its land
and its people” with such directness and conviction. Undaunted, Mañosa coined
“Filipinism” as his style. This is quite evident in the buildings he designed, includ-
ing the Tahanang Pilipino (or the Coconut Palace) where he invented numerous
coconut product finishes, internationally awarded Aman Pulo Resort with its de-
constructed “bahay kubos” style, and the San Miguel Building with its rice terrace–
like green balconies and “tukod” inwardly slanting windows, a perfect example of
sustainable architecture.
An educator, scholar, essayist and fictionist, and cultural/literary historian,
Mojares is one of the leading figures in regional literature and history. As founding
director of the Cebuano Studies Center, an important research institution which
placed Cebu in the research and documentation map, he pioneered Cebuano and
national identity formation. As a leading figure in cultural and literary history, he
networked actively in many organizations.
For over 50 years, Mojares has published in diverse literary forms (fiction, essay,
journalism, scholarly articles, and books) across a wide range of discipline (litera-
ture, history, biography, cultural studies, and others). To date, he has 17 published
books (3 more in the press) and edited, co-edited, or co-authored 11 books, and
written numerous articles for popular and scholarly publications.
Muzones was a Hiligaynon poet, essayist, short story writer, critic, grammarian,
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