Bridging the Spirits* Homage to the wisdom of Roberto Villanueva (1947-1995)

Roberto Villanueva was born in 1947 in Olongapo, Zambales, the Philippines. After graduating in 1973 with a Bachelor in Fine Arts from the University of Santo Tomas he taught at the Philippine Women's University. He began his artistic career as a surrealist, but was gradually drawn into the film medium. In 1983 he became a member of the Board of Directors of the United Filmmakers Organization. He has won several awards in documentary film.

When Roberto Villanueva moved to the northern highlands of Baguio in 1980 he was inspired to create art build from the basic materials of the environment. His art acquired a shamanic aura, the source of its powerful energy drawn from ancient but continuing community symbols, rituals and traditions among the animist ethnic groups. He won critical recognition for Archetypes: Cordillera Labyrinth set up on the Cultural Center of the Philippines (CCP) grounds in the summer of 1989. Forty-five metres in diameter and 600 metres in length, the installation consisted of a spiral labyrinth made of bamboo and reeds. Its centre was covered with rocks from a river bed, creating a sacred space peopled with spirit figures from which life power emanates.

Another installation was Atang ti Kararua (Soul Offerings) consisting of three bamboo floats carrying offerings on a lake for the souls of those who perished in the big Baguio earthquake. The artists also conducted a ceremony with a shaman to pacify the spirit of Mount Pinatubo.

Roberto Villanueava tries to restore the communal function of art and the priminitve life force it originally possessed but which still survives in Cordillera mountain culture. He also seeks to recover and understand the animistic strain in the heart of Philippine culture.

In 1990 he was invited to New York as Artist-In-Residence of the New York State Council of the Arts and in 1992 won the CCP Thirteen Artists Award. there he performs his shamanic rituals wearing his traditional bahag on a freezing snow chanting in the streets,business districts monuments & subways of new york.

A recent work, Bridge Across Cultures, which the artist did in Saitama-ku, Japan, shows his preference for setting up water installations to symbolize migration routes linking different cultures. His work acquires an anthropological aspect, calling to mind the celebrated sea voyage of the Kon-Tiki across the Pacific.

With his use of organic materials and natural locations, together with community interaction, Roberto Villanueva creates an art that is integrated with the life of the people.

Check out his documentary showman shaman" by asiasis rica & egay navarro

EXPANSIONS IS NOW!

INDIGENOUS RESISTANCE TO U.S. COLONIAL INVASION SA PINAS

On this, the 103rd Anniversary of the U.S. Occupation Forces' execution of General MACARIO SAKAY, Freedom Fighter & President of the Tagalog Republic,
here are some notes from Paul Flores about "the Barber who stopped cutting his hair" (Sakay's Freedom Fighters would often let their hair grow to signify how long they had been committed to the armed struggle against the invaders:)

"Contrary to popular belief, Philippine resistance to American rule did not end with the capture of Emilio Aguinaldo in 1901. There were numerous resistance forces fighting for Philippine independence until the year 1910. One of these forces was led by Macario Sakay who established the Tagalog Republic.

Born in 1870 in Tondo, Macario Sakay had a working-class background. He started out as an apprentice in a calesa manufacturing shop. He was also a tailor, a barber, and an actor in comedias and moro-moros. His participation in Tagalog dramas exposed him to the world of love, courage, and discipline.

In 1894, Sakay joined the Dapitan, Manila branch of the Katipunan. Due to his exemplary work, he became head of the branch. His nightly activities as an actor in comedias camouflaged his involvement with the Katipunan. Sakay assisted in the operation of the Katipunan press. During the early days of the Katipunan, Sakay worked with Andres Bonifacio and Emilio Jacinto. He fought side by side with Bonifacio in the hills of Morong (now Rizal) Province.

During the initial stages of the Filipino-American war, Sakay was jailed for his seditious activities. He had been caught forming several Katipunan chapters and preaching its ideals from town to town...

GUERRILLA TACTICS

In late 1904, Sakay and his men took military offensive against the enemy. They were successful in seizing ammunition and firearms in their raids in Cavite and Batangas. Disguised in Philippine Constabulary uniforms, they captured the U.S. military garrison in Parañaque and ran away with a large amount of revolvers, carbines, and ammunition. Sakay's men often employed these uniforms to confuse the enemy.

Using guerrilla warfare, Sakay would look for a chance to use a large number of his men against a small band of the enemy. They usually attacked at night when most of the enemy was looking for relaxation. Sakay severely punished and often liquidated suspected collaborators.

The Tagalog Republic enjoyed the support of the Filipino masses in the areas of Morong, Laguna, Batangas, and Cavite. Lower class people and those living in barrios contributed food, money, and other supplies to the movement. The people also helped Sakay's men evade military checkpoints. They collected information on the whereabouts of the American troops and passed them on. Muchachos working for the Americans stole ammunition and guns for the use of Sakay's men..."


Sakays parting words:
"Death comes to all of us sooner or later, so I will face the Lord Almighty calmly. But I want to tell you that we were not bandits and robbers, as the Americans have accused us, but members of the revolutionary force that defended our mother country, Filipinas! Farewell! Long live the republic and may our independence be born in the future! Farewell! Long live Filipinas!"


~ Last words of Katipunero, Revolutionary General & President of Katagulugan (The Tagalog Republic) MACARIO SAKAY, after he and fellow freedom fighter LUCIO DE VEGA were captured through the treachery of the U.S. invaders and their henchmen in the Philippines, accused of banditry by the U.S. puppet regime. SAKAY had his anting-anting (protective amulet, pictured here) taken by his captors. SAKAY and DE VEGA were executed on September 13th, 1907. This was over 5 years after the U.S. President (Teddy Roosevelt) had claimed that the Philippine-American War was over, and fighting continued in other areas until at least 1910. (cf- G.W. Bush's declaration of "Mission accomplished" in Iraq)

THE WAY OUT'

EXPANSIONS IS NOW

Agta Tribes bicol Philippines where are they now?

The Agta tribes" bicol Philippines, where are they now?

Agta is the generic term used in Bikol to refer to its 40,000 natives with dark-colored skins, short stature and kinky hair. There are three other terms for them in Camarines Norte where they have managed to preserve their indigenous culture. "Kabihug" is what they call themselves; "Manide" is the term for their language; and Abian, meaning "friend" is how they are referred to by non- Agtas.

Agta Society

The Agta family has very close ties. The relatives on both the father's and mother's sides are called kaka. The following kinship terms are used by the Kabihugs for members of both the consaguineal and affinal families. Grandfather, dadong; grandmother, lala; father, tata; mother, nana; uncle, ama; aunt, mina; eldest brother, kaka or bihion; subsequent older brother or sister , kawedian na inyog; son, anak a bihion; daughter, anak a babaye; child, batet; grandchild, apo; nephew or niece, kumangkon; older cousin, pinsan a kaka; younger cousin, pinsan a wedi; and father or mother-in-law, lis-ikan.

The father and the elder sons usually hunt, while the mothers and daughters are left behind for the household chores. It is usually the mothers who take care of the babies. Infancy is termed as tayombon, weaning as pagbubutas, childhood as pagdako, adolescence as pagsisiel and pagbakis as marriage.
In social gatherings called katapusan which is usually a day for rest, youngsters get the opportunity to mingle with other youngsters. When a boy happens to fall in love with a girl, he can declare his intentions by hiding and waiting for her to bathe in the river. There he should throw to the girl a fruit with a drawn design symbolizing his love for her. If the girl picks up the fruit, it means that she too has similar feelings for the boy. It is only then that the boy reveals himself and proposes to the girl. If their parents do not object of their love, the boy will do the manunungko and ask from the girl's parents her hand in marriage. The girl's father gives the boy a final task. If accomplished to his satisfaction, the wedding is then set. It is the tribe's oldest member who officiates at the ceremony, where tobacco, local wine and nganga figure prominently. After receiving the final blessings and instructions from their eldest relatives, the couple make off for the hills or forest for their honeymoon. The next day, they wear a red piece of cloth around their foreheads to proclaim their newlywed status.