VILLAMANGCA, DINALYN ROSE C.

(SAT)

11/21/15

BEED 3A
National Artist for Literature (1973)
(September 13, 1903 May 24, 1970)
Amado V. Hernandez, poet, playwright, and novelist, is among the Filipino
writers who practiced committed art. In his view, the function of the writer
is to act as the conscience of society and to affirm the greatness of the
human spirit in the face of inequity and oppression. Hernandezs contribution
to the development of Tagalog prose is considerable he stripped Tagalog of
its ornate character and wrote in prose closer to the colloquial than the
official style permitted. His novel Mga Ibong Mandaragit, first written by
Hernandez while in prison, is the first Filipino socio-political novel that
exposes the ills of the society as evident in the agrarian problems of the 50s.
Hernandezs other works include Bayang Malaya, Isang Dipang
Langit, Luha ng Buwaya, Amado V. Hernandez: Tudla at Tudling:
Katipunan ng mga Nalathalang Tula 1921-1970, Langaw sa Isang
Basong
Gatas
at
Iba
Pang
Kuwento
ni
Amado
V.
Hernandez, Magkabilang Mukha ng Isang Bagol at Iba Pang Akda ni
Amado V. Hernandez.
National Artist for Painting (1973)
(November 4, 1912 March 31, 1969)
Carlos Botong Francisco, the poet of Angono, single-handedly revived
the forgotten art of mural and remained its most distinguished practitioner
for nearly three decades. In panels such as those that grace the City Hall of
Manila, Francisco turned fragments of the historic past into vivid records of
the legendary courage of the ancestors of his race. He was invariably linked
with the modernist artists, forming with Victorio C. Edades and Galo
Ocampo what was then known in the local art circles as The Triumvirate.
Botongs unerring eye for composition, the lush tropical sense of color and an
abiding faith in the folk values typified by the townspeople of Angono
became the hallmark of his art.
His other major works include the following: Portrait of Purita, The
Invasion
of
Limahong,Serenade, Muslim
Betrothal, Blood

Compact, First
Mass
at
Limasawa, The
Martyrdom
of
Rizal, Bayanihan, Magpupukot, Fiesta, Bayanihan sa Bukid, Sandugo.

National Artist for Dance

(July 24, 1917 July 15, 2005)
Dubbed the Trailblazer, Mother of Philippine Theater Dance and Dean of
Filipino Performing Arts Critics, Leonor Orosa Goquingco, pioneer Filipino
choreographer in balletic folkloric and Asian styles, has produced for over 50
years highly original, first-of-a-kind choreographies, mostly to her own
storylines. These include TREND: Return to Native, In a Javanese
Garden, Sports, VINTA!, In a Concentration Camp, The Magic
Garden, The Clowns, Firebird, Noli Dance Suite, The
Flagellant, The Creation Seen as her most ambitious work is the
dance epic Filipinescas: Philippine Life, Legend and Lore. With it,
Orosa has brought native folk dance, mirroring Philippine culture from pagan
to modern times, to its highest stage of development.
She was the Honorary Chair of the Association of Ballet Academies of the
Philippines (ABAP), and was a founding member of the Philippine Ballet
Theater.

National Artist for Sculpture (1976)

At 46 then, Napoleon V. Abueva, a native of Bohol, was the youngest
National Artist awardee. Considered as the Father of Modern Philippine
Sculpture, Abueva has helped shape the local sculpture scene to what it is
now. Being adept in either academic representational style or modern
abstract, he has utilized almost all kinds of materials from hard wood
(molave, acacia, langka wood, ipil, kamagong, palm wood and bamboo) to
adobe, metal, stainless steel, cement, marble, bronze, iron, alabaster, coral
and brass. Among the early innovations Abueva introduced in 1951 was what
he referred to as buoyant sculpture sculpture meant to be appreciated
from the surface of a placid pool. In the 80s, Abueva put up a one-man show
at the Philippine Center, New York. His works have been installed in different
museums here and abroad, such as The Sculpture at the United Nations
headquarters in New York City.

Some
of
his
major
works
include Kaganapan (1953), Kiss
of
Judas (1955),Thirty Pieces of Silver, The Transfiguration (1979), Eternal
Garden Memorial Park, UP Gateway(1967), Nine Muses (1994), UP Faculty
Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze figure
of Teodoro M. Kalaw in front of National Library, and murals in marble at
the National Heroes Shrine, Mt. Samat, Bataan.

National Artist for Music (1989)

(August 31, 1918 August 16, 2008)
Lucrecia R. Kasilag, as educator, composer, performing artist,
administrator and cultural entrepreneur of national and international caliber,
had involved herself wholly in sharpening the Filipino audiences appreciation
of music. Kasilags pioneering task to discover the Filipino roots through
ethnic music and fusing it with Western influences has led many Filipino
composers to experiment with such an approach. She dared to incorporate
indigenous Filipino instruments in orchestral productions, such as the prizewinning Toccata for Percussions and Winds, Divertissement and
Concertante, and the scores of theFiliasiana, Misang Pilipino and De
Profundis. Tita King, as she was fondly called, worked closely as music
director with colleagues Lucresia Reyes-Urtula, Isabel Santos, Jose Lardizabal
and Dr. Leticia P. de Guzman and made Bayanihan Philippine Dance
Company one of the premier artistic and cultural groups in the country.
Her orchestral music include Love Songs, Legend of the Sarimanok, Ang
Pamana,Philippine Scenes, Her Son, Jose, Sisa and chamber music
like Awit ng mga Awit Psalms, Fantaisie on a 4-Note Theme, and East
Meets Jazz Ethnika.

National Artist for Architecture, 1973

(May 26, 1899 May 7, 1986)
Juan F. Nakpil, architect, teacher and civic leader, is a pioneer and
innovator in Philippine architecture. In essence, Nakpils greatest contribution
is his belief that there is such a thing as Philippine Architecture, espousing
architecture reflective of Philippine traditions and culture. It is also largely

due to his zealous representation and efforts that private Filipino architects
and engineers, by law, are now able to participate in the design and
execution of government projects. He has integrated strength, function, and
beauty in the buildings that are the countrys heritage today. He designed
the 1937 International Eucharistic Congress altar and rebuilt and enlarged
the Quiapo Church in 1930 adding a dome and a second belfry to the original
design.
Among others, Nakpils major works are the Geronimo de los Reyes
Building,Magsaysay Building, Rizal Theater, Capitol Theater, Captain
Pepe Building, Manila Jockey Club,Rufino Building, Philippine Village
Hotel, University of the Philippines Administration and University
Library, and the reconstructed Rizal house in Calamba, Laguna.

National Artist for Cinema (2006)

(August 20, 1939 December 14, 2004)
Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a
cultural icon of tremendous audience impact and cinema artist and
craftsmanas actor, director, writer and producer.*
The image of the underdog was projected in his films such as Apollo
Robles(1961), Batang
Maynila (1962), Mga
Alabok
sa
Lupa (1967), Batang Matador and Batang Estibador(1969), Ako ang
Katarungan (1974), Tatak
ng
Alipin(1975), Totoy
Bato (1977), Asedillo(1981), Partida (1985), and Ang Probisyano (1996),
among many others. The mythical hero, on the other hand, was highlighted
in Ang Alamat (1972), Ang Pagbabalik ng Lawin(1975) including
his Panday series (1980, 1981, 1982, 1984) and the action adventure films
adapted from komiks materials such as Ang Kampana sa Santa
Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat (1975),
among others.
Poe was born in Manila on August 20, 1939. After the death of his father, he
dropped out of the University of the East in his sophomore year to support
his family. He was the second of six siblings. He married actress Susan Roces
in a civil ceremony in December 1968.
He died on December 14, 2004

National Artist for Theater and Film (1976)

Lamberto V. Avellana, director for theater and film, has the distinction of
being called The Boy Wonder of Philippine Movies as early as 1939. He was
the first to use the motion picture camera to establish a point-of-view, a
move that revolutionized the techniques of film narration. Avellana, who at
20 portrayed Joan of Arc in time for Ateneos diamond jubilee, initially set out
to establish a Filipino theater. Together with Daisy Hontiveros, star of many
UP plays and his future wife, he formed the Barangay Theater Guild which
had, among others, Leon Ma .Guerrero and Raul Manglapus as members. It
was after seeing such plays that Carlos P. Romulo, then president of
Philippine Films, encouraged him to try his hand at directing films. In his first
film Sakay, Avellana demonstrated a kind of visual rhythm that established a
new filmic language.
Sakay was declared the best picture of 1939 by critics and journalists alike
and set the tone for Avellanas career in film that would be capped by such
distinctive achievements as the Grand Prix at the Asian Film Festival in Hong
Kong for Anak Dalita (1956); Best Director of Asia award in Tokyo
for Badjao, among others.
Avellana was also the first filmmaker to have his film Kandelerong
Pilak shown at the Cannes International Film Festival. Among the films he
directed for worldwide release wereSergeant Hasan (1967), Destination
Vietnam (1969), and The Evil Within (1970).

National Artist for Painting (1976)

(December 23, 1895 March 7, 1985)
Painting distorted human figures in rough, bold impasto strokes, and
standing tall and singular in his advocacy and practice of what he believes is
creative art, Victorio C. Edades emerged as the Father of Modern
Philippine Painting. Unlike, Amorsolos bright, sunny, cheerful hues, Edades
colors were dark and somber with subject matter or themes depicting
laborers, factory workers or the simple folk in all their dirt, sweat and grime.
In the 1930s, Edades taught at the University of Santos Tomas and became
dean of its Department of Architecture where he stayed for three full
decades. It was during this time that he introduced a liberal arts program
that offers subjects as art history and foreign languages that will lead to a
Bachelors degree in Fine Arts. This development brought about a first in
Philippine education since art schools then were vocational schools.

It was also the time that Edades invited Carlos Botong Francisco and Galo
B. Ocampo to become professor artists for the university. The three, who
would later be known as the formidable Triumvirate, led the growth of
mural painting in the country. Finally retiring from teaching at age 70, the
university conferred on Edades the degree of Doctor of Fine Arts, honoris
causa, for being an outstanding visionary, teacher and artist.
Among his works are The Sketch, The Artist and the Model, Portrait of
the Professor, Japanese Girl, Mother and Daughter, The Wrestlers,
and Poinsettia Girl.

National Artist for Visual Arts (2014)

(January 29, 1919 September 1, 1998)
Francisco Coching, acknowledged as the Dean of Filipino Illustrators and
son of noted Tagalog novelist and comics illustrator Gregorio Coching, was a
master storyteller in images and in print. His illustrations and novels were
products of that happy combination of fertile imagination, a love of
storytelling, and fine draftsmanship. He synthesized images and stories
informing Philippine folk and popular imagination of culture. His career
spanned four decades.
Starting his career in 1934, he was a central force in the formation of the
popular art form of comics. He was a part of the golden age of the Filipino
comics in the 50s and 60s. Until his early retirement in 1973, Coching
mesmerized the comics-reading public as well as his fellow artists,
cartoonists and writers.
The source of his imagery can be traced to the Philippine culture from the
19th century to the 1960s. His works reflected the dynamics brought about
by the racial and class conflict in Philippine colonial society in the 19th
century, a theme that continued to be dealt with for a long time in Philippine
cinema. He valorized the indigenous, untrammeled Filipino in LapuLapu and Sagisag ng Lahing Pilipino, and created the types that affirm the
native sense of self in his Malay heroes of stunning physique. His women are
beautiful and gentle, but at the same time can be warrior-like, as
in Marabini (Marahas na Binibini) or the strong seductive, modern women of
his comics in the 50s and 60s.
There is myth and fantasy, too, featuring the grotesque characters, vampire
bats, shriveled witches, as in Haring Ulopong. Yet, Coching grounded his

works too in the experience of war during the Japanese occupation, he was a
guerilla of the Kamagong Unit, Las Pinas branch of the ROTC hunters in the
Philippines. He also drew from the popular post-war culture of the 50s, as
seen in Movie Fan. At this point, his settings and characters became more
urbane, and the narratives he weaved scanned the changing times and
mores, as in Pusakal,Talipandas, Gigolo, and Maldita.
In his characters and storylines, Coching brings to popular consciousness the
issues concerning race and identity. He also discussed in his works the
concept of the hero, which resonate through the characters on his comics
like in Dimasalang and El Vibora.
He also left a lasting influence on the succeeding generations of younger
cartoonist such as Larry Alcala, Ben Infante and Nestor Redondo. The comics
as popular art also helped forge the practice and consciousness as a national
language.