Eto ang tunay na werk.
Pagkatapos naming um-attend sa 42nd National Scientific Conference ng Crop Science Society of the Philippines para sa isang copyright talk, mag-a-Underground River naman kami bukas!
At gagawin namin ito nang walang tulong ng travel agency. Pumalpak kasi ang travel agency ng tinutuluyan naming pensionne house. Ako ang pinakukuha ng permit kaninang umaga. Mabuti na lamang at kinakasihan pa rin kami ng mabuting palad, nakakuha ako ng permit in 1.5 hours na pagpila. Mahaba ang pila pero mabilis ang proseso.
Karamihan sa mga kumukuha ng permit ay para sa slot sa ibang araw. Sa Mayo pa. At karamihan sa kanila ay taga-travel agency. Ang mga tulad kong walk in, madalas na pinapayagan naman. Hinihingi lang nila ang tiket (ng walk in) at iche-check kung kailan ang departure date.
Sabi ko sa boss ko at kay Leo, do it yourself na lang ang gawin namin. Magta-trike kami bukas hanggang San Jose. Pagdating doon, sakay kami ng jeep na Sabang. Tapos ang baba namin, sa underground river na.
Makikiusyoso kami sa mga dapat gawin at 'yun na. 'Yun na 'yun. Ayaw ko nang mag-travel agency. Napapamahal lang talaga (though konti lang ang difference, nge!) pero, at least, masusubukan namin 'yung kami lang talaga ang lalakad. Kakaibang experience din 'yun, di ba?
Kung may oras pa pagbalik namin, susubukan naming dumalaw sa iba pang tourist spot dito sa Puerto. Without the assistance of anyone, as usual.
Kanina pagkatapos ng conference, bumalik kami sa Casis Pensionne, then nag-trike kami papuntang simbahan. Namangha akong muli. At mas maganda pala ang loob nito pag gabi (no'ng una kong punta years ago ay hapon kasi). May mga capiz lantern sa kisame, dati wala. Napaka-peaceful ng loob ng simbahan. Kaunti lang ang tao. Ang marami, lamok. Para ngang may itim na halo 'yung mga nagdadasal do'n.
Inarkila na namin ang trike. Arianne ang name ng aming driver. Pagkatapos naming magsimba, itinuro niya sa amin ang Plaza Cuartel, tapat lang ng simbahan. Hindi ko 'to alam noon kaya kahit isang lingon lang ay 'andoon ka na, hindi ko 'to napuntahan dati. Pero ngayon, napasyalan na nga namin. Tiyak akong mas maganda 'to sa araw. Ang daming puno tapos may mga upuan sa landscaped na bahagi ng parke. Meron ding kalesa (minus the kabayo). Para ito sa photo ops. Tapos meron ding maliit na bridge. also for photo ops. Ang linis-linis ng lugar at ang bango. Walang kapanghi-panghi. Sabi ko nga, e sa maynila meron ding ganito, definitely, pero mapapanghi ang sulok! Amoy jebs! At me nakatirang tao, hayop at iba pang nilalang!
Me World War 2 monument din doon. Ginawa ito ni Don Schloat na isang WWII veteran. Sculptor na siya ngayon. Nakaukit sa mga plake ang pangalan ng mga nasawi sa Palawan Massacre.
Hindi ko pa naririnig ang massacre na 'to sa mga history class ko! Ganito raw 'yung nangyari doon, ayon sa nabasa namin sa plake:
Dec 14/15, 1944, mahigit 100 Amerikanong prisoner of war ang pinapasok ng mga sundalong Hapon sa air raid shelter. Parang tunnel ito. Pagkatapos ay bigla na lang silang binuhusan ng gasolina at sinalaban ng mga sundalong Hapon. Habang nasusunog ang mga Amerikanong sundalo, pinagbababato pa sila ng hand grenade ng mga sundalong Hapon. Siguro para masigurong walang mabubuhay at walang makakatakas! 'Yung mga nagtangka raw na tumakas ay pinagbababaril o kaya ay pinaghahahambalos hanggang sa mamatay (clubbed to death ang nakaukit sa plake).
Grabe, 'no?
But wait there's more!
'Yung iba pa, nagtangka pa ring makatakas sa pamamagitan ng pagtakbo sa kabilang dulo ng tunnel. Sinubukan nilang tumakbo at maka-dive sa tubig para lumangoy papunta sa pinakamalapit na land area: ang Iwahig Penal Farm. Dahil sa mga natamong sugat mula sa baril at paso ng apoy, at pati na sa kahinaan at mga sakit-sakit, karamihan sa kanila, nangalunod. Patay din.
100 plus ang American POWs sa eksenang 'yon. Wala pang 20 ang nabuhay.
Hay. Ang bigat dalhin sa dibdib. Kumbakit naimbento ang gera. Kumbakit kelangang danasin ito ng mga tao. Bigaaat! Sabi ko kina Boss at Leo, magandang material ito para sa isang kuwento. Maganda ring isapelikula! Agree naman sila. 'Yong parang pelikula ni Cesar Montano, 'yong The Great Raid. Pangit pamagat, pero actually maganda ang movie.
Anyway, naglakad-lakad pa kami. Tapos ay lumabas na. Sabi ng mama sa may gate, nang tanungin ko siya kung anong oras nagsasara ang Plaza Cuartel: hindi po kami nagsasara sa inyo. Pero po pag tagarito, hindi na po namin pinapapasok nang ganitong oras. Kayo lang po, mga bisita.
Okey 'to pero hindi ako masyadong natuwa sa privilege na ibinigay niya sa "mga tulad ko."
Hinayaan ko na lang at sumakay na uli kami ng trike. Nagpunta naman kami sa tiangge. Asus, ang daming tinda! Hikaw, ang dami, sobra, pearl, pulseras, kuwintas, beads, ipit sa buhok, table runner, bul-ol, native na drum, bag, native, basket at backpack, shirt, sando, sarong, board shorts, kasoy: roasted or fried, pastillas, sampalok, brittle, cashew tart, etc.
Ang binili ko? Puto seko!
At siyempre, kasoy para ke Mami at Mami ni Poy.
Pagkatapos, dumiretso na kami sa.... Baywalk! Ang ganda! Kamukha ng baywalk ng Bislig. Upgraded at modernized lang na baywalk ng Bislig. Kamukha rin ito ng baywalk ng Maynila. Minus the polusyon, kalat at residents (Sa Maynila, ang mga resident ng Baywalk ang siya pang masungit sa mga turista, naiistorbo kasi ang pagtulog nila, ang pamamahinga nila. 'Kala mo, napatituluhan nila ang Baywalk sa kanilang mga pangalan!). Pag suminghot ka ng hangin dito sa baywalk ng Puerto, mapapangiti ka sa bango. Wala ni isang pirasong basura sa baybayin, higit sa lahat, sa dagat.
May mga kainan sa tapat ng Baywalk at do'n na kami naghapunan. Umorder kami ng tatlong kanin, 8 barbekyu (si Leo ang umorder kaya ang dami) at halaan, dalawang set. 'Yong isa, inihaw at 'yong isa, me sabaw. P90 lang ang 2 set ng halaan at andami-dami ng isang set. Mga pito 'ata. Hindi nabitin. Actually, nagsawa kami!
Freshness!
Wednesday, April 18, 2012
Thursday, April 12, 2012
Ang mga tagapagmana nina NVM, Sir Freddie at Aling Bebang
Meeting the Heirs
Last April 11, 2012, FILCOLS’ Executive Officer for Membership and Documentation Beverly W. Siy met up with the heirs of respected writers of the country.
Wanted: A Middle Man for the Authors
Siy met up with Selma Cortes, one of the children of NVM Gonzales at the Gonzales Residence in University of the Philippines Campus, Diliman, Quezon City. Cortes wanted to know more about copyright infringement because some parts of the book UP Diliman, Home and Campus, one of the books written and edited by her mother, Narita M. Gonzales, found its way to Google Books database. Cortes asked UP Press, the publisher of the book, if it had an agreement with Google Books. UP Press replied in the negative. It had just started digitizing some of its publications and UP Press told Cortes that they only turn a UP Press book into an e-book if its topic is of international concern.
Cortes said that the introduction of the book and one whole article of her mother can be found in the Google Books.
Cortes also wanted to know if she or her family may turn into e-book form some works that were written by her mother and were published by a publisher that already closed down. “Does my mother (in her 90s) have the right to do that?” she asked.
Cortes also aired some problems that they, as the heirs of NVM Gonzales, encounter. Her father told her long ago that if someone wants to use or publish his work in the future, she (or the family) should ask for a fee worth P5000. That way, they (the heirs) wouldn’t worry anymore if the publisher prints one hundred or one thousand copies of the book.
Cortes encountered a publisher who asked if it can include her father’s work in a textbook for a fee worth P2000. When Cortes mentioned that it wasn’t her who gave the said amount but the author when he was still around, the publisher said, “We find it expensive. So, never mind. We won’t include it anymore.”
Cortes said that during this kind of moment, she feels sad and insulted.
“We are like beggars,” was her exact statement.
Cortes is also a writer and she shared an experience that included one of her works. It happened in the school where she teaches. One of the teachers included her work in a module. The teacher did not pay her anything, didn’t even ask for permission from her. The module was sold to the students.
Cortes consulted some lawyers from the UP College of Law. According to them, the teacher was not violating any kind of law since it was for educational purposes and the module was not sold commercially.
Cortes felt helpless. She let it pass because she believes that if she asked for a fee from the teacher who used her work, she will be branded as “mukhang pera.” She then reminded Siy of a certain Filipino mind set: writers lose their faces if they are deemed as “mukhang pera.”
She said that the fee being asked by the author or the family of the author doesn’t go to waste any way. She showed to Siy some parts of their ceiling that needed immediate repair. She also mentioned that Gonzales family established the NVM, Inc. which organized the NVM Gonzales Award. Its aim is to help discover the talents in writing of the Filipino youth. The last awarding was held in 2006. In the US where some of the Gonzales children are living, the NVM, Inc. continues to give writing workshops to the children of the Filipinos based there.
She mentioned that there must be an organization that will act as a middle man for the authors. That way, the authors will receive a just compensation for the use of their work because it’s not them doing the negotiations with a publisher. It will also be easier for authors to be more formal and ask for just compensation from their friends who want to use their works. Some friends (who became publishers) use their connection and friendship to avail of a lower fee from the authors, Cortes observed.
This organization may also work as an “investigator” for the authors. Cortes said that most of them don’t have time and resources to check the text books that are carrying their parents’ works. They want to know if the publisher of the text book (that includes Gonzaleses’ works) got a permit from them or from their parents. Siy added that it will be a very exhausting task because there are lots of text books being published and being used in private schools. Some of these publishers don’t sell their books in the National Book Store anymore, so the “investigator” must go directly to the schools and check the students’ text books.
Cortes also wants to have copies of the contract signed by her parents with their publishers. A few years ago, a fire destroyed their home. They lost most of their parents’ documents. She said, this kind of organization may want to help the authors or the heirs of the authors by securing copies of contracts from the publishers.
Cortes also noted that contemporary textbooks do not show the author’s name anymore in the table of contents. She wished that there’s law that requires the publisher to put the name of the author of a certain text in the table of contents to identify the origin of a work.
FILCOLS will earn more?
Beverly Siy went to UP Departamento ng Filipino at Panitikan ng Pilipinas on the same day. She met FILCOLS member Elyrah Salanga-Torralba, an author and a professor from the said department. She is one of the children of the late columnist and multi-awarded writer Alfrredo Navarro Salanga. As a representative of her mother, Salanga-Torralba filled out the FILCOLS membership form that day. She got her mother’s permission to sign the form a few days ago.
During the meet up, she mentioned that some editors include her father’s poetry in their books without the family’s permission and worse, without their knowledge. One of these editors, unfortunately, was even a family friend. This editor told her that she should even feel proud that her father’s work was included in the collection. Salanga-Torralba said that her family especially her mother feels upset with this kind of attitude. They really wished that permission be asked from them before her father’s work is used or included in any publication.
She also relayed that one writer discouraged her from joining FILCOLS. According to her, this writer believes that the organization will earn more than the FILCOLS author-members. Siy explained that FILCOLS work and tasks are numerous and some are quite costly. One of them involves massive copyright awareness campaign done in all parts of the country. FILCOLS talk to the users of copyrighted materials so they will have more respect for the copyright owners and their heirs. Even those who are non-members of FILCOLS benefit from this campaign.
Of checks and royalties
Beverly Siy proceeded to Cubao to meet with Corazon Kabigting, the heir of Filipino literature star couple Genoveva “Aling Bebang” Edroza Matute and Epifanio Matute. Kabigting is the niece of Aling Bebang. A retired school teacher and administrator in her 60s, Kabigting is single and lives with her relatives in the house where the Matutes used to live. She took care of the couple until their last days. She is happy to be the heir of the Matutes.
According to her, she receives royalties and payments from publishers. Some of them pay in a regular basis, some of them do not. She said most of these publishers pay P1500 for the use of one work by the Matutes. It pains her when she is being asked to claim the payment because some of the publishers’ offices are so far away and it cost her a lot to commute. She is also scared that she might meet an accident during her commute. The amount P1500 is certainly not enough to cover for medical expenses if it happens, she observed. She also said that some publishers pay in check and the banks of the publishers are located far from the publishers’ offices. Sometimes she needed to allot another day to commute to the bank for the encashment of the check. It costs her more money because she had to go back home from the publishers’ offices and then commute again another day to go to the bank.
Siy mentioned some of the challenges that the Gonzales family are facing. Kabigting shared that she also doesn’t have time, resources and even the energy to check the text books that might have used Matutes’ works. “Matanda na ‘ko, sino pa ang mag-aasikaso?” she asked. She said that she is very thankful that some publishers still pay royalties.
She showed Siy her small collection of Matutes’ books. It was encased in a wooden cabinet. She said during the typhoon Ondoy, their house was submerged in flood. Most of the books were damaged. She hopes to have copies of some of the damaged books but she isn’t sure if the publisher will give them for free.
Last April 11, 2012, FILCOLS’ Executive Officer for Membership and Documentation Beverly W. Siy met up with the heirs of respected writers of the country.
Wanted: A Middle Man for the Authors
Siy met up with Selma Cortes, one of the children of NVM Gonzales at the Gonzales Residence in University of the Philippines Campus, Diliman, Quezon City. Cortes wanted to know more about copyright infringement because some parts of the book UP Diliman, Home and Campus, one of the books written and edited by her mother, Narita M. Gonzales, found its way to Google Books database. Cortes asked UP Press, the publisher of the book, if it had an agreement with Google Books. UP Press replied in the negative. It had just started digitizing some of its publications and UP Press told Cortes that they only turn a UP Press book into an e-book if its topic is of international concern.
Cortes said that the introduction of the book and one whole article of her mother can be found in the Google Books.
Cortes also wanted to know if she or her family may turn into e-book form some works that were written by her mother and were published by a publisher that already closed down. “Does my mother (in her 90s) have the right to do that?” she asked.
Cortes also aired some problems that they, as the heirs of NVM Gonzales, encounter. Her father told her long ago that if someone wants to use or publish his work in the future, she (or the family) should ask for a fee worth P5000. That way, they (the heirs) wouldn’t worry anymore if the publisher prints one hundred or one thousand copies of the book.
Cortes encountered a publisher who asked if it can include her father’s work in a textbook for a fee worth P2000. When Cortes mentioned that it wasn’t her who gave the said amount but the author when he was still around, the publisher said, “We find it expensive. So, never mind. We won’t include it anymore.”
Cortes said that during this kind of moment, she feels sad and insulted.
“We are like beggars,” was her exact statement.
Cortes is also a writer and she shared an experience that included one of her works. It happened in the school where she teaches. One of the teachers included her work in a module. The teacher did not pay her anything, didn’t even ask for permission from her. The module was sold to the students.
Cortes consulted some lawyers from the UP College of Law. According to them, the teacher was not violating any kind of law since it was for educational purposes and the module was not sold commercially.
Cortes felt helpless. She let it pass because she believes that if she asked for a fee from the teacher who used her work, she will be branded as “mukhang pera.” She then reminded Siy of a certain Filipino mind set: writers lose their faces if they are deemed as “mukhang pera.”
She said that the fee being asked by the author or the family of the author doesn’t go to waste any way. She showed to Siy some parts of their ceiling that needed immediate repair. She also mentioned that Gonzales family established the NVM, Inc. which organized the NVM Gonzales Award. Its aim is to help discover the talents in writing of the Filipino youth. The last awarding was held in 2006. In the US where some of the Gonzales children are living, the NVM, Inc. continues to give writing workshops to the children of the Filipinos based there.
She mentioned that there must be an organization that will act as a middle man for the authors. That way, the authors will receive a just compensation for the use of their work because it’s not them doing the negotiations with a publisher. It will also be easier for authors to be more formal and ask for just compensation from their friends who want to use their works. Some friends (who became publishers) use their connection and friendship to avail of a lower fee from the authors, Cortes observed.
This organization may also work as an “investigator” for the authors. Cortes said that most of them don’t have time and resources to check the text books that are carrying their parents’ works. They want to know if the publisher of the text book (that includes Gonzaleses’ works) got a permit from them or from their parents. Siy added that it will be a very exhausting task because there are lots of text books being published and being used in private schools. Some of these publishers don’t sell their books in the National Book Store anymore, so the “investigator” must go directly to the schools and check the students’ text books.
Cortes also wants to have copies of the contract signed by her parents with their publishers. A few years ago, a fire destroyed their home. They lost most of their parents’ documents. She said, this kind of organization may want to help the authors or the heirs of the authors by securing copies of contracts from the publishers.
Cortes also noted that contemporary textbooks do not show the author’s name anymore in the table of contents. She wished that there’s law that requires the publisher to put the name of the author of a certain text in the table of contents to identify the origin of a work.
FILCOLS will earn more?
Beverly Siy went to UP Departamento ng Filipino at Panitikan ng Pilipinas on the same day. She met FILCOLS member Elyrah Salanga-Torralba, an author and a professor from the said department. She is one of the children of the late columnist and multi-awarded writer Alfrredo Navarro Salanga. As a representative of her mother, Salanga-Torralba filled out the FILCOLS membership form that day. She got her mother’s permission to sign the form a few days ago.
During the meet up, she mentioned that some editors include her father’s poetry in their books without the family’s permission and worse, without their knowledge. One of these editors, unfortunately, was even a family friend. This editor told her that she should even feel proud that her father’s work was included in the collection. Salanga-Torralba said that her family especially her mother feels upset with this kind of attitude. They really wished that permission be asked from them before her father’s work is used or included in any publication.
She also relayed that one writer discouraged her from joining FILCOLS. According to her, this writer believes that the organization will earn more than the FILCOLS author-members. Siy explained that FILCOLS work and tasks are numerous and some are quite costly. One of them involves massive copyright awareness campaign done in all parts of the country. FILCOLS talk to the users of copyrighted materials so they will have more respect for the copyright owners and their heirs. Even those who are non-members of FILCOLS benefit from this campaign.
Of checks and royalties
Beverly Siy proceeded to Cubao to meet with Corazon Kabigting, the heir of Filipino literature star couple Genoveva “Aling Bebang” Edroza Matute and Epifanio Matute. Kabigting is the niece of Aling Bebang. A retired school teacher and administrator in her 60s, Kabigting is single and lives with her relatives in the house where the Matutes used to live. She took care of the couple until their last days. She is happy to be the heir of the Matutes.
According to her, she receives royalties and payments from publishers. Some of them pay in a regular basis, some of them do not. She said most of these publishers pay P1500 for the use of one work by the Matutes. It pains her when she is being asked to claim the payment because some of the publishers’ offices are so far away and it cost her a lot to commute. She is also scared that she might meet an accident during her commute. The amount P1500 is certainly not enough to cover for medical expenses if it happens, she observed. She also said that some publishers pay in check and the banks of the publishers are located far from the publishers’ offices. Sometimes she needed to allot another day to commute to the bank for the encashment of the check. It costs her more money because she had to go back home from the publishers’ offices and then commute again another day to go to the bank.
Siy mentioned some of the challenges that the Gonzales family are facing. Kabigting shared that she also doesn’t have time, resources and even the energy to check the text books that might have used Matutes’ works. “Matanda na ‘ko, sino pa ang mag-aasikaso?” she asked. She said that she is very thankful that some publishers still pay royalties.
She showed Siy her small collection of Matutes’ books. It was encased in a wooden cabinet. She said during the typhoon Ondoy, their house was submerged in flood. Most of the books were damaged. She hopes to have copies of some of the damaged books but she isn’t sure if the publisher will give them for free.
Saturday, April 7, 2012
this is disiplina
Pagkagising ko, magpipinta na ako. Tapos pag napagod ako, magpapahinga, kakain. Tapos magpipinta uli.
-Zaldy Arboso, Antipolo based visual artist at pangulo ng SINAG (Siyudad ng Antipolo Arts Guild)
Nakakainggit.
Sarap buhay kapag nangyari sa akin ito. Kapag full time na akong writer, isusulat ko na ang lahat ng naiisip kong akda. Magpa-publish ako nang bongga.
Dati, sabi ko sa sarili ko, magba-blog ako araw-araw. Wala mang magbasa, ang importante, me post ako at nakapagsulat ako. Me output.
Hindi ko nagawa. Kasi sumaksak na sa isip ko na may nagbabasa talaga ng mga blog. At hindi ko puwedeng sabihin ang lahat ng gusto kong sabihin sa blog. So might as well, magsulat na lang sa journal na nahahawakan at nabubuklat.
Me bago akong journal. Hindi naman ako nakakapagsulat ng mga gusto kong isulat. Puro minutes lang ng mga meeting ang naisusulat ko doon.
Dumating din ako sa time na contest ang inspirasyon ko sa pagsusulat. Dahil sa contest, nagkakaroon ako ng deadline. Nagkakaroon ako ng tema. Kumbaga sa shooting, baril lang ako nang baril hanggang sa makatama pero kapag nariyan na ang detalye ng contest, nagkakaroon ako ng target. Mas madaling makatama kapag ganito.
So nakakatapos ako ng akda. Usually, talunan ang mga akda ko pero ayos lang. Hindi ako masyadong nalulungkot. Kasi, meron pa rin naman akong akda in the end. At nakasulat naman ako.
Pero ngayong nawawalan na ako ng ganang sumali sa mga contest, palagay ko kelangan ko ng bagong inspirasyon. Or rather, kelangan magkaroon ako ng bagong anyo ng disiplina.
From now on, pagkagising ko, magsusulat ako sa aking journal. Kahit isang sentence lang, basta araw-araw.
Go, Bebang!
-Zaldy Arboso, Antipolo based visual artist at pangulo ng SINAG (Siyudad ng Antipolo Arts Guild)
Nakakainggit.
Sarap buhay kapag nangyari sa akin ito. Kapag full time na akong writer, isusulat ko na ang lahat ng naiisip kong akda. Magpa-publish ako nang bongga.
Dati, sabi ko sa sarili ko, magba-blog ako araw-araw. Wala mang magbasa, ang importante, me post ako at nakapagsulat ako. Me output.
Hindi ko nagawa. Kasi sumaksak na sa isip ko na may nagbabasa talaga ng mga blog. At hindi ko puwedeng sabihin ang lahat ng gusto kong sabihin sa blog. So might as well, magsulat na lang sa journal na nahahawakan at nabubuklat.
Me bago akong journal. Hindi naman ako nakakapagsulat ng mga gusto kong isulat. Puro minutes lang ng mga meeting ang naisusulat ko doon.
Dumating din ako sa time na contest ang inspirasyon ko sa pagsusulat. Dahil sa contest, nagkakaroon ako ng deadline. Nagkakaroon ako ng tema. Kumbaga sa shooting, baril lang ako nang baril hanggang sa makatama pero kapag nariyan na ang detalye ng contest, nagkakaroon ako ng target. Mas madaling makatama kapag ganito.
So nakakatapos ako ng akda. Usually, talunan ang mga akda ko pero ayos lang. Hindi ako masyadong nalulungkot. Kasi, meron pa rin naman akong akda in the end. At nakasulat naman ako.
Pero ngayong nawawalan na ako ng ganang sumali sa mga contest, palagay ko kelangan ko ng bagong inspirasyon. Or rather, kelangan magkaroon ako ng bagong anyo ng disiplina.
From now on, pagkagising ko, magsusulat ako sa aking journal. Kahit isang sentence lang, basta araw-araw.
Go, Bebang!
Opera VS Broadway
Last March 26, 2012, inimbitahan si Poy para mag-document ng isang benefit concert sa EDSA Shangri-la Hotel. Wala akong balak na um-attend. Siya na lang kako. ‘Kala ko kasi, mag-i-stay ako sa opisina hanggang mga 7pm that day. Kaya lang, maaga kaming umalis ng opisina. Nag-meeting kaming apat na mag-oopismeyt sa Robinson’s Galleria. May hatid na sad news ang bosing ko. At nalungkot naman kaming tunay.
Dahil malapit ang lokasyon ko sa EDSA Shangri-la, tinext ako ni Poy na pumunta sa benefit concert pagkatapos ng meeting. Dala-dala ang lahat ng alalahanin at lungkot, lumarga na ako papunta doon, mga 6:45 ng gabi.
At buti na lang talaga, sumunod ako. Masayang nagtapos ang aking gabi.
Opera VS Broadway ang title ng concert. Tampok dito ang isang baritone from Hongkong na si Wayne Yeh, isang napaka-versatile na Pinay broadway singer na si Lissa Romero de Guia at isang napakahusay na pianista, si Mary Anne Espina. Inorganisa ito ng Art of Living Foundation para sa mga biktima ng bagyong Sendong.
Salit-salitan sina Wayne at Lissa sa pagkanta at kahit nag-iisa ay nado-dominate ng kanilang presence ang stage. Siyempre pa, mas type ko ang performance ni Lissa. Nai-imagine ko si Lea Salonga kasi magkamukha sila at mas matangkad lang nang konti si Lea Salonga. Napakaganda ng pagkanta ni Lissa, parang ipinanganak siya para lang kumanta nang kumanta. Nakapako ang mata ko sa mukha niya kapag kumakanta na siya kasi punong-puno ito ng emosyon. Para bang wala siya sa stage, parang walang ni isang tao sa harap niya. Nandoon siya sa mundo ng persona sa kanyang awit. Ibang mundo, ibang dimension. At halos ma-imagine ko ang mga ‘yon dahil sa kanyang facial expression at boses na talaga namang napakahaba ng range. Maganda rin ang repertoire, mostly pambabae talaga ang kanta kaya nakakasakay ako sa mga sentimiento ng persona. Sa totoo lang,
siya ang pinakamahusay na singer na napanood ko nang live. Mesmerizing is the perfect word.
Si Wayne, mostly religious songs ang kinanta, tulad na lang ng Ave Maria at Our Father. (Kaya rin siguro hindi ako masyadong naka-relate, hahahaha). Hindi ako nagandahan nang todo sa kanyang boses pero palagay ko, mas maganda ang performance niya kung hindi siya gumamit ng mikropono. Kasi by itself, sobrang powerful na ng boses niya, e. Pinakagusto ko ang last song niya kasi, bagama’t di ko siya kilala nang personal, mukhang playful ang taong ito. In fact, siya ang unang kumanta sa concert at engrande ang kanyang pagpasok. Boses lang niya ang maririnig habang ang dilim-dilim ng paligid. Tapos biglang nabuhay ang isang spot light at nakatutok ito sa bandang likod ng venue. ‘Yon pala, andoon siya at nag-aabang ng kanyang shining moment. He was wearing sunglasses. Upbeat ang kanta niya at ang body language niya hanggang sa makarating siya sa stage. Para nga siyang nagba-bounce sa energy. At ganon din ang kanyang last song, very playful.
May mga duet din ang dalawa. Nagbe-blend sila nang maayos, nag-i-stand out lang talaga ang boses ng babae. (hehehehe I’m so proud to be a girl kapag may ganong sitwasyon.) Pinakapaborito ko ‘yong duet nila kung saan nagko-compete sila sa isa’t isa. Nakakatawa ang ginagawa nila sa kanilang mga boses, sa speed at tone. Sasabihin no’ng isa, I can sing more softly, tapos ‘yong paraan ng pagsasabi niya ng salitang softly ay talagang soft. Tapos hihirit ang isa ng No, you can’t sa paraang mas soft. At hihirit uli ang isa ng Yes, I can sa mas soft to the third power. Paulit-ulit sila hanggang sa di na mapigilan ng audience ang tumawa. ‘Yong isa nilang salitan, nag-umpisa sa I can sing faster. Imadyinin n’yo na lang kung ilang micro second nagtagal ang segment na ‘yon. With choreography pa ang dalawang singer kaya aliw talaga.
Mary Anne, the pianist was also great. Sobra ding versatile. Kayang-kaya niya ang seryosong mga kanta at ang fast-paced, mas masiglang mga piyesa. Lumilipad ang mga daliri niya sa mabibilis na kanta. May assistant siya sa kanyang tabi para ilipat ang pahina kasi nga sa sobrang bilis ng kanta, mawawala siya sa beat kapag siya pa ang naglipat ng pahina. (First time kong nakakita ng ganon. Noong una, akala ko, dalawa silang pianist. Siguradong pianist din ang kasama niyang babae, parang nakakabasa ito ng mga nota kasi alam na alam niya kung kailan siya lalapit para maglipat ng pahina. At tutok na tutok siya sa performance ng tampok na pianista. Pag nga naman napaaga siya ng paglipat o nahuli kaya, siguradong papalya ang pagtipa sa ilang notes.)
Kitang-kita rin ang enthusiasm ng pianista sa pagtipa sa piano dahil sa movement ng kanyang katawan. E, para nga siyang sumasayaw, lost in the music, ganon. Hindi rin siya kailanman nag-“stutter”. Mabilis ang communication niya with singers kasi parang alam na alam talaga niya ang sequence sa bawat set. Minsan, isang tango lang ni Lissa, uumpisahan na niya ang pagtugtog. Minsan, titingin lang si Wayne, titipa na siya. Siguro matagal-tagal din ang kanilang rehearsal at practice kasi handang-handa ang tatlong performers. Ang galing talaga.
Tungkol naman sa iba pang aspekto ng konsiyerto, natuwa ako sa stage design. Bagama’t simple lang siya ay nakadagdag ito sa mood ng buong event. May isang rectangle na panel as background. Nababalutan ito ng telang may pagka-maroon ang kulay. Medyo dark ang overall na kulay ng tela. Halos wala itong design actually, walang nakasulat, walang nakasabit na tarp o banner. Sinadya siguro ito para maka-focus ang audience sa musika. Off with the visuals, something like that.
Very timely din ang hirit ng mga ilaw. Kapag religious ang song, isang maputing ilaw lang ang nakatutok sa singer at sa pianist. Pero kapag masigla ang song, malikot ang mga ilaw. Maharot din, parang ‘yong music lang. Hindi nakaka-distract, nakaka-enhance pa sa ganda ng show.
Tahimik ang audience sa bawat performance. Pero prompt at masigabo ang palakpakan after every piece. Pormal ang suot ng ilan sa kanila, as in evening gown. Pero meron din namang naka-semi formal at tulad ko na casual office attire ang suot. May bata, may matanda, babae’t lalaki. Karamihan, mayayaman tingnan (siyempre, hindi ko naman sila kilala, paano ko masasabing mayaman silang talaga?). Marami-rami din ang foreigner, Caucasians at Asians mostly.
Bago magsimula ang second set, isang babae’t isang lalaki (ilan sa mga organizer) ang nagsalita tungkol sa Art of Living Foundation. Ipinakilala nila ang foundation at nag-imbita sa kanilang mga yoga at meditation activity. Nagpasalamat din sila sa pagdalo ng lahat, halos napuno ang Isla Ballroom ng EDSA Shangri-la Hotel! Nakalimutan kong banggitin, meron ding art auction na naganap sa labas ng Isla Ballroom bago at habang idinaraos ang concert. Mapupunta din ang proceeds nito sa Sendong victims. Palagay ko, malaki-laki ang halagang na-raise ng event na ito. Happy!
Bago kami umuwi ni Poy pagkatapos ng concert, ipinakilala siya ni Pau kay Babeth Lolarga. Hihiram daw ng mga retrato si Babeth kay Poy at gagamitin sa article para sa Vera Files. Na-publish nga online ang article ni Babeth at mga retrato ni Poy pagkaraan lang ng ilang araw.
Heto ang link:
http://verafiles.org/opera-vs-broadway-for-sendongs-survivors/
I am so proud!
Kahit maraming nakakalungkot na pangyayari sa trabaho ko, itchokei. To lift my spirits up, something will always come my way.
Universe, salamat, ha? Lagi.
Dahil malapit ang lokasyon ko sa EDSA Shangri-la, tinext ako ni Poy na pumunta sa benefit concert pagkatapos ng meeting. Dala-dala ang lahat ng alalahanin at lungkot, lumarga na ako papunta doon, mga 6:45 ng gabi.
At buti na lang talaga, sumunod ako. Masayang nagtapos ang aking gabi.
Opera VS Broadway ang title ng concert. Tampok dito ang isang baritone from Hongkong na si Wayne Yeh, isang napaka-versatile na Pinay broadway singer na si Lissa Romero de Guia at isang napakahusay na pianista, si Mary Anne Espina. Inorganisa ito ng Art of Living Foundation para sa mga biktima ng bagyong Sendong.
Salit-salitan sina Wayne at Lissa sa pagkanta at kahit nag-iisa ay nado-dominate ng kanilang presence ang stage. Siyempre pa, mas type ko ang performance ni Lissa. Nai-imagine ko si Lea Salonga kasi magkamukha sila at mas matangkad lang nang konti si Lea Salonga. Napakaganda ng pagkanta ni Lissa, parang ipinanganak siya para lang kumanta nang kumanta. Nakapako ang mata ko sa mukha niya kapag kumakanta na siya kasi punong-puno ito ng emosyon. Para bang wala siya sa stage, parang walang ni isang tao sa harap niya. Nandoon siya sa mundo ng persona sa kanyang awit. Ibang mundo, ibang dimension. At halos ma-imagine ko ang mga ‘yon dahil sa kanyang facial expression at boses na talaga namang napakahaba ng range. Maganda rin ang repertoire, mostly pambabae talaga ang kanta kaya nakakasakay ako sa mga sentimiento ng persona. Sa totoo lang,
siya ang pinakamahusay na singer na napanood ko nang live. Mesmerizing is the perfect word.
Si Wayne, mostly religious songs ang kinanta, tulad na lang ng Ave Maria at Our Father. (Kaya rin siguro hindi ako masyadong naka-relate, hahahaha). Hindi ako nagandahan nang todo sa kanyang boses pero palagay ko, mas maganda ang performance niya kung hindi siya gumamit ng mikropono. Kasi by itself, sobrang powerful na ng boses niya, e. Pinakagusto ko ang last song niya kasi, bagama’t di ko siya kilala nang personal, mukhang playful ang taong ito. In fact, siya ang unang kumanta sa concert at engrande ang kanyang pagpasok. Boses lang niya ang maririnig habang ang dilim-dilim ng paligid. Tapos biglang nabuhay ang isang spot light at nakatutok ito sa bandang likod ng venue. ‘Yon pala, andoon siya at nag-aabang ng kanyang shining moment. He was wearing sunglasses. Upbeat ang kanta niya at ang body language niya hanggang sa makarating siya sa stage. Para nga siyang nagba-bounce sa energy. At ganon din ang kanyang last song, very playful.
May mga duet din ang dalawa. Nagbe-blend sila nang maayos, nag-i-stand out lang talaga ang boses ng babae. (hehehehe I’m so proud to be a girl kapag may ganong sitwasyon.) Pinakapaborito ko ‘yong duet nila kung saan nagko-compete sila sa isa’t isa. Nakakatawa ang ginagawa nila sa kanilang mga boses, sa speed at tone. Sasabihin no’ng isa, I can sing more softly, tapos ‘yong paraan ng pagsasabi niya ng salitang softly ay talagang soft. Tapos hihirit ang isa ng No, you can’t sa paraang mas soft. At hihirit uli ang isa ng Yes, I can sa mas soft to the third power. Paulit-ulit sila hanggang sa di na mapigilan ng audience ang tumawa. ‘Yong isa nilang salitan, nag-umpisa sa I can sing faster. Imadyinin n’yo na lang kung ilang micro second nagtagal ang segment na ‘yon. With choreography pa ang dalawang singer kaya aliw talaga.
Mary Anne, the pianist was also great. Sobra ding versatile. Kayang-kaya niya ang seryosong mga kanta at ang fast-paced, mas masiglang mga piyesa. Lumilipad ang mga daliri niya sa mabibilis na kanta. May assistant siya sa kanyang tabi para ilipat ang pahina kasi nga sa sobrang bilis ng kanta, mawawala siya sa beat kapag siya pa ang naglipat ng pahina. (First time kong nakakita ng ganon. Noong una, akala ko, dalawa silang pianist. Siguradong pianist din ang kasama niyang babae, parang nakakabasa ito ng mga nota kasi alam na alam niya kung kailan siya lalapit para maglipat ng pahina. At tutok na tutok siya sa performance ng tampok na pianista. Pag nga naman napaaga siya ng paglipat o nahuli kaya, siguradong papalya ang pagtipa sa ilang notes.)
Kitang-kita rin ang enthusiasm ng pianista sa pagtipa sa piano dahil sa movement ng kanyang katawan. E, para nga siyang sumasayaw, lost in the music, ganon. Hindi rin siya kailanman nag-“stutter”. Mabilis ang communication niya with singers kasi parang alam na alam talaga niya ang sequence sa bawat set. Minsan, isang tango lang ni Lissa, uumpisahan na niya ang pagtugtog. Minsan, titingin lang si Wayne, titipa na siya. Siguro matagal-tagal din ang kanilang rehearsal at practice kasi handang-handa ang tatlong performers. Ang galing talaga.
Tungkol naman sa iba pang aspekto ng konsiyerto, natuwa ako sa stage design. Bagama’t simple lang siya ay nakadagdag ito sa mood ng buong event. May isang rectangle na panel as background. Nababalutan ito ng telang may pagka-maroon ang kulay. Medyo dark ang overall na kulay ng tela. Halos wala itong design actually, walang nakasulat, walang nakasabit na tarp o banner. Sinadya siguro ito para maka-focus ang audience sa musika. Off with the visuals, something like that.
Very timely din ang hirit ng mga ilaw. Kapag religious ang song, isang maputing ilaw lang ang nakatutok sa singer at sa pianist. Pero kapag masigla ang song, malikot ang mga ilaw. Maharot din, parang ‘yong music lang. Hindi nakaka-distract, nakaka-enhance pa sa ganda ng show.
Tahimik ang audience sa bawat performance. Pero prompt at masigabo ang palakpakan after every piece. Pormal ang suot ng ilan sa kanila, as in evening gown. Pero meron din namang naka-semi formal at tulad ko na casual office attire ang suot. May bata, may matanda, babae’t lalaki. Karamihan, mayayaman tingnan (siyempre, hindi ko naman sila kilala, paano ko masasabing mayaman silang talaga?). Marami-rami din ang foreigner, Caucasians at Asians mostly.
Bago magsimula ang second set, isang babae’t isang lalaki (ilan sa mga organizer) ang nagsalita tungkol sa Art of Living Foundation. Ipinakilala nila ang foundation at nag-imbita sa kanilang mga yoga at meditation activity. Nagpasalamat din sila sa pagdalo ng lahat, halos napuno ang Isla Ballroom ng EDSA Shangri-la Hotel! Nakalimutan kong banggitin, meron ding art auction na naganap sa labas ng Isla Ballroom bago at habang idinaraos ang concert. Mapupunta din ang proceeds nito sa Sendong victims. Palagay ko, malaki-laki ang halagang na-raise ng event na ito. Happy!
Bago kami umuwi ni Poy pagkatapos ng concert, ipinakilala siya ni Pau kay Babeth Lolarga. Hihiram daw ng mga retrato si Babeth kay Poy at gagamitin sa article para sa Vera Files. Na-publish nga online ang article ni Babeth at mga retrato ni Poy pagkaraan lang ng ilang araw.
Heto ang link:
http://verafiles.org/opera-vs-broadway-for-sendongs-survivors/
I am so proud!
Kahit maraming nakakalungkot na pangyayari sa trabaho ko, itchokei. To lift my spirits up, something will always come my way.
Universe, salamat, ha? Lagi.
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