HERE - Kularts
Transcription
HERE - Kularts
Kodakan Pilipinos in the City Credits, Top L-R: courtesy Dennis Calloway |Claire F. Meyler |courtesy Bernadette Borja-Sy. Bottom L-R: Wilfred Galila |courtesy Holly Calica |Claire F. Meyler Art Direction by Wilfred Galila Presented by Kularts in partnership with the Filipino American Center at the San Francisco Public Library © Kularts, Inc. 2014 www.kularts.org 415.239.0249 | [email protected] facebook.com/kularts | @kularts 1 Exhibition Prospectus Kodakan: Pilipinos in the City Contents Overview Statement from Alleluia Panis Community Engagement Mag-Asawa - Couples Mag-Anak - Families Gallivanting Dandies Mga Musikero - Musicians Personalities Poetry & Lyrics Videos About Kularts About the Artists Kularts Thanks our Supporters 3 4 5 6 9 11 14 17 19 19 20 21 22 Kodakan displays in the atrium at the San Francisco Public Library, Main Branch, 3rd floor. (Image by Claire F. Meyler) 2 Overview Kodakan, verb – the generic Pilipino term for taking photos derived from the known camera brand Kodak. Example: “Kodakan na! It’s picturing taking time!” Synonym: “piktyur piktyur” or “piktyuran na” What does it mean to be Pilipino in San Francisco? And how do we tell our stories by posing for the camera? Behind-the-Scenes of the “Musicians” photo shoot. (Image by Dianne Que) Presented by Kularts in partnership with the Filipino American Center at the San Francisco Public Library, Kodakan: Pilipinos in the City explores changing expressions of Pilipino cultural identity through the simple act of snapshot photography. Inspired by images in the book Filipinos in San Francisco and the San Francisco Historical Photograph Collection, lead artist Wilfred Galila with Peggy Peralta and Cece Carpio, create playful photo homages to the vintage photos. Accompanied by videos, poetry, and interview snippets, the artists share the varied faces and stories of the San Francisco Pilipino-American community. 3 Statement from Alleluia Panis The Pilipino American experience is as diverse as the Philippines 7,100 islands and 180 ethnic groups. The boundaries of the Philippine nation were drawn, not along indigenous tribal lines, but in the service of a European power. After 400 years of colonization by Spain, and then 50 years of occupation by the United States, our identity has been obscured, not only from others but also from ourselves. Pilipinos continue to be simultaneously visible and invisible—even though Pilipinos have lived in San Francisco since the late 1800’s, and the Bay Area Pilipino population numbers over 460,000. Kularts developed our Making Visible initiative to address this concern, and we are proud to see the realization of this project with the Kodakan exhibition. We hope that the personal narratives contained in this exhibit illuminate our past as well as our present. Piktyur-piktyur Every Pinoy knows the end-of-event photo ritual for family or community gatherings. Someone calls out, ‘picture picture!’ or ‘piktyuran,’ then all attendees stand in a row—or several rows. No matter how large the group, no matter how much time it takes, everyone must be in the picture. These recorded images serve as a kind of photo diary where, we, the subjects are in control of how we want to be remembered or recorded. Culled from private family albums, many of the photographs in the 2011 Filipinos in San Francisco book were of this sort, folks lined up after an event or in front of a building or park. It is as though the photos are evidence of something, even if only to ourselves—evidence that we matter, that we were there—wherever ‘there’ is. What strikes me, while leafing through the book, is that the photo subjects, not the photographer, are the architects of their own image, performing for the camera. Perhaps, more poignantly, these early office workers, waiters, seamstress, and farmworkers were projecting their American dream of ease and wealth onto these photographs. In these pictures, they can dress in impeccable suits/dresses and pose leisurely. Couples sat together in muted bliss on park benches or stand at famous tourist destinations, as though they have all the time in the world. Young families and friends proudly shed their provincial upbringing in the streets of a modern San Francisco, far from the rural villages, barrios, and towns of the Philippines. The Project Embedded in these photographs are precious narratives relevant to us today. These questions guided the creative process: Who are the Pilipinos of today? What are the commonalities and differences of Pilipinos in San Francisco then and today? Do the lives of Pilipino American today reflect the hopes and dreams of early immigrant Pilipinos? How do we honor those who came before us while revealing ourselves for the camera? We hope the project will empower the community to investigate and celebrate its stories, past and present. Mabuhay Tayong Lahat! Alleluia Panis, Executive & Artistic Director 4 Community Engagement The Pilipino-American community’s engagement was critical to the success of the Kodakan project. This exhibition was created as a component of our Making Visible project, an on-going campaign designed to give visual presence and provide a voice for the Pilipino community, for both ourselves and the general public, through participatory public arts. Several of these community-focused components could be revived, such as: • We hosted a “call-out” to gather personal images. In addition to bringing family photo albums into the office, people posted photos to Kularts’ website, Facebook page, or emailed to staff. As the exhibition travels, we can continue to use the website’s upload feature to gather more images and stories and create an on-line gallery. • We brought in 67 volunteers for photo sessions (of groups, families, and individuals) to pose in modern “homages” to the vintage images and share their stories. We’d like to encourage amateur photographers and family historians to re-create their own vintage images and share their stories, either on the website or on Facebook. • Film screenings and live music components added dimension to the exhibition. The Kodakan Film #1 was screened at the Yerba Buena Night 2012, projecting the images with live music at the crowded Jessie Square event. The exhibition opened at the SFLibrary with a screening of the Kodakan “Personalities” video and a Q&A session. We would be happy to help create opportunities for music, film screening, and live art activities to accompany the show. Left: One of the community-donated images that we were unable to include in the exhibition, but shared on-line. (Courtesy of the Calica Family) Center: A Behind-the-scenes image shows Wilfred Galila taking picture of Aireene Espritu.(Image by Dianne Que) Right: Musician Ron Quesada dances at the Yerba Buena Night screening of Kodakan #1 in 2012. (Image by Claire F. Meyler) 5 Exhibition Components Mag-Asawa - Couples Section contains: 2 panels at 32x28 inches, mounted foam-core 12 panels at 30x10 inches, mounted foam-core : Ann & Anthem series. Can be pared down for displlay. Each couple’s story is included in accompanying text panels. An example of text is included for the Ann & Anthem/Calloway set. Left: Blas and Mary Calica, 1930 on Pine Street (image courtesy of the Calica Family) Right: Richgail Enriquez and Christopher Mark Diez, 2013 (image by Peggy Peralta) 6 At home in our San Francisco apartment: George Dela Rosa Calloway and Nieves Beth Buena Calloway, 1940s (image courtesy of Rebecca Calloway Mosley)| Anthem Salgado and Ann Borja, 2013 (image by Peggy Peralta with assisstance of Wilfred Galila) George Dela Rosa Calloway and Nieves Beth Buena Calloway George’s father, Sgt. Major John Calloway, was an African-American raised in eastern Tennessee. A decorated non-commissioned officer and prominent member of the 24th Infantry of the African American Regiment of the US Army known as “Buffalo Soldiers,” John was stationed in the Philippines in 1899 during the Spanish-American war. He was later persecuted by the US military because of a letter he wrote to a Pilipino friend, Tomas Consumji, in which he expressed sympathy for the Pilipinos and stated his opinion that it was “an immoral war.” He married Mamerta de la Rosa, a Filipina from Nueva Ecija. They settled in Manila with their large family. Because his father was an American citizen, George and his family were able to come to the US as American citizens in 1945 after the Japanese occupation in the Philippines. They landed in Newport News, Virginia on the U.S.S. Mann. They lived with George’s sister, Elizabeth, in Chicago before they traveled by train to San Francisco. George’s wife, Nieves, worked as a seamstress for some of the big SF department stores and also had her own shop in San Francisco. Ann Borja Administration at Tidemark, a technology start-up company; Photographer “I moved with my family from Arayat, Pampanga to San Francisco’s Visitacion Valley in 1986. Our family moved around a lot, often sharing homes with other extended families; it was one big party! I grew up with so many Filipinos around me so it was normal and I loved it. It wasn’t until high school where the ‘cool’ kids bought 7 into this idea that it was cooler to be Polynesian, Hawaiian, or Pacific Islander; it was not as ‘fobby’ or ‘fresh off the boat.’ I didn’t care. I loved being Filipino and was very proud of it. During the day, I was exposed to so many different societal, economical and class issues at Balboa High School. By night, I traveled back to my safe, comfortable home in Daly City and often reflected on these two binary, conflicting worlds. Now, I’m incredibly proud to see the huge representation of Filipinos in SF. Anthem Salgado Owner/ Entrepreneur, The Art of Hustle; Coach and Marketing/Strategic Consultant for small businesses and nonprofits “My family is originally from Cuyapo, Luzon, then Baguio, and finally Quezon City. I had aunts and uncles that preceded us to the US. My immediate family immigrated to the States in 1981 by way of Hawaii and we settled in the suburbs of NY. I like to tell people I grew up in New York but I became a grown up in San Francisco. Given the relatively small population of Filipinos in the East Coast, the Bay Area with its diversity of art & culture, its activism, and its sophisticated dialogues on identity and politics is essentially where I ‘became’ Pinoy. “When I moved to the Bay, I first landed in Redwood City before finding a place in Upper Haight, among my hippified artist kin. I have since lived in several different neighborhoods, but spent the majority of my residence in the Western Addition, an area that is shrinking/vanishing rapidly due to a surge in gentrification. “Somewhere in my Americanization, I adopted (ironically) a strong sense of anti-Capitalism which I foolishly muddied with anti-money. It’s a plague that affects many people of color and artists. My hope is for all of us to get the hell out of and stay out of starving artistry. I’d like to get back to parts of my immigrant roots, pretend like I just got here, work hard, build infrastructure, be shameless in my pursuit of economic health, leave something for the next generation, like a Manilatown, whether literal or symbolic. “It’s definitely pretty cool having the Filipino representation en masse in SF today, to have that recognition. Filipinos have a rich history in California so I’m proud to participate in or even just witness this legacy in continual formation.” Top: Newlyweds Dr. Mario A. Borja M.D., and Dr. Engracia Escobar Borja, M.D. (Grace), 1962 (image courtesy of Bernadette Borja-Sy) Bottom: Newlyweds Jaymar Cabebe and Dianne Que, with Maid of Honor Bien Roque, 2013 (image by Peggy Peralta & Wilfred Galila) 8 Mag-Anak - Families Section contains: 3 panels at 2x5ft, mounted foam-core Each family’s story is included in accompanying text panels. The Calica Family’s story is included here as an example. Left: Calloway Family at Larkin Street and Fulton, 1950s (left to right) James Calloway, Rose Calloway, Dinah Calloway, Ruth Aviles (Dinah Calloway’s sister) (Image courtesy of the Calloway family) Right: Aguilar/Enriquez family, 2013 (left to right) Florante C. Aguilar, Rafael Mario Musni, Juliette Olivia Musni, Frida Gabriela Aguilar, Fides Enriquez, and Isa Manon Musni (image by Wilfred Galila) Left: Dr. Engracia Escobar Borja, M.D. and daughter Bernadette Borja at Playland in Ocean Beach (1969) (Image courtesy of Bernadette Borja-Sy) Right: Ignacio family at Playland’s Carousel, relocated to Yerba Buena Gardens (2013), Dino Ignacio, Nina De Torres Ignacio, and daughter Maharlika Ignacio (images by Peggy Peralta) 9 Left: Calica family, c 1940 (left to right) Buddy Rillera, Rudy Caluza Calica (Holly’s father), unknown girl, Blas Cacdac Calica (Holly’s grandfather), and Ben Caluza Calica (Holly’s uncle) (image courtesy of the Calica Family) Right: Calica Family, 2013 (left to right) Sandino Calica Napolis (Holly’s eldest son), Rubén Darío Calica Napolis (Holly’s younger son), Amaya Tyler Napolis (daughter of Sandino), Holly Calica, and Aaliyah Sky Napolis (daughter of Ruben) (image by Wilfred Galila) Mag-Anak – Family Holly Calica re-creates a photo of her father’s family, taken on the steps of their 1940s home. Our 2013 rendition takes place on the steps of her home on Belvedere Street with her sons and their daughters. Holly Calica’s family is from Naguilian, La Union & Binmaley, Caloocan in the Philippines. Her paternal grandfather, Blas Cacdac Calica came to San Francisco in 1926. Her maternal grandfather, Marcelo Rivera Lopez, came to Berkeley in 1923. Both men returned to the Philippines to marry, coming back to the United States with her grandmothers—Mary Caluza and Lourdes Fernandez—in the 1930s. Holly Calica remembers her grandparents: “When I was a child, we would visit my grandparents & my grandfather would always ask us, ‘Who wants to go to Playland?’ Jumping up and down we’d shout our replies. But I remember it’d be my father who would take us to Ocean Beach and then Playland!!! Grampa Blas would take Grandma Mary to Chinatown where we’d buy fresh fish right from the tanks. Often, we would dance for a quarter while Grandma Nora would watch us, eyes twinkling and her cigarette hanging out of her mouth backwards. As a teenager, my Grandfather would take us to play tennis and make us run from one side of the court to the other. My father continued this tradition with my children and often my granddaughter, Aaliyah, will run after tennis balls while her father and my eldest daughter, Aja, rally at the local court. Times have changed. They don’t have to sneak onto the courts like my grandparents had to. My kids can rally because the courts are no longer, ‘WHITE ONLY!’ I wonder whether tennis will be a pastime of my grandkids’ life, too? If so, we can thank their Great Great Grampa Blas and their Grampa Rudy.” Holly Calica Visual Artist; Dancer; Writer; Art Teacher, SFUSD As a Fulbright- Hays Scholar and Teachers Fund Fellow, Holly Calica researched tribal traditions in the Philippines. Her art and poetry are published in CALYX: A Journal of Art & Literature by Women, Going Home to a Landscape: Writings by Filipinas and “Maganda” Magazine. 10 Gallivanting Dandies Section contains: 18 panels at 30x10 inches, foam-core mounted Accompanying text includes personal stories for select individuals. A small selection of images and stories are included here. All “modern homages” this section by Wilfred Galila with assistance from Cece Carpio Portrait Studio, Lazaro Fabian and friends, c 1920 (Image courtesy of Larry Fabian) Modern homage: (left to right) Ladislao Arellano, Roldan “RJ” Lozada, Arvin Munoz, and Mark Molina Newlyweds Mary & Fred Motak Alamo Square, 1946 (Image courtesy of the Motak Family) Modern Homage: Orlene Carpio and Ryan Ponce North Beach, 1970s The Geli sisters and their family lived in San Francisco’s North Beach neighborhood. They were popular musicians and singers in in the ‘60s and ‘70s. Pictured here are Mignon, Josephine, friend Marilyn Eng, and Maria. (Image courtesy of Mignon Geli) Modern Homage: (left to right) Dianne Que, Kae Hope Ranoa, Geraldine Nuvall-Weibull, and Elayne Damian 11 Golden Gate Park, 1930 The fashionably attired Pablo Bautista strikes a languid pose. He sent this photograph to Cecila Salvador to convince her to marry him. It worked! They settled first in the Fillmore district, and later in the Haight-Ashbury. In his 40 years as a busboy at the St Francis Hotel, Pablo claimed he never missed a day of work. (Image courtesy of Kristina Bautista) Modern homage: Sean San José Theater Director, Intersection for the Arts; Co-founder & Artistic Director, Campo Santo; Actor; Writer “My family is city people, Makati, Manila. My grandmother came here in the 40s. I was born in San Francisco, another port city, still a city boy. My brother and I came up in the Mission and spent time all over the city, depending on what bakery our mom was working in. We were always between crews; Bay mixed—Mexican, Latin, Black folks. The level of consciousness around Filipinos is crazy different now—a testament to our prominence and culture in the Bay. My elementary school did not include “boxes” for Filipinos. So it is cool to see “Flip Pride” and all that good stuff. I love it: Tatak Filipino; DJs & dance crews; ube ice cream; retracing Jessica Hagedorn’s writing throughout the City; getting baybayin tattoos; real deal cultural institutions like Kularts and Bindlestiff Studio and PiNoise Pop; 6th Street; the Excelsior; and guess what? We everywhere, talaga.” Lucky M Pool Hall, c1930-50 Located on Kearny Street across from the International Hotel, the Lucky M pool hall was a popular hang-out for Pilipino men in Manilatown. This hall was one of the last to close for redevelopment. (Image courtesy of the Manilatown Heritage Archive, photo by Chris Huie) Modern homage: (left to right) Orlene Carpio, Ryan Ponce, Gregory Manalo, Jonsen Vitug, Ladislao Arellano, Roldan Lozada, Mark Molina, and Joel Merchan 12 Luzon Restaurant, 1930s From 1910 to 1950s, Kearny Street was a primary destination for new arrivals in need of housing and information about jobs. Businesses like the Luzon Restaurant, the New Luneta Café, Bataan Lunch, and the smoke shopliquor-and-sundries stores catered to Pilipino tastes and needs. Short and long-term housing was available at the International Hotel, the St. Paul, the Temple and several SRO hotels in the area. Here, Fred Ubungen (left) and Caroline Tormes Ubungen (center) enjoy coffee inside the Luzon Restaurant on Kearny Street with three unidentified friends. (Image courtesy of the Ubungen Family) Modern Homage #1: (left to right) Gregory Manalo, Geraldine Nuval-Weibull, Sean San José, Thomas Weibull, and Joel Merchan Modern Homage #2: (left to right) Kae Hope Ranoa, Roldan Lozada, Delina Patrice Brooks, Helen C. Roque, and Dianne Que Delina Patrice Brooks (center, in pink) Poet; Actor; Dancer; Adjunct Lecturer at SFSU’s College of Ethnic Studies “My grandmother is from Malitbog, Leyte and grandfather is from Maasin, Leyte. They came to America in the 1940s, to San Francisco in the 1950s. As a young girl of Filipino and African American descent, I received mixed messages on what it meant to ‘pretty’ and found it difficult to identify with either message. I was seen as Black from outsiders, but was raised by and very close to my Filipino family. Bernal Heights was highly populated with Filipinos & African Americans, with gatherings each week where Filipinos could speak their language and build community in a new world. It’s vastly different from today’s Bernal Heights. Sadly, it seems that Black and Brown peoples who have built their homes and families in SF are now overlooked, excluded, and priced out. Perhaps it is rather idealistic to hope for a suspension of race politics, but I see this as necessary for the future of San Francisco. I see so much of this city as the product of ethnicities which have been mixed, degraded, dehumanized, misrepresented, and are ever-evolving.” 13 Mga Musikero - Musicians Section contains: 12 panels at 30x10 inches, foam-core mounted Accompanying text includes personal stories for select individuals. A selection of images and stories are included here. All “modern homages” this section by Wilfred Galila with assistance from Cece Carpio Vintage Musicians: Lorenzo and Mauricio Calica, Tino’s Barbershop, and The Intruders Our photographers were inspired by these vintage images to gather modern San Francisco musicians for our own portrait and jam session. Lorenzo and Mauricio Calica (left) Saxophonist Lorenzo Calica (left) toured the United States with his band, the Manila Serenaders. He was a musician, composer, and family man. This photograph was taken with his banjo-playing brother Mauricio Calica on their arrival to San Francisco after gigs in Alaska and Washington State. (Image courtesy of the Calica-Zamora family) Tino’s Barbershop (center) The earliest wave of Filipinos, respectfully known as “the Manongs,” came to California and the West Coast from 1906 through the 1940s. These immigrants were almost entirely young men, then-forbidden by law to marry whites or own property. The pattern of seasonal movement from work in the fields and canneries back to low-wage jobs in the cities during the off-season also made settling down with a family difficult. Many remained life-long bachelors, gathering at community hubs such as Tino’s Barbershop to socialize and play music. (Image courtesy D.P. Gonzales) The Intruders (right) Led by Ed Valdehueza, who lived in Bernal Heights, The Intruders was the first Filipino teenage pop band in 1962. The band played for Filipino and Asian community socials in Seattle, Sacramento, and Los Angeles as well as in the Bay Area. They disbanded in 1966. Pictured are the original members (left to right) Ben Luis, Cesar Valdehueza, Emilio Lugtu, Ronnie Belamide, and Ed Valdehueza. (Image courtesy Ed Valdehueza) 14 Golda Sargento, aka Golda Supernova Rock/Punk Musician “My name is Golda, aka Golda Sarmiento, Golda Supernova, or Golda of ‘Golda and the Guns.’ Our sound is 3rd World born, 1st World bred, with new wave appetites, fed on old school hair rock, perverted by punk, a lil’ bit of funk, and completely addicted to majestic chaos. Our music is like bonfire music, lighting up the darkness of the night. I write these songs to show my kids that this is how they can tell their stories, to tell people how they see the world. If they can say it, if they can sing it, no matter where they are, no matter how old they are, it’s always relevant.” John Walter Calloway, Ph.D. Latin-Jazz Musician; Composer; Faculty Member at SFSU; Director of Latin Jazz Youth Ensemble; Commissioner for the SF Arts Commission John Calloway has performed with renowned jazz artists Israel Cachao Lopez, Max Roach, Omar Sosa, Max Roach and Dizzy Gillespie. For over thirty years, he has collaborated with five-time Grammy nominee Bay Area percussionist John Santos. John’s family is from Quiapo and Batangas, and migrated to the US in 1945. Born in San Francisco, John is named after his grandfather, Sgt. Major John W. Calloway a “Buffalo Soldier” of the African-American Regiment of the US Army, who served during the Spanish-American War in the Philippines and married a Filipina. “I grew up in the outer Mission, full of other mixed race and mixed ethnic people, and strongly blue-collar. As a mestizo, it has been a lifelong pursuit to find a way to situate myself in the Pilipino community, which sometimes accepted me and sometimes did not. For a long time I was searching for some way to reconnect with the music of my parents’ homeland, as my parents were both born in the Philippines. I think I subconsciously stayed away for a long time but deep inside I always considered myself a descendant of the Philippines. Thank God my children have a wonderful experience being raised as multi-racial and multi-ethnic.” 15 Dirty Boots - Rachel Lastimosa and James Dumlao Diwa, A Women’s Kulintang Circle (Left to right) Titania Buchholdt, Holly Calica, Patricia Aquino, Fleurdeliza Rabara, Mylene Amoguis Cambahing Tonilyn Sideco Singer; Songwriter; Filmmaker; Performing Artist Tonilyn is a native San Franciscan. “I’m really into sappy songs. I love cheesy love music. I realized that speaking, preaching, and singing about love is revolutionary in itself. I mean personal is political so if I’m singing about love and body-loving and being queer, and all of that, then I feel it becomes political because no one talks about it.” 16 Personalities Kodakan profiled four individuals with complex and multi-layered public personas. For each, we created a 58x58in photo collage, printed on heavy paper. Separate text panels (600-1,000 words each) describe their many personas in their own words. For this prospectus, we included “slices” of each photo collage. CAROLINE CABADING-CANLAS “with a Malong on my shoulder” Energy & Sustainability Program Specialist/ Graphic & Web content developer for the Federal Government R& B Vocalist, Addison Street Band Percussionist & Dancer, Kapwa Percussionist & Palabuniyan Kulintang Ensemble AMMIEL ‘KOI’ HOLDER “Fire inside my bones And a heart built like a steel cage” Security Guard, Chronicle Building Bar back, End Up Rapper/ Hip-hop Artist /Lyricist Metal Vocalist 17 JOËL ANTONIO BARRAQUIEL TAN “seguro in spanish means surely. seguro in tagalog means probably.” Director of Community Engagement, Yerba Buena Center for the Arts “I make art and organize communities around art + well-being + joy. As a poet, I am a channel. As a curator + editor, I favor toward the present future + tend to disrupt morality + norms + formula. As an activist, I work to end suffering. As an intellectual, I work to end essentialism, authenticity+ other comedies.” American Name: KRISTINE GLORIA SINAJON Birth Name: MARIAN GLORIA CRISTINA GUTIERREZ SINAJON “Pilipino in my DNA” R & B Singer Catholic Cantor Make-up Artist Reiki Practitioner Tango Dancer 18 Poetry & Lyrics We included 11 written works from several of our subjects: poetry, song/rap lyrics, and short prose from Ammiel “Koi” Holder, Caroline Cabading, Kristine Sinajon, Delina Patrice Brooks, Joël Barraquiel Tan and Anthem Salgado. All are mounted on 22x17 inch foam core panels. Left: Bamboo & Baobab, by Delina Patrice Brooks, Right: bomba (excerpt), by Joël Barraquiel Tan (images by Claire F. Meyler) Videos Kodakan explores changing expressions of Pilipino cultural identity through the simple act of snapshot photography. The Kodakan Video project has two major components: The “Dandies” video and the “Personalities” video series. Lead Artist Wilfred Galila, with assistance from Cece Carpio, edited together the vintage and modern homages from our “Gallivanting Dandies” section, creating a five minute video that playfully juxtaposes the two. In an effort to bring Filipino art and stories to the widest audience possible, this video was screened at the 2012 Yerba Buena Night with a live music performance by Kulintronica. View on-line at: http://vimeo.com/53042677 Kodakan explores the many “faces” of the San Francisco Pilipino community, both past and present. But each individual also has many “faces” both literal and figurative. We profiled four individuals with complex and multi-layered public personas. In addition to the photos, Artists Wilfred Galila and Peggy Peralta captured video and interviews of our “Personalities,” shared in a 20-minute video. View on-line at: http://youtu.be/fjK3W75xa8c 19 About Kularts Kularts is the nation’s premiere presenter of tribal and contemporary Pilipino arts. Kularts informs and expands the understanding of American Pilipino culture through works that address contemporary issues in the community; preserves the spirit and integrity of ancient Pilipino art forms; and nurtures the artistic development of Pilipino artists. Since our inception in 1985, Kularts has served over one million people, both in the US and abroad. Each year, Kularts engages 40,000 participants through a series of participatory arts events. KULARTS KEY PROGRAM COMPONENTS KULARTS PRESENTS contemporary and tribal Pilipino art through works by local American Pilipino and international Philippine artists. Kularts engages the public in contemporary and tribal Pilipino arts and culture through full-length concerts, evenings of shared programming, and through visual arts exhibits & installations. Annual spring and fall seasons include: the new world aesthetics of emerging and accomplished Pilipino Americans; artist mentorships through page-to-stage programs; transnational performances and workshops with the Philippine Master Artists In Residency Program; the Parol Lantern Festival & Parade; and exhibitions, art demonstrations, and community-driven mural-arts creation. EDUCATION ARTS PROGRAM educates diverse American communities in Pilipino art forms and their influence on contemporary performing arts in both school and community settings. PHILIPPINE TRIBAL TOUR is a 2-3 week immersion tour of the Philippines’ indigenous communities designed for U.S.-based artists. 20 About the Artists Alleluia Panis, Executive and Artistic Director, is the driving force behind Kularts, and a respected elder artist. She has received grant awards from the Rockefeller Foundation, the National Endowment for the Arts, New Langton Arts, Brava! for Women in the Arts, the San Francisco Arts Commission, Choreographic Fellowship from the California Arts Council, Creative Work Fund, and The Gerbode Foundation. She has created fifteen full-length dance theater works since 1980, which have been performed on main stages in the United States, Europe, and Asia. Panis develops Kularts innovative programs, including the annual showcase of contemporary works and the creation of new work by Pilipino American artists. Wilfred Galila is a filmmaker, cinematographer, and music maker whose narrative and experimental films explore irony in everyday life, personal histories, and the future. His short narrative Today Is Yesterday and Tomorrow screened at the Los Angeles Asian Pacific Film Festival, the Asian Art Museum in San Francisco, and The San Francisco Public Library. Galila has worked as the cinematographer for the documentaries Secrets of a Sister for the HIV Story Project and The Power of Two, live performances by Capacitor Dance Company and Zaccho Dance Theater, and other projects. Galila is a regular artistic collaborator with Kularts, and was the art director and lead artist for this project, as both photographer and videographer. Photo of Peggy Peralta and Wilfred Galila by Claire F. Meyler Peggy Peralta, cinematographer and camera operator, is a graduate of the University of the Philippines and obtained her MFA in Motion Pictures and Television with emphasis on Cinematography from the Academy of Art University in San Francisco. An award-winning and multi-faceted cinematographer, Peggy has collaborated on over 20 films dealing with diverse themes and cross-cultural subjects. Her works are distinct for their heart, energy and perspective. Awards include: 2005 Best Emerging Filmmaker, SF International Women’s Film Festival; 2006 Best Cinematography, SF International Women’s Film Festival; 2009 Platinum Awards from AVA Awards; 2010 Silver Telly Awards + Communicator Awards for Videography/Cinematography; 2012 Audience Award, Hawaii International Film Festival. Her short films and full-length documentaries have screened at film festivals across the United States and internationally. In 2008, she founded Head of the Dog Pictures, a creative shop based in San Francisco, California. She joins Kularts for this project as collaborating photographer and videographer. 21 Kularts Thanks our Supporters THE LIA FUND 22