folio - Vision Petron

A Magazine for the Youth on Philippine Art & Culture • 2014
From the Editors Desk
Contents
W
hat an exhilarating year this has been for Vision Petron! Now on its
14th year, this much-loved competition has touched the hearts and
minds of thousands of students who sent a total of 2,827 qualified
entries to Vision Petron 14. This issue of FOLIO celebrates this recordbreaking year with articles revolving around the year’s theme Lakbay Panata
(My Journey. My Pledge.).
The theme stems from Petron’s sincere commitment in 2000 to help the
youth, the future customers of the company, to discover their talents and
skills. From a one-category art contest, Vision Petron has grown into a fivecategory competition with a loyalty base of students, deans and schools
who faithfully join it every year. It is part of many schools’ yearly calendars
and even in their curriculum! Talk about loyalty and friendship, Vision Petron
and the youth have both!
Our prominent judges led by esteemed National Artist Benedicto
Cabrera (Bencab) and other judges in the five categories have made their
participation and involvement in Vision Petron their yearly commitment. They
are willing mentors of a growing population of young masters, many who are
now rubbing elbows with the very artists who once judged their works when
they were fledging artists vying in Vision Petron in years past.
And now Vision Petron, after 14 years of being an exemplary symbol of a
valuable partnership between a leading oil company and the Filipino youth,
has been duplicated in Malaysia. Vision Petron Malaysia yearly holds its own
version of the contest for aspiring young artists in that country.
Petron continues to pledge its panata to be an art patron to the youth. We
have started a wonderful alliance with you, the youth, and we pledge to
continue it in the years to come. We give you our word!
Enjoy the articles here and tell us what your commitment is to God, family,
country and school. Let us hear from you!
BULLETIN
Vision Petron is an exhibition and competition
for all young and budding artists.
Published by
PETRON CORPORATION
In partnership with
Studio 5 Designs
Vision Petron FOLIO is an annual
publication of Petron Corporation on
Philippine culture published specifically for
the youth. Copyright© Petron Corporation.
All rights reserved. No part of this
publication may be reproduced in any
manner without the written permission of
the publisher. Opinions expressed in this
publication are the writers’ and are not
necessarily endorsed by the publisher.
Please send your comments or inquiries to
Vision Petron FOLIO, c/o Petron Marketing
Division, SMC-HOC 40, San Miguel
Avenue, Mandaluyong City or email us at
[email protected].
We at Petron believe that free artistic
expression remains intrinsic to nationbuilding. We support the Filipino artist’s
unique vision and dynamic translations of
Philippine culture through various forms of
art that draw fellow Filipinos closer to their
heritage and ultimately, to everyone.
Petron believes that everyone has his/her
own unique perspective on things and
that this uniqueness can be expressed in
so many different ways. That is why we
created Vision Petron.
Vision Petron is a competition for
photographers, painters, and designers. It
is also a venue for filmmakers, musicians,
performance artists, art enthusiasts,
enabling all Filipinos to converge and be
one through their shared love for Philippine
art and culture.
02
04
06
08
09
An Afternoon At the Museum:
The Vision Petron Awarding Ceremonies 2013
Vision Petron Anvil Hall of Fame
Vision Petron 14 School Visits:
Linking up, Rekindling Friendships
Beating The Deadline: Last Shots at Greatness
Vision Petron Judging: Crucial Four Days
FEATURES
13
16
20
28
On My Honor: Keeping Promises Small and Big
by Felice P. Sta. Maria
One World, One Species by Maria Celeste Coscoluella
Lakbay Panata in
Philippine visual arts by Dr. Alice Guillermo
Vision Petron Malaysia
PEOPLE
24
More than a T-shirt Tycoon: Q&A with Jay Aldeguer
SPECIAL SECTION
Do visit our website www.visionpetron.com
and like our Facebook page, Everyone’s
Vision Petron.
33
56
Vision Petron 2014 Winners
Vision Petron 2014 Board of Judges
- The Vision Petron Team
04
02
16
On the Cover
Edu P. Perreras
Fulfilling and Caring for God’s Gift
Museo ng Angeles
Oil on Canvas, 121.92 cm x 121.92 cm
20
28
1
2015
4
BULLETIN
2014
GRAND
PRIZE
winners
OIL/ACRYLIC
Noel M. Elicana
Perspective
Western Visayas College of Science and
Technology
Bernardo S. Cabugnason
Pasalamat
Tarlac State University
Edu P. Perreras
Success Comes From In a CAN not a
Can’t
Museo ng Angeles
WATERCOLOR/WATER-BASED
Arnold D. Lalongisip
Susi ng Tagumpay
PUP Manila
Chrisanto N. Aquino
Sa Pagdating ng Isang Anghel
Tarlac State University
Don Bryan Michael L. Bunag
Walang Hanggang Karangalan
Bulacan State University
An Afternoon
PHOTOGRAPHY
Ezra L. Acayan
Gawgaw
FEU
T-SHIRT ART DESIGN
Mardale C. Chu
Juan’s Ride to Ambition
UST
Ma. Yohana R. Frias
Lakbay Kaalaman at Karangalan
UP Manila
Sheila Mae B. De Vera
For the Win
PUP Sta. Mesa
Reu Dawner A. Flores
Journey to Love and Happiness
Adventist University of the Philippines
Janica A. Arceta
Kalayaan
EARIST
Bryan R. Morit
Big Joy of A Little Boy
John B. Lacson Foundation Maritime
University-arevalo
Jirah B. Pastrana
Lakbay Tungo sa Tagumpay
Bulacan State University
Deo Carlos D. Amarante
Katas ng Tagumpay
EARIST
VIDEO-MAKING
Efigenio Christopher D. Toledo IV
Balaram Das D. Ochangco
Pitik Mulat sa Maynila
UST
Julius Mikko D. Bayani
Mark Jay D. Felipe
Jerome S. Martinez
Lakbay Tagumpay
Saint Louis University Baguio
Roman Marcus M. Abad
Diwang
Meridian International College
at the Museum:
Vision Petron Awarding Ceremonies 2013
The Old Senate Session Hall restored to its prewar glory in the original design of
architects Ralph Harrington Doanne and Antonio Toledo in 1918 was the venue of the
Vision Petron National Student Art Competition Awards Night on October 10, 2013.
P
etron officers and employees
drove to the landmark building
as the event was also part of
Petron 80th anniversary celebrations.
No less than three living National Artists
for Visual Arts came--Honorables
Napoleon Abueva, Benedicto Cabrera,
and Abdulmari Imao. Together with
other established artists, photographers,
designers and film directors,
cinematographers shared the stage.
All were in unison to greet and bestow
the momentary accolade of winning
students in their respective categories.
Guest speaker Award winning filmmaker
Raymond Red
2
An added feature of the event was
the showing of the three winners in
the Video-making category. Each
winner spoke of how today’s youth
Grandprize winners for Painting category
Grandprize winners for Photography category
Grandprize winners for T-shirt Art Design category
Grandprize winners for Videomaking category
Vision Petron 14 Judges
Formal opening by ribbon-cutting led by National Artists Benedicto Cabrera
and Abdulmari Imao together with Petron representatives
has been familiar with music television,
documentary and drama.
Raymond Red, an award winning film
director, who in his youth was a gifted
student and product of competition
spoke of the value of going against
oneself and not just competing with
others. He is one of the pioneers of
modern Filipino independent and
alternative cinema and has earned
the distinction of being one of the first
Filipinos to receive a Rotterdam Hubert
Bals Memorial grant. He is the first
Filipino to have won the prestigious
Palme d’Or award at the 2000 Cannes
Film Festival for his short film Anino. Red
spoke of how one should pursue his
passion and not be bothered by poverty
or other creative limitations.
3
2014
BULLETIN
and art writers have contributed regularly
to this magazine, sharing their love for
country with the youth.
The Collaterals also included a digital
media: a website, designed to be
interactive and to catch the attention of
a target audience that is internet savvy.
To be in touch with its target audience,
Vision Petron also has a page in the
social sites Facebook which the youth
constantly visit.
creative and innovative in your thinking.
Thirteen years since it first appeared on
the scene, the Vision Petron Collaterals
have elicited this remark from a young
artist: It is cool to love one’s country!
It has been heartening to note that the
Collaterals are used in many art courses
as an example of graphic design. The
Petron calendar which is part of the
Collaterals is avidly collected by young
and old and often times framed as décor
for homes.
Vison Petron Collaterals: Anvil Hall of Fame
Anvil Hall
of Fame
The Vision Petron Collaterals convey this
message to the youth: being talented
means being proud of your heritage,
being excellent in your craft, and being
Vision Petron 12: Lakbay Alalay Para sa Kalikasan Collaterals
Award: Vision Petron Collaterals
I
By Marily Y. Orosa
n 2013, the Vision Petron Collaterals was awarded the
prestigious Anvil Hall of Fame for winning an
Anvil Excellence Award five times in the same category
through the years..
ArtPetron One: Lumang Laro, Bagong Likha
4
Creativity, excellence and pride in
being Filipino are the hallmarks of
the Vision Petron Collaterals, a set
of printed materials that accompany
every Vision Petron National Student
Art Competition yearly. The art contest
espouses a theme for the year which
revolves around Philippine culture and
art; collaterals are designed to promote,
and trumpet this special theme to a
special target audience – the talented
youth enrolled in a college course in
universities and colleges throughout
the nation. After the contest winners
are declared, another set of collaterals
are developed, this time featuring the
beautiful artworks and photos of the
winning students.
Initially, the paint brush was used in
earlier Vision Petron collaterals as the
rallying point of the set. It was designed
as a palo sebo for the very first contest
collaterals to depict indigenous Filipino
games, the first year’s theme. This set
won for the Collaterals an Anvil Award
of Excellence and the first Bronze Anvil
Award of Excellence. Through the years,
the Collaterals have taken on a new look
with each new theme in keeping with the
expanded involvement of Vision Petron
in other art forms apart from painting
and photography.
The first set of Collaterals was
composed of a poster, desk calendar
and wall calendar, website and
catalogue. In its fourth year, it added
an executive planner which is Petron’s
gift to clients and friends; and a special
culture magazine for the youth called
FOLIO which features topics on the best
in Philippines culture. Respected culture
Vision Petron 13: Lakbay Tagumpay Collaterals
About the Writer:
Marily Y. Orosa is the President of Studio 5 Design which has served as Project
Secretariat of Vision Petron for the last 14 years.
5
2014
BULLETIN
Vision Petron 14 School Visits:
Linking up, Rekindling
Friendships
W
hen we started the Lakbay series as a theme in 2011, one of the things we made
sure was to find more creative ways to be closer to our ever-loyal student-artists.
One was to provide design-friendly collaterals like posters and application forms.
Another was to have online registration and to be more active through social media
where they are. The other is visiting their campuses nationwide.
July 2014
24 Technological University of the Philippines Manila
Eulogio “Amang” Rodriguez
Institute of Science and
Technology
Polythecnic University of The
East Manila
25
Far Eastern University
University of Santo Tomas
28
Meridian International
St. Scholastica’s College
30 Adventist University of the
Philippines
Asia Pacific College
This year was a record breaking year
(total 2,827 entries). This proved that
Vision Petron is part of Philippine college
life year after year. This is Philippine art
at its grassroots level; a living testimony
of the talent of the Filipino youth.
The Vision Petron team composed of
former grandprize winner Jareds Yokte,
Dianne Monsod of Petron Marketing
and Jay Bautista of Studio 5 Designs
travelled far and wide to reach 23
schools in 12 days.
Every school we visited celebrated
Vision Petron’s innovative venue
for today’s youth. It also reaffirmed
Eulogio “Amang” Rodriguez Institute of Science and Technology
St. Scholastica’s College Manila
Far Eastern University Manila
John B. Lacson Memorial Foundation University
Pangasinan State University
Technological Institute of the Philippines QC
University of Mindanao
Central Philippines University Iloilo
Vision Petron’s role in developing the
youth and our growing relationship
with students (many of them now art
professors and college deans).
Some students said the Lakbay Panata
was a welcome reminder that Filipinos
should keep their commitments.
Further explanation also convinced
young artists to interpret it on canvas,
a photo, shirt or video. We always
exceeded more than the schedule in
our itinerary. More than the promise of
joining the contest as a required plate or
an equivalent exam, it is probably their
heart-felt smiles that keep us coming
back every year after year.
August 2014
1 Bulacan State University
University of the East Caloocan
Technological Institute of the
Philippines QC
6 Western Visayas College of
Science & Technology Iloilo
John B. Lacson Foundation
Maritime University Iloilo
University of San Agustin
Central Philippines
7 Philippine Women College
Davao
University of the Philippines
Mindanao
13
6
Tarlac State University
Pangasinan State University
14 University of the Philippines
Baguio
St. Louis University Baguio
University of Cordillera
Bulacan State University
7
2014
BULLETIN
Beating The
Deadline:
Last Shots at Greatness
Students checking on their online registration
AUGUST
29
FRIDAY
Students await their turn to submit their artworks
Vision Petron Judging:
Crucial Four Days
T
o be invited as judge in Vision Petron
is always an honor. One has to have
a certain stature in one’s profession
or creative industry to be considered.
In the 14 years we have conducted
the national art competition, choosing
our judge bore the hardest task of all.
Credibility is why we have become the
biggest and most popular. Through the
years Vision Petron invites the who’s
who in Philippine art and culture scene.
were George Tapan, Mark Nicdao, Sara
Black, Wawi Navarroza, Ana Neri and
our first hall of famer for photography,
Charles Buenconsejo.
It was a mixed lot for Vision Petron
photography this year. There were past
winners who won again thus making
them eligible to the hall of fame. There
were also first timers. In fact two schools
had two grand prize winners each – John
B. Lacson Memorial Foundation Maritime
University (take note this is school for
seafarers). Another big winner is Adventist
University of the Philippines which had
two grand prize winners as well.
We have reviewd the final total of 2,827
entries from 105 schools and museums,
making this the biggest Vision Petron
ever. It was an almost thirty percent
increase from last year. This is also the
first time we had an online registration,
another first for a national art
competition.
With almost a thousand photographs to
decide on, for the judging in the Vision
Petron photography. Last September
1 together with Petron AVP Ana Neri,
six well accomplished photographers
gathered at the Ynares Sports Arena
in Pasig City to choose the winners
and runners-up that would be featured
in the Petron 2015 Executive Planner.
Chaired by Wig Tysmans, other judges
Students troop to the Vision Petron Secretariat before midnight
Students uploading their requirements
SEPTEMBER
1
Vision Petron Photography judges
Writing down final details before the submission of entries
8
Mission accomplished: artworks submitted
9
2014
BULLETIN / Vision Petron Judging
SEPTEMBER
3
WEDNESDAY
Two days after, September 3, at the the
T-shirt Art Design entries were the
focus for design discernment. One of
the most popular medium among the
youth, it has been chaired by well-known
abstractionist printmaker Raul Isidro
with Justin Nuyda, Jay Aldeguer, BG
Vision Petron T-Shirt Art Design judges
The following Tuesday, September
9, the focus turned to the Painting
category. Aware of the aesthetic
challenge for this task we made sure
we invited artists whose visual range
have also been formally praised in
other art competitions both local and
international. Joining us again were
Jeremy Barns, Elmer Borlongan, and
Alfred Esquillo Jr. together with Mark
Justiniani and our first hall of famer,
Orley Ypon. Adding deep cultural insight
was Felice Sta. Maria who was with
us since our inception in 2001. Brand
Marketing Head Ramon Cruz also
judged for Petron and provided the
corporate slant in choosing the entries.
Hernandez and Ana Neri. Filipino comics
illustrator Gerry Alanguilan joins the board
for this year. From the 488 entries, three
outstanding entries emerged.Eulogio
“Amang” Rodriguez Institute of Science and
Technology, University of Santo Tomas and
Far Eastern University submitted the most
number of t-shirt entries.
T-shirt Art Design Chairman Raul Isidro
For interesting facts about the winners.
Last year’s winner Edu Perreras of
Museo ng Angeles made history by
winning both grand prize in oil and
watercolor/water-based this year. He
enters in our hall of fame. His brother
Eric Perreras also won in the Oil/Acrylic
category marking them the first brothers
to win in the same category. In the
watercolor/water-based, former grand
prize winner Karl Albais won again while
last year’s runner up Weriel Mallari of
Tarlac State University finally won in this
category. Tarlac State University prides
itself for producing a total of 7 grand
prize winners in Vision Petron history.
11
THURSDAY
Communications students from PUP
Manila won two out of the three top
videos. One dealt with the perils of a
single mother while another depicted
the struggle for a family with a child with
disability. The final winning video gave us
the intricacies of teen life and how some
girls are more fortunate than others.
Technological Institute of the Philippines
QC had the most entries. Followed by
Eulogio Amang Rodrigues Institute of
Science and Technology, Far Eastern
University, Bulacan State University and
Technological University of the Philippines
Manila completed the top five schools
with the most participation.
Vision Petron Video-making judges
SEPTEMBER
9
TUESDAY
Painting Chairman BenCab
10
SEPTEMBER
Video-making category was judged
two days after, September 11. Heading
this year board of judges is Director
Laurice Guillen with cinematographer
Romy Vitug, Director Raymond Red,
Ana Neri, award-winning scriptwriter
Ricky Lee adding more critical weight in
viewing the final selection.
Final deliberation of Painting judges
11
2014
FEATURE
On My
Honor
Keeping Promises Small and Big
By Felice Prudente Sta. Maria
S
itting in a circle, my six-year-old co-Brownie Scouts and I used to sing,
“Whenever one makes a promise, consider it important. And when made,
engrave it upon one’s heart.” Afterwards we each crossed our heart with a righthand forefinger the way we did when promising to keep a secret, and giggled away.
Small as Big
There are so many promises one can
select from the start. In Nueva Ecija,
the Isnegs have a riddle: I planted a
citrus tree in the center of town, watered
it with my tears, gathered it with my
heart. What was planted? Good deeds.
Performing good deeds daily is a way to
become good through habit.
Panatang Makabata
by Mary Charity Rose Buhain
Tarlac State University
Aklat
Gabriel Kingie (Technological University of the Philippines)
The Value of Small
Walang Humpas na Ngiti
by Jose Erlito Recto Jr. (Lumina Art Workshop)
12
Our Girl Scout troop leader would hush
us down and ask everyone in turn to
share a promise. Sometimes it was
an easy one, like promising always
to wash hands before a meal or pray
before sleeping. But sometimes it was
a little hard. For Inday it was finishing
all her vegetables, especially tomatoes.
Connie said she would be nice to her
three-year-old brother even if he was
a tattletale who blamed her for things
she never did just so he could get their
mother’s attention. Her twin sister
Bonnie promised to throw her laundry in
the hamper and not leave the bathroom
they shared messy.
As adults, the promises that seemed
difficult in Kindergarten are a cinch to
keep. In fact, they are habits that almost
seem impossible to imagine not doing:
finishing everything on one’s plate to not
waste food; being courteous at all times
to honor basic human dignity even if
others bad-mouth; using shared space
responsibly thereby helping to maintain
public property sustained by the hard
earned contributions of common
taxpayers.
Starting out small makes the big
commitments manageable because
keeping a promise has become
second nature.
The Dalai Lama, who is Buddhist,
said kindness can be a religion for
everyone. He means kindness is the
most important criterion for deciding on
one’s behavior, attitudes, and values that
all create a personal code of conduct.
Doing an act of kindness daily is an
exercise by which to become a kind
person. Goodness and kindness may
be interpreted differently by the world’s
many cultures, but they are desired
qualities for all of them.
Around the globe are sayings throughout
the ages similar to one shared by Filipinos
in areas from Cordillera highlands down to
Mindanao coastlines: “A person is known
by action not words.” Making a promise
is not enough; it must be kept. The
fulfillment of a promise, no matter how
simple, is an important accomplishment
for the conscience.
13
2014
FEATURE / ON MY HONOR Keeping Promises Small and Big
A people can become more humane,
more honorable, when their society
matures in its understanding of basic
goodness and kindness. By adding
ideas of human dignity and justice – the
basis of Panatang Makabayan and
writings of National Hero Jose Rizal
– enriched levels of goodness and
kindness can be reached.
The Goal of Always
Si Mama, Papa, at Ako
by John Roen Grulla (Bulacan State University)
The Concept of Honor
Keeping a promise is equal to
upholding one’s word. It is being
faithful to a pledge. Inability to keep a
promise is traditionally an indication of
untrustworthiness; it makes one lose
credibility. In Ilokano and Kapampangan
proverbs, keeping a promise is a virtue;
it makes one a person of honor.
Goodness and kindness provide a basis
for deciding whether or not an action
is worth promising. There are so many
rules, written and not, to consider.
Families expect sharing responsibilities
to keep a home clean and neat, and to
care for children and elders, especially
those who are ill. School requires
passing grades and behaving according
to expectations set by values education.
Public law offers a system to manage
the millions of people residing in a
community and a country; breaking
14
established between all parties involved.
One does not just promise to be the
child’s companion, but vows sincerely
to keep the young one safe, happy, and
healthy whatever the weather, the traffic,
and one’s personal circumstances such
an exam or a date with a friend. The
vow adds stability to life. Dare not break
one’s word or disappointment will crush
everyone’s feelings and expectations.
Pangako is “promise” in the Philippine
National language. But panata means
“vow”. Panata is a strong word most
often used when dedicating one’s
self to something holy. It’s the habit of
promising taken to the highest level. By
making a panata, one commits never to
forget, to forsake, to fail in one’s pledge.
Often a panata becomes a lifetime
promise of action done in thanksgiving
or to win what is wished for.
Ordinary people do make a difference
in how easy or difficult a day is. Vow
to lighten and brighten someone’s day.
Give directions when someone is lost.
Offer one’s seat on the MRT to an elder
or a stranger using a cane. Hold the
door open for someone carrying a heavy
load. Move over so another student can
share the lunch table when the cafeteria
is full. Tutor a young child. Volunteer for
a good cause.
The panata, classically, is not just to do
something good, but something better
than good. When one promises to
accompany a little child to school, for
instance, there is mutual confidence
The Love Contract
“Put your hearts up,” Ariana Grande
sings. “If we give a little love, maybe we
can change the world,” she belts out with
conviction. Give a wink, a kiss, a little
happiness she explains, adding that a
coin in a begging cup goes a long way.
Her hit tune reminds never to just
wait for the world to change. Every
generation gets a chance to make the
world it wants. “Don’t let the world fall
apart,” sings Ariana. Habits of anger
will create a life ensnarled in violence.
Habits of fibbing and cheating will create
a life of lies and deception. Habits
of patience, honesty, and concern
for others developed in youth are the
future’s hope.
There is power in promises and vows
that put others ahead of one’s self and
that forego personal, short-term comfort
for society’s best, sustainable future.
Ordinary people are capable of great
good, admirable kindness, as well as
inspiring heroism in times of trouble and
sorrow. Sustaining the vow to remain
a person of honor against all odds is
the admirable, ultimate result of little
promises done daily with love and joy.
laws fractures the system. It destroys
expensive infrastructure, makes a place
ugly and hard to function in, causes
psychological trauma, threatens safety,
disturbs peace and order.
We inherit traditions that are like rules
from ancestors. They can include bad
traditions, not only good ones. When
the crew of the first circumnavigation
reached the islands that later became
the Philippines, slavery was practiced
in datuships and Europe alike. Head
hunting was a ritual of valor and the
blood needed for planting rituals; heads
of criminals and foreign enemies were
displayed on poles as a warning during
early years of the Spanish colonial era
as was done in ancient Rome, China,
and Japan. Today, those traditions no
longer exist. Choices were made to
reform what came to be considered bad
traditions, dishonorable conduct for a
country to continue.
Sa Hirap at Ginhawa,
sa abot ng aking makakaya
by Angela Mae Boadilla (Tarlac State University)
Taong Putik
by Ezra Acayan (Far Eastern University)
Simbugo ng Damdamin
by Divine Grace Dela Cruz (Tarlac State University)
About the Writer:
Felice Sta. Maria is an award-winning writer of Philippine history and culture.
She serves as trustee of the Philippine National Museum and is adviser to Ayala
Museum and Ginhawa Institute of Indigenous Art. She has been our judge in the
painting category since Vision Petron’s inception.
The Hero’s Hero
by Vida Lyn Luad
(Technological Institute of the Philippines)
The photos featured were among the entries
to the Vision Petron 2014 Photography category.
15
2014
One World, One Species
FEATURE
Maria Celeste F. Coscolluela
I
t’s not difficult to imagine living in a world without the Philippine eagle; after all,
most of us already do. As one of the most critically endangered birds in the planet,
there are only about 150-500 surviving pairs in the wild, making an encounter with
the majestic “haring ibon” near impossible even if we stalk it in its natural habitat. The
same is true for the Philippine tamaraw, cockatoo and crocodile, several species of
marine turtles that forage and nest in our waters, and a species of fruit bat called the
golden-crowned flying fox. Together with the Philippine eagle, these are some of the
biological treasures of the nation most threatened by extinction.
As for me, I grew up with a Philippine
eagle right at my doorstep. I don’t
recall how, but one day a stuffed bird
appeared by the gate of our house
where it would remain for many years,
staring out into the street day and night
like a sentinel. When it was first hung up
for display, its fierce expression was so
lifelike, I believed it would swoop down
any moment to grab at unsuspecting
prey. But it never moved an inch.
Even when I realized it never would, it
continued to transfix me with its sharp
gaze, the promise of power in those
massive wings that were forever poised
for flight. It needn’t move a flutter to
be impressive—the bird was awesome
even in its inert glory.
conservation puts a lot of resources
into the study of how animals live. Apart
from pointing to areas of intervention,
information about how animals breed and
feed can supplant myth with fact, giving
us better appreciation for the flesh-andblood reality behind the glossy images.
Take for example, the Philippine
crocodile. A species long shrouded in
mystery, crocodiles have been regarded
as ravenous man-eaters for decades,
making them a powerful symbol for
human greed and corruption. But
modern research tells us that while
Similarly, we are filled with wonder and
fascination for the creatures whose
images we see mostly in photos, books,
or films. These rare, magnificent animals
rendered in high definition capture our
imagination. Perhaps a little too well.
Does acquiring a near-mythic existence
in human consciousness become these
animals’ undoing? I think so. Because if
endangered species are such powerful
symbols for the environment, it’s easy to
forget they’re real.
Larger Than Life
Thinking about endangered species as
alive and kicking—not just kicking the
bucket, so to speak—is the first step
in saving them. This is why wildlife
16
Golden Crowned Flying Fox
crocodiles have evolved through the
centuries into highly skilled predators,
many species are not even physically
capable of devouring man as prey.
Neither do they have a particular taste
for human flesh. As opportunistic
predators, crocodiles hunt only what is
readily available in their environment.
This makes them a great indicator of
the overall health of a river system.
The Philippine crocodile, a diminutive
species, feeds on fish or fowl found in its
habitat or small mammals that stray too
near its waters.
Leatherback Sea Turtle
Front view of Philippine Freshwater Crocodile
The Kalinga tribe of the Sierra Madre
mountain range has shared its rivers
with crocodiles for years and knows
its habits and ways. For generations,
their people passed on not only the
means to co-exist peacefully with the
powerful predator, but also a reverence
for the creature that is, like many other
indigenous groups, literally woven
into the very fabric of their culture.
Today conservation efforts for the
crocodile contend with the lack of such
community awareness. Reclaiming
rivers as homes for rescued crocodiles
meets resistance from a public who fear
sharing their waters with what they know
only to be a vicious predator.
Philippine Tamaraw
All photos used in this article are part of Treasures of the Philippine Wild published by Studio 5 Designs
for Biodiversity Management Bureau of the Department of Environment and Natural Resources. All
photos are reserved and are subject to copyright.
17
2014
FEATURE / One World One Species
Rampant poaching also caused the
Philippine cockatoo’s population to
decline drastically over the last 50 years.
The beautiful, albeit raucous, bird was
a popular catch for the international
bird trade for its creamy white plumage
and ability to mimic human speech.
Today, the surviving cockatoo population
struggles against the lack of trees for
nesting and foraging, following the
destruction of much of our lowland
and mangrove forests. In 1998, it was
believed that only 28 birds remained
in the coral island of Rasa in Palawan,
one of the cockatoo’s last remaining
sanctuaries.
Of Spectators and
Stewards
The only thing more discouraging than the
facts is how there seems little we can do
to help save these endangered animals.
Philippine Freshwater Crocodile
Other creatures suffer from a similar
unwarranted notoriety. Given their
portrayal as demonic creatures in popular
culture, bats are known to be the stuff of
horror and nightmare. But one species of
fruit bat found in the Philippines reveals
that these winged wonders are agents
of a mystery far greater death: life itself.
The golden-crowned flying fox takes
flight in the night to feed on fruit, aiding
in the pollination of cash crops as it spits
out seeds and fertilizes the earth with its
excrement. The “silent planter,” as the bat
is called, is a key element in the process
of forest regeneration and helps provide
livelihood to local farmers.
The success of any conservation effort for
bats and crocodiles will therefore depend
on a change of attitude among people.
For so long, fear and superstition have
made these animals more powerful and
frightening than they truly are, justifying
human persecution. For such animals,
being larger than life has come at the
price of life. If we are to save them, we
must distinguish between fact and fiction,
and begin to know the animals as they
are, not as we would like them to be.
18
Wildlife by the Numbers
Knowing how endangered animals live,
perhaps we will care more about their
dying and how.
Loss of habitat is one of the major
reasons behind the decline in the
population of many endangered species,
including the Philippine tamaraw. For
most of the 19th century, this elusive
hoofed bovine, the largest mammal
endemic to the Philippines, roamed
the jungles of Mindoro undisturbed.
The island remained unexplored for
decades for fear of a deadly strain of
malaria believed to be prevalent in its
shores. When anti-malarial medicines
became available, Mindoro’s natural
riches began beckoning to outsiders.
Agriculture, logging, cattle-ranching and
a burgeoning human population soon
displaced the original inhabitants of
the island, animals and humans alike.
Compounded by the spread of disease
and hunting, the tamaraw population
plummeted, bringing the number to only
133 individuals during a survey of the
tamaraw’s main habitat in 1991.
Throughout its life cycle, marine turtles
who travel the world’s vast oceans also
suffer from human encroachment on
its habitat. Five of the seven species
of marine turtles are known to visit
Philippine waters to lay eggs during
nesting season. But the excessive
development of our coastlines for
residential and commercial use has
made them dangerous places for
nesting. Artificial lights, man-made
structures, and generally more densely
populated beaches make navigating the
dunes difficult for both the mother turtles
who lay their eggs and the hatchlings
who must find their way back to the
ocean in order to survive. If the baby
turtles do make it to the water, they face
the destruction of the coral reefs they
depend on for food, the dangers posed
by harmful fishing methods, and the
pollution in our waters. Among these
threats, it’s poaching that has caused
the loss of thousands of marine turtles
who are slaughtered for their meat and
various by-products.
Conservation is largely viewed as a
function of government that passes
laws and designates protected areas
Philippine Cockatoo
to serve as sanctuary for threatened
animal populations. Or it is a function of
non-government organizations, a fulltime advocacy. As the domain of either
bureaucrats or activists, there seems
to be no middle ground for regular
citizens to make lasting and personal
contributions to the conservation effort.
Making the occasional donation to an
NGO, joining the annual fundraising
marathon, or making a trip to an
ecotourism site can feel rewarding, but
the possible drawback of these activities
is a deeper sense of detachment.
Conservation takes on an abstracted
quality—that is, it’s something being
done somewhere by someone else.
The mind can create a sense of
distance, but it can also be the key to
closing the gap between what we know
about endangered species and what
we do as human beings. It doesn’t take
a leap of the imagination to make this
connection. The natural tragedies of
the past years have brought the reality
of deforestation, pollution, and climate
change to our shores. But while we
see our role in the degradation of the
environment, we tend to skip the part
where our actions also affect animal
populations, where turtles choke on
plastic bags they mistake for jellyfish,
where crocodile hatchlings die out for
lack of suitable nesting grounds. Death,
hunger, and homelessness are real
and are not exclusive to our species.
If we could see the link between the
environmental challenges we face and
the suffering of endangered animals,
then wildlife conservation need not be a
far-off, one-off thing, but an integral part
of our lives.
Viewed this way, it’s not only the big
actions of NGOs or government that
count; it’s every little thing we do. When
we turn off the lights or shut the tap,
we are contributing to the conservation
of the resources of a planet shared
by millions of species, endangered or
not. When we shun wastefulness and
diligently bring around reusable bags
and drinking bottles, we reduce the
waste that goes to our landfills and the
toxins that pollute our soil, rivers and
lakes. In planting a vegetable garden,
no matter how small, we help clean the
air, provide small animals shelter, and
as writer/conservationist Michael Pollan
believes, renew our connection with the
earth in a practical and symbolic level.
This approach to wildlife conservation
may come from a distant vantage point
but it helps us arrive at a truth so near, it
easily escapes us: our actions have farreaching consequences. We can help
protect endangered species right where
we are through the everyday choices
we make. With all the information at
our fingertips, we have the opportunity
to re-imagine the world: we can insist
on a view that is separate—divided by
geography, distinguished by species. Or
we can choose to live mindfully, based
on the conviction that our biological
fate is one. Cultivating new attitudes
and behavior, making choices that
are harmonious with this view is our
challenge. But if we prevail, we shall be
mere spectators of nature and wildlife no
longer, but true stewards of creation.
About the Writer:
Celeste Coscolluela taught creative writing and literature at the University of the
Philippines for ten years and served as Deputy Director of Advancement of International
School Manila. She has received recognition for her work in fiction, including two
Palanca awards. She currently freelances as a writer, editor and training consultant.
19
2014
FEATURE
Lakbay Panata
in Philippine Visual Arts
Dr. Alice Guillermo
while on their right, a diagonal Roman
aqueduct transports living water from
the mountains to the cities of the plain.
The aqueduct with its rhythmic arches
is a symbol of time and its unrelenting
passage through millennia.
Claude Tayag. Ati-atihan Tribe No 14. Acrylic on Canvas, 1982. (Bangko Sentral ng Pilipinas Art Collection)
L
akbay-panata is one of the Philippines’ religious
practices that have survived from the Spanish
colonial period up to the present. It forms part of
the rituals and devotional practices of the Church both
personal and communal. One might say that lakbaypanata is a practice particular to our country because
it is not found elsewhere since it is not a prescribed,
obligatory practice.
It only springs from our native religiosity
that shapes our personal relationship
to God. When practiced privately, the
person asks God for a personal favour
that may have to do with his life, family,
or job that is of great importance to him.
On the person’s part, in a relationship
of exchange, he promises to undertake
a pilgrimage, with all its pains and
difficulties, to arrive at the shrine of the
saint or the Virgin who is known to grant
the blessings wished for: good health,
economic improvement, or a bright
future for the children.
The devotee may undertake the
pilgrimage alone or may join a group to
visit the shrine on the feastday of the
20
saint. One of the most famous sites of
pilgrimage in the Philippines is the shrine
of Our Lady of Peace and Good Voyage
because her image is said to have
crossed the ocean eleven times without
encountering danger.
Most paintings on the theme LakbayPanata are mostly set in the the real
world amidst familiar places and
situations. But one exception is Galo
B. Ocampo’s Flagellants (1953) which
takes place in an underground sea
where three human figures descend to
deeper waters while flogging themselves
to signify their deepest contrition. With
bruised feet, they walk through shards
of seashells and petrified branches,
One feature of the country which
contributes to the visual appeal of
paintings dealing with this theme is the
great variety of our natural scenery.
Voyaging is done by foot, by cart, by
horse, by jeep, bus, and car. Another
painting by Galo B. Ocampo is Fluvial
Procession (1956) where families ride in
groups of bancas crossing a large river
towards their site of pilgrimage. Carlos
Francisco did a painting on a similar
theme, “Fluvial Parade” (1961) but
his treatment is vastly different. Huge
numbers of people make up the fluvial
procession—it seems that the whole
town of Angono has turned up for it-rowers, image-makers, cooks of festive
fare, entire families with their children
led by their patron saint, Bishop San
Clemente within a bamboo structure,
as well as flags and balloons. The high
energy of the festival is expressed by
the teeming crowds on the shore and
on the lake itself paying a noisy tribute
to their saint. This is where the image of
Lakbay-Panata coincides with the yearly
town procession in which everyone
participates. The artist’s management
of huge crowds in a massive LakbayPanata comes to the fore.
But the artist Botong also demonstrate
his skill in the depiction of much fewer
figures undertaking the pilgrimage.
Not to be forgotten is one of his
masterpieces, “Pilgrimage to
Antipolo”(1960). Here the focus is
on a beautiful and frail young woman
Galo B. Ocampo. Flagellantes. Oil on Canvas, 1953. (Bangko Sentral ng Pilipinas Art Collection)
21
2014
FEATURE / Lakbay Panata in Philippine Visual Arts
carried on a bamboo hammock on the
shoulders of two men as they go through
river and forest, some others carrying her
possessions, including her baby, in woven
baskets, in order to reach her destination,
the shrine of Our Lady of Antipolo,
where she will pray for good health for
her baby and herself. Botong conjures
an image of perfect beauty in the frail
sleeping woman on a bamboo hammock
surrounded by the amazing wealth of
tropical nature in the Philippines—its
swaying bamboos forming natural arches
and the clear, limpid waters below her
hammock of painstakingly-woven reeds.
Botong himself discovered a path through
the forest from Angono to Antipolo
connecting the two towns for pilgrims
on their way to the shrine where only
faith then held sway over the place of the
discoveries of modern medicine. Aside
from being a National Artist, Botong was
a painter of the Fifties who spearheaded
the research and revival of Philippine
traditions as part of our collective memory.
Ati-atihan (1979) by Claude Tayag can
also be considered a version of LakbayPanata but of a more ancient precolonial
vintage. This is a town procession of the
Atis in the Central Visayas who assert
their dominant presence in the region,
even over the colonizing Spaniards
whom they challenge with their fearsome
looks and formidable weapons of war. It
is surmised that their panata or vow is to
vanquish the colonizers who challenge
their indigenous dominance. This is one
of the few fiestas of our country that is
not linked to religious devotions.
Another communal gathering, this time
requiring a dance of married couples
to the church of the patron saints is the
Obando Fertility Dance (1981), a painting
by Angel Cacnio. The couples, who pray
for a child to break their infertility, dance
in pairs in a procession carrying inages of
the saints above their heads as they wend
their way toward the church in Obando,
Bulacan. In the painting, the happy and
hopeful mood is expressed by the smiling
faces of the participants dressed in
colorful and traditional costumes. This is
a well-loved ritual for us Filipinos who are
natural lovers of children.
In Antonio Mahilum’s “Townsfolk
Dancing” (1989), the pilgrims have
finally arrived at the shrine, as shown
in the background of the painting as
a massive gray stone structure as is
found in large towns all over the country.
In the foreground below, framed by
large, leafy trees is the large group of
pilgrims, old and young, resting after
their long journey on foot. They have,
however, spared enough energy to do
a thanksgiving dance, with a young girl
and a young man in the midst of their
circle, to thank God and the saint for
helping them accomplish their journey
in the hope of obtaining the favors they
asked in their prayerful pilgrimage.
Antonio Mahilum. Townfolk Dancing. Acrylic on Canvas, 1989. (Bank of the Philippine Islands Art Collection)
Carlos V. Francisco. Pilgrimage to Antipolo. Watercolor, 1960. (Paulino Que Collection)
About the Writer:
Dr. Alice G. Guillermo is an art critic and author of many Philippine art books including
Brushstrokes From the Heart: The First Five Years of Art Petron (Winner of the National Book
Award: Alfonso Ongpin Award for Best Book in Art in 2006). She is a Professor Emeritus at the
College of Arts and Letters of the University of the Philippines Diliman.
22
Sources:
Flores, Patrick D. (editor). The Life and Art of Botong Francisco. Quezon City: Vibal Foundation, 2010.
Lerma, Ramon E.S. (editor). Tanaw: The Bangko Sentral ng Pilipinas Painting Collection. Manila: Bangko Sentral ng Pilipinas, 2005.
Villegas, Ramon N. (editor). Herencia: A Legacy of Art and Progress. Makaty City: Bank of the Philippine Inslands Foundation, 2008.
Carlos V. Francisco. Fluvial Parade. Oil on Canvas, 1961. (FEU Art Collection, photographed by David C. Fabros)
23
1
2
4
0
Jay Aldeguer: More than a
PEOPLE
T-Shirt Tycoon
F
rom souvenir shirts to tourist taxis, Jay Aldeguer has
etched his name as one of the most creative and
innovative entrepreneurs in the Philippines. His life
story is as colorful as his popular and much loved T-shirts
carrying the Islands Souvenir brand.
Jay started out his business in a cart in a
mall. Then he opened his first branch in
Cebu, making three times his investment
in the first year. On his third year, he
was already invited to set up an outlet
in SM. Today, Jay has 70 outlets in the
country, including stores and kiosks. The
business has expanded globally; Island
Souvenirs is in Japan, USA, Singapore
and Macau. His souvenir store concept
has evolved into Islands Banca Cruises,
Islands Stay Hotels and now Islands Taxi
Service. Aldguer has also ventured into
media and entertainment. His Escape
is the leading events company in Cebu;
and his CeBu! TV Channel 28 is a 24hour regional channel featuring the city
and its people.
Jay was 27 and the youngest to be
awarded “The Outstanding Young Men”
(TOYM) for Business Entrepreneur by
then President Fidel Ramos in 1992. He
received the Agora Award for Business
Entrepreneur, and the Ernst & Young’s
Jay Aldeguer in one of his stores
“
A T-shirt is about selfexpression – a way for
the wearer to express his
beliefs, likes, dislikes, and
other personal details in a
cool and hip way
”
Island Souvenir in Loboc, Bohol
24
“Entrepreneur of the Year.” He is part of
the first batch of the prestigious PLDT
Bossing Awardees.
When Vision Petron added a new
T-shirt Art Design category in 2011,
Jay was invited to lend his expertise in
this new but very popular expressive
medium of the youth. We asked him
a few questions about t-shirts and
how a frustrated artist like him can be
a successful businessman - while still
having fun and pursuing his passion.
Q
: Can you tell us how your
company, Islands Souvenirs
started? Can you walk us through
your struggle to inspire others?
A: When I was 21, immediately after
college, I went backpacking to Europe
as a graduation present from my
parents. I’d collect souvenirs in every
place I’d visit. Initially, I bought figurines
and books and other items until I
realized I wasn’t going to last the rest
of the trip if I continued buying heavy
items and stuffing them in my bag. So
after my second leg, I decided to stick
to souvenir shirts which not only turned
out to be great souvenirs but also a
great change of clothes. When you’re
backpacking, you don’t have the luxury
of doing your laundry all the time. I
ended my travel with a couple of dozen
shirts from different places.
But it was my travel around the
Philippines after Europe that gave
me the idea of a potential business.
I remember I was in Baguio at Mines
View Park when I asked the sales
lady for their top-selling shirt. To my
amazement, she pulled out a shirt with
the exact same design as the souvenir
shirt my parents bought for me when I
was ten years old.
Baguio, the top destination in the
Philippines then, did not even have a
decent souvenir shirt to offer. That, I
recall, was a “light bulb” moment that
inspired me to look into this business.
While there were handicrafts and
woodworks souvenirs galore, I felt
there was a big potential for “practical”
souvenirs. Furthermore, the souvenir
industry had been perceived as a
cottage industry, one that never evolved
not only in the Philippines but even in
the most sophisticated international
destinations.
Having gone back to my hometown
in Cebu was also timely since the
airport had just been converted into
an international airport and the worldrenowned Shangri-la Resort had just
opened which was the beginning of
Cebu’s climb as the country’s top travel
destination.
Being a Cebu-based company is
actually very strategic especially
because of the industry we are in and
the fact that the top destinations such
as Bohol, Boracay, and Palawan are
nearer to Cebu than they are to Manila.
Q
:Can you identify the reason for
its continuing success?
A: Success in the realm of business
is able to execute one’s dream or
imagination and make it sustainable
and profitable. Aside from that, we find
great fulfillment in creating an impact
in the community and the country.
For instance, the destination shirts
Island Souvenir sample t-shirts
we produced in the early 90s helped
change the Filipino’s colonial mentality
of constantly wearing destination shirts
of foreign places that has “California”
or “Hawaii” on them. Because of our
exciting and colorful designs which
projected the true fun character of
the Philippine islands, Filipinos started
wearing them a lot and the shirts
became “mini billboards” to promote the
different places in the country.
Our formula of “tweaking” an existing
but thriving business has worked for
us in all our other subsidiaries starting
with Islands Souvenirs to Islands Banca
Cruises, Islands Pasalubong, Islands
Stay Hotels, and Islands Pinoy Deli.
Q
: What is in a T-shirt that makes
it still an effective marketing or
branding tool in promoting values or
an advocacy?
A: A T-shirt is about self-expression
– a way for the wearer to express his
beliefs, likes, dislikes, and other personal
details in a cool and hip way. Most
people underestimate its importance
but the marketing power of a T-shirt
is simple and very effective. It is a
wearable medium of communication.
Regardless of what kind of design,
message, or statement is on the shirt,
the wearer immediately becomes
a brand ambassador and a human
billboard, relaying the brand or design
to others. The T-shirt empowers the
wearer. In a way, he represents the
brand or whatever statement the shirt
projects. This in turn transforms the
shirt into an inspirational symbol. Also,
a T-shirt evokes a sense of tribe among
the wearers, creating an exclusive clique
where individuals bond over a shared
concept. The T-shirt can be avehicle for
these people to express shared ideals.
25
2014
FEATURE / Wearing Pride: Q&A with Jay Aldeguer
Q
: What for you makes a good
t-shirt design?
A: A good design can be as simple as
one having a strong visual and aesthetic
impact. But some designs become
more than just a visual expression;
some convey a strong message and
a projection of one’s character and
feelings. For instance, our customized
“i heart” series was very simple but
captured the imagination of millions
professing their love for their place.
Another recent example was the
#Bangon T-shirt series during the
calamity-laden Visayas in 2013. The
shirt and campaign was an instant
hit and allowed us to raise funds to
contribute to the rehabilitation of the
Yolanda and Bohol quake victims. The
shirt design was simple but the message
touched a nerve especially at a time of
despair.
Q
: Can you provide tips on how to
come up with a winning entry?
A: The fact that Vision Petron added a
T-shirt design category signifies Petron’s
commitment to continue being relevant
especially to the youth. This is a very
strong statement that Vision Petron is
going to great lengths in helping the
youth express themselves through
art. In 2011 during its first year, the
entries were rather overwhelming both
in number and in quality. There was
an immediate interest among students
to participate as it was a less daunting
medium and something most students
could relate to. I feel, though, that there
is still a lot of room for improvement
in terms of style and rendition. There
seems to be a prevalent trend of
executing the same look and style. So
the ones that won really stood out from
the rest. And those that stood out are
few and far between. I’m confident
though to see more variety in style in
the coming years as there has been a
steady progression since the category’s
inception in 2011.
Kenneth Cobonpue is one of
Jay’s friends and believer
The Islands Souvenirs brand always has a strong Filipino pride in it
A: Differentiate. As a very fluid medium,
the design is very critical in terms of
its ability to stand out, to capture the
imagination, to relay the message, and
to create an immediate impact without
being too outrageous. It is all too easy
to follow a current trend in aesthetic
especially if there is a common design
concept. The challenge is how to be
different yet remain strongly relevant.
Simplify. Avoid being too many things at
once. Have a single-minded focus. This
strengthens and solidifies the concept,
making it more credible and believable.
Q
: You have been our judge in the
T-shirt art design category since
we introduced it in 2011. Can you
remember what your expectations
were then? What do you expect from
students now? Or what do you still
want to see the competition evolve
into?
First Vision Petron T-shirt Art Design judges in 2011
Interview by Jay Bautista
Photos care of Islands Group
Bangon Sugbohol credited to www.lissakahayon.com
26
27
2014
FEATURE
Malaysia
Vision Petron National Student Art and Photography Competition
By Haron Alrasyid Nawi of Petron Malaysia
Puan Faridah Ali (Director, Petron Fuel International Sdn Bhd), Dato Mahadzir Lokman (Chairman of the National Visual Arts
Gallery) and Ms. Ana Neri of Petron Philippines during the launch of Vision Petron at the National Visual Arts Gallery.
Vision Petron roadshows at the campuses
I
n the spirit of national unity and social development
through promotion of art, Petron Malaysia embarked
on Vision Petron, its second National Student Art and
Photography Competition that took place from June 15
to August 30, 2014.
The theme for this year’s Vision Petron
is “Journey to Fulfill My Promise” which
encourages participants to share their
artworks that depict their promise
as they journey towards achieving
their personal, family, communities,
environment, or the nation’s goals. The
competition was open to all Malaysian
students aged 18-28 years old studying
in local universities and colleges.
28
To reach out to more budding artists,
Petron went on a series of road shows
at the campuses of KDU College
Penang, Universiti Teknologi MARA
(Perak), Saito College, KBU International
College, IACT College, International
Islamic University Malaysia among
others, as well as the National Visual
Arts Gallery. During the roadshow,
students participated in exciting
activities such as creative workshops,
art jamming and graffiti painting sessions
with leading local artists such as Anuar
Abdullah, Katun, Kenji Chai and Nenok.
To cap off the activities, students from
various universities and colleges painted
a large graffiti wall depicting symbols
of Vision Petron at the entrance of the
National Visual Arts Gallery.
The National Visual Arts Gallery of
Malaysia had always been a strong
supporter of Vision Petron. Apart from
co-hosting the competition for the
second time this year, the National Visual
Arts Gallery had helped to promote Vision
Petron under its Malaysian Contemporary
Art Tourism program, the country’s
premier contemporary art festival.
Art jamming session with local artist, Anuar Abdullah
29
2014
FEATURE / Vision Petron Malaysia
KDU Penang students posing
with their graffiti paintings
during a session with local
graffiti artist, Katun
30
With the help of students from various universities
and colleges, graffiti artist Kenji Chai and Nenok
painted a large graffiti wall depicting symbols
of Vision Petron at the entrance of the National
Visual Arts Gallery.
31
2014
FEATURE / Vision Petron Malaysia
Judges Norbaidah Ambak and Hashimah Nyok (Curators from National Visual Arts Gallery), Zaimi Harun and Haron Alrasyid Nawi
(Petron representatives) and Local Artist & Marine Conservationist, Anuar Abdullah meticulously assessing the entries.
A total of 335 entries were submitted
this year, 67% increase from last year’s
200 entries. This year also saw a
marked increment on the number of
submissions from the public universities,
which constituted 30% of the total
submissions.
The judging sessions took place at
the National Visual Arts Gallery on 4
September, 2014. Judges Norbaidah
Ambak and Hashimah Nyok (Curators
from National Visual Arts Gallery), Zaimi
Harun and Haron Alrasyid Nawi (Petron
representatives) and Local Artist &
Marine Conservationist, Anuar Abdullah
judged each submission based on
originality, composition, and creativity.
32
Nik Mohd Shazmie Bin Nik Shairozi
of UITM Seri Iskandar Perak emerged
as the grand prize winner in the painting
category. His entry entitled, “Happy
Afternoon in Kuala Krai,” caught the
attention of the judges with his skillfull
techniques, impactful artwork, excellent
usage of colours and medium, as well
as the humorous elements incorporated.
Meanwhile, Leong Shen Yung of The
One Academy, won the photography
category with her photo entitled “The
History Writer of the Future”. She
presented a set of stationeries such
as pencils, markers and crayons as
common medium to express one’s
desires. Teo Sin Yee and Toh Pei Li were
recognized as the second prize winners
in the art and photography categories
respectively, while Moi Soon Weng (art)
and Tang Yong Lin (photography) came
in third.
Participants compete for the top 12
prizes comprising a total value of
RM15, 000. Grand prize winners each
received a cash prize of RM3,000.00.
Second and third place winners
received RM2,000.00 and RM1,000.00
respectively; while fourth, fifth, and
sixth placers each won RM500.00.
All winners also received trophies
and certificates of participation.
Additionally, special recognition awards
are introduced this year – The “Vision
Petron People’s Choice” award,
“Most Supportive Campus” award
and “Campus With The Most Entries”
award. For the “People’s Choice” award,
the public had a hand in deciding the
winners by clicking “Like” on the entries
posted in Facebook.
2014
VISION PETRON WINNERS
Grand Prize Winners
Painting - Oil/Acrylic
Eric P. Perreras
Till Death Do Us Part
Museo ng Angeles
121.92 cm x 121.92 cm
Mark Leo G. Maac
Sa Liwanag ng Tagumpay
Bulacan State University
91.44 cm x 124.46 cm
Edu P. Perreras
Fulfilling And Caring For God’s Gift
Museo ng Angeles
121.92 cm x 121.92 cm
34
35
2014
VISION PETRON WINNERS
Grand Prize Winners
Painting - Water-based Media
Edu P. Perreras
Iniukit ng Panata
Museo ng Angeles
71.12 cm x 101.6 cm
Weriel B. Mallari
Sa Gitna ng Unos
Tarlac State University
91.44 cm x 121.92 cm
Karl P. Albais
Bayan Ko, Ipinagdarasal Ko
Xavier Technical Training Center
78.74 cm x 78.74 cm
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37
2014
VISION PETRON WINNERS
Grand Prize Winners
Photography
Ezra L. Acayan
John Christian D. Guevarra
Eid Mubarak!
Far Eastern University Manila
Sapa
John B. Lacson Memorial
Foundation Maritime UniversityArevalo
Jeremiah A. Digo
Romel N. Dulay
Untangling the Flag
Adventist University of the
Philippines
Pisara’t Pangarap
Pangasinan State University
Titus Ira J. Adayon
Kabataan, Karunungan, Kalikasan
John B. Lacson Memorial Foundation Maritime
University-Arevalo
38
Reu Dawner A. Flores
Harmony
Adventist University of the Philippines
39
2014
VISION PETRON WINNERS
Grand Prize Winners
T-Shirt Art Design
Celine Anne E. Magno
Peksman, Mamatay Man
Technological University of the
Philippines - Manila
Rosela C. Andal
Serbisyong Kapwa Tao Lakbay Ko,
Panata Ko
PUP Lakandayang Cultural
Association
Joshua B. Zerda
Panata
Far Eastern University
- Manila
40
41
2014
VISION PETRON WINNERS
Grand Prize Winners
Video-making
Hector B. Calma, Roni S. Benaid
and Denise Gail T. Tumibay
Uling
PUP Lakandayang Cultural Association
Vyankka Pauline R. Balasabas
and Haysonne C. Garol
Para Sa’yo, Inay
University of Mindanao
John Henry B. Pantilanan,
Carlo M. Donadillo and
Jose Daniel A. Domingo Yan
Hiram
Polytechnic University of the
Philippines - Manila
42
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2014
Runners-up
VISION PETRON WINNERS
Painting - Oil/Acrylic
Soon R. Unlang
Balik Tanaw
University of Mindanao
91.44 cm x 121.92 cm
Runners-up
Painting - Water-based Media
Melanio B. Bulauitan III
Panatang Makabayan: Iniibig Ko ang Pilipinas
PUP Lakandayang Cultural Association
121.92 cm x 91.44 cm
John Mark L. Saycon
Kuwa Taliman
Polytechnic University of the Philippines - Manila
101.6 cm x 76.2 cm
Wencyl M. Urieta
Katutubo
Museo ng Probinsya ng Tarlac
27 in. x 41 in.
Neil C. Defeo
Garry Allen V. Watin
A Mother’s Vow
Cebu Academy of the Arts
121.92 cm x 91.44 cm
44
Ka-Juan Gawa
PUP Lakandayang Cultural Organization
50.8cm x 76.2 cm
45
2014
VISION PETRON WINNERS
Runners-up
Jeremiah A. Digo
Ala-ala ng Suman
Adventist University of the Philippines
Ezra L. Acayan
Mud and Devotion
Far Eastern University - Manila
Photography
Baby Mae C. Palapar
Lakbay Panata
St. Peter’s College of Balingasag Misamis
Evangelin B. Diamsay
Panatang Makatapos ng Pag-aaral
Tarlac State University
Jophel B. Ybiosa
Panata ng Apo at Lola
Philippine Center for Creative Imaging
Mary Gracenjoy Y. Bermudez
Panatang Ipagpapatuloy
Eulogio “Amang” Rodriguez Institute of Science and Technology
46
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2014
VISION PETRON WINNERS
Semi-finalists
Painting - Oil/Acrylic
Marvin E. Quizon
Brilliant Deeds from the Heart
Altromondo Mentoring Program
Oil/Acrylic - 91.44 cm x 121.92 cm
Lymuel A. Bautista
Lorenz Richard B. Bactong
The Sacrifice
Bulacan State University
91.44 cm x 121.92 cm
McArthur
Pamantasan ng Lungsod
ng Maynila
116.84 cm x 116.84 cm
Amos L. Malayao
Driven
Technological University of the
Philippines - Manila
76.2 cm x 101.6 cm
Jeffrey C. Cabalquinto
Kuya at Bunso:
Pag-alalay, Pag-aruga
Eulogio “Amang” Rodriguez
Institute of Science and Technology
121.92 cm x 121.92 cm
Jhon Michael J. Macariola
Panata ng Aking Puso
Eulogio “Amang” Rodriguez
Institute of Science and Technology
91.44 cm x 121.92cm
Sir Anthony Y. Mercado
Monumento ng Iba’t Ibang Panata
Bulacan State University
91.44 cm x 121.92 cm
Salvador M. Bañares Jr.
48
Panata ng Pagtutulungan, Pamanang Diwa ng Bayanihan
Pintura Art Workshop
121.92 cm x 91.44 cm
Roginson C. Culibrina
Panatang Walang Hanggan
University of Rizal System Morong
121.92 cm x 121.92 cm
49
2014
VISION PETRON WINNERS
Semi-finalists
Deo Carlos D. Amarante
Nag-aaral, Nagdarasal ng Buong Katapatan
Eulogio “Amang” Rodriguez Institute of
Science and Technology
60.96 cm x 76.2 cm
Painting - Water-based
Water-Based Media
Media
Benjamin L. Alba Jr.
Translacion: Panata sa Poong Nazareno, Pag-asa ng Bawat Pilipino
Guintong Pandayan Summer Workshop
76.2 cm x 101.6 cm
Mighty Stronghold
Tarlac State University
76.2 cm x 50.8 cm
Sa Amin Magsisimula ang Panata
Technological University of the Philippines - Manila
55.88 cm x 76.2 cm
Panata Para sa
Karangalan
Museo ng Angeles
101.6 cm x 76.2 cm
Alfredo G. Baluyot
50
Christian Aaron T. Bondoc
Catherine R. Salazar
Eric P. Perreras
Munting Bahagi
Museo ng Probinsya ng Tarlac
113 cm X 82 cm
Vanessa F. Pagaduan
Panatang Makabayan
Museo ng Probinsya ng Tarlac
55.88 cm x 106.68 cm
John Verlyn C. Santos
Panata Ko, Panata ng Sambayanang Pilipino
Bulacan State University
55.88 cm x 76.2 cm
Jason A. Delgado
Tungkulin ni Pepe
Western Visayas College of Science and Technology
101.6 x 76.2
51
2014
VISION PETRON WINNERS
Semi-finalists
Christian Macalinao
Panata ko
Eulogio “Amang” Rodriguez
Institute of Science
and Technology
Gilbert John Gomez
#ICARE
Bulacan State University
T-Shirt Art Design
Rosela Andal
Lakbay Panata para sa
Makulay na
Buhay para sa
Pamilyang Tunay
PUP Lakandayang
Cultural Association
Kristen Anne Uy
Nakatulong ka na ba?
University of Santo Tomas
Ejem Alarcon
Panata ni Ama sa Pamilyang Maligaya
Polytechnic University of the Philippines
Raven Joyce Bunag
Puno ng Panata (Full of Pledges)
Bulacan State University
52
Jose Erlito Recto Jr.
Ang Ngiti ng Kahirapan
Lumina Art Workshop
Christian Cedrick Dela Paz
Every Drop Counts
Eulogio “Amang” Rodriguez Institute of
Science and Technology
Raven Joyce Bunag
Samu’t-saring mga Panata
Bulacan State University
53
2014
VISION PETRON BOARD OF JUDGES
Painting Judges
From L to R: Mark Justiniani, Elmer Borlongan, Orley Ypon, Ramon Cruz, Ana Neri, BenCab, Felice Sta. Maria,
Jeremy Barns, and Alfred Esquillo Jr.
HON. BENEDICTO CABRERA (Chairman)
His career began immediately after graduating with Fine Arts
degree from the University of the Philippines and now spans
50 years. As a master of Contemporary Philippine Art, he has
been conferred National Artist for Painting in 2006. He has been
based in Baguio City since 1986 where he has built a worldclass museum of Philippine indigenous and contemporary art.
A retrospective of his works is being planned in partnership
among various museums sometime next year. BenCab has been
our judge since 2005 and this year he chairs again the board of
judges for the second time.
Loob was held at the Jorge Vargas Museum at the University of
the Philippines Diliman.
FELICE P. STA. MARIA
Felice is an internationally awarded non-fictionist. She advocates
the use of cultural development so individuals and societies can
discover their most excellent and honorable capabilities. She is
a trustee for the National Museum of the Philippines and Museo
ng Kaalamáng Katutubó, as well as an advisor to Ayala Museum.
Felice has been with us since our inception 2001.
MARK JUSTINIANI
Born in Bacolod, Mark is one of the most prolific artists today. A
graduate of the University of the Philippines, he is a CCP 13 Artist
Awardee in 1994. He was part of the progressive Salingpusa and
Sanggawa artist groups. Last December 2013 he had a show
entitled Tila featuring mechanics-inspired works at the Pinto
Art Museum in Antipolo and participated in the Art Singapore
Platforms. His works have been exhibited abroad and much
sought after by collectors.
ELMER BORLONGAN
A fine arts graduate of the University of Philippines, Elmer
was a member of the progressive art groups Saling Pusa and
Sanggawa. A recipient of the prestigious CCP 13 Artists Award in
1994, his works are in the collection of local and Asian galleries
and museums. Last July he had a 20-year retrospective at
the Ayala Museum entitled In City and Country capturing his
transition from being based in Mandaluyong to Zambales.
ALFRED ESQUILLO JR
A fine arts graduate of University of Santo Tomas, Alfred won
almost all major local art contests including the grand prize in the
Philip Morris Asean Art Awards. A recipient of the CCP 13 Artists
Award in 2000, he was chosen among Southeast Asian artists
to exhibit in Turin, Italy last November 2013. His latest exhibition
54
JEREMY BARNS
Jeremy is the Director of the National Museum of the Philippines.
He is spearheading the upgrading and improvement of all the
agency’s central museums, as well as regional and site museums
throughout the country. He is also working to establish the
National Museum of Natural History in Rizal Park, scheduled to
open late next year, to highlight Philippine biodiversity. Jeremy is
also a public manager, economist, writer and editor.
ORLEY YPON
Based in Cebu, he is one of ArtPetron’s first grand prize winner
and our first hall of famer for painting. He has exhibited locally
and internationally. A self-taught artist, Ypon also won other art
competitions including an artist residency last year at the Artist
Renewal Center in New York. He is scheduled for solo exhibition
at the AltroMondo Gallery early next year.
RAMON M. CRUZ
Monching is the Head for the Brand Marketing Group of Petron.
He has more than 25 years of marketing experience, 17 years
of which is with SanMiguel Corporation. He is one of the prime
movers of Vision Petron for more than three years now and
hands on with the execution of Petron’s brand image in its
corporate collaterals.
Photography Judges
From L to R: George Tapan, Sara Black, Wig Tysmans, Ana Neri, Wawi Navarroza,
Mark Nicdao, and Charles Buenconsejo
WIG TYSMANS (Chairman)
Wig is one of the country’s top portraitists and commercial
photographers whose career spans to more than 40 years. An
architecture graduate of St. Louis University. He just finished
shooting for a coffee table book on Malacañang: The Official
Illustrated History (Aquino edition) for Studio 5 Designs and for
DMCI. He has been our chairman in the photography category
since its inception in 2004.
GEORGE TAPAN
George is one of the country’s top travel photographers. Among
his coffee table books are Southeast Asian Art and Culture,
Filipina, Our Natural Heritage (DENR), The Landscape of
Ildefonso P. Santos, Palawan Islands, and Dipolog City. He won
in the Places category of the National Geographic 2012 Photo
Contest and the PATA Gold Award for Best Travel Photo in the
same year.
SARA BLACK
Sara was born and raised in Manila, Philippines. Upon finishing
her Communication Arts degree at the Ateneo de Manila
University, she has since photographed countless models and
celebrities for the country’s top prestigious magazines. One
of the well known names in the country’s history and fashion
photography.
MARK NICDAO
Mark has been shooting for more than a decade now. His forte is
portraits by celebrities and prominent personalities. He has been
behind the Rogue magazine’s cover since its inception in 2008.
He came out with a book of his photography entitled Vantage
which was released in 2011. He has shot advertising campaigns
in the US and the in the Asian region.
WAWI NAVARROZA
Wawi is a visual artist and a professional photographer based
in Manila, Philippines. She graduated with a Bachelor of Arts
degree from De La Salle University, Manila and attended courses
at the International Center of Photography, New York. She was
awarded the CCP 13 Artists Award (2013) and is featured as one
of the guest designers at the Manila Fame this October.
CHARLES BUENCONSEJO
Charles is Vision Petron’s first hall of famer for photography
having won in 2004 and 2005 respectively. A graduate of UP
Cebu, he has exhibited in local galleries and has won the Ateneo
Art Awards twice, in 2012 and 2014. His latest exhibit Unending
Void was held at the Art Informal Gallery last May.
55
2014
T-Shirt Art Design Judges
VISION PETRON BOARD OF JUDGES
From L to R: Gerry Alanguilan, Jay Aldeguer, Ana Neri, Raul Isidro, Justin Nuyda, and BG Hernandez
RAUL ISIDRO (Chairman)
Raul is a well-respected abstract painter specializing in
lithography and printmaking. He has held important positions
such as president of the Printmakers Association of the
Philippines (PAP), Art Association of the Philippines (AAP) and
as dean of Philippine Women’s University College of Fine Arts.
Petron sponsored his recent retrospective at the Ayala Museum
last December 2013 to January 2014. He chairs again the T-shirt
category for the fourth time.
BG HERNANDEZ
BG is a multi-awarded graphic and book designer with more
than 30 coffee table books. He recently finished Treasures of
the Philippine Wild for the Biodiversity Management Bureau,
Malacañan Palace: The Official Illustrated History (Aquino Edition)
and Freundschaft Pagkakaibigan (Philippine German Book). He
recently won a Gold Stevie for his design of The Pepsi Challenge:
A Journey of Remarkable Resilience. He is the co-founder of
TindogTacloban Movement, a non-partisan organization involved
in rebuilding Tacloban through transformational programs in the
areas of business, education. and government.
56
JAY ALDEGUER
Jay is the President and CEO of the Islands Group based in
Cebu. The youngest to be awarded the Ten Outstanding Young
Men (TOYM), Islands Souvenirs has more then 100 outlets locally
and abroad. He has been recently been appointed founding
curator for Global Shapers Community Cebu hub. Jay’s main
advocacy is to spread the culture of entrepreneurship in the
Philippines.
JUSTIN NUYDA
Born in Albay, he graduated with a degree in Fine Arts from
the University of Santo Tomas, Manila in 1966. He has staged
several solo exhibits and participated in numerous group shows
in a career that has spanned more than four decades. A Cultural
Center of the Philippines Thirteen Artists Awardee in 1972,
he recently had an exhibition at the AltroMondoart gallery in
Greenbelt, Makati.
GERRY ALANGUILAN
Based in San Pablo, Laguna, Gerry is an architect by profession
although he prefers to be a storyteller through creation of comic
books. He inked for Wetworks, X-men, Superman, Wolverine,
and Fantastic Four. Most of his works are based in the Philippine
setting. He is best known for his works Wasted and Elmer,
which is published internationally and released with a French
translation. An Ani ng Dangal Awardee for Visual Arts by the
National Commission for Culture and the Arts (NCCA) in 2012,
his advocacy is to promote comics as a legitimate art form.
Video-making Judges
From L to R: Romy Vitug, Ricky Lee, Laurice Guillen, Ana Neri, and Raymond Red
LAURICE GUILLEN (Chairman)
A protégé of Lino Brocka, Laurice began her first major work as
a director with Init sa Magdamag. Her other films include Salome,
Ipagpatawad Mo and Dahil Mahal Kita: The Dolzura Cortez Story.
In 2006 she was awarded the Gawad Tanglaw ng Lahi by Ateneo
de Manila University for services to the Arts. Director Guillen
headed the organizing committee in the past four Cinemalaya
Philippine Independent Film Festival. Last September her film
Once a Princess was shown. Director Guillen in currently doing a
drama series for a major television network. This is her first time
to chair the video-making category.
RAYMOND RED
Raymond is one of the pioneers of modern Filipino independent
and alternative cinema. Having a background in Fine Arts and
photography, Red immediately gained recognition by winning
awards and citations, both locally and at the international film
festivals scene, including the prestigious Palme d’Or award
at the 2000 Cannes Film Festival for his short film Anino. A
retrospective of his films was shown at the Guam International
Film Festival. He is currently doing a masters class in Shanghai
Short Visions Festival and will be a member of the jury at the
Berlin International Film Festival in the next months.
ROMY VITUG
Romy started as a photographer for The Chronicle. As one of
the country’s foremost cinematographers with more than 50
feature films to his credit, he has won every major award in his
field including the first FAMAS Hall of Fame and the Parangal
Patnubay sa Kalinangan for Cinematography. He currently
supervises the production in a sitcom in a major television
network. Mang Romy has been with us since the inception of
photography as a category in 2004. Last year, he chaired our first
video-making category.
RICKY LEE
Ricky is a multi-awarded scriptwriter and is currently Creative
Manager for ABS-CBN. He has written more than 150 film scripts
since 1973, earning him more than 50 trophies from various
award-giving bodies, including a 2003 Natatanging Gawad Urian
Lifetime Achievement Award from the Manunuri ng Pelikulang
Pilipino (Filipino Film Critics). Since 1982 he has been conducting
free scriptwriting workshops at his home. Lee is also a fictionist
with two novels, a journalist, and a playwright.
MARY ANN M. NERI
Ana is the Assistant Vice President for Marketing of Petron
Corporation. She brings with her more than 20 years of
experience in advertising and brand management in J. Walter
Thompson and has spent six years in San Miguel Corporation
performing various key marketing roles. Under her guidance
Petron’s youth program for arts and culture has progressed to a
bigger advocacy through Vision Petron. Ms. Ana is also judge for
photography and t-shirt art design categories.
Vision Petron is an exhibition and competition for all young and
budding artist.
We at Petron believe that free artistic expression remains intrinsic
to nation-building. We support the Filipino artist’s unique vision and
dynamic translations of Philippine culture through various forms of
art that draw fellow Filipinos closer to their heritage and ultimately,
to everyone.
Petron believes that everyone has his or her own unique perspective
on things and that this uniqueness can be expressed in so many
different ways. That is why we created Vision Petron.
Vision Petron is a competition for photographers, painters, and
designers. It is also a venue for filmmakers, musicians, performance
artists, art enthusiasts, and all Filipinos to converge and be one
through their shared loved for Philippine art and culture.
www.visionpetron.com • Facebook Page: Everyone’s Vision Petron