Friday, February 26, 2016

raser Island, Still Life
Alfredo Roces: Man of Arts and Letters

(First of Two Parts)
by: Christiane L. de la Paz

January 2016--Alfredo Roces holds a prominent place in the history of Philippine art. He is a painter who started with a figurative style but soon began to amalgamate Expressionism, Fauvism and Impressionism in his paintings. As he move into Abstract Expressionism and assemblage, he also branched out in these various separate directions without abandoning the figurative and realist schools. More than that, he is also a notable author of Philippine art books whose ability to connect with the readers comes down to how he brings out the fullness of his subject. His books, Amorsolo 1892-1972, Filipino nude: the human figure in Philippine art and a portfolio of nudes, Legaspi The Making of a National Artist, Anita Magsaysay-Ho In Praise of Women, Felix Resurreccion Hidalgo & The Generation of 1872, to name a few, immortalized his writing style. Clear and solid sentences, apt words and sentences to reflect the truth about his subject are the distinguishing marks of his style. He is a recipient of the Ten Outstanding Young Men in Humanities and a Hall of Fame awardee at the Filipino Australian Artists and Cultural Endeavor Society, among many others.In this two-part interview with Roces, he takes us back to his early years as a student of Dominador Castañeda and then George Grosz, his involvement in the formation of the Saturday Group, his artworks during martial law and his life and activities in Sydney, Australia.

How did you start your career as a painter?


During World War II, when I was about 10 years old, I made a copy of Mickey Mouse on plywood, about four inches high in size, cut that out and painted it with my father's discarded pastel sticks which I pulverized and mixed with water. I thought it would be permanent and mounted it on a small, flat wooden stand. My sister-in-law was so delighted with it she paid me 40 centavos Japanese time money. My first art sale.

But of course one really starts any career by formally learning the craft and I started with weekly private tutoring under UP Prof. Dominador Castañeda in 1947. I was 14 years old and a first year high school student then. I then completed four years including summers of fine arts course at the Notre Dame University in Indiana, USA (1950-1954), after which I took an extra year of drawing at the Arts Students League of New York under the Dada German painter, George Grosz (1955-1956). I therefore started my career by going through eight long years of formal academic training.

Can you still recall the first image that you painted?

I must have been always been drawing as child because my father got Castañeda as my private tutor without my mentioning to him anything about studying art. Since none of my elder eight brothers had ever been provided with an art tutor, he must have observed my unusual interest in art.

My first oil painting under Castañeda was a still life, probably 1947-8. My first oil self-portrait still under Castañeda is dated 1950.


First oil painting under Dominador Castañeda (1948)

Why did your father handpick Castañeda to tutor you?

My father's first choice was Fernando Amorsolo but he had retired from UP to concentrate on painting. Amorsolo recommended Castañeda who had replaced him as head of the fine arts at UP. Castañeda had studied in Mexico in the days of Siqueros and Orozco.

What did you learn from your study under him?

Castañeda was an excellent teacher, gentle, patient and informed about technique. I learned one-on-one from him, drawing, proportion, chiaroscuro, perspective, anatomy and the characteristics of colors and the use of pastel, watercolor and oil. He was practical rather than theoretical and he built into me the need to personally care for one's painting gear and equipment and how to wash brushes after using.

He also showed me a book, Constructive Anatomy by George Bridgman a copy of which he had drawn and copied page by page. He was a dedicated artist and teacher. We enjoyed a healthy rapport. When I returned from my studies in the US, he asked me to write the introduction for his book, Art in the Philippines (1964).


Painting under Castañeda, portrait of his sister-in-law, Lita, the wife of his brother Joaquin, Congressman for Manila

Did you have to go to his house in La Huerta, Parañaque or did you hold your weekly lesson in your house or at the UP SFA?

Castañeda would come to our house in Pasay. On occasion he brought his little son Porfirio along. Porfirio remains a friend.

Why did your father choose you to study art among your eight other siblings?

I never mentioned taking art studies to him. He must have observed my interest in the arts. Depending on individual interests, my other siblings got different special tutoring such as guitar and piano for the musically inclined.



With his brother Marcos at the Notre Dame University (circa 1951-1952)


How long did you study under him?

I started around 1947, every Saturday afternoon. I stopped only when I had graduated from high school and left for the US in 1950. So three years.

You were the only one who became an artist. What are the interests of your other siblings?

Three brothers, Rafael Jr., Joaquin and Alejandro were established writers, writing daily columns for newspapers, Tribune, Manila Times, etc.. Alejandro who wrote short stories was named National Artist for Literature. Two were in politics: Joaquin who served as Congressman for Manila's 4th district for four terms. Jesus was Vice Mayor of Manila when Arsenio Lacson was the mayor. The others were businessmen.


Mirror, third prize winner at the Notre Dame University Art Competition (1953)

What made you decide to study F
ine Arts at the University of Notre Dame?

My father's family choice. It was a reputable Catholic University which offered a rounded academic education. In the 1930s, my two eldest brothers had also studied there. I went with another sibling, Marcos who took up commerce there. He was a year ahead of me. I started as a general bachelor of arts student but when I won a silver star for a watercolor I had submitted in a student competition in my first year there, I was encouraged to major in Fine Arts. My minor was Philosophy.

The Philosophy was for a Pre-Law course?

No. It was for a general course for Bachelor of Arts. My major was Fine Arts but one had to minor in an academic course. It was an academic college degree and not a technical degree.

What career were you planning to pursue after college?

I had in mind that in a general sense a BA would qualify me for general executive employment but of course I expected to do commercial art work perhaps advertising and of course some writing.

You also took another year studying drawing at the Arts Students New York? Were you after having George Grosz as your teacher?

I was first of all eager to study at the ASL because I wanted to strengthen the basic art skill of drawing and when I saw George Grosz whose satirical and expressive line work I admired as one of the teachers so I opted for his class.


Art class at Notre Dame University (1950-1954)

What was his class like?

He would go over the work of the students as we drew the figure with a model before us. He gave individual attention to each of us. He made us use a fat bamboo reed sliced diagonally at the end and India ink. This medium forces you to be decisive as there is no room for error. It taught you to observe, analyze and then attack the paper. His lines were not neat and precise. They were alive and expressive.

How was George Grosz as a teacher?

He was conscientious. Once he saw a figure drawing I was working on and he explained to me the inner anatomy of the throat, drawing the Adam’s apple and tendons on the blank portion of my drawing to demonstrate that even if these are not visible, your drawing and your lines must imply these. I would bring my paintings in progress to show him and even if this was not part of his class subject of drawing, he would comment and give me pointers. Once he brought the work of Grunewald the following session to show me just what he meant the previous session regarding a painting I had brought to show him. I have an autographed copy of his book with a sketch dedicated to me. Our studio-classrooms were at the ASL in the heart of the city on West 57th street. We would show up in the morning and he would be there.


Cover design of Cocks and Kites (1957)

From the year you began painting professionally in 1957, has your career been divided in phases?

I began about 1957 by illustrating my brother Alejandro’s book of short stories “Of Cocks and Kites by Regal Publishing, 1959. I started with a figurative style but soon began to amalgamate impressionism, expressionism and fauvism in my paintings, even while I’m at Notre Dame. Very quickly I began to explore abstract expressionism and assemblage, branching out in these various separate directions without ever abandoning the figurative and realist schools. Critics’ reviews of my first show noted these “confusing” diversity and subsequent critics in subsequent shows made the same observation.  So I probably work in phases, but you might say I journey simultaneously in diverse directions through diverse media and forms of expressions in a continuous progression of paintings, assemblage, writings books, photographs, pottery, digital art, earth art, and whatever new technical and artistic challenges come my way.

But another way to look at phases is through my own phases in life. I went through a long student phase (1947-1956), followed by an effort to get established as an artist and then as a practicing artist while holding down various jobs such as lecturer in Humanities at FEU, Daily Columnist Manila Times and CEO Massprom, etc. up to Martial Law (1958-72) and my migration to Australia (1977-2015) which of course forced me to be an artist in both countries with a stronger inclination to be part of the Philippine art scene.


Sonatina (1958)

What were you doing during the martial law?

During the Martial Law I continued to paint especially because I could no longer write a daily column for the Manila Times which had been closed down. I was active with the Saturday Group. I even had a drawing retrospective at the Cultural Center of the Philippines Small Gallery in 1974. But more than anything, I was occupied as editor in chief of Filipino Heritage. This project was opposed by Marcos who wanted to hi-jack it for his own political purposes. This conflict pushed me out of the Philippines to complete the project in Australia.

What was the landscape of Philippine art at that time?

It remained fairly active. Imelda Marcos, as you know, portrayed herself as the goddess of the arts. Marcos too had his own coterie as exemplified by Malang. Given that the art institutions were all Marcos fronts, you only have to look at the Cultural Center of the Philippines, the art section which was under Chabet and Albano and the 13 Artists Award they controlled. The Metropolitan was run by Arturo Luz and so too the Design Center of the CCP and also the MOPA. The favored architect was Lindy Locsin.  But of course life went on for artists who were not openly anti-Marcos or Communist. The Saturday Group for example remained active but kept away from controversial politics. Some Marcos artists were members of the Saturday Group. However, art patronage was the domain of Imelda and her Blue Ladies. Rustan's Gallery Bleue, for example, was a thriving gallery then. The same with getting favorable reviews and exposures in the Marcos controlled media, you had to be simpatico to them.


Cover booklet of his 20-year retrospective of drawings at the Cultural Center of the Philippines

What were you painting in those days?

I continued to paint nudes, still-life and landscapes with the Saturday Group. I was getting more into assemblage. Exhibitions went on as normal. In fact, because Imelda Marcos patronized the arts, there was much activity and generous patronage for favored artists. When Albano invited me to put up a show at the Small Gallery of the Cultural Center of the Philippines in 1974, I chose to present a 20 year retrospective show entirely of drawings. I sneaked in a political comment about Martial Law that happily escaped everyone's notice --Caged Drawing and Bottled Drawing. But at least I had covertly recorded my sentiments.


CCP logo designed by Alfredo Roces



Let's talk about the CCP logo that you designed. What was the idea behind it?

When I worked on this logo, I had researched a speech of Mrs.Imelda Marcos, the founder of CCP in which she defined the arts as "the good, the true and the beautiful." In Filipino these would be "Kabaitan, katotohanan at kagandahan". Immediately the Katipunan's KKK came to my mind so I used the original script "K" in Bonifacio's  Katipunan flag and arranged three K's in a dynamic triangle. Truth, Beauty, Goodness, —the attributes of arts and culture and thus of the Cultural Center of the Philippines. This is in direct link with our nationalist heritage seen in the ancient Tagalog script and the Katipunan logo, given life in contemporary abstract form.


Was it you who founded the Saturday Group?

Yes I was one of the main founders but the group is not one person's creation, a core had to start it. The original others were HR Ocampo, Atty.Tony Quintos, Enrique Velasco, followed by Cesar Legaspi, Tiny Nuyda and Bencab. A small slim booklet entitled 10 years of Saturdays was published by the group in 1978 documenting this.

Tony Quintos and I were having lunch at the Taza de Oro when we chanced upon Nanding Ocampo there.We decided to meet again the following Saturday. The group grew slowly from there. Nanding had just retired from work at Philprom. His companion Cesar Legaspi also retired so he joined us. Each one spread the word and brought art-oriented friends like Enrique Velasco. No rules and no official formal members. You come and go as you please. No officers and no elections. This kept the group cohesive but very loose and flexible. When I moved to Australia and Nanding Ocampo and Legaspi passed away, the group decided to hold elections changing its character.


With AAP President, Purita Kalaw Ledesma, during his one-man show in 1968


His brother Alejandro at his first one-man show. He later served as the Secretary of Education under Macapagal and later was named National Artist for Literature.

Please tell some details of your first exhibition.

I showed sixty-seven works of oil and watercolor paintings, mixed media and drawings. That was on March 19, 1960 at the Contemporary Arts Gallery, owned and run by Manuel Rodriguez Sr. on 1416 A. Mabini, Ermita. This exhibit was featured as a Cover story in the Sunday Times Magazine, April 24, 1960.


Shoe from his solo exhibition, Memory is Short, Cultural Center of the Philippines (1960)

Why in his gallery?

I knew Maneng Rodriguez personally and I liked the coziness of his gallery. At that time the Philippine Art Gallery was in decline for lack of professional management as Lyd Arguilla was out of the country and some artists warned me about paintings not being well cared for there. Luz Gallery did not exist then.

Did the Luz Gallery do a better job in caring for the artists’ works?

Luz Gallery was more professional but I felt it catered too much to a social elite such as Imelda Marcos and her Blue Ladies. Luz did a good job of caring for his artists, however. I never had a solo at Luz but when I next exhibited, I chose the newly opened Solidaridad Galleries of a writer friend Frankie Jose because like me he was a bit of a rebel against the establishment.

How was it like exhibiting during the 1960s?

The artist was left very much on his own to handle his own show including the hanging, cataloguing, sending of invitations, the refreshments and the publicity. It was very much a loose, informal system not like the professional galleries of today.


Recollection of Paradise, pastel on paper, Eddie Pineda Private Collection

Would you have wished that it could somehow be formal that maybe the gallery could facilitate the launch?


There was a need for professionalism in art galleries and among some artists and art critics. I wish the gallery owners would handle not just the launch and the publicity but also the sales clientele and the briefing of critics and media people.

Did you even make an effort in addressing your critics about your works being confusing?

No, I left the critics to make their comments then. Then as now, I think the artist should show his public what he can do, versatility being an asset; but it seems the critic and the public and the collectors expect one theme, one manner of expression. In the same manner, it is regarded as a virtue to be self-taught rather that to recognize an artist's period of study and years of training under established schools or artists.

But there was one instance when a critic, Ray Albano, wrote about an exhibit of mine and I disagreed about his views so strongly I answered him in print in the same magazine. It was a scholarly debate not a personal squabble. It’s a long story which I could recount if you wish.

We didn’t have a lot of art critics then and now. Why do you think this has been the case?

Yes, I think that is one weak area but now that I have experienced the Australian art scene, it is not unique to the Philippines.

What do you expect a critic to do?

A critic would best serve as the bridge between the artwork and the viewer. Empathy with the artist would be vital but some assume the stance of the devil's advocate. I expect a critic to create interest and understanding for art in general and for the artwork and artist he/she is discussing. Just like a good friend will tell you when you are out of line, a critic should also be candid.
 
You were also reaping awards at the Art Association of the Philippines. Was it a big deal to join and win in art competitions?

There were few opportunities to gain recognition and the Art Association of the Philippines was one of the few who acknowledged artists and their work, so to me it was a big deal. But such awards were only effective if one were consistently a winner and if one knew how to capitalize on it.

What happens to the artist when he wins an award?

From my own personal experience, awards do not automatically open any magic doors nor increase sales nor change the established opinions of critics and some fellow artists who champion their own school of artists. At most, it gives one a bit of a shield against the negative attacks of the nay-sayers. It gives you some confidence that what you are doing is worthwhile.


Man Dying, mixed media

In terms of looking at your body of work, how do we know that a painting is by Alfredo Roces?


I prefer to leave that to viewers, art historians and critics. From my very first show the critics have expressed confusion over my diversity. It is my diversity and versatility that defines me. For my part, I have absolutely no desire to “stylize” myself. I rebel against the art establishment’s pressure to package my art works like a commodity, ala McDonald’s or Coca Cola, for purposes of brand recall, just to please the critics and the art collectors. The problem of labelling, cataloguing, classifying into schools of art, and so on, belongs to the art historian and art critic, not to the artist.

You began your assemblages in 1968.

It started from my third one-man show held at Solidaridad Galleries in 1968. I used found objects meant to evoke some personal feelings and memories from the views. Not necessarily identical to that of the artist. This work may contain a serious comment or it could be simply by play or perhaps a bit of both. One writer, Sylvia Mayuga of Solidarity, January 1969 saw this specific piece as poking fun at “culture vultures.” But it is not pure play and satire, it is also meant to look at actual, authentic mementoes of the past, to stir the viewer’s feelings and ideas when confronted by these now discarded precious art objects of our past rearranged in a different format. In this work are actual 15th century Ming shards, prehistoric earthenware spindle whorls and an old santo, but there is also the contemporary crushed salmon can, and the modern abstract expressionist painting. So it is my turn to ask the viewer: what do you think?

Did you get any feedback from viewers?

Not for that particular piece that I remember. It is difficult to get serious reaction and reflection from my assemblage as the initial response is that I am pulling the viewer's legs.


To Liberate Mendiola Bridge (1970)

In 1972, you represented the country at the Paris Sud International Art Show. What did you enter?

Those in charge of the Philippine participation instructed me to submit only a very small work that could be hand carried in an airline flight. So I gave them a very small three-piece assemblage of objects buried in polymer, similar to the one that won an AAP Grand Prize in 1972 but with a different subject content. Frankly, I don’t recall the title nor what happened to that trio-piece.



Receiving the Pamana Award from President Aquino at the Malacañang Palace (2014)

What other art awards did you receive?

Pamana ng Pilipino Presidential awards for Filipino individuals and organizations overseas from Commission on Overseas Filipinos: 2014
Hall of Fame, lifetime achievement award, FAACES (Filipino Australian Artists and Cultural Endeavor Society) Sydney, 2011
Green & Gold Artist: Centennial of Nicanor Reyes Sr., Far Eastern University, 1994
Artist of the Year: Art Association of the Philippines (AAP): 1975
Grand Prize, 25th Annual Show, AAP: 1972
Philippine representative, Paris Sud; France,1972
Honorable Mention: Graphic Division, AAP,1961
Third Prize, Students Art Show, University of Notre Dame, 1954
Silver Star, Students Art show, University of Notre Dame, 1950
Harvard International Seminar (under Dr. Henry Kissinger) Grant, 1965
Ten Outstanding Young Men (TOYM) in Humanities

Are you known for any series?

I exhibited a series on martial law at the Cultural Center of the Philippines entitled “Memory is Short”. But by “series” I assume you mean painting a given subject continuously in an explicitly given form or “style”. No, I do the opposite. I take a given subject and come up with a variety of ways and mediums to give this expression.


Photo taken by his wife, Irene in their backyard with colorful parrots

What made you decide to migrate to Sydney?

With the imposition of Martial Law I could no longer write freely. The art world became stifling with artists favored by Madame in their glory and those marked as non-conformists put down. For example, my passport was withheld. I was not given an exit permit and could not travel overseas even when I had received grants from reputable institutions such as Yale and a Buddhist temple in Thailand to name a few. I wanted a better atmosphere for my growing children.


Cover design of a Sarimanok for Hemisphere Magazine/ Australia/ (1960)

Yes, but why Australia?

I was working on Filipino Heritage at the time. The publishers, The Hamlyn Group, were an Australian company so when Marcos opposed the project, I had to go to Australia to finish production from there to prevent Marcos from tampering the text. It was an opportunity to gain resident status and bring my family with me. I thought I would try it for a year or two.




Raku Firing, Sydney

When you migrated to Sydney in 1977, you branched out into pottery, did you attend a school or workshops for this?

I attended workshops in the 1980s at the Community Art Center in Belrose, Sydney where I studied both kiln fired ceramics and raku fired clay. But I do not own a kiln and so was forced to give up pottery when the community center closed. My interest in pottery goes back to World War II when we had to dig a temporary air raid shelters in our garden and as a boy discovered clay. I knew nothing about firing, but I loved making clay figures and drying the works in the sun. As an art student at Notre Dame, I was taught sculpture using plasticine which we then cast in plaster. I had an exhibit at the Kamalig Gallery of my pots, 1980 and 1982, and another of my sculptural figures at the Cultural Center of the Philippines.


Earthartwork at Terrigald Gosford, New South Wales
Sarimanok by Alfredo Roces and Rainbow Serpent by Kevin Duncan

Have you ever exhibited your pottery or other works in Sydney?

I have exhibited at the Watercolor Institute and other group shows. I had a one man show at the Philippine Consulate. Recently with three other  Filipinos artists we exhibited at the Arthouse in downtown Sydney.


Pottery work (1982)

 

Alfredo Roces: Man of Arts and Letters (Second of Two Parts)
by: Christiane L. de la Paz



Have you ever exhibited your pottery or other works in Sydney?


I have exhibited at the Watercolor Institute and other group shows. I had a one man show at the Philippine Consulate. Recently with three other  FIlipinos artists we exhibited at the Arthouse in downtown Sydney.


Raku fired pottery (1982)

Impending Rain, Sydney, Australia, oil (1994)

Are you represented by any gallery in Sydney?


No. I am not that active painting in Sydney.

When was the last time you exhibited your sculptural figures?

I think it was the show at CCP "Memory is short.”


Cover of Geo magazine where Roces served as an editor for twelve years


Roces and his staff of Geo Magazine (1989)

Do you still paint today or do you just do pottery? 

I have never stopped painting but have become less active exhibiting. I have discontinued my pottery because of lack of facilities such as a kiln, available clay, large open air space for raku, etc. Aside from pottery I also do a lot of photography which I continue to this day. In the 80’s and 90’s I practiced photo journalism professionally for the quarterly magazine here in Australia, called Geo, Australasia’s Geographical Magazine. I was editor of the magazine. I have exhibited my photographs in Singapore, under the auspices of Kodak 1992 and the Australian Centre in Makati in 1992 and at the Oarhouse. I also use photography as an art medium. I also like to work with digital art and use the iPad for art work. My iPad works have been exhibited at the Crucible Gallery. And as you know I also write and continue to do so, My latest book, on FEU’s CEO Dr. Lourdes Montinola was just launched this month at the Far Eastern University.


Still Life with Apple (digital art)

How did you get into photography and how do you use this medium in your art practice?

My father was an avid photographer. As a very young boy of eight, I would watch him make prints in the darkroom, actually our bathroom, and it fascinated me to watch the black and white images emerge in the dark. My father gifted me with my first camera.  At first it was as photo journalism that I made use of the camera during my travels and research on Philippine fiestas and traditions but I soon saw its possibilities as an art medium in itself. Now with digital photography, I also harness the photograph to manipulate digitally into an art form. So now I use photographs as photo-journalism and documentation, as an art form in itself and as a digital art medium.


Paintings baked on ceramic (2012)

What is your aim as an artist?


That’s not easy to spell out. It’s a compulsion, I guess. Certainly, self-expression is one strong aim. The challenge of new mediums and themes, ideas, sentiments push me to create. I am confronted by an image or an experience and I am compelled to react and record in words or images, with pen or camera or computer or clay or found objects. I feel joy or rage or pain, and I must purge it out of my system through these mediums of art.

But I also aim to communicate to those who want to engage my work in conversation. Religious images, political commentary (i.e. martial law), beauty of simple things in nature and our everyday urban world (assemblage of junk). There are the  subtle qualities and effects of various mediums of art for their own sake. The agonies of sorrow and pain, the celebration of life. I always expect the viewer to contribute his/her thoughts and feelings to complete the work.


Solo Exhibition at the Philippine Consulate in Sydney, Australia with Con.Gen Nick Valderama

Tell me about you.

I was born in Sta. Cruz, Manila on April 29, 1932. I went through usual schooling. Interrupted by the war. Went back to school at the Ateneo, failed in my second year, transferred to FEU rather than repeat. Then I studied at Notre Dame, Indiana from 1950-54, Art Student's League from 1956-57. I returned to Manila, taught Humanities at FEU, worked for my father at Roces Hermanos, wrote a daily column for the Manila Times from 1960-72 and painted. I married Irene Pineda in 1958 and have three daughters.

I was also active in research on Filipino arts and traditions. I helped found the Saturday Group where I introduced nude and landscape sketching sessions and the interaction concept. I wrote books on art and was asked to serve as editor of Filipino Heritage. I designed the logo of the CCP. Martial interrupted my career. I moved to Australia where I served as editor of Geo Australasia's Magazine for twelve years. I am retired now and is focus on writing and painting.


Family Photo taken in Manila with his mother, Inocencia Reyes Roces (late 1970s)

Are you related to Helen Roces Guerrero?

Yes. Her father Ramon Roces is my first cousin so she is actually a niece although older than me.


Portrait of his father done using Ipad from B&W photograph

What are the interests of your father?


My father was an entrepreneur and a highly successful businessman who was engaged in cinema (Ideal Theater), real estate (Roces Hermanos), sports (Manila Jockey Club), education (the Far Eastern University), mining in Buswanga, Palawan, cattle ranching in Malaybalay Mindanao and construction (Santa Clara Lumber & Luxaire Products).

Tell me something interesting about you as a child.

As a child, I watched my father draw and would use his discarded art materials. Being the youngest of nine boys gave me a chance to learn by observing my older brothers successes and failings. But my childhood was also the war. My father would not let us go to school under the Japanese so those still of school age had private tutoring but on the whole learned about life from the streets. I devoured books from my father's and older brother's libraries. I learned to entertain and amuse myself while my parents and the family had bigger problems to grapple with. My eldest brother was beheaded by the Japanese. He was awarded the Medal of Freedom by the US government. Four other brothers were with the guerrillas. So I lost my childhood and my innocence during the war and the Liberation years. At the same time, I got a great lesson in life, what with food shortages and fleeing all over the Batangas countryside, living in Taal Volcano and then climbing Tagaytay Ridge to where the American 11th Airborne had landed. Survival occupied our family and of course little me.


(Front row, right, Alejandro, who served as Secretary of Education under President Diosdado Macapagal. Alejandro was named National Artist of Literature. (Back row, third from right, Joaquin who served as Congressman for Manila's 2nd District for four consecutive terms. Beside him, fourth from right, Jesus who was Vice Mayor of Manila during Lacson's first term. The other siblings,Luis (front row), Marcos, Francisco and Jose (back row right to left) were all prominent businessmen.

After hiding in Batangas, what happened to you and the rest of your family?


We stayed in Taal Volcano until the American 11th Airborne landed on Tagaytay Ridge. We crossed the lake in a banca and climbed the ridge then with US aid, we managed to get car transport back to Manila.

What was your favorite book as a child? 

Aesop's Fables. There were so many interesting stories with lessons and they were written by a slave from ancient Greece.

Family Photo in Sydney with his mother, Caridad Morente Pineda
(L-R) Mia, Alfredo and Irene; Backrow: Mina and Grace (early 1980s)

What books did you read to your children?


The usual childrens' fairytales books followed by paperback detective stories.

These days, which do you prefer, e-books or the traditional print?

I am more at home with traditional print.


Culture Shock Philippines, first published in 1985, has gone through several reprints, most recent was in 2013

You also have a huge body of work as a literary artist. How did you get started into writing daily columns and then books?

Three other brothers were writers before me so I guess it runs in our family genes. I have always enjoyed writing. But what pushed me into professional writing was necessity. I became fully aware early on that it was not going to be possible to survive on my paintings so I went into professional writing and teaching humanities. I was writing essays about Philippine art and artists for the pleasure of it but the monograph art books were paying ventures. Doing what I enjoyed and being paid for it to boot was heaven-sent. The early articles attracted the interest of the publishers and editors of the Daily Mirror and I was offered a column.

What was the first book you have written?

The Story of the Philippines published by McCormick-Mathers Publishing Company Inc. 1968, USA. Carlos Romulo suggested my name to the publishers.

What did you do with your first paycheck?

My first paycheck as a columnist was at 20 pesos per column, 600 pesos a month. I handed it to my wife. My first commissioned painting was a still life my father commissioned me to do as he needed a wedding gift for someone and his budget was 45 pesos. I also gave that to my wife. I was supporting a family by then.


Set of Filipino Heritage

What kind of research do you do beforehand to make your writing visceral?


I always do extensive research in libraries and archives plus personal interviews which I often tape and or photograph. I have attended rituals in Palawan and was in the caves of Tabon man with Dr. Fox, I also witnessed the Cultural Revolution in China, attended Pacific festival in Papua New Guinea, etc.  My book "Looking For Liling" took at least four years of research to complete.

How would you describe your writing?

Direct, simple, honest.


Published books on artists and Philippine History

You’ve written about Fernando Amorsolo, Anita Magsaysay-Ho, Nonoy Marcelo, SYM Mendoza, to name a few, who among them did you have some difficulty researching and writing?

Every bio-book is different and creates unique problems. Sym Mendoza was the most cooperative and easiest to work with. Ang Kiu Kok was a man of few words so extracting information from him was difficult but he was pleasant and frank.

You work on Felix Resurreccion Hidalgo, who was your source? What other materials did you use to put it all together? 

My original sources were conversations with Don Felipe Hidalgo, and Don Alfonso Ongpin, in the early years; Dr. Antonio Molina who provided me data from Spain,  Ramon Villegas, Ambeth Ocampo, Luciano Santiago who offered their notes on Hidalgo, along with collectors with Hidalgo paintings. Of course the paintings and drawings are invaluable direct sources of study, and readings on Hidalgo's contemporaries like Rizal and Luna and their published letters.



Book Cover of Looking for Liling

Do you have a say on the flow and layout of your books?

In some instances I was given full control as layout designer (Amorsolo, Sanso, Hidalgo, Legaspi, Sym,) in others the layout and design were in the hands of the publishers and their sponsors as well as the artists who were the subject (Ang Kiu Kok, Castrillo, Zaballero).


Medals and Shoes by Alfredo and Irene Roces (1992)

What is your time frame when writing an artist’s book?

I require at least a year of research and writing. I usually include this time frame in my contract.


Self Portrait, oil (2009)

They say that a writer’s life bleeds into one’s work. Have you experienced the same?

The subconscious is unavoidable and in painting it is even desirable for me to bleed my life into a painting. In nonfiction writing, I strive to be objective and put myself in the shoes of the subject artist.

Have you experienced repeating yourself/your words in your succeeding writing?

I wrote a column every day for twelve years, I very likely repeated myself in these. But when I write books, I try to avoid these so even when I recount an incident a second or third time, I try to either put in fresh words or simply quote myself and the original source where it appeared.

What is your dream project to write?

I hope to write a trilogy: one on pre-Hispanic Philippines, the other on the Hispanic and the third on the 20th American period to the present. Adios Patria Adorada was the Hispanic. Two volumes to go.

I also hope to write a book about my own life and times with my paintings as illustrations. Part of the dream, of course, is a retrospective show of paintings to go with the book.


Seven Last Words, ink on gold-foil cardboard (1957)

If you were to write a synopsis about your life in one paragraph, what would you write?

He lived through what the Chinese call as interesting times. First as a child in World War II and Japanese occupation experiencing life in rural Batangas while fleeing Japanese soldiers; followed by a five year interlude as a student in the US; then starting a career back in the Philippines only to be confronted by Martial Law and start life all over again in Australia.

Blessed with a lovely wife and three daughters, he does his best to be a good husband and father, a professional who strives to live and express himself as an authentic, creative, God-loving, human being.


Photo painting at Fraser Island

What is something about you that people may be surprised to know?


Very few people are aware that my eyesight hangs by a thread. I lost the central vision of my left eye to macular degeneration more than a decade ago and now my right eye is in the same situation. Fortunately, nowadays, they have injections that can offset but not cure the ailment. I have to get eye injections every six weeks or I lose my vision and be declared legally bind. That is the worst fate for any writer and painter. Everyday is a blessing.


In his home studio

What are you looking forward to in the next five years?

Five years is a long ambitious time frame for octogenarians, but I have various projects either in the works or on my "to-do" list. The book "Adios Patria Adorada" was intended to be part of a trilogy: the 19th (Adios), the 20th (started some chapters but stalled) , and the Prehistoric. Currently I am working on my memoirs--my life and times.Naturally, I hope to manage a retrospective of my paintings, assemblage,  photographs and pottery. I continue to paint and work on assemblage in my studio-home. I would also like to do something about my father's diary when we were in Batangas during the war. Also a collection of drawings/prints by an American soldier during the liberation of Manila. The enemy is time.

8:23 AM (10 minutes ago)




Tuesday, February 16, 2016

A grandfather’s letter to his 13-year-old ‘apo’

Author Tony Joaquin with grandson Julian: ‘Never hurt girls.’
Author Tony Joaquin with grandson Julian: ‘Never hurt girls.’

Former advertising executive Tony Joaquin of Sacramento, Calif., welcomes his grandson Julian Ismael Joaquin’s transition into adolescence. As he ushers him into this new phase leading into adulthood, Tony is also reminding him to always be respectful of women. A man has a choice, and Tony’s wish is for all young men to be “gentlemen” and not “savage brutes.”
My dear Julian,

You are finally graduating with honors from your eighth grade class. And we, your grandparents and parents, are very happy for you.

The next step in your studies is now going to be a little different in the sense that at your age, your body is changing from that of a boy’s body to a young man, or what they call adolescent.

When you celebrate your 14th birthday they call this early adolescence, meaning you are now a young adult. When you turn 17 you reach the middle adolescence and later on the term is called late adolescence, or you are almost an adult and that is when you are over 18 years old.

We are telling you these not because you are not able to handle the changes you feel in your body for you have already been given honors as being a bright student . But, I, your grandpa, personally decided to write you because what I will tell you in this message is very critical not only for your studies but could spell success or failure in your whole life.

Remember Lizette who shares her candies with you during recess, and you did not understand why? Well, Lizette is being a good classmate and friend to you, Junior. Besides you have set an example in the class for your straight “A” grades and she wants to be your friend.

But now that you are entering this phase in your life and you notice some changes in your body, you must be careful not to feel funny when girls like Lizette continue to give you gifts and you experience a new feeling.

In fact, Julian, you will now begin to like girls in general. But you will soon notice that once in high school certain feelings will arise in relating with girls especially if the girls attract you too.

First of all, you probably notice that your parents may argue but no one uses physical force when they do. When we argue we just raise our voices and later on calm down when the argument is finished.

The message I am conveying is that never hurt girls even when you argue.

Remember our neighbor Roger who was your playmate for years in grade school? Roger was a good basketball player but his problem was that he could not hold his temper. You remember that we told you Roger had to go and visit his grand aunt in another state and had to leave hurriedly. Remember that?

Well, Julian, now I can tell you what happened to Roger. When he was in high school he got into a situation when he used brute force to make her girlfriend do something she did not want to. This act, Julian, was considered rape, and Roger, young as he was, had to serve time simply because of that act which is considered by our laws as one of the most terrible crimes against another person, especially a young woman.

In other words, Roger did not go to live with his grand aunt. He was sentenced to serve time in jail after having been convicted of rape.

Julian, if there is anything you should avoid like the plague it is forcing a young woman to perform acts she does not want to do. The woman’s body is sacred for it was created to carry another human being in her womb.

Sex was designed by God to procreate and not to be used for fun alone.

I, as your grandfather, pray that you always remember this for the rest of your life because once your life is ruined by a criminal act, you have ruined your future. Together with the rest of us carrying the Joaquin name we all shall suffer shame and embarrassment before the eyes of the community and our friends.

That is all I want to leave you with, Julian. Take this to heart, and may God bless you always.

Your grandpa who loves you much more than you can imagine.

Lolo Tony 

Monday, February 15, 2016

Manny Pacquiao -Champion Fighter, Congressman and Outstanding Filipino

"I was hoping the referee would stop the fight before we reached the final round" exclaimed Manny Paquiao during his post fight interview, when he noticed his opponent having difficulty seeing with his good eye, but the referee did nothing.

So, towards the last two rounds Manny just delivered relatively lighter blows to the already suffering Margarito in an attempt to, sort of, minimize his opponent's pain as the bout reached the final round.

Such was Manny, a kind of "gentleman fighter" that he was. A true Filipino, from humble beginnings, who rose to the peak of his career as he won his much awaited fight over Antonio Margarito, Mexican, in their 12 round fight held in Texas on November 13, 2010.

Emmanuel Dapidran Pacquiao also known as Manny Pacquiao, or just Manny, was born on December 17, 1978), and according to Wikipedia, is a Filipino professional boxer and politician eight-devision world champpion. the first boxer in history to win ten world titles in eight different weight divisions.

Manny is also the first boxer in history to win the lineal championship in four different weight classes.
He was named "Fighter of the Decade" for the year 2000 by the Boxing Writers Association of America (BWAA). He is also a three-time BWAA and THE RING "Fighter of the Year" in 2006, 2008 and 2009.
To date, Pacquiao is the WBD Super Welterweight World Champion and WBO Welterweight World Champion (Super Champion). He is also rated as the "number one pound for pound best boxer in the world" by several sporting news and boxing websites.
Aside from boxing, Manny a classical homespun Filipino has participated in movieacting, music recording, and now as a politician.

In May 2010, Pacquiao was elected to the House of the 15th Congress of the Philippine Government, representing the province of Sarangani in Southern Philippines. He is the only active boxer to become a congressman in the Philippines.[

So well put by no other than my friend Krip Yuson in his column the day after the historic fight in Texas:
"Years from now, when Congressman Manny has retired from the ring and goes for the Senate presidency, maybe even higher, we will all treasure the memories of the first decade of this millennium when our Pacman reduced the crime rate for a day, thrilled us with his skills, and made us proud as one family in celebration of the best fighter in the world.

With Pacman, his amazing climb to the very peak of ringcraft has given us all a bond with history itself — how an underweight teener who ran away from Mindanao because his dad had eaten his dog, steadily worked himself to the bone and perfected his talents, mainly that fueled by heart.

The speed and the power were to come later. A terrific trainer and savvy handling, plus that consistent desire to outdo himself, did the rest.

We have an eight-division champion, and he's Pinoy. And no one may match that record ever.

And so we'll recollect before our grandkids how attendance at noonday Mass dipped one Sunday in November 2010 when our Manny Pacquiao of the congressional district of Sarangani became the first to achieve that feat, in the process also becoming the first ever legislator to win a title in a boxing ring — the WBC World Super Welterweight championship.
Sweet times for the sweet science, we will remember — with every detail — and thank ourselves that we lived in these times, those times — but with the most gratitude reserved for one small guy who became so big the world over that he lorded it over our special Sundays.

GOODBYE 2010, HELLO 2011






The year was highlighted
by many happy events, which included two enchanting weddings
our visit to a world famous European destination and visits to joyful events in other places featuring family and friends of note.


But first, let me state that I turned 80 on August 24th, with a Luau party held at Gina's place.


We were so happy in January witnessing the fairy tale wedding ceremony of Zenaida and Bill Evans which was solemnized in the ballroom of the Embassy Suites Hotel at Milpitas, California. The reception that followed like many Mendoza clan celebrations was truly enjoyable and memorable.

Zenaida (or Baby) was lovely. Featured show was the hip hop number choreographed by Mikee, Bobby's and GI's son, which also displayed the talents of the smallest and cutest dancer – Julian Joaquin, son of Jay and Jenny. All the male dancers wore dark suits and so did Julian. Cute!
The other wedding was celebrated at a garden ceremony in Virginia where Jonathan, son of Joey and Flor was wedded to Tara, a lovely American girl.
The reception was delightful to recall for Joey and Flor really enjoyed themselves dancing and seeing their guests having fun. The only wrinkle was the fact that Jon had to report that days after for assignment at the U.S. Army camp where he was admitted and assigned to work as a chef which Jon really chose.

We certainly took advantage of our Virginia trip by seeing relatives and friends which included Tony’s sisters Nenita and Josefina and their children. The last time the couple visited Virginia was when Mama Sarah died in 2002. They had a necrological service and then brought her ashes to Christ the King crypt in Quezon City. While in Virginia, Chita and Tony stayed at her sister Elizabeth's home in Falls Church Virginia. They got to see some of the Enciso siblings of Manny who live in Virginia.

Chita's sister, Menchie with her husband, Rob drove from Chesapeake to Fairfax, VA just to see Tony and Chita on Easter Sunday.

Both had a happy reunion with Jennifer Nguyen, an accomplished Vietnamese pianist and teacher whom they met with her mother during their Mediterranean cruise with Mikee and Nico. Jennifer showed the couple her beautiful home and piano studio and topped the event by treating us to dinner at a plush Italian restaurant in the area.

Still in Virginia, they saw Jenny Joaquin's older sister Lisa, a nurse, and husband Cris, who worked in the same hospital in Washington DC.

Come June Tony and Chita finally got to revisit their favorite European destination – Paris, The City of Light. Their first visit was in 1983 when Tony was incumbent president of the Makati West Rotary Club.
This second visit, they bonded with Mona, a friend of Tony's sister, whom they met at their golden wedding anniversary in August 2009.
Mona has been living and working in Paris for 40 years and speaks fluent French. Since they were already in France, the couple decided to visit the Our Lady of Lourdes Shrine by hopping into a train heading there. It was an overnight train from Paris to Lourdes. Upon arrival some ten hours later, they discovered that a sort of pilgrimage featuring military officers from many countries were also in Lourdes so there were crowds of uniformed persons and civilians in wheel chairs ready to pray to the Blessed Mother for a cure or relief from their ailments.
Back in California. taking advantage of good weather, Chita and Tony decided to take a ten day cruise around the New England ports of Maine and Boston as well as Canadian ports of Halifax and St. Johns with their two grandkids - Mikee and Nico.

The year 2010 was truly a happy one for our Joaquin and Mendoza clans.

We shall always be thankful to the Lord and His blessed mother for blessings showered on all of us in 2010.

BEER FLORES: A FILIPINO COMEDY WRITER



It was at the start of the sixties right after I returned from a one year fellowship in Toronto, Canada when I got to meet Virgilio “Beer” Flores. He was a department head at the CBN offices in the old CBN building on Aduana Street, Intramuros.This was years before ABS CBN established their modern network facilities on Bohol Avenue, in Quezon City.
I was hired as an independent director to handle STUDENT CANTEEN which was an established noonday program that was enjoying national attention and which was simulcast also in its radio counterpart throughout the archipelago.
With much care, since I was an outsider just coming over to handle th4e one and a half hour program I would greet Beer and address him as sir. His counterpart manager also with CBN was a warm hearted and witty fellow named Gumsy Alba.
While I was into my second year directing the most popular noontime show STUDENT CANTEEN which featured mainstays Leila Benitez, Eddie Ilarde and Pepe Pimentel, I got an offer to head the production department of another up coming TV station. It was an offer I could not refuse, as they say.
Not long after I moved out of directing the show which had as producer a very engaging Visayan named Bobby Ledesma, I began to hear about a new situation comedy show over the radio which later on moved to Television created by Beer Flores titled SEBYA MAHAL KITA. It starred Pugo, Bentot and Sylvia La Torre.
Sometime later, a film version of "Sebya, Mahal Kita" was produced in 1957 which starred the love team of Nida Blanca and Nestor de Villa. Of course, the driving forces of the show were still Pugo and Bentot who were also in the movie version.
As it turned out, the film version was not successful for the audience did not appreciate having their favorite radio show reformatted for the movie.
Philippine television was still in its infancy, but radio was as popular as ever all over the country towards the latter part of the 50s. Beer knew comedy and had written other situation comedies show before.
While the stage shows during the Japanese Occupation had showcased Pugo and Tugo (who died earlier) it was radio and TV that further boosted the popularity of Pugo and later Bentot (whose real name was Ben Cosca).
Up at this time I had no inkling that soon I would have Beer as my brother in law for he married my sister Nenita to my pleasant surprise. I stopped addressing him as "sir" by that time. Aside from Sebya Beer also produced another TV sitcom which was "TANG TARANG TANG". This sitcom featured Leroy Salvador, Rosa Aguirre and Cris de Vera in supporting roles but Pugo, Bentot were the main engine in the comedic shows. By this time Tang Tarang Tang enjoyed a faster rise in popularity brought about by Beer’s successful team in SEBYA. So talented was Beer that he even wrote the lyrics of the opening theme which was sung by the three maintstays thus: “Ako si Don Mariano (Pugo)Ibyang po naman ako (Sylvia) Bitoy ang pangalan ko (Bentot) Badong naman ako (Leroy Salvador).
As the show progressed, Sylvia decided to leave the show and was replaced by Marita Zobel who was paired with a young actor named Dindo Fernando.
Writing comedy in the Philippine setting, as I learned when I was doing TV and radio programs back then is more challenging than writing drama or action stories since comedy demands a good ear for humor especially the brand of Filipino humor that we do enjoy. Beer stood head and shoulders among them during his time.

FRED ALCUAZ - A SENSATION IN EUROPE


It was days after the Liberation of Manila and just months after classes were restored at the Ateneo Padre Faura campus I was enrolled in the high school department in 1946. Fred was friendly but our meeting was so short I had forgotten other features of our meeting. Then I learned that Fred was pursuing a law degree at the Ateneo and finished it.
But he really had another passion – art. So, he cross enrolled at the University of the Philippines College of Fine Arts. But Fred was short of funds. Happily for Fred the Jesuits at Ateneo already knew of his latent artistic talent even while still in his law classes so they offered Fred a large room for his workshop plus a monthly allowance of P20.00 for materials. But the Jesuits continued in their effort to get Fred a full scholarship. The Jesuits successfully obtained for Fred a fellowship at the Academia de San Fernando in Madrid through the Spanish Ministry of Foreign Affairs.
For twenty-five years he lived in Europe, struggling while living and learning in Barcelona until he made a name for himself. In his 55-year art career, Alcuaz is one of the most awarded and acclaimed Filipino as well as non Filipino artists internationally. Fred’s fame has spread through art exhibits held at leading galleries in the Philippines, Spain, Portugal, Singapore, United States, Germany and Poland.
Fred Alcuaz learned to speak English, German French and Spanish fluently while winning numerous awards including First prize at the Premio Moncada (1957) Prix Francisco Goya (1958) in Barcelona. In 1961, in Paris, Fred was honored with the Diploma of Honor at the International Exhibition of Art Libre the Decoration of Arts, Letters and Sciences award from the French government in 1964 and the Order of French Genius in 1964.
In 1982 Federico “Fred” Aguilar Alcuaz who turned 50 decided to hold an exhibit of 50 paintings with the proviso that the entire proceeds from the sale of his works he would donate to the Ateneo Endowment Fund. He added that when he was just a struggling and budding young art student Ateneo took a chance on him by supporting him by getting him a scholarship in Europe for further studies in art and sculpture.
In 2006 Fred was extremely proud when he was awarded the Presidential Medal of Merit by the President of the Philippines.
Among the art works that Fred Alcuaz donated to his beloved alma mater the Ateneo Law School Class 1955, included oils paintings, watercolors, and tapestries as well as landscapes and abstracts.. The collection also consisted of nudes and pretty Filipino ladies dressed in turn-of-the-century ruffled gowns, The art pieces were placed on exhibit at the Manila Hotel from June 4 to 7, 1982 with a formal opening, cocktails, and viewing by selected guests on June 3rd.
Although he was moving along in age, having turned 78 and would have some lapses in memory, he was still capable of doing three-hour walks daily to visit his favorite sights or explore new ones in the city he so loved.
Fred noticed early enough that the name “Aguilar” was quite a common name in Spain, so he decided that he would be known as Federico Aguilar Alcuaz. As luck would have it, Fred met a winsome German lady named Ute Gisela Schmitz, a business and languages student in Barcelona. Soon the romance blossomed and a few years later they married at the Senora de Nuria Church in Barcelona. The couple produced three children: Christian Michael, the eldest, who for several years has been handling his father’s business affairs, Andreas Frederic and Wolfgang Matthias.
Born in June 6, 1932 in the City of Manila, Alcuaz was the sixth of eleven children and took up his primary and secondary education at public schools.
Federico Aguilar Alcuaz died On February 2, 2011