The meeting provided an opportunity for all CCCPET team members to present their plans and to share valuable insights on the preparation, planning, implementation and completion of the aforementioned projects. Also included in the visit was the conduct of  ocular survey to the different areas. The engagement was facilitated by Pangasinan Tourism and Cultural Affairs Office headed by Ms. Malu Elduayan, Provincial Tourism Officer.

Governor Mon-Mon along with other key stakeholders expressed their optimism and shared their visions for the province of Pangasinan. His vision of a cultural revolution for the province was valuably supported and taken as development agenda by the CCCPET team.

The cultural heritage conservation and management program is a set of composite projects across Pangasinan province. At the moment, CCCPET has initiated the development of Bana’an: The Provincial Museum of Pangasinan in Lingayen and the Binalonan Municipal Museum. The initial projects were complemented by the following: Site Development of Casa Real Grounds, Conservation Management Plan and Adaptive Reuse Plan of Pangasiinan Provincial Jail, Bengzon-Yuson House Adaptive Reuse Plan, and Conservation Management Plan of Pangasinan Capitol Building. 

The CCCPET Team was composed of Dr. Eric Zerrudo (heritage and development), Architect Paulo Alcazaren (urban planning), Ms. Beverly Bautista (CCCPET technical assistance), Ms. Daphne Frias (CTHM on-the-job training student), Dr. Caryn Santillan (architecture), Mr. Joselito Corpuz (heritage preservation), Architect John Clemence Pinlac (architecture), and Dr. Mary Ann Bulanadi (exhibition design). 

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These donations have reached Metro Manila hospitals such as the Philippine Heart Center, East Avenue Medical Center, National Children’s Hospital, and St. Luke’s Medical Center – Quezon City, as well as facilities in Cavite and Batangas.

Leading the effort are Architects Alvin and Maria Cecilia Cadiz Vega, Raul Dizon, Richard Yu, Rowena Chipongian, as well as UST Architecture faculty members Ma. Cynthia S. Naval, Leah Punongbayan, and Rodin Armando R. Isidro, and UST Interior Design faculty member Mary Ann Venturina-Bulanadi. They are joined by the Rotary Club of Manila Bay (RCMB), Philippine Institute of Architects (PIA) members, UST Architecture Batch 1986, doctors, friends, and industry partners.

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“Nuestra Señora de Salvacion: History, Theology, Piety,” published by the UST , was a product of fr. Alaurin’s research of a relatively unknown Marian image venerated in a village in Albay, Bicol, and was later on dubbed as the Patroness of Albay.

In his speech, fr. Alaurin underscored that Mary had different images with different names, but “she is all our mother and we pray the rosary, we pray the Angelus to her just like the Lord, as they always say, the light of salvation,” fr. Alaurin said. “Mary shares her integrity, the light and salvation. Mary, just like her son…is our light and salvation,” he added.

Meanwhile, his artwork entitled “Lumen Tenebras Vincit” (“Light conquers darkness”) was a homage of the Dominicans’ devotion to the power of the light, and Mary’s significant role as Stella Maris and Stella Matutina. It is an execution of devotion, an assemblage of art works which unfolds supernatural, spiritual, humane, and animative collective interpretation. The pieces were made of steel, to foreground the settled and subdued devotion of the Dominicans toward the image. The use of the steel was softened by the “gentle entrance of light [for] each sculpture is an embodiment of the luminary life of Nuestra Señora de Salvacion in the eyes of the children of Mary in general–the Pueblo Amante de Maria.”

Talking about the artworks, fr. Alaurin said, “I enjoyed doing it because in a way, I felt like a creator in a relative sense. I fashioned my own creatures according to my own creative imagination and liking, and afterwards, I saw something good in them.”

The twin events were attended by artists, both alumni and faculty, of the University, as well as officials of the Dominican Province of the Philippines and the ������Ƶapp. faculty member and researcher Mary Ann Venturina-Bulanadi curated the exhibit.

Photos by Hans Lawrence V. Malgapu

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The sculpture is composed of elements that connote a legislator’s salient roles, and resembles the number “1,” to remind legislators that excellence ensues when the interest of the Filipino people is regarded foremost priority. According to House Speaker Arroyo, its presence provides “soul and heart” in the House of Representative grounds.

“No. 1” was created and donated by Filipino “Visual Olympian” Joe Datuin, who won Grand Prize in the International Olympic Committee’s Sport and Art Contest, held in Lausanne, Switzerland during the 2008 Beijing Olympics. His entry piece “Dancing Rings” bested 35 countries around the world. 

According to Datuin, each of the monument’s visual elements symbolizes a particular role: first, the solid metal base stands for the anchor role of a legislator which is to be a Lawmaker. Second, the column signifies a legislator’s role as a Patron who supports his constituents and acts as the Haligi ng Tahanan. Third, the ring which resembles an enclosure, implies the legislator’s role as a Fiscalizer or tribune who protects his people’s welfare. Finally, the sphere symbolizes the legislator’s role as Articulator of Interest of his constituents, the nucleus of the legislator’s pursuits.

Right after the official turn over of the monumental piece, the artist personally showed House Speaker Arroyo in his solo exhibition titled “Nationalistic Monuments” at the South Wing Building. Among the works that the artist presented were: “Bagong Bayani,”  an envisioned waterfront monument in the shape of a dove in flight, and which aims to give tribute to OFWs; and “D’ Txte,r” an assemblage of e-waste that resembles Rodin’s “The Thinker,” and which serves as the artist’s commentary on the benefits and hazards of technology. The rest of the works presented are part of a brilliant curation of Joe’s select monumental pieces of nationalistic importance. 

The exhibition features scale models of Joe’s monumental works installed in public spaces; sculptural trophies; and obras exhibited in international Biennales and collective exhibitions in Europe and North America. Curated by of the ������Ƶapp, it juxtaposes legislators at the Philippine Congress with the artist – who with his artworks, has contributed to nation-building by responding to events of national relevance.

The curation featured a mix of scaled works of monumental creations installed in public spaces that represent Datuin’s Nationalistic Landmarks; actual sculptural trophies made for groundbreaking historical events that connote Nationalistic Recognitions; obras exhibited in international Biennales and collective exhibitions in Europe and North America that illustrate the artist’s Nationalistic Representations abroad; and models of envisioned monumental works demonstrating the artist’s Nationalistic Visions. Overall, the exhibition serves as an expression of oneness with esteemed Philippine legislators in their pursuit of modernity and social change.

Among the pieces exhibited were Campeone, Dancing Rings Study No. 2, Dare to Dream Trophy, Tapat, Matalas, Madasalin, Ambisyoso and Mapagtunggali, Special Delivery, Ang Bagong Bayani, and D’ Txter.

The exhibition was available for public viewing until 20 June 2019. at the House of Representatives.

Joe Datuin was a Benavides and TOTAL Awardee of the ������Ƶapp where he studied Fine Arts. His works have been shown in both local and international venues in Asia, North America, and Europe. In 2002, he held his first solo exhibition abroad after being granted an art residency at the Vermont Studio Center in Vermont, USA under a scholarship under the Freeman Foundation Asian Fellowship. In 2004, he was invited by the Philippine Center in New York City to mount a solo show – a milestone exhibit in one of the world’s art capitals. 

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A project led by ������Ƶapp Fine Arts and Design Studies Research Fellow and  faculty member Asst. Prof. Guillerma L. Mendoza, titled “Diskarte: Understanding Design culture through the Works of the Filipino Exemplars,” secured a grant until 2020.

Another recipient is , whose “Julio Nakpil @ 150 Music Project: Rethinking and Reimagining the Musical Works of Julio Nakpil in the Context of Philippine Modernity, Transculturation and Cultural Nationalism,” obtained a grant until 2019.

Both research grants are under the SALIKHA Creative Grants project, a joint program by CHED and NCCA.

“Diskarte,” which also includes ������Ƶapp Research Fellows Asst. Prof. Mary Grace V. Hernandez, Assoc. Prof. Nady S. Nacario, and , underlines the understanding of the emergence and development of Filipino design.

“Julio Nakpil @150,” highlights and reassess the renowned revolutionary composer’s contributions to Philippine culture and history. Together with Chua in this research project are ������Ƶapp Director ,  Dean Assoc. Prof. Antonio P. Africa, Ph.D., and  faculty member Asst. Prof. Mary Ann Venturina-Bulanadi.

The SALIKHA Creative Grants project is a financial endowment initiative by CHED and NCCA for higher learning institutions to support creative projects affected by the K to 12 transition program.

The project also aims to support local researchers who endeavor on studies focusing on culture and the arts, namely, its present theme “Transforming higher education through culture and arts.” A preliminary monitoring for the “Julio Nakpil @150” grant was already conducted last November 20.

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In her speech, Dr. Carillo talked about the ������Ƶapp’ response to the challenges of ������Ƶapp 2015. She presented the University’s response to the threefold thrusts of higher education institutions—teaching, research and community service—and likewise presented how UST’s recent moves are aligned with the ������Ƶapp Integration 2015 and the ������Ƶapp Vision 2020.Dr. Carillo underscored the need to face the challenges head-on, mentioning the imperative changes in organization and structure, faculty development, curriculum, learning, research, quality assurance and international competitiveness, as she highlighted that the ������Ƶapp Integration is a clear manifestation of the need for higher education institution’s to embrace internationalization as the new norm.

Also in the same conference, , a faculty member of the , presented about the exhibitions she and her colleagues mounted in 2011. Her paper, “Celebrating Art and Culture during the ������Ƶapp Quadricentennial Year,” presented how temporary exhibitions can be research outputs themselves. This provided the members with valuable tips on how to mount and curate impressive exhibitions that are not only impressive in terms of aesthetics but are likewise substantive in terms of content.

Bulanadi said that exhibits “make people remember and clarify the events and things that happened in the past, to add to existing knowledge and most of all, to gain a greater appreciation of how things were in the beginning of time.” She used this as a springboard to conduct a thorough analysis of the exhibitions done during the Quadricentennial year, in order to gain a clearer understanding of history and culture. Bulanadi’s exhibits were part of her research in the old Center for Intercultural Studies, which is now with the Research Center for Culture, Education and Social Issues.

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