It takes 13 muscles to smile and 33 to frown. Why overwork? ___ made me smile, grin, laugh, giggle, chuckle, titter. ___’s naiveté amuses me. Today is Monday (f*ck) but I’m smiling.

>>> by antibiotyx >>>

Via Who Killed Bambi.

Loopable is a blog site that features tons of crazy loopable animated GIFs - from simple pattern loops to elaborate and hilarious visual trickery stolen from various sources. Below are some loopable gifs from the site that caught my attention.



>>> by antibiotyx >>>

Einstein and Dumas are absolutely right.

Only two things are infinite – the universe and human stupidity. Rogues are preferable to imbeciles because they sometimes take a rest.

Why do some people have no common-sense? They always get on my nerves. Nakampucha.

>>> by antibiotyx >>>

Last night was memorable. RTs went to Alan’s Grill in Cubao-X to celebrate Roi-luck’s birthday. But Shaui's surprise apparition stole the spotlight. Jeamie and Eica made this "phone patch" masterplan that shocked the hell out of us. When Shaui’s walked in the restaurant, almost everyone’s jaws just dropped. Click here to see the "Mixed Emotions" video taken by Jeamie.





>>> by antibiotyx >>>

Bago na ang gate nang umuwi ako kaninang hatinggabi. Kakagulat. Mataas na at hindi na kayang akyatin ng magnanakaw. ‘Di lang kasi miminsang nabiktima kami ng akyat-bahay gang kaya nagpatayo na ng bagong gate. Pinaayos na rin ni tatay ang garahe at may bubong na. Dalawang araw lang ako naglagalag pero parang andami ng nangyaring pagbabago sa bahay.

May pumutok kasing wire ng kuryente nung Sabado kaya umeskapo ako. Kasumpa-sumpa ang init at wala pang kuryente. Ayun, naisipan kong dumiretso sa condo ni E para makicharge at makitulog ng saglit. Nung kinakagabihan, napadpad naman ako sa Giligan’s kasama si D, isang prinsesang Pranses na kababalik lang galing Japan, at J, isang pesanteng amoy patis ang buhok na kababalik lang galing Malaspascua. Tangna, ‘di man lang nag-anyaya. Ah oo nga pala, dumaan muna kami sa Instituto pero tapos ang event. Sayang. Wala kaming nadekwat na freebies. Naligaw pa ako sa paghahanap sa Kalaw.

Habang tumotoma, kapansin-pansin ang kakaibang ngiti ni J. Lampas tainga. Pati si D. Dalawang beses daw siyang naiyak sa Japan. Ako rin naman eh, habang pinagkukuwentuhan namin si E. Sarap sapakin. Balinguyngoy. Haha.

Inabot ata kami ng alas-tres ng madaling araw bago naisipang umuwi. Dun na ako nakitulog sa pinagmamalaking cocoon ni J na nasa isang antigong bahay malapit sa La Salle. Sa wakas, nakita ko rin. Alas-kwatro na kami natulog. Pinaalarm ni J ang cellphone ko ng 5:45 ng umaga dahil kelangan daw niyang umalis ng alas-6. Tulog pa ako nang lumayas siya. Tanghali na ako nagising dahil sa init at nag-aalburuto kong tiyan. Hindi pa bumabalik si J. Nakampucha. Buti na lang may nachibog ako sa kanyang munting refrigerator – otap at chocnut. Bumalik din naman siya bandang alas-2 at nakakain din ako sa wakas.

Tinamad na akong pumunta ng apartment sa QC. Dun sana ako maliligo pero dahil sobrang init at dugyot na dugyot ang pakiramdam, tinext ko si E na makiki-swimming na lang ako sa kanila. Wala akong dalang kahit ano, kaya dumaan muna ako ng SM Manila para bumili ng tshirt, tsinelas at underwear. Ayoko pang umuwi agad kaya nung gabi, dumaan muna kami ng simbahan bago namalengke ng kung anu-anong gulay at tilapya. Ewan ko ba kung anong kaluluwang sumapi dun. Nagluto si E ng nakapasarap na Pinakbet Ilocano gamit ang rice cooker. Talentado talaga si gago.

Hatinggabi na ako nakauwi ng Cavite habang isinusumpa ang pagsapit ng umaga. Lunes na naman, tangina.



>>> by antibiotyx >>>

Synopsis:

Monday >>>
Uninspiring, as expected. What’s new?
Tuesday >>>
Went to Capitol Medical Center to visit Eica who’s still recuperating from dengue. She looked droopy but out of danger. Good news: her platelet count is still normal so she doesn’t need blood transfusion whatsoever. I also watched the dvds which I borrowed from Edisson - Shortbus and Stardust.
Wednesday >>>
Got lazy to return to Cavite so I worked in QC and took the time to pay my bills. At lunchbreak, I went to the nearby Ystilo and got a new haircut.
Thursday >>>
Wasted my time watching five episodes of the latest season of Top Chef over Youtube. Hyperreal tête-à-tête. Stayed up late talking to someone. Amusing randomness.
Friday >>>
Void.

>>> by antibiotyx >>>

This inventive video brings me to the old days. Ohh, nostalgia. Watch it!







>>> by antibiotyx >>>

Ito ang euphoria:
ang sining ng masinsinang pagsisinsin
ng nag-apoy at inabong melanin.

Ito ang apokalipsis:
ang paghihintay,
paghihintay at paghihintay
sa pagpatak ng alimuom

ng pawis at langis.

Ang tag-init ay paghuhukom,
kamatayan at muling pagkabuhay.

>>> by antibiotyx >>>

This sounds cliché but I really, really love you. You complete me. You're always there when I need you. *Lasing na naman ako* Hikhik.



>>> by antibiotyx >>>

Dahil kating-kati ng libutin ang Maynila (o langhapin ang amoy-karbon nitong hangin), sinamahan kong magfoodtrip sa Binondo si Aubz kahapon. Kababalik lang niya mula Italy at umuwi lang para magbakasyon. Isang taon din siyang nawala para magmasteral sa Florence.

Mula Pier, naglakad lang kami papuntang Chinatown at hinanap ang pamosong Estero. Siya ang taya nang kumain kami sa LG Foodhouse bago bumisita sa Binondo Church at dumiresto sa 168. Madilim na nang nakabalik kami sa University Tower. Sakto namang dun din nakatira sa condo si Dyigs kaya napagdesisyunan naming ituloy ang huntahan sa kanyang unit. Nagdala si Aubz ng red wine na hindi naman namin nabuksan dahil walang cork remover. Kaya ayun, nauwi kami sa tira-tirang Maria Clara. P120 lang ang isang bote pero masarap.

Naging lektyur sa Wine Drinking 101 ang gabi. Tinuruan kami ni Aubz ng tamang etiquette sa pag-inom ng alak at iba pang mahahalagang datos tulad ng:

1. Food and wine matching: red wine sa karne; white wine sa isda
2. Grappa – ang wine para sa hindi maimpatso
3. Vino (wine), rosso (red)
4. Mas mahal daw ‘pag mas malalim ang puwet ng botelya
5. Bukod sa age, nakabatay ang presyo at kalidad ng wine sa consistency at kulay

Nabitin kami sa tirang Maria Clara kaya bumili pa ng isang bote sa Mini Stop. Sa rooftop sana namin itutuloy ang tomahan pero sarado na. Shet. Sayang, maganda pa naman ang panorama sa tuktok. Nag-inuman kami hanggang hatinggabi habang nanonood ng Science of Sleep. At tulad ng inaasahan, tinamad na akong umuwi.

>>> by antibiotyx >>>

I adopted Frou-Frou* during our Anawangin getaway and these are some of my neophyte shots. Not bad first attempt, huh? Haha. I adjusted the contrast slightly to accentuate the colors.




>>> by antibiotyx >>>

The Pabalat and the Decline of a Folk Art/Tradition

Introduction

The art of making the pabalat or pastillas wrappers has transformed in recent years from being a local, folk tradition into a popular art. Besides adding flair to the sweet pastillas de leche made from fresh carabao’s milk, the pabalat has also become a compelling icon/symbol of the people’s creativity, not only of the town of San Miguel, but the entire province of Bulacan.

Bulacan fiestas are truly not complete without the elaborate papercut designs often used as decoration, table centerpiece, and souvenirs. The pastillas wrapped in pabalat have also become popular gifts during birthdays, weddings, and other occasions and pasalubong among local tourists and balikbayans.

On May 5-7, 2006, the town of San Miguel celebrated the first-ever "Pastillas Festival" to underscore the importance of the pastillas in the lives of its people. According to Mayor Edmundo Jose Buencamino, “the pastillas has been a source of pride and a unifying symbol for the people here. We give pastillas as a gift to our families, loved ones even during birthdays, weddings, and other occasions. This is the secret of the industry: It has survived time because not only visitors but even the locals patronize it.”[1] The mounting of such a festival, apparently, was envisioned to give the sleepy town a much-needed boost in development and attract investments.

The industry of pastillas making may have survived time, but the pabalat is a totally different story. Similar to most folk traditions in the Philippines, the art practice of making these intricate paper cut-outs is on the verge of extinction. Due to the tediousness of the art, there are few takers who are willing to follow the footsteps of the pabalat masters like Ka Luz “Aling Nene” Ocampo. At present, most of the pabalat makers in San Miguel are senior citizens in their 70s or 80s, while others have transferred to Malolos, Bulacan, the province capital, to put up “more” lucrative pastillas and other sweets businesses, which now attract a number of clientele ranging from balikbayans, local and foreign tourists, to hotels and catering companies.

This paper hence attempts to present several factors that led to the looming extinction/decline of the art/tradition, while discussing its history, aesthetics, and Filipino-ness as well as presenting its iconography, designs, and process of production.

Two sites serve as sites of analysis. This paper delves into context of San Miguel and Malolos, focusing on the relationship of the two (Malolos as the center; San Miguel as the periphery), and its effects on the production of the pabalat.

‘State of the Art’

But before anything else, it is only imperative to define some operative terms pertinent to the paper. The title “Paper Cuts” explains the over-all rationale of the study. The title has two levels of meaning. On a literal note, it pertains to the pabalat as a product (paper cut-outs). On a metaphorical level, it connotes the “state of the art” practice (meaning: it’s not only a “wounded” tradition but it’s actually a “dying” one). The art is not only a cultural product or an artistic expression, but also cuts through some cultural, social, even political discourses and issues.

The term “decline,” meanwhile, pertains to the decay of communal understanding about the art and its aesthetic value and the failure to pass it from generation to generation, resulting to the degradation of its traditional aesthetic function due to commercialization.

The also author deems the pabalat as a folk art, or in Filipino term, “siningbayan.” It is a folk art because it originated among the townsfolk reflecting their traditional culture. The art practice has also been passed from generation to generation, and its’ creative elements and aesthetic values mirror the people’s everyday life. Another important aspect of this folk tradition is that the makers of these intricate paper patterns do not see themselves as “artists” and do not consider their works as “arts.” Taking a quote from Dr. Brenda Fajardo in her book Ang Inukit na Kaalamang Bayan ng Paete:

“Ang siningbayan ay mga nilikhang bagay na karaniwan at nakararaming tao sa lipunan. Ito ay gawa ng katutubo ng karaniwang binubuo ng mga sinaunang malikhaing gawa na nakagisnan at naipasa sa salinlahi o ‘di kaya’y makabagong paggawa na nilikha ng masa at sumasagot sa pangangailangan sa araw-araw.”[2]

This definition is very true to the aesthetic function and mode of production of the pabalat. Given the communal nature of the art, the author delves into the subject matter using an “emic approach,” thus veering away from his subjective interpretations and other outsider scholars. Accounts, descriptions, and analyses in this paper are significantly based on the conceptual schemes and categories regarded as meaningful and appropriate by the members of the culture under study. As what Kenneth Pike puts is, “An emic construct is correctly termed “emic” if and only if it is in accord with the perceptions and understandings deemed appropriate by the insider’s culture.”[3]

This translates that the knowledge and information gathered in the research becomes a matter of consensus that relies solely on the native informants who, more than anything else, must agree the construct matches the shared perceptions that are characteristic of their culture.

This paper not only deals with “archaic definition of aesthetics as the theory of the beautiful:” the concept of beauty is inadequate to the full content of the aesthetic. It, more importantly, sees “art as a product of history.”[4] As groundings, previously written papers and books on the subject matter written by local writers are utilized.

Tracing Its History

The pabalat and pastillas-making tradition in San Miguel is as rich and colorful as the town’s history and heritage. The humble town, for instance, is home to some of the greatest heroes of the revolution and various prominent persons in the field of arts such as, among others, Doña Sisang de Leon of LVN Pictures, the grand matriarch of Philippine cinema; renowned composer Francisco Buencamino; and composer and pianist Nicanor Abelardo. On the map of culinary production, meanwhile, San Miguel is most famous for its sweet delicacies, particularly its traditional pastillas made from sugar and fresh carabao’s milk. These sweet treats are made even more special by wrapping them in intricately-cut colored wrappers. For generations, pastillas-making has remained the town’s trademark industry.

The genealogy of the pabalat can largely be traced from San Miguel de Mayumo’s rich cultural heritage and history. Established in 1763, the town is the second largest town in Bulacan and is located in the northernmost part of Central Luzon. Until now, remnants of Spanish colonial period can still be seen in the town – old houses, architectures and historical landmarks.

During the Spanish occupation, China was actively trading with various kingdoms in the Philippines. Sino-Philippine trade flourished further due to the Manila-Acapulco Galleon Trade. The population of Chinese settlers increased so much that a Chinese community or parian emerged outside the walls of Intramuros.[5] One Chinese custom (of making trips of colorful Japanese paper) has to do with Chinese funerals and commemorative feasts to for the departed. Over time, from Manila and other coastal areas, the Chinese moved inland, taking their culture with them, including the art of paper-cutting.[6]

Now, the only surviving trace of this artistic tradition can be found in the town of San Miguel, Bulacan. The Chinese popular art form, originally used as ornamentation, was transformed and given a utilitarian function – wrapping sweets.

While the pabalat may have begun earlier, it appears to have lingered at the turn of the 20th century.[7] In the 1890s, Western artists, weary of old styles, inspired by the sinewy form of vines: art nouveau. The pabalat was not spared by the new rage – local artists reinterpreted art nouveau using indigenous motifs.[8]

But when did the pabalat actually gain mainstream popularity?

It is logical to assert that the pabalat, as an art product, only became too popular in the early ‘90s. During this period, there was an immense “decentering” call on the part of the government for exchange between the center and the provinces, which seek to popularize art and artists in the periphery in the image of the glamour figures and practice in the city. A concrete manifestation of such call is the mounting/invention of different fiestas or festivals in the provinces that are centered on their trademark industry and spearheaded by the Department of Tourism in collaboration with the local government.

Likewise, the ‘90s can be considered a “breakthrough” decade for traditional, indigenous, or folk artists in the Philippines for it was during this period when the government created programs and agencies that recognize their cultural importance and put them into the national consciousness. In April 1992, for instance, the Gawad sa Manlilikha ng Bayan (GAMABA) or the National Living Treasures Award was institutionalized through Republic Act No. 7355.[9] In October 1997, Republic Act 8371 was enacted into law, creating the National Commission on Indigenous Peoples (NCIP).[10]

With the government’s endeavor to bring local culture to the level of national consciousness, it was not only the arts that became icons or popular, but the folk artists as well. We have, for example, National Artist Abdul Mari Imao for “sarimanok,” and GAMABA awardees such as Darhata Sawabi for “pis syabit,” Uwang Ahadas for traditional “Yakan music,” Samaon Sulaiman for “kudyapi,” and many others.

In the pabalat tradition, one person stands out. Her name is Ka Luz “Aling Nene” Ocampo – the most famous pabalat maker in the country. Ocampo has been featured in a multitude of coffee table books, newspapers, and magazines, and until now, her pabalat is in-demand among the elite of Metro Manila and among balikbayans.

Keeping the Flames Alive

Ocampo, now 84 years old, is one of the few remaining senior pastillas wrapper (pabalat) makers in Bulacan. Aling Nene began the tedious art at age 12 when she was only a fifth grader in San Miguel. During those times, her mother made pastillas de leche and other sweets while she helped her wrap these in rice paper. In 1993, Ka Luz transferred from San Miguel to Malolos, the province’s capital, to live with her unica hija and take care of her grandchildren. It was also in this period that she started to become popular.

Over the years, Aling Nene has developed her own patterns which have amounted to over 50 different designs. Among her famous pabalat designs include: flowers, leaves, garden, trees, farmers and Maria Clara design, mostly images taken from the rural scenery in San Miguel. According to Aling Nene, making these intricate designs is very tedious. “Inaabot ako ng isang oras sa paggawa ng pattern,” said Ocampo. She further explained that she makes her own designs and usually gets inspiration from her surroundings, from nature and people. Besides making pabalat, she also makes the “inukit.” It is a carved fruit or vegetable (preferably dayap). The contents are scraped to make a hole in where the creamy substance is poured.

Despite her age, Aling Nene has no plans of retiring. “Nakakagawa pa ako ng 100 wrappers kada araw,” said Ocampo. Her clients include the Department of Tourism, and major hotels in Manila and she still accepts orders for special occasions. “Dumami lalo yung umoorder sa akin nung ma-feature ako sa Inquirer. Maraming tumatawag, ako na nga ngayon ang sumusuko sa order,” Ocampo boasted.

Aling Nene stressed that the pabalat making is generally a lucrative business but the “art” is near extinction. "Konti na lang ang may interes, laluna yung mga bata. Tapos yung mga kumokopya pa samga gawa ko, iba yung paraan ng paggawa. Hindi makinis,” Ocampo complained.

Drawing the Lines

One of the primary issues being faced by the art practice, according to Ocampo, is the alteration of its original process of production. Here the author makes a distinction between the “authentic” pabalat versus the “commercial” ones. The former requires a long, sophisticated and complex process of production while the latter involves an expeditious method or assembly intended for mass production.

Making the pabalat is really a tedious, time-consuming and intricate undertaking. By just utilizing simple equipment such paper cutter and cuticle scissors, Aling Nene is able to transform the colorful and sheer papel de hapon into sophisticated pabalat. During the interview, she was kind enough to demonstrate the set-by-step procedure of how the pabalat is done.

The process starts by dividing the papel de hapon with a cutter and lengthwide into four equal quadrants. Next is to fold each quadrant in two, three times along its width. Once folded, the pabalat pattern is then inserted in between the two segments. These patterns will be traced onto the top segment with a pencil. The portions that will be cut are then pierced using either a pin or a metal paper clip. Next is to cut out the punctured areas by following the pencil marks, with the aid of cuticle scissors. Finally, open the quadrant and cut along the width after two every two segments. This is how the pabalat is traditionally made – it obviously involves a very intricate and time-consuming process.

On the contrary, the creators of pabalat intended for mass production, which is prevalent in Bulacan these days, do not follow this. What they basically do is copy the “original” pabalat patterns created by Aling Nene in multiple quadrants and then cut these traces out using scissors. No mathematical estimation in folding is implemented.

According to Aling Nene, it is easy to distinguish which palabat is “authentic” or not by just looking into the quality of how it was cut out and how its edges look like. She’s very articulate when it comes to critiquing the copied works, saying that the pabalat created by inexperienced makers are “magaspang” (rough), while her works are “makinis” (smooth).

Over the years, Aling Nene has also somehow developed her own aesthetic parameters and standards, illustrating the intertwined relationship between her intention as an artist and the aesthetic function of her artworks. When asked about her intention and the meaning of her works, she expounded that what she creates are expressions and representations of the things that surround her. In creating patterns, for instance, she takes inspiration from rural scenery and conservative images from her rural hometown in San Miguel. Typical themes include nipa huts, farmers, trees, gumamela, and many others.

Thus, besides being popular and intricate wrappers, the pabalat is a clear expression of the sentimental longings of Aling Nene as a Filipino folk artist.

Factors of Decline

So what could probably be the reasons that led to the degradation of the pabalat original aesthetic function and process of production?

One evident factor is “commercialization.” The avalanche of mass-produced pastillas wrappers made through an expeditious method began to address the growing demand for these products among tourists and balikbayans. This consequently turned the art into a pastiche or stylistic imitation. The commercialization of the pabalat as a folk art product, apparently, is neither an isolated nor uniform process. Rather, it is complexly interwoven with a broad array of economic…cultural and political factors, the configuration of which shapes its particular course to a significant extent. [11]

Another factor, which is very much related from the previous one, is “decentralization.” During the early ‘90s, the government began its “decentering” call for exchange between the center (cities) and the provinces, which seek to popularize folk art and artists. Since then, Aling Nene, along with other local artists, became popular and has been featured in coffee table books, newspapers, and magazines. Her paperworks also became in-demand for the elite of Metro Manila and among balikbayans. Moreover, people of Malolos, not trained into making the pabalat, imitated the designs of Ocampo.

This decentering thrust led to the transformation of the pabalat into mere “exotic/ token samplers.” From being a folk art, or a product, that is being made by the family or community only for local consumption, the pabalat turned into a popular art among the tourists and balikbayan.

Decentralization is really not an issue if and only if the exchange between the center and the periphery remains to be a “two-way cultural traffic” that “seeks to mold art and artists in the periphery and the city.” Taking the view of Bienvenido Lumbera:

“Decentering, it must be emphasized, is not merely bringing arts and culture from the Center to the regions. More importantly, it is bringing arts and culture from the regions to the Center, not as token samplers of exotic and, unique tradition-based creative works, but as cultural products instructive in expanding the consciousness of artists and artisans working within the hub of cosmopolitan culture.”[12]

The task of decentering Philippine art and culture, Lumbera further asserted, entails a certain amount of adventurousness among cultural planners and administrators. This, apparently, is the essential idea of cultural exchange and legacy that the government has failed to take in hand and address. Until now, the government support seems to be lacking in the town of San Miguel and Malolos. Besides the mounting of the first-ever "Pastillas Festival," which was invented for “tourism” purposes, no concrete programs have been implemented to generate awareness of the art tradition among the young generation. Passing the tradition to her niece, Janice, and other young kids has only become an initiative of Aling Nene and other tourist-oriented agencies, non-government organizations and schools. Aling Nene generously passes on the art to those who are interested. She is often invited to demonstrate her skills in several fora in hotels, cultural agencies and schools.

These “sporadic” initiatives, however, are not enough. To counter the decline of the art, a School for Living Traditions, in cooperation with the City Government, should be established. In this way, it is not only the practice of art that will be revived, but the young generation’s consciousness about the art value. Passing the pabalat tradition to the younger generation necessitates a conducive venue devoid of “economic” gains or tourist “orientation;” it should be a legacy supported by the government and the entire community. ###

Endnotes:

*Image above taken from filipinaslibrary.org.ph



>>> by antibiotyx >>>

What Would The Soundtrack Be?

Here's how it works:
1. Open your library (iTunes, Winamp, Media Player, iPod, etc)
2. Put it on shuffle
3. Press play
4. For every question, type the song that's playing
5. When you go to a new question, press the next button
6. Don't lie and try to pretend you're cool...

Movie Title:
Derelict – Beck
No way, I’m not! Haha.

Opening Credits:
Submarine - Bjork
Too dark for me.

Waking Up:
Code Red – Tori Amos
Awesome!

First Day At School:
Earth Intruders – Bjork
Tribal ang entry?

Falling In Love:
1973 – James Blunt
Hell no!

Fight Song:
Glosoli – Sigur Ros
Slow motion...Haha.

Breaking Up:
Bend and Break - Keane
Swak! Walang daya, pramis!

Prom:
99 Red Balloons – Goldfinger
Puwede! This song reminds me of highschool!

Life:
Sweet Escape – Gwen Stefani
Meron pala ko nito sa playlist ko. Sorry, but escapism is no longer in my vocabulary.

Mental Breakdown:
Too Many Faces – K’s Choice
Schizo!

Driving:
Come to Me – Bjork
Puede lang kung ambulance ang idadrive.

Flashback:
Throwing Fire at the Sun – Heather Nova
Bittersweet!

Wedding:
Hide and Seek – Imogen Heap
Where are we? What the hell is going on? Pinikot lang, huwag naman sana…

Birth of Child:
Faust Arp – Radiohead
Faust Arp – nice name for a baby boy!

Final Battle:
Unravel – Bjork
In hell? Devil collects it with a grin...

Death Scene:
Dull Flame of Desire – Bjork
Naghihingalo...

Funeral Song:
I Can’t Get Out – Sarah Bettens
Can’t get out of the coffin. Haha!

>>> by antibiotyx >>>

Feeling a bit stressed out? Worry no more, this cute little pig can help. Just click anywhere on the pig, and make sure your speakers aren't turned all the way up!



Happy April Fool's Day!

>>> by antibiotyx >>>

Antibiotyx

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