ART in PUBLIC SPACES
By Jasmine Agnes T. Cruz, Reporter
There are those who think that art is elitist, with prized objects hidden from view in posh museums, hard-to-find galleries, or private collections. But the general public has always been exposed to art, albeit traditionally the art in public spaces are monuments commemorating a hero or a politician. Today, these statues commissioned by the government and done in the classical style are no longer the only game in town as more and more members of the private sector are investing in the creation of art in public spaces.
From cities where art is included in their master plan, to a hospital integrating art into its building, to associations of landowners teaming up with corporations to create art — these are just some examples of how art is slowly but surely becoming part of daily life.
ART AND THE CITY
Anyone who steps into Bonifacio Global City (BGC) will see art. It’s everywhere. There are sculptures of heroes, hip murals, interactive art, a meditative landscape; there is even art on trash cans and trees. This artistic environment is maintained by the Bonifacio Arts Foundation, Inc. (BAFI), a non-stock, non-profit organization.
Established in November 1996, BAFI is in charge of the Public Art Program of the Fort Bonifacio Development Corp. (FBDC), the developer of BGC.
When BGC was conceptualized, there was already an art master plan designed by Fine Art Services, Inc., a Los Angeles-based public art consultancy group headed by Tamara Thomas. This master plan specifically allotted areas in BGC for public art. “We use art to create the identity of the city,” said Monica Llamas-Garcia, BAFI’s art program manager in an interview with BusinessWorld on Oct. 1. She explained that public art has always been part of cities and municipalities, pointing to Rome, where masterful sculptures fill plazas, as a good example.
Accessibility is the main standard by which they judge the art that they incorporate in the city, said Ms. Llamas-Garcia. This can be interpreted in two levels: how easy it is for the public to get to the artwork, and if people can readily connect to it. To ensure that people can appreciate the works, they usually fall under general themes such as brotherhood and love for nature.
The kinds of art set up at BGC are also evolving. In the beginning, the focus was on sculptures, today the concentration is on murals, yarn bombing (a type of graffiti art where knitted yarn is used instead of paint) on trees, and, of course, designing the trash bins. People have even expressed their appreciation for those trash bins, said Ms. Llamas-Garcia. She recalled someone who said, “I love working in BGC because we have such cool things.”
“They are proud to be around these artworks,” she said. “It makes them smile, and this makes us feel like we’ve done our job.”
There are many reasons for this change of medium. On a practical level, BAFI has already filled all the spaces that were allotted for art, so unless the city expands, they no longer have empty lots for new sculptures. This is why they sought alternative surfaces around the city. One initiative is to partner with building owners to paint murals on their walls. “For murals, every blank wall is a canvas,” said Ms Llamas-Garcia. They also look at what’s trending around the world and apply that to the city.
Aside from promoting the visual arts, BAFI encourages performing artists through the BGC Impromptu program, which allots spaces in Bonifacio High Street for performers. Every night, around 7 p.m., there is at least one performer in High Street. One can spot them right away thanks to the crowd they attract. There have been singers, a guitarist, a violinist, a magician, painters, jugglers, and a jazz band. “Several of our performers have gotten famous,” said Ms. Llamas-Garcia, pointing to the all-female guitar trio Triple Fret which has gained international recognition by winning first prize at the 27th Japan Guitar Ensemble Festival, singer Py Barbeyto who got the attention of Viva Records, and singer Dundee Prince Valencia who now gets booked for events.
Another program is the BGC Art Mart, a quarterly event where amateur and independent artists and craft makers are given free spaces at which to sell their handmade items.
To make sure the programs are sustainable, having enough funds is necessary. All lot owners in BGC give a certain percentage to BAFI’s art fund. Aside from that, BAFI partners with corporations for sponsorships. When it comes to donors, what’s necessary is to identify a specific entity whose corporate vision is a match for a project.
There are companies that have strong art programs, with Ms. Llamas-Garcia mentioning Metrobank, Deutsche Bank, the Yuchengco Group of Companies, and Shell.
She argues against the common perception that businessmen are not supportive of the arts. In her experience, there is “not much resistance” whenever she asks certain corporations to fund art programs, so long as it fits their corporate vision. “You’d be surprised at how much the corporate world understands art,” she said, explaining that businessmen are the ones who attend art exhibits and art fairs.
As to the future, BAFI is building a theater at the BGC Art Center, which is on 26th St. corner 7th and 9th Avenues. The venue is scheduled to be finished in the third quarter of 2016. They are also planning to have more art festivals with a multidisciplinary thrust incorporating music, art, and more.
“We are putting the soul into the city,” said Ms. Llamas-Garcia.
CORPORATIONS SPONSOR ART
Makati is another city that creates art in its public spaces, most recently on the ceilings of its underpasses. In June this year, four underpass murals in Makati were unveiled. Spearheaded by MaCEA (Makati Commercial Estate Association) and part of the “Make It Happen, Make It Makati” campaign, the project was part of Makati’s effort to make the city more pedestrian friendly. “One only needs to take a walk across the city to see what a big difference these murals make in terms of experience,” said Dave Balangue, president of MaCEA, in a statement, explaining that they want to turn Makati into a “walking museum.”
The project began last year with Ayala Land, Inc. sponsoring two murals at the Sedeno and Legazpi underpasses. This year, the murals were sponsored by Nestlé (the Sedeno underpass), RCBC (the Rufino underpass), Security Bank (the Paseo de Roxas underpass), and Shell (the Salcedo underpass). The sponsors chose artists they wanted to create the murals at their assigned underpasses. The artists were Paolo Icasis for RCBC, Gerry Dy for Security Bank, Paolo Gavino for Shell, and Gian Recalde for Nestlé. The murals will stay in place for two years.
The murals were conceptualized as an alternative to advertisements, said Jamie R. Matias, MaCEA general manager. They didn’t want their underpasses to look cheap so they limited advertisements to the underpass walls but the ceilings were off limits. To ensure that the murals the corporate sponsors designed were not like ads, product branding was not allowed while corporate branding was limited in size, said Mr. Matias.
HEALING ART
The corridors, waiting rooms, the auditorium, admitting rooms, lobby, the cancer clinic, and other areas in St. Luke’s BGC are filled with art. There are works by John Santos III, National Artist Benedicto “BenCab” Cabrera, Ramon Orlina, Elmer Borlongan, Juvenal Sanso, Malang, Romulo Olazo, Betsy Westendorp, and many more. The hospital has around 200 works by 70 artists.
Some visitors of the hospital have even asked for a walk-through, as though the place is a museum, and St. Luke’s agrees to these requests.
Art can play an important part in the healing process, said neurologist Dr. Joven Cuanang of St. Luke’s Medical Center at BGC.
Before the hospital’s BGC branch opened on Jan. 16, 2010, Dr. Cuanang said that they had already planned to create an oasis of art instead of the usual sterile environments that have been historically associated with hospitals. To realize this vision, the hospital contacted artists and struck a deal with them — in exchange of artworks, the hospital would give the artists medical insurance.
This unusual arrangement came about thanks to Dr. Cuanang’s exposure to the art world. An art collector and a gallery and museum owner (he owns Boston Gallery in Quezon City and the Pinto Museum in Antipolo), he is familiar with the problems that artists have, having seen artists having to sell their works at low prices because they need quick money for medical emergencies. This shouldn’t be, he thought, and he was inspired to create the special medical insurance program at St. Luke’s.
It was easy to convince the hospital’s board on this project, the doctor told BusinessWorld. Aside from the fact that he was the medical director of St. Luke’s, another plus factor was that the hospital didn’t have to shell out cash to acquire the artworks. The pieces will also appreciate in value over time, so they are worthy investments, said Dr. Cuanang. As an example, he pointed to a painting by National Artist Benedicto “BenCab” Cabrera of five “Sabels” (the artist’s longtime muse). According to the deal between hospital and artists, the artist names a value for the artwork the hospital acquires, and if the artist needs to be hospitalized, he or she will be covered for that amount at St. Luke’s. Like all the artists that the hospital chose, BenCab named the price that he wanted for the painting — P5 million. “At a last auction, one painting with one Sabel was sold at P18 million,” Dr. Cuanang told BusinessWorld. “We have five Sabels.”
“It is valuable because it is increasing its price, and it has a value in terms of the healing process,” he added. “Our art collection is a definite an asset for St. Luke’s, and it helps the branding of St. Luke’s.”
The art is not just for aesthetics as there have been scientific studies on how art can affect the brain. Art reduces stress, anxiety, and strengthens the immune system, said Dr. Cuanang.
“I thought a hospital should have a homey atmosphere,” he said. This seemed to have worked as, according to Dr. Cuanang, many patients and their relatives have said things like “Ang sarap pumunta sa St. Luke’s (It’s so nice to go to St. Luke’s). “It’s a totally different experience from other hospitals.” “Can I stay longer? I want to rest.
Sarap dito kasi (It’s so nice here).”
Though the hospital’s art project involves only its communal spaces, doctors have begun showcasing art in their offices even without orders from the hospital. “When you go to the doctors’ offices here, they are like art galleries,” said Dr. Cuanang. This emphasized how the whole hospital is truly appreciating art.
“What is the use of art? It’s something that uplifts your soul,” he said. “It makes you feel relaxed. There are so many things in this world, and you have to invest in something beautiful.”
Ignored masterpiece
WHEN PEOPLE RIDE the LRT (Light Rail Transit) to Monumento station or drive along the roundabout in Grace Park in Caloocan, they often ignore a masterpiece which is right there in front of their eyes: the Bonifacio Monument, designed by National Artist Guillermo Tolentino.
Towering at a height of 45 meters, Monumento (as it is popularly known) pays tribute to the hero of the Katipunan, Andrés Bonifacio, the main figure in the sculpture. Depicting the Philippines’ resistance to Spanish rule at the end of the 19th century, this memorial was completed to celebrate Mr. Bonifacio’s 66th birth anniversary in 1929.
The sculpture’s pedestal and shaft are covered in granite from Germany, according to the Presidential Museum and Library (http://malacanang.gov.ph/7054-the-andres-bonifacio-monument). At the top is the winged figure of Victory, inspired by the Greek sculpture the Winged Victory of Samothrace. At the lower part of the monument are human-sized Italian bronze cast figures depicting the Philippine revolution.
Only the occasional tourist or student working on a project brave the traffic at the roundabout to take a closer look at the beautifully intricate work of the master sculptor which few people today see.
At the right side of the monument are Katipuneros with their bolos (knives) out, standing among the casualties of the war. On the left are figures depicting the cruelty of the Spanish colonizers. At the back of the monument are the Gomburza — the three martyred Filipino priests Mariano Gomez, José Burgos, and Jacinto Zamora — whose execution moved Filipino hero Jose Rizal to write his novels Noli Me Tangere and El Filibusterismo, which in turn inspired Bonifacio and the other founders of the revolutionary organization Katipunan.
Front and center is Andres Bonifacio holding aloft a bolo and a revolver. With him are the Katipuneros, with one raising a flag.
Completed in three years the total cost of the monument was P125,000 — equivalent to P38.5 million in today’s money — the monument is designed to face Tondo in Manila, which is Bonifacio’s birthplace.
To find the best design for the monument, a contest was announced and 13 artists responded, submitting their work under aliases. The winner was a professor at the University of the Philippines (UP) Fine Arts whose alias was “Batang Elias” (Elias was the protagonist of Rizal’s novels) Guillermo Tolentino.
Born on July 24, 1890 in Malolos, Bulacan (seven years before Bonifacio’s murder by his erstwhile allies in the revolutionary government), Tolentino was trained in classical sculpture, earning a degree in fine arts in 1915 at the University of the Philippines (UP).
He went on to pursue further studies in the United States where he graduated from New York University with honors in 1921, and Europe, where he studied in Regge Istituto di Belle Arti in 1922, then returned to the Philippines.
Aside from creating the Bonifacio Monument, he also sculpted UP Diliman’s monument (better known as the Oblation), the bronze figure of President Quezon at the Quezon Memorial, the marble statue of Ramon Magsaysay at the GSIS (Government Service Insurance System) Building, and many others. He was proclaimed a National Artist of the Philippines for the Visual Arts in 1973.
Andres Bonifacio died at the age of 34. Guillermo Tolentino was five years older when he designed the monument honoring the hero on what would have been his 66th birthday. Eighty-six years after it was built, the monument still stands today, facing the birthplace of a hero, 118 years after he died so Filipinos in the future — those passersby who ignore his monument — would live free. — Jasmine Agnes T. Cruz
Maoris hacked off at haka exploitation
WELLINGTON — The haka is best known to rugby fans as the spectacular pre-match challenge issued by the All Blacks — but it’s also a revered cultural tradition among New Zealand’s Maori, who resent it being mocked or exploited for profit.
The All Blacks have performed the foot-stomping, eye-rolling ritual since 1905, now firmly entrenched as part of the sporting theater that surrounds New Zealand’s matches.
It’s no novelty act for Maori, though, with New Zealand’s Maori Development Minister Te Ururoa Flavell describing it as “a part of our culture and identity.”
“We use haka to express ourselves in many different settings,” he told AFP. “That includes welcoming guests, saying goodbye to our dead, celebrating success, [and] showing our pride.”
Small wonder then, that Maori bristle when advertising executives use their esteemed custom as a punchline in commercials and marketing campaigns.
In recent years, haka parodies have been used to sell everything from British menswear to Japanese soft drinks — all without permission and without a cent being paid to the haka’s traditional owners.
“It’s a feeling of disappointment that people don’t understand what it’s about,” Kahu Ropata, a cultural adviser with the Ngati Toa iwi (tribe), told AFP.
“Using it for profit, that’s not what the haka was intended for. It should be treated respectfully.”
New Zealand’s players perform the haka and Tonga’s perform the Sipi Tau prior to a Pool C match of the 2015 Rugby World Cup between New Zealand and Tonga at St James’ Park in Newcastle-upon-Tyne, northeast England, on October 9, 2015. – AFP
‘NO ROOM FOR DISRESPECT’
Numerous versions of the haka exist, but the All Blacks only perform two — the traditional Ka Mate and Kapa o Pango, which was introduced in 2005 and includes a controversial throat-slitting gesture.
Ka Mate is Ngati Toa’s haka, composed by the warrior chief Te Rauparaha around 1820 to celebrate his escape from a rival tribe’s pursuing war party.
“The essence of the haka is about life [triumphing] over death, the little guy beating the big guy and punching above his weight,” Mr. Ropata said.
Over the years, Ka Mate has evolved into New Zealand’s haka, with Mr. Ropata pointing out: “It’s reverberated around the battlegrounds of Chunuk Bair and Gallipoli and El Alamein.”
Ngati Toa are still regarded as Ka Mate’s custodians, a situation Mr. Flavell said the government recognized last year when it passed a law requiring the iwi to be acknowledged when the haka was used.
The tribe also have an agreement with New Zealand Rugby about using the haka and last month hosted All Blacks players at their meeting house near Wellington before the players departed for the World Cup.
But such laws and agreements have no force beyond New Zealand, and Mr. Ropata said his people were reliant on overseas companies doing the right thing, inviting them to consult the iwi before using the haka.
“For Ngati Toa, there’s no room for disrespecting the haka,” he said.
“So the word to the marketing companies is that if they are to use it, use it appropriately.”
While commercial exploitation of the haka may rankle, Mr. Ropata said Ngati Toa took immense pride in seeking the Ka Mate haka performed on the world stage by the All Blacks.
His tribe’s Ka Mate has been the only haka performed so far at this tournament, with Kapa o Pango yet to make an appearance.
The French team have a history of confronting the Maori challenge, and Mr. Ropata was intrigued to see how they would respond to it at last weekend’s World Cup quarter-final against New Zealand in Cardiff.
“To stand there eyeball to eyeball, I think that’s the whole way of approaching it,” he said.
“It shows your opposition, in this case the All Blacks, that you’re ready to go into battle on the field.”
In 2007, the French wore red, white and blue shirts to form a giant tricolor, staring down the New Zealanders before scoring a famous 20-18 quarterfinal victory in Cardiff.
Four years later, before the 2011 final, they formed a flying-V and marched into the All Blacks’ half, falling just short of a another stunning upset before New Zealand prevailed 8-7.
“It’s saying that this is our land, our whenua (territory), our field and we’re here to play,” Mr. Ropata said.
Before Sunday’s quarterfinal, the French stood in red jerseys, arms and shoulders interlocked and their stare held as the All Blacks issued the traditional challenge. However, New Zealand thrashed them in the game that followed, winning 62-13. — AFP