The Cultural Center of the Philippines: Beyond the edifice

It might have looked a bit alien and alienating back in 1969, something that the sky might have spat down in all its grayness and majesty and minimalist lines. Now, 40 years later, the Cultural Center of the Philippines (CCP) designed by Leandro Locsin looks fated in stone, like something that’s always been there as people cruise along Roxas Boulevard headed wherever, considered a fixture. Consider also the figures that have performed, staged performances, or mounted exhibitions inside. Rolando Tinio must have had an epiphany or two while contemplating the human drama, accompanied by cameos by Godot or Caligula. French mime artist Marcel Marceau followed the beat of a silent drummer. Vicente Manansala, Cesar Legaspi, Eduardo Castrillo and Arturo Luz contemplated colors, shapes, and all things spatial. Placido Domingo felt the rush of resonance. Cecile Licad traveled over keys. Rudolf Nureyev traipsed and twirled. The Ballet Philippines dancers traipsed and twirled soon after. From Placido Domingo to Menudo, from Roberto Chabet to his conceptual art disciples, from revisiting zarzuelas to screenings of indie cinema, from past shudders to future shocks — the walls of the CCP have absorbed it all like transcendental sponges.

The CCP in 1969 gave Filipino arts its headquarters, its home. It was then-First Lady Imelda Marcos who thought of creating a national theater, a cultural center that would develop the Filipino soul, which she maintained is just as essential to nation-building. There were dissenting voices, but the original intent of the center still resonates today: to preserve, promote and enhance the artistic and cultural heritage of the Filipino people.

So, as the CCP celebrates its 40th year in a gala show on Sept. 8, 8 p.m., to be led by conductor laureate Oscar Yatco and maestro Ryan Cayabyab, expect the onrush of memories. Events in the second phase of the celebration include the 2009 National Choral Competition, the opening of the 27th concert season of the Philippine Philharmonic Orchestra (PPO), the “Seven Arts, One Imelda” tribute show for the former First Lady, the duo performance Cecile Licad and German cellist Alban Gerhardt, the “Daloy: 40 Years” multimedia and multi-sensory exhibit, and the launches of the Genesis commemorative magazine and the “Lakbay Himig” CD compilation of the creations and performances by 30 of the country’s most prominent musical artists, among others. Everything covered, no stone unturned. After all, the celebration “commemorates four decades of the fulfillment of the CCP’s purpose of servicing not just the artists, but all of the peoples of the nation.”

When most people think of the CCP, their minds are limited to the edifice. But CCP cultural resource and communication services (CRCS) manager Eva Salvador informs us, “Our department goes beyond (the edifice) and is able to reinforce culture that is outside (the building).” 

Salvador’s department is tasked with promoting art and culture in the various regions by way of bringing artists and productions to the provinces, maintaining a library and archiving, making use of new media to reach out to the masses.

“In the past we have been able to (organize a) tour of the PPO in Visayas and Mindanao — one of the most gargantuan tasks of the department,” Salvador says. Imagine someone lugging around a timpani to play in the plaza and other logistical challenges. But listening to orchestral music in places where symphonies are as alien as the music of the spheres makes it all worthwhile. She shares, “The music blends with nature.” What a joy it is: The rustle of trees, the hum of the tricycle motors, the barking of dogs, merging with those sad, throbbing violins. The department also holds film screening in basketball courts. What could be better than watching Brocka in the shaded area?

The CCP CRCS is also in charge of art therapy for children in war-torn areas in the archipelago, a laudable undertaking. 

She explains, “The idea is to tap into local art forms and traditions to reinforce one’s sense of identity. ’Yung affirmation and reinforcement of who they are through their culture is very basic for their survival. Usually sa lugar na may armed conflict, iniisip agad ng mga ibang ang tao na war-freak ang mga taga-rito. Mali ’yung labeling. But if you give them a chance, these people know very well their traditions — the songs and the dances.”

The lamentable fact is that people in such areas in, say, Maguindanao or Jolo are evacuated from their villages in a span of three months. Culture takes a backseat when the armored vehicles start rolling. Nevertheless Salvador and her department soldier on. What inspires them? She answers, “Mga bata na naglalakad ng apat na oras to get to school. Mga mothers na nagluluto ng saging para mapakain sa kanila. At nakikita namin na maganda ang kultura outside of the CCP.”  

The center is currently undertaking a series of projects under its “Arts for Transformation” initiative.

CCP outreach and exchange director Chinggay Jasareno Bernardo says, “The fourth quarter of the anniversary celebrations focuses on the excellence of Filipino artists, how they have excelled in dance or music in the last 40 years, and how the CCP has been able to support them in reaching this level of excellence.”

Everybody realizes the power of art, Bernardo stresses, to make people think, to make people rethink and make a decision. “It can change anybody. That’s what we at CCP are promoting right now — art is no longer for the stage, or for a select audience, but for a larger population. Mayroong value o katuturan sa ordinaryong pamumuhay.” She adds later on that the CCP is the country’s main source of artistic talent.   

Salvador agrees. “Art can inform us in terms of social realities like corruption, or social issues like poverty and the environment. Napaka-messianic man ng dating, definitely may nagagawang tulong ang art at may naii-impart na knowledge ito beyond (defining) cultural or national identity. At the same time nage-evolve din ang role ng CCP. As much as our funding is limited, we do the best we can.”

She lauds the recent efforts of filmmakers in Cinemalaya and how they continually present alternative ways of filmmaking. And if you think that’s “independent” enough, Salvador points out, wait till you see the works created by young filmmakers from the provinces.

“Talking about independent films, sila ay truly ‘independent’ — from Manila. Maybe they have been influenced by film showings sa mga palengke or basketball courts that are part of the CCP’s outreach programs.” 

Who knows? Maybe in one of the CCP cultural workers’ provincial sojourns they would discover a youngster who would become the next Rolando Tinio or Lino Brocka some other influential dramatist — with war in his hometown and inner conflict in his heart.