Filipino culture gets the spotlight in Paris

It’s like those questions that hang over Prometheus: Where did we come from? How did we get here? And where are we headed? Similar, yes, although not as ominous and yet equally cinematic.

This is about the exhibition titled “Philippines: Archipel des échanges (An Archipelago of Exchange)” which features pre-colonial Philippine artworks and artifacts on view from April 9 to July 14 at the prestigious Quai Branly Museum in Paris. The show provides “a sweeping panorama of the Philippines’ Austronesian roots and maritime culture prior to the arrival of Europeans,” pieces that can be considered clues or road signs that will tell us how we Filipinos became who we are.

During a press conference at The Ayala Museum attended by French Ambassador Gilles Garachon and Senator Loren Legarda, among others, Quai Branly Museum president Stéphane Martin explains the choice to put the Philippines as the focus of the exhibition.

“The arts of the Philippines are little known in France and rarely shown in their entirety and diversity. Through these unique objects, each of which conveys a particular meaning, we pay homage to these multiple artistic expressions,” Martin says.

The Quai Branly Museum is among Europe’s premier museums dedicated to the arts and civilizations of Africa, Asia, Oceania, and the Americas, housing a collection of over 400,000 objects, 700,000 photographs 3,500 artworks, and 10,000 musical instruments on permanent display. The museum receives an average of 1,400,000 visitors annually.

“The promotion of cultural diversity is at the heart of French cultural diplomacy, to encourage peace through cultural understanding among peoples of the world,” says French Ambassador Gilles Garachon. “The museum will promote Philippine culture not only to the French public, but to its visitors from all over the world.”

Cora Alvina — an anthropologist, consulting curator of the Metropolitan Museum in Manila and co-curator of “Archipel des échanges” together with Constance de Monbrison — tells us what to expect when we enter Quai Branly Museum during the exhibition period:

“We open with the Earth (section) — a fabulous archival photograph of the Rice Terraces. As you go in, you are met with more than 30 bul-ols or rice divinities. Some have been dated (as early as) the 14th century. You go up to where the magical objects are. These are used for divination, healing and other rituals by the Mumbaki the Ifugao religious specialist.”

At the middle, points out Alvina, is the Poetics of Everyday Life section.

“We have baskets, spoons, blankets — everything needed for daily life. After that you’d find the (section on the) Kadangyan. There are ornaments, gongs and special jars. We go down and we see more ornaments from the Highlands — beads, necklaces, ‘leglets.’ Across would be the objects of the warriors. Axes, shields… There is also a special room of photographs.”

The guests can also see textiles, musical instruments and weaponry.

“The warrior is elaborately dressed,” informs Alvina. “He wears jewelry and is privileged to wear a special head-cloth.”

Gold, pottery, urns, you name it — the exhibition of Philippine artworks and artifacts has it.

 â€œThere are 336 objects to be exhibited,” she adds. “We are not only encouraged to be proud of what we have, but the exhibition also gives us a chance to look at our ancestry, look at how skilled and creative (our ancestors are). And perhaps we can use this knowledge to further our development as a people.”

The pieces of art were selected from various collections in the Philippines, United States, Belgium, the Netherlands, Spain and Austria.

Senator Loren Legarda, chair of the Senate Committee on Foreign Relations and Committee on Cultural Communities, quips, â€œCulture is at the core of our identity as a nation.”

She adds, “We are very fortunate to have been chosen as the featured exhibiting country at the Musée du Quai Branly, which is not just an indigenous art museum, but the foremost museum in France for Non-European art and culture. Through the agreement to loan Philippine artworks and artifacts for the exhibition, we are bringing Filipino artistry, craftsmanship, and heritage to a world audience.”

Legarda explained that the exhibition, which is a partnership between France and the Philippines, is another opportunity to create awareness of the rich Philippine heritage within the international community. An event that will undoubtedly help put the Philippines on the cultural map.

She says, “Through this, we reaffirm our commitment to promote Filipino artisanship, uphold traditions that give meaning to our identity, and express pride in our unique history.”

Alvina concludes that we can use the knowledge gained from the “Archipel des échanges” exhibition “to help us in our quest (to define) our personal or national identity.” 

Rightly so.

Ang hindi lumingon sa pinaggalingan… Well, you know the rest.

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Several side events dedicated to Philippine contemporary art are slated to take place in France. “Alliances en resonance” will feature music, photo, and cinema under the auspices of the Fondation Alliance Française in Paris, while 22 Filipino artists will participate in an exhibit in Southern France co-curated by Hervé di Rosa and Manuel Ocampo, leading figures in the international art scene. “A Filipino Fiesta” will also be organized by the Philippine Embassy in Paris. The Quai Branly Museum will also host a Philippine week from April 27 to May 5, offering cultural performances and workshops on Filipino language, music, dances, cuisine and traditional martial arts.

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“Philippines: Archipel des échanges (An Archipelago of Exchange)”on view from April 9 to July 14 at Quai Branly Museum in Paris, France is supported by the National Museum, the Central Bank of the Philippines, and The Ayala Museum.