Having to write this piece prevents me from attending the lecture-forum. I can air my views only on the naming of Alejandro "Anding" Roces a National Artist, and to my mind, the particular issue involves no controversy.
Proclamation No. 1001 dated April 27, 1972 states that "aspirants for the title of National Artist must enjoy broad acceptance and recognition by their peers, by critics’ circles, and by the nation at large said recognition being manifested in any of the following: a) prestigious local, national and/or international recognition; b) awards on prestigious national and/or international competitions; c) critical acclaim and/or favorable reviews and critiques of their works."
Anding has won national and international awards both as a journalist and as a short-story writer or fictionist (i.e., as a creative writer).
Indeed, so many of Anding’s peers and colleagues (myself included among the latter) believe he is over-qualified for the title of National Artist. Without reservations, Nick Joaquin and Frankie Sionil Jose, both National Artists for Literature, and National Artist for Dance Leonor Orosa Goquingco (who is a poet, critic and essayist, besides) have endorsed Anding for the highest award, and warmly welcomed him to their sacrosanct fold.
Proclamation No. 1001 also singles out artists who have researched, preserved and/or consistently utilized a particular form of expression or artistic style significant to Philippine culture. Frankie Jose points out that virtually throughout the year, Anding’s columns reveal one significant aspect or other of Philippine life, culture, art or history, which columns imply constant, unrelieved research on these aspects. And what about Anding’s voluminous book Fiesta? Philippine fiestas are "the most authentic and the highest expression of the community spirit." Thus Fiesta is the unparalleled example of preserving particular (ethnic) forms which, in their totality, provide windows to the Filipino soul.
Anding’s written (and therefore permanent) contribution, in this regard, as achieved through research and inevitable preservation, places him in the company of those artists "who have promoted the national cultural identity and the dignity of the Filipino people through the content and form of their works" – to quote, once again from Proclamation No. 1001.
As for Something to Crow About, Anding’s collection of short-stories woven around cockfighting, the reader "discovers the best in Filipinos by seeing them supposedly a their worst: while gambling. The cockpit is an institution where honor and humor spar and ally. Popular in rural and urban settings alike, cockfighting remains a strictly oral institution paying tribute to folk virtues. In Something to Crow About, the author’s wit and wisdom make it entertaining to learn how Filipinos from all walks of life hold truth, honesty and justice in the highest esteem as they cope with the complexities and travails of learning to live."
As for the literary merit of Anding’s collection of short stories, it has earned glowing praise from, among other luminaries, the late statesman, eminent essayist and playwright Don Claro M. Recto (as I have earlier noted). In a letter to Anding, Don Claro writes (translation supplied): "I read the book at one sitting; I could not leave it for a single moment. Even Bernabe, although a great poet and a cockfight aficionado throughout his life, could not have done better. But precisely because he was a poet, he would have lacked your sense of objectivity which, at the same time, is infused with fantasy, and I must add that your refined yet pungent humor, which keeps the dialogue lively, and the acute psychological understanding with which you project Kiko’s personality are qualities not present among those which have given fame to the Band of Parañaque."
It is relevant to add that Anding’s new play in zarzuela version, this titled likewise Something to Crow About, and based on for of the original short stories, will be given is world premiere at the World Women’s Playwright Conference to be held in Manila this November.
Yesterday, the play was given a sneak preview over DZRH Radio Balintataw. Translated into Pilipino by Tomas Ongoco, the drama will be serialized in seven episodes. Cecile Guidote Alvarez, whose name is a byword in theater, television and radio circles, directs the series. Literary gems by Nick Joaquin, Marilou Jacob, Bert Florentino, Mauro Avena, Isagani Cruz, Butch Dalisay, Frank Rivera, Ruel Aguila and, not the least, excerpts from Rizal’s Noli and Fili have earlier been presented in Balintataw. To return to the "controversy", namely Literature Vs. Journalism, none exists. Often, journalistic reports are literary gems in themselves. In other words, there is no sharp dichotomy between the two disciplines; they are not mutually exclusive. From mere reportage, gifted journalists "fly" with the ease of aerial acrobats to the golden realms of literature.
It was while Nick Joaquin was tossing off his classic chronicles for the Free Press under the pen name of Quijano de Manila that he came out with Prose and Poems, which book includes his first play Portrait of the Artist as Filipino. (Incidentally, I was asked to review it by my editor I.P. Soliongco.) For years, Frankie Jose edited the Sunday Times magazine before he started the literary world with his Rosales saga. Greg Brillantes, now editor of Graphic magazine, sent me his outstanding novel The Distance to Andromeda more than 20 years ago. Award-winning poet Alfredo "Krip" Yuson keeps up his distinctive reports on fellow writers.
By the same token, Anding is as much a journalist as he is a creative writer – a fictionist in a unique, unprecedented, incontrovertible manner.