The audience was headed by Japanese Ambassador Ryuichiro and Noriko Yamazaki, Mrs. Taro Aso, Mrs. Lovely Romulo and Ambassador Alfonso Yuchengco. Later, Supreme Court Justice Art Panganiban and US Ambassador Kristie A. Kenney arrived.
Secretary Romulo pointed out that earlier in the morning, he and Minister Aso had signed an agreement which among other significant things, provided for a scholarship program for Filipino youth to study in Japan. Minister Aso recalled that in 1970, a bilateral agreement for mutual cooperation in many fields, including the economic, was signed. He further expressed the wish that RP-Japan friendship would extend way beyond its golden jubilee and reach its centennial. For a light note, he briefly alluded to the robot Asimo as Japan’s latest export.
Certain highlights of RP-Japan relations follow: The Reparations Agreement and Peace Treaty came into force on July 23, 1956. Prime Minister Kishi’s visit in 1957 was reciprocated by President Garcia in 1958 at which time Mr. Garcia became the first foreign state guest to address the Diet. In 1962, Crown Prince Akihito and Princess Michiko visited Manila; in 1965, Yokohama and Manila became Sister Cities.
In 1967, Japan Airlines made its first flight to Manila; in 1972, the Phil-Japan Society was established; in 1974, the Phil-Japan Foundation was established, and Japan’s cruise ship, the Nippon Maru, sailed for Manila.
In 1976, El Filibusterismo was translated into Japanese.
In 1977, Prime Minister Fukoda's speech "Heart-to-Heart Relationship with ASEAN", now popularly known as "The Fukoda Doctrine," was delivered. In 1986, Japan became one of the first countries to support the Aquino administration.
In 1993 and 1995, the Filipino musical Noli Me Tangere was performed in Japan. In 1996, the Japan Foundation opened in Manila.
That same year, a peace agreement was made between the Philippine government and the MILF, with Japan placing emphasis on the development of Mindanao.
In 1998, Prince Akishino and his wife visited Manila to celebrate the centennial of Philippine independence.
In 2001, Prime Minister Koizumi visited the Philippines, with President Gloria M. Arroyo returning the visit as guest of state.
In 2002, the Japanese government reiterated its support for Mindanao with a $400-million support package for peace and stability.
During the ceremonies at Yuchengco Tower, the following recipients of the Japanese Foreign Minister’s testimonial were acknowledged: Asian Center, UP; Child Fund Japan, Ikebana Int’l Manila Chapter 108; Japan Studies Program, ADMU; Philippine Federation of Japan Alumni, the Phil-Japan Society, Yuchengco Center, DLSU; Marilou Diaz-Abaya, Dr. Setsuho Ikehata and Katsuhiko Sakiyama.
Later, commemorative stamps were unveiled. The Japanese stamp features Mt. Fuji and the cherry blossom (sakura) which symbolize Japan. Our stamp features Mt. Mayon and the sampaguita which symbolize the Philippines.
The image of Rizal appears on the upper left side of each stamp, with distinctive characters symbolizing its country. "The snow-capped Mt. Fuji reveals a majestic charm that has found a home in the hearts of the Japanese. The sakura, their national flower, represents their perennial expectation that prosperity comes after tribulation just as surely as the flowers blossom after each Fall."
"Rizal epitomizes the Filipino's quest for peace, brotherhood and freedom. Mt. Mayon’s beauty and magnificence convey the Filipino psyche, and the sampaguita symbolizes the Filipino’s purity of heart."
Guests proceeded to the RCBC auditorium for Noh plays; Okina and the "Dance of Sisa," with six Noh masters having come to form the UP students’ Noh Theater Ensemble.
What is Noh? Program notes follow: "Noh is one of Japan’s four forms of classical theatre. The other three are Kyogen, Kabuki and Bunraku. Noh is a masked theatrical form which combines elements of dance, drama, music and poetry into one highly aesthetic performance. Noh developed as a distinct theatrical form in the 14th century, making it the oldest extant professional theatre in the world.
The Noh play takes place on a sparse wooden bare stage. A unique feature is the hashigakari, a narrow bridge that the principals use to enter the stage. In contrast to the bare stage, the costumes are lavish. Many performers, especially the shite, wear rich silk brocade. Noh texts are very lyrical and poetic, filled with puns and literary allusions. Dances are intrinsic to many Noh plays. They are generally slow and usually danced solo. Leaps and turns are present in Noh but virtuoso leaps and ballet spins are seen as vulgar. The ideal technique is not to show any technique but to hide it through perfect execution. The Noh dancer aims to make the dance appear effortless to the audience."
Steps were indeed slow, measured, refined and highly symbolic. Players kept their poses like statues. The orchestra consisted of three drums; a fourth had an entirely different timbre. Piercing sounds were produced by the flute.
The "Dance of Sisa" was based on Amelia Lapeña Bonifacio’s Ang Paglalakbay ni Sisa sa Laguna. Each movement must have spoken volumes after centuries of development and refinement of the Noh because the program notes suggested much more than what was actually seen onstage. A masked Sisa appeared alone; Padre Salvi and Sisa’s two sons were left to the imagination.
The Western-oriented Filipino audience was enthralled by the novelty, refinement and subtlety of the performances.