Francisfest 2009: 'Divinely inspired' / The compleat Vicky Zubiri

The Francisfest 2009 dinner-musicale which celebrated the eighth centenary of the Franciscan Order and the Year of the Priests (John Mary Vianney is their patron saint), was a resounding success. The organizers, led by San Antonio Church parish priest Fr. Joel Sulse and chairperson Ruthy C. Vera, must have been “divinely inspired”, laboring as they did “All for the glory of God”: In the spirit of St. Francis, lover of the poor, they raised funds for destitute scholars, orphans, prisoners, the sick, the abandoned and the typhoon victims.

In her opening remarks, Ruthy said that she had initially demurred when Fr. Sulse asked her to chair Francisfest. That she finally said “Yes” to the daunting task pointed up Fr. Sulse’s persuasive powers. The task was truly daunting because many parishioners would avoid Ruthy whenever they saw her coming with her figurative begging bowl. But her perseverance, no less than that of Fr. Sulse, led to a collection exceeding eight million pesos — hearty applause erupted upon this announcement — final proof that the Francisfest organizers were, indeed, “divinely inspired”.

A video, which showed the history of the local Franciscan Order was in essence the history of the Philippines itself. The Franciscan missionaries arrived shortly after Magellan did. Forthwith, they built churches, schools, hospitals throughout the country. The American era ensued, and American Franciscans filled the convents while engaging in the same multi-faceted work of their predecessors. When independence came, Filipino missionaries took over with equal ardor and zeal. Since then, Spanish and American missionaries have remained in the minority.

To return to the dinner-musicale at the Mandarin Oriental Letty J. Lopez, an avid parishioner, Evelyn O.R. Garcia and I were regaled by the sparkling renditions, mostly of Broadway songs, by pop icons Pinky Marquez and Bo Cerrudo, with selected members of the Manila Philharmonic Orchestra assisting under dynamic conductor Rodel Colmenar. The program ended with Fr. Alvin Paras singing “Ave Maria” to the immense delight of the audience. Who would have thought the dedicated, unassuming assistant parish priest could interpret the prayer so movingly, his voice ringing and soaring in supplication?

Fr. Sulse and Ruthy graciously requested me to present a bouquet to Fr. Paras, the engaging “surprise” singer.

Pinky, Bo and Rodel likewise received bouquets. Randy Limjoco, president of the Parish Council, and Steve Lopez, head of the Hospital Ministry, were also onstage for post-concert acknowledgements. Rovy Joseph served as excellent emcee.

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Friends of Vicky F. Zubiri are astonished at how jovial and vivacious she remains despite her highly impaired vision. (Vicky can see with only one eye, an inoperable tumor pressing on the other.) Yet she has taken brush and easel, and in fact, has come out with an exhibit “Unforgettable Memories in Watercolor” at the Pen — exquisite impressions gathered from Vicky’s visits to Europe (Italy, Greece, France and England), Asia (China, Vietnam) and Africa (Botswana and Tanzania). A few of the paintings are done in the Chinese style.

The brilliant colors, the minutest details of line and form are for the visual arts critic to describe and evaluate. To me, the paintings are startling, lovely visions that reflect utter sensitivity, creative imagination and artistry. The themes are diverse: edifices, fall or spring landscapes, seascapes, animals (birds, lions, leopards, tigers) and people in various occupations.

Even before the exhibit opened, 23 of the paintings had already been sold. When I saw the display, each painting had a red dot beside it, thus manifesting the viewers’ collective admiration of Vicky’s inherent talent.

My own admiration is heightened by the fact that Vicky, wife and mother, is founder-president of Filfest whose performing arts presentations aim to make it the cultural center of the South. Vicky’s avid imvolvement in both the performing and visual arts makes her, to borrow a word from an essay of English writer Isaac Walton, the “compleat” woman.