26 September to 3 December 2017Bulwagang Juan Luna (Main Gallery)

3F CCP Main Theater Building, Roxas Blvd., Pasay City

ATTITUDE OF THE MIND

Published on the occasion of the exhibition

MACEDA 100: Attitude of the Mind26 September to 3 December 2017Bulwagang Juan Luna (Main Gallery)3F Main Theater BuildingCultural Center of the Philippines

Photographs by Francisco Cabuena, Orly Daquipil, and MM YuDesign by Geir Daniel TanLayout Assistant: Sheryl Cumpio

©2018/2020 Cultural Center of the Philippines

Visual Arts and Museum DivisionProduction and Exhibition Department4th Floor Main Theater BuildingRoxas Boulevard, Pasay CityVisit: http://culturalcenter.gov.ph/Landline: (632) 8 832 1125 local 1504/1505 or (632) 8 832 3702Mobile: (+63) 935 - 337 - 9438E-mail: ccp.exhibits@gmail.com

All rights reserved. No part of this publication may bereproduced, stored in retrieval system, or transmitted in anyform or by any means without prior permission from the publisher, the author, the artists or his/her heirs, and the photographers.

ATTITUDEOF THE MIND

Table of Contents

Commemorative Messages 4

Refl ections 10

Are We Cabbages? Preservation vs Time and the Creation of Nation by Neal Matherne 11

Mediating Otherness, Recreating Ontologies by Lisa Decenteceo 16

The Old, the Now, and the New: Ethnomusicology for Critical Music Education by Anna Patricia Rodriguez-Carranza 20

The Soundscapes of Maceda by Jasmine Agnes T. Cruz 24

Maceda Moments at the CCP by Rica Estrada 30

Homage 39

The UP Center for Ethnomusicology and the Jose Maceda Collection by Roan May Opiso 40

Course of Action: Exhibiting Maceda by Dayang Yraola 48

Participating Artists and Writers 71

CCP Board of Trustees and Offi cials 79

Accordion and Mandolin with Special Orchestra by Jose Maceda 80

ATTITUDEOF THE MIND

Commemorative Messages

Greetings from the Cultural Center of the Philippines!

It is with great pride and joy that we join the University of the Philippines Center for Ethnomusicology in celebrating the life and work of National Artist for Music Jose Maceda.

We give honor to Maceda not only because of his prowess as a musician, but perhaps more signifi cantly because he transcended his own skill as a classical pianist and composer and devoted himself to decades of work in the collection and study of the indigenous music of our country. His work articulates the importance of discipline, innovation, and generosity in the artistic fi eld and in the development of a national culture.

We are grateful for curator Dayang Yraola for her work in giving the CCP audience a glimpse of the richness of the Jose Maceda Archive at the University of the Philippines Center for Ethnomusicology. Her exhibition is a tangible example of the possibilities in cross-disciplinary openness and in the promise of creative work in the future.

May the legacy of Maceda continue to inspire artists, philosophers and creators from all walks of life, as seen in the exhibition Attitude of the Mind.

Arsenio J. LizasoPresident

Chris B. MilladoVice President and Artistic Director

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How does one commemorate the 100th birth anniversary befitting of a man who has changed the course of music scholarship and artistry in the Philippines as well as in Asia?

The organizers of Maceda100 conceived of an ambitious yearlong series of events and projects that attempts to reflect the life and legacy of Dr. Jose Maceda. This series includes performances, exhibits, talks and symposia, ceremony, field research, publication, and an academic grant for artists and scholars. The launching of the Maceda 100 early this year featured the restaging of two of Maceda’s most iconic works, Pagsamba and Cassettes 100, and the exhibit titled reading Maceda PRELUDE, all presented at the UP Diliman Campus to coincide with Maceda’s birthday, January 31st, as well as the National Arts Month and the Diliman Arts Month. In April, the Jose Maceda Field School brought a number of students to Kabayan, Benguet to experience first-hand the documentation of Ibaloi music and dance. In May, Dr. Maceda’s former students and their students held a solemn teacher-honoring ceremony or wai khru. The Jose Maceda Centennial International Symposium forms the pinnacle of this yearlong celebration, complemented by the “Exchanges” concert, another staging of Cassettes 100 and the exhibit Attitude of the Mind. There is no room here to describe each of these stimulating and exciting undertakings, but for sure you can tell, it was an eventful year.

But the year is not over yet, and we still have in line the publication of the “Maceda Reader”, a performance of Cassettes 100 in Toronto, the conferment of the Jose Maceda Fellowship Award, the inauguration of the Jose Maceda Hall, all culminating in the final concert featuring Maceda’s first and last compositions. Maceda100 would not have been possible without the generous support of various international and national agencies, civic leaders, scholars, artists, academicians, students and of course colleagues and family members. Our words will not suffice to express the gratitude for all your contributions. Borrowing the title of another of Dr. Maceda’s masterpieces, Maceda100 is truly a product of ugnayan (collaboration).

Mabuhay ang Maceda100 at ang ala-ala ni Dr. Jose M. Maceda!

Verne de la Peña, PhDDirectorUP Center for Ethnomusicology

I would like to congratulate the University of the Philippines Center for Ethnomusicology (UPCE) on the Attitude of the Mind exhibition on 26 September, along with the Jose Maceda Centennial International Symposium held from 25 to 26 September 2017.

Prof. Dr. Jose Maceda was a successful composer and an internationally renowned ethnomusicologist. The Maceda Collection – consisting of tape recordings in reels and cassette tapes; field notes; photographs of different musicians and instruments as well as films – is a significant contribution to the rich cultural heritage of humankind. Therefore, in celebrating his centennial anniversary and the 10th anniversary of his collection’s inscription to the UNESCO Memory of the World Register, we also acknowledge his immense influence on the traditional music of the Philippines.

Boyan RadoykovChiefSection for Universal Access and PreservationKnowledge Societies Division Communication and Information SectorUNESCO

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We, the four daughters of Jose Maceda, are deeply grateful to the UP Center for Ethnomusicology for the many events organized in celebration of our father’s 100th birth year. In particular, the unique exhibit entitled Attitude of the Mind, brought back many of our own wonderful memories of growing up in the Maceda household. Seeing our grand piano made us remember the exquisite piano playing of Chopin and Debussy by both our father and our mother; the intricate scores of Pagsamba and Cassettes 100 brought us back to the exciting times of their original performance; our father’s expensive Nagra tape recorder, his eyeglasses, and photos of him happily doing field work wearing a familiar shirt were ordinary reminders of his extraordinary life; meeting local and international scholars, artists, and researchers inspired by our father was truly exhilarating.

Like many, we saw in our father serious dedication to research, unparalleled tenacity in finding answers, and creativity beyond what was popular. The courtship and love between him and our mother, Madelyn Sarah Clifford Maceda, was deeply inspiring to each of us and to many others. In 1978 Daddy wrote “It is the task of man today to look for an attitude of the mind and a course of action other than that which imprisons him in his own creations”. Our father lived this belief and spent his life thinking and creating beyond all boundaries. His passion lives on through the continued commitment and devotion of the staff of the UP Center for Ethnomusicology. By elegantly capturing a slice of Jose Maceda’s own attitude of mind, each piece in this unique exhibit nudges and inspires us to continue acting beyond what imprisons us. Thank you for so beautifully honoring Jose Maceda’s life’s work.

Sincerely,

Marion Teresa VillanuevaMadeleine Maceda HeideKathleen Concha MacedaEileen Isabella Mapili

The National Commission for Culture and the Arts (NCCA) is honored to offer its utmost support to the UP Center of Enthnomusicology (UPCE) and the Cultural Center of the Philippines (CCP) in the celebration of the centenary of a prodigious man of music, National Artist Jose Maceda.

Maceda’s words ring true as a reiteration of humanity’s task “to look for an attitude of the mind and a course of action other than which imprisons him in his own creations.” Maceda taught us to look for potentials as he did with the indigenous cultures and music of our country.

As we continue to realize the mandate of the Commission, we express our gratitude to the UPCE, also one of the most important legacies of Jose Maceda, for being a steadfast partner in protecting and promoting the exceptionally valuable documentations of our remarkable musical heritage.

Through Attitude of the Mind, we hope to inspire a new generation of musicians to employ the ingenuity of our musical traditions and retrace the roots of Filipino music making in honor of Maceda’s trailblazing creativity!

Mabuhay ang musikang Filipino!

Virgilio S. AlmarioNational ArtistChairmanNational Commission for Culture and the Arts

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Are We Cabbages?Preservation vs Time and the Creation of Nation

Neal Matherne, PhD

Reflections

this time, thoughtful exchanges with scholars from the East and Southeast Asia demonstrate Maceda’s efforts to de-center the experience and interpretation of culture, which at that time found little explanation outside of the Western intellectual hegemony.

Through the carbon copied memoranda addressed to “All Staff,” to the 2001 receipt to the Nissan Cab Company, to the 1985 map of Chulangkorn University, to scribbled notes on a 1966 UNESCO Music Conference program, you will see the wide-ranging efforts of José Maceda and his team of cultural preservationists. In the relatively small space of the Center for Ethnomusicology, you can see the documented day-to-day minutiae of the career-spanning project. While Maceda lamented the loss of indigenous forms of musical expression in the rapidly modernizing twentieth century Philippines, the documentation of these preservation efforts (and the resulting preserved media) are testaments to their success. Whereas Maceda may have regarded time as an enemy in these regard, the efforts to promote and preserve have ultimately won. And, each punch, duck, and swing is recorded in minute detail. These materials preserved are the process in its most tangible form and the story of a nation created and sustained through culture.

I conducted archival and ethnographic research at the Center for Ethnomusicology between 2009 and 2012 while a PhD student at the University of California, Riverside. I was primarily interested in how José Maceda figured into the national construction of Philippine music during his long career as an ethnomusicologist, composer, and performer, and stalwart advocate for the preservation and promotion of traditional, local, and indigenous musical forms. During my time at the Center, I spent my days shuffling through folders of photographs, correspondence, receipts, and, occasionally sketches of an instrument that José Maceda saw for the first time or a handwritten comment that probably only made sense during the time of the sketch. In one such place, Maceda wrote a cryptic message beside his notes from a 1960’s conference: “Are we cabbages?”

For researchers in the humanities and social scientists, the materials of José Maceda’s career at the Center for Ethnomusicology are a wealth of knowledge on the state of the Philippine arts in second half of the twentieth century. Against the backdrop of a soul searching nation in the 1960s, Maceda corresponded with scholars all over the world on indigenous expression, declaring his place within a network of now-legendary trailblazers in music scholarship. Buoyed by a burgeoning national interest in Philippine native culture in the 1970s, the documents from that decade recount the many nationwide documentation projects undertaken by Maceda and his team of fieldworkers at the University of the Philippines College of Music. Materials from 1980s onward show the fruits of Maceda’s effort as a mentor for other music scholars with similar interest as they rose to positions of influence in the international academe. During

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Program cover of the Musics of Asia International Music Symposium, Courtesy of the UP Center for Ethnomusicology.

A page from the Music of Asia International Music Symposium program with Dr. Jose Maceda’s handwritten notes, Courtesy of the UP Center for Ethnomusicology.

“Tao din kami, tulad mo,” says Jake, in his mid-twenties, a lumad and activist from Davao. During an evening concert, we sit next to each other, discussing the nature of indigenous otherness and the subtleties of ethnic discrimination. Time and again, I am distracted by the black, blue, and bright yellow patterns of his binukad, a Manobo jacket. It attracts a romantic, anthropological curiosity, which, I admit, is a default ingredient of a spectacle. But, Jake justifies, there is a deliberateness to his manner of dress. Costumes are not merely a treat for the cameras. During public events and visits to places outside his hometown, especially during protests in distant northern cities, he will wear his jacket, often complemented with a pelupandung headdress. In situating his othered appearance in contexts of politically conscious engagement, he performs a negation of marginal otherness itself. That evening, in front of us, a musical performance dramatizes this contradiction: to the dense rhythm of an agong, his fellow lumad children, traditionally clad, dance with gracefully sweeping hands and arms, bent knees, and shuffling feet. They recount, but in non-traditional pantomimes and tableaus, the alleged paramilitary murder of their elders.

This tension arises from subverted expectations, an anxiety about losing a sense of rootedness and the corruption of what is known to be pure. Yet, to counter an “imprisonment” of thought, one needs to reflect on how these expectations are formed, how such an anxiety fixes understandings and constructs—if not, reifies—knowledge about the other. Texts, photographs, sound recordings, and works of art are results of minds grappling with human realities. Their messages, printed and published, professed in public spaces, and preserved in archives, shape our memory,

Mediating Otherness,Recreating Ontologies

Lisa Decenteceo17

Igorot men and women dancing in Baguio, Benguet. Photo by Dean C. Worcester, 1900 (Courtesy of the Philippine Photographs Digital Archives of the University of Michigan, Ann Arbor)

history, and nostalgia. They carry a performative power to create ontologies and make truths.

But these are only “partial truths,” as Clifford and many others have long argued, truths that Jake and his fellow indigenous people engage, challenge, and transcend. Thus, they seek to define themselves within and against existing structures of external representation, through overlapping displays of difference and sameness, tradition and modernity, marginality and self-determination.

Igorot men and women dancing the pattung to protest against ethnic discrimination and the militarization of their communities. Taken during a cultural presentation in the eve of the 45th anniversary of Ferdinand E. Marcos’s Martial Law declaration. Photo by Lisa Decenteceo, 20 September 2017.

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Let me start this piece with words from music and movement advocate Emile Jaques-Dalcroze:

It is good to bask in comfort. After all, who would want a life full of uncertainty and instability? It is comforting to fall back on familiar ground.

Teaching is very fulfilling yet tasking at the same time. The toil of doing plans, preparing materials, formulating speculations as to how the lesson proceeded – these, among others, on top of the lesson implementation itself – make up the art of teaching. Imagine a life of doing this every day. Sometimes, it becomes boring, and we teachers just want to skip some parts of the process and fall back on ready-made lesson plans and pre-sorted materials. The UP Center for Ethnomusicology made me think otherwise.

As a young student then, I got involved in the research for Filipino music terms, with the aim of creating the first ever dictionary of such category. While involved in this project, I realized how there are different realities of musics in the Philippines. With that, I started to have that sense of wonder in my head – a wonder so immense I wanted to share it with every student I encounter. The whole collection of recordings, field notes, books, instruments, plus the evolving set of projects the Center offers, is truly a treasure for educators who want to take part in creating more informed and critical learning experiences.

“People will have nothing to do with new ideas so long as old ones contribute to their satisfaction.”

The Old, the Now, and the New: Ethnomusicology for Critical Music Education

Anna Patricia Rodriguez-Carranza21

One of the instances I am glad to have shared with our music education students was the 3rd Jose Maceda Project, a three-day masterclass and workshop on Cordillera culture and music in Lucnab, Baguio City. Nothing was as invigorating as breathing the music as it happens around you. For us music educators, learning from practitioners in situ is both a luxury and a need in this time of virtual connectivity. For me, I believe this opportunity has given our music education students more than just good quality recordings and pictures. It has given them real people behind the music which they can easily access at the Center. Speaking from my teaching experiences, I believe encounters like this cangive a spark of confidence because your lesson has not just been read and listened to; it has been lived, real, even for just a short moment in one’s life.

Dr. Benicio Sokkong tuning a gangsa, with SIMIT members in the background, Photo by Pat Rodriguez-Carranza, 2015.

Participants playing gangsa, toppaya style (Asian music and music education students and music teachers taking the Continuing Education for Music Teachers [CEMT] program), Photo by Pat Rodriguez-Carranza, 2015.

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The Soundscapes of Maceda

Jasmine Agnes T. Cruz

You’re in a chapel, and the orchestra is all around you. The piano is not there nor are other Western string instruments. Instead, the ring of sound comes from singers and musicians playing gongs and bamboo instruments. Metal sounds start from behind you, then fade away, and then you hear the bamboo instruments. It was as though the music was moving through space, like the experience of rain. The far away pitter-patter turns into fat drops, a few moments in and you’re in the middle of a storm, and now the rain has left you. This is what artist Tad Ermitaño described when he heard Jose Maceda’s piece Pagsamba being performed at the Parish of the Holy Sacrifice in the University of the Philippines Diliman. Avant-garde, with sounds of nature, noise, a music that respects time, weird, not just sound but soundscapes, a sonic order preferring timbre over melody, a portrait of a dense and complicated man-- for the panel at a discussion at the Cultural Center of the Philippines (CCP), this is what Jose Maceda’s music is like.

Convened by Dayang Yraola, the panel was related to the exhibit she was curating. Entitled Attitude of the Mind, the exhibit at the CCP focuses on Jose Maceda’s body of work and also celebrates his 100th birth anniversary. Known for his scholarly work in ethnomusicology and his avant-garde compositions using ethnic instruments, Maceda lives on through the Jose Maceda Collection, a vast amount of field recordings of the music by ethnic communities, Maceda’s notes during these immersions, his photographs of these groups and photographs of himself while interacting with these communities, the recording equipment he used, and his other writings. Housed in the University of the Philippines Center for Ethnomusicology (UPCE), the collection is

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part of the UNESCO Memory of the World Register, an international program that seeks to encourage the documentation of world heritage.

The exhibit showcases the Jose Maceda Collection and works by contemporary artists and musicians. Commissioned artists Leo Abaya, Ringo Bunoan, and Tad Ermitaño were asked to create artworks related to the collection, and electronic musicians Malek Lopez and Arvin Nogueras were commissioned to digitally produce Maceda’s Accordion and Mandolin with Special Orchestra, a composition that has never been performed. There is also an archival gallery curated by Ricky Francisco.

For Mr. Ermitaño, his exposure to the collection led him to create Pakiramdaman. A sound installation that involves curious object, Pakiramdaman has a wooden frog instrument that one finds in souvenir shops, but now it is attached to a mechanical contraption that taps it to generate its woody sound. Another is a ping pong ball that’s bouncing inside a plastic container with a stereo as its base and source of vibrations that instigate the ball’s movement. The artwork began with Mr. Ermitaño tryingseveral instruments in the collection. Initially, he borrowed the Bangibang, a percussion yoke, only because he liked the sound. “I got it because of the wooden sound”; he said.”It sounded innocent and child-like.”; He later learned that it was used for headhunting, and when he asked an Ifugao to play the rhythm, his friend played it with fear. “It was like death followed the sound,”; he said. Questions on whether he had the right to use this instrument began forming in his mind, and then ultimatelydecided against using it. “We want to balance openess and

respecting the community,” said Roan Opiso, collections manager at the UPCE, explaining why they allowed Mr. Ermitaño’s experiments with the Bangibang.

For Mr. Abaya, he said he knew very little about Maceda before he was invited to make something for the exhibit. When he first visited UPCE, he knew that the Maceda collection was vast, but he was still shocked when he finally found out what that meant exactly. “I was beset by fear,” he said. Then, he came across one piece of writing that talked about how Maceda transitioned from a classical concert pianist to a champion of ethnic music. The article said that while preparing for one of his recitals, Maceda thought to himself, “What has this all got to do with coconuts and rice?”; “That was an epiphany for him and also for me” said Mr. Abaya. Thus he came up with Pwera Taligsik! Pwera Uwan! Malatâ Ang Humay, Dangog sa Sugatan (Pasidungog kang Maceda) or Begone drizzle, go away, rain! The rice grains will rot and the coconut palm will be slippery (Homage to Maceda). The installation involves Maceda’s own grand piano, but instead of a cushion for the piano bench, there is a screen featuring falling raindrops creating ripples on water, and instead of the strings and the soundboard, all of that are covered by grains of rice.

Ms. Bunoan’s encounter with Maceda was by accident. She said that she was looking for all documentations of works by Roberto Chabet when someone gave her the negatives of black and white photos of the performance of Udlot-udlot, a collaboration between Maceda and Chabet. Maceda composed the music and Chabetdesigned the layout for the performers. For Attitude of the Mind, Ms. Bunoan takes inspiration from another black and white photo.

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It is of the aftermath of the performance of Maceda’s Cassettes 100. When she saw this, she said she had no idea what the music sounded like, so she experienced this sound piece visually. She decided to recreate it, not in exact, but enough to capture the feeling and the look of that moment. For one day, she filled the CCP lobby with shredded paper, photographed the result (After Maceda’s Cassettes 100), and now her photos are part of the exhibit. Some people asked her why it wasn’t displayed for more than one day. Apart from the fact that CCP only allowed for her to “litter”; the lobby with paper for that short period of time, she also said that that’s how certain things are. “It was one memorable day. I can’t explain it. I guess you just had to be there to really understand what happened,” she said. “Sometimes we just have to accept that the thing is ephemeral. It’s not gonna wait for us. If you’re not there, you’re not there. You miss it. And that’s what happened to me. I wasn’t there in the 1971 [when Cassettes 100 was performed], so I missed it. So I just have a memory of what happened and I try to imagine what happened. That’s what I did through those photos.”

Memories also flooded Ms. Yraola at the end of the discussion. She remembers when she was in high school and she visited Maceda’s house during Christmas. Carolers began singing Sa Maybahay Ang Aming Bati, and Maceda said, “Listen. There is a system to how they sing.” During that time, she thought, “Sinong tao ang mag-aaksaya ng panahon na i-analyze ang kanta ng mga sintonadong bagets” (What kind of person wastes his time analyzing the singing of out of tune kids). “But it stayed with me, and surprisingly, now that I’m an adult and a professional in the cultural field ganun din ang ginagawa ko pala (that’s what I’m

doing now),” she said. “Because paying attention opens up a whole new universe. He (Maceda) demands us to stop for a moment and listen, stop for a moment and think.”

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Marking Maceda at the CCP

Rica Estrada

Two years short of half a decade, the Cultural Center of the Philippines (CCP) is young compared to the feted century of National Artist Jose Maceda. However, it has been fortunate enough to play host to a number of the composer’s pieces, as well as his much touted sound events. This essay presents some of these patches of activity by Maceda at the CCP throughout the years.

On 9-10 May 1970, the CCP served as the venue of the Third National Music Conference, a program presented by the National Music Council of the Philippines (NMCP) with support from the UNESCO National Commission of the Philippines and the Music Promotion Foundation of the Philippines. Maceda was then the Vice President for Music Research of the NMCP and he presented a paper on his ongoing ethnographic research at the UP as director of what was then known as the Asian Music Department of the University (later renamed the Department of Music Research). Perhaps it’s quite apt that Maceda’s “debut performance” at the CCP was as an ethnographer and academic.

The music of Maceda, on the other hand, was first heard at the CCP not in a concert setting, but in a dance theater production. His earliest compositions were showcased in more than one ballet at the CCP, the more documented one being Juru-Pakal, and the other being Katakata Sin Rajah Indarapatra (Stories of Rajah Indarapatra), both with choreography by Eddie Elejar and produced by Dance Theater Philippines (now Ballet Philippines). Both ballets were inspired by Philippine epics and customs. Juru-pakal or “The Enchanted Kris” was staged on September 1970, almost exactly a year after the Center’s inauguration. It featured

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Maceda’s musical works Agungan, Ugma-ugma and Kubing. The performance was accompanied by musicians playing Maceda’s three compositions, along with a band, the Madrigal Singers, the UP Concert Chorus, and vocal soloists. This collaborative work, with Maceda not necessarily at the forefront, is a great example of how he often worked with other artists, researchers and professionals throughout his career, something that might not have been as pronounced in his early years as a classical pianist.

Cassettes 100 was performed at the CCP Main Theater Lobby and grand staircase on 8 March 1971, and was subtitled “A Sound Happening by Jose Maceda.” It was produced by the CCP in association with the UP President’s Council on the Arts and featured “designs” by now National Artist for Visual Arts Jose Joya and Ofelia Gelvezon and lighting by Teddy Hilado. Alice Reyes and Virginia Moreno also served as collaborators. The work was composed of sounds heard from a hundred cassette players that “served a unique audio-visual avant-garde fare.”

Udlot-udlot on the other hand is one of four compositions by Maceda that was featured in the ’94 edition of the CCP’s Encyclopedia of Philippine Art. Translated into English as “Fluctuation”, Udlot-udlot was performed in the grounds of the Folk Arts Theater on 16 October 1975 during the 3rd Asian Composers Festival Conference. Udlot-udlot was participated in by 800 plus high school students from the UP Integrated School, the ground layout of which was designed by artist and professor Robert Chabet.

Cassettes 100 (1971) and Udlot-udlot (1975) may not be Maceda’s first compositions performed in public. They are not even his first works involving mass participation. But few can disagree that these two pieces, both premiered in the CCP, are among Maceda’s works that introduced his vision of “new music” to the larger artistic community outside of his home base at the University of the Philippines (UP).

In September 1978, Maceda performed Ading in the CCP during UP’s 70th Anniversary Music Festival. Based on a poem by Rogelio Mangahas, the work incorporates multiple performers yet again, this time music students and employees from UP.

These three compositions chart Maceda’s foray into skillfully combining his learnings from the avant-garde works and his knowledge of the various musics throughout the Philippine islands. Udlot-udlot’s entry in the CCP Encyclopedia says, “A night performance in Bangkok in 1978 with the performers moving about under the glow of torches evoked an even extraordinary ritualistic atmosphere. Maceda’s composition is in itself a valuable link between the Filipino’s ancient past and modern spirit.”

It is said that Maceda’s work in the 80’s took a slightly different musical direction. It was in 1985 that Maceda first performed Suling-Suling, also in the CCP, but for relatively fewer performers (10 flutes, 10 bamboo buzzers, 10 gongs). American ethnomusicologist Michael Tenzer explains this new direction saying, “Since the 1980s Maceda has composed intricately scored works for smaller ensembles, including Western chamber groupings and mixed groups of Western and Philippine

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From left to right: Third National Music Conference program cover; Cassettes 100 poster; and Juru-Pakal poster. Courtesy of the CCP Library and Archives.

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instruments, as well as for enormous Western orchestraensembles. The progression from the graphically notated looseness of the second-phase compositions to the complexity of recent ones is best seen as an aesthetic development rather than a shift. Both idioms draw on Southeast Asian sounds, but it is inthe intended performers – mainly untrained in the former case and professional in the latter – who have changed.” Suling-Suling marks this new path of Maceda, alongside the work Dissemination, which premiered on 11 July 1990 at the CCP. It consists of 5 flutes, 5 violins, 5 oboes, 5 horns, 3 celli, 2 contrabass, 1 gong, and 2 whistles.

At this point in time, the CCP sought to finally pay tribute to Jose Maceda by giving him the 1989 Gawad Para sa Sining award. Then also called the Gawad ng Lahi, he was presented the award alongside other future National Artist awardees Lino Brocka, Wilfrido Ma. Guerrero, Arturo Luz, Alice Reyes and F. Sionil Jose. CCP was also said to have also provided Maceda with a tour grant in 1991.

In 1999, Maceda participated in “Sining Mula sa Puso”, the Philippine Arts Festival co-produced by the CCP and the National Commission for Culture and the Arts. The festival included the launch of his book “Gongs and Bamboos: A Panorama of Philippine Music Instruments” on 15 February at the CCP’s Main Theater. It was followed by a concert entitled “Music Without Rhythm” by the Philippine Philharmonic Orchestra (PPO), with hisformer student Josefino Toledo conducting. It was the premiere performance of three of Maceda’s orchestral works, Distemperament, Expanse for a Chamber Orchestra, and Colorswithout Rhythm.

Sadly the next concert of Maceda at the CCP would be the last one to be done while he was still alive. Kulintang and Debussy was a two–part concert held in Maceda’s home province of Laguna and at the CCP. The former, held on 24 Feb 2004, was staged in the St. Mary Magdalene Church, Magdalena, Laguna, and featured future CCP President Raul Sunico on piano, with the Palabuniyan Kulintang Ensemble, the Paksiking Kalinga Ensemble, the Chinese Nan Guan Ensemble and the Children’s Music Ensemble of Pilar and Magdalena, Laguna. Said to have been the “brain child of Maceda”, Udlot-Udlot was the finale of theevent. It was performed with bamboo instruments made by the children themselves, who were trained by Dr. Ramon Santos.

Maceda would pass on two months after the performance of the Kulintang and Debussy show in the CCP Main Theater. Students from his hometown of Pila, Laguna were called once again to play his work at the CCP Main Theater, this time as the finale of the National Artist’s necrological service. The program included a number of Maceda’s works throughout the years, played by those that came after him and who followed in his footsteps. It included the PPO’s rendition of Music for Gongs and Bamboo with the UP College of Music, conducted by Santos, and Kyrie from Pagsamba, also by musicians from the UP College of Music.

These instances of Maceda’s works within the CCP, and his career in general, echo the CCP’s mandate of artistic excellence, bringing art and culture to the people, and continuing the practice of lifelong learning by artists. It brings together how he, having lived through two World Wars and Martial Law, went beyond his Western training, not forgetting it, but rather appreciating it with

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the eyes of the different peoples that he interacted with as an ethnomusicologist. These works present to the public a different way of hearing and performing culture, whether through the ventures of collaborative work or audience participation. It is also with this in mind that the exhibition Attitude of the Mind was co-produced, as the Center’s way of sharing Maceda’s philosophies with the younger generation of artistic creators.

REFERENCES:1. Belleza, Ma. Theresa C.,Ed., National Artist Award 1997 commemorative folio 2. Defeo, Ruben, The Philippine Star, “Jose Maceda’s lifelong quest for traditional Filipino music”, May 10, 2004, Page F-13. De la Torre, Visitacion. Cultural Center of the Philippines Crystal Years, 1984, Cultural Center of the Philippines, Pasay City.4. Santos, Ramon. http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/music/contemporary-music/5. Tenzer, Michael, Ethnomusicology, Vol. 47, No.1, “Jose Maceda and the Paradoxes of Modern Composition in Southeast Asia”, 2003, pp. 93-120, University of Illinois Press on behalf of Society for Ethnomusicology6. Tiongson, Nicanor G., Ed.,Encyclopedia of Philippine Art Volume VI Music, 1994, Cultural Center of the Philippines, Pasay City.7. Villasin, Annie Carolino, Malaya (Living), “Dr. Jose Maceda Explores reality of RP music”, February 22, 1999, C-sec page 21.8. Program for Maceda Projects 2013: Listen to My Music

Homage

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The UP Center for Ethnomusicology andthe Jose Maceda Collection

Roan May Opiso

The UP Center for Ethnomusicology (UPCE) is a music research center located at RM 210, 218 and 220 of the Abelardo Hall, College of Music. Founded by National Artist for Music Jose Maceda and established by the University of the Philippines Board of Regents in 1997, it operates under the University of the Philippines Diliman Office of the Chancellor with a 7-member Advisory Board, and is currently headed by Dr. Verne de la Peña. The UPCE holdings comprise of various collections and materials donated by a number of researchers and collectors. The materials include published and unpublished audio recordings in diverse carriers (open reels, cassettes, vinyls, and compact disks), video recordings, images, published and unpublished texts, music scores, and material artifacts, with contents mostly in the fields of musicology, ethnomusicology, anthropology, linguistics, philosophy, and the arts. The Jose Maceda Collection, which constitutes the core collection of the Center, is composed of library and archive materials including audio recordings , field notes, videos, still photographs, instruments, music scores, books, serials, and other documentary items. This collection was put together by Dr. Jose Maceda, his research staff, and other scholars starting in 1953. Majority of the materials came from Dr. Maceda’s field research in different areas of the Philippines, Asia, Brazil, and Africa; his personal collection of books, journals; and his personal writings, manuscripts, and music compositions. A sizable number of materials of the collection also came from the Ethnomusicological Survey of the Philippines, an extensive field research project directed by Jose Maceda from 1970-1974 and funded by the National Research Council of the Philippines, documenting musical cultures from

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different ethno-linguistic groups of the Philippines.

The collection contains 2,500 estimated hours of unpublished audio recordings of traditional music from about 87 ethnolinguistic groups in the Philippines, Asia, and from other parts of the world contained in open reels and cassette tapes. Due to the rarity and its historical and cultural value, the recordings are considered as the heart of the collection. The audio materials are complemented by the 421 container of “field notes” (a collective term used by UPCE to refer to the field notes, field reports, transcriptions and translations) and 10,082 images (black and white photographs, colored photographs, negatives, and slides) related to Philippine music research, and documentary photographs of different conferences, concerts, and events.

Also part of the collection are the full and part scores of Maceda’s 23 music composition, around 1,000 music instruments, field recording equipment, and memorabilia.

In 2007, the Jose Maceda Collection was inscribed in the highly distinguished UNESCO Memory of the World Register. In the same year, UPCE, under the helm of National Artist for Music Ramon P. Santos began the Digitization Project for the said collection. Its aim is to safeguard the contents of the collection and to make the materials more accessible to scholars and artists. The project was made possible through the generous funding received from National Commission for Culture and the Arts, the Phonogrammarchiv-Austrian Academy of Science through the Jikji Prize, and the UP Diliman Office of the Chancellor.

Initially, the digitization project of the collection was focused on the audio collection, however, they also started digitization projects for manuscripts (fieldnotes) and images, scores, and archiving of the music instruments. When the digitization projects ended in 2011, digitization of other materials in the UPCE holdings which includes the Maceda Collection became part of the regular function of the Center.

In 2013, part of the Maceda collection, particularly the vertical files (includes published and unpublished text, articles, annotated bibliographies, written drafts, reports by Jose Maceda and various researchers and writers) and a few audio materials, was included in the Digital Archiving and Database for Endangered Music Collections Project funded by the Department of Science and Technology - National Research Council of the Philippines.

With the digitization of the Jose Maceda Collection, UPCE is able to open the materials of the collection to students, faculty, artists, and local and foreign scholars from different fields of disciplines for access and use. Students from UP and other universities accessed the archives for the class requirements. For example, students from the Digital Sound Processing Laboratory of the UP College of Engineering - Electrical and Electronics Engineering Institute were able to get audio tracks from the Center to be used for the thesis projects. One of those projects was the “Pitch class characterization of kulintang audio signal” by James Bailey Bagtas of for his undergraduate thesis for his BS Electronics and Communication Engineering degree. Foreign scholars also did research for their academic and scholarly pursuits. Dr. Neal Matherne researched at the Center for his dissertation titled

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“Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.” Yasuhiro Morinaga of Concrete - Ethnographic Media Production acquired audio recordings from the Center to produce the “Archival Sound Series: Jose Maceda” CD.

UPCE also engaged in other projects related to Jose Maceda and his collection. These projects could be divided into linkages and extension, information dissemination, and research.

The Laon-Laon: Forum on Music Research Centers in Asia was established in 2008 to gather and create a network of music research centers in Asia, with the aim of building linkages between institutions and foster resource sharing. UPCE was the secretariat and organizer of the first Laon-Laon Forum held at Sulo Hotel in Quezon City. During the forum, Dr. Ramon P. Santos, then Executive Director of UPCE, presented about the UPCE, the Maceda Collection, and the ongoing digitization projects.

UPCE projects related to Information Dissemination could be classified into Publication, Performances and Events, and Conferences and Trainings.

The UPCE publication “Dictionary of Filipino Musical Terms” was a five-year project that started in May 2008 and was published in 2013. It has 5,800 entries on various words related to Filipino music. It was a project “which addressed the need for a comprehensive reference to words, terms, and meanings on Filipino music, musical concepts, and other aspects related to

music production, materials, performance, theory, education, as well as activities where sound expression is manifest and is part of,” as quoted from the editorial by Dr. Ramon P. Santos. The Maceda Collection, which was being digitized at that time, was an important resource for the researchers of this project.

The Ugnayan 2010 was a 3-day festival held from January 31 to February 3, 2010 as part of the Diliman Month of UP Diliman. It was presented by the Department of Music Composition and Theory, UP College of Music, UP Center for Ethnomusicology, in cooperation with the UP Diliman Office of the Chancellor, Office for Initiatives for Culture and Arts, Office of the Vice Chancellor for Community Affairs, the UP Theater, and the Institute of Electronics and Electrical Engineering of the UP College of Engineering. It featured performances of pieces by Ramon Santos, Jonas Baes, Verne de la Peña, Dominic Quejada, Chris Brown, and Katherine Trangco, and forums discussing the themes of Revisiting Ugnayan 1974, Environment/Nature, and Technology. Central to the festival was the restaging of Maceda’s Ugnayan held at the UP Diliman Carillon Plaza.

In 2012, the UPCE launched the Maceda Project Series during the Center’s 15th Foundation Anniversary. The project series’ objective was to promote the legacy of Jose Maceda. The first event of the Maceda Project series, Strata: Spheres of Enlightenment, held in June 2012 at the Abelardo Hall Auditorium of the UP College of Music featured lectures by Dr. Ramon P. Santos and Neal Matherne, as well as performances of Maceda’s Two Pianos and Four Winds and Two Pianos and Four Percussions under the baton of Prof. Josefino “Chino” Toledo.

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Another program of the project was Listen to My Music exhibit in June 2013. The show was curated by Dayang Yraola and was held at the Vargas Museum. The exhibit has four galleries: Creation, Connection, Context, and Confluence, with each gallery reflecting on “Maceda’s contribution in academia as a composer, teacher, researcher, and a cultural visionary”, as stated in the exhibit’s catalog. It featured the flash presentation of Maceda’s composition, comparative analysis by Ramon P. Santos, Verne de la Peña, and Jonas Baes, unpublished field research materials from the Maceda Collection and field research documentations by Marialita Tamanio-Yraola, Jose Buenconsejo, and Michiyo Yoneno-Reyes, video documentation by Egay Navarro and Rica Concepcion, as well works by 10 contemporary media artists and 3 engineering projects. Under the baton of Prof. Josefino Toledo, students from the UP College of Music also performed Maceda’s Distemperament during the exhibit opening.

For its field research projects, UPCE revisits formed field research sites of Dr. Maceda to collect new data, and more importantly repatriate field audio recordings from the Collection. The UPCE has successfully repatriated audio materials in Sagada and Bontoc, Mt. Province on April 2013 during the Field Exchange Project of the Laon-Laon Forum, and in Kabayan, Benguet during UPCE’s ReCollection Project in 2016.

Maceda100, the year-long celebration of Maceda’s birth centennial, allowed UPCE to have more opportunities to reach out to a wider audience and present Dr. Maceda and his works through the concerts and performances (Pagsamba, Cassettes 100, and the planned closing concert), the Jose Maceda

Centennial International Symposium, and the exhibits reading Maceda: Prelude, and Attitude of the Mind.

The Center will continue to endeavor safeguarding the collection and actively engage the public, especially students, artists, and scholars, to access and use the Collection through its projects and services.

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Course of Action: Exhibiting Maceda

Dayang YraolaCurator

Background

The University of the Philippines Center for Ethnomusicology is the main carer of the Jose Maceda Collection. It is a huge collection comprised of field audio recordings, photographs, fieldnotes, performance recordings, manuscripts and scores, among others. In 2007 through the assistance of various institutions in the Philippines and abroad, this collection underwent digitization and digital archiving. It is a project that was conceived even before Maceda passed-on in 2004. Myself, as the Archivist and Collections Manager of the UPCE, together with my team of technicians, researchers and consultants, agreed that the success of this project relies on how the UPCE could offer the vast knowledge that Maceda have assembled for 50-years, to a wider public without endangering the now fragile original materials.

In 2013, during the celebration of the 16th anniversary foundation of the UPCE, I curated Listen to my Music. It was held at the U.P. Jorge Vargas Museum. Its objectives were to present to the public what the Jose Maceda Collection contains; to invite scholars, creatives and scientists to consider using the collection; and by extension, it was also a test on the success of the digitization project.

This exhibit was inspired by a line quoted from Maceda’s interview in 2003, wherein he said: “If you want to honor me, listen to my music.”1 In honoring him, the exhibit offered various types of listening engagement to his music—from straightforward playing of a recording of his composition; playing of a field recording he or

1Rodolfo A.G. Silvestre, “Musician and Father,” Sunday Inquirer Magazine, 24 August 2003.

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Images on this page clockwise from left:Archive gallery; Listen to My Music wall text; Fieldnotes hallway.Images on opposite page, top:Installation shot of Confluence Gallery for Listen to my Music, 3F Vargas Museum, U.P. Diliman.bottom: Niyogan-Cocospheres, Cris Garcimo.

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his researchers made; to comparative analysis with works by his students; to presenting works by contemporary experimental musicians/sound artists that were in confluence with Maceda’s music; to projects that are under the purview of engineering, science and technology, that used his materials.

2017 is when UPCE celebrates Maceda’s 100th Birth Anniversary and the 10th Year Anniversary of inscription in the UNESCO Memory of the World Registry of the Maceda Collection. With these celebrations, the UPCE offers new approaches on how Maceda’s music can be ‘listened to’, to honor him. This time it is through his writings.

The exhibition reading Maceda, PRELUDE was held at Bulwagan ng Dangal, U.P. Diliman from 31 January to 24 February 2017. The exhibit proposed that Maceda’s theorization of recurring themes, expressed in his writings, are key to his intellectual legacy. These theorizations were taken from his practice in ethnomusicology, composition, music theory and pedagogy. The phrase ‘reading Maceda’, in this case, is used in two manners—literally or to go over a text; and figuratively—to interpret what he has written.

PRELUDE contained 7 modules. Each module was an assemblage of audio file, copy of archival images and texts—which are mostly documentation of past performance, printout of pages of score of Maceda composition.

The four main modules were captioned as: Nature, Space, Technology, and Time. Extracted from these theories, the exhibit

focused on four key themes—Nature or Environment, Time, Space or Atmosphere, and Technology. Maceda proposed that Nature is the source; Time is experiencing; Space is the state of things; and Technology is two-pronged (the objects as hardware and humans as software). Collage of text from Maceda’s writings, composition analyses by National Artists for Music Ramon P. Santos, photographs, scores, clippings, audio files, music instruments, equipment were used to illustrate these themes. Nature was then analyzed vis-à- vis Ading (1978); Space vis-à- vis Pagsamba (1968); Technology vis-à- vis Cassettes 100 (1971) and Ugnayan (1974); and Time vis-à- vis Sujeichon (2002). Musicinstruments used for Pagsamba were also displayed in an installation, as an additional feature for this segment of the exhibit.

Kulintang Midi, Ann Franchesca Laguna and Nicanor Marco Valdez.

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The three secondary modules were photo-collages, which also exhibited his philosophies. The three modules were focused on social life of music instruments, social life of recording instruments and indigenous technologies of measure. The first module, titled Within Community talked about the social life of music instruments which was represented through photographs that situates music instruments in communities where they came from. The second module, titled On Field, talked about the social life of recording instruments, and showed how the machines served as a material link or bridge between the researchers and the locals who were subject of research. Posters containing specifications of the recorders, actual recorders and audio files recorded from the analogue machines, were also on display as an additional feature of the exhibit. The third module, titled On Making, is an ongoing project that contains photos representing the indigenous

Image on this page:Radyo Elemento,Jon Romero.

Images on opposite page, clockwise from left: PRELUDE wall text; Installation shot of PRELUDE.

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Images on this page, clockwise from left:Poster of vintage audio recorders; Archival module for Technology; Archival module for Nature.

Images on opposite page, clockwise from top:Archival module for Space; Photos showing social life of music instruments; Photos showing social life of audio recording instruments.

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technologies of measure or different techniques on how measurements are rendered, specifically when making musicinstruments.

An additional material exhibited was a digital interface, titled JMM Map, that maps Maceda’s activities, as a scholar, teacher, musicologist and composer, on the world map.

That exhibit was called PRELUDE because it was the initial offering of the UPCE for the whole year anniversary celebration in 2017. It was also titled as such as it serves as framework for a bigger exhibition, held in September 26 to December 3, 2017, titled Attitude of the Mind.

Attitude of the Mind

In 1978, Maceda wrote: “It is the task of man today to look for an attitude of the mind and a course of action other than which imprisons him in his own creations.”2 I interpreted this statement as a challenge for those who have access to valuable and irreplaceable knowledge. It asks: after reading Maceda, where would we go? How do we set out our creative and scholarly trajectories? How do we turn this knowledge into conditions of new learning; of producing new from the old; or going beyond or even arguing against that that has already been said?

Our ‘course of action,’ is to make available Maceda knowledge and materials to a different set of users—to people who are not sharing his same expertise, and to marvel where this could all bring us.

2 Jose Maceda, “A Primitive and a Modern Technology n Music,” a paper read in the 5th Asian Composers’ Conference, Bangkok, Thailand, March 1978.

Image on opposite page:Attitude of the Mind wall text.

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The phrase “attitude of the mind” is understood to be a condition of openness or readiness of one to receive another—be it knowledge, ideology, discourse, or creative engagement. This exhibit attempted to represent different attitudes of minds. This exhibit gave way to the attitude of the mind of the commissioned creatives (artists, musicians, curators and scholars) in receiving Jose Maceda’s materials, his writings, compositions and collectedartefacts. It enabled a particular attitude of the mind for partner institutions in hosting the Centennial Celebration. And for the UPCE as the carer of the collection, in dealing with a broader exposure of the Maceda materials and UPCE as an institution. It also provided an avenue for the audience to entertain different attitudes of the mind in dealing with materials that are unfamiliar however relatable, something that reminds them of a memory, orsomething that is totally new, different, or odd.

Attitude of the Mind retained the four themes as it is an expansion of PRELUDE. For this exhibit, artists Leo Abaya, Ringo Bunoan and Tad Ermitaño were commissioned to create an installation after they conducted research in the Maceda collection; electronic musicians, Malek Lopez and Arvin Nogueras were commissioned to create a digital rendition of Maceda’s unperformed composition, titled Accordion and Mandolin with Special Orchestra, which was also accompanied by music analysis by Chris Brown; curator Ricky Francisco, was tasked to create an archival gallery that captured the many facets of Maceda’s practice and personal life. Photographs from Nathaniel Gutierrez, while he was the official photographer at the Cultural Center of the Philippines, for the 1971 performance of Cassettes 100 were added. Amihan Animation Studios’ JMM Map from

PRELUDE was again exhibited here. As well as the videos of Maceda during rehearsals and performance, which were captured by Egay Navarro and Rica Concepcion.

Attitude of the Mind was a project where the UPCE embarks on an exciting but at the same time challenging task of making the Maceda collection and knowledge more accessible to a bigger audience than what it used to serve at the university circles. The completion of the digitization of the collection, which UPCE started in 2007, enabled an endeavor of this nature and size. Ultimately, as an institution that cares for irreplaceable national heritage, the UPCE aims to provide access to the collection without endangering the originals to ensure that its intellectual legacy remains valuable for generations to come.

Some notes on curating Maceda exhibit series

How do you make relevant a field, considered as highly specialized, such as ethnomusicology, to the general public? How do you exhibit an archive? How do you introduce a musician and a scholar who is at least 50 years ahead of his time? In which context would you read him? What of him, would he let you exhibit, if he has a say on it?

As a curatorial project, coming from an esteemed tradition of “performing Maceda”,“exhibiting Maceda” is not simply a matter of changing the means of presenting Maceda. It, I would like to argue, is a discursive stance. To illustrate my point, I will mention here some factors that presented different challenges when we moved from performing to exhibiting.

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First factor is time. In performance the pieces presented only exist at the time of its performance. In exhibition, the pieces are displayed and installed, therefore the audience may go back to them; they can linger on whatever piece they would want to experience longer.

Second factor is space. In performance, only one piece is played at a time. In exhibition, the pieces are placed with other pieces. There are times that a headset is used in the display. However, for my particular practice, I prefer that the pieces somewhat blends with others in a level that would allow the audience to still discern which sound is coming from where. This is not an attempt to author another composition. This is an attempt to encourage the audience to do a more focused listening, wherein focus is defined as being ‘mindful’ rather than isolated. It is an exhibition technique that I favored, and has been well criticized by other practitioners (of both curatorial and music). I however, insists on it as I feel that it is closer to our natural way of aurally perceiving things.

Third is installation. By this I mean how the materials are positioned in relation to the space and in consideration of other materials on display vis-à-vis the concept that frames the exhibit. Two things matter in this case—visual and sound.

The rationale for exhibiting sound is already explained in the previous paragraph. In the exhibit, the audience can listen to 5 audio recordings of performances of Maceda compositions, 6 rehearsals and performances on video file, and 2 new digital renditions of a Maceda composition. Performance documentations can be listened to in the headset; the digital

Image on opposite page:

Top: Introductory gallery of Attitude of the Mind.

Middle and Bottom:Installation shots of Attitude of the Mind.

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audio pieces are in an isolated room but played on speakes; 6 videos are played on the TV speakers (5 of which are in the station in the hallway, and 1 in the introductory gallery). In addition, the installation work of Leo Abaya and Tad Ermitaño also have sound—Leo’s has rain sound on very low volume; while Tad’s has sounds of percussive instruments made of wood, metal and skin, periodically punctuating the space with different sound colors.

For visual, I had to consider that with the materials included in the exhibit, the audience is encouraged to look, to read text, and to read notes or to look at notes (depending on their musical competency). There are about 100 photographs and drawings, 78 text clippings and text boards, 67 score sheets, and 10 actual objects.

It cannot be assumed of course that the audience will pay equal attention to all these. Some will just browse and others they will linger—most of the time on materials that catch their interest. To respond to this, I have chose materials that might appeal to (1) different age groups—my team and I consciously looked for materials that will allow the younger generation to relate to the materials being presented to them; (2) different levels of engagement to the main subjects of the exhibit (which are Maceda, ethnomusicology and avant garde music)—for this we have materials that are of general interest and others that are meant to be appreciated more by specialists; (3) different time allotted to be spent in the exhibit, as some are just passing by and others would actually spend an hour or so examining the contents of the exhibit.

Images on opposite page, clockwise from top-left: Introductory Gallery of Attitude of the Mind:(1) Materials from Maceda’s field work; (2) Field notebooks and eye-glasses of Maceda;(3) Materials about personal and family life of Maceda;(4) Wall devoted to Maceda as a composer;(5) Score of Aroding;Nathaniel Gutierrez’s photographs of Cassettes 100; Ringo Bunoan’s work After Jose Maceda’s Cassettes 100; Leo Abaya’s work Pwera taligsik! Pwera uwan! Malata ang humay, dangog sa sanggutan (Pasidungog kay Maceda)/Begone drizzle, go away rain! The rice grains will rot and the coconut plam will be slippery. (Homage to Maceda).

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In creating the exhibit design, I decided to stay within the milieu of “archive” or how people conceive a visual interpretation of an archive. I am particularly conscious of not stylizing the presentation of materials so as not to obscure the content. For example, a score is not enlarged beyond readable size, although I am aware that it would be more spectacular when enlarged from floor to ceiling. Also, scores, texts clippings and photos were not framed under glass, to avoid glare and to allow the audience to read through (or view) the content with ease. We have maintained the walls to be flat white and the lighting to illuminate (and not dramatize) what is on display, for this same reason. This exhibit then, like archive or library, is interactive in a sense that the display will make more sense if the audience will engage with what they are seeing and hearing. This creative decision was made to remain philosophically consistent with how Maceda intended his works and materials to be used—to use them as a source of learning, above all else.

Finally, by choosing to exhibit Maceda, we have made his materials engage with people—artists, scholars, etc., who do not necessarily have a history with him, they may even be people from different disciplines and generations. It is actually an exercise of authoring conversations after Maceda. ‘After’ here is taken to mean, the time when Maceda is no longer present; and ‘after’ in the sense of ‘taking after’ or following him. It is authoring a condition that enables new circumstances of learning. The core of this exercise therefore is to liberate knowledge that was originally perceived as specialized knowledge; not to demote it to the level of triviality but to assign it as an accessible resource for scholarly, scientific, philosophical, creative and/or practical endeavors. Archival module for Space.

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Image above:Installation shot of Tad Ermitano’s work Pakiramdaman.

Images on opposite page:Details of Tad Ermitano’s work Pakiramdaman.

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Participating Artists and Writers

Images in left from top to bottom:Photographs showing social life of music instruments and audio recording materials.

Images above:Archival module for Time and archival module for Nature.

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LEO ABAYA is a multidisciplinary artist, his explorations in painting, sculpture, installation, and video inquire about histories, remembering, and the body. He is an AAP Juror’s Prize winner, and is also a multi-awarded Production/Set designer, and a filmmaker. He earned his MA Fine Art degree at the Winchester School of Art, University of Southampton in the United Kingdom as a U.P. Fellow. He finished his BFA, magna cum laude, at U.P. College of Fine Arts Diliman where he is presently full Professor specializing in undergraduate and graduate level art practice. He has mentored many young artists who are exhibiting today.

AMIHAN ANIMATION STUDIOS is a creative studio that specializes in the field of animation and design, producing multimedia design and video animation. The U.P. Center for Ethnomusicology has been working with one of its founders, Prime Felias, since 2013, for programs that have to do with the digitized collection. www.amihanstudios.com

CHRIS BROWN, composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Collaboration and improvisation are consistent themes in his work, as well as the invention and performance of new electronic instruments. He also writes his own interactive music software that he uses in his compositions and improvisations. He premiered Gangsa, for gongs and live electronics in 2010 at the Ugnayan Festival at the University of the Philippines. He is a Professor of Music at Mills College and Co-Director of the Center for Contemporary Music (CCM). http://www.cbmuse.com

RINGO BUNOAN’s extended practice as an artist, researcher and curator explores the possibilities in readymades, histories, and given situations. She received her BFA in Art History from UP in 1997, and taught at the UP College of Fine Arts from 1997 to 1998. From 1999 to 2004, she led Big Sky Mind, an independent artist-run space in Manila. From 2007 to 2013, she worked as the researcher for the Philippines for Asia Art Archive in Hong Kong where she initiated special research projects on artist-run spaces and pioneering Filipino conceptual artist Roberto Chabet. In 2010, she co-founded King Kong Art Projects Unlimited in Manila, and was one of the lead curators of “Chabet: 50 Years”, a series of exhibitions in Singapore, Hong Kong and Manila from 2011 – 2012. In 2014, she co-founded artbooks.ph, an independent book store in Manila focusing on Philippine art and culture.

RICA FLORENCE CONCEPCION presently works as a freelance fixer and field producer for foreign productions and photographers. Together with her late husband, Egay Navarro, and their longtime collaborator, Howie Severino, they documented several performance of Dr. Jose Maceda. Among the first performances they covered were in Mills College in Oakland, Yerba Buena Gardens in San Francisco, and University of California. After these series of events in the US, they became the “official documentors” of Dr. Maceda’s performances in Manila and even rehearsals. A number of these footages have been deposited at the University of the Philippines Center for Ethnomusicology.

JASMINE AGNES T. CRUZ was Business World’s art reporter, where she wrote around 600 or more articles on visual art, theater, classical music, cultural events, and more. She has also been published by Rogue Magazine, Esquire Magazine’s website, The Philippine Daily Inquirer, Philippine Star, Manila Bulletin, Panorama Magazine, Spot.ph, Coconuts Manila, Art Plus Magazine, Cosmopolitan Magazine, etc. Follow her on artreporterphilippines on Facebook.

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MICHAEL ANDAYA DAYON is a Technical Assistant at U.P. Center for Ethnomusicology.

LISA DECENTECEO began as a piano student. In 2010, she earned a diploma in Music Education, and in 2012, a bachelor’s degree in musicology at the University of the Philippines. Presently, she is a doctoral candidate in ethnomusicology at the University of Michigan in Ann Arbor. Her research interests include affect theory in ethnomusicological studies, the various iterations of the “folk” in American music from the 30s to the 70s, and the intellectual history of ethnomusicology. For her dissertation, she writes about contemporary performances of indigenous music in the public sphere. Lisa has taught courses on musicology, Philippine music, and American music. She is a Fulbright scholar, a fellow of the Horace H. Rackham School of Graduate Studies, and a recipient of the Glenn McGeoch Teaching Award and the Presser Foundation Graduate Music Award.

RICA ESTRADA is a museum-worker based in Manila, Philippines. She graduated with a BFA in Art Management from the Ateneo de Manila University in 2005 and is currently taking her Masters Degree in Art Studies, Major in Art History at the University of the Philippines. She is Officer-in-Charge of the Visual Arts and Museum Division of the Cultural Center of the Philippines (CCP). Independently, Estrada is co-founder of Visual Pond and Teaching Exhibitions.

TAD ERMITANO graduated from the Philippine Science High School in 1981, and studied Zoology at the University of Hiroshima, and finished a Bachelor`s degree in Philosophy from the University of the Philippines. He trained in video and film production at the Mowelfund Film Institute, and is a founding member of the pioneering media collective Children of Cathode Ray. He was part of the Philippine Pavilion in the 15th Venice Architecture Biennale.His works incorporate artist-created circuits, programs, and physical machinery in performances and installations. Notable among his interactive installations, are Quartet, (SG 2008) a gesture-controlled robot gamelan; Gangsa (SG 2013); Twinning Machine (SG 2014); and Uwang, (Art Fair Philippines 2015).

RICKY FRANCISCO is currently a freelance Filipino curator with long-term consultancy engagements with the Lopez Museum and Library, Fundacion Sanso and the Purita Kalaw Ledesma Center. He has also worked on multi-disciplinary collaborations which fuse the visual arts, music, culinary arts and performing arts into exhibitions. He is the recipient of various grants from art and cultural heritage bodies which include SEAMEO-SPAFA, ICCROM, the Japan Foundation Manila, CIMAM and Getty Foundation.

NATHANIEL BLANCO GUTIERREZ (1936-1974) studied mechanical engineering from Feati University and photography in Germany. Later he managed the photo laboratory of Botica de Santa Cruz. He was the first official photographer of the Cultural Center of the Philippines (CCP) from 1970 until his sudden death in September 21, 1974. He also worked with the Metropolitan Museum of Manila, Folk Arts Theater and the Museum of Philippine Art.During this period, he documented not only performing but contemporary visual artists and their works: Roberto Chabet, Lee Aguinaldo, Ray Albano, Johnny Manahan, Danny Dalena, George Ng, and Jaime de Guzman among others. He would provide the only existing documentation for Maceda’s Cassettes 100.

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MARK LACCAY is an innovative and precise individual with a passion for the Arts as well as an advocate of producing technically advanced output. He is a multi-awarded audio engineer who is presently the CEO of Click Multimedia Resource Inc. and Co Founder/ President of Artisteconnect.com and a former managing partner of Sweetspot Studios. He has worked as a Sound Designer for various award winning local films and is currently the Head Audio Consultant for MRTV-4 (the only TV Network in Myanmar), Mark has also worked as the Main Audio Consultant and has Digitized Tape Collections such as the “Dr. Jose Maceda Research” and “The EDSA People Power One Radyo Veritas Tapes” which are found in the UNESCO Memories of the World registry. He studied and trained at the Austrian Academy of Sciences -Phonogrammarchiv in Vienna, where he acquired his Certification on AudioTape Restoration and Digital Audio Archiving.

MALEK LOPEZ began his academic music education studying classical guitar at the University of Santo Tomas and film composition at the Berklee College in Boston. He departed the path and pioneered electronic music in the Philippines, forming groups such as the seminal Rubber Inc. and the popular electronic outfit Drip. He also works as a session player for Radioactive Sago Project, playing accordion. Malek Lopez is an award-winning composer and producer. His recent work includes the Department of Tourism’s “It’s more fun in the Philippines” campaign, Erik Matti’s Honor Thy Father and Ugnayan Recorded- a reworking of Jose Maceda’s Ugnayan; for the 2013 Listen to my Music exhibit at the Vargas Museum.

DR. NEAL MATHERNE is an ethnomusicologist with a deep interest in National Artist for Music José Maceda. Matherne’s 2014 dissertation, “Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award,” is a critical analysis of music, nationalism, commemoration, and valorization in the Philippines. Matherne holds an MA in Southeast Asian Studies and a PhD in Music from the University of California at Riverside. Matherne is a recipient of grants and fellowships from the Mellon Foundation and the National Endowment for the Humanities. He is currently a postdoctoral researcher at the Field Museum of Natural History in Chicago, Illinois.

EGAY NAVARRO (1950-2013) has been a cameraman since he was 16 years, and has specialised in documentaries, current events and music. He mostly worked for foreign wire agencies. In the last decade of his life he built a partnership of creating great documentaries with Howie Severino for GMA7’s IWitness.

ARVIN NOGUERAS also known by his artist’s name Caliph8, is a sound and visual artist. For 22 years, he has been active in Manila and overseas. He has exhibited and performed in different museums and art spaces such as the Cultural Center of the Philippines, Asian Culture Center South Korea, CPH:DOX in Copenhagen, XP in Beijing, The Shelter (Shanghai), Dommune in Tokyo, Institute of Lower Learning, Saigon, Green Papaya Arts Project, 1335 Mabini, The Drawing Room among others. Sampling, merging and summing, creating a new cultural syntax are important part of his work. In which, sound archive becomes a creative medium rather than a static imprint of the past. This process allows him an involvement with the past without submitting to its structures and limitations.

ROAN MAY OPISO earned her Bachelor of Music Major in Musicology from the University of the Philippines College of Music in Diliman, Quezon City. In 2008, she started working as student assistant of the UP Center for Ethnomusicology (UPCE) and was a project assistant handling metadata for the digitization project of the Jose Maceda Collection. She is currently the Collections Manager of the UPCE.

DR. RAMON P. SANTOS was awarded National Artist for Music in 2014. He belongs to the New and Experimental Music group of Filipino composers. He initially trained in Composition and Conducting at the UP and earned his Master of Music with distinction and PhD degrees at Indiana University an State University of New York Buffalo, respectively. He was a dull fellow at the Summer Courses in New Music at Darmstadt, Germany and undertook post-graduate work in Ethnomusicology at the University of Illinois under grants from the Ford Foundation and the Asian Cultural Council. In 1998 and 1999, he was awarded Artist-in- Residence fellowships at the Bellagio Studey Center and the Civitella Ranieri Center in Italy. He has also been elected Member of the Honor of the Asian Composers League, which he led as Chairman from 1994-1997, as well as elected Vice President of the International Music Council at UNESCO from 2001 to 2005.

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ANNA PATRICIA RODRIGUEZ-CARRANZA is a faculty member of the UP College of Music, Music Education Department. She graduated BM Music Education, magna cum laude in 2011. She currently sits on the board of the Philippine Society for Music Education. As an educator, she has taught music in various settings, both private and government funded, spanning from preschool to college. Among her research output were modules for K-12 Music Curriculum implementation; entries for Dictionary of Filipino Terms, UPCE, 2013; and special topics on music education, particularly early childhood education and blended learning approaches (APSMER Melaka, 2017). She is finishing her Master of Music degree at the same university, with a research on the undergraduate music curriculum of the University of the Philippines.

CARL TOLOSA is a student of Musicology at the U.P. College of Music. Besides being a performer, Carl also works as an art project assistant. He was part of the production team for Listen to my Music (2012), Sensorium: Media Art Kitchen (2013); Project Glocal: Transi(en)t Manila (2014); and reading Maceda, PRELUDE (2017).

DAYANG YRAOLA received Bachelor of Arts degree in Philippine Studies and Master of Arts degree in Museum Studies from the University of the Philippines. She is a Ph.D. candidate in Cultural Studies at the Lingnan University in Hong Kong. Dayang was the former Archive and Collections Manager of the U.P. Center for Ethnomusicology. She is currently a teacher at the College of Fine Arts Theory Department and at the College of Music Department of Musicology in U.P. Diliman. Her curatorial practice is focused on process-based art projects. www.dayangyraola.com

CCP Board of Trustees

CHAIRPERSONEmily A. Abrera

TRUSTEES

Anthonu P. Dela CernaDanilo L. DolorBaltazar EndrigaMichelle Nikki M. JuniaJaime C. LayaArsenio J. LizasoMary Rose Magsaysay-CrisostomoStanley Borero SaludoZenaida R. Tantoco

CCP Officials

Arsenio J. LizasoPRESIDENT

Chris B. MilladoVICE PRESIDENT & ARTISTIC DIRECTOR

Rodolfo Del RosarioVICE PRESIDENT FOR ADMINISTRATION

Eva Mari SalvadorDEPARTMENT MANAGER, ARTS EDUCATION

Mauro Ariel S.R. YonzonDEPARTMENT MANAGER, PRODUCTION AND EXHIBITION

Chinggay Jasareno-BernardoDEPARTMENT MANAGER, CULTURAL EXCHANGE

Teresa S. RancesDEPARTMENT MANAGER, ADMINISTRATIVE SERVICES

Asuncion E. EsmeroDEPARTMENT MANAGER, FINANCIAL SERVICES

Lilian C. BarcoDEPARTMENT MANAGER, HUMAN RESOURCE MANAGEMENT

Manuel B. CabalejoDEPARTMENT MANAGER, INTERNAL AUDIT

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From Listen to my Music:1. 76 Steps by Arvin Nogueras2. Bali-ing at Dawn by Jing Garcia3. Niyogan-Cocospheres by Cris Garcimo4. Postcard Traveller by Armi Millare5. Suling-suling by Paolo Garcia6. Ugnayan by Malek Lopez

From Attitude of the Mind:1. Accordion and Madolin by Arvin Nogueras2. Accordion and Mandolin by Malek Lopez

Accordion and Mandolin with Special OrchestraDr. Jose Maceda, 2003

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7. Loops and Gongs by Erick Calilan

To listen to the tracks, visit:https://www.youtube.com/watch?v=J83mGqeino0&list=PLIObQlQY3nc9XvQDe8Oj3Ty7-AEm3yUgM

Participating Artists

National Artist Jose Maceda | National Artist Ramon SantosLeo Abaya | Amihan Animation Studios | Chris Brown | Ringo Bunoan

Tad Ermitaño | Nathaniel Gutierrez | Ricky Francisco | Malek LopezEgay Navarro and Rica Concepcion | Arvin Nogueras

CuratorDayang Yraola

Technical EngineerMark Alan Laccay

ResearcherRoan May Opiso

Graphic DesignerPrime Felias

Exhibit AssistantsCarl Tolosa

Michael Andaya

FinanceSol Maris Trinidad

CCP Visual Arts and Museum DivisionRica Estrada

Noeny GatarinOrlando Jarme, Jr.

Geir Daniel Tan

Rocky Jhon BulotanoCaryl Irish Suñga

Contributing artists and authors:

Erick Calilan, Jasmine Agnes T. Cruz, Lisa Decenteceo, Rica Estrada,Jing Garcia, Paolo Garcia, Cris Garcimo, Neal Matherne, Armi Millare,

Roan May Opiso, Anna Patricia Rodriguez-Carranza

Acknowledging the assistanceextended by the following:

Ambie Abaño, Roan Alvarez, Rica Raya Aquino, Basic Elements,Bai Bagasao, Erika Bautista, Grace Anne Buenaventura, Karl Castro, Hannah Cunanan, Verne dela Peña, Erwin Fajardo, Patrick Flores, David Dino Guadalupe, Katya Guerrero,

Annatha Lilo Gutierrez, Angelina Lunas, Eileen Maceda-Mapili, Michael Andrew Maceda,Michael Manalo, Cristina Mondrigo, Edna Monreal, Froilan Monreal, Philip Noveras,

Rodolfo Odel R. Perez, Jr., Pioneer Studios, Shiena Prado, Carl Sebastian, Howie Severino,Goldie Soon, Teaching Exhibitions, Magyar Tuason, Dru Ubaldo,

Benedic Justine Velasco, Noelle Varela, Gus Vibal of Vibal Publishing

with support from:

University of the Philippines Offi ce of the ChancellorUNESCO National Commission of the Philippines

National Commission for Culture and the ArtsDepartment of Science and Technology -

National Research Council of the PhilippinesMuseum Foundation of the Philippines