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In 1994, Remy Martin launched “The 1994 Remy Martic Public Art Open Competition” – “Good Things in the Philippines: Promotion of Filipino Values Through Public Art.” The competition focused on the promotion of Filipino values as its thematic concern.
This is the entry submitted by the Davao Regional Artists Workshop
Artistic Director: Rachel Holazo
Project Members
Alejandro Avena, Jr.
Joel Geolamen
Dante Pintor
Ronito Ruelo
From the information packet
“A focus on public art is a step towards an up-to-date appreciation of contemporary art. A competition of this kind in the country, therefore, is history-making.
But the more important consideration for this direction is to reverse the attitude of most art competitions today where the artworks are not openly enjoyed by the public.
In sponsoring a public art open competition, Remy Martin gives to the people what should naturally belong to them. It is a way of making art reach out to the masses, to be viewed and appreciated by them without worry of shelling out a prize for the aesthetic bonanza.
In effect, it becomes the gift of Remy Martin to the Filipino people as it provides a conduit in upgrading the artistic consciousness of the masses. The benefits of art, after all, should be enjoyed by all.”
The Locus of the Competition
The site of the competition is the Rizal Park. Specifically, the chosen wall is found along Roxas Boulevard fronting one of the earliest public monuments in the country, that of national hero Jose Rizal, which is also a products of a public art competition.
The vision is to start a mural garden in the people’s park.
Our mural begins at the very center of the picture plane. The bright yellow, signifying the sun, radiates its eight (8) rays on the entire pictorial space. This symbolizes the beginning of life.
Closest to the sun is a pictorial circle formed by eight (8) human figures. The figures represent the traditional Filipino Family. It is tri-generational. Their interrelationships expound the encultured values we have chosen to promote. Reading clockwise from the top:
Value 1: The Filipino has high regard for his elders.
Illustration: The lolo (grandfather) extends his hand in customary greeting to his son. The pagmano is derived from the Spanish. It is symbolic of respect.
Value 2: The Filipino has deep attachment for his loved ones.
Illustration: The little child jumps up to be cuddled and hugged. Psychologists believe in the value of touching to impart warmth and affection. This value is natural to us.
Value 3: The Filipino values his education.
Illustration: The older child learns not only from school books but also from his parent, to become a good member of society.
Value 4: The Filipino Family is close-knit.
Illustration: The mother finds time to help define the child’s character.
Value 5: The Filipino is nature-oriented.
Illustration: The mother nourishes her infant in the most maternal way.
Value 6: The Filipino values his customs and traditions.
Illustration: The lola (grandmother) shows the little girl the intricacies of a traditional craft.
Value 7: The Filipino is theocentric.
Illustration: Inside the family circle is the head of a dove, transforming the image of the sun into the shape of a heart. Its wings are spread upward in consonance to the rays of the sun. This symbolizes the spirituality of the Filipino.
These values are the fundamentals in the structure of the Filipino Family. Although they are far from grandiloquent and glorious, they are not, however, ephemeral. They are the fabric that is woven into the intrinsic character of the Filipino. These ideals, therefore, are the mural’s main theme.
Flanking the central theme are two circles formed by dancing figures on the right and left side of the picture plane. Inside the circular fields are found the secondary themes:
Value 8: The bayanihan spirit of the Filipino is his source of strength.
Illustration: In the left or blue field, the figures dramatize how a stronger structure is being rebuilt in the aftermath of a calamity. They help each other in the spirit of bayanihan. Even in the face of hardships, the Filipino amazingly still has the countenance of joviality and gaiety. This probably is what gives the Filipino the strength to carry on. The bamboos on the far left symbolize resiliency and flexibility.
Value 9: The Filipino has an instinctive affinity to nature and his environment.
Illustration: The two figures at the apex of the composition in the left field signifies his awareness of the importance of conservation and restoration of his natural environment. We have intentionally given it a soft rendering because we feel that the Filipino has lost touch with his animistic roots. Non-Filipino influences have blurred his affinity to nature.
Value 10: The Filipino values his social/community ties.
Illustration: The visual field on the right or red field shows fishermen helping each other bringing in their day’s catch. They share with their townsfolk the bounty of their labor. We chose village fishermen because this value is fading in the urbanized Filipino.
Value 11: The Filipino replenishes the earth of the bounty he reaps from it.
Illustration: The two figures at the apex of the composition are small in scale, just as the two figures on the left field are. The artificial coral reef symbolizes the way the Filipino is repaying his gratitude to Mother Earth’s providing for one of his needs through the sea’s bounty.
Although this is a very new technology, the promotion of it is not as yet an encultured value. But it will be in the future.
The interlinked costumed figures encircling the secondary themes define our tertiary theme. These dancing figures captured in the final sequence of the Rigodon de Honor represent our value as social beings. We gave this traditional dance a more folksy interpretation (figures are costumed in diverse but ordinary wear) to represent the broad socio-cultural spectrum of the Filipino and the ethnicity of his culture.
The circular motion suggests unity despite the diversity of the Filipino culture. The extended hand of each of the dancing figures, a significant aspect of the dance sequence on the Rigodon, symbolizes the Filipino’s friendliness to all. The Filipino is naturally a peaceable people. Viewed in its entirety, the dancing figures in the left and right fields together form the numerical eight (8), traditionally a symbol of continuity and unity in oriental philosophy.
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