Sunday, March 11, 2012

29. Values in Children's Art

Abe V Rotor and Melly C Tenorio
Paaralang Bayan sa Himpapawid 738 DZRB AM, 8 to 9 evening class Mon to FriLiving with Nature - School on Blog


Lesson for March 13, 2012

These pastel drawings are the works of children of school age in a summer workshop. Can you interpret these drawings from the imagination and feelings of the young artists? What values in life can you associate with each of them?


Tenderness

A lovely pair in a most tender moment,
Let the world go spinning idly by;
A tender nest above in threesome wait
Their mother as they sweetly cry.
Hush, hush, beautiful creatures all,
Let time come calmly slow,
Like leaves ripening into gold in fall
That makes the sun and spirit glow.
Mother Fish


She is mother, defender of the young,At the gate, the sentinel
Watching over the reef and beyond
Of danger she would foretell.
And all others crawl under her brood,In comfort and in safety;
The shy and bold, the young and old,
Indeed she's mother of the sea.


Irony of War

Each flag, each victory sworn,
At the end go down all tattered;
Alas! Who lost? Who won?
But mankind stained with red. ~



"Flowers, flowers," anyone?

 "Flowers, flowers," anyone?

Dr Abe V Rotor

An elderly vendor, UPLB Mt Makiling, Los BaƱos, Laguna

How time moves on, creeps or flies,
sweeping across the thin red line
never to return, never to retract, 
neither the unfinished nor sublime.

Treasure its essence in transience,
with the world going round and around,
unceasingly over its remaining time  
so with ours on this planet bound. 

It's across this line that we explore
by serendipity or discovery;
and glancing back at sweet memory
pushes us forward to be free.  ~

Environment and Art: A Lesson on Ecology Through Art

Environment and Art: A Lesson on Ecology Through Art
Make This Tree Live Again



Dr. Abe V. Rotor

Allow me to start with a simple drawing exercise. The exercise is about a dying tree. I invite everyone to complete the scenario, using the attached outline of a tree skeleton. The idea is to bring back the life of the tree. Hence, the little of this exercise is “ Make This Tree Live Again.” This exercise introduces us to understand the basic nature of living things, and the essence of ecology as a subject.

As a guide let us imagine that solar energy is transformed by plants into chemical energy which is then shared by different organisms. organisms interact with each other, and with their environment, and that man plays a very important role in keeping his environment in a dynamic balance.

How much are we aware of this knowledge? We will know by evaluating the drawing once it is finished using ten (10) criteria scored on the Likert scale (5 is very good, 4 good, 3 fair, 2 poor and 1 very poor).

But I suggest that the following criteria should be consulted only after you have finished with your drawing to evaluate and give it a score and rating. So, stop reading right now and work on your drawing.

x x x x x x

1. There is the sun in the drawing. The sun is the source of life, the source of energy- solar energy- where is then transformed into chemical energy.

2. Presence of water. Water is manifested in the drawing as cloud, rain, river, and pond. Water is the second most important element of life, after the sun.

3. The tree is has leaves, branches, flowers and fruits. The tree is not only a living thing, it is a tree of life, the source of food and oxygen, and other things, aesthetic beauty, notwithstanding.

4. There are other trees of its kind. There are other trees and plants as well. They form a natural community.

5. There are animals and other living creatures. This shows relationships such as mutualism or symbiosis, commensalism (e.g. a bird’s nest, ferns and orchids on the tree), and competition (e.g. insects feeding). Certain relationships may be interpreted on a philosophical level such as benevolence, unity, cooperation and altruism.

6. The tree is part of the landscape. The drawing has a perspective of a larger whole, it is an integral part of Nature represented by mountains, rivers, fields, etc.

7. Man’s presence is important. The drawing may show a happy family, children playing, man taking care of the tree, or his presence manifested by a drawing of a house or community.

8. There is life in the drawing. The drawing is natural. The imagery it creates is real - not cartoon, so with the subject. I call this aspect naturalism.

9. Artistic quality. Is the drawing appealing? Does it conform with a good sense of balance, harmony, contrast, and perspective?

10. Maximum use of space. The whole world of the tree. It is the total “ view from the window”, the vantage point the participant views his subject and the world. Did the participant use the space wisely?

The scores of the ten criteria are added. To get the average divide the total with 10. A score of, say 3.6 to 4.4 is Good, while 2.5 to 3.4 is fair.

This exercise requires exposure to nature and imagination as well, other than logical thinking, especially for a serious theme such as this. In a number of cases the drawing shows the influence of cartoon and advertisements. This exercise follows a deductive- retrospective approach, which fits well with the use of art medium. During the 10-minute exercise I suggest that a background music be played from pre-recorded Nature sounds (e.g. birds singing and running stream). These compositions are also recommended as musical background.

A. Hating Gabi by Antonio Molina
B. Maalaala Mo Kaya by Mike Velarde
C. Meditation from the Thais by Massenet
D. Serenade by Tosselli
E. On Wing of Song by Felix Mendelssohn

What contributions have the arts to effective teaching of science? I consider the following premises important.

1. Fuller use of the senses. Art provides other than visual and auditory, an opportunity to use touch and smell, say on the specimens during hands-on and field observation.

2. Amalgamation of knowledge and imagination, a concept of learning where facts and experiences rise to a level of thought or theory level, yet sets the boundaries of fantasy. Art provides a better means of expression of the imagination.

3. Search for Formula-Value relationship. I call this concept valuing, that is, answering the question, “For what purpose?” on a higher plane over material or physical. Art discusses Renaissance, the revival of culture and values. Art talks of harmony and unity. Can science adopt art in creating subject appeal?

4. Left brain- right brain tandem. Logical and creative integration is important, the left brains thinks and reasons, while the right brain images, creates.

5. Mind- Feeling Duo (Head-Heart). “Science is reason, art is emotion.” It is true. Art appeals to the emotion. One must “feel” a work of art such as the climax of a story, the color of sunset, the graceful movement of a ballet dancer, or Rodin’s melting human figures symbolizing suffering.

6. Skill is applied knowledge and art is basically skill. Studying art is merely the pathway to its application. Art is an excellent medium of applied science.

After evaluating the exercise, “ Make this tree live again,” we can try similar exercises in ecology.

These were selected from a manual in three volumes which I wrote and use in conducting Art Workshops.

1. Green Valley- this shows the structure of a watershed in relation to a valley. How can one efficiently keep the valley green and productive? How good are we as managers of the environment?

2. Waterfalls- the river drops and continues down below the fall - so is life. How wide, how high, is our own waterfall? It is a good lesson in analogy and resolve- the ecology of our life.

3. Let’s build a house- but where are the neighbors? A lesson of human ecology, the concept of community.

4. Make this dog happy- this exercise a sharpens our values of kindness and concern. Ecology has a heart.

5. Road of Life- by tracing our own road of life, we know what we want in life, where we are going and how we get there. Here we plot our future. The human side of ecology is apparent in this exercise.

The criteria for scoring these exercises can be devised by the teacher or resource person, using the first exercise as a general guide. For specific purposes he can emphasize on certain aspects he deems necessary to arrive at his objectives. The idea why I am presenting these exercises, is that a teacher can prepare similar exercises whereby art can be integrated with the subject of science, and “valuing” is incorporated in the lesson.

But first, let us make the tree live again. ~


Living with Folk Wisdom with Old Friends

Dr and Mrs Abe Rotor presents book to former NFA Administrator Jesus T Tanchanco on the occasion of the agency's 30th anniversary, the first homecoming of the "old guards" now in their golden years - indeed a most appropriate celebration of "living with folk wisdom."

Saturday, March 10, 2012

Noli Me Tangere's Introduction in Rizal's Handwriting

Researched by Dr Abe V Rotor

Translation:

"What? Does no Caesar, does no Achilles appear on your stage now,
Not an Andromache e'en, not an Orestes, my friend?"
"No! there is naught to be seen there but parsons, and syndics of commerce,
Secretaries perchance, ensigns, and majors of horse."
"But, my good friend, pray tell me, what can such people e'er meet with
That can be truly great? - what that is great can they do?"

- Friedrich Schiller, "Shakespeare's Ghost," translated by John Bowring

Translation:

TO MY COUNTRY

Recorded in the history of human suffering are cancers of such malignant character that even minor contact aggravates them, endangering overwhelming pain. How often, in the midst of modern civilizations have I wanted to bring you into the discussion, sometimes to recall these memories, sometimes to compare you to other countries, so often that your beloved image became to me like a social cancer.

Therefore, because I desire your good health, which is indeed all of ours, and because I seek better stewardship for you, I will do with you what the ancients did with their infirmed: they placed them on the steps of their temples so that each in his own way could invoke a divinity that might offer a cure.

With that in mind, I will try to reproduce your current condition faithfully, without prejudice; I will lift the veil hiding your ills, and sacrifice everything to truth, even my own pride, since, as your son, I, too, suffer your defects and shortcomings.

Thursday, March 8, 2012

Lam-ang - Ilocano Epic Hero

Lam-ang - Ilocano Epic Hero
Dr Abe V Rotor
Lam-ang

The theme of the epic revolves around the bravery and courage of the main character portrayed by Lam-ang, who was gifted with speech as early as his day of birth, who embarked on a series of adventures which culminated in his heroic death and subsequent resurrection.

This series of adventures started with his search for his lost father who was murdered by the head-hunting Igorots in the Igorot country. While on his way, he met a certain Sumarang, whose name connotes obstruction, who tried to dissuade him from proceeding and who taunted him into a fight. The fight that ensued proved fatal to Sumarang as he was blown “three kingdoms” away with a spear pierced through his stomach. This encounter led to another when he met a nine-headed serpent who, like Sumarang earlier tried to dissuade him from going any further. The serpent having been ignored challenged him into a fight which cost the serpent its heads.

Lam-ang went on until he found it necessary to rest and take a short nap. While asleep, he dreamed of his father’s head being an object of festivities among the Igorots. He immediately arose and continued his journey until he found the Igorots indeed feasting over his father’s head.

He asked the Igorots why they killed his father, but the Igorots instead advised him to go home if he did not want to suffer the same fate which his father suffered. This was accompanied by a challenge to a fight, despite their obvious numerical superiority. But Lam-ang, armed with supernatural powers, handily defeated them, giving the last surviving Igorot a slow painful death by cutting his hands and his ears and finally carving out his eyes to show his anger for what they had done to his father.

Satisfied with his revenge, he went home. At home, he thought of taking a swim in the Cordan River with the company of Cannoyan and her lady-friends. So he proceeded to Cannoyan’s place in the town of Calanutian, disregarding her mother’s advice to the contrary. On his way, he met a woman and named Saridandan, whose name suggests that she was a woman of ill repute. He resisted her blandishments, for his feeling for Cannoyan was far greater for anyone to take.

When he reached Cannoyan’s house, he found a multitude of suitors futilely vying for her hand. With the help of his pets- the cock and the dog- he was able to catch Cannoyan’s attention. He asked her to go with him to the river along with her lady-friends. She acceded. While washing himself in the river, the river swelled, and the shrimps, fishes and other creatures in the river were agitated for the dirt washed from his body was too much. As they were about to leave the river, Lam-ang noticed a giant crocodile. He dove back into the water and engaged with the creature in a fierce fight until the creature was subdued. He brought it ashore and instructed the ladies to pull its teeth to serve as amulets against danger during journeys.

Back at Cannoyan’s house, he was confronted by her parents with an inquiry as to what his real intention was. He had to set aside his alibi that he went there to ask Cannoyan and her friends to accompany him to the river, and told them, through his spokesman - the cock - that he came to ask for Cannoyan’s hand in marriage. He was told that if he desired to marry Cannoyan, he must first be able to match their wealth, for which he willingly complied. Having satisfied her parents, he went home to his mother and enjoined her and his townspeople to attend his wedding which was to take place in Cannoyan’s town.

The wedding was elaborate, an event that involved practically everyone in town. There were fireworks, musical band, and display of attractive items like the glasses, the mirror, the slippers, clothes and nice food. After the wedding, Lam-ang’s party plus his wife and her town mates went back their town of Nalbuan, where festivities were resumed. The guests expressed a desire to taste a delicacy made of rarang fish.

Lam-ang was obliged to go to the sea and catch the fish. Before going, however, his rooster warned that something unpleasant was bound to happen. This warning proved true, as Lam-ang was swallowed by a big bercacan, or shark-like fish. Cannoyan mourned and for a while she thought there was no way to retrieve her lost husband. But the rooster indicated that if only all the bones could be gathered back, Lam-ang could be brought to life again.

She then enlisted the aid of a certain diver named Marcus, who was ready to come to her aid to look for the bones. When all Lam-ang’s bones were gathered, the rooster crowed and the bones moved. The dog barked, and Lam-ang arose and was finally resurrected. Cannoyan embraced him. For his deep appreciation for the help of his pets - the cock and the dog - and of Marcus the diver, he promised that each other would get his or its due reward. And they lived happily ever after. ~

This synopsis is based on the transcription made by Jose Llanes from a recitation by memory of the poem by an old farmer, one Francisco Magana, from Bangui Ilocos Norte, sometime in 1947. Of the six old versions of the epic which include a Zarzuela (folk stage play) written by Eufemio L. Inofinada, the Llanes version (206 stanzas) and that of Leopoldo Yabes (305 stanzas) are the most popular. Many believe that the author of the epic is Pedro Bucaneg, a blind Ilocano poet who lived during the early part of Spanish colonization. On close examination the farmer’s (Magana) version pre-dates the Bucaneg’s “Hispanized” version, because the farmer clings more closely to ethnical culture, and is richer with indigenous and pagan influences.

Historians believe that Biag ni Lam-ang is an epic drawn out from oral tradition handed down through countless generations in the same way the Greek’s Iliad and Odyssey were handed down through centuries to the modern world. Historians like H. Otley Beyer, Fox, Fay-Cooper Cole and Jose R. Calip believe in the pre- Hispanic origin of the poem. Calip in his doctoral dissertation, University of Santo Tomas, 1957, further stated that “it is not a product of any single mind but as a property of the people- a floating wisdom from the centuries into the generations.” Through a long, slow evolutionary process, it floated from one century to another, and grew into several versions retaining a lucid mirror of the people of the past, reflecting their own values, environment and culture. Reference: Lam-ang in Transition by Kenneth E.Bauzon, Philippine Social Sciences and Humanities Review, Vol XXXVIII, No.3-4.(Dr.A.V.Rotor)


Selected Stanzas from Biag ni Lam-ang
From Franscisco Magana’s Version, Llanes Transcription

These are selected stanzas to savor the richness of the greatest Philippine epic in the context of both its literary and historical values. These are parts of a masterpiece believe to be closest to the original version, coming from the recitation by memory by an unknown farmer. How the poem survived oral tradition through centuries and generations holds a mystery that is shared only by such epics as Homer’s Iliad and Odyssey. It is suggested that the reader recite these stanzas in the traditional style of folk storytelling, and must try to create an imagery of the distant past when epic was regarded as the story of a proud race. (AV Rotor)

A. - Lam- ang is conceived
Note the indigenous richness of the natural resources of the Ilocos Region.

(3) Salamagi pay a marabanban
Pana-pana ken maratang-tang
Kinalapan nga udang
Tirem a tinoc-tocan
Pasayan a bogbogyan
Rasa, kippin a rinama-an.

(4) Pocpoclo can pay ken ping-pinggan
Gamet, ar-arosip ken aragan
Abuyo a sinil-loan
Ken ugsa a binatangan
Siec ken ledda-ngan
Ti cano napanna sinarsaramsam.

B. Duel with Sumarang
Note the ritual, glory and savageness of a duel-
And the dignity of dying.

(48) Pagna can la a pagna
Si sumag-lalakin Lam-ang
Nagna yan di cabarrawasan
Ken cabolbolwan inggana’t
Di na nasabat si sumag-lalakin Sumarang.

(49) “Ay sumag-lalakin Lam-ang
Sadinno aya ti papanam?”
“Ay innac cuma makiay-ayam
Sadiay ili a Macayangyang.”

(50) Ti kunana si sumag- lalakin Sumarang
“ Ay sumang-lalakin Lam-ang
Cunac ta agawidcan
No biagmo ti cailalaam,”
Ngem agpagus can la mapan
Si sumag-lalakin Lam-ang

(51) kinuna manen si sumag-lalakin Sumarang
“Ay sumag-lalakin Lam-ang
Into man ngad agsinparaman
Iti dayta igigganam nga igam
Ta ricnaec no mabalinam.”

(52) In wen met si Lam-ang
Ket nagsangda a duan
Ti kinunan sumag-lalakin Sumarang
“Ay sumag-lalakin Lam-ang
Umon- unaca man nga aggibet ita igam
Sacanto met sublatan.”

(53) Ti met insungbat si sumag-lalakin Lam-ang
“Umon- unaca pay lang
Inton inca ket masugatan.”
Impan si sumag-lalakin Sumarang
Ket cas can met la immawat ti gawed a labilaban
Ken bua a garasigasan
Si sumag-lalakin Lam-ang

(54) Ti kinuna si sumag-lalakin Lam-ang
“Ay sumag-lalakin Sumarang
A la met daanam
Ti impaaymo caniac nga igam
Ta biangco met ti agipulang.”
Inpan can si sumag-lalakin Lam-ang
Ket nasalput ti barucong si sumag-lalakin Sumarang.

(55) Ti dinawat si sumag-lalakin Sumarang
“Ay sumag-lalakin Lam-ang
Sukitennac cad nga yadayo iti dalan
Ta ditoy ti yan ti pagpagnaan
Dagiti gasacdo a babbalasang.”
Sinukit si sumag-lalakin Lam-ang
Ket napan iti maicatlo a pagarrian.

C. Lam-ang is resurrected and re-unite
Immortality is a universal attribute to legendary heroes

(202) Nagtaraoc si carrurayan
Namanpag si cawitan
Ket naggunay metdagiti tulang
Nagtaguob di aso a burburan
Sana kinarucayan
Bimmangon mettensi Lam-ang

(203)” Ay nagirut man ti turog itan
Ay asawac a Cannoyan.”
Ti insungbat si Cannoyan
“iyawatmo man dagita imam
ta agaracupta man
ket kasta unay ti iliwco kencan.”

(206) Daytoy ti nagtungpalan
Ti cabibiag si Lam-ang
Ket rebbengyo a di lipatan
Ti pacasaritaan
Ti apoyo ti tumeng ken dapan.