Pablo Antonio

Pablo Sebero Antonio, Sr. was a renowned Filipino architect and a pioneer of modern
Philippine architecture. He was born on January 25, 1901, and passed away on June 14,
1975. He is widely recognized as one of the foremost Filipino modernist architects of his time.

Antonio gained recognition in 1933 for his work on the construction of the Ideal Theater,
located along Avenida Rizal in Manila. This caught the attention of Dr. Nicanor B. Reyes, Sr.,
founder of the Far Eastern University (FEU), who hired Antonio to design several buildings on
the FEU campus between 1938 and 1950 in the Art Deco style.

Antonio's work on the FEU campus is considered as the largest ensemble of surviving Art
Deco architecture in Manila, and it received an Honorable Mention citation from UNESCO in
2005 for its cultural heritage conservation efforts.

Apart from the FEU campus, Antonio also designed the White Cross Orphanage in San
Juan City, the Manila Polo Club in Makati, the Ramon Roces Publications Building (now
Guzman Institute of Electronics) in Soler Street in Manila, the Capitan Luis Gonzaga Building,
and the Boulevard-Alhambra (now called Bel-Air) Apartments Building in Roxas Boulevard.

Antonio was also known for his work on several theaters in Manila, including the Dalisay,
Forum, Galaxy, Life, Lyric, and Scala Theaters. As of 2014, only the Forum, Life, and Scala
Theaters remain standing, though the Forum and Scala Theaters have been gutted. In 1976,
Antonio was conferred with the rank and title of National Artist of the Philippines by President
Ferdinand Marcos.

Francisca Reyes-Aquino
Francisca Reyes-Aquino was a remarkable Filipino folk dancer, researcher, and academic
who made invaluable contributions to the preservation and promotion of Philippine culture.
Her extensive research on folk dances and songs, particularly in remote barrios in Central
and Northern Luzon, led to the discovery and documentation of previously unrecorded forms
of local celebration, ritual, and sports.

Reyes-Aquino's groundbreaking work culminated in her thesis entitled "Philippine Folk

Dances and Games," which was published in 1926. Her thesis became the foundation for the
teaching of folk dancing in the Philippines, as well as the United States, where she introduced
the subject to the American school curriculum. Her books, such as Tinikling, Maglalatik, Lubi-
lubi, Polka sa Nayon, and Philippine National Dances, among others, became seminal works
in Philippine culture and are still widely used today.
 Reyes-Aquino's significant contributions to Philippine culture earned her numerous
accolades and awards, including the Republic Award of Merit and the Ramon Magsaysay
Award, which recognized her outstanding contribution toward the advancement of Filipino
culture. Her designation as a National Artist of the Philippines for Dance in 1973 further
solidified her legacy and cemented her as one of the most influential figures in Philippine
culture and history.

Beyond her academic and research work, Reyes-Aquino served as a supervisor of physical
education at the Bureau of Education in the 1940s. Her efforts to promote awareness among
Filipino youth regarding their cultural heritage through the teaching of folk dancing led to
the widespread adoption of the subject in schools throughout the country.

Reyes-Aquino's impact on Philippine culture and history was so significant that in 2019,
Google honored her on her 120th birth anniversary with a Google Doodle featuring her
popular traditional Filipino dance. Her legacy continues to inspire and influence generations
of Filipinos to this day, as her work and contributions to Philippine culture and heritage
remain integral to the country's identity and sense of national pride.

Lino Brocka
Catalino Ortiz Brocka was a Filipino film director and co-founder of the organization
Concerned Artists of the Philippines (CAP) and the Free the Artist Movement. He directed
over forty films, and his work is considered influential in Philippine cinema. He was an active
critic of the Marcos regime and was appointed by President Corazon Aquino as a member
of the 1986 Constitutional Commission to draft a new constitution for the country. Brocka's
main contribution to the 1987 Constitution is Article III, Section 4. He continued to be a voice
for the removal of U.S. military presence in the Philippines until his death. Brocka was
awarded the Ramon Magsaysay Award for Journalism, Literature and Creative
Communication Arts in 1985, and he was posthumously named Philippine National Artist for
Film in 1997. Notably, his film Bayan Ko was nominated for the Palme d'Or at the 1984 Cannes
Film Festival, and Macho Dancer was smuggled out of the country to evade government
censorship.

His work covered a wide range of genres and topics, often dealing with social and
political issues facing the Philippines. Some of his notable works include: Maynila sa mga
Kuko ng Liwanag" ("Manila in the Claws of Light") (1975) it is a drama about a young man
from the countryside who moves to Manila to look for his girlfriend and ends up working in
the city's seedy underbelly. "Insiang" (1976) it is a drama about a young woman who seeks
revenge against her mother and her mother's lover for mistreating her. "Jaguar" (1979) it is a
thriller about a man who becomes involved in a plot to assassinate a politician. "Bayan Ko"
("My Country") (1984) it is a political drama about a young activist who is arrested and
tortured by the government during martial law. "Orapronobis" ("Fight for Us") (1989) it is a
drama about a priest who becomes involved in the struggle against government-sponsored
paramilitary groups. "Gumapang Ka sa Lusak" ("The Debutantes") (1990) a drama about
corruption and political intrigue in a small town. "Macho Dancer" (1988) it is a controversial
drama about a young man who becomes a male stripper to make ends meet.

Brocka's films often dealt with themes of social injustice, poverty, and corruption, and he
was known for his bold and uncompromising approach to storytelling. His work has been
celebrated both in the Philippines and internationally, and he is widely regarded as one of
the most important figures in the history of Philippine cinema.

Virgilio S. Almario
Virgilio Senadren Almario, known by his pen name Rio Alma, is a distinguished Filipino
writer, poet, critic, translator, editor, teacher, and cultural manager. He is considered as one
of the most important figures in the Philippine literary scene, and his contributions have
earned him recognition, including being named a National Artist of the Philippines.

Almario is known for spearheading the second successful modernist movement in Filipino
poetry along with other notable writers, such as Mangahas and Antonio. His earliest literary
criticisms are compiled in his book Ang Makata sa Panahon ng Makina, which is considered
as the first literary criticism book in Filipino.

Throughout his career, Almario has actively campaigned for the proper use of the Filipino
language. He has advocated against the usage and proliferation of siyokoy words, which
are improperly derived from English and Spanish. Almario also pushed for the use of Filipinas
as the official name of the Philippines in both Filipino and English.

Aside from being a critic, Almario has also been active in translating and editing. He has
translated contemporary poets from around the world and even translated the famous
works of the Philippines' national hero, José Rizal, namely Noli Me Tangere and El
filibusterismo. For his translation of these two works, he was awarded the 1999 award for
translation by the Manila Critics Circle.

As a writer, Almario has authored several poetry collections, including Mga Retrato at
Rekwerdo, Palipad-Hangin, Katon Para sa Limang Pandama, Estremelenggoles, Memo
Mulang Gimokudan, Dust Devils, Sonetos Postumos, Tatlong Pasyon sa Ating Panahon,
Buwan, Buwang, Bulawan, and many more.

Almario was also a founding member of the Gallan sa Arte at Tula (GAT), along with other
poets, Teo Antonio and Mike Bigornia. He also founded the Linangan sa Imahen, Retorika, at
Anyo (LIRA), an organization of poets who write in Filipino, which produced many award-
winning writers and poets.

Almario's contributions to literature and culture in the Philippines have earned him
numerous awards, including several Palanca Awards, two grand prizes from the Cultural
Center of the Philippines, the Makata ng Taon of the Komisyon sa Wikang Filipino, the TOYM
for literature, and the Southeast Asia Write Award of Bangkok.

In addition to his literary pursuits, Almario was appointed Dean of the College of Arts and
Letters at the University of the Philippines Diliman in 2003. He was also elected as the
chairman of the Komisyon sa Wikang Filipino and the National Commission for Culture and
the Arts (NCCA).

In conclusion, Virgilio Senadren Almario, or Rio Alma, is a respected and accomplished

figure in the Philippine literary scene. His contributions as a writer, critic, translator, and
cultural manager have significantly impacted the country's cultural landscape. Through his
efforts, he has pushed for the proper use and recognition of the Filipino language, and his
legacy continues to inspire many Filipino writers and poets today.

Jose Maceda
Jose Montserrat Maceda was a highly respected and renowned Filipino ethnomusicologist
and composer. His contributions to the field of music have been invaluable, and his work has
earned him numerous accolades, including the title of National Artist of the Philippines for
Music in 1998.

Maceda's career was marked by a deep passion for music, which he cultivated through
his studies in France and the United States. After studying piano, composition, and musical
analysis at the École Normale de Musique de Paris, he returned to the Philippines and
became a professional pianist. He later pursued musicology at Columbia University and
anthropology at Northwestern University, broadening his knowledge of both the technical
and cultural aspects of music.
 Maceda's most significant contribution to music came through his work as an
ethnomusicologist. Beginning in 1952, he embarked on a series of fieldwork expeditions to
study the ethnic music of the Philippines. He eventually expanded his research to include
Southeast Asia more broadly, collecting audio recordings and studying various forms of
music throughout the region. He composed his own pieces for Southeast Asian instruments
and published numerous papers on the subject.

One of Maceda's most significant contributions to the world of music was his involvement
in the research and composition of musique concrète. He worked at a recording studio in
Paris in 1958, where he met influential composers such as Pierre Boulez, Karlheinz
Stockhausen, and Iannis Xenakis. This experience allowed him to expand his creative horizons
and pursue a more vigorous compositional career.

Maceda's notable works include Pagsamba for 116 instruments, 100 mixed and 25 male
voices (1968); Cassette 100 for 100 cassette players (1971); Ugnayan for 20 radio stations
(1974); Udlot-Udlot for several hundred to several thousand people (1975); and Suling-Suling
for 10 flutes, 10 bamboo buzzers, and 10 flat gongs (1985). He also composed for Western
orchestra and piano, with works such as Distemperament for orchestra (1992), Colors without
Rhythm for orchestra (1999), and Sujeichon for 4 pianos (2002).

Maceda's impact on the world of music extends beyond his compositions and research.
He was a passionate advocate for the preservation of traditional music, collecting and
archiving audio recordings of folk songs and other musical forms from various populations in
the Philippines, Malaysia, and Indonesia. His entire musical collection was inscribed in the
UNESCO Memory of the World Register in 2007, demonstrating the immense cultural and
historical value of his work.

In conclusion, Jose Montserrat Maceda's legacy is a testament to his profound dedication

to the study and creation of music. As an ethnomusicologist, composer, and collector, he
contributed immensely to our understanding of music and its cultural significance. His work
continues to inspire and inform musicians and scholars today, and his contributions will
undoubtedly be celebrated for generations to come.

Daisy Avellana
Daisy Avellana was an accomplished Filipino stage actress, theater director, and
screenwriter who contributed greatly to the advancement of Philippine theater and film. Her
legacy is one of determination, dedication, and a deep love for the performing arts.

Avellana was born in Capiz, Philippines, in 1917, and overcame significant challenges to
become a leading figure in her field. Despite experiencing war, poverty, and famine, she
remained committed to her passion and went on to co-found the Barangay Theater Guild
with her husband, Lamberto Avellana, in 1939. This organization played a vital role in
promoting theater and drama in the Philippines, and its impact is still felt today.

Avellana was a trailblazer in her field, and her contributions were recognized when she
was named a National Artist of the Philippines for Theater and Film in 1999. She was also the
first Master of Arts in Literature graduate of the University of Santo Tomas, an achievement
that demonstrated her intellectual and artistic prowess.

Avellana's talent as an actress and director is evident in her performances in plays like
"Othello," "Macbeth in Black," and "Tatarin." However, it is her portrayal of Candida
Marasigan in the iconic production of Nick Joaquin's "Portrait of the Artist as Filipino" that is
perhaps her most memorable role. In 1965, she directed a film adaptation of the play, and
she also directed the films "Diego Silang" and "Walang Sugat."

In addition to her artistic accomplishments, Avellana was also a strong advocate for the
professionalization of Filipino theater. She believed that theater should be taken seriously as
an art form and worked tirelessly to encourage the proliferation of theater groups in the
country.

Avellana's passion for theater was not just a personal pursuit; she saw it as a way to
promote Filipino culture and elevate the status of her country. She once said, "When the time
does come for the Filipino national theater to emerge and take its place at center stage, we
who were young in 1939 may no longer be on the scene, but we shall be watching, in spirit,
from the wings." This statement is a testament to her enduring love for the performing arts
and her belief in their transformative power.

In conclusion, Daisy Avellana was a remarkable figure in Philippine theater and film who
left an indelible mark on her field. Her contributions to the performing arts are still felt today,
and her legacy as a pioneer, trailblazer, and visionary will continue to inspire future
generations of Filipino artists.

Cesar Legazpi
Cesar Torrente Legaspi was a Filipino National Artist in painting whose career spanned
from the 1940s to the 1990s. He started as an art director before eventually devoting himself
full-time to his visual art practice in the 1960s. Legaspi's early works, particularly those created
in collaboration with his peer Hernando Ocampo, were characterized by their depictions of
the anguish and dehumanization of beggars and laborers in the city. His paintings such as
Man and Woman and Gadgets were emblematic of this period.
 The critics of Legaspi's time often described his art as a "reconstitution" of cubism's
unfeeling, geometric ordering of figures into a social expressionism rendered by interacting
forms filled with rhythmic movement. In other words, Legaspi's works combined the rigid
structure of cubism with the emotional resonance of social expressionism to create an art
form that spoke to the human condition.

Throughout his career, Legaspi had the opportunity to showcase his works in several
exhibitions abroad, including the First Plastic Arts Conference in Rome in 1953, the São Paulo
Biennial in Graphic Arts in 1967 and 1969, and the Wraxall Gallery in London with Filipino
artists Mauro Malang Santos and Benedicto Cabrera in 1982. He was also the recipient of
numerous accolades and awards, including the Republic Cultural Heritage Award in 1964,
the Gawad CCP para sa Sining in 1990, and the National Artist Award for Visual Arts in 1990.

Legaspi's contributions to the Philippine art scene did not go unnoticed. He held the
record for five retrospective exhibitions at different venues, including the Museum of
Philippine Art in 1978, the National Museum and the Metropolitan Museum in 1988, and the
Luz Gallery and the Cultural Center of the Philippines in 1990. He was an active member of
the Art Association of the Philippines and was part of the Neo-Realists. Additionally, he was
the head of the Saturday Group artists from 1978 until his death on April 7, 1994.

Legaspi's legacy as a Filipino National Artist in painting continues to inspire young artists to
this day. His art remains relevant and meaningful, as it speaks to the human condition and
the plight of the marginalized. Legaspi's works remind us of the importance of empathy,
compassion, and social justice in our society. He is a testament to the power of art in shaping
culture, and his contributions will continue to be celebrated for generations to come.