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From May 2-20, 1989, I became a fellow at the 36th Silliman University National Writers Workshop. Along with me were Romulo (Joey) Baquiran, Miriam Coronel Ferrer, Rex Fernandez, Felino Garcia, Christine Godinez Ortega, Nenita Lachica, Cynthia Lopez-Dee, Timothy Montes, Vim Nadera, Danilo Francisco Medina (DM) Reyes, Dinah Roma, Luna Sicat, Lakambini Sitoy, Gilbert Tan, Timothy Wells, and Jovita Zarate. Dinah, Tim, and Vim were fellows from the previous semester before the summer workshop. Most of us were housed on campus in student cottages named Rosal, Azucena, and Dao, which were constructed after World War II. Later, we were joined by Olivia Tripon, Nye Orquillas, and Ramon Boloron, who attended several workshop sessions as observers.

The panelists, along with Drs. Edilberto and Edith Lopez Tiempo were a distinguished lot—Gemino H. Abad, Ophelia Alcantara Dimalanta, Merlie Alunan (who was also the Workshop Coordinator, assisted by future Professors Antonino Soria de Veyra and Eva Rose Repollo), Cesar Ruiz Aquino, Beth Day-Romulo, Marjorie Evasco, Francis Macansantos, Anthony L. Tan, and Bobby Flores Villasis. Looking back, we were not only young but also quite fearless.

Between having our prose and poetry butchered for three weeks, we attempted to embark on a fishing boat bound for Siquijor. However, we had to return to shore due to the high swells. Instead, days after, we continued our journey on foot to Silliman Beach and "Wuthering Heights," where we splattered ourselves with the waters of Tañon Strait, after covering quite a mad distance. At the local public market, we often explored and sampled local delicacies such as Budbud Kabog���a unique variation of suman made from millet instead of glutinous rice, Painitan—a traditional breakfast that included chicken tinola, fried fish, mongo soup, garlic fried rice, budbud, and puso (rice wrapped in woven palm leaves), and Binakhaw—a distinctive take on kinilaw made with raw fish, chili, ginger, lemon juice, onions, vinegar, and served with dried flying fish on the side. We eagerly tried all these exotic dishes, privileging experience over allergic reactions and dietary restrictions.

With Silliman students, a number of us climbed Cuernos de Negros, a complex system of volcanic cones and peaks. Others preferred the revitalizing waters of Casaroro Falls and Lake Balinsasayao. We immersed ourselves in these adventures amidst an insurgency happening all over Negros Island. After the workshop, we each went our separate ways—some pursued full-time writing, while others embraced teaching or explored a variety of other livelihoods. During our time at Silliman, we learned to fully embrace the heat and humidity. We crafted moments so unique that it felt like we made that summer entirely our own.

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I spoke to Cocoy Laurel only once, on June 15, 2015, at the Executive House in UP Diliman. He accompanied his mother, Tita Celia Diaz Laurel, when UP President Alfredo E. Pascual hosted a dinner for her and other UP Alumni Association Distinguished Alumni Awardees that year. As the University's Alumni Relations Director, I emceed the ceremony.

After the reception, while waiting for their chauffeur to arrive, I told Cocoy that I had watched most of his films during my grade school and high school years. My boyhood yaya, Ate Mameng, was a huge Cocoy fan, and she often took me along to watch his movies. Cocoy laughed heartily as I recounted the synopsis of his string of hits, which included:

- Lollipops and Roses (with Nora Aunor, 1971)

- Once Upon a Time (shot in Madrid, with Spanish actress and producer Maribel Martin, 1971)

- Till Death Do Us Part (with Hilda Koronel, 1972)

- Impossible Dream (with Nora Aunor, 1973)

- Ophelia and Paris (a.k.a. "Prinsipe Paris, Walang Kaparis " with Vilma Santos, 1973)

- Oh, Margie, Oh (with Margie Moran, 1974)

- Lollipops and Roses at Burong Talangka (with Nora Aunor, 1975)

- Disco Fever (with Vilma Santos and Rio Locsin, 1978)

- Pinay, American Style (with Vilma Santos, 1979)

- Waikiki (with Alma Moreno, Lorna Tolentino, and Rio Locsin, 1980)

He appreciated that I remembered his rendition of Jerome Kern and Dorothy Fields’s Oscar-winning song "The Way You Look Tonight" (1936) which he performed during the finale of Oh, Margie, Oh, long before Michael Bublé made it a hit.

Given his popularity, he immediately said no when I asked if he would consider running for public office, reiterating that the arts would always be his main passion. Before he and Tita Celia left, I took a photo with them, along with my Comparative Literature mentor, former UP Alumni Relations Director and Assistant Vice President Priscelina Patajo Legasto, and UPAA Board Member & PRO, Jingjing Villanueva-Romero. Cocoy thanked us, shook our hands, and said goodbye before escorting Tita Celia to the foyer.

Looking back, I was impressed by Cocoy Laurel’s warmth and sincerity during our brief encounter. It was clear that he was a dutiful son to Tita Celia. Most importantly, he was kind and willing to share his precious time with those who needed it 🙏

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ATM: From Silliman University--at the 63rd Silliman University National Writers Workshop: Myrna Peña-Reyes: A Celebration of Her Life in Poetry, hosted by Director-in-Residence, Professor D.M. Reyes. https://lnkd.in/g-2KFpan

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The 63rd Silliman University National Writers Workshop (SUNWW) Panelists and Fellows read poetry and rendered a floral tribute to Dr. Edilberto K. Tiempo and National Artist for Literature Edith Lopez Tiempo, SUNWW founders, at Dumaguete Memorial Park, formally closing the workshop's first week. Mt. Talinis and the foothills of Negros Oriental can be seen in the background, where Dr. Edilberto once lived as part of the United States Armed Forces in the Far East (USAFFE) and the resistance movement during World War II, retreating to the highlands with Dr. Edith as war began.

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Writing as Freedom--at the 63rd Silliman University National Writers Workshop (SUNWW) in Dumaguete City, Negros Oriental, where, on a clear day, Siquijor, the southern tip of Cebu and Zamboanga del Norte can be seen in the background. Founded by the late Edilberto K. Tiempo and National Artist for Literature Edith Lopez Tiempo, SUNWW is the oldest creative writing workshop in Asia. Despite decreasing support, the workshop is pushing through this year with 9 fellowship recipients spread across poetry, short fiction and creative nonfiction. #SillimanUniversity #sunww

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Always happy to visit Nella Sarabia ( https://www.instagram.com/spectaclesbynella?igsh=bXFudDBtOW0wZmR6 ), my optometrist for nearly thirty years. Her clinic is now in Acacia Residence Hall at Laurel and Apacible Streets, UP Diliman, across from the UP Shopping Center and the University Health Service. Nella is usually in her clinic from 10:30 AM to 4 PM, Tuesdays to Saturdays. From her old UP Shopping Center days till now, Nella has become an integral part of the UPD community, serving many students, professors, staff members, and alumni. During the COVID-19 pandemic, she continued to serve by opening her clinic to medical frontliners, security, and utility staff members, who needed assistance with their eyewear 🙏

https://www.instagram.com/spectaclesbynella?igsh=bXFudDBtOW0wZmR6

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Last night, over coffee, I took a break from checking papers to spend the eve of my 37th year as a teacher with two former students who, over time, have become friends and more like family—UP Integrated School, UP College of Media and Communication, University of the Philippines College of Law & Erasmus University Rotterdam alumna Atty. Sheryl Bartolome and UP College of Arts and Letters, University of Colorado Boulder, & Harvard-educated Mark Arthur Payumo Abalos. Sheryl is Vice President and Head of Legal for Unity Digital Infrastructure Inc., a telecommunications infrastructure company and a joint venture of the Partners Group (a leading global private markets firm), and Aboitiz InfraCapital, Inc. Mark is currently the Vice President for Dual Transformation Strategy Management and Business Development of iPeople, Inc. (Ayala-Yuchengco Education Partnership). Mark’s scope of work includes overseeing the operations of Mapua University, National Teachers College, University of Nueva Caceres, and APEC Schools nationwide. Teaching is frequently a long and winding journey, and in UP, it is even more so. There were many hiccups along the way, but I stayed largely because of my students. Many former students have not only enriched my life but have become an integral part of it. Taos-puso po ang aking pasasalamat 🙏

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Last night, over coffee, I took a break from checking papers to spend the eve of my 37th year as a teacher with two former students who, over time, have become friends and like family—UP Integrated School, UP College of Media and Communication, University of the Philippines College of Law & Erasmus University Rotterdam alumna Atty. Sheryl Bartolome and UP College of Arts and Letters, University of Colorado Boulder, & Harvard-educated Mark Arthur Payumo Abalos. Sheryl is Vice President and Head of Legal for Unity Digital Infrastructure Inc., a telecommunications infrastructure company and a joint venture of the Partners Group (a leading global private markets firm), and Aboitiz InfraCapital, Inc. Mark is currently the Vice President for Dual Transformation Strategy Management and Business Development of iPeople, Inc. (Ayala-Yuchengco Education Partnership). Mark’s scope of work includes overseeing the operations of Mapua University, National Teachers College, University of Nueva Caceres, and APEC Schools nationwide. Teaching is frequently a long and winding journey, and in UP, it is even more so. There were many hiccups along the way, but I stayed largely because of my students. Many former students have not only enriched my life but have also become an integral part of it. Taos-puso po ang aking pasasalamat 🙏

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𝐎𝐧 𝐀𝐫𝐭 𝐚𝐬 𝐆𝐄 𝐢𝐧 𝐔𝐏 (𝐑𝐞𝐜𝐨𝐧𝐬𝐭𝐫𝐮𝐜𝐭𝐢𝐧𝐠 𝐄𝐚𝐫𝐥𝐢𝐞𝐫 𝐂𝐨𝐧𝐯𝐞𝐫𝐬𝐚𝐭𝐢𝐨𝐧𝐬 𝐰𝐢𝐭𝐡 𝐎𝐬𝐜𝐚𝐫 𝐀𝐥𝐟𝐨𝐧𝐬𝐨, 𝐍𝐢𝐞𝐯𝐞𝐬 𝐁𝐞𝐧𝐢𝐭𝐨 𝐄𝐩𝐢𝐬𝐭𝐨𝐥𝐚, 𝐂𝐨𝐧𝐜𝐞𝐩𝐜𝐢𝐨𝐧 𝐃𝐚𝐝𝐮𝐟𝐚𝐥𝐳𝐚, 𝐁𝐫𝐞𝐧𝐝𝐚 𝐅𝐚𝐣𝐚𝐫𝐝𝐨, 𝐏𝐚𝐜𝐢𝐭𝐚 𝐆𝐮𝐞𝐯𝐚𝐫𝐚 𝐅𝐞𝐫𝐧𝐚𝐧𝐝𝐞𝐳, 𝐚𝐧𝐝 𝐕𝐢𝐫𝐠𝐢𝐧𝐢𝐚 𝐑. 𝐌𝐨𝐫𝐞𝐧𝐨)

The inclusion of art in UP’s General Education (GE) curriculum represented a major shift in the university's institutional philosophy. In 1959, the Department of Humanities was created as a separate unit from the English Department. The broader GE program, introduced during the presidency of Vicente G. Sinco (1958-1962), aimed to establish a structured framework of core courses required for all undergraduate students, reshaping UP’s trajectory as a “state” university.

The foundational principles of the 1958 GE curriculum were guided by a vision of providing a liberal and comprehensive education. The program aimed to achieve several objectives: First, it hoped to broaden students' intellectual and cultural horizons by exposing them to a diverse range of disciplines, including the humanities, mathematical sciences, natural sciences, physical sciences, and the social sciences, in effect, moving beyond the limitations of specialized majors. Second, it aspired to enhance critical and creative thinking by nurturing students' independent thought, analysis, and problem-solving skills. Third, UP’s GE program attempted to instill a deep commitment to nationalism and social justice, reflecting its role as an agent of change vis-a-vis Philippine society. These objectives focused on fostering a strong cultural and historical identity among UP students while embracing internationalism and public service. Theoretically, UP’s GE program cultivated high intellectual and moral integrity standards, molding students into ethically discerning and intellectually competent individuals. It sought to provide a foundational base of knowledge and skills that all UP graduates should possess, regardless of their professions.

To implement this ambitious curriculum, President Sinco reorganized the College of Liberal Arts (1909-1959), creating a University College that specifically offered core GE subjects for the first two years of undergraduate study. The focus on major courses was assigned to the College of Arts and Sciences (CAS) and the Graduate School of Arts and Sciences (abolished in 1989 and absorbed separately by the UP College of Arts and Letters, UP College of Social Sciences and Philosophy, and the UP Diliman College of Science). The initial GE curriculum required a minimum of 63 units, encompassing subjects such as English, Spanish, Mathematics, Logic, Humanities, Social Sciences, Biology, Physical Sciences, and Physical Education. This comprehensive approach intentionally emphasized a well-rounded education.

Distinguished artists and scholars, including National Artist for Literature and art critic Francisco C. Arcellana, poet, and playwright Ricaredo Demetillo, vocalist and European cultures professor Aurelio Estanislao, poet Virginia R. Moreno, composer Eliseo Pajaro, and pioneering diplomat and Philippine Senator Leticia Ramos-Shahani founded UP's newly formed Department of Humanities. In 1989, the department was renamed Art Studies under the leadership of Professor Emerita Brenda Fajardo. This renaming signified a shift in focus toward previously underrepresented Philippine, popular, indigenous, and emerging art forms, moving away from an exclusive emphasis on the Western liberal arts canon.

The evolution of art appreciation courses at UP reflects multiple curricular developments. Initially taught as Humanities 1, the course was reframed as Humanities 2 in 1986. With the implementation of the Revitalized GE Program (RGEP) in 2002, the Hybrid RGEP in 2012, and the UP Diliman 2017 GE Program (GEP), Humanities GE classes later evolved into Art Studies 1 and 2, Art 1 (Critical Perspectives in the Arts), and PhilArts (Philippine Arts and Culture). In addition, other Arts-related GE courses developed outside the Department of Art Studies, including Wika 1 (Wika, Kultura at Lipunan) under the UP Departamento ng Filipino at Panitikan ng Pilipinas, English 11 (Literature and Society) under the UPD Department of English and Comparative Literature, Film 10: Sining Sine (Film as Art) under the UP Film Institute and FA 30 (Art Pleasures) under the UP College of Fine Arts.

Despite the clarity of including art in the GE curriculum, some advocates now argue for its removal, claiming that sufficient art education is provided in senior high school. However, in the Philippines, unlike high school, university-level art appreciation requires more maturity and digs deeper into movements, historical contexts, and theoretical frameworks, allowing for a more comprehensive understanding of the subject. This distinction is crucial for thoroughly exploring artistic practices and their implications.

The instruction of Art as GE at the university level, in UP, plays a seminal role despite the seeming overlap with high school curricula. The unique context of higher education necessitates a deeper engagement with art that emphasizes critical thinking and analytical discourse. For instance, Juan Luna isn't just an artist born in Badoc, Ilocos Norte, known for his 1884 Madrid Exposition gold medal-winning "Spoliarium," as high school students these days are compelled to memorize. In UP, students taking art appreciation classes will not stop at Spoliarium. They would problematize literary and historical scenes in Luna's lesser-known works, such as "The Blood Compact," "España y Filipinas, " and "The Battle of Lepanto" and investigate how Luna renders his visual productions with an underlying political commentary, touching on issues not quite different from realities many Filipinos are still facing today.

Not surprisingly, during the 1950s and the 1960s, our Asian neighbors sent their best students to experience UP's unique academic offerings. Many were Philippine Government scholars, acknowledging UP's stature in the region. Incredibly, some of these students became thought leaders in their respective countries. They include two of my Professors at the University of Tokyo--Professor Emeritus Takahashi Akira (UP School of Economics) and former Hakuho Foundation President Shimizu Yoshiei (UP Department of Political Science). National Artist for Film Ishmael Bernal, Professor Emerita Solita Collas Monsod, anti-poverty activist and feminist Ana Maria Ronquillo Nemenzo, economist Gerardo Sicat, poet and activist Jose Maria Sison, and artist George Sison were among their contemporaries in UP Diliman.

For nearly 70 years, UP has been integrating art into broader academic frameworks, creating a model for other institutions to emulate and an environment conducive to intellectual development and cultural literacy—qualities that nurture an informed citizenry. Art Appreciation in higher education goes beyond the mere enumeration of "memorized" facts and figures culled from secondary education. Instead, it constitutes a segment of a more comprehensive academic experience that enriches students' perspectives and enhances their engagement with the larger community around them. In a landscape that increasingly emphasizes Science, Technology, Engineering, and Mathematics (STEM), engaging with the arts cultivates skills in creativity, ingenuity, communication, and performance, which are necessary for driving innovation and strengthening our economy.

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Belated Reflections: Watching Fo Guang Shan Philippines Head Abbess Venerable Yung Guang, Director Junrey Alayacyac and Composer Jude Gitamondoc’s collaborative rendition of "Siddhartha: The Musical" at the Metropolitan Theater on April 13, 2025 (Sunday, 3:00 p.m.) brought back narratives from my undergraduate Comparative Philosophy and Asian Literature classes under Emeriti Professors Alfredo Co and Milagros Tanlayco. This production, developed by the Fo Guang Shan Academy of Art and presented by Chu Un Temple, is a more compelling and accessible adaptation of "The Biography of Sakyamuni Buddha," authored by Hsing Yun, the founder of the Fo Guang Shan Buddhist Order in Taiwan. Since its inaugural staging in 2007, the musical has rendered over 200 performances, illustrating the principles of humanistic Buddhism while navigating beyond conventional religious confines.

The narrative framework is anchored by Ananda (Barret Richards), designated as The One Who Remembers, who narrates the unfolding events set in ancient Kapilavastu, presided over by King Suddhodana (Francis Isidro), who grapples with the ubiquitous challenge of succession. With Queen Maya (Pia Rafols)'s prophetic vision forecasting the birth of Prince Siddhartha (Van Duke Gacayan), ominous predictions loom, foretelling his potential inclination towards spirituality over royal duty. These apprehensions compel King Suddhodana to impose strict societal constraints to secure his son's pathway to kingship.

As the plot advances, Siddhartha's marriage to Yasodhara (Claresa Monceda/Joanna Jade Ang) emerges as a visually dynamic tableau marked by vibrant, kinetic choreography that encapsulates the essence of the narrative. A significant turn occurs when Siddhartha ventures beyond the palace walls, confronting the realities of aging, illness, and mortality—encounters starkly absent from his previously sheltered existence. His transformative meeting with a monk catalyzes Siddhartha’s renunciation of earthly pleasures to become Buddha (Benjie Layos), propelling his quest for enlightenment through ascetic practices and meditation.

From a technical standpoint, Marijo Jamora’s choreography captivates with its seamless confluence of light, ethereal movements alongside powerful, frenetic sequences. The synthesis highlights the multifaceted nature of movement and serves as a medium for exploring the interconnectedness of various cultural expressions and Buddha’s philosophical teachings.

Barret Richards’s musical backdrop, featuring a complex layering of instrumentation, creates rich soundscapes that deepen the narrative's emotional weight. Designed by OJ Hofer and Giselle Abalos, the costumes exhibited an elaborate palette and intricate craftsmanship, enhancing thematic continuity throughout the performance.

The collaboration between lighting designer Francis Casing, set designer Vienne Denise Villarante, and visual artists Andrei Aloha, Claudette Pentoy, and Josh Buot establishes a cohesive visual framework for Siddhartha. Their integrated approach significantly enhances narrative delivery, enabling the audience to engage with the material on multiple cognitive and emotional levels.

The thoughtful integration of these creative elements results in a unified aesthetic, ensuring that Siddhartha and the other characters and their arcs are the focal points. The production translates the Buddha's journey toward enlightenment into a visceral experience for the audience, characterized by breathtaking staging that unleashes powerful ensemble performances. (Many thanks to Professor Emerita Marjorie Evasco for tagging me along! I had the most wonderful time 🙏)

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Maraming salamat po, DECL, UP College of Arts and Letters, UP Diliman. 🙏

"The Colonial Sugar Industry in Indonesia and the Philippines: A Comparative Perspective" (https://lnkd.in/g7_XXR9Y) was written during my sabbatical year with N. Nawiyanto (from Universitas Jember, Indonesia), and NM Calvaryni (from Wageningen University in the Netherlands). As part of our archival and field research, we scoured diaries, biographical narratives, and data from various institutions.

It was particularly helpful that my paternal grandfather, Brigido Tamayo Capili (1895-1976), who originally hailed from San Antonio, Lubao, Pampanga, was a World War I veteran, one of the few Filipino soldiers sent by the American colonials to Europe, along with Tomas Claudio--he was tragically killed by enemy fire on 29 June 1918, in Château-Thierry, France. Meanwhile, upon returning to Manila, my grandfather became an executive under Don Carlos Fernandez at Compañia Maritima and was a stockholder in the Pampanga Sugar Development Company (Pasudeco).

My father, Judge Virgilio M. Capili (1933-2020), retired as Assistant Government Corporate Counsel under the Department of Justice, serving the government for 45 years, handling mostly cases of government-owned and controlled corporations. As a child during the 1970s, during vacations, I accompanied my dad to meetings at the now-defunct Philippine Sugar Institute (Philsugin), which operated from 1951 to 1974 and later became the Philippine Sugar Commission (Philsucom) from 1974 to 1986. The assets and records of Philsucom were subsequently transferred to the Sugar Regulatory Administration (SRA), the government-owned and controlled corporation that has since taken its place. Later, as a UP Professor, I met Tita Cielo Macapagal Salgado, whose dad was one of my grandfather’s closest friends. Before they all passed, Tita Cielo connected me to distant relatives and family friends from Bataan, Bulacan, Pampanga, and Tarlac. These interconnections and my photographic memory motivated me to engage in this research project.

https://lnkd.in/g7C_Ni23

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Sunrise at Lanang

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With 2025 UP General Alumni Homecoming Show Director—UP Department of Speech Communication and Theatre Arts Retired Professor of Theatre Arts Alexander C. Cortez, UPAA - University of the Philippines Alumni Association Board Members, and representatives from this year’s UP Diamond, Golden, Ruby and Silver Jubilarians. This year’s UP Alumni Homecoming is slated for August 17, 2025 (Sunday) at 2:00 PM, at the Bahay Ng Alumni, University of the Philippines Diliman. This year's theme is: “Isang UP, Isang Komunidad: Pagbubuklod ng mga Kalayuan, Pagsulong sa Kinabukasan.”

To be featured in the official 2025 UPAA Yearbook and Homecoming program, please submit the following materials:

📌 A recent 2”x2” solo photo (Barong Tagalog/Kimona preferred)

📌 A creative piece (poetry, or nonfiction; maximum of 500 words)

📌 Participation details for batch performances and ad placements

Please send all queries and submissions to the UPAA Secretariat at:

UPAA Office, Bahay ng Alumni, Diliman, Quezon City

(632) 7910-6390 | 0917-8372098

2025up.jubilarians@gmail.com

The submission deadline is June 15, 2025 (Sunday) at 5:00 PM (PhT).

#UPAA2025 #UPHomecoming2025 #UPJubilarians #UP #UPNamingMahal #UPAA #OnePeyups #OneUP

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Reunion with students from my 1st semester of teaching—37 years ago! Happy to see you Dino Lazatin & Kristine Guiao Pascual. Missing my other students, mostly Kalayaan Residence Hall freshies, from your batch 🌻

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#UPDiliman #Saturday #Morning

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Very fortunate to emcee the 2nd DOST National Research Council of the Philippines (NRCP) Editors Forum, which brought together 25 editors of academic journals and seasoned researchers from various divisions of the NRCP under President Louise De Las Penas. The forum’s main objective was to improve editorial standards and enhance the international visibility of the NRCP Research Journal.

During the discussions, we focused on identifying best practices in research publishing, planning for future leadership transitions, and developing a comprehensive Five-Year Development Plan for 2026 to 2030.

This year’s forum was aligned with the United Nations (UN) Sustainable Development Goals, aiming to elevate the quality, accessibility, and global recognition of Philippine research. Such initiatives are imperative for fostering a research environment that addresses local themes and issues while contributing meaningfully to the international academic community 🙏

📷 DOST-NRCP /

https://www.facebook.com/share/p/1EJTd4kvi3/?mibextid=wwXIfr

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Congratulations to University of the Philippines Baguio Assistant Professor Roland Rabang, for successfully defending his TriCollege Ph.D. Philippine Studies Program dissertation on Eduardo Masferré's Photography in Four Planes under the guidance of the Asian Center, UP Diliman Dean Noel Christian Moratilla, his adviser. Roland's study examines the photographic archives of Eduardo Masferré, which showcase the Mountain Province, Kalinga, and Ifugao in the Cordilleras.

Masferré dedicated two decades, starting in 1934, to photography, producing a significant collection of photographs and artifacts such as equipment, negatives, reference materials, notes, and correspondences. These components reveal the cognitive processes behind Masferré’s photographic practice.

Selected artifacts relate directly to the study's themes, including creative expression, stylistic choices, subject visualization, and the representation of the Cordillera region. Roland's study also investigates the audience's reception of these artifacts, which are rooted in the knowledge and ideologies present in Masferré’s collected works. Roland employed an analytical framework that draws from Formalism, New Historicism, and Mythology to explore how these works fit within cultural, political, social, and economic contexts. This framework highlights that Masferré’s photographs are complex sign systems capable of multiple meanings.

Roland's dissertation uses the Four Planes of Analysis as a methodological structure for examining 178 figures in Masferré’s work. The Basic Semiotic Plane analyzes visual elements, medium choices, and techniques, focusing on Masferré’s skill in camera operation and darkroom processes.

The Iconic Plane studies Masferré’s framing of subjects from the Cordilleras, showcasing cultural attributes distinct from mainstream narratives.

The Contextual Plane places Masferré’s work in its social and historical context, revealing how his background and experiences shaped his visual perspective. His choice to pursue commercial photography influenced his artistic vision and aligned it with audience expectations.

The Evaluative Plane assesses the historical significance of his photography, asserting that these images highlight the identity of the Igorot people in ongoing discussions.

By critically evaluating the life and works of Eduardo Masferré, focusing on Masferré's photographic contributions and the contexts surrounding his images, Roland's dissertation enhances the discourse on Masferré’s influence on photography vis-a-vis social and cultural representations of the Cordilleras.

Congratulations, Roland 🌻