News and Features
Hope And Art From Adversity
Contreras, Banglos, and Daambakal Sculptors use volcanic rock from Mayon
[March 5, 2007/ Manila] - When Wilfredo Durano and his companions reached Barangay Maipon, Guinobatan, Albay, they found a no man's land. Last year, the barangay was buried beneath tons of mud and volcanic debris, which were washed down from the slopes of Mayon Volcano by typhoon Reming. What looked like cement posts from afar were the remains of coconut trees. All traces of life seemed to have evaporated. But as Durano and his friends rummaged through the debris, they knew that even nature's fury could not extinguish hope.
Durano and his friends, sculptors from Barangay Banglos, General Nakar, Quezon were there on a mission. They salvaged some of the volcanic rocks, which were to be their next medium. By learning how to sculpt volcanic rock, they can eventually transfer the technology to the survivors in Albay.
"It's good to do an activity with a purpose," said Durano, who was eager to help the people of Maipon. After all, they share a common experience.
Killer-floods and mudslides devastated the coastal fishing community of Banglos in 2005. Many lost their homes and livelihood. But after causing so much destruction, the logs that were carried down by the floods were put to good use. Through the initiative of Smart Communications, Inc. (SMART), the Banglos fishermen were introduced to the art of woodcarving as an alternative livelihood. With their driftwood sculptures now fetching up to P35,000.00, the Banglos Sculptors, as they are now better known, are helping to rebuild their community. They hope that the Bicalonos can eventually do the same using volcanic rock.
Two years ago, Smart tapped multi-awarded sculptor Rey Paz Contreras to give a 10-day workshop to 30 Banglos residents who later passed on the knowledge to their town mates. This time, the veteran artist is trained a small group of them how to sculpt volcanic rock.
Art for a cause
"This is just an extension of their wood sculpting," said Contreras. "I already know their capacity as artists." He explained that with the Banglos Sculptors’ exposure to new media, their repertoire increased. They also learned about the different combinations of materials such as wood and rock, rock and metal, etc.—mixed media.
"This is art for a cause because it involves the transfer of technology (to those who need it most). The Banglos Sculptors are learning new skills so they can teach people who, like them, suffered from a calamity. This is what's driving them," related Contreras.
As founder of the 20-year-old Daambakal Sculptors Collective, Contreras said "art needs to have a vision—it should be shared with others."
Daambakal encourages people to work collectively. "The group dynamic is very important. If you are too much of an individualist, you will deteriorate as time goes by. As a person, you suffer from physical limitations. When you grow older, your eyesight and strength will start to fail. Even the masters experience this. But if the teacher and students produce together, the work will continue and the quality of the art pieces is maintained,” said Contreras.
He said their involvement with Banglos is one of their successful projects "because the community was also adopted by Smart." Contreras said corporate support is very important. Whatever limitations the community has are more than made up for by the sponsoring company, such as supplying the tools to create. "Companies that have social concern can do so much to help."
Democratizing art
The use of available materials (e.g. wood in Banglos and volcanic rocks in Maipon) enabled artisans "to maximize the lesser cost of production." By doing so, Contreras said they can sell their works at a cheaper price and ensure their livelihood's success.
"People can learn from the Banglos experience. They are able to use the materials (wood) easily anytime they need them," he said. The same may be said for Maipon because the volcanic rocks are there in abundance.
By using materials like these, Contreras said that artists would stop being dependent on first class art materials, which can be expensive. "In the Philippines, we are used to surplus materials, even in our means of transportation… (As artists) we can base our technology on what's available."
Even the tools that the Banglos Sculptors used were readily accessible. For volcanic rocks, they employed construction materials, such as a drill and tile-cutting implements.
"This democratizes art," stated Contreras. "Anybody can become an artist. If you have the talent and the inclination, you can learn by practicing. Poverty no longer becomes a hindrance."
Giving back
Under the guidance of Contreras, the Banglos and Daambakal sculptors created 10 to 15 art pieces that were exhibited at the National Arts Fair in Bacolod City, Negros Occidental, from February 28 to March 4. "We're introducing the use of this medium (volcanic rock) as in a way developed by Banglos and Contreras," said the master sculptor.
Alan Sollano, a 29-year-old Banglos Sculptor, said their new medium took some getting used to. It was easier to carve wood because "it usually has its own design or shape, as nature intended," he said in the vernacular. He said all a sculptor needed to do was to enhance that shape.
Still, sculpting volcanic rock was worth learning. "It's good to be able to combine the materials that devastated Bicol and Quezon to create something attractive—something good," shared Jessie Flora, a 34-year-old sculptor and fisherman.
Flora and the others had been to numerous exhibits since 2005. Income generated from the sale of their artworks helps sustain their families. "Dito na halos kami umaasa (Most of our income comes from sculpting)," said Durano. "Fishing can be a very expensive and dangerous way to earn a living. But when we sell our sculptures, we can afford to plant crops and raise livestock instead."
The Banglos Sculptors now live in a Gawad Kalinga (GK) village in General Nakar, Quezon, consisting of 100 houses funded by Smart. The sculptors have also been helping their community. The Smart Amazing GK Village community fund gets a share for every artwork sold. Aside from this, Flora said they have also been giving work opportunities to others. "When we're pressed for time, we hire people who have no jobs to help us with the projects."
Moreover, they already started supporting other communities. Sollano said part of the proceeds from their last exhibit in Cebu went to the PLDT-Smart Amazing GK Village in Brgy. Budlaan, Talamban, Cebu City, to help fund their livelihood project.
Through its partnership with Gawad Kalinga Foundation, Smart and parent firm Philippine Long Distance Telephone Co. (PLDT) have adopted a total of seven villages. Aside from Quezon and Cebu City, PLDT and Smart Amazing GK Villages can be found in Baseco Compound, Tondo; Camp Abubakar, Barira, Maguindanao; Arevalo, Iloilo City; and Fort Magsaysay, Laur, Nueva Ecija. In the pipeline is another village in St. Bernard, Southern Leyte, for survivors of the landslide in Brgy. Guinsaugon last year.
"By learning how to sculpt, our situation in life has improved," Durano shared. "Plus, we can also help others. We're not just known as a driver or a fisherman. Our lives have become more significant."
Durano added the Bicolanos experienced something worse than the people of Banglos. But good things can still happen to them. "When you experience a calamity, you feel like all hope is lost. But difficulties like these really make you stronger." @
