The Edmonton Philippine International Centre (EPIC) Defined

In a multicultural society, it is inevitable to encounter a number of cultural community centres around the city. Top of mind would be: the Polish Canadian Cultural Centre; Sejong Multicultural Centre; Edmonton Korean Community Centre; Ukrainian Cultural Centre; La Cite Francophone; Edmonton Chinatown MultiCultural Centre; Portuguese Cultural Centre; Italian Cultural Centre; Slovenian Canadian Cultural Centre; Hellenic-Canadian Community of Edmonton & Region; German-Canadian Cultural Centre; Dutch Canadian Centre; and Edmonton Japanese Community Association, to name a few. The irony of this is that on some occasions, the reason for my being in these venues, were due to a Filipino community event.

Cultural infrastructures are an integral component of Canadian communities. These centres promote cultural values among the members of its community. They are a reflection of an established community where cultural services are increasingly part of municipal services. Arts and culture is one of the attributes that contribute to the highest quality of life of a community.

With the influx of Filipinos in Alberta, which has the second largest Filipino population in Canada at approximately 175,000, and with a migration history to Canada beginning in the 1930s, it is ideal, and rather imperative, that we Filipinos have a sustained venue, that will serve as a gathering place - a recreational, educational and cultural facility. There is nothing wrong in using another culture’s space, but it’s much more gratifying to have one that reflects your values, and way of life.

Some people may think: What does it mean for me?... I have no personal need for this… or this is only relevant to those who are involved in arts and culture work. Research on the impact of cultural community spaces has shown: that 95% of respondents learned something new, and 88% increased their confidence and pride in culture and traditions by participating in programs; for 85% participation increased their desire to learn, while 83% explored ideas, values and dreams, and 79% made friends; 77% reported a positive impact on their creativity; 65% developed skills; and 64% reported a positive impact on their health and well-being. There is substantial and diverse body of evidence that a wide range of cultural activities positively add value to regeneration initiatives - economic, social and environmental.

The Philippine centre is envisioned to be the architectural definition of our community identity. Yet, it is not just about infrastructure but is about the people, our culture, creative engagement, and social interaction. The planning will include multiple perspectives: disciplines of expression – e.g., visual, performing, literary, media arts, heritage, etc.; functions – e.g., recreation, instruction, training, production, exhibition, preservation;  levels of artistic activity – e.g., recreational arts, amateur arts, emerging and professional/not-for-profit arts, for-profit creative industries, etc.; and community goals. For a community whose people are geographically separated with the 7,100 islands, should we not bond ourselves in our communal experiences of migration, values, and way of life in our adopted country?

In my article on March 2019 on “The Quest for a Philippine Centre in Edmonton”, I posed the challenge on what would it take for us to work together towards this goal. And now, I am elated to report that Filipino community organizations and volunteers are working together towards the establishment of the Edmonton Philippine International Centre (EPIC), which will have its launch and fundraiser on February 1, 2020, Saturday, 1:30-4:30 pm at the Corpus Christi Church Hall at 2707 34 Street, Edmonton. The event aims to disseminate information on the initiative, and show what Filipinos have been doing in, and contributing to, the city of Edmonton. There will be performances, tables featuring businesses and services, door prizes, silent auction and food. It is an opportunity to once again convene, be proud of our personal history, share our culture and participate in this legacy project.

Work towards establishing a centre is long term work requiring dedication, focus, determination and commitment with time, energy and resources. The current group of organizers and volunteers recognize the importance of accountability, trust and transparency and are exerting efforts to uphold these. However, an endeavour of this magnitude will only be made possible by sustained commitment, time, input and vision of MANY supporters - advocates, artists, business leaders, volunteers and community members. I appeal to everyone to lend their support, in whatever capacity, to the various upcoming projects supporting the Edmonton Philippine International Centre initiative. And let us uphold our tagline, The Filipino Spirit Shines Through! 

* This article was published in the January 2020 issue of the Alberta Filipino Journal.

Food as a Gateway to Culture and ULAM: Main Dish

When we were still living in the Philippines, everytime we went to a new town, the first thing my husband Jojo Lucila would visit was the food market. He claims that you learn a lot about the people’s lifestyle based on the kinds of food sold in the market. 

Now there is more to discover, as we live in a society that prides itself of embracing and celebrating cultural diversity. There are festivals, events and community activities that allow us to engage in different cultures without having to travel to another country. There are many other ways to immerse in a culture - learning the language, folk dances, songs, literature. But the easiest to enjoy and digest (so to speak) is food. 

Food brings people together. Shows like Anthony Bourdain’s “Parts Unknown”, Eddie Huang’s “Huang’s World” and David Chang’s “Ugly Delicious” have focused on showcasing cultures through food. When one partakes of a dish, one learns about the topography of the region by the ingredients and its spices. The way it is prepared, presented and eaten speaks volumes about the traditions. Our food has sentimental value, usually passed down through generations, and connected to life moments, i.e. celebrations, or as comfort food to cheer us up.

In the documentary ULAM: Main Dish, Filipino-American director Alexandra Cuerdo focuses on the ascent of Filipino cuisine in American tables by following the journey of award-winning chefs. These chefs and restaurateurs share their stories of breaking prejudices, being authentic, using food as a vehicle to communicate and present ourselves, and validating our culture. They come from different walks of life, i.e. from Michelin-starred line cooks to high school dropouts, successful restaurateurs to first time shop owners - but all highly acclaimed by critics. They share their histories, their sacrifices and what it takes to run a successful restaurant in two of the most competitive markets in the world: New York and Los Angeles. The film also talks about the experiences of first and second-generation Filipino Americans, and the struggle to have Filipino food and identity be recognized in the larger American society and even their own Filipino community. There are also philosophical conversations on the Filipinos’ history, crab mentality, the effects of colonialism, and the need for support from the Filipino community.

The narrative for our food is a narrative of our history. In the words of the film’s creators, “It's like saying, this is me on a plate. We can say, we both enjoy this, this is some version of what we both grew up with, it's some version of ourselves — even more so when we're connecting with a non-Filipino. I can say: This is a version of me, this is a version of my history, what I grew up with, and you should try it. If you don't like it, that's OK. I have twenty other dishes for you to try…  Filipino food and its ability to succeed is also a window into our future — and we must discuss what divides us, to find what unites us. If we are to celebrate Filipino food, and be respected as a people, we must dig deep into what makes us, and examine the future we want to create.”

These are timely messages for us. There is a global surge on advancing the Filipino and the culture. For Filipino Albertans and Canadians, it is a crucial next step soon after the provincial and federal proclamations of Philippine Heritage Month. It is a call for unity, of collaboration and bayanihan spirit, and of collective, not just individual, pride.

As part of the Philippine Heritage Month celebrations, the Philippine Arts Council is presenting the screening of the much acclaimed documentary ULAM: Main Dish on June 19, 2019, 7 pm at the Myer Horowitz Theatre. A panel discussion will follow the screening. Tickets are $15 + s/c through Ticketfly, or at selected Filipino businesses. For more information, go to philippineartscouncil.com. 

This is a not-to-be missed opportunity in showcasing the Filipino culture and at the same time reflecting on who we are. The film has been featured in the international film festival circuits since its premiere and has even screened in the same theatre as the Oscar winning film “Roma”. It is the film that propelled the late Jonathan Gold, food and music critic, to convince the LA Times to book the whole LA Grand Central Market to do Filipino food pop-ups, for the LA Times Food Bowl. Jonathan Gold was a strong and early supporter of the film ULAM: Main Dish.

To quote a review on ULAM: Main Dish in the Vancouver Asian Film Festival 2018, “In the end, Ulam is a noteworthy film, mainly for shining a spotlight on a community and food that for so long has flown under the radar. According to an interview with the director, Cuerdo has been getting inquiries from teachers wanting to use the film to teach since there has been so little representation of Filipino-Americans in the media.[1] This film will certainly provide a crash course on Filipino food for the uninitiated, fill the Filipino-Canadian community with a sense of pride at what their fellow Filipinos have accomplished and hopefully encourage more visits to local Filipino restaurants.”


* This article was published in the May 2019 issue of the Alberta Filipino Journal.

Cherry Samuya Veric: More than just Glitz and Glam

A Filipino designer has been showcasing his collections for three consecutive years at the Western Canada Fashion Week (WCFW), the longest running event of its kind in Alberta, and the second largest in Canada. Cherry Samuya Veric, known for his classic silhouettes and stunning detailed work, has been showcased in the International Collections segment of the fashion event, even featured as a closer for the night.

In his WCFW debut in 2017, Cherry brought his 26-piece collection of evening wear "Viva", his favourite collection to date. This was the same collection presented when he was chosen to close the 20th anniversary of Philippine Fashion Week, known as the Olympics of Philippine fashion, and a career highlight for Cherry. Viva is his tribute to the Ati-Atihan Festival and the Sto. Niño, as he hails from Aklan and is a Sto. Niño devotee. This collection was described as "a breathtaking collection... on the story of West meeting East through a fusion of indigenous patterns and modern forms. The lean lines and stunning visuals emphasized the alluring stylishness of ethnic patterns, and by mixing native designs with modern cosmopolitan trends. Veric proved that native design can be very appealing on a global scale." This collection featured a staggering amount of sequins to form the ethnic patterns. Needless to say, this was a great hit in his debut appearance in Edmonton. He would later bring this collection to Fashion Weeks in Paris, and New York.


In 2018, with the WCFW theme on Diversity, Cherry drew inspiration from Game of Thrones, and translated it into daily and evening wear. And in 2019, he brought his "Homage" collection, inspired by church frescoes, with fabrics that looked like paintings, paying homage to the romance and art of the Old Masters. Cherry is honoured and humbled to be presented for consecutive years by the Western Canada Fashion Week. His participation is a great platform for international exposure for him, but is a source of pride for the Filipino community here. I'm not sure he realizes enough the impact of his presence in this event.

The love for design was evident as a young child. Cherry remembers dressing up his sister's Barbie dolls with different fabrics, yarn and lace from their family's store. As an undergraduate, he was an abstract painter, joining visual arts competitions organized by the National Commission for Culture and the Arts. This is why I believe his designs show fluidity in its lines and detailing, has drama, and has an affinity to works of art, particularly of the Renaissance period.

Right after graduating with a Fine Arts degree with a major in Advertising at the Far Eastern University, he landed a contract in Saudi Arabia by accident. He was accompanying a friend to the interview and ended up being offered the job. After his 2-year stint there, he went to Guangzhou, then Dubai. In between, he joined Season 2 of Project Runway Philippines, ending as one of the last 2 finalists. He recalls rushing from the airport and straight to the auditions, where he was the last applicant. This is where Cherry met Tessa Prieto, who was one of the judges and has since become his muse.

A Cherry Samuya Veric design is known as a work of classicism, alluring silhouette, and true workmanship of intricate patterns and hand sewn details. They are haute couture luxurious, glamorous, bold, personalized, yet wearable, taking months to create. He has been honoured as Top Haute Couture Designer of the Year 2016 during the Fashion Asia Awards in Chongquing, China. His works have been favoured by: beauty queens Miss Universe 2018 Catriona Gray, Miss Universe 2015 Pia Wurtzbach, Miss World 2013 Megan Young, Miss International 2016 Kyle Versoza, Venus Raj, Shamcey Supsup-Lee; actresses Marian Rivera, Anne Curtis, Bea Alonzo.

I met up with Cherry along with his good friend Edge Gabrador, who is in charge of the Asian Division for Western Canada Fashion Week, and responsible for bringing Cherry Veric for 3 years along with Julius Tarog in 2018. The person I met is a reticent guy, confident in his capabilities and achievements but not overbearing. Evidently a smart and astute guy in the way he approaches life, faces challenges, intuitively designs and brings out a facet of a client, and conveys a point through his designs. Our conversations reveal a person who is grounded, who dreams but at the same time is aware of the pitfalls of the industry that has a very thin boundary line between glamour and superficiality. And yet, seeing him groove while taking a smoke break with his headphones, he is capable of enjoying the moment and just going with the flow. I guess this is why big things happen for him, even when not highly sought. I shared some planned and dream projects for the Philippine Arts Council, and he totally got it. It is an exciting moment when people connect this way. Here's hoping that Cherry Samuya Veric returns to our part of town once again and soon. And this time on a more extended and synergetic enterprise.

* This article was published in the April 2019 issue of the Alberta Filipino Journal.

The Quest for a Philippine Centre in Edmonton

 Ever since my family arrived in Edmonton from Manila, I have consistently heard random comments and yearning for a Philippine Centre in Edmonton. It is not difficult to imagine the benefits of having a venue uniquely catering to, and reflective of, the Filipino community - having a “home base” to interact and socialize with fellow kababayans; a resource and programs centre for Philippine art and culture; and an infrastructure legacy and monument of, for, and by, the Filipino.

Edmonton did have a Filipino centre before. In 1984, the Philippine Bayanihan Association in Alberta purchased a building on a ¾ acres of prime land by 12520 135 Avenue for the Filipino Canadian Community Centre. However, it was sold in 1995 due to the cost of maintaining the building. To date, the other Filipino centres in Canada that I know of are: the Filipino Centre in Toronto; the Kapisanan Philippine Centre for Arts and Culture in Toronto; the Filipino Community Centre in Windsor, Ontario; the Philippine Bayanihan Community Centre in Victoria, BC; the Philippine Canadian Centre of Manitoba in Winnipeg; and the Philippine Cultural Center Foundation in Calgary.

With the declaration of Philippine Heritage Month both provincially and federally, it is an importune time to revisit the goal of a Philippine Centre in Edmonton. After a consultation with Minister Amarjeet Sohi where the Minister committed to assist in the establishment of the centre, community leaders met to brainstorm on the vision, governance model, and feasibility of an Edmonton Philippine centre. There was commonality in the thought that this can only be realized with the community working together rather than in silos. An offshoot of that meeting was a survey that was released to gauge the Filipino community’s interest, current utilization of rented facilities, wish list, and thoughts for making the establishment of a Philippine centre a reality. Is it really possible? The sentiment in that meeting was of optimism and enthusiasm. But there are also naysayers who declare that this has been tried several times in the past and therefore, this current initiative is doomed for the same failure. But do we remain shackled in the past and keep this as a pipe dream, or do we learn from these experiences and dream big?

Let’s do the math. Edmonton alone, I believe has 30+ Filipino organizations. If we sum up the amount each organization, and in some cases individuals, spend on venue rentals for various activities, and allocate these to one centre, there is a strong possibility that this can cover at the minimum, monthly rent or mortgage for a dedicated facility. The most recent census revealed that there are 60,000+ Filipinos in Edmonton. Let’s look at a scenario where, even if just 20% of the 60,000 Filipinos donate just $1 a month to a building fund, that would already yield $12,000/month already. These are some schemes that can be worked within the community, in addition to the efforts to advocate and apply for funding from different levels of government. Money, as it turns out, may not be the biggest obstacle after all.

And here lies the challenge. For in order to build and to sustain a Philippine centre, we all, collectively, need a paradigm shift. I believe that we all know what it would take to make this a reality (i.e. accountability, transparency, credibility), but the bigger challenge is, will we do what needs to be done? And so I will pose the questions with the hope that this will galvanize us to be united in our goal. What would it take for us to work collaboratively in the spirit of servant leadership and trust? Do we have what it takes to focus on long term goals and veer away from trivialities? There is undoubtedly no individual financial gain, personal aggrandizement, and special entitlements in this initiative but the community legacy is immense. It is an initiative of selflessness, volunteerism, dedication and perseverance. 

In Toronto, there were several attempts since the 1970s, by the Filipino community to build a centre. They were able to purchase a property in 2002 for The Filipino Centre, 18 months after the group’s launch. Community leaders in Windsor convened in 1992, opened a centre in 1993, and in 2014, opened an expanded and improved Filipino Community Centre. The Bayanihan Centre in Victoria, supported by several Filipino organizations, raised funds since 1990, and was finally established in 2001 after acquiring a provincial grant and a credit-union mortgage. The Philippine Cultural Center Foundation in Calgary, sitting in a 2,750 square feet condominium property, took five years of hard work to fulfill their dream in 2001. The Filipino community in Winnipeg had the foresight to establish their Philippine centre way back in 1984 and have since then moved to a bigger location, sustained by continuous fundraising and volunteering.

It’s high time for an Edmonton Philippine centre. Each one of us has the capacity to contribute for this cultural monument and legacy project. As the saying goes, “If you want to go fast, go alone; but if you want to go far, go together.” So to all Filipinos and those of Filipino descent in Edmonton, shall we?


* This article was published in the March 2019 issue of the Alberta Filipino Journal.

2018 Retrospective

2018 proved proved to be a banner year for the Filipino community and a momentous one for me - meeting new people, working on new projects. It was a year of recognition of Philippine art and culture, and the talent of Filipino artists.

The year started with my meeting the immensely talented and much acclaimed ice sculptors Baisas Brothers, i.e. Ross and Antonio, based in Montreal and Ottawa, respectively. They were in Edmonton for Ice on Whyte where they won the top awards, and continue to win in global competitions. I also had the pleasure of getting acquainted with pastry chef Ely Rowen Salar of Calgary, and photographer Sherwin Calaluan of Banff, both winning competitions in their respective fields. In February, the Edmonton Arts Council announced award recipients which included three Filipinos: yours truly, Ida Beltran-Lucila for the Edmonton Artist Trust Fund (the first and so far the only Filipino recipient), and Erica Cawagas and Jonathan Sherrer for Cultural Diversity in the Arts. Another first is the feature on Rommel Tingzon's paintings at The Works Festival. Rommel is the first Filipino painter to be featured in this festival, and one based not even in Edmonton or Canada, but in Palawan.

It was also a landmark year of special events and collaborations on Philippine art: the concerts of Koro Filipino (Paraiso), Bamboo, Tunog Kalye, Heber Bartolome, Piolo and Iñigo Pascual, Jose Mari Chan; Emma the Musical; the 3rd Edmonton Filipino Fiesta; and MC College's New Designers Fashion Show which featured three Filipino designers Fely Agader, Gian Salvador and Francis Tungul. Fely Agader would later hold her solo fashion show in November at Fort Saskatchewan. Philippine Arts Council held Learning Table sessions with Bamboo, who was remarkable with his generosity of time and experience, and with the Tunog Kalye artists. Philippine culture had more presence in the Alberta Culture Days, with Philippine Arts Council's full day workshop at Lynnwood School and a stand alone folk dance workshop, and the UPAAE's Historya: Walking through the Story of the Filipino People. The Philippine Arts Council continued grassroots education on Philippine dance throughout the year at Sister Annata Brockman School, Blessed Oscar Romero High School, Balwin School, and Lynnwood School. And of course, there is the regular radio show Himig Pinoy at 101.7 World FM, featuring original Filipino music.

However, the significant moment of the year was the declaration of June as Philippine Heritage Month by the cities of Edmonton, Calgary and Fort Saskatchewan, then by the Legislative Assembly for the province of Alberta, and later in the year, by the federal government. All these efforts stemmed from community initiatives, consultations, and negotiations. Coinciding with the provincial declaration was a release of the Philippine episode of Seconds Please TV documentary, whose launch was organized with the Philippine Arts Council and the MultiCultural Health Brokers Cooperative.

There were several other events in the community. Shows in local establishments like Panciteria de Manila, TFC Restaurant, Casa Laurel featured local groups like The Girls of Crazy Sexy Cool, Sooner Band, Switch Band, Skyfall Code Band, Simplicity Band, Enrico Ilaga, among others. Individual artists like actors Danielle Yu and Jimmy Buena, were respectively part of productions by Walterdale Theatre and Theatre Yes, Mila Bongco-Philipzig was part of writers' reading AlbertaLitFest, and Kristina de Guzman was involved in an art installation exploring perceptions of immigrant communities.

There were probably more events and achievements which I unfortunately was not able to attend or were not in my radar. Nevertheless, these mentioned are proof of a revitalized regard of, and by, the Filipino community in bringing forth our cultural fabric. Everyone of us should continue to be guardians and good representations of our heritage. And here lies the challenge. For artists, stretch your boundaries, explore your creativity and create something authentic. For producers, respect your artists and your audience. And for the general public, support, promote and be proud of your culture. This way, we Filipinos significantly show up in this multi-cultural arena, creating a legacy that is truly deserving of the municipal, provincial and federal declarations of Philippine Heritage Month that have been bestowed on us.

* This article was published in the January 2019 issue of the Alberta Filipino Journal.

Art for Social Change: Viscosity and The Right to Exist

In this past month, I attended two events that remarkably utilized art to deliver messages for social change. The first was Theatre Yes' "Viscosity", which ran from November 7-17, and "The Right to Exist: An Evening of Arts and Culture", presented by Migrante Alberta and Climate Justice Edmonton, last December 8.

Viscosity was a uniquely staged production in the manner of performance and installation, tackling real life stories of people working in the front line of the oil industry. It featured a powerhouse cast - Chris Bullough, Leo Campus Aldunez, Murray Farnell, Byron Martin, Sandy Paddick, Melissa Thingelstad, and our very own, Filipino Jimmy Buena. This performance thrust people to engage in one-on-one encounters with the actors, absorbing the highs and lows of their respective experiences. The vignettes were culled from transcripts of interviews and delivered verbatim. The most heartrending of which was the story of a Filipino worker entangled in the ploys of an illegal recruiter. Jimmy Buena delivered a compelling portrayal, and I saw several in the audience in tears.

The production garnered rave reviews: ... unlike anything we've seen on Edmonton's stages before (Jenna Marynowski, After the House Lights); ... I invoke no hyperbole at all when I say it was one of the most engaging and enjoyable artistic experiences of my life (Dylan Howard, film director). We may know and have heard of experiences like these in the oil industry, but this staging just brought things to the heart. The transcripts of the interviews made for Viscosity will be provided to the Alberta Labour History Institute. Theatre Yes is a company dedicated to "responding to local, national and international conversations in thought-provoking ways". To know more about their work, go to theatre-yes.ca.

The Right to Exist: An Evening of Arts and Culture, was held in commemoration of International Human Rights Day and International Migrants' Day. It brought together activists, supporters, and artists across the Treaty 6 territory. It was a night of music, spoken word, visual arts, and thought provoking

messages. The blessing was given by Elder Eli Green. Different cultures were represented in the performances provided by: drumming by Carol Powser and Chubby Cheeks (Noah), 8 year-old with a powerful voice; dry humour from comedian Mav Adecer; soulful and passionate singing by Chilean Marianela Adasme, Jesse Cunningham, Lyla Luciano, and trio Gregie Flores, Gina May Ramirez and Gemalil Bonaobra; spoken words by Shima Robinson and Brandon Wint. The performances addressed issues of displacement, racism, advocacy, and healing. Whitney Haynes shared her insights from a trip to the Philippines where indigenous tribes were violently displaced and abused, in favour of Canadian mining business. Visual artist Yazmin Juarez exhibited works of exploring the imagination and of art as the balance and catalyst for social awareness, specially made for the event.

Art breaks down language barriers. Even when performed in a foreign tongue, the passion and spirit of the delivery still sends the message across. Interestingly enough, the issues that had roots from one culture resonates in various levels with another culture, setting and time. This demonstrates that these are universal issues, that events have a ripple effect across humanity, and that people don't live in silos.

Both events made me ache and naively wonder how these things can happen in our world. It made me grateful that there are people who go beyond their comfort zones and continue to push these issues into our awareness. All of us, in whatever capacity, i.e. artists, activists advocates, can be galvanized into action and heed John F. Kennedy's words "One person can make a difference, and everyone should try".

* This article was published in the December 2018 issue of the Alberta Filipino Journal.

Rommel Tingzon and Gordon Snyder: A Filipino-Canadian Story of Arts Patronage

In the recent The Works Art & Design Festival, a young Filipino painter from Palawan, Rommel Tingzon, had his own exhibition entitled Portraits of the Philippines, at the Manulife Place, up until the end of August. There is no doubt that Rommel is talented but he is also undeniably fortunate to have an advocate for his talent and work, in the person of Gordon Snyder, Canadian artist and curator.

Gordon, who lives part time in Palawan, met Rommel in 2017 and was stunned to find 200 recent paintings rolled up in a small room, distinguishing Rommel as the most prolific painter in the area, and marking him as a true artist who really just wants to draw and paint. From then on, Gordon worked on having Rommel featured at The Works Festival, and for financially setting him up for post-secondary studies at the Far Eastern University (FEU) Institute for Architecture and Fine Arts this year.

Rommel's exhibit at The Works, according to Amber Rooke, Executive Artistic Director, is significant in terms of "cultural exchange as well as in the invitation and inclusion in The Works Festival of the substantial Filipino community in Edmonton." It is also the first time that an artist from the Philippines has had a solo exhibition at The Works. It also marked Rommel's first ever exhibition! It was well-received and garnered a lot of media attention. The local art critic cited one of Rommel's works as being his favourite of all the works in the 2018 festival.
When I met Rommel during The Works, he had that bewildered look with him - perhaps due to jet lag, or the surrealness of travelling to, and having an exhibit in, Canada. He is soft spoken, introverted but deeply reflective. Painting for him is a means of expression and a safe zone, where he is the most comfortable and secure. Even with no formal art training, his artworks are striking, bold and impressive. Rommel signs his works with a mirror image of his signature, to convey to the viewer that the work is a reflection of himself.

Excited as I was about Rommel's discovery and journey, I was more deeply touched by Gordon Snyder's unselfish support to the young artist. In the same way the Medici family was to Michelangelo and Queen Elizabeth was to Shakespeare, arts patrons enable artists to pursue whatever they want in style, subject, concept, and medium. The chance of a benefactor appearing, especially in rural Philippines, is unlikely, and in addition, with a triple whammy gift of education, exhibit, and travel.

As an art student, Gordon was mentored by Illingworth Kerr, an artist who studied with the Canada Group of Seven and became the Head of the Alberta College of Art. Gordon explains, "He was someone who saw more talent within me than I saw in myself and helped bring it out of me." This is the same belief that propels his support for Rommel. "In my mind, I see Rommel gaining that same confidence in himself - that someone so believes in him (and not only his talent) that he can learn and grow and perhaps someday work with me. I want him to have time to mature, study art history, improve his English skills and prepare himself for a career in the arts. I want to encourage his independence and recognize the uniqueness of his personal journey. Many years are spent building networks and nurturing relationships. Getting him an exhibition at The Works and taking him to Canada, and sending him to FEU shows him dreams can come true if you work hard and are true to yourself. When the time is right, I'd like to find a good gallery in Manila to represent him. Right now, I don't want money to be his main concern. If I can write about him and promote his work, I would enjoy that. Ultimately, it is the quality of his work that is what is important."

I have written features of Filipino artists working within the Canadian setting - of overcoming hurdles and of maximizing the opportunities in the adoptive country. This is my first story of a budding Filipino artist in the Philippines, provided unsolicited support by a Canadian artist, bringing him exposure in Canada and at the same time providing a pathway to artistic success and economic stability. This is a true and unique Filipino-Canadian arts dynamic, and an inspiring story on arts patronage. Gordon's support, however, is not an unlimited free pass - "I do have limited funds and hope he will work hard and get some scholarships." But it is a far-reaching one that hopefully will be picked up, or supplemented, by other arts patrons as well. Because there is no doubt that Filipino artists are immensely talented. And wherever they are, in any discipline, in whatever form, we must support our artists. Because investment in the artist, is a cultural and social investment.

Rommel Tingzon's exhibit will be up at Manulife Place in downtown Edmonton until end of August. For inquiries or interest on his works, email snyderfinearts@yahoo.com.


* This article was published in the August 2018 issue of the Alberta Filipino Journal.

Across the Map: Arts and Migration

Migrante Alberta celebrated the launching of its comic book “Bridging the Gap: A Short History of Migration to Canada” last May 31, 2018 at Panciteria de Manila. Written by Marco Luciano, with illustrations by Mark Suva, the book is a Canada 150 project, which “provides a lens of the hardships of settlement and getting accepted in their new home”.

Bridging the Gap starts with a newly arrived Filipino student meeting his high school Jamaican teacher. On his first day of school, he is introduced to school staff and learns more about their respective backgrounds, thus providing the reader a bird’s eye view of the history of migration to Canada. A 48-page book, it is envisioned to be just the beginning of a series of books on migration stories.

The book launch, hosted by generous couple Bayani and Lorena Alcantara, was a night of story sharing by Clarizze Truscott, Ida Beltran-Lucila, Avnish Nanda, Poushali Mitra, “Lynn” and Vicky Venancio. Rod Loyola, MLA for Edmonton-Ellerslie, and Jon Carson, MLA for Edmonton-Meadowlark, delivered messages on behalf of the provincial government. Stirring performances were provided by Lyla Luciano, and Julius Ylagan and Danielle Yu of Emma the Musical. The presentations touched on varying migrant issues: refugee experience, challenges for temporary foreign workers, the Komagata Maru, health care for Canadian children of non-status parents, and for my own part, the value of arts and culture in an immigrant society.

Sharing my own immigration story, I related how I anticipated my life in Canada as a regular 9-5 employee and complete giving up my persona as an artist. However, through time, I found myself revisiting my passion, i.e. dance, arts and culture. For the story of migration is a story of reconstructing one’s identity. When one uproots oneself from his/her home country, there is a sense of loss of social status, and of family and social networks. And this is where the points of art, culture, and migration converged in my life.

Art, culture and migration are rich with stories of aspirations, love, struggles, sacrifices, perseverance and success. Art provides a safe and personal space for self-expression and inclusion. Cultural activities foster a sense of community and belonging, and subsequently, mutual understanding. Furthermore, art provides a platform to reflect, to question, and to inform, thereby being an effective channel for social change. This is why art and culture play a crucial role in reclaiming our identity.

And so in my journey, the role of art and culture has gone beyond

my personal realm and has extended to benefit the greater community. Our community is so diverse. It is said that diversity makes a society stronger. I believe this is true, but so long as the people are empowered with their cultural identity as well. This is the belief behind the Philippine Arts Council.

The Philippine Arts Council and Migrante Alberta have collaborated in different initiatives, most recent of which was the June Philippine Heritage Month Proclamation by the Government of Alberta. Two distinct organizations whose objectives share a cross-point. I am delighted with the launch of “Bridging the Gap: A Short History of Migration to Canada” and in the decision to release it in comic book format. The message and the format, important as it is, renders it accessible as well to all ages and deserves to be disseminated as widely as possible. During the book launch, MLA Rod Loyola and MLA Jon Carson have pledged to provide all schools within their respective riding a copy of the book. Mabuhay ang Migrante Alberta and more power to you! To obtain copies of “Bridging the Gap: A Short History of Migration to Canada”,  email migrantealberta@gmail.com.

Meet the Cast of Emma - the Musical

July 7, 2018, marks the world premiere of Emma the Musical, an original Filipino musical in English, at the Myer Horowitz Theatre. Set on the cusp of the Japanese occupation of 1942, it is a story of perseverance, faith and resilience of the Filipino spirit, in peace or in war, and regardless of any sacrifice.

Under my artistic direction, with choreography by Jojo Lucila, music by Erica Cawagas and script by Chie Floresca, the musical is headlined by a zealous cast: Cameron Gamez, Carlos Gamo, Cassandra Baltazar, Catherine Lelis, Danielle Yu, Gerald Penaco, Hannah Adamson, Hans Casana, James Velasco, Jeannine Naboye, Jimmy Buena, Jo-ann Aguilar, Joshua Zoleta, Julius Ylagan, Lauren Lizada, Maicah Macatangay, Mark Laraya, Marjorie Galido, Raphael Tolentino, Riana Torre, Simonette Brigola, and Veronica Knodel.

When I accepted the artistic directorship of the musical, the production had been in rehearsals for 3 months already. Admittedly, I was reluctant in working with a group that I did not personally select and cast. And so on my first rehearsal day, I drilled down the value of commitment, perseverance and respect for the art. In other words, they were given the hard line talk to prepare them for hard work and being pushed beyond their comfort zones. And boy, did they deliver and face challenges head on. Now on the homestretch of the production timeline, I can truly say that it is a privilege to know and work with each one of them.

The cast is a mixture of seasoned performers, emerging artists and newbies. Some intend to make a career in the performing arts, and some are just testing the waters. One of the young members of the cast was so serious that she handed me her resume on day 1. They have varying reasons why they joined the musical - from the hilarious anecdote of being hardballed by a relative, to the lofty objective of pushing Filipino stories. They live full lives apart from the musical but manage to come together as a family for rehearsals. Let's hear directly from some of the cast members about their production experience and thoughts:

Riana: Sharing some of the history of the Philippines through a musical was very appealing as I love music and history. Emma has helped me better connect to history as there is this dissociation at times when you just read about history in a textbook. The most difficult part in this production is knowing that while I may play this as a part, this was a real experience that countless people underwent. It makes my chest ache and we have cried many times during rehearsal as even a taste of the pain that people had to bear during this time, and the courage they had to exhibit in the face of death is something that absolutely floors me. I don't know how one could have survived through these conditions, but they did.

Danielle [who plays the title role]: Knowing that it was an original Filipino musical based on true events made me that much more interested to mold and shape the story and portray it to its truest potential. Many of Emma's family and friends will be sitting in the audience reminiscing about her experiences, and we need to give justice to their stories.

Maicah: I've created new friendships and amazing memories with the cast. I'm very thankful to experience all of it. In portraying my role, I did find some similarities with my character, like our optimism and fighting for what we believe in. After this production, I plan to start composing and writing songs again.

Jimmy: I joined Emma because I would like to share my talent that God bestowed upon me. The people involved in the musical are my second family. It has been my desire to be part of a musical may it be local or international, and I will continue my passion in singing may it be off or on stage.

And why should people watch Emma? In Riana's words, the show moves you on a rollercoaster ride and has all the elements of a great story with love, action, loss, and bravery all wrapped in one beautiful musical. And Julius states it succinctly: I would say that this story, could be any of us, obviously not exactly the same, but listening to our grandparents on their bed telling us how they survived a war, how they found love, how they went through pain, and how in the end all of that made them even stronger as human beings. When people watch Emma, they are going to learn so many different things about the Filipino culture that they may or may not already know, but if there's one thing I really want people to take away and learn from this musical, it's this: it's to fight for what you love.

When you watch Emma, you will not only see a snippet in time of Philippine history, but you will witness the performers' own stories on overcoming challenges, extending personal boundaries in the commitment to bring to life someone else's dreams, and in the process, fulfilling their own. Don't miss this opportunity of youthful enthusiasm and artistic energy!

Emma the Musical is presented by the Filipino Canadian Saranay Association. Tickets are available through Ticketfly or message the Emma the Musical FB page, or any of the production team.

This article was published in the May 2018 issue of the Alberta Filipino Journal.