Martial Law (1972-1985) : Philippine Literature, Culture, and Music

 
Philippine Literature during Martial Law:

It is not quite correct to argue that it was only in 1972 that Filipino writers started to use their writings to explore socio-political realities. The tradition of protest has always been a potent force in the production of socially committed writings, as a number of critics such as Bienvenido Lumbera, and Epifanio San Juan Jr. have argued. The 1970s, for example, witnessed the proliferation of poems, short stories, and novels which grappled with the burning issues of the times. In a large number of magazines and journals, writers in both English and Pilipino faced the problems of exploitation and injustice, and appropriated these realities as the only relevant materials for their fiction. In effect, writers such as Ricardo Lee, Virgilio Almario, Efren Abueg, Ave Perez Jacob, and Dominador Mirasol produced a large number of texts that were profoundly disturbing, even as these works zeroed in on the various forms of repression and violence.
But when Martial Law was declared, the writers found themselves silenced. The literature rooted in commitment that had flowered earlier could no longer be written. Only a few could dare incur the ire of the powerful voice which pronounced that literature ought to deal with the true, the good, and the beautiful It was assumed that dominant literature during the period of activism was not good, not true, and certainly not beautiful, obsessed as the texts were with the nightmarish situations spawned by institutionalized violence, where Messiah-like figures were rendered impotent, where Mary-like characters were being turned away by agents of law and justice, and where characters were witnesses to the widespread pillage and destruction committed by the likes of Tio Samuel. It was not fitting literature for the Society.
But the voice that spoke so eloquently could not be stilled forever. Gradually, the writers found their voice. The composition of the group of writers whose works have already built a name for themselves include Bienvenido Santos, F. Sionil Jose, Gregorio Brillantes, and Nick Joaquin. The list also includes Carlos Bulosan, the Filipino expatriate, who now speaks to the present in two compilations of his writings.

 

Art during Martial Law:



Filipino art and culture was institutionalized during the martial law regime when in 1973 the Constitution stated that "Filipino culture shall be preserved and developed for national identity"; therefore the "arts and letters shall be under the patronage of the State." Government support for the arts was shown in the architecture and other cultural institutions commissioned by the first lady, Imelda R. Marcos.
 

The Cultural Center of the Philippines Complex was built on reclaimed land in Pasay City as the "sanctuary of the Filipino soul." Cultural events like the Kasaysayan ng Lahi festival, the 1974 Miss Universe Beauty Pageant, and the 1982 Manila International Film Festival were all held at the CCP. Today the CCP hosts renowned art companies like Ballet Philippines and Tanghalang Pilipino. It also produces theater and dance shows, as well as the 13 Artists Awards for young visual artists.

In the martial law era, other cultural buildings were built within the periphery of the CCP Complex:  the Folk Arts Theater, Design Center Philippines, the Philippine International Convention Center, the Museum of Philippine Art, the Metropolitan Museum of Manila, and the Museum of Philippine Costumes. Martial law architecture sought to "express Filipino identity" with the use of folkloric elements such as the design of the bahay-kubo, or materials from the coconut used to construct the Tahanang Pilipino or Coconut Palace.

Individual artists were given official recognition as well. Presidential Proclamation 1001 of April 27, 1972 created the National Artist Award to serve as our "national expression of gratitude and appreciation…for [the National artists'] contribution to the heritage of our society." In the same Proclamation, Fernando Amorsolo was declared the first National Artist.
  
Philippine Music:

The period of Martial Law (1972-1986) may have been considered by many as a grim period in Philippine history. But in the field of the arts, particularly in music, there was evidently ardent support that fostered the development and promotion of Philippine music.

Various organizations and programs were also established to propagate Philippine musical artistry. In 1963, the Philippine Madrigal Singers was organized by choirmaster Andrea O. Veneracion, who later became National Artist for Music in 1999. In 1973, a Presidential Proclamation was issued to formally organize the National Music Competitions for Young Artists (NAMCYA), which has become an avenue for discovering and developing young talents. The CCP Philharmonic Orchestra, now known as the Philippine Philharmonic Orchestra (PPO), was also established. The Cultural Center of the Philippines (CCP) was the site for showcasing performances and new works.

In addition to the CCP, the Folk Arts Theater (FAT) was inaugurated in 1974 and later became the venue of folk arts festivals and “popular music concerts that saw the birth of original Filipino music (OPM).” (Hila 2007) In 1975, the League became a member of the Asian Composers League, which gave Filipino composers “the opportunity to achieve interaction and work for cultural exchange with other confreres in the Asian region.” Selected commissioned symphonic works were featured in four albums, titled “Pagdiriwang” (Celebration). In 1982, the Opera Company of the Philippines was established to regularly hold operatic productions.

There was also an initiative to bring the classics to a wider audience through outdoor programs such as the “Concert at the Park” at the Luneta, “Puerta Real Evenings” in Intramuros, and “Paco Park Presents” at the Paco Cemetery. The League of Filipino Composers, under the active leadership of Lucrecia R. Kasilag, also sponsored competitions, seminars, and workshops to encourage young musicians and promote their contemporary works.

It was also during the period when the prestigious National Artist Award included the field of music in 1973. Among the notable musicians of the period were Antonio J. Molina (National Artist for Music, 1973), Jovita Fuentes (National Artist for Music, 1976), Antonino R. Buenaventura (National Artist for Music, 1988), Lucrecia R. Kasilag (National Artist for Music, 1989), Lucio D. San Pedro (National Artist for Music, 1991), Felipe P. De Leon, Sr. (National Artist for Music, 1997), and Jose M. Maceda (National Artist for Music, 1997).