RAFI opens tribute exhibit for Bisaya artists

By: Jaysee John R. Pingkian

March 1, 2012

In celebration of Arts Month in February, the Ramon Aboitiz Foundation, Inc. (RAFI) launched the exhibit, entitled “Visayan Verve: A Tribute to Bisaya Artists”, which will run from Feb. 17 to March 15 at the Casa Gorordo Museum. 

The exhibit is initiated in partnership with the University of San Carlos-Cebuano Studies Center; Halad Museum; Alternative Contemporary Arts Studio; and the assistance of Cebuano artist Marvin Natural and the family of the late Martino Abellana.

It pays homage to exemplary Bisaya artists in six fields of art: Martino Abellana for painting; Napoleon Abueva for sculpture; Fernando Buyser for poetry; Pio Cabajar for cinema; Estelita Diola for dance; and Vicente Rubi for music.

“These artists represent innovation and faithfulness to tradition in the art forms they engaged in. Some of them were selected by virtue of their statuses as ‘masters’ of their crafts while the rest, for their substantial achievements which remain largely unrecognized. All of them have contributed not only to Bisaya but Filipino arts in general,” Dr. Jocelyn Gerra, executive director of the Culture and Heritage unit of RAFI, said.

The aim of the exhibit is not to proclaim the featured artists as the greatest or the most influential, but to present examples of what Bisaya artists have accomplished. 

Florencio Moreño, curator of Casa Gorordo Museum, pointed out that it is one way of giving the public an opportunity to re-examine and appreciate the roots of their creativity, thereby, widen their perspectives on the potentials of contemporary Visayan-Filipino arts.

Visayan Verve is meant to kick off a series of exhibits on Bisaya arts that will be held every February in the next seven years. Each of the following exhibits will focus on one of the seven fields of art—architecture, cinema, dance, music, painting, literature, and sculpture.  

Culture & Heritage is a focus area of RAFI, believing that a confident community begins with a strong sense of identity. Its other focus areas are Integrated Development, Micro-finance & Entrepreneurship, Leadership & Citizenship, and Education.
For more information on Contemporary Cebu, please contact 418-7234 loc. 703 and look for Florencio A. Moreño II, or visit www.rafi.org.ph or www.facebook.com/rafi.org.ph.

ABOUT THE AUTHOR

He was first published on a local newspaper at 13, started blogging in high school while heading the news and features in the school organ, and now is a media blogger for Cebu Bloggers Society Inc.

He is also doing community development and leadership training as a scholar for Ramon Aboitiz Foundation Inc.’s Young Minds Academy program. Currently serving as Secretary for MIND 7 Media Information Network for Nutrition and Development and Social Media and Branding Consultant for National Nutrition Council Region VII NNCRVII.

After graduating with flying colors at the AMA Computer College Cebu, he now works not only as a freelance writer, web and graphic artist but as a Design Consultant and Production Specialist for Author Solutions Inc.

He also does some really awesome offline stuff in his rare free time. His main blog Jaysee Blabs chronicles his misadventures, business articles, social good campaigns and media events in Cebu.

SOURCE:

Pingkian, Jaysee John R. (2012, March 1). RAFI opens tribute exhibit for Bisaya artists. Mega Philippines. networkedblogs.com. Retrieved from http://networkedblogs.com/uBDrq?a=share

VISAYAN VERVE ART EXHIBIT@CASA GORORDO MUSEUM

by: SineBuano

For the Arts Month of February, the Ramon Aboitiz Foundation Inc. (RAFI) hosts an exhibit “Visayan Verve: A Tribute to Bisaya Artists,” until March 15 at the Casa Gorordo Museum.

Visayan Verve signals the start of a series of exhibits on Bisaya arts that will be held every February in the next seven years. Each of the following exhibits will focus on one of the seven fields of art—architecture, cinema, dance, music, painting, literature and sculpture.

The aim of the exhibit is to present the accomplishments of Bisaya artists, giving Cebuanos the chance to reexamine and appreciate the roots of native creativity, thereby, widening their perspectives on the potentials of contemporary Visayan-Filipino arts.

This in partnership with the University of San Carlos-Cebuano Studies Center, Halad Museum, Alternative Contemporary Arts Studio and assisted by Cebuano artist Marvin Natural and the family of the late Martino Abellana.

This exhibit pays homage to Bisaya artists in the various fields of art, such as Martino Abellana for painting, Napoleon Abueva for sculpture, Fernando Buyser for poetry, Pio Cabajar for cinema, Estelita Diola for dance and Vicente Rubi for music.

“These artists represent innovation and faithfulness to tradition in the art forms they engaged in. Some of them were selected by virtue of their statuses as masters of their crafts while the rest, for their substantial achievements that   remain largely unrecognized. All of them have contributed not only to Bisaya but Filipino arts in general.”

Dr. Jocelyn Gerra, Executive Director, Culture and Heritage, RAFI.

For more information, contact Florencio Moreño II at 418-7234 local 703 or visit websites www.rafi.org.ph or www.facebook.com/rafi.org.ph.

SOURCE:

Visayan Verve Art Exhibit@Casa Gorordo Museum. SineBuano. Retrieved from http://sinebuano.com/visayan-verve-art-exhibitcasa-gorordo-museum

PR: RAFI opens tribute exhibit for Bisaya artists

Agnes Embile Jimenez

In celebration of Arts Month in February, the Ramon Aboitiz Foundation, Inc. (RAFI) launched the exhibit, entitled “Visayan Verve: A Tribute to Bisaya Artists”, which will run from Feb. 17 to March 15 at the Casa Gorordo Museum.

The exhibit is initiated in partnership with the University of San Carlos-Cebuano Studies Center; Halad Museum; Alternative Contemporary Arts Studio; and the assistance of Cebuano artist Marvin Natural and the family of the late Martino Abellana.

It pays homage to exemplary Bisaya artists in six fields of art: Martino Abellana for painting; Napoleon Abueva for sculpture; Fernando Buyser for poetry; Pio Cabajar for cinema; Estelita Diola for dance; and Vicente Rubi for music.

“These artists represent innovation and faithfulness to tradition in the art forms they engaged in. Some of them were selected by virtue of their statuses as ‘masters’ of their crafts while the rest, for their substantial achievements which remain largely unrecognized. All of them have contributed not only to Bisaya but Filipino arts in general,” Dr. Jocelyn Gerra, executive director of the Culture and Heritage unit of RAFI, said.

The aim of the exhibit is not to proclaim the featured artists as the greatest or the most influential, but to present examples of what Bisaya artists have accomplished.

Florencio Moreño, curator of Casa Gorordo Museum, pointed out that it is one way of giving the public an opportunity to re-examine and appreciate the roots of their creativity, thereby, widen their perspectives on the potentials of contemporary Visayan-Filipino arts.

Visayan Verve is meant to kick off a series of exhibits on Bisaya arts that will be held every February in the next seven years. Each of the following exhibits will focus on one of the seven fields of art—architecture, cinema, dance, music, painting, literature, and sculpture.

Culture & Heritage is a focus area of RAFI, believing that a confident community begins with a strong sense of identity. Its other focus areas are Integrated Development, Micro-finance & Entrepreneurship, Leadership & Citizenship, and Education.

For more information on Contemporary Cebu, please contact 418-7234 loc. 703 and look for Florencio A. Moreño II, or visit www.rafi.org.ph or www.facebook.com/rafi.org.ph.

About the Author 

Agnes is a full-time online freelancer. She's currently doing the things she loves while maintaining a frugal lifestyle. This blog is all about her struggles to live a frugal life, her quest to see the world via budget traveling, and her love to share to other people (via blogging) everything that she is passionate about.

Agnes does not absolutely conform to any beliefs or philosophies. Though she's writing about frugal living and is currently embracing the minimalist lifestyle, she doesn't want to define her existence based on these realities alone. For her, life is too diverse, too colorful, too mysterious. It would be a waste of experience (and time) to imprison herself to a few set of ideas. 
 

SOURCE:

Jimenez, Agnes Embile (n.d.). PR: RAFI opens tribute exhibit for Bisaya artists. EMPRESS OF DRAC. empressofdrac.com. Retrieved from http://www.empressofdrac.com/2012/02/18/exhibit-for-bisaya-artists/

Kaanyag

By madrilena de la cerna

Cebu Daily News

The second lecture series on the Writers of Carcar resumed last March 2 at the St. Catherine’s College Audio-Visual Room with Jovito Abellana and Diosdado Alesna as the featured writers. Althea Capacio raised many questions in her presentation “In Search of a Cebuano Epic” with concentration on Jovito Abellana’s “Ang Bayok: Aginid sa Kampong Tawilik.” Capacio’s conscientiousness in her research brought about a rich glossary of Cebuano terms.

Kyle Matthew Q. Santelices made an interesting presentation on “Si Maming ug Uban Pa: An Inquiry into Female Beauty in the works of Diosdado Alesna” and I found it fitting for Women’s Month. Alesna started writing in 1920 when he was in his teens. He was honored as one of the outstanding poets of LUDABI (Lubas sa Dagang Bisaya) for the last ten years. He is considered a natural poet according to D.M. Estabaya: “…Matagik ni Dadong bisan unsang matang sa balak sa bisan unsang takna, adlaw o gabii.”

He created the verse form siniloy inspired by the siloy or Black Shama which is endemic in the Visayas and was often used as symbols for poets. The siniloy is often taken to approximate to the six-note like song of the siloy. The siniloy also shows the influence of the sonanoy (Cebuano for sonnet) which was created by Fernando Buyser who also made many different kinds of poems in Cebuano. Poet Marjorie Evasco, in discussing the similarities in Buyser’s and Alesna’s poetry, said Alesna “pays homage to the power of music” but removes the sonnet form” to bring attention to “free speech as song.” Alesna’s best poems are “Ang Gahum sa Awit,” ug “Kalimti ug Biyai.” Kyle Santelices made the audience participate in the music of Alesna’s poetry by letting them read “Ang Gahum sa Awit ” where the first lines run – “Ang awit, nasangit, inanay – mingkanay, milagbas ning dughan, midulot, gikumhan…”

The topic central to Alesna’s poetry is about Kaanyag. His poems usually talk about a “woman” but he sends them off almost like letters to other women. “Maming “ (Kang Gn. Maming Mercado) and “Mahibagong Kaanyag” Kang Crisanta Caballero) reflect that. In “Maming,” the lines “..Mopahid niining nagpanubod tang luha, Kana, si Maming nga hinatag sa langit” refer to the female body of the “mother.” Words like “hiyas,” “makabihag,” and “larawan” reflect the alluring figure like the image of Virgin Mary as that “venerated” piece of female beauty. Re Santelices in most Filipino and Christian associations) the Virgin Mary is the perfect example of venerated beauty that holds both the mystery of sensuality (a mortal woman) and transcendence (an immortalized idea). It justifies Alesna’s myth of the mother figure and his personal, mobile message of Maming as “everlasting.” In Mahibagong Kaanyag, the last stanza, “Bulak padayon sa imong kaanyag, sa kainit ug bugnaw ayaw kalarag. Kon Kanimo adunay nasilag, Pagnga sa kasilaw mo ug kaanyag” shows the empowered mother figure is still present, “beyond angelic figure.” This verifies the poet’s importance in shaping the beauty of this venerated female. According to D. M. Estabaya, Alesna’s poems reached a great height when his mother died in 1922. This may be believed as to why Alesna depicts his women with Kaanyag, who are not simply beautiful but they transcend a human body.

Congratulations again to the Cebuano Studies Center through its head Dr. Hope Yu and the Literature Section of the University of San Carlos for a very enriching project. Kudos also to the presentors Kyle Matthew Santelices and Althea Capacio for making vernacular literature alive and interesting. The Third Carcar Lecture Series will be on April 13, 2013 at 2 p.m.in the St. Catherine’s College Audio Visual Room featuring Sinforosa Alcordo and Epifanio Alfafara. The Alcordos and Alfafaras are among the largest and oldest clans in Carcar, so we expect a bigger crowd this time.

SOURCE:

Dela Cerna, Madrilena (2013, March 17). Kaanyag. INQUIRER.net. Retrieved from http://newsinfo.inquirer.net/374985/kaanyag

TRULY VISAYAN

By Fiona Patricia S. Escandor

Monday, March 5, 2012

IT IS a modest exhibit set in one of the rooms of the Casa Gorordo Museum. Its simplicity however is easily surpassed by the stories and legacies of the artists involved. Titled ”Visayan Verve”, it commemorates those who have enriched Visayan art in various fields: Martino Abellana for painting, Napoleon Abueva for sculpture, Fernando Buyser for poetry, Pio Cabajar for cinema, Estelita Diola for dance and Vicente Rubi for music.

Abellana bears the titles “Amorsolo of the South” as well as “Dean of Cebuano Painters,” for having mentored some of today’s notable artists such as Romulo Galicano and Kimsoy Yap. Abueva is recognized as National Artist, whose works are characterized by the inclusion of Philippine hardwood like Molave, Narra and Kamagong. Diola, fondly called “Nang Titang,” is known for her contribution to the Sinulog choreography. In 2010, she was hailed by the Sinulog Foundation as “Pillar of the Sinulog Festival”.

Leyte-born Fernando Buyser is not as well-known as literary figure Vicente Sotto or poet Vicente Ranudo, but his literary creations are likewise exemplary. His works are in the Sugbuanong Binisaya language. Buyser was a prolific writer in the golden age of Cebuano literature, which was the earlier half of the 20th century. He had published more than 20 works; and had even invented his own poetic format, the sonanoy.

Vicente Rubi has a tale similar to Mozart’s as he had died a pauper despite having several popular compositions. Rubi’s most well-known work is the Yuletide carol “Kasadya Ning Taknaa,” which he wrote for a 1933 Christmas musical. Rubi died in 1980, impoverished from fighting for royalties for his compositions.

Pio Cabajar completes the list for his involvement in the birth of Cebuano cinema. He earned the title “Father of Cebuano Cinema” after having written and directed the first Cebuano talking movie, Bertoldo-Balodoy, in 1938. He was among the directors who played a part in the golden age of Cebuano cinema in the 1950s.

Visayan Verve will run until March 15. According to the museum’s curator, Florencio Moreño, the exhibit is the first of a series that will pay tribute to Visayan art. The next Visayan Verve will give emphasis to Visayan cinema and will be held in February next year.

More than an act of appreciation, Visayan Verve is an avenue for the present generation to recognize the individuals who had kept the Visayan culture alive through their creativity.

Published in the Sun.Star Cebu newspaper on March 06, 2012.

SOURCE:

Escandor, Fiona Patricia S. (2012, March 5). Truly Visayan. Sun.Star Cebu. Retrieved from http://www.sunstar.com.ph/cebu/lifestyle/2012/03/05/truly-visayan-209597

TRIBUTE EXHIBIT FOR BISAYA ARTISTS

IN celebration of the Arts Month in February, the Ramon Aboitiz Foundation Inc. (RAFI) launched an exhibit titled “Visayan Verve: A Tribute to Bisaya Artists,” which will run from Feb. 17 to March 15 at the Casa Gorordo Museum.

The exhibit is in partnership with the University of San Carlos-Cebuano Studies Center, Halad Museum, Alternative Contemporary Arts Studio and assisted by Cebuano artist Marvin Natural and the family of the late Martino Abellana.


It pays homage to Bisaya artists in the various fields of art, such as Martino Abellana for painting, Napoleon Abueva for sculpture, Fernando Buyser for poetry, Pio Cabajar for cinema, Estelita Diola for dance and Vicente Rubi for music.

“These artists represent innovation and faithfulness to tradition in the art forms they engaged in. Some of them were selected by virtue of their statuses as masters of their crafts while the rest, for their substantial achievements that remain largely unrecognized. All of them have contributed not only to Bisaya but Filipino arts in general,” Dr. Jocelyn Gerra, executive director of the Culture and Heritage unit of RAFI, said.

The aim of the exhibit is to present the accomplishments of Bisaya artists.

Florencio Moreño, curator of Casa Gorordo Museum, pointed out that it is one way of giving the public an opportunity to reexamine and appreciate the roots of their creativity, thereby, widening their perspectives on the potentials of contemporary Visayan-Filipino arts.

Visayan Verve signals the start of a series of exhibits on Bisaya arts that will be held every February in the next seven years. Each of the following exhibits will focus on one of the seven fields of art—architecture, cinema, dance, music, painting, literature and sculpture.

For more information, contact Florencio Moreño II at 418-7234 local 703 or visit websites www.rafi.org.ph or www.facebook.com/rafi.org.ph.

SOURCE:

Tribute Exhibit For Bisaya Artists. INQUIRER.net. Retrieved from http://newsinfo.inquirer.net/149075/tribute-exhibit-for-bisaya-artists

CEBU'S CONTRIBUTIONS TO NATION-BUILDING

By Maria Eleanor E. Valeros

CEBU, Philippines - The Philippines is Asia’s first republic. While its colonial history has afforded geographic unity to its more than 7,000 islands, it is still a nation divided by language, religion and culture. It was, from the start, confronted with that unique riddle posed by modernity: national identity,” the rationalé behind the ongoing exhibit at the Casa Gorordo Museum reads.

“Bringing local contributions to the fore is a task that builds a sense of ownership and confidence in one’s own culture. It is only by assuming this task that a national identity founded on respect for diversity can be attained.”

Through the “Mga Bayani sa Sugbo” exhibit, the public is encouraged to commemorate individuals – both popular and less known – who have made significant contributions to Cebu from 1898 to the 1930s.

“Today, our reality has gone beyond the traditional zones of the village, even the nation. Our daily involvement with people and events is no longer just personal but also virtual. Conventional modes of living and understanding the world are being eroded by phantasmal shifts in postmodern culture. We, therefore, need to have a solid sense of the self on which to anchor our perceived place and roles in a globalized society that is in constant flux,” said Dr. Jocelyn Gerra, executive director of the Culture and Heritage Unit of the Ramon Aboitiz Foundation, Inc. which initiated the exhibit in partnership with the Cebu City Government and the Cebuano Studies Center.

“The exhibit hopes to offer a glimpse of our local history through historical figures (Pantaleon Villegas a.k.a. Leon Kilat, Gen. Arcadio Maxilom, former President Sergio Osmeña Sr., former Senator Vicente Rama, and former Governor Juan Climaco, among many others, in various fields – from freedom fighting to statecraft to civic works) that can give us an opportunity to better understand ourselves and affirm that place and those roles today,” she added.

“Mga Bayani sa Sugbo” will run until October 21. This is also a feature event of the year-long celebration of Cebu City as Association of Southeast Asian Nations’ City of Culture.

Furthermore, the public will learn as to who our streets/thoroughfares are named after.

Mga Bayani Sa Sugbo

• Juan Climaco. Born in 1859, Juan Faller Climaco, came from one of the wealthiest families of Cebu in the late Spanish period. In the 1880s and 1890s, he served as capitan municipal of Toledo, where his family owned huge landholdings. Climaco’s involvement with the KKK was hazy during the revolution against Spain but he emerged as a well-known figure when the Spaniards departed. When the Filipino-American War broke out in Luzon, Luis Flores appointed Climaco as “chief of staff” in charge of the war preparations. Climaco, with Maxilom, refused to surrender Cebu to the Americans when some provincial leaders decided to set up their own headquarters in El Pardo. They later moved it to Sudlon when they realized they could not openly deal with superior American training and arms. After months of guerilla warfare, Juan Climaco – the “brains” of the resistance – surrendered to the Americans on September 26, 1901. Less than a year later, he ran for governor of the province against Julio Llorente and handily won. He was sworn into office in March 1902.

• Luis Flores. A native of Samar, Flores came to Cebu in 1891 as a steward of Bishop Martin Garcia Alcocer. With Alcocer’s patronage, he served as procurador (attorney) of the Cebu audiencia as well as regidor (alderman) of the Cebu ayuntamiento. He was involved with the Katipunan as early as 1896 or 1897. Because of his experience in administrative work and bureaucracy, he was named president of the provisional revolutionary government that was formed in San Nicolas on April 3, 1898. When the Spaniards left, he was elected president of the province and worked to organize municipal governments under the terms of the new republic. To encourage cooperation, he formed a “coalition” of officers, combining the moderate ilustrados of the city and the military elements of the revolution. His government was marred by in-fighting due to the arrival of the Americans. Shortly after deciding to surrender the city to the Americans to avoid its destruction, Luis Flores called a meeting to elect a new set of officials. He resigned and was replaced by Julio Llorente.

• Pedro and Benigna Cui. The Cui siblings were born in Cebu in the mid-1800s. Their family, regarded as one of the wealthiest in Cebu at that time, owned tobacco plantations in various parts of the province. While a successful businessman, Pedro also pursued a profession in law. Outraged over a client who claimed innocence during his trial, but later admitted his guilt after his exoneration, Pedro gave up his profession and exiled himself in his family’s hacienda in Barili. His sister, Benigna, managed the Cui household and was an active businesswoman herself. It was in philanthropy that the siblings became distinguished. They regularly gave alms to the poor. They observed that most of the destitute were old people abandoned by their own families. In 1925, they founded Hospicio de San Jose de Barili, a home for the impoverished, invalid, and abandoned elderly. It is the first charitable institution funded by private endowment in the Philippines.

• Gardeopatra Quijano. Daughter of the writer and Aglipayan bishop, Juan Quijano, Gardeopatra was born in Alcantara in 1918. She became a college teacher and a dentist. Her stories Maayong Ngalan (1937) and Ang Asawa nga Dala sa Akong Uyoan (1941) won Bisaya prizes. Some of Gardeopatra’s works appeared under her two pen names Flora Burgos and Gerardo Largavista. A vocal advocate of women’s rights, especially suffrage, she has been referred to as a nascent feminist. Many of her works reflected her political views. Her novel Lourdes, which was serialized in the most popular pre-war newspaper Bag-ong Kusog from August to September 1939, is considered the first feminist Cebuano novel.

• Vicente Rama. Born on June 6, 1887, Vicente Rama became a distinguished figure in Cebuano literature, publishing, journalism and politics. In 1915, he launched his own periodical, Nueva Fuerza, which was renamed Bag-ong Kusog (New Force) in 1920. Using the vernacular, it was probably the most successful regional publication at that time. Its readership reached parts of the Visayas, Mindanao, and even the Cebuano migrant community in Hawaii. Between 1928 and 1934, Rama also ran “Progress,” an English-language weekly. Rama entered politics as an elected councilor of Cebu City in 1916. He was mayor of the city from 1938 to 1940. He served four terms as a district representative and was a senator from 1941 to 1947. He is remembered as the “Father of Cebu City” for having authored Commonwealth Act No. 58 in 1936 which gave Cebu City its charter.

• Fernando Buyser. He was born on May 30, 1879 in Merida, Leyte. He was a secretary of patriotic leaders in both the Revolution against Spain and the Filipino-American War. He later worked as a ship official then as a priest of the Philippine Independent Church in 1905, and, in 1930, elevated to the position of bishop in Cebu. Buyser was the most prolific author of books in Sugbuanong Binisaya. His output included poems, stories, songs, speeches and plays, which explored varied subjects such as romance, dreams, love of country, everyday things and the plight of the working class. Not satisfied with traditional poetic forms, he experimented with oriental and western styles. Consequently, he was able to come up with a form akin to the first sonnet which became known as the “sonanoy.”

• Vicente Sotto. Born in Cebu City in 1881 to Manileño parents, Sotto is remembered as the “Father of Cebuano Language and Letters,” and for his vigilant stance on Philippine independence. In 1899, he (aged 22) and his brother, Filemon, published the newspapers La Justicia and El Nacional, which criticized American occupation of the Philippines. Both publications were ordered suspended and he was imprisoned in Fort San Pedro. Thus, his pen name “Taga Kotta” which means “resident of the fort.” In 1901, the maiden issue of his newspaper Ang Suga (The Light) which contained “Maming,” the first published Cebuano short story, came out. Sotto was elected mayor of Cebu in 1907 but fled to avoid facing a kidnapping suit. He returned in 1914 and began publishing The Independent in Manila the following year. A special edition of the journal was released in Paris in 1929. Its contents prodded an American senator to file a resolution to grant the Philippines immediate independence. Sotto served as representative of the second district of Cebu from 1922 to 1925. He was elected to the Senate after World War II.

• Cebuanas involved in the Revolution. Largely muted in historical narratives were the women who played supportive but no less crucial and dangerous roles during the revolution. Most of the few mentioned in books were related to prominent Katipuneros. The women were sometimes arrested, together with their children, by both Spaniards and Americans in an attempt to get to the Katipuneros. We know of Felicidad Climaco, sister of the patriots Juan and Arsenio; the Velez sisters who brought food and supplies to the revolutionaries; and the Hermanas de la Caridad who took care of wounded Katipuneros and civilians. - Photos are property of the Cebuano Studies Center, University of San Carlos.

SOURCE:

Valeros, Maria Eleanor E. (2011, September 10). Cebu's Contribution to Nation-Building. The FREEMAN. Retrieved from http://www.philstar.com/cebu-lifestyle/725430/cebus-contributions-nation-building