The Evolution of Philippine Culture
The story of The Evolution of Philippine Culture began in 1957 when the Fleur de Lis Auditorium at St. Paul University Manila was under construction. Jose L. Reynoso, the architect of the Fleur de Lis, asked his townmate, Carlos “Botong” Francisco, to paint a mural which he envisioned as the focal point of the auditorium’s lobby. The 3.5 meters by 4.5 meters mural was fitted between two pilasters and it is the first thing a theatergoer would see as they enter the foyer from the main portal.
The theme, The Evolution of Philippine Culture, was carefully considered to complement the purpose of the Fleur de Lis, that is, to bring to the stage noteworthy musicals and concerts which have since earned the theater the name, “Broadway of Herran”. (Herran was the former name of Pedro Gil Street.)
The central figure is that of a muscular Filipino who is intensely beating the drum. The sound is almost palpable. Above him is a Caucasian woman whose head is caught between two horns, one of which points to the flamenco dancers. Note the fiery color of her hair. The horns may refer to the favorite Spanish sport of bullfighting. The woman symbolizes the colonizer who introduced their culture and traditions to the islands, namely their dance, music, sport and religion. At her feet is the galleon that not only connected Spain with its colonies but also enriched her coffers with the Manila galleon trade.
The Galleon
The Manila galleon trade linked the Spanish West Indies with Acapulco, Mexico from the 16th to the 19th centuries. Commodities like silk and porcelain from China, cotton, precious stones and ivory from India, among others, were shipped to Acapulco in these galleons. Silver was exported from Acapulco to Manila for the Chinese market.
At the bottom right of the frame is this bird with head bent and seemingly lifeless. I can only deduce from this particular depiction of the bird that the Filipino is crushed under the weight of colonization.
On the left side of the painting are the traditional dances of the local people. This frame shows the tribal dance of the Ifugaos from the mountain province. Behind the dancers is the image of an anito, a spirit or deity who was believed to have power and influence over the people. They were worshipped through ceremonies and offerings to secure their intercession and protection in many aspects of daily life.
The signature style of Francisco is perceptible throughout the painting. Swirling drapery suggesting movement divide the canvas into vignettes, a rich and colorful presentation of both cultures and the powerful portrayal of the central characters who are larger than life.
Carlos "Botong" Francisco is one of the first Filipino modernists and together with Victorio Edades and Galo Ocampo, steered Philippine art from the romantic school of Fernando Amorsolo to the modernist art movement. His paintings draw inspiration from local village life, particularly from his hometown in Angono and are defined by bold colors, ornamental patterns and pulsating lines. He was posthumously awarded the National Artist for the Visual Arts in 1973.
If you would like to learn more about the artworks of Carlos Botong Francisco, here are some links to his famous ouevres:
Filipino Struggles in History:
Progress of Medicine in the Philippines:
Masterpieces from the National Museum
Stations of the Cross + 1
This Small Museum Packs a Punch
Where to go: St. Paul University Manila, 680 Pedro Gil Street, Malate, Manila
The easiest way to view this painting is to watch one of the plays at the university. Or make an appointment with the school administration to see it in person.
Special thanks to Sister Flor Deza SPC, Marionette O. Martinez and Jasmin Gaite for
all your help in making this article possible.
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Images by TravelswithCharie