Rizal Initial Report

NATIONAL UNIVERSITY
College of Architecture
551 M. F. Jhocson St., Sampaloc, Manila
Initial Research on
“The Art Capital of The Philippines”

Angono, Rizal
(A Specialized Settlement)
by
Carpio, Rietschle O.
Dela Cruz, Jennifer T.
Galang, Janoa Bianca M.
Mapoy, Jediah F.
Semania, Angelo Joseph S.
November 28, 2019
Ar. Aurora B. Panopio

Adviser
Specialized Settlement | Angono, Rizal
TABLE OF CONTENTS
1. INTRODUCTION ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 3
1.1. Historical Background ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 3
1.2. Macro Analysis ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 4
1.3. Micro Analysis ……………………………………………………………………………. 8
2. INSTITUTIONAL SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 9

2.1. Barangays of Angono ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 9
2.2. Artist Groups of Angono ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 11
3. ECONOMIC SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 12

3.1. Local Economy ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 12
3.2. Employment Patterns ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 14
3.3. Employment by Economic and Industry Group ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 15
3.4. Performance ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 16
3.5. Issues and Concerns and Recommendations ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 17
3.6. Tourism ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 18
4. SOCIAL SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 22

4.1. Demographics ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 22
4.2. Education ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 25
4.3. Health ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 26
4.4. Sports and Recreation ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 28
4.5. Solid Waste Facilities ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 29
4.6. Housing ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 30
5. ENVIRONMENTAL SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 33

5.1. Boundaries ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 33
5.2. Environmental Quality ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 34
5.3. Issues and Concerns Possible Intervention ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 36
6. INITIAL SURVEY RESULTS ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 38

6.1. Results & Discussions ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 38
6.2. Derived Conclusions ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 46
6.3. Sample Questionnaire ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 47
7. MAPS ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 50
8. PHOTO DOCUMENTATION ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 57
9. INTERVIEW…………………………………………………………………………. 59
10. INTERVIEW CONCLUSION………………………………………………………..78
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1. INTRODUCTION
1.1. HISTORICAL BACKGROUND
 In 1751, Angono became a “capellana” which was entitled to a cura paroco or chaplain. After 15
years, Angono was created into a pueblo in 1766.
 In 1766, Angono had a population of 1, 739.
 Juan Magbitac was the first gobernadorcillo of the town.
 On June 11, 1901, the Philippine Commission enacted Act 137 creating Rizal province and
incorporating Angono into it and a barrio of Binangonan.
 On August 19, 1938, through executive Order 158 signed by Pres. Manuel L. Quezon, Angono
became an independent municipality effective January 1, 1939 with five barrios: bagong Bayan,
Poblacion, San Isidro, San Roque and San Vicente. By 1960 with another barrio added, Doña
Aurora, the population reached 7,093.
 On June 17, 1972 Republic Act 6469 ratified Executive Order 158 and established legality of
Angono’s status as municipality.
 In 1975, the town was classified as a 5th class town with an annual income of Php 520,000.00.
 Remains one of the 13 towns of Rizal out of the original 26 towns, the other 13 having been
included as part of greater Metro Manila or developed as citiies.
 Cradle of mythical beings such as nuno, and sirena.
 The word Angono came from the word “Ang nuno” , a small-long bearded man living in the old
balete tree situated in the towns población.
 Birthplace of two great Filipino National Artist, Carlos “Botong” Francisco and Lucio D. San
Pedro for visual arts and music.
 In 2004 the former Philippine President Gloris Macapagal Arroyo verbally recognized Angono as
“Art Capital of the Philippine” during her speech and visit in the town.
 Angono is the first district of Rizal.
 It os a dandy municipality in which the municipal hall, plaza, church, markets and the barangays
were bound closely. It is like during the Spanish era that the church was the kilometer-zero.
 The town is considered as the “Art Capital of the Philippines” because it serves as haven to more
than 500 visual artists alone, based on the study by international Labor Organization.
 A resolution of the Sangguniang Bayan in 2004 also requested President Arroyo to issue an
executive order recognizing Angono as Art Capital but to this date, no legal document has been
done.
 Angono boasts of more than 500 painters alone, excluding other artists such as musicians, writers,
video and film editors, theater people, craftsmen, and church-based heritage and cultural workers.
 The town traces its artistic roots in Angono Petroglyphs in Binangonan, the oldest rock art in the
Philippines.
 Angono celebrates seven festivals and festivities St. Clement, the town’s patron saint.
 Angono has six artists groups based in the community and schools led by its oldest groups
Angono Ateliers Association and Angono Artists Association, 11 marching bands, three
symphonic ensembles, three community-based theater groups, six chorale groups including those
in schools, a writers group, three community newspapers, and an exclusive school for the arts
whose students are from Angono and Rizal provine.
3
 First town in the country to be the ASEAN culture Capital for 2010. As the first country given
this distinction in the 10-member association of countries in the region, the Philippines hosted in
2010 the ministerial and experts meeting on culture and arts (AMCA_SOMCA) and the 4th
ASEAN Festival of the Arts held in March 2011.
 In August 2010, Angono, Rizal was the 6th locale highlighted as focal site in celebration of the
Philippines as ASEAN Culture Capital.
 Home of the late artist Pedrigon Vocalan, founder of Balaw-Balaw Restaurant, a popular exotic
restaurant in the Philippines.
 Home of the great artist Jose “Pitok” Blanco and his family of painters.
 Also known as the home of a local version of the very popular roasted Peking Duck the “fried
Itik”.
1.2. MACRO ANALYSIS

RIZAL PROVINCE
Rizal is one of the Philippines first class provinces that belongs to CALABARZON (CA-vite, LA-
guna, BA-tangas, R-izal, Que-ZON) Region or region IV-A in the island of Luzon. The province
enjoys a beauty of nature and a perfect setting for investments, business establishments and
settlements. It is bounded by Sierra Madre Mountain Ranges and Quezon Province in the east, the
province Laguna in the southwest, the province of Bulacan in the north, Metropolitan Manila in the
west-northwest portion and by Laguna de Bay in south/south-western portion. Rizal is one of the
neighboring provinces of Metro Manila. It takes an hour drive from major commercial districts and
centers of Metropolis to reach the province’s best places. Rizal is a green province which is the best
place to unwind from crowded and polluted metropolis.
1.2.1 GEOGRAPHICAL LOCATION
Rizal covers a total area of 1,191.94 square kilometers (460.21 sq mi.) occupying the northern-
central section of the CALABARZON. It is located 20 kilometers (12 mi) east of Manila.
1.2.2. CLIMATE
4
Rizal is endowed with Type 1 climate, with two pronounced seasons, dry season from November
to April and wet season for the rest of the year. This type of climate is highly favorable for agricultural
and industrial development to be productive.
1.2.3. TOPOGRAPHY
The province’s topography is a combination of valleys and mountains; flat low-lying areas on the
western portion which are mostly urbanized and populated, and the rugged ridges and rolling hills
which form part of the Sierra Madre Mountain Ranges in the eastern portion. Resting in the middle of
Laguna de Bay, is the Philippines’ largest lake island, the Talim Island which extends 13 miles across
the lake.
1.2.4. RESOURCES
Generally, Rizal province is an agricultural province. The potential of agriculture remains largely
untapped with large areas of land still stand undisturbed and waiting to be developed.
Fishing is a long thriving industry. The 90,000 hectares Laguna de Bay is the province’s primary
source of freshwater fish species and other marine life. Eight municipalities with 83 baranggays lie
along the shoreline and depend on the lake for fishing and aquatic activities.
Substantial amount of non-metallic mineral deposits consisting of construction materials in the
form of rock aggregates and volcanic tuff, sand and gravel, limestone, marble, guano/rock phosphate
also exist in the province which can fuel other potential industries and economic activities.
The availability of red clay and the large deposits of raw materials in Antipolo City, Tanay and
Baras in the form of limestone, dacite, diorite, siliceous sand and shale-sandstone used for the
manufacturing of cement, a basic material used in construction can also be made into terra cotta,
ceramic and brick makings.
1.2.5. PEOPLE AND COMMUNITY
Rizal province is inhabited mostly by Tagalogs. Minority of other ethnic groups are Visayas,
Ilocanos, and other local groups. It has a population of 2,284,046 with a labor force consisting of
1,272,000 or 55.7% of the total population. Its people are its number one resource, known to be
consummate artists and craftsmen. The literacy rate is 100%. The primary dialect is tagalog with
English as the second language.
1.2.6. PROTECTED AREAS
HINULUGANG TAKTAK PROTECTED LANDSCAPE – Antipolo City (3.20ha.)
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PAMITINAN PROTECTED LANDSCAPE – Rodriguez (Cave System and Wawa Dam)- 608 ha.
KALIWA WATERSHED
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UPPER MARIKINA RIVER BASIN PROTECTED LANDSCAPE – 26,125 ha.
1.2.7. DEMOGRAPHY
The population of Rizal in the 2015 census was 2,884,227 people, with a density of 2,400
inhabitants per square kilometer or 6,200 inhabitants per square mile. Due to its location being in
the heart of the Katagalugan, almost all the residents of Rizal mainly speak Tagalog.
1.2.8. EDUCATION
Functional Literacy Rate (2019) - 99.70%
Enrolment 2017
Elementary 450,795
Secondary - 230,519
Number of Elementary Schools (2016-2017)
Public - 257
Private - 624
Number of Highschool(2016-2017)
Public - 112
Private - 115
Source: DepEd-Rizal/Antipolo
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1.2.9. BUSINESS AND COMMERCE
Total Business Establishment
2015 - 41,345
as of August 8, 2016 - 37,154
Number of Banks
Rural - 46
Universal/Commercial - 153
Savings - 10
Source: C/MBPLOs, C/MPDOs
1.2.10. ROAD NETWORK

National Roads - 231.251 Kms.
Concrete Pavement - 28.08 Kms.
Asphalt Overlay - 208.171 Kms.
Length of Bridges - 1.517 Kms.
Source: DPWH Rizal Engr. Office Dist. 1 and 2
1.2.11. RESOURCES AND UTILITIES

Powerplants - National Grid Corporation
Power Utility - Meralco
Water Utility - Manila Water, INC. Local Utilities, Cooperatives
Communication Utilities/ Internet Provider - PLDT, Smart, Globe, Sun, Talk and Text and TM
Source: C/MBPLOs
1.2.12. HEALTH AND SERVICES 2016

Hospital
Government - 11
Private - 24
Source: PHO
1.3. MICRO ANALYSIS
ANGONO (ART CAPITAL OF THE PHILIPPINES)
A first-class municipality in the province of Rizal. According to the 2015 census, it has
apopulation of 113,283 people.
Located 30 kilometers (19 mi) east of Manila, and with the continuous expansion of the metropolis, it is
now considered part of Metro Manila’s conurbation.
It is best known as the “Art Capital of the Philippines”, being the hometown of national artist for music
Lucio San Pedro and national artist for visual arts Carlos “Botong” Francisco, as well as the site of the
Angono Petroglyphs, the oldest known work of art in the Philippines. It is currently campaigning for its
inclusion in the UNESCO Creative Cities Network as it is a center for visual arts. It is also campaigning
for the inclusion of the Angono Petroglyphs in the World Heritage List.
First created as a pueblo in 1766, Angono was a barrio of its neighboring town Taytay and Binangonan
before it was legally proclaimed an independent municipality in 1938 by then President Manuel L.
Quezon.
1.4. GEOPHYSICAL PROFILE

1.2.1. GEOGRAPHICAL LOCATION
Angono lies 29.38 kilometers east of Manila and some 15.7 kilometers away from Pasig, the
former capital of Rizal. It is situated on the south-western portion of the Province of Rizal, located
approximately between 14°31’ and 14°33’ north latitude and between 121°08’ and 121°12’ east
longitude. It is bounded by Taytay on the northwest; Antipolo on the north; Teresa on the
northeast; Binangonan on the southeast; and Laguna de Bay on the southwest.
1.2.2. LAND AREA
A small town, with the total land area of 2,300 hectares, by the coastal region of Laguna de
Bay. Angono belongs to the First Congressional District of Rizal. Based on the new digitized
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municipal map, it has a total land area of 1,467.16 hectares, which approximately comprises only
1.9 percent of Rizal Province and makes it the fourth smallest among the 14 municipalities.
2. INSTITUTIONAL SECTOR
2.1. BARANGAYS OF ANGONO

2.1.1. SAN ISIDRO
A barangay in the municipality of Angono, in the province of rizal. Its population as
determined by the Census was 31,339. This represented 27.66% of the total population of Angono.
According to the 2015 Census, the age group with the highest population in San Isidro is 15-19, with
3,025 individuals. Conversely, the age group with the lowest population is 80 and over, with 165
individuals. The population of San Isidro grew from 14,227 in 1990 to 31,339 in 2015, an increase of
17,112 people. The latest census figures in 2015 denote a positive growth rate of 2.08%, or an increase
of 3,206 people, from the previous population of 28,133 in 2010. San isidro is situated at
approximately 14.5469, 121.1554, in the Island of Luzon. Elevation at these coordinates is estimated
at 86.5 meters or 283.8 feet above mean sea level.
2.1.2. MAHABANG PARANG
A barangay in the municipality of Angono, in the province of Rizal. Its population as
determined by the 2015 Census was 32,744. This represented 28.90% of the total population of
Angono. According to the 2015 Census, the age group with the highest population in Mahabang
Parang is 15 to 19, with 3,471 individuals. Conversely, the age group with the lowest population is 80
and over, with 132 individuals. The population of Mahabang Parang grew from 5,663 in 1990 to
32,744 in 2015, an increase of 27,081 people. The latest census figures in 2015 denote a growth rate of
3.27%, or an increase of 5,086 people, from the previous population of 27,658 in 2010. Mahabang
Parang is situated at approximately 14.5545, 121.1825, in the island of Luzon. Elevation at these
coordinates is estimated at 218.4 meters or 716.5 feet above mean sea level.
2.1.3. KALAYAAN
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Angono. According to the 2015 Census, the age group with the highest population in Kalayaan is 10 to
14, with 1,761 individuals. Conversely, the age group with the lowest population is 80 and over, with
77 individuals. The population of Kalayaan grew from 5,516 in 1990 to 16,854 in 2015, an increase of
11,338 people. The latest census figures in 2015 denote a growth rate of 4.12%, or an increase of
3,220 people, from the previous population of 13,634 in 2010. Kalayaan is situated at approximately
14.5365, 121.1390, in the island of Luzon. Elevation at these coordinates is estimated at 11.0 meters or
36.1 feet above mean sea level.
2.1.4. SAN ROQUE
determined by the 2015 Census was 9,898. This represented 8.74% of the total population of Angono.
According to the 2015 Census, the age group with the highest population in San Roque is 10 to 14,
with 1,008 individuals. Conversely, the age group with the lowest population is 80 and over, with 60
individuals. The population of San Roque grew from 6,408 in 1990 to 9,898 in 2015, an increase of
3,490 people. The latest census figures in 2015 denote a growth rate of 1.00%, or an increase of 506
people, from the previous population of 9,392 in 2010. San Roque is situated at approximately
2.1.5. SAN VICENTE
Angono. According to the 2015 Census, the age group with the highest population in San Vicente is 15
to 19, with 1,164 individuals. Conversely, the age group with the lowest population is 80 and over,
with 74 individuals. The population of San Vicente grew from 4,670 in 1990 to 11,898 in 2015, an
increase of 7,228 people. The latest census figures in 2015 denote a negative growth rate of 1.77%, or
a decrease of 1,168 people, from the previous population of 13,066 in 2010. San Vicente is situated at
approximately 14.5286, 121.1419, in the island of Luzon. Elevation at these coordinates is estimated at
2.0 meters or 6.6 feet above mean sea level.
2.1.6. POBLACION IBABA
According to the 2015 Census, the age group with the highest population in Poblacion Ibaba is 15 to
19, with 297 individuals. Conversely, the age group with the lowest population is 75 to 79, with 27
individuals. The population of Poblacion Ibaba grew from 1,816 in 1990 to 2,789 in 2015, an increase
of 973 people. The latest census figures in 2015 denote a growth rate of 1.71%, or an increase of 237
people, from the previous population of 2,552 in 2010. Poblacion Ibaba is situated at approximately
2.1.7. SAN PEDRO
According to the 2015 Census, the age group with the highest population in San Pedro is 20 to 24,
with 190 individuals. Conversely, the age group with the lowest population is 80 and over, with 8
individuals. The population of San Pedro fell from 2,155 in 1990 to 1,919 in 2015, a decrease of 236
people. The latest census figures in 2015 denote a negative growth rate of 2.31%, or a decrease of 251
people, from the previous population of 2,170 in 2010. San Pedro is situated at approximately 14.5248,
10
121.1567, in the island of Luzon. Elevation at these coordinates is estimated at 11.9 meters or 39.0 feet
above mean sea level.
2.1.8. BAGUMBAYAN
According to the 2015 Census, the age group with the highest population in Bagumbayan is 20 to 24,
with 305 individuals. Conversely, the age group with the lowest population is 75 to 79, with 23
individuals. The population of Bagumbayan grew from 2,209 in 1990 to 2,867 in 2015, an increase of
658 people. The latest census figures in 2015 denote a growth rate of 1.81%, or an increase of 258
people, from the previous population of 2,609 in 2010. Bagumbayan is situated at approximately
2.1.9. STO. NINO
According to the 2015 Census, the age group with the highest population in Santo Niño is 15 to 19,
with 223 individuals. Conversely, the age group with the lowest population is 80 and over, with 30
individuals. The population of Santo Niño fell from 2,526 in 1990 to 2,392 in 2015, a decrease of 134
people. The latest census figures in 2015 denote a negative growth rate of 2.13%, or a decrease of 286
people, from the previous population of 2,678 in 2010. Santo Niño is situated at approximately
2.1.10. POBLACION ITAAS
determined by the 2015 Census was 583. This represented 0.51% of the total population of Angono.
According to the 2015 Census, the age group with the highest population in Poblacion Itaas is 25 to
29, with 59 individuals. Conversely, the age group with the lowest population is Under 1, with 8
individuals. The population of Poblacion Itaas fell from 824 in 1990 to 583 in 2015, a decrease of 241
people. The latest census figures in 2015 denote a growth rate of 2.39%, or an increase of 68 people,
from the previous population of 515 in 2010. Poblacion Itaas is situated at approximately 14.5289,
121.1519, in the island of Luzon. Elevation at these coordinates is estimated at 12.2 meters or 40.0 feet
above mean sea level.
2.2. ARTIST GROUPS
2.2.1. ANGONO ARTISTS ASSOCIATION INC.
A non-government, non-profit organization that helps young artists to develop their skills in art
and inculcate in their minds the importance of preserving our culture, tradition and the Filipino’s rich
heritage.
Board Members:
 Jose ‘Pitok’ Blanco  Glenn Blanco
 Perdigon Vocalan  Peter John Natividad Machael
 Mang Turing Blanco
 Manuel Unidad-Chua  Frederick Sausa
 Boy Natividad  Arturo Sanchez
 Ovidio Espiritu Jr.
2.2.2. ANGONO ATELIERS ASSOCIATION
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An active component of the Rizal Artist Federation, an art guild which the renowned visual
artist Nemiranda co-founded. Qualified Ateliers artists are also made member of the Philippine
Association of Figure Artists (PAFA) – a band of recognized artists in the field of painting and
sculptures.
Members:
 Nemiranda  Ber Alcantara
 Atoy Apostadero  Dolphee Alcantara
 Gerry Bantang  Erwin Tolentino
 Dino Blanco  Madel Saladaga
 Joey Cenina
2.2.3. GRUPO SINING ANGONO

A collective, non-profit, by invitation only participation and currently comprises of mid-career
and professional Angono artists. Grupo Sining Angono’s a proponent to support the community-based
projects and outreach programs.
Members:
 Jovito Andres
 Carlos “Totong” Francisco Ii
 Charlie Val
 Ambeth Lugtu
 Nani Reyes
 Dino Blanco
 Bernie Supsupin
 Jao Mapa
3. ECONOMIC SECTOR
3.1. LOCAL ECONOMY
Generally, the state of economy of the municipality of Angono can be considered progressing since
the municipality was a former 5th class municipality until the 1970s and reached 1st class status in 2004.
Angono’s economy specializes in trading, services, commercial and manufacturing.
These four (4) specializationsdominate the economic structure of the municipality. In addition, as a
result of its nearness to Metro Manila, Angono has been a recipient of industrial dispersal policies same as
its neighbouring municipalities Cainta and Taytay resulting to numerous factories in the area.
However, this constant economic rise may result to possible future environmental scenarios if not
dealt accordingly. With its proximity to Metro Manila, Angono became a haven for residential expansion
that caters to executives and laborers from Metro Manila thus experiencing increase human use pressures.
Aside from that, demands for recreation and amenity resources likewise steadily increasing.
Expansion in both the renewable and non-renewable natural resource extraction sectors is likewise
changing the landscape. The cumulative effects of all human use are altering native vegetation community
composition and structure, and modifying natural disturbance regimes.
One of the costs incurred through increased human presence is habitat loss and fragmentation. In
addition, prime agricultural land continues to be eroded as it gives way to other land uses. Jurisdictional
fragmentation is also extremely high as a variety of entities exercise mandates, rights or interests on the
land.
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As mentioned earlier, Angono is home to various real estate developers as a result of its nearness to
the business district of Metropolitan Manila. Shown below Table 1 is the distribution of subdivisions from
the ten (10) barangays in Angono.
Table 2 shows the annual income of the ten (10) barangays in Angono. This illustrate that Barangay
San Isidro have the highest annual income in two succeeding years totaling to P24,180,446.99 (2013) and
P29,645,911.48 (2014) followed by Barangay Mahabang Parang with P12,769,605.22 (2013) and
14,494,825.99 (2014).
This can be attributed to its location in Angono. For instance, barangay San Isidro is situated along
the Manuel L. Quezon Avenue, the main thoroughfare along Angono thus giving it an advantageous
commercial atmosphere in the area. Also it has the biggest land area and the most number of residential
subdivisions. Likewise, barangay Mahabang Parang has the second largest land area and next largest
number of subdivisions. In addition, it is situated in the boundary of Antipolo City which business
establishments are sprouting. It is also noted that Barangay Poblacion Itaas have the lowest annual income
of P1,133,653.20 (2013) and slightly increased to P1,194,906.00 in 2014. This can be credited to its
remoteness to commercial and business establishments being located at the edge of the Angono right along
the waters of Laguna de Bay.
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3.2. EMPLOYMENT PATTERNS
3.3. EMPLOYMENT BY ECONOMIC AND INDUSTRY GROUP
14
The major occupations in Angono are laborers and unskilled workers with a total population of
5,957 and trade and related workers (5,812). This is 17.35% and 16.93% respectively of the total employed
population. This is the same as to Provincial major occupations which are laborers and unskilled workers
and trade and related workers. (See Table 6).
3.4. PERFORMANCE
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One of the main sources of local revenue is the economic activity that is further classified as
Primary, Secondary and Tertiary Economic Activity. Primary Activity includes agriculture, fishing,
hunting, forestry, mining and quarrying; Secondary Activity covers electricity, water, gas,
manufacturing and construction; while Tertiary Activities are those which are not covered or included
in Primary or Secondary.
Based on the gathered data, it was seen that the Tertiary Activities are the highest income
generating source among the three economic activities while the Secondary Activities marked third.
For the past five years, the year 2008 set the biggest difference from the preceding year. This was
believed to happen due to the increase number of wholesalers and retailers. In addition, the BPLO
conducted intensive tax mapping of business establishments. Moreover, another noticeable difference
was recorded when the Primary Activity data dropped in 2008 and was regained with higher value in
2009. During the former year, a mining company in Angono has changed its management to which
this transition might affect its operation, thus, regained its profit on the next year by the new operating
management.
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3.4. ISSUES AND CONCERNS AND RECOMMENDATIONS

3.4.1. Low turnout of agricultural and fishery production
 Available land for agricultural production
3.4.2. Limited are for industrial expansion
 The municipality must have a deliberate effort to attract and promote those industries that do
not require large land areas. These industries must also be pollution friendly so as not to
further harm the urban environment.
3.4.3. Limited and fragmented service sector
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 Thus there is a need to consolidate these businesses in the tertiary sector to enhance their
capacity to provide the economic goods and services of the locality and at the same time
export and be aggressive with other developed business centers in the whole Rizal province.
3.4.4. Weak Tourism Industry
 Promotion of Art Galleries.
 Conservation and Protection of Historical/Cultural Landmarks.
 Development and improvement of Parks and Public Places.
 Recognition and Tribute to the National Artist of Angono.
 Observance of Time-Honored Traditions.
 Support to Local Artists.
 Develop local attraction and cultural heritage of Angono.
 Creating Greater Market Awareness.
 Further development of Angono’s art tourism industry by expanding its tourism products and
services as well as events
3.5. TOURISM
The art tourism industry is one of the key sectors that Angono has identified as a promising source
of growth and employment for the local government. The rich heritage and tradition in the arts, created in
no small way by resident artists who have achieved national and international recognition, place Angono to
be a major tourist and art destination in the country.
Likewise, the potential of this sector for generating incomes for both participating institutions and
the local government of Angono as well as source for employment for the local populace are also
significant.
There is a big potential for Angono to become a tourist hot spot, especially for those art
aficionados. Angono is housed to two national artists namely; Carlos “Botong” Francisco and Lucio San
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Pedro. Other artist sites include the Blanco Family, Nemiranda Arthouse and Gallery, Village Artists
Gallery, Salvador Juban Art Studio, and the Second Gallery Museum.
3.5.1. MUSEUM AND ART GALLERIES
 BLANCO FAMILY MUSEUM
The museum houses the cast collection of artworks produced by the Blanco family of
painters. Headed by renowned painter Jose “Pitok” V. Blanco family has produced a
prodigious array of visual art depicting Angono’s idyllic rural life, colorful fiestas and
religious celebrations. The ridiculously talented members of this family, led by Jose “Pitok”
V. Blanco, are recognized for their depictions of the town’s charming rural lifestyle and
colorful fiestas. Once you step inside their large, deliberately arranged two-story gallery,
you’ll be guided from one collection of impressive artworks to the next, starting with those by
Blanco’s youngest child and ending with those of the patriarch. Books and postcards featuring
these works are available for purchase at the end of the tour.
 NEMIRANDA ART GALLERY

The gallery is the repository of artworks of acclaimed painter Nemi Miranda Jr.
employing figurative realism in his work, the artist draws from Angono’s mythic creatures and
legends to produce masterful works of art. The gallery also serves as venue for art lectures and
painting workshops.
 TIAMSON ART GALLERY

The gallery houses the various artworks of painter, musician and transmedia artist
Orville D.R. Tiamson. A versatile artist, Tiamson’s style ranges from the conventional to new
age and has experimented with various artistic presentations including drawings on paper, oil
and acrylic, paintings on canvas, mixed collages and constructions, installations, performances
and music.
 PERDIGON VOCALAN FOUNDATION GALLERY / ANG NUNO ARTISTS

FOUNDATION GALLERY
A vast collection of paintings, sculptures and other art forms by the late Perdigon
Vocalan along with other independent and budding artist from Angono and nearby towns. The
gallery is located at Balaw-Balaw Specialty Restaurant where dining patrons can savour the
excellent and exotic cuisine amidst the visual ambiance of the works Angono’s art masters.
 ST. PETER ART GALLERY

The gallery houses Pepito Villaluz’s unique graphic and much detailed realistic style.
The love of art made Villaluz prevail and succeed in dedicating his time to his works. He
exemplifies the artist who would rather starve for his muse. He has attained mastery and
control over the hardest medium – watercolor. The depth of his art and message behind his
works show that he is definitely an artist extraordinaire.
 THE SECOND GALLERY

Owned and run by visual artist Carlos “Botong” Francisco II, Second Gallery seeks to
be the focal point of young and upcoming artist of Angono by providing them venue to exhibit
their artworks. The gallery also serves as magnet for visitors to be acquainted with the home
and personal memorabilia of national Artist Carlos “Botong“ Francisco.
3.5.2. ANGONO PETROGRLYPHS
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Discovered in 1965, the Angono Petroglyphs are believed to be the oldest known artworks in
the Philippines. Dating to the third millennium B.C., they are a collection of 127 figural carvings
engraved on the wall of a shallow cave of volcanic tuff. In 1973, they were declared a National
Cultural Treasure, and in 1985 were listed on the World Inventory of Rock Art. Almost immediately
after they were brought to public attention, the National Museum of the Philippines made several
molds of the carvings. Subsequently, the site underwent cleaning and preliminary conservation during
the 1980’s. By the year 1990’s, the Angono Petroglyphs were threatened by regional development
pressure. After investigations, the importance of the site was fully recognized, and measures were
taken to protect the area and the carvings. Although granted protection from total destruction, there
was fear that new road construction and blasting into the hill behind the petroglyphs might have
threatened the cave’s stability. The reshaped earth also raised concerns about the increasing threat of
water damage of the site. Uncontrolled vegetation and fauna had causes erosion of the Petroglyphs
over time.
After inclusion on the 1996 World Monuments Watch, the Angono Petroglyphs caves were
cleared of invasive vegetation. A drainage system was installed to prevent accumulation of water
during heavy rain, and a caretaker was assigned to protect the site from vandals. In 1998, WMF
secured support from American Express to assist the National Museum in completing archaeological
and geological surveys, necessary to establish conservation and management policies for the site.
3.5.3. HIGANTES FESTIVAL
The annual town’s fiesta of Angono held every 23rd of November is a celebration in honor of
San Clemente (patron saint of fishermen). The main event is a procession of the patron saint, which is
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carried by male devotees, convoyed by “pahadores” (devotees dressed in colorful local costumes or
fishermen’s clothes, wooden shoes and carrying boat paddles, fish nets, traps, etc.). Adding to the
festivity is the “Higantes” (giants). Higantes are giant paper mache images measuring four to five feet
in diameter and ten to twelve feet in height. The street event leads to a fluvial procession in laguna de
bay, however, the festivities continue until the image is returned to its sanctuary.
The “Higantes” is a century-old tradition, dating back when Angono was a Spanish hacienda.
During that time, the hacienda owners were concerned about the costs of all the celebrations in the
town leading to prohibiting all except for one annual fiesta. To make the best out the single fiesta they
can have. Through the art form from Mexico brought by the Spanish priests the people created larger-
than-life caricatures of their Spanish landlords. True to the Filipino essence of celebration, the event
became a spectacular celebration, and a tricky inside joke. Furthermore, there was a story that a
Frenchman who was cruising from Manila bay passing to this coastal town of Laguna de Bay,
mesmerized by the town divided by a river, he predicted that someday giants would arise and became
famous. Taking his words, Angono is the hometown of the two highly celebrated national artists of the
country, namely Carlos “Botong” Francisco in the field of visual arts and Professor Lucio D. San
Pedro in the field of music.
The Higantes’s head is shaped from a mold made of clay, then dried under the scrouging heat
of the sun. As modern technology set in, the mold made of clay is now made of plaster of Paris and
resin. The mold is then glued with newspapers, split in the middle, sun-dried and later on put together
by pating a brown paper to cover the split. Afterwards, it will be sun-dried again and hand painted.
The body of the “higantes” is made of bamboo or yanyok (rattan). This Iron bar can also be used to
shape the body of the giants. To complete the masterpiece, the “higantes” will be glam-up with
colorful costumes and accessories to finish the look. A festival that shows the fun-spirited Filipinos,
the ability to make the best of any bad situation given. Indeed, Higantes Festival is celebration of BIG
stories.
3.5.4. BALAW BALAW RESTAURANT
Balaw Balaw Restaurant and Folk Art Gallery, owned by Mr. and Mrs. Perdigon Vocalan, is a
restaurant-art gallery found in the Art Capital of the Philippines, Angono, Rizal. Balaw-balaw is the
name of the dipping sauce from Angono that is made of fermented rice, shrimps and bamboo shoots. It
offers an impressive selection of reasonably-priced native and exotic dishes. Their seafood dishes are
especially noted. As an added attraction, the restaurant has an adjoining art gallery – Ang nuno Artists
Foundation Gallery – where you can spend some time looking at the artworks on display, some of
which are for sale, while waiting for your meals to arrive. This restaurant-gallery has been featured in
various local and international shows, including Bizarre Food hosted by Andrew Zimmern.
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4. SOCIAL SECTOR
4.1. DEMOGRAPHICS
According to the CLUP of Angono Rizal, The population growth of Angono is based from the
data from the Philippine Statistics Authority (formerly National Statistics Office) starting from the
year 1903 to 2010. The highest percentage of population increase happened between the years 1975 to
1980 with an average growth rate of 10.24%. The 1990 Census however, reflected a substantial annual
growth rate decline of 7.32% from the previous decade. The years that followed also noted a drop in
the population annual growth rate. It is also noted the following factors why the municipality’s
population growth rate has been descending:
a. the municipality have limited spaces for urban expansion to accommodate higher in-migration;
b. Topographical feature becomes a deterrent to prospective migrants. The town’s major urban
areas are bounded by the Laguna Lake and areas of high slopes; and
c. Traffic congestion is becoming worse.
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4.1.1. HOUSEHOLD SIZE

The number of households in Angono was 21,692 in 2010 Census on Population and
Housing, with an average of 4.6 persons per household which is slightly lower than the provincial
density of 4.72. San Isidro, having the largest number of households of all barangays had 6,543 or
27.47% share, followed by Mahabang Parang and Kalayaan with 6,012 households (27.01%) and
2,727 households (13.31%) respectively.
4.1.2. AGE-SEX DISTRIBUTION

The population of Angono exhibits a pyramidal age structure. Comparison of the age sex
structure of 2000 and 2007 showed similar patterns.
The population between ages 0-14 is 32,018 accounts for the 32.94% of the total population
of 97,209 in 2007. On the other hand, 62,148 or 63.93% of the population belong to the 15-64 years
old bracket and only 3,043 or 3.13% is in the ages, 65 years old and above.
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In terms of highest grade completed of its population ages 5 years old and above, a sizable
8,168 or 9.42% have completed the elementary grade level which is lower than the provincial
elementary graduate of 10.86%. A total of 21,366 or about 24.63% completed the secondary level
while only 10,593 or 12.21% are academic degree holders. This graduate percentage is slightly higher
compare to provincial graduates of 23.86 % and 3.01%, respectively. There was more female (600)
than male (363) college under graduates. It is likewise significant to note that a total of 3,888
population or 4.48% have not completed any grade/level of schooling at all which is lower to
provincial no grace complete of 4.71%. (See Graph below).
Since most of the population of Angono is 5 years old and above, maybe we can suggest a
learning facility to teach them art.
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4.2. EDUCATION
Angono Elementary School was noted to have the highest enrollees at 3,472 and highest
student classroom ratio at 1:53. The highest classroom to pupil ratio is in Dona Nieves Songco Elem.
School at 1:99.
4.2.1. CURRENT AND PROJECTED DEVELOPMENT NEEDS

 lack of school facilities such as library, shop, clinic, and playgrounds, in both public elementary
and high schools. Even the existing ones are in dire need of upgrading and repair due to their
critical/poor conditions. It appears that only the private schools have good existing facilities.
 lack of teachers and classrooms in the public elementary while high schools level has sufficient
number of teachers until the planning period.
 Angono National High School and Dona Nieves Songco Elementary School is noted teacher to
student ratio beyond the standard ratio of CHED which is 1:35.
 present number is not enough to accommodate the projected increase in the school-going age
population.
25
4.2.2. CURRENT AND PROJECTED DEVELOPMENT NEEDS

 Increasing number of out-of-school youth
o Provision of formal education for out-ofschool youth through technical courses
o Promotion of extra-curricular activities such as sports programs, livelihood trainings, etc.
 Less classrooms and facilities Sufficient budget allocation for the construction of educational
facilities
o Construction, renovation, repair of school buildings and classrooms
o Purchase of basic school equipment, materials, apparatus, etc.
 Available scholarship grants for qualified students
o Sufficient budget allocation intended for scholarship programs and grants
 Literacy rate and competence of students and teachers
o Enhance expertise on subject discussion through hands-on applications
o Hiring of qualified teachers, day care workers and substitutes
o Training and seminars for teachers
 Huge student-teacher and student-classroom ratio
o Shifting of classes and sessions (morning and afternoon shifts)
 School prone to long term flooding Higher elevation of school buildings and rooms
o Adaptation of new school calendar
4.3. HEALTH
 2 Rural Health Units Locations:
o Barangay San Isidro
o Barangay Mahabang Parang
 8 health stations situated in every barangay to cater free medical consultations, check-ups,
vaccination and medicine distribution.
 34 Medical Institutions
26
o 3 hospitals (1 public and 3 private)
o 31 medical clinics, lying-ins and the like.
 One (1 )provincial government hospital
o operated directly by the provincial government
o located at Barangay San Isidro
o capacity of 90 beds
 three (3) private hospitals
o all can be found in Baragay San Isidro
o 203 hospitals beds are present in the different hospitals in Angon
 ratio to 1,000 population, 20.3% of the population can be accommodated by the beds.
27
4.3.1. ISSUES AND CONCERNS POSSIBLE INTERVENTION (HEALTH)
 Malnutrition
o Supplemental feeding programs
o Nutrition education programs
o Promotion of eating health foods such as fruits, vegetables, whole grains and low-fat
foods Provision of potable drinking water
 Less medical-related supplies
o Sufficient budget allocation for healthrelated programs
o Purchase of quality medicines, and medical supplies and equipment
o Regular blood donation programs
 Competence and availability of medical professionals
o Hiring/appointing of qualified medical professionals
o Training and seminars for medical professionals
o Proper scheduling of shifts of assigned medical professionals during day and night time
 Less medical clinics, etc.
o Sufficient budget allocation for the establishment, construction, renovation, repair of
such
o Establishment of medical clinics in remote areas
 Environmental devastation Tree planting and backyard farming
o Community participation in maintaining the greenness and cleanliness of the locality
o Minimization of the usage of plastic bags, styro foams and other non-biodegradable
materials and containers
o Recycling
o Strict implementation of environmental laws
o Sufficient budget allocation intended for the different projects and purchase of
equipment relative to environmental preservation
o Monitoring smoke-belching vehicles, factories, etc.
 Poor physical attributes of the people
o Conduct of physical fitness and sports activities
o Enhancement of sports facilities, parks and other recreational area
4.4. SPORTS AND RECREATION

4.4.1. SPORTS FACILITIES
 31 Covered Courts
o 11 were constructed in Barangay San Isidro
o 8 in Barangay Mahabang Parang
o 6 in Barangay Kalayaan
o 3 in Barangay San Vicente
o 1 in Barangays Poblacion Ibaba, San Pedro and San Roque
4.4.2. RECREATIONAL FACILITIES
 There are parks in all the subdivisions
 6 Galleries
 3 public parks (Municipal Park, Lakeside Park and Forest Park)
 Blanco Family Museum and Forest Park is the largest gallery and park in the municipality
with 0.24 and 1.046 hectares respectively.
28
4.5. SOLID WASTE FACILITIES

 The MRF serves as a drop center, composting and recycling facility. Through the loan, the local
government was able to construct a building where one can find a heavy duty shredding
machine, a screening machine, hollow block maker and compost drum.
 From January 2012, they were able to produce 19,920 kgs of organic compost fertilizers.
 Composted soil is being sold at P5.00 per kilo.
 Some of the produced fertilizer also goes to Angono’s Techno Farm for its upland vegetable
garden.
 it can likewise produce 500 hollow blocks a day if on a continuous operation. However, its
production is now limited and is oftentimes affected because of financial constraint.
29
 A considerable number of households in Angono do not have sanitary toilet facilities. There is
a need to educate these households on the health and environmental risks of unsanitary waste
disposal practices.
 The municipal government can explore the possibility of any assistance such as providing
materials and teaching simple technology for the construction of sanitary toilet facilities.
4.6. HOUSING
 20,834 housing units occupied by a total of 20,909 households in Angono giving a ratio of 1:1.01.
30
 This figure indicates the presence of 75 doubled-up households or there were 75 housing units
occupied by more than one (1) household.
 The same census also reveals that the average number of occupants per occupied housing unit is 4.71
or not more than six persons. This was slightly lower than the provincial average of 4.83 or 5
persons per housing unit.
 most number of housing units (7,401) have a total floor area of 20-49 square meters floor area.
 Considering the average floor area (36.7) over the average number of occupants (4.94) per housing
unit, the housing floor area density in year 2000 was 7.43 square meters per occupant.
 Household size: In NSO 2010, there were a total of 20,909 households in Angono making for an
average household size (AHS) of 4.65. This was lower than Rizal’s 4.71 AHS.
 54.66% are owned or being amortized by its occupants. 17.54% of the total housing units are being
rented and 15.18% are occupied for free with the consent of the owners. 8.14% are occupied for free
without the consent of the house owner (informal settlers).
 In order to meet the heavy of in-migration into the municipality, agricultural lands have been
converted to residential areas, in particular, subdivisions.
o The total number of subdivisions at present is 74; The total land devoted for subdivisions is
more than 531.821hectares.
o majority of which are located at in Barangay. San Isidro
 Informal settlers may be one of the problems that a Local Government Unit may encounter that
needs to be resolved. This situation may be resulted due to migration, work-related situations,
marriage, birth, education and others.
 Angono, as situated at the shores of Laguna de Bay, is prone to floods and inundations. Due to heavy
downpour, low-lying barangays of this Municipality tend to submerge to waters.
 Quality of housing Comprehensive
o package should be made available to residents with substandard housing so that they can
modify their houses.
o Strict implementation of housing standards Financing packages for existing families through
PAG-IBIG to improve the conditions of their houses.
 Households with no toilets
o Construction of common toilet and bathroom.
o Toilet campaign to have each house in the municipality be equipped with sanitary toilets.
 Settlements in flood/landslide prone areas
o Relocate settlements in high risk areas to safer areas.
o Construction of house adaptation to environmental awareness.
 The significant increase of crime incidents during the period 2013-2015 is an indicator of the
peaceful and orderly situation of the town of Angono. One of the reason for the increasing cases of
crime is the below standard of Police to Population Ratio of 1:1,931 in the municipality.
 Poor office building, stations and substations
o Construction, renovation and repair of such
o Competence and proficiency of the protective services
o Pursue intensive up-to-date training and development program for protective service
personnel
o Professionalization of protective personnel
o Conduct of seminars on how-to-dealemergency-cases procedures
o Effective law enforcement
 Round-the-clock security
31
o Visibility of security personnel Installation of CCTV Camera
o Active participation of Barangay officials and households
 Inadequate communication devices and response vehicles
o Procurement of basic emergency response devices such as night sticks, whistles, fire
hydrants, reflectorized vests, etc.
o Sufficient budget allocation
32
5. ENVIRONMENTAL SECTOR
5.1. BOUNDARIES
 The Province of Rizal is located directly east of Metro Manila. It is bounded on the north by
Bulacan province, on the east by the provinces of Laguna and Quezon and on the south by
Laguna de Bay.
 The province has 14 municipalities which are divided into two political districts.
o First district is comprised of Angono, Antipolo, Binagonan, Cainta and Taytay.
o The second District has nine municipalities namely Baras, Cardona, Jalajala, Morong,
Pililla, Rodriguez, San Mateo, Tanay, and Teresa. It has 187 barangays.
 Rizal has a total land area of 130,383.00 hectares or 1,303.83 square kilometers representing
2.8% of region I area coverage.
 The municipalities of Antipolo, Rodriguez, and Tanay have the biggest land areas.
 Their combined area coverage of 86,230 hectares corresponds to more than ha/for 66.2% of
Rizal's total land areas. Cainta, with a land area of 1,019 hectares, comprising only 0.8% of the
provincial total, is the smallest municipality of Rizal.
 Angono - One of the smallest municipality of Rizal
o It lies 29.38 kilometers east of manila and some 15.7 kilometers away from Pasig, the
former capital of Rizal.
o It is situated on the southwestern portion of The Province of Rizal, located approximately
between 14° 33' north latitude and between 121" 08' and 121 12' east latitude.
o It is bounded by Taytay on the northwest Binangonanon the southeast and Laguna de Bay
on the southwest.
o Angono belongs to the First Congressional District of Rizal.
o It has a total land area of 2.300 hectares, which approximately comprises only 3.4% of
Rizal Province and makes it the fourth smallest among the 14 municipalities.
33
 major resources of domestic water supply are shallow and deep well.
o top 3 main sources of water supply for drinking are the delivered water/mineral water
which has 45.22 %, owned-use faucet Manila Water/community water system which has
36.23%, shared dug well with 10.09% and dug well with 8.46%.
 Angono River is the only river that can be found in the municipality, in fact, the main drainage
system in Angono consists only of the Angono River and its tributary streams.
o The river used to have its headwaters in the upland areas.
o The small tributaries have been lost due to the forest denudation and numerous illegal
settlers.
 Angono is capable of fishing production, because of its strategic location along the Laguna
Lake. However, it had been observed that there are a relatively small number of fisher folk in
the area.
5.2. ENVIRONMENTAL QUALITY
 AIR QUALITY
o no existing stations in Angono to measure and monitor the municipality's Ambient Air
Quality and to determine the different Stationary Source Emissions.
o no data gathered on the municipality's air cleanness and/or impurity.
o Central Business District is confronted with the excess of public conveyance, mostly
diesel-powered vehicles, plying narrow streets, continuous quarrying activities also affect
air quality in some portions of the municipality.
 WATER QUALITY
o there is an apparent difficulty for ground water-based resources to meet current supply
requirement of the entire town
o the waters of Laguna Lake, with an area of 90,000 hectares, is being tapped as a potential
water source aside from groundwater to supplement the town demand for the years to
come.
o waters fronting Angono (Northern West Bay) is classified as "white"-Class B meaning it is
not good for raw drinking water but good for primary contact recreation, fisheries irrigation
and other purposes.
 WASTE MANAGEMENT
o primarily because of force of habit, there is still a notable number of residents who opt for
backyard burning, clearly a violation of R.A. 8749 or the Philippine Clean Air Act A very
small percentage, though, practice backyard pit dumping.
o Among the ten barangays, San Roque has the largest bulk of domestic waste collected per
day amounting to 81.3 tons closely followed by Barangays MahabangParang with 56.19
tons/day and San Isidro with 37.60 tons/day. San Isidro, MahabangParang and San Roque
are the three largest Angono barangays comprising about ninety one (91) percent of the
municipality total land area.
 SEWERAGE
o At present them exists a mixed sewerage system in Anqono. The old barangays' domestic
sewer lines are tapped to drainage pipes which are channeled to rivers.
o New subdivisions, on the other hand are equipped with individual septic vaults wherein
Domestic sewage is given primary treatment. After which, wastewater is conveyed towards
main sewer pipes. The final sewage receiver to both systems is the Laguna Lake.
 LANDSLIDE
o The upland areas of Angono as well as the adjacent portions of Antipolo, Teresa and
Binangonan are virtually devoid of any forest cover. Consequently, the surface slope
materials become extremely susceptible to weathering and erosion without the protective
vegetation cover.
34
o Another contributing factor to erosion in Angono is the proliferation of numerous
developments or construction of subdivisions as well as quarrying activities.
o There were three barangays affected by landslide namely Barangay San Isidro, San Roque
and MahabangParang.
 FLOOD
o Flooding in certain portions of the municipality occurs frequently during the rainy season.
o This arises from the combined effects of a number of factors:
 accumulation of rainfall, Angono River and Laguna Lake overflow, and
 surface run-off from surrounding upland areas.
o Recent years have seen the rise in flooding incidence. This change happened as a result of
extensive siltation of major drainage systems in the area due to Massive conversion in land
use for urban development
o Often, floodwaters reach a depth of about six (6) feet near the river channels. In the town
proper, especially in the proximity of the municipal hall, the waters extend about a foot
deep;
o When more and more migrant people settle continuously around the lakeshore area, the
number of households victimized by floods every year rises. In addition, over 1,000
families have built their homes along the river banks, further aggravating the problem.
o In terms of risk to flood hazard, Barangay San Vicente, Kalayaan, Bagumbayan,
PoblacionIbaba and areas along Angono River are in highly susceptible areas, while
Barangay MahabangParang is considered at very low risk area.
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5.3. ISSUES AND CONCERNS POSSIBLE INTERVENTION

 Improvement of environmental management of the Angono River
o Angono Waste Water Treatment Facility
o Angono River Rehabilitation Program
36
o Establishment of Riverside Eco-Park
 Realization of a clean, healthy, sustainable, green and zero- basura municipality.
o Clean & Green Program
o Tree-Planting
o Strict implementation of RA 9003
o Full utilization of Municipal Recovery Facility.
 Develop an efficient and effective local disaster brigade
o Conduct series of comprehensive trainings and seminars on disaster management, first
aid, etc.
o Acquisition of protective gear, search and rescue equipment
o Integrate DRRM and CCA in all educational levels and
o specialized technical training and research programs.
 Long term flooding and occurrence of landslide in hilly areas
o Programs for housing development for affected families
o Construction of drinking water, wastewater, and storm water infrastructure
o Adapting construction so as to mitigate the risk of flooding in flood-prone areas
 Risk from climate change
o Restoring and protecting ecosystems and wetlands
o Cleaning up and Waste Management Program
o The Design and allocation of new developments and constructions aims to make sure that
the effects of climate change are taken into account.
o Intensity development and utilization of renewable energy and environmental-friendly
alternative energy sources/technologies.
o Increase resilience of communities through the development of climate change-sensitive
technologies and system and the provision of support services to the most vulnerable
communities.
 Disaster Risk
o Promote disaster mitigation prevention
o Flood prone areas may be used for human settlements provided the dwellers therein shall
adopt measures to minimize losses such as adaptive building designs, multi-storey
constructions, and the like.
o Rip rapping of sloped area along subdivisions and roads
o Reducing the impact of long term flooding and landslide through mitigation works as
well as implementing controls on planning and development in flood and landslide prone
areas
o Raise public awareness of DRR and mitigating the impacts of natural disasters through
the formulation and implementation of a communication plan for DRR and CCA.
o Strengthen the capacity of communities to respond effectively to climate and other
natural and human-induced hazards and disasters.
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6. INITIAL SURVEY RESULTS
Notes:
 The researchers conducted an online survey through Google Forms that aims to know how well-known Angono is
as the Art Capital of the Philippines.
 For the reader’s reference, the sample questionnaire is attached to this paper.
 This survey will further be reviewed and revised to obtain clearer/desired data/results.
 The results interpreted hereby only account to 62 respondents.
a. Age
1. Figure 1. Actual responses regarding the age of the respondents
Since age groups were not established as choices, the data (as shown in Figure 1) were
scattered. However, for comprehensibility, the researchers grouped the responses to their
corresponding age groups—13 and below, 14 to 18, 19 to 23, 24 to 29, 30s, 40s, 50s, 60s and over.
25
20
15
10
0
13 and 14 to 18 19 to 23 24 to 29 30s 40s 50s 60s and
below over
2. Figure 2. Age of respondents arranged according to their age groups.
As shown in Figure 2, most respondents were in the age group of 19 to 23, which are
predominantly the age of those still in the college level.
38
b. Sex
The respondents were predominantly female.
Figure 3. Respondents' sex assigned at birth.
c. Occupation
3. Figure 4. Actual chart of responses
As the answers shown in Figure 4 are too complex to easily be interpreted, the choices/answers
will be changed to just “student,” “working,” and “working student” for the next survey.
This portion was added assuming that information about Angono being the Art Capital of the
Philippines could still be mentioned/taught in school. In addition, the initial idea was to know whether
there is any correlation between a person’s field of work to his/her knowledge and/or engagement to the
Arts.
d. Field of Work/Study
 Architecture  Media  Education/Academe
 Information Technology  Dental Medicine  Church fulltime ministry
 Logistics  Public Administration  Psychology
 Pharmacy  Civil Engineering  Civil engineering
 Psychology  Humanities & Social Studies  BPO
 Culinary  Science and Math  Insurance Coordinator
 Interior Designer  Engineering  Technology
 Human Resources  Information Technology  Sales
 Public Service  BS Industrial Engineer  Graphics
 Hospitality and Restaurant  Auditing  Lending
Management  Accounting Information Systems
Since the answers (as shown above) were also varied and redundant with the previous question,
therefore also giving results that are difficult to interpret, the choices under this portion would be
grouped according to their field in a way that it would be easier to understand (i.e. Engineering;
Architecture, Urban & Environmental Design/Planning/Studies; Fine Arts; Medical; Hospitality, etc.)
39
e. Hometown & Current Location
4. Figure 5. Hometown (Place you grew up in)
5. Figure 6. Current Location / Place of Residence
This question was added to know whether or not people from outside Angono know that the
said municipality is the Art Capital of the Philippines.
Since the answers were also wide-ranging, the choices to be provided on the revised survey
form would be grouped according to region (e.g. NCR, Region 1, 2, etc.) or in terms of proximity (e.g.
inside the 10/20/30-km radius radiating from the heart of Angono).
f. “ Are you an art enthusiast?”
6. Figure 7. Engagement of the respondents to the arts.
This question is to assume that the engagement of the respondents to the Arts could also affect
their knowledge of Angono as an Art Capital.
As shown in the figure above, most of the respondents “can appreciate and somehow
make/create art” shows that their engagement is only neutral, with only 27.4% of the respondents
having a greater engagement with the Arts.
40
g. “What type of art are you interested in?”
Majority of the respondents chose “visual arts” as the type of art they are most
interested in—which in this case is predominantly present and visible in Angono’s art galleries
and museums.
h. “Are you familiar with the Art Capital of the Philippines?”
This, and the following question, is the most

vital part of the survey for this will somehow
give the researchers an idea whether Angono is
known for its title.
Figure 8. Respondents' familiarity with the Art Capital of the

Philippines
i. “Where do you think is it? (state a city or municipality)”
7. Figure 9. Respondents' knowledge as to where the Art Capital is.
As shown in Figure 9, only 20 out of 62 respondents (32%) are aware that Angono is indeed the
Art Capital of the Philippines.
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j. “How did you know about it?”
8. Figure 10. Means of knowing Angono as the Art Capital of the Philippines
As shown above, 41.9 % of the respondents does not know that Angono is the Art
Capital of the Philippines, let alone the fact that there is an “Art Capital” here in the
Philippines.
This question was asked because the researchers themselves did not know that such
title/place exists. This somehow supports the assumption of the researchers that this fact is not
known to people residing outside Angono.
k. “Have you tried visiting Angono, Rizal?”
The graph shows that a little more than half of the

respondents have not yet visited Angono, Rizal.
This sparks an opportunity for the researchers to be more

engaged with the project and think of how could this study be of
great help in promoting the Municipality of Angono as the Art
Capital of the Philippines.
Figure 11. The percentage of people who have

and have not gone yet to Angono.
l. “If yes, what was your purpose of visit?”
9. Figure 12. Respondents' purpose of visiting Angono.
Generally, only 30.6 % of the respondents visited Angono for “Art”. But being the most
selected, it could mean that Angono is known for some, if not most, people for its numerous art
galleries.
42
m. “If no, are you interested to visit and explore Angono?”
Figure 13. Respondents' willingness to visit Angono.
The figure above shows that the majority of the 62 respondents are very much willing to
visit Angono, Rizal. This is a good sign if the people of Angono would be more engaged in creating
programs that would extend the reach of Angono as an Art Capital.
The reasons on why they would want to visit were as follows:
 To visit friends and relatives
 To explore
 To get to know more artists through their works
 To know more about the place and more especially to visit the art capital of the philippines
 I have been to a museum there
 To learn more
 New environment
 I like museums and things related to arts and drawings
 I want to check if it has changed drastically after a long time.
 Seems interesting
 To go through a deeper understanding of how creative artists generate different wonderful masterpieces
 To share my experience to the youngsters, for them also to appreciate art and recognize local artists
 To see its tourist/culture spots
 It was a very educational trip and I can learn a lot of things from there.
 Because it is the art capital
 I want to be more capacitated with art.
The reasons why some would not want to visit were as follows:
 Too far away
 I haven’t given much thought about it
 Maybe
 I already visited
 No chance to go there
n. “Do you think the Municipality of Angono deserves its title ‘Art Capital of the Philippines’?”
The reasons of the respondents who agree were as follows:

43
The reasons of the respondents who disagree were as follows:

 Never heard of it until now  I haven't been there so im not really sure if i could
 Because art is everywhere really call it the Art Capital of the Philippines.
 I don't know enough to make this decision  No idea so far
 It is not even popular for arts  There are many places in the Philippines to be
 Not sure what is in Angono considered.
o. “As an individual, what could make a place be worthy of the title "Art Capital of the
Philippines"? What must it possess? How should it look like?”
Listed below are the responses/insights of the respondents as to what an Art Capital should look like,
and the most prominent and relevant answers were highlighted.
 art stores
 there should be a lot of museum where they can showcase their works
 Art galleries; festivities concerning the arts
 Art and crafts culture and the place should show a different kind of art
 It should have different kinds of art everywhere
 it is more likely be part of the city and must be introduce there on the city
 I think it must embody freedom of self-expression and creativity
 Lots of different kinds of arts to showcase
 Modernism
 Doesn't matter. Artist can live anywhere.
 Home of many artists
 place must be loaded with character and lots of places in the city must be preserved for future audience's
enjoyment. it should look like a place where you could say that "wow, this is different"
 Existence of museums & art galleries in the municipality.
 a true wonder that makes it a tourist destination as well.
 artistry
 not sure I have not been there
 It represents traditional and cultural arts of the Philippines
 It must have a creative people who are resourceful.
 A place with full of arts in every street or establishment.
 The place is known for sculptures like Paete
 It must be clean
 You must see the creativity in the streets and in the locals
 It must have a great impact in our art herein our country, not only its aesthetic but also portrays more about our
cultural and the people
 Tourist spot which provides art related services or offers a unique product or service that no other capital has.
And if the town or capital has the same livelihood such as Marikina wherein they are the shoe making capital
because they are famous of offering quality and cheaper shoes and also known for a lot of shoe making
business and makers.
44
 Beautiful architecture and a lot of museums
 Attractive
 The locality should showcase its people's creativity, innovation and craftmanship through incorporating various
elements that will distinguish it as the Art Capital of the Philippines
 It should be creative
 A place where it can fire the fuel for art in our hearts. I guess it will help you appreciate, love and even try art
even you are not good at it can also be by simply looking at it
 A lot of art/ art gallery to visit
 The place itself is clean and is visually appealing; a lot of people in the city create art; stuff like that.
 Good art
 It is historical and the place and even the citizens can appreciate, produce, and do an art.
 Museum
 Unique Display of Art within the place
 Baguio
 A place is worthy to be called as an "Art Capital of the Philippines" if it at the very first time you saw it, your
HEART was easily captured. Not just by the number of artworks inside of it but the visually apparent facets of
the scope. Where you can say to yourself, "found my home". Where it embarks a mark and nice impression to
people who visits it. Also, they would not hesitate to come again if this place is very welcoming and warm. A
place showing works that most Filipinos can relate to. Showing the beauty of the Philippines, history, traits and
traditions of Filipinos. Most importantly, it has to be made FREE so that everyone has access to it.
 The people and place will manifest the artistic side or character they have.
 This would be a place that would produce artists/painters that will contribute an art that will recognize its value
all over world. It should be a place wherein most people have the heart to value an art and apply and appreciate
it and be part of their lifestyle. And of course it should be a place that can be recognize easily because of
amazing crafts or painting that can be shown to everyone. ARTS should SPEAK for itself. What you see is
what you get. ☺
 People or place should reflect artistic abilities and creative expressions.
 They art look so amazing
 On how the people preserve and give importance to art.
 It must have varieties of artworks. People living there should also shows or reflect somehow the arts they've
proud of.
 Preservation of its natural/original look/state and purpose
 Good
 This should be well promoted by the public. It should look like unique, catchy and appealing. It must possess
the strong culture of Philippine Arts.
 The tradition that you can see and experience through art
 Antipolo?
 No idea
 Adding art museums, art schools etc.
 It should be seen from the entry points of the vicinity, art can be seen everywhere, the whole place can be an
outdoor gallery or a museum. Just like Intramuros or somewhere. From the entry point we can feel that the
place is different and has its own identity.
 I don't know must research more
 Passion
 The place should define the meaning of Art
 Must display all kinds of arts
 Place should be appreciative of art and embodies art itself.
 Should have a lot of art galleries
 Rich on artistic crafts and arts
 I think it should be rich not only in the galleries but also with its history.
 Its history and architecture.
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DERIVED CONCLUSIONS FROM SURVEY RESULTS:
 Most participants believe that to be an art capital, the place should showcase different kinds of art. And
the place should look catchy, that you will feel the uniqueness and see art everywhere.
 A couple of participants answered; to be worthy of the said title “art capital of the Philippines” the place
should speak for itself, and should contribute and showcase the Filipino culture and arts. That the place
should produce arts and artists that will be recognized and valued all over the world.
 Most participants from the younger generation aged 18 years to 25 years old, doesn’t know the location
of the Art Capital of the Philippines. Only a few participants from this age group know where it is
without googling the exact location of the Art capital.
 The method we used for our survey needs improvement because the answers are still too broad to
actually create a conclusion out of it, and it needs to target all group ages, only a few participants
answered from the 40s to 60s age group. And most participants who answered are architecture students.
The survey needs to target more diversity from different fields.
 Participants are open to visit Angono, and most of them wanted to visit the galleries in Angono.
46
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7. MAPS
REGION IV-A | CALABARZON
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PROVINCE OF RIZAL
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MUNICIPALITY OF ANGONO
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53
54
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8. PHOTO DOCUMENTATION (November 6, 2019)
FIRST STOP | Angono Municipal Hall to acquire the CLUP and other pertinent information at the MPDC
Office, Municipal Library, and Tourism Office
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LUNCH | Seeing tricycles with relatively higher sidecars, ornamented welcome arches, and the infamous
“Nuno” sculpture
SECOND STOP | Nemiranda Arthouse Atelier Restoran; The inner & upper part of the Arthouse was mostly
filled with “mother & child,” and “malakas at maganda” figures, meanwhile, the paintings displayed between
the arthouse and the restaurant were made by different artists.
OTHER PHOTOS | Other branch of Nemiranda Arthouse, Balaw Balaw Restaurant, a random Statue of
Liberty at Liberty Prod Cafe
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9. INTERVIEW
Name of Interviewers:
Jennifer De La Cruz (J)
Rietschle Carpio (R)
Angelo Joseph Semania (A)
Jediah Mapoy (JM)
Janoa Bianca Galang (B)
Interviewee: Michael Blanco (M)

Time: 3:30 pm
Date: January 17, 2020
Location: Blanco Family Museum, Angono, Rizal
J: Pakilala lang po kayo, yung buong pangalan tapos yung kung ano po yung tungkol po sa personal life.
M: Kayo si…?
J: My name is Jennifer de la Cruz po.
M: Jennifer..
R: Rietschle po
M: Rietschle..
A: Angelo Semania po.
M: Angelo..
A: opo.
B: Ako si Bianca
M: Bianca..
B: Opo
R: From NU po.
M: Rietschle , Angelo, , Bianca…
B: Opo, Architecture.
A: Jennifer.
J: fourth year architecture students po ng National University.
M: Okay. Ah, Hanggang anong year ang architecture?
A: fifth year po.

B: Hanggang five po.
M: Isang taon na lang…
J: Opo
A: Bilis lang ho.
M: So, introduce ko sarili ko, ako si Michael Blanco, galing sa family of artists. Pito kaming magkakapatid,
ako yung pangatlo sa pitong magkakapatid. So, mga siblings from eldest, si Glenn, tapos si Noel, Ako si
Michael, Si Joy, Si John, Si Gay, chaka si Peter Paul. So, pito lahat.
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Tapos father ko si Jose V. Blanco, kilala sa visual arts. Actually, family kami sa visual arts. Tapos sa mother
ko naman, si Loreto Perez Blanco, ayun graduate naman siya ng ano… ng… education, sa UST.
Father ko siya graduate ng Fine Arts, pero kaming mga magkakapatid iba’t ibang course ang kinuha namin.
So kuya ko graduate ng journalism, si Noel mass-com, ako literature, sumunod sakin kumuha ng commerce,
may AB English, Psychology, pero after ng graduation balik sa first love namin… visual arts.
[00:01:37]
J: Gaano katagal na po kayo dito sa Angono?
M: Mga 1960’s. Simula nung pinanganak ko
J: Yung parents niyo po dito po pinanganak??
M: Dito rin pinanganak. So, lolo’t lola ko dito na yan.
J: Ahh, so lehitimo ka po talaga.
M: Tapos yung mga [distant] uncle naming kilala rin sa.. si Juan Senson, [pintor] sculptor dito sa Rizal Area.
Tapos sa side naman ng mother ko si Pedro Piñon, pintor-sculptor din.
J: Marami pala…
M: So lahat naging artists.
[00:02:06]
J: Opo. Gaano katagal na po kayong artist? Since bata pa po ba?
M: Nag-start ako grade.., 10 years old. 54 ako, eh di 44 years na ako nagpe-paint.
J: So, paint lang po talaga yung..
M: ..ang course ko? Yung ginagawa ko? Hindi. Actually, ano kami, papanong ano yung papano ginagawa as
a..?
J: hindi po, ano po, di ba po, halimbawa po yung ibang group may sculpture, may music, ganon po.
M: Yung sa akin naman kasi, more on visual arts. Kaya lang, pagka sinabi mong visual arts, nandiyan yung
painting..
A: Sculpture.
M: ..drawings, pero gumagawa din ako ng sculpture, at nagdedesign din ako ng building. Yung building na
tinayo naming dinesign ko. So, 3-storey yun, kaya malapit sa puso ko ang architecture.. haha.. frustrated.
[00:03:03]
J: Pero hindi po kayo nag-take ng architecture?
M: Hindi nga eh. Sabi ko nga, oh kung ano gusto ko nga kumuha eh. Anyway, dun sa nagdedesign ako ng
ganon building, yung building na infirmary na itinayo namin nung wife ko, pina-design niya sa akin. So, pati
yung.. ah, doktora kasi yung asawa ko eh. So, nagtayo sila ng infirmary ospital sa may pantog, bali 4 storey
yung pinadesign sa akin, tapos yung dito sa.. yung una nilang ospital, ayun 3-storeys lang pero unti-unti yung
pagtaas niya. Tapos gumagawa rin ng.. nagluluto rin ako, nagsusulat din ako. Sa mechanical, nag-aano rin
ako sa mechanical, naglalaro din.. sa kotse mga ganyan. Nagse-set ako ng bracket ng mga engines, na-
dedesign ko. Basta sa ano.. basta sa design, nagagagawa ko.
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Kung ano yung kailangan ko, kung ano yung kailangan ko sa ganon klaseng design, ano yun.. yung mga
ganon… Nagagagawa ko naman.
[00:04:10]
J: Ano po ang naka-influence po sa inyo para mag-pursue po sa arts?
M: Unang-una family namin, tapos parents namin, at saka yung ano.. yung environment. Kasi dito sa bayan
ng Angono napakaraming artist, pero during our time.. na nagsisimula pa lang, talagang ang nakikita kong
artist ay tatay ko lang, yun.
J: Pati po yung wife niyo at saka yun mother niyo po..?
M: Ang wife ko bali, ano siya.. OB-Gyne. So, yung family nila mga doctor, pero tinuruan ko na mag-paint.
So nag-pe-paint na rin.
J: Yung mother niyo rin po?
M: Ang mother ko, ano siya..graduate nga siya ng ano.. ng education. Pero nasa 40’s siya, nag-ano na rin..
nag-paint na rin. Pero nung nasa college, nung may ginawa siyang thesis…kasi education ang kinuha niya,
parang elementary education. Siya gumawa nung ano… nung libro niya, siya nag-drawing. Kasi parang
visuals nga, yung mga A-B-C, yung mga ganyan. Doon ako, actually, doon ako lumaki sa libro na yun.
Binabasa ng nanay ko, nirerecite sa akin yung mga poems.
B: So, bali po yung father niyo po talaga yung pinaka-start po ng visual arts sa family?
M: Yung tatay ko graduate ng fine arts. Oo, sa family namin. Hanggang sa makilala namin sila Botong
Francisco, nakilala namin yung ibang mga artist din dito sa bayan, Senson.. Pedro Piñon na kamag-anak pala
namin. Tapos yung.. madami, hanggang sa nag-expand na yung ano.. yung kaalaman namin. Kasi, pinag-
aaralan na rin namin, nung later years na.., pinag-aralan namin yung iba’t ibang artists sa Philippines at saka
yung European artists, ayun.
[00:06:07]
J: Bilang artist po, sa tingin niyo po, paano po kayo nakaka-contribute sa Angono Community?
M: Dito sa Angono, di naman sa nagyayabang ako noh… hahaha, nung itinayo itong ano.. itong museum
namin, talagang ano dumami yung mga bisita namin sa Angono. Kasi noong araw, yung nagii-start pa lang
ang tatay ko, nandiyan yung Angono Ateliers, then nagkaron ng Angono Artists, na itinayo ng father ko. Ano
[namin], group ng artist na nag-eexhibit from time to time. [Nag-jojoin] sa mga, tawag diyan… sa mga
tradition namin. Halimbawa, yung carabao festival, sa..yung St. Clement.. San Clemente, ayan. Nag-jojoin
din yung mga artist noong [araw], sabagay hanggang ngayon naman nag-jojoin pa rin. Pero yung sa family
namin palibhasa, since 1978, nagkaroon kami ng first family painting exhibition sa National Museum at ang
naging goal namin bilang artist, i-record yung kultura at tradisyon ng mga Pilipino. So nag-travel kami sa
iba’t ibang province sa Philippines para mai-record yung kultura’t tradisyon nay un sa paintings namin.
Ngayon, yung mga paintings na yun, yun ang nakalagay dito sa museum.
Dati noong 1980, ang museum namin nasa 300 square meters area lang. Pero, sa 300 square meters area na
yun, up and down, ang design non local materials. Ang sabitan ng panel boards namin, hindi mga plywood,
hindi ganyan… sawali. Ang poste non kawayan. Ang sahig non, yung sahig na kahoy, tapos ang pinaka
ground floor, kung saan nandodoon ang mga paintings ng father ko, mga cobblestone na diyan namin
kinukuha sa may area ng Darangan. Yung mga batong ganyan tapos chinichip ng ganyan, mano-mano,
ganoong klase. Kaya nga, actually, sa ngayon gusto kong buksan yung ano, yung pinaka isang part ng ano
namin eh, bubutasan ko yung tiles, para makita kung ano itsura nung museum namin noong araw. Kung ano
yung materyales. Parang para part ng historical yun di ba.
[00:08:28]
J: Sa career niyo po na artist..
M: Nasagot ko ba yung influence namin? Kulang pa, kulang pa actually…

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Kasi noong nagkaroon kami nung museum noon, ang kauna-unahang nagpunta rito bisita, dadalawang bus
from Lucena.
A: Quezon?
M: Oo, Quezon. Doon nanggaling. After non, nagtuloy-tuloy na yung punta ng mga bisita rito. Pero sa
ngayon, palibhasa, noong 1990s, ni-renovate itong museum. Kasi, natatakot din yung father ko dati na,
palibhasa ang museum namin made of local materials: bamboo, kahoy, ganyan… baka masunog. Pag
nasunog, sira yung collection namin. Kaya 1990s, ni-renovate niya itong museum na ang plano niya itong
harapan lang. Pero habang tumatagal, nagkakaroon ng commission works, nadadagdagan din ang museum at
dumadami din ang paintings namin, ganon ang nangyayari. So, dumadami ang bisita rito sa museum at di
lang museum, sa Angono na rin. Kaya nangyayari diyan, nagkaka..parang pupunta sa museum namin,
malalaman na may mga artist din dito so, pinupuntahan na rin yun. Kaya, kaya dumating din yung time.. kasi
dati sa Angono, ang frontliner talaga dito Visual arts. Ang music nandodoon din, kasi kung tutuusin, ‘di
actually halos magkasabay. Visual arts, at saka music. Kasi yung [si] Lucio San Pedro, National artist sa
music. Si Botong Francisco naman, National Artist sa visual arts. So, halos magkasabay yung dalawang yun,
ganon. Kaya, yun ang nai-contribute namin sa bayan ng Angono. Nakilala rin ang bayan.
J: Pero totoo po malaki po ang na-i-contribute niyo po sa tourism ng Angono.
[00:10:25]
J: Nakaka..i mean, sa pagpe-paint po, nagkakaroon po ba kayo dito ng sustainable living, or kumikita po
ganon?
M: May mga nagpapacommission ng paintings sa amin. Minsan gumagawa kami ng mga paintings, in-
eexhibit namin dito sa museum. Sa gallery, sa gallery kasi iba yung museum, iba yung gallery namin. So,
nakakabenta rin ng mga paintings. Pero nakita rin kasi namin yung potential ng museum, na ipakilala yung
ibang mga bagong artists or yung ibang kilalang ng artists na gusto mag exhibit dito. Dito sa area namin,
yung isang gallery namin, actually malaki yung gallery na yun, di ko pa nasusukat pero.. mahigit 200 square
meters siguro yun. Mga ganon kalaki. So hinati namin sa tatlong ano yun, gallery one hanggang three. So
itong area na ito, ginawa an rin namin gallery. Nakaka-ano rin yun, nakakatulong rin para i-promote yung
ibang mga artist dito sa museum namin.
[00:11:37]
J: So, bukod po sa pagiging artist niyo po, may iba pa po ba kayong pinagkakakitaan? Parang ano,
profession?
M: Kasi ang buhay talaga ng mga artists, minsan may times na walang benta. So, kelangan pagkaalam mong
gusto mo i-pursue ang ganyang klaseng profession, kelangan naka-ready ka. So, nakagawa ka ng mga
paintings, palibhasa may mga times na di ka nakakabenta, kelangan pag-nakakabenta ka ng mga paintings,
ipunin mo yan. Gumawa ka ng isang business na makaka-rely ka dun kapag dim months. So, yung sa amin
naman, nagtayo kami ng ano, ng mga paupahan. So, nakakabenta ng paintings, nakakabili ng properties,
idedevelop, papaupahan, papatayo ng apartments, ganon. So yun nangyayari samin, kaya.. ayun din ang
pinagkukuhanan din ng ano..
A: Passive income?
M: Tapos isa pang, isa pa, yung nasa college yung mga anak ko noh.. siyempre mahirap din naman magpa-
college, may nabili naman akong back hoe. Pinapa-rentahan ko yun, eh ang renta ng ano, ng backhoe ay per
ora. Ayun, kumikita ako dun pagka-ano, Paminsan-minsan.
J: Malaki din po?
M: Malaki din kapag may project. Pero paminsan minsan lang yun, pero nakakatulong. So, yun mga ganong
klaseng mga sidelines.. may mga sidelines din, ayun.
[00:13:04]
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J: Part din po ba kayo ng artist group dito sa Angono?
M: Oo, Angono Artists Association. Tapos dun sa grupong Sining Angono, sinasama nila ko dun. Kaya lang
medyo parang.. kasi nasa Angono Artists ako eh. Kaya parang ayoko nung.. baka masabihan ako nung mga
ano.. ng mga kasamahan ko: “e nandiyan ka na pala e!”. Pero, actually, neutral ako. pagka-may nag-invite sa
akin na mag-exhibit, sa [halimbawa] sa grupo ng Sining Angono, at parang sinasama nila ako bilang member
ng grupo ng sining angono, proud ako dun. Pero, member din ako ng Angono Artists Association.
[00:13:50]
B: Yun po bang mga paintings, kasi po napansin ko na iba iba yung [artists], lahat po ba yung member ng
grupo ninyo?
M: Hindi, dito sa lugar na ito, “Pundahan” ang tawag ko dito e. “Pundahan” salita ng tagalog kaya lang wala
pa kong translation dito eh, hindi ko pa nailalagay.
J: Ano po ibig sabihin?
M: Ang “pundahan” kasi noong araw, kinukwento sa amin ng father ko, yun yung lugar kung saan nagkikita-
kita yung mga fishermen, doon kumakain ng champorado, doon nagkwe-kwentuhan bago sila pumalaot at
manghuli ng isda. So, yun yung “Pundahan”. Ano yung tanong mo? Ano yung tanong mo?
J: Yun po, kung anong part po kayo ng artist group.
M: Ah, ay yung sa iyo pala. Yung dito, yung naka-exhibit dito yung mga taga Pililia, itong lugar na ito. Pero
doon sa gallery one, naka-exhibit ngayon doon, yung kay Catherine, na ang medium naman niya yung
“atsuete”. “Anato” art ang tawag niya. Atsuete, oo. Di ba kulay pula yun, pinapakuluan.
J: yung seed po talaga? O yung katas po.
M: Yung ginagamit yung sa kare-kare, ginagamit sa spaghetti, yun.
J: Yung katas po o yung buto mismo?
M: Yung ano, yung katas. Kung may coffee art, siya mayroong “anato” art. Atsuete. Tapos dito naman may
isa pang naka-exhibit iba’t ibang artist naman pero ang title nila ay “Visional Diversus”. Iba’t ibang style,
iba’t ibang pananaw. Modern ang approach. Tapos doon sa isang part naman, gallery three, iba’t ibang artist
din, pero yun yung medyo maliliit na artwork, mga batang artist din. Upcoming mga artist.
[00:15:36]
J: Paano po na-form yung group niyo po? Yung artist group niyo?
M: Itinayo yun ng father ko. Mga 1978 yan.
J: Yung nag-start po yung group po na yun, ilan lang po yung members?
M: Siguro..mga… di... ko sure e, mga pito siguro.
J: Ngayon po ilan na po?
M: Wala pa kami non, kasi pito plus yung buong family member nung ano… pero ngayon, nasa sixty plus
kami e. Mga sixty-seven, mga ganon.
J: Sa tingin niyo po, yung pinakabuong grupo niyo po, paano po siya nakaka-contribute as a group sa
community po?
M: Nakakapag-contribute sa community? Sa anong aspeto?
J: Sa development po.
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M: Development ng community? Kasi dito sa bayan ng Angono, simula nung time na tinayo yung Angono
Ateliers, then nahati yung Ateliers, nagkaroon ng Angono artists, tapos nagkaroon ng iba’t ibang grupo na
ren. Actually, ang ganda ng ano dito e, kumbaga, may mga competition pero positive ang mga competition
na yun. Dumadami yung mga artist, sa bayan ng Angono.
Ngayon, bukod sa visual arts, kaya tinawag na Art capital of the Philippines yung Angono kasi di lang
naman visual arts narito eh, meron sa music, meron sa dance, meron sa literature. Yung mga sculpture,
architecture, culinary meron pa rin. So, kung titingnan mo yung ano, ang dami. Kaya tinawag na, kaya proud
yung mayor namin na tawagin Art capital of the Philippines ‘tong bayan ng Angono. So, yung mga artists na
continuous na nagpe-paint, nakakapag-ano sila, naipro-promote ang bayan ng Angono. Kasi ang nangyayari
diyan, kapag yung mga artist na yan e nag-exhibit sa ibang lugar, ganon din from Angono, sinasabi nila,
pino-promote nila “from Angono”. So, yung mga nagiging bisita nila doon, pumapasyal dito sa bayan.
J: Para makita rin po nila..
[00:17:47]
M: Ang nagkulang lamang dito sa bayan ng Angono, yung parang, paano mo i-hohold yung mga tourist na
dumadating dito. Kasi, ang tourist dito sa Angono, puro day tours. Mga day tour lang yung ginagawa.
Kumbaga sa ano, pupunta sa Angono, siguro maghapon narito then balik uli. Pero kung halimbawa,
magagawa rito sa bayan ng Angono, na maraming activities, iba’t ibang klaseng arts, may poetry reading,
merong dance, merong mga workshops, may mga pa-seminars, tingin ko, mai-hohold yung mga bisita nay an
para mag-overnight. Kasi once na mag-overnight yan, mas maraming sa [usaping] tourism, mas malaki ang
ganansya ng community.
J: Sabi niyo nga po, madami pong iba-ibang group sa.. Artist group sa Angono, sa tingin niyo po bakit po
ganon? Bakit hindi po isang group na lang? or may pagkakaiba po ba yung bawat grupo?
M: May iba’t ibang ano kasi, iba’t ibang pilosopiya, may iba’t ibang pananaw yung ibang artists. Buti nga
nagkakaron ng grupo eh, kasi ang artist talaga individual kung mag-isip yan. Meron mga extreme, mga
extreme kung mag-isip, meron naman masyadong passive, ganyan. Daming lamok, hehehe.
So, ang kagandahan ng kaya nagkakaroon ng ganon, iba’t iba yung parang ideyalohiya nila e. Iba’t iba e.. so
nakakapag-produce ng iba’t ibang artist diyan. May mga modern, meron traditional. Meron grupo naman na
magkakasama ang modern at saka traditional. Mga ganon.
J: Pero ano naman po, wala naman pong competition? Healthy completion?
M: Healthy competition naman. Unless dun sa una, dun sa unang grupo na talagang ano, pero healthy pa rin,
pero minsan meron diyan patutsadahan, ganyan. May ganon dati. Kaya nung mga times namin.. “tingnan mo
yang mga matatanda yan, tatanda na eh…”. Kasi kaming mga ano, medyo mas lalo na yung mas bata sa
akin, open sila sa iba’t ibang mga ideas. Visual arts pa lang yun. Kapag sa banda, marching band, nagsimula
sa banda uno, nagkaron ng banda dos. Ngayon eight marching bands na ang ano.. sa Angono. Walong grupo
na yung mga banda na yun. Tapos sa orchestra..
[00:20:04]
J: Ahh, yun po yung drum and lyre?
M: Hindi, yung musiko. Yung mga musiko. Ganon klaseng marching band. Sa orchestra ang alam ko dito,
apat yung grupo ng ano, ng orchestra. Yung mga violin naman, mga cielo, mga bass. Dati yung Angono
Chamber Orchestra dito nagpra-practice sa taas. Kaya lang yung dating nagpra-practice diyan, palibhasa,
nasa trabaho narin, masyado nagiging busy. kapag meron na lang silang parang concert, diyan sila nagpra-
practice dito.
Tapos sa theater, dito naman nagpra-practice yung PYTO, Phenomenal Youth Theater Organization. Pero
yung may mas nauna pa doon, na kung tawagin nila dito sa museum namin, bahay nila. Yun Tanghalang
Angono naman. Kay ano naman yun, kay Arnold Sanchez. Kapatid naman niya visual artist din, si Arturo
Sanchez naman. Yun kilala na rin yun. Tapos, meron pa isang group, yung One Dream One Music. So
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tatlong grupo yung sa theater arts. Kasi dito sa, itong lugar namin, palibhasa malaki…at saka ako napamahal
na sa akin yung humanities talaga. Siguro dahil din sa impluwensya sa akin sa college. Kasi ang kinuha ko
literature, e ang favorite subject ko e yung humanities, ganon. So nakita ko yung potential ng lugar na, bakit
hindi gamitin itong lugar na to para encourage yung mga kabataan na dito mag practice.
So, sa theater, orchestra, kahit marching band, nagpa-practice dito from time to time. Kaya lang marching
band ang daming miyembro non. Ang lalaki ng instrument non. Kaya pag nagpa-practice sila, dito lang sa
taas. Kasya naman sila diyan. Pero kapag tumugtog, rinig ng bayan. Ang ganda. Tapos sa bukod pa yun sa
visual arts. Andami e, iba’t ibang art forms talaga.
So, isang iniisip ko talaga dito sa lugar namin, maging art hub. So iba’t ibang klaseng art forms pwede dito.
Kaya ang ano ko dito, puro expansion, dinedevelop kung ano ang kaya ng ano.. ng bulsa.
J: Tulong-tulong naman po yata kayong magkakapatid sa pagpapa-renovate?
M: Ahh.. pwede. Hahaha. Pinoy henyo e no? Pwede. ‘Di kanya kanya kasing ano.. busy na rin kasi, kanya
kanyang pamilya na rin. So yung ginagamit namin pang develop dito yung mga entrance fees. Yung mga
bisitang dumadating, pero yung mga importante nandiyan yung mga paintings nila. Nandiyan yung paintings
namin, at saka nakakatulong sila dito sa mga moral support. Mga ganyan.
[00:23:00]
J: Bilang ano po, part of Angono community, ano po yung nakaka-proud po para po sa inyo bilang part po ng
Angono?
M: Ano nga ba… Actually, lahat eh. Ano nga ba yung lahat. Hehehe.
B: Lahat nung art?
M: oo Lahat, kasi sa akin, pagka.. Heto, kapag nagpunta ka sa ibang lugar, pag sinabi mong taga-Angono po
ako. Sasabihin nila, “ahh, taga-Angono ka! Ang bahay ng mga artista.”, yun pa lang. Ngayon kung
palalalimin mo yung mga sinasabi nila na ganyan, makikita mo na yung mga taga-Angono na kumukuha ng
mga trabaho sa ibang companies na art related, ang dali nila makapasok sa work. Yun yun, advantage yun.
Ngayon kung palalalimin mo pa na “bahay ng mga artista”, talagang makikita mo yung iba’t ibang klase ng
art forms narito. Tapos yung tradisyon namin na fiesta ng Angono, San Clemente, ito pinapalakas ko yung
ano e.. yung Carabao Festival. E ibig sabihin, i-introduce ko, ipapasok ko yung mga malalaki kong kalabaw
sa Carabao Festival. Kasi yung bayan ng Angono kilala sa Higantes e di ba. Ngayon, yung San Clemente,
yan yung mga higante na mga tao pinaparada palagi kapag fiesta. Ngayon nag-introduce ako dati, wayback
1990’s din ng malalaking kalabaw. Yun binubuhat namin dati yun. Pero nag-evolve siya, yung mga
malalaking kalabaw na yun, ginawan ko ng katawan, tapos mayroong gulong. So, yung mga bata
nakakaakyat dun sa ibabaw ng kalabaw. Nagbabato ng mga kendi kapag habang mayroong parada. Yung
mga ganoong klase. So ibig sabihin, dito sa bayan ng Angono, yung art is talagang buhay na buhay. Patuloy
na nag-e-evolve yan. Lumalaki.
[00:25:33]
J: E ano naman po yung mga bagay na hindi kayo proud?
M: Ano nga ba..bigyan mo ko ng sampol? Hahaha. Wala kong maisip e. Kasi ang pananaw ko palagi, sa akin
kasi palagi akong positive. Pwede yung ganito, kapag may problema, gagawan ng solusyon, yung mga
ganon.
B: Parang ano na lang po, yung [problema ng artist]?
M: Support ng government. Kung titingnan niyo yun as ano yun..Actually ang government kasi sumusuporta
naman talaga sa mga artist dito. Di wala rin eh, sumusuporta rin eh.
B: Sumusuporta pero di lang masyadong..?
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M: Yung financial, talagang ano yun, di masyado sa financial. Siyempre, kinakailangan kasi.. ewan ko.
B: Maraming paperworks?
M: Pero kahit papano meron, nagbibigay naman sila ng support sa iba’t ibang artists. Eh ako, sa akin ang
diskarte ko kasi kapag halimbawa, kailangan ko ng supporta ng government, lalo na financial, mag-aano
muna ako eh, sa akin muna manggagaling. Kapag di ko kaya, saka ako humihingi sa kanila eh. Pero kapag
humingi ka naman sa kanila nagbibigay naman.
B: Based po don sa sinabi niyo nga na government, isa po ba yun sa pinakamalaking problema ng mga artist
dito kaya hindi sila..
M: Actually, hindi e kasi supportive naman yung government namin sa artists. Nag-iisip nga ako ng ano e,
ng di maganda, hahaha.
B: Mahirap mag-isip ng di maganda eh.
M: Mahirap mag-isip ng di maganda kapag ang pananaw mo ay positive e no? ganon eh. Wala, actually, sa
ngayon, wala akong maisip na di maganda. Depende sa pananaw, pag mga artist ang tatanungin mo,
maraming sasabihin yan. Hindi, nasanay lamang ako na ganon. Na yung mga halimbawa e, maliliit na
problema, sosolusyonan ko. Wala, bakit ko pag-iisipan yung mga ganyang bagay di ba? Ang ikli ikli ng
buhay ng tao bakit ka..
[00:27:56]
J: … gagawa ng problema. Kung kayo po yung mag-dedecide na gagawa po kayo ng isang buong Artist
Village, ano po yung na-eenvision niyo?
M: Artist village. Okay ah, dito sa museum namin kasi, actually, ito yung parang baby ko rin eh. Okay,
tinayo ng tatay ko itong museum namin as a museum ng family of artists. Pero nung nagpass-away yung
father ko, yun yung time na nakita ko yung potential nitong lugar. Na bakit hindi ko i-open sa lahat ng artists.
Actually, yun yun eh. Yun yung, sabi ko, ang laki-laki ng lugar, bakit hindi gamitin ng mga iba’t ibang
artists. So, dun ako nagi-start dati. Ayun, palibhasa, gumaganda na rin ‘tong museum, naaayos na. Ang isa
kong gusto gawing project, yung nandoon naman sa ano, sa bandang taas din dito. Yung sa may papuntang
Village East. Meron kasi kami doon 3.5 hectares na lupa na raw land pa rin. Pero, since 6 or 7 years ago…
kasa-kasama ko na yung backhoe ko doon. Medyo dinedevelop ko. Pero ang design kasi noon, kasi rolling
yung lugar eh. Nandoon yung terrain, maroon don parang area na pwede sa ampitheatre. Meron lugar para
dun sa mga pang-seminars. Meron lugar para sa pang.. parang ano team building. So ang inaayos ko dun
yung parking. At saka yung ano dun, pagka dinevelop yung lugar na yun, di ko puputulin yung mga puno.
Yung structure ang gagalaw, iikot dun sa mga puno na yun. Ganon ang nakikita ko roon.
Tapos, ano ang laman ng lugar na yun… ah, strategy para sa lugar nay un. Palibhasa ang mga bisita rito,
dumadami na rin sa Angono. Usually umaakyat sila doon sa Angono Petroglyphs. Pag galling nila sa
Angono Petroglyphs, baba ngayon papuntang bayan. Sa bayan makikita mo yung iba’t ibang museums dito,
iba’t ibang galleries, may mga kainan, may mga accommodations na rin. Pero yung lugar, kung saan mo
makikita yung iba’t ibang artists na gumagawa ng mga trabaho nila. Let’s say, pwede sa painting, pwede sa
sculpture, pwede sa weaving, pwede sa weaving ng rattan, weaving ng kawayan, weaving ng mga tela, yan
mga ganyan. Pwede doon ilagay. So kasama doon, pwede magkakaroon ka doon ng convention area. Meron
ka isang lugar para sa stage o para sa amphitheater. Para kung sa presentation, nandodoon din. More on arts
palagi. So, paano naman, kasi sa totoo lang based sa experience ko rin ano, itong museum maganda, marami
nagpupunta. Pero, sa pag-attend ko ng mga seminars sa tourism, yung mga ganitong klaseng establishment,
hindi sila yung kumikita talaga. Ang kumikita accommodations, ang kumikita pagkain. So kung halimbawa
yung lugar nay un madedevelop, lalagyan ko yun ng area na para sa mga ganon. Stalls para sa pagkain, isang
lugar para sa accommodations. So, makakapasyal ka doon sa loob, ma-eexperience mo yung iba’t ibang art
forms. Pwede ka magi-stay doon, pwede ka kumain doon.
J: Opo, Andoon na po lahat..

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M: Oo, pero yung lugar na yun hindi para kalabanin yung narito. Yung lugar na yun gagamitin din para i-
promote yung, artists dito sa bayan. So, ngayon kapag makakapag-organize ngayon ng, halimbawa mga tour.
Halimbawa, nandodoon. Okay mayroon tayong tour sa Angono, pupunta tayo sa kina Boy Mata, kina
Obidyo, kina Orville, kina Nemimiranda. Pwede tayo makipag-usap doom. Art experience. So ganon. Yung
isa pang pananaw ko dito is para hindi ano e, tatayo tong structure, pagagandahin para kalabanin yun, hindi
ganon.
B: Para mas lalo lang tumibay..
M: Oo, Itatayo yang ganyan klaseng institution, para i-promote yung nasa paligid mo. Kasi pag pinromote
mo yang nasa paligid mo, hindi naman yan ang target mo talaga eh, pagka-titingin ka ng ganyang pananaw,
kailangan mas malayo. Kung kunyari narito ka sa bayan ng Angono, nandiyan yung museum, Blanco
Museum. Nandiyan yung community, hahatakin mo itong nasa paligid na magpunta dun, di ba. O di lahat
masaya. Ganon ang pananaw ko.
[00:32:58]
J: Nabanggit niyo po kanina, di ba po, sabi niyo nga po…
M: Exciting ano! Hehehe.
[PART 2]
[00:00:01]
J: …Ang Angono po ay Art Capital of the Philippines. Pero nag-conduct po kasi kami ng survey sa school
po namin, isang question doon sa survey namin, “Kung alam po ba nila kung ano ang, kung saan ang Art
capital of the Philippines.”. Karamihan po ng mga nakasagot, hindi po nila alam. Sa tingin niyo po bakit po
kaya?
M: Pamilyar ba sila sa art?
B: Architecture po kadalasan.
J: Siguro po, Architecture po yung course namin.
M: Architecture, pero, ang ano kasi, pag sinabi mong sa art, hindi lang naman sa ano yan eh, di naman
tungkol sa architecture.Usually pag pumasok ka ng Architecture, nasa point of view mo, paano mag-design
ng buildings, yung mga structural, mga ganyan. Pero pag sinabi mong arts kasi, nandiyan yung, yung
talagang ano, dance, yung music, visual arts, na kapag yung mga estudyante pamilyar sa humanities,
malalaman nila yung bayan ng Angono. Ganon yun. Kaya minsan pagka-tatanong mo sa estudyante, kahit
dito sa Angono e. “Alam niyo ba na ang bayan ng Angono ay art capital of the Philippines?”. “Hindi po!”,
kasi kulang sa education. Na halimbawa sa ibang bansa naman, ang binibigyan nila ng priority sa pagtuturo
yung arts din di ba. So pino-promote nila yung bayan nila, yung bansa nila. Bayan, then bansa nila. E sa atin?
Kulang pa. Kulang pa talaga. Saka isa pang ano dito mga festivals ano, sabihin mo yung Sinulog Festival,
may mga nagsasayaw. Tapos doon sa ibang lugar, ganon, parang nagrereplicate na lang yung mga ganong
sayaw dun sa.. yung street dance. Kaya parang nagkakapare-pareho na lamang yun.
J: Iba na lang po yung tawag.
M: Oo, pero yung pinakamalalim talaga doon na, halimbawa sabihin mo, nagpunta ka ng Vigan, yung
heritage nila na.. Anong street ba ito?
B: Crisologo.
M: Kalye Crisologo. Crisologo no? Tama. Yun, tingnan mo yung kasi usually nai-cocompare ko yung kalye
Crisologo sa bayan ng Angono, nasabi ko dun sa mga ano dito, sa mga artist din dito sa lugar namin,
“tingnan mo yung sa Vigan, ang pinagmamalaki nila isang street. Na-i-maintain nila yung structure nung
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lumang Vigan. Pero tingnan mo, talagang dumadami yung mga tao diyan, yung mag bisita.”. Sa atin naman
kasi, ang Angono kasi, ang mga artists buhay. Tayo gumagawa ng mga artworks. So magkaibang klase di ba.
Pero sa atin, pwede ka mag-ano ng art experience. Pero dun sa Vigan, i-aappreciate mo yung nakikita mo
ngayon doon. Ano yung history pabalik. Pero dito sa Angono, pwede mo i-check yung, from halimbawa,
simula kina Juan Senson na mga artworks, to the present, at saka ano pa yung pwedeng gawin ng artists dito
sa bayan ng Angono.Ganung klase. Kaya maganda.
[00:03:21]
J: As an artist po, paano niyo po i-eencourage yung younger generation na mag-pursue sa arts?
M: Nag-coconduct kami ng mga workshops. Yung talagang mahihilig sa arts. Tulad nito, nagpa-plano nga
kami ng workshops sa Angono Elementary School. After nung 3-day na workshop ko, gagawa kami ng
murals.
J: Sa school po nila?
M: Sa school nila. Kaya lang sa ngayon nagkwe-kwenta ako ng mga gagastusin.. ang hawak ng nag-sponsor
eh four thousand pa lang. Magkano na yung pintura, magkano yung roller, kasi yung mga bata doon tuturuan
ko gumamit ng roller saka paintbrush na malalaki na e. Kasi mural nga gagawin e. So, roller pa lamang
fourty-five pesos. Ilan yung tuturuan ko, sixty. Di magkano, gaano na karami yun? Tapos yung tig-i-tigisang
brush.
A: Pintura pa.
M: Pintura pa. Kaya…ewan ko. Tatanong ko nga sana kung pwde i-postpone yun, depende dun sa magiging
makukuha na sponsorship. Kasi, ang nakikita ko doon, ang mga bata kapag… elementary kasi e, grade four
hanggang grade six. Yan muna tuturuan ko para gumawa ng mural. Pero yang mga batang yan ang tingin ko,
pag gumawa sila hanggang half-day lang e. After ng half-day na yan, di mo na maasahan yan. Mapapagod na
yan, tatamarin na yan. So sino yung makakatulong ko doon, yung ibang artist pa rin na narito sa Angono.
Yun ay kung, pwede lamang na “Gratis”. Kasi wala naman bayad yun eh. Ngayon, kung halimbawa, Gratis
yun, sana man lang meron pang-ano, pang-ano sa kanila. Yung…
J: ..Pa-merienda man lang po sana.
M: Tawag dun, “Paminto”. Hahaha. Hindi, nakuha ko yung term na “paminto” e kapag halimbawa e dun sa
construction namin e. E di bumali sakin yung labor, “Sir, bali po muna ako para may paminto ako”, “Ano
yung paminto?”, “Pasalubong po dun sa asawa para hindi mapagalitan.” Hahaha.
“Paminto”. Kasi, Pinto eh, pinto di ba, pag-papasok ka sa loob ng bahay, nandodoon na yung asawa mo
naghihintay sa iyo. Meron ka pang-alay.
R: Pang-konsolasyon.
B: Suhol yun, suhol.
M: Suhol. Tawag namin paminto. Dun ko nakuha yung term na yun eh.
J: So yun lang, salamat po.
R: To close po yung interview, ano po yung message niyo po sa younger generation na gusting i-pursue yung
arts?
M: Unang-una, parang yung sinabi ko rin sa mga anak ko dati. Alamin niyo muna kung ano talaga yung
gusto niyo i-pursue sa future. Kasi, mayroon talagang buo na sa sarili nila kukuha sila ng arts, ng fine arts.
Pero kapag kumuha ng ganyang fine arts, hindi naman palaging smooth sailing palagi yan. Kahit na anong
klaseng profession, Di naman smooth sailing palagi. Kapag gusto mo kumuha ng doctor, di siyempre
kailangan desidido ka dyan dahil kapag nag-doktor ka naman, iba naman yung challenge na ma-encounter
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mo doon, puro aral. Mabubuhay ka na nag-aaral. Ganon yun, habang matanda ka na, nag-aaral ka pa rin.
Parang yung asawa ko nag-aaral pa rin. Pero sa visual arts, sa mga bata talaga no?. Yung mga nagi-istart pa
lamang, siyempre kailangan matutunan niya yung mga basic. Pero habang, nag-aaral sila noon, kailangan,
mag-set sila ng standard. Maghanap sila ng mga artists, na yung mga artworks tingin nila napakaganda para
sa kanila. Para meron silang tatanawin, na yun ang dapat ko na ma-achieve bilang artist.
Ngayon, habang tumatakbo yung panahon na gusto mo ma-achieve yung ganoong klaseng trabaho, actually,
makakabuo ka ng sarili mong style. So yun yung sinasabi sakin ng tatay ko dati, na kapag mayroon kang
sinet na mataas na standard, meron kang aabutin na isang artist, [anong] klase ng artist. Eventually, sabi ng
tatay ko, “kung hindi mo man maabot yung ganoong klaseng artwork, ganoong quality, at least half-way
maabot mo man lang.” Pero, habang tumatagal nga yun, tumatanda rin ako, yun naman yung nakikita ko. Na
medyo naka-base rin dun sa itinituro ng tatay ko na…mag-set ka ng mataas na standard, abutin mo yung
klase ng quality ng artist na gusto mo, pero habang inaabot mo yan, makaka-develop ka ng sarili mong style.
Ang importante doon, bilang artist, o kahit anong klaseng profession ang kunin niyo, meron kayong
direksyon. Hindi yung paliko-liko na ganyan at tandaan niyo, napaka-ikli ng buhay ng tao. Napaka-ikli.
Gaano kayo katagal mag-aaral? Then after nung pag-aaral niyo, pupursue niyo yung profession na gusto
niyo. Ilang taon lamang yun? So, para hindi masayang yung panahon, mag-set kayo ng direksyon. Kaya
yung sa akin naman, kung mag-plano ako meron yung kailangan ma-abot ko ng three years, five years,
fifteen years, twenty years. Ano ako after twenty years? Mga ganon klase. So at least, sa ganoong paraan,
may direksyon ka pa rin.
Pero ang wag niyo kakalimutan, mahalin niyo yung gusto niyo talaga. Kung gusto niyo maging artists,
mahalin niyo yung pagiging.. yung mga artworks na ginawa niyo. Mahalin niyo yung talent na binigay sa iyo
ng Diyos. Tulad ng gusto niyo maging doctor, mahalin mo yung pagiging doctor mo saka yung talent na
binigay sa iyo ng Diyos. Ganon din, kahit anong klase ng profession. Pare-pareho lang yan. Kumbaga, may
kanya kanya tayong pwesto.. sa mundong ito. Artist ka… maging artist ka. Pero kailangan ang outlook mo,
parating positive. Sa ikli ng buhay ng tao, wag ka mag-indulge sa negative. Kasi nakakahawa iyon. Pag
nakahawa ka ng negativity, kawawa naman yung ginagalawan mo. Pero kapag positive ang outlook mo,
makakahawa ka ng positive din. Mas masaya buhay ng tao… Di ba?
J: Maraming salamat po sir!
[End of interview]
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Name of Interviewers:
Jennifer De La Cruz (J)
Rietschle Carpio (R)
Angelo Joseph Semania (A)
Jediah Mapoy (JM)
Janoa Bianca Galang (B)
Interviewee: Richard R. Gappi (RG)

Time: 11:00 am
Date: January 17, 2020
Location: Municipal Library, Municipal Hall, Angono, Rizal
[Start of Interview]
J: Pwede po pakilala po kayo tapos short background po tungkol sa personal life niyo as an artist.
RG: Ako si Sir Richard Gappi, ang kasalukuyang Tourism, Culture and Arts Officer 2 ng pamahalaan ng
bayan ng Angono at adviser din ng artist group na Neo-Angono Artist Collective.
J: Gaano katagal na po kayo dito sa Angono?
RG: Kami ay di naman talaga taga-Angono, pero we have been here in Angono for, since 1983 or mga 30 or
35 years.
J: Dito po kayo pinanganak?
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RG: Hindi, Mandaluyong, pero grade elementary, dito kami lumipat.
J: Isa po kayo dun sa artist dun sa group niyo po?
RG: [Oo], yung grupo naming Neo-Angono Artist Collective ay binubuo na yan ng lahat ng seven arts. So
hindi lang ito mga pintor, meron din mga musician, makata, literature, cultural worker, musician, theater,
film makers. So mas bata yun, sama sama kami.
J: Ano po kayo doon?
RG: Doon ay sa literary ako dahil sa poetry yung ginagawa ko, sa Literature.
J: Gaano na po kayo katagal na artist?
RG: Sa sining ng pagsusulat, bilang isang journalist at makata, nagsimula kasi ako noong nasa UP pa ako,
UP Diliman, noong 1991 bilang campus writer. Then eventually, tumula. Siguro mga 19, 21, siguro mga 30
years na rin ako nagsusulat or 25 years nagsusulat.
J: Ano po ba ito? Hilig niyo po ba ito talaga or may nag-encourage lang po sa inyo na maging poet?
RG: Siguro hilig na rin at naging part na rin ng sistema ng katawan ko.
J: Bukod po sa inyo, sa member po ng family niyo, meron pa po bang ibang artist?
RG: May kakambal ako isang architect at member ng artist din, pintor. So yun ang ano niya.
J: Ano po ba yun, nai-encourage niyo po ba siya? Or gusto niya po ba talaga yun?
RG: Hindi, kasi nasa hilig na rin niya yun, Architecture. Tapos tropa namin dati nag-aart, kaya nahilig na rin.
J: Member din po siya ng group niyo po no?
RG: Oo, dati pa yung Angono Junior Ateliers, Angono Ateliers Association. Tapos ngayon, Neo-Angono
kasama rin namin sa Giant Dwarfs Art space, yan.
J: Sa tingin niyo po, yung pong art na ginagawa ng group niyo, paano po ito nakaka-contribute sa community
po ng Angono?
RG: Ang unang ambag nito siyempre, sa larangan ng promosyon. Siyempre, yun nga, yung sense of
community and pride ng community bilang bayan ng mga artist. Kami bilang manunulat, ang gusto rin
namin maitampok bukod sa musika or painting o visual arts, mayroon din din siyempreng manunulat, at
makata para ganap maging isang Artist Village ng bayan ng Angono.
J: Sa tingin niyo po ba, yung pagiging artist or part ng artist group niyo nagkakaroon po ba kayo ng stable na
income, ganon po? Napagkakakitaan niyo po ba itong group ninyo?
RG: Yung question mo kasi yan ay question din kung ito ba ay main source of livelihood? or ito ba ay
katulong lang? or ito ay part ng passion? Sa case ko, di naman kasi ako full time na writer. Wala talagang
mabubuhay diyan na full time. Siguro may ma-iinterview ka na artist na full-time na artist na. Siguro sa akin
part ng passion ng advocacy yung pagsulat nung, sining ng pagtula o sining ng pagsusulat.
J: So bukod po dito, meron po kayong ibang pinagkakakitaan?
RG: Oo, ito primarily bilang isang government employee. Pero kaugnay pa rin sa arts and culture.
J: So bilang part po ng Neo-Angono Artist Collective, Paano po nag-umpisa itong group niyo?
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RG: Ang grupo namin ay nag-start noong 2004 at ako yung na-halal na founding president. Ang Neo-
Angono Artist Collective, katulad ng nabanggit ko ay binubuo ng iba’t ibang mga artist. Kapag sinabing
artist, hindi lang ito pintor o musician, sama-sama na lahat. Ikalawa, ito ay binubuo mostly ng kabataan. Ito
yung third generation of artist in Angono. Sila yung mga anak nung matatanda nung nauna. Yung nabasa
niyo sa libro, unang artist group dito yung Angono Ateliers Association noong 1975. Sinundan ng Angono
Artist Association, 1977. So ito yung mga tatay noon, mga anak nito, apo, ay yoon na yung mga members.
Kasi ang first generation na kino-consider namin ay sina Juan Senson, yung pinaka nung panahon ng kastila.
Si Botong Francisco, Lucio San Pedro, yan saka yung mga matatanda na. Like si, of course si Lucio San
Pedro sa music, Ang Salvador Juban, yung mga medyo matatanda. Tapos yung medyo mas bata doon sa age
nila na mga tatay nitong mga kasama nga namin, yan ang second generation. Kami yung third generation.
Mga anak, pamangkin, apo.
R: Ah bali, kaya po Neo-Angono yung…
RG: Kaya siya naging Neo dahil bago na, o hindi na lang wall bound yung artist dito creative process. In
terms of themes at saka yung process nung ng creativity, di na nga lang sya wall bound, tapos kumbaga alam
niyo yun, may interaction na yung iba’t ibang art form habang nagpre-present. Halimbawa, sa poetry, meron
ka na rin performance. Sa artwork, meron ka na rin, sound art, meron ka na rin poetry, yung mga ganon. So
yung mga interconnection ng mga art forms mostly doon kilala yung Neo-Angono. Kasi itong unang
dalawang group na ‘to, Ay mostly mga wall bound lang mga yan, mga pintor lang mga yan.
R: So hindi na po siya yung traditional?
RG: Oo, hindi na siya traditional. Bagaman, maraming pintor doon sa amin.
[00:07:04]
J: Noong nag-start po yung group ninyo, ilan members po kayo nag-umpisa?
RG: Siguro, mga twenty kami noon o twenty-five, ganon.. hanggang sa ano..
J: E, ngayon po ilan na po kayo ngayon?
RG: Kasi ang grupo namin ay dahil hindi lang ito ano, siguro mga sixty plus kasi meron kaming member na
sa Maynila. So ayun pa pala, yung unang dating dalawa, puro tiga-Angono lang. Ngayon parang open na
kami ng siyempre mga taga-Maynila, kakilala, kaibigan, mga sa ibang bansa, mga ganon. So mas nagging
open yung grupo.
J: So yung member po ninyo..?
RG: Pero yung bulto non, bulk noon, marami dito tiga-Angono, siguro mga thirty, fourty mga tiga-Angono.
J: ahh.. Hindi po lahat?
RG: Oo. Kumbaga in terms of passion sa art, meron na rin kaming mga member na tiga-ibang bayan yun.
J: Sa tingin niyo po, paano nakaka-contribute yung group niyo as a group of artist sa community po ng
Angono?
RG: Tatlong bagay yan. Una, siyempre, yung grupo namin siyempre yung sa pagpapatuloy ng sining. Sa
pag-aambag na sining bilang isang espresyon, na hindi lamang kumbaga yung paglilikha nung sabihin na
nating, mas bago at ambag na perception sa sining. Ibig sabihin nito na hindi na lamang wall bound
pagsisining, kung ‘di kailangan din ma-utilize yung iba’t ibang art forms. Pangalawa, in terms of promotion,
siyempre ambag ito sa paglalatag sa pagkaka-kilanlan ng bayan. Pangatlo, mayroon din kaming
isinasagawang mga workshops, so part ito ng community service namin. So tatlo yung ano namin, ganon. Sa
mga artist kapag may mga exhibit, siyempre kapag may nabebenta, nakakatulong.
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B: Yung kinikita po bang artist pano nag-gegenerate?

RG: Depende yun, sa halimbawa, kung mag-aartist group ka, parang gallery mo din, halimbawa, price ng
painting mo ay sampung piso, may patong ng limang piso kunyari. Tatlong piso yung sa gallery, dun yung
ano. O kaya dahil member ka doon sa Neo-Angono, pag may exhibit kami as grupo, ang painting mo
sampung piso, ang dalawang piso doon, sa pondo na napupunta sa grupo, yung mga ganon.
R: Parang may pledge po yun? Parang ganon, parang may percentage po talaga?
RG: Oo, yun lang ganon lang. Para maka-ipon din ng pondo yung grupo. So ang nangyayari halimbawa, ang
artist’s price mo ay ten pesos, gagawin mo ng fourteen pesos. Para d na maapektuhan yung ten pesos na base
lang ng artist’s price mo, ganon.
[00:09:50]
J: Saka napansin din po namin ang dami pong mga artist group ng Angono. Bakit po ganon, meron po ba
kayong iba ibang style ng per group?
RG: Alam mo naman katulad ng lahat ng sa grupo, katulad nung [ni-raise] natin kanina, unang artist group
dito yung Angono Ateliers Association, 1975. Siyempre, parang umuusbong yan na mga grupo, may mga
nag-be-break-away, dahil sa usaping organisasyon, attitude ng sino mang ganyan. Bahagi yan sa pag-lago ng
isang samahan. Ngayon, halos may lima na kaming primary na mga groups. Meron yun nga, Angono
Ateliers Association, Angono Artist Association, Neo-Angono Artist Collective, Cactus o Kuta Arts Group,
tapos sining Angono. Yan pa yung mga main. Tapos meron pang ibang mga school based, na nandiyan lang.
J: Pero wala naman pong competition sa mga groups?
RG: Ang competition, siyempre lagi lang nandiyan. Pero friendly competition yan saka magkakatropa pa rin
yan. Halimbawa, kapag narito, kapag may exhibit yung isa, hindi mo itatapat sa ano niya eh..
R: May respect at walang sapawan.
RG: Oo. Tapos pupuntahan mo rin kung kaya mo, pupuntahan mo siya, pupuntahan mo dito. Katulad ng sa
mga gallery, gallery dito mga apat kami o lima, So sa isang buwan dahil may monthly activities yan. Mag-
seset yan ng iba’t iba, di nag-sasapawan.
B: So kahit papano, nag-uusap usap naman yung mga artist groups?
RG: Siyempre, malamang kung may FB ka, ahh..tingnan ko. Halimbawa kami ang opening namin, weird e
kasi 15 eh, mga ganon time. Yung iba 1, 2, 7 sila ganon.
J: Pero nagkaron din po pagkakataon na lahat po ng artist group ng Angono merong iisang event?
RG: Ahh, halimbawa Angono Ateliers Association was founded in 1975. Lahat na ng artist yun in honor of
Botong Francisco, who was a name a national artist. So, dun nabuo ang Angono Ateliers Association. Tapos
yung last time na sama-sama namin itong year na to, last November, nung ano namin, nung Piesta.
Nagkaroon kami ng exhibit sa kalsada malapit sa simbahan. Parang public art, naroon lahat ng grupo na
sinabi ko, yung lima pati yung mga independent artists.
R: Pero po yung as in organization?
RG: Wala. Kahit yung munisipyo di niya magagawa yun. Magagawa niya lang pagsama-samahin as exhibit.
Pero hindi mo mabubuo yan.
R: kasi rin, Iba rin po ban g ideas?
RG: Saka parang sinasabi ng alam mo naman yung “Unity in Diversity”, alam mo naman yun. Mga kakilala
mo na mga ganyan, kumabaga ang focal point ang unity yung art, yung sining, exhibit, bayan. Pero kung
73
hahalughugin mo pa yung naging ka-relasyon nila, nagkasakitan ng loob, ganyan, hindi mo talaga ma-aano.
Tapos pagka sa munisipyo pa, o mga politika, siyempre alam mo naman yung politika minsan nagagamit.
So, yun lang yun. Isa yun sa mga magiging parang.. ano e, pilit kung pagsasama-samahin sila sa isa.
[00:13:08]
J: Bilang artist po, ano po yung isang bagay na nakakapag-paproud sa inyo bilang part ng community po ng
Angono?
RG: Yun, sabi ko nga, patunay nga ang bayan ng Angono is isang bayan ng mga malikhain. Ikaw bilang
isang manunulat, o isang bilang or kasapi ng artist group, ay nag-aambag dito. So maliit man o malaki, sa
larangan ng sining, nakakapag-ambag ka doon sa pagkakakilanlan ng bayan at doon proud ka. Bukod sa
kumikita nga dun primarily, pero alam mo na nakakapag ambag ka sa pagkakakilanlan, yung identity ng
bayan.
J: Kung proud po kayo doon, ano naman po yung bagay na hindi po kayo proud?
RG: Siyempre, kailangan mo pa rin i-ano dun dahil sobrang passionate mo, o kaya katulad ng iba, kailangan
mo rin talagang maramdaman yung full support. Di lang ng local government niyo, kung hindi the
community itself. In terms of halimbawa, bumili ng painting, mag-sponsor. Di lang usaping promotion, yung
mga ganon. Pero yun ang ano doon, yun ang isa sa mga challenge nga.
R: Na-mention niyo po sa book na may nagsasabi na overrated daw po yung Angono as a creative city dahil
parang irrelevant daw po yung dami ng artist, para siya tawaging creative city.
RG: Ang creative city hindi pa naman inaangkin ng Angono yan kasi parang proposal pa lang din yan e.
United Nations, UNESCO term as creative city. Medyo subjective yung overrated kasi mahirap sabihin na
overrated. Kasi wala naman measure talaga katulad sinabi na art capital kung papasok tayo doon. Ang
pagiging art capital ng Angono ay una talagang katulad lng sa marketing nila ginamit to establish as a
branding ng marketing.
R: May balak po ba na i-push na may legal document para i-support yung claim?
RG: Di ba, katulad nung na-ano ko, kay Gloria Macapagal-Arroyo, yun palang ang unang request noon,
2003. Pero, pumunta nga dito si Gloria noon, tapos sabi “oh gawa kayo ng Executive Order”, yung dati na
taga-Angono din na energy secretary..si ano.. di naman niya nagawa. At saka magiging parang politicized e
kapagka inano mo na e, di ba. Halimbawa ang Baguio, ang Negros, ang Cebu, yung mga ganon. So mostly,
ito ay isang branding lang katulad lang yan ng Shoe capital ng Marikina, di mo naman ipapa-ano sa NCCA o
sa pangulo na.. ano lang yan pagkakakilala lang, branding. And, nasa komunidad na yun kung patuloy
niyang pagtibayin at patunayan… at wag pabayaan.
[00:16:01]
J: Ano pong masasabi niyo po tungkol po doon sa Artist Village?
RG: Naku, yang konseptong Artist Village na yan, 1990’s pa yan. Sa Angono? Mga di pa kami nirarayuma,
narinig na namin. ‘Di ang nangyari, actually, 1990’s yan. Tapos kambal ko si Raymond gumawa pa nga yan
ng Artist Village na concept na yan ang thesis niya nung college doon sa taas yan dapat sa may East Ridge,
dun sa may ano, yan. Ang Artist Village, sa simpleng salita, ay parang isang housing area o community na
naroon lahat ng mga artists. Problema sa nagging ano doon, e unang-una yung lugar mismo, dahil maliit lang
ang Angono, wala na siyang lugar talaga. Lalagay mo sa bundok, accessibility. Di mo naman mechanically,
mapapapunta lahat ng artist doon di ba. So, magiging mechanical siya.
B: Pinakita po samin yung proposed.
RG: Dati pa yun, at saka marami na di lang kayo katulad nung mula nung umupo ako dito lahat nung mga
taga-TIP, FEU, na nag-aaral ng sa artist village. Pero kay lang yun, para artist village and artist center, ganon
e.
74
J: Kanino pong idea yun? Yung artist village po.
RG: Actually, ano naman, sa LGU yun. Dati pa yun lokal na naging mga mayor. Bilang pag-ano nga bayan
ng mga sining, ganyan. So para ma-ano yung tulong sa mga artist. Yan artist village na yan nagkaroon ng
concept, sa NCCA pa yan, 1990s. Pero di nga natuloy, unang-una walang lupa e, walang lugar. Pangalawa,
malayo. Di rin natuloy.
[00:17:43]
J: Kung halimbawa po na matutuloy po itong Artist village na to. Sa tingin niyo po..
RG: Eto nga e no, sorry Jen. Ito na nga mga a week ago may nakita ako sa post ni mayor na may mga taga
URS ba yun, isang school na nag-propropose din ng Artist Village something sa Angono no. Hindi ko pa
alam kung ano. Pero kasi ganito yan e, ang buong bayan ng Angono kasi is an art itself. It’s a heritage. A
gallery. A village. So, makita mo sa lugar ganyan, mamaya pag may nilibig maririnig mo may musiko.
Mamayang hapon o gabi, sabado linggo, maririnig mo may nagpa-practice. So, hindi siya mechanical na
ilalagay mo na parang ganon, para maging…
J: yung isang buong city na po..
RG: Oo, kasi the small town of Angono, mamayang hapon maririnig mo, maaamoy mo yung amoy ng itik.
Mga hapon alas tres, kakain ka na ng merienda dun, Culinary arts. Di ba? Sa ano, may tutula, mga ganon. So
hindi siya mechanical na pag-uumpugin mo para maging ganon e. At saka sinabi mo kagaya dun yun sa
gallery, hindi ito usapin ng iisang grupo lang ng mga artist na para sabihin mo nagkakaisa, kung ‘di yung
mismong lahat ng mga galleries nila, e napagkakaisa mo kapag may isa kang activity na pwedeng gawin.
J: E kung halimbawa man po..
RG: Pero hindi mo isasantabi halimbawa na magkaroon ng isang art center, artist village. Halimbawa
ngayon, puntahan niyo rin mamaya kung libre kayo. Puntahan ninyo yung sa “WaWa”, sa lakeside park.
Naroon na ginagawa yung artist center. Supposedly, by February, next month, magagawa na yun, matatapos
na, tingnan ninyo yun.
J: Sa may WaWa po?
RG: Sa may WaWa, lakeside park. Sa may lakeside park, maganda rin ang venue doon. Doon kayo mag
tanghalian, [maraming kainan doon]. Kasi isa yan sa mga pinaka kailangan ng mga artist dati pa e, kaya nga
1990s, artist village, center, yun. So isang exhibit area. Before the artist center, kasi nga meron mga art
galleries yan mga yan. So private initiated siya. So nahuli ang local government, na maglagay ng sabihin
natin ng art center or art museum na para sa lahat ng ano.
J: Kung halimbawa man po na magkakaroon nga po tayo ng artist village, sa tingin niyo po kung kayo po,
ano po yung na-eenvision niyo po?
RG: Kelangan malaman natin mga component. Kailangan makita natin yung mga component na yun. Sa
tingin ko ang isa na lang talaga na dapat na maging artist village, maging ano siya ng performance and
means of livelihood ng mga artist. Siguro yan ang dalawang main factor doon e. Kasi in terms of,
halimbawa, in terms of promotion, in terms of exhibit.. Marami ng pwede e. Kung iyon ang magiging sentro
ng artist village na yun, o artist center na yun, magiging active and vibrant yun. Yun ang magiging primary
objective na makapag-ambag sa livelihood ng mga artist, okay yun. Di mo na pwedeng, halimbawa, mga
souvenir o kaya mga artifacts or cultural artifacts ng simbahan, yung mga ganyan. Sobrang liit noon, hindi
mo maipagkakasya lahat sa Angono. Sa isang maliit na ano, yung ginagawa sa amin sa WaWa tingnan
ninyo, maliit nga yun e. Yun pa mga comment ng mga ano, di ba. Ang naisip pa nga namin dati sana,
magkaroon ng hindi lang practice-an ng banda kung di performance yun. Halimbawa, yung okay na lugar na
pwede pag-performance. Kasi para siyang dapat isang cultural center ng Angono, cultural center of the
Philippines. Parang ganon yung vision noon e. Siyempre pag nagawa mo yun, meron ka nang venue, lugar.
75
Yung immediate environ niyan, mabubuhay yan. May mga tricycle driver, mga magtitinda. So mabubuhay
siya eh. Magkakaroon ng maliliit na gallery. So yun ang magiging ano niya.
[00:21:49]
J: Based po diyan sa idea niyo po, sa tingin niyo po halimbawa mga ordinaryong tao, paano niyo po sila ma-
eencourage na mag-pursue sa art career?
RG: Dito naman kasi sa.. tatlong bagay yan ang kwestyon mo, paano maeencourage, tatlong bagay yan e.
Bakit nagpapatuloy? Di ba? Bakit nagpapatuloy? Bakit marami? Unang bagay, nasa dugo, bloodline.
Kamag-anak, apo, pamangkin, na artist so lineage. Pangalawa, environment itself, marami kang tropa,
marami kang ano, so yung amoy, yung hangin, yung tropa mo nakaka-encourage yan. Pangatlo,
institutionalized. Kasi meron kaming ganito na eskwelahan na school for the arts. And then the artist, and the
musics group naman talaga, meron siyang mga workshops. So yung mga bata natuturuan niya. Workshop
individually, as a group ng musicians at saka sa eskwelahan. So tatlong bagay yun.
So hindi lang ito encouraged na sapilitan, kung ‘di nagiging voluntary at sabi ko nga, ang sining ay naamoy,
naririnig, natitikman sa bayan ng Angono.
R: Yung school po ba na nabanggit niyo, public ba siya or private?
RG: Public yun or ano, senior high. Tapos eventually yung private schools dito Angono Private High School,
meron silang programme for the arts. Kaya lang yung music and visual arts pa rin yung ano nila. Ang
elementary meron din, school for the arts din parang special programme for the arts. So, ganon.
J: So sinasama na siya sa curriculum?
RG: Nasa curriculum na nila yun. So, sa labas ng community yung mga tropa nilang mga artist, meron din sa
eskwelahan. So ganon yung nangyayari.
[00:23:42]
J: Nag-conduct po kami ng online survey sa mga ka-edaran po namin. Isa po dun sa mga naging tanong
namin, kung alam po ba nila kung saan ang Art capital of the Philippines. So karamihan po ng mga sumagot,
hindi po nila alam. Sa tingin niyo po bakit po kaya yung mga kabataan po nagyon hindi po sila aware na may
art capital pala ang Pilipinas which is Angono?
RG: E kasi puro games lang.. Di joke! Google lang nila Art capital of the Philippines, ahh malalaman na nila
Angono pala.
J: Hindi po yung katulad po ng halimbawa ng Baguio po, summer capital. Kahit hindi po i-google, alam po.
Bakit po sa tingin niyo ang Angono hindi po siya ganon ka-popular?
RG: Ahh may mas nauna pa naging campaign yung Higantes Festival. Kasi Fiesta. Pero ano naman yan,
kumbaga sabi ko nga sayo branding lang yung pagkakakilanlan. Siguro, hindi pa rin talaga katulad ganung
na naipapakilala pero sa mga, kasi sa sectoral naman yan e, kagaya ng mga bata iba iba sila ng interes, pero
kung mga artist tanungin mo mga artist ng ano alam naman nila, kung taga ibang bayan man yan artist alam
naman nila. Siguro para magpapakilala parin don, e continuous na promotion. Kung di nila [isinasa-alawin]
eh di ipakilala. Hindi magiging kakulangan ang Angono kung ‘di challenge pa siya. Yun ang ano dun.
[00:25:32]
J: As a founder of Neo-Angono, ano po bang maipapayo niyo sa mga mas nakakabatang artist ngayon po na
grupo niyo po or yun sa mga gusto sumali sa mga artist group po?
RG: Para kung magiging, mag-aart ba sila parang ganon?
J: Opo.
RG: Siyempre laging challenging ang pagsisinig dahil di mo rin masasabing walang pera, pero meron yan.
Kaya lang kailangan mo hintayin ang panahon mo. Sabi ko nga, may isa akong tula na marunong magsukli
76
ang sining wag lamang bibitiw. So, you’re time will come. Si Bando nga patay na e, pero ano. Ganon lang ka
simple. Saka pag passion mo, hahanapin ka niya parang kiliti yan no, parang kati yan. Sabi nga ni Professor
Rubin, kakamut-kamutin mo yan, para ma-ano ka, ganon din yun. So, halimbawa dito, marami rin gaya ng
mga third, fourth generation na anak ng ganito… may trabaho halimbawa na, ibang profession, pero may
talent. Nagpipinta sila o nagmu-music sila. Ganon ang ano niya. So kumbaga di rin sila mawawala sa
[Angono], dahil babalik at babalik ka sa komunidad mo. Mag-aambag ka ng pagkakakilalan mo sa bayan ng
Angono na nag-ke-claim at siyempre, gusting patunayan na siya ay isang bayan ng mga malikhain at Art
capital of the Philippines.
J: Salamat po, maraming salamat po.
[End of Interview]
77
10. INTERVIEW CONCLUSION
The aim of carrying out the interviews on different artists from different artist groups was to better
understand what artists felt about the Artist Village and how they see Angono as being the Art Capital of
the Philippines to further understand why they claim that Angono is indeed the Art Capital. The
researchers have interviewed two prominent persons who have been in the art career for the past few
decades and has been active in the art community of Angono up until today. Apart from giving their
opinions and visions on the Artist village, they also expressed their views on what can be done to further
improve the tourism and livelihood of Angono, specifically for the artist’s community.
Mr. Blanco, as a visual artist himself, and as the manager of the Blanco Family Museum, he pointed
out the current situation of tourism in Angono and how it affects the businesses around Angono. He also
felt that visitors tend to come in Angono for a short visit, and there is no means for them to stay longer.
He felt that there is a lack of activities aside from museums and galleries that will encourage the visitors
and hold them to stay longer in the city.
The result of the interview also pointed out that there is a lack of facility for some artist where they
can practice, or simply do different art-related activities. Although there are some facilities, but these
facilities are too small to include every art that Angono can offer. Both Mr. Blanco and Mr. Gappi
expressed the lack of these facilities to further help and support the local artists of Angono. There is a
need for a facility than can host different activities such as band practicing, a place for seminars, and
workshops.
The researchers conclude that in order to further support the growth of the Art community of
Angono, the municipality needs to have an art center or an art complex for them to be able to claim and
prove that they deserve the title as being the Art Capital of the Philippines.
78

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NATIONAL UNIVERSITY

“The Art Capital of The Philippines”

November 28, 2019

Ar. Aurora B. Panopio

2. INSTITUTIONAL SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 9

3. ECONOMIC SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 12

5. ENVIRONMENTAL SECTOR ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 33

6. INITIAL SURVEY RESULTS ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 38

1.2. MACRO ANALYSIS

1.2.10. ROAD NETWORK

1.2.11. RESOURCES AND UTILITIES

1.2.12. HEALTH AND SERVICES 2016

1.4. GEOPHYSICAL PROFILE

2.1. BARANGAYS OF ANGONO

2.2.2. ANGONO ATELIERS ASSOCIATION

2.2.3. GRUPO SINING ANGONO

3.2. EMPLOYMENT PATTERNS

3.3. EMPLOYMENT BY ECONOMIC AND INDUSTRY GROUP

3.4. ISSUES AND CONCERNS AND RECOMMENDATIONS

 NEMIRANDA ART GALLERY

 TIAMSON ART GALLERY

 PERDIGON VOCALAN FOUNDATION GALLERY / ANG NUNO ARTISTS

 ST. PETER ART GALLERY

 THE SECOND GALLERY

4.1.1. HOUSEHOLD SIZE

4.1.2. AGE-SEX DISTRIBUTION

4.2.1. CURRENT AND PROJECTED DEVELOPMENT NEEDS

4.2.2. CURRENT AND PROJECTED DEVELOPMENT NEEDS

4.4. SPORTS AND RECREATION

4.5. SOLID WASTE FACILITIES

5.3. ISSUES AND CONCERNS POSSIBLE INTERVENTION

1. Figure 1. Actual responses regarding the age of the respondents

2. Figure 2. Age of respondents arranged according to their age groups.

The respondents were predominantly female.

Figure 3. Respondents' sex assigned at birth.

3. Figure 4. Actual chart of responses

4. Figure 5. Hometown (Place you grew up in)

5. Figure 6. Current Location / Place of Residence

f. “ Are you an art enthusiast?”

6. Figure 7. Engagement of the respondents to the arts.

h. “Are you familiar with the Art Capital of the Philippines?”

This, and the following question, is the most

Figure 8. Respondents' familiarity with the Art Capital of the

i. “Where do you think is it? (state a city or municipality)”

7. Figure 9. Respondents' knowledge as to where the Art Capital is.

k. “Have you tried visiting Angono, Rizal?”

The graph shows that a little more than half of the

This sparks an opportunity for the researchers to be more

Figure 11. The percentage of people who have

l. “If yes, what was your purpose of visit?”

9. Figure 12. Respondents' purpose of visiting Angono.

Figure 13. Respondents' willingness to visit Angono.

The reasons of the respondents who agree were as follows:

The reasons of the respondents who disagree were as follows:

REGION IV-A | CALABARZON

Interviewee: Michael Blanco (M)

J: My name is Jennifer de la Cruz po.

A: Angelo Semania po.

M: Rietschle , Angelo, , Bianca…

M: Okay. Ah, Hanggang anong year ang architecture?

A: fifth year po.

M: Isang taon na lang…