PINASenti:PAROL
Parols are the traditional Christmas lanterns in the Philippines that are hung outside houses as decoration. Made in the shape of a star with five or more points, they symbolize the Star of Bethlehem.
The traditional materials for making parols are mostly simple — bamboo sticks, Japanese rice paper, and crepe paper. In modern times, plastic, heavier paper, cellophane and capiz are also used. The traditional candle or oil lantern inside has been replaced by electric lights.
The parol-making tradition clearly began after the Christianization of the Philippines. The word parol comes from farol, which is Spanish for lantern (an allusion to the famed lighthouse of Pharos). World Book’s Christmas in the Philippines suggests that the parol originated from the Mexican piñata, which like the parol is decorated with crepe paper. The piñata, originally from Italy, was brought to Spain and from there to Mexico then finally to the Philippines when the Spaniards brought Christianity to the country and galleon trade with Mexico began.
According to A Child’s Pasko: Christmas in the Philippines, the parol’s original function was to light the way of those going to church for each Misa de Gallo and the Misa de Aguinaldo. The paper lampshades were originally shaped like fleur-de-lis or crosses. Rather than storing their lanterns in between uses, the owners chose to display them. The people would try to outdo each other’s designs, coming up with more beautiful and innovative designs each year. The typical design that eventually resulted was that of a five-pointed star with tassels that suggested a comet’s tail. The practice of making parols was encouraged by the Church and resulted in the elevation of parol-making to an art. To this day, new innovations are being made to the design of parol lanterns.
Check out this series of amigurumi teddy bear ornaments I made for our tree, including a Brown Teddy, a Koala bear, and a Panda bear! See the step-by-step making of them here and make your own with my free pattern here!
Low power scanning electron microscope image, showing osteoporotic architecture in the fourth lumbar vertebra of an 89 year old woman (x20). The bone is heavily eroded in places by the action of osteoclasts and consists mainly of thin, fragile struts. (via Bone Research Society)
Deep in the forest, where heavy feet sink,
you mightn’t be quite as alone as you think.
Pelikula Q&A: Six Degrees of Separation from Lilia Cuntapay
An interview with director Tonette Jadaone by Jansen MusicoThis is your first full-length film after doing a lot shorts, which do you prefer more?
Short films are my first love. I have short attention span, so short films really work for me. Sobrang komportable ako sa paggawa ng short films. I don’t need to consult people kung tama ba yung ginagawa ko, kung nakuha ba yung gusto kong sabihin. That’s why although I was excited to do my first full-length film, sobrang takot na takot din ako. Kasi ang laki ng hinaba ng 90-minute full-length film sa mga 3-min shorts ko. So may 90 minutes ako para magkamali. Pero may 90 minutes din ako para may magawang maganda.
Among all the extras in Philippine Cinema, why pick Lilia Cuntapay? What makes her such a good subject?
Kasi si Lilia Cuntapay yung extrang sikat na walang screen name. Nonong de Andres has “Bangkay” as screen name. We have Mahal, Mura, Dagul, pero si Lilia, wala. Ang screen name nya, kailangan mo siyang i-describe: “yung matandang babae na laging white lady o aswang sa mga horror.” Ang haba! That makes her different from all the other extras. Sikat siya, pero wala siyang pangalan.
How did you convince Lilia to do the project?
Binuo ko muna yung concept bago ko siya nilapitan. So kung hindi siya pumayag, wala akong pelikula. Eh pumayag. She loved the concept. Ang request lang nya, “Direk, basta wag nyo ipapagupit ang buhok ko ha.”
How was it working with her?
Isa siyang karakter. Medyo naninibago nung una si Nanay Lilia. Kasi naman, bilang extra dati, nasanay siya na 3 sequences lang siya per taping day. Eh dahil bida siya rito, syempre naroon siya sa bawat eksena. Eh bilang 75-years-old na si Nanay Lilia, pagpatak ng alas-sais ng gabi, parang hindi na kaya ng katawan nya. The spirit is willing, but the body is pagod na. Pero ide-deny nya. Hindi niya sasabihing pagod na siya.
“Nanay, pagod ka na? Pahinga muna tayo.”
“Ay hindi direk, kayang-kaya ko pa. Take na tayo.”
Pero yung mata nya, papikit na. Pero dahil lagi kaming magkasama, nahanap namin ang solusyon para bumalik ang energy nya kapag alas-diyes na ng gabi: gatas at Fudgee Barr.
Was Lilia able to see the final cut before it screened?
Just the first 15 minutes, when we accidentally played the DVD of the rough cut during the shoot and she was there. Nakatutok lang siya sa TV. Which is a good thing, kasi sabi niya sa amin, “Direk, hindi ako nanonood ng mga project ko eh.” Buti naman pinanood niya ‘to.
The trailer sets it up as a comedy. But it’s more than that, isn’t it?
Let’s just say, it’s a different kind of comedy.
This film has a lot of cameos…
Surprise na lang yung cameos. Pero definitely, hindi namin nakuha si Claire Danes. Busy raw siya. (Lilia’s worked with her in Brokedown Palace.)
Do you think there’s still life for Lilia outside of being the punch line in comedies or the scary old lady in horror flicks?
There’s life for Lilia outside the horror genre definitely. She’s played a lot of non-horror roles actually. But I don’t think she’ll be believable playing the bida. As Direk Peque Gallaga put it, the industry has put Lilia in a box. Her looks and history limit her roles. She definitely won’t be cast as a lawyer or a mayamang kabigan ng bida. It’s like a curse. Just like how why we didn’t see FPJ playing a coward, or Robin Padilla not winning a fight.
What has working with Lilia taught you?
Yung ibang extra, trabaho lang ang pag-eextra. Pagkatapos ng shooting, tapos na rin sila sa pag-extra. Yung iba, trip lang, gusto lang makita sa TV. Pero may ibang extra na may pangarap. Si Lilia Cuntapay, ganoon.
heavy hearts
youth never held
so close,
to heartbeats
before our eyes
saw murder,
desperation
and agony-sleeping with an enemy,
is asking for an epiphany:
before the sun rises
and clothes slip on slow,
while bodies slip
between back-door frames.will we leave
this rotten vestige,
before ruin
sets in stone
or will all this weight
stay with us, until
we’re nothing
but empty bone?
