Rommel Joson, 2025 De Jesus Wordless Book Prize Winner

Rommel E. Joson, instructor at the UP College of Fine Arts’ Department of Visual Communication, is the Grand Prize winner of the 2025 PBBY–De Jesus Wordless Book Prize for his work, "Alikabok sa Liwanag". Rommel drew inspiration from his research on the Bangsamoro region, the Marawi Siege, and his earlier projects on conflict and resilience to shape a child-friendly yet poignant narrative without words. In this interview, he shares his process of visual storytelling, his insights on balancing craft and emotion, and his reflections on why children’s books are powerful spaces for connection and imagination.

Congratulations on your win! Can you tell us about the journey of creating your award-winning wordless picture book—where did the seed of the story come from?

I started making the story around 2 years ago for the last wordless prize competition. Unfortunately, I didn’t make the deadline back then. Several weeks before the deadline, I was working on projects that were coincidentally connected to the Bangsamoro region. I made a series of illustrations for Conflict Alert Philippines that tackled the violence in the Bagsamoro region and then a poster for a movie directed by Shing Gener entitled “Bula sa Langit” which revolved around a soldier that fought during the Marawi Siege of 2017. I was immersed in all this information so I thought, why not make my wordless book entry also about war? But of course, the challenge was to depict it in a child-friendly way.

Wordless books rely entirely on imagery to carry the narrative. How did you approach visual storytelling so that readers could follow the plot and feel the emotions without a single word?

There are techniques that allow us to follow a narrative visually. It's part of an illustrator's craft and forms the "grammar" of visual storytelling. It’s essentially guiding the reader’s eye and allowing the drawings to act like a camera for the reader. Simplifying it, I think we can group it into a couple of principles:

a) Framing and Composition

A single image can either be a close-up, a medium shot, or a wide shot. How we frame an image tells the reader what to focus on, but it also has an emotional—for example, a closer shot implies intimacy while a wider shot establishes context and space.

b) Point-of-view

A shot can also vary in terms of its position in relation to the viewer’s eyes. An image or object can be presented on the same level as the viewer or it can be positioned above or below the observer. Varying the POV not only suggests the reader’s physical and emotional position in the unfolding action.

c) Gesture and action of the characters

Having said all the above, drawing a wordless piece is a little bit like acting. The gestures and facial expressions of the characters were a big help in getting my point across.

Your works were described as both “a work of art” and “a work of heart.” How do you balance artistic style with emotional storytelling in your illustration process?

Thank you for saying so! I think this balancing act is precisely at the heart of the illustration process. I think less about “style” and more about “process”: how to draw a certain thing and what materials to use to make the process more efficient, less painful, and more physically sustainable.

What do you hope children and the adults who share this book with them; a take away after experiencing your story?

I don't have a specific "message" really. But I do want them to feel something. At the heart of it, it's really just a story of finding connection and holding on to fragile things.

For aspiring illustrators or visual storytellers in the Philippines, what advice would you give about breaking into the children’s book field, especially for those interested in creating wordless narratives?

I think anyone interested in breaking into this field should work on their craft. Widen one's visual vocabulary and influences and try going beyond the comfort zone of one's abilities. Secondly, draw genuine insight and inspiration from one's culture. Look beyond the children's books and draw inspiration from all sorts of different places.

Thank you, Rommel! Through his award-winning wordless picture book, Rommel Joson shows that silence can be just as powerful as language, inviting readers to slow down, observe, and feel. His work underscores how illustration can serve as both art and empathy, guiding young readers to discover connection and meaning in the spaces between words.

Watch Party: Isang Harding Papel A Martial Law Musical

This week is EDSA Week in The Raya School. The school community will be streaming the musical of Isang Harding Papel. There will be a panel discussion afterwards which I will moderate. Here is a round up of blog posts, mostly interviews with the content creators of the show. 

 Augie Rivera on Martial Law and Writing for Children

Interview with Rommel Joson, Illustrator of Isang Harding Papel

Isang Harding Papel: A Martial Law Musical Interview with Nanoy Rafael

Part 2 of the Interview with Nanoy Rafael on Isang Harding Papel: A Martial Law Musical

Isang Harding Papel A Martial Law Musical: Interview With Nanoy Rafael (2 of 2)

Basahin ang e-poster para sa info tungkol sa musical

Narito ang part 2 ng interbyu kay Nanoy Rafael na nagsalin at nag-adapt ng Isang Harding Papel (Rivera, Joson, Adarna House 2015) bilang isang musical. Mababasa ang part 1 sa link na ito.

Sa part 2 ng interbyu, ibinahagi ni Nanoy Rafael ang malikhaing proseso ng pagsasalin ng orihinal na materyal ni Augie Rivera. Nakakatuwa ring malaman na kasama ni Nanoy ang kanyang mga co-teachers at kanilang mga mag-aaral sa Raya School sa paglikha ng musical na ito.

3. May mga piling mag-aaral ng Raya ang nakasama ninyo sa paglikha. Kumusta naman sila katrabaho?

Sa unang run, buong Grade 8 namin ang tumulong sa produksiyon. Bahagi na rin ng pagtuturo namin sa kanila kung paano ba magpatakbo ng isang produksiyon, para may mga taon na sila na mag-isa ang gagawa nito. Epektibong motibasyon ang agency, ‘yung bibigyan ka ng kalayaan na lumikha o gawin ang isang bagay ayon sa naiisip mo. Kaya naging ganado rin talaga ang mga estudyante sa paggawa. Sila ang bumuo ng marami sa props, ng marketing materials. May mga nasa logistics rin na tumulong magpatakbo ng backstage. At siyempre, mayroon rin akong mga katuwang sa pagsusulat.

May isang pangyayari na hindi ko makakalimutan kasama ang mga estudyante. Mga ilang araw pagkatapos ng eleksiyon, nagkita-kita kami para tapusin ang first draft ng script. Naaalala siguro ninyo na noong mga unang araw ng bilangan, lamang si Bongbong Marcos sa pagka-bise. Kabado kaming nag-uuusap, natatawa na sa kaba. Alam ng mga batang ito na noong panahon ng rehimeng Marcos, nakulong ang mga sumulat laban sa gobyerno. Natortyur ang iba. Nawala ang iba. Pinaslang ang iba. Kaya binibiro nila ako na “Hala, teacher, baka makulong ka!” Gumaganti naman ako ng “Bakit ako lang? Kasama kaya kayo.” Araw iyon na puno ng masasamang biro, at ang bilang sa eleksiyon ang pinakamasamang biro sa lahat.

Pero nagseryoso ako at tinanong sila kung gusto pa ba nilang ituloy ang pagsusulat kung sakaling manalo nga si Marcos bilang bise. Sinabi ko na maiintindihan ko kung hindi, at walang problema kung ganoon. Pero sumagot silang “Sige lang, tuloy lang!” nang walang pag-aatubili. Kaya saludo ako kina Cacy Abadeza, Sofia Baybay, Izzi dela Cruz,  at Ella Francia—mga katuwang sa pagsulat at mga nagbigay rin ng tapang sa akin na ituloy ang dula.

Isang eksena sa dulang Isang Harding Papel A Martial Law Musical

4. Ano ang nauna, musika o libretto?

May magandang dynamic kami ni Teacher Thea Tolentino (ang composer) sa paggawa ng mga kanta. Nauuna parati ang lyrics (at ang sitwasyon na kasama nito). Tapos mag-uusap kami ni Thea kung ano ba ang kuwento, ano ang bagay na lapat dito. 

Pero hindi pa buo ang libretto/script kapag ibinibigay ko kay Thea ang natatapos naming mga lyrics. May mga eksena na wala pang kanta, pero tapos na ni Thea na lapatan ng musika ang iba. Kaya rin marami-rami sa mga naisulat naming kanta ang naimpluwensiyahan rin ng nauna nang treatment sa musika.

Halimbawa, ang pinakanauna kong naisulat ay ang dalawang Oyayi. Kanta ito ni nanay habang pinapatulog si Jenny, at kanta ni Jenny habang pinapatulog ang sarili niya. Naisulat ko ito bandang Nobyembre. Bandang Disyembre noong narinig ko ang lapat dito ni Thea. Pagkatapos noon, saka ko naisulat ang titular song na Isang Harding Papel, kasi nagkaroon na ako ng idea kung paano ang “feel” dapat nito. 

5. Ano ang paborito mong eksena sa Hardin? Bakit ito ang paborito mo?

Ang hirap! Sige, lilimitahan ko sa dalawa.

Ang una ay ang Bagong Lipunan spoof. Paborito ko ito kasi ito yata ang pinakamasaya naming naisulat, at siguro pinaka-subversive rin. Paulit-ulit naming pinakikinggan ng writing team ang Bagong Lipunan, tapos nag-iisip lang kami kung paano bababuyin ng mga bata ang lyrics nito, sa paraang parang bata talaga. Ang dami naming ibinato sa isa’t isa na nakakatawa, kaya ang hirap ring tapusin. Pero ang pinakadumikit ay noong may kumanta ng “Mabahong ulam” kapalit ng “May bagong silang.” Tapos dere-deretso na naming naisulat. Kaya halimbawa, ‘yung “May bagong silang / May bago nang buhay / Bagong bansa...” naging “Mabahong ulam / Mabaho ang laman / Amoy paa...” Ang immature lang, di ba! Pero ganoon naman talaga noong bata tayo, kung ano-anong pambababoy ang ginagawa natin sa mga kanta. Tapos kapag napanood rin ninyo ito sa stage, dahil mga Grade 1 ang nasa eksena, bagay na bagay. Awtentikong awtentiko.

Si Jenny, ang kanyang ina at lola

‘Yung ikalawang eksena na paborito ko ay ang torture scene. Wala ito sa script, at nagugulat pa rin ako na kayang ilagay ang ganitong sitwasyon at panatiliing pambata pa rin ang dula. Pero nagawa ni Direk Nor! Gustong-gusto ko ito kasi hindi ito metaporiko, na siyang madalas nating takbuhan kapag may gusto tayong ipaliwanag sa bata na sa tingin natin ay masyadong mabigat para sa kanila. Tahas ito, at mabigat pa rin (dahil mabigat naman talaga ang realidad na ito), pero mauunawaan ng bata. Nirerespeto ng eksenang ito ang kakayahan ng batang umunawa at magproseso, na magkaroon ng komplikadong mga damdamin at naiisip.

Si Nanoy Rafael ay isang manunulat, tagasalin, at guro. Nagwagi ang libro nila ni Serj Bumatay na "Naku, Nakuu, Nakuuu!" ng Peter Pan Prize mula sa IBBY-Sweden. Ilan sa mga isinalin niya patungong Filipino ay ang "Book Uncle and Me" ni Uma Krishnaswami, at ang "A Christmas Carol" ni Charles Dickens. Kasalukuyan siyang nagtuturo sa Raya School ng Filipino at Araling Panlipunan.

Isang Harding Papel A Martial Law Musical: Interview with Nanoy Rafael (1 of 2)

Ang Isang Harding Papel (Adarna House, 2015) ay unang nalathala bilang isang aklat pambata nina Augie Rivera, manunulat, at Rommel Joson, illustrador. Napapanahon ang paglabas ng aklat na ito. Ang mga kuwentong personal na galing sa mas malaking mapa ng kasaysayan ay hindi dapat malimutan. Maaring kathang isip ang kuwento ni Jenny at ng kanyang ina noong panahon ng Martial Law, subalit, nasasalamin sa kanilang salaysay ang kuwento ng mga ordinaryong pamilya na naging biktima ng kalupitan at abuso ng mga taong may kapangyarihan noong panahong iyon.

Ang mga pangyayari sa ating buhay at sa lipunan ay may malaking kinalaman sa paghulma ng ating pagkatao.

Ang Raya School ay magkakaroon ng isang musical base sa kuwentong pambatang ito. Ang Isang Harding Papel a Martial Law Musical ay ipapalabas sa AFP Theater sa Biernes, February 10, 2017. Narito ang isang panayam kay Nanoy Rafael na nag-adapt ng kuwento sa pormang musikal. Narito ang unag bahagi ng inerbyu kay Nanoy Rafael.

1. Bakit Isang Harding Papel?

Siguro madalas na iniiisip ng mga tao na pinili naming gawing musical ang Isang Harding Papel bilang tugon sa kasalukuyang mga nangyayari. Pero ang totoo, hindi ko inasahan na magiging napapanahon ito. Nobyembre 2015 ko sinimulang isulat ang outline at mga kanta ng musical, at noon ay malayo sa hinagap ko na may tsansa pala na maging bise presidente ang isang Marcos, o na malilibing ang dating diktador sa Libingan ng mga Bayani, o na magiging karaniwan pala ang paglabag sa mga karapatang pantao.

Noong panahon na iyon, sobrang simple lang ng dahilan kung bakit ito ang pinili namin. Kada taon ay nagsasadula kami ng panitikang pambata para sa Hinabing Haraya, ang taunang dulang pampaaralan ng Raya School. Para sa 2016, naisip naming mabuti kung isa sa EDSA books ang gamitin namin, lalo na at ika-30 taon ng EDSA People Power.

Pero siguro, may kaunting politikal na dahilan kung bakit ko rin pinili ang Isang Harding Papel. naitampok kasi ni Augie Rivera sa libro niya na ang bida sa salaysay ng Batas Militar ay ang karaniwang tao. Sila ang nagdurusa, nagpupursigi, umaasa, at nagsisikap magpatuloy sa buhay sa kabila ng ligalig. Walang malalaking personalidad bilang bayani; ang bayani ay ang nanay na nabilanggo, ang anak na naghintay, at ang lola na nag-alaga sa kaniya. 

Ipinapakita sa atin ng Isang Harding Papel ni Augie na ang EDSA People Power ay pagmamay-ari ng lahat ng taong nakiisa at nakikiisa dito, at hindi ng iilan lang. Hindi ito makatwirang gawing brand ng anumang organisasyon. Kaya kung may mas malalim na motibasyon ako noong Nobyembre 2015 sa pagsasadula ng Isang Harding Papel, marahil ito ay ang pagpapaalala sa mga tao na sa kanila ang EDSA People Power.

2. Saan nagsimula ang lahat? Bago pa man ma-stage ang Hardin, anong mga pangyayari o proseso ang pinagdaanan mo at ng iyong mga kagrupo sa paghahanda ng musical?

Isa itong dulang pampaaralan, at buong Raya School talaga ang nagsikap para buuin ito. Pinagtulungan ng mga teachers, mga estudyante, mga staff, mga magulang ang stage design, props, music, choreography, sound engineering—halos lahat ng kayang maisip na kailangan para tumakbo ang isang dula. Kahit si Direk Nor Domingo, magulang siya ng Raya.

Ngayong ikalawang run, tinutulungan na kami ni Boni Juan para sa set and stage requirements. Mayroon na rin kaming tulong mula sa mga professional choreographers and acting coaches na sina Gio Gahol at Norbs Portales. Medyo level up kompara sa una.

Abangan ang part 2 ng interbyu sa blog sa blog sa mga darating na araw.

Illustrator Interview: Rommel Joson

Rommel Joson, painter and illustrator, answers three interview questions on his new book, Isang Harding Papel (EPPC/Adarana House, 2014). Authored by Augie Rivera, the book was launched last November 27, 2014 at the Museo Pambata.

November 27 is Ninoy Aquino's birthday and National Day of Reading.

a. How did you conceptualize your art for Isang Harding Papel?

Paper was always going to be a dominant element in what I was going to do with Isang Harding Papel. So I thought of using collage techniques combined with painted elements to create the art. I used a lot of texture and welcomed happy accidents in the composition. Although I submitted a storyboard for Isang Harding Papel, I deviated from it a bit by just responding to the materials in front of me.

I also included some 2 "easter eggs" in the book. The number of the bus Jenny and Lola rode in is 1081 (referring to the Martial Law proclamation) and one of the kids in one of the spreads has a Voltes V t-shirt, which was supposedly banned during Martial Law times.

Illustrations of Isang Harding Papel. Photo source: http://rommelj.wordpress.com/2014/07/19/never-forget/

b. What collaborative strategies did you and Augie go through for Isang Hardin?
Beyond digesting Augie's text and the initial meeting with him and Adarna, there wasn't much actual collaboration. I gave an initial storyboard sketch, going so far as suggesting a spread without text. From that storyboard, I think Augie and Adarna made minor adjustments to the text.


c. If you are a martial law baby, what memories do you have of that period in Phil history? If not, what experience of loneliness and longing helped you in illustrating the book?

I was born in 1978. I was only 7 when People Power came around. I remember a time sitting with my grandfather by the sidewalk, and a person (don't remember if it was male or female) came up to us conducting a survey on possible election results. The survey person asked my grandfather who he was going to vote for in the coming election. My lolo said "KBL" - "Kay Buyida Lang". KBL of course referred to Marcos' party while biyuda referred to Cory Aquino. I think it was a running joke at the time.

Rommel Joson's art works: http://strangeskins.com/Sampaguita-Girl

 My lolo also gave me a Marcos Bagong Lipunan coin when I was little, which I lost, sad to say. I remember that the results of the snap election were being broadcasted on TV and I caught glimpses of that. I remember kids going to school flashing the Laban sign and wearing headbands with big foam letter Ls stuck on the front.

I have always been interested in that time in Philippine history. When I went to UP to study Fine Arts, I wanted to do a graphic novel about the desaparecidos. When the offer to do "Isang Harding Papel" came around, I felt this was my opportunity to do something set around that era. I also liked watching documentaries  and learning about the conspiracies and scandals of that time, like Oplan Sagitarrius or stories about the Rolex 12. So you could say that I'm fan of Philippine history.

My paintings and other personal work has always been tinged with loneliness and melancholia, so it wasn't difficult dipping into that emotion.

e. What is your message to aspiring illustrators?
Practice everyday, draw everything, read a lot, and be professional.


Watch this book trailer of Isang Harding Papel.

Augie Rivera on Martial Law and Writing Historical Fiction for Kids

Noong Nobyembre 27, 2014 ay nag launch ang Adarna House at ang Edsa People Power Commission ng aklat pambata tungkol sa Martial Law, ang Isang Harding Papel. Ang aklat ay sinulat ni Augie Rivera at ginuhit ni Rommel Joson. Ito ay inilimbag ng Adarna House.

Narito ang aking interview kay Augie Rivera tungkol sa aklat. Sinagot rin niya ang mga tanong tungkol sa kanyang paglikha ng kwento at sa inspirasyon niya sa kwento ni Jenny.

Pangalawa mo ng Martial Law book ito. Bakit ka muling nagsulat ng aklat tungkol sa Martial Law para sa mga bata? 

Ang kuwentong ‘Isang Harding Papel’ ay base sa ilang mga tunay na pangyayari at karanasan. Matagal ko na itong naisulat at bahagi sana ng limang libro sa seryeng ‘Batang Historyador’ ngunit minabuti kong unahing ilabas ang kuwentong ‘FQS’ na ‘Si Jhun-jhun, Noong Bago Ideklara ang Batas Mililtar.’ Kaya naitago muna sa ‘baul’ ang kuwento.

Sa dami ng revisionist takes sa Martial Law at sa ating kasaysayan na naglipana ngayon sa social media, naisipan kong balikan ang kuwento. Nag-revise ako ng konti, at saka ko ito ipinasa sa Adarna House. Sila ang nakaisip na i-tie up ito sa EDSA People Power Commission dahil naghahanap daw sila ng ganoong tipo ng kuwento.

Ayun. Makalipas ang labing-apat na taon, sa wakas ay dumating din ang tamang panahon para mailathala ito bilang isang libro.

Sa pamamagitan ng kuwento, umaasa akong mapupukaw ang interes ng batang mambabasa, mag-uusisa, at gugustuhing malaman ang iba pang mga kuwento ng pakikipagsapalaran, pangarap at pagkamulat ng mga batang gaya ni Jenny sa madilim na kabanatang ito ng ating kasaysayan. Malimit nating sabihin: ‘Ang mga kabataan ngayon, walang alam sa kasaysayan. Walang sense of history.’ Madalas din natin silang sabihan: ‘never forget.’ Pero, paano nila malilimutan ang isang bagay na hindi naman nila naranasan? Ang kasaysayan ay hindi lang pagmememorya ng mahahalagang petsa, pangyayari, at buhay ng mga bayani. Bilang mga ‘Martial Law babies’ na tumanda na, at karamiha’y mga magulang na rin, tungkulin natin na ipaalam sa mga bata ang kasaysayan. Ikuwento natin sa kanila ang kasaysayan. Ipakita. Iparamdam. Sana, ang mga aral ng nagdaan ay makatulong upang mabuo ang mas maalab nilang pagmamahal sa bayan at pagmamahal sa kasaysayan.

Rommel Joson and Augie Rivera at the book launch

May personal ka bang karanasan tungkol sa Martial Law na nasasalamin as aklat? Ano ito? 

Lumaki ako noong panahon ng Martial Law. Kaya’t na-excite akong isulat ang kuwento. Isa siyang magandang pagkakataon para magbalik-tanaw sa aking kabataan, at gamitin ang ilang mga detalye at karanasan para pandagdag sa texture at nuances ng kuwento. Noong panahong iyon, masugid kong sinubaybayan ang iba’t ibang mecha o robot anime sa telebisyon. Mekanda tuwing Lunes. Daimos tuwing Martes. Mazinger Z tuwing Miyerkules. Grendaizer tuwing Huwebes. At Voltes V tuwing Biyernes. Pagkagaling sa eskuwela, nakatutok na ako sa telebisyon. Lilipad ako kasama ang mga robot, kakalabanin namin ang mga Boazanian beast fighters, at ipagtatanggol ang buong bayan… bago mag-curfew o maghapunan!

Nang biglang i-ban ni Marcos ang Voltes V sa telebisyon dahil sobrang bayolente raw at naglalaman diumano ng mga subersibong mensahe, kabilang ako sa mga batang nagalit at naghimagsik ang damdamin. May dineprive sa ‘yo eh. May biglang inalis. May biglang inagaw. At hindi mo naiintindihan kung bakit. In a way, kahit bata ka, naramdaman mo na may nangyaring repression.

Marahil, collective angst din ‘yon ng isang henerasyon. Pero kung may mga batang nagluksa sa biglaang pagkawala ni Voltes V na itinuring nilang bayani at kaibigan, may mga batang iba naman ang biglang nawala sa buhay nila. Iba naman ang kanilang pinagdaanan— namuhay at lumaki sila nang malayo sa piling ng kanilang tatay, nanay, ate o kuya, na ipinakulong dahil sumalungat sa mga isinusulong ng Bagong Lipunan.

Mas sentimental ang treatment mo ng Martial Law experiences ng bidang bata sa Hardin kumpara ng Kay Junjun. May kinalaman ba ang gender dahil babae ang bida? 

Sa palagay ko, pareho lang na malungkot o sentimental ang ‘Jhun-jhun’ at ‘Hardin’ dahil hindi talaga maiiwasan. Parehong naganap ang kuwento sa maligalig, malungkot at madilim na kabanata ng ating kasaysayan. Pero ilan lamang ito sa mas marami pang kuwento ng mga batang nagkamulat at dumanas din ng parehong hirap at pasakit na pinagdaanan ng matatanda noong panahong ‘yon.

Babae ang bida dahil may pinagbasehan ako sa kuwento— ang mga tunay na karanasan ni Jenny Cortes (na pinsan-in-law ko; pinsan ni Mike) noong bata pa siya at dumadalaw sa kaniyang nanay na isang political detainee.

 Pinili ko ang imahe/metaphor ng bulaklak para sa kuwento dahil nainspire ako sa mga wooden sculptures ni Jenny sa kaniyang unang exhibit na ‘Wall Flowers’. At dahil ang bulaklak din ay simbolo ng pag-usbong ng buhay at pag-asa.

Ano ang hindi pa naisusulat ni Augie Rivera? 

Marami pa. Mas marami pang kuwento. Mas marami pa sanang programang pambata sa telebisyon. Isang musical. Isang coming of age na pelikula. Marami pa.

The book launch was held in Museo Pambata. Kuya Bodjie read aloud the story, Isang Harding Papel

Blog Tour: Guardians of Tradition

Guardians of Tradition: The Gawad sa Manlilikha ng Bayan (2012)

By Mae Astrid Tobias

Illustrations by Rommel E. Joson

Photos by Renato S. Rastrollo / National Commission for Culture and the Arts (NCCA)

Book Links:
Goodreads
Adarna Order Form

Excerpts:

I.                What is the Gawad sa Manlilikha ng Bayan? (p. 4)

Filipinos are very artistic people. All over the county, you find people who love to sing, dance, paint, write, play musical instruments, and create the most beautiful things the way their forebears have taught them. There are also special people who spend their entire lives making sure that these traditional arts are not forgotten.

The Gawad sa Manlilikha ng Bayan was created in 1992 through Republic Act No. 7355 in order to let the whole Philippines know about these people and their art. (p. 4)

•    Uwang Ahadas, Maestro of Yakan Music (pp. 16-17)

Uwang Ahadas always wears a pair of dark glasses. He lost his eyesight when he was only five. But he does not let his disability keep him from becoming a master of Yakan music.

Together with his siblings, he learned to play different instruments like the gabbang and the agung. The instrument called the kwintangan kayu is supposed to be played by women only, but Ahadas broke this tradition and learned how to play this.

Ahadas wants children to learn to play instruments while they are young because their hands and wrists are still flexible. He teaches them by showing them his techniques.

Even when working in the fields, the Yakans play their musical instruments. One of these instruments is the gabbang. Small children play it to shoo away animals from planted crops. It looks like a xylophone, but it is made of five bamboo slats.

Another instrument is the kwintangan kayu which is made of five wooden logs hung horizontally under a tree near a ricefield. It is played to make the rice plants grow faster.

Suggested activity:

Blind people have keener senses of touch, sound, taste, and scent. Try to find out how it feels to be blind by getting a handkerchief and covering your eyes. Notice the sounds, smells, textures, and taste of the things around you.
    
About the Book:

Who are the indigenous and folk artists of the Philippines? Guardians of Tradition is full of facts about 11 of Philippine master weavers, folk musicians, performing artists, mat weavers and metal smiths whose talents and skills have earned them the title Manlilikhang Bayan. Designed to help children recognize native Filipino ingenuity and creativity, the book includes fun activities to promote appreciation for culture and arts. Guardians of Tradition has a fun and colorful design that appeals to young readers.

For the duration of the Guardians of Tradition Blog Tour, Guardians of Tradition is available at discounted prize at the Adarna showroom in Scout Torillo corner Scout Fernandez Streets, Barangay Sacred Heart, Quezon City 1103 Philippines(Trunkline: (632) 352-6765, Fax: (632) 352-6765 local 125, Email Address: adarnahouse@adarna.com.ph)

For international readers and Filipinos abroad, an ebook version is coming soon.To order paperback copies online, visit http://adarna.com.ph/authors/mae-astrid-tobias.html

Author Bio:

MAE ASTRID TOBIAS (1979-2009) was a Palanca-award winning author of children's books. In addition to Guardians of Tradition, her books include Blue Bananas (Crucible), BayongngKuting (Lampara Books), My Forest Friends (Haribon), Bakawan (Adarna Books) and two books retelling the Ifugao traditional chant, hudhud. These are Halikpon: A Retelling of an Ancient Ifugao Chant and Pumbakhayon: An Origin Myth of the IfugaoHudhud. Both are finalists for children’s literature and best design in the 2006 National Book Awards of the Manila Critics Circle.

She also spent several years in the field of children’s television. She served as the Manila Bureau Manager of Kabataan News Network, a project of UNICEF and Probe Media Foundation that trains young people nationwide how to produce their own broadcast quality documentaries. She also also wrote episodes for children shows like Sirit!, and ABS-CBN and Eskuwelang Bayan, as well as worked for Philippine Junior Inquirer and Shell Foundation. She was a member of KuwentistangmgaTsikiting  (KUTING), an organization of Filipino writers for children.

Illustrator Bio:

ROMMEL JOSON is a painter and an illustrator. He graduated magna cum laude and College Valedictorian from the University of Philippines College of Fine Arts. He was also a Merit Scholar and a recipient of the Dean's Awards for Visual Awards from the Ateneo de Manila University, where he received a Bachelor of Science degree in Business Management. He worked in the advertising industry for several years before devoting his time fully to painting and illustration. He has received awards and citations for painting, illustration, comics, and design from various organizations such as the Philippine Board of Books for Young People (Honorable Mention), the Shell National Art Competition (3rd Place Oil/Acrylic Category), the Neil Gaiman/Fully Booked Graphic Fiction Competition (3rd Place in the Graphic Fiction category), the Adobo Design Awards (Silver) and the Philippine Araw Awards (Silver in Art Direction) and the Metrobank Art and Design Excellence Competition (Semifinalist in Oil). He is currently an active member of AngIlustradorngKabataan (Ang INK).

Photographer Bio:

RENATO S. RASTROLLO, is a photographer, graphic artist, book and exhibit designer. He earned his Bachelor of Fine Arts major in Advertising from the Philippine Women’s University. With over 25 years of experience in the field of documentary photography, his works have appeared in national and international publications. Presently, he is a culture and arts officer  at the Cultural Center of the Philippines. 

Giveaway:
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Prizes –
One $25 Amazon Gift Card + signed copy of Guardians of Tradition from Adarna + 1 CD of National Living Treasure Bayan Sumaon Sulaiman from NCCA 3 $10 Amazon Gift Card + signed copy of Guardians of Tradition from Adarna + 1 CD of National Living Treasure Bayan Sumaon Sulaiman from NCCA6 signed copies of Guardians of Tradition from Adarna + 6 CDs of National Living Treasure Bayan Sumaon Sulaiman from NCCA

Blog Tour: Guardians of Tradition

A few weeks back, I said yes to a blog tour that will feature the book, Guardians of Tradition: The Gawad sa Manlilikha ng Bayan by Mae Astrid Tobias. Published by Adarna House, this non-fiction book is illustrated by Rommel Joson with beautiful photographs by Renato S. Rastrollo.

 The blog tour started yesterday, 13 October 2013 and you can read the reviews and excerpts from these blogs:

Dia Pelaez

Tina Matanguihan

Freine

Chris Mariano

Xi Zuq

Josephine Litonjua

I'm excited to read the reviews of the book bloggers who joined in the blog tour.

With Mae Astrid Tobias, ca 2005

 As for me, participating in the blog tour is my simple way of celebrating Mae Astrid Tobias' achievements as a writer and dreamer. A long time ago, in my past life as a grade school librarian, I invited Astrid for a talk on campus writing, journalism and on her writing life to grade school students of Xavier School San Juan. How she emphasized the importance of research when doing a writing project! I even wrote an article about her author visit in the school's website. Read the article in this link.

My excerpt and book give-away info is scheduled on 19 October, 2013. 

2010 Alcala Prize Winner

Congratulations to Aldy Aguirre for winning this year's Alcala Prize! Aguirre rendered playful and whimsical illustrations for Raymond Falgui's poetry.

Zeus Bascon, Serge Bumatay III and Rommel Joson made it as honorable mention. See you at the NCBD 2010, Museo Pambata!