TAN-AWAN an online information dissemination platform of the Culture and the Arts Office of the Nueva Vizcaya State University | Volume 2, series of 2024

The question, “What makes NVSU, NVSU?” or the statement “NVSUan ako...” (I am an NVSUan because...) holds not only an intellectual but also a cultural resonance for us, as members of the NVSU community. Answering these prompts with clarity and conviction is no simple task because it compels us to reflect on our shared identity and ask ourselves: What is one way to truly define NVSU? For many of us, this journey begins with introspection—a search for meaning and purpose in the context of our experience and with the university premises as our immediate physical limitation.

At the core of this reflection lies culture. Many NVSUans find culture to be both a guiding force and a source of inspiration. Through our academic pursuits and community engagements, we come to understand the transformative power of culture—not just for personal growth but as a social tool to serve and uplift the communities around us. And for us to truly live up to that promise of sustainable community impact, there is an outcry to rethink conventional academic norms, which are often tilted toward tokenistic, capitalist, and extractive stance, in order to genuinely embrace culturally sensitive and responsive perspectives that are fundamentally central to co-creating and co-sharing of knowledge resources with the communities. This revolutionizing journey into making difference with and in our communities encourages us to question the underlying assumptions in how knowledge is constructed. We examine the biases and power structures embedded in our inquiries and we seek to honor diverse voices and alternative narratives. This approach is not about rejecting other paths but about asserting the validity of perspectives that challenge dominant systems and amplify underrepresented voices.

As NVSUans, we are guided by the principle of boundlessness, one of our university’s Core Values. For us, being boundless means more than excelling in academics, research, extension, and production. Boundlessness does not only entail the idea of unlimited resources, but the duty of transcending our limitations, resisting predefined roles, and enabling ourselves and others to create meaningful spaces out of these resources for growth and expression. Boundlessness, then, in this particular context, manifests in its refusal to conform to a singular narrative or meet external expectations. Instead, we thrive on unity and harmony in diversity since we celebrate the unique contributions of every individual while building a collective identity. Our individual experiences, attitudes, and biases also reveal our shared narrative that ties together the diverse elements of our community into a cohesive whole. So, where can one situate the differences in the story? The inevitable existence of clashing ideas, opinions, principles, and values only serve to provide friction for the university to get going. The friction fuels the fire that, with optimism, puts all intentions, aspirations, and actions to the test for only the best to thrive.

So, in practice, boundlessness allows us to adapt to evolving challenges. This adaptation is evident in the university’s initiatives that connect us to broader communities, such as research on Indigenous Knowledge Systems, transformative extension programs, and projects that address local and global concerns of environmental resources management, cultural preservation, and Indigenous Peoples' self-determination. For this cause and cost, our university serves as a stage for our collective narrative wherein multi-sectoral ethnolinguistic initiatives flourish. Through conferences, training, competitions, and other engagements, we learn to bridge differences and uphold the identities of the many cultures we represent. These efforts build the foundation for our shared story as #OneNVSU as shaped by our achievements, experiences, and aspirations.

The Tan-awan 2023 has presented how boundlessness, one of the Core Values of the university, guides the institution and its constituents in framing a collective identity through individual experiences weaved into one cohesive story. Boundless as a core value unsettles dominant power structures and offers alternative ways of knowledge construction while putting at the forefront the welfare of communities. In this pursuit for boundlessness culture is a tipping point that ushers change.

Meanwhile, the Tan-awan 2024 draws inspiration from the very words of the university president Dr. Wilfredo A. Dumale Jr. in which he mentioned his aspiration for NVSU to emerge in the future as a leading university for Indigenous studies in the region. His message not only echoes a reverberating impact on the ears of the faculty and students but also rekindles an "aha!" realization considering that NVSU is populated mostly by Indigenous Peoples. With this demographic characterization the NVSU is left with no choice but to make good use of its strategic human resource. Perhaps the next step from here is to reflect on how culture and arts in NVSU should be positioned and viewed through the lens of the United Nations Sustainable Development Goals, Decolonization, and Indigenization frameworks.

Decolonizing perspectives in our context suggest that we must reclaim our Filipino heritage which has long been penetrated by Western ideologies. Decolonizing is not necessarily to disregard such other ideologies but to give the highest premium on Filipino psychology in knowledge construction and production. That means that our experiences must be understood on our terms as Filipinos through Filipino ways of knowing. For instance with a decolonizing paradigm instruction and research shift the focus from foreign to what truly matters to us Filipinos. But it does not mean that it has to end there. By the same token we begin to recognize and take pride in our own history, cultural identity, and artistic expressions rather than trying hard to become something or someone else which we are not. Hence with a decolonizing perspective first we reclaim our truths as Filipinos; second we celebrate our shared identity and develop a sense of ownership of our cultural and artistic heritage.

In NVSU, the Culture and the Arts Office has started many years ago to create a safe and healthy environment for Filipino cultural heritage to flourish. The programs, activities, and projects of the university have inculcated time-honored Filipino values, practices, and belief systems. More particularly the songs and dances performed during events advocate Filipino hospitality, chivalry, and bayanihan. Performance acts on the other hand are reflective of the country's social realities. With the paradigm shifting even the manner in which these products of culture and arts are appreciated must align with how Filipinos should appraise or identify with them. As it should be we Filipinos reclaim in our own rights what was lost to us as a consequence of colonization, migration, and cultural assimilation, and perhaps likewise correct the misconceptions brought about by the subjective realities which the then-prevailing powers imposed upon their colonies.

A critical aspect that demands clarity in terms of decolonization is the concept of indigenization. At a glance indigenizing may simply mean making things "indigenous." To be indigenous presupposes that something is local to a community. So with decolonization we reclaim our "Filipino-ness" and revert back to our origin, to that which is indigenous to us Filipinos. However reasonable as it may sound the concept of indigenization faces a logical flaw based on its given definition. The argument is predicated on the fact that something which is considered indigenous at the very beginning cannot be made "indigenous" again. Which means that if we go back to our own culture as a result of decolonization we actually do not indigenize our original lifeways or worldviews but we merely revitalize them. Based on these premises, the NVSU Culture and the Arts Office is therefore guided by decolonization and revitalization efforts in crafting its policies, projects, and programs in hope to truly bring to the surface Filipino culture and arts.

In a macro perspective the decolonization and revitalization efforts of the NVSU Culture and the Arts Office are also anchored on the umbrella provisions of the UN Sustainable Development Goals, particularly SDG 4 on Quality Education, SDG 5 on Gender Equality, and SDG 17 on Partnership with Goals. These efforts find relevance in the global struggle for streamlining accessible education and creating equal opportunities for everyone regardless of skin color, religious belief, sexual orientation, political inclination, and educational background. As regards culture and arts, the NVSU Culture and the Arts Office in its role to safeguard, reclaim, and revitalize the Indigenous knowledge, systems, and practices of the communities it is connected with belabors to do so with cultural sensitivity, inclusivity, and commitment to upholding Filipino heritage.

As a departure point, to share the spotlight by making a special mention of the role and contribution of women in creating safe spaces and in nation-building, the NVSU Culture and the Arts Office breaks the long-held stereotypes toward women and the paralyzing norms of our patriarchal society that prohibit them from fully maximizing their potentials, and not only recognizes but further celebrates the brilliance and passion of women among the group who have stood their ground to be of great service to the university, the communities, and the nation through their cultural and artistic adeptness and discoveries.

Ummong is one of the annual flagship activities of the Culture and the Arts Office every month of October. The celebration usually coincides with the Indigenous Peoples' Month Celebration. The basic purpose of the celebration is to forge a space that recognizes, promotes, and celebrates various cultures including that of the Indigenous Cultural Communities. In order to solidify the cause of the celebration, the organizing committees, comprised of a director, coordinator, faculty advisers, and student leaders, consciously and intentionally preferred the use of lexicons in the local languages existing in the university to reinforce ownership and a sense of affiliation among the ethnolinguistic and multicultural participants especially the thousands of combined learners and employees.Ummong is borrowed from Iloco, the lingua franca known and spoken by communities in Nueva Vizcaya. In its simplest form, Ummong translates to "coming together" in English. Actually, it carries a culturally laden meaning which accounts for that oneness and interconnectedness that connect and bind us. In our communities, "coming together" is not merely a physical gathering—it is traditionally accompanied by singing, dancing, storytelling, and feasting. These acts, woven into our traditional rituals and belief systems, represent the lifeblood of our shared history and cultural heritage. Through such communal expressions, we fortify the very fabric of our cultures, which continuously haggle for the survival of our unique indigenous knowledge, systems, and practices (IKSP). The Tan-awan Center nourishes the enduring value of "coming together" through celebrations, prayers, and performances of songs, chants, dances, and stories, as we sustain our cultural heritage, safeguard our collective identity, and pass on our traditional wisdom to future generations.

WATWATAN IN NUEVA VIZCAYA STATE UNIVERSITY 2024

INDIGENOUS BOOTH EXHIBIT 2024

The Booth Exhibit on the Bayombong Campus displays various material objects, products, and services from the different cultural groups being represented during the Ummong 2024 celebration.

As part of the Ummong 2024 celebration, the Indigenous Booth Exhibit at the Bayombong Campus serves as a vibrant showcase of the rich material culture, products, and traditions of the diverse cultural groups represented in this annual event. Each booth transforms into a cultural microcosm, offering visitors an immersive experience of the heritage and creativity of Indigenous communities.

The exhibit features an array of items that highlight the ingenuity and resourcefulness of these groups, including traditional crafts, textiles, tools, and culinary delights. Visitors can also engage with services that reflect indigenous practices, such as live demonstrations of weaving, bamboo carving, and indigenous cooking techniques. Beyond tangible objects, the booths also tell the stories of the communities they represent, giving deeper insight into their history, beliefs, and way of life.

The establishment and active presence of groups and organizations specifically catering to students from Indigenous Cultural Communities (ICC) reflect the significant representation of these students across both campuses of Nueva Vizcaya State University. Notably, Indigenous Peoples (IP) students now form a substantial and steadily growing portion of the student population within the academic community.

The Ifugao Student Organization (Bayombong Campus) members and their adviser strike a pose with their faculty adviser Ms. Mercy Balinon during the 2024 Ummong Celebration on campus grounds.

The NVSU Culture and Arts Office significantly impacts the university community by actively engaging teaching faculty members as facilitators, trainers, varsity coaches, implementers, and resource persons, among other roles. Beyond these contributions, the faculty seamlessly integrates cultural and artistic pursuits into the academic curriculum. Through the center's initiatives, lessons, performance activities, teaching methodologies, and assessments are enriched with elements of culture and arts. This integration is particularly relevant given the university's cultural-focused academic offerings, such as the Bachelor of Culture and Arts Education (BCAED) and the Bachelor of Physical Education programs, both housed under the College of Teacher Education.

The integration of culture and the arts in instruction is a dynamic approach that enhances the learning process by combining academic content with cultural heritage and artistic expression. This method recognizes the importance of contextual learning, where cultural elements provide real-life relevance to academic concepts. For instance, indigenous weaving patterns can be incorporated into mathematics lessons to teach geometric concepts, or traditional dances can be explored in history classes to illustrate societal values and historical events. Additionally, this approach serves as a vital tool for the preservation of cultural heritage, particularly intangible elements such as traditional songs, dances, rituals, and oral stories. By embedding these into educational activities, students develop a sense of pride and a deeper connection to their cultural identity, especially those from indigenous or underrepresented communities. Furthermore, the integration of arts in education stimulates critical thinking by encouraging students to analyze and interpret the underlying meanings of artistic expressions, fostering a reflective understanding of societal issues and cultural narratives.

The Mamang Sorbetero dance is a traditional Filipino folk dance that portrays the joyful custom of rushing to purchase ice cream when the vendor rings their bell. Performed to a well-loved Filipino folk song, the dance embodies themes of unity, hope, and love, serving as a reminder of these values, particularly in challenging times.

The Tiklos is a traditional dance originating from the peasants of Leyte. During their breaks, they relax with tuba, a local wine, while others join in the Tiklos dance, accompanied by instruments such as the subing (flute), guimbal, and tambora drums. If available, a band may play the sista. The lively Tiklos tune also serves as a signal for the workers to return to their tasks.

The cariñosa, which translates to "loving" or "affectionate" in Spanish, is a traditional Philippine dance with roots in the colonial era. Part of the Maria Clara suite of folk dances, it features the use of a fan or handkerchief as a central prop, creating a romantic atmosphere between the dancing couple.

The NVSU Culture and the Arts Office actively contributes to the preservation and promotion of Filipino cultural heritage through its Ayug ken Tignay performances, which have become a hallmark of excellence in cultural expression. These performances serve as a bridge between the university and various communities in regards cultural awareness and appreciation. Upon the invitation of government agencies, private organizations, and firms, the Ayug ken Tignay ensemble showcases traditional and contemporary cultural artistry during local and national events and celebrations.

The Ayug ken Tignay performances are regularly featured in significant cultural and social events, such as town fiestas, heritage festivals, and regional showcases. On a national scale, the ensemble has been invited to perform in celebrations like the Philippine Independence Day commemorations, Indigenous Peoples' Day, and other major gatherings that highlight Filipino identity and traditions. These performances resonate with audiences as they bring to life the unique and diverse cultures of Nueva Vizcaya and beyond.

The Ayug ken Tignay performances extend the university’s reach to marginalized and underrepresented communities, fulfilling its social responsibility through cultural enrichment. By performing in schools, barangay halls, and public spaces, the group creates inclusive opportunities for cultural appreciation and learning among various types of spectators and participants. Their presence not only entertains but also educates and encourages communities to take pride in their heritage while nourishing mutual respect for cultural diversity.

Through these performances, the NVSU Culture and the Arts Office fulfills its commitment to social responsibility. It advocates for the protection and promotion of indigenous traditions, contributes to the cultural education of various audiences, and builds partnerships with stakeholders who share the mission of cultural preservation. The Ayug ken Tignay ensemble's efforts reflect the seriousness of the university to become a visible institution dedicated for producing not only academically competent but as well as culturally aware and socially responsible citizenry.

DANCE COMPETITIONS

BAND COMPETITIONS

CHARCOAL RENDERING