UP Centennial Celebrations 1998

For Whom the Bell Tolls

Churchbells are not only a source of varied,interesting sounds; they are also a rich source of historical data.

UP Manila professor Honey Libertine Achanzar made this revelation in a paper titled "Nineteenth Century Churchbells in the Philippines: Their Cultural and Political Context" which she presented during the June 9-11 international conference on "1898 and the World."

Inscribed on a churchbell are the names of the bell casters or fundidores. There is also the date the bell was cast, including its donors. From these information, one can infer other relevant historical data, such as the prevailing socio-economic milieu when the bell was cast.

Moreover, said Achanzar, the bell's every stroke has a meaning. In the 19th century, the Katipuneros used the churchbell to warn the townsfolk of impending danger. In the hands of the Spanish friars, an instrument of subjugation. Yet this same object was also an instrument of emancipation. It made known to the villagers victories which the Katipuneros won for their exploits against the Spaniards.

Also, depending upon the sound the churchbell produced, the villagers readily knew if a baby had been born or if death had taken one of the living.

Also presented was the study of UP alumna and now San Francisco University Professor Penelope Flores about the possible source of the title Noli Me Tangere by Dr. Jose Rizal. Dr. Flores said that based on her findings, the title of Rizal's famous novel was derived from a 130 x 103 cm painting of Antonio Allegri de Carregio (1493-1534) entitled Noli Me Tangere, which Rizal saw at the Prado Museum in Spain.

This revelation dismisses two other theories associated with the Noli_the medical theory stating that Rizal wanted to depict in his novel the social cancer which plagued the country then, and the biblical theory stating that Rizal based his title from Chapter 20, Verse 17 of the Bible, part of which reads, " ...do not cling to me."

In the same forum, Professor Melecio Fabros III of the UP Diliman Filipino Department discussed selected traditional Filipino poetry and how they became instruments in our forefathers' quest for freedom. He said that although images and ideas of imperialism dominated this type of literature in the 19th century, our poets always presented a counter culture.

Capping his talk, which was entitled "Imahen at Ideya ng Manifest Destiny, White Man's Burden at Imperyalismo Noong 1898 at Panahon ng Pananakop sa Pilipino ng United States sa Piling Tulang Tradisyonal na Tagalog," was a recitation of lines from the poetry of Jose Corazon de Jesus, Lope K. Santos and Amado V. Hernandez.

(FBCabangis)

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