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              <text>Razalan now full-fledged Iloilo prov’l police director&#13;
By Panay News -Friday, August 2, 2024&#13;
RAZALAN&#13;
RAZALAN&#13;
&#13;
BY NYARIKA DOMANAIS&#13;
&#13;
ILOILO – Police Colonel Bayani Razalan is now a full-fledged director of the Iloilo Police Provinciallice Office (IPPO).&#13;
&#13;
He had been serving as IPPO head in an acting capacity since April 19, 2024 following the exit of Police Colonel Ronaldo Palomo who served for over a year. &#13;
&#13;
The decision of Gov. Arthur Defensor Jr. to make Razalan a full-fledged director was announced early evening on July 31.&#13;
&#13;
There were two other nominees – Colonel Giovanni Musico of the Police Regional Office 6’s (PRO-6) Regional Intelligence Division and Colonel Ferdinand Navales of the Regional Headquarters Support Group.&#13;
&#13;
&#13;
&#13;
As acting IPPO director for some 100 days, Razalan spearheaded numerous anticrime operations which led to, among others, the confiscation of 3,937 grams of shabu valued at over P26.7 million, and arrest of 147 drug traffickers, including 28 high-value targets.&#13;
&#13;
The IPPO also successfully executed 343 manhunt operations under Razalan’s command, which resulted in the capture of 345 fugitives, including 67 of the province’s most wanted.&#13;
&#13;
In addition to antidrug efforts, Razalan’s leadership saw effective enforcement against illegal fishing activities, with 261 illegal fishers apprehended and 132 fishing boats impounded across 102 operations.&#13;
&#13;
The operations also led to the seizure of P418,338 worth of illegally caught fish.&#13;
&#13;
The IPPO’s crackdown on illegal quarrying saw 116 violators apprehended and several delivery trucks impounded from 108 enforcement operations.&#13;
&#13;
Moreover, the campaign against illegal gambling resulted in 70 arrests and the confiscation of P41,014 in bet money.&#13;
&#13;
Furthermore, the drive to confiscate loose firearms yielded 201 firearms, with 150 voluntarily surrendered by owners, 17 with expired documents deposited at police stations, and 34 confiscated during operations that also saw 35 individuals arrested.&#13;
&#13;
Governor Defensor expressed confidence in Razalan’s capabilities and anticipates further successes in maintaining law and order in the region under his leadership./PN&#13;
&#13;
&#13;
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              <text>University of San Agustin grads top medical technologists board exam&#13;
By Panay News -Saturday, August 17, 2024&#13;
Photo courtesy of University of San Agustin-Iloilo/Facebook&#13;
Photo courtesy of University of San Agustin-Iloilo/Facebook&#13;
&#13;
BY NYARIKA DOMANAIS&#13;
&#13;
ILOILO City – Two graduates of University of San Agustin in this city topped the Medical Technologists Licensure Examination (MTLE) given by the Board of Medical Technology at testing centers in National Capital Region, Davao, Cebu, and Baguio on August 6 to 7.&#13;
&#13;
Dovy Galvez Dichoson ranked sixth with a rating of 91 percent and Kristia Madel Crucero Arabaca ranked eighth with a rating of 90.80 percent.&#13;
&#13;
The university added that a total of 239 Augustinians passed the August 2024 MTLE, making USA one of the top performing schools. It ranked 10th with a passing rate of 90.19 percent.&#13;
&#13;
“Congratulations to our 239 new Augustinian registered medical technologists! Congratulations to the family and friends of the passers, and to the dean, faculty and alumni of the College of Pharmacy and Medical Technology,” USA posted on its Facebook page.&#13;
&#13;
The Professional Regulation Commission (PRC) announced on August 14 that 3,872 of 5,574  examinees passed the August 2024 MTLE.&#13;
&#13;
It added that those who failed to pass the board examination but had obtained a general rating of at least 70 percent can register as a medical laboratory technician./PN &#13;
&#13;
&#13;
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              <text>Mayor Jerry Treñas receives his Outstanding Public Servant plaque and certificate from the representatives of the RP-Mission and Development Foundation Inc. on Tuesday, March 19. &#13;
&#13;
BY NYARIKA DOMANAIS&#13;
&#13;
ILOILO City – The RP-Mission and Development Foundation Inc. (RPMD) has awarded Mayor Jerry Treñas as Outstanding Public Servant for his excellent performance in 2023.&#13;
&#13;
&#13;
Representatives from the RPMD arrived in the city on Tuesday, March 19, to hand over the plaque and certificate to Treñas.&#13;
&#13;
“This prestigious accolade reflects a comprehensive performance assessment by our department, concluded in January 2024, and is a testament to the democratic voice and trust of the people of Iloilo City, who have bestowed Mayor Treñas with exceptionally high job performance and trust ratings,” read part of the certificate signed by Dr. Paul Martinez, a Global Affairs Analyst and the Executive Director of RPMD.&#13;
&#13;
Mayor Treñas expressed his gratitude to RPMD for the award, which he dedicates to all the Ilonggos.&#13;
&#13;
“This is validation of all the hard work and dedication of all the men and women in the city government, of course, with the support of our people and our various partners,” the city mayor said.&#13;
&#13;
The RPMD’s rigorous evaluation process examined the initiatives led by Mayor Treñas, gauging their impact on the city’s development and the residents’ quality of life.&#13;
&#13;
“This award not only celebrates Mayor Treñas’ substantial contributions to Iloilo City’s upliftment but also highlights his role as an exemplary leader capable of navigating the complexities of modern governance to foster sustainable community development,” the RPMD added.</text>
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              <text>Shark attacks Guimbal fisherman&#13;
&#13;
By Panay News -Wednesday, July 31, 2024&#13;
&#13;
BY NYARIKA DOMANAIS&#13;
&#13;
ILOILO – A fisherman’s right leg was injured after he was attacked by a shark off the coast of Guimbal.&#13;
&#13;
The incident happened around 7 a.m. on Monday, July 29, while alias “Nonoy, 44, and a resident of the town’s Barangay Cabubugan, was fishing aboard his pump boat.&#13;
&#13;
According to Nonoy, while sitting on the pump boat he noticed something in the water he believed was a sunfish but when it got near him, he confirmed it was a shark.&#13;
&#13;
&#13;
The fisherman immediately stood up but the shark rammed the pump boat and attacked him, causing him to fell into the water.&#13;
&#13;
Nonoy said he managed to hold on to the pump boat while the shark continued biting his right leg until his shorts was torn.&#13;
&#13;
Luckily, he said, the shark left thereafter.&#13;
&#13;
Nonoy said he immediately went back ashore and went to the nearest health center.&#13;
&#13;
Guimbal police said this was Nonoy’s second shark attack experience. The first attack was in Concepcion town when he was 24 years old.</text>
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              <text>Last July 5, Iloilo Museum of Contemporary Art raised the curtains of Hulot Gallery to showcase an eclectic collection of artworks, the result of a coming together of two galleries: Puluy-an Art Gallery from Oton, Iloilo and Eskinita Art Farm from Batangas.&#13;
&#13;
Established by Ilonggo artist Melvin Guirhem and his wife, Recheal Olivares Guirhem, Puluy-an Art Gallery is an artist-run hub, showcasing works by local painters and artistes. Since its opening in 2022, it has become a hive where creator and viewer meet in common appreciation of the Ilonggo aesthetic, in all its various forms and projections. Running along similar lines, Eskinita Art Farm parallels this premise with gallery owner Alfredo Esquillo’s advocacy of providing an alternative art platform where the artist is continually involved in the growth and evolution of local (contemporary) art.&#13;
&#13;
Not for the first time did this artistic exchange – aptly named ‘Bayluhanay’ – link regional artists in an aesthetic repartee through various art forms. For this year, ‘Katawhan’ bridges this divide.&#13;
&#13;
Essentially, the exhibit explores the age-old idea of art as a mirror to the human condition. In the canvases once more are reiterated the enduring queries of what it means to be human and what defines that humanity. But beyond meaning and definition, the exhibit likewise highlights the visual corporeality seen in the artwork: the idea of katawhan (humanity, in Hiligaynon) and its relation to katawan (body, in Tagalog), as observed by art writer Janine Dimaranan.&#13;
&#13;
Throughout the collection, the media used transcend their essence as objects and transform into refractors of the body and the self: though the artists’ interpretations vary, they nonetheless explain – or attempt to explain – their understanding of their world, even as the audience tries to participate by bringing with them as well their personal experiences and in looking at the imagery, try to find shared encounters that bring out what are essentially human and humane in the artworks.&#13;
&#13;
In her wall-text for the exhibit, Dimaranan reinforces the idea of the corpus ‘as the only vessel from which being is possible’, thus becoming the base from which we relate to the world. Seen through the artworks, these relational connections dive into the sundry contexts of the artists: while the gallery becomes a sanctuary for the contemplation of the artistic self, it also operates as a shared space where regional zeitgeist meet, acknowledge, and respect aesthetic differences and similarities.&#13;
&#13;
This corporeality is projected in the variations of the human figure, as seen on the canvases of Job Hablo, Khervin John Gallandez, John Paul Castillo, Khyle Columna, Pamela Maceda, Jecko Magallon, Jack de Castro, Bry Barrios, Kevin Vila, and Brando Banga. Situated in various poses, the immobile bodies exude personalities: entities becoming identities, albeit the absence of names.&#13;
&#13;
Complementing this imagery of the self is the fragmentation and distortion of identities, as faces are twisted and contorted in the artworks of Jan Michael Tauro, Edmar Colmo, Rai Cruz, Melvin Guirhem, and Kim dela Cruz. If one is to question what is human in the disfigurement of the human face, then perhaps the audience is called to contemplate the brokenness of our natures.&#13;
&#13;
Similarly, the symbolic-archetypal projection of selfhood as seen in the works of Anthony Victoria, Kyle Francis Dile, Renwil Portodo, Ioannis Sicuya, Rick Sapio, Genavee Lazaro, and Alfredo Esquillo echoes the same sentiment and comes full circle to the title of the exhibit, endowing it with a gravitas that aspires to the philosophical and the psychoanalytic.&#13;
&#13;
In retrospect, the same quintessential questions about our humanity surface from the collection: What truly makes us human? What magnifies or diminishes our humanity? How do the flawedness and frailty of our beings define our humanity? How do our Selves relate to the Other? How do our communities contribute to our sense of self?&#13;
&#13;
In the journeying through the ‘semantic web’ of visual articulation in the canvases, lines from Shakespeare, as spoken through Hamlet’s existential monologue come to mind – the magnificence and fallibility of humanity encapsulated in verse:&#13;
&#13;
“What a piece of work is a man! how noble in reason!&#13;
how infinite in faculty! in form and moving how&#13;
express and admirable! in action how like an angel!&#13;
in apprehension how like a god! the beauty of the&#13;
world! the paragon of animals! And yet, to me,&#13;
what is this quintessence of dust?”&#13;
&#13;
[The writer is the subject area coordinator for Social Studies in one of the private schools of the city. Photos of the artworks are from Secret Art Shop and are used with permission.]</text>
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              <text>Estolloso, J. A. S. (2024, July 9). Corpus and consciousness: ‘Katawhan’ on display at ILOMOCA. Daily Guardian, 10 &amp; 8.</text>
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                <text>Last  July 5, Iloilo Museum of Contemporary Art raised the curtains of Hulot Gallery to showcase an eclectic collection of artworks, the result of a coming together of two galleries: Puluy-an Art Gallery from Oton, Iloilo and Eskinita Art Farm from Batangas.</text>
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                <text>&lt;a href="https://dailyguardian.com.ph/corpus-and-consciousness-katawhan-on-display-at-ilomoca/" target="_blank" rel="noreferrer noopener"&gt;Daily Guardian&lt;/a&gt;</text>
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              <text>Urban Rendezvous: The city through the art of Java and Setubal&#13;
January 17, 2024&#13;
&#13;
By John Anthony S. Estolloso&#13;
&#13;
TO SAY that the city is a mere composite of entities would be an understatement of what were projected within the frames of Mark Vincent Java’s panoramas and the assemblages of Cristhom ‘Dodoy’ Setubal. Last January 10, the lobby of Days Hotel at the Atrium played host to the opening of a collaborative exhibit of the works of these two artists, bringing to the consciousness of the viewers a fresh look at the city as a shared space.&#13;
&#13;
Mark Vincent Java’s style of panoramic depictions of local mise-en-scènes of Iloilo City is readily recognizable by most art connoisseurs of the region. While its intention is to capture the scenarios and the denizens that congregate through its hubs, his canvases likewise ‘freeze the present’, thus fulfilling an essential function of art: to hold up a mirror, reflect, and preserve for posterity, the zeitgeist of the artist and his contemporaneity.&#13;
&#13;
Peer closely at his panoramas and you start to identify the routinary details that give life to the city: the street vendors hawking their afternoon supply of fishballs and tempura, the frozen figures that would have gyrated in Zumba exercises at the plazas, the early morning joggers oblivious to sun or smoke, the tricycles idly parked and waiting for passengers, and the ever-ubiquitous pedestrians strolling through the busy sidewalks and crisscrossing thoroughfares.&#13;
&#13;
While patrons of Java’s work are acquainted with his usual panoramic projections – a Larry Alcala vibe sans the comic – the exhibit likewise introduced viewers to a shift in style: new to the audience and transcending the two-dimensional panoramas are impressionist renditions of similar urbanscapes. Through the hazy daubs of colors and the barely discernible figures of buildings and people, one senses the frenetic hustle and bustle of city life, the homely urbanity that the city-bred Ilonggo is most familiar with.&#13;
&#13;
As Java’s art attempt to capture the current Ilonggo spirit of our time, Dodoy Setubal’s assemblages on the other hand attempt to recreate the iconic images that, perhaps for some of us, have been around long before even we were born: it is indeed an urban rendezvous of the historical and the contemporary.&#13;
&#13;
Even as Setubal’s exhibit of Panayanon churches sits stolidly at the National Museum just some few hundred meters away from his current collection, his display of the landmarks of Iloilo City retains the same authenticity of upcycling from odd bits and ends of castoff material.&#13;
&#13;
Set on veneered planks of wood are the icons encountered in the public spaces of the city: the regal tower of Arevalo’s plaza with its ostentatious crown, the silent caryatids of Arroyo fountain standing upon their base of crustaceans, the sprawling Aduana with its simple yet well-defined lines, and the several heritage houses that dot certain sections of the city are reimagined through pieces of plastic and metal, cardboard and wire.&#13;
&#13;
One senses some irony in the hodgepodge and the bricolage: the elevation of discarded and ordinary materials into representations of the monuments that have become the city’s metaphors. In a sense, the simplest and humblest of things ‘make sense’ of the grandest of our public structures, a subtle suggestion perhaps that what truly defines Iloilo City lies not so much on the grand and great but on the constant and low-key conventionalities of the Ilonggo lifestyle.&#13;
&#13;
Though we can readily say, at first glance, that the artists’ works escape the scrutiny of weighty interpretation, they nonetheless invite the viewer to look closely at the elements and details that build up the whole and immerse in the kaleidoscopic structuring of colors, lines, and materiel. To critique art after all does not lend itself only to interpretation: it likewise necessitates description and evaluation, and if these suffice, then the value – or our understanding – of the artworks would not have been diminished at all.&#13;
&#13;
In both collections, the mundane becomes extraordinary: whether projected as panorama or assemblage, the images identified with Iloilo City are reiterated as narratological artifacts, talking about the present and retelling what was past. After all, where else can the past truly meet the present than in the many iterations of art?&#13;
&#13;
[The writer is the subject area coordinator for Social Studies in one of the private schools of the city; the photos are from Israh Dayalo and are used with permission.]</text>
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                <text>TO SAY that the city is a mere composite of entities would be an understatement of what were projected within the frames of Mark Vincent Java’s panoramas and the assemblages of Cristhom ‘Dodoy’ Setubal. Last January 10, the lobby of Days Hotel at the Atrium played host to the opening of a collaborative exhibit of the works of these two artists, bringing to the consciousness of the viewers a fresh look at the city as a shared space.</text>
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