In this Issue - The Japan Foundation, Manila

ISSN 0118-7910
Volume XIV Issue 2
November 2010
1
www.jpf.go.jp
www.jfmo.org.ph
www.jfmanila.wordpress.com
In this Issue
Upcoming Events
Highlight
Chelfitsch
“Five Days in March”
Feature
BBIEAF: Art as a
tool for Community
Development
The Pitfalls
of Reform Japan
Under the DPJ
An Architect’s
Perception from
Travel to Japan
JENESYS Program on
Learning and Working
Together Towards
Disaster Prevention: A
Good Beginning
Discovering New
Beginnings
People, Events, Places
©FUJI TELEVISION-ROBOT

2
Upcoming Events
2nd Philippine International Cartoon,
Comics and Animation Festival
October 22 to 25, 2010
SM City North EDSA, Quezon City
(The Block, Annex and Sky Dome)
University of the Philippines (Film Center)
2nd PICCA Fest is the biggest cluster
of events and organizations of content
creators in the Philippines. The cluster of
events include: International Talks, Cartoons
and Comics Exhibit, Animation Showings,
Comic and Animation Competitions, Book
Launches, PICCA Trade and Showcase,
Workshops for Kids, etc.
www.piccafest.com
Chelfitsch “Five Days in March”
November 5 to 6, 2010
PETA Theater Center, Quezon City
Chelfitsch is one of the most acclaimed
phenomena in Japan’s theater scene in the
last decade. Toshiki Okada, who formed
the group in 1997, created the hybrid name
from the English words “selfish” and “childish”
which adequately describes how the group
sees contemporary Japanese society. Known
for super-colloquial dialogue and sloppy
gestures in everyday life, Chelfitsch has
achieved wide acclaim in premier theater
festivals and venues throughout Europe and
Asia. Their works include: On the Harmful
Effects of Marijuana (Marijuana no Gai ni
Tsuite); The End of Toil (Rouku no Owari) and
Five Days in March (Sangatsu no Itsukakann),
which has won many honors including the
prestigious Kishida Kunio Drama Award
(Japan’s Tony Awards).
www.chelfitsch.net
53rd Annual Philippine
PEN Literature Conference
December 4-5, 2010
Montebello Vista Hotel, Cebu City
The conference aims to gather Filipino
writers and those from Asia-Pacific, the
Middle East, Africa, Europe and the Americas
and they will compose the six literary
sessions. They are to share excerpts from
their recently completed work or work
in progress, and talk about their literary
concerns relevant to the theme.
Ms. Nori Nakagami, a Japanese novelist,
will be participating as part of the panel
on “Writing and Writers in Asia” within the
conference theme : “Solidarity in Literature
without Borders”
Please contact the Philippine PEN c/o
Solidaridad Bookstore (t/f # 63-2 - 525-5038)
e-mail: philippinepen@yahoo.com
Japanese Language
Proficiency Test
December 5, 2010
De La Salle University,
Manila
University of San Carlos,
Cebu City
Mindanao Kokusai
Daigaku, Davao City
The JLPT is
administered – worldwide, by the Japan
Foundation in cooperation with other
cultural exchange/educational institutions,
in order to evaluate and certify the Japanese
language proficiency of non-native speakers.
The new test, which now comprises five
levels (N1 to N5), will be held simultaneously
in testing centers in Manila, Cebu City, and
Davao City.
A Gift of Jazz:
Hiromi
December 17, 8 pm
Grand Sunset
Pavilion, Sofitel
Philippine Plaza
The Philippine
International Jazz
and Arts Foundation
in cooperation with
the Japan Foundation bring to Manila, Ms.
Hiromi Uehara for a one-night concert
on December 17, 8:00 in the evening at
the Grand Sunset Pavilion of the Sofitel
Philippine Plaza.
Hiromi Uehara first mesmerized the jazz
community with her 2003 Telarc debut,
Another Mind. Since then she has electrified
audiences and critics of both hemisphere
with a creative energy that defies the
conventional parameters of jazz and
pushes musicianship and composition to
unprecedented levels of complexity and
sophistication. Considered one of Japan’s
best jazz pianist and composers, Hiromi has
received numerous awards for her music
including Jazz Album of the Year Award
(2003); Horizon Award (2004); Album of the
Year in Swing Journal’s 2005 Readers Poll and
Best Jazz Act at the Boston Music Awards
and the Guinness Jazz Festival’s Rising Star
Award in 2006.
The event is also sponsored by Yamaha,
Delta Airlines and Sofitel Philippine Plaza
Manila.
JFM on Facebook tm and Twitter tm
The Japan Foundation, Manila has joined
in on the social revolution! Get the
latest updates on events by liking us on
Facebook or following us on Twitter @
jfmanila.
Monthly Oshaberi Salon – Let’s Talk in
Japanese @ JFM Library
Brush up on your Nihongo and talk about
Japanese language and culture with
our JENESYS “Young Japanese Teachers.”
Everyone is welcome to join! For schedule
inquiries, contact the Japan Foundation,
Manila at 811-6155 to 58.
Editorial Staff
Shuji Takatori
Editor-in-Chief
Yukie Mitomi
Associate Editor
ISSN 0118-7910
Volume XIV Issue 2
November 2010
Suki is a newsletter published by The Japan Foundation, Manila
(JFM) located at the 12th Floor, Pacific Star Building, Sen. Gil
Puyat Avenue, cor. Makati Avenue, Makati City 1226, with
telephone numbers (632) 811-6155 to 58, fax number (632)
811-6153; and email address at email@jfmo.org.ph.
Suki is published three times a year and is duly registered as
printed matter mail at the Makati Central Post Office under
Permit No. 1074-97 NCR dated June 16, 1997. It is distributed
free of charge to individuals and organizations interested in
Japanese Studies and International Culture Exchange.
Cecilia EJ Aquino
Sheila de la Paz
Katrina Soliman
Roland Samson
Staff
©FUJI TELEVISION-ROBOT
The opinions expressed in the feature articles are of the authors
and not necessarily of the Foundation. Reproduction in whole
or part of Suki articles is prohibited without permission from
the author and The Japan Foundation, Manila.

Farewell / Welcome Greetings
3
Dear Friends,
As they say, “all good things must end someday…” this is to wish you farewell as I have
to leave the Philippines for a new assignment at the Japan Foundation Headquarters in
Tokyo.
My tour of duty in the Philippines was of significant importance as I had been a witness of
national historical events that have been professionally rewarding; personally enriching, it
was as well, since it was a great pleasure to have lived in a country that served as a “home
away from home” for me and my family for the past five years.
I feel that I am bound to pursue an upscale dynamic career after spending the best
moments of my life in the Philippines. I am very lucky to be able to keep close contact
with the Philippines in my new assignment and with a lot of Filipinos whom I have
strengthened bonds of friendship with. I personally hope to reciprocate in my own humble
way my “Utang na loob”.
Mabuhay for everyone,
Ben SUZUKI
Director
JF Japanese Language Course Team
Teacher and Institutional Support Dept.
Japanese-Language Group
Warmest greetings to everyone!
Upon my arrival at the NAIA last month, I was quite surprised that the climate
In Manila was cooler than that in Tokyo. I first thought that it was some kind of an
“invigorating breeze of friendliness” welcoming me in the Philippines. However, soon
enough, I realized that it must have been only the unusually hotter and more humid
weather in Tokyo that made me feel so. Nevertheless, I can assure you that whatever
weather extremities there might be – I will certainly survive. I am very glad to have been
assigned as the new Director of The Japan Foundation, Manila.
Since its establishment in 1996, The Japan Foundation, Manila has conducted various
kinds of cultural activities including performing arts, visual arts, films, publication,
Japanese Language, exchange of persons, Japanese Studies, and intellectual exchange.
I will definitely continue these activities, and I will cooperate strongly with other cultural
institutions and partners so that we can have an “exuberant breeze” of concerted efforts
to create new types of projects for a more effective and efficient implementation, such
as the ones on global issues and multilateral relationships.
I am earnestly looking forward to meeting you all soon!
SHUJI TAKATORI
Director
The Japan Foundation, Manila

4
HIGHLIGHT
The performances of chelfitsch employ
rambling dialogue that often sounds
like private mutterings and a “noisy” style
of physical expression that has also been
recognized as contemporary dance, to
depict the elusive and nondescript state of
today’s young people in Japanese society.
Since being invited to Belgium’s Kunsten
Festival des Arts and coming to the
attention of the world’s festival directors
in 2007, chelfitsch has been increasingly
active on the international scene. To
date, its representative work, Sangatsu
no Itsukakan (Five Days in March) has
been performed in 14 cities in nine
countries and its director Toshiki Okada
and his group members have created new
works jointly with international festivals
and toured overseas. These efforts and
opportunities have brought about a
search for environments to enable further
artistic experimentation.
Chelfitsch
“Five Days in March”
Photo courtesy of Toru Yokota

HIGHLIGHT
5
Photo courtesy of Toru Yokota
Sangatsu no Itsukakan
(Five days in March) –
Toshiki Okada
On March 21 (20th in U.S. time), 2003,
the U.S. armed forces began bombing Iraq.
This play tells about the actions of a few
young couples during a period of five days
spanning the two days prior to and two
days after this date. What makes this play
unique is that the actions of the young
people are literally “told” rather than being
“acted out” by the actors.
One of couples had just met at a
live performance club in Roppongi and
ended going straight from there to a love
hotel in Shibuya, where they spent five
days. Going out to eat from time to time,
the couple Minobe and Yukki suddenly
find that they are seeing Shibuya with
fresh new eyes. Then there is Minobe’s
friend, the slightly wired girl Miffy and the
boy Azuma who she meets at a movie
theater. There are also the two young men
Yasui and Ishihara who are taking part,
somewhat half-heartedly, in an antiwar
march in Shibuya.
The play’s style is one in which the
seven actors come on stage as “Actor 1”
and “Actor 2” and proceed to take turns
telling the audience the stories of the
characters of the play as if they had just
heard the stories from the characters
themselves. For example, here is what one
of the actors says: “OK. I guess I’ll begin
telling the story of Five Days in March
starting with day one. First of all, I think
we’ll say this is set in March of last year and
it’s the story of this guy named Minobe
who wakes up one morning and realizes
he’s in a love hotel and he’s like ‘Hey, I’m
in a love hotel’ and, not only that, there’s
this girl who’s like asleep beside him and
he’s saying ‘I don’t know this chick’.” In this
way, the actors don’t play the roles of the
characters but simply relate their actions
to the audience.
This work, which has no real plot
or notable incidents occurring, is an
attempt at a serious exploration of
“present expression.” First of all it removes
the deceptive theatrical element of how
skillfully actors can “act out a role,” and
then it tries to eliminate the artificiality
that always exists to some degree in lines
spoken by the actors when they are clearly
from a drama-like script.
As a work born at the end of a
quest for the most sincere form of
expression in the present, Five Days in
March skillfully juxtaposes the grand-scale
event of “War” and what can be called the
almost insignificance of real daily life, to
succeed beautifully in giving form to the
ungraspable sense of the present held by
Japanese young people.
Source: Performing Arts Network Japan (www.performingarts.jp)

6
FEATURE
BBIEAF:
Art as a tool
by Joaquin Gasgonia
Palencia, MD
Executive Director
and Founder of BBIEAF
for Community
Development
The large-scale bamboo installations on Bagasbas Beach in Daet, Camarines Norte, Philippines are
but ephemeral tangibles of a life-changing event that occurred here from May 30 to June 6, 2010.
Under the summer sun, six artists from all over the world, namely, Mia Orsag from Croatia, Stuart
Ian Frost of the UK, Tanya Preminger of Israel, Emmanuel Herbulot of France, Irma Lacorte of the
Philippines and Chak Chung Ho of HK SAR China immersed with members of six small communities
in a collaborative Art-making activity designed to acquire new knowledge, change perspectives,
initiate partnerships and create the first steps toward more concrete interventions to alleviate poverty
and raise standards of living in the new traditions of environmental sustainability and responsible
and empowered citizenhood.
The 3rd Bagasbas Beach International Eco Arts Festival (www.bbieaf.org) was initiated in 2003 by
the Our Lady of Lourdes College Foundation (www.ollcf.org) in its search for new avenues to address
chronic socio-developmental problems that have proven resistant to resolution using traditional
methods. The theme for the 2010 BBIEAF was Art+Environment+Sustainability, which meant using
Art as Tool for Human and Community Development. Realizing that any intervention would be useless
unless it emanates from the stakeholders themselves, the festival focuses on changing perspectives
and attitudes of the target populations, and empowering them so that they could both think up of
the solutions as well as create the tools to realize them.
From its previous stagings in 2003 and 2008, the 3rd BBIEAF has evolved to include more tools
in its developmental arsenal. For one, a video art festival was included to further push the aims of
the festival by using a medium that has traditionally been close to the Philippine community’s heart
– cinema. Using a familiar medium for delivering catalytic learning opportunities makes it an easier
task to get across to the target stakeholders. The eminent Japanese video art pioneer, Takahiko Iimura,
who graciously accepted curatorial duties for this program, was honored with a mini-retrospective of
Photo courtesy of BBIEAF

7
Photos courtesy of BBIEAF
his works over 5 decades. He also brought
with him some of the best works from a
new generation of Japanese video artists
from Video Tokyo.
The video art program was shown in
the public areas in and around the town
of Daet – the OLLCF Campus, department
stores, malls, public markets, restaurants,
as well as the exterior walls of large
buildings.
This program, aside from the Curator’s
Selection and the Iimura Mini-retrospective,
consisted of video artists from Germany,
USA, France, Iraq, Italy, Canada, Spain and
Japan.
The Public Art program, curated by
Benjamin Edward Hughes II, resulted in two
outdoor benches on the OLLCF campus by
Jerusalino Araos of the Philippines and Tets
Ohnari of Japan.
It is the expressed goal of the OLLCF
to input Art into the everyday life of
its students and faculty members to
inculcate its inherent qualities of creativity,
innovativeness and superior technical
skills.
Thus, the 3rd BBIEAF was held with
three major programmes – installation,
video art and public art – all designed
to transfer both contents and methods
of superior processual interaction which
consisted of new knowledge and transcultural
perspectives as well as new
mental techniques and points of view. All
of these are designed to inject changes in
the way some of the most impoverished
people in the country view their problems,
their situation, and the new tools which
they can utilize to make changes that
will alleviate their own conditions. In the
light of the chronicity of poverty and the
culture of helplessness in the country, the
BBIEAF seeks to empower the stakeholders
by giving them the mental postures
needed to rise beyond the despair and
frustration and to see that a better future
is actually within their grasp with the right
knowledge, attitudes and practices.
Alongside the BBIEAF, the Center
for Empowered and Sustainable Poverty
Alleviation (CESPA) of the OLLCF, conducted
its first Kabuhayan-Kalikasan workshopseminar
designed to give free knowledge
and training to interested participants on
topics from starting a business, product
development, cooperatives, livelihood
opportunities and bank micro-lending
packages. These ran at the same time as the
festival and were supported by the Product
Design & Development Center of the
Philippines (PDDCP), Technology Resource
Center (TRC), Development Academy
of the Philippines (DAP), Cooperative
Development Authority of the Philippines,
ABS-CBN Bayan Foundation, UP Institute
for Small Scale Industries, Vitarich, World
Wildlife Fund (WWF), Haribon Foundation,
Development Bank of the Philippines,
Land Bank of the Philippines and others.
This project is an acknowledgement of the
inseparable interlinking of environmental
sustainability with the economic conditions
of a community.
The BBIEAF and its partners provided
both the new agents of change (artists),
as well as the tools (art-making and
developmental agencies) to empower
our needy communities and effect socioeconomic
changes through empowered
interventions by the stakeholders
themselves.
At the same time, the world has
lessons to learn too – about the kind
and persevering spirit of the Filipino and
the ways through which a partnership
with him can affect so many lives for
the better.
Finally, the BBIEAF is a pilot project
utilizing a novel tool – Art - that is meant
to be transferable to any part of the world,
and to any people who can use a change
of perspective to better their lives through
their own empowered interventions.
Dr. Joaquin Gasgonia Palencia is the Executive Director and founder of Bagasbas Beach International Eco Art Festival, he has been involved in socio-developmental work through the
Our Lady of Lourdes College Foundation of which he is the Executive Vice-President. He graduated with a BS Zoology, cum laude, and an M.D. both from the University of the Philippines
and is working on a PhD from the same university. Currently, he is preparing for New Media Daet slated on February 2011.

8
FEATURE
The Pitfalls of Reform:
Japan under the DPJ
by: Dennis D. Trinidad
For 38 years, the Liberal Democratic Party (LDP) held an
undisputed majority position in the Japanese Diet. During its
rule, it cultivated close ties with the bureaucracy and big business
conglomerates. This triangular relationship became the basis of a
tripod-model of governance which was committed to economic
development, safeguarded the security alliance with the United
States and protected the interests of big businesses from foreign
competition. But nothing lasts forever. In 1993, a coalition of non-
LDP parties in the Diet was formed. In a seemingly desperate move
to maintain power, the LDP had to coalesce with other political
parties during the rest of the decade. Since then, the political base
of the LDP had dwindled especially in the urban areas.
In August 2009, for the first time a non-LDP party won
an undisputable majority seats in the Lower House. This was
significant since under a parliamentary system, the ruling majority
party gets the privilege of selecting from among its members the
country’s Prime Minister. In Japan, the President of the ruling party
becomes the Prime Minister. Hence, the Democratic Party of Japan
(DPJ) elected Mr. Yukio Hatoyama as Prime Minister. Academics
and pundits gave a mixed interpretation of this phenomenon.
To some, the victory of the DPJ was a regime shift, an end to LDP
dominance and the beginning of a more competitive election in
Japan, while others regard it as nothing but another change of
leadership. The regime remains essentially the same.
Anyhow, the party issued a Manifesto that year which
contained the policy direction of the DPJ. One of its highlights
is DPJ’s pursuit of an ‘independent’ diplomacy in the conduct of
Japan’s foreign relations. Several months after, however, the DPJ
experienced its worst setback yet. Unable to fulfill his pledge of
moving a U.S. air base off Okinawa, Prime Minister Hatoyama was
forced to resign. His successor, Mr. Naoto Kan, declared that he
planned to slash the huge government deficit by introducing
new tax measures and cuts in government expenditures, contrary
to the LDP’s penchant for deficit spending in the past. The DPJ
kingpin, Ozawa Ichiro would later charge that the party’s loss in the
recent Upper House election was due to this announcement. The
Manifesto also puts into question several policies and institutions
that the LDP had nurtured over the years of its administration. At
the center of this is the primacy of US-Japan security alliance and
bureaucratic dominance in policy making. Will the new leadership
bring significant changes to Japan’s long-standing policy posture
both domestically and internationally What are the significant
implications of DPJ’s rule on Japan’s domestic politics, foreign
policies, and diplomatic ties with the region These were the
central themes of the recently concluded international conference
that was jointly sponsored by the Japan studies program under
the International Studies Department of De La Salle University
and the Japan Foundation-Manila, in cooperation with the Asian
Political and International Studies Association (APISA) and the
Yuchengco Center.
The main objective of the said conference was to bring
together scholars and specialists on East Asia to discuss the political
realignment in Japanese politics. Three panels were formed to
achieve this aim. The first panel clarified the structural causes of
the DPJ’s rise to power and the eventual downfall of the LDP and
with it, the 1955 system itself. Dr. Jimbo of Keio University attributed
the crushing defeat of the LDP in 2009 General Elections to the
structural change in Japanese society and the LDP’s inability to
respond effectively to this change. He also noted that the neoliberal
reforms of former Prime Ministers Hashimoto and Koizumi
have produced unexpected social problems such as the rise of
“freeters” and high unemployment rate in Japan. The DPJ has
capitalized on these issues, promised to overhaul the budget
in its campaign, reshuffle government spending and reform
International Conference on Japanese Studies “ Rise of the DPJ: Regime Shift and Regional Implication” 9 August 2010, Mandarin Oriental Hotel, Makati City
(Photo courtesy of DLSU)

FEATURE
9
Photo courtesy of DLSU
Mr. Ben Suzuki, former Director of The Japan Foundation, Manila (1st row, 2nd from left) with other sponsors, organizers and resource persons of the “Rise of the DPJ:
Regime Shift and Regional Implication”; the international conference was sponsored by the Japan Foundation, the Asian Political and International Studies Association , the
Yuchengco Center and the International Studies Department of the De La Salle University.
Japan’s decision-making process into a politically-driven process
where politicians are actively involved in all stages of policy
formulation.
In another paper, the institutional setting behind the process of
alternating governments and the strategies political elites in Japan
have adopted to deal with them were explored from a historical
perspective. For example, the changing nature of Japanese
voters such as the shrinking agricultural population following the
rapid economic growth in the 1960s, and the multiple-member
district rule which led to increasing competition among LDP
candidates contesting in the same constituency brought about
changes in electoral campaign strategies of LDP candidates.
In the age of experience economy, Dr. Schafferer argued, the
“elections are staged events and participants want to obtain
memorable experiences… where the increasing importance of
the independent voter made the new entertainment concept
very attractive to political parties.”
In the second panel, Professor Ganesan discussed Japan’s
traditional foreign policy posture in relation to DPJ’s policy
preferences as stated in the Manifesto. He later concluded that
pursuing these policies would have to depend on the ongoing
strained relations with the US, fluidity of domestic politics, fluidity of
LDP’s leadership situation and structural realities of regional order,
particularly the reconfiguration of East Asia in the advent of China’s
rise. The other presenter, Dr. Howe, highlighted the demographics
as well as the internal and external constituencies in foreign policy.
The linkage between domestic and international structures is
important in understanding Japan’s foreign policy posture. He
mentioned, for instance, that Article 9 of the constitution and the
public’s negative reaction to the concept of a ‘Normal Japan’ has
paved the way for Japan’s active involvement in non-traditional
security issues in international affairs. He also highlighted the
growing importance of public opinion and powerful media
interests in the decision making of the government.
In the third and final panel, Dr. Asato of Kyoto University gave
a comprehensive discussion of one aspect of Japan-Philippines
Economic Partnership Agreement (JPEPA). In the lecture, he clarified
the current condition of and the issues surrounding the movement
of natural persons, especially nurse candidates and healthcare
worker candidates. The other speaker, Dr. Camacho, reviewed
Japan’s ODA to the Philippines, the pattern of disbursements, how
Japanese aid was spent, and where it was used.
Is there really a regime shift Is there a significant departure
from the 1955 system The DPJ manifesto has called for reform
of the policy-making process which under the 1955 system was
dominated by bureaucrats. The DPJ introduced the National
Strategy Unit as part of the reform in the policy process but Prime
Minister Kan scaled down its mission. What this means is that the
bureaucracy would still remain at the center of policy formulation.
This shows that so far, there is continuity in the bureaucracyled
policy-making process under the 1955 system. However, it
is apparent that the victory of the DPJ last August 2009 shows
that Japan is moving towards more competitive elections. The
LDP no longer monopolizes the electoral process and needs to
reinvent itself to stay relevant in the ever changing domestic and
international realities.
What is the significant regional implication of DPJ’s rise to
power to Japan’s foreign policy The party manifesto declares
that the DPJ desires to have an independent and a more equal
relationship with the United States. It also asserts its membership
to Asia. However, the DPJ does not know how to achieve this. What
is certain is that it wants to review the U.S. bases in Japan but given
the growing political and military clout of China and the lingering
issue of nuclearization of the Korean peninsula, the regional
situation pushes Japan to rely more on the U.S. for its national
security. Thus, given both internal and external realities, the DPJ
would have to scale down in its “independent diplomacy”.
As election for the Lower House approaches, the DPJ will
have to soften its stance on several policy issues, especially the
unpopular ones, if it wants to remain in power. Its poor showing
in the recently held Upper House election is an indication of a
dwindling political base. Prime Minister Naoto Kan and his cohorts
could not just simply ignore the domestic and international
realities in its decision making.
Dennis D. Trinidad is Associate Professor and Japanese Studies Coordinator at De La Salle University-Manila.

10
FEATURE
The Japan-East Asia Network of Exchange for Students and Youths Programme (JENESYS) was
launched by the Government of Japan as a result of the Second East Asia Summit (EAS) in January 2007
during the term of former Prime Minister Shinzo Abe. It is a 35-billion-yen youth exchange program, inviting
about 6,000 young people to Japan mainly from the EAS member states (ASEAN, Australia, China, India, New
Zealand, the Republic of Korea) every year for five years with a view to establishing a basis of Asia’s stalwart
solidarity by expanding youth exchange. The program is expected to deepen mutual understanding
among young people who will assume important roles in the next generation in each East Asian country.
Various kinds of exchange programs including inviting and dispatching youths have been implemented in
cooperation with concerned countries and organizations.
An Architect’s Perception
from Travel to Japan
Text and Photo By
Ramil B. Tibayan
Travelling has been a hobby for me
since I graduated from college. I have
travelled the Philippines searching for the
different architectural styles that the previous
architects have used from the Spanish
era up to the modern times. Travelling is
also a way for me to learn the different
customs and culture of the Philippines. I
am an architect here in the Philippines and
currently practicing my profession in the
field of Construction Management and
I am also an advocate of Philippine built
heritage. When I was invited by the Japan
Foundation to visit Japan, I didn’t think twice
about it. It is now my chance to see and learn
the practices and methods that Japan is
applying in preserving their heritage.
Together with 25 delegates from East
Asia and Pacific, we travelled Japan and
stayed for 12 days to learn and experience
their heritage and culture. Amazingly from
these travels, it is good to see that Japan’s
built heritages are exceptionally preserved.
The temples of Kyoto, the machiya houses
of Takayama, the Gassho-style houses of
Shirakawa and the castle park of Kanazawa
are some of the places we have visited that
are all in good state of preservation. It is
not only limited to built heritage but some
customs and traditions of Japan are still in
practice like the re-thatching of Gassho-style
houses, the Owara dance and the traditional
tea ceremony. In addition to these practices,
we were also given the opportunity to have
hands-on experience by participating in the
pulling of the float at Kyoto’s Gion Festival.
From my point of view, Japan has
been successful in preserving their culture
especially their built heritage. As I have
observed through the lectures and site
visits, there are 3 factors which led to Japan’s
success in preserving and safeguarding their
built heritage: community collaboration
through the proper coordination of the
local government units with the national
government. Another factor is information
drive. Through education, the local people
have been educated with the importance
of their heritage for the present and future
generations. And lastly, patience is another
key factor. Heritage preservation is not a
short process, it takes time and thorough
study to completely fulfil and realize a
heritage preservation plan.
Aside from the lectures and tours that
opened me with the cultures and traditions
of Japan, I also learned from the different
perspectives of the 25 delegates that were
invited to the program. Sharing insights
and perspectives from different people
with different cultures gave me the idea
on their plans and point of views regarding
heritage preservation. Though the delegates
have different standpoints, we do share a
common view that, “heritage is equally as
important as a nation’s identity.” Without
heritage, a nation has no identity. Heritage
is something that we must be proud of. It
is something that distinct us from other
nations. That is why we need to take care
of our own heritage and it must be passed
on to the future generations. Although
technological advancement and modernity
has taken us, we must not forget our history
and we should learn from it.
Gassho style houses from Ainokura village
the Owara dance
detail from a float in Yatsuo Museum
group workshop about
Sannomachi area of Takayama
eaves detail from a
temple in Kyoto
Kanazawa
streetscape
at chaya
district
mountain view from Ainokura village
pulling of the float at Kyoto’s
Gion Festival
Ramil B. Tibayan is a licensed Architect, practicing in the field of Construction Management. An advocate of Philippine built heritage, he is a member of the Museum Foundation of the
Philippines and the Heritage Conservation Society.

FEATURE
11
Enjoying the sumptuous meal prepared by the ladies
of Yamakoshi Village in suburban Niigata. The ladies
came up with the idea of a restaurant to give gratitude to
those who visit them and helped them recover after the
earthquake in 1998. They are proud to say that they serve
the best rice in Japan.
JENESYS Program on Learning and Working Together Towards
Disaster Prevention:
Text and Photo by Catherine C. Abon
A photo taken with the students of Maiko High School
in Kobe. Maiko High School is the only school offering
Disaster Management Course and these students are taking
up the course.
Learning under the rain. The JENESYS participants
together with the members of the Japan Foundation
and the residents of Takatari Community in Kobe
walked around amidst the downpour. The group
looked around to see the recovery efforts of the
community after the great Kobe earthquake in 1995.
A Good Beginning
Philippines
Asia is the most hazard stricken regions in the world. Most of
the tropical cyclones originate in the Western North Pacific Ocean
which eventually hit Asia, wreaking destruction as they pass. At
the same time the tectonically active setting produce volcanoes
and generate earthquakes that can potentially cause disasters. In
terms of vulnerability, Asia also houses highly vulnerable regions.
These hazards along with vulnerability and other factors produce
disasters. Needless to say, most disasters happen in Asia. These
disasters, among other things can greatly hamper the economic
growth of the region. With these challenging conditions at hand,
this JENESYS program focused on disaster prevention and people
and involving representatives from different Asian countries with
various professions is very timely and highly significant.
We were destined to three cities in Japan—Tokyo, Kobe, and
Niigata. We visited different government offices of these three cities,
as well as other disaster-related institutions such as the Asian Disaster
Reduction Center and Kobe fire department, a school that offers
disaster course, as well as communities.
Government Offices
There are differences on the way the prefectural governments
deal with disasters, but all of them are similarly furnished with
technologically advanced methods and equipments. In Tokyo, we
were given a discussion by the engineering department on how
they implement the new building design and code to minimize the
damage of an earthquake. The prefectural government office in Kobe
City partially collapsed during the Great Hanshin-Awaji earthquake
in 1995. Now, fifteen years after the earthquake, it is standing
majestically above the flower avenue and houses some relics and
memorabilia that serve as reminder of the earthquake - showing
hardly any traces of the devastation. Niigata, on the other hand, does
not seem to have problems with natural hazards. However, a brief
discussion with their vice-governor made me realize that they too
suffer from natural hazards such as floods and earthquakes. Their
prefectural government office houses the disaster management
department that employs engineers and scientists specializing in
new methods to prevent flooding and design earthquake proof
buildings.
Disaster Management Institutions
The Asian Disaster Reduction Center in Kobe, having satellite
images for monitoring typhoons and floods, is one of the most hightech
disaster institutions I have ever been to. Their vast collection of
photographs gives lasting impact and remains a timeless reminder
of the earthquake. Since the volunteers are primarily those who
survived the great earthquake, they relate their stories based from
their own experiences and thus, serve as the living testament of
the catastrophe.
The Nagaoka office in Niigata that has a playground for the
children showcasing disasters is very creative. They can have fun
while learning about disasters. They even have a vending machine
that can give early warning for earthquake vibrations and a hero
against disaster which they call Bosaider!
Unlike the previous offices, the one in Yamakoshi in Niigata do
not have advanced equipments and their volunteers are relatively
younger souls. It is more focused on people-centered methods and
the volunteers are young people who are determined to live with
the locals and help lift their spirits in the face of adversity.
Although the communities that we visited face different natural
hazards and that their methods are different in dealing with them,
there is one striking common factor in all of them—collective
effort.
Discussions in communities in Kobe and Niigata demonstrate
how individuals in these communities, took the initiative for their
recovery and worked together as a group.
Concluding Remarks
This program did not only include learning from the Japanese
experiences but also learning from the participants from other
countries. The active discussions revealed that there is indeed variety
of perception on disasters from different people. The challenges that
we have encountered were also different.
One of the most striking lessons I have learned in the JENESYS
program is that, although technologically advanced materials
and methods are extremely essential for disaster prevention and
mitigation, community involvement also plays an important role in
building disaster resilient communities.
The overall learning and the active sharing of ideas during the
discussions showed that there is no absolute formula in building
disaster resilient communities. A certain method may be applicable
to one or two communities but will be completely ineffective
in another place. The diversity of communities such as culture,
practices, history, as well as the people dynamics and relations should
all be taken into account in formulating the appropriate method
for the build-up of resiliency. The challenge of how to adapt these
methods to our home countries still remains to be thought of and
addressed carefully. Nevertheless, the vast and new ideas that we
have learned from this program will be able to substantially help us
surpass these challenges.
Indeed, there is still much to learn when it comes to disasters:
from hazard prevention, to recovery and resiliency. And this study tour
did not only add to our knowledge, but more importantly inspired us
to work more and harder towards building resiliency of communities
to hazards. I am more than thankful for having the chance to be in this
program. With these experiences, I become more inspired! Together,
onwards to building disaster resilient society!
Catherine C. Abon is a licensed Geologist and instructor at the National Institute of Geological Sciences (NIGS) at the University of the Philippines. She has been a volunteer to a number
of Environmental Impact Missions and has been invited as speaker/resource person for Disaster Risk Reduction workshops/seminars.

12 FEATURE
“I am aware that the
future is still very
much uncertain. But
with new friends,
creative ways of
doing things, and
agreements to work
together, I feel a
little less anxious
- knowing that the
future is going to be
shared and shaped
by the young leaders
of today.”
The “JENESYS, New Beginnings: Promoting an East Asia Community, Role of Young
Leaders in Building a Shared Future” was held in Manila, Philippines last June 12
to 17, 2010. It brought together twenty-six JENESYS Asia Future Leaders Program
Alumni from the Philippines, Cambodia, Myanmar, Malaysia, Singapore, Japan, Lao PDR,
India, Indonesia and Thailand. The group spent four days of renewing ties and building
new relationships with one another. The event was highlighted by exposure trips to
successful practices of Philippine organizations such as the Gawad Kalinga, Neo-Angono
Arts Collective and the Laguna Lake Development Authority. The activity culminated
with an agreed activity, Day 1: Building a Shared Future.
Three months after the program, I remember three things that I gained from that
program:
1. A common understanding of the present reality can help us become more
creative, enable us to lead and to start working together.
Even if the focus of the exposure trips were mainly Philippine organizations, it still
reflected issues that Asia currently faces, and the corresponding efforts being made
to address those issues. They served as a trigger for us, the participants, to start feeling
and talking about what it is like to be a citizen not only of our respective countries,
but of Asia as a whole. These realities provided us glimpses of issues that we are
confronted with, and the possible solutions that we can do as young leaders.
Our common understanding was borne out of reflection and seeing clearly what
the present is telling us. During the trips, we were open to lessons. But we also
did not shield our eyes from the grim realities that the Philippines and Asia face as
a continent. When we saw that our problems are not solely our own, we realized
that there were plenty of reasons to start working together.
Photo courtesy of Yasmin Tang
Discovering
New B
Insights from JENESYS
New Beginnings:
Promoting an East
Asia Community, Role
of Young Leaders in
Building a Shared
Future.
By Jerry Jose

I realized that the common challenges
of Asia would have to be shared by
everyone for it to be solved. We are
affected by the degradation of our
environment, by poverty, and by not
knowing the solutions to the pressing
problems of our countries. However,
we saw that we can be creative
with our solutions like the Neo-
Angono Artists Collective. We can use
leadership to take our constituents
where we need to go as exemplified
by the Municipality of Teresa’s Solid
Waste Management Program. We can
work together, like the Gawad Kalinga,
so that poverty does not trap us in a
vicious cycle.
2. Building relationship is essential
in seeing things clearly.
During those four days, the participants
conversed with one another, ate
together, heard each other out, had fun
together, plotted adventures together,
and built a road together. These simple
acts of doing things together somehow
created a bond that I will share with the
participants for as long as I live.
laying the brick with me. I will never
forget you guys, for you are now my
friends. Expect me to help you and
your country in the future, in whatever
small way that I can.”
I realized that this activity is not just
about one big project - it is about
a personal relationship that we can
share with one another. While it talks
about Asia as a concept, it is brought
together by personal relationship
that we can actually experience. In
the end, the bridges that would
be built are made stronger by the
relationships that exist beyond the
titles and formalities.
3. We can start now.
Being aware of our differences and
uniqueness paved the way for us to
see clearly the things that we can do
either individually or as a group. Yes,
there are differences that separated
us like our geographies, histories,
tradition and cultures. But we are also
now in a position to shape our future
and Asia as our home. We said that
we would do this by doing something
together on October 10, 2010. We
look forward to the activity, Day 1:
Building a Shared Future, in which
we shall start and show an Asia-wide
FEATURE 13
simple act of collaboration by planting
trees in wherever we are.
This is not just a tree planting activity.
This is us, asking our countrymen to
see that we can work for our future
together. That cooperation and doing
something together could lead to
a synergy that might be the way to
solve our deepest and most difficult
problems. For more information about
this activity and if you want to join in
building a shared future, see (http://
www.facebook.com/ref=home#!/
pages/Day-1-Building-a-Shared-Futur
e/148548191835474v=info&ref=ts).
I took that initiative with me, and am
now actively talking to friends in the
Philippines from Mindoro to Davao
to explore whether they can plant
trees on October 10. The energy is
so strong that it has been infecting
everyone. After this activity, we are
going to celebrate and explore more
ways of working together.
I am aware that the future is still
very much uncertain. But with new
friends, creative ways of doing things, and
agreements to work together, I feel a little
less anxious - knowing that the future is
going to be shared and shaped by the
young leaders of today.
In the reflection session after the
Gawad Kalinga activity, I told my
fellow participants: “Thank you for
helping my country, thank you for
eginnings
Photo courtesy of Jerry Jose
Photo courtesy of Jerry Jose
The JNB participants pose for posterity after they have built the road in the BASECO Gawad Kalinga Village
looking forward!
Jerry Jose is a Program Manager at the AIM Team Energy Center for Bridging Leadership. He enjoys traveling as much as he is passionate in helping to create a better future for the
Philippines.

14
People • Events • Places
PHILIPPINES-JAPAN FRIENDSHIP MONTH (JULY)
The Yamato: Drummers of Japan concert spearheaded this year’s Philippines-
Japan Friendship Month with a three-day performance at the SM malls last July 8,
9, and 10.
Out of the Ordinary / Extraordinary:
Japanese contemporary photography
exhibit opened last June 22 at the
Metropolitan Museum of Manila. The exhibit,
which ran until September 30, featured the
works of 11 Japanese photographers.
Members of the
Yamato along
with (L-R) SM
Vice President
Millie Dizon, JICC
Director Tomoko
Dodo, Japan
Foundation Manila
former Director
Ben Suzuki, and
Cebu Pacific
Vice President
for Distribution
Candice Iyog,
posing for the
camera during the
press con held at
Sofitel.
Crowd lining up during the
invitational screening of Always,
Sunset at Third Street 2 (ALWAYS
zoku San-chome no yuhi) last July
1, 2010 at the Cinema 4 of the
Shangri-La Plaza. The Eiga Sai
was held from July 1-11 at the
Shangri-La Plaza, July 23-25 at the
Gaisano South City Mall, Davao,
August 3-8 at the Ayala Center,
Cebu, and August 18-21 at the UP
Film Institute.
(L-R) Japan Foundation, Manila former
director Ben Suzuki, Metropolitan
Museum Vice Chairman Cora Alvina, JICC
director Tomoko Dodo, MET Museum
Board of Trustees Member Architect
Emmanuel Miñana, during the ribboncutting.
Guests viewing Okada Hiroko’s “Delivery by
Male” series which presents photographs
of pregnant men posing in a fertility clinic.
The band “Himitsu” composed of
Jhonalene Sison, Dawn Morco, Pedro
Angelo Besat, Julius Tasis and Kenneth
Justin Alba, grabbed the first prize in
the J-pop/Anime Singing Contest
held last July 24, at the Cyberzone Event
Center, SM North EDSA.
Japan’s most loved mascot,
Doraemon, dropped by for
a visit and gamely posed
with the audience at the
J-pop/Anime Singing
Contest.
(Right) The J-Enka 1st place winners and
(Above) J-Pop 1st Place winners during the
J-Music Video 2010: J-Pop & J-Enka
held at UP Diliman last August 31.

People • Events • Places 15
Participants with guest
speaker, Ms. Rie Hatakeyama
(center) during the Forum
on the New JLPT held
last June 4 & 5 at the JICA
Auditorium, RCBC Plaza,
Makati City.
Radioactive Sago Project
rendered the music for
Kodakara Sodo Kid Commotion
during the 4th International
Silent Film Festival at the
Shangri-La Plaza mall last
August 28-29, 2010.
Cafe-type discussions
among the JENESYS
alumni of different batches
during the JENESYS New
Beginnings: Promoting
an East Asia Community,
Role of Young Leaders in
Building a Shared Future,
which happened last June
12-16, 2010 at the Astoria
Hotel.
Participants of the Kabataan News
Network: Youth Films for Peace held
in General Santos City last August 24-30,
and in Cotabato City last September 4-9.
The workshop, implemented by the Probe
Media Foundation aims to harness the
power of media, specifically short films,
to carry the voices of young Filipinos of
Mindanao on the issues of peace, tolerance
and understanding.
L-R) CCP President Raul
Sunico, Japan Foundation
Manila director Shuji
Takatori, National Artist
for Film Eddie Romero
and wife Carol, and CCP
Board of Trustees Member
Edward Cabagnot, during
the opening reception
of the Kurosawa Film
Festival at the Cultural
Center of the Philippines
last September 14, 2010.
EJ of Sarangani shows his music video cast
members some shots on the camera.
Guests interact in front
of the posters featuring
the works of renowned
Japanese director Akira
Kurosawa.
Anime enthusiasts got to read manga for free
at JFM’s Manga Mobile Library during The
Best of Anime 2010 at the SMX Convention
Center last September 19, 2010.

“Five Days in March”
16
Photo courtesy of Toru Yokota
Chelfitsch
November 5 - 6, 2010
PETA Theater Center
Quezon City
For details/inquiries:
The Japan Foundation, Manila
T: 811-6155 to 58 • F: 811-6153
www.jfmo.org.ph
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