Telco helps provide alternative livelihood to typhoon victims
THE Banglos sculptors have since sold more than P2 million worth of sculpture and have mounted exhibits at the Cultural Center of the Philippines, Cebu and Bacolod.
The Banglos community, a fishing barangay from Gen. Nakar, Quezon was able to get back on their feet after being hit by four consecutive typhoons in 2004.
The residents ventured into sculpture making after learning the craft from a driftwood sculpture training facilitated by Filipino sculptor Rey Paz Contreras and assisted by the Daambakal sculptors of Tondo, Manila.
The training was arranged by Smart Communications Inc. to help the community find other means of livelihood as their fish catch was affected by typhoons.
Seeing how the project has improved the Banglos residents’ lives, Smart decided to replicate it and involve the Dumagat living in watershed communities.
Several members of the Dumagat ethnic group from the Ipo and Upper Marikina Watershed communities are exploring an alternative livelihood that respects nature, and does not involve cutting down trees. The group recently learned how to create sculptures from forest debris and driftwood, in a workshop sponsored by Smart .
Article continues after this advertisementThe training was held over four days at the workshop of Contreras’ friend, architect Armando Cruz, in Angono, Rizal.
Article continues after this advertisement“This project is important for two reasons. First, it introduces skill sets that can serve as a source of income and a source of pride for the communities. Second, it complements our efforts to help preserve the Ipo watershed, a critical source of water supply for Metro Manila, as well as our flood control efforts for the Marikina watershed,” said Darwin Flores, head of Smart’s community partnerships department.
Smart gave each participant a bag containing all the tools and materials they would need.
After just four days, the participants were able to come up with their own sculptures.
Evident in their creations was the “listening” philosophy Contreras had taught them – the artist must “listen” to what the material wants itself to look like.