from father to daughter: the lasting art of napoleon abueva

In the afternoon of February 19, 2020, packs of students, teachers, cultural workers, artists and guests came to the National Museum-Bohol for “The Life and Times of National Artist Napoleon ‘Billy’ Veloso Abueva.” It was a talk that was recounted by the artist’s daughter, Amihan Valles Abueva.

Contrary to popular belief and what is circulating online, Billy was born in Manila, not in Bohol, on January 26, 1930. But this does not negate the artist’s connection to the province. He is after all the son of Boholano congressman Teodoro Lloren Abueva and Purificacion Gonzalez Veloso, a Cebuana who became president of the Women’s Auxiliary Service. He was born Esabelio (that’s why he’s called Billy by family and close friends), but he took the moniker “Napoleon” after his time with the nuns at St. Joseph Academy who kept crying out “Napoleon Bonaparte!” whenever they found him being mischievous for the nth time.

Amihan with a bronze self-portrait bust of National Artist for Sculpture

Napoleon “Billy” Abueva.

Billy had even lived a significant portion of his life here, together with his own family, as evidenced by his contributions to the province: The statues of Pres. Carlos P. Garcia and Dagohoy; the Risen Christ in Our Lady of Lourdes Parish in K of C; the tombstone behind St. Joseph statue at the Cathedral façade; the memorial structure in Balitbiton, Valencia; and the Blood Compact monument (which unfortunately has no plaque or telling signs of origin and artist despite its relevance to Bohol). There are more artworks in the Abueva residence in Duero. All this makes Billy as Bol-anon as the rest of us.

The tribute was a fitting addition to the National Arts Month activities in Bohol, since it was held just three days after the artist’s second death anniversary. Amihan, being an artist herself who usually works with fabric, had lovingly woven the life and works of his father with so much nuance and color.

Amihan shared that her grades in school didn’t matter to her father that much, as long as she would narrate to him the questions she had asked in her classes each day. Curiosity and discovery were important to the family. Billy was also supportive of her political inclinations that he would even suggest to Amihan that he will drive her to a rally in Mendiola. Another anecdote that was amusing for its candidness was when Billy, pressed with a deadline and taken over by temper, would reprimand his art assistants. But they would only laugh behind his back because, like several times before that, they knew Billy will serve them drinks and food when he will eventually realize it is unbecoming of him to get mad at them. “He is a generous artist,” Amihan said.

A stainless steel sculpture titled “Family Group.”
This is just one of the many works by Napoleon Abueva
that are currently on display in the Pagpauli (Homecoming) Exhibit
at the National Museum-Bohol (the old Capitol Building, located across Rizal Park).

For Billy’s body of works, one that gave him the status of being the Father of Modern Philippine Sculpture, Amihan framed her discussion within the trends and significant movements of our history—from World War II and the rise of anti-colonial movements, the anti-racism and civil rights movements, the beginnings of feminism and gender equality, the struggle for democracy and human rights, down to technological advancements and the environment.

This was not only a fascinating peek into an artist’s mind but also a confirmation on the inseparability of politics and arts, the relationship between the environment and the creative process. For Billy, the youngest recipient of the National Artist title to date, the political has always been personal and vice versa. Nothing is made out of a void. And Amihan understands this very well. She is not only a daughter, a mother, and an artist, but also a child rights advocate and human rights activist. In fact, she is one of those at the forefront of opening the doors to child protection, here and abroad, ensuring that children are protected from violence, trafficking, and sexual exploitation.

A rare copy of a self-published book that contains
some of Billy’s masterpieces and the history behind them.

During the open forum, after National Museum-Bohol Head Audrey Dawn Tomada and Gov. Arthur Yap had given Amihan her certificate, I asked her this question: "As an artist and human rights advocate, what words of guidance or encouragement can you give to artists, especially the young ones, in this time of abuse, divide, and disinformation? What can be done? What must be done?"

“Be courageous. Be creative,” Amihan said. “Because artists have a very special role in helping others understand these key issues—disinformation, fake news, tyranny.”

Amihan then highlighted this need to inform and be informed with a question to the audience: “People have been killed in the last three years. For a country that is supposed to be Christian and Catholic, nganu maghilom man ta?”

Amihan also added: “When there are crises, this is the time that the artists come out… If you notice in the times of rebellion, in the times of revolt, diha nanggawas ang mga maayong writer, mga maayong painter. So this is a golden time. Unfortunately, it is a bad time for the victims. But for us who keep on fighting, I think it is a good time to continue the struggle for dignity, for human rights… Stay courageous, stay creative, don’t lose hope.”

Indeed, this boldness runs in the Abueva family, and most definitely manifests in the works of Napoleon “Billy” Abueva. Although his art is informed by the different years of celebration and turmoil in his surroundings, whether in the Philippines or outside its borders, Billy’s masterpieces remain to be both current and future-bound. His sculptures are timeless. Each has a distinct way of mirroring the present but one that is also looking forward. It exudes a creative wisdom that is eager. It is courageous.


[ This article is first published in The Bohol Chronicle on February 23, 2020 ]