Wednesday, April 6, 2011

Virtual Ethnography 101: History Unveils in Ayala Museum's Dioramas

As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by Kristine Borja

She went past me without pausing to see the Martial Law documentary being filmed. She probably thought I was part of the wall. He went past me without reading the lines of Dr. Jose P. Rizal in one of the dioramas. He pointed to her girl companion the Aeta’s naked behind, she laughed as if nothing could be funnier. She looked at the paintings with curious eyes. He seemed minimally fascinated with the surrounding gold exhibit that reflects the Filipino heritage before coming of the colonizers.

They walked past everything, barely seeing, barely noticing, while we tried to absorb every letter, tried to understand every stroke, felt every sound, and took learning on every word.

Whereas for the foreigners who entered the museum with us, it was just a day trip at the museum, an itinerary they needed to accomplish before leaving the Philippines, it was just a requirement. Whereas they were pushed by curiosity and probably boredom, we were pushed by the need to write. Whereas they stepped in to see and not witness, not to look, we traverse in every painting, on every being to observe, to learn and to explore. They took each step with a hurried glance and a fascination and a humor once in a while; while we took our steps with deliberate care, knowing that in every single diorama lies a history that is worth a cultural heritage enough to awaken a sense of nationalism if one would only take the time to walk through the crossroads of civilizations and allow the fascination to sink in.

Indeed, the Ayala Museum visit is one of those rare requirements where things don’t turn out the way you expected them to be because they turn out to be better.

Serving as “Ayala’s gift to the Filipino people in celebration of the Ayala Corporation’s 170th anniversary,” the museum’s modern architectural design screams class and edge at the same time. Indeed, the fine arts collection featuring “important works by three painters considered pioneers in Philippine Art – Juan Luna, Fernando Amorsolo, and Fernando Zobel” plus the “handcrafted dioramas that chronicle the rich tapestry of Philippine history” was placed in a setting so unique and apart from itself that from the aesthetics alone, much is already to be learned.

Some would say that a museum is a merely architectural space – a set designed to momentarily fascinate the mind and the senses with classical collections of arts and historical artifacts. What one fails to notice is that museums are “political sites which discloses how communities are construed and how nations are imagined” (Bettina Messias Carbonell, 2004).

As such, given this premise, even the style of displays of museums are something that must be examined because how objects are placed and inscribed in museums convey a message that requires a second look. Thus, upon a second and more closer look at the Ayala Museum, its spatial arrangement where the objects are arranged individually or in isolation from one another, puts into being what a chapter on Carbonell’s work emphasizes, i.e.,: “Art museums arrange objects individually or in isolation from one another. This display style is generated from the premise that the object or the exhibition represents a unique example of a style of school, the achievement of an individual or the authoritative example of taste or beauty…In fact nothing – should distract the viewer from seeing and experiencing each object one at a time (p.527).”

How did these words come to life in the Ayala Museum when the place cannot even be considered solely as an Art Museum albeit the multiple fine arts collection greeting you from the museum’s lobby with Onib Olmedo’s artwork reaching through every floors? Simply because, one aspect of the museum may be considered artistic with its focus on the paintings hanging on almost 60 percent of the museum walls. In fact, if you’re not an art student, you’ll find interior design of the place to be quite intimidating for something that should politically reflect the Filipino culture. Douglas Crimp (1993), on his work on Museum’s Ruins noted that in art museums: “the objects and social location and historical context are erased, the object has no additional meanings, messages or background outside its aesthetic qualities…the object in the art museum refers to ‘only itself’ – itself indicating both its material essence and the self-enclosed history of the medium.”

Thus, where the student of art may be excited with the countless works of fine arts hanging on the museum wall, an untutored visitor as myself is left to ponder the thousand words behind the pictures and the paintings. Half the time I remember thinking: “So, how does the picture speak to me?” trying to find the deeper meaning in the paintings of Luna, Amorsolo, and Zobel. Sure, there were educational readings that contextualizes each gallery with readings on the style and contexts that these paintings were made, however, for one as uneducated as myself when it comes to arts, the written educational words cannot really encapsulate the strokes of the brush or the feel of the oil canvass when these paintings were done. It is one thing to wonder if it would have been better if there was a tour guide helping us understand the painting and another to realized that it would have been better if the visitor was left alone to glimpse the beauty of ach painting without the help of display elements and educational feeds, that is, to discover the thousands words behind the picture all to yourself.

At this point, a stronger realization has hit me. Earlier, I mentioned that as I fascinated myself with the dioramas reflecting Philippine history, people after people strode pass me not having a sense of wonder in a world or an awakening sense of nationalism seeing history unfold before their eyes. The realization is simple: As I am the untutored visitor when it comes to the arts, they must be, in the same way, the untutored visitor when it comes to our history; removed from their original historical context, depicting only flashes of histories, the diorama exhibit in the Ayala Museum makes for a sight that is worth beholding but difficult to understand.

This may be, in closing, the strengths and weaknesses of the museums – whereas views and culture differ, whereas perception and appreciation do not meet, the Ayala Museum, as it attempts to create an architectural design that isolates each artifact to forward a story, makes the museum a universal and personal experience for anyone who will visit it, that is – it is universal as it transcends the boundaries of culture with something as common as the brushstrokes on art and it is personal as it limits itself to depicted dioramas of historical events that showcases a country’s struggle for freedom and a cultural heritage even before the clash of civilizations began.

Tuesday, April 5, 2011

Virtual Ethnography 101: The Art of Ancient Jewelry-Making in the Philippines

As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by April Joy Lim

History is part of who we are as a nation. Without it, is like not having your identity at all. Understanding starts when we start asking why but more importantly, the WHO question – Who am I when I stand in the world surrounded by all nations with unique cultures of their own. In the end, I will be proud to say that am a Filipino.

When I was a kid, my teachers used to teach us in our history class that Filipinos were descendants of Negritos followed by Malays, who came in our country in a balanghay. I have known little of our prehistory and later by the successive conquerors who colonized our land. As a “good” student, sadly, I listened to them…without questioning why.

I grew up still thinking like a colonized person – I remember whenever I go to the mall, I would always like to buy something foreign to me – from shoes, bags, chocolates, and other things. Older people would use to tell me, “ah, wag yan, made in the Philippines, mahinang klase yan, baka madaling masira” (no, don’t choose that. That’s made in the Philippines. It’s cheap and not durable). Then again I listened to them. I did not know that of the many things that I learned before – I should have had asked why, and more I should have also asked myself, who am I as a Filipino?

Who am I? it is not a simple question to answer to. But today, I am beginning to know more about our past, in search for my real identity as a Filipino, hence, I have made some trips into some museums in the capital.

The Metropolitan Museum in Manila has a floor dedicated to pre-history of the Philippines. In here, you can have a glimpse of the great civilization that we once had in the past before we were colonized by western powers during the colonization period.

Pottery and gold jewelries from 200 B.P. up to the 19th century found in Butuan which they wrote founded the first established Filipino kingdom – around 320 years old. The balanghay was found together with a lot of jewelries surrounding the place. It marked the craftsmanship in jewelry techniques that we had used in the past. That time, people from Butuan had developed sophisticated and unique designs, which up to now are still in use as techniques in designing pricey jewelries. Thus today, we have in the country one of the most expensive designs in the jewelry market around the world.

Archeologists also found jewelries in Surigao. However, looters and pragmatists would just sell it to collectors. Unfortunately, they do not realize how important these pieces of material culture to our country and history.

In the collection of jewelries exhibited at the Metropolitan Museum, there were also pieces of jewelry from Batangas found from terracotta figurines dating back around 8th to 10th centuries. It was believed that any person at that time who possessed this symbolized his social standing or class hierarchy in the our stratified society.

Our ancestors also used “pahiyas sa damit” (mostly found in Sulu, Samar, and by the indigenous peoples called Yakan and Tausug), where they wore it to accessorize their clothing. It only proved that prior to the coming of the colonizers, peoples in the Philippines were glamorous and civilized.

From 12th to 15th centuries, jewelry craftsmen incorporated colored and precious stones like jade, white ores, aquamarine, and yellow stones, into our jewelries that marked the evolution of jewelry-making in the Philippines. Thus, jewelry-making peaked at 10th to 14th centuries. Furthermore, jewelry craftsmanship had shaped our sophisticated civilization as early as 200 B.P. and indeed showcased how rich our culture was in the past.

The pottery collection at the museum shows the way of life of the ancient Filipinos. Pots were made according to the specifications and uses in the household. Sizes range from extra small to extra large. Together with their designs, you can be able to see if the pot was used for household or for religious purposes because of some inscriptions.

Our ancestors were very creative in creating their designs; some were shaped like animals (turtle, dog, etc.) or anthropomorphic. There were also beautiful pieces used for special occasions. Filipinos also utilized pots to ferment their food and wine. Meaning, even then we had already sophisticated technology in preserving food. This again showed how advanced and civilized the Filipinos were in ancient period. We had a rich culture to look back.

It came to my realization that places near the seas traded well their pieces of jewelry. Our ancestors loved to show off what they had through their profound jewelries, clothing, accessories, piercing, and tattoos. I had also noticed that their jewelry pieces were big but very simple. Gold were melted also with their swords and even small pieces of gold used as bolts to things that needed to be closed. In other words, we are a country that is very rich with gold deposits. It was not uncommon for our ancestors to use gold in everything.

It only shows that are country is naturally blessed and very rich in resources!

In one way of another, we may be guilty of material things. But then, I once again started asking queries, but also began to seek for answers by understanding the beautiful things surrounding us. From what I have seen at the Metropolitan Museum, I can say that I have learned to love and appreciate our race. Our country is indeed very rich in history and natural resources and the ancient Filipinos were sophisticated and talented before the colonizers destroyed our lands. I have every right to be proud that as a Filipino because I have understood that I came from a great group of people. Hopefully soon, this country will re-emerge again. Let us love our country Philippines!

Virtual Ethnography 101: Paying Homage to Early Days (Museo De La Salle)


As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by Edwin Lineses

Like churches and libraries, I feel that museums share with them their enigmatic wonders, creepy ambience, and consecrated hours. Yet unlike churches and libraries, museums offer me material cultures to taste a bite of reality of what it is to live in the place and time that have long passed by me.

It has been five years since I found myself here in De La Salle University-Dasmarinas yet for once I never stumbled on to the Museo De La Salle. Had it not been to Anthropology 225, I might have lost an opportunity to relieve the grandeur of the past and experience a culture unfolds before my very eyes. Alas for me inasmuch as I prejudged a museum that is close by me,

Days earlier, I have been trying to reach the staff in charge of the museum if I can pay a visit some time this week but I just could not get through her. I was not really asking for the director not the curator of the museum because of the constraint of time for this inquiry. All I ask that I be allowed to roam around the museum and experience a visit so as to describe a phenomenon worthy of ethnographic note, thereby making familiar unfamiliar, and unfamiliar a bit familiar.

But not until today, it finally dawned on me that I am with the past…I am living with the culture and the time, which could have been just on dusted shelves through the pages of history, in the leaves of unscathed books.

I was walking through adobe pasillo towards the Museo…my mind was wondering, thinking of how do I write about an experience that I have not gotten even a chance to live. I was in front of the Museo and I wondered if it was really open – the door was closed. It seemed that nobody was around but I have to go in. I had an appointment.

Right before entering the Museo, I marveled at the big door of puerta mayor made of balayong, roughly 15 feet of height and 10 feet wide, which is opened only for the entrance and exit of carriages and carrozas. But I only have to get through the postigo, the small door, just enough for the two persons bowing heads to enter at the same time. Upon knocking I was surprised to be met by two ready student assistants who far knew better what culture in 19th century was like.

Upon passing through the postigo we were straight right into foyer table right at the center of the Zaguan of the passageway. On both ends is where the caleza and the carroza for the patron saint were kept.

Up in the center is the main staircase to the house where the left is reserved only for the women and right only for the men. The interior details the caida, sala mayor, despacho, cuartos, oratorio, comedor, and cocina. All portray differentiation, status, and hierarchy even in the family and more so the visitors of the family.

The Museo depicts the Bahay na Bato, patterned after illustrado houses of two-storey building with stone, brick and mortar structure at the ground level, and usually a wood one at the second level. It is filled with fine furniture and objects to showcase the owner’s wealth, personal style, and status in society. These examples of material culture serve to document a range of natural and socio-historical motifs.

As claimed, the Museo is a lifestyle dedicated to the preservation of certain aspects and material culture of the 19th century Philippine illustrado lifestyle. It seeks to provide a living space illustrating a bit of Philippine culture.

The tile-roofed structure is walled with abode, which keeps the ground floor interiors cool. The fachada (façade) is typical of the era, with wide tall doors, iron grilles four ground floor windows; and details such as ventanilla lined with balusters de torno and mouldoras (mouldings).

Then I realized …its’ almost 2:25 pm, and I need to leave. I need to rush. I have a class. It was almost time and I will be late for my class.

I must have forgotten the current time because I lived in the time different from mine.

Virtual Ethnography 101: Remember Erlinda! (AFP Museum)

As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by Charissimae Ventura

I am not a fan of museums, never was and never will.

So after learning of about the homework for today’s class, I grudgingly set a date with Laurence Garcia (a classmate also in the same class) to visit a museum nearest my office – the AFP Museum. In my eagerness to ensure that I comply with such requirement, I completely forgot about the date when I am supposed to go there.

Again, I am not a fan of museum. For me, when you’ve seen one museum, you’ve seen all – a building or institution that houses and cares for a collection of artifacts and other objects of scientific, artistic, or historical importance. This is when a tour guide becomes useful. He gives stories and meanings to these artifacts.

A group of special kids were also having a tour of the museum on that day. The AFP Museum has two floor of exhibition space. The first floor features the following: development of Filipino military tradition and institutions through several historic periods – precolonial, colonial, revolutionary, Filipino-American war, the commonwealth era, World War II, and post-war to the present times. Photographs, documents, dioramas, scale models, equipment, weaponry, uniforms, insignias, medals and various artworks represent each historical period. The second floor showcases displays on the Army, Navy, and Air Force. Outside the building is found the Kagitingan Park displaying Air Force jets, a helicopter, army tanks, armored vehicles, naval guns, cannons, and a two-man submarine.

When I walked through the second floor, notwithstanding my enthusiasm about museums, a makeshift tank with the words “remember me” written across it caught my attention. I asked the tour guide the story of Erlinda and he relayed the story in this wise:

‘Remember Erlinda’ was a slogan which spurred our Filipino soldiers to fight against the Japanese soldiers during the Japanese occupation in the Philippines. One day in Bataan, a Filipino soldier patrol found the body of a young Filipina who had been raped and killed by the Japanese soldiers. Next to her body was a handkerchief with the name “Erlinda” embroidered on it. The fate of Erlinda drove the Filipino soldiers to fight harder, and belied all the propaganda leaflets which the Japanese dropped.”

The tour guide added: whenever our Filipino soldiers wanted to give up in the battle against the Japanese soldiers during the said occupation, each soldier would remind them of the battle cry “Remember Erlinda” and they would fight even harder for the country and its people amidst hunger, thirst, and exhaustion brought about by war.

I left the museum intrigued as ever in the story of the Erlinda battle cry. I searched the internet for published stories about remembering Erlinda but information about it was very scarce. I only found a news article about it on page 11 of a newspaper entitled “The Quan” dated February 1976. However, the article written had a slight discrepancy with the facts of the story told by tour guide in the museum. Nonetheless, it had the same conclusion that, indeed, the battle cry “Remember Erlinda” was the reaction of our Filipino soldiers when they fought against the Japanese soldiers during the Japanese occupation or the World War II.

Friday, April 1, 2011

Virtual Ethnography 101: A Peek Inside Korea's National Museum in Gyeongbok Palace

As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by Marck Bryan David

I was supposed to go with Tin B., Tin C., and probably Louie, to the Ayala Museum last Wednesday. But because my schedule would not permit, then I had to settle with experience I had at the Korean National Museum, not so long ago. Although, I do not have a written record of that experience way back in September last year, I had some vivid reminders of the first time I set foot on a foreign museum. (I had to intentionally write this ethnography about a foreign museum because I had not been able to see a Philippine museum recently).

I went to the Korean National Museum in the Gyeongbok Palace in Seoul, Korea last September 2, 2010. I was in Korea to attend an international conference on tourism. The funny thing was, that morning was my last day in that country during my six-day visit there. However, most of my days in Korea were in Chuncheon City, miles away from Seoul. I first went to the Incheon Airport to deposit my baggage and then I rode the bus to Seoul. I basically backtracked my way (backtracking is a major no-no in traveling), and Seoul can be reached before Incheon. But since it was my last day, I really wanted to visit Seoul, and so I had to do it.

After an hour of bus ride from the airport to Seoul, I reached the palace. But before that, some people had to bear to my persistence on searching for directions. One Korean lady was shell shocked when I tapped her back. But after a few map-reading, finally I reached my destination. The main gate of the palace was enormous and it reminded me of the gate in the movie I recently saw, The Curse of the Golden Flower.

At the rightmost top of the palace was the pagoda. A UP professor, whom I met in the conference, led me to that palace and told me that I shouldn’t miss this part. She said, “when you reach that pagoda, there’s a museum under it,” and then, “when you visit that museum, you’ll see the whole Korea.” She was definitely right! Everything from its history, development, to the way of life of the Koreans from past to present were exhibited. It was a first-hand Korean history 101 for me in just two hours.

The different sections vividly have shown Koreans’ way of lives in four seasons and their adaptability to their seasons.

I also noticed and observed an American couple while also touring the museum. They had a electronic gadget as guide to the museum, which I forgot to ask from the receptionist of museum. As I observed the couple, they seem always into disagreement if those things inside the museum are real. The conversation ended up when the American guy said, “maybe I’ll just write a story in the US about the inconsistencies of Korean history.” He was perhaps a journalist, I thought.

The most fascinating part for me was the Children’s museum that forms part the entire National Museum. It had the most number of repository of Korean toys from past to the present, and basically, it reflected the ways Korean children live. Aside from that, the most striking items for me represented by the life-sized Korean dolls portraying the different stages of a typical Korean from womb to tomb. Even the journey of the dead was portrayed.

The other thing impressed me most showed the treatment of Koreans to their ancestors and the elderly. In fact, they do celebrate every 80th birthday of their grandparents with a grand feast, in their belief that it’s indeed a milestone in their lifetime.

After that, I also went to the Royal Palace Museum, shown were the dimensions of Korean royal life – from architecture, dresses and hairpins worn by their empresses, and the transport vehicles used by their royalty in the past.

After an excruciating two hours of touring the museum, in all the nooks and other possible complexes inside the palace, my feet felt numb! I wish I had the luxury of time to stay longer and tour around, unfortunately, I had to proceed to my next destination in Seoul - the Namdaemun Market for some shopping.

Thinking about the enormity of study and research done for putting up a massive complex of museum in Korea, I tried to look back in my home country Philippines. Was there enough finds that the Philippines can offer? I deem that the answers to my simple question lie in my next trip to the Philippines National Museum.

Virtual Ethnography 101: One Fine Day at Casa Manila

As part of the weekly exercises of my graduate students in Anthropology 225: Philippine Society and Culture, I wanted my students to explore places and write ethnography using the method of participation-observation.

I am posting in my blog with the writer's consent selected ethnography penned creatively by my students to contribute to the emerging sub-discipline of anthropology called 'Virtual Ethnography'.

Basically, virtually ethnography is also referred to as Webnography. We cannot deny the fact that with increasing use of technology and the Internet, there is now a demand for online spaces on various ethnographic accounts.


Ethnography by Ma Theresa Faith Abraham


One early morning, while trying to deal with the syndrome of laziness, I thought of doing a stroll within the walls of Intramuros in Manila. Living in Intramuros for almost two years, inside a dormitory, built almost five decades ago, made me feel interested to appreciate the beauty of the past.

While walking in the busy streets of Calle Real (Real Street), I saw a panorama of old buildings that now house Spanish-styled and designed universities of Letran, Lyceum, and Mapua; and government institutions like DOLE and OWWA; plus other private firms such as PDI (inquirer).

This stroll had made me appreciate more our history!

At the heart of Intramuros, you’ll find a street made up of old brick dated 1700s to 1800s, preserved to reflect an Spanish walled city. From there, you’ll also see Plaza San Luis, a complex composed of five replica houses that feature ingenious architecture built during the Spanish regime. These replicas are namely, Casa Blanca, Casa Urdaneta, Los Hidalgos, El Hogar Filipino, and Casa Manila.

I decided to enter Casa Manila, a Spanish colonial home reconstructed by then first lady Imelda Marcos. It is said that its architecture, furniture, and artworks are all antiques.

You’ll be guided from the courtyard to the first floor that resembles the receiving area. Adjacent is the office of the old master, then going up to the second floor, can be found the kitchen, the living room, the master’s bedroom, and several other rooms.

Old houses still depict the traditional big families that Filipinos had before because of apparent number of big rooms. The kitchen is also found on the top floor compared to our contemporary kitchens that are mostly situated in the first floor. And from the kitchen, you’ll pass an adobe staircase leading to the old well; at the backdoor of the house, and this will lead you to the courtyard.

I lived in an ancestral house in Zambales, owned by my father’s parents. Ever since I was born I am familiar with traditional houses, I saw and felt the differences between the traditional houses with conservative arrangements and the contemporary ones that are designed with modern artistry or designs.

Gempesaw v. Court of Appeals

Chester Cabalza recommends his visitors to please read the original & full text of the case cited. Xie xie!

Gempesaw vs.Court of Appeals
G.R. No. 92244
February 9, 1993

Facts:


Natividad O. Gempesaw owns and operates four grocery stores in Caloocan City. She maintains a checking account with the Caloocan City Branch of the Philippine Bank of Communications (drawee Bank). To facilitate payment of debts to her suppliers, she draws checks against her checking account with the bank as drawee.

As part of her customary practice of issuing checks in payment of her suppliers, the checks were usually prepared and filled up as to all material particulars by her trusted bookkeeper, Alicia Galang, an employee for more than 8 years.

After the bookkeeper prepared the checks, the completed checks were submitted to Gempesaw for her signature, together with the corresponding invoice receipts which indicate the correct obligations due and payable to her suppliers.

Gempesaw signed each and every check without bothering to verify the accuracy of the checks against the corresponding invoices because she reposed full and implicit trust and confidence on her bookkeeper.

On 23 January 1985, Gempesaw filed a Complaint against the drawee Bank for recovery of the money value of 82 checks charged against her account with the drawee Bank on the ground that the payees' indorsements were forgeries.

About 30 of the payees whose names were specifically written on the checks testified that they did not receive nor even see the subject checks and that the indorsements appearing at the back of the checks were not theirs. It was learned that all the 82 checks with forged signatures of the payees were brought to Ernest L. Boon, Chief Accountant of drawee Bank at the Buendia branch, who, without authority therefor, accepted them all for deposit at the Buendia branch to the credit and/or in the accounts of Alfredo Y. Romero and Benito Lam.

The Court of Appeals in a decision rendered affirmed the decision of the RTC on two grounds, namely (1) that Gempesaw’s gross negligence in issuing the checks was the proximate cause of the loss and (2) assuming that the bank was also negligent, the loss must nevertheless be borne by the party whose negligence was the proximate cause of the loss.

On 5 March 1990, Gempesaw filed the petition for review under Rule 45 of the Rules of Court.

The Supreme Court order the case remanded to the trial court for the reception of evidence to determine the exact amount of loss suffered by Gempesaw, considering that she partly benefited from the issuance of the questioned checks since the obligation for which she issued them were apparently extinguished, such that only the excess amount over and above the total of these actual obligations must be considered as loss of which one half must be paid by drawee bank to Gempesaw.

Issues:

1. Generally the main issue is whether forgery of negotiable instrument is a real or absolute defense;

2. Whether Gempesaw’s gross negligence in issuing the checks was the proximate cause of the loss; and

3. Whether the drawee bank was also negligent, the loss must nevertheless be borne by the party whose negligence was the proximate cause of the loss.

Held:

1. Rules of the drawee Bank (PBCom) as to acceptance of second indorsement on a check for deposit.

Under the rules of the drawee Bank, only a Branch Manager, and no other official of the drawee Bank, may accept a second indorsement on a check for deposit. In the present case, all the deposit slips of the 82 checks in question were initialed and/or approved for deposit by Ernest L. Boon, Chief Accountant of the Buendia Branch of the drawee Bank. The Branch Managers of the Ongpin and Elcano branches accepted the deposits made in the Buendia branch and credited the accounts of Alfredo Y. Romero and Benito Lam in their respective branches.

2. Present case not a suit by party whose signature was forged on a check drawn against the drawee bank, but by the drawer whose signature is genuine.

The present case is not a suit by the party whose signature was forged on a check drawn against the drawee bank. The payees are not parties to the case. Rather, it is the drawer, whose signature is genuine, who instituted the action to recover from the drawee bank the money value of 82 checks paid out by the drawee bank to holders of those checks where the indorsements of the payees were forged. How and by whom the forgeries were committed are not established on the record, but the respective payees admitted that they did not receive those checks and therefore never indorsed the same.

3. Section 23 of the Negotiable instruments Law.

The applicable law is the Negotiable Instruments Law (NIL). Section 23 of the NIL provides that "when a signature is forged or made without the authority of the person whose signature it purports to be, it is wholly inoperative, and no right to retain the instrument, or to give a discharge therefor, or to enforce payment thereof against any party thereto, can be acquired through or under such signature, unless the party against whom it is sought to enforce such right is precluded from setting up the forgery or want of authority."

4. Forgery a real or absolute defense by the party whose signature is forged; Party includes maker or drawer, indorsee or payee.

Under Section 23 of the NIL, forgery is a real or absolute defense by the party whose signature is forged. A party whose signature to an instrument was forged was never a party and never gave his consent to the contract which gave rise to the instrument. Since his signature does not appear in the instrument, he cannot be held liable thereon by anyone, not even by a holder in due course. Thus, if a person's signature is forged as a maker of a promissory note, he cannot be made to pay because he never made the promise to pay. Or where a person's signature as a drawer of a check is forged, the drawee bank cannot charge the amount thereof against the drawer's account because he never gave the bank the order to pay. And said section does not refer only to the forged signature of the maker of a promissory note and of the drawer of a check. It covers also a forged indorsement, i.e., the forged signature of the payee or indorsee of a note or check.

5. Effects of forgery.

Since under said provision a forged signature is "wholly inoperative", no one can gain title to the instrument through such forged indorsement. Such an indorsement prevents any subsequent party from acquiring any right as against any party whose name appears prior to the forgery. Although rights may exist between and among parties subsequent to the forged indorsement, not one of them can acquire rights against parties prior to the forgery. Such forged indorsement cuts off the rights of all subsequent parties as against parties prior to the forgery. However, the law makes an exception to these rules where a party is precluded from setting up forgery as a defense.

6. Two types of cases of problems arising from forged indorsements of checks.

Problems arising from forged indorsements of checks may generally be broken into two types of cases: (1) where forgery was accomplished by a person not associated with the drawer [for example a mail robbery]; and (2) where the indorsement was forged by an agent of the drawer. This difference in situations would determine the effect of the drawer's negligence with respect to forged indorsements.

7. Duty of drawer; Effect of negligence.

While there is no duty resting on the depositor to look for forged indorsements on his cancelled checks in contrast to a duty imposed upon him to look for forgeries of his own name, a depositor is under a duty to set up an accounting system and a business procedure as are reasonably calculated to prevent or render difficult the forgery of indorsements, particularly by the depositor's own employees. And if the drawer (depositor) learns that a check drawn by him has been paid under a forged indorsement, the drawer is under duty promptly to report such fact to the drawee bank. For his negligence or failure either to discover or to report promptly the fact of such forgery to the drawee, the drawer loses his right against the drawee who has debited his account under the forged indorsement. In other words, he is precluded from using forgery as a basis for his claim for recrediting of his account.

8. Effect of signing of negotiable instrument.

Gempesaw admitted that the checks were filled up and completed by her trusted employee, Alicia Galang, and were later given to her for her signature. Her signing the checks made the negotiable instrument complete. Prior to signing the checks, there was no valid contract yet.

9. Negotiable instrument is incomplete and revocable until delivery of the instrument to the payee; Issuance of the instrument.

Every contract on a negotiable instrument is incomplete and revocable until delivery of the instrument to the payee for the purpose of giving effect thereto. The first delivery of the instrument, complete in form, to the payee who takes it as a holder, is called issuance of the instrument. Without the initial delivery of the instrument from the drawer of the check to the payee, there can be no valid and binding contract and no liability on the instrument.

10. Drawee bank cannot charge drawer’s bank where indorsement has been forged.

Exception, when drawer is guilty of negligence which causes bank to honor such checks
As a rule, a drawee bank who has paid a check on which an indorsement has been forged cannot charge the drawer's account for the amount of said check. An exception to this rule is where the drawer is guilty of such negligence which causes the bank to honor such a check or checks.

11. Drawer has duty to examine cancelled checks for forgery of his own signature, not as to forged indorsements.

If a check is stolen from the payee, it is quite obvious that the drawer cannot possibly discover the forged indorsement by mere examination of his cancelled check. This accounts for the rule that although a depositor owes a duty to his drawee bank to examine his cancelled checks for forgery of his own signature, he has no similar duty as to forged indorsements.

12. When indorsement forged by an employee or agent of drawer; Fraud discoverable.

A different situation arises where the indorsement was forged by an employee or agent of the drawer, or done with the active participation of the latter. Most of the cases involving forgery by an agent or employee deal with the payee's indorsement. The drawer and the payee oftentimes have business relations of long standing. The continued occurrence of business transactions of the same nature provides the opportunity for the agent/employee to commit the fraud after having developed familiarity with the signatures of the parties. However, sooner or later, some leak will show on the drawer's books. It will then be just a question of time until the fraud is discovered. This is specially true when the agent perpetrates a series of forgeries as in the present case.

13. Negligence of depositor that will prevent recovery of an unauthorized payment.


The negligence of a depositor which will prevent recovery of an unauthorized payment is based on failure of the depositor to act as a prudent businessman would under the circumstances. In the present case, Gempesaw relied implicitly upon the honesty and loyalty of her bookkeeper, and did not even verify the accuracy of the amounts of the checks she signed against the invoices attached thereto. Furthermore, although she regularly received her bank statements, she apparently did not carefully examine the same nor the check stubs and the returned checks, and did not compare them with the sales invoices. Otherwise, she could have easily discovered the discrepancies between the checks and the documents serving as bases for the checks. With such discovery, the subsequent forgeries would not have been accomplished. It was not until two years after the bookkeeper commenced her fraudulent scheme that Gempesaw discovered that 82 checks were wrongfully charged to her account, at which time she notified the drawee Bank.

14. Even if there is possibility that checks covered inexistent sales, Gempesaw did not exercise prudence.

Since there is no mention about any of Gempesaw’s suppliers complaining of non-payment, the possibility exists that the checks in question covered inexistent sales. But even in such a case, considering the length of a period of 2 years, it is hard to believe that Gempesaw did not know or realize that she was paying much more than she should for the supplies she was actually getting. A depositor may not sit idly by, after knowledge has come to her that her funds seem to be disappearing or that there may be a leak in her business, and refrain from taking the steps that a careful and prudent businessman would take in such circumstances and if taken, would result in stopping the continuance of the fraudulent scheme. If she fails to take such steps, the facts may establish her negligence, and in that event, she would be estopped from recovering from the bank.

15. Gempesaw precluded from using forgery as a defense; Gempesaw’s negligence was proximate cause of her loss.

Had Gempesaw examined her records more carefully, she would have noticed discrepancies. Had Gempesaw been more vigilant in going over her current account by taking careful note of the daily reports made by the drawee Bank on her issued checks, or at least made random scrutiny of her cancelled checks returned by drawee Bank at the close of each month, she could have easily discovered the fraud being perpetrated by Alicia Galang, and could have reported the matter to the drawee Bank. The drawee Bank then could have taken immediate steps to prevent further commission of such fraud. Thus, Gempesaw's negligence was the proximate cause of her loss. And since it was her negligence which caused the drawee Bank to honor the forged checks or prevented it from recovering the amount it had already paid on the checks, Gempesaw cannot now complain should the bank refuse to recredit her account with the amount of such checks. Under Section 23 of the NIL, she is now precluded from using the forgery to prevent the bank's debiting of her account.

16. Great Eastern Life Insurance case not applicable; Payee’s signature not forged by agent or employee of drawer.

The doctrine in the case of Great Eastern Life Insurance Co. vs. Hongkong & Shanghai Bank is not applicable to the case at bar because in said case, the check was fraudulently taken and the signature of the payee was forged not by an agent or employee of the drawer. The drawer was not found to be negligent in the handling of its business affairs and the theft of the check by a total stranger was not attributable to negligence of the drawer; neither was the forging of the payee's indorsement due to the drawer's negligence. Since the drawer was not negligent, the drawee was duty-bound to restore to the drawer's account the amount theretofore paid under the check with a forged payee's indorsement because the drawee did not pay as ordered by the drawer.

17. Crossed check imposes no legal obligation on the drawee not to honor such check.

Cross check merely a warning that check cannot be presented for payment in cash
Issuing a crossed check imposes no legal obligation on the drawee not to honor such a check. It is more of a warning to the holder that the check cannot be presented to the drawee bank for payment in cash. Instead, the check can only be deposited with the payee's bank which in turn must present it for payment against the drawee bank in the course of normal banking transactions between banks. The crossed check cannot be presented for payment but it can only be deposited and the drawee bank may only pay to another bank in the payee's or indorser's account.

18. Banking rule banning acceptance of checks with more than one indorsement, unless cleared by bank officials, does not invalidate instrument, nor negotiation or transfer thereof.

The banking rule banning acceptance of checks for deposit or cash payment with more than one indorsement unless cleared by some bank officials does not invalidate the instrument; neither does it invalidate the negotiation or transfer of the said check. In effect, this rule destroys the negotiability of bills/checks by limiting their negotiation by indorsement of only the payee. Under the NIL, the only kind of indorsement which stops the further negotiation of an instrument is a restrictive indorsement which prohibits the further negotiation thereof.

19. Restrictive indorsement.

Section 36 of the Negotiable Instruments Law (When indorsement restrictive) provides that “an indorsement is restrictive which either (a) Prohibits further negotiation of the instrument; or. xxx xxx xxx" In this kind of restrictive indorsement, the prohibition to transfer or negotiate must be written in express words at the back of the instrument, so that any subsequent party may be forewarned that it ceases to be negotiable. However, the restrictive indorsee acquires the right to receive payment and bring any action thereon as any indorser, but he can no longer transfer his rights as such indorsee where the form of the indorsement does not authorize him to do so.

20. Liability of drawee on wrongful dishonor of bill or check.

Although the holder of a check cannot compel a drawee bank to honor it because there is no privity between them, as far as the drawer-depositor is concerned, such bank may not legally refuse to honor a negotiable bill of exchange or a check drawn against it with more than one indorsement if there is nothing irregular with the bill or check and the drawer has sufficient funds. The drawee cannot be compelled to accept or pay the check by the drawer or any holder because as a drawee, he incurs no liability on the check unless he accepts it. But the drawee will make itself liable to a suit for damages at the instance of the drawer for wrongful dishonor of the bill or check.

21. Drawer cannot allege negligence of drawee bank on the selection and supervision of its employees, Drawee may be liable for damages under Article 1170 of the Civil Code, and not Article 2179.

Under Section 196 of the NIL, any case not provided for in the Act shall be governed by the provisions of existing legislation. Under the laws of quasi-delict, she cannot point to the negligence of the drawee Bank in the selection and supervision of its employees as being the cause of the loss because her negligence is the proximate cause thereof and under Article 2179 of the Civil Code, she may not be awarded damages. However, under Article 1170 of the same Code the drawee Bank may be held liable for damages. The article provides "Those who in the performance of their obligations are guilty of fraud, negligence or delay, and those who in any manner contravene the tenor thereof, are liable for damages."

22. Violation of internal banking rules and regulations contravenes tenor of bank’s obligation.

There is a contractual relation between Gempesaw as depositor (obligee) and the drawee bank as the obligor. In the performance of its obligation, the drawee bank is bound by its internal banking rules and regulations which form part of any contract it enters into with any of its depositors. When it violated its internal rules that second endorsements are not to be accepted without the approval of its branch managers and it did accept the same upon the mere approval of Boon, a chief accountant, it contravened the tenor of its obligation at the very least, if it were not actually guilty of fraud or negligence.

23. Non-discovery of irregularity as to acceptance of checks with second indorsement without approval of branch manager constitutes negligence on the part of the bank; Article 1173 of the Civil Code.

The fact that the drawee Bank did not discover the irregularity with respect to the acceptance of checks with second indorsement for deposit even without the approval of the branch manager despite periodic inspection conducted by a team of auditors from the main office constitutes negligence on the part of the bank in carrying out its obligations to its depositors. Article 1173 provides "The fault or negligence of the obligor consists in the omission of that diligence which is required by the nature of the obligation and correspondents with the circumstance of the persons, of the time and of the place. . . ."

24. Banking business impressed with public interest; Utmost diligence required.


The banking business is so impressed with public interest where the trust and confidence of the public in general is of paramount importance such that the appropriate standard of diligence must be a high degree of diligence, if not the utmost diligence. Surely, drawee Bank cannot claim it exercised such a degree of diligence that is required of it. There is no way that it be allowed to escape liability for such negligence. Its liability as obligor is not merely vicarious but primary wherein the defense of exercise of due diligence in the selection and supervision of its employees is of no moment.

25. Bank liable to 50:50 ratio share for loss, in accordance with Article 1172 of the Civil Code.

The drawee Bank is adjudged liable to share the loss with the petitioner on a fifty-fifty ratio in accordance with Article 1172 which provides "Responsibility arising from negligence in the performance of every kind of obligation is also demandable, but such liability may be regulated by the courts, according to the circumstances."

26. Liability of the bank thus is based on law and not mere equity.

With the foregoing provisions of the Civil Code being relied upon, it is being made clear that the decision to hold the drawee bank liable is based on law and substantial justice and not on mere equity.

27. Courts not precluded to apply circumstances of the case the laws pertinent thereto.

Gempesaw’s negligence does not preclude her from recovering damages
And although the case was brought before the court not on breach of contractual obligations, the courts are not precluded from applying to the circumstances of the case the laws pertinent thereto. Thus, the fact that petitioner's negligence was found to be the proximate cause of her loss does not preclude her from recovering damages. The reason why the decision dealt on a discussion on proximate cause is due to the error pointed out by petitioner as allegedly committed by the appellate court. And in breaches of contract under Article 1173, due diligence on the part of the bank is not a defense.