GMA’s multiawarded I-Witness hit another gold standard on Monday with its breezy presentation on something that we take for granted—trees. They are all over the metropolis. But it is easier to ignore them than pay attention to them. In “Puno ng Kasaysayan,” Sandra Aguinaldo, the documentarist, starts her journey very predictably by looking for the so-called historical trees. On the way to bringing history to everyday awareness, she stumbles upon the less regarded character of trees—their magic.

The documentarist introduces us to two major trees: the duhat tree of Tandang Sora and the huge mango tree of the Cry at Pugad Lawin. A dramatization captures the power of the first tree, with women in the group of Tandang Sora, considered the Mother of Katipunan, shown tending the wounded. Folk memory says the women used the barks because they were said to possess healing powers.

Through the years, the tree of Tandang Sora has ceased to become a site of historical importance; it has become a place also for lovers to make their vows. Around it, children of those who found love and marriage with the tree as witness are playing. History, which is supposed to aid us in remembering the significance of the tree, does not help us much. Tucked in between school buildings of an elementary school, the tree is simply gnarled and old.

Would there be something more important than history going for these trees? Yes, the documentary proves that without really trying. That response also puts in question the kind of historicizing we have. Our written history has really muddled, rather than crystallized, our ethnicity. Now, the trees as seen by ordinary people are going to do better than history.

The people around the two trees are aware of the trees, not in the historical sense but in the natural sense, in the Filipino natural sense. Before the documentation takes place, the assistant principal of the elementary school talks to the tree. He explains to the tree that the cameraman and the staff of the TV network do not mean any harm. All throughout this session, Aguinaldo looks amazed. It is not a judgmental look though, even if she looks a bit amused.

After the principal who talks to the trees, the tree doctor is introduced. I do not know how familiar the viewers are in this country with tree doctors but in other countries, they are quite common in parks and protected areas. In Japan, tree doctors are respected because they take care of one of the most respected elements of nature in Japanese surroundings—trees.

Now, here is where the documentary becomes enchanting: the tree doctor naturally talks to the trees also. Before he even starts examining the tree, he assures the tree that no harm will befall on it. Aguinaldo also begins to look like she feels comfortable around these people who believe the trees listen to them.

From history to folk-belief, the documentary moves into the urban center. There in the middle of the historic Padre Faura Street, Aguinaldo walks with a conservationist. Old photos show that Padre Faura used to host great and big trees. Development has removed these trees. In their place are lampposts and electric wirings running rampant across the streetscape.

But the documentary is not finished introducing us to other individuals with special, or unique, relationships with trees. They are called tree huggers. They hug trees as if they are hugging people. They believe trees are like people, they have feelings. They do it even if people around them look at them strangely, as if they are off their rockers. The father of the family who does the tree hugging with his wife and children is thoroughly engaging and believable. This makes all the propositions made by the documentary believable.

The offering of I-Witness bears the title “Puno ng Kasaysayan.” The documentary, however, provides us more than the kasaysayan or the political narrative. It gives us a wider “narrative”, one that has a saysay or sense and meaning.

I am curious how Sandra Aguinaldo came up with this topic but I am glad she has.

The documentary is not sensational. It does not look at the dark life of the city; it does look and look again at those things called “trees.” Aguinaldo also asks good questions, innocent questions, really. She asks: In the competition for space in the city, who will win, people or the tree? This is the kind of question that is so basic that it becomes the most difficult question at hand.

The documentary, like its subject, soars with you because of an approach that is verdant and fresh. “Puno ng Kasaysayan” is never pedantic or didactic. It is daring enough not to ride on the bandwagon of going green. It is a product of keen and open observation, like a child’s. It is rare and we learn from it a lot.

The day after it was aired, and on the way to the office, I started taking note of the big trees hidden from view by carwash spaces and houses eating the sidewalk. I began to see even shrubs and young tamarind trees sprouting in between telephone posts. Along Tomas Morato Avenue, just near the bend to Kamuning, a row of carinderia is sheltered by two giant trees. Just like that giant tree in Manila whose massive trunk is dying inside a popular fast food. These trees do not need historians to make them important. These trees are their own personal history.

Peta and the Children’s Month

THE Philippine Educational Theater Association (Peta), with the support of the Terre des Hommes-Netherlands, is celebrating the Children’s Month through a National Children’s Theater Festival. The celebration is called Likhang Bata, Likhang Buhay and will open at the Peta Center Theater Grounds at the Peta Theater Center, No. 5, Eymard Drive, New Manila, Quezon City, on October 24, with a program that will be graced by three famous choirs: the Las Piñas Boys Choir, the Kaibigan Choir and the Metro Manila Community Orchestra. Christine Bellen’s Mga Kuwento ni Lola Basyang will be staged as part of the opening ceremonies.

The theme of the celebration is “Creating a Good Life for Filipino Children.” The theme is also the project title of the three-year program supported by Terre Des Hommes-Netherlands, which underscores the urgent need to create a safe and supportive environment crucial for young people to develop their creativity, self-awareness, and resilience. The creation of that environment, which is the responsibility of the government, professionals, academe, church and media sector, is expected to help form children into critical and responsible citizens of Philippine society.

The Boracay Alternative

SINCE 1990, I have been a frequent visitor to Boracay, my father-in-law being a native of Malay (where Boracay belongs), dividing my time staying in his renovated ancestral house in the town proper or in different resorts on the island.

Reeling: Magical Trees, Historical Trees

GMA’s multiawarded I-Witness hit another gold standard on Monday with its breezy presentation on something that we take for granted—trees. They are all over the metropolis.

Everything’s loud and clear

THE use of microphones at classical music concerts is a hit-and-miss thing. Sometimes it works; most times, it doesn’t. The acoustics of a venue must really be so bad for any event organizer to even justify using them.

Alternatives Enter the Mainstream

Jill Eisner lay still as an acupuncturist pushed thin needles into her face and feet, with soft music playing in the background. In another room, an herbologist studied his antidote for severe acne: a concoction of 12 ingredients, including dandelion roots, tangerine peel and dried raspberries.

Nicole Kidman would marry Tom Cruise again?

Nicole Kidman, star of the upcoming dramatic epic Australia, opens up in Elle about her marriage to Tom Cruise and their respective new relationships with Katie Holmes and Keith Urban.