MANILA, Philippines - The death last week of Dean Lucrecia Kasilag marked the passing of an era. An era when the culture and the arts were a salient force in the nation's life, and its leaders were heard from because they also walked the corridors of power.

Dean or Dr. Kasilag was president of the Cultural Center of the Philippines when CCP was, initially, in the '70s an object of curiosity for the country and the world, because it was Imelda Marcos' project, and gradually, as the center of culture and the arts copied by even our Asean neighbors.

Yet for all the power she wielded, the God-given talent for music and the arts she could showcase, Dr. Kasilag never lost touch with her fellow human beings. She was called "Tita" because she was a nurturing aunt to everyone.

For decades she presided over a most fractious and belligerent culture community-it still is-yet she managed to do it, without making fierce enemies, or even detractors. Even the bellicose genius, National Artist Rolando Tinio, loved Tita King. Why? As Zenas Lozada, concert pianist who had known Tita King since 1976, said, "it's because she has a place in her heart for everyone."

Tita King never married; perhaps that was why people called her Tita instead of Mommy. Yet she was most maternal and nurturing.

As these recollections show, she was many things to many people. She has touched all kinds of people, simple and mighty, from high art or elsewhere. In the '90s we saw a side of her people hardly knew-she was a healer. And-we also knew of her erotic art collection. Indeed Tita King was super and cool.

The culture community is left an orphan by her death. TSS

Immune to intrigue

She taught us to wear scholarship lightly ... to listen well, engaging all one's senses while keeping an open heart. As an artist, scholar, promoter, educator, she was ever honest and constructive. Immune to petty intrigue she was single-minded and humorous in pursuit of our cultural wholeness. We have much to learn but will be led by that twinkle in her eye.

-Irene Marcos Araneta, arts patroness

Tita King, rap artist

In 1995, I was producing a theater extravaganza, "Jamming on an Old Saya" for the CCP main stage. Nonon Padilla, its director, decided it should have a kick. Maybe add a little tribute to the Filipino saya, in verse, but not hackneyed, not stodgy and, if possible, hip-a rap number!

Girlie Aragon suggested Tita King for the number and I said to myself, impossible naman, venerable president ng CCP yata yan! It seemed so wacky, so remote, but what a tour de force! As it turned out, Tita King loved the idea. She even composed a beat for it.

She stepped onstage in her formal saya and big coiffure. She swayed with gusto, gesticulating and stamping and rapping to kingdom come. It brought the house down. The tumultuous applause was truly fit for a King!

-Gilda Cordero-Fernando, writer, book author, culture mover

Set an example

She was several persons in one. An unassuming person who could be any other old lady. A charmer with impish humor, a ready giggle or throaty laugh, eyes always with a twinkle. Beneath lay a creative mind, a musician among musicians who fused East and West. She expressed her patriotism in a different way, translating into music the traditions and longings of our overlooked brethren in the Cordilleras and Mindanao.

She understood people, both the high and mighty and common men and women. She led by setting an example of hard work and integrity, never claiming credit for what others did. She was an outstanding leader, able in her understated way, to motivate, inspire, plan, and organize to achieve objectives large and small.

She leaves a legacy in the music she composed, the organizations she built and strengthened, the people she helped achieve great heights. Lucrecia Kasilag will always be remembered fondly-and with great respect and admiration.

-Jimmy Laya, banker, educator, writer, culture leader

Indefatigable

I used to fear Tita King. That was 30 years ago when she was CCP president and I was a member of Ballet Philippines. She had a reputation of being a no-nonsense, short-tempered lady. I would sometimes bump into her in the CCP corridors, and I would conveniently step out of her way as she rushed to whatever she was to attend to.

When I got to know her better and learned what a gentle, kind and dedicated person she was, the fear was replaced by deep respect and admiration. Tita King was an indefatigable worker. I used to be amazed at how she could carry on a conversation or meeting in her office while reading or signing piles and piles of documents. She would attend practically all events she was invited to, including most of the CCP shows where she'd quietly doze off in the dark from sheer exhaustion.

As artist, Tita King was a truly giving person. She would willingly compose music for dance, theater, orchestra or choir without fuss and most of the time without compensation, trying to help upcoming artists along the way. She led the CCP during its formative years and was instrumental in placing it in the world map of arts and culture.

As artist, cultural administrator and as a person, Tita King has been an inspiration for me. The impact of her achievements for the CCP and for Philippine arts and culture will remain for a long time.

-Nestor O. Jardin, CCP president

Niche for everyone

She has been my mentor and inspiration. How? Not only because of her talent and stature, but more so because of her capacity for hard work. That was so evident when she worked on her compositions.

She had a niche in herself for everyone. You had a place in Tita King's heart. And that made her special to us.

-Zenas Reyes Lozada, concert pianist and long-time collaborator of Lucrecia Kasilag

Shared unselfishly

The legacy she leaves will enrich our heritage for generations to come.

Tita King changed the world of Philippine music through her compositions and experimentations. There was no such thing as limitation for her ideas and works. As composer, she delighted in the fusion of the unusual, putting together ethnic elements with classical notes to create unique symphonies.

She took pleasure in music for its own sake, even as she created tunes used for dance and theatrical pieces. Through the courage of some of her compositions, the path has been paved for other musicians and composers to experiment.

Every aspect of music interested her, from the instruments that created the sound to the training of musicians, even to the organization of orchestras to interpret the composition.

In her travels, she put together a wonderful collection of instruments from different continents. It was probably one of the largest collections of musical instruments owned by a single person, many of which are now housed in her beloved CCP.

An accomplished scholar, she held honoris causa degrees from three universities, from her beloved Philippine Women's University, Centro Escolar University and from the St. Johns University of New York. She was a Fulbright Scholar, proof positive that long before she was recognized by her country and by the world for her talent, she had already proven herself on the academic field.

But Tita King was not a simple scholar, locked in an ivory tower of learning. Knowledge was for her to share. And share she did, willingly and unselfishly.

Tita King was a teacher. It was part of her great joy to impart a lifetime of knowledge in the performing arts to the next generation. Thus, she served as dean of the Philippine Women's University College of Music and Fine Arts. As a board member of the National Music Competitions for Young People (Namcya), she bequeathed her learning to youngsters, future generations of composers and performers.

An avid lover of all the arts, she was famous for traipsing through the halls of the Cultural Center of the Philippines and other institutions, watching every performance of every group. She is remembered with fondness in her later years for zipping around on her wheelchair cum motorcycle, as she endlessly paid tribute to other artists by watching their performances.

A former president and artistic director of CCP, that sometimes daunting building became her second home; indeed, many times, long after she supposedly resigned, she'd lend her expertise to its administrators as they confronted the endless problems of a government-run cultural institution.

One could literally say, she left us while working on her art. Just last year, she finished what would be her last composition, a musical written despite the obstacles of old age and sickness. It was a conquest of age to create an ageless work.

Lucrecia R. Kasilag, everyone's beloved Tita King for she was truly the grand aunt of all lovers of Philippine art and culture.

-Bambi Harper, head, Intramuros Administration

The healer

As a Martial Law baby, I thought the Marcoses came with Malacañang's furniture, and Lucrecia Kasilag was synonymous with CCP. I met her off and on over the years. The first time I spoke to her was when Gilda Cordero-Fernando and Wig Tysmans were planning a series of portraits of iconic people. The late Lamberto Avellana was supposed to be dressed in green leotards and made to squat on a giant lily pad. He refused. Tita King was to be photographed in the plush red seats of the CCP Main theater in her trademark pose-asleep.

I used to think she dozed off as soon as the music started and woke up only when people broke into applause. Almost all our sitters for the portraits refused, except Tita King who had the sense of humor and the confidence to laugh at herself.

Later I was to discover she was actually listening, with her eyes closed, and could tell you what notes the artist missed or glossed over, etc.

Her music though was an acquired taste, and generations of children reared on Batibot remember her playing one of her tunes on a Jew's harp. What people didn't know was that Tita King was not only a great cultural administrator and composer but had the gift of healing too. Those hands that transcribed music from space without testing the tune on an instrument were also hands that conducted music, met to provide applause and encouragement but also provided warmth and health to all she touched.

One can only wish that I had gotten to know her more, but then having met her is enough history for me to keep. We will miss her.

-Ambeth R. Ocampo, chairman, National Historical Institute, NCCA chairman 2005-2007

Heart and soul

Tita King is the heart and soul of CCP, music and the arts. She was my mother too, my mentor and godmother in our wedding. She was the greatest company I had while I was at CCP. She was witty and a very amiable and sincere person. She was so much a part of my being, a significant influence and inspiration in all stages of my life and career.

I remember her as a great writer too. We edited and proofread most of CCP programs and documents. She had a distinct, small handwriting only few of us could read and decipher. She was keen with details. She was loving and always thoughtful and heartwarming.

She will always leave for me love notes. I love her music ... East meets West. I had memorable travels with her. She documented most of it with her camera. I remember during her prime, she attended all art and culture events and concerts.

I lost another role model and friend.

She started Namcya. I am now chair of the Namcya. The 2008 Namcya with the theme "Paghubog sa Kabataan, Paghubog sa Sangkatauhan Shaping the Youth to Shape Humanity" is a tribute to Tita King. - Roni Tapia-Merk, former PR of CCP

They all remember

By Pablo A. Tariman, Contributor

Memories of Tita King continue to pour in from Filipino artists here and abroad.

Australia-based Filipino conductor Julian Quirit, who was the first concertmaster of the Philippine Philharmonic (then called the CCP Philharmonic) said, "She always took special interests in all our activities as students. Even at my professional stage, she insisted on knowing what was happening in all my concerts. I had a very special visit from her twice in Australia and she indeed had a superb spirit of let's-get-up-and-go."

New York-based Filipino baritone Andrew Fernando said he was one of those young artists who got special incentives from the National Artist. "Tita King was the one who awarded me my Music Foundation Philippines' full scholarship in 1988. She will always be an inspiration to us all."

From soprano Rachelle Gerodias, who is rehearsing for the role of Liu in the Singapore Lyric Opera production of "Turandot:" "I never had the chance to work with her but I am proud to say we both earned our graduate studies at The Eastman School of Music in New York. I first performed some of her folk song arrangements there for my Master's Degree graduation recital. Her music will live forever in our hearts."

Pianist Zenas Reyes Lozada, who played a movement of Kasilag's Divertissement for Piano and Orchestra during the CCP necrological services, remembers the National Artist as one who'd rather compose than deliver speeches. "She can really compose pieces for instant ensemble in one sitting and she taught me to be always alert for instant performances," Lozada said.

Tenor and UP College of Music head Ramon Acoymo, who sang Kasilag's opera for children called "Ang Pagong at Ang Matsing" (The Turtle and the Monkey), said he has always been stricken by the force of personality of the National Artist. "Singing some of her compositions has always been one of the early challenges of my singing life," said Acoymo.

Painter Ivi Cosio said: "Tita King left us a wealth of music that celebrates who we are. I will miss her twinkling eyes and naughty smile."

Soprano Fides Cuyugan Asensio likes to think that her life and that of Tita King were really intertwined. She said, "Tita King's first music theater and mine was 'Larawan ng Kababaihan: Maskara at Mukha,' which had its world premiere at CCP. Our second and last was 'Why Flowers Bloom in May,' which was shown in March this year. The timing of its world premiere was serendipitous. CCP suggested we mount it in September this year. But I insisted it had to be March. Perhaps I had the premonition Tita King would be gone in August. You must grant me this pride that I gave Tita King her first and last music theater pieces."

Curiously, Tita King told her niece that she didn't want to be buried at the Libingan ng Mga Bayani, the resting place for National Artists.