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Tuesday, July 19, 2011

Life and works of guillermo tolentino - "the father of philippine arts".

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Discovering Connections, Connecting Discoveries at The University Library Diliman

The University Library, University of the Philippines Diliman

Guidelines for the Onsite Service of the Main Library

The Artistic Works and Spiritual Life of Guillermo E. Tolentino

EXHIBITION CONTENT:

I. Curatorial Statement II. Tolentino as an Artist . . . The Father of Philippine Arts . . . The Patriotic Influence of Rizal . . . Shaping Philippine Sculpture: The Legacy of Guillermo Tolentino . . . Tolentino’s Death III. Tolentino as a Spiritist . . . The Union Espiritista . . . Spirit Mediums vs Medical Science: A Turbulent Time IV. References V. Evaluation Survey VI. The Curatorial Team: Behind the Scenes

CURATORIAL STATEMENT

The University of the Philippines (UP) Diliman boasts of many nationally-and internationally-recognized artists. One of these is Guillermo Estrella Tolentino, professor of fine arts and sculptor of UP’s iconic Oblation. As an important member of the UP community, many of his official records, correspondences, photographs, literary works, studies of his artistic works, and other paper materials are donated and housed at the UP Diliman Archives in Quezon City, Philippines. From February to June 2024, the Archive Management (ARM 213) class of Ms. Eimee Rhea C. Lagrama was given the rare opportunity to personally sift through the Guillermo E. Tolentino Personal Papers collection, most of which have yet to be digitized, arranged and properly described. This was done to comply with the class project of curating an online exhibit. While information about his life and works are easily found through a simple Google search, the class wanted to showcase the richness of the valuable materials on National Artist Tolentino that are available in the UP Diliman Archives. Positioning his life in the context of the University and finding tangible evidence of it, the ARM 213 class gives the viewer a glimpse of Tolentino’s personal life, professional career & notable achievements, sense of patriotism, involvement in the practice of spiritism, and remarkable legacy in Philippine sculpture.

Curatorial Team: Ma. Feil Dianne Alvaro Vivian Sarah Beltran Florilen Butcon John Paul Combalicer Vanessa Lim Evie Grace Corioso Benmar Javier Andre Pocholo Torres Sol Maris Trinidad ARM 213 Faculty: Eimee Rhea Lagrama

TOLENTINO AS AN ARTIST

The father of philippine arts.

Born on July 24, 1890 in Malolos Bulacan, Guillermo Estrella Tolentino was the son of Isidro Flores Tolentino and Balbina Poblete Estrella. He married Paz Lopez Raymundo and they had seven (7) children.

Known to many as the “Father of Philippine Arts,” his masterpieces in sculpture include the “Bonifacio Monument.” Located at the intersection of Epifanio Delos Santos Avenue and Rizal Avenue in Caloocan City, Philippines, the artwork symbolizes the Filipinos’ cry for freedom. Another famous masterpiece is “The Oblation” situated at the University of the Philippines Diliman, which showcases a selfless expression for freedom, truth, and love for country.

He attended the School of Fine Arts in the University of the Philippines under Vicente Rivera for painting. He later studied under Vicente Francisco where his interest in sculpture surpassed his love for painting. He graduated with a degree in Fine Arts in 1915, earning prizes in all of his subjects. In 1919, he decided to go to the United States of America (USA) where he started off working as a waiter. Bernard Baruch saw his small statue titled “Freedom,” believed in Tolentino’s talent, and granted him a scholarship in Ecole de Beaux Arts. This artwork, fueled by the words of one of USA’s greatest presidents, gave him the opportunity to meet the source of his inspiration, President Woodrow Wilson himself, at the White House. After graduating with honors from the Ecole de Beaux Arts, Tolentino traveled to Europe, visited as many museums as he could, and studied at the Regge Istituto Superiore di Belle Arti di Roma in Rome. During his stay, he sculpted the Saluto Romano which won 2nd prize at a competition. He graduated with the highest honors in 1923 and held a one-man exhibition in Rome, Italy. 

Tolentino returned home in 1923, where he opened his own studio in Manila. In 1926, he was appointed as instructor for sculpture at the School of Fine Arts in the University of the Philippines (UP).

He won the designing and commissioning of “The Bonifacio Monument” in 1930 and finished its installation in 1933. It was also in this period that UP President Rafael Palma commissioned the “Oblation” at the University of the Philippines, Manila which was inaugurated in 1935. It was transferred to the Diliman campus in 1949. Later in his service, he was appointed as the Director for the School of Fine Arts, and in 1955, was named Professor Emeritus after his retirement.

He was given the Sculptor of the Year award by the Philippine Institute of Architects in 1957. He also received various awards and citations such as UNESCO Cultural Award in Sculpture in 1959, Araw ng Maynila Award in Sculpture in 1963, Republic Cultural Heritage Award in 1967, President’s Medal of Merit in 1970, Diwa ng Lahi Award in 1972, and National Artist Award for Sculpture in 1973 under Proclamation 1144 on the recommendation of the Board of Trustees of the Cultural Center of the Philippines. 

Other works of Tolentino include: the bronze figures of President Quezon at the Quezon Memorial Circle; life-size busts of Jose Rizal at Palma Hall, UP Diliman and University of the East; marble statue of Ramon Magsaysay in GSIS Building; bronze medals for the Ramon Magsaysay Award and seal of the Republic of the Philippines; Alma Mater statue of the University of the East, and; Filipinas in Bondage.

Other significant works of Tolentino:

Tolentino’s other artworks that have been exhibited abroad and have attracted international attention:

The Patriotic Influence of Rizal

Tolentino possessed a deeply patriotic heart. Most of his works embodied patriotism and showed a strong interest in supporting Rizal. He is a member of the Knights of Rizal and made claims of contacting Jose Rizal’s spirit through mediums. Some Rizalists doubted these claims while others thanked him for these communications. In his article titled “Heroes from Beyond the Grave,” Mr. Ambeth Ocampo, a well-known historian and independent curator, discusses Tolentino’s 1957 book “Si Rizal,” which documents conversations with the national hero José Rizal through spirit mediums. In June 1935, during three séances, Tolentino asked Rizal about the controversial retraction document found in the archives of the Arzobispado de Manila. This document allegedly contained Rizal’s retraction from masonry and religious errors, which Rizal vehemently denied as authentic.

Tolentino also wrote that Rizal communicated in Tagalog with his younger sister, Trinidad, and denied any retraction of his beliefs. According to Tolentino, José Rizal criticized government officials who used foreign languages and called them “slaves” for imitating colonial rulers. Rizal expressed sadness that Filipinos – for whom he sacrificed his life to educate – were still trapped in ignorance and superstition promoted by uneducated church leaders. He argued that instead of uniting people, these church leaders created division by claiming exclusive knowledge of the truth. Mr. Nicolas Zafra, the President of the Philippine Historical Association in 1962, corresponded with Tolentino concerning this matter.

Despite these doubts, there were also individuals who expressed gratitude for Tolentino’s efforts in communicating with Rizal through spiritual mediums.

Furthermore, Tolentino’s love for his country went beyond his spiritual activities. As a sculptor, he made lasting contributions to Philippine history by creating monuments which honor our national heroes. His sculptures are filled with a strong sense of love for the Philippines. He often dreamt of heroes like Andres Bonifacio guiding his work. Tolentino’s early inclination towards sculpture was already evident during his childhood when he first molded clay figures of dogs and horses. His first notable work, the popular engraving “Grupo de Filipinos Ilustres” became the best-known gallery of Filipino heroes.

Additionally, his tribute to Rizal in his work “Homage to Rizal and His ‘Triumph of Science over Death” has a double meaning. On the surface level, it references the National Hero’s own rendering of The Triumph of Science over Death. Also known as Scientia, this work has become synonymous with the power of reason. In the original, a goddess-like figure holds aloft the light of knowledge, illuminating the world around her and vanquishing death that comes with ignorance. She tramples a skull that sits helpless and hapless on top of a thick volume, a book with the title ‘Scientia.’ However, because Tolentino has depicted Jose Rizal within the composition, he also tells us that Rizal himself is an immortal. In this homage, Rizal is dressed for a European winter and also carries a second cape on his arm, perhaps referring to his academics. He carries the book of learning in one hand (which may indicate the double meaning of the novel Noli Me Tangere that sparked a revolution). Rizal appears to be in happy contemplation of the future as Lady Knowledge lights his way. Through his life and works, as well as through his death and example, Rizal has thus become victorious over death and will live forever in the nation’s esteem.

Some works of Tolentino that draw inspiration from Dr. Jose Rizal:

Shaping Philippine Sculpture: The Legacy of Guillermo Tolentino

Guillermo Tolentino left an indelible mark on Philippine art, not only through his remarkable creations but also as an influential mentor. Among his distinguished students was Napoleon V. Abueva, who went on to become the youngest recipient of the National Artist award and earned the title “Father of Modern Philippine Sculpture,” thereby extending Tolentino’s artistic legacy.

The first sculptural exhibit in the Philippines, sponsored by the Art Association of the Philippines, featured Abueva’s winning piece ‘Mother and Child’ (First Prize), along with Tolentino’s ‘Venus’ and ‘Madonna and the Infant Jesus,’ which were exhibited non-competitively. The exhibit marked a significant milestone in Philippine art, showcasing emerging talents and the evolution of modern sculpture. One of Tolentino’s well known artistic masterpieces is the ‘Venus’ sculpture. The said sculpture is one of his renowned works and exemplifies his classical style, which has had a significant influence on the development of Philippine art and sculpture.

Tolentino’s legacy, preserved through his sculptures and the success of his students, continues to inspire the Philippine art scene, demonstrating the enduring power of art and education.

Tolentino’s Death

On 12 July 1976, twelve days before his 86th birthday, Tolentino died at around 8:00 pm at the age of eighty-five in his house at 2102 Retiro Street in Quezon City. In recognition of his achievements as a National Artist, he received the honor of being laid to rest at the Libingan ng mga Bayani.

TOLENTINO AS SPIRITIST

Guillermo tolentino and the union espiritista.

Tolentino is also known as one of the founders of the local organizations called the Union Espiritista Cristiana de Filipinas. Founded in 1905, the brotherhood performed various activities such as spiritual or faith healing as well as communing with the spirits of known dead personalities (called seances) such as Jose Rizal and Andres Bonifacio. The organization conducts their large-scale activities, such as member meetings, gatherings and election of officers in their main headquarters in Barrio Kangkong, Quezon City. 

At the heart of their beliefs lies the core doctrine: “Without charity (and love), there’s no salvation.”

A detailed account was also provided in an article entitled Spirits from Another World Catch on Here by Greg Datuin in The Saturday Mirror (1956, page 1), as to how seances were conducted in the residence of Tolentino located in Retiro Street near the rotonda at Dimasalang, Manila. A person, called a medium, undergoes a trance and allows himself to communicate with the spirit of a dead person or heavenly entity such as saints. An aparato or apport – objects (such as small stones, twigs and flowers) containing microscopic messages communicated by the spirits, are produced in the course of a seance and are said to materialize out of the spirit world into ours.

Tolentino also affirms the role of Christian Spiritism in his unpublished paper entitled “Christian Spiritism is the Answer”. He believes that the man’s ignorance of and disconnect with Christian Spiritism is the source of all evil and sickness of the world. Moreover, he believes that the spirit mediums, who serve as mediators between the physical and spiritual realm, perform a vital role in the delivery of philosophical, scientific, prophetic and moral messages that will guide people in living a true Christian life as well as performance of painless surgeries leading to holistic healing.

Spirit Medium VS Medical Science : A Turbulent Time

With the passage of the Medical Act of 1959, commentaries as well as legal actions directed to quacks or albularyos , faith healers and the like were pursued by the Philippine Medical Associations (PMA) and the National Bureau of Investigation (NBI). Being known for faith healing and practice of surgeries both in the national and international scene, the Union Espiritista Cristiana de Filipinas has been subjected to legal consequences.  Collaboratively, the PMA and NBI instigated and filed cases against the organization in violation of the Medical Act of 1959. The violation was based on the performance of surgical operations and other related faith healing activities of the organization in their headquarters in Barrio Kangkong, Quezon City. The said activities were personally witnessed by the representatives of the PMA and NBI. Specifically, they had seen various operations conducted by spirit mediums such as the removal of the tumor in the nape with the use of alcohol, razor blade, cotton and bare fingers, and a banana stalk fiber being pulled out on a patient who was allegedly bewitched.

As a counter to the movements of NBI and PMA, Tolentino released his statement through an article entitled Mga Mapagpanggap at Mga Talaytayan . In his article, he explicitly differentiated the characteristics between a quack (mapagpanggap) and a medium (talaytayan) . He explained that a quack is someone who pretends to be knowledgeable and expert in the practice of medical science while a medium is a human person whose actions and performance of medical practice are guided by the Holy Spirit. He further contested that the Medical Act of 1959 cannot be used as the basis for the filing of cases for the members of the organization, as they were controlled by the Holy Spirit during the faith healing process. Rt. Rev. Msgr. Francisco Avendano argued that such proclamation of Tolentino is but a mere circumvention of responsibilities and accountability in the face of the law. Avendano even posed an interesting case as to who should be held responsible during a failed surgical procedure conducted by a medium.

In the letter addressed to Dr. Ramon R. Angeles, titled “Bukas na Liham sa Puno ng Lupon ng Anti-Quackery ng PMA” (Open Letter to the Head of the Anti-Quackery Committee of the Philippine Medical Association) in 1961, Tolentino expressed concerns about criticisms toward Espiritista practices. He further defended the use of mediums in healing, stating that they do not need traditional medical tools or anesthesia for operations. Tolentino argued that mediums can perform operations without the risks associated with traditional medical procedures and quoted 1 Corinthians 1:27 and 1:19 to suggest that God uses seemingly foolish things to confound the wise, implying that their methods, though unconventional, are divinely guided. He mentioned that their methods do not involve the use of razors or surgical tools but rely on spiritual guidance. Tolentino expressed hope that the medical community would recognize the value and effectiveness of their spiritual healing methods.

Tolentino’s duality may seem misplaced in the academic setting during the beginnings of the country’s freedom from Spanish colonization and Japanese occupation. However, we cannot dispute the lengths he went just to show his deep patriotism for his fledgling country, the Philippines. Tolentino offered both his art and beliefs for the good of his homeland and this was expressed in the outstretched arms of the Oblation. Unveiling the sculptor and spiritist, the UP Diliman Archives has revealed how Tolentino immortalized our heroes, successfully passed his expertise to a younger generation, and asserted his viewpoints in the university that is now known as the bastion of academic freedom.

ABS-CBN News. “NHDP Tolentino.” 2023. Accessed 11 June 2024. https://m.facebook.com/photo/?fbid=863037285871529&set=ecnf.100064957951102 Guillermo Estrella Tolentino: A classic of his time : Philippine art, culture and antiquities. (2024, June 5). Purveyor of Knowledge and Emerging Publisher of Visually Driven Books . https://artesdelasfilipinas.com/archives/104/guillermo-estrella-tolentino-a-classic-of-his-time#google_vignette

Guillermo Tolentino Papers Box Collection 

Leon art gallery |the-magnificent-September-Auction-2023. (2023). Leon Art Gallery | Fine Art, Auction House, Furnitures . https://leon-gallery.com/auctions/lot/The-Magnificent-September-Auction-2023/19/76

MOJARES, R. B. (2010). Guillermo Tolentino’s “Grupo de Filipinos Ilustres” and the Making of a National Pantheon. Philippine Studies, 58(1/2), 169–184. http://www.jstor.org/stable/42632052

Nillas, M. C., Hail, P., & Vargas, D. (2021). Doctrines and Teachings of the Spiritism . SSRN ElectronicJournal. https://doi.org/10.2139/SSRN.379142

Ocampo, A. R. (2023, November 3). Heroes from beyond the grave. INQUIRER.net . https://opinion.inquirer.net/167784/heroes-from-beyond-the-grave

Salcedo Auctions . (n.d.). https://members.salcedoauctions.com/item/2144

“The father of Philippine arts” GUILLERMO Tolentino. (2018, July 22). jude_marcialblog. https://judemarcialblog.wordpress.com/2018/07/22/the-father-of-philippine-arts-guillermo-tolentino/

Wikipedia contributors. (2024, February 29). Guillermo Tolentino. Wikipedia. 

Thank you for visiting the Guillermo E. Tolentino Online Exhibit.

We hope this exhibit provided you with new insights into the life and work of the esteemed UP Professor and National Artist for Sculpture.

To help us improve future online exhibits and events organized by the University Archives Division, we would greatly appreciate your feedback through this link:  https://bit.ly/GETolentinoOnlineExhibitFeedbackForm.

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132nd Birth Anniversary of Guillermo Estrella Tolentino National Artist for Sculpture 1973 July 24, 1890 – July 12, 1976

Posted on: July 24, 2022  |  National Museum of the Philippines

The #NationalMuseumPH celebrates the 132nd birth anniversary of National Artist for Sculpture Guillermo Tolentino, born #OnThisDay in 1890 by featuring his sculpture Diwata from the National Fine Arts Collection (NFAC).

The Diwata is the winged fairy that welcomes the visitors upon entering the Spoliarium Hall. Made from reinforced concrete as a mortuary ornament for the Reyes Family Mausoleum in Malolos, Bulacan, this sculpture was a recast of the winged female figure that rise above the pylon of the Bonifacio Monument in Caloocan City, which Tolentino completed in 1933. The Diwata is a Gift to the National Museum by the heirs of Hermogenes S. Reyes and Teodora Tantoco Reyes.

Tolentino was known as a master in classical sculpture and was widely known for his classical representation of images and his mastery of various media in sculpture such as concrete, plaster, wood, marble, and bronze, among others. Besides being an exceptional artist, he is a musician and a writer. He is known to sign and put titles on his sculptures in baybayin, the oldest writing system of the Filipino people. He was honored as National Artist for Sculpture in 1973.

The National Artist died on July 12, 1976.

Visit the Security Bank Hall (Gallery XII) of the National Museum of Fine Arts to view more of his works. It features the Eskultor ng Lahing Filipino exhibition, honoring the life and works of Guillermo Tolentino.

You may also enjoy the link our 360 degree virtual tour of galleries at the National Museum of Fine Arts at http://pamana.ph/ncr/manila/NMFA360.html while you #StayAtHome.

#GuillermoTolentino #Diwata #MuseumFromHome

Text and photo by NMP FAD © 2022 National Museum of the Philippines

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Sunday, February 2, 2014

Life and works of guillermo tolentino "father of philippine art".

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One of his creations is the Oblation in UP where he taught for so many years. He was recognized as a National Artist in 1973 and died in 1976.

National Museum exhibit honors nat'l artist Guillermo Tolentino

The National Museum of the Philippines (NMP) is celebrating the 130th birth anniversary of National Artist for Sculpture Guillermo Tolentino, who was born on July 24, 1890.

The NMP is honoring Tolentino through a permanent exhibition called “Eskultor ng Lahing Filipino: Honoring the Life and Work of Guillermo Tolentino" located at the Security Bank Hall of the National Museum of Fine Arts.

Originally launched in 2013, the exhibit features some of Tolentino's rarely seen works from private lenders and from the National Fine Arts Collection, including some self-portraits, a marble sculpture of his daughter Lualhati, and the model and cast for the Commonwealth Triumphal Arch that was never built.

Among his sculptures displayed at the NMP are: The Diwata at the Spoliarium Hall National Museum of Fine Arts; larger than life sculptures of Presidents Manuel L. Quezon, Sergio Osmeña, Sr., and Manuel A. Roxas; Venus at the Senator Benigno Aquino, Jr. Foyer; and the busts of Dr. Jose Rizal and Leon Maria Guerrero at the National Museum of Natural History.

“Tolentino was widely known for his classical representation of images and his mastery of various media in sculpture such as concrete, plaster, wood, marble, and bronze, among others. Besides being an exceptional artist, he is a musician and a writer. He is known to sign and put titles on his sculptures in baybayin, the traditional Filipino script,” the NMP said in a statement.

Dubbed “Eskultor ng Bayan,” Tolentino was responsible for the Oblation at the University of the Philippines - Diliman, which became a symbol of “selfless offering of oneself to his country.”

The famed National Artist was also the creator of the Bonifacio National Monument in Caloocan City.

Born in Malolos, Bulacan, Tolentino learned drawing from his Thomasite teacher Mrs. H. Bordner. He later moved to Manila to pursue further art studies. In 1915, he graduated from the University of the Philippines School of Fine Arts (UP SFA) with fellow artist Fernando Amorsolo, who later on became the first National Artist.

He later travelled to the United States after earning a scholarship through President Woodrow Wilson, and became an assistant to sculptor Gotzun Borglum who created the gigantic faces of four US Presidents in Mount Rushmore.

He also obtained his training in Rome, Italy. In 1925, he returned to the Philippines and later became an arts professor and eventually, Director of the UP SFA.

Tolentino was declared National Artist for Sculpture in 1973.

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Did you know?: Guillermo Tolentino

The late National Artist for Sculpture Guillermo Tolentino designed the seal of the Republic of the Philippines. His other famous works also included the University of the Philippines Oblation and the Bonifacio Monument in Caloocan City. Tolentino received the Patnubay ng Sining at Kalinangan Award from the City of Manila in 1963 and the Presidential Medal of Merit in 1970. He was conferred the National Artist Award in 1973. Tolentino was born on July 24, 1890, and died on July 12, 1976.– Marielle Medina, Inquirer Research

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Artist Biography & Facts Guillermo Estrella Tolentino

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Guillermo Tolentino’s dream of unity

Aside from the Eiffel Tower one of the iconic sights of Paris is the Arc de Triomphe, a grand monumental arch set on a rotunda on the Champs Élysées, from where the important avenues of the city radiate like rays of the sun or, at best, spokes on a wheel. Had it been realized, Manila would have had a similar landmark designed by Guillermo Tolentino. It is unfortunate that due to constraints in funding, debates on aesthetics, the eruption of World War II and the brutal years of the Japanese occupation, the Commonwealth Arch remained a dream in Tolentino’s creative mind. But in retrospect, had it been built, it might have been destroyed during the Battle for Manila in 1945, reduced to ruins like the old legislative building that was rebuilt after the war and now serves as the Arts Wing of the National Museum.

Sculpture is an overlooked cousin of Philippine painting, probably because people don’t quite know what to do with sculptures, unlike paintings that are mostly made to hang on a wall. Sculptors have to tame harder materials like stone, steel, or bronze instead of daubing pigment on a canvas, drawing on paper, or catching images on a camera lens. Yet for the amount of work that goes into pieces of sculpture, they are priced way lower than paintings in the art market. There are more painters than sculptors conferred the honor of

National Artist for the Visual Arts, the giants to beat being Tolentino himself and Napoleon Abueva. Their life and works  deserve a closer look.

In the National Museum hall dedicated to Tolentino and his works, you will see the original maquette or preliminary model of the Commonwealth Arch, which gives us an idea of what could have been. Marble, concrete and bronze would have been the material of choice, with sculpted human figures depicting the ethnolinguistic and racial groups from different parts of the archipelago unified in one purpose—to support, carry, and hold aloft a slab of stone on which was to be etched the words “Commonwealth of the Philippines” or the Seal of the Commonwealth. This was not just an arch to commemorate the establishment of the Commonwealth; it was also a yearning for the eventual independence of the Philippines.

The maquette for the Commonwealth Arch can be better understood and appreciated through the paper trail that Tolentino left behind. In the late 1930s, explaining his design and answering critics who were calling for a more “modern” vibe instead of his old-fashioned classicism, Tolentino said that unlike most triumphal arches that commemorated military victories, his was a memorial arch:

“a tribute to our achievements in self government… Because the arch is a tribute to Filipino achievement, the observer is at once attracted to the eight bas-reliefs depicting turning points in the history of the Islands. The first relief portrays the death of Magellan in his fight with Lapu-lapu. Relief No. 2 depicts our ceaseless resistance to Spanish conquest. This time we show Rajah Soliman, the Rajah of Manila, in his defiance to the white invaders. The third relief is the martyrdom of Rizal, whose doctrines and teachings fired the heart of Bonifacio shown in the fourth relief. Relief No. 5 is the unforgettable Battle of Manila Bay; and the subsequent Occupation of Manila (Relief No. 6), the end of almost four centuries of Spanish rule. The 7th relief is that glorious moment when, our ends achieved to a certain degree, President Quezon takes his oath of office. The last and 8th plaque is self explanatory.”

Unfortunately, Tolentino’s sketches or studies for these eight reliefs are not extant, but we can presume that Relief No. 8, which he described as self-explanatory, had something to do with the birth of the Philippines as a free nation, independent of the United States. Tolentino’s interpretation of history needs revision when read from the perspective of 2017 and the historical events he did not live to see. His monument was a dream of national unity, something that we have in fleeting moments in history. Our existing monuments portray how Filipinos come together in the face of a crisis or a common enemy, which begs the question: Why is it hard to maintain national unity without a crisis or a common enemy?

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