By RODNEY MARTINEZ
Founding Member, Former President, Art Association of Bacolod-Negros;
MassKara Visionary
Long before MassKara became the vibrant spectacle it is today, Bacolod City observed its Charter Day in October with modest celebrations — mostly barangay-level competitions in costumes and dancing.
These events were cheerful, yet relatively simple.
But everything changed in 1980, a year marked by deep sorrow and collective grief for the people of Negros Occidental.
That year, two major tragedies struck almost simultaneously: the collapse of the local sugar industry, which devastated the economy and left many families in crisis, and the sinking of the MV Don Juan, a passenger ship that took the lives of many Negrenses.
It was a time of mourning, hardship and uncertainty.
In the face of such darkness, a group of artists, cultural workers and civic leaders came together to find a way to uplift the spirits of a grieving city.
Among them was one of the founding members of the Art Association of Bacolod (now AABN) — a visionary artist who, along with his peers, helped plant the seeds of what would become the MassKara Festival.
MassKara, from the words “mass” (referring to the people) and “kara” (Spanish for face), was imagined as a celebration of hope — anchored in smiling masks that symbolized the resilience and enduring spirit of Bacolodnons.
The artists introduced mask-making as part of their community outreach, a creative medium used to engage out-of-school youth and barangay residents.
The first masks were made from paper-mâché, later evolving into pieces adorned with indigenous materials like coconut husks and seashells.
Some of these artists were also teachers at La Consolacion College and incorporated mask-making into their art classes.
Eventually, they and their students joined the Charter Day parade wearing their handmade masks — at first shy, but proud to participate in a new tradition that was uniquely their own.
The initiative quickly gained momentum. Barangays were soon designing their own masks and joining newly formed mask-making competitions.
Given Bacolod’s reputation as the “City of Smiles,” the now-iconic smiling masks were distributed during the festivities, later enhanced with elaborate headdresses and vibrant costumes.
While no single person can claim sole credit for the creation of MassKara, this artist — recognized today as a living legend — was among the early visionaries who helped conceptualize the festival as a symbol of healing through art.
“I think it’s unique because it started as a simple but meaningful program by artists to promote art in the community,” he once said.
“In the process, it ended up promoting the whole city as well.”
He and fellow artists saw more than just a festival.
They saw an opportunity to transform mask-making into a year-round creative industry — one that could support local artisans, attract visitors, and build a stronger cultural identity for Bacolod.
Their goal was not just celebration, but sustainable creativity.
Today, MassKara stands as a powerful testament to what art can do — not just to entertain, but to heal, inspire and rebuild.
From the depths of sorrow, Bacolod created joy.
And behind that transformation were artists, dreamers and community builders who believed that even in tragedy, beauty and hope can flourish.
Art, after all, is not a luxury. It is a necessity — and, at times, a lifeline./WDJ