*443. From Boys Town to Mexico Olympics: Gymnast NORMAN V. HENSON of Arayat

NORMAN VENZON HENSON, overcame a difficult childhood to become a world-class Olympian, thanks to gymnastics. Henson was born in Barrio Mesulu, Arayat, Pampanga.

Norman Venzon Henson’s Olympic story is an inspiring one, that began with a troubled childhood in Arayat, a stay at Manila Boys Town where he discovered gymnastics, and his eventual salvation by the sport that would propel him to the top and earn him a place in the world’s premiere sporting competition.

Born on 3 Mar. 1950 to parents Domingo Henson and Leonora Venzon, the young Henson grew up in the sleepy barrio of Mesulu, in the foothills of Arayat town. He grew up in comfortable surroundings; his father was a member of the landed Henson brothers who owned vast farmlands and many businesses including operating a major bus line.

One would expect a Henson son to walk the straight and narrow path, but for some reason, Norman Henson would stray from that road, and at a very you age, fell into the company of wayward boys his age that would cause a rift between him and his parents. So the young Henson did the unthinkable—he ran away from home. The delinquent child who was not even in his teens, was found by his distraught parents after some time, but he kept running away, beyond their control.

In the end, Henson was taken by his parents to Manila Boys Town, a place for  voluntarily surrendered children, orphans, vagrants and teens. Boys Town was to build a reputation as a reformatory school for errant boys because of its sports and education programs. Ran by priests headed by Fr. Jose Mirasol, Boys Town proved to be safe haven where boys could discover and develop their  sense of self-worth and belonging.

One sport discipline that the institution was known for was gymnastics. By 1960, under Fr. Mirasol, Boys Town had produced competitive gymnasts that were good enough to compete at the national level, and before long, they were winning championships. 

As a ward of Boys Town, Henson enrolled in the sport, and before long, he was hooked in gymnastics, having found an enjoyable outlet for his energy, at last.  At just 5 feet 3 and a half inches tall, and weighing 128 pounds, Henson’s physique was perfect for the sport. Slowly, he learned to build his strength by chinning bars, and learned to leap, tumble, flip and somersault. By so doing, Henson also learned to build his character, self-discipline, and his spirit of sportsmanship.

In 1962, to promote the sport, the Gymnastics Association of the Philippines (GAP) was organized, headed by Julian Malonzo as its first President. Sotero A. Tejada—who would be acknowledged as the Father of Philippine Gymnastics---was elected Secretary-Treasurer, while Boys Town coach, Fr. Mirasol became Chairman of the Men’s Technical Committee.

The first National Competition was launched in 1963 by the GAP, open to secondary public schools. Gymnastics then was already a staple sport at the UAAP. Norman Henson was named to the Boys Town Team, along with Ernesto Beren and Julian Indon. The trio of teens created a sensation when they swept all their events in their age division.

Philippine gymnastics got a major boost when, in the same year, GAP applied for international affiliation with the Fêdêration Internationale de Gymnastique (FIG), the world governing body for that sport. Sec. Sotero Tejada not only got a membership, but also convinced the world federation to allow Filipino gymnasts to compete in the next year’s Olympics to be held in Asia for the first time. And so, in 1964, 3 Filipino gymnasts made history by competing at the 1964 Tokyo Olympics—a first for the Philippines: the FEU champion Evelyn Magluyan, Fortunato Payao, and Demetrio Pastrana.

Norman could have easily qualified with his superb gymnastic skills, but at 14, he was too young to compete in the Olympics.  Although  enrolled at the Gregorio Perfecto High School in Tondo, he continued to step up his training. In 1967, Norman and his teammates—Ernesto Beren, Raul de Belen and Rolando Mirasol—were invited to compete in Copenhagen, Denmark which was hosting the International School Games—the Hapniad, as it was called-- held in connection with the city’s 800th anniversary. It was an exciting time for Henson as it was his first time to journey to Europe. When it was his turn to take his place on the gymnasium mat, Henson mesmerized the crowd with a Floor Exercise routine that garnered him the Gold Medal, besting gymnasts from ten countries.

Finally, the Olympic year arrived in 1968 and, at age 18, Norman V. Henson, with his Boys Town team mate Ernesto Beren, were named to the Philippine National Team to compete in Mexico City, Mexico. It was a year of many firsts-- the 19^th edition of the Olympics was the first Olympic Games to be staged in Latin America, held from October 12-27, the first to be held in a Spanish-speaking nation. For the Philippines, it marked the first time that a Filipino sat in the gymnastics judging panel, in the person of Sec. Sotero A. Tejada, and only the second time that the country sent  its male gymnasts to the quadrennial event.

Of his star athlete, Sec. Tejada opined,” Norman Henson is expected to make a good showing in the floor exercises and rings”. At the National Auditorium, with the world’s best gymnasts participating, 14 different artistic gymnastics events were contested, eight for men and six for women. Henson saw action in the Men’s Rings, Parallel Bars, Horse Vault, Floor Exercises and Individual All-Around. The valiant duo gave their best, but at the end of their routines, their scores put them in the last 2 places of their qualifying events.

Post-Mexico, Henson continued to be active in competition. He practically trained and lived at the Rizal Memorial Stadium, which would be the venue of the 1971 National Open Gymnastics Championship held from April 29-May 1, 1971. This time, he was narrowly beaten in the All-Around by rising star Rolando Albuera. He would devote his time in the sport that he loved, and became a trainor and coach of many budding gymnasts in the 1980s, including members of the Philippine National Gymnastic Team. He, himself, was married to Teresita Jose, a former gymnast from the University of the East, whom he met back in high school. They would have 4 children: Norman Jr., Ethelson, Jacqueline and Pauline.

His coaching career was hampered by a series of strokes, and he would pass away in April 2014. Henson may not have won an Olympic medal,  but he certainly gained something of greater value from gymnastics, making a complete turnaround of an early life that was threatening to go awry.  The redemptive power of sports put him back on track, enabling Norman V.  Henson to win decisively,  in the game of Life.

SOURCES:
Special Thanks to: ETHELSON J. HENSON, son of Norman Henson, for additional information about his father.

About GAP: http://philippinegymnastics.org/about-gap/

Manila Boys Town Complex: https://www.coursehero.com/file/p613gnt/Manila-Boystown-Complex-is-a-government-owned-institution-and-facility-is/

Boys Town Regrets Over Lost Glory: https://www.philstar.com/headlines/2006/06/14/341837/boys-town-regrets-over-lost-glory

Sunday Times Magazine, “Well Balanced: Ph Gymansts in the Olympics”, Oct. 13, 1968. P. 34

*435. Maestro IRINEO L. MIRANDA, Dean of Philippine Cartoonists

DRAWING FROM EXPERIENCE. Acclaimed artist, painter, water colorist, caricaturist, art director and illustrator, Maestro Irineo Lintag Miranda of San Fernando.

The most accomplished artist who made a lasting mark in the field of cartooning and illustration was born in San Fernando to couple Catalino Miranda and Eustaquia Lintag on 15 Dec. 1896.  Irineo L. Miranda was so talented in drawing that at age 19--while still a student at the U.P. School of Fine Arts-- he was hired as an assistant illustrator with the Bureau of Printing.

A year after graduation, Miranda started worked at the Pacific Commercial Company where he designed product labels and created illustrations for advertisements—thus becoming one of country’s first agency art directors. His involvement in mass media art was looked at as just an extension of an artist’s activity, thus, outputs such as cartoon art were not regarded in the same breadth as painting. Even so, his alma mater believed in his talents; in 1918, Miranda was appointed to the Fine Arts faculty of the state university. The newly named professor taught decorative painting, cartooning and commercial design, an academic career that would last until 1961.

He flourished at the U.P., surrounded by his young, creative students whom he would address as “Ineng” and “Itoy”, as they presented their works for evaluation. He would critique each piece in English, delivered with humor and with a marked Pampango accent. He would count, among his students, future National Artists Carlos “Botong” Francisco, Cesar Legaspi and his favorite student who helped out in his illustrations, Carlos Valino Jr.

Meanwhile, he would move to Brown and Roosedel Advertising Co. in 1920, and chartered a different course from his peers like Dominador Castañeda and Fernando Amorsolo by illustrating the covers for Graphic, El Debate and Liwayway Magazines, dabbling in caricatures and working with watercolors. He was known for his theatrical style in painting, emphasizing lighting effects for example, and characterization of faces. His clients in the 1920s-30s included the Pampanga governor, Sotero Baluyot, Jorge Vargas Sr., Alfonso Ongpin and Lope K. Santos.

During the war years, the artist continued mentoring students, but resumed illustrating and painting with renewed vigor after the turbulent 40s. A 1953 jeep accident unfortunately sidelined him from painting for years—he fractured his armbone that led to a series of operations, incapacitating him temporarily.

Maestro Irineo Miranda first settled his family in front of the the Bellas Artes at R.Hidalgo St. He would sometimes use his daughter, Irinea, as his model for his paintings and sketches. Other models included Nena Saguil, Abdulmari Imao and the future senator Santanina Rasul who sat for him for the 1951 painting, “Tausug Princess”, which now hangs at the National Gallery of Art. Other well-known works include “Sampaguita Vendor” (1931, U.P. Filipiniana Collection) and “Portrait of Fabian dela Rosa” (1937 watercolor).

The maestro’s wife died young and the artist would never marry again. To while away his leisure hours, he would go and watch movies, which were one of his consuming passions. But he would always be devoted to his art. The acclaimed “Dean of Philippine Cartoonists” died of a heart attack on 21 Mar. 1964.

SOURCE: IRINEO MIRANDA 1896-1964, (c) 1972 Zone-D-Art Publications