At 70, Margarita Moran-Floirendo (known to friends as Margie Moran Floirendo) can rightfully say she has done everything she needs to do after the glory of being Miss Universe 1973.
She is the only crown holder who turned to the performing arts where previous co-winners were just happy to jump into showbiz territory.
In the late ’90s, she was one of the executive producers of the film, Bagong Buwan, directed by National Artist for Film Marilou Diaz Abaya. Then I heard of her doing outreach cultural events, which made me get in touch with her in 2002.
“Can you present Cecile Licad in Davao City?” She easily said yes.
After the concert which ended with a standing ovation at the Davao Marco Polo Hotel, she hosted an intimate informal dinner which allowed me and the pianist to drink beer and laugh the night away without being overly conscious that we were dining with a former Miss Universe.
We had a nice conversation and a lot of laughter. I realized a Miss Universe could be totally human away from her tiaras and evening gowns.
The next thing I knew, she became president of Ballet Philippines Foundation where her main concern was to give dancers a decent salary on top of helping secure funds for future productions.
Before her Miss Universe crown in 1973, she took dance lessons and found herself in musicals as part of the dance ensemble of Broadway shows in hotels, and eventually at the CCP.
Margie has proven time and again there is a life beyond Miss Universe beauty pageants. She has stepped down as CCP interim president although remaining as member of the CCP board of trustees.
Her new job is interim president of the Philippine Philharmonic Orchestra Society, Inc replacing the late Zenaida “Nedy” Tantoco.
Last year, she turned author with a travel book, My Universe, which chronicles her travels around the globe starting with her Miss Universe reign.
“I have always had a passion for traveling,” she said in the book introduction. “Over the years, I have been fortunate to explore various parts of the world and experience different cultures.”
The book is actually a compilation of articles she wrote for various publications, namely, the Philippine Daily Inquirer, Philippine Star, Tatler and The Diarist. “Each page is a testament to the places I have explored, the cultures I have encountered, and the experiences that have left an indelible mark on me. Beyond being a mere collection of travel anecdotes, this book stands as a legacy for my daughters, who have been my steadfast companions on many of these journeys. It is a treasure trove of memories that they can revisit and cherish, a glimpse into a shared past filled with discovery and wonder. Moreover, I consider this book as a gift to the future generations of my family, particularly my granddaughters. As they grow older, these pages will serve as a window into a world of adventure, offering them a glimpse of the remarkable experiences their grandmother embarked upon.”
She has good memories as head of the CCP.
The new challenge she didn’t find daunting as she was practically in and out of the CCP edifice as president of Ballet Philippines for nine years and as chairman of the Board of CCP for four years. Hence, she was already familiar with the inner workings of the institution. This prior experience allowed her a seamless transition into the role of interim president.
During her term as head of the CCP board, the manual of operations was updated to align with the standards set by the Government Commission for Government-Owned and Controlled Corporations (GOCC). The board also amended a robust Code of Governance which not only enhanced transparency and accountability within the organization.
One of CCP’s strategic initiatives during her time as chair of the board was to target a younger audience and nurture a new generation of arts enthusiasts. “To this end, we spearheaded the creation of the Children’s Biennale, an innovative arts educational program designed to expose children to the transformative power of music, dance, and visual arts. By exposing young minds to the arts and nurturing their creativity, we aimed to create a lasting impact on the cultural landscape.”
When she transitioned into the role of interim president, the groundwork laid by the board’s initiatives provided a solid framework for her to build upon. “The foundation of excellence and innovation established during my tenure as chair served as a guiding light as we navigated through the challenges and opportunities that came our way. With renewed focus on engaging tapping diverse audiences, we continued to uphold the CCP’s legacy as a beacon of artistic excellence in the Philippines.”
The first few months as CCP president were. however daunting, as the vice president and artistic director retired, leaving crucial leadership positions vacant. She had to navigate through the transition period alongside an officer-in-charge appointed on a voluntary rotation basis.
Quite unrelenting was the volume of documents that demanded her attention on a daily basis from reading and signing papers to accomplishing tasks with tight deadlines. She found herself immersed in the responsibilities of the presidency, working tirelessly almost seven days a week and balancing office work, remote tasks, and attending CCP performances during weekends.
A team of competent staff made things easy for her. Together, they tackled urgent concerns like the closure of the CCP for much-needed renovations, orchestrating the transfer of employees to other offices and contracting alternative theater venues for live performances.
Her term as CCP president came at a time when audiences were hungry for live performances as the pandemic was about to end. It ushered in the production of the CCP 53rd anniversary gala and the return of grand opera through Turandot with Rustan’s CEO Nedy Tantoco as production partner.
The arts partnership between Tantoco and Floirendo go a long way.
She first met Nedy during the ballroom dancing craze in Manila in the 80’s. “Every week, she would invite me to join her dancing group at a popular venue. But more than that, Nedy had a deep passion for the arts, especially music. She was a prominent figure in the Philippine opera scene even before my term as CCP president. My tenure as CCP president came at a time for the co-production of Turandot which was the last show seen at the CCP main theater before the three-year renovation.”
As president of the Philippine Philharmonic Orchestra Society, Inc, Tantoco tirelessly raised funds to assist retiring orchestra musicians and procure new musical instruments for the CCP orchestra. “As I now step into her shoes on an interim basis, the board is gearing up for its annual fundraiser on November 29, 2024, to be held at the Samsung Performing Arts Theater. Nedy’s legacy of supporting artists will undoubtedly continue to inspire us as we carry on her work.”
Meanwhile, other post-pandemic shows returned with a vengeance at the CCP like the Christmas presentation “Binurda” with the P-Pop group SB19 performing with the Madrigals and Bayanihan and the grand Handel’s Messiah with the Philippine Philharmonic Orchestra and a 200-voice choir.
She added: “These successful productions not only showcased the talent of Filipino artists but also demonstrated the resilience and creativity of the CCP during challenging times.”
Still, one of Margie’s book’s revelations was her encounter with the great surrealist painter Salvador Dali at the St. Regis Hotel where she had a permanent suite as the then reigning 1973 Miss Universe.
(The luxury hotel was also frequented by celebrities like Alfred Hitchcock and Marlene Dietrich. Its owner, John Jacob Astor IV, died in the sinking of the Titanic in 1912.)
Floirendo met the surrealist painter at the lobby of the St. Regis Hotel in October 1973. He approached her, introduced himself as Salvador Dali. At age 19, Margie had no idea how famous the Spanish artist was. When she met him, Dali was about 69. “We struck up a friendship that lasted till the end of winter of 1974. He looked pretty strange with his sharp handlebar mustache turned up heavenward. He was in a black fox coat with a bejeweled walking stick.”
Later, he offered to paint her but she turned him down.
The regret came too late.
Said Margie Moran Floirendo: “Such a shame, though, as the only other woman he ever painted was his wife. I even kept on postponing buying his book in the hotel store to request him for an autograph. I am sure he would have written a beautiful dedication.”
Still, other challenges beckoned in the arts after her reign.
Indeed, the 1973 Miss Universe has led a very driven life giving all of herself in worthy advocacies beyond the portals of the leading temple of the arts in the country.