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Artists group launches comics about killings of Negros farmers

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By JOHN  AARON MARK MACARAEG
Bulatlat.com

MANILA — Artists group Sama-samang Artista para sa Kilusang Agraryo (SAKA) launched Sauron, a comics anthology on the killings of Negros farmers, July 19 at the Pineapple Lab, Poblacion, Makati City.

Sauron is filled with stories and illustrations of state forces’ killings, arrests, searches, and torture that took place in three different towns in Negros Oriental on March 30. Gruesome and tragic as they were, one would wish the stories were just fiction. But they were not.

Sauron features five stories from from eyewitness accounts on the killings of Negros 14. The entries were written and illustrated by artists Julius Villanueva, Josel Nicolas, Emiliana Kampilan, Lizette Daluz, and Mervin Malonzo.

The comics was first published in SAKA’s social media accounts and had gone viral ever since its posting. The posts were taken down by Facebook due to massive reporting by suspected trolls.

The title of the comics came from Memorandum Order No. 32 orthe military’s Oplan “Sauron” in Negros island. It was signed by President Rodrigo Duterte November last year as an anti-insurgency policy and supposedly orders the Philippine National Police and Armed Forces of the Philippines to implement “measures to suppress and prevent lawless violence.”

Oplan Sauron was largely condemned by human rights groups and advocates, blaming it for the rampant killings and trumped-up cases against activists.

The documentation of the current attacks to peasant farmers and workers, particularly the killings of Negros 14 last March 30, seeks to spread awareness and urge people to stand against the oppression in rural communities.

“Consistent with SAKA’s pursuit of free land distribution to the country’s peasant majority through genuine agrarian reform, this comics launch renders urgent not only the documentation of state attacks against peasants, but also the building of solidarity among workers in the art, culture, and knowledge industries with the most oppressed sectors to help spread a culture of resistance against feudal abuse carried out through fascist means,” SAKA said in a statement.

SAKA members vow to continue supporting farmers during their second anniversary July 19. (Photo by John Aaron Mark Macaraeg)

In a unity statement, artists vowed to “unmask real offenses and offenders, hold them accountable, file complaints, and maximize all legal processes until they are punished,” and called on AFP to immediately demilitarize Negros island.

“Towards these goals and in pursuit of these principles, we form ourselves into DEFEND NEGROS and call on freedom loving Filipinos to join us… DEFEND NEGROS to win peace and justice necessary for broadly-shared prosperity to flourish in this great island we have grown to love,” they concluded.

The launching of Sauron coincided with SAKA’s second anniversary.(https://www.bulatlat.com)

The post Artists group launches comics about killings of Negros farmers appeared first on Bulatlat.


‘Protest art’ shines in this year’s #UnitedPeopleSONA

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Ursula steals the scene (Photo by J. Ellao / Bulatlat)

“Visual progressive art is important in protest actions like these. It expresses more clearly our calls.”

By JANESS ANN J. ELLAO
Bulatlat.com

MANILA — From jellyfish to fishing boats to a real-life Ursula, protesters squeezed their creative juices at an entirely new level at this year’s United People’s SONA as they came up with props thar reflect their calls.

“Visual progressive art is important in protest actions like these. It expresses more clearly our calls,” Opeh Rico of Sining Obrero – Southern Mindanao Region told Bulatlat.

Their group is behind the “evil fish” they dubbed as “China-ng ina.” Their work is just one of the many notable protest art during the march, along with the centerpiece of today’s protest by Ugatlahi. Its effigy depicted Duterte as a mythical sea creature known to Filipinos as “syokoy.”

Many props and placards also used the “sea” theme, taking after the issue of the West Philippine Sea and President Duterte’s apparent subservience to the China government. This, it appears, united many groups from a broad political spectrum.

Most protesters also wore blue shirts, which, from afar, looked as if they were a “sea of protest.”

“What are they fighting for? Land, not cha-cha?” asked a bystander, “There is no more land here in the Philippines that does not belong to China. Even the seas were reclaimed. What will be left for us? That pot of soil.”

Heavy rains

Early today, protesters sought refuge at nearby trees in front of the Commission on Human Rights as progressives held a separate, short program.

As they marched along Commonwealth, however, heavy rains poured.

They continued their fiery chants, even as they were drenched from head to toe. Some opted for a more playful chant (makibaka, wag ma-shokot!) to keep their spirits high.

Evil fish depicts Duterte as enabler of China intrusion (Photo by J. Ellao / Bulatlat)

Protesters used their placards and tarpaulins to shield themselves from the downpour. Some placards and props, however, were not able to withstand the thunderstorm.

Any gloom left disappeared in an instant, as they were greeted with an upbeat music that went, “Atin ang Pinas, China layas!”‘

Torching of effigy

All eyes and cameras were on the “syokoy” effigy’s turn to be torched.

Photojournalists and nearly everyone with a camera phone gathered around it as they await the flame to engulf the effigy.

Protesters chanted and cheered loudly each time the effigy would burst into flames. The energy was so infectious that when the ashes rained on protesters, one journalist said, “uy, may snow!”

Sad reality

While the protest art brought a festive mood at the United People’s SONA, there were some that depicted serious concerns.

Farmers and fisherfolk wore during the protest a hat adorned with calls for Duterte’s ouster.

Human rights workers, on the other hand, invited model Em Nunez to portray “Ursula,” whose tentacles were painted with words such as sovereignty, red-tagging, extrajudicial killings, to name a few.

Resbak in solidarity with Filipino fishers (Photo by J. Ellao / Bulatlat)

Still, Leeroy New of artist group Resbak said their coffin-shaped boats depict that killing of fisherfolk livelihoods as China’s intrusion continues in the disputed waters.

Fight back

In today’s People’s SONA, artist groups launched “Artists Fight Back,” as they assailed the attacks against the rights and welfare of the people.

They said, “at a time when the government is actively enlisting and deploying its supporters and machinery to project, beautify, and whitewash its dubious gains from the people, all the more there is a need for art and culture that will reflect and amplify the Filipino people’s struggle against another dictator, tyrant, and traitor in the making.” (https://www.bulatlat.com)

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Tanghalang Pilipino launches 33rd season with ‘Mabining Mandirigma’

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Tanghalang Pilipino (Photo by D. Pena / Bulatlat)

By DAWN PENA
Bulatlat.com

With a steampunk musical starring theater veteran Monique Wilson as Apolinario Mabini and Mark Twain’s character played by an actor dressed in drag, Tanghalang Pilipino (TP) continues to push the envelope with its productions on its 33rd year.

On its crusade to provide its audience with productions that reflect the times and show love for our motherland, who is battling different kinds of political, social, cultural, and environmental wars today, TP launches the fourth run of its highly acclaimed steampunk musical, Dr. Nicanor Tiongson’s Mabining Mandirigma.

In a conference held yesterday, July 24, at the Cultural Center of the Philippines’ (CCP) Silangan Hall, the CCP resident theater company opens its 33rd season with the Gawad Buhay Outstanding Musical Mabining Mandirigma. The musical, which tackles the life of Filipino hero Apolinario Mabini, is also CCP’s 50th anniversary offering.

Tanghalang Pilipino’s Artistic Director Nanding Josef explains that the theme for this season is ‘Pakikidigma’. All four productions slated to run until early 2020 will have narratives that focus on fighting injustice, feudalism, poverty, and cultural imperialism.

With CCP Artistic Director Chris Millado at the helm of the production, Mabining Mandirigma will explore the essence of the Filipino word ‘mabini’ which means ‘genteel’ or ‘gentle’, but will also reveal the hero’s militancy that does not seem to be implicit in the often-used description ‘sublime paralytic’. The show will also highlight how human integrity and love of country are the noblest goals, and therefore, the biggest challenge to all Filipinos who commit to loving and serving others.

Noble duty

Theater veteran and One Billion Rising director Monique Wilson goes back to the Tanghalang Pilipino stage as she plays the titular character of Apolinario Mabini. She was last seen at the TP stage as Maria Clara in the musical adaptation of Noli Me Tangere in 1995.

She states, “Eto siguro yung pinaka-role na talagang nagko-combine ng activism at artistry.” Wilson also shared that it is a fulfillment of a life’s dream to be part of an innovative, dynamic, progressive, radically creative, and deeply revolutionary musical.

Monique Wilson (Photo by D. Pena / Bulatlat)

When asked about what made her take on a Filipino speaking role after years of working on English musicals and plays, Wilson said “Mahirap po talaga, pati yung pag-iisip no? Iba siya. Buti nalang sa mahabang panahon na 25 years, when I last did a Tanghalang Pilipino show, nakagawa na rin ako ng mga ibang mga palabas tulad ng Vagina Monologues in Filipino. At miyembro din ako ng Gabriela, kung saan dinadala nila ako sa mga Lumad communities at sa mga relocation sites. Siguro yung trabaho ko as an activist ang nagbigay sa akin din ng malaking confidence at inspirasyon na gumawa ng ganito kabigat at kalalim at ka-challenging na musical.”

“It is not only the deepest honor, but most profound duty, to be called to do what we can to contribute to creative resistance and to the awakening of political and social consciousness through art and theater, and to keep forwarding the revolution we are still fighting against imperialists and colonizers today,” she added.

New sound, new musical direction

Joining Millado and the team, Ejay Yatco is the new musical director to interpret Joed Balsamo’s compositions. He explains that the interplay between the historical and contemporary, “Our history added with a modern twist to resound with Filipino audiences especially the youth,” will make Mabining Mandirigma different from other musicals.

On how he managed to include the Western steampunk to a Filipino musical, Yatco said, “This musical what I noticed is it’s really a mix of traditional and contemporary. So even with the music, there are songs that are Kundiman, traditional songs, but there are also songs that are Fliptop Rap, so it’s like a hybrid. I never heard of a steampunk musical before this, so I think that composer Joed Balsamo might have invented a new genre, which is this. That’s why it’s unique, because there’s nothing like it.”

Through modern elements such as steampunk and fliptop rap, Mabining Mandirigma tells the story of Apolinario Mabini in a heartfelt and imaginative way while keeping the spirit of what it means to be a true Filipino hero.

Mabining Mandirigma, a Steampunk Musical, runs at the CCP Tanghalang Aurelio Tolentino (Little Theater) from August 16 until September 1, 2019. For ticket reservations, group sales, and special performances please contact Tanghalang Pilipino: 0999 884 821, 0915 607 2275, or (02) 832 1125, local 1621.
Tickets are also available at the CCP Box Office, Ticket2mw, Bliimo, and all TicketWorld outlets. For more information, visit the TP Facebook page at http://facebook.com/tanghalangpilipino or e-mail tanghalangpilipinomarketing@gmail.com. (https://www.bulatlat.com)

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‘Mabining Mandirigma’ puts a spotlight on feudal patronage politics

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A scene in Mabining Mandirigma where the wealthy ilustrados surround Emilio Aguinaldo. (Photo by John Aaron Mark Macaraeg / Bulatlat)

By GINO ESTELLA
Bulatlat.com

In its fourth staging since it opened in 2015, Mabining Mandirigma has changed as frequently as the shifting of political powers in the nation. However different this iteration may be, one thing remains constant: it is the history and the presence of feudal patronage politics since time immemorial.

A steampunk musical, as it calls itself, Mandirigma makes use of its aesthetic to link the old and new in their melodramatic mirroring of society. Anachronisms blurred the lines of history not in revision, but in the expression of its central message.

Mandirigma opens its curtains with hope, representing the iconic image of Emilio Aguinaldo waving the flag of the new republic in Asia. Unfortunately for the viewer, this part of Philippine history did not plan for events to pan out as good as they started.

Immediately following jubilations came Mabini, played by Monique Wilson, to dunk previous celebrations with a pronouncement to Aguinaldo that the Philippine revolution of 1898 was not a success.

Araling Panlipunan lessons back in elementary school taught us that what followed was the Malolos Congress. A congress, as the musical describes, was a circus ringmastered by the nation’s intellectual and economic elite for their fraternal and parochial interests.

The rest was–literally–history.

A second meaning of Mabining Mandirigma is “gentle warrior.” Wilson’s soft voice contrasted the full-bodied and intimidating voices of male actors portraying the generals and foreign politicians around her, that in its softness its message demands itself to be heard.

Ending the musical was the whole cast, out of character and clad in their clothes of the day, telling the audience that the problems they portrayed during the three-hour production still exist today. This important moment of the musical had our characters breaking the fourth wall, telling us how important it is to see beyond the subtext of the musical–that it was right and just to act against the fascist attacks against the people.

The ilustrados of the Malolos Congress (Photo by John Aaron Mark Macaraeg/Bulatlat)

One thought that particularly stood out was how the names of the people who vexed the government to their advantage back then still holds power today. Names like Araneta, Buencamino and Legarda belong in the Manila 60–a class of prestigious names living likewise fabulously wealthy lives. Our institutions, buildings and streets bear these family’s names in reverence to them, but Mandrigimang Mabini reminds us of a dark spot in their past, that they hold power because for the sake of meritocracy they did not want the marginalized to hold it.

Truly, the descendants of the wicked remain wicked to the poor and cordial to the foreigner. It is evident in violent demolitions of communities such as Sitio San Roque in Quezon City, Aetas in Clark, Dumagat in Sierra Madre, and Sitio Aroma in Cebu to make way for development projects; it is evident when our islands are being sold–literally and virtually–to foreign business in the pursuit of investment.

In its fourth staging, Mabining Mandirigma echoes a message that always bears repeating especially in today’s political situation; and that is to ensure that the power is always held by the people, and for the people. It encourages everyone to be a Mabining Mandrigma: a gentle voice of reason blasting through violent injustice. Today, it is important that everyone is a mandirigma, be it a Mabini or anything otherwise. (https://www.bulatlat.com)

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‘Mabining Mandirigma,’ seeing Apolinario Mabini in a new light

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Apolinario Mabini (Monique Wilson) and Emilio Aguinaldo (Armando Ferrer) part ways. (Photo by John Aaron Mark Macaraeg / Bulatlat)

By ALYSSA MAE CLARIN
Bulatlat.com

For its 33rd season opening, and for the 50th anniversary of the Cultural Center of the Philippines, Tanghalang Pilipino stays true to its aim of reintroducing the relevance of centuries-old Filipino culture to the present society by opening the season with the fourth re-run of Mabining Mandirigma, a steam-punk musical centered around the life of Apolinario Mabini and the obstacles he had faced as one of the leading members of the revolutionary government under Emilio Aguinaldo.

Mabining Mandirigma reintroduces Apolinario Mabini beyond his ‘Dakilang Lumpo’ persona, urging the audience to realize that being a warrior goes beyond fighting with a sword in hand, and how one man’s love for his country can enable him to go beyond his own limitations.

Reuniting with Pule

Truth to be told, many of us know Mabini as a name written in our Araling Panlipunan books and for his famed title, ‘Dakilang Lumpo,’ however, we do not have a single idea of his life before he became the mind behind the revolutionary front.

Stories centered around his life are as sparse as Mabini’s own personal written accounts.

Who exactly was Apolinario Mabini before he joined the revolution?

Most of us did not know of the young bright boy, still not saddled by the effects of polio, whose mind is beyond his age, and whose overshadowed ideas still very much relevant to the present day.

Personally, the play introduced me to a younger version of Mabini freely walking and running on stage as he voices out his yearning for an equal society for his fellow countrymen. We were not informed of how he struggled to defend his beliefs to his own mother, fighting what was expected of him for a small chance to make his country a better place.

Apolinario Mabini (Monique Wilson) advises Emilio Aguinaldo (Arman Ferrer) on the intricacies of war. (Photo by John Aaron Mark Macaraeg / Bulatlat)

The play also showcased how Mabini has been constantly ridiculed for his disability. The hero is very often described as ‘effeminate,’ most probably because his disability hindered him from taking arms.

Ironically, the play’s English title embodies the message of the story well, Mabining Mandirigma or the Gentle Warrior opens up how Mabini, in his own way, fought for the freedom of the country even after all of the more-famed names such as Jose Rizal, Andres Bonifacio, and Emilio Aguinaldo either perished or failed the revolution.

A different take

For Mabini who was ‘othered’ for his contrary political views and physical disability, the play opted for a casting design that is non-traditional, actors play women’s roles and vice-versa (this much is obvious when the play introduced a Mark Twain in drag.

Even Mabini himself is being played by Monique Wilson, whose voice is often overpowered by the rich tenor of the actor playing Emilio Aguinaldo, a coincidental symbolism of how Aguinaldo had overlooked a lot of Mabini’s ideas and advice.

The play’s steam-punk setting is used to symbolize the how the past and the present combines together, just like how Mabini’s historical story is still relevant to current issues.

Resilience of the gentle warrior

Mabini being ‘othered’ and marginalized did not sink in as much until the last scene in the first act, during the dinner celebrating the inauguration of the Malolos Republic when members of the cabinet and the congress were taking commemorative photos Mabini is constantly being pushed around and out of the picture (literally).

The helplessness and resignation portrayed in Wilson’s face embodied the character Mabini would be in the second act, when Aguinaldo chose to bend himself over to the wishes of Pedro Paterno’s group and the urges of the American government rather than staying as the true symbol of the revolutionary government, something that Mabini first aspire for him to become at the start when he took the offer as Aguinaldo’s main counsel.

The fall out scene in Aguinaldo’s office after Paterno offers the idea of surrendering the Philippines’ autonomy over to America to end the revolution once and for all, showed a resigned but determined Mabini choosing to step down from his government position than agreeing with Paterno’s ‘cowardly’ choice.

Despite that, Mabini continued to fight through the tide and his determination to stay true to his own ideals made him a very vulnerable target of the Americans. Getting detained in Intramuros after being caught by American soldiers, he then receives the news of his fallen comrades.

Mabini, after hearing the news, blames himself and his physical limitations. Blaming his disability for his inability to fight alongside his comrades, he laments on how even his own way of fighting the enemy; through his intellect and negotiations, had failed and how he feels like he had done nothing to defend his mother country.

In the same scene, an illusion of his mother reminds him that his body’s weakness will transform into a weapon far stronger than any firearm in fighting off their oppressors.

After that, Mabini remains resilient against all the taunts of the American government. He refused the amnesty given by General MacArthur, and even pushed to negotiate with three American officials about the ongoing war. Of course, his demands were denied and he was then exiled to Guam along with the other ‘irreconcilables,’ or the people who are opposed to the rule of the American government.

Two years later shows a weaker Mabini, not only physically but also ideally, who already lost his hope for the revolutionary movement after receiving a letter informing him of Aguinaldo’s surrender to the Americans.

He comes back to the Philippines with a dejected heart, unable to accept the reality he is being forced to. He reunites with Pepe, his right-hand turned adopted son who has already finished his education .

In this scene, Mabini is given hope as Pepe informs him that the revolutionary movement lives on even after his two-year detention. In this last scene, incredulousness is visible in Mabini’s face. The realization that, even after he admitted to losing hope ,the ideals he had passed onto Pepe did not fail him.

In the end, his fight lives on beyond him as Mabini died two months after his return to the Philippines.

Mabining Mandirigma provides its audience a new image of Apolinario Mabini, as well as a striking realization that, although cliche, history does repeat itself.

As heartbreaking as it is to admit, the problems Mabini had faced are still present up to this day, and it is up to us if we would be like Mabini, slow and steady but resilient in his fight, or if we would be like Paterno, turning tail as soon as an opening and a chance to stop presents itself. (https://www.bulatlat.com)

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‘Tanggol Kasaysayan’ relaunched to combat historical revisionism, disinformation

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Convenors of the relaunched Tanggol Kasaysayan (Photo courtesy of Francis Gealogo)

“The spread of ‘fake facts’ aims to distort history and present it as truth.”

By JANESS ANN J. ELLAO
Bulatlat.com

MANILA — Did the Marcoses inherit their wealth from a certain royal family of “Tallano?”

This is just one of the questions apparently raised by a student to a history teacher. A piece of disinformation that spread early this year seemed to have rubbed off them.

Historians, teachers, sociologists, and journalists did not find it a bit surprising as they gathered at the Polytechnic University of the Philippines to relaunch Tanggol Kasaysayan, a week before the 47th commemoration since the declaration of martial law rule in the country.

At the heart of Tanggol Kasaysayan, its co-convenor and history professor Francis Gealogo, said is the aim to combat the rampant historical revisionism intending to empower the Marcoses further through widespread disinformation.

In a statement on the relaunch of Tanggol Kasaysayan, the group said the spread of “fake facts” aims to distort history and present it as truth.

The group added that fake facts aim to veer history away from recognizing people’s movement for change while presenting fascists and dictators as role models.

As a result, the group said this “undermines the critical analysis of history through the propagation of wrong ideas, beliefs, and historical data in order to advance the revisionist agenda.”

In its position paper, Tanggol Kasaysayan also criticized the Duterte administration for disregarding the strong historical basis for the country’s claim over the West Philippine Sea and the outright sellout of sovereignty.

History of the people

Academics from other disciplines have also seen the need to promote “nationalist history.”

Urban studies and sociology professor Chester Arcilla said it is important to trace the history of an urban poor community to understand its present predicament.

In the mainstream urban studies, urban poor families are not recognized for their role in building a society, said Arcilla.

Political science student Jose Torio of the Ateneo de Manila University found the present government’s sense of nationalism “distorted.”

He said that while the Duterte administration is pushing for the mandatory student military training to purportedly foster nationalism, it has also removed history and other relevant social sciences subjects, which could have served as a strong backbone of nationalism.

In a statement, Tanggol Kasaysayan said the hands of historians and teachers are “tied” with the changes in the basic education curriculum, which removed Philippine history, and Filipino as subjects.

Meanwhile, textbooks are not only lacking in number but also the content is proving to be challenging, said history teacher Menandro Asi.

Media as chroniclers of history

Bulatlat, among the co-convenors of the re-launched Tanggol Kasaysayan, has two major projects that touch on history – its weekly online show This Week in People’s History and a regular column “Baliksaysay” penned by Gealogo himself.

Ronalyn Olea, managing editor of Bulatlat, highlighted the role of revolutionary and progressive media in standing up to the powers-that-be during critical times in the Philippine history.

This included the various newspapers that were put up during the country’s colonization period under Spanish, American, Japanese forces, the martial law period under Marcos, and the post-Marcos administrations where democracy has supposedly been restored.

In the months leading to the ouster of former President Joseph Estrada, for one, Olea said, news and investigative reports by the now defunct “Pinoy Times” and the Philippine Center for Investigative Journalism on his ill-gotten wealth played an important role in the turn of the century in the Philippines.

She said that the alternative media today continues the progressive tradition of the Philippine press.

The conveners hope to hold campaigns, fora, among other activities that would advance the aims of Tanggol Kasaysayan.  (https://www.bulatlat.com)

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Tanghalang Pilipino stages Katsuri, a tribute to slain Negros activist

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(Grabbed from the Facebook page of Tanghalang Pilipino)

“One of the major themes [of ‘Katsuri’] that we’re trying to punch up is the importance of empathy and fighting for each other versus the individualistic nature of people when faced with trying realities.”

By DAWN CECILIA PEÑA
Bulatlat.com

MANILA – Fresh from the critical success of steampunk musical Mabining Mandirigma, Tanghalang Pilipino is offering yet another powerhouse drama with “Katsuri,” through the collaborative efforts of esteemed stage and movie director Carlos Siguion-Reyna and multi-awarded writer Bibeth Orteza.

A timely adaptation of John Steinbeck’s ‘Of Mice and Men,’ the play “Katsuri” will tell the harrowing fight for survival of the Sakada (sugarcane farmers) in Negros, and how it tends to destroy lives and the people’s spirits, including families and friendships.

“Truth had no choice. Truth begged that the adaptation be written in such manner,” said Orteza before the media briefing in Quezon City, adding that the play had been in the works for more than six years now.

“Katsuri,” is a Hiligaynon word for shrew, which is either a rodent or a mouse. Orteza explained that the sakadas or sugarcane farmers are more like rodents now not humans, under the current situation.

The play will also pay tribute to a slain activist in Negros Occidental, who was killed at the onset of the increased military deployment in the said province.

“I felt that what was going on in Negros Occidental just couldn’t be ignored, especially after the assassination of Bernardo ‘Toto’ Patigas, activist and Bayan Muna candidate for Escalante City councilor, in the last elections,” Orteza said.

As a tribute, the lead’s name Lenny has been changed to “Toto.”

“One of the major themes [of ‘Katsuri’] that we’re trying to punch up is the importance of empathy and fighting for each other versus the individualistic nature of people when faced with trying realities. These are the questions being raised [by the production], which will emerge victorious in the dreamer’s fight against its reality, and [the choice between] empathy versus self-preservation, said Director Carlos Siguion-Reyna.”

The production goes onstage from October 4 to 27 at the Tanghalang Huseng Batute, Cultural Center of the Philippines.

Jonathan Tadioan and Marco Viaña, who plays Toto and George respectively, lead the talented ensemble, which includes the acclaimed members of the TP Actors Company – Antonette Go, Lhorvie Nuevo, JV Ibesate, Doray Dayao, Ybes Bagadiong, Eunice Pacia, and Manok Nellas. Guest actor Fitz Bitana is also part of the cast.

Theater veterans Michael Williams and Nanding Josef, also TP Artistic Director, complete the roster of actors tapped for the production.

The artistic team is composed of Bibeth Orteza, writer/translator; Carlos Siguion-Reyna, Director; Ohm David, Set Designer; Dennis Marasigan, Lighting Designer; TJ Ramos, Sound Designer; and Daniel Gregorio, Costume Designer.

Siguion-Reyna added, ““We’re hoping that this production will resonate with what’s going on – with our issues today, not just political but our own personal issues. Do we get involved? Do we fight for other people? Do we empathize or do we just stick to ourselves?” (https://www.bulatlat.com)

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Katsuri: Sharing the sakadas’ dream

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Jonathan Tadioan as Toto, Marco Viaña as George and Nanding Josef as Tatang in Tanghalang Pilipino’s Katsuri. (Photo by John Aaron Mark Macaraeg / Bulatlat)

By MARLON LESTER
Bulatlat.com

Tanghalang Pilipino’s “Katsuri” is a riveting reminder of the power of dreams and of camaraderie, at the same time an admonition against the absence of such.

An adaptation of John Steinbeck’s “Of Mice and Men,” the script was written by Bibeth Orteza and directed by Carlos Siguion-Reyna. Daring enough to tackle the grim conditions of Filipino farmers, the production deserves attention and support especially this October, the Peasant Month.

Katsuri, Hiligaynon word for shrew, centers on two sakadas’ pursuit of a shared dream. One smart and reserved, the other dimwitted and innocent but crazy strong. Together they face the harsh realities of feudal relations, between sakadas and haciendero, young and old, men and women, varying ethnic groups, and strong and weak.

Situated in Negros, Katsuri becomes an adaptation too of the Negros people’s story of age-old feudalism and militarization. Today, the island is under an undeclared military rule. Progressives, from grassroots organizers to journalists and councilors, are killed, arbitrarily arrested, and threatened. The production itself is in honor of Bernardito “Toto” Patigas, councilor of Escalante City and activist-campaigner for Bayan Muna who was gunned down by suspected state agents on April 22 this year. In his memory, Orteza renames Steinbeck’s “Lennie” to “Toto.”

Katsuri’s crisp characters depict varying attitudes sakadas have towards the dream of tilling their very own land, and the complexities of hacienda life.

The mentally ill Toto (Jonathan Tadioan) represents the innocent, unadulterated will of his fellow sakadas. Crucially, Tadioan’s antics consistently liven up the otherwise dark subject matter. Albeit naive, his powerful dreaming draws the support of and gives hope to the smart but reserved George (Marco Viaña), the depressed old Tatang (Nanding Jose), and the cynical black Nognog (Ybes Bagadiong). Able, wise, and self-content, Payat (JV Ibesate) sees no need in dreaming further; still he respects those who do. Although mentally well, all of them share Toto’s disability to understand and decisively face the socio-political forces dominating over them.

We see in Inday (Antonette Go) a glimpse of the intense oppression poor rural women suffer. While Orteza wrote a more nuanced version (she’s not even named in Steinbeck), she’s still almost never treated as human. Her scenes provide intrigue and tension. Carling (Lhorvie Nuevo), male in the original, offers a strong female character in contrast. Haciendero son Kulot (Fitz Besana), on the other hand, is an overcompensating emasculated male.

The addition of soldiers creeping around and randomly shooting peasants in between scenes is an evocative depiction of rural militarization. The audience too anticipated, feared the sound of gunshots.

The very last scene is a creative unmasking of the invisible yet most powerful force dominating over all the characters – Boss (Michael Williams), the haciendero. The feudal bondage itself is revealed as the ultimate hurdle to the sakadas’ dreams.

In the end, George seemingly begins the path towards despair, cynicism, or defeated acceptance as the only paths available in Steinbeck. The audience however is left to reflect; contrasting these options with Toto’s seemingly irrational yet definitely tight grip of that simple dream, and our reality.

The story of sakadas dreaming particularly resonate in the context of rural Philippines. Filipino farmers articulating and asserting their dreams and aspirations are often left unheard or even silenced by those in power. Such is the case of the more than 230 farmers already killed under the Duterte administration.

What our farmers have, however, which George and Toto lack, is organization. In this context, people’s organizations can be seen as the crystalization of the poor’s collective dreams and their means to tighten camaraderie and unity. In organizations, the common dreams of mere katsuris become achievable plans and differing abilities and disabilities become tools in surmounting challenges. Toto’s character may be daring us to dream and dream strongly, but reality off-stage compels sakadas, and us too, to get organized.

Tanghalang Pilipino’s Katsuri runs from October 4 – 27 at CPP’s Tanghalang Batute.

For ticket reservations, group sales, and special performances please contact Tanghalang Pilipino: 0999 884 821, 0915 607 2275, or (02) 832 1125, local 1621.

Tickets are also available at the CCP Box Office, Ticket2me, Bliimo, and all TicketWorld outlets. For more information, visit the TP Facebook page at http://facebook.com/tanghalangpilipino or e-mail tanghalangpilipinomarketing@gmail.com. (https://www.bulatlat.com)

DISCLOSURE: Bulatlat is one of the media partners of Tanghalang Pilipino’s 33rd Season.

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Panagdedenet: Remembering the dead

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Burning saleng on the grave of one of the departed iSagadas

By CARLO MANALANSAN
Bulatlat.com

Every first of November, a portion of Sagada’s mountain is burning and enveloped in smoke. There was no fire truck on standby, only people heading to the direction of the fire. This is iSagadas’ (people of Sagada) unique way of panagdedenet, a Kankanaey term for remembering the dead, during All Souls’ Day.

People gather at the Church of Saint Mary the Virgin for the afternoon mass before heading to the cemetery
Children flock outside of the church while the mass is on-going
People troop from the church to cemetery to start the panag-aapoy
A boy carrying bundles of saleng to be used in panag-aapoy

Before trooping toward Calvary Hill, where the only community cemetery is located, both iSagadas and their visitors attend the afternoon mass at the Church of Saint Mary the Virgin. They bring sacks or bundles of saleng (mainly comes from the roots of pine tree that have a high concentration of resin) and flowers to be blessed by the celebrant priest. Everyone would start marching 300 meters from the church up to the hill when the mass is finally over.

Local folks and visitors marching up Calvary Hill to observe iSagada’s panagdedenet

Local folks simultaneously do panag-aapoy (light a fire) on the graves of their departed relatives which gives a sight of bonfire across the cemetery. They believe that the fires give warmth and light to their departed loved ones. According to some community members, panag-aapoy is also a way of connecting to the souls of their ancestors. If there are graves that seem to have been forgotten, it is the responsibility of the community to provide lighted saleng near the tomb.

Children burning saleng
One of the families busy preparing saleng for their departed relatives

Historically, saleng was used as a torch in a traditional burial which were usually taken place inside the cave. But in the 1900s, when American colonizers introduced Christian burials, they used saleng in ceremony due to absence of candles. The iSagadas opt to still use saleng because pine trees are abundant in the community and it is free. Unlike candles, big fire from saleng can withstand strong winds.

Children on top of the grave of his grandparents observing their panag-aapoy ritual
Smoke covers Calvary Hill after simultaneous burning of saleng
A priest walks around the cemetery to bless the graves of the departed iSagadas
He lights up fire on the grave beside his relative’s tomb
After burning saleng, he lies down on the graves of his relatives to take a rest

The iSagadas welcome friends and tourists during this ocassion. However, they encourage visitors to observe panagdedenet not as a touristic event but a sacred ritual in honor of their departed kins and ancestors. Understanding the local culture is a step forward to being a responsible tourist. (https://www.bulatlat.com)

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Lam-ang: More than epic, re-education

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The cast of Lam-ang. (Photo by John Aaron Mark Macaraeg / Bulatlat)

Josef added that at the time where literature and history are being ignored and worse, being “bastardized” by colonial teachings, it is just fitting for Tanghalang Pilipino to focus in these types of production.

By JOHN AARON MARK MACARAEG
Bulatlat.com

For the third production of the 33rd Theater Season “Makidigma,” Tanghalang Pilipino will introduce to Filipino youth our very own epic literature through the lens and narrative of young artists, or the “freshbloods” in the industry.

Coming from the brave tribe warriors in the North, “Lam-ang” will take the centerstage this December dressed as an ethno-epic musical starring TV, movie, and theater actor JC Santos. He will be joined by Anna Luna who is making Tanghalang Pilipino debut as Kannoyan, Lam-ang’s love interest.

Originally titled “Biag ni Lam-ang” (The Life of Lam-ang), Lam-ang tells the adventure of a son in search of his lost father, and falling in love with a maiden sought by many suitors.

Staying true to the theme “Makidigma” or “To battle,” the musical would show how the protagonist will combat his lust for power.

Fernando “Nanding” Josef, artistic director of Tanghalang Pilipino, hopes that the young batch of artistic direction of the musical as well as the cast will hone the musical in a way that it can cut across the younger generation.

“We’re in an era where if you’ll ask some youth of their myth or epic, they’ll probably answer it’s Percy Jackson or if it’s theater, maybe Phantom of the Opera, or anything from the Broadway or Disney,” said Josef during the press launch, Nov. 20

The veteran theater and movie actor has become worried of how today’s youth are dominated by foreign pop culture.

Josef added that at the time where literature and history are being ignored and worse, being “bastardized” by colonial teachings, it is just fitting for Tanghalang Pilipino to focus in these types of production.

He has helped produce several plays of Filipino myths such as Ibalong, Hinalawod, and Hudhud.

Meanwhile, director Fitz Edward Torres confessed it feels surreal seeing his childhood hero to be breathed to life by none other than himself.

As a native Ilocano from Abra, Ilocos Sur, where the story is believed to have originated from, Torres has memorized the story of Lam-ang.

“If most youth then and now have Superman as their hero, well, I had Lam-ang,” Torres said.

He further added that like the immortal hero, he grew up without a father , and this might be the reason he thought Lam-ang’s was the reflection of his life. In fact, it was also his undergraduate thesis at the University of Philippines-Diliman.

Different set, production

The main protagonist, meanwhile, admitted he faced a dilemma during rehearsals.

JC Santos, coming from a hiatus on theater because of projects on the big screen, , said it has been difficult to re-learn the discipline of acting on stage.

According to the actor, the most challenging part in going back to theater was that he has to move his all body unlike in TV in which he only has to give what was needed in a single frame.

“The discipline right now is far from what I used to do for a long time. I had to give my all best in here to really perform and act well,” Santos said.

Lam-ang will premiere December 6 to 15, 2019 atTanghalang Aurelio Tolentino (CCP Little Theater). (https://www.bulatlat.com)

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Lam-ang: a story of leadership and self-realizations

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Poster of Lam-ang (Tanghalang Pilipino Facebook page)

The dedication of the creative team and the cast to remain true to the roots of the tribes in the Philippines sends a clear message of how they wanted the younger generation of Filipinos to re-educate themselves on our culture.

By ALYSSA MAE CLARIN
Bulatlat.com

MANILA — For the third production of Tanghalang Pilipino’s MAKIDIGMA Season, TP ignites the soul of the nation with ‘Lam-ang,’ an ethno-epic musical and reimagination of the Philippines’ famed epic Biag ni Lam-Ang.

Lam-ang was born in wartime. His tribe was forced out of their lands by their enemies; the head-hunting Igorots, and his father Lokan had to stay behind so his then pregnant mother Namongan can escape to safety along with their tribespeople.

Fully-grown, Lam-ang managed to defeat the leader, Gumakas, all on his own. He was devastated when he found out that despite his triumph, Gumakas had long taken the head of his father. He ventures back to his tribe to announce his victory over the Igorots, but as he lowers down the skull of his father to his mother’s arms, Lam-ang feels the sense of loss and emptiness slowly bubbling up inside him.

Now that he has defeated their enemies, retrieved both his father and the land of Nalbuan, Lam-ang is at a loss. He feels as if he hasn’t done enough to warrant the title of Lakay, and that his father had left him very big shoes to fill.

As he laments over this, Lam-ang slowly develops a twisted sense of leadership. The audience slowly see him transform from a young hero into a ruthless conqueror. Lam-ang, in his loss of guidance, had decided that by conquering all the lands near Nalbuan, he can provide the best for his tribe.

Despite this, Lam-ang’s mother and tribe elders continued to tolerate his behavior, going with his every decision even though they know that it was not the right thing to do.

Sumarang, Lam-ang’s mentor and sworn-brother, had been the only one who was vocal about his disagreement with Lam-ang throughout the play.

In an effort to make Lam-ang realize his wrong doings, Sumarang invoked a duel to death to which Lam-ang agrees. The battle ended with Sumarang’s death. The death of Sumarang signified the people’s realization that they have left something very wrong go on for far too long and now it is too late.

Famine becomes the retribution of Lam-ang’s greed. Because of his disrespect towards the gods, the people of Nalbuan is having a crisis over food. Tandang Guibuan, the tribe elder, had decided that offering their remaining food could appease the gods.

Seeing his people suffer, Lam-ang confronts Tandang Guiban. The elder retaliated and said that the people of Nalbuan is suffering because of Lam-ang’s greed.

Then, we can see a spark of realization in Lam-ang’s face, but stubbornly he still insisted that he could end the famine if he conquers the lands by the sea, Kalanutian.

Kalanutian is ruled by Kannoyan, who was said to be the fairest woman in all lands.

She, like Lam-ang, is ruling over the many lands she had inherited from her father, but unlike the hero, Kannoyan knows that leadership is not just about being the strongest among others. She taught Lam-ang this while she was pretending to be a commoner, and said that Lam-ang needed to become a leader who leads, not with strength and violence, but with trust.

After his realization, Lam-ang ventures back to Nalbuan and asks the help of his people. Unsurprisingly, the people of Nalbuan are reluctant to follow him after he had broken their trust. Lam-ang goes down on his knees and asked them to trust him one last time. Seeing his sincerity, his people agreed to come with him to Kalanutian.

As an answer to Kannoyan’s request, Lam-ang had brought to her the most precious treasure he owned; his people. Moved by the changed Lam-ang’s sincerity, Kannoyan agreed to marry him and asked him to rule Kalanutian alongside her.

But not everything ends in a happy note.

After Lam-ang and Kannoyan’s wedding, the people of Nalbuan and Kalanutian celebrates. Lam-ang, as a way to show his gratefulness to their people, had volunteered to catch fish for their guests.

The gods he had angered by his selfishness and greed, then claims Lam-ang’s life while he is in the sea.

The last scene ended with the people of Nalbuan and Kalanutian mourning over Lam-ang’s death, as Lam-ang is shown following after his father and Sumarang to the afterlife.

A series of firsts

Born out of a thesis production from UP Dulaang Laboratoryo, the musical whose original title was ‘Lam-ang, Ang Sugo ng Nalbuan,’ was the answer to TP’s long search for new materials that would feature the Philippines’ tradition and origin.

TP wanted to reintroduce Lam-ang to the younger generation of Filipinos, and introduce further knowledge and deeper understanding to these narratives that most Filipinos only briefly know of through their books in Araling Panlipunan.

Although the characters and the main parts of the stories remain familiar, the musical Lam-ang is a reimagination of the famed hero and his epic battles. The play showcases a Lam-ang who was thrusted into leadership, unprepared and how it caused the loss of his sense of purpose, as well as the reason for his downfall.

It was a new take on the story of the heroic Lam-ang, who has always been portrayed as the perfect hero who triumphs over all the obstacles in his life. It shows Lam-ang who also needed to battle himself for his lust for violence and power.

Lam-Ang’s lead actor JC Santos had also admitted that he’d been away from the theater stage for too long and re-learning the discipline of acting on stage has been difficult for him. Lam-ang is his first lead role and first stage play in Tanghalang Pilipino.

Anna Luna also makes her debut in the stage of Tanghalang Pilipino as the female lead Kannoyan.

“I am so honored and grateful for the trust given to me to play this landmark role of Kannoyan,” said Luna.

SEE: Lam-ang: More than epic, re-education

TP’s adaptation of Lam-ang also showed a version unlike the previous adaptations. The creative team of Lam-ang had decided to remove all the aspects of colonialism from this new adaptation.

They had introduced Lam-ang’s father, Lokan, who is purely from the tribe of Nalbuan unlike the previous adaptations which depict Lam-ang’s father to be Don Juan Panganiban.

The play had also removed the epic’s depiction of the Igorots as barbarians as well as the concept of resurrection.

The creative team of the play had wanted to portray a more native version of Lam-ang, and remained true to the traditional aspects of the story including the costume and props design, and the new additions to the original storyline.

The newness of the adaptation is palpable in the show’s first run.

There were plenty of times where technical difficulties became an issue, like when Tex Ordones-De Leon’s character, the babaylan Baglan, was narrating the story through a song and her mic had turned on later than expected.

This happened plenty of times. But in a show of professionalism, the actors clearly adapted well and pitched their voice louder in preparation for these small bouts of slip-up.

The songs also showcased many traditional aspects, including hair-raising chants that are incorporated in every scene. The tribal chants added a more solemn and intense effect to the sequences that show some of the character’s death.

Lam-ang’s traditional set-up reminds you of similar-styled musicals such as Lion King, who boasts about the rich tradition of Africa and remained true to its roots until its very recent run.

The ethno-epic musical Lam-ang had managed to do the similar, igniting the stage with colorful uwes blankets of the Ilocos regions before the Spanish colonizations. The actors were dressed in the traditional clothing of the different tribes in the region. Raflesia Bravo’s Saridandan boasts clothing similar to the Bataks in Palawan, where women traditionally do not cover their torso.

The dedication of the creative team and the cast to remain true to the roots of the tribes in the Philippines sends a clear message of how they wanted the younger generation of Filipinos to re-educate themselves on our culture.

The musical takes on a different ending from the usual narration of the epic, and had left the audience questioning their knowledge of the story.

Tanghalang Pilipino’s depiction of a grayer Lam-ang depicts how leaders are not born, they are taught. No matter how bright and promising Lam-ang was, he still went down a very dark path mostly because the guiding figures around him had let him and tolerated his mistakes until the very end.

If there was one thing the musical made sure of though, was Lam-ang’s love for his land and people.

Though he did go about and showed it in the wrong way, it was clear throughout the play that Lam-ang had always only wanted his people to be happy. But just like what Kannoyan had said, “Ang pamumuno ay hindi nakatindig sa lakas at dahas lamang.”

Lam-ang runs from December 6 to December 15 at the Tanghalang Aurelio Tolentino, Cultural Center of the Philippines. Tickets are available at the CCP Box Office as well as in Ticketworld, Ticket 2 Me, Blimo, and Tanghalang Pilipino office. (https://www.bulatlat.com)

Disclosure: Bulatlat is a media partner of Tanghalang Pilipino’s MAKIDIGMA Season. 

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Sunod: bagong henerasyon ng genre ng gulantang at kilabot

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Screen grabbed from Sunod movie trailer

Swak ang tagpuang pampanahunan ng Sunod. Nakapeg ang epekto ng pagbabawal sa pagsasalita ng Wikang Filipino sa araw-araw na danas sa kasalukuyang modernidad ng mga bagets, senior citizen at burgis na estadong tagapangasiwa ng lipunang Pilipino. Lingid sa dilim ng pelikula ang kaugnayan nito sa nakaprogramang pabukakà na kabuhayan ng 13 milyong transnasyonalisadong OFW. Sa kabilang banda, angkop sa kamalayan ng Ingleserong patriyarka ang transnasyonal na katransaksiyong imbestor ng LGO.

Ni ABET UMIL
Bulatlat.com

Nadawit ang mag-inang Liv (Villaroel) at Annelle (Brimmer) sa sambulat ng sinupil na lihim, bahagi ng talambuhay ng ama (Webb) ni Karen Liboro (Dizon). Ang detalyeng ito ng kasaysayan ng patriyarka at natipong ari-ariang realty ay dahan-dahang makapanghihimasok sa kalingàan ng bulnerableng mag-ina. Angkop na angkop sa sino mang bihasang magsalita ng Wikang Ingles, milenyal at nakababatang henerasyon ang uri ng negosyong pinangangasiwaan ni Karen. Nakabase ang ofisina nito sa lumang bilding na pag-aari din nilang mag-ama. Ano kaya kung may ligalíg na kaluluwang nakahimpil dito at makisalamuha sa isa sa mga panggabing empleyado? Ang pelikulang Sunod ay lahok sa Metro Manila Film Festival 2019.

Nag-iisang magulang lamang si Liv na nagpalaki kay Annelle. Malumanay magsalita at kumilos dahil iyon ang pakikitungong kailangan ng anak na may sakit sa puso. Madaling mapagkakamalang kakomunidad ng mayayaman kapag nakabihis. Bihasang magsalita ng Ingles. May talentong tumugtog ng gitara at magsulat ng liriks si Annelle. Lamang, solong nakakompayn at sinusubaybayan ng espesyalista ang kanyang kondisyon sa isang kuwarto ng pribadong ospital. May pagkalalaki ang asta’t determinado ang tono kung makipag-usap sa Ingles si Karen. Halata ang tiwala sa sarili’t mapagmalasakit ang aura ni Lance (Santos) nang magbigay ng oryentasyon at direksyon, sa Wikang Ingles din, sa mga empleyadong napamumunuan.

Asiwà ang katayuan sa buhay ni Liv. Maselan kasi ang pinakahuling balita sa kanya ng doktor tungkol sa kasalukuyang kondisyon ng anak. Hindi pangkaraniwan ang sitwasyon at proseso pag-aplay niya ng trabaho, at dito magsasalasabid ang kanilang mga landas. Hahantong iyon sa LGO (Liboro Group Outsourcing), ang call center na nag-oopereyt sa bilding na dating ospital may kung ilang dekada na ang nakalipas.

Sa unang gabi ng treyning, ipapakilala ni Lance ang sarili sa mga kaempleyado bilang team leader. Makikipagkaibigan si Mimi (Alejandrino) kay Liv. Mababanggit ni Lance kay Liv, sa isang eksena, ang patakaran ni Karen na hindi maaaring magsalita ng Filipino sa ofisyal na oras ng trabaho.

Maagap ang babalâ ni Lance sa mga tauhan na mag-ingat sa pag-akyat-babâ sa ika-4 na palapag. Tanging iyon lamang ang gumagana para sa call center. Bukod ang itaas na residensiyang kinararatayan ng patriyarkang Liboro. Sa pamamagitan ng elevator, isang gabi, sasagad si Liv sa basement na dapat iwasan. Simula ito ng pagsubida ng kilabot at gulantáng na magpapadaop-palad sa kanila ng musmos na si Nerissa (Bustamante). Magiging sanhi ito ng pagbibigay-payo ng doktor upang pauwiin na ang pasyenteng anak.

Sa tahanan ng mag-inang Liv at Annelle, unang magpaparamdam ang ipinahihiwatig ng pamagat. Sisidhi ang sahol ng asiwàng humihidwà sa loob ni Liv pagkatapos ng masinsinang maniyobra ng malasakit sa kanya ni Lance. Bagay na mag-uugnay sa gitnang uring pamumuhay nina Liv at Annelle sa kung tawagin dati ay “iskwater”, kinapadparan ni Perla (Africa), ina ni Nerissa. Bubungaran ng alinlangan si Perla ngunit magtitiwala rin sa sandaling maramdaman kay Annelle ang matagal nang “nawalay” na “anak”.

Sa sukdulan, may kung anong pangyayari sa elevator ng LGO ang hihila sa mga paa ni Lance upang di sinasadyang usisain ang isang pintong ipininid ng magkakaekis na lumang tablang ipinako sa balangkas ng hamba. Ang pangyayari dito, na maisasalarawan ng sunod-sunod na lagutok at kalansing, ay magtutulak sa pagpapahayag ng katiwala sa pasya ng patriyarka upang pansamantalang itigil ang operasyon ng call center. Malalantad din ang paghubad ng Ingleserong patriyarka sa oxygen mask. Tatayo mula sa pagkakaratay upang isalaysay kay Karen ang mga agam-agam habang totohanan nang sumasambulat ang malagim na gunita.

Paiigtingin ng nabanggit na mga motibasyon ang makapanindig-balahibong rebelasyon ng patriyarka at kaugnayan nito sa: mahiwagang pagsunod ni Nerissa kay Liv; pagpauwi ng doktor kay Annelle; pagtatagpo ng mag-inang Perla at “Nerissa”; tangka at pagtatanggol ng mga katawan sa isa’t isa; ritwal sa pulang bolang sinulid-gantsilyo sa basement ng bilding; muling pagkakompayn ni Annelle; at muling paglitaw ng pulang bolang sinulid-panggantsilyo sa pasilyo sa harap ng papasarang elevator ng ospital na pinasok nina Liv at Karen.

Bukod-tangi ang Sunod sa karaniwang pangkatatakutan na mga pelikulang gumagamit ng tauhang elemental, halimaw, aswang. Pundasyon nito ang mga sangkap ng kondisyong sikolohikal ng tauhan at ugat ng karakterisasyon nila sa kasaysayan bilang mohon ng pag-agwat.

Ito pa lamang ang napanood ko sa MMFF 2019. Hindi manakanakâ ang mga napapasigaw sa sinehan sa mall na pinanooran namin ng kasama ko. Sinusundan iyon ng hagikghikang pampaluwag sa danas ng gulantang, saka inaantabayanan ang kabá sa susunod na mga eksena. Kahanga-hanga ang masining na pailaw ng potograpiya. Pinaghirapan ang pagpapanatili ng atmospera ng mise es scene. Mabuti at nagresulta sa panalo ng Best Photography. Ang mabutil na imahen sa paulit-ulit na panaginip ni Liv ay nakapagset ng nagbi-build up na pakiramdam ng hilakbot habang umiinit ang puwet namin sa mga hanay ng upuang halos kalahati lamang ng maximum na kapasidad ng sinehan ang okupado.

Kumbaga, ang pakiramdam ng manonood sa pelikulang ito, ay parang manlalakbay na nataon sa takipsilim ang muling lusong ng mga hakbang tungo sa pusikit na kung saan. Subalit paano lalakad kung hindi pa nakababawi ng: tinô ang isip, lakas ang katawan, sampalataya ang kaluluwa? Nakahihikayat ng alinlangan ang maasul-asul na timplada ng kulimlim sa iskrin. Kadalasang kulay ito ng naipapalabas na mga pelikula Europeo.

Nakatukso pa sana ng pampaduwag sa damá ng manonood kung naangkupan ng montage ng mga inaagiw na detalyeng makamumungkahi ng nakatatakot na datíng ng lumang bilding ang mahahalagang transisyon. Gayon man, napunan ito ng mahusay na scoring ng musika. Lalo na ng akting. Walang sapaw, kinakailangan lamang ang mahiwatig na ganap ng bawat aktor. Wagas sa genre ng gulantang at kilabot ang disenyo ng produksiyon. Titingkad ito sa eksenang interyor ng isang tiyan. Sulit ang busisì ng departamento ng sining sa panalo ng Best Production Design. Sa kabuuan, bahagya lamang ang kiling ng mga imaheng pinagtagni at binabalanse ng gaan ng dialogo.

Kalakasan ng pelikula ang pagtatapat-tapat ng mga tauhan sa antas ng kasarian. Bagaman karaniwang empleyado lamang si Liv, tampok ang kanyang pagiging magiliw ngunit hindi hinuhupaan ng sigasig sa kabila ng mag-isang pagtataguyod sa kapakanan ng anak. “Child Of the Owner” si Karen, elitista, ngunit may konsiderasyon sa oras ng pagtatasa sa regularisasyon ng empleyado.

Gayon man, suspetsa ang asta niya sa impluwensiya ng patriyarkiya. Iskwater si Perla, nakakailang ang dating ng daskol ng kunsimidong malahuklubang hitsura, obligado ang pakay sa kanya ni Liv. Sa bulusok ng aksiyon ng iskrip, malalahad ang kaalaman ng partikular na tauhang ito sa tradisyonal na dunong na posibleng babaylan lamang ang nagtataglay. Sa isang banda, ang kasarian sa representasyon ni Lance ay umusli ang karera bilang kabiláng mukha ng gitnang uring dispatsador ng propesyonalismong nakapailalim sa gahum ng elitismo’t patriyarkiya.

Subalit, sa palindayag (denouement), ipinahiwatig lamang ang kabuuan ng talambuhay at kasaysayan ng natipong ari-arian ang ipinagtapat ng patriyarka sa anak. Nagtakip lamang ito ng patlang sa mga ipinasimunong nagbuyo ng paglihis na nauwi sa walang humpay na makapigil-hiningang rubdob ng gulantang at kilabot. Kundangan kasing sa perspektiba lamang ni Liv pinadaloy ang naratibo. Bagaman neurosis ng patriyarka ang sanhi ng palag at resolba ng mga ahensiya ng bawat tauhan sa sandaling rumurok ang igting ng higanti sa kaganapan ng “ano kaya kung” na dinadalumat ng pelikula.

Swak ang tagpuang pampanahunan ng Sunod. Nakapeg ang epekto ng pagbabawal sa pagsasalita ng Wikang Filipino sa araw-araw na danas sa kasalukuyang modernidad ng mga bagets, senior citizen at burgis na estadong tagapangasiwa ng lipunang Pilipino. Lingid sa dilim ng pelikula ang kaugnayan nito sa nakaprogramang pabukakà na kabuhayan ng 13 milyong transnasyonalisadong OFW. Sa kabilang banda, angkop sa kamalayan ng Ingleserong patriyarka ang transnasyonal na katransaksiyong imbestor ng LGO.

Mas bagay ang casting kung magkapalit sana ang papel nina Villaroel at Dizon dahil na rin sa Caucasian na hitsura ni Webb, hindi sumakto sa morenang karakter ng kanyang anak. Napalampas ng Best screenplay ang masasabing kahinaan ng pelikula na may kinalaman sa abilidad at motibasyon ni Perla. Kinakaladkad nito sa kalituhan ang interpretasyon ng manonood sa sangkap na sinasagisag ng pulang bola ng sinulid bilang argumentong tumutunton sa tradisyon ng isinalaylayang kapangyarihan ng babaylanismo.

Kabinataan pa lamang at premyado ng kilalang kilalang Cannes Film Festival ang direktor na si Ledesma. Posibleng ang transnasyonal ding pagka-Pinoy niya, at mahusay sa teknik na kanyang pananaw sa daigdig, ang hindi nakapansin sa maladaptibong resolusyon ng pagsasadula ni David sa naratibo? Kapanipaniwalang nagbabantayog ang pelikulang ito ng bagong henerasyon ng genre ng gulantang at kilabot. Subalit, hindi pa rin kinayang paalpasin ng estetika ang mapagkapwa-taong anak ng patriyarka sa klasikong Electra complex na nakalukob. (https://www.bulatlat.com)

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Sining ng Oportunismo at Hamon ng Paglubay sa Kamangmangan

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Ang larawan sa itaas ay grabbed sa isang post sa FB

Ang sining ng oportunismo tulad ng sining ng realismo ay pagtatanghal ng tunay at pang-araw-araw na buhay. Ang pagtatanghal ng sining ng oportunismo ay pag-akda at reproduksiyon ng pasismo. Isang hamon ito sa mga artista at manunulat upang lubayan ang rebisyonismong pangkasaysayan at kamangmangan.

Ni ABET UMIL
Bulatlat.com

Nagagamit ni Brillante Mendoza ang kasikatan niya bilang direktor at tagaakda ng pelikula para sa pasista. Ganito ang kinalabasan ng layunin ng sining sa pelikulang “Mindanao”. Maaalalang dinirek ni Mendoza ang SONA noong 2017. Sumunod sa kanya si Joyce Bernal noong 2019. Kilala rin si Mendoza sa mga pelikulang nagpapakita ng mga eksena ng labis na kahirapan ngunit may mahinang motibo ng pag-unlad, o poverty porn.

Ang paglulugar ng mga direktor na ito ng kanilang sining para sa iilang nang-aapi sa masa ng sambayanan ay hindi naiiba sa suporta ng oligarkiya para kay Duterte.

Balitang balita ang mga pag-absuwelto ng Ombudsman sa ilalim ng administrasyong Duterte sa kaso nina Gloria Arroyo, Imelda Marcos at iba pang kinasuhan ng pandarambong. Rebisyonismong pangkasaysayan ang hahantungan nito ayon sa mga kritiko.

Naka-off ang critical thinking ni Judy Ann Santos nang sumama siya sa proyektong pampelikulang Mindanao? Mas nangangailangan ng kasikatan at proyekto kaysa kanya ang mga dating aktor ng nakaraang dekada na kinokontrata ng Channel 2 ABS CBN sa teleserye.

Sa biyahe ng presidente sa Japan noong Mayo 2019, sinamahan ng ilang personalidad ng showbiz habang tinotokhang ang mga: hinahinalang adik, small time pusher; pinagkakaitan ng sakahan ang magsasaka; tahanan ang maralitang tagalungsod. Kung kaya, pinuna ito ng mga netizen. Dahil dito, matatandaang isinumpa ni Philip Salvador ang mga kritiko ni Duterte,“mamatay kayong lahat!” Takbo ng utak na ripleksyon ng pasismo.

Totoo ang sumpa ni Salvador, parami nang parami ang mga pinapatay na aktibista, at iba pang naninindigan sa pagpuna sa lihis na pangangasiwa ng nasa sentro ng kapangyarihan. Masugid din ang suporta sa kanila ng mga mangmang sa isyung panlipunan.

Sila ang mga aktor, direktor na gumagamit ng kanilang kasikatan, pagganap at pag-akda ng mga tauhang pampelikula bilang bituin ng iskrin para sa pasista kapalit ng pera upang mantinihin ang pagbubuhay-sikát. Ipinagtanggol agad sila ni Robin Padilla.

May base ng mga aktor na may nakaraan at kasalukuyang kontrata sa Channel 2 ang pasismo. Hayag ang suporta nila kay Duterte. Sa kampanyang elektoral pa lamang, alam ng bayang hati sa tradisyonal at progresibong politika ang hanay ng mga aktor sa ABS CBN. Kamakailan lamang inulit ni Duterte ang strong arm tactic nito upang hindi i-renew ang franchise ng ABS CBN sa darating na Marso 2020.

Sakaling matuloy ang hindi pag-renew sa prangkisa ng ABS CBN, nakaumang na ang pabor sa media sector ng Udenna Corporation, entidad ng negosyo ni Dennis Uy, sinasabing isa sa mga donor sa kampanyang elektoral ni Duterte noong 2016.

May transaksyon sa China Telecommunication Corporation ang Udenna Corporation. Hindi malayong posibilidad kung gayon na ang Udenna ay Trojan Horse ng China, ang bagong litaw na imperyalista, sa pop culture ng Pilipinas.

Lumang isyu na ang oportunismo sa hanay ng mga artista, manunulat para sa imperyalismo at diktador. Ingat na ingat nga lang pag-usapan ang ganitong bagay sa hanay ng mga artista dahil na rin sa dalumat na “for art’s sake”. Bagaman resolbado na ang ganitong paimbabaw na oryentasyon sa sining at panitikan noong dekada 30 pa lamang.

Noong pananakop ng imperyalismong US, itinala ni Virgilio S Almario sa libro niyang “Balagtasismo Versus Modernismo” (1984) ang panlulumo ng mga manunulat dahil sa pagsuko ng gabinete ni Aguinaldo sa imperyalismong US.

Sa pelikulang “Ang Larawan” (2017), salin ng “A Portrait of the Artist as Filipino” (1950), dula ni Nick Joaquin, isang ekesena ang naglalahad sa dilemma ng isang makata na naging burukata ng kolonyal na gobyerno. Malungkot ang pag-amin ng karakter sa paninikluhod sa kapangyarihan ng mananakop sa kontemporanyo niyang karakter ng pintor at pamilya nito. Tema rin ang pagiging burukrata ng makata sa isang tula ni Almario. Isang grupo ng manunulat sa Ingles, ang tinukoy ni Bienvenido Lumbera sa artikulo niyang lumabas sa Diliman Review noong 1984, bilang mga pasuwelduhin ng diktador.

Si Almario mismo ay lalantad noong 1986 sa kanyang kolum sa Daily Express, broad sheet na itinatag noong martial law, bilang supporter ng diktador.

Walang kuwestyon sa husay ng kanilang pag-akda ng pelikula, tauhan, sining at panitikan. Ngunit ang palaging tanong sa ganitong problema ay para kanino ang pakinabang sa sining at tindig ng umaakda ng ganitong uri ng sining? Ano ang silbi ng mga ito sa lipunan?

Gayon man, hindi ang mga tipo ng sining, panitikan, artista at manunulat na ito ang minomodelo ng lipunan, pagtatatag ng pambansang identidad at pagkamakabayan. Alam na ng di mabilang na henerasyon ng mga grumadweyt na estudyante ang uri ng manunulat sa Kilusang Propaganda nina Marcelo H. del Pilar, Jose Rizal at iba pa, El Folk-lore Filipino ni Isabelo delos Reyes. Nobelang “Banaag at Sikat” ni Lope K. Santos, “Pinaglahuan” ni Faustino Aguilar. Ang “Bayan Ko” nina Jose Corazon de Jesus at Constancio de Guzman.

Sina Amado V. Hernandez, National Artist (1973) at Clodualdo del Mundo, scriptwriter ay naggerilya noong WW2. Nalalaman din ng mga ganitong uri ng artista at manunulat ang konteksto ng lipunang Pilipino at kalubusan ng pag-akda ng sambayanan.

Kahanga-hanga rin ang tapang nina Janine Gutierrez at Jasmine Curtis-Smith sa pagpapahayag ng kanilang pananaw kaugnay ng pagbalik ni Sen. Bong Revilla sa telebisyon, sa pamamagitan ng isang programa ng GMA 7.

Ang pag-akda ng mga oportunista ng kanilang sining ay mabuting diskurso kaysa mapagbantang trolling ng mga DDS sa social media. Di hamak na mas malusog kaysa tokhang. Gayon man, ang pag-akda ng sining ng oportunista ay hindi garantisadong labas sa resulta ng pag-aaral na tumukoy sa online Pilipino bilang ika-3 sa mga pinakamangmang pagdating sa usaping panlipunan.

Ang sining ng oportunismo tulad ng sining ng realismo ay pagtatanghal ng tunay at pang-araw-araw na buhay. Ang pagtatanghal ng sining ng oportunismo ay pag-akda at reproduksiyon ng pasismo. Isang hamon ito sa mga artista at manunulat upang lubayan ang rebisyonismong pangkasaysayan at kamangmangan. (https://www.bulatlat.com)

*Ang may-akda ay guro sa Filipino sa Polytechnic University of the Philippines.

The post Sining ng Oportunismo at Hamon ng Paglubay sa Kamangmangan appeared first on Bulatlat.

Foreword to Jose Maria Sison’s Reflections (2019)

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By E. SAN JUAN, JR.
Emeritus Professor
University of Connecticut

Writing for the Madrid journal La Solidaridad in 1889, a decade before the United States occupied the Philippines as its new possession, Jose Rizal surmised in his essay “Filipinas dentro de cien anos”: “Perhaps the great American Republic, whose interests lie in the Pacific and who has no hand in the spoliation of Africa may some day dream of foreign possession….” But if she did, even contrary to her tradition, the European powers would forbid it, and if the United States tried to, “Very likely the Philippines will defend with inexpressible valor the liberty secured at the price of so much blood and sacrifice.” (1972, 127). Rizal’s uncanny presentiment was a warning: the natives resisted McKinley’s “Benevolent Assimilation” and U.S. “tutelage” from 1898 on. They persevered up to the Sakdal and Huk uprisings, and the ongoing resistance of the National Democratic Front and its national-popular combatants.

Under the aegis of global capitalism’s “war against terrorism,” the carnage has worsened in the longest-held U.S. neocolony in Asia since its annexation at the turn of the last century.. After 9/11, U.S. imperial subjugation of the Philippines intensified with successive counterinsurgency schemes dating back to the Cold War. Beyond the three million Filipinos killed by U.S. troops in the Filipino-American War (1899-1913, dubbed the “first Vietnam”), thousands died in the bloody years of the Marcos dictatorship (1972-1986) supported by Washington and the Pentagon (Ahmad 1971; Zinn 1984). 

We are witness to current U.S. interventions via the Visiting Forces Agreement, EDCA, Operation Pacific Eagle-Philippines, and other bilateral transactions to preserve its neocolonial domination. This includes supply of weaponry, logistics, and supervision over the Armed Forces of the Philippines (AFP). This was recently demonstrated by the U.S. participation in the devastation of Marawi City in 2017. Without U.S. stranglehold of key ideological- state apparatuses implementing IMF/World Bank/WTO regulations, the local oligarchy of landlords, compradors, and bureaucrat-capitalists from 1899 to 1972 —as Jose Maria Sison has expounded in Philippine Society and Revolution (PSR)— would not survive.

Sison is universally recognized as a pertinacious radical leader of the Filipino contingent challenging U.S. imperialism. His signal accomplishment, in my view, is his cogent re-telling of the narrative of the Filipino national-liberation odyssey in PSR, updated in 1986. Of exceeding importance is Julieta De Lima’s perspicuous thematic inquiry of this narrative in “Jose Maria Sison on the Mode of Production” (Sison and De Lima 1988). Earlier attempts have been made by Apolinario Mabini, Claro Recto, Teodoro Agoncilo, Renato Constantino, among others. But only with PSR did the Filipino masses finally acquire a counter- hegemonic voice, freeing the energies of its long-repressed incarnate Geist, and enabling the rekindling of revolutionary agency. Of course, world events, in particular the 1955 Bandung Conference, the Cuban Revolution, the 1965-68 Cultural Revolution in China, the Civil Rights struggle in the U.S. coinciding with worldwide resistance against U.S. aggression in Vietnam, and the resurgence of the nationalist movement in the 1970 “First Quarter Storm,” etc.—all these and more provided fertile ground for its germination.

In 1968, Sison broke away from the old Soviet-inspired Communist Party initially led by Crisanto Evangelista and Pedro Abad Santos. Its caretakers (the Lava brothers, etc.) easily succumbed to the Marcos regime. Humans make history but not under circumstances of their choosing. Sison undertook the necessary critical inventory and launched a rectification campaign that led to the re-establishment of the Communist Party of the Philippines (CPP) by Sison and his comrades in 1968. It was preceded by his formation of Kabataang Makabayan in November 1964. The concept of united front in the national- democratic, anti-imperialist campaign acquired saliency, accompanied by a regeneration of commitment to the ideals of emancipatory praxis. The new CPP was inspired by Mao’s vision of conducting people’s war in a non-European setting. What was at stake was not a set of dogmas or personality-cult but a model of guidelines or methods for testing hypotheses and applying Marxist- Leninist principles on the historical specificities of the Philippine socio-economic formation (see “Programme for a People’s Democratic Revolution in the Philippines” (Saulo 1990, 196-209; San Juan 2015) 

Curiously enough, the U.S. State Dept 1950 report on the Huk insurgency concurs with Sison’s re-emphasis on the central role of the peasantry in elucidating the feudal/landlord problem (1987). Just as Mao renewed Marxist dialectics in his 1927 investigation of the Hunan peasant movement, Sison’s re- appraisal of the diverse political forces involved in the unremitting class struggle from Spanish times to the present revitalized historical-materialist thinking applied to Philippine reality. He tested Lenin’s methodology of concrete analysis of historically dynamic situations, focused on “the weak links,” which led to Lenin’s insight into the decisive role of national-liberation struggles in catalyzing the Western proletariat’s internationalist mission (1968). He examined the historical particularities of crucial conjunctures in the saga of our uneven development. What proved to be decisive was the revaluation of the strategy and tactics of the class struggle with the founding of the New People’s Army on March 29, 1969, and the application of Mao Zedong’s theory of protracted war pursuing various interlocking stages of the revolutionary process (Ch’en 1965; Rossanda 1970).

The next historic milestone in Sison’s contribution to the Marxist archive is the 1974 discourse on Specific Characteristics of People’s War in the Philippines. Sison was arrested by the Marcos regime in 1977 and endured torture and other Indignities until its overthrow in February 1986. He has described this ordeal and its aftermath in his poems, letters, interviews, and other essays collected in Cotinuing the Struggle for National and Social Liberation (2015). After the U.S. debacle in Vietnam and at the height of the Cultural Revolution in China, the gains of the CPP and New People’s Army made possible the reaffirmation of the Filipino struggle as part of the radical democratic-socialist transformations around the world initiated by the 1917 Russian revolution. 

Historians have argued that Instead of homogenizing the planet, capitalism generates zones of differences, asymmetrical or disaggregated networks of actions and motivations that defy synthesis. Unity and conflict of opposites prevail. While the 1930 Depression stimulated union organizing among migrant workers of Bulosan’s generation, the Japanese Occupation taught the peasants the various modes of guerilla warfare and collective mobilization. The Cold War from the Fifties to the collapse of the Soviet Union in 1989-1991 ushered the need for an uninterrupted, all-encompassing Cultural Revolution. What is original in Sison’s 1974 discourse is the re-articulation of the country’s historical peculiarities in line with the national-democratic program: the mountainous archipelagic terrain, the dialectic of rural and urban zones, and in particular the contours of strategic defensive-stalemate-offensive stages in the uninterrupted transition from a feudal-bourgeois to a new-democratic formation. Following this trajectory, the National Democratic Front Philippines, founded in 1973, issued the 10-Point (later 12-Point) program, which informs the ultimate agenda of the peace talks.

In 1988, Dr. Rainer Werning conducted a wide-ranging series of interviews with Sison in The Philippine Revolution: The Leader’s View. Sison’s travels around the world interacting with various progressive organizations afforded him opportunities to connect the Philippine project with other third-world and European solidarity movements. Before that, in 1980, we were able to arrange the publication of Sison’s other writings in the volume Victory to Our People’s War released in Quebec, Canada.

With the next historic intervention in 1992, “Reaffirm our Basic Principles and Rectify Errors,” Sison demonstrated once again his grasp of a dialectical analysis of the interaction of strategy and tactics, fallibilistic hypotheses and contingencies, enabling a grasp of the multi-layered contradictions in the vicissitudes of the national-democratic endeavor. By refusing the empiricist or eclectic position of his critics, Sison has applied the concept of the unity of opposites as the fundamental law of dialectical materialism, a concept which Mao first addressed in the classic 1937 discourse, “On Contradiction” (elaborated further in the 1957 talk, “On the Correct Handling of Contradictions Among the People” (1977, 384-419; see Knight 1997, 104). Failure to recognize the unity and antagonism of opposites has led to various left and right opportunisms (pacifism, revisionist compromises, etc.), including collusion with reactionary security agencies and CIA counterinsurgency schemes (Distor 1977). The bankruptcy of such deviations has been evidenced in the spectacle of former leftists functioning as apologists of U.S. neoliberal policies, with assorted NGOs set up to serve the corrupt oligarchy (landlords, compradors) managing the neocolonial State bureaucracy.

Sison’s vocation as a Fiipino advocate for national sovereignty and human rights in the diaspora has opened a new field of internationalist contestation. Over ten million Overseas Filipino Workers (OFWs) are scattered today around the world, forcing candidates for office to campaign in Hong Kong, Singapore, in the Middle East, etc. Their remittances are significant in relieving the Philippine foreign debt as well as intensifying commodity-fetishism, alienation, and consumerist decadence. Meanwhile, Filipino activists are politicizing these communities in the U.S., Europe, and in the Netherlands where Sison has been a political refugee since 1988. Apart from his imprisonment by the Marcos regime, his detention by the Dutch government in August 28, 2007 until September 13, 2007, for unsubstantiated charges has made Sison a symbol of all the thousands victimized by the U.S. imperial “war on terror.” Since 2001 he has guided the International League of People’s Struggles, the biggest international united front of people’s organizations along the anti-imperialist and democratic line.

One of the most instructive sections of these interviews is Sison’s insightful critique of the neocolonial administrations since the fall of Marcos up to the current fascist Duterte regime. His discussion of the impact of global changes on the Philippine system, in particular the capitalist restoration in the former Soviet Union and in China, as well as the decline of U.S. global hegemony, gives us the framework for speculations on the prospects of the Philippine revolution amidst a worldwide socialist resurgence. Again, the focus is on the exploited and oppressed, the community of victims, workers and peasants whose narratives remain to be written. With the assassination of NDFP consultant Felix Malayao and the arrest of other progressive activists at the behest of U.S. imperialist agencies, Sison believes a peace agreement is unikely—unless the revolutionary mass movement unleashes its counter-hegemonic force against Duterte’s murderous regime, with its horrendous record of extra-judicial killings and betrayal of the nation’s patrimony and sovereignty. 

Equally fascinating in this volume is Sison’s reflections on diverse topics as a Filipino patriot, chief political consultant of the NDFP, and as an intransigent Marxist public intellectual. Sison invokes his descent from the first Filipino socialist agitator, Isabelo de Los Reyes, who organized the first labor unions and also co-founded the nationalistic Iglesia Filipino Independiente. Sison pays homage to the Enlightenment tradition of de los Reyes, Rizal, Mabini and others which the Chinese patriot Sun Yat-sen had the sagacity to admire. Sison sums up his legacy “in the form of theoretical and political writings needed for the reestablishment and development of the CCP as a revolutionary party of the proletariat and for the creation and growth of all other necessary revolutionary forces, including the NPA, the NDFP, the mass organizations and the people’s democratic government from the village level upward.” Indeed, this legacy today continues to be a powerful challenge to predatory capitalism worldwide, a “disintegrated capitalism” wreaking havoc on the environment and mutilating the lives of millions, unable to resolve the contradictions inherent in the system and therefore destined to either destroy the planet or be thoroughly replaced by a socialist/communist alternative (Harvey 2014).

Overall, this volume contains the most important record of Sison’s life based on his prodigious memory and ability to contextualize the most significant events shaping his thoughts and actions. It contributes substantial information on his education, political inquiries, and the scope and depth of his artistic creativity. It also documents his timely interventions into the most pivotal moments of our history. It gives a nuanced orchestration to his dialogue with his European interviewer. I am sure it will furnish material for future biographies and commentaries on the symbiosis of human will and objective circumstances. However, to anticipate the chances that the reader may miss the historic resonance of these interviews, I would like to add a personal note. We (if I may speak for our group of militants in the East Coast circa 1965-80) read Marx, Lenin, Mao, Luxemburg, Fanon, Lukacs, Che Guevarra, and others before we encountered PSR. We were then trying to mobilize the “brainwashed” Filipino community in the U.S. against Marcos’ barbaric rule, his violation of human rights, his opening the country to foreign corporate plunder, etc. It was difficult until PSR provided a clue to arousing the historical consciousness of young Pinoys/Pinays. And so we began to retell the story of Lapu-Lapu, Gabriela Silang, Gomburza, Bonifacio, Sakay, Salud Algabre, Teresa Magbanua, Maria Lorena Barros, and countless heroic protagonists of our history.

“Only connect,” as the saying goes. We thus succeeded in organizing rallies and learning/teaching seminars, lobbying legislators to cut off military aid to Marcos, supporting multiethnic farmworkers exploited by the same corporations pillaging their homeland, and other activities. We also used Carlos Bulosan’s works together with the testimonies of Filipino unionists who spearheaded dangerous strikes in the fields of Hawaii and California. For us, PSR then afforded us an excellent pedagogical instrument which sparked the conscientization (Paulo Freire’s term) of almost two generations of activists in the U.S. and elsewhere. PSR is now a legendary document that, contextualized in its milieu and with reference to Sison’s whole career, can be more justly appreciated as a contribution to the advance of counter-hegemonic, national-popular movements around the world.

The Filipino people today, with Its long durable tradition of anti-colonial and anti-feudal resistance, finds itself at a crossroad. The moribund system in its convulsive death-pangs eviscerates both victims and victimizers. The global crisis is worsening every day. Profit accumulation by finance capital signifies prolonging and aggravating underdevelopment—the povery and misery of millions—particularly in the non-industrialized, neocolonized regions such as the Philippines. The Permanent People’s Tribunal held in the Hague in 2007, which Dr. Werning and I attended, pronounced the U.S.-Arroyo regime guilty of massive crimes, among them untold cases of extra-judicial killings, torture, enforced disappearances, barbaric brutalities with impunity —communities destroyed or dispersed, millions of lives wasted (for Marcos’ crimes, see McCoy 2011). The verdict declared that the systematic violations of the rights of the Filpino people, its sovereignty and integrity, by the Bush and Arroyo governments are crimes against humanity. The Tribunal also condemned those powers that “under the pretext of the so-called ‘war on terrorism’ and in the mantle of “market- and profit- driven globalization’—deprive the marginalized of a life in justice, dignity, and peace” (San Juan 2007, 252-53). 

History unfortunately seems to repeat itself. On 19 September 2018, this same Tribunal after days of sifting the evidence and hearing oral testimonies, arrived at a verdict sounding much the same as the 2007 one, this time the defendants on trial were Philippine President Rodrigo Roa Duterte and U.S, President Donald Trump. They were found guilty of “gross and systematic violations of human rights—civil, political, economic, social and cultural rights—in particular, “the rights of the people to national self-determination and development, the people’s right to liberation” (Cohn 2019). Whether these outrages will continue for the next decades or so, barring ecological cataclysms, are the urgent questions to which Sison’s interviews here can provide the answers if not the heuristic orientation necessary in clarifying what needs to be done. As we celebrate the golden anniversary of the founding of the New People’s Army, and the 80th birthday of its founder, we forge our passage through the “labor of the negative,” expressing here the travails and hopes of the proletarianized masses in the long march not to a proverbial utopia but to a sense of fulfillment in having affirmed our people’s dignity, integrity, and inexhaustible creativity.  (https://www.bulatlat.com)

REFERENCES 

Ahmad, Eqbal. 1971. “The Theory and Fallacies of Counter-Insurgency.” The Nation (August 2); 19-26. Ch’en, Jerome. 1965. Mao and the Chinese Revolution. New York: Oxford 

University Press. Cohn, Marjorie. 2019. “Tribunal Declares Trump and Duterte Guilty of Crimes 

Against Humanity.” Truthout (March 14). <hhtp://truthout.org> Communist Party of the Philippines. 1990. “Programme for a People’s Democratic Revolution in the Philippines.” In Communism in the Philippines : An Introduction by Alfredo Saulo. Quezon City: Ateneo de Manila University Press. Distor, Emerita Dionisio. 1977. “Maoism and the Development of the Communist Party of the Philippines.” In Critical Perspectives on Mao Zedong’s Thought, ed. Arif Dirlik, Paul Healy and Nick Knight. New Jersey: Humanities Press. 

Harvey, David. 2014. Seventeen Contradictions and the End of Capitalism. New York: Oxford University Press. Knight, Nick. 1977. “The Laws of Dialectical Materialism in Mao Zedong’s 

Thought: The Question of ‘Orthodoxy’.” In Critical Perspectives on Mao Zedong’s Thought. New Jersey: Humanities Press. Lanin, Vladimir. 1968. National Liberation, Socialism and Imperialism: Selected Writings. New York: International Publishers. Mao Zedong. 1977. “On the Correct Handling of Contradictions Among the People.” Selected Works of MaoTsetung. Volume V. Peking: Foreign Languages Press. McCoy, Alfred. 2011. “Dark Legacy: Human Rights under the Marcos Regime.” 

Memory, Truth Telling and the Pursuit of Justice: A Conference on the Legacies of the Marcos Dictatorship. Ateneo de Manila University: Office of Research and Publications,pp. 129-144. Rizal, Jose. 1979. “The Philippines A Century Hence”(Derbyshire translation). In Jose Rizal. Manila: National Historical Institute, pp. 96-129. Rossanda, Rossana. 1971. “Mao’s Marxism.” Sociallist Register : 53-80. San Juan, E. 2007. U.S. Imperialism and Revolution in the Philippines. New York: Palgrave Macmillan. ——. 2015. Between Empire and Insurgency. Quezon City: University of the Philippines Press. Sison, Jose Maria [Amado Guerrero, pseudonym]. 1971. Philippine Society and Revolution. Manila: Pulang Tala. ——. [Amado Guerrero, pseudonymn]. 1974. Specific Charateristics of People’s War in the Philippines. Oakland, CA: International Association of Filipino Patriots. ——. 2015. Continuing the Struggle for National Liberation. Manila: 

International Network for Philippines Studies and Aklat ng Bayan, Inc. Sison, Jose Maria and Juliet De Lima. 1998. Philippine Economy and Politics. 

Manila: Aklat ng Bayan Publishing House. U.S. State Dept. 1987. “The Hukbalahaps.” In The Philippines Reader, ed. 

Daniel B. Schirmer and Stephen Shalom. Boston: South End Press, pp. 70-77. Zinn, Howard. 1984. The Twentieth Century. New York: Harper. 

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Film and fascism: Notes on the first Cinema Kritika

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First Cinema Kritika dissects the recent films espousing state violence. (Photo by Lisa Ito)

That violence is normal and impunity inevitable, the very things we fought against during the first People Power uprising, are the same things this regime wants to make acceptable through Misyon, Bato, Children, and Mindanao so it could justify the Drug War and the Martial Law.

By ROMA ESTRADA
Bulatlat.com

How does a despot keep the loyalty of the military? Keep their pockets full. How does he test the waters for nationwide militarization? Put at least 1/3 of the country under it. How does he cleanse their atrocities to regain public trust? Create a cultural arm for massive propaganda.

Yes, the despot is Rodrigo Duterte.

His cultural arm consists of many personalities. At the forefront we find social media influencers like Mocha Uson. But since penetrating consciousness requires more than fabricating information comes the necessity of art. We find certain filmmakers.

What can be called as military apologist films such as Cesar Soriano’s Ang Misyon (2018), Adolf Alix Jr.’s Bato (2019), Maricel Cariaga’s Children of the River (2019) and Brillante Mendoza’s Mindanao (2019) have led the Concerned Artists of the Philippines (CAP) and Ibong Adorno to examine how films are being used for state propaganda in the first Cinema Kritika, a focus group discussion, held last January 18.

Film as myth-making, press release

Bagging Best Picture arguably places Mendoza’s Mindanao (2019) in a comfortable spot in film history. Given MMFF’s reputation, it wouldn’t be difficult for any film guising as cultural to assert relevance. Rius Valle of Save Our Schools Network argued how winning such an award becomes an insult to many Lumad students who currently stay under the care of different institutions for having lost their schools due to intense militarization. Shutting down schools as part of counter-insurgency measures is an outright cultural attack, said Valle.

An internationally acclaimed filmmaker who also directed two of Duterte’s SONAs, Mendoza has perfected the art of trickery through moving pictures: a 90’s drama princess, an ailing child, and a supposedly heroic soldier for a family–what else could win Filipino heartstrings? To top it all, a Mindanaoan epic retold so it could portray state forces as heroes. Such move reminds us of the Marcoses who also used cultural stories in painting a good picture of themselves. Remember that iconic Malakas ang Maganda artwork?

This regime’s investment on film through its cultural arm can be traced back to its offensive efforts in 2018 to red-tag progressive films such as JL Burgos’ Portraits of A Mosquito Press (2015), Arbi Barbarona’s Tu Pug Imatuy (2017), and Kip Oebanda’s Liway (2018). These films, having successfully shown what men with unsupervised power that is the military do to unarmed communities, probably gave them an idea of the potency of films to influence viewers’ consciousness.

That violence is normal and impunity inevitable, the very things we fought against during the first People Power uprising, are the same things this regime wants to make acceptable through Misyon, Bato, Children, and Mindanao so it could justify the Drug War and the Martial Law. Ironically, both of these are attacks against its own people, the Filipinos, instead of foreign entities like China for claiming false ownership of the West Philippine Sea. Hence the need to reclaim their empty relevance, Antares Bartolome of Concerned Artists of the Philippines (CAP) quipped. Moreover, while said films also try so hard to justify its counter-insurgency measures, they fail to present let alone identify the roots of armed conflict.

Vulnerabilities

A book can be closed, music can be turned off, a painting ignored. In cinema, one pays to enter a dark space and submits herself to look at the screen for the entire run of moving pictures–an artistic helplessness, in a way, a depiction of passive reception of whatever is shown on the screen, in a way, a disjunct of the comfortable space of the viewer from what most of the time are uncomfortable spaces of the viewed.

This arguably laid-back act of viewing a film possibly makes unequipped viewers to easily accept its direct or indirect statement without adequate thought or to simply reduce narratives of socio-political conflicts only as something to be “watched’ instead of transformed.

A participant pointed out how, for example, the choice for Robin Padilla to play Bato Dela Rosa and Judy Santos to play Saima the loving wife and mother in Mindanao appears tactical as these two actors are known to have long won viewers’ loyalty for supposedly representing the aspirations of common people.

It’s our shift to the anti-hero trope, said Ramzzi Fariñas of Time of the Assasins Literary Guild. Films have taught us to root not anymore for the two-dimensional protagonists but to complicated heroes who have conflict with traditional values. Our sympathy for Machiavellian strongmen like Thanos and Heneral Luna developed which might have contributed to the 16M Landslide win of Rodrigo Duterte.

Considerations and proactive actions for/by artists

“Ang manlilikha ay may tapang at talino pero may kabuhayan din,” said Yason Banal of UP Film Institute. While, like everyone else’s, the artists’ need for livelihood is acknowledged, it is still an imperative to ask themselves who benefits most from the projects they are working on, to acknowledge the urgency of taking sides especially amidst turbulent times like today, to protect one’s practice from the dangers of opportunism, Lisa Ito of CAP emphasized.

Of course, taking the just side should reflect on the praxis of the filmmakers as filmmaking is as about its making as the film itself. Actors like Seguerra and Roco recently spoke about the dismal working conditions in showbiz during the hearing in Congress in light of Eddie Garcia’s death.

Because of the misleading tendency of so-called “Indie Films” nowadays, Kyle Atienza of Far Eastern University offered to share Elvin Valerio’s proposed post-colonial characteristics of Filipino independent films: that it must be free from commercial imperatives, that it must possess emancipatory ideology, and that it must be an instrument of decolonization. It can be inferred that by naming his film so, Mendoza has colonized Mindanao through making his film seem like the representation of its entire socio-cultural and socio-political climate.

The mentioned characteristics above shall be the foundations of the envisioned Alternative Cinema or Anti-Imperialist Cinema. This is suggested to consist, for example, of documented footages of state attacks, red-baiting incidents, and the like which, although being practiced by small media outlets like Altermidya, Film Weekly, Kilab Multimedia and Breakaway Media are yet to be seen by the majority of the populace.

Kadamay’s Cine Maralita, a film fest exposing the plight of the urban poor, was noted for a good example of initiating such movement in the film scene. More film fests like this are eyed for future productions.

Meanwhile, it is always high-time for counter-consciousness. Strengthen people’s critical thinking through discussions and novel educational materials. No amount of entertainment and aesthetics can militarize the mind. (https://www.bulatlat.com)

The post Film and fascism: Notes on the first Cinema Kritika appeared first on Bulatlat.


Huyong

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Ni ARTHUR DAVID SAN JUAN

Ilang taon din ang iyong binuno:
unahan ang tilaok sa dilim
upang maagang isaayos
ang mga kasangkapan
sa kusina.

Madalas, sa kakulangan
ng sibuyas na isinasahog
sa itlog, bubudburan mo
ng iyong mga luha
ang kaning tutong;

himutok ng mga gabing
pinalilipas ang gutom.
Ikinakasal ang hapdi ng kalamnan
sa gunita ng panibagong umaga.
Bagaman kay gaspang ng kayarian

ng mga guhit sa palad,
natututo ring magsukli ng laman
sa sikmura ang maghapong
hapo sa trabaho, hapunan
ang mga piraso ng puso. (https://www.bulatlat.com)

*Si Arthur David San Juan, 18, ay isang manunulat mula sa Lungsod ng Antipolo. Awtor ng “Sikreto sa Loob ng Kwarto” (2019), siya rin ay patnugot at kontribyutor sa “NGALAN: Antolohiyang SaMaFil” (2020).

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Babangon Tayo, a song for frontliners and Filipino people

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Official lyric video for “Babangon Tayo (We Will Rise),” an original composition of the Concerned Artists of the Philippines released in the midst of the COVID-19 pandemic, March 2020. This song is a tribute to our frontliners, and the power of the Filipino people.

#BabangonTayo #ArtistsFightBack #FightCovid19

Download chords from this link.

Babangon Tayo (We Will Rise)
Words: Joel C. Malabanan, Edge Uyanguren, Karl Castro
Music: Mrk. Estandarte
Vocals: Jessa Mae Gabon, Pia Pimentel, Edge Uyanguren
Violin and additional backing vocals: Jing Reyna Jorge
Acoustic guitar: Pats Loquinario
Recording: #StayAtHome

Video by Pao Sancho and Maria Estela Paiso
Animation by Jether Amar
Special thanks to Jewel Maranan and Cinema is Incomplete

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Artists, cultural workers call for immediate assistance amid lockdown

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JK Anicoche (extreme right) at Sipat Lawin’s Gobyerno Project community performance during the Castemaine Festival in Australia 2017.

“Let us value the life of each cultural worker affected by this crisis. What we need is immediate response toward the realization of our collective well being, right to health, and freedom to create and speak up.”

By RONALYN V. OLEA
Bulatlat.com

MANILA – JK Anicoche, 33, is scraping his savings to live by.

As a performance-maker at Sipat Lawin and Komunidad X, Anicoche earns from production and creation grants from local and overseas cultural institutions and performance-festivals, from crowdfunding and project-based engagement with local government units and NGOs. The lockdown has put all of these projects in midair.

“Most of our work is grounded in live community engagement – research, workshops and performances with disenfranchised communities, indigenous peoples, inter-cultural exchanges. Most projects were cancelled if not postponed to 2021,” Anicoche told Bulatlat in an online interview.

The enhanced community quarantine imposed all over Luzon also coincided with the peak season for artists like Anicoche. Summer workshops usually held from April to May have to be called off. Their summer earnings would have helped them survive the rest of the year.

Anicoche lives with two other cultural workers. All of them have been affected by the lockdown.

Anicoche and his colleagues at #CreativeAidPH and Concerned Artists of the Philippines initiated an online petition calling on the government to provide immediate assistance to artists and cultural workers.

In particular, they are demanding the National Commission for Culture and the Arts (NCCA) to reallocate “its abundant 2020 budget approved under the General Appropriations Act” to aid freelance artists, cultural workers, and creatives deeply affected by this pandemic.

Very limited assistance

Artists and cultural workers call on the National Commission on Culture and the Arts to respond to their demand for immediate subsidy.

The NCCA’s assistance for cultural workers is limited to the Department of Labor and Employment’s Tulong Panghanapbuhay sa ating Disadvantaged/Displaced Workers (TUPAD) program, where beneficiaries will be paid the minimum wage for ten days of sanitation work and the 5,000 cash subsidy under NCCA’s Assistance Program for Cultural workers under the State of Calamity.

At least 748 have applied for TUPAD as of April 19, according to NCCA’s Facebook page. The cash subsidy, meanwhile, targets 800 beneficiaries.

The NCCA released on April 8 its memorandum regarding its assistance program for cultural workers. Artists and cultural workers decried that the NCCA management committee did consult the 19 duly-elected arts and culture committees.

The NCCA National Committee on Cinema, in a statement, rejected the program, branding it as “arbitrary, limited, partial, and has no clear benchmarks.”

Anicoche’s Sipat Lawin has applied for DOLE’s cash subsidy under another program, COVID-19 Adjusted Measures Program (CAMP), but has not received any response yet.

Cultural workers who signed the online petition are proposing that NCCA’s 2020 budget be reallocated to provide immediate cash relief for freelance workers in the arts and culture sector, through a disbursement process that is transparent and accessible to the public.

Based on NCCA’s Procurement Plan for the year, the government agency has P267.2 million at its disposal.

CAP urged the NCCA Management Committee to hold long overdue consultations with the arts and cultural workers community. “They should reallocate funding and transform existing programs into COVID-19 responses for the Philippine arts community, and through a transparent, accessible, and equitable process where no one is left behind,” Lisa Ito, CAP secretary general, told Bulatlat in an online interview.

Artists have also taken the campaign to social media, posting their photos with the hashtags #NCCAloka, #NCCAAnoKaMo and #ArtistsFightBack and tagging NCCA Executive Director Al Ryan Alejandre.

Besides cash subsidy, Anicoche also maintained that institutions need to create more remote work opportunities as the damages is six months or more beyond the months of lockdown. “People will be afraid to gather again in public events for a certain time and this greatly affects our way of generating sources of income from doing live events and performances,” he said.

Anicoche also called on government to create capacity-building workshops or webinars to assist artists how to bring practice to virtual sphere and learn ways to monetize these workshops.

Some projects that Anicoche leads like the Virgin Labfest at the Cultural Center of the Philippines eventually shifted to becoming virtual so as to continue providing work for a lot of theater-makers.

He worries more for independent artists who produce their own content and for freelancers waiting for companies to give them work. “They are the most affected as they have lost all sources of income.”

A survey conducted by #CreativeAidPH and supported by Nayong Pilipino Foundation reveals that the mean income loss of 499 Philippine freelancer respondents since January is P98,209 ($1,925.14).

One of the respondents shared, “I have no income at all since January. I extremely say I am broke. And I am a single mother with a daughter who’s now in 2nd year college in UST.”

Another respondent said, “We only eat one meal a day to try to make our food supply last, as there is no guarantee that this quarantine won’t be extended.”

As CAP’s Lisa Ito pointed out, “Let us value the life of each cultural worker affected by this crisis. What we need is immediate response toward the realization of our collective well being, right to health, and freedom to create and speak up.” (https://www.bulatlat.com)

The post Artists, cultural workers call for immediate assistance amid lockdown appeared first on Bulatlat.

Harassment against detained Cebu artist continues

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Artwork made by DAKILA calling for the immediate release of Maria Victoria Beltran

Not contented with her detention, social media users deemed as paid trolls continue to attack Maria Victoria Beltran.

By RITCHE T. SALGADO
Bulatlat.com

MANILA — As the issue of the arrest of multimedia artist and writer Maria Victoria Beltran escalates. her lawyers are calling on her supporters to help combat the sustained harassment against Beltran and her lawyers.

In an update on the case, Atty. Vincent Isles pointed out that they have been experiencing three specific attacks. Yesterday, April 19, a Facebook page was set up purportedly by an unknown “movement” aimed at battling fake news and deceptively calling itself as “Movement Against Fake News.”

Read: Cebu-based artist jailed for satirical post

However, Isles believes this to be a hate page as it zeroes in on Beltran with her picture maliciously posted on the page with the message “Jail forever for making fake news.” The page has 3,314 followers and 3,297 who liked the page including Cebuano media personalities.

Isles also pointed out that as Beltran’s counsel, he also received unsolicited messages in his listed number and urged those who are harassing him and the other counsels to stop.

Friend requests were also sent to him and to another counsel, Atty. Benjamin Militar, from Facebook accounts that were recently created. He said that since his posts are public, the “fake” accounts need not add him, and as for Militar, he only adds people he personally knows.

According to Isles, three cases were filed against Beltran today, with a total bailbond of P42,000, as follows:

1. Violation of Article 154 of the Revised Penal Code in relation to Section 6 of Republic Act No. 10175 (Anti-Cybercrime Act of 2012), punishable by up to 6 years of imprisonment, with bail at P36,000

2. Violation of Section 6(f) of R.A. No. 11469 (Bayanihan to Heal as One Act), punishable by up to 2 months of imprisonment, with bail at PHP 3,000

3. Violation of Section 9(b) of R.A. 11332, the law on mandatory reporting of certain diseases, punishable by up to 6 months of imprisonment, with bail at PHP 3,000

He said that with the reduced number of hours of the courts, the bailbond was not processed, but he is hopeful that they’d be able to negotiate Beltran’s release by tomorrow, April 21.

Isles also thanked those who have expressed their support to his client such as the Concerned Artists of the Philippines, DAKILA, National Union of Peoples’ Lawyers (NUPL), Movement Against Tyranny Cebu, College Editors Guild of the Philippines and University of San Carlos STAND Alumni Association. (https://www.bulatlat.com)

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Sling bag

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Ni ROWIE MADULA 

Ano ba ang laman
ng mahiwagang sling bag?

Nariyan ba ang ayudang natanggap?

Perang pambili ng gamot
O 2 lata ng sardinas?
Mga butil ba ng bigas?
Biskwit na kakainin bukas?

Ano ba ang laman
ng mahiwagang sling bag?

Nariyan ba ang mga natitirang alaala?

Mga larawan ng pamilya
asawa, anak, kapatid, ina

O ng mga bagay tulad
ng basyo ng bala
na mula sa mga
sinabak na giyera

Nasa sling bag ba ang katinuan
Kasama ang kapayapaang
Matagal mo nang hinahanap?

Ano ba ang laman
ng mahiwagang sling bag?

Ang sabi ng mga pulis
Kalibre .38 ang kanilang nakita

Oo

Ang sabi ng mga pulis
Kalibre .38 ang kanilang nakuha

Pero huwag kang mag-alala
Hindi kami maniniwala

Dahil ang aming nakita
Limang pulis laban sa isa
Sila ang may baril
At dalawang bala
Ang sayo’y kanilang pinatama. (https://www.bulatlat.com)

The post Sling bag appeared first on Bulatlat.

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