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‘Magiting’| Filipino artists pay tribute to frontliners

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About 50 musicians both here and abroad collaborated under the umbrella of Musika Publiko to produce “Magiting”

By REIN TARINAY
Bulatlat.com

MANILA — A community of Filipino musicians, composers, music producers, and music enthusiasts paid tribute to frontliners who are risking their lives as the country confronts the dreaded COVID-19 pandemic.

Titled “Magiting,” about 50 Filipino musicians both here and abroad collaborated with Musika Publiko to produce the song written by Jaime Hernandez. This was part of the online fundraising Tugtugan Para sa Kalusugan, sponsored by the Citizens’ Disaster Response Center, where about 200 Filipino musicians joined.

“Producing the song within the framework of the current lockdown and restrictions to mobility, plus the physical distance of each and every participant was very challenging. But Musika Publiko was able to maximize technology and innovative music production techniques in putting Magiting together,” the Musika Publiko said.

The group described its musical arrangement as a “fusion of providing space to every musician so that they are uniquely heard throughout the song while creating a powerful impact when voices come together, united in chorus.”

Through the heartfelt song with a message, “salamat sa inyong pagsisikap,” Musika Publiko called on to ensure people’s health and welfare in the time of crisis.

As of May 19, 2020, a total of 2,315 frontline health workers have contracted the virus; 974 have already recovered while 35 died of the disease since May 11, 2020. (https://www.bulatlat.com)

The post ‘Magiting’ | Filipino artists pay tribute to frontliners appeared first on Bulatlat.


Ethno-epic musical play Lam-Ang to stream online

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Poster of Lam-ang (Tanghalang Pilipino Facebook page)

By REIN TARINAY
Bulatlat.com

MANILA — Missed the staged production of Lam-Ang? Worry no more!

Coming from a successful run last December 2019, the epic-based musical Lam-Ang starring JC Santos and Anna Luna is set to stream online along with other theater plays.

Cultural Center of the Philippines’ (CCP) resident theater company Tanghalang Pilipino is set to launch Pantawid ng Tanghalan, a fund-raising activity that seeks to sustain the company’s commitment in bringing artistically-excellent and socially-relevant productions to the public.

Pantawid ng Tanghalan comes on the heels of the theater group’s online initiative, ‘PansamanTANGHALAN’, which was launched last April.

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

In partnership with online streaming iWant, TP will bring six Tanghalang Pilipino productions that can be accessed by the public.

Lam-Ang will be available for streaming along with the steampunk musical Mabining Mandirigma; celebrated Filipino translation of Shakespeare classics Coriolano, Pangarap sa Isang Gabi ng Gitnang Tag-Araw, and Der Kaufmann; and the hit children’s musical Sandosenang Sapatos.

Tanghalang Pilipino has always been dedicated to staging plays rooted in the rich heritage and culture of the Filipinos.

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

The shows will run on iWant from June 12 to July 12.

Aside from iWant, snippets of shows can also be viewed through Tanghalang Pilipino official Youtube channel: http://youtube.com/tanghalangpilipino (https://www.bulatlat.com)

 

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Activism hits BTS fandom

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Downloaded from https://www.trendsmap.com/

Fast track this to the current Duterte regime and the Filipino artists, in the mainstream or alternative circles, continue to fight for causes, even at the risk of being red-tagged and branded a “terrorist”. They have lent their names and influence and, whenever necessary, appeared in media or in crowds to fight for democracy and justice, very recently against the so-called Anti-Terrorism Bill which could be worse than martial law. In a way they have become idols of resistance, raising the awareness of their fans and encouraging them to fight for their own rights as citizens.

By YANNI ROXAS
Bulatlat.com

MANILA – There is more to fandoms than just screaming for idols.

Days before Korea’s megahit boy band BTS donated $1M to the Black Lives Matter movement, its followers worldwide called the ARMY already took matters into their own hands and stormed social media against police brutality and racism.

The ARMY stands for Adorable Representative MC for Youth. It was organized by BTS’ agency Big Hit Entertainment in 2013 at the same time that BTS made its official debut with its first single and album. BTS is also referred to as Bangtan Boys, Beyond the Scene, Bantan Sonyeondan or Bulletproof Boy Scouts.

ARMY is not to be taken lightly. Its official membership is 26.3 million, atlhough Quora places the number at 136 million, which could be inclusive of all fans apart from ARMY. No other fandom is as big or as tight or as passionate as the ARMY today. BTS owes it success to its ARMY more than anyone else, a fact that the famous septet openly acknowledges.

The George Floyd issue has shown how this fandom can flex its muscle not just for music but for social causes. And in the sweeping turn of events their idols had followed suit. Combine the ARMY with all other fandoms of other known K-pop artists such as BlackPink, EXO, or Momoland who also expressed support for Black Lives Matter and the movement has dug a groundswell of support from strong international allies, not to mention their generosity.

Why the action?

What is it about black lives that has sparked outrage from fandoms led by the ARMY and moved them to act? Reasons could be the following.

First, most members of ARMY are people of color and black people (who call themselves Black Army). In 2017, of the top ten countries with the biggest number of BTS fans the US is the only country predominantly white. According to @btsanalytics, and surpisingly, the Philippines is ranked no.1 (21% of total) followed only by South Korea, then Thailand, Vietnam, Indonesia, Taiwan, Malaysia, Mexico and Brazil. Racial equality is an issue close to home and dismantling the structures of racism in America and elsewhere would augur well for all races suffering from discrimination.

Second, the BTS brand of music is inspired by Black culture. So much is borrowed from it and is popularized in K-pop music like rap, hip-hop and R&B. The BTS idols loudly claim influence from Motown. The fans are grateful too and support for Black Lives Matter is a way of giving back. And so relying heavily on global fan support and encouraged by them, BTS had broken its silence, even as inside South Korea they usually distance themselves away from local or controversial issues.

Third, over the years the fans have embraced the content of BTS songs as relatable. Many swore these helped them in their dark days. Despite its swag, BTS is a socially conscious group, incorporating personal and social issues such as mental health, self-doubts, frustrations and criticisms of their own society into their music. BTS is allowed to write their own songs, as its agency believes they embody the spirit of the times. Billboard.com had run a commentary of select songs of BTS from 2013 to 2016 and delved into to tracks with underlying socio-economic and political meanings. Prior to their debut, one BTS member, Suga, had a solo track that raps about not forgetting the Gwangju uprising in South Korea. BTS also stood for ending violence especially against children and young people, partnered with Unicef and spoke before the United Nations. The consciousness where their idols stand gears and prepares the fans for solidarity action.

The real powerhouse

So how exactly did the ARMY and the rest of other K-pop fandoms unleash their power? While a hundred cities in the US were marred in street protests, they conquered social media and became frenzied keyboard warriors. Using K-pop fan accounts, they encouraged their following to train their guns against their “enemies” with a massive flood of idol videos and memes. The website Vice.com in several articles cited these incidents.
• In Texas, a police snitching app called iWatch Dallas was taken down “due to technical difficulties” when it was overwhelmed by idol videos and memes. The app was meant to report/identify protesters allegedly committing crimes.
• In Minneapolis, the place where George Floyd died in the hands of police on May 25, the website of the police department became a target of distributed denial of service attack and became inaccessible at one time.
• K-pop fan accounts shared or possibly did tweets or hacks in the name of hacktivist group Anonymous, which went viral as well. A university scholar and professor from McGill University who has studied Anonymous and other hacktivist groups had remarked that the hacks were so massive it was nothing like he had seen before.
• Popular protests and social justice hashtags were amplified. Racist hashtags such as #White Lives Matter were taken over and caused their crash, again drowning them with idol videos and memes, anti-racist posts, and nonsensical messages
While all of these were happening, ARMY was not about to leave their idols behind. They went smack into their idols’ social media accounts, tagged them in posts, and appealed to them to speak.

A message from a BTS fan (@namusnzn) exemplified this a day before BTS showed its support: “Can you please use your large platform to talk about the current black lives matter issue and donate? Here’s a link that you could tweet along with petitions, and donation sections in it.”

Unexpectedly, the link (blacklivesmatters.carrd.co) even included a section to junk the terror bill in the Philippines.

The following day, June 1, BTS and its recording label, gave $1M for Black Lives Matter.

Within hours after the announcement, ARMY self-started a fundraising campaign– #MatchaMillion– that trended internationally and reached their goal in just over 24 hours. This was led by their fundraising arm called One in an ARMY. When last heard, the fans were still calling and aiming for US$2M. Nothing in this scale has ever happened in fandom. Part of the donations went to bailing out protesters arrested during rallies.

By June 4, BTS officially tweeted their support to Black Lives Matter: “We stand against racial discrimination. We condemn violence. You, I and we, all have the right to be respected. We will stand together.”

The voices of fans were too loud to ignore.

Mirroring each other

The symbiotic relationship between BTS and ARMY that was spurred by love of music has carried them beyond music to social justice. This is not unusual as from the start BTS and ARMY were meant to be the mirror image of each other.

ARMY is a fandom largely of youths in their teens and twenties which is the age group of BTS idols. BTS has successfully captured this market globally and became the world’s biggest boy band since the Beatles. Audiences could easily get glued to their upbeat music and slick choreography coupled with their youthful energy, good looks, clean image, and individual diversity. Their songs, however, are all in in Korean with just a smattering of English. ARMY goes to the rescue and translates or interprets, unpaid, the lyrics, tweets and interviews of BTS to non-Korean listeners and readers, meaning in various languages. Talk about breaking barriers.

The impact of BTS to their fandom was displayed when they came to Manila for a concert tour in 2017. The Mall of Asia Arena was instantly turned into a karaoke stadium when Filipino fans simply broke out into song after song in Korean as their idols too were singing and left BTS dumbfounded. As RM, the BTS leader, remarked: “In the Philippines we do not sing for our fans, they sing for us.”

What cuts BTS from other K-pop idols is the mastery of looking out for their fans. Direct contact with fans is deemed the strategy. They have each other’s backs. There is rapport, reciprocity and intimacy, as BTS, be as a group or as individuals, constanly interacts or engages fans on screen (the idols open a lot of themselves to fans except for romantic relationships). Both are creatures of social media and Big Hit Entertainment struck gold when it made social media the platform for launching BTS.

In return the ARMY has invested enormous time and money for BTS. Among others, membership is paid (like $30) and entitles one to first pick to contests or events, pre-reservations to BTS concerts and fan meetings, and priveleges to exclusive merchandise. Though tickets to concerts could be highly priced ($172-$700, even $8,000 for best seats) they are sold out within hours. Then there are numerous volunteer projects such as Black Lives. Also, the race for BTS to top Billboard charts successively for three years meant endless hours on the net using numerous accounts, even by families’ and friends’, to jack up votes for their idols (one hard-core fan said she did this 20,000 times!).

Closer to home the Filipino ARMY shows how it is to be part of the best and most devoted fans in the world. They sprung into several fan pages that one loses track of their names and numbers. They even organized a Philippine K-Pop Convention. Apart from Black Lives, of which they zealously called out for donations and monitored the registers like hawks, they are into other projects. This pandemic they have called out for donations for frontliners and PPEs. They also went into the protection of coral reefs. And earlier in January, during the Taal Volcano disaster, they organized relief operations for victims. Knowing this their ARMY counterparts abroad responded with support, sympathy and encouragement and BTS idols RM and V messaged their concern for the Philippines.

Spirit of advocacy

Reverting to advocacy or activism, however, is not something new to Filipino idol fans or to their local idols as well.

One recalls the phenomenal ALDUB duo in 2015 that captivated the entire nation, reaching up to overseas Filipinos in countries where they reside or work. Out of this was born the fandom ALDUB Nation which led a Twitter breaker of over 40 million hits in one day for an ALDUB event in October that year. The spike in traffic downed servers in many countries as well. In due time ALDUB Nation channeled some of its energies into charitable projects such as relief operations in the aftermath of typhoons, book donations for underprivileged children and, more strongly, support for the Lumad (indigenous people) struggle for self-determination.

Of late the fans of Kathniel (monicker for the love-team of Kathryn Bernardo and Daniel Padilla) as well as Vice Ganda’s had braved threats of harm as they openly sided with their idols to protest the shutdown by government of media giant ABS-CBN and in defense of press freedom. Fans of Coco Martin, Kim Chu, Angel Locsin and other movie stars also engaged their idols’ bashers who tried to humiliate, abuse and physically threaten their idols who were standing up for freedom of expression, job security, and assistance to the needy during this pandemic.

As far back as the 70s, during the time of the Marcos dictatorship, activism had run deep among Filipino artists in film, theatre and music. More often, though, they were ahead of their fan base, possibly influencing them more than the other way around in taking up national and social issues. Luminaries like movie directors Lino Brocka and Behn Cervantes were among the first known artists to have braved arrest and imprisonment as they protested oil price hikes along with repression under Marcos. An alliance of progressive artists called the Concerned Artists of the Philippines came into being during this time and is active until today.

Fast track this to the current Duterte regime and the Filipino artists, in the mainstream or alternative circles, continue to fight for causes, even at the risk of being red-tagged and branded a “terrorist”. They have lent their names and influence and, whenever necessary, appeared in media or in crowds to fight for democracy and justice, very recently against the so-called Anti-Terrorism Bill which could be worse than martial law. In a way they have become idols of resistance, raising the awareness of their fans and encouraging them to fight for their own rights as citizens.

The list of idols, or “celebrities”, is becoming longer in the fight against the terror bill. To name a few — From the music industry: Ely Buendia, Chikoy Pura, Paolo Benjamin of Ben&Ben, IV of Spades, Unique Salonga, Dong Abay, Plagpul, Tubaw. From the film sector: Liza Soberano, Nadine Lustre, Anne Curtis, Dingdong Dantes, James Reid, Bea Alonso, Heart Evangelista, Janine Gutierrez, Enchong Dee, Angel Aquio. And from the theatre arts: Lea Salongs, Mae Paner, Bonifacio Ilagan, Jose Miguel Severo. Even Ms Universe beauty queens from the Philippines Catriona Gray and Pia Wurtzbach could not keep their views to themselves and voiced their opposition to the bill.

As idols make a stand — whether for local, national or global issues — the respect for them as artist and person is heightened, pulling their fan base to become even wider, broader, and progressive. Which is heartwarming because fandoms are redirected to something more meaningful and substantial. (https://www.bulatlat.com)

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Performance art at ang sining para sa pakikiisa sa gitna ng pandemya

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Ni BOYET DE MESA

Naglunsad ng apat na performance solidarity event ang Solidarity in Performance Art Festival (SIPAF) nitong lockdown: #Ekinoks (Marso 20, 2020), #Igpaw: Solidarity in Performance for Health Workers, (Abril 8 ), #MaAyo Uno, Solidarity performance for workers/OFW ) at ang #AnoNewNormal: Performance Solidarity Against Anti-Terror Bill (Hunyo 4).

Ang Performance Solidarity ay nilahukan ng 13 performances sa Ekinoks, lumaki ito noong Igpaw na umabot sa 20 performances ng 25 artists, na Luzonwide, at kasama ang OFW mula sa Dubai at Japan, namintina ito ng MaAyo Uno (14 performances). Humantong ang tugon ng mga artista at mamamayan sa kilos protesta sa pagpasa ng anti-terror bill o ATB. Ilan sa mga kalahok na artists ay nakiisa sa kilos protesta, habang natuloy ang performance solidarity laban sa ATB.

Ang Performance Solidarity ay isang event ng sabayang performance, sa ibat-ibang espasyo (sa bahay o studio ng artists), sa panahon ng lockdown. Ang diwa ng solidarity ay mailalarawan sa pagsasama-sama, pagtugon sa isang partikular na usaping pambansa, at sa diwa ng sabayang performance (ng parehas na oras). Napagkaisahan din ang mga performances ay kukunan, idodokumento sa pamamagitang ng camera o cellphone at gamit ang social media (bilang instrumento) ay i-po-post sa kani-kanilang Facebook saparehas na araw (bilang konsiredasyon sa hina o lakas ng signal sa iba’t ibang erya kung saan ang artist na kalahok). Ang iba ay nakapag-Facebook Live.

Ang mga lumahok sa performance ay pawang mga middle class, estudyante, mga visual artists, guro/dalubguro, sound artists, manggagawang pangkultura, poet, mandudula, healthworker at iba pang propesyunal.

Ang Performance Solidarity ay napasimulan noong 2014-2015, sa panahon naganap ang trahedya ng Bagyong Haiyan/Yolanda. May 200 artista, mandudula ang nagkaisang sabayang mag-perform, 10 lugar sa buong bansa ang naghilamos ng putik sa buong katawan (bilang simbulo ng mga biktima), nagtanghal gamit ang putik, upang manawagan ng hustisya. Ginawa rn ang sabayang performance matapos ang trahedya ng Mamasapano at Maguindanao (Massacre).

Ang Performance Art/ Pagganap

Ang performance art ang gamit ng medium ng pagpapahayag. Isang sining na gumagamit ng elemento ng espasyo, oras/time, engagement at katawan (bilang pangunahing medyum). Ito ang depinisyon ni Eileen Legaspi-Ramirez sa isang porum sa SIPAF noong 2017:

Body, the body of the artist or artist as the case may be. The time in which the performance takes place. The space in which the performance encounter happens. And the possibility of engagement with other bodies that are present in that space and during that time. (2017)

However, apart from those core elements which most scholars do agree upon over the past decades and depending on which scholar you’re talking to…here have been certain aspects of performance that have since come into the landscape of the practice. This includes the incorporation of other forms apart from the immediate material which is the artist’s body. So, forms that are visual, forms that are literary, musical, so the time-based ones, and even activism or political action. As you heard when they were telling you what the talks would be like, I imagine a few of these would be taken in more detail by the other speakers. There’s also the idea of physicality or the body, or the immediate presence of the artist’s body in the time and space where the performance is happening. There’s also the issue of the immaterial. (2017)

Sa madaling sabi, sa performance art, maraming posibilidad ang pwedeng magamit para magtanghal, pinakamalapit itong maihahalintulad sa teatro, dahil sa live performance sa harap ng madla, pero hindi ito teatro. Labas ito sa pitong klasipikasyon ng sining na alam natin, pero pwedeng sumanib sa iba’t ibang mga disiplina sa sining. Maaring tumahi o tumulay ang performance art sa iba’tibang genre sa sining.

Mahalaga sa performance art ang “moment” o ang aktwal na performance sa harap ng madla. Dahil sa live performance, nagaganap ang interaksyon ng artist at manunuod, at may pagka-ispontanyo ang performance. Ngunit sa panahon nitong lockdown, ang usapin ng “moment” at performance sa audience ay nabago. Gayunman, social media ang naging daluyan ng mga ito.

Sa kabila ng kaibahan ng aktwal na performance sa harap ng madla at posibilidad ng tugon ng manunuod na kagyat na makukuha sa live performance. Ang diwa ng solidarity ay napangingibabaw sa nasabing event. At gamit ang social media, pinalaganap ang mga performances at binungkos sa paggamit ng #hashtags ng titulo at panawagan dala ng performances.

Performance Solidarity for Tacloban, 2014

Performing Solidarity (Pagganap ng pakikiisa)

#Ekinoks 2020 (March 20, 2020)

Ang Equinox ay isang performance solidarity na ginanap sa buong mundo, na sinimulan noong 2016. Pinangunahan ng mga performance artists na nagtipon sa isang kumperensya sa Thailand na nasabing taon. Sa pagputok ng pandemya ay tumungo sa pagtugon dito. Makikita ang mga lumahok na bansa sa FB group page ng Same Difference: Equinox to Equinox

Sa Pilipinas, pinangunahan ito ng SIPAF. Ang tubig bilang natural at komon na materyal ay ginamit na maging bahagi ng performance, simbulo na rin ng pagkakaisa at pakikiisa.

Performance nila Nadera, Sarmogenes, Ong sa Ekinoks 2020

Ang paglalarawan ni Vim Nadera sa pandemya ay tagtuyot. Ginamit nya ang imahen o postura ng The Thinker, siya ay naka-uniporme ng manggagawa, may hawak siyang hose at nagdidilig ng tuyong lupa sa paso. Sa paso, nakatirik ang isang maliit na bandila ng Pilipinas, habang siya ay nagdidilig, umuusal ng panalangin, sa pamamagitan ng tula. Bilang manunulat at poet, konsistente si Nadera sa paggamit ng tula kanyang sa performances. Magkasamang dasal at pagkilos ang nais ipahiwatig ng performance. Eto ang paulit-ulit na bahagi ng kanyang tula:

Santa Corona,
Patron ng Pandemia,
Iligtas mo kami sa corona,
virus na sakit ang dala.

Si John Andre Sarmogenes naman ay nagwisik ng kulay pulang likido (pintura) sa isang mapa ng mundo, sa panimula ng kanyang performance. Tila sinasabing paglaganap ng pandemya at dami ng biktima. Ritwal ng panalangin, sa pamamagitan ng paghuhugas ng tubig sa mukha ang ginawang kilos ni JAS. Pinili niyang mabuhay sa pamamagitan ng paghinga, matapos ang paghugas ng mukha.

Si Aze Ong ay gumamit din ng isang ritwal, halaw sa sinaunang ritwal ng hinggil sa maayos , matapat at makabuluhang pamumuno na sinisimbulo ng lumang kutsilyo na nasa isang palanggana at hinihugasan ng tubig. Ngunit, nagdiin siya sa kabaligtaran nito, ginamit nya ang paghuhugas ng kamay ng isang namumuno bilang pag-iwas sa responsibilidad o paninisi, makikita ito sa postura niya sa upuan tila isang reyna. Si Ong naman ay consistent sa paggamit ng kanyang nasusuot na crochet sculpture,sa kanya ito ay simbulo ng kapangyarihan.

Ang tatlong performances ay repleksyon ng pagsasakontemporaryo ng sinaunang ritwal, ng tradisyon ng paggamit ng tubig sa panalangin at pagsasakapangyarihan ng posisyon ng katwiran.

#Igpaw: Solidarity in Performance for Healthworkers (April 18, 2020)

Ang temang ito ay nabuo sa gitna ng pagkasawi ng maraming doktor dahil sa COVID-19, paghinto ng paglabas ng mga OFW na nurses at pag-iral ng Luzon-wide ECQ.

Nadera, Igpaw

Madaling naka-konek si Nadera sa tema, dahil ang ina niya ay isang doktora, na kung ito’y buhay pa sa ngayon. Alam niyang susuong ito sa tungkulin. Kaya ang performance ay personal din sa kanya. Ang espasyo ang malaking salik sa kanyang performance, pinili ang silid na naihalintulad niya sa silid sa ospital ng mga doctor at nurses. Ang silid ay isang santuwaryo, lugar para magpahinga at lugar pag-aaral. Nakasuot sya ng costume ng “Superman”, popular na simbulo ng bayani. Kalakip nito, ginamit nya ang tradisyon ng Diona/Dagli sa pagtula. Ang tula ay isinulat sa surgical facemask. Ang Diona, Dagli ay ay maiuugnayan ng kakagyatan (urgency) ng sitwasyon. Ang tula ay ginawa ring kanta at naging background music ng performance.

JAS, Igpaw

Si Sarmogenes ay nag-alay ng performance sa kanyang mga kakababayan sa Binan. Isang sound art ang -ineksplor nya sa performance. Ineksperimento niya ang paghahalo ng tunog ng sinaunang instrumento (hegalong) sa modernong instrumento at mga kontemporaryong tunog (gaya ng tunog ng air pump na malapit na tunog ng ventilator, patak ng tubig, shower hose, rain stick. Bagaman una niya itong sound art, ang inspirasyon ay mula sa isang kolaborayson sa isang sound artist. Dito niya iniugnay ang inspirasyon na dala ng mga frontliners sa kanyang bayan.

Magkakahalong damdamin ang madarama sa tunog na nalikha ng mga sama-samang bagay na lumikha ng tunog, nagsilbi itong bakgrawnd ng kanyang video. Habang nag-eeksperimento sa tunog, makikita sa kanyang (edited) video ang mga larawan ng mga healthworkers.

AO, Igpaw

Naihalintulad naman ni Ong sa bulaklak ang pagbibigay inspirasyon ng mga healthworkers. Suot nya ang kanyang crochet sculpture, hawak ang bungkos ng rosas (na ibinigay sa kanya ni David Medalla, noon pang 2018). Makikita sa isang bahagi ng kanyang suot ang isang tila bibig, sa kanyang pagkilos ng pataas at pababa, mapapansin na siya ay tila humihinga. Lalabas sa butas na ito isa niyang kamay na tila umaabot sa langit, na parang nanaghoy o nanalangin. Sa dulo ng pagtatanghal ay mag-aabot ang dalawa niyang kamay, hawak ang bungkos ng mga bulaklak. Pasasalamat ang larawan ng pagbibigay bulaklak. Balisa si Ong sa personal na danas, dala ng dalamhati sa pagpanaw ng kanyang biyenan.

IL, Igpaw

Si Ian Lomongo ay pag-awit naman ang sentro ng performance. Ang hugot ay mula sa reaksyon niya sa gabi-gabing talumpati ni Pangulong Rodrigo Duterte sa telebisyon. Naka-compose siya ng awit na ang pamagat ay “ We Don’t Wanna Hear the Mad Stories of Our Sorry State”. Nag-Facebook Live siya sa performance, kontra sa recorded speech ng Presidente. Gamit ang facemask, bukod sa layon nitong pag-iingat sa virus ginamit niya ito bilang simbulo ng pagbusal sa kalayaan sa pamamahayag. Mapapansin ito sa hindi buong pag-awit ng liriko ng kanta. Nakiisa si Lomongo sa parangal sa mga health workers, ngunit nagdiin siya protesta. Sa Facebook Live, makikita ang feedback ng mga nanuod ng performance. Ang bag at sumbrero sa kanyang bakgrawn ay larawan na paglalakbay, na hindi na magawa dahil sa lockdown.

Sa performance naman ni Angelo Chua, inilarawan niya ang paggamit ng liwanag at anino o kilala natin bilang shadow play,gamit ang puting tela, galaw at ilaw. Makikita ang mga anino ng mga kamay na nakakadena na humuhulagpos, nag-struggle para lumaya. May kalangkap na bakgrawnd music habang nagaganap ang kilos. Isang kwento ng paglaya ang laman ng kanyang performance.

MaAyoUno: Solidarity in Performance for workers/OFW (May 12, 2020)

Ang konsepto ng MaAyo Uno ay mula kay Sarmogenes, sa pag-aalay niya ng performance sa kaniyang kababayan, naisip nya, bakit hindi mag-ukol ng performance sa kanyang ate na OFW. Inihapag ang ideya sa grupo at pinalawig ang halaga ng manggagawa sa bayan at ang pinagtuunan ang miserableng kinahaharap ng manggagawang pinakaapektado ng pandemya. Ang maayo ay maganda sa Tagalog, halos katulad ang konsepto ng #Igpaw, ang diin lamang ay sa manggagawa sa kabuuan.

Si Nadera ay nagpahalaga sa manggagawa sa pamamagitan ng paghalintulad dito sa lumalagong mga halaman-flora at fauna (mga hayop) sa panahon ng pandemya. Naka unipormeng pangmanggagawa si Nadera, malakas ang kontras niyang kulay niyang kahel sa halamanan na tila may harmony ang kanilang existence. Isinaayos niya ang mahabang lambat na gagapangan ng halaman. Nakatayo siya habang ginagawa ito. Ang dulo ng performance ay pagharap nya ng nakaluhod sa isang tuyot na halaman at pagdilig dito na tila sinasagip para mabuhay..

Si Sarmogenes ay naglagay ng installation ng mga ibong gawa sa papel (origame) nakilala bilang simbulo ng kapayapaan o payapa. Sa pamamagitan din ng mga papel na hugis ibon, lumikha sya ng salitang Grazie Sorella o Salamat Ate.

Si Ong ay nagpakita ng tatlong minuto ng kanyang proseso ng paggawa ng kanyang sculpture. Literal na naggagantsilyo. Sinamahan niya tunog at ng maikling teksto ang performance:

Palad mo’y nagtamasa
Ng lahat ng biyayang
Dugo, pawis at luha
Sa kamay ng gumawa
-Rem Tanauan

Relatibong simple ang imaheng ipinakita niya sa performance, bumigat ito sa tekstong ginamit niyang caption sa kanyang post. Tila banta ng naniningil ang pahiwatig.

Si Lomong ay muling umawit, kanya naman isinalin sa Filipino ang kanta ni George Harrison na “All Things Must Pass” o “Lilipas din ang lahat”, FB live muli nya inawit. Narito ang kanyang salin:

Lilipas Din Ang Lahat

(Salin-Adaptasyon ng “All Things Must Pass “ ni George Harrison)

Bukang-liwayway ay saglit lang sa umaga
Tumitila rin pagbuhos ng ulan
Pag-ibig man lumisan nang walang paalam
Hindi laging ganito kalamlam.

Lahat ay lumilipas
Lilipas din ang lahat.

Takipsilim ay sandali lang sa gabi
Napapawi rin mga pighati
At kung pag-ibig man lumisan din sa huli
Hindi laging ganito kasawi.

Lahat ay lumilipas
Lilipas din ang lahat.
Lahat, lumilipas
Walang ‘di kukupas
Kaya bumangon na’t kagyat
Harapin ang bukas.

At sa gabi lamang ang dilim nananatili
Sa umaga ito ay nagagapi
Sisikat din ang liwanag lagi-lagi
Hindi parating ganito katindi.

Lahat ay lumilipas
Lilipas din ang lahat.
Lahat, lumilipas
Lilipas din ang lahat.

Mahinahon at puno naman ang pag-asa ang hatid ng awit, wala gaanong biswal na elementong dagdag sa kanyang performance. Magaan at masaya niya itong inawit.

Si Chua naman ay nag-set up ng pagtatanghalan sa kanilang kusina, kulay pula ang ilaw na bumabalot sa setting. Makararamdam ng panganib ang larawan. Ang ayos ng espasyo na tila pinaglipasan ng panahon dahil sa wala sa ayos ang mga bagay. Nasa sentro ang isang palanggana na puno ng tubig. Nakaputing damit si Chua, umiiyak na tila nagpapaalam. Niyakap niya ang asong pumasok sa eksena at nagpatuloy sa pag-iyak. Pinakawalan ang aso, saka nilubog ang kanyang sarili ng ilang ulit sa tubig na tila siya ay nagpapakamatay. Sumunod na eksena, nag-suot ng maskara, gumamit siya ng dalawang kandila at sinindihan ng ilang minuto. Tapos pinatay ang kandila. Umalis sya sa eksena, dala ang maleta. Makikita ang maikling dula ng paglisan ng mga kaluluwang dumanas ng pagbabalewala.

Pawang nilantad ng mga performances ang iba’t ibang mukha ng kahirapan, kaapihan ng dinadanas ng mga manggagawa. Maging ang maikling performance ni Ong ay nilangkapan niya ng caption ng pag-agaw ng yaman na pinagpaguran ng paggawa.

#AnongNew Normal, Performance Against Anti-Terror-Law (June 4, 2020)

Ang New Normal ang sumunod na diniskurso ng grupo , ang new normal, bilang salita ang naging madalas ng pag-usapan sa nagbagong kalagayan dahil sa pandemya. Si Chua naman ang naghapag ng ideyang ito sa grupo. May mungkahing gawing ispirasyon ang new normal, may kumewstiyon sa new normal, magiging mas malala ang new normal at marami pang ideya. Hanggang napabalita ang pagratsada sa Anti-terror Bill sa kongreso at sinabi pang “priority bill” ito ng Presidente. Natuon ang diskurso ng grupo sa pagpuna sa Bill, tila ang nasabing Bill ang sagot sa pandemiy , na lalong ikinagalit ng mamamayan. Napagkaisahan itapat sa araw ng protesta (indignation) sa pagpasa ng nasabing batas. Ilan sa mga artists ay lumahok sa kilos protesta sa UP Diliman, habang may anim na artists ang sumabay ng performance sa kani-kanilang bahay.

Si Nadera, ay literal na nagtatapon ng basura; isang maikling performance ang laman ng video, nakatutok lang ang camera sa transparent na plastic na laman ay kung ano-ano. Dala niya ito, dahil nakatutok ang camera dito, tila pinasusunod tayo sa kanyang pupuntahan. Sumunod na eksena ay ibinigay niya sa basurero ang dalang plastic ng basura (na nagkataong nasa lugar at naghahanap ng pwedeng mapakinabangan sa mga bagay na tinapon). Ang basurang inabot ay ibinasura din ng hindi pinakinabangan ng namamasura.

Si Sarmogenes ay gumamit ng popular na imahen ng isang teroristang tila nabro-broadcast ng kanyang pahayag sa media. Pero ang ginamit nya ito para ilahad ang kanyang pag-ka asar at pagtutol. Narito ang mga teksto:

“Iam not Terrosirt,
“Iam an Artist, Anti Fascist
#JunkTerrorBIll.

IL, AnongNewNormal

Si Lomongo ay gumamit ng simbolismo, ginamit ang kilalang campaign sign ni Duterte , ang kamao na may letrang DU30 na parang tattoo, naka-super-impose sa lente ng camera, hanggang ang kamao ay maging takip sa mata, simbulo ng pananakot o sensura, ang kamao ay maging busal sa bibig. Tututol ang kabilang kamay, gamit ang alcohol, pinilit burahin ang tattoo o nakasulat sa kamao ng Du30 (simbulo ng pag-aalis sa presidente), ang kamao na simbulo ni DU30 ay naging kamao ng paglaban, gamit ang teksto ng “Ang Tao, Ang bayan, Ngayon ay lumalaban (na isang popular ng agit ng pagtutol at pakikiisa.);

AO, AnongNewNormal

Simple at maikli ang performance ni Ong. Nakaupo, suot ang kanyang tinahing sculpture, hawak ang puting papel at pupunitin ito. Tsaka itatapon.

Si Chua, gamit ang plastic o clear tape, binalot ang isang stuffed toy na anyong oso, simbulo ng pagkitil sa kalayaan sa pamamahayag, nag-black out ang video at maririnig ang isang putok. Sumunod na imahen ay tambak ng laruang binusalan at piniringan. Magtatapos sa video na Teksto sa: KAHIT SINO.

Ang performances ay malinaw na pagpapahayag ng pagtutol at protesta sa pagpasa ng Anti-terror Law. Literal na pagtapon ng basura ang ipinahayag ng performance nila VN at AO.

Maikli ang mga performance ng mga artists, na tila lagom na nila ang kanilang posisyon sa diskurso ng bayan. Direkta rin ang paggamit ng mga simbolismo ng pagtutol, pang-aapi. Sa gitna ng pandemya, itinulak ang paghaharing militar na konsistente sa solusyon ng gobyerno Duterte at mga kaalaydo nya sa gitna ng pandemia. Si Nadera na nakaranas ng pag-iral ng Martial Law hanggang sa bagong henerasyon ni Chua, malinaw sa kanila ang pagtutol sa panukalang batas na ito.

Ang pagtutol bilang pagtunggali sa kapangyarihan ng nasa pusisyon ay malinaw na paggiit ng kapangyarihan ng api. Ang sinimulang solidarity sa pamamagitan ng performance at pagpalabas nito sa social media ay naging buhay na pagtutol, sa pagsama ng ilan sa mga artists sa pagkilos na ginawa sa UP University Avenue. Ito ay sa kabila ng banta ng kapulisan sa panghuhuli.

Nakaugat sa kasaysayan ng paglaban sa kolonyalismo ang pagiging aktibo ng mamamayan sa tutulan ang anumang pag-abuso sa kapangyarihan at paglabag sa karapatan. Hindi rin nakalilimot ang bayan sa madilim na bahagi ng kasaysayan, nuong pinatupad ang Martial Law ng dating diktador na si Marcos.

Sa mga performances, makikita ang tradisyon ng paggamit ng ritwal, ang paggamit sa mga imahen ng pananampalataya o tradisyong Katoliko. Makapangyarihan ang gamit ng salita, lalo na ang paggamit ng wikang Filipino sa pag-capture ng nais na “statement ng mga artists”. Gayundin ng mga paggamit ng mga kontemporaryong imahen. Ang pakikiisa ay isa din tradisyong sa mga Filipino, tulad ng ritwal ng sanduguan na larawan ng kapatiran o higit sa turing na kapatid, kundi ka-dugo. Ang performance solidarity, ay maihahalintulad din sa pag-iisa ng sining sa kasaysayan at ang pakikiisa, bilang Filipino values at patriotismo.

Sanggunian

Mga tugon, sa mga katanungan: Panayam hinggil sa Performance Solidarity sa panahon ng lockdown, VN, JAS, AO, IL, AC, Hunyo 2020.
Mga captured photos sa videos ng performances sa FB page ng Sipa Pinas Facebook.
Eileen Legaspi-Ramirez, Introduction to Performance Art from the Philippines, 2017
Dela Cruz, Pakikipagkaisa, Espasyo at Pagganap: Ang mga Ekspresyon sa Sining ng Pakikipagkaisa at Nasyunalismo, 2019

Ang awtor ang convenor ng SIPAF/Performance Solidarity, bahagi ng kaguruan ng College of Arts and Letters, Polytechnic University of the Philippines, at kasapi ng Concerned Artists of the Philippines-PUP

The post Performance art at ang sining para sa pakikiisa sa gitna ng pandemya appeared first on Bulatlat.

From the Fire of Prometheus

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By WILLIAM SAUNDERS, JR.*

Hold fast to the gift of fire!
I am rage! I am wrath! I am ire!
The vulture sits on my rock,
Licks at the chains that mock
Emancipation’s breath,
Reeks of death, death, death
– Prometheus Unbound, Ruben Cuevas

Drenched in the blood of her sons,
Under the moon’s lone light.
To every tear she weeps,
Enrage, is the heaven’s incite.
Resting in her arms,
Tis a heart that shall never fight.
Engulfed with death, shall she pass?

Tongues are slayed,
Along with freedoms shown.
Kneeling shall make you saved —
Solely for yourself alone.
Infidels they are, to human creed,
Leeches to our land of home.

Dying of the light,
Under the shadow of the might.
Wailing and grinding of teeth,
Across the mortal world of our feet.
Gift of fire is blazing weak.

Treacherous deeds shall we defy.
Until our last breath shall we sigh.
To lands of high and waters deep,
Against the fist, love must we keep. (https://www.bulatlat.com)

William Saunders, Jr. is the pseudonym of a poet and campus journalist from Pampanga.

The post From the Fire of Prometheus appeared first on Bulatlat.

Review of ‘Aswang’| The worst monsters prey on the poor

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Family members of Oplan Tokhang victims stage a symbolic protest to demand justice from the government. (Photo screengrabbed from ‘Aswang’ free movie screening.)

A review of documentary “Aswang” Alyx Ayn Arumpac

By MENCHANI TILENDO
Bulatlat.com

“Whenever they say an Aswang is around, what they really want to say is– be afraid.”

‘Aswang’, the much-awaited award-winning documentary by Alyx Ayn Arumpac is an intimate illustration of how Duterte’s bloody “drug war” continues to haunt the children and families who were left behind.

Chronicling the first two years of President Rodrigo Duterte’s ‘legacy’ Oplan Tokhang, this film has portrayed one of the darkest times in recent Philippine history through the points-of-view of a child, of a photojournalist following the trail of blood, and of people in the margins whose lives have changed forever. Needless to say, the narratives shown in the film have once again reminded us of the grim reality we live in. It speaks to us – reminding us that we should not be numbed by the number of the “drug war” casualties, we should be disturbed.

Tok-hang, a term which originated from the local words tok (‘knock’) and plead (‘hangyo’), describes the massive police operations that were launched by the Duterte administration since July 2016. It involved police officers going door-to-door to hunt for drug users and other related offenders. Contrary to Philippine National Police data of about 6,000 casualties, local human rights groups have recorded about 30,000 casualties of the brutal campaign. These include thousands more whom unidentified gunmen killed in cases that the police did not seriously investigate. And even cases that did not make it in the news like that of Kian delos Santos.

Kian, in the eyes of a dear friend

One of the most moving parts of the film is that about Kian. The helpless 17-year old boy accused of being a drug-runner, gunned down by policemen, and eventually was found dead in a narrow alley in his own neighborhood in Caloocan on the evening of August 16, 2017. Even with the guilty verdict on the three policemen who were proven responsible for his death, the grave feeling of loss and grief continue to haunt all the people he had left behind.

Jomari, a young child of about six or seven years old was one of Kian’s closest friends. With that very young age, he seemed to have witnessed far worse situations of violence and police brutality than any other ordinary child. In the film, he has effortlessly revealed the harsh truths faced by children in the slums – how they have become convenient targets of the police narrative of ‘nanlaban’ (fought back), or how they could be easily treated as ‘collateral damage’ during buy-bust operations in poor communities.

Jomari directly answered so many questions about his dear friend Kian. By how he described Kian, who was almost a brother to him, he has easily proven that his friend was a victim and not a criminal. Jomari knew how it felt having to bear the brunt of the government’s targeted war against the poor. His mother was also convicted of a drug-related crime, and it was excruciating to witness how, as a young child, he was pushed to accept a reality that he didn’t deserve. He was poker-faced as he spoke about the possibility that his mother could have the same fate as his friend, Kian.

In their community, all his playmates and fellow children of poor families have long accepted that fate. They have become too comfortable with that danger that they would even make jokes about it. That was one of the most painful scenes in the film. The children have been the primary witnesses to the tokhang-related crimes committed by the police, and they have also been the first ones to grieve the deaths of their family members and friends.

Selective justice, impunity

“What good are the many eyes when they only look at the victims on the ground?”

Even the act of grieving has been unapologetic to the families of Oplan Tokhang victims. Particular scenes in the film have shown how sudden deaths and wakes have become a routine in urban poor communities. The drug war has created one abandoned family after another, struggling to let loose the feeling of grief and anger over the loss of their loved ones.

“This government has always targeted the ‘drug users’, but never the ‘drug lords,” said Brother Ciriarco Santiago III, a photojournalist who committed most of his time documenting the victims of Oplan Tokhang.

While the number of drug-related killings have continued to increase since Duterte’s term in 2016, the Department of Justice in 2018 has cleared alleged drug lords Kerwin Espinosa, Peter Lim, and 20 others of narcotics-related charges due to ‘lack of evidence’.

This took place even after the discovery of a secret jail in Manila in 2017 which held about 30 drug suspects, most of whom were poor. In an anonymous interview, one of the detained drug suspects in that jail described the dehumanizing conditions they went through. They were held in a small, dark alley hidden behind a bookshelf in Raxabago Police Station in Tondo, Manila. They were electrocuted, tortured, and they slept in the same spot where they urinated.

Without records of arrest and inquest proceedings, they were held there for a week and were told that in order to be released, they must pay at least P 100,000-ransom. Upon investigation and extensive media exposure, they have proven that it was indeed a hidden jail. However, what happened next was even more heartbreaking – their arrests were made legal, they were still put behind bars.

Go not gently into that good night

For a power-hungry tyrant and his brutal pawns, the war against the poor is the name of the game. Aswang tells us that the thousands victims of Oplan Tokhang are not mere by-products of today’s nostalgia. As we are faced with another wave of state-sponsored threats in the form of the newly-enacted Anti-Terror Law, we are haunted by the souls of the thousands deprived of justice.

The unfortunate death of Kian and many others tell us that the Oplan Tokhang is real and its masterminds are very much alive today. These monsters have created a nation of orphaned children and killed their dreams. These are the same blood-thirsty monsters who creep into the night, whose only real weapons are inflicting fear and terror.

The film’s greatest strength is the up-close narratives from people who were left behind, which leave us with an unsettling feeling. It tells the viewers that grieving and being afraid will not slay the monsters. We need to fight them.

“But some refuse to be afraid. They choose to stand up and look the monster in the eye. Here is where it begins.” (https://www.bulatlat.com)

The post Review of ‘Aswang’ | The worst monsters prey on the poor appeared first on Bulatlat.

Pinoy woke artists sing of tyranny, rage and hope

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Members of the Concerned Artists of the Philippines join a protest action at the Bantayog ng mga Bayani during the National Heroes Day, Aug. 30. (Photo from CAP Facebook page)

Artists have up their collaboration to turn out music videos that have become a powerful tool for awakening and raising the people’s consciousness. The visuals sure do aid the music and the lyrics come for easy retention. The internet affords the listeners to revisit the videos anytime and share it to others, much more so in this pandemic where online connectivity has become the norm.

By YANNI ROXAS
Bulatlat.com

These are times of living dangerously.

The COVID-19 pandemic has restricted the right to freedom of movement. The Anti-Terror Law has threatened the right to freedom of expression. Any which way one’s life or security is put at risk.

Not even artists can remain unaffected. After all, they are not just artists but citizens whose basic freedoms the artists before them have fought so hard to protect whether in periods of colonization or dictatorship.

And so, recently, 35 Pinoy rock artists came together for a music video released this August titled “Rage”. (See Rage PH on Facebook). “Rage” is a revival of The Jerks’ same iconic song that debuted over two decades ago. (The original song is on Youtube.)

Frontlining the performance is Chikoy Pura of The Jerks and included Raymund Marasigan formerly of the Eraserheads, Bobby Balingit of The Wuds, Buddy Zabala, Cookie Chua, among others.

Though seen confined in their own homes or limited spaces, the artists riffed their guitars, hit their drums, and struck their keyboards with a force that equaled their passion as they sang about the country’s unchanging conditions. These lines in “Rage” are as true today as they were before: “…the names and faces of the tyrants change/ But poverty, pain and murder remains/ And the voices of truth are locked up in chains/ Darkness remains, freedom in flames.”

The artists’ collaboration was timed to protest the then newly signed Anti-Terror Law and the denial of the franchise of media giant ABS-CBN. It was basically a fight for freedom of expression.

How the video was put together was a feat in itself with individual artists carrying out their singular parts, all sewn together into one music. While the pandemic has isolated and separated people from each other, the artists have used a common music platform to show their solidarity and unity despite adversity.

Diverse as they are, and coming from cross generations and genders, whether mainstream or alternative, the artists in “Rage” shared and combined their talents to give life and emotion especially to the most powerful verse of the song: “Go not gently into the night/Rage against the dying of the light/ Sing a song about this terrible sight/ Rage until the lightning strikes/ Go not gently, go not gently, go not gently/ And rage with me.”

“Rage” rightly resonates with the people’s sentiments under this “dark era, the era of lies”. Visuals depicting cases of oppression and resistance, from terrorism and corruption to people’s defiance, are interspersed with the artists’ performance, hence making “Rage” as contemporary as ever.

Luckily, “Rage” is not alone in this. Artists have up their collaboration to turn out music videos that have become a powerful tool for awakening and raising the people’s consciousness. The visuals sure do aid the music and the lyrics come for easy retention. The internet affords the listeners to revisit the videos anytime and share it to others, much more so in this pandemic where online connectivity has become the norm.

Street protest

Earlier, the song “Di N’yo Ba Naririnig” – which is a Filipino translation of “Do You Hear the People Sing,” the signature song of the Broadway musical Les Miserables– has also made the rounds of social media.

It was musical director Vincent de Jesus and theatre actors Rody de Vera and Joel Saracho who did the adaptation in 2017. The song was used in protest rallies that were critical of the Duterte regime’s “drug killings” and repressive acts reminiscent of the Marcos dictatorship.

Two performance videos emerged from the song. The first features the collaboration of over 40 theater artists from PETA (Philippine Theatre Educational Association), UP Repertory Company, and Tanghalang Ateneo, among others. The video displays the hashtags #DefendPressFreedom, #FreeMassTesting, and #SolusyongMedikalHindiMilitar.

The second video was uploaded in July this year featuring over 60 artists from various fields (cinema, theater, music, etc.). Notable names include Angel Locsin, Celeste Legaspi, Jim Paredes, Mitch Valdez, Iza Calzado, Agot Isidro, Enchong Dee, and Kean Cipriano.

The song speaks eloquently of the people’s disgust coming to a boiling point (“Di niyo ba naririnig/ tinig ng bayan na galit”) and poses a challenge to people to overcome passivity: “Ikaw ba ay dadaing na lang/ kimi’t magmumukmok/ Habang nagpapasasa/ ang mga trapong bulok/ Gisingin ang puso/ hanggang sa pumutok.”

Those in power were repeatedly warned: “Dudurugin ang dilim/ ang araw ay mag-aalab/ At ang mga pusong nagtimpi/ Ay magliliyab”.

The release of the second video also happened at a time when the public was appalled by the distressing plight of frontliners. Forty medical associations appealed to government for much-needed relief and protection. Irked, President Duterte practically scolded the frontliners for their complaints while alluding to the song as “fomenting revolution” .

Pop and parody

Not all videos, however, were blunt or hard-nosed. The Plagpul band opted to deliver their message by using parody through popular songs. After all, comic relief is second nature to Filipinos. Adapting its own lyrics to the songs, Plagpul released two videos as part of its COVID series, one, to the tune of the catchy song “Senorita” by Shawn Mendes and Camila Cabello and, two,” Bella Ciao”, which is an Italian protest folk song that is familiar to activists.

For “Senorita”, and in time for the June 12 “Mananita” Independence Day protest action, Plagpul came out with their video titled “I Hate it When You Call Me TERORISTA”. The song is a call to scrap the Anti-Terror Law which is deemed as unconstitutional and having a broad and vague definition of terrorism. The band scoffs at how the terror bill was rushed for signing, is directed against critics, and would trigger abuses (“Wala pa nga yung bill/ Umabuso na/ Kinawawa ang masa”). Though it’s rebelliousness sounded cute, the meaning isn’t lost to its viewers and listeners: “Ohh we will be shouting/ Ohh we will be coming for you.”

For “Bella Ciao”, Plagpul uses the title “Walang Machow” and takes barbs at the government’s lack of plan during the pandemic (“Mr. Pangulo/ Ano na’ng plano”) while the people are suffering from hunger. It also throws snides at corruption (“Pangakong billions/ Nasan na po yun/ Sana’y hindi pa nila pinagnanakaw / Sana’y umabot na po sa tao/ At hindi sa kandidato”).

Stirring images

Meanwhile, two music videos directed by JL Burgos, brother of missing activist Jonas Burgos, is stirring a lot of emotions. The latest of the two – “Ano ang Aming Kasalanan?” –uploaded in May is a collaboration of the filmmaker and The Axel Pinpin Propaganda Machine.

The band wrote, arranged and performed the music which, and quoting from its Facebook post, was played amidst “triggering images of the government’s highly militarized handling of the COVID-19 pandemic. These images are juxtaposed with footage highlighting the brutality and violence that has swept the country under the current administration”. As the music streams, the lyrics of sarcasm and disgust are rendered in poetic fashion.

A much earlier video by Burgos, “Magliliyab”, was produced by the Concerned Artists of the Philippines (CAP) in September 2018 and is a depiction of the true state of the nation under Duterte.

The song is written by Cabring Cabrera with music by Mark Estandarte. “Magliliyab” showcases another artists’ collaboration from various genres that included as performers Chikoy Pura, Bobby Balingit, rapper BLKD and bands such as Tubaw, Plagpul, The General Strike, Pasada.

Very strongly, “Magliliyab” calls for the regime to stop its attacks, urges the people to keep the fire of resistance burning, and foretells of a people’s anger engulfing the regime in flames (“Sa gitna ng dilim/ Sa gitna ng lagim/ Magliliyab [5x]”). It minces no words in admonishing people to keep on fighting (“Lumaban/ Huwag magkampante/ Pigilan ang atake”).

Both videos by Burgos capture and highlight how Duterte’s policies seared the heart of the nation and throw various sectors of society at the mercy of his bloody campaign against illegal drugs, human rights violations, martial law, terrorism, corruption, negligence, treachery, plus misogyny.

Fight Continues

The spate of extrajudicial killings that had at its latest victims NDF Consultant Randall Echanis, human rights defender Zara Alvarez, and popular activist Jory Porquia had moved the Concerned Artists of the Philippines to release a tribute video in honor of the heroism of activists killed. It also called for justice for all victims of extrajudicial killings and peace for all frontliners who died in the line of duty. This tribute was also in observation of National Heroes Day 2020 and the 37th anniversary of CAP.

CAP’s zine featuring five activists killed under the Duterte administration.

Lengthy as it is, “Pasidungog ug Panaghiusa: Tribute to People’s Heroes” features original compositions from CAP musicians and network, poems by Joi Barrios and Ima Ariate, artworks and photos from CAP chapters (Cavite and Polytechnic University of the Philippines), the national secretariat and the Stop the Killings campaign. Prof. Jose Ma. Sison and Juliet de Lima graced the video with their special message to artists and cultural workers.

Not one to focus on grief, the video inspires more resolve to continue the struggle in pursuit of justice and love of country. The message is that for every hero that falls more will rise up to carry the fight. The song “Kabayanihan at Buhay” composed by Zol Patanao and performed by four artists speak of this: “Taas kamaong pagpupugay/ Kabayanihan at kadakilaan/ Pakikibaka’y magpapatuloy/ Sa kanayunan man o kalunsuran/ Iniwan na larawan/ Huwaran ng pag-ibig sa bayan.”

Or listen to some lines of “Pasidungog” produced by CAP Davao City: “Hindi maglalaon ay mapapawi/ Hinagpis na nadarama/ Pagkatapos ng tag-ulan/Ay uusbong bagong mga binhi/ Mag-uugat at lalago/ Mamumukadkad muli ang kagubatan”.

The video presents protest art in various forms and genres, awakening as well as endearing, and displays not just commitment but talent coming out of today’s progressive artists. Thirty-seven years after the founding of CAP, succeeding generations have indeed found the truth in Lino Brocka’s words:
“The artist is a committed person, that he will always take the side of any human being who is victimized, abused, oppressed, dehumanized whatever his instrument.”
(https://www.bulatlat.com)

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Online confab on historical revisionism slated 3rd week of September

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MANILA — A five-day online conference on negative historical revisionism in the Philippines titled “BALIK KA/SAYSAY/AN” will be held from September 21 to 25, 2020.

Organized by the Asian Center of Journalism at the Ateneo de Manila University and the Consortium on Democracy and Disinformation, the conference coincides with the 48th year since the declaration of martial law in the country.

The conference aims to deepen the discourse about the martial law years and correct the twisted narratives being perpetrated by groups who want Filipinos to forget those dark years in the nation’s history.

It features 10 sessions happening across the week, with each day having two sessions scheduled in the morning and after school or work hours.

A keynote speech from Filipino novelist Lualhati Bautista will be shown on September 23, the actual day in 1972 that Ferdinand Marcos announced the imposition of martial law in the country.

Participants will also have an opportunity to take part in the 20-minute individual presentations and two-hour expert panel discussions on the following topics: “Understanding Historical Revisionism”, “The Marcos Regime and Martial Law”, “Regional Narratives of Historical Revisionism”, “Disinformation in the Digital Age”, and “How To Combat Historical Revisionism Today”.

“BALIK KA/SAYSAY/AN” has as partners Tanggol Kasaysayan and the online media group Bulatlat. ACFJ is an academic unit under AdMU’s Communication Department, while the Consortium is a network of journalists, scholars, and civil society leaders nationwide.

This activity is open to the public. Interested participants may check out this link for more details on the program and to sign-up for the sessions: Conference Program Brief.

For other queries and information about the conference, kindly visit https://www.facebook.com/ateneo.acfj or contact our project manager Raizza Bello via acfj.soss@ateneo.edu or 09178923293.

The post Online confab on historical revisionism slated 3rd week of September appeared first on Bulatlat.


A conversation on ‘Filipinx’ and its vicissitudes

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With Freedom Siyam, May Penuela, Charlie Samuya Veric, Jeffrey Cabusao, Michael Viola, and Delia Aguilar, initiated by Delia D. Aguilar with the collaboration of E. San Juan, Jr.

Controversies over the use of names or classifying rubrics for groups of people are rarely amusing, some even dull and soporific. However, if it is a matter of life and death for some cases, as in the conflict between the Tutsis and Hutus in Rwanda, or the fate of Jews and Armenians in times of intense racial conflict. In those instances, the name one chooses for one’s group may signal either danger or safety.

What’s in a name? Shakespeare’s character seems to ignore circumstances and occasions where a name spells doom or salvation. He may be an essentialist, one who shrugs off the surface particularities of humans—skin color, facial features, hair, etc.—for the core substance that constitutes the unique physiognomy of the person or group.

The problem is not puzzling or enigmatic. This has been argued in ongoing conversations about race, ethnicity, nationality, and so on. But what really is the core substance of African Americans, Native Americans, Latinos or Asians (including Filipinos, now branded by some as Filipinx?) Among Native Americans, arguments will be made for the singularities of each tribe, whether Navajo, Sioux, Kiowa, etc. The same goes for Asians—“Asianx,” anyone?

Each taxonomic label betrays a plurality or heterogeneity within it. Will a new label capture the denied or negated essence of the group, whatever that may be? From American Negroes to Afro-Americans to African Americans to Black Lives—the changes seem to reflect not an unchanging essence. They in fact capture the distinctive impact of historical changes, both the socioeconomic and political events involving those groups and the responses of the communities. The same goes with the invention of “Pinoys” and “Pinays” to designate Filipinos abroad, in the United States and elsewhere. These changes register the groups’ need to identify themselves as a distinctive community for economic, political and cultural adaptation and survival.

What’s the historical specificity of Filipinos here and in the Philippines? When President McKinley decided to annex the Philippines at the end of the Spanish-American War (1898-99), he had no clue where those islands were. The Filipino revolutionary government established a republic, but U.S. superior arms won and colonized the country. Due to the need for labor, the colonized Filipinos were recruited for the Hawaiian sugar plantations as “nationals,” in short, colonial subalterns, not immigrants. The “Manilla men” who fled the Spanish galleons in the 18th century were not “Filipinos,” strictly speaking, but “Indios,” so these Mayflower “wannabes” cannot yet be accepted into ‘the melting pot”—“e pluribus unum” is just an aspirational come-on.

In 1908, the Grove Farm Plantation in Kauai, Hawaii listed “Filipinos” after “fertilizer” as one of the commodities ordered (Ronald Takaki, Strangers from a Different Shore, 1989, p. 25). The “Manongs”—Filipino farmworkers—spread from Hawaii to Alaska until the “little brown brother” bore the violence of the white vigilantes in Watsonville, California, in 1929 for mixing with white women. Filipinos were called
“Flips.” They were classified as “Mongolians,” not Malays, until Salvador Roldan challenged the court so he could marry his white fiancee. When the U.S. troops slaughtered Filipino soldiers of the Republic during the Filipino-American War (1899-1913), the natives were called “Niggers,” “khaki ladrones,” and other colorful epithets. More horrendous were the massacres of Muslim Filipinos, whom we now call BangsaMoro, in Mindanao and Sulu that Mark Twain bewailed as barbaric piratical adventures. Are these tendentious names just symptoms of paranoia, the hostile imagination of the warrior psyche? Part of the strategy to dehumanize the enemy, these modes of stigmatizing by name-calling aim to exonerate the agents of genocide from guilt or blame—after all, you are fighting for democracy and Christian civilization.

Toward dialogue and colloquy

But let us for now cut short this historical background and jump into our topic: the controversy over the use of “Filipinx” among Filipinos everywhere—over ten million Overseas Filipino Workers constitute a growing diasporic population. An article in the online webside of Interaksyon (June 2, 2020) released a barrage of animosity toward this neologism. Catalina Madarang summed up the exchanges in Twitter, mircroblogger platforms and Reddit Philippines.

“Filipinx” is obviously a copy of “Latinx,” introduced mainly by academics and students in social media around 2004. Activists began to use it “to advocate for individuals living on the borderline of gender identity. But most Hispanic and Latino Americans prefer ‘Hispanic’ and ‘Latino/Latina’ to describe themselves, only 2 to 3 percent use Latinx” (Wikipedia 2020). The Hispanic commentators, while acknowledging the impulse to sound non-binary, gender-neutral or inclusive, reject the term because it is ungrammatical, difficult to pronounce, and disrespectful toward conventional Spanish—in short, “a bulldozing of Spanish.” Is this a case of linguistic imperialism on both sides? The term “Latino/Latina” designates anyone of Latin-American origin or ancestry, while “Hispanic” refers to native speakers of Spanish, whatever nation they originated. Likewise, “Filipino” refers to anyone of Philippine origin or ancestry, regardless of province or linguistic cohort. But unlike Spanish, Philippine languages have neither gender attribution nor gender-specific pronouns.

“Filipinx” is thus a bastard term mimicking its original, ignoring linguistic specificities and historical contingencies. Whatever the other motives are, the intention is honorable: namely, to acknowledge genderqueer (LGBTQIA) members of the Filipino diaspora in whitecentric, binary places. It seeks to decolonize the identity of Filipinos in westerncentric societies, not just in U.S. or Europe, but also in the neocolony itself, the Philippines, which has been profoundly distorted by 300 years of Spanish colonial rule and over a hundred years of U.S. domination. Perhaps this is a tactical reformist move, but are the effects positive? As endorsement, Twitter-user Jenika Cruz, senior associate editor of The Atlantic, wrote recently: “Filipinx friends, I made rly good chicken adobo….pls clap.” Is this a sign that everyone is now joining the bandwagon for a new christening? Are we on the way to decolonizing Filipinos claiming, to quote Carlos Bulosan, that “America is in the heart”?

It was an article critiquing the use of “Filipinx” in Bulatlat by Prof. John Toledo of the University of the Philippines, Los Banos that piqued Delia D. Aguilar’s interest in pursuing the matter. She had wrongly assumed that Filipinos in the Philippines would accede to this modification that, after all, signified solidarity with another US community of color. Instead, Toledo urged his readers to “resist such adverse essentializing of our identity.” He ends his criticism with a plea: “We, the Filipino virtual community, have to resist this Western hype and empower our languages in the Philippines. We are all Filipinos. Isn’t it much more important today to battle the rhetoric that our mother nation is a province of another nation?”

Encouraged by Toledo’s rejection–speaking truth to power in a time of national and global crisis–and curious about how others might respond, Aguilar reached out to a handful of friends and colleagues for their opinions. What resulted was a spirited conversation that everyone involved later agreed might be useful to share publicly. What follows are the candid responses of Filipinos in the U.S., Canada and the Philippines involved in community organizing, teaching, and scholarly work. Aguilar’s comments are interspersed in the back-and-forth exchange as they occurred.

A veteran Filipino-American Activist’s response

First to offer his view is Freedom Siyam, principal of Balboa High School in San Francisco, who has been active in organizing and teaching in the Filipino community for a long time now. We reproduce the preface he wrote for a district document celebrating Filipino American History Month:

Why do we use ‘Filipinx”

A recent phenomenon to acknowledge the systematic oppression of Black, Indigenous, People of Color through the history of over 500 years of colonization and imperialism transpired when progressive members of the Latinx community replaced the “A” and “O” with the “X” to emphasize gender neutrality and inclusivity of people in the community who are gender non-conforming.  

Filipinxs also share a similar history as Spain began colonial conquest of the Philippine archipelago in 1521 and as colonization almost completely eradicated indigenous cultural practices, spirituality, and language and replaced indigenous practices with Spanish patriarchy, Christianity, and sweepingly gendered relations throughout the islands.  

To this point, Spanish gendered prescriptions manifested in many words, whereas native dialects had no gender markers, and pronouns were siya or sila (essentially they/them). The adoption of the “x” by members in the Filipino American community is an attempt at inclusivity and breaking past the binary of gendered markers imposed by colonization. It is also important to note that this is a very specific characteristic of conscious Filipino American communities and not necessarily adopted by Filipinos in the Philippines, nor broadly in the United States. Thus Filipinx should be seen as synonymous with Filipina or Filipino, without the gendered prescription, and we should not try to play “woke” olympics with each other.

Purist may resist this attempt to problematize the Filipinx identity with an X, and while the writers acknowledge shifting language helps continue to sharpen our understanding of inequities therefore facilitate a clearer path to genuine equity, we also know that a change in nomenclature is just that, an empty change in terminology, unless genuine liberation of the oppressed is obtained and equity and justice is systematized institutionally, and in the context of Filipinx history, including genuine liberation of the Philippines from uneven neocolonial political, economic and military policies.  

Furthermore, those who identify with the X should be aware that Filipinos from the Philippines may not identify with the term and consider that this is a Filipinx American and a product of US multiculturalism (Reference: “Choose Filipino or Filipinx”).

__________________

After Freedom Siyam’s public pronouncement, Delia Aguilar’s reflection reminds us of the need for historicizing discourse. She explains: Free, you are spot-on in saying that none of these attempts to change labels alter material conditions, but neither should we deny the impact of culture on material life. To hold Philippine Cultural Night and, more important, Filipino American History Month, are of great significance. I would guess that up to now Fil-Am students are not getting information about Philippine history from their parents who are simply too busy to survive in a society that absolutely requires consumerism in order to acquire a measure of self-assurance. 

Context is key, in my opinion. I completely understand the desire to go with Filipinx because you’re in the US attempting to express solidarity with Latinx and Blacks. (Blacks are not calling themselves Blackx, are they? This x business is confined to immigrants, I assume?) I would ask that you not forget to emphasize vigorously that the Philippine situation is entirely different. The Philippine nation is living under the heels of US domination–and resisting trendy, even purportedly progressive stuff in the US is part of that–and Filipinos have no obligation whatsoever to accept this presumed expression of solidarity. There have been many a time when I’ve felt that Filipinos today (yes, in Manila, California’s suburb) have voluntarily and completely submerged themselves in US culture that I feel like raising my hands in surrender. This is why I was very pleasantly surprised by Toledo’s Bulatlat article.

Qualifications from a Filipino resident in Canada

We were able to solicit reflections from May Penuela, a Filipina educator living in Canada, whose thoughts recall for us the turmoil of the current conjuncture:

I think it’s ironic how little use Filipinx is politically given Laude’s murder back in 2014 and Duterte’s pardon of Pemberton this summer. I mentioned this case in a diversity discussion for a staff meeting in ‘14 on transgender issues. The mention of US militarism in the Philippines was outside the scope of using the correct terms originating in the US for marginalized communities. The discussion closed as if it was too political and off topic bringing that up. Let alone talking about the responses from Gabriela and women’s organizations in the Philippines who clearly had a more advanced analysis and strident support of Laude as a woman. There was little virtue signalling, if I could use that phrase, in the Philippine context from what I read at the time. I agree with Toledo’s main point in the article. The flow of political direction in the U.S. is seldom informed outside its solipsistic national context. And this goes to the heart of critiquing Ensler and the history of neocolonial feminism she branded globally, the flow of political exchange and influence is one way. Which begs the question of the ethics for that term politically — whose self-determination is one referring by Filipinx in 2020?

May commends Freedom’s “sharp emotionally attuned and integrative approach” in his formal and organizational duties.” She confesses that she gets “emotionally reactive” with identity politics acting like “McCathyist thought police.”

Delia Aguilar’s response to May Penuela: I am very much impressed with what you write. I especially like your bringing up the brutal murder of Jennifer Laude in 2014 and the recent exoneration of Joseph Pemberton, her murderer. It’s a case that, and I hate to say this but I will, seems to ridicule the presumed linguistic resistance of Filipinx. (Never mind that the adoption of the term also is but another symptom of our aping, gaya-gaya puto-maya tendency.) This, along with your reminder about Eve Ensler, speak volumes to me. Because wasn’t Ensler denounced by feminists of color in the US and Canada for being racist? And yet it was precisely her being the white feminist savior that she is that catapulted her into the warm embrace of GABRIELA. What does this tell us?

Intervention from a scholar in Quezon City, Philippines

Meanwhile, let us hear from a Filipino academic in the Philippines, Charlie Samuya Veric, professor of English at Ateneo de Manila University, who holds a Ph.D. in American Studies from Yale University. Veric has written several books of poetry and a pioneering work on postcolonial studies in the Philippines entitled Children of the Postcolony. He wrote in FB:

Filipino and Filipinx are not mutually exclusive. In fact, they both need to flourish. But if one cancels the other, then that’s where the problem begins. Filipino is founded on identification with the Philippine nation whereas Filipinx dis-identify themselves from the heteronormative and white supremacist American state. There’s a crucial difference between identifying with a young Philippine nation and distancing oneself from the long imperial history of the US. So if we force Filipinx on Filipinos in the Philippines, that creates more trouble than needed. Give the Filipino nation its time in the sun. Let it grow and mature first. Then we can start denying it. One cannot deconstruct what is not fully constructed.

Veric’s remarks provoked May Penuela’s wide-ranging comment:

I greatly appreciate Charlie’s comments, Delia.  His distinction of the two forms of identification struck me, where the unity between what I see as a positive and negative identification is possible.

Using Charlie’s distinctions, Filipino as identification with the Philippine nation is a positive identification in the proactive sense, for and with an emerging Philippine nation.  Whereas, “Filipinx dis-identify with the heteronormative, white supremacist American state,” “distancing oneself from the long imperial history of the U.S.”  “Filipinx” is a negative identification in the sense that is not yet for a specified project.  It is an ambiguous identity, except in its proclamation against heteronormativity and white supremacy.  What is it for?  Is it for statelessness?  For a multinational state?  For a non-white settler state?   In solidarity with BIPOC and LGBTQI liberation, what U.S. state is required?   That’s not to say that there is or should be a pre-determined, specified construction.  But, what is the political consciousness that makes up an anti- or “negative “ construction and what are its tendencies moving forward?

What does it mean to “distance oneself from the long imperial history of the U.S.?”  To recognize that it’s messed up? But then what? Does Filipinx identify an alternative project to imperialism?  What is the project?  Does it serve to cancel imperialism?  Because the Filipina/o positive identification, moving towards national autonomy in its self-determined construction, requires the end of the U.S. state as an imperial project.   Imperial negation is necessary for Filipinos to construct their own national destiny.  Are Filipinx folx up to the task of fully negating U.S. imperialism?  

As Charlie rightly points out, trouble begins if one identification development cancels the other.  Radicalization, however it emerges, is a positive and important development in such different contexts.  But I think it’s fair to say that Filipinx as a political project requires more maturation in its development and requires rigorous scrutiny through this fundamental contradiction.  I don’t mean to be too cheeky, but x has greater potential to negate the a’s and o’s. So, how to move in a mutually affirming way?  Where are the possibilities for mutual political exchange?

Jennifer Laude’s brutal murder is a repeat offense of the heteronormative, white supremacist state on Philippine soil. U.S. Imperialism in real time, running the course of its 122 year history in the Philippines with distinctive consequences means that in 2014 a 19-year-old man/child turned into a Marine by the U. S. state, has impunity to negate the life and development of a 26-year-old transgender Filipina expressing her full humanity. Their hook up in anticipation for some mutual human pleasure ended in its complete opposite, horrid outcome — Jennifer’s violent death at the hands of the American man/child experiencing a psychotic and emotional crisis of the racial, sexual, gender, class, and national contradictions all integrated in one fateful intimate moment between the two.  

With the support of both the Philippine and mighty U.S. state, Pemberton gets a restart at life six years later.  He’s now the same age as Jennifer when she was killed. He can go home.  

Perhaps gender non-conforming and cis gender Filipinx struggling with the historical meaning of Filipina/o can find solidarity and grasp this case as a concrete access point to consider the stronghold of U.S. influence on Filipino lives, or reconsider it if they’re already aware of this case. Because of BLM, the pandemic, and everything going as it is, U.S. based activists might fully grasp how this case resonates with many other negations: Breonna Taylor’s, Berta Caceres, MMIW, etc, etc., to respond in similar scale and synchronous timing in national and global outrage, amplifying (to use that trendy word) the brutalities of imperialism for the people in the belly of the beast to evaluate and reconcile with U.S. militarism. That’s an affirmative direction that Filipinx might reflect upon.  

Delia Aguilar responds to May: Your situating the discussion in the context of BLM and the pandemic is also significant because, as many progressives today have observed, we are at a critical moment in history where race and capitalism are being publicly questioned in ways that never happened before. People are now talking about racism as systemic. And look, even Bob Woodward, interviewing Trump, raises the issue of their shared “white privilege.” This was unthinkable before this time! In other words, you remind us that the adoption of Filipinx has to be contextualized in history and current events.

Exchanging with two Filipino-American academics

From the groves of U.S academe, we asked Prof Jeffrey Cabusao of Bryant University what his take is on this new “Filipinx” fad. He hails from San Diego, California, holds a Ph.D. in English from the University of Michigan, and currently teaches at Bryant University in Rhode Island. He asks if Filipinx is seriously challenging the heteronormatic and white-supremacist state, and if so, what have these so-called Filipinxs contributed to challenging the U.S. Marine killer Pemberton’s pardon? He agrees with Charlle Samuya Veric’s distinction of the neologism as a Fil-Am concept and “Filipino” as a term designating the long history of mass struggle for national sovereignty in the neocolony. He thanks Freedom Siyam for his insightful reflections. Here is his concluding observation:

I’d like to suggest that “Filipinx” itself is a term that has yet to mature—a term that signals that we live in “new times = new politics.” While the term “Filipino” is rooted in a very long history of mass struggle against U.S. imperialism (an “old” mode of political engagement), “Filipinx” is quite recent and rooted in contemporary U.S. identity politics… an intersectional politics of diversity and inclusion… a contemporary queer politics that oftentimes privilege trans visibility over a systemic critique of racism, militarism, and materialism (the three evils critiqued by MLK). For example, is Chelsea Manning celebrated at Pride? In U.S. society, Manning is locked away and silenced… no parade float for her. Also, “Filipinx” seems to be inspired by the shift to “Latinx.” The eagerness of Fil-Ams to adopt the “Filipinx” identity/category (to copy our Latino/as/x sisters and brothers) is symptomatic of a deep (and painful) desperation among many Fil-Ams to be “seen” and “heard” in the United States (among U.S. BIPOC activists, within the U.S. academy and its publishing venues, within mass media)… so much energy around the “x” just to get a slice of the pie.

For his appraisal of this colloquy, let us hear from Prof Michael Viola, a veteran teacher/scholar of social justice and multiethnic education at St Mary’s College, California, and author of the award-winning book, Hip-Hop(e): The Cultural Practice and Critical Pedagogy of International Hip-Hop. He took time out from his many duties and commitments to provide us his insights:

I agree with Charlie Samuya Veric’s insights and the poignant ways that May, Free and Jeff built upon them around how names enable important pathways to identify with historic and persistent struggles against U.S. imperialism. May’s point, which she was quite clear in BOLD honestly builds on the important critiques that Tita Delia and Uncle Sonny have made for decades in the way that U.S academics have contributed greatly to the benign identity politics that make various nuanced moves yet are ultimately devoid of a class analysis and a critique of global capitalism. Such critiques are important to remember as their work have shown how dominant strands of Filipno American studies has cut ties to a wider struggle against U.S. imperialism and its barbaric manifestations in the Philippines (via “post-al analytics). Such an analysis that Jeff has been at the forefront within Asian Am studies more broadly to recuperate is so crucial in understanding the asymmetrical relationship between the Philippines and the United States. Thank you all for showing the ways that FILIPINX driven predominately by immigrant academics in the corporate academy are fashioning new trends that are culpable in also reproducing this unjust neocolonial relationship. 

I’ve been re-reading Manning Marable and he points to the two global currents post 9/11 world: 1) a liberal democratic tendency: still dominant in the US that broadly has been driven by a project for human rights, welcoming a public discourse around issues of identity and difference yet is assimilative to global capital and (2) a radical egalitarian tendency most strongly offered by movements of the Global South that refuse incorporation to the capitalist world order and seek the abolition of capitalist relations in its various manifestations. For me, Marable’s insights are important in this time – especially as we see the rise of rightist / authoritarian forces in the US, the Philippines, and throughout the world. Ultimately, he poses a wonder question: is it possible to build a broader front to unite these two tendencies? How can we offer a consistent yet dialogical critique of FILIPINX that enables a recognition of  the struggle that younger generations of youth are identifying yet invites them to “intersect” their struggles with a project for liberation from the barbarism of global capital that is at the heart of why our world is literally burning. 

Rejecting the FILIPINX tout court, especially for the reasons that Free points out (as a younger generation of students and youth are connected with other immigrant youth where the term Latinx has become much more commonplace) may further isolate us from the kind of consciousness raising and community organizing we have been committed to. Yet, it is important to point out who is naming the term FILIPINX (neoliberal academics??) and how such a term may problematically be a “cut and paste” job or ahistorically imported from its Latinx communities and struggles.  What happens when our communities do that? What happens to our ability to historicize and make connections to the ongoing neocolonial conditions in the Philippines and the dispersal of Filipinos all over the world? May is sharp in stating that “Perhaps gender non-conforming and cis gender Filipinx struggling with the historical meaning of Filipina/o can find solidarity and grasp this case [Laude murder] as a concrete access point to consider the stronghold of U.S. influence on Filipino lives, or reconsider it if they’re already aware of this case.” That’s exactly what academics, activists, cultural workers need to be doing, helping to create those “access point(s)” and to help intersect those struggles as opposed to “intersectional identity work” that has led us nowhere.
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Delia Aguilar wraps up the exchange with the following observations: Thank you, Mike, for your thoughtful contribution. When I first reached out to you all, what I had in mind was simply to get your reactions to John Toledo’s article. I had no thought of getting anything printed. Since then, Tito Sonny called my attention to an online discussion of Filipinx among Filipinos in the Philippines who more or less scoffed at the tag. You can just imagine what a relief–and sense of hope!–this gave me, because at times I feel our subalternity to be sedimented and sempiternal. “Tumigil na kayo diyan,” someone said in exasperation. Another had to explain that Filipinos belong to the Philippines, a nation–one still fighting for genuine independence, it is true, but a nation nevertheless. Is there a Latino nation? No.
 
In the early 80s when the women’s movement was just beginning to assert itself within the revolution (“broader struggle,” we used to say), a Filipina feminist cited the authority of “The Second Stage” in which Betty Friedan wrote that “we have gone too far.” This woman was quoting Friedan to warn Filipino women, who’d only barely begun, that we’d gone too far already. Remember the apocryphal tale of the Lone Ranger and his sidekick Tonto (Spanish for dolt or imbecile)? “We are going to get killed!” cries the Lone Ranger, facing an imminent attack by Indians. “Who’s the ‘we,’ white boy?” was Tonto’s retort. If only we had Tonto’s smarts.

I could be wrong, Mike. But wasn’t Manning Marable writing about a very different moment in history? Latinx belongs to that moment. Times have changed since. The seismic shift in public consciousness about race brought on by BLM-led protests amidst the ongoing pandemic and its continuing mismanagement has radically altered the sociopolitical landscape of the US. This will necessarily have an impact on academic puerility (allow me to dream here) of which I take preoccupation with identity politics to be a symptom. Let’s not forget that the plague and those BLM protest marches, the massiveness and composition of which have heretofore been unseen in this country, have opened a gateway for progressives, as Arundhati Roy aptly put it, hopefully to another world, assuming we have an alternative vision. No movement in the US has ever created or produced international reverberations the way that this one did. There were solidarity marches all over the world! Remember those? Surely we can acknowledge that the marches and clamor have resulted in a radically revised public outlook. Shouldn’t we seize the moment and work with this palpable change in popular consciousness instead of trailing behind in the caboose?

A provisional summing-up

There appears to be a consensus in all the participants that it is important to grapple with the implications of ethnic labels and other taxonomic devices with grave political ramifications. The use of “Filipinx” foregrounds the need to elucidate what is involved in its use and application, where and when, for whom, etc. While “Flip” and other offensive tags have disappeared, there’s a feeling that “Filipino” has become a term of rejection or marginalization. Is this true for everyone? So is “Filipinx” the new feasible gateway to acceptance, if not assimilation? Would this tweaking of the old label facilitate better access to the larger community of Filipinos residing in the U.S. (most of whom are likely to vote for Trump in this November 2020 election), and thus acceptance by the EuroAmerican majority? Who is being served by this new category, whose interests are enabled by this new terminology?

We can rehearse the crucial arguments for further assaying. There is consensus that this neologism is a psychological/semantic response to the dominance of a white-supremacist, heteronormative, patriarchal culture, a climate aggravated by the current regime of a flagrantly white-supremacist U.S. administration. No harm in that symptomatic reflex of a new discovery or awareness. What is contentious is its resonance or implication. Does it invigorate or paralyze movements for racial equality? More important, does it subordinate the struggle for genuine national sovereignty to the paramount goal of gender-neutrality? Does it obscure the asymmetry between the imperial hegemonic United States and its virtual neocolony, the Philippines? To push further, which cause would advance a systemic solution to racist, sexist global capitalism? Intersectionatlonal measures have been tried; but after Obama, we got Trump and its virulent racist-sexist program of destroying all that has been gained from past Civil Rights struggles of LGBTQIA and diverse ethnic communities..

The Philippines is still a U.S. dependency, whatever claims may be made about Filipino adobo, Miss Universe this and that, growing incomes of Filipino-Americans, increasing popularity of Filipino films, singers, etc. We are one of Trump’s “shitholes,” let us not demur, whose chief export and dollar-earners are Overseas Filipino Workers around the planet. From 1946 when nominal independence was granted up to now, the Philippine military and police establishments have been wholly dependent on U.S, support, advice, training, logistics, etc. While direct U.S. investments have declined, the unchallenged stranglehold of U.S. culture—its music, films, lifestyle, ideology of free-market liberalism, anticommunist/antisocialist mentality of individualism, etc.—shows no signs of waning or disappearing.

The final caveat is whether gender-neutrality and anti-heteronormativity (LGBTQIA) would free the homeland from dependency and backwardness. More crucial, we are in a time of huge mass policization as a response to Trump’s racist policies toward immigration, ecological degradation, the pandemic/health care crisis, warmongering, etc. Should we miss this moment in history as part of this great wave of mass mobilizations, here and in the homeland, to fight for social justice and economic emancipation which would lay the groundwork for all other freedoms? Or should we subordinate that to the principle of getting the right name to insure that everyone is acknowledged, whatever their situation is? Do we repeat the old saw, “pessimism of the intellect, optimism of the will,” to settle this issue of legitimizing “Filipinx” if “Filipino” still hangs in the balance?
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DELIA AGUILAR, previously a fellow of the Radcliffe Institute for Advanced Study, Harvard University, was professor of Women’s Studies at Hamilton College, Washington State University, and the University of Connecticut. Her books include The Feminist Challenge, Filipino Housewives Speak, Toward a Nationalist Feminism; and edited the anthology Women and Globalization (Humanity Books).

E. SAN JUAN, Jr., 2009 fellow of W.E.B. Du Bois Institute, Harvard University, was chair of the Dept of Comparative American Cultures, Washington State University; and emeritus professor of Ethnic Studies and Comparative Culture. He was recently visiting professor of English, University of the Philippines. His recent books include U.S. Imperialism and Revolution in the Philippines, Between Empire and Insurgency, Faustino Aguilar, and Peirce/Marx.

The post A conversation on ‘Filipinx’ and its vicissitudes appeared first on Bulatlat.

Artists give voice to the poor’s woes during quarantine

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The songs try to “capture the struggles of poor communities in the Philippines subjected to their government’s Enhanced Community Quarantine rules.”

By RITCHE T. SALGADO
Bulatlat.com

MANILA — As the suffering of the ordinary Filipino increases with the worsening of the COVID-19 pandemic in the country, artists endeavor to capture the pain and anxieties of the poor and the vulnerable through songs, paintings, and other crafts, at the same time highlighting the corruption and greed of people in government who are taking advantage of the crisis in order to enrich themselves.

One such group is the U.S.-based award-winning Filipino-American theater group Ma-Yi Theater Company, which, since its founding in 1989, has come up with numerous productions and adaptation of works by Filipino writers as well as of other Asian American writers.

Through Ma-Yi Studios, its digital streaming platform born as a response to the COVID-19 pandemic, the company released a series of five songs in Filipino under the heading, “A Divergent War: Songs for the Pandemic.”

The songs are recent works of poet and lyricist Joi Barrios-Leblanc put into song by Fabian Obispo, under the direction and accompaniment of Ejay Yatco and performed by various artists of the company.

Three songs have been released as of writing – Poverty (Awit ng Maralita), Cleansing and Distancing (Awit ng Paglilinis at Pagdidistansya), and Tomorrow (Awit ng Pagtanaw sa Bukas). To be released are Awit ng Pag-ibig and Awit ng Hinagpis at Galit.

The songs try to “capture the struggles of poor communities in the Philippines subjected to their government’s Enhanced Community Quarantine rules,” an announcement from Ma-Yi Theater revealed.

The first song, “Poverty,” is performed by Joshua Cabiladas with animation by Max Canlas. The animation tells of the story of Rodel Canas, a young father who walked for three hours under the scorching heat of the sun while carrying a small box containing his 32-day-old dead child. Aside from the burden of carrying his child home from the hospital, he also received a P245,000 (US$5,058) hospital bill, a huge burden for a construction worker who lost his job because of the unsuccessful draconian Enhanced Community Quarantine (ECQ) imposed by the government in order to stop the spread of the virus.

The song makes us reflect on how the “ECQ is disproportionately cruel to poor communities that have no means of transportation and must rely on weekly government handouts of a two-pound sack of uncooked rice and two cans of sardines,” the introduction to the song mentioned.

“Cleansing and Distancing” highlights the impossibility and impracticality of practicing social distancing in communities where families are cramped, or the choice of buying alcohol or sanitizers over food.

“A government that fails to provide for its neediest citizens while imposing cruel penalties for non-compliance betrays its most essential duty,” the song’s introduction bared.

The upbeat song is performed by Pendong Jr. and Chat Aban of Grupong Pendong with Kiki Baento.

The third song that has been released is “Tomorrow,” performed by Rafa Siguion-Reyna. The song gives voice to the uncertainty brought about by the pandemic as many of the freedoms enjoyed had to be suspended in order to curb the spread of the disease.

“These agonizing realities are made worse by the government’s Enhanced Community Quarantine, which strangles poor communities by depriving them of work, public transportation, and in many cases, an adequate supply of food,” the song’s introduction stated.

“Despite these hardships, we all have an opportunity to take control of our future by engaging with what is happening around us and taking an active role in demanding accountability from our elected leaders,” it continued.

The songs can be viewed for free through their website ma-yistudios.com or their Facebook page, @MaYiTheaterCompany. Two more songs are scheduled to be released in the coming days.

Ma-Yi Theater Company said it hopes to engage theater makers to be ” active local partners to the diverse communities that inspire them, while also participating in larger, global conversations about our roles as artists/citizens.” (https://www.bulatlat.com)

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Grief and rage for Ina Nasino and Baby River

WATCH: ‘Hindi namin kayo titigilan’

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Written by RANDALL ECHANIS
Performed by IAN LOMONGO
Video by MALU MANIQUIS
Produced by THE FREE THE ARTIST MOVEMENT
Bulatlat.com

In this Peasant Month of October, Free the Artist Movement (FAM) wishes to express our highest salute to the tireless tillers of our land through this poem by slain peasant leader Randall Echanis delivered by actor/FAM member Ian Lomongo. FAM is one with the struggles of the Filipino peasantry and agricultural workers in their quest to alleviate their dire condition. Landlessness is still prevalent while government has failed to stop land conversion of thousands of hectares of agricultural lands to real estate annually. The price of palay has gone down from a measly P12/kl to a miserable P10/kl. The passage of Rice Tarrification Law which has allowed rice importation is like a death sentence to our peasants. Amidst all these, farmers are being killed. From 2016-July 2020, 262 peasants have been gunned down. Many are in prison for trumped-up charges of illegal possession of firearms. #LandToTheTillers #StopKillingPeasants #AyudaHindiKulong (Bulatlat.com)

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Lullaby for Baby River

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Singer Bituin Escalante sings “Ugoy ng Duyan,” a favorite Filipino lullaby, for Baby River, the three-month-old daughter of political prisoner Reina Mae Nasino who died on Oct. 9 due to acute respiratory disease. The music video shows Nasino’s continuing struggle against injustice as she remains in jail over trumped-up charges.(Produced by Free the Artist Movement/Reposted by Bulatlat)

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First Person | Slapshock’s Agent Orange

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By SARAH RAYMUNDO
Bulatlat.com

Rest in peace, Jamir Garcia. Thank you for the music. It was and is still great. Last semester, I played Slapshock’s Agent Orange in a General Education Course on Southeast Asia, particularly for the module on the CIA in the Ph and Vietnam. I laughed so hard inside at a student’s candid reaction: “Taena, totoo ba, metal si Ma’am?” It was whispered to the person next to him for the whole class to hear.

It was almost magical to listen to Agent Orange in the presence of people who were more or less the same age as I was when the song would enrapture me listening to it over and over. Ok, it was not as tamed as “listening to it over and over.” It was about being part of a wild, rowdy and massive crowd, and always regarding that moment home – – the UP Fair mostly and a few times in scattered rock/metal hubs in Manila. It was something that I preferred to not talk about with my broad daylight friends the morning after ?. But there was great boundless joy in being part of that heavy metal crowd where everyone turns anonymous–losing one’s identity and being one with all that “dealing,” what with all that distorted massive sound, nervous yet fierce beat, and who among you here are catching yourself singing those extended guitar solos in your head? I still do.

Metal is typically associated with messages bearing misogynist and aggressive content. But I am so sure that the local metal scene gave me a sense of place in that metal and rock bands (like the Eraserheads) provided a symptomatic rendering of the place of women (always portrayed as young / girls) in society. And it was a hard place. It was a sort of feminism devoted to a hardcore critique of sexuality and totality, which one grapples with in another field through the works of Freud and/or Lacan. The false accusations of misogyny arises when liberal feminists demand that men should always give us “girls” an empowered image / imaginary versions of ourselves, which I think is peak misogyny.

I have never felt more compelled about the necessity of class-based sisterhood, that urgency of jumping across for freedom, more than when I listened to Ang Huling El Bimbo for the first time. I imagine that poor girl of Paraluman beauty was a daughter of dispossessed peasants who despite poverty was the barrio’s finest dancer. Years later, she is a single mother who joins the semi-proletariat in Ermita, Manila’s red light district dedicated to foreigners (white men from the U.S. and Europe) as a dishwasher and dies in a dark alley after being struck by a vehicle. Then the song loops into the pastoral where kids dance the El Bimbo after school (this part is meant to be endless). No other film or essay had explained my country better to me.

This is underdevelopment writ large in the barrio and the city where pretty and talented girls live hard and die easy.

Then came Slapshock’s Agent Orange a few years after. The immediate effect was to facilitate a conversation, if not an outright stand on imperialist wars waged by the U.S. I imagine it could have been a poem from the Beat poets which we usually tackle in our Literature courses that pushed them to make this splendid music. Or maybe not. Was it an educational discussion on Lenin or Mao or Uncle Ho? “Yes, the Americans did that to Viet Nam” was what is usually said after Agent Orange is played and/or performed. But it was never just played and listened to or perfomed. One always communes with Agent Orange, and always, always with an extreme lack of constraint. Death to U.S. Imperialism. Long live nu metal!

#Slapshock

(https://www.bulatlat.com)

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A poet in the service of the people

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Book Review: Pandayan ng Paninindigan: Pagbisita at mga Tula ng Pakikibaka ni Benito Concio Quilloy

by JOSE MARIA SISON

The poems of Benito Concio Quilloy are a major contribution to poetry created in prison in the tradition of Amado V. Hernandez’ ”Isang Dipang Langit.”

The harsh conditions of prison serve to strengthen the revolutionary conviction of the political prisoner. He hankers not only for personal freedom but also for the freedom of the people, especially the exploited toiling masses, who are in the larger prison of the semicolonial and semifeudal system.

The alternating avalanche of thoughts and feelings and the aridity of boredom drive the revolutionary political prisoner to write poems in order to keep sanity and purpose and to assert his freedom, his creative role and his relations not only with family and friends but also the people he is sworn to serve.

Quilloy succeeds in becoming a poet from being a scientist, agricultural technologist and community development worker and in creating poems based on his personal and the people’s experiences, needs, demands and aspirations in order to overcome the harsh conditions of imprisonment.

In writing this review, I have been tempted to choose what I consider the best five or ten poems in terms of theme and poetic style. But I prefer to come up with the general view that all his poems are paid for by the rigors of imprisonment and are worthy of serious reading and each one deserves to be read, appreciated and evaluated by every reader.

The poems are significant because they take up the issues that are carried by the program of the people’s democratic revolution. In various poems, the reader can discern the author’s scientific knowledge, his closeness to the farm workers and peasants and the anguish of separation from his loved ones. Most of the poems can pass the muster of literary criticism and can be appreciated as excellent works of art.

I am proud to be in the company of Quilloy and other poets driven by imprisonment to write poems not only to assert their freedom and creativity but more importantly to continue serving the people in their struggle for national freedom, democracy, social justice, economic development, cultural progress and a just peace.

May the subjective freedom of Quilloy become an objective fact through his release from prison. The charges against him are trumped up, on the basis of outright lies, planted evidence and false witnesses. May he gain the utmost freedom to continue working as a development worker and writing poems in the service of the people. (https://www.bulatlat.com)

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Requiem Panayanon

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‘REQUIEM PANAYANON’ by PG Zoluaga (A tribute to the Tumandok victims of police & military operations in Tapas & Calinog)
18 X 24 inches
Pen & ink on paper
2021

By TOMAS TALLEDO*
Bulatlat.com

Then it was seven Antique martyrs of August 2018 but recently nine Tumandok lives were snuffed off as the dawn was breaking at the tail end of 2020. Such unwelcome gifts from the horsemen of Apocalypse: NTF-ELCAC of Badoy and Paralde, PNP’s Criminal Investigation and Detection Group (CIDG) and the 12th Infantry Battalion of the Philippine Army.

Given his keen aesthetics, PG Zoluaga captured these tragedies unflinchingly so unlike those local painters with low social commitment quotient (SCQ). On affiliations he lists identifications as visual artist, songwriter, musician active in Hubon sang mga Musikero nga Ilonggo and Iloilo Visual Artists’ Collective, Inc. Zoluaga’s art is already way beyond the crude stage of artist’s self-admiration.

The REQUIEM PANAYANON painting jiggers my prescience what to expect for this year 2021. Will we have more of the same but upended higher under Duterte’s tyranny? Lo! cornocupia of lies and corruptions, unabated arrests and incarcerations, and massacres galore because a dying beast goes berserk at its last gasp of existence.

The red blood depicted in Zoluaga’s piece snakingly flows like the ancestral rivers in Tumandok lands. The winding ripples twined below the navels of these figures as if tugging them to stay immobile. But hear no petty cavilings from their travails, these are steadfast clan leaders who are vigorously marching along the correct line-of-path. I just saw my middle-class ego so tiny as a Liliputian.

The nine bullet-riddled bodies of Roy Giganto, Reynaldo Katipunan, Mario Aguirre, Eliseo Gayas Jr., Artilito Katipunan, Sr.,Maurito Diaz, Sr., Jomar Vidal, Garson Catamin, and Rolando Diaz, Sr. are unmistakable and they are all here. But Zoluaga had them face the horizon with their backs at viewer’s eyes evincing a determined departure. They are leaving us lowland petty bourgeois behind frolicking in our comfort zones.

Unless so consciously cared for, pen and ink on paper is not the best medium, in my opinion, for this piece to last through generations. Time is the master of impermanence and the artist Zuloaga knew this pretty well. He probably had chosen this depiction because while art object is ephemeral those hero-subjects of History are immemorial. The names of these nine martyrs have now entered the forthcoming sugidanon-epics of Tumandok.

Feel free to disagree because for me these figurative depictions in art parallel Platonic forms. The template exists somewhere in ethereal realm accessible only through reason. They are presumably indestructible but their material counterparts present here and now amongst us take part in our finitude, our mortality but energizes the arrival of a socialist society. (https://www.bulatlat.com)

*Social Science faculty, UP Visayas and member of CONTEND-UP

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COVID-19 filmmakers’ diaries get candid on death, despair, coffee and chaos

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Watching all 16 films and trying to relate to each and every one of their stories feels like reliving all ten months of the lockdown—exhausting as if stuck in an oven, baking for a protracted amount of time until you are numb to the fire, until people are reduced to numbers of deaths and recoveries, likes and dislikes, until life shrinks into your phone or your computer. We are not dealing with just the virus but with an even bigger threat to our lives and civil liberties.

By L.S. MENDIZABAL
Kodao Productions/ Reposted by Bulatlat.com

Around this time in 2020, a specter was haunting the world—the specter of a new coronavirus that soon became a full-blown pandemic whose global impact has been like no other in human history. The militaristic enhanced community quarantine nationwide, the first of many, enforced impossible health and safety protocols that paralyzed hundreds of thousands of Filipinos and were used to suppress widespread dissent against the government. The same protocols have been bent and twisted to favor the few rich and powerful. It was only a matter of time before artists and cultural workers, especially the independent ones, felt the blunt force of state abandonment and terrorism as its knee-jerk response to an enemy that cannot be seen.

The National Committee on Cinema of the National Commission for Culture and the Arts (NCCA-NCC), in cooperation with University of St. La Salle-Artists’ Hub, gathers 16 of the most promising filmmakers across Luzon, Visayas and Mindanao in Eksena Cinema Quarantine: COVID19 Filmmakers’ Diaries. Welded together in two omnibus films, Eksena 1 and Eksena 2, are their short films that touch upon their own experiences during lockdown, isolated and barely surviving.

“As a filmmaker in this pandemic, it’s so hard to earn an income,” says a little upside down smiley drawn above a human mouth in Glenn Barit’s Walang Katapusang Hurno. A pretty strong opening for Eksena Part 1, it is straightforward, honest about the artist’s guilt that intellectual/ cultural labor (in this case, filmmaking) is next to nothing in the midst of a global health crisis and social and economic degradation, that receiving film grants justifiably feels wrong when such funds could instead go to social aid. “But we are also struggling yet still very privileged,” the smiley says while chatting with another upside down smiley as they go on about getting an oven for baking to make ends meet. Barit’s laidback storytelling style, social commentary (with a bonus Dolomite Song by Toni Panagu towards the end) and humor, both silly and dark, has enough charm and hostility to prime the viewer for the next three hours of shorts on essentially what it’s like to be quarantined in post-Duterte Philippines—a not so inviting yet gripping rollercoaster ride of emotions and introspection.

The man in Kyle Fermindoza’s K[u]adrado (Frame/d) finds himself in somewhat the same dilemma as Barit. Seemingly his take on the old proverb of “teaching a man how to fish to feed him for a lifetime,” Fermindoza’s stunning visuals revolve around striking the balance between the struggle to survive and the need to create art as tools for human enlightenment and liberation.

The Filipino middle class experience is documented well in the entire anthology, and understandably so. Zurich Chan (Soul Fish) and Julienne Ilagan (Akong Pinalangga (My Beloved)) position themselves in front of the camera as they let us peek into their lives with their families whilst in isolation. The internet is the only medium through which they experience separation from and connection with their loved ones. One family goes to a birthday online, the other a funeral. There is helplessness and yearning in both.

But perhaps the most personal, sensitive and vulnerable that made me cry my eyes out at 3 AM is Carlo Catu’s Joy is My Mother. Death in the family is something that nobody could ever prevent, but for it to happen in these times makes it harder tenfold. Catu and his loved ones recount how they’ve been trying to move forward after Catu’s mom died from cancer. They welcome the audience into their home in the province and show us photos and videos of their source of Joy. The mini-doc is simple, intimate, cozy despite being tragic. I imagine how making this could’ve been cathartic for Catu as much as it may console those who might have lost people in their lives too over lockdown, particularly when most have been deprived of collective mourning since traditional wakes are not allowed.

We see the same theme of love (and loss) in the time of corona in Random People where Arden Rod Condez closes in on couples of different generations and genders in Antique as they bathe, embrace each other, share a sensual kiss or an inaudible yet very animated conversation. The borderline voyeuristic images will either make you feel uncomfortable or comforted or both. The last shot of an old man kissing the grave of his loved one makes it one of the more powerful pieces on human emotion in the ECQ anthology. This is especially refreshing when both reality and social media have desensitized us to the steadily increasing number of deaths, to so much hate and inhumanity.

Bagane Fiola (Alimungaw: Filming in a Time of Uncertainty) and Guillermo Ocampo (From Itogon to London) take us to their places of work that have suffered greatly from the economic repercussions of the pandemic. Fiola shows us how filmmaking is now fundamentally done in strict compliance with COVID protocol. Alimungaw is an objective study of the creative and logistic challenges that all artists must face at present if they decide to create at all. On the other end of the spectrum, Ocampo, a young entrepreneur, attempts to be lighthearted, even funny, romantic and then sympathetic towards the miners-turned-coffee farmers who used to supply his newly opened café bistro which was abruptly closed at the onset of the national ECQ. I must admit that I find the cinematography, tone and style of this one a bit jarring as it straddles between being a lifestyle/tourism feature and a product commercial not unlike Nescafe’s longer ads that romanticize the exploitation of its farmers. Artists and their works have been diminished into commodities in the boundless marketplace of ideas—sure, nothing new about that!—but there’s still something a little unsettling about a narrative that says it finds “inspiration” or the slightest glimmer of hope in the exportation of a local product, specifically Itogon coffee, to London where it has become popular. Meanwhile, the peasant in Benguet remains shackled to landlessness and a life of poverty in the upland, waiting for government aid and the occasional “jackpot” on harvest season at the mercy of the buyer.

Giving us a glimpse of the Lumad community that was forced to flee their homeland due to intensified militarization and state-sponsored killings and abuse of their people, Arbi Barbarona visits their evacuation center in The Right to Life. Despite being far away from home where their herbal medicines and place of worship are within reach, the Lumad are able to establish a system of basic healthcare. Colonized even further by face masks, face shields and hand sanitizer, the leaders continue to assert their right to their lands and their lives.

Pam Miras and Keith Deligerobring unexpected elements of horror and science fiction to the anthology. Lonely Girls interprets the terrifying circumstances that little girls and women, already isolated by a patriarchal macho-feudal society, likely experience in isolation and how they are often robbed of control over their own bodies.

Kalayo, on the other hand, examines a city from a seemingly omniscient perspective, courtesy of aerial and close surveillance shots. “Poetry by Duterte” delivered by a text-to-speech voice reader (a nice little touch of defamiliarization!) plays in the background, which is basically just some of his false claims about COVID19. The city is sometimes empty and peaceful, or noisy with ambulances and police cars, or in flames. The running man in orange, Deligero himself, is a prisoner of his vast suburban cell.

Mark Garcia’s Mga Bag-ong Nawong sang Damgo kag Katingalahan is a visual treat. Abstract in its poetry on death and the zombie-like state of present-day living, the narrator seems to lead some type of an incantation with another one repeating his words, praying that we all get to breathe freely again.

Meanwhile, Hurop-hurop kan Kapadagusan kan Agi-agi kan Gamgam na Adarna by Kristian Sendon Cordero begins with the mysterious arrival of an egg and an Ibong Adarna booklet in Bikolano at his bookshop. This sparks a long discussion among women (ceramic dolls) in the store on how the legend should’ve gone and how the people have a right to the magical bird, not just kings.

Hiyas Baldemor Bagabaldo’s Kneading Nothing probes more into the artist’s self. It goes heavy on the animation as the viewer is taken to the mind of the narrator who obsesses over astronomy and astrology as some sort of coping mechanism during isolation. In the end, uncertainty and anxiety eat her up as she presses repeatedly the snooze button on the phone alarm she has religiously set by the hour. By trying to escape, she gets stuck within the confines of her individualism.

Another short that utilizes animation—the stop-motion chess scene is a personal favorite of mine—is Khavn dela Cruz’s Gunam-Gunam x Guni-Guni whose titular characters are played by his two children, Katch23 and 1delacruz. Wearing masks and face shields, they let loose and run amok outdoors, which I suppose may be likened to one’s chaotic rumination and phantasm when they’re isolated for far too long. A woman’s voice narrates what sound like snippets from deconstructed lessons on the Filipino language until they become mere gibberish, calling to mind the difficulties of online education and its negative effects on the students’ psyche and physical wellbeing.

In a similar vein, Adjani Arumpac features her children enrolled in distance learning as she navigates her way through domestic and professional life in Count. The little boy, Lio, finds adventures in every nook and cranny of their house, convinced that a monster of “wrong numbers” and supervillains (the police) lurk outside their gate. Arumpac’s contemplation of the COVID crisis, human rights violations in the country, etc., images of Reina Mae Nasino in front of her infant daughter’s casket and of a cat eager to protect her newborn litter as well as news of the illegal arrest of Amanda Echanis and her one-month-old child illustrate motherhood in the harshest conditions, at its most helpless but at also at its most resilient. Like the seeds from the dead flower that are planted anew, our children are the reason we keep hoping, creating and moving forward, making Count a most fitting closing film in the ECQ anthology.

Watching all 16 films and trying to relate to each and every one of their stories feels like reliving all ten months of the lockdown—exhausting as if stuck in an oven, baking for a protracted amount of time until you are numb to the fire, until people are reduced to numbers of deaths and recoveries, likes and dislikes, until life shrinks into your phone or your computer. We are not dealing with just the virus but with an even bigger threat to our lives and civil liberties. It must be noted that the country has been on the longest COVID lockdown in the world since March last year and yet we have never been more at risk. Extrajudicial killings, illegal arrests and red-tagging of activists are still rampant. Not speaking against the government does not exempt anyone from state violence. These days, nobody is safe. Macho-fascism accompanied with psychological warfare exists in our own homes, on the news, in that new GMA teleserye on the romantic entanglement between a much older president of the Philippines and his younger “first yaya,” our Facebook feeds, even on Tiktok! Our culture is being held hostage by the State.

This is where the indispensible role of the artist and filmmaker comes in. There is an ongoing race towards winning the hearts and minds of the masses. (https://www.bulatlat.com)

ECQ: COVID19 Filmmakers’ Diaries Eksena Parts 1 and 2 premiered on January 22, last Friday, and will be available for free streaming until January 28 at 11:59 PM on Vimeo. A four-part webinar series in which the 16 filmmakers share their creative processes behind their pieces will also take place on their Facebook page from January 25 to 28 at 6 p.m. You may visit facebook.com/EksenaCQ for more details.

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Painting the presence of freedom

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The mural painted by various artists along Katipunan. (Photo courtesy of SAKA)

By ILANG-ILANG QUIJANO
Bulatlat.com

“Every painted image of something is also about the absence of the real thing. All painting is about the presence of absence.”

– John Berger, writer and cultural critic

The absence of basic rights and freedoms. The void left by a person killed or unjustly imprisoned for their beliefs. Land that is taken away, intrepid voices that are stifled, entire cultures that are destroyed.

Such were the absences that several freshly painted murals along the University of the Philippines-Diliman’s Freedom Wall along Katipunan Avenue attempt to make present. They are the products of a live mural painting session organized by the Concerned Artists of the Philippines (CAP), SINAGBAYAN (Sining na Naglilingkod sa Bayan), and Sama-Samang Artista Para sa Kilusang Agraryo (SAKA) last February 14, in celebration of National Arts Month.

The Free The Artists murals pay homage to, and call for the release of, artists who are political prisoners under the Duterte administration. These artists are not known for individual status or influence conferred upon by elite art establishments, but rather, for their collective life and work as social activists. They are cognized not by art patrons, but by farmers and other poor and marginalized communities into which they brought the joys and liberative potential not just of their art, but of their actual presence in their struggles.

For these artists, art is a participatory endeavour. Indeed, such was the spirit of the mural painting in their honor—participated in by dozens, and welcome to even those who have never wielded a paintbrush in their lives. “We designed our mural to be hands-on, so we used a design that was easy to trace on the wall, with solid colors on which thick brushstrokes can be used,” said Angelo V. Suarez, a poet and SAKA spokesperson. Except for the artist who designed the work, there were “no special skills involved” in the act of painting, he said.

SAKA’s mural featured portraits of Amanda Echanis (a peasant organizer and playwright arrested in Cagayan Valley while nursing her month-old baby), Alvin Fortaliza (creative director of community theater group Bansiwag Bohol arrested while distributing pamphlets), and Sheryl Catalogo (arrested in an office raid in Bacolod City while in the middle of rehearsals for a theatre production). In an additionally tragic turn of events, Sheryl’s father, Jose Catalogo—a sugarcane worker leader—was assassinated while she was in detention.

Meanwhile, at the centerpiece of CAP’s mural is the black outline of the faces of the couple JP (visual artist) and Grace Versoza (poet). A graduate of the UP College of Fine Arts and arrested in 2013, JP continues to paint while imprisoned at the Samar provincial jail. Their faces are superimposed on a stencil background of “Oust Duterte” in varying colors of neon.

“Street texts and images, unlike official signage and monuments, are often encountered as palimpsests that facilitate a compounded view of overlaid concerns and sentiments. Our mural plays on this idea and situates the campaigns to Free the Artists and Defend Freedom of Expression within the broader yearning for systemic change as embodied by the call to oust the fascist regime of Duterte,” Antares Gomez Bartolome, CAP head of research and education, said in an interview.

Photo by Ilang-Ilang Quijano

One of the more intriguing murals accentuated the faces of slain farmers as stencil background. At the foreground are graffitied faces of Duterte and killed and tortured peasant leader Randall Echanis. But whereas cuss words and a dick adorned the president’s face, poetry was scribbled all over Echanis’ face, ending with his own incendiary words, “Hinding-hindi ko kayo titigilan…” (I will not give up).

A couple of community-based artists spearheaded the work. Asked about what the various vandalisms on Duterte’s portrait meant, they chuckled and said, “It means that he’s really depressed.” One of the artists, Frances Abrido, said that it took him a week to prepare the stencils of slain farmers—even so, they only represented a fraction of the more than 300 who have been killed for the past four and a half years. Abrido gives art workshops among children in rural areas and has seen first-hand how militarization has traumatized entire communities. “We are painting on the streets so that these realities are reflected here. Of course, there are other spaces we can use such as online, but street murals do not choose its audience. They’re for anybody who happens to pass by.”

Photo by Ilang-Ilang Quijano

Meanwhile, sandwiched between the words “Pasismo Biguin” (Defeat Fascism) is an image of an Aeta with a readily aimed bow and arrow. Bannering the call to “Free Lumibao 4” in Tagalog and Alibata script, the mural is referring to the four Aetas arrested in the said sitio in San Marcelino, Zambales in the first “test” case of the controversial Anti-Terrorism Law.

The artist, Bryan John Gonzales, has spent a lot of time among indigenous communities in Central Luzon. They are also the usual subjects of his paintings. “The life of our indigenous peoples is very peaceful. It’s the kind of life that I also want for myself,” he said. But Gonzales notes how centuries of peace is shattered by government and private sector projects that encroach on indigenous land. He cites the expansion of New Clark City in Pampanga as the most glaring example. “It shocked me how much could change so quickly. I saw an entire mountain disappear in just a matter of months. I saw rivers diverted. This shameless destruction of the environment affects not just the Aetas, but the future generation of Filipinos as well,” he said.

The grandson of a farmer who “died without owning the land he tilled,” Gonzales started out doing surrealist art, until he realized that his works “lacked soul.” “It was as if I was only expressing myself, creating my own reality. Only the Aetas gave my works a true soul, a purpose,” he said.

A mural about choreographer Marlon Maldos of the cultural group Bansiwag Bohol portrays the young cultural worker in a joyous mid-jump, in stark contrast with the terrified painted faces of the farmworkers that surround him. At 25, Maldos was killed while riding a motorcycle last March 2020, at the height of the COVID-19 pandemic.

Photo by Ilang-Ilang Quijano

Wheatpaste art—or putting up images printed on paper using a gel or liquid adhesive—was the medium of choice for some murals, including one that featured urban poor heroes Carlito Badion (extrajudicially killed last year), Carmen “Nanay Mameng”, and Estrelieta “Ka Inday” Bagasbas. Some murals exhibited a manga-inspired (Japanese comic) style that is particularly popular among the youth. This included a modern rendition of Carlos V. Francisco’s Bonifacio Mural.

Photo by Ilang-Ilang Quijano

The mural painting session itself was an assertion of presence—of people unafraid to be there, on the sidewalk, putting brush to wall to posit hard truths in broad daylight. As if trying to help an amorphous social movement paint its presence: “We are here. We are still here.” The murals, in their making and content, assert the presence of that which is primarily absent: freedom.

When asked why so many people had flocked the activity, Suarez put it quite well. “Artists know that their freedom to create the art that they wish to is premised on the freedom of expression. When this freedom is taken away, so is their freedom to create art. And they create art to serve the basic sectors, because we basically owe everything to farmers and workers—what we eat, the things that we use everyday. When they are suppressed, then everything else is rendered meaningless.” (https://www.bulatlat.com)

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National Artist’s birthday wish is for Duterte to ‘go away’

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Screenshot of the event celebrating National Artist for Literature Bien Lumbera’s 89th birthday.
Poet, social commentator and literary scholar Bienvenido Lumbera only had two words when asked what birthday present he would like to receive from the president, “Go away!”

By DAWN CECILIA PEÑA
Bulatlat.com

MANILA — National Artist for Literature Dr. Bienvenido Lumbera celebrated his 89th birthday today, April 11, with an online event titled ‘Sa Panahon ng Pandemya: Lugaw, Pagdiriwang, at Protesta’. The virtual get-together was organized by the poet’s family members and long-time friends with Concerned Artists of the Philippines.

Poet, social commentator and literary scholar Ka Bien only had two words when asked what birthday present he would like to receive from the president, “Go away!”

Despite his age, the nationalist artist has been active in standing up on issues that concern human rights, extrajudicial killings, press freedom, sovereignty and the West Philippine Sea, and the government’s failed pandemic response.

Moderated by Noel Ferrer and Jina Umali, the program became an avenue for Dr. Lumbera’s long-time friends and collaborators to send him well wishes and recall their memories when they worked together on creative pursuits.

BAYAN Chairperson Dr. Carol Araullo recounted fond memories of her friendship with Lumbera, calling him an unabashed nationalist and democrat. “Bien, you are unflappable, low-key, unheralded, but his reputation precedes him,” Araullo added.

Aside from being a critically-acclaimed writer, Lumbera is an activist. His involvement in organizations such as Panitikan para sa Kaularan ng Sambayanan (PAKSA) and progressive poets group Galian sa Arte at Tula (GAT) during Martial Law embodied his belief that writers should immerse with the masses and those who seek to improve society.

READ: Bien Lumbera: Activist, National Artist for Literature

Former Social Welfare Secretary Judy Taguiwalo shared their experiences of fighting against the Marcos dictatorship and opposing corrupt politicians together, “Now, it is difficult for us to march on the streets. But I know, your impassioned love for the nation and its freedom will not lessen, diminish, or disappear, as well as your stance against tyranny,” Taguiwalo added in Filipino.

Lumbera was teaching in Ateneo De Manila University when Martial Law was declared, he then went underground and edited Ulos, the revolutionary literary publication. He was arrested by the military in January 1974 and released December of the same year.

READ: ‘Para Kanino’?

In his decades-long active participation in pursuing a better Filipino society, Lumbera became a pillar of strength, an image of determination and grace, and an inspiration for all young writers.

Lumbera thanked all those who wished him well on his second ‘quarantine birthday’ saying, “I thank everyone who contributed their time and talent to celebrate my birthday. I am grateful for those who are by my side as I reach the age of 89,” he said in Filipino.

The program ended with the singing of “Di n’yo ba naririnig?” the Filipino adaptation of “Do you hear the people sing?” (https://www.bulatlat.com)

The post National Artist’s birthday wish is for Duterte to ‘go away’ appeared first on Bulatlat.

The story of Macliing Dulag and the fight for indigenous peoples’ land

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By REIN TARINAY
Bulatlat.com

In commemoration of the 37th Peoples’ Cordillera Day, an online storytelling featuring the life of Cordillera hero, Apo Macliing Dulag was held last week.

Dulag was a celebrated tribal leader who led the people’s resistance against the controversial Chico Dam during the Marcos dictatorship.

On April 24, 1980, he was killed by the military.

In a book called The Pangat The Mountains, and the River written by Luz B. Maranan, Macliing’s story of fighting against the government’s development plan which would displace 100,000 indigenous people in the Cordillera.

During the online program, Maranan said it was important to highlight Dulag’s story as his life embodied not just the fight of the Cordillera people but what it meant to be a hero nowadays, for having defeated a dictator and a destructive project like the Chico Dam.

Maranan highlighted the need to retell Dulag’s story as there are attempts to discredit his heroism, with the removal of their monument early this year.

Read:  Police destroys Cordillera heroes monument

The storytelling program was organized by Takder, online news Bulatlat, and media literacy podcast Media Matters with Ja Ellao(https://www.bulatlat.com)

To order a copy of The Pangat The Mountains, and the River, contact:
THE BOOKMARK, INC.
Address: The Bookmark, Inc.,264 Pablo Ocampo Sr. Avenue San Antonio Village, 1203 Makati City, Philippines
Contact: (+632) 8-895-8061
(+632) 8-897-0824
bookmark1945@gmail.com
marketing@bookmarkthefilipinobookstore.com https://www.bookmarkthefilipinobookstore.com/

The post The story of Macliing Dulag and the fight for indigenous peoples’ land appeared first on Bulatlat.

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