Category Archive for: arts and culture

kultura

Institutional, nervous, and other breakdowns

The first time a young writer came out with a Facebook status (dated August 2) about having been taken “sexual advantage” of in a writing workshop, I shared it with a very clear statement about silence. Fresh from the CNN Life panel for the Readers and Writers Fest where we were asked what is the biggest realization we’ve had about the cultural sector, I said that it is about how much of it operates on silence. We don’t know what’s going on, how things are decided, how the systems work, and all that we ever discuss is what we see on the surface: the finished art work, the published piece, the film, the TV show, the dress. But the work that goes into that, the institutions that come into play, the oppressions that are intrinsic to that system — we are kept in the dark about these things. After all, we can be so aware of power relations and capital, and still deny what that truly means. (more…)

kultura

Portrait of a pro-Duterte cultural worker; or how to be director of #SONA2019

Step 1. Say Yes. The money’s good, and in the age of disinformation and press releases, you can always get away with saying you’re doing it for free — the President’s propagandists will ensure that the President’s base (the 80% that approve of him according to surveys!) will believe you, and that’s all that matters. Of course you’d be stupid to do this shit for free. There is a price for the kind of shaming you know you’ll get, the raised eyebrows from your peers, the way history will judge you. No one will take it against you that you took on government raket; but history will judge you harshly for wanting to put this icon of this dark times in a good light. You need to get paid for this. And well.

Step 2. Embrace Denial. Duterte is not responsible for the thousands dead in the drug war. He is not responsible for the forced evacuation of the Lumad communities in the name of big business wanting to take over their ancestral lands. He is not responsible for the worsening poverty. He is not responsible for the killings of farmers and peasants. He is not responsible for the state of the nation where democracy is discredited, criticism is a crime, and activists are deemed terrorists.

The propagandists are paid to embrace denial. You are, too.

(more…)

kultura

Kin Misa, visual artist

Here’s a piece I wrote in 2011 on Kin Misa’s work, which I think now was ahead of its time, but what do I know, what do we know really, about life and death, rejection and struggle, except to try and make do, make from, make regardless of everything else that happens around us, until it is time to say no. Let it go.

Here’s to you Kin. Happy trails. — Ina. 

The end of the (art) world in Kin Misa’s online exhibit

There’s never reason to go online before seeing an exhibit as far as I’m concerned. This means being blown away by fantastic work when I least expect it, at the same time that it means coming across horrid exhibits that I travel two (or five) cities for. Always, I allow myself to be floored. Yes, that’s me living on the edge. But what of an exhibit that only happens online, for reasons that are about what’s real and concrete, and about creativity and imagination? What happens when an exhibit rejects my notion(s) of art spectatorship, as it rejects the usual audience, doesn’t get the standard patrons, won’t follow the rules — spoken and otherwise — for art and exhibition in this country? What happens is rust and color by multimedia artist Kin Misa.  (more…)

komentaryo

Is this still a whiff? Bato and Diño, FDCP and tax rebates

It was bad enough that Bato dela Rosa had the gall to have a film made about his life — after all, it was under his leadership at the PNP that we saw THOUSANDS of Filipinos killed in a bloody drug war that he insisted was necessary because his god … este, his President believed it to be so. Of course a film that is blatantly propaganda via hagiography is nothing new. Neither is the admission that this film is about getting him a Senate seat. Let’s not even get into whether or not he has the credibility and credentials for it (and no, Jimmy Bondoc, insisting Bato’s loyalty to the President is enough is just idiotic, also: anti-nation).

Let’s just talk about the fact that he is already an administration candidate, which means that he already has the benefit of using government resources for his campaign. And then he makes a film about his life, which he need not declare as a campaign expense, even when he himself admits it’s supposed to help him win the elections. Imagine? It’s like getting campaign ads aired without having to declare it as part of your campaign. It’s getting away with spending millions on your campaign without having to declare any of it. 

But it gets worse. Enter Liza Diño’s Film Development Council of the Philippines.  (more…)

kultura

On “Mula Sa Buwan” #theaterPH

My bias against foreign theater works staged in the local has grown through the years. The possibilities for original theater work will never be realized if we don’t take the risk of staging it, more deliberately and consistently. On the upside, there is an untapped resource of a handful of people doing really good adaptations of foreign works, old and new, a productive and critical way of taking something distant and different, and making it familiar and relevant in this context. Done well, with a very clear sense of the value of the original, and how it can speak to a wider audience in the here and now, the adaptation cradles a creative spirit that is not only relevant, but can also be very powerful.
 
This is the inevitable context of Mula Sa Buwan, an independent production, being restaged in 2018, now in the context of a theater scene that struggles to deal with a state of the nation that allows little for leisure expenses, even less for theater. After all, when films remain as cheaper alternative and more accessible option, why would you spend on theater?
 
But maybe the question isn’t why, but when. It is when the theater production is originally Filipino, even as it is twice removed from an original, even when the original text seems so far gone from where we are. Mula Sa Buwan is a musical based on Soc Rodrigo’s translation into Filipino of Edmond Rostand’s Cyrano de Bergerac. What it remains is this: it’s the story of a protagonist who is on the one hand confident in his intellect, but insecure about his looks. Of course this means an unrequited love, as it does mean the ability to love so willingly and humbly, that life and limb don’t matter.
 
It is a love story. And it is no surprise that this is what is sold about this production — it is what will bring audiences in. But what should be said about Mula Sa Buwan is that it is more than that. 
Click here for the rest of this review.