Category Archive for: bayan

PAL, PALEA, PNoy

in November 2010, i blogged about Lucio Tan getting away with the plan to lay off regular Philippine Airline workers in favor of outsourcing services, with the Department of Labor and Employment siding with him. now, almost a year since, PNoy proves himself an Hacienda Luisita heir, and actually says the PALEA workers who are on strike might be held liable for economic sabotage.

the President is saying that these regular employees who have served PAL — and therefore the public — for years are to be blamed for making the company that’s retrenching them lose money? here for the world to see, the mind of a President who mouths his matuwid na daan rhetoric at the same time that he sacrifices 2,600 workers’ lives and their families’ lives for who exactly?

Lucio Tan, the most notorious crony capitalist.

good job PNoy. good job.

(repost with minor edit from November 2010)

Lucio Tan wins again! or why that San Mig Light will taste infinitely better now

because in whose mind would it be normal and rational, just and fair, to lay off 2,600 employees favouring one of the richest Filipinos of 2009. really, now. Lucio Tan’s net worth then was at $1.7 billion dollarsthat’s P78 BILLION PESOS. This year, he’s second richest in the land, with a net worth of  $2.1 billion dollars, that’s close to P90 BILLION PESOS (89.67 to be exact).

according to DOLE, the rich are to be pitied because business is down, and therefore we must allow them to retrench workers.

This is also a man whose tax evasion cases were dismissed on a technicality during Erap’s time – Tan was a crony of Erap’s and earlier of Marcos. It explains, doesn’t it, how he got away with evading taxes that amounted to P25 billion pesosin 2005, which in 2000 was estimated to be at P25.27 billion (yes, I refuse to let go of that .27 billion).

i know i digress, here, but i think this digression points to the Department of Labor and Employment’s (DOLE) inability to see Tan as bigger than his current oppression of workers in Philippine Airlines. it points to how DOLE in fact seems to be treating Tan as its very own crony, siding from the beginning with PAL, even having meetings with its officials, as if it is PAL that is aggrieved in this situation.

let’s be clear here: we should feel no pity – at all – for Tan and his PAL management. they are not the oppressed here. and if you think otherwise, you should read up. or maybe try being an employee for once, and then talk to me about oppression.

because oppression is when you’re issued a gag order that disallows you to talk about your salary – not because it’s big mind you, but because it’s lower than most other pilots. in August, 27 pilots resigned because they wanted better wages. but this resignation was also about taking a stand against the way they were being treated by Tan and PAL management.

before this, 11 co-pilots had been forced to resign by PAL management because they wanted these pilots to fly planes under Air Philippines and Aero Filipinas – both owned by Tan. the point? these pilots would be hired as contractual employees, which means their wages would be cut in half, low as it already is in PAL.

as bad as this kind of treatment? some pilots aren’t forced to resign, but they are forced to take on flights for Air Philippines on top of the flights they do for PAL. that’s being employee in two companies! correction, that’s forced employment in two companies both owned by he who is called the “most notorious crony capitalist” Tan.

and no, this isn’t just about the pilots. flights have been undermanned, which can only mean overworked flight attendants with the same pay.  female flight attendants are also being force to retire at 40, versus 60 for male employees; a maternity leave also means no pay and no benefits. ground  crew also hear of theirimpending forced resignations in order to be re-hired on a contractual basis in Tan’s various spin-off companies.

but it can only get worse. Tan and PAL management did want to work on these spin-off companies so they might gain more profit, but this wasn’t in the form of hiring old workers on a contractual basis; it was to outsource employment which makes imperative the termination of 2,600 workers.

this is what’s in the news at this point, the DOLE decision being released as it was on November 1. the irony would be nice were it not tragic, too. and just reason for anger.

you ask why didn’t PAL employees hold a strike earlier? why did they wait for things to be so bad, to come to a head, to pile up like this? a history lesson might be in order:  12 years ago in retaliation against striking workers, the PAL management terminated 600 pilots and almost 2,000 members of the cabin crew. and yes, that case of wrongful termination is still in our courts.

so you see, Lucio Tan has gotten away with murder in this country, in so many ways, and too many times. governments have let him kill, time and again.

it might be good to remind PNoy that his mother, seeing as she is always invoked by him and his sisters, never dealt with Lucio Tan – in fact Cory was seen as hostile towards Tan, thank goodness.

and just in case this isn’t enough to convince PNoy that his delegation of this job has fallen on horrible hands. read the DOLE’s justification of its decision, it’s so naive – or maybe just blind – to the workings of a capitalist empire like the one Lucio Tan’s creating for himself. DOLE believed PAL when the latter said it has been suffering financially the past two years, though a look at PAL’s own milestones shows that it has done nothing in the past two years but to acquire and to expand. it sure doesn’t look like a business that’s suffering. Cebu Pacific might have beaten it already, but that doesn’t mean it’s in the red.

oh and just so you know, in 1998 PAL also used as excuse financial difficulties to defend its downsizing of operations and termination of employees. but too, maybe all it takes is to imagine how far Lucio Tan’s money – the one that’s declared in and everything else extraneous to those richest man in the Philippines numbers – could go into spending on PAL employees’ wages or just making lives better all around.

but too, there’s an even easier question to ask: if Lucio Tan is second richest man in this country, howthef*#@! can the same man have a business that’s going under?

ULOL.

we don’t. but let me give you some proof.

Enjoy Division is a group exhibit not just with a wonderful title, but which had a curatorial note by Antares Gomez Bartolome that the Light&Space Contemporary gallery decided to put down.

the said note was critical of Malaysian curator Adeline Ooi’s assessment of Philippine contemporary art which looked down on us, i.e., “We already know you were conquered by the Spanish, sold to the Americans, raped by the Japanese and totally fucked over by Marcoses” but which praised artists influenced by Roberto Chabet. (that article was up at businessworld which now requires you to pay to see its archives. bleh.)

since Light&Space Contemporary’s censorship of the curatorial note, artists of Enjoy Division have decided to take down the exhibit.

it seems about right that they do, given the fact that there is no intelligent response from the gallery — at least none that’s been made public — other than what’s here.

via @Antares Gomez B. on Facebook (August 29)

Dear Light & Space Contemporary,

I am posting this essay for purposes of establishing a dialogue. Kindly reply with your reason/s for taking the essay down. So far, all I have is a forwarded message from Buen Abrigo, one of our organizers, who received a message from you. It reads: “Ano ba nangyari? tinangal namin yung writeup nyo, sablay sya men, sabihin nyo sa writer nyo, d namin susuportahan yung writeup, di pwde i publish gamit anglight and space. Maganda sana at solid yung show pero panira lang yung writer, gusto mo magusap tayo mamaya para malinaw sa inyo kung bakit d approve yung writeup.”

it’s interesting here how a show is judged as “maganda at solid” extraneous to its a curatorial note. the next step would’ve been for the gallery to explain their reasons for saying yes to this exhibit to begin with — what exactly did they think it would be about? — because they seem to be surprised about that note, when it could only be an integral part of the process of putting up that exhibition. of course it’s entirely possible that the process is different for this gallery, and that they were really truly surprised, then maybe the question should be: why? what was so wrong about an essay that critiques a foreigner’s take on Pinoy art?

and really, how do we deal with the notions of the curatorial note being separate from the exhibit it curates? though maybe let’s start by talking about the difference between the curatorial note and its writer: sablay yung write-up? panira yung writer? ganda.

via @Antares Gomez B. on Facebook UPDATE (August 31):

During our exhibition group’s meeting yesterday evening, we decided to ask the gallery for a written explanation for their decision to ban the essay. We received two text messages from them.

“Right din ng gallery na tanggalin ang mga bagay na negative or nakakasira sa gallery at sa mga tao na involved dito, ayaw namin makisama sa drama nyo kay ooi”
-Pow Martinez 30 Aug 2011 9:43pm

“Pwede naman palitan yung exhibit text nyo na walang name dropping na negative na sinasabi.”
-Pow Martinez 30 Aug 2011 10:08pm

We decided to ask if these two messages constituted the official statement of the gallery as they were rather general and vague.

We then received a telephone call from Pow Martinez where Buen Abrigo explained that the works could not sacrifice the essay, that the works were the manifestations and elaborations of the essay’s sentiment and vice versa, and that the criticism of how certain parties are distorting and exploiting (the making of) art history was integral to the exhibition’s concept.

The reply was that the gallery did not agree with our concept. “Lame” was the word.

We have since decided to withdraw our works from this so-called alternative space.

Despite our disappointment with the gallery management, we take heart that the exhibition was able to highlight the ideological lines that divide the milieu we are part of, lines that help determine the breadth, pitch, and span of critical art production and discourse.

and so it becomes clear: as far as the gallery’s concerned: (1) no curatorial note can say anything negative and/or namedrop, and (2) responding to a foreign curator’s statements about Philippine art is “drama” that’s negative. and yes, we got that loud and clear, it’s the gallery’s right to take down a curatorial note, BUT keep the exhibit that goes with it as if it stands on its own. got it.

on Enjoy Division 1 via Antares Gomez B's Facebook
on Enjoy Division 1 via Antares Gomez B's Facebook
on Enjoy Division 2 via Antares Gomez B's Facebook
on Enjoy Division 2 via Antares Gomez B's Facebook

so you know, there is actual debate and engagement with the strategies/tragedies/ concepts/ideologies/fictions that create this art world, and then there’s murahan at personalan, walang paliwanagan. and there are mafias and cliques and friendships, a refusal to change the way things are, and the general disregard for and distrust in criticism, even when they dish it against critics who engage them in intelligent discourse.

right here is why i never agreed with the idea that the one great thing to come out of the conservative controversy that was poleteismo is that people will start talking about philippine art. because the censorship of Enjoy Division’s curatorial note was infinitely more offensive and should resonate for anyone who writes — anyone at all — and as such demands involvement from those who joined the fray of  kulo’s closure.

but the national artist and the high-and-mighty writers of this world don’t seem to care about art anymore, even when it’s been trampled upon by a foreigner with false grand statements about Pinoy art, even when it is censored in light of protecting one way of viewing art making in this country.

we prove in the end that post-poleteismo, and save for the grand couple of weeks when everyone was suddenly an art critic in this country and no one complained, the issue of censorship in the arts and the systems that allow it — without the noise of the penis — will only fall on deaf ears.

tunay na nakakadismaya.

Click here for Antares Gomez Bartolome’s curatorial note.

On August 7, 2011, the History Channel premiered its 48-minute documentary on the bus hostage drama that happened in Manila a year ago on August 23, 2010.

For a full week after the premier, this same documentary would be replayed every day, sometimes three times a day, on cable TV. There was no noise about it, barely any media mileage other than what looked like press releases from the History Channel itself, where the documentary is sold along with the rest of the channel’s offerings for August.

For a nation that prides itself in having a powerful online and mainstream media, for a nation that can pick on a private citizen like Christopher Lao, and an artist like Mideo Cruz, we sure as hell know when to keep something under the radar. We sweep it under the proverbial rug, so to speak, just in case we might also be allowed to forget it. Speak no evil, see no evil, hear no evil, means we cannot be seen as evil?

In the case of last year’s bus hostage tragedy, we might not be evil, but we sure are incompetent and unforgivable, unapologetic and downright wrong. And in light of this documentary, we are just all complicit.

Were we all just too busy? Or were we all not ready for this anniversary?

the rest of it is here.

On August 7, 2011, the History Channel premiered its 48-minute documentary on the bus hostage drama that happened in Manila a year ago on August 23, 2010.

For a full week after the premier, this same documentary would be replayed every day, sometimes three times a day, on cable TV. There was no noise about it, barely any media mileage other than what looked like press releases from the History Channel itself, where the documentary is sold along with the rest of the channel’s offerings for August.

For a nation that prides itself in having a powerful online and mainstream media, for a nation that can pick on a private citizen like Christopher Lao, and an artist like Mideo Cruz, we sure as hell know when to keep something under the radar. We sweep it under the proverbial rug, so to speak, just in case we might also be allowed to forget it. Speak no evil, see no evil, hear no evil, means we cannot be seen as evil? (more…)

Elias de Tayabas
Elias de Tayabas

it was daunting more than anything else, though at some point all that operated was an amount of yabang: i’ve seen friends do this before, i’ve seen wonderful beautiful local books happen without a big publisher behind it, without press releases coming out in papers. and this book, i knew, deserved the major major effort of blood/sweat/tears because it is about family and history. because it is unconventional in form, an almost refusal to fall within the genres that are familiar, a straddling among creative non-fiction/historical essay/memoir. because it demanded a freedom from the standard limitations of publishing, given its refusal as well to deal with the ways in which things are usually written, how they usually look, what can usually be said.

and so Revolutionary Routes can be infinitely controversial, familiar as many of the personalities within its pages are, from former presidents Manuel Quezon to Ramon Magsaysay, Vicente Sotto to Artemio Ricarte to Tomas Mapua, yet here, more than anything they are revealed to be people. there should be no fear in that. there should be freedom in it.

because that is also what it means to family: a great amount of freedom. to be able to let go of these stories, and more than sharing it with the world, show the world how our Lola Concha, unnamed and anonymous, knew somehow to sit down and write, in long hand, about the life she lived. with no pretenses at publication, no grand narrative tying everything together, no effort at making saints out of sinners. in the process she left not just a narrative about family, but a history both local and national in the voice of someone who actually lived within it. Reynaldo Ileto’s Foreword to the book begins:

Revolutionary Routes is more than a family history across four generations. Author Angela Stuart-Santiago has deftly woven together the memoirs, clippings, correspondence and other traces of her family’s past into a microhistory that spans the late 19th century up to the 1950s. While this book is rooted in the specific experiences of a family that lived in Tiaong and its adjoining towns in southwestern Tayabas (now Quezon) province, it also tells us much, from the ground up, about everyday life in the countryside under the shadow of successive imperial and national regimes. This book can also be read as a modern history of the Philippines.

it seemed there was no other way to do this book, but to take it by the horns and make it walk a path we were making up as we went along. a kind of tribute to the way Lola Concha lived believing in hard work and with more heart — heart — than i can muster. a tribute to Lola Nena who could see most clearly even as she was blind, who inadvertently led me to reading beyond my years, whose sadnesses are a thread i find strength in. and really, ultimately, a glass raised to Angela, whose writing’s a gift in the most basic and complex of ways.

today these arrived in the house and home that Lola Concha and Lola Nena continue to provide us in Mandaluyong:

Revolutionary Routes books!
Revolutionary Routes books!

and i realized there was no other way, no other way at all, but to have taken the path we did, difficult/stressful/frustrating as it was. and today, i felt as close to this joy as i could, as in the end, this route could only be liberating, in all ways imaginable.

***

we’re launching Revolutionary Routes, on August 20 2011, 5 to 8PM at the Filipinas Heritage Library. come buy a book and have Angela sign it! we’re celebrating family and Tayabas, and Elias from Rizal’s Noli who we now know to be a crucial part of our story.

if at all, you’ll get to meet us beyond our blogs, with partying the only thing on our minds, no fangs included. do come!

Revolutionary Routes by Angela Stuart-Santiago
Revolutionary Routes by Angela Stuart-Santiago

Revolutionary Routes, Five Stories of Incarceration, Exile, Murder and Betrayal in Tayabas Province 1891-1980 by Angela Stuart-Santiago

based on the memoirs in Spanish of Concepcion Herrera vda de Umali
as translated into English by Concepcion Umali Stuart

foreword by Reynaldo C. Ileto
book design and overall layout by Adam David
cover design and Elias illustration by Mervin Malonzo
official website by Joel Santiago