Category Archive for: bayan

komentaryo

the good, the sad, the ugly —

— or the life and death of critical discourse.

so carlos celdran takes jim paredes to task for being, in gay lingo, a negatron, i.e., a nega, a negamall, about the philippines. what paredes had said seems irrelevant now, because what came to matter as far as ANC’s Media in Focus panel that included celdran was this: can you blame media for showing just the bad news? isn’t celdran mouthing government rhetoric that says we must see the positive in all these? and was celdran, praytell, correct in saying that there’s something good in GMA, and that well, it’s worth the news? and for the more exciting part, does paredes’ migration to australia matter in any form or manner?

THE GOOD — or why i was with team carlos for a while there.

between celdran and paredes, it is the former that has me listening. this man just has the balls, you know? he publishes what’s on his mind, then takes responsibility for it regardless of the outcome.  which is really what made for fascinating viewing as well, of the twitter exchanges and that fateful MIF show.

it’s also quite refreshing to hear someone from the same social class dishing it against his own, and well, not minding being at the receiving end of it. i mean of course it’s easy to dismiss celdran as just a konyo boy, at the same time, he is one who seems more involved than his kind, seems more daring in terms of taking stands and having convictions, and really, he seems to have a better sense of his limitations at the same time that he lives his freedoms.

and so yes, he will critique government at the same time that he will openly campaign for gibo; he gets angry at lisa macuja for saying no to the RH Bill campaign, and celebrates lea salonga for being on his side; he will keep the fire going — as many middle and upper class netizens did — throughout the ondoy tragedy and aftermath, even as he has gone on to talk about other things that are more current and well, that are a little happier.

which is why it’s no surprise that he will say, there must be something good to write about the philippines, here and now, right? we must not want to be negatrons, and instead start building a pinoy identity that’s more positive. we must consider what it is that so many in the world think about us, given what it is they know (or not) about the philippines. so he demands for a balance between the bad and good. he also says there must be something good about GMA, even if it’s just that spanking new train.

but here is where celdran’s limitations become clear.

THE SAD thing isn’t so much that we must even thank GMA for the good news of a train that is her responsibility to renovate to begin with, it’s really that as we thank her for you know, the elevated u-turn on C5 or the highway to Subic, we cannot but imagine who was marginalized in these processes of “development”.

how must it feel to deal with that elevated u-turn, when you are the commuter who’s public transport isn’t allowed to pass on it, and instead must contend with thetraffic it creates beneath it? how must it feel to be the farmer or worker who now has to contend with destroyed mountains and land, plus a highway that’s impossible to cross, in order to maintain a living?

and yes, how do we imagine the train being a fantastic thing when the impoverished that exists in its immediate vicinity are blamed and ostracized, made to feel unworthy of its existence given it’s new beauty?

carlos conde, who was also guest at the MIF panel, has it right: much of the good news we do have is premised on something sad, if not altogether bad. efren penaflorida‘s success is really about poverty and the sad state of education in this country; manny pacquiao‘s athleticism is based on the fact of necessity, and so is charice pempengco‘s singing style and success.

these successes are plenty true, and there are tons of good news, but context — the bigger picture — is all encompassing. the sad truth is that where we do come from, there is no escaping the sadness. and maybe there is no reason to. because the moment we do, then we might forget. and i imagine that forgetting is also the last thing that celdran wants to happen. or paredes for that matter. regardless of whether they live with it everyday or ehem, have it in theirhearts, as filipino-migrant-apple-picker-and-writer Carlos Bulosan already said decades ago.

THE UGLINESS of this all lies really, in the way things were resolved between celdran and paredes. the catfight via twitter was exciting to say the least, but for it to have been resolved beyond the confines of the online world where it had happened, and then for it to just be concluded without explanation or further discussion, seemed like a cop out. it seemed like the quickest life-and-deathof critical discourse as we know it.

it would’ve been great to get the discourse going, on many things that the celdran-paredes argument had raised. there’s media responsibility, the fact that news are chosen, and yes, that there are certain kinds of news that appeals to the international audience. there’s also the question of tourism and world perception and filipino identity. there’s the question of citizenship and migration, and the right to complain, as well as the need to do something about it.

butmaybe the ugliest thing to come of this is the fact that in the end, as spectator, i am made to realize that there is sameness here. both celdran and paredes are actually in the same boat, and when celdran says at least he’s doing something about changing the philippines even as he complains about it, maybe he only thinks himself better than paredes.

because while there is value in celdran’s daring, his limitations are very clear: the status quo is where he’s at. systemic change, making sure that the problems that create a pacquiao and a penaflorida and a pempengco, an ondoy and extrajudicial killings and an impoverished majority, is not his point here. his is a band-aid, a way of making the healing of wounds a little faster and a little less painful, which is noble in itself. but this won’t keep the wounds from not being inflicted again, won’t make for real change at all.

in that sense, while he is no negatron like paredes, and while he has stayed in the philippines instead of making a big deal about migrating elsewhere, and while there is value in the ways in which he wears his heart on his sleeve, celdran doesn’t seem to be any different from paredes when and where it matters.

maybe that’s good enough for him. and maybe that’s not ugly after all. it’s just downright sad.

kultura

Art of Our Lives in Pacena’s Static Reverb

a version of this was published in the PDI on November 23 2010.

The noise was crazy at the opening of Jay Pacena’s recent exhibit Static Reverb. Cramped as we were in the small space of Blanc Gallery, the energy was deafening in its youthfulness, the excitement really quite overwhelming. This came in contradiction with the fact that Pacena’s canvasses were filled with the quietest colors of sad blues, grays and whites; his short film that was on loop on the flat screen TV was in black and white.

But maybe this moment in contradiction was the whole point as it forces one to embrace the cognitive dissonance that Pacena’s work requires. An act of going beyond the canvas and living with the contradictions of its quiet violence.

Using acrylic and digital archival ink, notions of what connects us and the spaces they traverse are represented here by geometric lines and shapes in various angles, interwoven with lines that link differently-sized balls. This stereotypical notion of the things that bind us – as shapes that we have in common, as the things that we hold in our hands and make us concrete – is rendered differently by the naked faces and bodies it doesn’t only co-exist with on canvas, but actually lives off of. At the same time that it allows it to die. To change. To be redefined.

The huge canvas of “The Banquet 1 and 2” is a stark representation of this dynamic, with digital images of men and women in various poses of movement. Here, the geometric shapes become weapon (held to the temple, to the nape, to the neck) with which to kill self and other, it is the blindfold that keeps sight at bay, it ties us down, encompasses our bodies and minds, the things we hide within. (more…)

komentaryo

an ongoing saga: or why Edu has some explaining to do

and no, i don’t mean in relation to pinky webb, though that would be interesting ‘no? why oh why would any sane individual choose to run under GMA’s party. and what would be so compelling that he would choose it over love?

but no, this is more about Edu Manzano, he who’s running as Gibo Teodoro‘s Vice President, being the Social Security System‘s endorser. yeah, Captain Barbel sells SSS with his Lucky son — the strangeness of that statement isn’t lost on me.

elsewhere i’ve talked about the worst times i’ve had with SSS, and yet, it could only really get worse ‘no?

and so in the age of Duds selling SSS, i try (in vain, i might add) to get money that’s due me. the difficulty of course lies, not simply in its lack of a system, but in its downright disregard for a woman’s right to her name.

it is my maternity benefit that i dream of receiving from SSS, one which requires that i show my child’s birth certificate, and which apparently gives any SSS employee the power to change my name. yes, ladies and gentlemen, while the law provides that i may keep my maiden name (an amendment to an existing law by Miriam Defensor Santiago — this is the one time i thank the heavens for her), in the SSS offices across this country, you are presumed to want to use your husband’s surname — you won’t be asked if you want it done.

if this seems petty, then try it with some of this: none of my IDs have my married name on ’em. and if this seems irrelevant, then try this on for size: you need two IDs for your request for (your own!) money to be even processed by the fantastic SSS office.

add to this the fact that the SSS people DO NOT tell you that they have changed your name, so you can’t even throw the law at their faces.  and so after waiting two weeks for the SSS computer to accept your change in name, you come with your old IDs and you’re told: “ay ma’am, hindi po kayo ito e, magkaiba ang pangalan.”

and you only say watdapak! because really, this same woman knows you to be the woman with the maiden name, and you have in your hands every document to prove that you are one and the same person as that woman with a spanking new married name. instead of SSS acknowledging its mistake here, they tell you to get IDs that have your married name. otherwise, wala ka nang benefits. benefits na dapat ay sa’yo naman talaga.

and so after about two months, you finally have these IDs (a postal ID which costs way too much in Mandaluyong) and a police clearance from the cityhall. you brace yourself for the well-mannered SSS lady who will make you feel like you don’t deserve your money. instead you face someone who says, “o, bakit kailangan pa ng bagong ID, e ang tagal nang approved nito ha, tingnan mo.” and when you say that you were told by the woman in the next desk to get these IDs, she says, “naku naman, pinahihirapan ka pa.”

you want to scream: “po.tang.inaaaaaaaa!”

but you don’t. instead you wait a month, which is the promise SSS makes: a cheque will be delivered to your house by the end of one month at most.

it has been two months and a half of waiting. for money that’s mine mine mine. for SSS to get its fluggin’ act together, and DELIVER — literally and figuratively. the SSS Mandaluyong branch, being the great office that it is, doesn’t help at all when it says: “na-release na po sa main office, in transit na ‘yon, hindi niyo na mafa-follow-up kase wala na kaming alam don, wala na kayong puwedeng tawagan.”

ah ganon. wala nang follow up. wala na kong powers. e pera ko yon.

enter Duds, he who has the gall to run for VP after selling SSS as the greatest thing an individual could have in this country. come on Captain Barbell, you have gotta save this woman’s day.

komentaryo

the eyes have it? patricia evangelista votes!

I have personally taken to ignoring Patricia Evangelista. now that she has gone up the ladder of media empire ABS-CBN as creator and producer of Storyline (which does romanticize tragedy in its writing, camerawork, conceptualization), there seems to be no stopping this girl. yes, even when half the time what she does in her Philippine Daily Inquirer opinion column is rehash what it is that has come out in her TV show. signs of these media times? there’s is no explanation for cheap thrills. or notions of credibility.

but it is precisely because she is in these positions of “credibility” that sometimesit is just difficult to ignore Patricia, lest she be under the illusion that she’s getting away with saying things that limn over the bigger issues of the day, as she passes her opinions off as political and correct and valid. at the very least, she passes them off as well-informed and well thought out, when really, they are far from it.

in her last column “Chiz Escudero 2010” Patricia spent most of her space rehashing what Chiz Escudero said at his press con announcing his defection from NPC, then she summarized it by saying that all Chiz did was to say that “a man running for president must not belong to a party, because to belong to a party is to give up independence of action”.

that this conclusion glosses over the other things that Chiz did say at the press con in relation to being freed from party politics is just so un-journalistic, and goodness, just downright uncritical.  this is a grave simplification of what it is that went on in that press con, an unacceptable display of an inability to see beyond one’s own biases – one that is for Noynoy Aquino (which we will get to in a bit).

so in the process of dissing Chiz, Patricia reveals that she can’t even respond to the more important things that he had raised: a brave stance versus contractualization and the oil deregulation law, versus the oligarchy’s ways of demeaning the jobs of those in the lower rungs of government service, versus the pork barrel, versus corrupt government officials. this is more than any of the presidentiables have dared say about their platform, about what it is that ails current politics, about what is all wrong here. an intelligent and critical reading of what went on at that press con would’ve meant looking not just at what Chiz announced, but at what else he did say.

and then Patricia reveals her simplistic analysis of Chiz’s defection: that since Chiz said that he has never been dictated upon by the NPC, this defection is meaningless. really now. to say that he has never been dictated by his party, doesn’t mean that there has never been any pressure to go with the party’s political flow and flaws. that Chiz has remained as part of the opposition despite NPC politics is a good thing, not a bad thing. that he now decided that he wants out, out of Danding country, out of party politics, is a good thing.

that in the process Chiz reveals the evils that exist in, the limitations of being part of, a party like the NPC is a fantastic thing.

was this all about him? absolutely. is it possibly about us too, as an electorate intelligently looking for options and wanting change? absolutely.

does Patricia know this? obviously not. in the end, she only revealed herself to be part of the youth who are closet-conservatives, unable to see the value of revolt, the importance of an ability to rebel, to break through the boxes that define who we are. these members of the middle to upper class youth are the scariest kind because they imagine themselves as intelligent voters, they imagine themselves critical, and the future of the nation. and yet when they are faced with the choice between revolt and compromise, change and the status quo, they will weigh things according to their own personal stakes: will i be able to keep my job, will i be able to keep my friends, will i be able to keep my reputation? and in the end they will choose the happy comforts of their old lives, stay where they are, blindly criticize those who shout based on the mere fact that they are shouting.

Patricia ends her tirade againstChiz’s defection from the NPC with

Mostly, I write this because, very frankly, I cannot trust a man whose mouth says one thing, and his eyes another.

now frankly, I wonder what it is that’s in Chiz’s eyes. or in Noynoy’s for that matter – he who is obviously Patricia’s candidate because, as she says, Chiz’s decision to defect is sold as

another touchstone of national change on the heels of Noynoy Aquino’s rise as the nation’s moral, if less articulate choice.

in the guise of being objective, i.e., acknowledging how Chiz’s defection is being seen, Patricia only reveals her own biases: that Noynoy is only a “less articulate” choice, and nothing else.

I wonder if she realizes that in the process of assessing Noynoy as such she has put her foot in her mouth, proving to us all that she has yet to even assess Noynoy as her candidate, over and above what he says.

oh, but wait, maybe that is the point: Noynoy has yet to have anything to say. At the rate the Aquino campaign is going, we’re hearing more of Kris. or is Patricia happy enough listening to her? and pray tell, what do Kris’ eyes tell her? and while she’s at it, since when were people’s eyes the reason for endorsing a candidate? this is not naiveté. this is carelessness. and irresponsibility.

go for it young media practitioner. there’s nowhere to go but up.

kultura

the artist as activist

a version of this was published in the Philippine Daily Inquirer‘s Arts and Books section, October 26 2009.

Kiri Dalena looks at me and acknowledges familiarity – here was no high and mighty, isolated and removed artist. After establishing the lines that bound us, she jokingly whispers a rhetorical question, “I am not young or exciting … why am I here?”

There is nothing here in fact but self-deprecation, and a whole lot of humility. Kiri talks about her art, diverse as it is, as if it is all a matter of life and death. No, not in the romantic sense of dying for an art project, or having a life unworthy of being lived without art. There is no romantic notions of being artist here, no I’m-an-artist-hear-me-roar bravado. Instead, Kiri speaks in a hushed voice that belies a very clear sense of perspective. Maybe even a stark notion of her function as artist. (more…)