Category Archive for: kawomenan

komentaryo

Defending a rapist? Sobriety and hunos-dili, please!

Hate and lies don’t stop in a time of a pandemic—we are after all under a government that lives off this kind of propaganda. But when it comes from regular people who deserve respect for fighting for the poor and oppressed, the farmers and the peasants and the workers, you can only be taken aback, to say the least. That they would even take the time to fashion you as enemy, throw shade in your direction, especially on social media comment threads where discrediting a person is quick and easy, here and now, well, there is a time of reckoning for that.

This is not that time, but it is the time for some clarification. So let me take precious energy to talk about the accusation that I “defended a rapist” last year. A controversial, sensationalist statement to make, a juicy piece of news to hear about the person who wrote a review of Ang Huling El Bimbo in 2018, and questioned its handling of the rape of the lead character Joy; the same person who likes to see herself as a feminist, who writes about being woman in this country, who builds upon the kawomenan of many others. But of course via people like artist and peasant advocate Donna Miranda, what will surface is nothing at all about what I’ve written, or the play in question. Instead it will be this statement from her: “Gusto ko man basahin ang review na yan nahihirapan ako bilang nagtanggol ng rapist yung manunulat a year after.”

What a way to take down a person: throw a one-liner, attack her, try to ruin her credibility. Who cares if it’s true?

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komentaryo

Winning VS Duterte: Stand against #ChaCha

If there’s anything we might all agree on in relation to how the Duterte government operates, it’s that it has taken spin and distractions, smoke and mirrors, to a whole different level. Sometimes it’s like they’re throwing in the kitchen sink for good measure, often enough there’s some sacrificial lamb.

It is of course the President’s big mouth which does the best job of disengaging us from what matters. Take all those instances when we should be talking about something important like the killing of farmers and peasants, the failed drug war, inflation, the excise tax on oil, China’s takeover of our seas, the entry of an unbelievable number of Chinese migrant workers, the militarization of government, and count the number of times instead that the president decides to drop a misogynistic statement here, or an expletive there directed at (a) the Church, (b) activists, (c) the poor, (d) human rights advocates and organizations, (e) “terrorists” (f) critics (g) all of the above.

Which is to say that at a time like this when we have so much on our plate of things to think about given the aforementioned urgent issues, it is also pretty clear that this government, along with its puppet (or puppeteer) Gloria Macapagal-Arroyo, is banking on precisely these overwhelming, exhausting times so they can continue with their ChaCha moves.  (more…)

kultura

Nora Aunor, National Artist

Note: The list of 2018 National Artists are awaiting proclamation by Malacañang, so here’s an essay from 2014, a reminder, a throwback, an insistence still, that Nora Aunor deserves it. She deserved it in 2014, she deserves it now. —  KSS. 

In the middle of writing today’s column, sad sad news stopped me in my tracks. Nora Aunor is not included in tonight’s announced National Artist Presidential proclamations.

And while I’m glad that Alice Reyes (Dance), Francisco Coching (Visual Arts), Francisco Feliciano (Music), Ramon Santos (Music), Cirilo Bautista (Literature), and Jose Ma. Zaragoza (Architecture) have finally been proclaimed National Artists, there is a real sadness about not seeing Ate Guy on that list.

It’s because this exclusion tells of how government treats culture in this country, and what exactly it holds in such high regard relative to actual creativity and artistry. (more…)

kultura

Shamaine Centenera-Buencamino and the creative spirit

You do not know Shamaine Centenera-Buencamino.

Yet you’ve seen her often on television and in film. She’s that archetype of a mother in the soap opera factory, as she might be the secondary character we forget in that recent rom-com. You might remember her as the mother of Basha in One More Chance, in that one scene where she asks if Basha’s okay, kung kaya pa ba ang heartbreak kay Popoy. She is also the mother of Teptep in Maybe This Time, the one who for most of the film is inexplicably disapproving of her daughter but who breaks apart as mother who forgives and understands and loves.

Of course you are wont to forget her, or imagine her to be the every-actress whose name you do not know, and whose face – when you see her in another film, another TV show – you will remember but can’t quite place. That this is the way the cultural system has created us into audience goes without saying.

That Centenera has an enviable body of work in theater, and holds the reputation of being one of few actors who can breathe life into any role at all, is the ironic twist to this story. And tragically so. (more…)

kultura

When gender allies are enemies: Liza Diño defends Duterte

It is clear now, more than ever, that President Duterte is a misogynist and chauvinist. He likes to say he loves women — just yesterday he joked that his “expertise” is women, then proceeded to objectify the GSIS employees in front of him — but it’s all just to cloak the fact of a deep-seated hatred of women that is revealed when he articulates how we do not deserve to be in positions of power, how we are to be used for entertainment, how he offers us as “reward” for soldiers, how he condones rape in a time of war (will even joke about it), how we  shouldn’t be too critical and if we are, we will pay for it.

Asking for that kiss from the Filipina migrant in South Korea, on a stage, in front of a cheering crowd, was proof positive of Duterte’s views about women: in that situation he had the woman in the palm of his hand, his position as President assured him that kiss. That we are being told now to forget it, because it was just entertainment, it’s “Filipino culture,” just rubs salt on the wound that is the shameless performance of machismo and kabastusan. 

It is clear that women have had enough, even as there are women who will expectedly defend him, because they are indebted to him, keeping them in positions of power, their salaries coming from taxpayers’ money. But while someone like Department of the Interior and Local Government (DILG) Assistant Secretary Marjorie Jalosjos and her words supporting Duterte is expected, I take umbrage at someone like Liza Diño of the Film Development Council of the Philippines’ (FDCP) — a worker of culture as she is, a gender rights advocate too — defending Duterte by turning women’s rights on its head, discrediting the fight of generations of women against the systemic abuse of power that has oppressed us all.

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