Category Archive for: kultura

kultura

Duterte propagandists eating up the dead: The worst of political discourse

What is the size of a controversy? And how is a story magnified, amplified, expanded at this time when anyone at all can manufacture digital noise, generate so much content that it will make it to our newsfeeds despite our algorithmic bubbles?

The Rodrigo Duterte presidency was a grand display of how government propagandists could make mountains out of molehills, be it about the purported achievements of their beloved president, or about his declared political enemies. We now know what it takes to keep any narrative going, where content is constantly and consistently generated to feed it, to repeat what is being said, until it starts moving on its own. Case in point: the criticism against the elite, the label of dilawan, the terrorista-komunista tag, and even, the label bobotante.

This, to me, is how we know for sure that even the worst, most baseless false narratives, when un-addressed and un-dealt with, can and will fester. To the point that there is no curing it—not with the truth, and certainly not with the tools that are familiar.

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kultura

Superstar High

My entry point to Nora Aunor’s icon was borne of the women around me as a child. First my mother, who is a Noranian—the kind that watched her critically-acclaimed films, was happy to hear Nora expanding her repertoire with Richard Merck, even if in 1980 she got the chance to do an interview with the Superstar, and was made to wait for so long and was limited to so few questions, confirming—and writing about—the urban legend that was the Superstar’s diva behavior.

The other woman was my first yaya. I have few memories of her, save for two: she was a lesbian, and she was a Noranian. Mama would buy her all the fan magazines with Nora on the cover, she would watch Nora’s movies on her days-off, and she treated Superstar on RPN 9 like weekly mass she needed to attend. For a stretch, she would constantly re-read these tiny pocketbooks that were Nora’s biographies.

Yet, I was no second-generation Noranian. As I told an audience of Noranians during a forum to discuss President Noynoy Aquino’s refusal to confer her the National Artist Award in 2014, I am of a generation that grew up choosing between the taray of Maricel Soriano and the pa-tweetums of Sharon Cuneta. The taray queen (of course) was my icon.

Now I realize that much of who Maricel (and later on Judy Ann Santos) could be as a popular icon was borne of Nora.  The non-conforming, non-people-pleasing, real and truthful, complicated and complex woman, of a different shape, size, and tenor, with diverse inclinations—this was a path paved by Nora.

Growing up with Nora politics

Born in the mid-70s, I grew up knowing Nora Aunor as Superstar. My awareness of her was about the weekly TV show, where she sang, danced, and bantered with Kuya Germs and Jograd dela Torre. This version of her seemed more real, like she was free to be herself here, speaking in her signature quiet Tagalog, humble if not self-deprecating, enjoying the diverse songs she was being made to sing, throwing punchlines with the best of them when needed.

As I grew into socio-political awareness, Nora was a constant. She was Marcos loyalist who in 1986 appeared at the gates of Camp Aguinaldo for the EDSA Revolution, taking part in people power when it was time to kick Marcos out. We know of her loyalty to Erap, sure, as she would have it for FPJ—these are invisible showbiz ties that bind. Yet we also saw Nora cut those ties in 2001at EDSA Dos, when she came and stood with us as we kicked Erap out of office.

Popular politics has always had Nora, which is to say that my sensing of her as Superstar was as much about local pop culture as it was about the socio-political. Nora was one to appear at protests specific to issues, from higher wages for teachers to justice for victims of State violence, as she would endorse a diverse set of political aspirants every election (and even hope to win an election or two herself). This public persona is one that is heavily criticized, judged as being balimbing, with all its inconsistent political convictions.

Yet Nora might have been on to something.

Read the rest on Vera Files.

kultura

The Metro Manila Film Festival: As Martial Law corpse

In pandemic year 2020, when the Metro Manila Film Festival (MMFF) had to go online, and it was impossible to do the pomp and pageantry of what has been sold as an annual Philippine film “tradition”, Sen. Imee Marcos claimed it wholly and completely as a Ferdinand Marcos creation from Martial Law year 1975, when the best picture film was “Diligin Mo ng Hamog ang Uhaw na Lupa”.

We liked to dismiss the Marcoses’ claims to culture pre-2022, but none of what Senator Imee says there is a lie.

And despite little of it probably getting into your algorithm, neither is it a lie that in 2024, First Lady Liza Marcos was front and center (literally) of MMFF, not just in the photos for the launch of its purported 50th year in July 2024, but also with her husband, PresidenAt Bongbong at the Konsyerto sa Palasyo para sa pelikulang Pilipino on December 16, and throughout the year, since February, ostensibly stepping into the Imeldific role of joining hands with film industry stakeholders on the promise of supporting the film industry. That the outcome of this is yet another cultural organization called CineGang, Inc. that’s supposed to promote local films to a global audience, which apparently means needing a fancy new office in Makati City, private investors, golf tournament fundraisers, and a Malacañang-hosted first meeting with the First Lady herself in November 2024, is a conversation for another time.

For now, the more important conversation is how it is that after 49 years, the MMFF is still lacking in transparency and credibility, and remains riddled by controversy. That it was created by Marcos Sr. during Martial Law speaks to why.

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kultura

Llamas, Heydarian, Esguerra: The post-Duterte macho punditry

The thing with six years of a fascist leadership like Duterte’s, built on fragile masculinity and misogyny and violent rhetoric and male chauvinism is that it changes us culturally. Women and the LGBTQIA+ community are more sensitive, and therefore angrier, and rightfully so. We are also exhausted.

But the men. Oh the men.

It’s one thing to have had to deal with the likes of Banat By and Jeffrey Celis during Duterte years and the first years or so of Marcos governance when SMNI continued to give them a platform. It’s another thing altogether to find that even men who should know better, ones who claim they are better, media personalities even, can use exactly the same tone and tenor, the arrogance, the same machismo, as that which the six years of Duterte had enabled and encouraged.

And of course this could only surface at scale when they are talking about a woman like Sara Duterte. Because there is nothing like a woman in rage to get men frothing at the mouth.

I will admit that the impulse to label SaraD for her year-end political performances was strong. After all, we had come from six years of old man Duterte doing those midnight madness press cons, and her Blairwitch Project version just brought it all back. Consider too that those press conferences about imagining beheadings and wanting to exhume the dead and talking to assassins to take down the Pres-FirstLady-SpeakerOfTheHouse trio were happening alongside Congressional Inquiries where she refused to take the oath and Senate Inquiries where she shiminetted her way through all the questions about accountability and public funds.

Which is all to say that it was easy, too too easy, to simply fall back on calling her every kind of crazy after the two presscons. After all, we called her father that, too. But what is unique to SaraD is that macho commentary reduced her to only that. And given the digital and media platforms that have the same male opinions on repeat, then it is normalized as discourse for a certain algorithm: the woman in rage is an unhinged woman.

Ronald Llamas is at the forefront of this male chauvinism, but it is because he is being given the platform across mainstream media’s Storycon (also hosted by men, with a woman on live video) and guestings on shows like Karen Davila’s Headstart, as he always is on digital platforms from Christian Esguerra to Richard Heydarian, and is co-host of Bilyonaryo’s four-male panel called Kwatro Kantos. These hosts practically give Llamas free rein over conversations, and in relation to the SaraD press cons already frame the conversations so that it justifies the sexism.

Read the rest on Vera Files.

kultura

Victor Paz, archaeologist

It would be in the middle of El-Nido-Palawan-nowhere, in the archeological site of Ille Cave, as it would be under the scorching sun on the untouched beach of Calitang, that I would find myself sitting with Dr. Victor Paz, archeologist.

It was not a conventional meeting. I had nothing planned on a trip alone to El Nido, save for some quiet time and plenty of reading. But it was difficult to say no to visiting an archeological site few have gone to and even fewer have written about. That I stayed – a night and two days more than I thought I would in any camp – is really because of Sir Vic.

Which is not to say that he talked me into it, as he would at the end of each day say: “You’re staying for tomorrow ha, Katrina.” Not a question, not an order, but a statement of fact. You wouldn’t know to say no.

It isn’t because Sir Vic is not one to compromise. In the course of talking to him I found that this was a man who has lived enough to know compromise like the back of his hand. It was refreshing really, to find Sir Vic to be that rare breed of academic who knows his limitations as someone who works at the University of the Philippines, and as an archeologist in the context of a nation that might not know what that even means.

He says it at some point in the interview, as we were talking about community engagement in archeological sites like Ille: “We always go against the default thinking that is merely about looking for treasure.”

But that’s getting ahead of this story.

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