Category Archive for: kultura

kultura

Notes on an arts and culture agenda: A situationer

The recent events in our arts and culture institutions have made me think about my relationship with these organizations, given how I stand in favor of its independence, and against all these questionable government appointments.

See, the discipline I grew into in the academe was one that was critical of these institutions, looking always at the ways in which these are created to perpetuate the same forms and aesthetics that are primarily (arguably) based on the padrino system – a “mentorship” system that is about who you know, not what your skills are – and has a tendency toward keeping the opportunities (fame? fortune? haha!) within the very small circle that the cultural establishment sustains.

The amount of time I started to spend writing about arts and culture as an independent cultural worker forced me to study these institutions and keep track of what they were doing, seeing that as reference point for the work happening through private efforts, regardless of access to support. (more…)

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Notes on an arts and culture agenda: Freddie, Liza, Cecile, Nick, Irene

I take back all instances in which I said I believed in the creation of a cultural department.

Because I disagree. I disagree with Freddie Aguilar, self-proclaimed, unconfirmed political appointee, who says that a culture ministry is what we need to address the needs of the cultural sector.

No. Having been a cultural worker all my adult life, studying the laws that govern our cultural institutions, and now specifically in light of the unilateral decision of President Duterte to appoint Liza Diño into an office that she has no business leading, all calls for a cultural department will only mean State control over our cultural institutions and our freedoms.

The moment that happens, there will be no fighting any decision to turn cultural institutions into state-propaganda machines, all controlled by the Office of the President – or whoever else is pulling the strings on these appointments, real and rumored. (more…)

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A sense of cultural history #BriccioSantosAtTheFDCP

When they opened the Cinematheque Centre in Manila in December 2015, the Film Development Council of the Philippines (FDCP) headed by Chairperson Briccio Santos, thought it would go the way of the four other Cinematheques they’ve opened in the provinces. That is, it would slowly gain a following as the audience for film screenings gradually grows.

The slow but steady climb was a well-founded expectation. In Iloilo, Davao, Baguio and Zamboanga, the Cinematheques took time to take off, the public’s interest something that needed to be nurtured. (more…)

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Freedom of anti-information

A little over two months since we elected a new President, there is no day that I do not reel from the change that has come, for good, better, worse – depending on where you stand on issues.

It is the latter of course that has become the more critical question. “Where do you stand?” after all seeps into our daily engagements on social media: it is measured by the headlines we share on our Facebook walls and Twitter feeds, and what we refuse to speak about.

And while we like to be sure about where we stand, I have found freedom in being shaken by this President. By the fact that he requires that I read up on the South China Sea crisis on one day, and climate change on another; the drug crisis in the country on a Monday, poverty and oligarchs on a Wednesday, and then back again. (more…)

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House On Fire

On an unplanned trip to the Cultural Center of the Philippines that had little to do with art and everything to do with the cultural work of getting cheques so far away, ones that are about a government bureaucracy that does not make things easy for workers—cultural and otherwise—it was a relief to be drawn into “Casa Fuego,” an exhibit by Toym Imao. Because a display of larger-than-life toys renders one necessarily a kid, no matter how critical the stance you take relative to this magnitude.

Size and monuments 
The giddiness over the size of these installations does not last long, which is not a bad thing. The size and scale of artworks—how big something is, how detailed, how beautiful!—has become embroiled in the enterprise of art fairs that use these works as centerpieces of commerce. An artwork or two is chosen as showpiece, becoming the cornerstone of every press release and the most instagrammable attraction, which also makes it necessarily “representative” of all the other art that appears in the fair. Imao’s works for Casa Fuego could just as well fall perfectly within that context. (more…)