Category Archive for: kultura

kultura

Toni, Bongbong, history and #Halalan2022

Here’s the thing about Toni Gonzaga: she is a symptom as she is the condition itself, a very critical condition of lies, falsity, and disinformation at a time when murderers are condoned and the corrupt are shameless, when the plunder of resources has been normalized, as has the violation of basic rights, at a time when algorithms run our social media lives which, given this pandemic, is pretty much the life that we live.

Here’s the thing with Toni Gonzaga: this is ALL on her. She—as with other content creators, celebrities, influencers, you and me who do social media—is making decisions about what content to put out into the world, and SHE is solely responsible for those decisions. There is no one else she can blame for what is put on her accounts and her channels, there is no network to hide behind, no producer or manager to point a finger at.

At this point, we are seeing these personalities for who and what they are. And as Toni said: she’s got nothing to hide. And to some extent she’s never hidden that she is a Marcos loyalist—she’s just more shameless now, right on the month of Martial Law commemoration, in utter disregard for the thousands killed, the thousands more who live with its trauma, and the millions plundered by the Marcoses that all of us have suffered for.

Maybe this is the pandemic effect on her: I got nothing to hide, I got nothing to prove. Here, see me as a Marcos loyalist! I don’t give a flying f*ck. You only live once.

Here’s the thing with Toni Gonzaga: she knows, she has seen, how she will not be held accountable. (more…)

kultura

The tale of an online mob #NachoDomingo

I happened upon the case of Nacho Domingo too late. It was Sunday, September 29. I asked a friend who had posted about social media responsibility and online mobs what he was talking about, and he told me to do a Twitter search for his name.

It yielded little, though the few tweets that came up were ones of mourning and condolences, a lot of regret. By later in the day more and more tweets surfaced that were turning defensive: this is about frat culture, they said. The system is to blame for his death, many others said.

The blame game on Twitter seeped through the rest of the week, with some accounts coming out with names of “people who killed Nacho,” which just continued the cycle of blaming and shaming, bullying and mob rule that brought upon us this death to begin with.

I spent the rest of that Sunday and early last week going through Twitter accounts and mining it for information. Facebook was pretty wiped clean, and there wasn’t much to see there. But Twitter, with its 140-character, shoot-from-the-hip demand — so much of what transpired remained there even as many deleted posts. The sadness grew as this process revealed what it must have been like for one person to see this unfold, and not just on Twitter and Facebook, but also, now we know, in his phone’s inbox.  (more…)

kultura

Institutional, nervous, and other breakdowns

The first time a young writer came out with a Facebook status (dated August 2) about having been taken “sexual advantage” of in a writing workshop, I shared it with a very clear statement about silence. Fresh from the CNN Life panel for the Readers and Writers Fest where we were asked what is the biggest realization we’ve had about the cultural sector, I said that it is about how much of it operates on silence. We don’t know what’s going on, how things are decided, how the systems work, and all that we ever discuss is what we see on the surface: the finished art work, the published piece, the film, the TV show, the dress. But the work that goes into that, the institutions that come into play, the oppressions that are intrinsic to that system — we are kept in the dark about these things. After all, we can be so aware of power relations and capital, and still deny what that truly means. (more…)

kultura

Portrait of a pro-Duterte cultural worker; or how to be director of #SONA2019

Step 1. Say Yes. The money’s good, and in the age of disinformation and press releases, you can always get away with saying you’re doing it for free — the President’s propagandists will ensure that the President’s base (the 80% that approve of him according to surveys!) will believe you, and that’s all that matters. Of course you’d be stupid to do this shit for free. There is a price for the kind of shaming you know you’ll get, the raised eyebrows from your peers, the way history will judge you. No one will take it against you that you took on government raket; but history will judge you harshly for wanting to put this icon of this dark times in a good light. You need to get paid for this. And well.

Step 2. Embrace Denial. Duterte is not responsible for the thousands dead in the drug war. He is not responsible for the forced evacuation of the Lumad communities in the name of big business wanting to take over their ancestral lands. He is not responsible for the worsening poverty. He is not responsible for the killings of farmers and peasants. He is not responsible for the state of the nation where democracy is discredited, criticism is a crime, and activists are deemed terrorists.

The propagandists are paid to embrace denial. You are, too.

(more…)

kultura

Kin Misa, visual artist

Here’s a piece I wrote in 2011 on Kin Misa’s work, which I think now was ahead of its time, but what do I know, what do we know really, about life and death, rejection and struggle, except to try and make do, make from, make regardless of everything else that happens around us, until it is time to say no. Let it go.

Here’s to you Kin. Happy trails. — Ina. 

The end of the (art) world in Kin Misa’s online exhibit

There’s never reason to go online before seeing an exhibit as far as I’m concerned. This means being blown away by fantastic work when I least expect it, at the same time that it means coming across horrid exhibits that I travel two (or five) cities for. Always, I allow myself to be floored. Yes, that’s me living on the edge. But what of an exhibit that only happens online, for reasons that are about what’s real and concrete, and about creativity and imagination? What happens when an exhibit rejects my notion(s) of art spectatorship, as it rejects the usual audience, doesn’t get the standard patrons, won’t follow the rules — spoken and otherwise — for art and exhibition in this country? What happens is rust and color by multimedia artist Kin Misa.  (more…)