Category Archive for: kultura

kultura

when ‘i love you’ is enough

Not quite impressed with the valentine exhibit at Manila Contemporary in February – save for Angelo Suarez’s “Not the Object, But the Energy It Consumes Over Time” and Rachel Rillo’s “Keep It Taut” – I was ready to be disappointed in the I Love You exhibit at Hiraya Gallery (530 UN Avenue, Ermita, Manila). But I was impressed, at the works that were there, bound together by the idea and act of saying “I loveyou”. The sculptures should’ve been an indication: Agnes Arellano’s “Kissing Yabyum” was clean white and sexy; and Ramon Orlina’s “Father’s Delight” seemed to be in action, dancing joyfully to its notion of i-love-you. I was in for a good show.

A funny kind of lovin’

Ronald Caringal’s “Love is in the air, or the source of it” is a funny take on love doggie-style, that is, an image of a real dog smelling the behind of a stuffed dog. Against a dark backdrop with cartoon-like dogs, and “I love you” in tiny red letters, this takes a jab at our own humanly acts of saying I love you when it is based on the way something looks versus what something is. (more…)

kultura

Art thinks highly of itself in “The Death of Death”

A version of this was published in the Philippine Daily Inquirer, April 19 2010, in the Arts and Books section.

There was nothing exciting about the façade of the space where “The Death of Death (is alive and kicking”) (SM Art Center, 4th FL, SM Megamall) was being exhibited. On one side was a black tarp with the list of participating artists, on the other was a cartoon-like rendition of a skull. Between the dark colors and skull, this told me not to expect much, which directly contradicts curator Igan D’ Bayan’s “non-curatorial statement.” I began reading the note after I had slept on this exhibit longer than I would any other, still not finding some crux from which to begin analysis. The curatorial note, while no god, might give me a sense of the project’s notions of itself, a good starting point for understanding the exhibit. Of course sometimes, as with “The Death of Death”, the curatorial note fails as well.

No limitations equal clichés

There were too many skulls for one thing, and this wouldn’t have been a problem if these renderings didn’t look like things we’ve seen in popular culture before. Kiko Escora’s “Bungi” was funny with its hot pink background and its rendering of a skull with missing teeth, but it’s something we’ve seen in the local comedy films before.  D’ Bayan’s “Armageddon Boogie”, the steel installation that greets you when you enter the space, also looks like something you’ve seen and killed in video games before. (more…)

kultura

the sadness of here in Ypil’s highest hiding place

a version of this was published in the Philippine Daily Inquirer, April 14 2010.

Lawrence Lacambra Ypil’s first books of poems has many things going against it, including the fact that it is poetry and that it is in English, both of which limit it to a particular audience. More importantly, it comes at a time when the kind of Philippine poetry in English that’s celebrated – if publication and recent award-winning collections are any indication – has been about going beyond the person and the personal in the poem, almost a poem-for-and-of-the-world, where the nation is missed/missing/ disappeared, the text existing beyond the page and into a realm of learnedness and influences that it requires the reader to inhabit. This, at a time when people continue to think poetry too difficult, and Filipino poetry too removed from the conditions that are real to us. In this sense, the debate has become too simple: the easy/ confessional/personal poem, or the difficult/conceptual/landless poem?

The Highest Hiding Place (Ateneo de Manila Press, 2009) by Ypil lands right smack in the middle of this debate, not falling clearly on either side of it. There is a refusal to be easily about personal confessions here, even as these poems seem to refuse difficulty. It experiments with forms, yes, and necessarily does with content too, but it does both without refusing the reader entry into the poem. (more…)

kultura

hypocrisy, plagiarism, and four (not just three) plagiarized speeches from MVP’s speechwriters

Jessica Zafra posted this in her blog, thank goodness for her, as I had been putting it off, even when it has been in my public Facebook account since yesterday morning.

here is the list of three speeches and their sources that’s been going around, with an additional one — the first one — which hasn’t been posted before.

1. at the ateneo family congress, 2009 — MVP’s speech, original 1, original 2

2. at the opening of the new Ateneo lib, 2010 — MVP speech, original

3. post-Ondoy speech on corporate social responsibility, 2009 — MVP speech, original 1, http://www.google.com.ph/search?hl=tl&source=hp&q=These+trials+also+remind+us+that+we+are+tied+together+in+this+life,+in+this+nation+%E2%80%93+that+the+despair+of+one+touches+us+all.+&meta=&aq=f&aqi=&aql=&oq=&gs_rfai=”>original 2, original 3

4. commencement speech in Xavier University-Ateneo de Cagayan, 2007 — MVP speech, original 1, original 2, original 3

why did i think twice about posting it here? i didn’t, still don’t, want it to seem like 1) i’m out to do MVP in and 2) i’m being a hypocrite here.

the hypocrisy, I’m told, comes from my own personal knowledge of how plagiarism happens all the time, in the academe in particular, maybe within the walls of the institutions that I have served as student/researcher/writer in U.P. Diliman, and teacher/writer in the AdMU. hypocrisy has to do with this: to make MVP resign, tell him at this point to leave Ateneo, is to pretend that we — the academic community — are clean.

I beg to disagree. I don’t understand why we can’t work from the big fish that’s caught and let the smaller fish freak out and come out, of their own volition, about their own intellectual dishonesties.

i do not doubt this truth: the moment MVP’s plagiarized speeches are proven to matter because the academe kicks him out despite all his money, then every other academic and scholar will be scared shitless about his or her own intellectual dishonesties. MVP himself says it:

The challenge of leadership precisely is to create an environment where honesty is paramount, where integrity emanates from the top and builds success from the ground.

i think at this point, what would be hypocritical is to deny that money is talking pretty loudly in this case of plagiarism versus MVP. and please, read these speeches, read the originals. you will find that it isn’t true that what he was reading/saying was essentially about him. some of the more emotional/personal/beautiful lines weren’t his at all.

and now for other lessons in citing your sources, Abs-cbnnews.com, when your source quotes another source, then please revert to the primary source, i.e., me. Jessica had the grace to say that her source about the MVP speeches was my public FB note. the least you could’ve done was to cite me the way she did, diba? if not find that original site where the information first appeared.

as with MVP’s plagiarized speeches, all you needed to do was Google me.

kultura

When Indie Fails

a version of this was published in the Philippine Daily Inquirer, April 7 2010.

There are many things to say about the movie Red Shoes (directed by Raul Jorolan, written by James Ladioray), but it’s definitely not that it’s the year’s first best movie. Because this is nowhere near as good as Unitel Pictures’ other films (Inang Yaya, Pinoy Blonde, La Visa Loca, Crying Ladies), and nowhere close to being great at anything. In fact, to a certain extent, it is no better than the commercial romance movies that our film production outfits churn out. To a certain extent, we are reminded that a good premise is not what a good movie makes, nor is it in the mere fact of using the label indie, i.e., independent film.

In truth, the only thing Red Shoes ends up becoming is a montage of various stories that are not well woven together into the narrative that it makes its main protagonist, Lucas (Marvin Agustin), tell. But this is getting ahead of the story, or in Red Shoes’ case, ahead of the many stories here. (more…)