komentaryo

a resigned Ressa, a resigned us

why ABS-CBN? why would any network, in fact, let Maria Ressa go? it barely makes sense, if we know of her and her news and current affairs management and the ways she’s changed the news as we see it. and no, I don’t buy that whole refusal-to-renew-the-contract story, because really you can beg/ plead/ grovel to keep someone on your side,  especially when they’ve done so well, have outdone too many, in fact.

and this Maria has done for ABSCBN, allowing for ANC on Channel 27 to be the one and only reason we are still on Lopez-owned HomeCable even when they continue to provide horrible service especially since they forced subscribers to shift to the digiboxes. her management has single-handedly raised the bar for current affairs shows allowing for something as creative as Storyline to be on air, and bringing back the talk show that ain’t showbiz. of course all these have been on ANC, a cable news channel, but  at least for those of us who can afford cable, there’s a better alternative to news that happens so late in the evening because of the stretch of soap operas (beginning at 7PM and ending at 11:30PM).

and if you don’t agree with any of these, or just don’t have ANC (good for you for refusing the cultural empire of the Lopezes), then at least under Maria’s leadership, local channels have again started to do live broadcasts of senate hearings and such, because ANC was doing it.

this is not to agree with Maria’s management decisions all the time, nor is it to absolve ABSCBN (or any other network for that matter) from responsibility in the Manila hostage tragedy. in fact, I didn’t like that her Wall Street Journal article appeared so soon after the tragedy, adding salt to the wound, if not cutting deeper into it.

BUT I appreciate Maria’s chutzpah, her daring, even when faced with the probability of a collective disgust, or just a critical reader. I remember on Twitter soon after the hostage tragedy, her timeline was riddled with angry followers asking her in so many words what was she thinking!?! I thought Maria handled it with much grace and control, responding when she needed to, when it was a new question that she had yet to answer, and ignoring the redundant and the rhetorically angry.

this also isn’t to say that this was all good, or that we agreed all the time with the way the news was delivered/chosen/spun by ABS-CBN under Maria’s watch. this is to say that in truth there were such real and palpable and concrete changes in news and current affairs, and in which case, there were also better conversations about politics, and more creative documentaries about this country.

of course there’s still i-witness on GMA 7 which is still the best local docu-show I continue to see, and there still is Cheche Lazaro Presents on ABSCBN, whose Vizconde Massacre feature last night was just wonderfully done. but really, where else would Storyline see the light of day, or Strictly Politics, or Media in Focus? this doesn’t mean that we don’t complain about these shows, or that they are always without fault, or are always intelligently done. but this is to say that these are wonderful testaments to what can still happen for local news and current affairs, that we need not be stuck on CNN and BBC for better versions of the local.

in fact, under Maria’s watch, I remembered how I grew up with Randy David and Louie Beltran having their regular political and public affairs shows. yes, this was the time of public affairs versus current affairs, the time when relevance was still most important, versus just being news worthy. but that would be stuff for another blog entry.

here and now the question remains: but why? why let Maria Ressa go, what’s the real score here? though maybe we should be happy enough with, uh, tsismis being infinitely more interesting, even when – or maybe precisely because – it’s in relation to news and current affairs.

and as far as ABSCBN’s concerned?  I don’t think they fool anyone anymore given that the network’s the flagship of a Lopez empire. If anything, it has also become obvious that while they demand that politicians and government be transparent, they can only be farthest from being so themselves. now, in light of their maltreatment of workers finally becoming newsworthy, well, it’s easy to see how Maria’s notions of fairness and justice might not have worked in her favor after all.

so maybe she didn’t resign as damage control would like to point out, but this does feel like resignation, in the i-concede-my-hands-are-up kind of way. and Maria may deny it, but the rest of us can’t: the times when someone like her decides that it’s time to let go, it’s those times that we are forced to concede to the way things are or will inevitably become.

and for some reason, i have a sinking feeling that Maria’s leaving will mean having Kris Aquino back on TV, in what i imagine will be that past-publicized current affairs show. sana ‘wag na lang.

kultura

suddenly survivor

First a confession: the only Survivor Philippines season I watched religiously was the first one, where JC Tiuseco won, where I was rooting for Nanay Zita and Kiko Rustia (he who kept a diary throughout his time on the island, aaaaw). Another confession: I stopped watching Survivor Philippines because I treat TV shows as one of those things you put in a box to return to your ex. Since I can’t actually do that, I’ve just learned to periodically let go of many shows on my TV list.

But I’m suddenly back on Survivor Philippines, a surprise even to me. And I think it’s because the show has changed, enough to make me forget about the things I equate it with, enough to make me think that it’s a different show altogether. Something that might be easily explained away by the fact that it’s the Celebrity Showdown. But things are never as simple as that.

No stereotypes here

One thing that’s most interesting about this edition of Survivor is that while it does have a set of celebrities, there is no major superstar, no box office king or queen that would’ve surely made ratings soar. Instead, many of the castaways are familiar in this I’ve-seen-her-somewhere-I-just-don’t-know-where kind of way, making the near stranger a real person to us, even when we barely know them from Adam or Eve.

Even more interesting? The fact that there aren’t any clear-cut and solid stereotypes here, i.e., the celebrity castaways weren’t introduced with labels that would tie them down and box them up for viewers. This is what the Pinoy reality show usually does for its contestants from the get-go, which also explains why there’s always a girl and boy next door, a mahinhin virgin, a mayabang hunk, a single parent, a working student, a loyal daughter or son, a geek, someone who’s poor and someone who’s rich, on local TV half the time. These stereotypical labels create characters that are presumed to be more interesting than just regular normal people.

And it is regular normal people that this season of Survivor is able to sell us. Instead of giving each celebrity castaway a producer-imposed stereotype, the castaways themselves talked about the roles they thought they’d play in the game, and were given labels based on these. These defining labels are farthest from the limitations of stereotypes, because definitions can change, are not cut-and-dried, not at all limiting. Instead it allows for a set of possibilities and impossibilities, the latter being the things that will necessarily be tested in the face of group dynamics and isolation on an island elsewhere. Instead it gives us a set of people who speak for themselves, versus characters that are limited by stereotypes, the ones that will surely capture our hearts.

the rest is here! :)

kultura

The Cube redefined

The cube as a form seems limited enough: put something inside it, paint each side of it and tadah! it’s a work of art. But in Cube at the Tall Gallery of Finale Art File (Pasong Tamo, Makati City) curated by Nilo Ilarde, the cube is revealed in all its possibilities, my only complaint is that there was too much.

Fill it up, or paint it on!

In Cube filling up the cube didn’t mean being uncreative. One only has to look at Juan Alcazaren’s “Hampering My Efforts” to see this to be true, as it always is for his body of work. This is true too of Ed Bolanes’ “Retirement” which seemed like an easy decision to fill in a transparent cube with remnants of a career as dentist. But this was also about the compartments within the cube, filled exactly with machines, teeth molds, painkillers, a random plastic glass maybe. In the end it was impossible to actually see everything that was there, the layers of glass compartments rendering retirement to be about layers of a life lived in loyalty to a career.

Raul Rodriguez’s “Die Inside” and “No Formaldehyde for Miro” were standard cubes with rattan frames, the former in black and the latter in gold. “Die Inside” is a cube with another cube inside it, atop charcoal, with masking and electric tape, a seeming paean to death within. “No Formaldehyde for Miro” seems like an ideal space to live, where the inside of the cube is alive with color and wonderment.  Hanna Pettyjohn’s “DFW, In Transit” meanwhile is a non-descript standard-sized delivery crate, the inside of which reveals what looks like a papier-mâché head of a middle-aged man, wide-eyes, slightly frowning, pursed lips. That this is familiar and normal to us, can only keep it painful.

Painting on and attaching things to the cube was also mostly unconventional here. Annie Cabigting’s “Paper Weight” is a 50 x 50 x 50 hunk of a cube that’s covered with shredded paper, an environmentalist up-yours to all us paper wasters.  Louie Cordero’s “No Piucha” is a happy box of a cartoon monster, his arm extending from the base of the light blue cube, with a finger pointing to nowhere.  MM Yu’s “Asleep” meanwhile was a wonderfully quiet cube, with a marble print of interspersed reds and blues and greens, almost featherlike, as calm as sleep.

Tearing the cube apart

More than the cubes filled with things, what’s here are cubes that are torn apart, not literally of course, but in terms of playing around with the idea of it. Kiri Dalena’s “White Cube” for example is made up of neon tubes that form the structure of the cube but allow its sides to be imagined through the darkness that the light creates. Nikki Luna’s “There’s someone in my head but it’s not me” also uses orange neon to create a cube, though this one was made to look like a house with a root. Against one side of the cube in white neon is written: “You lock the door and throw away the key”, which renders the cube as a possible space of love and its contingent abandonments.

Eng Chan’s four cubes are functional lamps made distinct from each by its materials: a bathroom drain here, a floor drain there, ice trays for another.  What is interesting about this work is that its existence is only completed when the lamp is turned on, and individual shadows are cast against the wall. This might also be the value of the Pete Jimenez’s two works, “Sketches” and “4 x 4”, both in dark heavy steel and both highlighting structure more than anything else. The former is a five-piece set of small cube structures with no sides, while the latter is a pair of solid steel cubes against each side of which are four holes. For these two works the weight of the material is all important, and the effect of that seems to be the point.

Which is what Pablo Biglang-Awa’s “S” can take pride in, too. Here is a cube with top and one side cut off, revealing what is a letter S covered in red candle wax that spills out and spreads randomly on the cube floor. That it is this image that’s disconcerting which doesn’t have a big reveal ironically renders it more surprising, if not affecting a little more discomfort than most.

Ah, but who else can tear a cube apart like Roberto Chabet? “Box” is a medium density board torn open to form a flat cross on the floor of the gallery. Painted in red, blue, yellow, black and white, it was an interesting centerpiece to a room filled with cubes, seeing as it was anything but. In light of this huge piece, it was difficult to appreciate Patty Eustaquio’s and Maria Taniguchi’s “Odyssey”, 12 photographic swatches flat on the floor, the imagination of two cubes too much of a stretch, really.

The unconventional and successful cube

Which is to say that this exhibit is filled with unconventional structures and objects that are cube-like but would generally not be seen as such, i.e., a metal safe or a TV set, even a freezer. The latter is Felix Bacolor’s “Almost Blue”, a wonderful imagination of the possibility of creating a perfect cube of blue ice. There was too Aba Dalena’s “Excubisinist Cat (Terra Cruda)” a sculpture in unfired clay of a cat wearing a cube, and playing with it on its tail and nose. Mawen Ong’s “Boxed” is a huge red cube that’s actually made up of columns of shoeboxes. It is a presence and nothing else.

The better cubes that shined in this exhibit were surprisingly smaller works. Jucar Raquepo’s seven small cubes an interesting rendering of the small toy cube and all its possibilities of being filled in, collaged on, rendered unfamiliar and almost losing its shape drowning in mixed media. Raquepo’s “Cube Construction” though was to die for, a cube created through plastic toy parts, a toy cube of toys, the wonder of toys times two, the one thing I wish I could afford to buy.

And then there was Soler Santos’ “Untitled” which was 20 wooden light boxes of the same size, all reflecting brightly images of tinier pieces of cubes in wood, some seemingly excess of a bigger project, others random cube objects of the same size, all being exhibited in these cubes. Now that is a meta-cube if there ever was one, an artwork meta-critiquing itself as it does the rest of the cubes that surrounds it.

Only Lara de los Reyes’ “Selected Works” could beat that, as it doesn’t quite paint a cube or fill it in, as it does create one using oil paint scraps. With a title like that, it also ended up questioning our notion of selected works in particular and exhibits in general. So really, cubes never looked this good.

komentaryo

dear P-Noy, on Teachers Day 2010

which has just passed, this day that should be more momentous than most because you yourself spoke of your own teachers at this speech you delivered to commemorate it two days ago. there is no person who was not affected by a teacher in a good way, and that teacher need not be in the classroom.

in the ideal world though, in a world where education is all important in a real sort of way, that teacher would be in the classroom, inspiring students to become teachers too, if not become productive/honest/compassionate citizens of nation. but that is an ideal, and this is not the most ideal of situations we’re in as you yourself say.

but maybe we must start with agreeing on this: if we value education and learning, we must first and foremost value our teachers, and yes, even more so public school teachers. no government has done so in the longest time. no government has cared truthfully and sincerely enough.

why? because it isn’t an easy task to value teachers. because this isn’t about spending on infrastructure and giving students textbooks. to value teachers is to hear them out, to hear them out is to know that their lives within the halls of the public school system are really and truly the most horrid for any teacher across the world. the answer to the question of “why?” is so simple that i will, instead, take you up on all the things you said you are doing for teachers’ benefit and welfare.

(1) you said you were going to build infrastructure where it is needed, and yes it is needed as pictures of overfilled public school classrooms must be floating in your head, as we know of how 60 students fill up classrooms across this country.

BUT. won’t dividing this 60-student classroom just mean having the same teacher running across two rooms, repeating the same lesson? and then imagine doing that in those uniforms with horrible thick and hot tela, and the required heeled shoes, and tadah! a teacher who suffers because there are now more classrooms, but still the same number of teachers.

2) in aid of de-congesting our public schools, you say that there’s now the Government Assistance to Students and Teachers in Private Education or GASTPE, which is suppose to “make our private school system better so that it can be a viable alternative for parents who want to put their kids to school.”

I translated this section of your speech from Filipino with a smirk. because you don’t need to change anything in the private school system: you need to talk to them owners of private schools to bring down their tuition fees. because in fact, parents who used to be able to afford private schools have been bringing their kids to public schools. the private school tuition fees have killed the middle class families, believe you me. so to think that you can use the private school to decongest the public school? HAH!

3) you say that to help teachers “develop their skills” you are for the National Competency-Based Teacher Standards or NCBTS which will give teachers a whole new set of rules to follow, and some guidelines on which they will be tested, through which they will learn the new ways of teaching.

my question is this: have you seen the NCBTS? the only way it will be used properly and effectively is if all public school teachers are made to go on leave for a full year, un-learning what they’ve practiced all these years, and learning these new ways of teaching and learning. give them a year off with pay, where they will learn to teach again using the NCBTS, during which they can go through real seminars for their areas of specialization, and for English skills as well. have the peace corps teach our public schools for a bit, get volunteers from the private school system (where teachers are paid infinitely better). or sige, compromise tayo: give public school teachers time off with pay, even if just twice a week, thrice if you include saturdays, and have them go through seminars for all the changes you want for a full year or two. it’s only though something like this that this NCBTS plan of yours will be fruitful.

otherwise, it will just be something that will be used by the tenured/regular faculty members in public schools to threaten the job security of the younger/contractual/casual faculty members. and just so you know, as a perfect example of how the NCBTS will just be another test that will not be a measure of teachers’ competencies, check out the fantastic grammar on this site that talks precisely about NCBTS.

your government has said that the “wrong identification of the problem leads to the wrong solution.” well, this is exactly what ails your decisions with regard to education in this country, no matter the kindness of Bro. Luistro’s heart.

you think our problem is the lack of two years in our curriculum: the real problem is that the current curriculum for 10 years isn’t being taught well and doesn’t have corresponding relevant/correct/ critical textbooks for the times. you think our problem is too much homework for kids: the real problem is that this homework is nothing but a reflection of the kind of (non-)teaching that goes on in most public schools, where copying off the board and memorizing without understanding is the point. you think our problem is that our teachers are incompetent: the bigger problem is that they aren’t given enough respect and value to be wanting to teach better and learn more in the process.

the bigger problem is that competent contractual faculty members are at the mercy of the tenured regularized faculty members in the public schools. and while this is not to generalize, you need to have a sense of this struggle, and with whom the change can lie: the teachers who are still excited about teaching are DepEd’s and CHED’s allies.

but protect them. protect our teachers. allow them an amount of job security even when they’ve only been teaching in for a year. don’t treat the academe like a government office where regularization takes forever: teaching is a highly skilled job. telling teachers they need years to gain tenure is to say that they’re nothing but workers. kill off that bundy clock: it’s the worst kind of oppression for teachers who work overtime every day, planning lessons and checking papers outside the classroom, researching and studying on their own outside of school. to require teachers to stay in school beyond their class time is only fair if the schools are equipped with the things that make studying and checking and planning lessons easy: an internet connection, a good school and teachers’ library, desks and tables for studying and writing versus desks that are attached to each other, assembly line style.

protect the teachers, P-Noy, by taking steps to pay them what’s due them from the GSIS and the SSS, where teachers are treated horribly, from which I personally got my benefits a full 22 months after I needed it. protect the teachers, P-Noy by paying them better when you require them to serve during elections.

and quite simply P-Noy, protect teachers by giving them a salary increase. and just in case you think they don’t deserve it, here’s the truth.

when I taught in a public school last year (SY 2009-2010) I was forced to bundy in for six hours a day, regardless of my hours in the classroom. six hours times 10 days (which is half the month that I’m required to be in school) equals 60 hours for the 7,000 pesos or so that I would get on the 15th and 30th of every month. subtract the amounts taken by Pag-Ibig and GSIS and PhilHealth (all of which I have yet to receive IDs for), and that goes down to about P6,500. that means I would get P108 pesos per hour.

yes you read that right: that’s P108.00 pesos per hour. sakto lang sa pamasahe at pagkain. kulang pa para sa pentel pen, manila paper at white board marker na ako pa ang bumibili dahil ang haba ng pila sa paghingi sa school.

if you want to value your teachers, P-Noy, start by telling your Congress to sign House Bill 2142 or the “Public School Teachers’ Salary Upgrade Act” which only has 48 signatures out of 277 house representatives. if you want to value your teachers P-Noy, do so by treating them a little better than you would your regular employee. you are telling your teacher that the future is in their hands, that you want them to mold minds and change this country’s children’s perspectives about the world. this is an infinitely bigger responsibility than that which falls on the shoulders of too many — if not most — government officials.

the public school teacher’s life is really quite difficult enough. it would do your government well to see that everything you’ve wanted to do thus far will not mean any concrete or tangible change in the educational system, and is only going to make things worse.

and yes, P-Noy, if you’re a teacher like me, who’s taught within the tragedies and travesties of the public school’s space(s), you would know that making things worse is the easiest thing to do.

kultura

the revolution cannot be staged

I had high hopes for Banaag at Sikat, The Rock Opera, a promise of good music and singing, a contemporary retelling of Lope K. Santos’ original novel on the winds of change that would bring the country to revolt against the overwhelming conditions that capitalism and feudalism wrought on the nation. But as it began with fake guitar playing between friends Delfin (Al Gatmaitan) and Felipe (Roeder Camañag), attached to what then becomes a fake amplifier, and with dancing from a chorus many of whom seemed uncomfortable doing the robot and dancing hiphop, I had to wonder if this musicale meant to be funny.

Love and revolution, not necessarily together
Because it didn’t stop, not the fake guitar-playing, not the requisite head bang. The beautiful love song between Delfin and Meni (Ayen Munji-Laurel) could only lose its tenderness with Delfin fake-playing the song. In this First Act, the beginnings of love are introduced to us at the same time as the characters, all of whom are perfect stereotypes that exist in an oppressive feudal society. Cigar factory El Progreso is owned by Meni’s father Don Ramon Miranda and Don Filemon, both unforgiving and unapologetic capitalists, who refuse to raise the wages of their workers who are ready to revolt. Nyora Loleng is wife of Don Filemon but is mistress to Don Miranda, a seeming pawn to macho control more than a powerful woman.

the rest is up at gmanews.tv!