komentaryo

Freedom*

One rarely thinks about one’s freedoms until one feels it is being impinged upon, where one is being told of the price you pay for insisting on your right to free speech and independent thought.

In the course of this government’s reign in Malacañang, and despite its grand proclamations about how this is a democracy – for look at how they let critics critique and rallies happen! – I have thought more and more about the mortality of the freedoms we hold dear.

I realize that sometimes we so believe that oppression and repression can only wear the same clothes, invoke the same proclamations, that we fail to see how our freedoms are sacrificed as a matter of course, every day, in the more insidious ways that we do not talk about, sometimes, can’t even imagine. (more…)

kultura

notes on Gawad Buhay, democratization, and the anxiety of smallness

this year was the first time i even cared enough to go to Gawad Buhay, and that is really because of a good three things: my love for Tuxqs Rutaquio, my love of Layeta Bucoy, and my new-found discovery of and respect for the kind of hard work that Tanghalang Pilipino’s Actors Company stands for.

which is of course to wear my heart on my sleeve (obvious ba), and really to point at some of my good ol’ biases, the kind that i’ve always had and have never denied having. anyone who was reading my theater reviews from the beginning (i.e., 2009) would know that i had much respect for the work of Rutaquio and Bucoy (as director-playwright tandem), long before i came to know them as people (which was mostly this year). i had also done reviews of the work of AC’s Tadioan long before he even became the monolith of an actor that he has become.

i’d like to think these biases do not diminish my own thoughts about Gawad Buhay’s limitations, which i feel should / can be fixed at this point — democratization is the word i like to use — as a matter of actually and truly being about all of the theater community, and not just the few who are willing to become part of Philstage. yes, Gawad Buhay is not / cannot be a measure of the year that was in Philippine theater. because it is not looking at all of Philippine theater.  (more…)

komentaryo

#YesAllWomen

i had watched the hashtag #YesAllWomen take a life of its own on Twitter, and was fascinated that while it didn’t trend in the Philippines, the tweets from elsewhere in the world (mostly the US it seems) resonated with this Pinay so removed from that context.

i’m the last to imagine universality to be a valid enterprise, imagining as i do that we are always more complex than just being / standing for / standing against one thing. yet it is feminism still — no matter how it is not named such, no matter that it denies this label — that i realize i fall back on, if not go back to. (more…)

radikalchick.lit

for Joelle: how are these days?

i’ve been out of this blog, mostly because i was writing like crazy for most of March and April, and i mean working on four columns a week (!!!) for The Manila Times. and yes it was as crazy it sounds.

i’m glad it’s over. (more…)

radikalchick.lit

Lola Nita, 1923-2014.

“At a certain time of day, between the high heat of noon and the cool afternoon, the streets of Casay have a strange quietness — of a leaf arrested in its fall, or of a vacuum from which air and life have suddenly been drained — a quietness which seems to bide its time. Very infrequently, a car, a truck, or a cart may disturb the stillness, raising brown dust in its trail and sowing screeching echoes into the silence. But a minute after, the dust settles, the noise fades away, and it is quiet again. Even when the wind blows and rustles leaves, sways branches, scatters blossoms, it is still quiet. (more…)