Tag Archives: cultural center of the philippines

kultura

Death of culture (3): Lizaso’s vision for stagnation

The shameless conservatism in Nick Lizaso’s press release about his plans and vision for the Cultural Center of the Philippines (CCP), is ironic when one considers that we have a President who questions Catholicism and dogmatism time and again, and who insists on his freedom of speech – if not his freedom to offend – over and over.

President Duterte unilaterally installed Lizaso as CCP head. But even the President himself would not pass the rules and regulations that Lizaso is set to make for culture, given how he considers this “mission to be almost Pentecostal for it is all about Apostolate for Art and Culture.”

Yes, to the cultish feels of Lizaso’s statements. And yes, he will go so far as to push for censorship, because he has done it before. As member of the CCP Board in 2011, Lizaso stood for the closure of the exhibit Kulo at the CCP Gallery because of Mideo Cruz’s work “Poleteismo,” a critique of conservative ideologies such as Catholicism, which mainstream media had spun into a controversy. Conservatives filed a case against Cruz and the CCP Board – except for Lizaso, because he had stood for the closure of the exhibit. (more…)

kultura

Death of culture (2): Cultish leadership for CCP

President Duterte’s installation of Nick Lizaso as head of the Cultural Center of the Philippines (CCP) is painfully ironic – if not dangerously so.

On the one hand, it is clear that this President doesn’t care much about culture, so one wonders why he would appoint any of his men to these cultural leadership positions. On the other, one can see this as a statement in itself about what Duterte thinks about culture: anyone can lead it, never mind that he is incredible, never mind that he is unproductive, never mind that he speaks about art like it’s the 1940s, and likens the work he must now do to  building a Church.

“This mission is almost Pentecostal for it is all about Apostolate for Art and Culture. I enjoin every Filipino citizen to help me in this Apostolate – spreading the good news of art to all the corners of this archipelago. For it is art that will save us as a nation, as a people, as one humanity.”

That comes from Lizaso, Duterte-installed CCP Head. Apparently out to build a religious cult while he’s at it. (more…)

kultura

Lizaso at CCP: Death of culture (1)

The problems of the sectors of arts and culture in this country are multifarious, and there is no doubt that any of us cultural workers who are at the bottom of the totem pole can only believe in the possibilities of change, and look forward to it, too. Many of us try and work towards that change, but if cultural work is your bread and butter – and you’re not one of the lucky ones who comes from privilege to begin with – then you have no choice but to compromise along the way, work with institutions and hope to change these, be critical of the ways in which our creative freedoms (usually all we have) are disrespected or abused.

But as I’ve said before: President Duterte appointing the un-credentialed and inexperienced, incompetent and incredible, into positions of cultural power do nothing for our psyches, even less for our morale, and absolutely nothing for the conditions of our labor.

Installing someone like Nick Lizaso into the Cultural Center of the Philippines (CCP), for no reason other than that you know him personally, and denying completely the right of the sector to decide for itself who it might want as leader – that is not any kind of change, President Duterte. (more…)

komentaryo

boiling over: Kulo

there is no excuse — no excuse — for a President who not only presumes that 85% of this country are the same kind of Catholic; he also then thinks that this is a valid enough reason to gauge public anger. no excuse for a President who is as bad as Vic de Leon Lima. let me not begin with the fact that his own father died for democracy and freedom, the same things that this President has sacrificed here. and you are wrong, Ser Noy, this is not a question of whether or not freedom is absolute; it’s a question of you folding to the CBCP and Pinoy conservatives, who in this country have proven themselves as bad as the kukluxklan. this is about you — and everybody else who sacrificed critical thinking in this case — revealing whose got the balls. and it is apparently all them priests and conservatives who could only zero in on those penises, because that’s all that was in that exhibit as far as they were concerned.

except that there were these works:

Alfredo Esquillo Jr.'s Mama Kinley II
Alfredo Esquillo Jr.'s Mama Kinley II
Ronald Ventura's Untitled
Ronald Ventura's Untitled
Jose Tence Ruiz's CSI Chimoy Si Imbisibol
Jose Tence Ruiz's CSI Chimoy Si Imbisibol
Jose Tence Ruiz's CSI Chimoy Si Imbisibol
Jose Tence Ruiz's CSI Chimoy Si Imbisibol
Con Cabrera's Kompo
Con Cabrera's Kompo

 

Andres Barrioquinto's Alam ng Dios
Andres Barrioquinto's Alam ng Dios
Rai Cruz's Salinlahi
Rai Cruz's Salinlahi
Constantino Zicarelli's Vandalism
Constantino Zicarelli's Vandalism
Iggy Rodriguez's Pagbabanta
Iggy Rodriguez's Pagbabanta
Joseph de Luna Saguid's Kulo (excerpt)
Joseph de Luna Saguid's Kulo (excerpt)
Mark Salvatus' Empire
Mark Salvatus' Empire

all of the exhibit Kulo is here.

 

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!