Tag Archives: women

komentaryo

Social class before beauty

The first time I heard about the tax on cosmetics, it had already been framed against the hashtag #DontTaxMyBeauty. But as with many things that happen via hashtags, there was little fleshing out of what this so-called Vanity Tax was going to be about.

A day after the hashtag happened, the three-page House Bill No. 4723 was uploaded online, but many remained disinterested in what it contained: it is easier to jump on the bandwagon of calling something anti-woman, than to actually sit down and read about it after all. Media fed the frenzy – the better to get hits with; days after, there is still little critical discussion about this proposal and the backlash against it, even as politicians weigh in using big words like “sexist.”

This, in a country that has allowed the Miss Universe to happen at such a large scale, using government resources and the face of Chavit Singson. One can only wonder what we actually mean by sexist – or feminist – these days. (more…)

kultura

the art of lightness by Arlene Sy

The display window of Heima Store in LRI Design Plaza is all about Arlene Sy’s first exhibit of hand-drawn illustrations. Entitled Inflated Dreams, this collection couldn’t be ignored despite its small size of five pieces. It might have been the delicate colours and lines of the works, or maybe it was the fact that it played around with the image of balloons, and women. Maybe it’s all of the above.

Light Headed

Inflated wear

Two works seem cliché in their use of balloons as clothing, but what makes them unique is Sy’s ability to interweave such an obviously avant-garde idea with women’s faces that speak of so much more. In “Airier Than Thou” balloons in pink hues are worn around the body, a seeming random creation of a dress that’s bulky as it is formless. Here, the woman seems to be in action, hands on her waist, looking away from the camera and in the direction that her body’s angled towards. A cape seems to fly from her shoulder and disappears into the canvas’ edge, a strong black and white line that’s lightning-like and which contrasts with the bright round happiness of the balloons. There is a sense of flight here, of being carried by the balloons to elsewhere.

In “Light Headed” a bunch of balloons in various colours and designs make up a hat, the form of which is reminiscent of those that the members of the Royal family wear. That hat is about as big as the woman’s face drawn close-up, looking questioningly into the camera as if she need not be captured in this way. One hand rests against her neck; it holds a lollipop, that could be a balloon, that could be a lollipop. The lightness of this illustration is in this truth: if balloons were on your head, would you feel them at all?

Balloons held

Tread Lightly

An exhibit such as Sy’s wouldn’t be complete without the standard bunch of balloons held in one’s hand, reminding us of how high the sky is. In Sy’s hands though, this is rendered differently with the image of a girl with stringy hair, blush and lipstick, in a black and white striped tube top, holding in one hand a bunch of balloons that seem to fill the ceiling of the canvas. The contrast in color highlights what is about joy versus what is about stability, the sky versus the ground.  And with the title “Bearable Lightness” Sy is able to make this less about cliché, and more about this: some lightness can be unbearable, where this one isn’t.

“Tread Lightly” meanwhile is farthest from being conventional or usual. Here, the balloons still seem to be in flight, but are drawn on the bottom of the canvas. A pair of feet wearing striped stockings is tiptoeing on the surface of the balloons, highlighting a struggle between the one above and below, with the feet being pulled down and the balloon being pulled up. Yet there is lightness here, as the feet refuses to break through the balloons, making the existence of both elements in the picture stable and powerful, a struggle that’s found balance. Maybe because of the pale hues of the balloons, maybe because all these works are on a white canvas, this just seems possible given the rest of Sy’s works in this exhibit. Or maybe this is all in the dreaming.

Inflated space, as space

Happy Birthday

Because this is ultimately an exhibit that dreams, given the way it handles the notion of balloons and air and lightness. This dreaming is taken to another level in Sy’s “Happy Birthday” which surprises in its use of the inflated balloon. Five different balloons surround and encompass a woman drawn from the shoulders above. Her angular face, tense lips, an almost frown on her forehead, a tense neck, and a gaze that’s strong and unwavering, distinctly contrasts with the delicateness of the balloons that surround this woman. It takes a while to realize that the woman is inside one of the inflated balloons, and her face doesn’t look at all like it is suffering for it. Instead this woman’s strong face becomes about resistance and endurance, in the face of what is impossible to survive. Or do in real life.

But we are reminded: this is about inflated dreams, and in Sy’s hands this isn’t just about balloons and its usual representations. Here, balloons are shown to be about the air within and without it, about being lighter than air and larger than life, about changing us by default because it necessarily invokes a certain kind of happiness that’s reminiscent of childhood. But most importantly, here Sy proves that you don’t need huge canvasses and heavy dollops of colour to make art, all you need is an imagination that can take flight and hands that will bring it to life, in all its delicateness, in all its airiness, in all its light.

komentaryo

sex without love*

If there’s any soundbite that I absolutely hated hearing in relation to the Hayden Koh sex videos, it’s from Boy Abunda, saying that sex, whether on video or not, must be about LOVE.

Goodness. Is this the dark ages? How many women have been oppressed precisely by this notion of love? I love you girl, therefore sleep with me. This dialogue is what has brought women to bed, before they are of an age when they can handle it, before they are even aware of their bodies. This is what has allowed for women’s bodies to be made into objects, because they enter the bedroom and think, oh, I love this man and this must be the way to prove it.

Love is what has allowed women to imagine love triangles to be acceptable, precisely what has kept all these women in Hayden’s bed and on his camera, what has allowed for Vicky Belo to imagine that she must stay, to prove she loves him.

Talk of love in relation to these sex videos is an injustice to love.

But maybe this is really just us, as audience, in over our heads about these sex videos, enamored with the ongoing debate, the continued media coverage, the chismis. It really is so juicy, yes? But all of these seems like we are, as audience, unprepared to deal with sex as sex, period. Ill-equipped to deal with the kind of technology that propagates videos of two people getting it on. Unprepared to look at sex in the eye and view it for what it is: two bodies articulating desire.

For who’s to say there was sex but no love or any emotions, and vice versa? This is only obvious when the act is done with no consent, and that would make it rape, no ifs and buts about it. And yet this isn’t porn either, nor your usual sexy movie. Both of these are done for profit, and presume what it is that the audience wants to see, over and above anything else.

But these Hayden videos have more than consent, and just run-of-the-mill movie sex. It has enjoyment. It has desire. It has libog, in the Pinoy sense of lust-desire-passion-tulo-laway-bodies-against-each-other-bahala-na-si-Batman sense. Only real life – not necessarily true love – would allow for that kind of desire. And two bodies acknowledging that desire, acting on it, enjoying it, is difficult to ignore. And maybe shouldn’t be debased to the level of just a sex video.

Or easily, and simply, oppression of one woman, or two or three. In the aftermath of these videos, we are told to see only the woman’s body, and how she had no idea something like this was going to be released to the public. All we’ve seen, in fact, and considered, are the women’s bodies. What about Hayden? Is he not objectified as well in this whole enterprise of sex videos? Yes, he taped these sexcapades, but it is obvious that he was not the one who released them. That makes him a victim, too. And he is twice victimized by the fact that no one has seen him as victim. I’m not saying Katrina and the other girls aren’t victims, too, I’m saying that they are not the only ones.

But again, to us as audience, Hayden is not victim because we imagine that he is the one in power here. He’s the one in a position to enjoy the sex, the videotaping, the different positions. But what of the women? Did they not enjoy it as well?  Isn’t it possible that in this whole enterprise of sex-video-talk, that we are the ones bringing the discussion to the level of shame and embarrassment?

Isn’t it that it is us, as audience and chismosas, who have oppressed Katrina and Maricris and whoever else will come out in these videos, as women whose lives are now over? And aren’t we the ones to actually, and truly, give Hayden an even bigger ego, as we refuse to even acknowledge that he is oppressed too?

In our insistence that only the woman is oppressed here, aren’t we also allowing for Hayden to get away with it? To get away with imagining his power to be more than it actually is, to be something to be proud of? In the age of masculinity studies and hypermasculinity experimentation, this can be turned around in his favor, you know. And after all, despite the threat of losing his license to practice medicine, he will still find himself a career – if only in the eyes that have objectified him through these videos. And maybe if only as Vicky Belo’s constant man, the one she proves her true love through (an absolute craziness in itself, of course).

In the process, what we fail to do is bring this discussion to the level of sex as truth, as real, and as something that we must all – particularly the women – deal with and be responsible about. In the age of technology, yes, but also in the age of sex without love, or at least questionable/ unstable/dishonest love. Here, women are being taught to have the stomach, the mind, the heart, for every other consequence that happens after the sex. We are being told that we will be alone, with no laws to help us, no reproductive health consciousness to bank on. As such, we must all bring this to the level of responsibility, of talking about it beyond the chismis, of making women – and men – realize that in the end, we do pay. For what our body wants, and for heeding its otherwise normal desires, in the face of a society that has yet to be  mature about sex. And love.

Over and above whether it’s on video or not.

*Title taken from Sharon Olds’ poem :

Sex Without Love

How do they do it, the ones who make love
without love? Beautiful as dancers,
gliding over each other like ice-skaters
over the ice, fingers hooked
inside each other’s bodies, faces
red as steak, wine, wet as the
children at birth whose mothers are going to
give them away. How do they come to the
come to the     come to the     God     come to the
still waters, and not love
the one who came there with them, light
rising slowly as steam off their joined
skin? These are the true religious,
the purists, the pros, the ones who will not
accept a false Messiah, love the
priest instead of the God. They do not
mistake the lover for their own pleasure,
they are like great runners: they know they are alone
with the road surface, the cold, the wind,
the fit of their shoes, their over-all cardio-
vascular health–just factors, like the partner
in the bed, and not the truth, which is the
single body alone in the universe
against its own best time.

From Strike Sparks, Selected Poems 1980-2002. U.S.: Alfred A. Knopf, 2004. Page 24.

kultura

dreaming of difference

To re-introduce the second season of reality show Pinoy Dream Academy, ABS-CBN showed reruns of the first season on Studio 23. So everyday last week, we were reminded of how great the talent actually was last year. Too, it was a reminder of how many of them turned out: those who haven’t become near-extinct have been forced into becoming “actors” instead of just singers; those who are seen more regularly on television have been forced to fit into the mold of the “acceptable” TV star. (more…)