Archive for July, 2008

post-SONA blues: LFS one point, Dep Ed zero

Wednesday, July 30th, 2008

Other than the fashion both inside and outside the halls of Congress (which will be topic for another entry), what’s also exciting about the President’s annual SONA are the discussions that lead up to it, where once a year, media actually sort of asks the right questions (finally!). Then again, with a past SONA to diss, and a new one to compare it to, how can any show go wrong?

And so on the new TV show Harapan with Korina Sanchez and Ted Failon last Monday sat Vencer Crisostomo, secretary-general of the League of Filipino Students, and Department of Education Undersecretary Vilma Labrador, face-to-face (kasi nga harapan, hindi ba?) to talk about GMA’s presidential promises on education. Suffice it to say that in this harapan, Crisostomo had the upper hand, primarily because he was faced with a Dep Ed undersecretary who, like her boss GMA, had her way with truth. That is, she had a way of lying by not talking about the full picture of our public schools.

So Labrador says with pride in her voice and a sparkle in her eyes that the teacher to pupil ratio has consistently been kept down to 1:35 or 1:36, thanks to GMA’s administration. Barely able to contain his laughter, Crisostomo responds that this is only so because the classrooms have been cut in half — as in literally in half with makeshift walls! — so instead of 1 teacher to 70 pupils, it can truthfully be said that it’s now 1 teacher to 35 students at any given time.

He also points out that it’s the logic of having three shifts – that is, three different classes – for any given day, any teacher, and every halved classroom, that allows for the 1:35 ratio to be true. In fact Dep Ed Order No. 62, s 2004, speaks of these shifts as a way of solving the problem of classroom shortage, which at that point was at 51,947. In the said order, it’s even recommended that for certain public schools, they must have as many as four shifts, not three, and the maximum number of students for every classroom is set at 65. Wait, is that a whole, or a halved classroom?

But Labrador seemed surprised at Crisostomo’s response, if not flabbergasted. How could she respond? Well, with no answer at all. So she starts talking about statistics on the number of graduates in public schools, and how statistically, the numbers have been consistent. To which of course Crisostomo responds by mentioning the now higher drop out rate, which would technically allow for the number of graduates to be consistent, because you’re not counting the growing number of students who leave school because they can’t afford it.

But public schools are suppose to be free, yes? Failon asks. No, according to Crisostomo, as there are fees that students continue to be required to pay, to which Labrador says, report those schools that still have fees and the Dep Ed will take care of it. To which Crisostomo says, “hindi naman maiiwasan ‘yon.” Because really, if a school has to collect money for a bathroom that students can use, or an electric fan to ease the heat of a classroom with 70 students, who would complain?

Meanwhile, Labrador is left with nothing to say, and nothing to be proud of. Someone should’ve warned her that speaking of truths based merely on gov’t statistics, doesn’t hold in the face of someone like Crisostomo who has a real sense of what it is that actually happens on the ground, in the public schools, that half the time seems to only be a theory to the Dep Ed and GMA.

Of course it helped that Crisostomo was not your grim-and-determined scary activist. For most of Harapan, his charm was difficult to miss, informed as it was with knowing that truth was on his side – the kind that sustains organizations like his, because it is the truth that is lived by the majority who aren’t invited to speak in shows like this one.

LFS: one point. Dep Ed: zero.

host creation in contemporary times: part 2

Wednesday, July 30th, 2008

Beyond ABS-CBN

It is therefore no surprise that gone are the days when any actor or actress could just gather enough gumption to hold a microphone and instantly become TV host. So much more is at stake now, given the fact that many of these reality shows are expensive franchises. And it is that one host who needs to keep audiences from changing channels at any given time. (more…)

kawayan takes a walk on the blindsideMarch 1st, 2010

It seems too easy, really. On one July 4, Kawayan de Guia found himself in America, and felt removed from what was a major celebration in the land of milk and honey. On this day, he decides to take a 30-kilometer walk on non-descript Route 66, which may be part of his personal history of walking, yes, but to a spectator who needs no personal history, could really be about so many other things.

Which is really what works for Bored on the 4th of July (Ateneo Art Gallery, Ateneo de Manila University) an exhibit borne of de Guia’s New York Art Residency Grant. An installation of photos that de Guia took on this walk of purported boredom, what was striking to begin with about this exhibit was the fact that it really is just a bunch of photos. The current propensity for capturing images of moments and keeping memories, with social networking sites and the internet’s enterprise of sharing and developing relationships through these swiftly changing images, this is exciting as it is possibly boring. For really, when I can put an album online of my own walk through an unfamiliar street in an alien city, wouldn’t my own captured images necessarily be as important, if not more so, than someone else’s? Read more…

Lack or irony in Happily UnhappyFebruary 9th, 2010

a version of this was published in the Arts and Books Section of the Philippine Daily Inquirer, 8 February 2010.

A group exhibit such as Happily Unhappy (Blanc Gallery, Mandaluyong) has a lot going for it, other than the possibility, and the fact, of a smorgasbord of artists. There is the brilliance of a concept, the idea of being happy with one’s unhappiness, that can carry an exhibit like this to, well, brilliance. This of course banks on the infinite possibilities that a title such as this allows: what is it to be happily unhappy? Where does one take that idea, and how can it be configured and reconfigured? It also presumes a certain amount of irony, yes? Because that title is, if we must state the obvious, ironic.

But apparently the danger with irony in an exhibit such as Happily Unhappy (curated by Jordin Isip and Louie Cordero) is the possibility that a greater number of the participating artists would work with the concept in the same way, i.e., talk about the same kind of happy unhappiness. The irony then becomes less potent, less obvious, less than what’s expected. Read more…

Lee Navas Olazo rock the new year!January 26th, 2010

A two-man one-woman show featuring Romeo Lee, Elaine Navas and Jonathan Olazo (Manila Contemporary, 2314 Pasong Tamo Ext), opens the year 2010 with a bang of bold strokes and crazy textures. The diversity of course lies in the kind of works that these three artists are famous for, a diversity that necessarily lies in form, but more importantly in subject matter.

It’s Navas’ three panels that capture the eye upon entering the gallery, with her signature impasto technique and an amalgamation of green. The four panels that make up “Asborbed” “Found” and “In Between” could easily be different angles of the same forest rendered in still life. What makes it unique is Navas’ use of a technique that seems to bring this forest to life, engaging the spectator in the familiarity of the moment captured: the trees and leaves all tangled up, a bit of sunlight cutting through the chaos. It calls out to the spectator in the way the unknown does, where being in between is the same as being found, as one is absorbed into discovery as well.

In “Wishingbone” Navas’ still life isn’t so much about the engagement with what’s familiar, but a rendering of the familiar into strangeness. The wishing bone, which connotes hope, is shown as a headless fish skeleton hanging upside down, a query into the idea of a wishingbone and what it is in truth: a surrender, an end in itself, a moment up in the air. It’s this same suspension of belief that is apparent in Navas’ two other works “Solo” and “Pink Mutations”, as both work with crumpled unidentifiable forms that seem to be moving on the canvas. The latter merges together the forms using shades of pink that interact with and into each other; the former works with contrasting colors, both moving differently and seemingly extraneous from each other, creating a dynamism that’s difficult to miss. Read more…

© 2009 Katrina Stuart Santiago