Archive for January, 2009

Shameless

Friday, January 30th, 2009

It’s a downright shame that on the year of the University of the Philippines’ Centennial, one that has been celebrated with much publicity and fanfare and cash, we hear many stories of how the university has turned on its own. Students have to deal with a higher tuition fee and the difficult process of qualifying for the STFAP (one full scholar? unacceptable!). Janitors like Mang Meliton are given P.92 centavos as retirement pay after 41 years of service. Where is the justice in that?

And then there’s the story of Prof. Sarah Raymundo – one that has done the rounds of blogs, has warranted statements from scholars and activists here and abroad, and has been the bane of the Department of Sociology’s existence since everything blew over. And rightfully so. Because what happened to Sarah can happen to anyone who plays by the rules, does more than what’s required, but who is still deemed unworthy of permanent status in the University. What has happened to her can and will happen again, in a University of the Philippines that allows its departments to unilaterally decide on the future of its faculty members, ignoring what it is they have contributed to the University. What has happened to Sarah will happen again, in a Department of Sociology that has yet to come clean about her case.

In the meantime, one can’t help but ask: what is it that’s more important than Sarah’s academic work (international conferences, published essays in books and refereed journals, extension work, a graduate degree) in a University that teaches us about the value of getting published and the need for continuous study? What is it that weighs heavier than teacher evaluations that prove how students learn from her, and would take her classes again and again?

The answer seems simple enough: it’s Sarah’s politics. That’s as much as she’s been told by her superiors in the department, and this is all that this can be about given how Sarah has met all requirements for tenure. This is about her involvement in issues within and beyond the academe, it’s because she has decided not to sit on a fence and watch the world collide. It’s because Sarah’s an activist, and not the kind that only panders to what is politically correct when it is popular (for that is really just an opportunist). Instead she involves herself in issues that are important because relevant, and for this she is being made to pay dearly. What is wrong with getting involved in the issue of the missing U.P. students Sherlyn Cadapan and Karen Empeno? What is unacceptable about her volunteer work for the human rights organization Karapatan? Why must she be made to apologize for the kind of teaching she does – which the Department of Sociology has deemed wrong – because some of her students have become activists themselves?

Any person who has been a student would know that some teachers can change our lives. Any student who changes her ideological leanings may pinpoint one teacher who has made her re-think her beliefs, re-assess her practices, without realizing that in fact she is only reacting to her own history, her own class contradictions. If and when a student becomes an activist, no teacher can take credit for it. To do so would be egotistical, and that’s to imagine that all students enter the classroom tabula rasa.

And yet it seems that the Department of Sociology’s active imagination has created a picture of Sarah as someone who consciously and conscientiously works towards turning students into her clones. Something that is impossible to prove, and is really more a matter of the pot calling the kettle black: there are undoubtedly teachers who want to create little mini-mes who will repeat what they say as if they are gods, who will put them on a pedestal and pinpoint them as mentors, who will forever be unable to look them in the eye and presume equality. Only teachers who see this as the correct order of things, will imagine that Sarah is the same. Only the powerful administrators can use this to take away the house and home Sarah has known the University and the Department of Sociology to be, political and ideological disagreements notwithstanding.

Sarah is a leftist, and the last time I looked there was no need to apologize for being so. Not when the work one does, the essays one writes and gets published, the conferences one is invited to attend, the M.A. one gets, is a product as well of that activism. There is nothing extraneous to one’s ideology, yes? So why is Sarah being made to suffer for what she believes in? Given so many tenured faculty members who are at the other end of the ideological spectrum, what can this be but a witch hunt? An academic killing of the progressive faculty of the University?

This is so much bigger than Sarah of course, as in this country real killings and disappearances of activists continue to happen everyday. But what has happened to Sarah, in the context of the publicity that has surrounded U.P.’s Centennial Celebrations, is proof of what the University has become.

So I take it back. It is perfect that this happened to Sarah on the year of U.P.’s Centennial. It reveals to us all, alumni and students, faculty and employees, that the University’s activist past is all lost glory, and is only celebrated when it is convenient and romantic. In truth, it is now anti-progressive and anti-activist, and it will endanger the life of its own, take away house and home, for reasons that are nothing but petty, everything and unacceptable. In many ways, this Centennial showed U.P. to be ultimately and unabashedly shameless.

KC as guilty pleasure*

Monday, January 26th, 2009

There are songs that become your guilty pleasure, the kind that you don’t admit you like, just because they’re too pop, or are downright cheesy. Many albums get hidden in the back of your closet, a little secret you keep to yourself, even when you’ve memorized it inside and out.

This is exactly what A.K.A Cassandra, KC Concepcion’s debut CD is. Because truth to tell, there is really nothing spectacular about it. It’s an album that subsists on plenty of remakes of mostly foreign songs (save for “Haring Ibon” by Joey Ayala), and originals that are everything and cheesy (”An Updated Version of Me” comes to mind). Many of the songs remain about love, if not about the universal notions of happiness and going with the flow and relaxing. All of them are pop, in the sense that they are easy to listen to. (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