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…)

Saved by Salvatus! Notes on the Ateneo Art Awards 2010August 25th, 2010

a version of this was published in the Philippine Daily Inquirer, Arts and Books Section, August 23 2010.

Because Mark Salvatus and his work inspired by the Quezon Provincial Jail would be the most logical choice for the Ateneo Art Award 2010, to this critic who has seen most these artists’ exhibits when they came out in galleries and museums across the metro, and who does insist on relevance and resistance, and its possibilities in art.

Of the 12 short-listed artists with works in exhibition at the Shangri-la Plaza Mall’s Grand Atrium, Salvatus’ installation “Secret Garden” and painting “Do or Die” were the most outright political, speaking of the lives we’d rather forget about, the silence that is as noisy as our screams. The jail ain’t a pretty place, especially in the Philippines. The ugly ain’t the usual set of works that we see the Ateneo Art Awards (AAA) liking, and let’s not even begin about the political.

The argument would be of course, that everything is political. And looking at the manner in which this AAA exhibit exists can only be telling. In the context of this high-end mall, with mostly foreign shops, the second floor lobby filled with contemporary (and young) Pinoy art just seemed so out of place. Or maybe it was perfect. Read more…

Ruben de Jesus and the simple lifeAugust 9th, 2010

a version of this is in the Arts and Books Section of the Philippine Daily Inquirer, August 9 2010.

From afar, the first thing you notice about Ruben de Jesus’ works is its colors. Reds, blues and blacks are rendered in various and unexpected hues that play around with light and shadow and emphasis. Up close, each of the pen and ink works is a story in itself, at the same time that all together they could be bound into one children’s storybook. Simpleng Buhay, Simpleng Kulay (The Alcove, Filipinas Heritage Library, Makati Avenue) seems simple enough in theory, but in reality it speaks of a complexity that’s in the artwork, and more importantly is beyond it.

The choice of the simple

Last year, de Jesus mentioned the idea of paintings on the simple life to Filipinas Heritage, and while they were excited about it, de Jesus needed to be given much space and time to do it. Sometimes it wasn’t clear how much of the work was being done, or even how many artworks there were going to be. But a year after, there are 12 framed artworks all in all, six in blue and black and six in red and black, each one working with a particular moment in rural life that might be deemed simple, if not forgotten, maybe a reminiscence, by current standards of city life and development. Read more…

© 2009 Katrina Stuart Santiago