art

POP GOES THE WORLD By Jenny Ortuoste for Manila Standard-Today, published on 13 August 2011, Saturday

This article has already appeared on this blog in a somewhat different form here.

Namaste, A Place of Wonder

Namaste Art and Objects in Baguio City  is said to be the only shop in the Philippines that sells Nepali and Tibetan fine goods and art; they also carry  crystals and semi-precious stone beads to be made into custom jewelry.

Located at the ground floor of Porto Vaga Building along Session Road, the shop is small, yet filled with wonderful things. Everywhere is the gleam of brass or perhaps gold leaf, the shimmer of fine pashmina wool, and the sheen of beads displayed on countless racks.

Palanca Award-winning writer German Gervacio in front of Namaste. (April 2011)

I visited the shop last April. Its windows are crammed with an overload of interesting objects. Since they are informed by Buddhist Tibetan and Nepali culture, the meaning behind much of the things escapes the usual visitors.

In the center of the window was an intricate brass figure, winged and haloed, perhaps an avalokiteshvara (bodhisattva of compassion). Yet another gleaming Buddha sits serenely in the window, behind a quartz geode and metal elephant. Elephants (gaja in Sanskrit) symbolize fertility, abundance, richness, boldness and strength, wisdom and royalty. In Buddhism, the “Precious Elephant” means strength of mind, a “symbol of the calm majesty possessed by one who is on the Path.”

There is no wasted space in the shop; every available inch holds something. The walls of Namaste are adorned with paintings, carvings, masks, and a stringed musical instrument, while from the ceiling dangle bells, wind chimes, patchwork fabric hangings, and more.

Buddha figures in all shapes, sizes, and forms abound. One of my favorite tableaus on a high shelf featured a Buddha in the center, flanked by a warrior and a horse. In Chinese mythology, horses stand for virtue and power. From obvious associations, it also connotes speed, intelligence, and natural forces like the wind and waves. In Buddhism, the “Precious Horse” is one of the “Seven Jewels of Royal Power”, said to “travel among the clouds and mirror the Buddha’s abandonment of or “rising above” the cares of worldly existence.

Placed on eye-level on another shelf was a triptych, maybe eight inches high, carved from wood and painted in turquoise, pink, and gold. On the center of the left-hand panel is the Sanskrit symbol for OM, the “eternal syllable”. Buddha sits upon a lotus, and one is carved on either side of him. In Buddhism, the lotus refers to the “complete purification of body, speech, and mind.”

More brass Buddhas sit atop a pile of silk and wool fabric – shawls and what-not. From the ceiling in front of them is suspended a wooden charm carved and painted with the Chinese symbol for good luck.

The shop has many displays of bracelets and necklaces made from crystals and stones.I asked Namaste store attendant Meg Reyes to make me a bracelet. She asked me, “Ano’ng kailangan mo?” I asked her, “Ano ang tingin mong kailangan ko?” She looked into my eyes, while her own narrowed. Then she said, slowly, “Maraming naiinggit sa iyo.”

I was taken aback by that; it was unexpected. But then I recalled two Enochian card readings I was given last year, in November and December; the reader, Malou Mallari, told me both times to be wary of workplace envy. For the same issue to crop up again was an uncanny coincidence; I decided to take heed, and let Meg guide me in the choice of stones for my bracelet.

She put in a mix of power (creativity, health, success, etc.) and protection (anti-negativity, anti-envy, returning back ill-wishing) stones. Because the power stones cost more, I got only one of each, while the rest of the length of the bracelet was made up of the less expensive jet black “anti-negative” stones.

Meg chose various colors of tourmaline; clear, rose, and cherry quartz; and amethyst, jet, lapis lazuli, and angelite to make my bracelet. She placed my chosen beads on a makeshift cardboard stand, like a Scrabble tile holder, and strung them on several strands of elastic thread, then knotted the ends tightly and fused them in a candle flame.

I was also drawn to a tiny brass Buddha statue less than an inch and a half high. (I carry it with me every day in a pouch in my bag, putting it in front of my computer monitor when I get to work in the mornings.)

Before handing me my items, Meg “blessed” both the bracelet and the mini-Buddha in a Tibetan metal “healing bowl”, running a wooden implement around the rim to create a ringing, echoing sound, while telling me to think of good things. As I drew the bracelet on my wrist, Meg advised me to wear the power stones close to the pulse.

Prayer wheel and blessing/healing bowl.

Fast-forward to late May. Now one of the protection stones on my bracelet has cracked in half, and half of the bead beside it has changed color, from black to a murky gray. I was puzzled – I don’t slam my hand around, while the color change is frankly inexplicable.

Then the other day at work I learned that several people whom I thought were friends are backbiting me about my position, though  they admit that I have never done anything against them either professionally or personally.

When the green monster rears its ugly head, it spells the end of friendships. Or not, because now I realize these people were never my true friends, and I’m glad I found that out early on.

I can’t help thinking now that my bracelet took the hit of all that negative energy. A coincidence? It’s still uncanny. Three friends (a writer, a lawyer, and an editor) to whom I showed the damaged bracelet pushed it away and averted their eyes. “Nakakakilabot,” they said.

I plan to go up to Baguio on the next long weekend and visit Namaste again, this time to ask Meg for a bracelet made entirely of the “anti-negative” stones as a pangontra. Though I believe luck is what we make it, some coincidences are just too strange and cannot be ignored.

It will also be a treat to immerse myself once more in a world of wondrous things replete with symbolism, a trove of exotic treasures from a different place, a haven for unraveling stress and instilling a sense of deep peace. ***

taste more:

POP GOES THE WORLD  By Jenny Ortuoste for Manila Standard-Today,  12 August 2010, Thursday

Freedom of Feedback

The topic that will not die. That’s the storm artist Mideo Cruz unleashed with the recent exhibit of his controversial work “Politeismo” at the Cultural Center of the Philippines.

That the artwork would offend religious sensibilities in this predominantly Roman Catholic country was a given. The artist expected as much, and in fact deliberately created his work as an artistic statement to provoke people to think about idolatry and, in extension, the role of religion in Philippine culture and their own lives.

However, no one expected how intense and massive the public reaction would be, or that the controversy would go global via the Internet.

The fallout was extensive. Politicians took up cudgels in behalf of the Church – Manila congressman Amado Bagatsing delivered a fiery privilege speech denouncing the work, prompting fellow lawmaker and former First Lady Imelda Marcos to have the exhibit shut down with one phone call. This is turn led to the resignation of Karen Flores, chief of the CCP’s visual arts division, which she announced yesterday at a forum at the University of the Philippines Art Studies Department.

What I found interesting about the entire thing was the extent of the public discourse which came from a myriad points-of-view. Some focused on the work’s artistic merit. Writer Sarah Grutas Tweeted, “Whether Mideo Cruz’s artwork is anti-Christ or anti-Church or not is beside the point. What needs to be addressed in the first place is whether Cruz’s artwork has any artistic merit at all. Does it even deserve public/national discourse? Maganda ba? Original ba? Art nga ba?”

Some opined on the responsible creation of art. Digital media artist Bea Lapa said, “Not all artists are behind [Mideo]. Many digital and new media artists do not want to be associated with this kind of work because we worked so hard honing our craft…I am not even Catholic, but I can see why such disrespect for powerful symbols could lead to chaos. As my brother, a sculptor, said, if we just express without burden of responsibility then we are no better than monkeys with paintbrushes.”

Others took up the issue of censorship. Artists’ Arrest, an “alliance composed of emerging and established artists and cultural activists…from the grassroots, alternative, and independent sectors”, posted a statement on Facebook:

“At this point, any defense or attack of the artwork “Poleteismo” by Mideo Cruz is already moot and academic because it will always be subjective…as it happens, the debate surrounding the artwork has been focused largely on its artistic and moral merits at the expense of calling our attention to what we think are more disturbing actions: the demand of a certain faction of the Catholic church for the resignation of the CCP officials; the vandalism of the artwork and in effect the CCP gallery in which it is in exhibit; and the decision of the CCP to close the exhibit.

“Peace and Beauty”, painting by Mideo Cruz. From the artist’s Facebook page.

“We call on the CCP board to rethink its position about the closing of the exhibit for it already constitutes censorship. We also appeal to artists and citizens to see the higher social wager at stake in this situation: our freedom of expression.  We join other artists and groups in the action to defend our right to express ourselves.”

Los Angeles-based Filipino musician Ray takes a pragmatic stance: “Mideo may well be a rabble-rouser, whose installation only aims to critique our colonial mindset and has stopped short of exploring its roots that go way before the arrival of Magellan (who, at best, only managed to shift that primal spirituality’s direction to a western and Judaeo-Christian orientation even as it moderately succeeded to blend in its animistic origins).

“If some art tucked in a secluded corner of the CCP – whose offensiveness may have been well unknown if not for the recent undue interest – offends anyone, there is less energy expended in ignoring it completely and engaging in more fruitful endeavors. If one finds an overpowering need to expend more energy, try exercise.”

On my blog, where I had posted my previous column which carried an interview with Mideo, 90% of the comments were laced with profanity, and 80% revolved around the thought “What if it were the picture of your mother, father, or other family member that had a penis stuck on it? How would you feel?” The insights here are that people are equating the defaced pictures of Jesus, Mary, and God with their relatives – in other words, Jesus et al. are considered part of the Filipino family – and that reciprocity is a significant value in our collective culture.

“Purity”, painting by Mideo Cruz. From the artist’s public Facebook page.  

Looking at the big picture, what we should appreciate about this entire debate is our freedom of speech as manifested in public discourse of the matter. Topics such as this will always be viewed subjectively. There will always be adherents for either side, and never the twain shall meet.

But to be able to talk about such things freely, to give rein to opinions for or against, is a liberty that we should not take for granted. There are many countries under repressive regimes where such conversation is forbidden and severely sanctioned if against the state’s position.

Social media played a large part in spreading thoughts about this topic. Through the Internet and platforms such as Facebook and Twitter, feedback was instantaneous.

Feedback is integral to the communication process. “Communication is useless without feedback” – It completes the whole process of communication, sustains and makes it continuous; serves a basis for measuring the effectiveness of communication and for future planning; and paves the way for the generation of new ideas (Seun, 2010).

It’s good to see our right to freedom of speech getting a workout. But freedom of expression as claimed by artists is another matter. Public censure is a form of censorship, imposed by society; the shutdown of the exhibit by CCP in response to political pressure is a manifestation, as are the statements made by various politicians including the President.

“See Through”, painting by Mideo Cruz. From the artist’s public Facebook page.

If Mideo Cruz and his “Politeismo” caused offense, it has also generated new ideas, shown us the role of religion in our lives, and revealed the most effective channels for communication and feedback.

It also tested the boundaries of freedom of expression. Now we know how far an artist can go pushing the limits before social sanctions are imposed. If only for that, Mideo deserves our thanks. ***

Image of Imelda Marcos here.

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POP GOES THE WORLD  By Jenny Ortuoste for Manila Standard-Today,  4 August 2011, Thursday

Art and Soul

Since when has an artwork created so much scandal and controversy as Mideo Cruz’s Politeismo, now on exhibit at the Cultural Center of the Philippines?

The artist and his work. Image here.

It is a mish-mash of religious and worldly iconography that has divided viewers. The art world in general applauds the expression of the artist’s personal vision, while some Roman Catholics are indignant, with some lay Catholic groups even considering filing charges against the artist and the CCP to “stop (sic) the exhibit in 48 hours or face the legal consequences.”

In the case of Politeismo, religion + art does not necessarily equal religious art, the kind of art that fills our museums and private collections – exquisitely-carved wooden mild-faced saints in robes with eyes lifted to heaven or carried on a plate; paintings of miraculous scenes, Christ on his cross, or Mary stepping on a serpent, its fangs embedded in her white foot, her head wreathed in stars or roses.

Mideo’s art brings these deities and saints to the level of humans. And why not, one might say? That is the risk run when the object of worship is depicted as human. In this instance, the sacred + religious = sacrilegious, as its detractors claim.

Viewers observe the work at CCP. From the artist’s public Facebook page.

The outrage stems from prevailing cultural attitudes which insists on respect towards religion, especially the dominant Roman Catholic Church. In his paper “Filipino Values: Determinants of Philippine Future” (1990), Dr. Serafin Talisayon identified religiosity as one of Philippine society’s core values – “maka-Diyos, spirituality, religiosity, belief in miracles, devotional”. He also cites a Tsukuba University study (1980) that places the Philippines on the top of a list of countries and their spiritual/religious beliefs, followed by India, Brazil, and the United States.

Tagged with the label “Asia’s Only Catholic Country”, many Catholic Filipinos feel they have to live up to that.

On the other hand, US-based Filipino art collector Victor Velasco points out works of art such as Politeismo are created to a great extent in other countries. He mentions the issues “…Andres Serrano, Piss Christ, American Family Association, National Endowment for the Arts, Senators Helms and D’Amato; also Corcoran Gallery of Art, Robert Mapplethorpe; also Dread Scott Tyler and “What is the Proper Way to Display An American Flag?”

Of Mideo’s work, Velasco says, “I think the show is beyond Catholic images or iconography. It instead deals with every type of of ‘idolatry’. Hence, [the incorporation of elements such as] Mickey Mouse, Fernando Poe, Jr, Imelda Marcos, Obama. Is PNoy anywhere in the wall — he, who was voted into office mostly for being a symbol? It focuses on how symbols and images are potent (i.e. powerful therefore dangerous) devices in creating, conjuring, and perpetuating beliefs and worships.”

Part of the sprawling installation. From the artist’s public Facebook page.

Velasco put me in touch with the controversial artist himself. Here’s our question-and-answer exchange on the issue:

Q: “What is your reaction to the negative comments to your art – “blasphemy”, “sacrilege”, and so on?”

Mideo Cruz: “I’m still astonished about the entire incident because the particular artwork inside a gallery became an effective, provocative tool, [whereas] every artist [knows the reality] that very few people come to an enclosed gallery space.

“It is an existing work [of which] various versions were already exhibited, first at the UP Vargas Museum in 2002, at Kulay Diwa Art Galleries in 2005 wherein the exhibit was also featured in a Spanish TV, and in 2007 at the Nexus group exhibition in Loyola Heights, Quezon City. It is a part of a music video done in the same year, which is being aired until now. Similarly inspired projects were done in Zurich, Switzerland; Taipei, Taiwan; Sardinia, Italy; Hong Kong; China and; Vancouver, Canada.

“As a visual artist, the images I create contain more explanation than my words. Images are open to various interpretations on the basis of the viewer’s perspective, maturity, and imagination.

“I cannot please everybody. I cannot tell them exactly how they will look and translate my work but may I say, please don’t stop on the surface; if you will close your eyes upon seeing the images, there are more things to see.

“Sometimes we need to realize that what we are looking at is the mirror of our society and of ourselves. The uproar might be the unconscious denial of seeing ourselves truthfully in the mirror. The realities in our society are the real blasphemy of our own image, the blasphemy of our sacred self.”

Q:  “When you conceived this work, did you think the majority of Filipinos were ready for this kind of thing? Or did you go ahead knowing that there would be many negative comments?”

Mideo: “Michael Steiner, the Swiss movie director, used to tell me “Your works are not really for a Filipino audience, they may not be ready to see those images.” But when we will be ready? Some philosophers say that we are now leaving the era of post-modernism; the world now is talking about same-sex marriage and here in the Philippines we are still talking if it is morally right to use a condom. We are now the only nation that doesn’t have a divorce law.

“Next year the physicists in Geneva are expecting some new discoveries from the 70 million “god particles” from the Large Hadron Collider. Who would dare to do something outside convention if we will be afraid to go out of the box? We wouldn’t know that the sun is the center of the solar system if Copernicus was afraid to be tagged a heretic. People should not be afraid to introduce things outside the norm; the dialectics must continue and we should not be afraid of change.”

Taking pictures of the controversial work. From the artist’s public Facebook page.

Q:  “What is the majority of comments that you have received overall – more negative or positive?”

Mideo: “At first a lot of the comments were threats and personal attacks, which only strengthened the points of my work, but lately, some arguments are [shaping up], and personal attacks are dwindling down with more substantial arguments. I see everything as positive and the comments on blogs, social networking sites, and other media as an extension of the work in CCP in a newer context. This might be similar to how an artwork behaves and changes when transform to a document such as photograph and video. It is another kind of experience in perceiving the work. A lot of artists and people from the creative industry from here and foreign countries are now showing their support.”

Q:  “With this controversy, what would you say are the prevailing or dominant attitudes in the country when it comes to works that touch on religious matters?”

Mideo: “That’s where I started trying to understand the making of the sacred and how the people contribute to that. Then I reconstruct it with parallel meanings relevant to our life as people. It really depends on the audience how they perceive the images, there are various reactions of course.

“Most of the people who reacted violently haven’t seen the actual work nor try to read the signifiers more. Or some saw it first on TV where it already directed them to where they will focus their mind upon seeing the images. They are in another context and not in the context of an art space wherein the experience they will gain is open for critical discourse.

“One integral part is we are so afraid to use the phallic, whereas it is part of our ancient culture. Even in our own language it is a taboo to mention it.”

Q:  “Would you do this again – continue creating these kinds of works?”

Mideo: “The worst thing for an individual is to be affected by intimidation and stop doing the things he believes in.”

Politeismo is a mixed-tape of pop culture, politics, and Papa God. Image from the artist’s public Facebook page.

Q: “Do you have plans to show these works abroad? Or, what would be the fate of these artworks – are they for sale? If yes, do you already have a buyer or buyers? Do you think there are Filipino art collectors who would buy these kinds of works?”

Mideo: “No plans yet to show it again inside or outside the country. I have been collecting these“relics” since I was in secondary school, so most of these things will remain in my vault. A couple of years ago there were some local art collectors who showed interest in one of the work exhibited – the cross titled “Relic” – but [negotiations] didn’t prosper and I wasn’t that interested to give it up that time. I already sold some fragments of the installation I did in Zurich in 2008.”

I believe in freedom of expression. Stifling a country’s artists stifles its soul. Art is a reflection of the zeitgeist, and Filipinos in general are questioning the continued and pervasive influence of the Church in our society and culture. Witness the spirited debates on the reproductive health and divorce bills; on the vehicles given by a government agency to seven bishops.

Not only are the clergy and their assumption of moral ascendancy being questioned, but also those who seek to impose their Catholic beliefs on others, such as the Alabang Village homeowners’ association officers who sought to bar the sale of condoms in their area, a move met with opposition and derision from fellow residents.

Mideo and other artists who do similar work are exploring the way religious beliefs have become embedded in our culture. Where is sacrilege there? The Church feels threatened; how different is this from Jose Rizal’s time, as he portrayed in his novels? I saw photos of the artwork under fire, and I consider it pretty tame compared to what’s out there in the world.

I’d say we’re just catching up. Welcome to the rest of the world, Philippines. *** 

taste more:

When in Baguio last April I visited one of the most interesting shops I’ve ever entered – Namaste, at Porto Vaga Building along Session Road.

Namaste attendant Meg Reyes with writers Clarissa Militante and Genevieve Asenjo.

a place of wonder

It is said to be the only shop in the Philippines that sells Nepali and Tibetan fine goods and art, as well as crystals and semi-precious stone beads to be made into custom jewelry.

The shop is filled with wonderful things. Everywhere, the gleam of brass, or perhaps gold leaf, the shimmer of fine pashmina wool, the sheen of beads displayed on countless racks.

The shop windows are crammed with interesting objects. Here, a brass figure holds center stage, perhaps an avalokiteshvara (bodhisattva of compassion); behind it walk Meg and fictionist Yvette Tan.

Yet another gleaming Buddha sits serenely in the window, behind a quartz geode and metal elephant. Elephants (gaja in Sanskrit) symbolize fertility, abundance, richness, boldness and strength,  wisdom and royalty. In Buddhism, the “Precious Elephant” means strength of mind, a “symbol of the calm majesty possessed by one who is on the Path.”

The walls are adorned with paintings, carvings, masks, even a  musical instrument or two…

…while from the ceiling dangle bells, wind chimes, patchwork fabric hangings, and more.

A view of the Namaste shop interior. I’d love to have one of those intricately-carved wooden stools.

A prayer wheel sits atop a display case.

Buddha figures in all shapes, sizes, and forms abound…

One of my favorite tableaus – a Buddha in the center, flanked by a warrior and a horse. In Chinese mythology, horses stand for virtue and power. From obvious associations, it also connotes speed, intelligence, and natural forces, like the wind and waves. In Buddhism, the “Precious Horse” is one of the “Seven Jewels of Royal Power”, said to “travel among the clouds and and mirror the Buddha’s abandonment of or “rising above” the cares of worldly existence.”

This very interesting triptych is carved from wood and painted. On the center of the left-hand panel is  a prayer wheel with the Sanskrit symbol for OM , the “eternal syllable”. Buddha sits upon a lotus, with more on the other panels; in Buddism, the lotus refers to “the complete purification of body, speech, and mind.”

More Buddhas sit atop a pile of silk and wool fabric – shawls and what-not. From the ceiling in front of them is suspended a wooden charm carved and painted with the Chinese symbol for good luck.

The shop has many of these displays of bracelets and necklaces made from crystals and stones.

I asked Meg to make me a bracelet. She asked me, “Ano’ng kailangan mo?” (What do you need?) I asked her, “Ano ang tingin mong kailangan ko?” (What do you think I need?) She looked into my eyes, while her own narrowed. Then she said, slowly, “Maraming naiinggit sa iyo.” (Many people envy you.) I was taken aback by that; it was unexpected.

But then I recalled two Enochian card readings I was given last year, in November and December; the reader, Malou Mallari, told me both times to be wary of workplace envy. For the same issue to crop up again was an uncanny coincidence; I decided to take heed, and let Meg guide me in the choice of stones for my bracelet.

She put in a mix of power (creativity, health, success, etc.) and protection (anti-negativity, anti-envy, returning back ill-wishing) stones. Because the power stones cost more, I got only one of each, while the rest of the length of the bracelet was made up of the less expensive jet black “anti-negative” stones.

Meg makes my bracelet…

…choosing from these beads – tourmaline, quartz, amethyst, jet, lapis lazuli, angelite, and onyx among them. Beside the box of amethyst beads are two tiny (less than 1.5 inches high) Buddha statues that I was choosing between. I got the one on the left. I carry it with me everyday in a pouch in my bag, putting it in front of my computer monitor when I get to work in the mornings.

Meg places my chosen beads on a makeshift cardboard stand, like a Scrabble tile holder, and strings them on several strands of elastic thread, knotting the ends tightly and fusing them together in a candle flame.

The finished bracelet.

Before handing me my items, Meg “blessed” both the bracelet and the mini-Buddha in a Tibetan metal “healing bowl”, running a wooden implement around the rim to create a ringing, echoing sound while telling me to think of good things. As I drew the bracelet on my wrist, Meg advised me to wear the power stones next to my pulse.

envy breaks rock

Fast-forward to May 2011. Now one of the protection stones on my bracelet has cracked in half, and half of the bead beside it has changed color, from black to a murky gray. I was puzzled – I don’t slam my hand around, while the color change is frankly inexplicable.

The other day a friend at work told me that at least four people in our department, three men and a woman – people I had known from before we came to our present office, people whom I thought were my friends – have been griping about my position at work, though they acknowledged I had never done anything against them, either professionally or personally.

I noticed these four people have barely spoken to me the past several months – now I know why. This was not the first manifestation of their envy. (The first time around, the woman staged a weird and uncalled-for temper tantrum, texting me strange messages.) When envy rears its ugly head in erstwhile friendly relationships, especially in the workplace, it spells the end of friendships. Or not, because now I realize these people never were my true friends.

When Malou read my cards last year and told me that my biggest problem this year would be office envy – “It would really be severe,” she said – I shrugged it off, paid no heed; I was more interested in hearing about whether my lovelife would improve. Now I see what she meant.

And I can’t help thinking that my bracelet took the hit of all that negative energy. A coincidence? Still, it’s uncanny. Three friends (a writer, a lawyer, and an editor) I had showed the damaged bracelet to pushed it away and averted their eyes. “Nakakakilabot,” (gives me the shivers, frightening) they said.

I plan to go up to Baguio on the next long weekend and visit Namaste again, this time to ask Meg for a bracelet made entirely of the “anti-negative” stones as a pangontra. Though I believe luck is what we make it, some coincidences are just too strange and cannot be ignored.

It will also be a treat to immerse myself once more in a world of wondrous things replete with symbolism, a trove of exotic treasures from a different place,  a haven for unraveling stress and instilling a sense of deep peace.   ***

All photos by JennyO, taken April 2011  with a Nikon Coolpix L21.

taste more:

The University of the Philippines-Diliman College of Arts and Letters hosts a gathering called Writers’ Night every December for professors, students, booksellers, sellers of other things, the general public, and writers. Last year (2010) it was held on December 10, the week before Lantern Parade, and it was well-attended.

I took my eldest daughter Alex and her friend JM along with me that day. They are students at De La Salle University. It was JM’s first trip to UP. He suffered profound culture shock, first of all with the size of the campus. Next, with my matter-of-fact statement that anyone could say anything to anyone at anytime, even in class, to a professor. He said, “You mean you can give your actual opinion to your teacher and she won’t get mad?” I told him, that is the gift of UP to its students – the license, the encouragement, to think free – something almost impossible at a school with a religious or other agenda. He was suitably impressed.

We had lunch, then off I went to a creative writing class with Dr Jing Hidalgo. While I was in class, the two went exploring.

We had dinner after – I took them to that old standby at UP Shopping Center, Rodic’s, where we ate off metal plates. Then to Writers’ Night, held at the rooftop of the Asian Center’s Hall of Wisdom, which we kept calling (by mistake) the “Hall of Justice”.

Typical Rodic’s meals of rice-and: spamsilog, bacon-si-log, long-si-log – with side of itlog na maalat  at kamatis.

The pictures I took that day are soft and fuzzy, kind of how I feel about UP itself – the present experiences of my PhD days mixed with the nostalgic memories of my undergrad years, like photographs superimposed upon each other, merging, blurring, almost becoming one.

The facade of AS (Arts and Sciences building), properly called Palma Hall. All general subjects are taken here, so everyone from UP Diliman passes AS in their early years.

The campus has always been green. I am glad that this is so.

The Sunken Garden, with its soccer goals.

That’s the College of Business Administration. It’s across the Sunken Garden. Fabric in the school colors binds a tree.

At the 2010 UP Writers Night. Tents and chairs on the rooftop, with food and books and singing.

The elderly gentleman with his back to the camera is National Artist for Literature Dr. Bienvenido Lumbera.

Me, in the center, with my hands on Alex’s shoulders. With us are my classmates, writers Triccie Obligacion, Vivien Labastilla, and Hammed Bolotaolo.

With a former classmate,  writer Carljoe Javier (“The Kobayashi Maru of Love”).

At the back are professor J. Neil Garcia and writers Doy Petralba and Hammed; front, a couple of friends, me, and writers Jenette Vizcocho, Triccie, and Vivien.

After the event, I took the kids to my college – the UP College of Mass Communication. The giant iPod on a cart was our college’s entry in the annual Christmas Lantern Parade. It was a wonderful moment for me – seeing my daughter and her friend, both college students themselves, in front of the steps I sat on when I was an undergrad myself. I didn’t think, back then, that I’d be seeing this in a couple of decades.

A closer look at the college’s float. The front of the “iPod” is woven from strips of magazine pages. I heartily concur with and support the sentiment displayed on it.

I will most likely be attending this year’s UP Writers Night – it’s the usual reunion date for past fellows and panelists of the UP National Writers Workshop, and it’s also the launching of Likhaan 5, the UP-CAL journal. My essay “The Turn for Home: Memories of Santa Ana Park” has been included in it, and I look forward to receiving my copy.

taste more:

POP GOES THE WORLD By Jenny Ortuoste for Manila Standard-Today, 5 May 2011, Thursday

Language and Identity

In a multi-lingual country such as ours that has been colonized by foreigners, language and its use are inextricably linked to issues of national identity and geography.

Tagalog, or “Filipino”, is used as the country’s primary language, and is taught in schools along with English, embedded in the culture during the forty years of the American Occupation. Spanish, spoken by families of the elite during 400 years of Madre España en Filipinas, has sunk into obscurity.

The Philippines, center -the green group of islands that looks somewhat like a dinosaur. Image here.

At different times over the years, either Tagalog or English has been the main medium of instruction, a matter that has always heavily been debated, even fought over.

Cebuanos have contended in the past that there are more Cebuano, or Visayan, speakers, and that it should be the primary language. Tagalog is said to have been designated the national language only for purposes of convenience, being the language spoken in “the center” of the country, where the seat of the national government is located. It’s a case of a language being in the right place at the right time.

We are in a period where Tagalog is the medium of instruction, but many schools are placing an emphasis on the practice of English conversation, giving gold stars and other incentives to class sections that use it. Colegio de Santa Rosa in Makati, which my two daughters attend, is one such example.

Schools are said to be doing this to increase the chances of their graduates obtaining jobs in high-growth sectors such as business process outsourcing, where English fluency is a must, and overseas, because in the past couple of decades the Philippines’s number one export has been human labor.

However, the issue of language has been linked to national identity, and that is another source of contention. As a writer in and speaker of English, I have faced discrimination from native Tagalog speakers, including writers in Tagalog and other Philippine languages, for being “colonized”; I am perceived as somehow unpatriotic.

I write in English and speak it fluently because of circumstances of birth and because I grew up during a time that English was the primary medium of instruction. My sister and I were born and grew up in Manila speaking English, not Tagalog.

My parents were not unpatriotic, it was just that they were not originally from “the center”. My mother is from Bacolod City and speaks Hiligaynon, English, and Spanish; my father was from Cotabato City and spoke Chavacano, English, Spanish, Tausug, Hiligaynon, and some Cebuano and French.

Neither of them spoke Tagalog well; I never heard them speak it at home until I was in my teens. When I did, they sounded barok.

Was it any surprise, then, that they decided to teach English to us, their children? My father also felt it would give us an edge in school; back in the ‘70s and ‘80s, the medium of instruction was English. How could they have taught us Tagalog, when they did not speak it fluently themselves and were not comfortable using it?

In 1993 a romance novel of mine in English – Fire and Ice – was released by Solar Publishing, which put out other titles in that series. This was during the heyday of the Tagalog romance “pocketbook”.

Around this time a writing workshop for romance novels was given at the Cultural Center of the Philippines. I eagerly signed up. The main speaker was an established writer in Filipino who shall remain nameless. When she learned that my published novel was in English, she said, “Hindi ka Pilipino.” And glared.

I replied, “So you’re saying Nick Joaquin and F. Sionil Jose and Jose Rizal are not Filipino?” And walked out.

When my marriage fell apart because my ex-husband fell in love with someone else, my former in-laws told me, “Kaya ka iniwan ng asawa mo dahil Englishera ka.” Like it was a bad thing, that fluency in English was an evil thing, a right and proper reason for breaking up a family.  That made no sense, and all I could reply was, “But you knew that from the start!” It was in fact a matter of pride for them at first that I and my children have an excellent command of English, and we were paraded around to their family and friends in a Laguna town.

You can say that language plays a big role in my life.

So I read with great interest a Facebook Note posted by broadcaster Rico Hizon, now based abroad and working for BBC World News. It was the speech he gave at the Toastmasters International District 75 Annual Conference, and it was titled, “Being Proud of our Own Filipino-English Diction.”

Hizon said: “The Filipino diction is clear, simple, neutral, easy to understand. The Filipino enunciates clearly, pronounces every syllable in a pleasant, even, and non-threatening tone modulated for every ear to capture its essence. And when we speak English, for instance, it is neither American nor British English. It is a Pan-Asian diction. It does not pretend to sound western but both Asians and non-Asians can easily comprehend what is being said.”

He went on to say:  “Speaking in English is not unpatriotic. We are not less Filipinos for mastering another language. We are only making good use of our gift for languages to forge ahead. English should be the medium of instruction in schools.”

I agree with Hizon. I too have the fluency and clear diction, trained as I was by my broadcaster father, who belonged to the old school and insisted on clarity in enunciation. He would have been appalled to hear the squeaky voices and mumbling indulged in by a great many TV and radio broadcasters today.

Pops and me at the ABS-CBN employees’ family day picnic, c. ’70s.

Back when I was growing up, a “golden voice” was required for one to be on radio and TV. Think Harry Gasser, Rey Langit, Orly Mercado. Who do we have on now and what do they sound like? You tell me.

I have parlayed my English fluency in writing and clear diction in speaking into skills that have gotten me work in media when my marriage broke up and I had to support my children. My writing and my voice put food on the table. Would I have been able to do this otherwise? I don’t think so.

In addition to English and Tagalog, I also speak Hiligaynon and some Spanish. I am grateful I grew up the way I did, speaking the languages I do. But just because I am more comfortable using English and Hiligaynon rather than Tagalog, does this make me less Filipino?

If you think I am, then them’s fighting words; say it to my face, so we can step outside and duke it out. If we identify as Filipino, live as Filipinos, and anticipate dying as Filipinos, then we are Filipino, no matter the language we speak, the color of our skin, even the nationality of our birth.

Because love of country resides in the heart and mind, not on our tongues.   ***

Nick Joaquin here. Rico Hizon here. Orly Mercado here.

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If I won the lottery I would open a coffee shop for writers, where writers can caffeinate and dream and write in peaceful, aesthetically pleasing, and food-and-coffee laden surroundings.

It will open its doors at 1130pm, perfect for late lunches of pasta, sandwiches, and hearty soup. After that, you can settle in to write, with a potful of coffee by your side and your choice of dessert beside it. Waiters will only murmur gently when they take your order, and then leave you alone, not to disturb you again except when you summon them for a refill or another slice of pie or to give you your bill when you ask.

Brewed Benguet arabica and apple pie at Hill Station Cafe, Casa Vallejo, Baguio City. 13 April 2011.

They will never ask you to leave, even if it’s late. The manager will merely dim the lights gradually as a signal for closing time, which is at 430am, just before sunrise. Then you can move to a breakfast place for eggs and bacon or arroz caldo and go home and sleep. Most writers are more productive at night and the wee hours, anyway, because then there are no more interruptions – phone calls, meetings, and excited people rushing up to you to gab about one thing or another, that may or may not be interesting. Usually it’s not.

There will be free wifi with the strongest possible signal obtainable, and plentiful sockets for Macs and netbooks and mobile phone chargers and tablets inset along the baseboards and on the floor. The password for the wifi will change everyday: “tolkien”, “nickjoaquin”, and “arabica” will be some of them. Because the owner is a writer, and knows a great many words, no password will ever be used twice.

A cozy corner at Hill Station Cafe, where I wrote my Manila Standard-Today column for that week. 13 April 2011

For those who prefer to write in longhand, bottles of Waterman ink in blue-black and South Sea blue (a lovely turquoise) will be offered on a tray to refill a fountain pen, on the house. Other inks of different brands and vintages – J. Herbin, Diamine, Pilot Iroshizuku, Private Reserve, Sailor, Noodler’s  - will be listed on a special menu, like fine wines. Notebooks with guaranteed fountain-pen friendly paper will be offered on the menu’s reverse side – Clarefontaine, Rhodia, Daycraft, Green Apple.

Regulars will have their own personal reserved spaces in quiet corners. My friends will have their own personal chairs with nameplates affixed to the backs, and no one else would be allowed to use those chairs.

Writers Yvette Tan (“Waking the Dead and Other Stories”, a short story collection) and Clarissa Militante (“Different Countries”, a novel) chat at the BenCab Museum cafe in Baguio, 10 April 2011.

There will be a few paintings and photographs on the wall, but most of the space will be taken up with books on shelves, wall-to-wall. Anyone may read them within the premises. There will be memorabilia from writers – one of Butch Dalisay’s baseball caps or old Macs, Jing Hidalgo’s lipstick, a book of poetry by Gemino Abad, with the poet’s annotations in the margins.

At night, around six o’clock, the place will turn into a bar, with beer and nuts and sizzling sisig, so that writers so inclined may get drunk and maudlin and reminisce about the good old days, or raucous and combative and rehash old grudges, as they are so moved. Maybe over the kibitzing a story or poem idea may be born, collaborations made, and money-making schemes hatched.

On weekend nights there will be poetry readings, or open-mic nights, where anyone who wishes can strum the guitar, sing the blues, or perform stand-up comedy.

A dream coffee-shop? A sanctuary of the mind? Who’s to say it cannot come true? Why put off fulfilling your dreams if you can make them come true today?

I will buy a lottery ticket tomorrow.

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POP GOES THE WORLD By Jenny Ortuoste for Manila Standard-Today, 28 April 2011, Thursday

Choosing the Light

My first “Pop Goes the World” column came out April 29 last year, and was about David Byrne’s “Here Lies Love” rock opera on the life of Imelda Marcos.

Has it been a year already? Time speeds by at maximum velocity when you’re enjoying yourself, and writing these pieces do count as fun.

I initially envisioned this column as touching upon matters related to cultural studies, and over the past year I’ve opined on a wide range of topics – the serious, such as the BP oil spill and the trifecta disasters in Japan, and the personal, on the multiculturalism of my sister and children and on relationships.

Do they all have to do with culture, though? Yes, because culture is the context in which human activity is embedded. You can’t throw a stick without hitting something to do with culture, which in its broadest sense has been defined as “the set of shared attitudes, values, goals, and practices that characterizes an institution, organization or group,” or, as I’ve read  elsewhere, “the way we do things around here.”

As a social constructionist, it’s interesting to see how different people create their societies based on mutual agreement, notwithstanding the opposition of any vociferous minority that may exist, since the majority prevails – unless we’re talking dictators (a minority of one), and that’s a whole ‘nother thing entirely.

“Far Side” cartoon by Gary Larson here.

We can see the construction of culture within our society happening before our very eyes. An example? Jan-jan’s “macho dancing” on Willie Revillame’s “Willing Willie”. I wrote in a previous column about how I deemed it obscene for a six-year-old to be made to gyrate in that suggestive manner on national television.

After it was published, I got several comments saying, in effect, who was I to judge what was lascivious or not for a young boy to do and where to do it, and that different people have different tastes and just to let each other be. “Live and let live,” they said.

In my not-so-long-ago youth, such a dance would never have made it on TV. Such a dance would never have been taught to young children. Such a dance showing the sexualization of minors would not have been tolerated in the wider society.

Now, however, it is disconcerting to read how a great many people see nothing wrong with Jan-jan’s teary performance, with his parents even suing the sundry people who have taken up the cudgels for their son and others who might be exposed in a similar manner in the future.

Our culture is changing before our very eyes, even as you read these words. For better or for worse?

The good thing is that in this society, we still have a choice. We can choose not to allow our own children to be sexualized prematurely by not teaching them suggestive dances and by not exposing them to such activities. We can choose not to watch “Willing Willie” nor any other show Revillame may be on. We can choose to create a better life for ourselves and our loved ones.

The sad part is that when our culture changes around us, there is no way we or our children won’t be affected somehow, eventually.

But we can try, and rage, rage, against the dying of the light.

Since this is still a free country (more or less, the last time I looked), I will, within my jurisdiction as a parent, pro-actively shield my children as much as I can from what I personally consider negative influences. That means a block on Internet porn sites and no shows featuring Willie Revillame.

I will encourage my children to read more. We started way back when they were toddlers, when I read Dr Seuss aloud to them, which resulted in both my girls being able to master diphthongs in 24 hours. This was followed with childrens’ classics such as “Alice in Wonderland”, and we memorized the hilarious poem “Jabberwocky” as an added bonus. Right now they are into Eoin Colfer and other young adult books – no “Twilight” in our house, thankfully.

The John Tenniel illustration of the Jabberwock.

I will take them to more art exhibits and book launches and other similar events. Last February we saw the paintings and multi-media art of Bea Lapa, Chris Dumlao, and  Rebie Ramoso. We also nearly got Neil Gaiman’s autograph the last time he was here but were turned off by the long lines, something we regretted after.

I will take them regularly to Baguio, where creative self-expression is a part of many residents’ lives. I was up there the week before Holy Week for the 50^th UP National Writers Workshop (as a Fellow for English) and was blown away by how vibrant and sincere the art scene there is.

As colorful Tibetan prayer flags flutter above them, 50th UP National Writers Workshop panelists and UP professors Dr Cristina Pantoja-Hidalgo, Dr Gemino Abad, and Dr Jose Dalisay (back to camera) sit awhile at the BenCab museum cafe.

Anthropologist Dr. Padmapani Perez’s Mountain Cloud bookshop at Casa Vallejo, Upper Session Road, is the place “where your soles touch the ground, rumbling in your tummy, dancing where your heart pulses and your breath moves, filling the space between your ears,” as their slogan goes. It’s right beside Hill Station café, and you can move back and forth between the two, settling in the bookshelf-cum-chairs of Mt. Cloud with a coffee or beer from the café.

It’s a small place with a big heart – Mountain Cloud Bookshop in Baguio City. Books are not wrapped in plastic, inviting browsing. The bookshelf/chairs are cozy.

A view of the Mt. Cloud bookshop counter from the loft above.

I participated in a Poetry Slam event there and loved how welcoming and warm the audience and other contestants were. They will be having the third edition of that event in June – do go, and witness something special!

A quiet corner at Hill Station.

VOCAS on Session Road is where you will find food and drink with art and interesting interiors, and where a drumming session might begin – or not. There is no pressure to do, everything simply flows, and one goes with it, flowing in and out as moved by intuition and desire.

Inside VOCAS (Victor Oteyza Community Art Space).

It’s a good way to live, peaceful and meaningful, and I look forward to applying in Manila the lessons learned in Baguio. I choose to fill my life with art and books and love, because I have the right to live my life the way I want to, as long as I do not break the law.

I will create my personal culture while remaining a part of mainstream culture, an individual yet still Filipino to the core.

And as I celebrate my first year on MST’s op-ed page, I invite you to continue along with me on this journey together, as we explore more of Filipino and world culture and society.   ***

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POP GOES THE WORLD By Jenny Ortuoste for Manila Standard-Today, 14 April 2011, Thursday

Poets Driven Mad by Love

Baguio City – Steeped in words, simmered in rhythm, cooked in sound – twelve writers baked in a literary pie serve a taste of Filipino literature at the milestone 50^th University of the Philippines National Writers Workshop.

The week-long workshop for writers in mid-career is taking place at AIM-Igorot Lodge, Camp John Hay, April 10-17. It brings together twelve Fellows – six in Filipino, six in English – invited by UP’s Institute of Creative Writing, to receive feedback from their peers about their work, and suggestions where to take their works-in-progress and future projects.

The panelists are a Who’s Who of Philippine literature and academe – National Artist Dr. Bienvenido Lumbera, UP-ICW director Dr. Jose Dalisay Jr., workshop director Prof. Jun Cruz Reyes, Dr. Cristina Pantoja-Hidalgo, Dr. Gemino Abad, Dr. J. Neil Garcia, Dr. Rolando Tolentino, Dr. Mario Miclat, UP-ICW deputy director Prof. Conchitina Cruz, Prof. Charlson Ong, and Prof. Romulo Baquiran Jr.

According to Dr. Hidalgo, the workshop began many years ago, for beginners. Workshops then burgeoned at different universities after that, so UP decided to up the ante by shifting the National Writers Workshop focus to being a homebase for established writers who might need a little encouragement and direction.

The twelve Fellows for 2011 are: Genevieve Asenjo, Ronald Baytan, Khavn de la Cruz, German Gervacio, Nerisa Guevara, Clarissa Militante, Allan Pastrana, Axel Pinpin, Yvette Tan, John Iremil Teodoro, John Torres, and myself.

50th UP National Writers Workshop Fellows 2011. Axel, Gen, Jie Teodoro, Yvette, JennyO, Clarissa, John Torres, Nerisa, Ronald, German, Khavn, Allan. Image here.

This historic event brings together a diverse collection of souls, whom I would not have met otherwise, nor whose works I would have encountered. My first taste of protest literature is through activist-poet Axel Pinpin’s short story which hides pain behind humor. Gay lit is represented in the prose of Ronald Baytan and poetry of John Iremil Teodoro, who could well be a stand-up comedian.

Clarissa Militante, long-listed for the 2009 Man Asia literary prize for her novel Different Countries (2010), delves into how the philosophical, social, and political are woven inextricably into a person’s journey. Genevieve Asenjo writes prolifically in Hiligaynon, Kinaray-a, and Filipino – dense, rich, and thick tapestries.

Filmmakers Khavn de la Cruz and John Torres explore different territories in their scripts. German Gervacio plays with form in his pursuit of the epic; Nerisa Guevara seamlessly blends concepts of father, city, and home to craft lyrical prose-and-poetry. Allan Pastrana, rooted in the semiotic tradition, seeks to redefine the boundaries of poetry by playing with language.

Genre fiction finds a strong, distinctive voice in Yvette Tan’s short stories, which raise the bar for literary quality in Philippine horror fiction. Her “Seek Ye Whore” combines themes of enchantment, desire, love, and gourmet cooking in a lusty tale about alluring mail-order brides sent in pieces to America on installment. “Stars”, her piece for the workshop, is a tour-de-force of references to Lovecraft and ‘70s Eddie Romero B-movies of the schlocky persuasion.

My own work launches from my roots in sports journalism and dives into creative non-fiction via a memoir-in-progress centered on love exchanged and returned, unrequited and unredeemed, but which in itself is its own salvation.

Seven of the Fellows have had their sessions (mine was the first) with the other five scheduled for Thursday and Friday. Comments on the different prose and poetry texts brought up issues of form and structure, meaning and identity, with some panelists grounding their analysis in theory and philosophy, others emphasizing readability and literary quality.

One of the issues that surfaced in the discussions was the difficulty of marketing Philippine books. First, we are not a reading public. Second, local bookstores tend to place less priority on giving Filipino books prime display space. Authors have a sense of being marginalized in their own country; their books, regardless of subject, are crammed together on the Filipiniana shelves.

Why not also put works by Filipino writers on the shelves by topic, with those of foreign writers? If Philippine literature is to develop, the circumstances that will drive that evolution should be laid on a foundation created by the stakeholders in the publishing industry working in concert to create a win-win situation for all.

Meanwhile, still here in Baguio, enveloped by the aromas of pines and fresh-brewed Benguet Arabica, we immerse ourselves in the creative experience, reveling in our power as wordsmiths, our skill wielded deftly as we blaze new ground together.

After dinner last Tuesday night, we all went to Ayuyang Music Bar near Session Road, where over beers and weng-wengs we crafted a renga – a round robin poem. (Strictly speaking, a renga is a genre of Japanese collaborative poetry.) Each person was given only one minute to write a line of free verse, writing one after the other. This is the first time this poem is published. It is as yet untitled.

Our inspirations? Baguio, food, the chill of a summer night, the fire of lust, the thrill of creation, sin, desire, redemption, love unending.

Nangangagat ang malamig na pag-ibig ng Baguio

If then, why not leave the limning?

Nginangatngat ang lamig ng yelo ng lapot ng Baguio Oil

Walang sinasanto, walang pahinga

Walang sinisinta, sintas ng santa-santita

Sintas ng santa-santita, ipinanlatigo ng demonyita…

Ang gusto ko lang naman, magluto

Ang gusto kong laman, magluto

ng sisig. Utak, tenga, nguso, sizzling! sizzling!

Lumiliyab, umaapoy, umaalab  – ito ba’y pag-ibig o gutom?

Kung pag-ibig man o gutom, ang sikreto sa pagnamnam,

eskandalosa o kontemplatiba.

Awitin natin ang kasalanan nitong gabi!

Sing the pining needle to its thread, green, green!

Ganito, ganitong tumula

Ang mga makatang binaliw ng pag-ibig!

*© 50^th UP NWW Fellows 2011*

I asked my fellow Fellows for one-word sound bites about the entire experience:

Khavn: “Wasaak!” John Torres: “Sex!” Yvette: “Panalo!” Axel: “Kumpisal.” Clarissa: “Contemplation.” Allan: “O—“ Nerisa: “Sanctuary.” Genevieve: “Resurrection.” John Teodoro: “Vongga!”

Visit the workshop’s live blog at upworkshop2011.wordpress.com and follow the live Tweets until Sunday at@upworkshop2011. ***

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