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Gusto ko ng time to post reviews/ critics ng mga pelikula huhubels
Caridad at Nyora Tentay, Canal de la Reina
Iginuhit ni Giel Magalit
Si Crispin -Tony Perez
BUOD
Sundan ang kuwento ni Crispin, sa kanyang buhay, sa kanyang pagkatao at sa patuloy na pagtakbo.
KOMENTARYO
Isa pang magandang babasahin ang Si Crispin ni Tony Perez. Mairerekomenda ko ito sa mga die-hard fans ng mga nobela ni Rizal na Noli Me Tangere at El Filibusterismo.
Nakasentro ang kuwentong ito sa batang si Crispin. Sa Noli ni Rizal, si Crispin ay ang kaawa-awang anak ni Sisa at kapatid ni Basilio na pinahirapan ng pari at sakristan mayor, namatay at naglaho nang tuluyan. Sa nobelang ito, inihahatid sa atin ni Tony Perez ang isang kakaibang Crispin. Si Crispin na nabubuhay, humihinga, at marunong lumaban. Kahit hiniram man ni Tony Perez ang ilan sa mga karakter ni Rizal, nagawa pa rin niyang i-distinguish ang panulat niya sa panulat ni Rizal; kumbaga, boses niya at hindi ni Rizal ang boses ng nobela. Nagustuhan ko sa nobelang ito
Nagustuhan ko rin ang nobela na ito ay dahil may pagka-historical fiction at metafiction ito. Tulad na nga sa sinabi ko sa Etsa-puwera, gusto ko ang mga nobelang may kinalaman sa kaysaysayan. Meron ding mga parte na may pagka-allegorical tulad na lang noong isinasalaysay na ang Kuwento ni Infinito sa Bato. Nang mabasa ko ang parteng iyon, hindi napigilan na sumagi sa aking isipan ang allegory of the cave ni Plato. Iba man ang mga naganap na pangyayari, halos magkapareho ang konsepto ng dalawa. Iyon nga lang, sa allegory of the cave ni Plato, ayaw umalis ng mga tao dahil ayaw nila makita ang mundo at kuntento sila sa kanilang mundo ng anino, samantalang, sa Kuwento ni Infinito sa Bato, ayaw niyang lumabas mula sa kanyang kuweba dahil ayaw niyang maki-anib kaninuman kahit pilit na siyang kinukumbinsi. Sa kuwentong ito, iuugnay ko ito sa totoong pangyayari sa kasaysayan at mapagdudugtong na Rizal ang Infinito sa Bato. At tulad ng nasabi ko sa Walong Diwata ng Pagkahulog, ang akdang ito ay metafiction din. Fiction within fiction. Dito, ginamit na nga ang karakter ni Crispin at iba pang tauhan sa nobela ni Rizal, ginamit na rin si Rizal (dito, siya ay si Ka Pepe, ang ama ni Crispin at si Infinito sa Bato) at iba pang mga pigura ng kasaysayan (hal. Bonifacio) bilang mga karakter. Kumbaga, lumilihis din ito sa karaniwang porma ng nobela na tingin ko naman ay ang kinagandahan ng nobela.
Magandang punto din dito ang mga ginamit na inkantasyon ng mga tauhan. Hindi man maikaila na medyo nakakagulo din basahin ang mga iyon (at kung binasa nga ay malalaman na ang mga ito ay binastardong Latin). Nagbibigay ito ng kahit papaano ng misteryo; ipinapakita din dito ang kasaysayan ng mga dasal at anting-anting dito sa Pilipinas.
Ang pinakanagustuhan ko dito sa nobelang ito ay ang paraan ng karakterisasyon sa mga tauhan. Dito, iba na talaga si Crispin; mas matapang, mas palaban at nangungulila. Maganda at madamdamin ang eksena sa bandang huli, kung saan nagkaroon ng pagkakataon si Crispin na kausapin ang ama sa huling pagkakataon. Isa pang magandang at nakakaintrigang karakter dito ay ang karakter ni Damian. Dito, inilarawan siya bilang misteryoso. Ipinakita din na takot sa kanya si Crispin dahil akala nito ay nais siyang patayin ni Damian. Ngunit, taliwas sa inaakala ni Crispin, si Damian ay ang nagbabantay sa kanya mula sa kapahamakan na dulot ng mga majika ng mga masasamang tao. Si Damian din ang nagturo at nag-udyok kay Crispin na lumaban. At kahit na namaalam na si Crispin, binigay ni Damian sa kanya ang anting-anting niya. Kumabaga, tila mentor-student ang relasyon nina Damian at Crispin.
Mahihinuha din sa dulo ng akda kung saan si Crispin ay sinasabing patuloy pa ring tumatakbo, na ang nobelang ito ay cyclical. Ipinapahiwatig nito ang buhay ay isang siklo, tuloy-tuloy at paulit-ulit.
https://vimeo.com/212366091
Justine Chuang
Title: Courage
Medium : Spoken Word Poetry and Dance
Duration 3 minutes and 19 seconds
Section: E
Wordpress Account: https://justinebchuang.wordpress.com/
I had the opportunity to watch this performance art last Friday. Kahit hindi ako taga-Ateneo, kahit hindi ko ito klase, kahit hindi ako Information Design major (at kinakabahan ako na baka biglang may gwardiyang sugurin ako at kaladkarin palabas), pero heto ako at napanood itong mahusay na pagtatanghal.
This one’s about social anxiety, and it’s (not) funny how (if you saw the video) the artist didn’t seem to panic about the mask’s strap falling off, but I believe there was unimaginable fear bubbled up inside of her. Yet she still continued, she pushed through and put up a show for Sir Marasigan, the panelist, and the class audience.
She mentioned it was her first time to do such a thing, this performance art. I can tell she did this for herself, too. Not so much for the grade, or for having a topic to do in this class, or just for the sake of getting things done. There’s sincerity in wanting to break from the comfort zone and she showed a huge amount of courage (I’m sorry I lazily used the title of this piece). This is a big leap and she deserves more than a louder applause for putting up and sharing this piece in public.
Although I disagree that her piece/ monologue/ soliloquy is “poetry,” or what she did in front of the panel was a “dance,” that’s just technicalities. Para sa akin, spoken word ang mas angkop na label, hindi tula. At hindi ito dahil “walang sukat, walang tugma” kundi sapagkat “walang talinghaga,” na pakiwari ko ang isa sa piiiiiiiiinkamahalagang sangkap ng tula. Expository ang naratibo ng kaniyang akda.
With dance, flexible naman itong term, pero mas exact pa ang kaniyang movements at calculated ang lahat ng kilos kada tunog. Para sa akin, sapat naman na maging “performance art” na lang ang tawag dito, at personal na opinion ko ‘yun– personal na pagpuna/ kritisismo, na maaaring mali, maaaring tama.
Isa pang detalye ng performance na ito ang kaniyang maskara. Ang paggamit ng maskara rito ay napakaraming kahulugan: 1. Na hindi siya (hindi si Justine) ang nagpe-perform, kundi isang mistulang-Justine. 2. Na heto ang isa pa niyang personalidad na malayo sa kaniyang tunay na katauhan. 3. Posibleng ibang tao pala ito at ang “tunay na Justine” ay hindi natin talaga kilala kasi nalunod na siya sa sanlibong maskara’t pagkukunwari.
Trivia: walang salitang “maskara” sa Wikang Filipino. Ibig sabihin, marahil hindi ito malay sa Filipinong kaisipan. Ano ngayon ang maaaring pagbasa in relation to the props of a mask in this piece?
Sir Marasigan had exclaimed last Friday, “Lying is a western concept!” when I recited/ articulated this thought in his class. (Again, I am not even an Art student or student from this university, so thanks for allowing me, Sir!) His point could be true, to some extent.
However, in this performance, I don’t think the artist wants to trick us into thinking that this show is nothing more than that. It is something deeper. If you listen to the piece, you can even hear the panic, the panting, the desire for the performance to end, wishing that 3 minutes could run a bit faster. And this is how anxiety is for the artist, and it’s definitely real, not masking anything for their personal experience.
I’d like to end this comment by saying, again, that this artist deserves more than applause or a good night’s sleep or a box of chocolates, from doing such a daring move for this project. This medium is not something all artists have the guts to do, I really appreciate what she has done here! Good job!
Tabi Tabi Po
Cu Unjieng, Julia India Ink on Acrylic FA 102 D
https://juliacuunjiengfa102.wordpress.com/
Duwende India Ink on Acrylic 11 x 14 in
Kapre India Ink on Acrylic 11 x 14 in
Manananggal India Ink on Acrylic 14 x 11 in
ISA ITO SA MGA FAVOURITE KO, MGA BES
Sabi ni Kasintahan, mahirap lumikha ng anumang dibuho gamit ang itim na background. Oo nga naman. Batid kong mahirap na nga magkalap ng mga art material, simula’t sapul, paano pa kaya ang execution, ang creative process, ang paglikhah mismo?
Paborito ko ito hindi dahil sa tiyaga ng dibuhista. Mahal ko rin ang paksa. Filipinong mitolohiya! Heto ang isang dwende, ang kapre, at manananggal! Bagaman kolonyal na pamana ang dwende (dwarf) at kapre (giant), ito pa rin ang mga kwentong kinalakihan ng ordinaryong Pilipinong bata (maliban kung pinalaki siya sa westernized set-up, e ‘di sorry).
Makikita ang mga karakter na naka-posisyon sa kasalukuyang (modern) lipunan. Heto ang bahay sa likod ng dwende, at heto ang kotse’t mga gusali sa ibabaw ng manananggal. Hinahain nitong dibuho ang posibleng realidad: na hindi hiwalay sa atin (bilang nasa modernong panahon) ang mga mitolohiya. Kahit nasa “antas ng pantasiya o piksyon” ang tinaguriang mga tauhan, talaga bang hindi na totoo ang kababalaghan…?
Sapagkat kahit ang mga kathang-isip ay may pinaghugutang realidad o butil ng katotohanan. Halimbawa, ang kapre, bagaman hindi nananakit, mga “immorally wrong choices of man” ang nirerepresenta nito, sa paninigarilyo, pagsusugal, at pagtungga ng alak. Hindi ba buhay na buhay pa rin itong tatlong bisyo sa mga tao sa kasalukuyang panahon?
Ang dwende, mistulang gwardiya, tagabantay ng bahay o ng kalikasan. Kabaliktaran naman ang manananggal, na naghahanap ng biktima at naghahasik ng lagim. Posibleng hindi literal ang pagsasabuhay sa mga tauhan na ito, subalit marami rin tayong mga “tagapagtanggol ng kalikasan” o mga halimaw na walang paki alam sa ating lipunan at personal na interes lang ang habol (hal. kapitalista, imperyalista, panginoong may-lupa, pulitiko, at iba pa).
Nakakatakot lalong isipin na itong mga “fictional characters” ay hindi talaga kasing fiction pala.
Panghuli, at personal bias ko, gustung-gusto ko ang pagtatali ng panitikan at likhang-sining. Marahil natutuwa ako dahil Malikhaing Pagsulat (MP) Major ako, panitikan ang hininga’t buhay ko. Masaya kaya makita ang mga pinag-aaralan ko sa iba pang medium bukod sa libro’t articles.
inabuso ba si sisa ng asawa niya?
Yes! Naman! Op kors! Here’s my textual evidence po sa Kabanata 16:
“Ang kaniyang asawa’y iisang lalaking walang pakialam sa buhay, palabuy-laboy, at sugarol. Bihirang-bihira itong umuwi sa kanilang bahay. Unti-unti nitong nilustay ang kaunting alahas ni Sisa upang may gastusin sa masamang hilig na pagsusugal, at nang maubos na ang lahat ay sinasaktan pa ang asawa.” (p. 123)
“Hindi inaasahan ang pagdating ng asawa at naubos ang mga pagkaing inilalaan niya para kina Crispin at Basilio. Halos magputok ang dibdib ni Sisa sa sama ng loob.” (p. 124)
Sanggunian: mula sa Noli Me Tangere version ng C&E Publishing, in-edit nina Rogelio Mangahas at Emerlinda Cruz
I underlined some stuff for further discussion under the cut! OwOd
Keep reading
“Ligaw na Boses sa Atisan” (maikling pagbasa sa nobelang Walong Diwata ng Pagkahulog ni Edgar Calabia Samar)
Isang malaking katanungan para sa Walong Diwata ng Pagkahulog: sinong nagkukwento nito?
Naka-3rd person point-of-view ang naratibo, isang omniscient na boses ang nagdadala sa atin sa mundo ng Atisan, ng mga diwata, ng mga bangungot. Sinong nagdadala sa atin? Ang bida ba, o alingawngaw ng pag-iisip ni Daniel?
Iyon ang misteryo ng nobela. Iyon din ang kagandahan nito.
Buhay pa ako! At kung wala lang akong INC’s, baka nakailang posts at pagkritik na ang nailagay ko rito.
):
bonizal tfios au ni @mabinisghost (kumakatok na si satanas sa bintana ko dahil sa aking mga kasalanan……)
Araw ng mga bayani ba kamo
“Bugtong na Bulalakaw”
(Paumanhin kung paulit-ulit ako sa paggasgas ng salitang “maganda.”)
Kadiri. Nakakasuka. Masarap umiiyak. Pero ang passive naman ng ganu’n. Kailangan nating bumangon. Sama-sama. Kailangan ng kolektibong aksyon para sa progresibong pagbabago. Dahil ang pagbabagong hangad ng rehimeng Du30-BBM ay lalong kikitil ng karapatang pantao. HUWAG NATING HAYAANG MANGYARI ITO. TAYO ANG PAGBABAGO.
The Martyrs of Martial Law: To forget them is to kill them twice
I remember a story, written by Maxine Hong Kingston, of a certain lady in China who was ignored by her entire village mainly because she was a mistress of an adulterer. Being ignored simply entailed ostracism by silence. Every time the lady would pass by the streets of the town, the villagers simply ignored her. When she asked a question, the villagers simply stared past her, never answering her. In her own house, her family also ignored her. Her parents burned all family pictures that included her. It was as if she never existed. The lady, deeply resenting this for this was worse than death, decided to die. She saw the family’s water well, the only well that the village drew water from. And then she jumped… to her death. She thought that in that way, the villagers would be forced to remember her. And for good or for ill, oh how she would have relished that they did remember.
Perhaps in a country with a perceived historical amnesia (or a relativistic and pragmatic set of morals in politics), we historians are burdened by the past. I call it a burden, because while we live in the present, so many voices from the past remain silenced, primarily by ignorance, by lack of primary sources, or by simply being suppressed. And this suppression takes many forms. Revising history to suit one’s own political agenda is one of them. And while I would be accused of politicking, since it’s election year this year, I think, as do all students of history, that we all owe the silenced something they’ve been longing for—that is, to be heard and to be acknowledged. That once upon a time, they existed, fought the good fight, but were silenced.
Many of these men and women were fellow citizens like you and me who had families of their own. They saw what was wrong in the country, but instead of turning a blind eye and live comfortable and passive lives, they chose to stand for what was right. Some never thought that their simple act of courage would entail such a sacrifice. Their bravery would cost them their lives.
Historical revisionists abound in the country today. To whitewash the cruelty of the dictator, they would either come up with half-truths to cover it up, or say that it was worse now than it was then, effectively belittling the lives of the victims of an oppressive regime.
Let me be blunt to people like them: Blood is on their hands.
For by making people forget the victims of martial law, to borrow the words of a holocaust survivor, they kill the victims the second time.
Perhaps it would be more personal to us if we know the martyrs by name, and their stories. Perhaps, in this small way, if we keep on making their memories alive, these revisionists would be kept at bay.
When Ambeth Ocampo asked the historian Teodoro Agoncillo on writing about Martial Law in September 1984, Agoncillo said:
“You have to wait. I will not write on it because we are too near the time. There must be perspective and the documents are not available yet. We have to give everybody a chance. That is the essence of impartiality.”
Ocampo asked, “How many years?”
He answered, “Probably twenty years.”
Well, we have heard the Marcos supporters side loud and clear. “Di tayo ang nakaraan.” they say. Don’t you think the time is ripe to write about the era and talk about it in loud voices (not in hushed tones), and not simply be dragged along by memes and catchy slogans?
There are worse things than death. Like being forgotten.
We owe it to the victims of Martial Law. Let us remember them by name. Let their scars be a loud testimony, louder than the smiles and watered-down statements of politicians who would gain from a passive audience swallowing everything they say as ‘truth’, hook, line and sinker.
Throughout this year and way after this election (when all the dusts of politicking have cleared), I will begin a blog series on the Desaparecidos and the victims of Martial Law. Please do freely reblog them. May the testimony of the victims resound. That no matter how some people make us forget, no matter how they make angry noises to drown us out, as our strong act of defiance, we shall always remember. And we shall pass on these stories to generations to come.
*VIDEO ABOVE: Millenials encounter the victims of Martial Law, a video made by the Campaign Against the Return of the Marcoses to Malacañang (CARMMA).
Join us in this effort! Please sign the CARMMA’s petition for the Department of Education to Include the Full Story of Martial Law Era in Philippine History Textbooks. It’s time.
Project 52: Week 15 Leona and Castora katrinapallon.wordpress.com
A requested drawing by my friend Emiliana Kampilan, the artist behind the web comic Dead Balagtas. If you haven’t heard of it, I urge you to check it out. Anyway, Emiliana asked me to draw her favorite heroine, Leona Florentino, in time for the latter’s natal day last April 19. A brief background: Leona Florentino is the Mother of Filipino Female Literature and (essentially) Feminism. A statue of hers sits proudly at the center of the historic town of Vigan in Ilocos Sur, her hometown. “Her poems, which are widely quoted, were characterized by their originality of thought and elegance of expression on topics such as the glory of Filipino womanhood, and the romanticism of her nation.” Read more about her here. Castora, on the other hand, is Leona’s wine seller and muse. Most of the latter’s love poems were dedicated to her.
Natatandaan ko na ang Codename ko para sa mag-inang to ay ang mag-inang punk rock.
Sa gulang na 6, sapilitang inilayo si Isabelo De Los Reyes ng kaniyang ama mula sa kaniyang peministang inay para protektahan ang bata sa mga ‘radikal’ na ideya ni Leona.
Medyo Hindi na rin shocking na ang Ina ng Pilipinong Peminismo ang nag silang sa Ama ng Pilipinong Sosyalismo. Ang Huling halakhak ay kay Leona pa rin.
Happy Mother’s day to Leona Florentino, Ina ng Panitikang Kababaihan sa Pilipinas!
Being forced into a family vacation in Boracay must have it’s perks.
Like drawing your own henna in commemoration of Dr. Jose Rizal’s death tomorrow. Not to mention the revolution he (Simoun) led with a little gas lamp and his colored glasses.for 50 pesos…
The tattoo artist said he I had potential and all I could do was laugh.
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he was cute tho
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REALLY cute
…..
I haven’t drawn this cutie in ages