Pananaw XII Karapatang-ari, 2019 Ang Pananaw ay ang opisyal na folio ng UPLB Perspective. Disenyo ng Aklat || Maria Victoria Almazan Disenyo ng pabalat || Lindsay Anne PeĂąaranda Walang bahagi ng aklat na ito ang maaring masipi o muling mailimbag sa anumang paraan nang walang nakasulat na pahintulot mula sa tagapaglathala maliban na lamang sa pagkakataong ang sababing pagsipi o paglimbag ay para sa akademikong rebyu o panunuring pampanitikan. Ang lathalaing ito ay hindi maaring ipagbenta sa kahit anong komersyal na transaksyon. Maaring maabot ang editoryal sa Opisina ng UPLB Perspective Silid 11, Ikalawang palapag, Gusaling Student Union. Unibersidad ng Pilipinas Los BaĂąos College, Laguna E-mail: email@example.com
Reserbado ang lahat ng karapatan
1 Mga Pandama / Karen Manamtam 2 No Man is an Island / Angelo Milano 4 Kwadro / Mariel Coleen A. Iturralde 8 Tinta / Aynrand Galicia 10 Mga Tao sa Museum / Felipa E. Cheng 12 Para sa Nakahandusay na Bangkay / Pauline Jean G. Vercaza 14 Ultimately futile and with no conclusion / Mac Andre R. Arboleda 16 Lifespan of an Artist / Hunny Laurente 17 Shortsight / Justin Firmalo 18 Impermanence / Ka Susano 20 Panghihinayang / Gabriel B. Pastolero 22 Growth / Bonjoo Koo 23 Tindig Mananayaw II / Diego Tribdino 25 Imprints / Philip Xavier P. Li 26 Dehistoricizing and Desensitizing Dissent / John Daryl Alcantara 38 Hanggang Saan? / Karma Kolektib
EDITORYAL Nasubaybayan natin ang lumalaking komunidad ng Los Baños noong mga nakaraang taon. Maliban sa mga paandar ng mga institusyon tulad ng Department of Humanities, Sining Makiling Art Gallery, Philippine High School for the Arts, at iba’t ibang establisyamento sa loob at labas ng Pamantasan, umusbong ang mga inisyatiba na pinangunahan ng iba’t ibang mga indibidwal, organisasyon, at kolektib. Ang mga inisyatibang ito ang nagbigay daan para sa mas malayang pakikitungo sa sining at diskurso labas sa panunupil ng institusyon na wala halos suporta sa mga proyektong hindi sakop ng kanilang interes. Sa kaniyang maikling sanaysay na “Sa Lagay ng Sining sa Elbi,” inilarawan ni Lineil Mananzares ang kapansin-pansing pagyabong ng sining sa Elbi: “umusbong ang isang komunidad at art practice na resistant, inclusive, at natatangi.” Kasabay ng pag-unlad ng sining sa Los Baños ay ang palpak na War on Drugs ni Pangulong Duterte na nag-iwan na ng mahigit 22,000 na patay. Kasabay din nito ang paglago ng mga pinondohan ng estado na disinformation campaigns at trolls, ang crackdown sa mga kritiko ng administrasyon, at tuluyang panananakot, pag-aresto, at pagpaslang sa mga mahihirap. Sa ganitong konteksto, hindi na nakagugulat na habang dumarami ang mga lumalahok sa produksyong pangsining, marami na rin ang sumusubok na lumikha ng mga gawang “pulitikal”, mga likhang pinupuna ang mga kundisyon na nakaaapekto sa mga Pilipino, at sa mga paraan kung paano tayo lumilikha. Kamakailan lamang ay naglabas ng pahayag ang mga kalahok ng isang art expo (na gaganapin dapat sa loob ng Pamantasan) laban sa panunupil ng administrasyon. Ito ay tugon ng mga artista sa pagharang ng Business Affairs Office sa kadahilanang wala raw permit ang event — umabot ng sampung kolektibo ang pumirma sa pahayag na nanawagan para sa pro-student na mga polisiya at malayang paggamit ng mga espasyo ng unibersidad. Ang mga kaso tulad nito ang patunay na ipaglalaban natin ang mga espasyo kung saan malaya tayong makalilikha at makapag-uusap. Nasaksihan rin natin ang muling pagbabalik ng alyansang Kulturang Ugnayan ng Kabataan Alay sa Bayan o KULAYAN-UPLB at ang pag-usbong ng iba pang mga organisasyon at kolektib sa mga pagtitipon tulad ng Wika, Sining, at K (WiSiK), ELBIKON, Zine Orgy, at ang pinakabagong Fete de la Musique Laguna.
Sa kabila nitong mga tagumpay sa larangan ng sining, kailangan pa rin nating pag-isipan ang kakayahan ng “pulitikal” na sining at events. Ano nga ba ang kapasidad ng sining na mamagitan sa sistemang patuloy ang pandarahas sa mga mamamayan? Gaano nga ba kadaling basahin, intindihin, o kahit masilayan man lang ang mga sinusulat at nililikha natin para sa mga ordinaryong Pilipino? Gaano kabisa ang sining sa pagbabago ng ating lipunan kung sa kabilang banda ay may mga personalidad sa larangan ng sining na pumapanig sa kasalukuyan at nakaraang rehimen? Sapat na ba ang sining para bigyang boses ang ating mga nais katawanin? Mahirap sagutin ang mga tanong na ito, ngunit naaalala ko ang isang sinabi ni Conchitina Cruz: “The least we can do as poets is to be conscious of the limits of engaging ‘as poets’ in the work of social transformation.” Sa ika-12 na paglalathala ng Pananaw, nais naming ibahagi ang iba’t ibang sining na tumugon sa tanong na “Hanggang saan aabot ang sining mo?” Napili ng pangkat ng mga patnugot ang temang ito dahil naniniwala kaming angkop ito para sa lahat ng manlilikha, matagal mang lumilikha o nagsisimula pa lamang. Malugod rin kaming tumanggap ng mga perspektibang sumisiyasat sa mga likhang sining ng nakaraang taon, pati na rin mga nangingibabaw na herarkiya at idelohiya ng kasalukuyan. Sa “Mga Pandama”, isang spoken word piece ni Karen Manamtam, kinukuwestiyon niya ang mga paraan ng pag-unawa natin sa karahasan na nakikita, naririnig, nalalanghap. Ang “Mga Tao Sa Museum” naman ni Felipa E. Cheng ay ginawang katuwaan ang interaksyon natin sa mga espasyo tulad ng museyo. Isa sa kaniyang mga tauhan ay si Alice na nailarawan na “may talent, may trust fund din,” ay nagbibigay diin sa pagsandig ng sining sa kapital. Sa kabilang banda, ang “Lifespan of an Artist” ni Hunny Laurente at ang “Impermanence” ni Ka Susano ay parehong bandalismo sa magkaibang konteksto, parehong tinitingnan ang kawalan ng katiyakan ng sining at ang mga ahente nito: pa’no nga ba ang buhay ng isang artista sa ganitong industriya? Paano tinitingnan ang bandalismo, lalo na’t ito’y iligal, “bastos”, at kadalasang pansamantala? May mga likha na tinitira ang representasyon sa sining at midya. Ang “Tindig Mananayaw II” ni Diego Tribdino ay naratibo ng isang lalaking gumagamit ng cartoons at komiks para igiit ang kaniyang lugar sa mundo: “napapatunayan ko na ang pagiging mataba ay hindi lang para gamiting
imahe na katawa-katawa.” Samantalang sa sanaysay na “Dehistoricizing and Desensitizing Dissent,” tinatalakay ni John Daryl Alcantara, isang aktibista’t manunulat, ang paggamit ng estado ng ‘protest’ songs bilang cultural Ideological State Apparatus. Hindi naging mahirap ang desisyon naming kunin ang pabalat mula sa likha ng Karma Kolektib na “Hanggang Saan?” na pinapakitang ang sining ay lagi’t laging nagdadala ng pag-asa. Baka nakapagtataka sa ilan na, sa labinlimang taong nakalipas nang huling na-imprenta ang Pananaw, pinili namin ang temang patungkol sa limitasyon at pagkukulang ng sining. Sa kabila ng lahat ng mga pangyayari sa ating bansa, at sa mga hadlang sa proyektong ito, mula sa maliit ng pangkat ng mga nagtatrabaho, hanggang sa burukrasiya sa paglilimbag, naninitili pa rin ang aming paninindigan na may mararating ang sining. Ang sining ay nagagamit sa pagsasadokumento, pagsisiyasat, at paglalarawan ng mas magandang kasulukuyan at kinabukasan. Responsibilidad natin ang kumilos at magmulat hangga’t sa ating makakaya. Pero lagi nating tatandaan: kahit kailan hindi magiging sapat ang sining lang. Mac Andre R. Arboleda Patnugot ng Folio Hunyo 2019
Likha Likha hango sa “Low Pressured Areas” ng KoloWn (2017). bit.ly/2c1Ggqy
MGA PANDAMA Karen Manamtam hanggang saan ang iyong mga nakikita? hanggang sa pagtitig na lang ba ng mga karatula hanggang sa pagiyak na lang ba sa mga istorya mga istorya ng mga inosenteng pinagkamalang durugista ano ang hangganan ng iyong pandinig? ano ang naririnig mula sa mga sumisigaw ng kapit-bisig sumisigaw laban sa mga kompanyang sila’y patuloy na inuusig sumisigaw para sa benepisyong magpapakain sa kanilang bibig ano ang mga nalalanghap mong iba-iba? amoy lupa mula sa mga ‘tamad’ na magsasaka? amoy basura mula sa ‘tamad’ na nakatira sa tabi ng sapa? amoy pawis mula sa ‘tamad’ na mahihirap na isang kahig, isang tuka? hanggang kailan ka mananatiling tahimik diyan? kapag lamang naipanalo na ang laban? hindi dapat tumahimik ang taumbayan palakasin ang boses para sa bayan, hindi tayo nanlaban hanggang saan nga ba ang kaya mong gawin? pagpost ng litratong taas-kamao, follower count palakihin? o litrato ng napakasarap at makulay na pagkain panandaliang nalilimutan ang kapwang ang ulam lamang ay asin hanggang saan ka dadalhin ng iyong mga mata, tenga, ilong, bibig at kamay? gisingin ang bayan kung saan ang pandama’y patay
KWADRO Mariel Coleen A. Iturralde Alas kwatro y media na ng hapon. Marami-rami na rin ang umuwi maliban sa amin ni Enzo sapagkat ang oras na ito ay oras namin. Halos bente minuto kaming naglakad at halos bente minuto niya rin akong hindi kinibo sa hindi ko malamang dahilan. Nang makarating kami sa aming tambayan, may inabot siyang papel sa akin. Tulad ng sibuyas, ang tao ay may pinagpatong-patong na pagkatao. Sa balat, tapat. Ngunit may itinatagong pagkamaginoo sa ibang tao…” Nanlaki ang mga mata ko nang mabasa ito at tanging “San mo nakuha ‘to?” ang lumabas sa bibig ko. Bahagi ‘yun ng isang sanaysay sinulat ko noong hapon bilang ensayo sa laban na sasalihan ko. Paano napunta sa kanya ang papel na ‘yun? Nawalis daw ng kaklase ko papunta sa kabilang klasrum na nabibilang sa seksyon nila. Ngunit ang sanaysay na ito ay hindi tungkol sa kanya o sa aming relasyong nagbalat. Ito ay tungkol sa sining kong dati’y nakaabot lamang sa kabilang klase ngunit ngayon ay nasa unibersidad na aking minsa’y pinangarap. Tanda ko pa ang usapan namin ng guro ko nang makapasok ako rito. Sinabi kong magpapasa ako sa kanya ng sanaysay bawat linggo upang mapuna at para na rin hindi mawala sa akin ang pag-ibig sa pagsulat, lalo na’t hindi ito kailangan sa aking kurso. Lumipas ang isang linggo, nakapagbigay naman ako ng sanaysay tungkol sa kalayaan. Nung pangalawang linggo, tungkol naman sa mga kemikal ang isinulat ko. Mula sa mga makukulay na tula, kwento, at sanaysay, unti-unting naging malamyang intro-method-discussion-conclusion ang mga produkto ko. Unti-unti nang namatay ang sining ko.
Sinubukan ko muling pag-alabin ang sining ko tila parang sibuyas sa mainit na kawali. Nahilig ako sa spoken word poetry at halos gabi-gabi akong nanuod ng mga salita ng ibang tao. Sa puntong ito, pulos nasa isip ko na lamang ang aking mga latha. Tanging maliliit na talata na lang naiimbak ko sa telepono paminsan, umaasang muling magagamit ang mga ito sa mga susunod na akda ko. Ngunit maging ang maliliit na iyon ay nawalan na rin ng espasyo at napalitan ng mga handouts at Powerpoint. Akala ko noon, mas mag-aapoy ang aking sining sa pagpasok ko ng unibersidad dahil maraming maaaring ipanggatong dito. Sapagkat dito, napaliligiran ako ng mga kapwang makabayan. Dito, mas malaya akong ipakita ang kulay ko. Akala ko, mas maraming makaiintindi ng pinapatungkol ng mga gawa ko. Nagkamali ako. Malayang ipakita ng tunay na pagkatao ngunit mahirap mangibabaw. Napakaraming kasabay sa pagpapakita ng adhikain at talento. Sa madaling salita, may sariling mundo ang mga tao rito at ang bawat isa ay bida sa kanilang kwento. Nalipasan na ako ng apat na taon bago ko nakita ang kabuuan ng litrato. Napagtanto kong mas malaki ang liyab na mabubuo sa pagsasama ng dalawang apoy, makaiba man ng laki at liwanag na hatid. Napag-isipan kong walang halaga ang naging paulit-ulit kong pagsalba sa aking apoy mula sa panliliit nito sa iba. Wala rin palang kwenta ang papel ng aking sining kung patuloy ko lang itong ipaaanod sa ibaâ€™t ibang dahilan ng pagiging estudyante. Hindi na ako maghihintay pa. Sa kasalukuyan, pinatitibay ko ang aking sining. Hindi pa ito tuluyang nakararaos mula sa unibersidad, ngunit nandyan ang mga naglalakihang apoy upang dalhin ito paitaas at narito rin ang mga dambuhalang alon upang tangayin ito sa malayong lugar. Hanggang sa aking pag-alis, sisiguraduhin kong nagbabaga pa rin ang aking damdamin para sa sining.
Felipa E. Cheng
PARA SA NAKAHANDUSAY NA BANGKAY Pauline Jean G. Vercaza Sa’n darating ang mga salita Na nanggagaling sa ‘king mga pluma? Nang lumisan ka, umiyak kay Bathala Gatilyo’y kinalabit, tuluyan nang nawala Aking sinta, wala nang tahanan at mundo Walang pagbalik, tanging kawalan lang ang kapiling ko Mundo ay magugunaw Di na mag-aalalang nahihirapan ka Sa lupa, sumama ka Nahalina sa tala’t namaalam Aking sinta, wala nang tahanan at mundo Walang pagbalik, tanging kawalan lang ang kapiling ko Mundo ay magugunaw
Nilimot ka ng mundo Pangalaâ€™y burado Di na nakagalaw Hindi na maliligaw Hindi na maliligaw Hindi na maliligaw Hindi na maliligaw Hindi na maliligaw Hindi na maliligaw.
Mac Andre R. Arboleda
SHORTSIGHT Justin Firmalo The confined spaces struggled to keep what was not there, for the fickle minds of the fold does not belong within; but rather at one with the outside of non-compact boundaries. As time passed, concept lines grew bright upon the flavored glass melting into a single light; piercing through the walls. beyond spaces and borders, a spectacle is born
PANGHIHINAYANG Gabriel B. Pastolero Hindi ko na nasilayan pa Hindi ko na nasilayan pa ang inyong mga mata Ang inyong mga ngiti Ang inyong mga mukhang puno ng tuwa Hindi niyo na nasilayan pa Hindi niyo na nasilayan pa ang aking handog Ang aking mga tula Ang aking mga tugtog Hindi niyo na masisilayan pa Hindi niyo na masisilayan pa ang aking galing Ang aking mga malilikhang sining Ang mga magiging parangal sa aking dingding Lahat ng ito ay naglaho Mga pangarap ay biglang naging abo Ang buhay ay biglang nagbago Nang isang pasista ang muling naupo
Sa gobyernong itong puno ng korupsyon Na gumagawa ng problema, imbes na solusyon Na mas una kesa sa prinsipyo ang sariling ambisyon Na lahat ay gagawin para lang sa posisyon Sa bansang ito, walang kinabukasan ang mga nangangarap Mga buhay na naglaho na lang sa isang iglap Kung sinong tumuligsa, ay siyang itutumba Kung sinong walang sala, ay siyang dadapa Ngayon ay itinatanong mo â€œHanggang saan aabot ang sining mo?â€? Sa sitwasyon ngayon, â€˜wag ka nang magugulat Kung sa mga telebisyon ay iuulat Na ang aking mga likhang mula dugo at pawis Ang aking mga pangarap at ninanais Ay nakita na lang sa isang talahiban Kasama ng aking naaagnas na katawan.
oo joo K
Tindig Mananayaw II
IMPRINTS Philip Xavier P. Li Write, because it’s what you know Sing your words out loud, like so. Or do you think words hold no weight As you feel obscurity is but its fate? But we live to show the world what it could be Don’t be mistaken, it’s a vision you can see A world beyond a future in debris We write our works for what we deem ideal We shape the present as we’ve shaped the past The walls cannot hold, but our art will last Can’t kill an idea, can’t block our thoughts ‘Til the day man dies, when all hope is lost. We’ll do everything we can with all our might Abhor blind destruction that takes away our sight Denounce the atrocities occurring in the night So one day we’ll stand closer to the light. There’s always meaning to what we do Let your words flow freely – like so.
DEHISTORICIZING AND DESENSITIZING DISSENT: On Post-EDSA ‘Protest’ Songs and the Myth of a Peaceful Revolution John Daryl Alcantara A-Side: Introduction Pres. Ferdinand Marcos’ proclamation of Martial Law in 1971 and the culmination of EDSA People Power in 1986 are two pivotal events in Philippine history that continue to thrive in Filipino popular imagination through mass media’s proliferation of their respective iconographies. The former’s ‘New Society’ is usually depicted in retrospect through photographs of mass demo stration, violent dispersals, and victims of enforced disappearances and human rights violations, vis-à-vis photographs of infrastructure projects, high art events, and perhaps most importantly, the family pictures of the Marcoses fashioned as the nation’s very own Royal Family. The latter, on the other hand, carries with its name the ideography of democracy through its commemoration of a ‘peaceful revolution’ signified by yellow ribbons, yellow confetti, statues of the Virgin Mary, military tanks in the streets, nuns and housewives with flowers and rosaries, and the famous photo of Corazon Aquino smiling, doing the Laban sign as the crowd behind her cheers in ecstasy. But aside from these tangible artefacts of the Marcos Regime and People Power, this paper will also focus on how the contemporary imagination of these national events has been shaped by the signified intangibles: the Filipino’s collective grief, anxiety, desire, and the overall emotional atmosphere of that point in history. With the limitations of visual and written media, these intangibles were articulated and interpreted with various renditions/revivals of three famous ‘protest’ songs. The first two are ‘Magkaisa’ (lit. Unite, Sotto, 1986) and ‘Handog ng Pilipino sa Mundo’ (lit. The Gift of the Filipinos to the World, Paredes, 1986), which are both annually performed in celebration of the ‘Peaceful Revolution’ that is EDSA People Power. The third and last song is ‘Di N’yo ba Naririnig’ (lit. Don’t You Hear it, trans. De Jesus, Saracho & Vera, 2017), a Filipino adaptation of the famous west-end song ‘Do You hear The People Sing’, which was performed during the program of the nationwide protest against the 45th anniversary of the proclamation of Martial Law and the burial of Ferdinand Marcos at the Libingan ng mga Bayani. Although the first two songs contained progressive themes that put emphasis on the value of collective action, and the last song has revolutionary undertones, this paper aims to have a
PANANAW XII critical intervention on how all three songs contribute to our dehistoricized and desensitized imagination of the Revolution, specifically the Protracted People’s War being waged by the Communist Party of the Philippines (CPP) for the past five decades. To understand how these songs work as cultural Ideological State Apparatus (ISA) that propagate counter-revolutionary ideas, we must first have an in-depth textual analysis of each song and contextualize them with the political terrain during and after their respective releases. We will also delve into how the Post-EDSA pedagogy and ‘Civil Society’ excluded the armed conflict in the countryside from the current popular narrative of the Philippines during the 1980s, and how they reframed our popular history within the dichotomy of Dictatorship-Marcoses and Democracy-Aquinos. From there, we should deconstruct these songs and question how their underlying and explicit messages constitute the popular imagination of a Peaceful Revolution in the Philippines.
Track 1 - Magkaisa: The ‘Revolution’ of Middle Class Catholics Written by Vicente ‘Tito’ Castelo Sotto III and sung by Virna Lisa, the production and release of the song ‘Magkaisa’ happened inarguably as spontaneous as the 4-day People Power that it pays homage to. It was released roughly a week after the ousting of Marcos but it instantly became popular due to its regular airing on television and radio stations. It has become so iconic that if our collective memory of EDSA would be put in a slideshow of its iconography, it would probably be set to the tune of this song. Ngayon ganap ang hirap sa mundo Unawa ang kailangan ng tao Ang pagmamahal sa kapwa’y ilaan With its very first line, the song recognizes that hirap (poverty and/or suffering) does exist in our world but instead of articulating the specificities of the plights of the lower classes, the song goes on to suggest that [pag-] unawa (sympathy) and pagmamahal (love) are the key things that the Filipino people need in times of economic crises. As we could see here, the song offers an idealistic perspective on the material conditions of the Philippines during the 1980s, and goes on to suggest that something as abstract as sympathy and love can push forward concrete and positive changes in our society.
Rather than holding the Marcoses and their cronies accountable, and pushing for economic policies that promote the welfare of the People, the song’s title suggests that the solution to poverty is the People’s unity. This may be true, in a socialist sense, if that said unity is geared towards the abolishment of the reactionary government. But with the brand of ‘unity’ that the song aims to foster, it is much more accurate to link it with neoliberalism: an economic policy model where the state’s intervention with daily economic activity is reduced to the minimum, while that of the private sector is maximized. Neoliberalism absolves the government of its negligence and forwards the rhetoric that its constituents (with the guiding principles of love and sympathy) should strive solely on their own in order to survive. Coincidentally, according to Walden Bello, neoliberalism entered the Philippines in the early 1980s through the World Bank’s structural adjustment program which contributed to the country’s worst economic crisis since the Second World War. This crisis, however, was overshadowed when it coincided with the assassination of the leading opposition figure, Benigno “Ninoy” Aquino Jr. in 1983 (Bello). It is also important to note that it was during the Aquino administration that neoliberal economics “started its rise to ideological ascendancy” with the aid of economists Bernie Villegas and Jesus Estanislao, the latter having served as the Secretary of Finance under Cory Aquino’s administration (Bello). With this in mind, we can view the annual performance or airing of ‘Magkaisa’ not just as the State’s celebration of the successes of a faux revolution, but also as the State’s hegemonizing force that renders the economic downfall after People Power as rational and acceptable in the Filipino’s collective consciousness. In his 1970 book “Lenin and Philosophy and Other Essays”, Louis Althusser would categorize all the songs aforementioned in this essay as Cultural Ideological State Apparatuses (ISAs), which I will articulate in detail for the next song. In the case of ‘Magkaisa’, it constructs a dehistoricized imagining of a homogenous origin of the Filipino people through the following lines: Isa lang ang ugat na ating pinagmulan Tayong lahat ay magkakalahi As suggested by the visual iconographies cited earlier, we can interpret the ‘People’ (bayan) in People Power as being comprised strictly of middle class Catholics. Looking back in history, we can cite Cardinal Sin’s public announcement as some sort of a contemporary Genesis: a politically-motivated public address of biblical proportions, that signaled
PANANAW XII the beginning of the Roman Catholic Church’s active involvement in 1) the ousting of the Dictator, 2) in activating the ‘stagnant’ middle class force of Metro Manila, and 3) in proclaiming Corazon Aquino as the president of the newly established Republic of the Philippines. Moreover, with the lines mentioned above, we can see how the song intentionally renders national and religious minorities invisible in the background by employing metaphorical abstractions in its definition of pagkakaisa (unity). We can look at this deliberate erasure as an attempt of Sotto and by extension, of the Church that promotes this song, to frame the entire Anti-Marcos movement— that stretches way before the proclamation of Martial Law— and the victory thereof, as a movement propelled only by middle class Catholics in Metro Manila. It does not take into consideration how other movements from other regions of the country struggled against the atrocities during the Marcos Administration. These include the likes of the struggle against “developmental aggression” led by Macliing Dulag of Cordillera, who was killed by the AFP in 1980 (Salamat), and the “Negros 9” scandal where nine church people, who were strongly against military presence in poor communities were wrongly accused of killing a municipal mayor and his companions in Negros Occidental in 1983 (Gomez). The annual propagation of this Manila-centric depiction of the Filipino devalues the contribution and potentiality of Filipino peoples from the peripheries as agents of social change. ‘Magkaisa’ wrongly implies that because we are all rooted in the same ancestry, we can be resilient through any hardships as suggested by the line “Sa unos at agos ay huwag padadala”. What these hardships are and how we, as a people, can overcome it, will then be articulated in the song’s chorus that is sung by borrowing techniques from worship songs and power ballads that were popular during the 80s: Panahon na (may pag-asa kang matatanaw) Ng pagkakaisa (bagong umaga, bagong araw) Kahit ito (sa atin Siya’y nagmamahal) Ay hirap at dusa Magkaisa (may pag-asa kang matatanaw) At magsama (bagong umaga, bagong araw) Kapit-kamay (sa atin Siya’y nagmamahal) Sa bagong pag-asa Ngayon may pag-asang natatanaw May bagong araw, bagong umaga Pagmamahal ng Diyos, isipin mo tuwina
Through the repetition of this part until it fades in the end, Sotto was able to paint a picture of how the Filipino has successfully transitioned from the dark (Martial Law, the time of Dictatorship) to the light (EDSA People Power, the time of Democracy)—a journey through the valley of darkness, so to speak—with the aid of an omnipotent god. This idealist interpretation of history renders its entirety as an unchanging course that is beyond the affective forces brought about by the material conditions of Philippine society. Following the same logic offered by this song, the “poverty”, the “dark times” of Martial Law, and the “light” that ensued, are part and parcel of the grand scheme of things arranged by an omnipotent being. On the surface, the song may seem to call for collective action but it actually renders it insignificant next to the whims of a deciding God.
Track 2 - Handog ng Pilipino sa Mundo: ‘Peaceful Revolution’ in the age of Globalisation Conceived, produced, and marketed in the same manner as that of USA for Africa’s ‘We are The World’ (1985), Jim Parades’ ‘Handog ng Pilipino sa Mundo’ brought together multiple Filipino artists to record a song that celebrates the EDSA People Power as the prime example of a ‘peaceful revolution’ in the international terrain of political dissent. Through the annual performance or airing of this song during People Power anniversary, the reactionary state is able to instill in the Filipino collective consciousness the ‘great legacy’ of the peaceful revolution and what it means for us as Filipinos and as citizens of the world. ‘Handog’s first two stanzas resonate thematically with Magkaisa as both songs emphasize how the Filipino people was able to overcome the dark times of Martial Law through collective action, and on why Filipinos should celebrate the victory of People Power. But unlike the latter, ‘Handog’s’ first stanza highlights the role of the individual in a collective struggle by using the First-Person pronoun ‘Ako’ (I) in expressing the collective desire to safeguard Democracy. Di na ‘ko papayag mawala ka muli Di na ‘ko papayag na muling mabawi Ating kalayaan kay tagal nating mithi Di na papayagang mabawi muli,
Magkakapit-bisig libu-libong tao Kay sarap palang maging Pilipino Sama-sama iisa ang adhikain Kailanman di na paaalipin
PANANAW XII The song would then express emphasis on how the Filipino has made People Power as a proof that social change can actually be achieved through peaceful ways, even within a state that is marred with a history of fascism. This can be seen in the first two lines of the chorus: Handog ng Pilipino sa mundo mapayapang paraang pagbabago Katotohanan, kalayaan, katarungan, ay kayang makamit nang walang dahas Basta’t magkaisa tayong lahat (Magsama-sama tayo, ikaw at ako) We can also say that ‘Handog’ contested Imelda Marcos’ apolitical dictum on art and culture with her very own definition of KKK (originally referring to the Katipunan, a revolutionary movement led by Andres Bonifacio) as “Katotohanan, Kagandahan, Kabutihan”(lit Truth, Beauty, Goodness) (Tablazon), and reverses it to “Katotohanan, Kalayaan, Katarungan,” (lit. Truth, Freedom, Justice)— the tenets of a just society that the Philippines was deprived of during Marcos’ dictatorial regime. Masdan ang nagaganap sa ating bayan Magkasama ang mahirap at mayaman Kapit-bisig madre, pari at sundalo Naging Langit itong bahagi ng mundo The above passage then highlights the ‘heavenly euphoria’ brought about by the integration of lower and upper classes, and the collaboration of institutions like the military and the Church—all for the common goal of overthrowing a dictator. In its last stanza, the song reiterates the importance of preserving our reclaimed democracy and, like in Track 1, it reimagines the Filipino roots as homogenous and monotheistic. Huwag muling payagang umiiral ang dilim Tinig ng bawat tao’y bigyan ng pansin Magkakapatid lahat sa Panginoon Ito’y lagi nating tatandaaan Lastly, ‘Handog’ repeats on loop the lines below, until the song fades out completely: Mapayapaang paraang pagbabago Katotohanan, kalayaan, katarungan, ay kayang makamit nang walang dahas Basta’t magkaisa tayong lahat
For ‘Handog’ (and the two other songs in this essay) to be considered as a cultural Ideological State Apparatus, we must look at how it is being used by the State to preserve the current status quo without the use of armed state forces (Althusser). ‘Handog’ plays two functions in retaining the current base-superstructure formation: 1) ratifying the Dictatorship-Marcoses and Democracy-Aquinos dichotomy, and 2) rendering the armed struggle waged by the Communist Party of the Philippines and New People’s Army (CPP-NPA) as a futile endeavor. In Post-EDSA pedagogy, Aquinos are framed as redeemers of democracy in the country and the Marcoses are continued to be hailed as the bringer of “one of the darkest times in Philippine history”. There are, of course, historical evidences to prove these two claims, but by framing our history by these two extremes alone, we carry with us the danger of disregarding the grey areas where their respective built images would disintegrate. Attached to the Aquinos is the legacy of People Power which they would use up until today to cover up or reduce to oblivion the atrocities during Cory Aquino’s Administration (1986-1992) and Benigno S. Aquino III’s Administration (2010-2016). These include the likes of Mendiola Massacre in 1987 and Hacienda Luisita Massacre in 2004, wherein protests led by militant peasant groups and agricultural workers were halted by the state forces through armed aggression. We should also cite here the Luneta Hostage tragedy in 2010, the Mamasapano Massacre in 2015, and the staggering statistics of victims of human rights violations during these two Aquino administrations. All these violent atrocities would be annually ‘washed away’ from our national consciousness through the State’s yearly commemoration of EDSA People Power. Its non-violent aspect would always be highlighted in different media outlets and would be compared with protests held in other countries that were met with state violence, most prominently the Tiananmen Square protests of 1989. Within the Civil Society that People Power built from the ruins of Marcos’ ‘New Society’, the Filipino people is offered with bare-minimum social reforms as their imagination is being deprived of radical and militants options to achieve genuine social change. This kind of anti-Maoist discursification on the term ‘revolution’ would be furthermore popularized by the Aquino Administration in the late 80s up to the early 90s through its “naive approach” in dealing with the longest-standing Communist ‘insurgency’ in the world (Branigin).
PANANAW XII In a 1986 interview by The Washington Post, Defense Minister Juan Ponce Enrile described Aquino’s way of dealing with the communists as “continually being soft…to the point that [the latter] became too strong”. The 1987 constitution was formulated in such a way that communists can get their representatives elected in Congress through the newly-implemented party-list system, wherein they can forward their agendas to a wider scope while getting government funding at the same time (Tiglao). Alongside ‘Handog’s’ championing of a non-violent revolution, these efforts by the Aquino administration to conciliate with the class war waged by CPP-NPA, can be seen as the State’s way of framing the armed revolution as futile and unnecessary. Although the CCP-NPA-NDF sees Aquino’s efforts in welcoming left-leaning politicians to the government as something strategically beneficial, we cannot deny the fact that it also contributes to the popular imagination that the roots of armed struggle can be addressed through parliamentary struggle, therefore presenting the former struggle as a ‘lost cause’ and the latter as a better alternative.
Track 3: Di N’yo Ba Naririnig On Performing and Democratizing the ‘Revolution’ In response to the burial of Ferdinand Marcos at the Libingan ng mga Bayani in November 2016, and as part of the nationwide protest to commemorate the 45th anniversary of the Proclamation of Martial Law in September 2017, a group of theatre veterans and practitioners performed a Filipino adaptation of “Do You Hear the People Sing” entitled “Di N’yo Ba Naririnig”. The ‘Tagalized’ song captured the attention of the participants of the mobilization, and later on garnered more fame when videos and photos of the performance were shared to a larger public through mass media and social media platforms. In an interview with GMA News, Vincent de Jesus—who translated the song by incorporating additional lyrics from fellow theatre stalwarts Rody Vera and Joel Saracho—shared that adapting this famous Les Misérables anthem only took him an hour because he was enraged by recent events (Tantiangco). De Jesus said that they should not just use metaphors but rather go straightforward with their calls. He later on decided to post it on facebook to “save paper” and make the lyrics accessible to a larger audience online. The rest, as the saying goes, is history.
Unlike Tracks 1 and 2, ‘Di N’yo ba Naririnig’ directly borrows and highlights themes of armed revolution waged in another country. The original text is from the 1980s musical “Les Misérables” which is an adaptation of Victor Hugo’s 1862 novel of the same name, that was inspired by the Paris Uprising of 1832 (Masters). But instead of merely translating the text to Filipino, De Jesus and his colleagues decided to adapt the text and modify some parts of it to fit the historical context of the Philippines and, by extension, the context of the event where it would be performed. Di niyo ba naririnig? Tinig ng bayan na galit Himig ito ng Pilipinong Di muli palulupig Dudurugin ang dilim Ang araw ay mag-aalab At mga pusong nagtimpi Ay magliliyab With these stanzas, we can already see how De Jesus et al. incorporated in their adaptation the same imagery and words used in the first two stanzas of the Philippine National Anthem ‘Lupang Hinirang’. As an effect, the song had an emotional appeal to the collective musical memory of the Filipino audience. In the next two verses (some choruses omitted), we can see how the song about a French revolution was appropriated to the Philippines’ current ‘troll wars’ under the Duterte administration, and the liwanag at dilim (light and dark) binary that is used to discursify Martial Law and People Power in popular imagination. Ikaw ba’y makikibaka At hindi maduduwag Na gisingin ang mga panatikong bingi’t bulag Kasinungalingan labanan hanggang mabuwag Dudurugin ang dilim Ang araw ay mag-aalab At mga pusong nagtimpi Ay magliliyab Ikaw ba ay dadaing na lang
Kimi’t magmumukmok Habang nagpapakasasa Ang mga trapong bulok Gisingin ang puso Galitin hanggang pumutok Like all literary pieces, the original text is not exempted from losing some of its parts along the process of translation. We can assume that this is intentional on the part of the translators who had in mind the National Day of Protest program in Luneta Park as their performance area. But to further articulate my argument on how these three songs function as cultural ISA, I propose to analyze how Di N’yo ba Naririnig utilizes the popularity of the original material as a vessel for its faux revolutionary ideas. First, we criticize Les Misérables within the framework of Marxist cultural criticism on theatre arts as offered by modernist German playwright Bertolt Brecht. For Brecht, incorporating themes of revolutions in a play does not automatically make it revolutionary. To put it more bluntly, simply watching plays like Les Miserables will not automatically convince its audience to take up arms and revolt against an oppressive system. For Ariane Mnouchkine, a French playwright who subscribes to the Brechtian epic theatre, theatrical plays that are founded on the Aristotelian tradition can pull down the audience into passivity because they view the events unfolding on stage (i.e. Paris Uprising of 1832 as depicted in Les Miserables) as events that are beyond their control and are already predestined (Karch, 1). So even if there are explicit revolutionary statements within the play, the audience may come up with the interpretation that these statements are as artificial as the universe onstage. On the other hand, Brecht’s epic theatre is founded on the very ruins of Aristotelian theatre’s artificiality. Mnouchkine cites the performance area as a space where the spectators can engage critically and “note their personal impact on history” (Karch 1). One may argue that by sharing the lyrics online, De Jesus invites the spectators at Luneta and, by extension, the online spectators on different social media platforms, to come join them in their political struggle. Looking back in history, disseminating information via the available communication technologies to mobilize the masses is not new to the Philippines. As I have mentioned earlier in Track 1, People Power 1986 would not have come in fruition had it not been for Cardinal Sin’s aired announcement on Radio Veritas. Adding to that, in
PANANAW XII People Power 2001 (more commonly known as EDSA Dos), alongside the church’s call to join the mobilization, one of the major factors that contributed to the number of participants is through the forwarded text messages “Go 2 EDSA. Wear blk” and “Full mblsn tday EDSA” (Shirky). However, this kind of information dissemination in service of mass demonstrations gets more problematically complicated in the age of the Internet. Through social media’s propagation of ‘Di N’yo ba Naririnig’ (the song itself and the videos of its performance), its ISA functionality forwards the false notion that the audience are taking up an active role in the “performed” revolution on stage. I would argue that contrary to the 1986 and 2001 examples cited above, where there is a direct call to go to the streets and protest, ‘Di N’yo ba Naririnig’ demobilizes the movement’s potential participants. For the Luneta audience, the song conflates the idea of a successful revolution abroad with a local movement that is ongoing. While for the online audience, sharing the videos of the performance of the song or merely just contributing to the online discourse surrounding it, may be misinterpreted as their sole way of ‘participating’ in a finished performance of a revolution.
Aside from functioning as cultural Ideological State Apparatus, all three songs also share the same target audience upon which they assert their hegemonizing power—the Filipino Peti-Bourgeoisie. Track 1 frames middle class Catholics as the most significant catalyst for progressive social change. Track 2 amplifies this same rhetoric by putting the middle class to the status of being ‘global citizens’ who pioneered a successful ‘peaceful revolution’. And lastly, Track 3 appeals to the aesthetic sentiments of the middle classes and cultural elites, and utilizes their media literacy in propagating counter-revolutionary ideas in the guise of being revolutionary. The Filipino Petit-bourgeoisie, despite constituting a relatively small part of the population, are considered as major influencers of public opinion, all for the sole reason that this social class has an access to education, mass media technologies, and social media platforms. Their receptions and feedbacks to these songs, which they proliferate using the same information media, do not only constitute our contemporary imagining of the Revolution, but also stabilizes the economic, cultural, and political factors on why there is an on-going armed struggle in the first place. Lastly, I point out that this very same democratizing power of the middle class is what subjects them to not just be mere consumers of the aforementioned ‘revolutionary’ cultural products, but to also function as an ideological tool of the very same state that they are trying to ‘revolt’ against.
PANANAW XII References Althuser, Louis. “Ideology and Ideological State Apparatuses (Notes towards an Investigation)”. “Lenin and Philosophy” and Other Essays. 1971. Marxist Internet Archive. https:// www.marxists.org/reference/archive/althusser/1970/ideology.htm. Accessed 7 December 2017 Bello, Walden. “Neoliberalism as hegemonic ideology in the Philippines: rise, apogee, and crisis”. Focus on the Global South. 18 October 2009. https://focusweb.org/node/1534. Accessed 8 December 2017 Branigin, William. “The Troubled Presidency Of Corazon Aquino”. The Washington Post. 14 September 1986. https://www.washingtonpost.com/archive/politics/1986/09/14/ the-troubled-presidency-of-corazon-aquino/f4d1a094-e414-476d-871a-1e2de61bdd63/?utm_ term=.c787e7bde88f Accessed 7 December 2017 Gomez, Carla. “‘Negros 9’: Work for poor continues”. Inquirer.net. 05 July 2014 newsinfo.inquirer.net/617059/negros-9-work-for-poor-continues Accessed 9 December 2017 Karch, Agnieszka. Theatre for The People: The Impact of Brechtian Theory on the Production and Performance of 1789 by Ariane Mnouchkine’s Théâtre Du Soleil. Opticon1826. http://ojs.lib.ucl.ac.uk/index.php/up/article/view/1361/704. Accessed 7 December 2017 Masters, Tim. “Bon anniversaire! 25 facts about Les Mis”. BBC News. 1 October 2010. http://www.bbc.com/news/entertainment-arts-11437196 Accessed 8 December 2017 Salamat, Marya. “Cordillera Day | Macliing Dulag, Cordillera heroes memorial unveiled in Kalinga”. Bulatlat 26 April 2017.. http://bulatlat.com/main/2017/04/26/cordillera-day-macliing-dulag-cordillera-heroes-memorial-unveiled-kalinga/ Accessed 9 December 2017 Shirky, Clay. “The Political Power of Digital media” Foreign Affairs. 2011. http://www. foreignaffairs.com/articles/67038/clay-shirky/the-political-power-of-social-media. Accessed 10 December 2017 Stalin, Joseph Vissarionovich. Dialectical and Historical Materialism. 1938. Marxist Internet Archive. https://www.marxists.org/reference/archive/stalin/works/1938/09.htm. Accessed 7 December 2017 Tablazon, Christian. “Untitled”. Issue 22: No. Eds. Mabi David, Allan Popa. High Chair. 2016. http://www.highchair.com.ph/issue_22/22_tablazon_ghostisaghost.htm. Accessed 8 December 2017 Tantiangco, Aya. “Protest song from ‘Les Misérables’ gets Tagalog treatment”. GMA News. 21 September 2017. http://www.gmanetwork.com/news/hashtag/content/626633/protest-song-from-les-mis-eacute-rables-gets-tagalog-treatment/story/ Accessed 7 December 2017 Tiglao, Rigoberto. “The communist insurgency: The Marcos-Aquino curse on the nation”. The Manila Times. 08 February 2017. http://www.manilatimes.net/communist-insurgency-marcos-aquino-curse-nation/311056/. Accessed 9 December 2017
MGA MAY-AKDA Lindsay Anne D. Peñaranda (BS Computer Science, College of Arts and Sciences) firstname.lastname@example.org http://twitter.com/lindspenaranda Digital artist from Meycauayan, Bulacan Karen Manamtam (BS Mathematics and Science Teaching, College of Arts and Sciences) email@example.com Future teacher. Angelo Luis N. Milano (BS Computer Science, College of Arts and Sciences) http://twitter.com/Nookerino firstname.lastname@example.org Angelo Milano is an aspiring comic artist and is also a member of The Graphic Literature Guild. Mariel Coleen A. Iturralde (BS Chemical Engineering, College of Engineering and Agro-Industrial Technology) http://facebook.com/itu.yeee email@example.com Transferee at UPLB Baptist Youth Sower’s For Christ, player of UP Samurai Varsity, feature writer since 2008 Aynrand Angelo S. Galicia (BS Computer Science, College of Arts and Sciences) http://www.facebook.com/Pen-Pen-165518914145391/ http://www.instagram.com/aynrand_galicia/ http://facebook.com/AynrandGarcia An artist with a pen. Felipa E. Cheng (BA Communication Arts, College of Arts and Sciences) firstname.lastname@example.org, email@example.com http://instagram.com/chengsticles Si Felipa ay may limang matatabang pusa. Nailathala na ang kanyang mga guhit sa isang online magazine. Walang kinalaman ang dalawang nabanggit na detalye sa isa’t isa. Pauline Jean G. Vercaza (BA Communication Arts, College of Arts and Sciences) Si Pauline Jean G. Vercaza ay isang 19 anyos na estudyante ng BA Communication Arts major in Writing.
Mac Andre R. Arboleda (BS Development Communication, College of Development Communication) firstname.lastname@example.org http://cargocollective.com/asshulz http://facebook.com/asshulz My work “Ultimately futile and with no conclusion” takes its cue from the longstanding debate on art and pornography. The series is a collection of screenshots of hanged artworks from selected porn videos found online, a few from websites that have been banned during the Duterte administration. An investigation of sorts, the act of collecting in itself is a reflection of how we consume art and pornography, therein determining its functions and ethical considerations. I used the phrase “Ultimately futile and with no conclusion”, a quote borrowed from pornographer Ben Dover in a 2002 article from The Guardian entitled “It’s art. But is it porn?”, to express my contemplative doubt in the use of art to make any lasting impact in society. *** Mac Andre R. Arboleda is the Editor-in-Chief of Pananaw. Hunny Kyle B. Laurente (BA Communication Arts, College of Arts and Sciences) email@example.com http://twitter.com/sanggrehk Ang “Lifespan of an Artist” ay parody ng isang diagram batay sa draft na “Lifespan of an Artwork” ni Buen Calubayan. Ang nasabing draft ay isang condition report para sa Collections Management Service of Working Artist Group. Ito’y ipinresenta sa UP Vargas Museum. *** Hilig ni Hunny Laurente ang pagsulat ng mga malikhaing akda. Naging fellow sa tula sa palihang Campus Tagaan 3 (Kataga-Manila) at naging committee chair ng Balarila Movement (Manila Youth Act Now) para sa Manila Science High School. Nailathala ang kanyang tulang “Bisita” sa Metro, Antolohiya ng mga Malikhaing Akda. Justin Jeff R. Firmalo (BA Sociology, College of Arts and Sciences) firstname.lastname@example.org http://twitter.com/justinfirmalo Frustrated artist and poet from Samahang Layb. Ka Susano (UPLB student) I thought protest vandalism is just a waste of time. Instead of having my skills showcased in museums and galleries, I only use the walls of the streets, which is inappropriate and unpleasant. I am scared of the fact that I might be arrested during the process of painting protest vandals. I am afraid that most of the middle-class to rich Filipinos would shake
their head in dismay to see their perfect communities stained by my disorderly writing and visuals. I am tired of the fact that for every art I paint in the street, the state would only hire more workers to clean it all up the next day as if nothing happened. However, I have realized that protest vandalism is more than art for mere display. It is a reminder to us that the society that we live in houses oppression against the basic masses, something that we often forget. In the brief moment of time our protest vandal is up at the wall, it cries loud to the people and pops their idealistic bubbles. It slaps them in the face as they reflect upon the killings, inequality, and societal injustice. Protest vandal may not reach many, or may not last long, but it is an art that reaches the people by shaking their consciousness awake to the ills of society. For no matter how hard the state tries to cover its’ mistakes, protest vandals will never stop making art to cry out their calls - no matter how tiring it can get. “Impermanence” is a digital collage of portraits of protest vandals I have made since the beginning of my time as a student activist. Some of these are from the International Human Rights Day Mob, Lakbayan, Ka Roger Anniversary, SONA 2018, and PAEP Not Welcome in UPLB Mob. Some are done with stencils, paint bombs, and spray painting. *** Susano is a student activist who uses his time discovering ways to maximize all possible avenues to uphold the national democratic aspirations of the Filipino people. Gabriel B. Pastolero (BS Electrical Engineering, College of Engineering and Agro-Industrial Technology) email@example.com http://facebook.com/gabtheblob http://nightinsync.tumblr.com/ 20 years old, from Sta. Rosa. Laguna, animal lover Bonjoo Koo (BA Philosophy, College of Arts and Sciences) firstname.lastname@example.org “Growth” features a journal entry written months ago, hinting a point in life wherein someone has grown with some newer perspective. Labeled under a title with a double entendre, “Growth” is a work plotted in a way that forces a closer look into a part of a woman’s body so associated with privacy that revealing is indecency and a public shame—where, regardless, some kind of growth continues to happen. The work desires to depict growth as what could be endangered under a similar perspective, as something which one would rather keep for oneself, muted by the fear of shame. Diego Raymond E. Tribdino (BA Communication Arts, College of Arts and Sciences) email@example.com http://tribdinosaur.tumblr.com http://soundcloud.com/daltaidan Ako ay isang overweight na tao, na may halos sampung taong kasanayan sa pagsayaw. Marami na akong nakilalang mahuhusay na mananayaw na mataba at mabigat. Ngunit sa mga palabas, pelikula, o komersyal, madalas na ginagawa kaming karakter na pinagta-
tawanan. Gamit ang mga cartoon and komik, nais ko sanang malaman ng tao na wala sa timbang ang husay sa sayaw, kundi nasa kasipagan, at disiplina. *** Diego Tribdino is an illustrator, animator, and composer from San Pablo City, Laguna. He has worked on short films as a member of UP Film Circle, and as part of a student animation team. He posts online under the names ‘Tribdinosaur’ (for visual art), and ‘Daltaidan’ (for music). Philip Xavier P. Li (BS Computer Science, College of Arts and Sciences) firstname.lastname@example.org http://facebook.com/philipxavier.li I’m a master of none. I write, I code, and I make pleasing sounds come out of my computer. Beyond that, I’m a freshman struggling with when routine bites hard and ambitions are low. John Daryl Alcantara (BA Communication Arts, College of Arts and Sciences) email@example.com http://dalumatin.tumblr.com http://instagram.com/darthdaryl http://twitter.com/dardarjinx John Daryl Alcantara is a student, writer, layout artist and activist from Taguig City. He writes poems, short stories and plays during his spare time, and academic papers when the deadline is near. He has served as the Chairperson of the UPLB Writers’ Club and is currently a resident member of The UPLB Com Arts Society and Umaholokan, Inc. KarMa Kolektib firstname.lastname@example.org http://facebook.com/karmakomiks http://twitter.com/karmakomiks Nag-alab ang Kartunista-Manunulat [Karma] Kolektib mula sa mga abo ng UPLB ibarang noong 2006. Ngayon, nagaatim itong palaganapin ang makasining at makabayang paglalakbay sa isang pamantasan sa UP Los Banos Laguna. Noel Angelo Arboleda (MS Development Management and Governance, College of Public Affairs) email@example.com http://geloarboleda.com Gelo Arboleda is a 25-year-old student from UPLB currently trying to earn a degree in Development Management and Governance. He is also a member of the UP Photographers’ Society.
PATNUGOT NG PANANAW Punong Patnugot: Mac Andre Arboleda Kapatnugot: Juan Sebastian Evangelista Patnugot sa Panitikan: Isis Ingrid Liwanag Patnugot ng Paglalapat: Maria Victoria Almazan Tagapamahala ng Pinansiya: Mark Ernest Famatigan Mga Kawani: Sonya Marielle Castillo Amrie Cruz Mackie Valenzuela James Jericho Rey Bajar Mark Ernest Famatigan Lindsay Anne PeĂąaranda John Albert Pagunsan Julianne Afable
PAGKILALA Sa mga guro ng UPLB Department of Humanities para sa pagsuporta sa paglilimbag ng proyektong ito, sa University Student Council at sa College of Arts and Sciences Student Council para sa pagtulong sa pagpapalaganap ng panawagan para sa submisyon, kay Raquel Malaborbor na nagsisilbi bilang kawaning administratibo ng pahayagan para maisakatuparan ang proyektong ito, sa Kulturang Ugnayan ng Kabataan-Alay sa BayanKULAYAN- UPLB para sa paghikayat sa miyembro-organisasyon nito na magsumite ng mga piyesa at sa pagsuporta sa Pananaw.
TUNGKOL SA UPLB PERSPECTIVE Tungkulin ng UPLB Perspective na magsilbi bilang plataporma ng pagsasanay ng mga estudyante sa alternatibong pamamahayag, at pamumuno sa politika ng ideya, opinion, at pagkilos. Kabilang ang publikasyon sa pangunguna ng pagbabandila ng malayang pamamahayag sa pamantasan pati na rin sa pagsilbi sa mga tuntunin nito sa pagtaas ng kamalayan at mobilisasyon ng komunidad ng UPLB. Patuloy na kumikilos ang [P] sa makaestudyante at makamasang oryentasyon.
Ang patnugot ng publikasyon sa terminong 2018-2019 ay binubuo ng mga sumusunod: Albert Pagunsan bilang Punong Patnugot, Julianne Afable bilang Kapatnugot, Caren Malaluan bilang Patnugot ng Balita, Gershom Mabaquiao bilang Patnugot ng Lathalain, Juan Sebastian Evangelista bilang Patnugot ng Kultura, Mackie Valenzuela bilang Patnugot ng Paglalapat, Kristine Paula Bautista bilang Patnugot ng Grapiks, Mac Andre Arboleda bilang Patnugot ng Onlayn, James Jericho Rey Bajar bilang Tagapamahala ng Pinansiya, Maria Victoria Almazan bilang Taga-disenyo ng Layout. Ang sumusunod ay nagsisilbi bilang kawani ng publikasyon: Lianne Parajeno, Monica Laboy, Patricia Echano, Aynrand Galicia, Sonya Marielle Castillo, Paul Christian Carson, Mark Ernest Famatigan, Sophia Pugay, Christabel Genovana, Marj Alizah Penaflorida.
Ang opisina ng [P] ay matatagpuan sa Silid 11 ng ikalawang palapag ng gusali ng Student Union. Bukas ang pagsali sa [P] sa pagsali ng kahit sinong estudyante ng UPLB. Kung interesadong sumali, maaring maabot ang publikasyon sa firstname.lastname@example.org
Miyembro ng UP Alliance of Student Publications and Writerâ€™s Organizations (UP Solidaridad) at College Editorâ€™s Guild of the Philippines (CEGP)
Mga pahina sa onlayn issuu.com/uplbperspective facebook.com/uplbperspective twitter.com/uplbperspective uplbperspective.wordpress.com
Pananaw XII is the comeback issue of the official literary and arts folio of UPLB after a 15-year hiatus. This year's theme asked contributo...
Published on Jun 18, 2019
Pananaw XII is the comeback issue of the official literary and arts folio of UPLB after a 15-year hiatus. This year's theme asked contributo...