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Part 2: The anomaly of transport modernization

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Last of a two-part series

Government’s misplaced scheme

In many instances, the
solution to the complex transport problems of Metro Manila lies in the physics
of the problem, in the same way that dealing with COVID-19 requires medical
science. But the Duterte administration has simply picked up its pre-COVID proposal
of “jeepney modernization” and used the pandemic to justify finally pushing for
it, amid protestations by jeepney drivers and the adverse impact on millions of
commuters.

The government is a signatory
to the Bangkok Declaration on Sustainable Transport Goals (Bangkok 2020) on
“environmentally-sustainable” transport policy. This is also in relation to the
ADB’s
Sustainable Transport Initiative that is ultimately premised on the
continuation of “free market” and “inclusive” economic growth. The Duterte
government’s accomplishment in fulfilling Bangkok 2020 rests on the jeepney
modernization program. Ultimately, this is important for the Duterte
administration to attract transport infrastructure investments as well as to
push for the sale of brand new, imported, so-called environment-friendly, and
modern jeepneys.

Through the Omnibus
Franchising Guidelines (OFG) that the DOTr issued on 19 June 2017, the
government is requiring the make of the body and engine of the traditional
jeepney to be compliant with the requirements set by the Land Transportation
Franchising and Regulatory Board (LTFRB). These requirements definitely
prioritize electric jeepneys (e-jeep), while pushing away the traditional
jeepneys which need to go through numerous hurdles to get licensed to operate.
These hurdles include: upgrading combustion engines to comply with Euro IV and
similar emissions standards; complying with the LTFRB-set age-limit of oldest
vehicle part; refurbishing and rebuilding that should pass the type approval system
test; and still finally going through the Land Transportation Office (LTO) for
a roadworthiness test to get registration renewal.

Concerned automotive
engineers, scientists and mechanics contest the need to phase out traditional
jeepneys and argue that the government should support locally manufactured environmental
solutions. They also question the availability of the parts of the imported
modern jeepneys in case of repairs, unlike with the traditional jeepneys that
can be replaced easily. They also claim that the body engineering of the modern
jeepneys is not suited to Metro Manila’s narrow roads and more prone to
accidents. Environmentalists have also criticized the government’s going
electric or Euro IV as hypocritical when its own energy program is reliant on
coal and other fossil fuels.

But the OFG just keeps on
narrowing the chances for traditional jeepneys to survive. The OFG also
requires a fleet size of 15 units for any type of PUV for six months for new
routes, which prevents small operators from applying for new franchises.
Actually, even medium-scale operators – if they exist – are constrained and
marginalized under the modernization program. The modern jeepney costs about
Php1.6 million to as high as Php2.5 million, which means that an operator needs
at least Php24 million to get a franchise.

The DOTr has stated that the
government is not phasing out jeepneys but simply modernizing. However, the government
plays with words. The jeepney modernization program will ultimately kill the
livelihoods of thousands of jeepney drivers and complete the corporate capture
of the ‘last-mile’ resort of millions of Filipino commuters.

Still pushing for Build, Build, Build
and foreign ownership

The Duterte administration is
also not compromising its Build, Build,
Build
(BBB) infrastructure projects, despite their questionable viability
even before COVID-19 struck and their diminishing relevance now. Of the 100
infrastructure flagship projects (IFPs) worth Php4.3 trillion, 73 are for
transport and mobility. The government does not have plans to strengthen
economic production so the projects will just end up reinforcing a service
economy dependent on import-export trade, foreign investments and tourism. Much
of the construction materials used are even imported rather than produced
locally.

The transport sector is
reflective of how the government has lost its capacity to govern and manage
public services because of privatization. This raises questions therefore on
government’s absorptive capacity for such a grand infrastructure program. Four
years into the ambitious BBB, there are only two (2) completed and nine (9) ongoing
projects to date. The Duterte administration has even increased the IFPs from
75 to 100 to make BBB “more feasible”. But it appears that only 38 projects will
be finished by the end of its term.

The future of BBB in the time
of COVID-19 is precarious. But like a beaten beast, the Duterte administration
refuses to yield. The pandemic is posing serious challenges to the continuation
of BBB, apart from the program’s innate weakness of simply being aimed at
attracting foreign investments and momentarily stimulating a slowing economy.

The most obvious challenge for
the construction industry is physical distancing because  masses of workers need to gather to finish a
project. The IATF suspended construction at the start of the lockdown but later
allowed it, while passing on to the construction companies the responsibility of
ensuring that workers comply with health protocols.

The next challenge is how
travel restrictions and physical distancing will certainly dampen transport,
travel and tourism businesses, and foreign trade and investment for a long
time. These are the sectors that BBB wishes to be relevant for – but they are less
and less important for the economy’s survival in the time of COVID-19.

Another challenge is the
commercial viability of the projects on which they are all premised. Instead of
catering to genuine public service, the completed projects are designed to be
run by private transport corporations who will collect user-fees for their
profitability and sustainability. The most expensive BBB projects are mass
commuter railways whose viability depends on expensive fares that will be beyond
the reach of the majority of the poor and working people.

But the greatest challenge is
how BBB’s socially inappropriate orientation can be shifted to support the
proper health response to COVID-19. The pandemic has revealed how weak our
health system is – lacking facilities and equipment, lacking health personnel,
and even lacking the means to transport health personnel. Not a few health
frontliners have had fatal road accidents biking to work due to lack of
transport support from the government. There is not even a single health
infrastructure facility in the IFP lineup. The administration has made
pronouncements that it would reorient BBB to respond to the health crisis but has
yet to release a new IFP list.

Meanwhile, one priority
legislation of the administration is the amendment of the Public Services Act
(PSA). On March 10, just before the lockdown, the House of Representatives
passed on final reading House Bill (HB) 78 to amend the PSA. It is now at the
Senate for deliberation and approval. These amendments include narrowly
defining public utilities to bypass Constitutional restrictions on foreign
ownership. Sectors considered public services, transportation included, can be
opened up to complete foreign ownership. This further undermines public interest
and national development. The PSA amendments will pave the way for the full
foreign ownership of the mass transport system and government’s eventual
surrender to private transport and transport infrastructure corporations.

The right direction

The Duterte government can
address the transport crisis in the time of COVID-19 and in fact can look at
the pandemic as an opportunity to overhaul the system. The health protocols may
be followed indeed if only the government recognizes and addresses the transport
crisis in a scientific manner.

There should be a first-step
long-term modal shift from road to rail. The government can start by upgrading
and adding rolling stock and rails to the train system. The corporations and
officials of government agencies who forged lopsided privatization contracts
should be held liable for poor service including breakdowns and accidents. The
Philippines is among the first countries in Asia to have an urban rail system
and has a long history of government running rail transport systems. These
assets can be nationalized again and returned to public control. Rail transport
can then be central to urban planning as well as to the dispersal of economic
activities to the rural areas.

An efficient rail transport
system, not to mention fully linked and accessible, will be the basis of an
equally efficient route rationalization plan for PUBs and PUVs. The government
should seriously conduct its own study to identify where the mass of commuters
can have the most optimal travel time, including number of stops, from their
workplaces to their homes. This should also include designation of walkways and
bike lanes. It should not rely on self-interested privatization stakeholders to
make such studies.

For a route rationalization
plan to be truly systematic, PUBs and PUVs along with rail should be publicly
run. Government can start by organizing PUBs and PUVs into cooperatives rather
than allowing only single or corporate proprietorship of large fleets. It can
also incentivize cooperatives to improve their service and compliance. Then,
government can move on to careful consolidation of fleets through joint
ventures and eventual nationalization. Such crucial steps will finally make PUB
and PUV modes more economical and fares more affordable.

The DOTr is proposing to
introduce service contract arrangements with private transport operators for
the “new normal”. It also aims to shift from the “boundary system” to daily
fixed wage for drivers and conductors so they can have steady incomes
regardless of reduced ridership. This sounds acceptable, especially if we
consider that transport groups have long been clamoring for government to
abolish the “boundary system” to avoid competition-driven stresses, road
hazards, and transport unpredictability.

However, the DOTr proposal
remains outside the vision of living wages for transport workers, promoting
their welfare and strengthening their unions, subsidizing commuters and
controlling fares, and diminishing competition among the private contractors
with stronger public control. In short, the current proposal should be within
the framework of nationalization, lest it end up being another privatization
contract.

The proposal is welcome if it
is not being done in the context of the government’s jeepney modernization
program. The Duterte administration cannot even give sufficient social
amelioration to displaced drivers and conductors during a pandemic.

Moreover, government should
once and for all restrain the explosive private car sales that defies all
public mass transport logic. These just give the automotive corporations
maximum returns on their businesses.

Finally, the pandemic gives us the vast opportunity to rethink sustainable development perspectives. The need for agrarian development and national industrialization cannot be overemphasized. But the government can start with arresting the anarchic building of offices especially for business process outsourcing and online gambling, shopping malls, hotels and leisure structures, residential and private subdivisions, and condominiums. Metro Manila’s urban development Is geared to increasing real estate profits and the wealth of the country’s economic oligarchs at the expense of public mobility and welfare.

Government can start by planning an economy that genuinely addresses severe inequalities existing pre-COVID-19 that, without corrective steps, will persist even far beyond.

Read the first part of this series

The anomaly of transport modernization (Part I)

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For the majority of poor commuters, what is more painful to see now is how the Duterte government, not backed by science, is on the verge of banning the traditional jeepney from the road forever and insisting that modernization is the cure.

The post The anomaly of transport modernization (Part I) appeared first on Kodao Productions.

The anomaly of transport modernization

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First of a two-part series

The transport chaos on the
first day of the less restrictive general community quarantine (GCQ) was
painful to watch. With limited public transport, thousands of Metro Manila
commuters eager to recover lost jobs and incomes were practically left on their
own to figure out how to get to work.

Department of Transportation
(DOTr) secretary Arthur Tugade said that the government has “concrete plans”
for GCQ. He also had to say that the government is not “sacrificing the people”
just to revive the economy, because that was what it seemed.

The recommendation by the
Inter-Agency Task Force (IATF) to transition to GCQ was apparently based more
on the compulsion to reopen business than on categorical facts of virus
containment. The Duterte government was also reportedly already “out of funds” for
socioeconomic relief.

The government once again
resorted to the military. The military and police deployed trucks and cars to
ferry the stranded passengers, breaking distancing protocol and betraying
government’s lack of preparedness. Then, the usual victim blaming – the
Metropolitan Manila Development Authority (MMDA) and Malacañang blamed commuters
for the mayhem. Then, the DOTr made a U-turn from its initial pronouncement and
said that it never promised to meet the transport needs of the public under
GCQ.

For the majority of poor
commuters, what is more painful to see now is how the Duterte government, not
backed by science, is on the verge of banning the traditional jeepney from the
road forever and insisting that modernization is the cure.

If there is anything that
COVID-19 has emphasized, it is the fact that the Philippine transport sector is
in its worst crisis – a reality that the Duterte administration had repeatedly
denied before the pandemic. If the economy has to transition to a genuinely
better shape, the government has to address the basic woes of the transport sector.
Vice versa, if the mass transport system has to be more efficient, the economy
has to be transitioned to a genuinely better one.

But we seem to be stuck in
our old problems.

Havoc in the new normal

The DOTr resumed public
transport operations in two phases. During the first phase, trains and bus
augmentation (which means bus loading and unloading at designated stations of
MRT3), taxis, transport network vehicle services (TNVS), and point-to-point
(P2P) buses were allowed with limits on the number of passengers. Tricycles were
also allowed, subject to the approval of the concerned local government units
(LGUs). Bicycles have also been encouraged.

During the second phase,
public utility buses (PUB) and modern public utility vehicles or jeepneys
(PUV/PUJ) were allowed with a limited number of passengers in rationalized
routes. There are currently 30 routes from previously 96 routes for PUB and 34
new routes for the modern jeepneys. The DOTr will open more routes for the
modern PUV in the coming days. Meanwhile, the traditional jeepneys remain
prohibited from plying their routes unless seen as “roadworthy”. They are also
the least priority and will only be used to fill in transportation gaps that arise.

Utility vans (UV) express
will be allowed to operate with limited passengers as soon as more modern PUV
routes are added. Provincial buses remain prohibited from entering Metro
Manila.

The DOTr has also given some
“new normal” guidelines, such as wearing of face masks at all times, cashless
payments to avoid physical contact, use of thermal scanners, provision of
alcohol and sanitizers, use of disinfection and establishment of disinfection
facilities, and contact tracing. Costs for all of these are of course to be
shouldered by the private transport operators and the passengers.

Apart from the added
inconvenience these adjustments bring to the already unreliable mass transport
system, there has also been lots of confusion on other relevant guidelines. The
Philippine National Police (PNP) for instance prohibits backrides on motorcycles
even for couples, yet some members of the police themselves are seen violating
the rule. Interior and local government secretary Eduardo Año attempted to get
around the prohibition by suggesting the use of sidecars but these are not
allowed on the metro’s major highways.

Promoting the use of bicycles
has not been accompanied by government policies to designate bike lanes and road-sharing
with cyclists for a safe and efficient bike commute. Ironically, even the
initiative by bikers’ groups and advocates to marshal the bike traffic along
the “killer highway” Commonwealth Avenue was fined by the MMDA for “traffic
obstruction”. Some LGUs are also reviving their old bike registration
ordinances to collect fees even if they have not yet provided the needed
support to bikers.

But the most glaring havoc is
in the future of the traditional jeepneys – the ones that do not pass the DOTr’s
standard of “modern” – which now hangs in the balance. Jeepneys were prohibited
during the lockdown and are now under threat of being banned permanently from
the roads in the name of the “new normal”.

The pandemic has obviously
given the DOTr the opportunity to push for its “old normal” fixation on a
modernization program that it has been proposing even before COVID-19. The
modernization program revolves around: the digitization of fare and toll
collection systems, vehicle registration, franchising, licensing, and
navigation and positioning systems; routes rationalization; the transformation
of EDSA; and jeepney phaseout.

It is premised on easing
Metro Manila’s notorious traffic and pollution. But it is clearly a business-minded
proposal that promotes the sales of private cars, modern PUVs and modern PUBs,
and the privatization of transportation infrastructure. It is private
transport-centric, while our obvious problem is the lack of an efficient and
reliable public mass transport system. Now that the perennial road congestion
is aggravated by physical distancing, the solution still seems to disfavor the
mass of working class commuters.

Principles of E-R-A-S-E

The country badly needs an efficient,
reliable, affordable, safe and environment-friendly public mass transport
system. With or without the pandemic and physical distancing, these features of
a public mass transport system should be ever-present for real and sustainable
development. A strong government role is crucial in this.

Efficiency means that we are
transported by vehicles through the shortest distance and in the shortest time possible.
This also means less fuel use, less vehicle emissions, less costs, and less
traffic.

Reliability means getting the mass of
commuters to their destinations on time, with the least difference between the
anticipated amount of travel time and the actual one. The crucial fact in
reliability is that a large number of people rely on public transportation for
their mobility.

Affordability and accessibility mean
that the majority of the population who are wage workers and informal earners
can afford public transportation and can easily avail of it from their dwelling
and work places. This also includes facilities for persons with disability and
senior citizens.

Safety includes measures that prevent
harm to the riding public and create pedestrian-friendly conditions and
infrastructure to reduce accidents and traffic deaths and to improve public
health.

Finally, environment-friendly means
public mass transport promotes healthier cities and living spaces. This
includes the need to use clean and energy-efficient technologies and fuel for
motorized transport on one hand, and the promotion of non-motorized modes such
as walking and cycling on the other.

The crisis is real

The country’s public mass transport
system is far from having these positive features. This reflects how the government
has defaulted on its responsibility to ensure people’s mobility, and shows the
general lack of national economic planning for sustainable development.

Our problem may be summarized as
follows: 1) Mass transportation is left in the hands of private providers,
including private rail corporations, bus franchises and single proprietors; 2)
Deregulation is an operative principle in the entire sector, with the government’s
role reduced to licensing, franchising and the like; 3) There is a lack of
urban planning based on rural development and national industrialization that genuinely
decongests the cities; and 4) Our mass transport system is corporate-driven,
promoting the interests of infrastructure, transport, automobile and rail
corporations as well as the profitability of real estate corporations, shopping
malls, fare collecting banks, and the rest of the service-oriented and trading
economy.

These problems manifest in many ways.
The various modes of transportation are not fully linked, and there is heavy
reliance on the ‘last-mile’ modes such as jeepneys, tricycles and even
pedicabs. There is more road than rail transport, which is an indication of
quite an unsustainable and expensive transport system. On the other hand, rail
is privatized instead of being government-owned, controlled and operated, thus
it is profit-driven and maintained by user-fees.

Fares are high as a consequence of
privatized transport. According to the latest available data from the Family
Income and Expenditure Survey in 2015, passenger transport for land travel eat
up 7% of total non-food expenses of families in the National Capital Region
(NCR). This covers fares for railway, jeepney, bus, taxi, tricycle and pedicab
rides.

Transport is unreliable, with roads saturated
and the quality of rail service poor. This is not to mention that roads are
unsafe and rail accidents and breakdowns are frequent. Air pollution in the
metropolis is one of the worst in the world, according to the World Health
Organization. Lastly, there is a high volume of vehicles on the road.
Navigation app Waze identified the Philippines as having “the worst traffic on
earth”.

The anatomy of the transport mess

Metro Manila or the National Capital
Region (NCR) has a total land area of 63,600 hectares and population of 12.9 million
that swells to about 15 million by daytime. It accounts for one-third of the
national economy and is home to about one-fourth of the urban population.

Metro Manila has six conferential roads
and 10 radial roads. The radial roads do not intersect one another and
intersect the conferential roads not more than twice. There are interchanges
that separate these roads, but there are still missing sections in these
interchanges. There are fully grade separated expressways in the north (NLEX),
south (SLEX), and on the southwestern part (Cavitex) that connect Metro Manila
to neighboring provinces.

These roads and highways were constructed to lead traffic
in and out of the NCR. But lack of national economic planning has weakened job
creation, increased rural poverty and displacement, and concentrated economic
activities in the NCR. The region is the most congested city out of 278 cities
in developing Asia, according to the Asian Development Bank (ADB). The region
is brimming with urban blight and poverty.

There are the more recently built Metro
Manila Skyway and Ninoy Aquino International Airport (NAIA) Expressway to
decongest SLEX and speed up travel to NAIA, the country’s major international
gateway. These are also obviously to cope with the high traffic brought on by
government’s labor export policy. The country’s international airports process
the some 6,000 Filipino migrant workers who leave the country every day, which
is more than twice as many as new jobs created locally.

There are more than three million
registered motor vehicles in the NCR as of 2019, which accounts for almost
one-fourth of the country’s total. This is a 9.7% increase from 2018 and a 28%
increase from 2016, yet the urban space is finite and unchanging.

The latest data for vehicles disaggregated
by type is as of 2016. It shows that motorcycles or tricycles comprised almost
40% of registered vehicles in NCR. Utility vehicles follow at 36% and cars and
sports utility vehicles are at almost 30 percent.

On the other hand, the latest
statistics on units for land transportation services is as of 2012, which shows
that PUJs accounted for most of the franchises and units. There were 49,305 PUJ
franchises and 50,153 PUJ units, which only shows that jeepney operators are
small-scale and own only a little more than one unit. There were no registered
PUBs in the NCR at that time, but there are 14,500 registered buses by 2016. If
we try to extrapolate the 2012 data, considering that the number of PUJs almost
remains the same over time, it means that PUJs and PUBs accounted for only 7.8%
of registered utility vehicles in 2016.

The MMDA recorded an average daily
volume of 405,882 vehicles plying the main thoroughfare EDSA in 2019, an
increase of 22,054 vehicles from the previous year. About 63% of this volume
are cars (255,732 units). PUBs make up only about 3% of total EDSA traffic,
while PUJs are not allowed along EDSA. There is therefore no statistical basis to
blame mainly the PUBs and PUJs for the traffic and transport anarchy in Metro
Manila.

Traffic demand is at 12.8 million trips
in Metro Manila, based on a study by the Japan International Cooperation Agency
(JICA). Public transport accounts for 69% of total trips. The lesser share
(31%) is done by private mode, and yet it is this mode that takes up 78% of
road space. The traffic volume within the metropolis already exceeds the
capacities of existing roads.

In terms of rail, Metro Manila has one
commuter line (the Philippine National Railway or PNR) and three rapid rail
lines (LRT1, LRT2 and MRT3). It has the least number of rail lines and the
shortest urban rail system (51 kilometers) among 11 major Asian cities. The
rail lines are not fully linked, only compounding the problem of an intermodal
transport system where Metro Manila commuters use a variety of modes of
transport and take an average of two to three transfers to reach their
destinations.

MRT3 is privately owned like the PUBs,
PUJs, taxis, TNVS, P2P, and UV express. The PNR, LRT1 and LRT2 are the only
government transportation assets, although the operations and maintenance of
LRT1 are privatized. The government does not subsidize fares, and in fact increases
fares to attract private contractors.

The
rapid rail system is the epitome of the inefficient, unreliable, unsafe and
unsustainable public mass transport system in NCR. It is bogged down by
frequent breakdowns, diminishing numbers of operational trains, accidents,
inappropriate trains, and even non-working elevators and escalators. It is also
in the center of corruption controversies.

Where
does the commuter figure in all of this mess? The government through all its
numerous transport agencies cannot even give a complete picture. An oft-cited
study by JICA estimates that 39% of
passengers’ trips in Metro Manila and nearby provinces are by jeepney and 38%
are by tricycle. This indicates over-reliance on what has only been a coping
mechanism for lack of system. Buses account for 13.6% and trains for only 8.6%
of the number of trips by public mode.

Per day, LRT1 and MRT3 carry
about half a million passengers each, while LRT2 ferries more than 200,000
passengers. Taking into account the number of registered buses and the
estimated vehicle capacity by the JICA study, it may be surmised that buses
also carry half a million passengers. Using the same extrapolation, jeepneys
have the same passenger load.

Privatizing the rapid rail lines and phasing out the ever-reliable traditional jeepneys are therefore not solutions to the transport crisis.

The last part of this
series will discuss how government uses the pandemic to justify pre-COVID programs
like the jeepney phaseout and Build, Build, Build that will further aggravate
the socioeconomic crisis, and what steps government should take to genuinely address
the country’s mass transport troubles.

Protesta ng LGBT sa Mendiola, marahas na binuwag

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Umabot sa 20 na lumahok sa taunang Pride March ng Lesbian Gay Bisexual at Transgender group na Bahaghari ang hinuli matapos na marahas na buwagin ang kanilang protesta sa Mendiola, Hunyo 26, 2020.

The post Protesta ng LGBT sa Mendiola, marahas na binuwag appeared first on Kodao Productions.

‘Why don’t you resign and apply as PR for abusive OFW employers?’ – MIGRANTE to DFA Usec. Arriola

DFA Undersecretary Sarah Arriola’s pronouncements on Wednesday presented to us a fuller picture of the Duterte regime’s priorities. Arriola’s own mouth condemns her for spending more time on social media to do intelligence work for the tyrannical Duterte regime instead of urgently delivering the amelioration demanded by our starving OFWs. Leveling up as an attack dog for her inept master, Arriola went to the extent of lying just to hurl cyberlibel and jail threats against distressed OFWs. None of the OFWs who uploaded the video were actually arrested and they reject Arriola’s claims as utter lies meant to intimidate our kababayans into silence. 

How can DFA claim that dumpster-diving OFWs were merely resorting to ‘theatrics’ and that everything was staged when Jeffrey Yape, one of the fellow workers of scavenging OFWs died without receiving any substantial help from the agencies of the Duterte government? Before he died, Yape was struck with terrible agony over the government’s criminal negligence that they have been facing. 

Migrante International would like to remind Arriola that her position in DFA mandates her to help ensure the welfare and security of OFWs. That should be the top priority of the Duterte government’s DFA. If DFA’s main agenda is to serve as a damage controller for the abusive employers of exploited OFWs, then it would be better for Arriola and all the rest of DFA officials who have the same idiotic frame of mind to resign from their posts and apply as public relations officers for those employers and companies who have been depriving our kababayans of their salaries and benefits.

The Duterte regime despises the truth that is why it is hell-bent on imposing its rubbish Terror Bill to suppress outspoken OFWs and propagate the government’s own lies and theatrics. Filipinos need not go far to see how the Duterte regime is treating OFWs. One only has to see and hear the plight of stranded OFW repatriates who ended up sleeping along pavements, roads and bridges leading to NAIA’s airports. Garbage-like treatment of OFWs is real. We will never forget and we will never forgive! We warn the Duterte regime that the time of reckoning will come! 

#FreePride20: Pag-aresto sa Pride March

#FreePride20: Panoorin kung paano humantong sa pag-aresto ng 20 LGBTQ advocates ang mapayapang Pride March sa Mendiola.

The post #FreePride20: Pag-aresto sa Pride March appeared first on AlterMidya.

UN experts call anew for independent probe on rights violations in PH

Photo from www.article19.org

“The human rights situation in the Philippines has now reached a level of gravity requiring a robust intervention by the UN. The Human Rights Council must do everything in its power to prevent the continuation of widespread and systematic human rights abuses against the Philippines people.”

By ANNE MARXZE D. UMIL
Bulatlat.com

MANILA – United Nations experts once again urged the Human Rights Council to launch “an on-the-ground independent, impartial investigation” to the human rights violations in the Philippines.

At least 31 UN Special Rapporteurs including Special Rapporteur on extrajudicial, summary or arbitrary executions Agnès Callamard have issued this statement on June 25.

They also called on member States to the Human Rights Council to “initiate, whenever possible, governmental sanctions and criminal prosecution against individual Philippine officials who have committed, incited or failed to prevent human rights abuses.”

The UN experts said the comprehensive report issued by the UN Human Rights Office about the human rights situation in the Philippines last June has confirmed their findings and warnings for the past four years: “Widespread and systematic killings and arbitrary detention in the context of the war on drugs, killings and abuses targeting farmers and indigenous peoples, the silencing of independent media, critics and the opposition.”

The report of the Office of the High Commissioner for Human Rights was mandated by the Human Rights Council resolution in July last year.

With the current COVID-19 pandemic, the Duterte administration has also drawn more flak for the intensified militarized response, resulting in human rights violations. Protesters and development workers have been arrested, and journalists, too, are not spared.

“The report recognizes important efforts to improve the protection of economic and social rights and stresses that these efforts should be guided by a human rights-based approach and focused on ‘leaving no one behind.’ The reports also finds, as we had, stark and persistent impunity,” UN experts said in the statement.

Read: UN report cites impunity for human rights violations in the Philippines 

International community must set an example’

For UN experts, the response of the international community must set an example. They said that the report of the Office of the High Commissioner of Human Rights (OHCHR) is not the end but a “milestone marking the beginning of real accountability, redress for the victims and a definite end to the very serious violations committed.”

“The human rights situation in the Philippines has now reached a level of gravity requiring a robust intervention by the UN. The Human Rights Council must do everything in its power to prevent the continuation of widespread and systematic human rights abuses against the Philippines people,” they said.

They also urged the Human Rights Council to:

1. Establish an on-the-ground international investigation into the human rights situation in the Philippines
2. Strengthen the OHCHR mandate to continue its monitoring and reporting on the human rights violations in the Philippines
3. Call on the International Criminal Court to expedite and prioritize the completion of its preliminary examination of the situation in the Philippines.

The experts also called on the Philippine government to “demonstrate real and credible progress toward accountability by engaging with the OHCHR and developing an action plan towards the implementation of the OHCHR Report recommendations.”

“We stand ready to provide technical assistance and advice to the Philippine Government and the OHCHR,” they added.

This afternoon, Presidential Spokesperson Harry Roque accused UN experts of “lack of impartiality” when it comes to the Duterte administration.

The report of the OHCHR will be presented to the upcoming 44th session of the Human Rights Council which is scheduled on June 30-July 20. (https://www.bulatlat.com)

The post UN experts call anew for independent probe on rights violations in PH appeared first on Bulatlat.

Performance art at ang sining para sa pakikiisa sa gitna ng pandemya

Ni BOYET DE MESA

Naglunsad ng apat na performance solidarity event ang Solidarity in Performance Art Festival (SIPAF) nitong lockdown: #Ekinoks (Marso 20, 2020), #Igpaw: Solidarity in Performance for Health Workers, (Abril 8 ), #MaAyo Uno, Solidarity performance for workers/OFW ) at ang #AnoNewNormal: Performance Solidarity Against Anti-Terror Bill (Hunyo 4).

Ang Performance Solidarity ay nilahukan ng 13 performances sa Ekinoks, lumaki ito noong Igpaw na umabot sa 20 performances ng 25 artists, na Luzonwide, at kasama ang OFW mula sa Dubai at Japan, namintina ito ng MaAyo Uno (14 performances). Humantong ang tugon ng mga artista at mamamayan sa kilos protesta sa pagpasa ng anti-terror bill o ATB. Ilan sa mga kalahok na artists ay nakiisa sa kilos protesta, habang natuloy ang performance solidarity laban sa ATB.

Ang Performance Solidarity ay isang event ng sabayang performance, sa ibat-ibang espasyo (sa bahay o studio ng artists), sa panahon ng lockdown. Ang diwa ng solidarity ay mailalarawan sa pagsasama-sama, pagtugon sa isang partikular na usaping pambansa, at sa diwa ng sabayang performance (ng parehas na oras). Napagkaisahan din ang mga performances ay kukunan, idodokumento sa pamamagitang ng camera o cellphone at gamit ang social media (bilang instrumento) ay i-po-post sa kani-kanilang Facebook saparehas na araw (bilang konsiredasyon sa hina o lakas ng signal sa iba’t ibang erya kung saan ang artist na kalahok). Ang iba ay nakapag-Facebook Live.

Ang mga lumahok sa performance ay pawang mga middle class, estudyante, mga visual artists, guro/dalubguro, sound artists, manggagawang pangkultura, poet, mandudula, healthworker at iba pang propesyunal.

Ang Performance Solidarity ay napasimulan noong 2014-2015, sa panahon naganap ang trahedya ng Bagyong Haiyan/Yolanda. May 200 artista, mandudula ang nagkaisang sabayang mag-perform, 10 lugar sa buong bansa ang naghilamos ng putik sa buong katawan (bilang simbulo ng mga biktima), nagtanghal gamit ang putik, upang manawagan ng hustisya. Ginawa rn ang sabayang performance matapos ang trahedya ng Mamasapano at Maguindanao (Massacre).

Ang Performance Art/ Pagganap

Ang performance art ang gamit ng medium ng pagpapahayag. Isang sining na gumagamit ng elemento ng espasyo, oras/time, engagement at katawan (bilang pangunahing medyum). Ito ang depinisyon ni Eileen Legaspi-Ramirez sa isang porum sa SIPAF noong 2017:

Body, the body of the artist or artist as the case may be. The time in which the performance takes place. The space in which the performance encounter happens. And the possibility of engagement with other bodies that are present in that space and during that time. (2017)

However, apart from those core elements which most scholars do agree upon over the past decades and depending on which scholar you’re talking to…here have been certain aspects of performance that have since come into the landscape of the practice. This includes the incorporation of other forms apart from the immediate material which is the artist’s body. So, forms that are visual, forms that are literary, musical, so the time-based ones, and even activism or political action. As you heard when they were telling you what the talks would be like, I imagine a few of these would be taken in more detail by the other speakers. There’s also the idea of physicality or the body, or the immediate presence of the artist’s body in the time and space where the performance is happening. There’s also the issue of the immaterial. (2017)

Sa madaling sabi, sa performance art, maraming posibilidad ang pwedeng magamit para magtanghal, pinakamalapit itong maihahalintulad sa teatro, dahil sa live performance sa harap ng madla, pero hindi ito teatro. Labas ito sa pitong klasipikasyon ng sining na alam natin, pero pwedeng sumanib sa iba’t ibang mga disiplina sa sining. Maaring tumahi o tumulay ang performance art sa iba’tibang genre sa sining.

Mahalaga sa performance art ang “moment” o ang aktwal na performance sa harap ng madla. Dahil sa live performance, nagaganap ang interaksyon ng artist at manunuod, at may pagka-ispontanyo ang performance. Ngunit sa panahon nitong lockdown, ang usapin ng “moment” at performance sa audience ay nabago. Gayunman, social media ang naging daluyan ng mga ito.

Sa kabila ng kaibahan ng aktwal na performance sa harap ng madla at posibilidad ng tugon ng manunuod na kagyat na makukuha sa live performance. Ang diwa ng solidarity ay napangingibabaw sa nasabing event. At gamit ang social media, pinalaganap ang mga performances at binungkos sa paggamit ng #hashtags ng titulo at panawagan dala ng performances.

Performance Solidarity for Tacloban, 2014

Performing Solidarity (Pagganap ng pakikiisa)

#Ekinoks 2020 (March 20, 2020)

Ang Equinox ay isang performance solidarity na ginanap sa buong mundo, na sinimulan noong 2016. Pinangunahan ng mga performance artists na nagtipon sa isang kumperensya sa Thailand na nasabing taon. Sa pagputok ng pandemya ay tumungo sa pagtugon dito. Makikita ang mga lumahok na bansa sa FB group page ng Same Difference: Equinox to Equinox

Sa Pilipinas, pinangunahan ito ng SIPAF. Ang tubig bilang natural at komon na materyal ay ginamit na maging bahagi ng performance, simbulo na rin ng pagkakaisa at pakikiisa.

Performance nila Nadera, Sarmogenes, Ong sa Ekinoks 2020

Ang paglalarawan ni Vim Nadera sa pandemya ay tagtuyot. Ginamit nya ang imahen o postura ng The Thinker, siya ay naka-uniporme ng manggagawa, may hawak siyang hose at nagdidilig ng tuyong lupa sa paso. Sa paso, nakatirik ang isang maliit na bandila ng Pilipinas, habang siya ay nagdidilig, umuusal ng panalangin, sa pamamagitan ng tula. Bilang manunulat at poet, konsistente si Nadera sa paggamit ng tula kanyang sa performances. Magkasamang dasal at pagkilos ang nais ipahiwatig ng performance. Eto ang paulit-ulit na bahagi ng kanyang tula:

Santa Corona,
Patron ng Pandemia,
Iligtas mo kami sa corona,
virus na sakit ang dala.

Si John Andre Sarmogenes naman ay nagwisik ng kulay pulang likido (pintura) sa isang mapa ng mundo, sa panimula ng kanyang performance. Tila sinasabing paglaganap ng pandemya at dami ng biktima. Ritwal ng panalangin, sa pamamagitan ng paghuhugas ng tubig sa mukha ang ginawang kilos ni JAS. Pinili niyang mabuhay sa pamamagitan ng paghinga, matapos ang paghugas ng mukha.

Si Aze Ong ay gumamit din ng isang ritwal, halaw sa sinaunang ritwal ng hinggil sa maayos , matapat at makabuluhang pamumuno na sinisimbulo ng lumang kutsilyo na nasa isang palanggana at hinihugasan ng tubig. Ngunit, nagdiin siya sa kabaligtaran nito, ginamit nya ang paghuhugas ng kamay ng isang namumuno bilang pag-iwas sa responsibilidad o paninisi, makikita ito sa postura niya sa upuan tila isang reyna. Si Ong naman ay consistent sa paggamit ng kanyang nasusuot na crochet sculpture,sa kanya ito ay simbulo ng kapangyarihan.

Ang tatlong performances ay repleksyon ng pagsasakontemporaryo ng sinaunang ritwal, ng tradisyon ng paggamit ng tubig sa panalangin at pagsasakapangyarihan ng posisyon ng katwiran.

#Igpaw: Solidarity in Performance for Healthworkers (April 18, 2020)

Ang temang ito ay nabuo sa gitna ng pagkasawi ng maraming doktor dahil sa COVID-19, paghinto ng paglabas ng mga OFW na nurses at pag-iral ng Luzon-wide ECQ.

Nadera, Igpaw

Madaling naka-konek si Nadera sa tema, dahil ang ina niya ay isang doktora, na kung ito’y buhay pa sa ngayon. Alam niyang susuong ito sa tungkulin. Kaya ang performance ay personal din sa kanya. Ang espasyo ang malaking salik sa kanyang performance, pinili ang silid na naihalintulad niya sa silid sa ospital ng mga doctor at nurses. Ang silid ay isang santuwaryo, lugar para magpahinga at lugar pag-aaral. Nakasuot sya ng costume ng “Superman”, popular na simbulo ng bayani. Kalakip nito, ginamit nya ang tradisyon ng Diona/Dagli sa pagtula. Ang tula ay isinulat sa surgical facemask. Ang Diona, Dagli ay ay maiuugnayan ng kakagyatan (urgency) ng sitwasyon. Ang tula ay ginawa ring kanta at naging background music ng performance.

JAS, Igpaw

Si Sarmogenes ay nag-alay ng performance sa kanyang mga kakababayan sa Binan. Isang sound art ang -ineksplor nya sa performance. Ineksperimento niya ang paghahalo ng tunog ng sinaunang instrumento (hegalong) sa modernong instrumento at mga kontemporaryong tunog (gaya ng tunog ng air pump na malapit na tunog ng ventilator, patak ng tubig, shower hose, rain stick. Bagaman una niya itong sound art, ang inspirasyon ay mula sa isang kolaborayson sa isang sound artist. Dito niya iniugnay ang inspirasyon na dala ng mga frontliners sa kanyang bayan.

Magkakahalong damdamin ang madarama sa tunog na nalikha ng mga sama-samang bagay na lumikha ng tunog, nagsilbi itong bakgrawnd ng kanyang video. Habang nag-eeksperimento sa tunog, makikita sa kanyang (edited) video ang mga larawan ng mga healthworkers.

AO, Igpaw

Naihalintulad naman ni Ong sa bulaklak ang pagbibigay inspirasyon ng mga healthworkers. Suot nya ang kanyang crochet sculpture, hawak ang bungkos ng rosas (na ibinigay sa kanya ni David Medalla, noon pang 2018). Makikita sa isang bahagi ng kanyang suot ang isang tila bibig, sa kanyang pagkilos ng pataas at pababa, mapapansin na siya ay tila humihinga. Lalabas sa butas na ito isa niyang kamay na tila umaabot sa langit, na parang nanaghoy o nanalangin. Sa dulo ng pagtatanghal ay mag-aabot ang dalawa niyang kamay, hawak ang bungkos ng mga bulaklak. Pasasalamat ang larawan ng pagbibigay bulaklak. Balisa si Ong sa personal na danas, dala ng dalamhati sa pagpanaw ng kanyang biyenan.

IL, Igpaw

Si Ian Lomongo ay pag-awit naman ang sentro ng performance. Ang hugot ay mula sa reaksyon niya sa gabi-gabing talumpati ni Pangulong Rodrigo Duterte sa telebisyon. Naka-compose siya ng awit na ang pamagat ay “ We Don’t Wanna Hear the Mad Stories of Our Sorry State”. Nag-Facebook Live siya sa performance, kontra sa recorded speech ng Presidente. Gamit ang facemask, bukod sa layon nitong pag-iingat sa virus ginamit niya ito bilang simbulo ng pagbusal sa kalayaan sa pamamahayag. Mapapansin ito sa hindi buong pag-awit ng liriko ng kanta. Nakiisa si Lomongo sa parangal sa mga health workers, ngunit nagdiin siya protesta. Sa Facebook Live, makikita ang feedback ng mga nanuod ng performance. Ang bag at sumbrero sa kanyang bakgrawn ay larawan na paglalakbay, na hindi na magawa dahil sa lockdown.

Sa performance naman ni Angelo Chua, inilarawan niya ang paggamit ng liwanag at anino o kilala natin bilang shadow play,gamit ang puting tela, galaw at ilaw. Makikita ang mga anino ng mga kamay na nakakadena na humuhulagpos, nag-struggle para lumaya. May kalangkap na bakgrawnd music habang nagaganap ang kilos. Isang kwento ng paglaya ang laman ng kanyang performance.

MaAyoUno: Solidarity in Performance for workers/OFW (May 12, 2020)

Ang konsepto ng MaAyo Uno ay mula kay Sarmogenes, sa pag-aalay niya ng performance sa kaniyang kababayan, naisip nya, bakit hindi mag-ukol ng performance sa kanyang ate na OFW. Inihapag ang ideya sa grupo at pinalawig ang halaga ng manggagawa sa bayan at ang pinagtuunan ang miserableng kinahaharap ng manggagawang pinakaapektado ng pandemya. Ang maayo ay maganda sa Tagalog, halos katulad ang konsepto ng #Igpaw, ang diin lamang ay sa manggagawa sa kabuuan.

Si Nadera ay nagpahalaga sa manggagawa sa pamamagitan ng paghalintulad dito sa lumalagong mga halaman-flora at fauna (mga hayop) sa panahon ng pandemya. Naka unipormeng pangmanggagawa si Nadera, malakas ang kontras niyang kulay niyang kahel sa halamanan na tila may harmony ang kanilang existence. Isinaayos niya ang mahabang lambat na gagapangan ng halaman. Nakatayo siya habang ginagawa ito. Ang dulo ng performance ay pagharap nya ng nakaluhod sa isang tuyot na halaman at pagdilig dito na tila sinasagip para mabuhay..

Si Sarmogenes ay naglagay ng installation ng mga ibong gawa sa papel (origame) nakilala bilang simbulo ng kapayapaan o payapa. Sa pamamagitan din ng mga papel na hugis ibon, lumikha sya ng salitang Grazie Sorella o Salamat Ate.

Si Ong ay nagpakita ng tatlong minuto ng kanyang proseso ng paggawa ng kanyang sculpture. Literal na naggagantsilyo. Sinamahan niya tunog at ng maikling teksto ang performance:

Palad mo’y nagtamasa
Ng lahat ng biyayang
Dugo, pawis at luha
Sa kamay ng gumawa
-Rem Tanauan

Relatibong simple ang imaheng ipinakita niya sa performance, bumigat ito sa tekstong ginamit niyang caption sa kanyang post. Tila banta ng naniningil ang pahiwatig.

Si Lomong ay muling umawit, kanya naman isinalin sa Filipino ang kanta ni George Harrison na “All Things Must Pass” o “Lilipas din ang lahat”, FB live muli nya inawit. Narito ang kanyang salin:

Lilipas Din Ang Lahat

(Salin-Adaptasyon ng “All Things Must Pass “ ni George Harrison)

Bukang-liwayway ay saglit lang sa umaga
Tumitila rin pagbuhos ng ulan
Pag-ibig man lumisan nang walang paalam
Hindi laging ganito kalamlam.

Lahat ay lumilipas
Lilipas din ang lahat.

Takipsilim ay sandali lang sa gabi
Napapawi rin mga pighati
At kung pag-ibig man lumisan din sa huli
Hindi laging ganito kasawi.

Lahat ay lumilipas
Lilipas din ang lahat.
Lahat, lumilipas
Walang ‘di kukupas
Kaya bumangon na’t kagyat
Harapin ang bukas.

At sa gabi lamang ang dilim nananatili
Sa umaga ito ay nagagapi
Sisikat din ang liwanag lagi-lagi
Hindi parating ganito katindi.

Lahat ay lumilipas
Lilipas din ang lahat.
Lahat, lumilipas
Lilipas din ang lahat.

Mahinahon at puno naman ang pag-asa ang hatid ng awit, wala gaanong biswal na elementong dagdag sa kanyang performance. Magaan at masaya niya itong inawit.

Si Chua naman ay nag-set up ng pagtatanghalan sa kanilang kusina, kulay pula ang ilaw na bumabalot sa setting. Makararamdam ng panganib ang larawan. Ang ayos ng espasyo na tila pinaglipasan ng panahon dahil sa wala sa ayos ang mga bagay. Nasa sentro ang isang palanggana na puno ng tubig. Nakaputing damit si Chua, umiiyak na tila nagpapaalam. Niyakap niya ang asong pumasok sa eksena at nagpatuloy sa pag-iyak. Pinakawalan ang aso, saka nilubog ang kanyang sarili ng ilang ulit sa tubig na tila siya ay nagpapakamatay. Sumunod na eksena, nag-suot ng maskara, gumamit siya ng dalawang kandila at sinindihan ng ilang minuto. Tapos pinatay ang kandila. Umalis sya sa eksena, dala ang maleta. Makikita ang maikling dula ng paglisan ng mga kaluluwang dumanas ng pagbabalewala.

Pawang nilantad ng mga performances ang iba’t ibang mukha ng kahirapan, kaapihan ng dinadanas ng mga manggagawa. Maging ang maikling performance ni Ong ay nilangkapan niya ng caption ng pag-agaw ng yaman na pinagpaguran ng paggawa.

#AnongNew Normal, Performance Against Anti-Terror-Law (June 4, 2020)

Ang New Normal ang sumunod na diniskurso ng grupo , ang new normal, bilang salita ang naging madalas ng pag-usapan sa nagbagong kalagayan dahil sa pandemya. Si Chua naman ang naghapag ng ideyang ito sa grupo. May mungkahing gawing ispirasyon ang new normal, may kumewstiyon sa new normal, magiging mas malala ang new normal at marami pang ideya. Hanggang napabalita ang pagratsada sa Anti-terror Bill sa kongreso at sinabi pang “priority bill” ito ng Presidente. Natuon ang diskurso ng grupo sa pagpuna sa Bill, tila ang nasabing Bill ang sagot sa pandemiy , na lalong ikinagalit ng mamamayan. Napagkaisahan itapat sa araw ng protesta (indignation) sa pagpasa ng nasabing batas. Ilan sa mga artists ay lumahok sa kilos protesta sa UP Diliman, habang may anim na artists ang sumabay ng performance sa kani-kanilang bahay.

Si Nadera, ay literal na nagtatapon ng basura; isang maikling performance ang laman ng video, nakatutok lang ang camera sa transparent na plastic na laman ay kung ano-ano. Dala niya ito, dahil nakatutok ang camera dito, tila pinasusunod tayo sa kanyang pupuntahan. Sumunod na eksena ay ibinigay niya sa basurero ang dalang plastic ng basura (na nagkataong nasa lugar at naghahanap ng pwedeng mapakinabangan sa mga bagay na tinapon). Ang basurang inabot ay ibinasura din ng hindi pinakinabangan ng namamasura.

Si Sarmogenes ay gumamit ng popular na imahen ng isang teroristang tila nabro-broadcast ng kanyang pahayag sa media. Pero ang ginamit nya ito para ilahad ang kanyang pag-ka asar at pagtutol. Narito ang mga teksto:

“Iam not Terrosirt,
“Iam an Artist, Anti Fascist
#JunkTerrorBIll.

IL, AnongNewNormal

Si Lomongo ay gumamit ng simbolismo, ginamit ang kilalang campaign sign ni Duterte , ang kamao na may letrang DU30 na parang tattoo, naka-super-impose sa lente ng camera, hanggang ang kamao ay maging takip sa mata, simbulo ng pananakot o sensura, ang kamao ay maging busal sa bibig. Tututol ang kabilang kamay, gamit ang alcohol, pinilit burahin ang tattoo o nakasulat sa kamao ng Du30 (simbulo ng pag-aalis sa presidente), ang kamao na simbulo ni DU30 ay naging kamao ng paglaban, gamit ang teksto ng “Ang Tao, Ang bayan, Ngayon ay lumalaban (na isang popular ng agit ng pagtutol at pakikiisa.);

AO, AnongNewNormal

Simple at maikli ang performance ni Ong. Nakaupo, suot ang kanyang tinahing sculpture, hawak ang puting papel at pupunitin ito. Tsaka itatapon.

Si Chua, gamit ang plastic o clear tape, binalot ang isang stuffed toy na anyong oso, simbulo ng pagkitil sa kalayaan sa pamamahayag, nag-black out ang video at maririnig ang isang putok. Sumunod na imahen ay tambak ng laruang binusalan at piniringan. Magtatapos sa video na Teksto sa: KAHIT SINO.

Ang performances ay malinaw na pagpapahayag ng pagtutol at protesta sa pagpasa ng Anti-terror Law. Literal na pagtapon ng basura ang ipinahayag ng performance nila VN at AO.

Maikli ang mga performance ng mga artists, na tila lagom na nila ang kanilang posisyon sa diskurso ng bayan. Direkta rin ang paggamit ng mga simbolismo ng pagtutol, pang-aapi. Sa gitna ng pandemya, itinulak ang paghaharing militar na konsistente sa solusyon ng gobyerno Duterte at mga kaalaydo nya sa gitna ng pandemia. Si Nadera na nakaranas ng pag-iral ng Martial Law hanggang sa bagong henerasyon ni Chua, malinaw sa kanila ang pagtutol sa panukalang batas na ito.

Ang pagtutol bilang pagtunggali sa kapangyarihan ng nasa pusisyon ay malinaw na paggiit ng kapangyarihan ng api. Ang sinimulang solidarity sa pamamagitan ng performance at pagpalabas nito sa social media ay naging buhay na pagtutol, sa pagsama ng ilan sa mga artists sa pagkilos na ginawa sa UP University Avenue. Ito ay sa kabila ng banta ng kapulisan sa panghuhuli.

Nakaugat sa kasaysayan ng paglaban sa kolonyalismo ang pagiging aktibo ng mamamayan sa tutulan ang anumang pag-abuso sa kapangyarihan at paglabag sa karapatan. Hindi rin nakalilimot ang bayan sa madilim na bahagi ng kasaysayan, nuong pinatupad ang Martial Law ng dating diktador na si Marcos.

Sa mga performances, makikita ang tradisyon ng paggamit ng ritwal, ang paggamit sa mga imahen ng pananampalataya o tradisyong Katoliko. Makapangyarihan ang gamit ng salita, lalo na ang paggamit ng wikang Filipino sa pag-capture ng nais na “statement ng mga artists”. Gayundin ng mga paggamit ng mga kontemporaryong imahen. Ang pakikiisa ay isa din tradisyong sa mga Filipino, tulad ng ritwal ng sanduguan na larawan ng kapatiran o higit sa turing na kapatid, kundi ka-dugo. Ang performance solidarity, ay maihahalintulad din sa pag-iisa ng sining sa kasaysayan at ang pakikiisa, bilang Filipino values at patriotismo.

Sanggunian

Mga tugon, sa mga katanungan: Panayam hinggil sa Performance Solidarity sa panahon ng lockdown, VN, JAS, AO, IL, AC, Hunyo 2020.
Mga captured photos sa videos ng performances sa FB page ng Sipa Pinas Facebook.
Eileen Legaspi-Ramirez, Introduction to Performance Art from the Philippines, 2017
Dela Cruz, Pakikipagkaisa, Espasyo at Pagganap: Ang mga Ekspresyon sa Sining ng Pakikipagkaisa at Nasyunalismo, 2019

Ang awtor ang convenor ng SIPAF/Performance Solidarity, bahagi ng kaguruan ng College of Arts and Letters, Polytechnic University of the Philippines, at kasapi ng Concerned Artists of the Philippines-PUP

The post Performance art at ang sining para sa pakikiisa sa gitna ng pandemya appeared first on Bulatlat.