From a new paper I am developing for an ISM (Independent Study Module). Also presented during the International Conference on Postcolonial Praxis at the University of the Philippines Diliman, 21 - 23 July 2010. Photo: Courtesy of UP System Information Office.
“To my enemies in the arts and culture, perhaps by now your face have turned blue because of envy and agitation. Finally, I already received the Award, which I have long planned through the help of my confidantes. Well – do not underestimate me. Of course, my abilities are special and different! But do not fret, I will share some tips on how the be a National Artist without undergoing the process of proper selection. What are the characteristics of a National Thief of an Award? You need to use your tongue to lick the ass of your superior. Well, it is not an easy task. I even swallowed my pride, my dignity and my integrity. You should also learn how to plan everything systematically – not only for a month, not even a year - just like what I did! I was not yet the Executive Director of the National Commission for the Pitiful Artists but I have already planned my dire desire to be a National Artist. Even before the commissioners appointed me this highest position in 2004, I already knew that they could never say no to the President’s letter regarding my appointment as National Artist. And when I was appointed as Executive Director, I started creating my allies. I gave them Php 40,000.00 each as bonus so that they would not speak anything against me. That is how corruption works! It is easy to ask a favor because of indebtedness. I know I will have several supporters – those who do not live by principles like me. I was patient. When the right time came - - when I realized that everyone in this Commission could easily be manipulated - - I started maneuvering my long-lasting desire to be National Artist. While President Gloria is in the position, I can do what I want to do! If I may able to send an airplane back to the airport, this manipulating thingy, this is nothing! So what if I am the presidential adviser in culture and the Executive Director of this Commission? In this day and age, to be refined and have integrity – what the hell are these? What integrity and dignity are you talking about? They are not real. How can they be real whence our president was positioned in power due to cheating? As the saying goes, like bitch, like puppy. […] At first, I found it difficult to choose which category of National Artist should I be. […] What else but the National Artist for Theatre because I staged this one spectacularly! At first, I spread the rumor that I have cancer – so that people would pity me. When that did not take off, well, I thought the script should be changed. And alas - - it was polished before the opening night. Because I am good at lying and I am a good actress! Boom! I am now a National Artist! Are you surprised? Eat your heart out! Why are you frowning? Why do you scorn me? Now that I was able to do this - - you may also do it, two years from now! Just follow all my tips! Sincerely, Kapalmuks, National Artist for Theatre, Music, Dance and Performing Arts, Executive adviser, for uncultured and bad taste. Frustrated first lady of the Philippines. Senyora Juana! (Vera 2009, translation mine)”
This selection was written by Rody Vera and performed by Mae Paner during the protest of the “Philippine arts community” held at the Cultural Center of the Philippines (CCP) ramp on 7 August 2009. Designed as a necrological service, the protest was an embodied testimonial against the proclamation of the 2009 National Artists by President Gloria Macapagal-Arroyo. The protest was also a public statement of disgust and dismay concerning the events that occurred between the nomination periods to the official announcement of Malacañang on the recipients of the prestigious award.
This paper looks at this protest as a resonance of drama simbolico, the seditious sarsuwela against American Colonization during the turn of the 20th century and the political performances (social theatres) in 1980s against the dictator Ferdinand Marcos. The National Artist Award Protest, like these earlier protest-performances (branded as seditious), is a political struggle whereby a non-violent recalcitrance to the totalitarian and corrupted authorities is featured. Like the earlier post-colonial and anti-colonial / anti-imperialist performance protests, the 2009 National Artist Protest may be perceived as an anti-colonial / anti-imperialist gesture because the performers are “speaking and that voices, occur as something that are already embodied” (Martin 2010: 77 – 78). Thus, the performers from the drama simbolico to the political performances in 1980s to the protest in 2009,
“express their aspirations, through which they can create. […] in the discussions that follow performances, people are encouraged to be vocal and open. Thus do they slowly break through the culture of silence. It is said that any chance to express yourself, your views, opinions and feelings in an athmosphere of repression is a crack to freedom” (Nestor Horfilla in Van Erven 1987: 59).
In the end, this protest at the CCP will be interrogated whether or not it served as a microcosm of the Filipino people's disgust against imperialism as compared to drama simbolico and the performances of protests in 1980s, which are asserted as anti-imperialist struggles and recalcitrance against oppression and corruption in cultural form (Bodden 1996; Fernandez 1996, 2001; van Erven 1987; Tiatco and Ramolete 2010).
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