with the National Democratic Movement of —Reader #1 the Towards a People´s Culture Colophon in collaboration with New World Summit New World Academy Reader #1: [email protected] Towards a Towards a People’s Culture www.newworldsummit.eu

Editor: New World Academy Research, Development, People’s Culture in dialogue with and Realization Team: Şeyma Bayram (BAK), Younes Associate Editor: Bouadi (NWS), Jan de Bruin Şeyma Bayram (NWS), Vincent W.J. van Gerven Oei (NWS), Maria Hlavajova Coordinator & Proofreader: (BAK), Robert Kluijver (NWS), Gwen Parry Paul Kuipers (NWS), Renée In der Maur (NWS), Arjan van Meeuwen Design: (BAK), Kasper Oostergetel Remco van Bladel, Amsterdam (NWS), Sjoerd Oudman (NWS), in collaboration with Gwen Parry (BAK), Merel Andrea Spikker Somhorst (BAK), Jonas Staal (NWS), and Ivo Verburg (BAK) Lithography and Printing: Drukkerij Raddraaier, Amsterdam Cover and Chapter Images: Unless otherwise noted, all imag- ISBN: 978-90-77288-18-4 es in the reader are part of a 2013 photo series of the preliminary New World Academy Reader #1 Every effort has been made to designs, construction, use, and obtain copyright permission for burning of effigies, the “protest images. We apologize for any puppetry” used by members of inadvertent omissions and pledge the National Democratic Move- to correct them in future editions. ment in the Philippines to depict The texts in this reader are and critique governing forces. published according to individual Photos: Jonas Staal agreements with the authors, no part of this publication may be NWA has been made financially reproduced in any manner possible by Fentener van without written permission of Vlissingen Fonds, ; the publishers. K.F. Hein Fonds, Utrecht; and Mondriaan Fonds, Amsterdam. © 2013 the artists, authors, BAK, and New World Academy

Published by: BAK, basis voor actuele kunst Postbus 19288 NL–3501 DG Utrecht T +31 (0)30 2316125 [email protected] www.bak-utrecht.nl Table of Contents

7 Maria Hlavajova 123 Jose Maria Sison Foreword The Guerilla Is Like a Poet

13 Jonas Staal 127 Lisa Ito Introduction Protest Puppetry: An Update on the Aesthetics 21 Jose Maria Sison and Production of Effigy- Cultural Making, 2005–2012 in the Philippines 151 Alice G. Guillermo 43 Mao Tse-tung Definition of Terms Talks at the Yenan Forum on Literature and Art

65 Jose Maria Sison The Bladed Poem

71 Ericson Acosta Poems and Prose, with an Introduction by Jose Maria Sison

95 Ericson Acosta Interviewed by Jonas Staal I Am a Cultural Worker

109 Beatrice de Graaf Terrorist Trials as a Stage: Some Notes on Performativity Foreword

Maria Hlavajova 8–9 - - - - would bring together bring would politi ) as a way of challenging the the of challenging ) as a way NWA NWA ( When I turned toWhen artist Jonas Staal with this question, ect—not without controversies within the given political within the given controversies without ect—not constellations—to with artists share students and their of art in their respective views on the role and culture political concrete examples around struggles. Gathering politics—models activism of transformative of cultural as both the in shaping an imaginative and practical force artists, democratic project—teachers, and students would together work then to collaborative projects that realize of justice and models frameworks the various challenge of representation. By activating imagination civic through practical alliances between forged, newly art and pro Connecting art, advocacy and long- through knowledge, the world facing issues urgent on projects research term charting space its discursive within the BAK—in today, art”—has, time and is called of what “contemporary realm time again,been by a disturbing question: challenged a show?”democracy was not “What if Amusing at first, but into in fact, modes the this questiontroubling inquires of representation both employed politics in and art. It might be the ritual of representation that conceals is what the and contemporary between split power real contemporary is but a “show” know we politics, “democracy” the which in our actual democraticto noble deficit—a distract from and circuses.” to “bread offered people as diversion he immediately into shifted the conversation the realm of education, to establish proposing forces join that we Academy New World democratic the underlie of the principles that erosion Sum World ideal. It is an extension New of his project philosophical and its underlying motivation to mit (NWS) is, “the disas combat he calls what “democratism”—that dominated of the world by the condition present trous of capitalist democracy.” politicalcal organizations invested in the progressive proj- gressive politics, the project would reinvest in the pos- I would like to express my sincere gratitude to all of the sibility of art to propose an alternative articulation of the contributors to this project, including all of the authors, democratic project. my colleagues, our partner institutions whose support has In only a brief few months, the tremendous efforts at made this project possible, and Jonas Staal. Although the BAK and NWS, and an extraordinarily enriching collabora- future iterations of NWA will take place in various geo- tion with various political organizations and artists, have graphical and political contexts throughout the world, I made NWA a reality. Its three inaugural sessions, orga- hope it will occasionally find its way back to its co-estab- nized and developed in close collaboration with the cul- lishing base at BAK. tural workers of the National Democratic Movement of the Philippines, the collective of refugees We Are Here, Maria Hlavajova is artistic director of BAK, basis voor actuele kunst. and the open-source advocates of the international Pirate Parties, all take place at BAK between 15 October and 22 December 2013. Each session is followed by public presentations, performances, advocacy campaigns, and exhibitions, hosted at BAK and other cultural institutions such as Centraal Museum in Utrecht and De Balie in Am- sterdam. Participants in NWA include artists as well as stu- dents from ArtEZ Academy Of the Arts, Interactive Design Department, Arnhem; Dutch Art Institute (DAI), Arnhem; Sandberg Institute, Amsterdam; Theaterschool, Amster- dam; Utrecht Graduate School of Visual Art and Design (MaHKU), Utrecht; and Piet Zwart Institute, . For each session, a reader with a selection of key texts related to the organization’s core political concerns as well as actual strategies of artistic and cultural engage- ment with the political processes at hand is published. I am happy to present you with the first publication, titled New World Academy Reader #1: Towards a People’s Culture. As a supplement to the curriculum of a three- day-long assembly of students, artists, theorists, activists, and artworks, we hope that this informal compendium of writings stays with you as an active reminder of art’s possibility to initiate a rethinking of the notion of democ- racy away from its current post-democratic workings and toward the realization of its true potential. Introduction

Jonas Staal 14–15 ------1902. The US occupied the country until 1946, after The US occupied until1902. 1946, the country – It was around 1960 that Professor Jose Maria Sison, 1960 that Professor It was around The National Democratic Movement gained itsThe National strength Democratic Movement colonial policies of the Americans who, despite the formal colonial policies despite of the Americans who, the formal continued to 1946, con in independence of the Philippines by supporting the country trol puppet regimes. of both cofounder the Communist Party of the Philippines joined the call of Senator Claro Army, People’s and the New cultural a Movement, a Second Recto for Propaganda Mayo Propaganda The First uprising independence. demanding had manifested itself under Movement against the Spanish of nationalists writers and revolutionaries, the leadership among whom José H. del and journalists, Rizal, Marcelo What is today is What National the considered Democratic Move consistsof a variety the Philippines of ment under of as as (semi-)legal well political movements ground parties leftist, with a strong and organizations Maoist signature. its historicNevertheless, base can revo be in the found who in (1863–1897), Bonifacio of Andrés figure lutionary the Spanish from Filipino independence declared 1896 who had occupied since the sixteenth the country cen of an independent promise by the American Backed tury. called Aguinaldo his successor Emilio Filipino republic, resistanceto the Filipino arms during the Spanish- forces did not The United States, of 1898. however, American War of and ignited its War promise the Filipino-American keep 1899 it continuedwhich to instrumentalize its “independent” in the Philippines. governments during the period Marcos dictatorship,the US-backed of as the Communist Party of the Phil to 1986, 1972 from the New and its wing, armed in 1968) ippines (founded rose to in many in 1969), power (founded Army People’s localities by mobilizing the peasant the country throughout tactics. populations by means of guerrilla and worker The the ongoing had further towards fueled anger War Vietnam 16–17 - - - - - Protest I Am a Cultural a Cultural I Am , discussesoccupa presents a theoreti a presents engages with the specific Terrorist Trials as a Stage: Trials Terrorist Talks at the Yenan Forum on Forum on the Yenan at Talks offers an introduction offers to her provide the theoretical which basisprovide from Definition of Terms Definition of . Beatrice de Graaf’s . Beatrice de Graaf’s Puppetry: Update An on the Aesthetics and Production of 2005–2012 Effigy-Making, a Philippines as by historicizing in the the effigy research introduced first Spaniards puppetry by the of protest form adoptedand then by the Filipino people as a tool with towhich mock and criticize leaders—a tradition corrupt Alice been by academia. ignored that has largely Finally, G. Guillermo’s and culture protest and revolutionary for cal framework of Social in the Philip traces Realism the development with a compact the reader set of defi pines by providing Cultural Imperialism the in Philippines Cultural to imperialism in relation cultural of which tion form in the counter-state or her his organizes worker the cultural resistance. Mao Tse-tung’s Literature and Art and insist has emerged, the notion worker of the cultural on the importance that and the demand literacy of visual artists also be educated by the masses,the artwork with becoming a tool the two might be which synthe through sized. The section devoted to poetry combines several written works by Sison his imprisonment from during key with the writings the Marcos regime of under 1977–1986 Acosta,Ericson 2011–2013 who was also imprisoned from rights on human abuses on out research after carrying Acosta Philippines. further reflects of Samar, the island on his time in prison, the commitment of art artists and to political with the Concerned struggle, as as his work well Artists in the interview of the Philippines Worker Some Notes on Performativity theatrical within the that Sison played stagingrole of so- statecalled “counterterrorist” strategies a pleads and for visible to radical theatricalization make in order of the law notions of justice. Lisa Ito’s conflicting various - - - - - explores explores

) NWA ( New World Academy Academy New World 1 This first reader of This first The Second Propaganda Movement declares the fig declares Movement The Second Propaganda The cultural worker continues to today exist worker against The cultural

ple’s culture. Professor Jose Maria Sison’s contribution, Jose Maria Sison’s Professor culture. ple’s collective condition. and the notion of a worker peo of the cultural the figure tor, and organizer who continues the and organizer to enact and perform tor, state, of the unacknowledged symbolic universe which but as a functions not so as much an administrative entity, to uphold the narratives and convictions of those to narratives who are uphold the dispossessed,marginalized, and persecuted the through militarized agita state. is at once the educator, or she He Filipino people’s right to self-determination, continuing to Filipino people’s and images the collecinscribe words his or her through been have an otherwise that would tive symbolic universe state.independent uses the tools worker of art The cultural the ruling classes. the ruling to be the embodiment worker of the the cultural of ure in Sison’s words, as a “semicolonial and semifeudal ruling ruling and semifeudal as a “semicolonial words, in Sison’s US imperialist control,” with the “comprador system under capitalists” bureaucrat and big bourgeoisie, as landlords, fall of the Marcos dictatorship, of the Marcos fall subsequent governments continued and have investors to sellland foreign off to their private militias, Filipino politics, thus characterizing the background of an ongoing guerrilla struggle in de an ongoing guerrilla of the background who are peasants of landless fense urban and the poor, right tostill of their deprived self-determination. Since the movement that the figure of the artist as cultural worker of the artist that the figure worker as cultural movement understandingcentral to a figure of artrole the emerged, Nationalwithin the Democratic Movement. Pilar, and Graciano López Jaena were central figures. The figures. central López Graciano and were Jaena Pilar, directed was second against regime Marcos the movement backing. It context is in the and its second of this foreign

reader, pp. 21–41. pp. reader, See Jose Maria Sison’s contribution to this See Jose Maria Sison’s 1. nitions unique to the different practices located within the National Democratic Movement. On behalf of NWA, I would like to thank all of the contributors to this reader for their warm generosity and rigorous insights—without their combined enthusiasm and support, this reader would not have taken shape. I would also like to thank Professor Sison, as well as his many al- lies both in the and in the Philippines, for the unparalleled hospitality and patience with which they have introduced me to the broad and different cultural practices developed in the course of the political struggle for Filipino independence. Last but certainly not least, I would like to take this op- portunity to thank Maria Hlavajova and her team at BAK— Arjan van Meeuwen, Gwen Parry, Merel Somhorst, and Ivo Verburg—for their incredible commitment in co-establish- ing NWA. Further, my special gratitude goes out to BAK’s editor, Şeyma Bayram, for her tireless and precise work. It is an honor for NWA host this movement and its politi- cal and cultural representatives, all of whom I believe will be able to engage participants and readers in rethinking the specific ideological criteria through which we evaluate socially engaged art.

Jonas Staal (born 1981) is a Rotterdam-based artist whose works include interventions in public space, exhibitions, lectures, and publications that interrogate the relationship between art, democracy, ideology, politics, and propaganda. Cultural Imperialism in the Philippines

Jose Maria Sison 22–23 - - - of PHP 32,000 in the Philippines equals equals in the Philippines PHP 32,000 of Eds. USD. 742 approximately This figure is dismal enough, is dismal This figure 1 Around 85 percent of the people 85 percent beAround may considered The archipelago has of a configuration The archipelago being strung on at the close of the war since the Spanish-American Ever population of 96 has million. a current The Philippines and to the localexploiting classes. of the 80 percent Some and peasants, urban including and people, workers mainly below the poverty oddjobbers, fall rural line. the aboriginal include Negritos, The rest hill tribes Malay. origin, and mixed-bloodof Austronesian descendants of American, Caucasians, and Spanish, Chinese including lived have the Malays and Indian mestizos. Since 500 BC, but the reality is so much worse. Most of the income actualbut the reality is so worse. much goes transnational corporations and banks to ly the foreign From a Eurocentric viewpoint, a Eurocentric Far in the is Philippines the From East. 7,000 than and more islands 11 major of Itis a group square total islands The islands. minor 300,000 than more in the Pacific. of land kilometers a north-south to parallel axis, the coast China of southern west away of kilometers hundreds are which and Vietnam, are and Japan and southward Taiwan are Northward ward. is the and . Malaysia of the Philippines East East away Ocean and thousands of kilometers some vast Pacific in the same direction is the United States. as a the US had the Philippines eyed nineteenth century, prize colonial catchbecause natural of its comprehensive base resource it would and its strategic location. Procuring further into the US imperialist design an toPacific the turn US big business take and for a pieceAmerican lake of the market.huge Chinese billion. Its national gross income (GNI) is aboutPHP 3,089 per annual capita get an average this, you in By averaging PHP 32,000. come of around October 2013, PHP 1 = 0.023 USD. This USD. PHP 1 = 0.023 October 2013, income average means that the annual At the time of this book’s publication in the time this book’s of At 1. 24–25 - - - - - , which could carry 50–100 50–100 could, which carry , which could carry a few persons a few could, which carry caracoa balangay The Iron Age culture of the Malays persisted. However, persisted. of the Malays However, culture Age The Iron Eighty-five percent of Filipinos are baptized of Filipinosregis are or percent Eighty-five the of and Culture the History on Primer I. Brief Philippines small autonomous societiesIn precolonial Philippines, Malays. There were slave owners, a large number of free number of free a large owners, slave were There Malays. The highest sociopolitical and half-slaves. slaves, full men, sultanates Islamic was that of the achieved formation in especially Mindanao, that of Sulu. southwestern the people absorbed the influences of neighboring South no megalithic east Asian were countries and China. There but the sultans, structures, chieftains and barangay rajahs, wooden sizeshad houses large and boats and of varying capacities. The was commonplace. The mainly among the university-educated the among mainly people . in belong percent 3.9 Muslim; are percent 4.3 Catholics; tered (a patriotic breaka Church Independent to Philippine the of in the aftermath Church Catholic Roman the from way per 3.6 in the Philippines); the old democratic revolution origin, and of US cent belong to Protestant churches the of Christ, a Protestant belong percent to Church the 1.3 origin. sectof Philippine be may into divided history periods: the five Philippine precolonial period to up the late sixteenth the century; period the late sixteenth colonial from and feudal Spanish to of the nineteenth the brief but the end century; century significanthighly revolution period of the old democratic to 1896 1902; the periodfrom of US colonial and semi of Japanese with an interregnum up to rule 1946, feudal period of and the current 1942–1945; colonial from rule that started rule semicolonial and semifeudal in 1946. among the predominant prevailed slavery of patriarchal - - - - -

Regional and local languages are retained local and Regional are languages by the people, Manila-based Tagalog is the national franca. Com lingua Manila-based Tagalog Around 4.3 percent of the Philippine population belong of the Philippine percent 4.3 Around The Malays were most vulnerable to control and the most vulnerable were The Malays system, as official language in the bureaucracy and as the and as the in the bureaucracy system, aslanguage official of the major electronic and print mass media,language and English) of Tagalog (mixture and the use of Taglish despite the spread of Manila-based Tagalog, the preferred despite of Manila-based the spread Tagalog, as a medium of instruction in the school use of English comics, the public school accelerated system, and interis in franca lingua is the regional there migrations.land But partsvarious of the country. prehension and use of this language have been have popularized and use of this language prehension cinema, networks, by nationwide Tagalog mainly radio back to migrations in the Neolithic period. the Austronesian belongs of one percent a fraction toOnly the Negritude ago, accord years whoseclans origins date back to 25,000 ing to archeological evidence. in southwestern Mindanao, with Islam as a rallying point in as a rallying with Islam Mindanao, in southwestern five per Around sincetheir culture the thirteenth century. cent belong to the hill tribes whose be origins may traced tic diversity. to 12 ethnolinguistic communities people called the Moro They have also been have the mostThey exposed to the control and imperialisminfluence of American since the beginning retainthey yet ethnolinguis their of the twentieth century, (0.4 percent). (0.4 the from Catholicism colonialism and Spanish of influence late to sixteenth of the nineteenth the end century. century percent), Cebuano (24.2 percent), Ilocano (10.3 percent), percent), percent), (24.2 Cebuano Ilocano (10.3 percent), Kapampangan percent), (5.6 Bikol Ilonggo (9.2 percent), and Wáray-Wáray percent), (1.8 Pangasinan (2.8 along the seacoast the along speak They areas. more riverine big and dialects. and overwhelming the languages But 170 than (29.7 Tagalog majority languages: speak Malay 8 major 26–27 - - - - - From the outset, a semifeu toFrom the US was willing evolve the society, feudal to semifeudal from shift the effect To By 1899, the revolutionary forces of the Filipino people forces the revolutionary By 1899, valiantly forces The Filipino people the revolutionary and The US imposed its colonial on the Philippines. own rule its surplus commodities capital.its surplus and surplus It was out to the motioncapitalgo through of investing in the colony in to superprofits. extract order society asdal the landlords and the big compradors with basic with the middle exploiting classes among the natives, social strata of the urban petty and middle bourgeoisie, and and peasants as the basicwith the workers exploited classes. up a portionUS broke of the much-hated landed estates movement the free organizations, allowed of the religious Enlightenment. Philippine of the leaders the 1890s, In the ideas of bourgeois grasped revolutionary the Revolution the Philippine Thus democracy. and liberal in 1896. out burst Revolution the had wiped colonial throughout power out Spanish with the exception of the walled citadelthe of country, Manila, in Spaniards and established a nationwide revo after government.lutionary also same year, But in the movement revolutionary topretending help the Philippine war the Filipino-American against Spain, the US launched itself. for to seize the Philippines the effect con the militarilyfought To superior US forces. US resorted the of the Philippines, toquest only not mili tary and genocide,off at least of the killing 10 force percent population, but also to deceptive slogans of “benevolent Christianity, democracy, liberal assimilation,” Jeffersonian the to confusion sow among in order enterprise” and “free movement. of the revolutionary of the leaders ranks sheer the old systemcolonial of from different this was But Spain. It im by of a modern plunder was the colonial rule was out to which dump on the Philippines perialist power, ------, which could carry more than 300 per than more couldcarry , which joangga In the 1880s, the reformist leaders of the First Propa of the First leaders the reformist In the 1880s, The overriding cultural force in colonial and feudal socie in colonial and feudal force cultural The overriding In colonial and feudal society, the landlords comprised landlords the society, In colonial and feudal Spanish colonialism upon cameto Spanish the the Philippines ganda Movement of the indios and mestizos imbibed Movement ganda the rational philosophy political and liberal ideas of the French and the Spanish Revolution, Enlightenment, the French shared power with the lay colonial administrators in what with the lay power shared was veritably a theocratic state. They usedThey catechetical instruction, the pulpit, the confes sional box, and rituals to control the people and legitimize system. In fact, effectively they the colonial and feudal ty was Catholicism propagated by the religious orders underty propagated orders was Catholicism by the religious priests social, enjoyed patronage. The Spanish politiroyal the colonized people. over power cal, and moral cultural, comprised a small minority. The native priests, profession comprised a small minority. in number smaller even were als, and administrative clerks colonial until rule. of Spanish the end the highest class among the natives. They rode roughshod natives. rode roughshod among the They the highest class the peasants aboutover 90 of who represented percent the population.artisan The workers and manufacturing with the industrial capitalist countries during mostof the nineteenth century. forms of labor, rent from the land, religious tribute, religious com the land, from rent of labor, forms until trade the Manila-Acapulco the from profits mercial trade from and finally of the nineteenth century, years early the late sixteenth century. A colonial and feudal social A colonial and feudal the late sixteenthcentury. with years, than 300 of more in the course system evolved friars colonial religious administrators and the Spanish extracting taxes colonized the people, from in the mainly impulse of European mercantilism and the drive to spread and the drive mercantilism impulse of European The process colonial of Catholicism. conquest started in persons, was used for trade and war on an interisland an interisland on war and trade used was persons, for scale. The scale. sons, grander on a trade was usedfor 28–29 ------system of scholarship grants and grants scholarship system of pensionado By 1936, the Commonwealth government was estab government the Commonwealth By 1936, Teachers’ schools of the colonial government propagated schools of the colonial government Teachers’ II, the US colonial War prior to World In all the years political and cultural superstructure for semicolonial or political for superstructure and cultural neocolonial domination. The political, economic, and cul a from the shift for trained and prepared were leaders tural colonial to a neocolonial arrangement. the establishment for to of a neocoloniallished prepare had by this time, English hence. Also 10 years republic as the official medium of Spanish replaced com fully and technical munication Professional service. in the civil and artists Writers done in the American way. was training and artisticpatterned after their works US literary models. tastes to receptive to and colonial US rule commodities made US. in the University The pragmatist philosophy. John Dewey’s mainly pro-imperialist on a was founded kind of the Philippines philosophy and becameof liberal highest institution the of in all fields.country of the the leaders producing for learning The so-called sending of bureaucrats the involved job promotions assured education.and graduate students to higher the US for toNot be left behind in the Americanization of the Philip pine educational system, the American Jesuits and cultural took organizations to the lead replace among the religious priests priests with American in their upper- the Spanish academicclass institutions. babbled While they about capitalism over faith of the Catholic and the supremacy socialism in accordance with the social of the encyclicals their studentsPope, enthusiastically to they take prepared place in a societytheir professional dominated by Ameri can monopoly capitalism. harped on subjecting the Filipino peoplerulers to a “tute US steadily The and democracy.” self-government lage for economic and the foundation, developed the semifeudal - - - - - School children were indoctrinated were in the so-calledSchool children English became the medium English of instruction at all levels After the brutalAfter some of the conquest of the Philippines, To achieve economic and political achieve the US had control, To of the of 1896 and the national of 1896 and Revolution of the Philippine democratic aspirations of the Filipino people. an early At made toage, Filipinos adoptwere ideas, attitudes, and “American way of life” and came to know more the anec more and came to know of life” way “American than about the heroes dotes about Washington George offense the mere display of the Philippine flag or any other any other flagPhilippine or of the display the mere offense manifestation of patriotism written through articles, theat rical or mass performances, actions. of the revolutionaries who themselves were being co-opted were who themselves of the revolutionaries the same system. At within the colonial and semifeudal time, political as to criminal was exercised suppress power of the educational system. It became propa for the means gating a pro-imperialist, political liberal philosophy and the patriotic ideas denigrating and values and progressive ment of the public school contrastment system came into sharp colonial American era. of it in the Spanish with the lack and Protestant missionaries alsoCatholic came in. American troops ingratiated with the people themselves by becoming public school and teaching teachers English. came.teachers The develop shiploads of American Then, existing colonial and feudal culture, as well as on the folk as as well on the folk culture, existing colonial and feudal of precolonial Philippines. culture business and bureaucratic operations.business and bureaucratic Filipino people. the control over It cultural did to exercise so by superimposing itself on and penetrating the priorly of household products from local raw materials, improved materials, local improved of household products from raw transport and communications, and established a public school system to expanding produce the personnel for of peasantsof planta in work or to lands resettleon frontier facilities milling tions, more in opened brought the mines, in plantationsinitiated mines, and the the manufacturing 30–31 ------Information from abroad is fed to the Philippines mainly mainly to abroad is fed the Philippines from Information Since then, the study programs and textbooks the study programs Sincebeen then, have the Fulbright under grants and study travel Scholarships and its predecessor Agency agen The US Information cies, the Voice of America,Peace and Ameri the Corps, cies, the Voice been missionaries activecan have religious in spreading anticommunist and pro-imperialist and propaganda biases against the national and democratic aspirations of the people. United Press the Associated like services, Press, by US wire America. of powerful A recent International, and the Voice is CNN on television. In itsUS source of information shad deliber Intelligence (CIA) Agency the Central ways, owy massately plants stories media in order in the Philippine Anticommunism has become continuing for pretext the the unjust preserving US dominationthe Philippines, of and landlords, and colonial big compradors of the system national the democratic and suppressing aspirations of the people. It has been of the antinational glue strong a and antidemocratic combination imperialism US cultural of society of Philippine levels at various culture and the feudal of fields socialand in various activity. ideologically designed and directed by US educational and their Filipino sidekicks, visitingadvisors, professors for beenAgency the US and have financed under by grants and its predecessor (AID) agen International Development as the Food for Law known 480 (now US Public cies, under and Peace Act) Ford and a variety like of US foundations Rockefeller. the private US foundations, programs, and Smith-Mundt US-based exchange and direct organizations, religious and other universities betweenrelations US and Philippine institutions been exceedingly have important in deter the mode mining or influencing of thinking of university and their students. professors - - - - -

Anticommunism, first became which pronounced in the Just as it retained the property rights corporations of US The US touted the Philippines as the show-window of The US touted as the show-window the Philippines II. US Cultural Imperialism in Neocolonial in Neocolonial Imperialism II. US Cultural Philippines world. The cold became in American The world. war force a driving imperialismcultural in the Philippines. tion to the communist-led national liberation movement and to the socialistin the Philippines countries and the in thenational in Asia and elsewhere liberation movements 1930s, became even more amplified became more as a crucial compo1930s, even intensifying after WWII in reac of colonialnent mentality, cultural system through the accumulated through system cultural colonial mental and new programs, new arrangements, and through ity, new techniques. and citizens, parity rights in the exploitation of natural its militaryresources, bases the Philippine over and control treaties and executive agreements, through forces armed the US retained educational the Philippine and control over imposed on the Philippines 16 years of fascist dictatorship, of fascist imposed 16 years on the Philippines lasting until 1986. democracy in Asia, proof of American “altruism” or “be democracy in Asia, “altruism” proof of American later—Marcos years when—only 25 until 1972, nevolence” administration. The Philippines becameadministration. The Philippines a neocolonial Its and its socialrepublic. semifeudal economy remained political system semicolonial. After WWII, the US granted WWII, the to nominal independence After the politicians and gave in 1946 the big of the Philippines the responsibility national and landlords for compradors Hollywoodcloth American films, dances, music,pop and imitationing fashion—Philippine of these became the craze archipelago. in the 32–33 - - - - - The gains made by the movement for a national for and The gains made by the movement Hollywoodfilms, canned US musical programs, TV pop in sports, excessively Even influence is US cultural Since 1960s, the US has the promoted the multinational but the film and music are still American. The general run stillbut the film and music are American. The general the and pop hits, saccharineof Hollywoodtrash films are songs.love were to the 1960s 1970s, the early democratic from culture, startingregime, by the Marcos fascist reversed For in 1972. instance, teachers of university the increasing preference as medium of instruction broad and radio Tagalog for Of reversed. were music in Tagalog Philippine casters for course, songs, films, and articles critical of the oppression and exploitation the people of by US imperialism and the push ideas and sentiments directly or indirectly supportive ideasor indirectly sentiments and push directly positionof the monopoly of US capitalism. hits, and modes of dominate world of dressing the cultural the upper urban classes, petty middle bourgeoisie, and the The poor and the urban poor. bourgeoisie, even and rural middle peasants the ethnic minorities and hinter in the less bombarded imperialism. But by US cultural are lands radio, the the no escape is itsthrough influence there from of certainentry US products,occasional or the trip to the urban areas. is the number one popularsport male Basketball strong. and spectator sport despite the low in the Philippines, ac just as much Filipinos are Filipino. height of the average stylesquainted with the names and playing of US basketball stars with Hollywood stars. as are in the NBA they and the in the Philippines investments toapproach foreign exploitation people. of the Since Japanhas then, beaten elec and consumer the US in the sale of motor vehicles the Japanese But cul productstronic in the Philippines. weight than the American. far lesser is of a influence tural be may Sony, or compact disc players The video players ------The agents imperialism of US cultural use the slogan In the field of massentertainment and es pop culture, In the first place, pres commoditiesIn the first are in the market But the direct purveyors of US cultural imperialism do of US cultural purveyors the direct But The agents of US cultural imperialism always raise a raise imperialismagentsThe always of US cultural objectives are to spread apathy, cynicism, and escapism by toobjectives apathy, are spread on the instincts the revolu playing and the ego, preempt among the people, spreading message and from tionary acteristics into products cultural and activities. entertainmentof pure to pop with regard Their culture. the US has unquestioned supremacy over any other foreign foreign other any over the US has unquestioned supremacy play those more even who wish to give influence, including Filipino char to products or bring in more Filipino cultural tise style. US products and ape Madison Avenue pecially urban in the to and semi-urban areas town centers, Marlboro are popular and Marlboro are origin. Coca Cola, McDonald’s advertising Commercial brands. in electronic and print me dia popularize US goods. The biggest advertising in firms American, or if Filipino-owned, are the Philippines adver features and programs aping the current US trend or fashion. US trend aping the current and programs features because US-made or of US are they tigious and preferable under of denationalization. Filipino Nonetheless, the pressure and editors broadcast maintain managers, owners, colonial mentalityuse canned and either US-made or Filipino-made not have to not have be Americans. The print and electronic mass beenmedia againhave nationalized and are since 1972 fact, news and features in the bourgeois mass mediafact, are news and features by selectivitycharacterized against those who a slant and opposemonopoly capital the dominance foreign of and local reaction. hue and cry about objective reporting whenever they are about are objective they reportinghue and cry whenever confronted stand the proletarian with revolutionary and with the anti-imperialistof national line in liberation. But to slander and demonize personalities and movements personalities demonize and movements and toslander to anathema considered US national interests. 34–35 ------III. Resistance to US Cultural Imperialism to US Cultural III. Resistance A small section the intelligentsia of has tended to be imperialism in the Philip of US cultural The hegemony especially maintenance in the of the economic, political, statusand cultural quo. and consistent is strong resistanceThere to US cultural that takeimperialism by patriotic forces and progressive line of the national and democratic revolution the general a national,call for scientific, I and mass culture. count Modestymyself among these forces. been aside, I have as an articulator I when sinceknown of these 1959 forces a long time a long as socialist began to disintegrate,ideo US the has into gone high gear logical machinery and propaganda national libera for the struggle line that the in spreading tion socialism and can is hopeless, go no history and that than capitalismfarther democracy. liberal and by the imperialist,carried away ideological, and political of paid And a handful US and agents of the some offensive. that the up the idea drummed have elements unreliable becomeanti-imperialist have struggles class and margin prated that nothing canalized be futile. have and They a within done but to seek bourgeois democratic reforms of the US. order” the single hegemony world under “new European, and JapaneseWest The NGOs financed by US, as themselves misrepresented agencies have funding led by the mass movement toalternatives the revolutionary party. class working pines is tightened by high technology in transport and communications, but it also rides on the persistent layers due to culture the unchanged semicolo and folk of feudal is There society. of Philippine character nial and semifeudal resistance and collaboration between imperialist and feu collaboration, a schizophrenic but it is mainly culture dal ------Ever since 1989, when the revisionist bureaucrat capital bureaucrat revisionist the when since 1989, Ever US cultural influence, imperialist or otherwise, runs influence, imperialist otherwise, US cultural or One very striking manifestationOne very and of the widespread Whatever the sophisticated Whatever theories that revolve Literature in English enjoys a higher stature a higher enjoys than that in in English Literature ist regime of China went into turmoil and similar regimes into and similar regimes went turmoil China of ist regime for Union masquerading and the Soviet Europe in Eastern heavy traffic of Filipinos Philip traffic heavy between the US and the two million Filipinos that around now pines, and the fact US. in the reside strong in the Philippines not only because not only Philippines in the of itsstrong superim position on or penetration in the Philippines of the culture by American agencies and agents, but because of the ship they would opt for had they been given the choice, the been had they opt for given would they ship majority opted citizenship. overwhelming US for deep influence of US cultural imperialism in the Philip imperialism in the deep influence of US cultural among public of a pollpines is seen survey in the result doctoral disserta collectedschool someone’s children for what citizen asked were tion children When in the 1980s. and violence, comics and magazines featuring movie and and violence, comics movie and and magazines featuring athletic pop stars. are among the university-educated, the fact remains that that the university-educated, among are remains the fact the buy mostly they the classrooms, leave they when sex or potboilersmediocre featuring American pulp novels rotated to grants the US. and travel on scholarships or the so-called sake art purity art’s around for of poetry the standards and canon is considered good of what crea stilltive writing by aesthetics are determined and literary gen by the bourgeois US literature from criticism derived and critics writers, who are teachers, of university run eral Tagalog among the university-educated, among if the latter even Tagalog publications. In fact, Tagalog in readership a wider enjoys local exploiting classes were banned and their authors bannedlocal authors their and were classes exploiting persecution,as dismissals, job such severe came under and incarceration, . confiscation of property, 36–37 ------Before WWII, there were efforts were to undertake there WWII, re the Before Association The Student Cultural of University of the The local cultures and the developing nationalThe local culture the developing and cultures be culture scientific? must Philippine It must do Why releaseworking The scientific must the people culture The people not be as mass. a vapid At should regarded the overwhelming majority. The intelligentsia take must a majority. the overwhelming against the exploitative of land choice in their favor owners and capital. the work by either Revolution sumption of the Philippine the urban or ing class petty bourgeoisie. these were But some when frustrated after some timealways until 1959, thing could be started developed and up to continuously the present. was established the Philippines as an exponent in 1959 mentality co centuries Spanish of three than more under by a colonial and neocolonial then and lonialism mentality imposed US imperialism. by and integrated affirmed and must be intorevo cherished a national national to consciousnesslutionary serve in order stultifying with the sense of subser liberation away and do domination. nation Thus, the Filipino vience to can foreign take its placecommunity in the of nationswith dignity. and semifeudal of feudal weight with the deadening away the bondage release the peopleculture, that is due to from superstition, of education, lack miseducation, and and avail itself of the scientificworld. in the advances oppression of the forces from forces creative and other and exploitation. the Science and technology must serve the people. of The scientifically development all-rounded educated be no longer must the mere and women men of the imperialistslocalservants and the reactionaries. this historical stage it is clear revolution of the Philippine leads class the people,that the working and that the peo and peasants constitutedple are in by the workers mainly ------Why must Philippine culture become culture national? must Philippine Why It has The national programmatically democratic revolution The national democratic revolution now takesThe national now democratic revolution into ac The ongoing national democratic revolution may be nationalThe ongoing may de democratic revolution The current national democratic revolution may be national may con democratic revolution current The culture with a national, with culture scientific, mass and culture. long been captivated, and exploited by colonial burdened, ple’s democratic state to semifeudal the agrarian dissolve ple’s of nationaleconomy with a program industrialization and and the antinational, and antipeople feudal, reform, land takes up political, economic, to issues arouse, and cultural and mobilize the people.organize, It aims to the replace stateUS-controlled big comprador-landlord with a peo order to opposeorder monopoly capitalism, and depose foreign capitalism. and bureaucrat domestic feudalism holding the class leadership of the working class, it bases class, of the working leadership holding the class itself and peasantry, class on the alliance of the working seeks the middle social to win over strata, and tries to take advantage of the contradictions among the reactionaries in count objective the conditions of and subjective in the era imperialism and proletarianmodern While up revolution. cadres who are guided by Marxism-Leninism, whereas at guided by Marxism-Leninism, whereas cadres who are cadres who were of 1896 Revolution of the Philippine the core guided by an anticolonial bourgeois liberal ideology. were ership from that of the nascent bourgeoisie liberal in the from ership to1896 of that of the working old democratic revolution the are movement of the revolutionary the core class. At feudal domination. struggle has This beenfeudal frustrated by the US since the beginning the twentieth of century. scribed lead as of class one of a new type. is a shift There sidered as a resumption of the unfinished Philippine Revo Philippine of the unfinished as a resumption sidered to complete It is a movement the struggle lution of 1896. and national liberationfor against and democracy foreign was still a graduate student and lecturer at the University stillwas University at the lecturer and student a graduate Philippines. of the 38–39 ------

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The cultural movement is a major component of the movement The cultural The martial law regime forced KM and all the legal KM and all the The martial patri forced regime law martial of years anti- rule, during the harshest Even fell in the 1980s, the revolutionary mass movement and mass movement the revolutionary in the 1980s, fell that it nurtured movement came out strongly the cultural and brilliantly. national It is connected democratic revolution. with the legal based democratic mass movement in the urban areas based war in the countryside. as as well with the people’s cadres undertakeThe cultural studies among the cultural as masses, music, such paintings, works create poetry, short stories,plays, and produce novels, films, stage, and street performances. Why must Philippine culture have a mass a character? have culture It Philippine must Why the toiling masses serve must above all. The people them The most vital of culture. this kind must develop selves conditions, their needs, and by knowing is drawn knowledge be may from there capabilities.knowledge higher Whatever sectionany of the people can be and must popularized. into organizations cultural the under otic progressive and activists of the cultural many joined But the revo ground. and continued struggle in the countryside armed lutionary scale, on a wider and in a more revolution the cultural established it was first when by Since 1969, way. profound People’s the New the Communist Party of the Philippines, has beenpromoting an anti-imperialist and (NPA) Army in the countryside. revolution cultural antifeudal activity cultural imperialist and antifeudal could thrive and military despite in the urban areas censorship even wrote and circu cadres secretly The cultural suppression. lated their poems, short stories, plays, novels. Many and to stagedared improvise among the work performances lightning perfor cultural and peasants. were ers There artworks.mances and lightning exhibits of visual When startedregime the fascist to and eventually crumble - - - - - (KM) [Patriotic (KM) [Patriotic From the 1960s to 1972 when Marcos proclaimed martial Marcos proclaimed when the 1960s to 1972 From The KM became school the training of revolution in fact The KM became most the outstanding organization workers to the factories and farms to conduct to social the factories and farms inves workers the masses,tigation and the organization of from and learn and peasants. among the workers groups cultural educational system, the reconstitution and reading of study the works, and revolutionary courses to progressive include of sending teams and cultural program of students, writers, law, the KM promoted adoption the of the national language law, as the principal medium of the of instruction at all levels consequently inspired the formation of several cultural and cultural of several the formation consequently inspired organizations advocating a national,literary scientific, and mass culture. against the dominant pro-imperialist and reactionary cul against the dominant pro-imperialist reactionary and out sinceture the latter carrying and for half of the 1960s, series of a involved which Quarterthe First Storm of 1970, people and to 100,000 50,000 mass actions from ranging ary cadres in the political fields.ary Among the and cultural types,massrespon of various organizations it was chiefly revolution promoting a new democratic cultural sible for Propaganda Movement in the 1880s that paved the way for for that paved the way in the 1880s Movement Propaganda of 1896. Revolution the Philippine until 1972. It considered its educationaluntil its 1972. program, propaganda, and militant mass actions as constituting the of the First reminiscent Movement, Second Propaganda November 1964. along the the legalpromoting democratic movement anti-imperialist in most line of the 1960s and antifeudal lishment of the lishment workers of young organization a comprehensive Youth], and peasants,on 30 professionals, students,and young of the new democratic revolution and a culture along this this along culture a and democratic the new of revolution Marxist-Leninists. of It line. core a secret included general became estab the for engine the main eventually This There are specialized cultural associations both above- As far as the masses of workers and peasants and most ground and underground. Aboveground are the Concerned of the urban petty bourgeoisie are concerned, they say Artists of the Philippines, Bugkos, Panulat, and the like. The resolutely that there is no choice for them but to keep up most prominent and comprehensive cultural organization their anti-imperialist and antifeudal struggle in the same underground is ARMAS, which is an allied organization manner that their revolutionary predecessors never gave up within the framework of the National Democratic Front. All their struggle for national liberation and democracy de- the major legal mass organizations of workers, peasants, spite centuries of Spanish colonial rule and decades of US youth women, and many of their lower organizations have imperialist domination. They look forward to the resurgence their own groups of cultural cadres and performers. of the anti-imperialist movement and socialist movement In the countryside there are also the cultural teams precisely as a consequence of the current world disorder. attached to the NPA and there are the countless cultural groups of the local communities. The benign content and Professor Jose Maria Sison (born 1939) is a Utrecht-based poet, essay- forms of folk culture have been adopted and integrated ist, and teacher of political science who reestablished the Communist Party of the Philippines in 1968 and currently serves as Chairperson into the proletarian revolutionary line of the working class, of the International League of Peoples’ Struggle. This lecture was the national-democratic program, and the national, scien- delivered on 23 November 1994 before a research class under the tific, and mass culture. Revolutionary content is put into American Studies Program of the University of Utrecht, and was origi- nally reproduced and distributed by the Philippine national democratic the traditional forms of art and literature. cultural organization Alay Sining and its counterpart, Karatula. This You might ask whether the national democratic revolu- is an excerpted and altered version of the original reproduction by the tion and its cultural movement are adversely affected by aforementioned organizations. the unprecedented globalization of production, the appar- ently unquestioned single hegemony of the US, the use of high technology for the extraction of superprofits, the collapse of the revisionist regimes ruled by bureaucrat capitalists masquerading as socialists, the apparent suc- cess of neocolonialism, and the unprecedentedly strong imperialist, ideological and political offensive since 1989. As I have earlier pointed out, only a small section of the intelligentsia is confused and disappointed. It is the same section that has always tended to be subservient to the US and the local exploiting classes. Some elements in this section of the petty bourgeoisie appeared to be Left- ist in the past, especially in the fight against the Marcos fascist regime, but upon the frustration of their illusions of quick victory in the revolution they have openly taken a Rightist position. Talks at the Yenan Forum on Literature and Art

Mao Tse-tung 44–45 - - - - - For comrades For 1 tens of millions of working people — the working millions of tens of and its itsstrength of the country, flower enriching It literature, will befuture. a free thought in the revolutionary the last word and living mankind with the experience of the socialist of proletariat,work bringing the between interaction about permanent the past of (scientific experience social the completionism, the development of utopian its primitive, socialismof from the present of and the experience forms) com the worker of struggle (the present rades).” - - , Eng. , Eng. Collected Works What, of the matter? is the crux then, opinion, it In my I. Consequently their sentiments, their actions,Consequently their works, Comrades! Our forum has meetings had three forum Our month. this Comrades! on spirited carried have debates we of truth in pursuit In the Party of scores which spoken, and non-Party have comrades concrete. more and making them the issues bare laying consists the for fundamentally of working of the problems the masses.masses to for and how these Unless work two and art our writers properly, solved, or solved are problems ists will beill-adapted and their tasks to their environment and will come with up against of difficulties a series from will center on these concluding remarks out and within. My and also touch upontwo problems some related ones. art and for whom? literature is: problem The first solved long ago was by Marxists, especiallyThis problem back as 1905 Leninby Lenin. As far pointed out emphati . . the millions and art “serve. cally that our literature should and tens people.” of millions of working and artistic engaged in literary in the anti-Japanese work is already basemight seem it areas, that this problem that is not solved and needs no further discussion. Actually, solution. a clear the case. not found comrades have Many Party Literature,” in Party Literature,” 48– pp. 10, 1962, Vol. ed., FLPH, Moscow, he describes in which the character 49, asistics proletarian follows: of literature because the “It literature, will be a free with the socialismidea of and sympathy greed or career people, and not working to its ranks. forces new will bring ever ism, because it will It literature, will be a free the not some satiated not heroine, serve, from ten thousand” suffering bored “upper fatty but the millions and degeneration, See V. I. Lenin, “Party and I. Lenin, Organisation See V. 1. 46–47 ------Who, then, are the masses the people? of the are The broadest then, Who, kinds of and art be the four Our literature should for the class standthe class of the proletariat and not that of the petty to who cling writers an individualist, bourgeoisie. Today, petty-bourgeois stand the masses of cannot serve truly peasants, Their inter and soldiers. workers, revolutionary focusedest is mainly on the small number of petty-bour geois intellectuals. some reason why This is the crucial of the problem solve of our comrades cannot correctly In to theory. this, I am not referring In saying whom?” “for the masses regards no one in our ranks or in words, theory, peasants, as less important and soldiers of workers, than the petty-bourgeois to practice, intellectuals. I am referring the new literature and art which are part art and are literature new the which cul new the of and artistic toutilize refuse do we the literary . Nor . . ture. of the past;forms thesein our hands, old forms—remolded and infused new content—also with become something people. of the in the service revolutionary sections of the people, constituting 90 than percent more of our total peasants, soldiers, population, workers, the are and urban and petty our literature bourgeoisie. Therefore, revolu class that leads the the workers, the for artfirst are peasants, the for are the most nu they tion. Secondly, and most steadfast our allies in the revolution. of merous peasants— and workers armed the for are they Thirdly, and the Fourth Armies Route and New the Eighth namely, units armed of the people—whoother the main forces are the laboring for are they Fourthly, war. of the revolutionary masses of the urban petty petty- bourgeoisie the and for bourgeois intellectuals, both also our allies in of whom are cooperation and capable with of long-term the revolution us. kinds of people These four constitute overwhelm the ing majority nation, of the Chinese the broadest masses of the people. must take we them, serve To people enumerated. have we - - - - Indeed, there is literature and art the ex is literature exists for Indeed, that there of the masses must necessarily be led the proletariat. by of the bourgeoisie cannot the leadership under is Whatever the same applies to possibly be masses. of the Naturally, new culture at the present stage at the present new culture is an anti-imperialist, of the masses culture the peopleantifeudal of the under anything that is truly of the proletariat.leadership Today, art the imperialists, call to we traitor that exist serve litera and art.ture the people, and art for literature us, are With China’s said that have of the above any groups. We not for ploiters and oppressors. Literature and art for the landlord and art the landlord Literature oppressors. for and ploiters and art. literature feudal are class and art the Literature for and art.bourgeoisie bourgeois literature are and Literature still some and who maintain literature that revolutionary the massesart not for of the people, the exploit are but for and oppressors? ers then, that even among these comrades there are some who are among these comrades there that even then, of whom solution a clear not reached of the problem have are and art for?literature that there are Is it conceivable many others did much revolutionary work before the war, the war, before work revolutionary did much others many and influenced broad masses of hardships many endured the people by their activities say, do we and works. Why achieved a great deal in our literature, drama, deal in our literature, music, and a great achieved fine arts. of these and artists Many writers begun have of Resistance; of the War sincetheir work the outbreak Party and the Eighth Route and New Fourth Armies, a few a few Party Fourth Armies, and New and the Eighth Route but temporarily, with us only bemay who are careerists for energetically majority working are the overwhelming have on thesethe common we cause. comrades, By relying course, among the numerous men of culture, writers, art writers, culture, of men the numerous course, among engaged and artistic the in literary ists, and other workers liberation together for struggle Communist with the great and their views on the guiding principles for literature literature for principles guiding on the views their and and art inevitably have with variance or less at been more the needs of the masses the practical and of Of struggle. 48–49 - - - This question of “for whom?” is fundamental; it is a whom?” This question of “for truly proletariantruly and art. literature and divergences, question of principle. The controversies the opposition and disunity arising some among comrades not on this fundamentalin the past were question of prin involv on issues questions, or even ciple, but on secondary ing no principle. On this question of principle, however, between the two divergence has any beenthere hardly almost completecontending shown have sides and they agreement; to some extent, both tend to look upon down themselves peasants, and divorce and soldiers the workers, novelty, for something with which to embellish their own to something own their which with embellish for novelty, certain for other or even At works, features. backward times, partialopenly despise these they are and things to what belongs to petty-bourgeois the intellectuals or even to planted bourgeoisie. the feet their These comrades have to put on the side petty-bourgeois of the intellectuals; or, soul is still innermost their a kingdom elegantly, it more of the petty-bourgeois intelligentsia. not have Thus they “for of the problem solved, clearly solved, or not yet yet even to to Yenan: This applies not only newcomers whom?” been and worked who have toamong comrades the front base in our in the Eighth number and a areas of years for not completely have many Fourth Armies, Route and New a long period It of time, requires at solved this problem. long however But to thoroughly. it solve least or 10 years, 8 it takes, it unequivocally and and solve must it we solve accomplish must and art workers Our literary thoroughly. this task their stand; shift and move must gradually they peasants,and to over the side of the workers, their feet tosoldiers, the side of the proletariat, the process through midst and into of practi the thick of going into very their the process of studying Marxism cal struggles and through and a literature can have we in this way Only and society. peasants, a and soldiers, the workers, art for truly that are ------or their nascent and art literature newspapers, wall (the tales, songs, folk folk murals, fond times are etc.). they At hunting of these things too, are for they but that is when stemming from them. But there are times do not they are when there But them. stemming from certain are and there them like respects do they in which their manner, their feelings, do not like they them: not like the clothes of working people, those of working are of the clothes but the faces petty-bourgeois intellectuals. In certain respects are they peasants, and the cadres and soldiers of the workers, fond and soldiers, do not understand and soldiers, do not have them, or study not goodintimate and are among them, at por friends are the clothes them, do depict they When them. traying felt sympathy for intellectuals for sympathy of petty-bourgeoisfelt origin, their praising, to sympathizing with, or even the extent of shortcomings. hand, these the other comrades seldom On come into contact peasants, with the masses of workers, stand of the self-expression and produce that are works the petty bourgeoisie, as can be seenquite in a number and artisticof literary heart products. Often show they ing them. Such study and description are proper if done study and description proper Such ing them. are a proletarianfrom position. do, is not what they that But take They the petty-bourgeois do fully. or not what they Coming from the petty the Coming from bourgeoisie and being themselves intellectuals, among only comrades seek many friends intellectuals and concentrate and describ on studying their shortcomings, instead the intellectuals of guiding to in getting them join with to closer the masses of workers, peasants, taking and soldiers, part in the practical strug gles of the masses, portraying educating and the masses. themselves with studying the petty-bourgeois with themselves intellectu concentrate They on their psychology. als and analyzing portraying these intellectuals or defending and excusing toaction. In practice, petty-bour action, in regard they do geois intellectuals important as more peas workers, than concern comrades Many do. they I think ants, and soldiers? 50–51 - - - - - II. In the past, some comrades, to a certain a seri or even ize what is needed and can be accepted readily by the what is needed Popularize and can class? landlord feudal be accepted readily what is by the bourgeoisie? Popularize needed and can be accepted readily petty-bourgeois by the must popular We none of these will do. No, intellectuals? is needed what ize only and can accepted be readily by the peasants, Consequently, themselves. and soldiers workers, prior to the task peasants, of educating and the workers, is the task This is them. there from soldiers, of learning standards. true of raising must be more a basis There even instance: for of water, a bucket to which Take raise. from problem of sectarianism problem prob be other many but solved, as well. lems come we to settled of whom toHaving serve, the problem of put it in the words To tohow serve. problem: the next toraising devote ourselves we should some of our comrades: tostandards, popularization? devote ourselves we or should ous extent, belittled and neglected popularization laid and standards. on raising undue stress be should laid Stress standards,on raising but to do so one-sidedly and exclu is a mistake. of a clear The lack to do so excessively, sively, to I referred which whom?” solution of “for to the problem also itself manifests in this connection. As these earlier, whom?,” of “for on the problem not clear comrades are of standards” the “raising criteria for no correct have they naturally and are speak they of, and the “popularization” relationship stillbetween less able to find the correct and art basicallythe two. Since our literature the are for to means peasants, “popularization” and soldiers, workers, peasants, and and soldiers, popularize among the workers, standards” their present means to advance from “raising Popular popularize we among them? What should level. ------

2 , Chin. ed., Vol. 4. 4. ed., Vol. , Chin. Works Complete Complete , Two Hearts Two are working only for small groups or indeed only for or indeedfor small groups only for only working are the masses of work all aim at serving If we themselves. and peasants, be will of course united.ers our front A common aim is the prerequisite for a united for front.A common aim is the prerequisite . . . have that we is not united that our front shows The fact not been and that some able to our aims, people unify

life, there will be sectarianism. no more there life, will the only Not we mean living Marxism, which plays an effective role in role an effective plays Marxism, which mean living we and struggle of the masses—not Marxism in words. the life into Marxism in real transformed Marxism in words With plete and thorough solution. We must study Marxism and plete solution. and thorough We in order precisely been saying, as have we study society, to a complete solution. achieve and thorough By Marxism, among the masses and to create a genuinely revolutionary among the masses and to revolutionary create a genuinely and art.literature is nearing among us, the problem Here solution. solution nearing But is not the same as a com We encourage revolutionary writers and artists writers to revolutionary be encourage ac We intimate tive in forming contacts peas with the workers, complete them giving to freedom ants, and soldiers, go “For the Eighth Route and New Fourth Armies!,” and “Go and “Go Fourth Armies!,” Route and New the Eighth “For of sectarianamong the masses!” the problem Otherwise, be once said: Hsun Lu ism can solved. never solve. Take, for instance, for sectarianism the and art in literary Take, solve. This toocircles. is a question of principle, but sectarianism becan and faithfully only eradicated by putting forward and peasants!,” the workers the slogans, “For applying the masses in the same way asthe masses Kuomintang the way in the same does. Nev this fundamental Unless ertheless, is there. the tendency not be will easy to problems other is solved, many problem from the masses. the “to I say from some extent” because, gener these speaking, not look do comrades ally upon down the from themselves peasants, divorce or soldiers and workers,

Wing Writers,” in Writers,” Wing Lu Hsun, “My View on the League of Left- of on the League “My View Hsun, Lu 2. 52–53 - - . - 3 the Quasi-Concession, Complete Works 6. ed., vol. Chin. The Last The Last Although man’s social life is the only source of literature social source of literature is the only life man’s Although and art and is incomparably livelier and richer in content, and richer and art livelier and is incomparably the people not satisfied alone and demand are with life and artliterature as Why? well. Because, while both are of life and struggle, all the raw materials of literature and materials of literature and struggle, all the raw of life art. can proceed then they Only to work. Otherwise, creative will be nothing to with and you work nothing will have you writer but a phony or artist, in his will Hsun the kind that Lu cautioned toso earnestly his son become. never their time and place. We must take must things fine all the timetheir over place. and We artistic and literary in our heritage, critically assimilate we is beneficial, examples and usewhatever when as them and artistic materials in literary out of the create works raw people of the timethe life of our own place. and It makes examples, the such we have or not whether a difference refinement, and betweenbetween crudeness difference and polish, between and level, and a high roughness low a on no must we work. Therefore, and faster between slower account the legacies reject the foreign of the ancients and the are they though even them, to from learn or refuse ers or bourgeois classes. taking But of the feudal works over replace legacies and using as examples must never them can nothing work; do that. creative our own Uncritical transplantation the ancients and the for or copying from dogmatism is the most sterile harmful and liter in eigners and art….ature and artists, writers writers [R]evolutionary and artists the masses; must go among they of promise, and whole- a long periodmust for of time unreservedly peasants,heartedly and the masses go among of workers, go into go tosoldiers, the heat of the struggle, the only observe, to order in source, richest and broadest the source, kinds of all the different and analyze study, experience, people, all the classes, all the masses, patterns all the vivid Collection of Essays Written in a Garret in in a Garret in Collection Written of Essays See Lu Hsun, essay, “Death,” in See essay, Hsun, Lu 3. - - - - In the last analysis, what is the source of all literature what is the source of all literature In the last analysis, past are not a source but a stream; they were created by were they past not a source but a stream; are and out of the literary our predecessors and the foreigners of the peopleartistic in the life of materials found they raw be no other. Some may ask, is there not another source in not another is there ask, Some may be no other. books, and art in the literature times of ancient and of for and artistic In fact, the literary of the eign countries? works all literature and artall literature seem pallid by comparison and they and art literature with an inexhaustible source, provide can there source, for the only are They source. their only people is always a mine of the raw materials for literature literature materials for people a mine of the raw is always and art, materials that are materials form, in their natural but mostcrude, vital, and fundamental. rich, make They are products of the reflection in the human brain of the life products of the life of the reflection human brain are in the and art the literature are Revolutionary society. of a given of the products of the reflection of the life people in the and artists. writers of the of revolutionary The life brains the two. and art, literature and art? of as ideological Works forms, soldiers comes by starting in. Only soldiers can have them we from understandinga correct of popularization and of the rais ing of standards relationship between and find the proper workers, peasants, and soldiers are themselves advancing, advancing, themselves peasants, are and soldiers workers, the proletariatin the direction in which Here is advancing. peasants, and again task the the workers, from of learning Nor does this mean raising the workers, peasants, and sol does the workers, Nor raising this mean the bourgeoisie classes, feudal of the to the “heights” diers or the petty-bourgeois intellectuals; the raising it means and art of literature direction the in the in which level basis of the bourgeoisie? From the basisbasis of the petty-bour bourgeoisie? From of the these; from of only any not from No, geois intellectuals? peasants, the basis and soldiers. the masses of workers, of where is it to be raised from if not from the ground? From From ground? the it to is from if not be where from raised and artmid-air? literature basis, what to are then, From the From classes? basis the feudal of the be From raised? 54–55

- 5 ------for anti-Japanese propaganda and for a and for propaganda anti-Japanese for with the public. favour time great found a few with only written simply, are words included in the usually and were strokes, lessonsof old primers. first The Chinese characters for these six for characters The Chinese 5. - and the same “man, hand, mouth, knife, cow, goat,” cow, mouth, knife, hand, and the same “man, 4 Nevertheless, no hard and fast line can be drawn be can line be and fast drawn hard no Nevertheless, popularization begun. good has Hence not even experi ence in popularization leading to standards higher in one locality can be applied localities in other to guide and serve popularization of standards and the raising saving there, the twistsmany along the road. Internationally, turns and countries,good and especially Soviet of foreign experience to us, there can us. With experience, also guide serve will not the educators and those being educated be six of the other? beof one and half a dozen would What the The people popular demand popularization? sense such of that,ization standards; and, following higher demand they Here standardshigher by year. month by month and year popularization the people popularizing means for and the peo of standardsraising for the level means raising mid-air or behind is not from closed raising ple. And such baseddoors, but is actually on popularization. It is deter mined by and at the same time popularization. guides In and of of the revolution aswhole the development a China gradual. is and their spread is uneven culture revolutionary is popularization raising While in one place there and then of standards the basis on of popularization, places in other popularization is the more pressing task.popularizationpressing more is the to It is wrong belittle or neglectpopularization. tween popularization of standards. and the raising only Not is it possible toquality popularize of higher some works of the broad masses is level the cultural but now, even steadily rising. same level at the If popularization remains with the same stuff suppliedmonth afterbeing ever, for the same “Little Cow always after year year, month and herd” folk operetta performed by only two ac two operetta only folk by performed who sing and a village girl, a cowherd tors, a question-and-answer duet. In the early Resistance of Against the War of days was used words Japan, with new this form The “Little Cowherd” is a popular Chinese The “Little Cowherd” 4. ------What is meant by popularizing standardsWhat is meant by and by raising fight the enemy with one heart and one mind. For them For them with one heartenemy one mind. fight the and on the brocade” but flowers the prime need is not “more conditions, In present therefore, weather.” in snowy “fuel and art which meet their urgent needs and which are easy easy and art needs are meet and which which their urgent to to heighten absorb, in order their enthusiasm in strug their unity strengthen and gle and confidence in victory, uneducated as a result of long years of rule by the feudal by the feudal of rule uneducated of long years as a result de eagerly are they and bourgeois classes, and therefore enlightenment,manding education, of literature works and masses at present. The problem facing the workers, peasmasses at present. workers, the facing problem The engaged now in a bitter are they is this: ants, and soldiers illiterate and but are and bloody struggle with the enemy, plainer, and therefore more readily accepted readily more by the broad and therefore plainer, quality, of a higher Works masses people of the today. difficult more to produce and in being polished, are more among the so not circulate easily do and quickly general in works of literature and art? of literature in works What is the relationship between simpler and these two are tasks? works Popular impel to their envi them uniteto and struggle transform ronment. and art, literature such this task Without could not be and fulfilled, or at least not speedily. so effectively ists concentrate such everyday phenomena, typify the con ists everyday concentrate such tradictions produce and them works and struggles within enthusiasm with them and the masses, fire awaken which example, there is suffering from hunger, and oppres cold, hunger, from is suffering there example, sionhand, and exploitation on the one of and oppression and everywhere These exist facts on the other. man by man and artpeople look upon as them commonplace. Writers more universal than actual everyday life. Revolutionary lit Revolutionary life. than actual everyday universal more of out and art a variety create of characters should erature For masses and help the forward. to life propel history real beautiful, art and as reflectedof literature works life in can intense, to and ought more more be plane: on a higher concentrated,typical, and therefore ideal, the more nearer 56–57 - - Now that we have settled of the relation have that we the problem Now esteem the specialists, for they are very valuable to valuable our esteem very the specialists, are they for writer tell that no revolutionary cause. should them we But or artist he is closely unless work meaningful can do any to their thoughts with the masses, expression linked gives Only as spokesman. them a loyal and serves and feelings, by speaking the masses can for he educate and only them If he regards by being pupil can their he be their teacher. as it over an aristocrat who lords himself as master, their no matter then, talented how orders,” he may the “lower be, be he will not needed by the masses will his work and no future. have the people, and in the first place for the workers, peasants, workers, for the people,the place first the in and peasants, the workers, created for are they and soldiers; use. their for and are and soldiers between standards of ship raising the popularization, and between specialists the of the relationship the problem can also beand the popularizers settled. Our specialists also—and the cadres, but for not only are indeed chiefly— the masses. for pay Our specialists should in literature attention to of the masses newspapers the wall and to the reportage the villages. written and Our in the army pay attentionspecialists should in drama to small the and the villages. Our specialiststroupes in the army in pay attentionmusicshould to the songs masses. of the Our specialists in the fine artsshould attentionpay to the fine arts should of the masses.All these comrades close contactmake with comrades engaged in the work art and of popularizing literature among the masses. On the populariz help and guide should the one hand, they these comrades from learn should they On the other, ers. the masses to from nourishment draw them, and, through so that their specialities themselves and enrich replenish detached towers,” the massesdo not become from “ivory should of content We reality and devoid or life. and from - - To sum up: through the creative labour of revolutionary labour of revolutionary the creative through up: sum To Besides such raising of standards raising Besides such as meets the needs art and are needed primarily by the overwhelming major art needed and are by the overwhelming primarily ity of the masses at present. advanced or more Whether the masses and art of for all our literature are elementary, or, more immediately, by the cadres among the masses. immediately, more or, elementary and art are literature which, included here Also and advanced literature by more guided are conversely, the more advanced literature and art and advanced literature asthe more developed on the basis of elementary and art by literature as and required those sections of the masses whose has been level raised, writers and artists, of and writers in the life materials found the raw the people shaped into are the ideological of literature form and art the masses are serving of the people. Included here work of raising standards of raising work shooting will be at random like and will depart the fundamental from principle of serving the masses the people. of only through the cadres that we can cadres that we educate the through the only and guide cad the masses. give go against this aim, if what we If we educate cannot help them res masses, the guide and our literature and art of a higher level are entirely necessary for for necessary entirely and art are level literature of a higher be this would a mistake. ignore is done Whatever To them. the masses, for because cadres is also the entirely for it is their needs indirectly, that is, the kind which is needed that is, the kind which their needs indirectly, the advanced of elements by the cadres. The cadres are education; more received have the masses and generally prepares the necessary conditions us to standards the necessary raise for prepares scale. broader a much on in the future meets is the kind which of the masses directly—there the raising of standards,the raising of popularization the work we speaking of raising the basis the work of supplies are for doing on a limitedstandards now scale are we and which fore, the raising of standards of raising the is basedfore, on popularization, popularizationwhile of standards.the raising by is guided being obstacle an from so this reason, far for to Precisely 58–59 - - - ‘a cog and a screw’ one single great of ‘a Social-Democratic set in mechanism politically the entire motion by conscious class.” working the entire of vanguard , Eng. , Eng. in the whole revolutionary machine. machine. in the whole revolutionary 7 Collected Works III. all world In the today, Let problem. us consider the first set by the Party in a given revolutionary period. Opposiset revolutionary by the Party in a given is certaintion to this arrangement to lead to or dualism and in essence amountsto pluralism, “politics—Marxist, over do not favour We art—bourgeois,” as with Trotsky. stressing the importance and art, of literature neither but underestimating their importance. favour do we Litera and artture subordinate to are politics, but in their turn Therefore, Party work in literature and art Party in literature work occupies a Therefore, definite and assigned work positionParty in revolutionary tasksas a whole and is subordinated to the revolutionary ian in the narrowest sense; you may call this art “pure and and call art this may sense; you “pure narrowest in the ian the it which for name own your is merely but that lofty,” masses not endorse. will the massesand art of the for Since our literature are people, can proceed we of inner- to discuss a problem work between the relation Partyi.e., the Party’s relations, as and in work a whole, art and in literature and the Party’s the i.e., relations, external of the Party’s addition a problem and art in literature and work betweenrelation the Party’s of non-Partythe work of the peopleproblem in this field, a and art circles. united in literary front culture—all and art—belong literature to definiteclasses to geared definite and are fact political is in lines. There art sake, that stands thing as art art’s no such above for classes or art detached that is of, or independent from, politics. and art part literature are Proletarian of the whole as Leninproletarian cause; are, said, they revolutionary cogs and wheels Party Literature” in Party Literature” 45. p. 10, I962, vol. ea., FLPH, Moscow, become must writes: “Literature partHe the commonof cause the proletariat, of See V. I. Lenin, “Party and I. Lenin, Organisation See V. 7. - - - - - between 6 Anthology of Prose and Anthology , when someone, when sang “The Spring Chao Ming’s Ming’s Chao Poetry Snow” capital, dozen in the Chu a few only the of people “Song joined the when in, but Rustic Poor” thousands did so. was sung,

the highest art expert of any cannot help being utilitar The question is to now bring about a unity between “The of the Rustic Poor,” and the “Song Snow” Spring standardshigher a unity, and popularization. such Without being to and the masses still only it caters are sing the few by get nowhere will you of the Rustic Poor,” ing the “Song simply scolding instead to them their level. raise of trying are not only insulting the masses but also revealing your your insulting not only the masses alsoare but revealing A thing is good it when only of self-knowledge. lack own work Your benefit brings real to the masses of the people. the time be but if for may as good as “The Snow,” Spring or that of a narrow clique, force on the market and propa on the market force clique, or that of a narrow masses pleasesgandize among the the which only a work you then to majority, the harmful is useless but or even few objectives, not narrow utilitariansobjectives, not narrow with the concerned only instance, for the reproach you partial and the immediate. If, masses their utilitarianism for utility, own your for and yet interests of the broadest masses,interests of the broadest who constitute 90 over utili revolutionary of the population;percent are we hence tarians and the most the broadest long-range aiming for scends utilitarian in a class-based considerations; society can be utilitarianism the only there of this or that class. utilitarians proletarian, are revolutionary We and take as our point of departure the unity and future of the present oppose thosehypocrites attack who utilitarianism in words short-sightedbut in deeds and the most selfish embrace utilitarianism. that tran in the world is no “-ism” There Is this attitudeIs utilitarian? Materialists of ours not do oppose utilitarianism the utilitarianism but in general of bourgeois, petty-bourgeois and the feudal, they classes;

of the latter. As the story is told in “Sung told is story in “Sung As the the latter. of in Prince to Chu” King of the Reply Yu’s Chu in the third century BC. The music of The music of century BC. in the third Chu than that level was on a higher the former Rustic Poor” were songs of the Kingdom of the Kingdom of songs of Rustic Poor” were “The the of Spring Snow” and the “Song 6. 60–61 ------IV. IV. perfection of artistic form. Works of art artisticperfection lack which of artistic Works form. politi are they progressive however no force, quality have oppose we both the tendency to Therefore, produce cally. of artworks political a wrong with viewpoint and the ten slogan style” is cor and which the “poster towards dency On in politicalrect viewpoint in artistic but lacking power. on a struggle and artquestions of literature must carry we on two fronts. The petty-bourgeoisThe artists and writers constituteim an portant liter in the united of front the forces among force shortcomings many are There in China. art and circles ary in both but, their works, their thinking and comparatively are and the revolution towards inclined are they speaking, it is an especially close to people. working the Therefore, important task shortcomings their to overcome help them working the that serves toand to over the front win them people. and art is the political criticism. . . . there In literary crite the artistic is rion and there criterion. What is the relation Politics cannot between be equatedship the two? with art, outlook world be equatednor can a general with a method of artistic and criticism. reactionary creation . . . The more the more their content their artistic and the higher quality, topoisonous it are the people, necessary they and the more commonis to A them. characteristic of the literature reject and art period of all exploiting classes in their of decline is the contradiction political between their reactionary con tent and their artistic is the unity demand What we form. of politics and art, the unity the unity of content and form, political contentof revolutionary and the highest possible - - - - politics,the politics of the masses, not the class artistic be and their truthfulness. It works would wrong this and to toto realize debase fail the politics and the statesmen of the proletariat. between proletarian statesmen and decadent bourgeois statesmen. can be there complete why This is precisely unity between and the political of our literary character They are therefore not the kind of aristocratic “statesmen” not the kind of aristocratic “statesmen” therefore are They a mo have behind they who work closed doors and fancy in principle lies the difference nopoly of wisdom. Herein es. Their task is to collect the opinions of these mass statesmen, them return to the and them, sift and refine masses, takethen who into and put them practice. them the masses find expression in concentrated form. Revo in form. the massesconcentratedexpression find statesmen,lutionary the political specialists who know politics, simply the the science or art are of revolutionary of millions upon statesmen—theleaders millions of mass The revolutionary struggle on the ideological and artisticThe revolutionary must be fronts subordinate to the political struggle be politicscause through only can the needs and of the class politics so-called a few of statesmen. Politics, whether is the struggle of or counterrevolutionary, revolutionary against not the activityclass class, individuals. of a few Failure to recognize this is wrong. Furthermore, when we we when to Furthermore, recognizeFailure this is wrong. and art subordinate to that literature are say politics, we mean wheels indispensable machine, an in the whole part of the and art cause. had we no literature If revolutionary entire could sense, we most the broadest and in ordinary even and win victory. movement on the revolutionary not carry certain important and more other parts be may less they and may occupysignificant a secondary and less urgent position, indispensable nevertheless cogs are they and exert a great influence on politics. Revolutionary literature literature on influence politics.great a Revolutionary exert cause—they artand part are revolutionary whole of the cogsare wheels and in comparison though in it—and with V. Today I have discussed only some of the problems of fun- damental orientation for our literature and art movement; many specific problems remain which will require further study. I am confident that comrades here are determined to move in the direction indicated. I believe that in the course of the rectification movement and in the long period of study and work to come, you will surely be able to bring about a transformation in yourselves and in your works, to create many fine works that will be warmly welcomed by the masses of the people, and to ad- vance the literature and art movement in the revolutionary base areas and throughout China to a glorious new stage.

Mao Tse-tung (1893–1976) was a revolutionary and theorist who founded the People’s Republic of China and served as Chairman of the Communist Party of China until his death. This version of Mao Tse-tung’s Talks at the Yenan Forum on Literature and Art has been edited and significantly shortened for the purposes of the reader. Due to the difficulties of accessing the original sources that Mao Tse-tung has cited, the editors have chosen to leave the citations in their largely unaltered forms. The Bladed Poem

Jose Maria Sison 66–67 on soil, carabao On the other face On the other massed the same workmen Are Upright and poised to fight flag. Behind the radiant The uprising completes labor of The figures surge another And urges weapon. the well-versed With Behold the bladed the Behold poem and razor-sharp Tensile and glintingCold silver or dark.In the light the blackbird See how Of a hilt flies with pearlsBedecked mobile hand. On the firm Look face at each On the leaf of steel, flames, The virile subtle Images of incised gold. toilers are On one face ore, and with pike Varied and anvil, hammer Crucible, and whetstone. Water and Plow The oyster in the sea, and etching tools,Carving of acidBowl on a table. Grasp well the bladed poem And let it sing in your hands. This kampilan is a talisman Of the people in red headbands.

[March 1982] Poems and Prose, with an Introduction by Jose Maria Sison

Ericson Acosta 72–73 ------

Mula Tarima Hanggang At Iba Iba Hanggang At Mula Tarima [From Cot to Yonder and Other Poems Other Poems and to Cot Yonder [From As a former political prisoner, I am deeply moved by moved I am deeply politicalAs a former prisoner, Acosta imagi was physically in prison but his creative Defy the Oppressors and Fight for Freedom for Fight and Oppressors the Defy the bookWith of poems in prisonAcostaand his strug his suffering transforms poemsThe opening seven in the book as a pro serve and for ambushing the oppressor. ambushing and for what Acosta in prison. I endure can also and had to suffer understand in certainsense his of relief poems. Indeed, a political has prisoner to retain both fighting and spirit hateful the and tedious over sense of humor to con prevail ditions of imprisonment. nation, his political resistance of moral and his awareness support and abroad soared above in his country the dismal conditions His poems of prison and made not him free. are Since Francisco Balagtas,Since Francisco poetry of Philippine greatest the has been written by poets imprisoned unjustly and are who Their freedom. for poems fight and oppressors the defy who and at the same reflect time illuminate nation’s the Filipino national aspirationstruggle and and social for liberation. Awit at Pang Tula Acosta Ericson and Songs] (forthcoming) joins the ranks of Filipino poets up to tradition great of poetry who live a on the noble missionand continue of serving to carry and foreign from the people freedom for in their struggle domination. feudal as freedom a metaphorgle for condi the intolerable for tions of the Filipino people captive a semico in who are their irrepressible system, and for lonial and semifeudal national independence and democracy. struggle for the commitment of the poetlogue. unfold They to the is the main contentpeasant which land, of the struggle for knife the peasant’s how shows He democratic revolution. the food preparing can be for the land, used: working for 74–75 betray poetic tone burlesque of beautymake scarecrows and thus like the most heretic set even back muses scurrying to their sanctum of rules. And so in recollecting epiphanies your void elude the you hunger is my which And so poetryAnd must your say you be wary of its claims art waive lest you to millions unworthy us of taste manner and belest you christened peddler of images in form alien pagan in content license lest your be forfeited resonance ear for your the sublime. for feel your summon And so while you the litany of worlds fashion words own your existence annul my you and those of millions say you whose narratives And So Your PoetryAnd So Your Must - Jose Maria Sison forces and urge them to wage all forms of revolutionary of revolutionary to them all forms wage and urge forces struggle until total is won. victory exploitation, the torture and for and imprisonment, and of social activists the murder worse, of the and massacre people.working The poems seek hope to inspire among the broad masses of the people the revolutionary and To the very end, the poems Acosta end, Ericson of the very condemn US To imperialism the local and classes of big com exploiting and system of oppression their for and landlords pradors only about only imprisonment. his denunciations include They resistance celebration and the the people’s of enemy of the pastin the partspresent, and at in various of the country. 76–77 went on hunger strike. on hunger went Politically or whatnot, reckon, I now all predisposed are we to totally up mess ourselves at about old. six years One hot April night,hot April One of smoke a rain of tires pyre a from into our apartment—swept in along with it bringing pots, of a clanging car honks, tidethe whole unbearable of mass discontent— and spoiled dinner. my undaunted. I was however allegianceMy full belonged to the President and right away, it,as I remember I set out to defend name his Excellency’s terms own and on my Confession [1994] that shall feed millions that shall complete history and perhaps poetry. spare to pledge with life’s gift to pledge life’s with lull the birthyou of noise of revenge of bloodshow And so with your eulogiesAnd so with your to passion to against time rage millions of famine the the empty bowl of history. 78–79 ------All these of course, in the viciously tiresome scheme these of course, in the viciously All Accustomed to the general strain of a relatively busier busier of a relatively Accustomed strain to the general it is the emotional and psychologi timesMany however, to daunting be impediments. the more some, it is the For of mur threats and present clear from hounding dread by stateder around agents—or call what they “accidents” it seem impossible makes tohere—that write altogether. that but stuffs themselves beg it seems of things, are to be written about in earnest. of writing under The urgency circumscribed such circumstances—of account full giving of the machinations of injustice expounded no longer from but sound of theory, grasp one‘s observation alone or from tightly in the neck— as something grips that now one very Itof anything of tedium out simply is not else lack toor for politicaldo that take actually prisoners to one writing. For the audacity jail for in been those thrown have who thing, expected, quiteof their written naturally are given works same meth to very nonetheless the employ their character, ods immediate, the pen of as of their more one self-acting difficult responses imprisonment despite to extremely defy new challenges. forth found have presumably may writers world,” “outside the prospect irony, with in prison, and not without much time toof freer case devote to in any writing. is such But offset by the attendantweight of arbitrary just asquickly kinds, and the tense of various restrictions, ill-treatment chaos takes that defining in with the doldrums turns being behind trivial, from bars. Far the climate of misery been of otherwise having deprived over their frustrations standard essential tools processor or a diction asa word pretty are intense events, to current references or ready ary com former and justified of their much considering how been petence previously process have or of the work they undermined. to,inured is severely cal scars left by their abductors and torturers that prove - - - - bereft of so much verbiage of sobereft much and the prose of assumed life movement with somewhat freer Prison after all, is only Prison compacta frugal, version of an outside world, compressed into a few such things compressed into such a few bars as the iron thought. squeezeyou for Who struggle everyday confines to the dross break outsideof image of life Prison makes us into poets into us makes Prison has barely had a literary background to speak background of prior to hadhas a literary barely made convincedprison, are we that prison po does make importantets in the most practical literal, and very sense. And yet quite self-evidently on account quite of this brilliant And yet self-evidently poem alone, and taking that Jazmines exception of the fact minimum amount of verse. Political prisoners are all poets, Political are prisoners of verse. minimum amount he says: ing above the adversities of a bounded,ing above the adversities compact existence, poets pains just like who try are prisoners example, for takingly poignancy to of meaning in the barest achieve ruary of last year). Jazmines is here however referring to referring however is here Jazmines of last year). ruary suggests, he Prisoners, poets sense. figurative in the mainly instances,in many the same in much prison life apprehend as poetsway set out composing usually their pieces. In ris Front (NDF) peaceFront consultant in one of his Jazmines Alan poems written the period during 1980s in the early of his second since (he imprisonment his third Feb on is now “Prison makes us into us poets,” makes National says Democratic “Prison 80–81 - Elmer Ordoñez, Jun Cruz Reyes and many others. I extend extend I others. many and Reyes Cruz Jun Ordoñez, Elmer gratitudeas to my and Tom well of Canada Katia Canciani respec in their me who represented Africa of South Eaton on the said date. events tive PEN ------I am still as to this cat precisely quite uninformed how And always, the imprisoned writers are themselves their themselves imprisoned the are writers And always, Though they may usually have to start have usually may they Though a practical from tinued support, especially those who just last November on the International in Manila led a successful forum 15, Lumbera, Bienvenido of the ImprisonedDay Writer—Dr. bly differ in any basic way from the progressive or militant the progressive from in any basic way differ bly thankful much to very I am definition. own Anyway, sector’s their con Center for PEN International and its Philippine egory of the imprisoned writer egory is operationalized by PEN it could how possi International. I see no reason, however, of state as veritable political prison transformed repression, has but of writers built its living own for not only workshops legacy of militant and culture. literature in militancy, ideology and spirit.in militancy, of writing in The urgency among non-writers the previously that even prison is such the political to to strive learn write prisoners and become artists right. in their own and writers In the history people’s own works’ necessary audience—they who at all times audience—they must necessary works’ own true sociopolitical,be of the reminded historic essence even who continually be they must strengthened of their ordeal; tive embodiment of the extreme dehumanizing effects of tive embodiment of the extreme social injustice—into politicized prisoners. audience; which should serve them just as and not in them well serve should audience; which the politicalthe least significant given way prisoner‘s task a collec the imprisoned masses—themselves of organizing mentation of a continuing social, real experience, human to hold their rel or another, be able, in one way should cases, in such time. and cogencyevance over Temporarily inmate populationthe general becomes their immediate non-guarantee write they that what could immediately write they beyond prison their audience perse walls, reach as docu that their works, just the same knowing veringly is sois compelling imprisoned the that whole, on the writers to to able write.will themselves are despite deterrents, all 82–83 - - - -

tarimas becomes selda dosselda , (no, not popcorn), (no, but would spring from their from spring would , self-pity, or any of limbo life’s damning of limbo or any life’s , self-pity, kosas pasalubong—hopia, mani the GO, and just like that, and just like the GO, Buryong , I would, at someimagined, I would, exact moment, give kakosas But they would all be would so ur they out of any But in it not exactly April 19, 2011 19, April wasted furthercould have moment we No assaulted. men my the orders, I gave a minute— in half It was all over finished. all have we The bag of crackers It has become aboutof some a ritual month kind for a piece of my or chicharon. that jumbo bag usually of pork crackers it’s so uninhibitedly—almost would They desperately—get think famine that you’d in the ruckus involved themselves had just hit Calbayog City. is simply to shake The idea, rather, gent, hunger. gnawing or in a highfalutin sense, off numbness; to realassert a more existence. that to adversary, creepy canfeelings be a formidably such it a good a coming give would at require fight togeth times the pit.a mosh The few and in a aisle, and slippery intostraight the narrow potentially injurious banging and grab seconds of heavy, to outmuscle just to all try each other get a bing would Resbak introduced that I was It last year was only to Pinpin’s Axel I told myself, away. prisonpoetry I was blown and I must say of this piti make to do it. the way what he’d that’s I wonder detention under and also first in poemful above, very my Axel could write Ka eight months. a letter I wish me and just meanwhile, the story, tell he did it. me exactly how Here’s and more. behind the bag of crackers, time re-enter I would the the cell coming from Every now. dalawan

to face. But in all the secret caves where lives have long been long have lives where in all the secret caves But up fired face darkness and the chance to slay By the morrow are found found are nights the seem that make in words In hearths even or endless, Or hillside thickets holding a million stars holding a million Or hillside wicks. thickets like It not just those and has flames, of course its that own The countryside is not just about is not just countryside The moonlit backwaters The CountrysideThe 84–85 - - - - bury . This sort me of gave Schindler’s List (which was sent to me by Renato Reyes, was sent to Reyes, (which me by Renato . The brief message from Baguio of the of the Baguio . The brief message from trying to reread Elmer Ordonez’ essay “Dissent and “Dissent Ordonez’ essay Elmer to reread trying made for this strange impulse which suddenly pulled suddenly impulse which this strange made for I delivered the fiery CEGP statement “A CEGP the fiery support, of I delivered A backstory is here needed. Yesterday, I was lying in my in my lying I was needed. Yesterday, is here A backstory just so amused, smiling and all praises were they no, But to oblige to it necessary I found a belated This morning, Pulp Fiction like Liam Neeson in like a boost, statements, of the the rest and so in reading I thought I could do some conscious character-pegging. DefinitionFascism,”Samuel of with L. Jackson in mind, monologue particularly vengeance” in his “righteous in of the 50th UP Nationalpanelists Writers’ fellows and Hol It was screaming I did in Jude Law fashion. Workshop had I thought I really lywood all throughout. no matter, But their attention. tarima book the from Academe” in the Counter-Consciousness Serve the People heat and Extreme of incarceration). three on day Jr. ong me to out loud and me to sit the essay and pushed up read felt the as if it I finished act and flourish. in Shakespearean something. of though I was a bit concerned I was relieved think that I had audience and all, might my that the kosas, flippedfinally out. They performance. was a splendid thought they what for me, in fact, to one. I thought it was defi do another asked nitely about all cinematic Hollywood; en it was some aural at experienced hearing someone, that they a kakosa joyment I authentically Anglo-American. that, sound so convincingly, told maybe time. next them was to all the English plan The impromptu read encore. read I them. statementsexplain or I translate first before sounded thought it really release and I press the FEAC I told him it’s in English, and he at once followed up with, with, up oncehe at and followed in English, I told it’s him “OK, sige basahin mo ‘yan sa sa amin Ingles.” Libingan ng . Last week, for balitaan , however, is only the ritual’s ritual’s the is only , however, Ingles ba ya’ng nakasulat d’yan o d’yan o nakasulat Ingles ba ya’ng chicharon issue; and the commemoration of International and issue; . As soon as set the melée would subsides, we ” “Ka Eric,” he said, “ Eric,” “Ka First up was the FEAC press release entitled “Artists, release entitled “Artists, press up was the FEAC First We have previously set to our EDs at night owing the previously have We The brawl over over The brawl Kosa R politelyKosa interrupted: Tagalog? Journalists, Academe Call for Release of Detained for Academe Call Journalists, Cultural I was just starting to it in Filipino when paraphrase Worker.” read during last April 15’s launch of the Free Ericson Acosta Ericson of the Free launch last April 15’s during read a and so the kosas I thought of giving Campaign (FEAC), report.progress FEAC Earth Day, both of which had a very pronounced angle of pronounced both had of which a very Earth Day, me an visitors my brought . This morning, containingenvelope copies of statements and messages found a way to minutes or in a way maximize a few in the morning found short the afternoon sessions for of example, it was about the Marcos burial at the mga Bayani oppressive heat during the day. But since the third week of since But the third during the day. heat oppressive became access issues when toMarch, materials on current efforts the we have my visitors, through of regular more of it in reverse and you’d find yourself yourself contemplating find history and you’d of it in reverse and revolution. (ED). From primal adrenalin surge to political surge adrenalin primal analysis—an From (ED). an entire you it gives but really, shift sudden outrageously social of human and already possibilities;range to think try their numbing and damning levels themselves. levels and damning their numbing pasakalye our brief daytime educational up for ourselves discussion especially when individual diversions or coping schemes diversions especially individual when reading the out of plastic straws, as crafting flowers such masturbationbible, or even reached seem to already have er of some pent-up raw energies or whatever is left of each of is left whatever or energies raw some of pent-up er a collectiveof tripping kind compulsions. juvenile It’s one’s spontaneously;resort the kosas to which however basically, 86 –87 - - - - dapat marami ang resbak at ang resbak at dapat marami ” ” he finally said, “ ” he finally . I liked it how he put it. it how . I liked gave not only kosa The Ganyan, Being uprooted from one’s immediate mi and familiar Being uprooted one’s from “ Resbak confi D a stinging Kosa high-five, rate, I threw any At and detention, prior to illegal I had my arrest long Yet consequence trade-offs,among the many so to speak, in anti-fascist choosing to fulltime in the anti-feudal, work of poorand cooperative movement peasants and farm in the countryside. workers lieu was, in fact, a sacrificeweight. of considerable would, I in the beginning, nights in quite spend naturally sleepless within the petty- somewhere tug-of-war that proverbial the sheer me, all around But bourgeois quarters of the self. of an utterly concreteness the undeniable back realness, itself into transforming world rural and god-forsaken ward I knew he was not reading. He actually can’t. We’re still can’t. actually He reading. not he was I knew We’re students our on- in of my one he’s on it though; working and-offwasKosa D doing in the class What cell. literacy was countingfilled up three list which the lines on the long bond.sheets of nagkakaisa. apt communaltake, a surprisingly such but slang the street a certainhe spiked militant, no-nonsense edginess to it as tribal some earnest wisdom. It me like well. actually struck learn it, allow humbly could always only we would If we myself I found the masses; with resbak, things from great mouth agapea double take. doing understood report: fully my that he and the kosas dent that loosean otherwise but conscious community of urban in found tellectuals—writers, artists workers—has and cultural in coming cause in defending—indeed common urgent out behind—oneto resbak of its own. and pretty accepted much that, all its intents for and obscure, almostpurposes, been I had already a rather This had been a estranged member of this community. - - - - ” hadall ” selda cinco selda gave the loudest the loudest gave and (inmates who are allowed allowed (inmates who are selda dosselda Palayain si Ka Eric! Ka Palayain si pasilyo boys Ang dami mo palang pasasalamatan.Ang selda uno, selda tres, selda uno, selda , a rather dated and usually perceived to perceived be dated and usually , a rather could see me since it’s the cell opposite could see of ours). that me sinceit’s Definitely, I told him, as I pulled out from the envelope a I envelope the told him, as I pulledfrom out Definitely, looked at it intently. D tookKosa me. He the list from Kosa R said, “ R said, Kosa Finally, I updated about fund. legal the kosas my defense Finally, What we just did in fact—from Neeson to Vera—was Neeson to Vera—was did in fact—from just What we There were two more messages, both two which more in Filipino, were There The proud stage-kosasThe proud of It was the most opportune time to balance things out, long list of supporters who had signed the FEAC. for up tions. of artists, group had Another done the Neo-Angono, the same by holding an art auction. I told them that a poetry group called High Chair hadI told called that a poetry do group High Chair them nated to after a successful sale of their publica it recently basa-talakay of educationalboring discussion. form this one cer But tainly was a blast. stance of Pen Medina. Rody Vera’s definitely gave me the definitelygave stance Medina. Vera’s of Pen Rody goosebumps it, as I read imagining Tito himself how Rody in Rajah Sulayman. do it would I decided the Kil to in style present The one from as well. Collective I approached with the plebeianometer 64 Poetry applause. The heat was as harsh as the high noon sun of as high noon the of was as sun applause. The heat harsh Uno. Mayo like Liwasang Bonifacio—it all felt a 1990s Nathaniel Santiago. The pauses were particularly Santiago. The pausesa 1990s Nathaniel were agitated an obviously and in one of them, effective kosa shouted, “ selda tres from I thought as I began explaining in Filipino, the contents the asI thought Filipino, in I began explaining a good I gave had I guess of what I account read. just of attemptmyself in my that distinct to militant exude of flare I also saw a group of a group I also saw time tofrom time inside the compound) to around roam the corridor. peeking in from In fact, by then fact,In then by selda from joinedthe kosas (although audience in the only cinco 88–89 - Now I think the AFP never quite accurately anticipated I think the AFP never Now In a very comprehensive way, the countryside indeed, countryside the way, comprehensive In a very of course at times even I would imagine myself—and messages were almost exclusively for red-letter And for days. almost exclusively messages were that me, really, for and ironic awry just so incredibly so, it’s it took act a fascist of the state to fling me back full to the peers and erst consciousnessmainstream former of my while community. community this have may respond. They far how would of reason, underestimated the sharpness arrogantly even of conscience and artiststhe firmness that writers just are too capable of articulating of patent in the face injustice. I concerned state and other the AFP guess agencies would according to concrete concrete of analyses conditions, is my within even realizable absolutely and highly necessary heart is at the The countryside lifetime. applied of an social science is food kind, the goal of the highest of which on tableevery an unprecedented and humanity just that may enjoyment universal things, a more among other for, allow of poetry. villages, was too of a pull that soon, much its far-flung bastions democratic political of real the emergent power, becomewould milieu; soon, immediate my familiar and become would work home. unannounced up about at plan it methodically—showing and friends where in Manila some somewhere gathering be colleagues all would erstwhile in attendance old for and of work demands the ever-present But sake. time’s me the considerationssome related seldom other offered very chance. I just had to content with those myself few, I had managed where to small-group sort reunions rare no letters I that were There of sneak into the years. over could remember; now online communication could always a lurking (lingering, and somewhat awkward be cursory too I found thread stalkerish and voyeuristic); text group’s - - Red hymns and marches that so romantically exalt the and marches hymns Red I had gone to the countryside not solely out of youthful I had gone to not solely out of youthful the countryside More plausibly, though, it was not time alone that I had plausibly, More The countryside is not just a series of poignant just a series of is not The countryside images. There was romance toromance was it too,There and asof course, a poet, tory’s most scientificrevolution, the propositions. Agrarian tory’s are literature, than just a source of great more peasant war, all part and ongoing historical of an entire which, project toiling masses as a social and political all sound true force and beautiful because precisely the is one of his compellingly and in the first place, it wascompellingly place, it and in the first because a scien and attitude to, society had and history knowledge of, tific told me to do so. revolutionary poet that I had once revolutionary believed myself to be. for the muse.More passion and definitely not just anyway not enough of but simply the faculty and even the drive to the drive of but simply the faculty and even not enough realization—one was It a humbling of many, so pull it all off. in fact, that I certainly to owe the countryside—to that learn and passionate being the dexterous I was still from quite far myself aside and render its movement in the mostprecise its movement myself aside and render poeticand powerful that it ultimately language deserves. fidelity, even as the sure rhythm of emancipation rhythm of sure as the ascendseven fidelity, and becomes a most contagious beat. is a The countryside difficulty and I had great whirlwind the finding time to pull is, at the same time, and wide vista a clear to an otherwise peace. genuine elusive of natural It is not just a chorus escalates of war and resonates high in fury sounds—the I think were moments of lucid self-appraisal—when it of lucid self-appraisal—when moments I think were seemed asif I had somehow escaped poetry. conflictchaos vision of class and a burning as it It is, rather, nothing of the earthynothing of images of rice fields and barefoot ever and crows sounds nor the primal of crickets children, these escaped be would times, however—and me. There a bulwark of all-round social as just soon would all-round of change a bulwark to beprove too pull. an irresistible of much 91 - - - - To all my resbaks and those political of other resbaks all my prison To It was my last job to comprehensively document military to job last It my was comprehensively be Samar, Jorge, in San Bay-ang atrocities in Barangay It this is roster. in the HRV becameI myself entry an fore being believe, beyond my I a writer and artist, tragic irony, the communitythe reason and that has given the clearest immediate to motive my callmost and uncon for urgent ditional release. to the true unadulterated all thoseers, who realize mean the from gratitude straight I extend my ing of bayanihan, heart, as he hadheart. it printed The poet Williams’s Saul once his shirt on of the chest, right in the middle was the continent. could thinking we actually startAfrican I’m a archipelago the Philippine printing by embroidering fad or to symbolize the heartupside-down of the on T-shirts justicepeople for in a social yearning gone topsy- system allude toturvy; this could or the historical in fact task of the masses to invert the so-called social I feel triangle. But What just stalling of this jailhouse blog the end entry. I’m has my heart, to is that finally say ever, than like more I’d taken fist. clenched the shape of an unyielding ------which I‘m I‘m which meitheal or the more com or the more in the Bicol provinces. In is growing each day and each day is growing suyuan . It is this kind of militant, col luyo-luyo —the Winaray terms for mutual aid for terms Winaray —the Oplan Bayanihan bayanihan aglayon and It is this bayanihan movement of the masses of that is, It movement is this bayanihan This very same cooperative practice in production and This very U2’s Bono has a rather fancy sounding Irish equiva sounding Irish fancy Bono has a rather U2’s tiklos cally, but surely the list of human rights violations (HRVs) the list of human rights violations (HRVs) but surely cally, Aquino’s under pace, alarming brutality with increasingly impunity. and insurgency” design to which the regime, for obvious insurgency” design to for the regime, which demagogic has reasons, appropriated the exact communal statisti I stand where know chronologically, name. I don’t confronting the country’s centuries-old problem. agrarian confronting the country’s in fact, the main target militarist of the current “counter- lective struggle that has slowly but surely, been moving but surely, lective struggle that has slowly and fun of independently forward, reform land genuine damentally in deceptive programs opposite to the state’s rural economy is calledrural either it‘s regions, the Tagalog known monly the militant campaigns to distribute rent, reduce land land, all and end wages, eradicate usury, workers’ farm raise exploitation. and semi-feudal of feudal forms other and farm labor exchange. Both are at the forefront of the at the forefront Both are labor exchange. and farm production of poor cooperative movement peasant associa astions has indispensible which long served counterpart to the Irish peasantthe Irish roots and context of competent right now fairly with it has, but what I’m sure is lent to resbak’s community spirit. once used He the word tolent resbak’s society business and civil European to rally “meitheal” and utopian campaign philanthropic to his largely around on poverty toend yet research I have in Africa. and hunger and the thousands more who have fallen victim to various fallen who have more and the thousands of stateforms and terror. repression now have their hands full as in particular me just not it is full hands their have now the communitythat standing is for, the resbak and doing of political hundreds kosas country’s of the rest but the November 13, 2011

Nine months ago today the state took from me the fol- lowing: a cellular phone the make and features of which my wife once described to be impossibly antediluvian; a computer notebook blamelessly made in China and func- tioning; and one particular non-gadget, belonging in fact to the category of the non-object yet whose loss can be so dreadfully concrete you’d swear never again to spell it in small unpunctuated letters—F!R!E!E!D!O!M!

Ericson Acosta (born 1972) is a Manila-based poet, songwriter, journal- ist, and activist who served as the first chairperson of the cultural youth organization, Alay Sining, and helped to launch the revival of the Concerned Artists of the Philippines (CAP). I Am a Cultural Worker

Ericson Acosta Interviewed by Jonas Staal 96–97 ------: Well, the easiest way to answer this ques to the easiest way answer : Well, : You’re a singer, a scriptwriter, a poet. Do . . . scriptwriter, a singer, a : You’re : So what consequences does this position hold JS artist? of an work the for tradition of creating art together. Collectively, one can Collectively, tradition creating art of together. to the at inherent that are problems of the kinds face titude artist the individualistic of who embodies the ideas the so-called complex” property—or private of even “star artistsof to who want be stars outdo process, in the and, artists.other especially those organizations, belonging The cultural learned much to the national have democratic alliances, un task issues. A crucial have about handling such they to unite with dertaken artists in order them is to provide Jonas StaalJonas as speak an artist?yourself of ever you Acosta Ericson to That brings worker. tion that I am a cultural by saying is contained of the elements gether all of art within the fields is also an artist,worker A cultural and literature. when but that you’re imply you worker, a cultural call you yourself connected to a political situ and consequently organization within the field of politicalate directly work your struggle. cultural are that there me begin Let with saying EA: fields. organizations composed artists different of from belong to these groups. you one of worker As a cultural collec of practice takes place form your in the of Part politi the of study training—the or cultural study tive the cal situation and simultaneously, and social issues, and the arts. culture of This goescollective study very the artist of of the stereotype who is wary against much organizations in as cultural being As far part a group. of historical is a rich concerned, there are the Philippines 98–99 ------JS: In general, the commitment the of art to In general, politicalJS: in is easilyorganizations “propaganda” considered negative sense. has to This, I believe, much a very for do with historical tendencies. Let us consider, instance, the state art of Russian during the early of Lenin. the guidance During this under Revolution, period, substantial space was granted and freedom artisticto avant-garde and experimentaexpression tion, led of Constructiv which to the development later, years a few only Yet ism and Productivism. installed leadership contrast,and in marked Stalin’s lead which toSocialist the persecution Realism, and This of the avant-garde. members deaths of many hasitself history been of propa mobilized as a form toganda depoliticize artists, to create and perpetu ate once the idea that artists engage with politics, it will inevitably lead to them mass gulags, persecu et cetera.tion, . . . censorship, EA: The academy embodies this depoliticization The academy EA: of art and artists. artists of The training university in the be used propaganda, art not yet that for stresses should has the movement the Filipino struggle, of in the context enlisted thoseconsistently who belong to the the best of artist and writer communities its different throughout periods and iterations. This was especially the case in the the most when during the Marcos dictatorship, 1980s, artists—the visual Social Realists—used their prominent regime of the mass mobilization. the effect for But works EA: Exactly. Major mass organizations of the period each period the mass Major each of organizations Exactly. EA: years a few in only which arms, cultural their own had organizations. into cultural separate transform would inspira course great of a periodThis was which during in China. Revolution the Cultural tioncame from

1 - - - - by Filipino revolutionaries and intellectu Filipino revolutionaries by was directed als. The second movement It Marcos regime. the US-backed against the second of is in the context movement the artistthat the notion of as cultural emerged. worker - - ment were all born of this second movement. were ment challenged US imperialist rule of the Philippines. US imperialist of the Philippines. challenged rule the New The Communist Party of the Philippines, and the NationalDemocratic Move Army, People’s JS: The First Propaganda Movement was a cultural was a cultural Movement Propaganda The First JS: that opposed of the rule movement the Spanish Movement and the Second Propaganda Philippines the people through his or her politicalthe people his or her through education and collective work? JS: Here we arrive at an urgent question: How does question: How a at an urgent arrive we Here JS: day-to-day struggle of the influence worker cultural

so-called Second Propaganda Movement was launched. so-called Movement Second Propaganda role These activists immediately understood the decisive and music in building resistance. art,of literature, in fact has a strong tradition of revolutionary worker and worker revolutionary tradition of has a strong in fact can attribute to this phenomenon peasant songs. We the when late 1970s, the period the of 1960s and early strated by the experience of the unions. It’s about finding the unions. It’s of the experience strated by in union education to materials use visual or using a way movement songs to agitate The revolutionary their ranks. the membership of the organization, crystallizing the organization, work of the membership making simply artistic or actions through forms, ers’ is demon lively more the political education workers of EA: The instrumentality of cultural work in expanding in expanding The instrumentalityEA: work cultural of a political education. programs regular of creation The in organizations the cultural brought activitiesand have contact the masses. with

Movement was formed in 1872 as a re in 1872 was formed Movement sponse to occupation Spanish and was led ment, a cultural uprising demanding uprising demanding ment, a cultural Propaganda The First independence. called for a Second Propaganda Move called a Second for Propaganda Around 1960, Senator Claro Mayo Recto Recto Mayo Senator Claro 1960, Around 1. 100–101 - - - - are proof are 3 Talks at the Yenan Forum Forum the Yenan at Talks collection is hailed as an important work and is located Socialof Realism in the landlord a rural courtyard the home of of County. in Dayi , which in the simplest of explanations explanations of in the simplest , which that there was indeed a Chinese avant-garde. Moreover, Moreover, was indeed avant-garde. a Chinese that there that of the So from different was very this avant-garde with though people unfamiliar are viet Union, even who its specific discourse tend to place the umbrella it under of Socialist Realism. the overdetermined role that is oftenthat assignedrole to art overdetermined the in of politics.the face also I politics that believe But is just art. of an instrument as well critiques of the This is something that numerous JS: so as to downplayed, perpetu have Revolution Cultural in China. ate was no avant-garde the myth that there Collection Courtyard the Rent But sculptures EA: Yes, and now I’d like to return to the question of form as to form the question of to return like I’d and now Yes, EA: Philip the in groups cultural of challenge The Mao. by raised EA: One of the basic the One of theoreticalEA: documents within which ori organizations the nationalmost of cultural democratic Mao Tse-tung’s is themselves ent andon Literature Art that there well as the premise own criteria as art’s defines its critique and sharp However sake.” art’s for is no “art the political it might be in following line, correct however the positionan artwork class that depicts the working of artisticfails in if it is criteria—that be effective will never Indeed, Mao. I am the basicone of principles underlined by the artist the discourse of becoming that warns of a aware was very Mao But culture. peon the commissars of of mere about only the need to not an artwork popularize particular, that positions political itself but also along correct the lines, importancestandards form. raising of of comprises 114 life-size clay sculptures sculptures comprises life-size clay 114 from and sculptors Yushan Ye created by Fine Arts. of The Academy the Sichuan The Rent Collection Courtyard (1965) Collection Courtyard (1965) The Rent 3. - - - - - He is now is now He 2 munist movement, Hernandez was im Hernandez movement, munist himself prisoned found and subsequently a landmark thirteen-year- at the center of long legal dispute. -

ian art” with the aim of of propaganda is itself a form depoliticizing artists. the same time, recognize I do At JS: I agree with you that referring to so-called that referring I agree with you “totalitarJS: ism from Socialist Realism, and according Socialist to Realism, what ism from understood propaganda in differentiate criteria you the notionof sense from repressive the manipulative, tool? and emancipatory aspropaganda a progressive JS: Could you explain how you distinguish Social distinguish Real you how explain you Could JS:

academia cannot deny this fact—his intensity, power, and power, intensity, this fact—his deny academia cannot be denied. historical significance can never Vera Hernandez, a union leader in the fifties. leader a union Hernandez, Vera Even the best poets one of the last century. considered of cultural wealth of society. One need only think of Amado One need think of only society. of wealth cultural debate. History has shown that artas debate. has part shown History the movements of has contributed change to and radical the greatly reform of people and the oppressed have already moved beyond this beyond moved already people oppressed have and the tives of the oppressed. Practice has shown that the artists has shown the oppressed. Practice of tives continued in the service the of work propaganda who have used for propaganda are in fact engaging in propaganda in propaganda engaging in fact are used propaganda for the narra and disenfranchising silencing by themselves, firm in stating in firm be that thoseclaim that artshould not who the academies and artthe academies and communities. that One side claims very are be used propaganda, while others art not for should EA: There has been an ongoing debate There in on this question EA: Realism. Art historians usually refer to the 1980s asto the pe1980s the refer Art usually historians Realism. there. end did not but it in fact riod Social of Realism, it was no longer necessary to no longer it was Social continue of the work change after Marcos led many of these artists of after led Marcos change that many to believe various socialvarious injustices Philippines. in the in the com his involvement Following a Filipino writer and labor leader known a Filipino writer and labor known leader his politicalfor criticized which writings, Amado Vera Hernandez (1903–1970) was (1903–1970) Hernandez Amado Vera 2. 102–103 - - : that is the equation. public spaces in Rotterdam and The public spaces in Rotterdam of nature Despite the ambiguous Hague. could police spokesmen the work—even the installations whether distinguish not support public of or the sign a threat were decided to report the Wilders—Wilders for that it was a death on the grounds project threat. - - . The project . The project Laptop plus forest equals rebel Laptop equals forest plus were a member of the Communist Party? a member were JS: From where did they obtain did they where that you the information From JS: EA: EA: reported officer The arresting to a peer in his camp that he EA: I was arrested in 2011, one day before Valentine’s Day. Day. Valentine’s before day one in 2011, arrested was I EA: Samar, of island the of barriers interior the in one of I was rights human on violations committed out research carrying was trying to I consolidate the data.all of the military. For by killed who was because leader a youth of I learned example, peasants. youth Upon soldiers his death, he represented used his dead body signal in as part pile to a ignite of a smoke com land. Similar atrocities to a helicopter help were order back into I was heading town mitted War. Vietnam in the a platoon when military of after research conducting my because a along the way I was carrying me arrested men wanted to They see what was on it and I toldlaptop. them tried to prove I even that the battery had lost its charge. button, they but then power the pushing this to by them the button pushing that my topunched me due suspicion or even self-destruct the laptop a guise to make was actually the cause having of likely that were explode—suspicions me brought they films. Then Hollywood watched too many there I arrived and when to camp. It their was an hour walk, loca the me for I was interrogated and tortured. asked They position camption and what my my in the Communist of Party was. was prosecuted Dutch authorities for by politi Freedom Party for threatening titled with his project cian The Geert Works Wilders consisted twenty-one of so-called “memo collagephoto and a including rial works,” white roses, portrait Wilders, framed of tea-light candles a stuffed bear in and Between 2005 and 2008, Jonas Staal 2005Between and 2008, 4. - - - 4 JS: So could you say something So could say about you the circumstancJS: arrest? es of your JS: I was prosecuted for threatening an extreme right- I was prosecuted an extreme threatening JS: for wing politician an artwork. with death through in Dutch national media. story because there are many other political other because many story are prison there less public and who have lesser known who are ers support. As a Dutch artist, maximum time own my in caused that quiteprison and even was two the stir days, art and engagement that you demonstrate asart an artist that you and engagement just have and political You activist can be severe. highly own your downplay you in prison, yet spent two years JS: As you well know, the consequences of the type of know, well As you JS: EA: [Taps interviewer supportively on the shoulder] interviewer [Taps EA: EA: [Laughs] What was the circumstance? [Laughs] EA: the countryside some revolutionary songs are performed in performed are songs some revolutionary the countryside the style hip-hop of music. concern employing the mass line and understanding what concern employing instance, with. For in and familiar the masses consuming are in fact incredibly open to all influences, especially as they especially as they open to influences, all incredibly in fact the signature of a march, or that paintings should always always that paintings or should a march, of the signature are workers cultural of the groups be painted no, But in red. progressive art be dogmatic—that must bear music must all progressive developments in progressive culture are all useful materials materials all useful are culture progressive in developments or Some people revolutionary think that workers. cultural for tion to the principles of revolutionary or progressive art. or progressive But tion revolutionary to of the principles time, this popularat the same as media the historical as well which academia offers—all of which are in opposicomplete are which of offers—all academia which pines is that they face corporate media, Hollywood, and that that and media, corporate face Hollywood, they that is pines 104–105 - - - JS: So you essentially prison. So you continued from work JS: your JS: How was your relationship with the other prisoners? other with the relationship your was How JS: base Did you teaching your on specificJS: texts? began you And then to of dialecJS: incorporate works tical materialism into class? your EA: We had regular discussions in the afternoon, especially had regular We EA: into the prison. Materials allowed after materials were new discussed political issues— visitors. We in by brought were guess. [Laughs]. I was also I able toMarxism, write a book course. of experience, learning It was a great poetry. of [Laughs]. though it was difficult it in prison, even I extended Yes, EA: EA: Yes, we were all locked up all day, though exceptions exceptions though all day, up locked all were we Yes, EA: to be part request a basketball of I would when made were and books for except things, many of I was deprived game. but writing visits as materials. well, to I was able receive and questioned harrassed because visitors were my most of fol even to were me. Sometimestheir relationship they of political I was the only cell. prisoner in the lowed. high inmates hold a very the regular prisons, In many EA: I was accorded that activists and revolutionaries. for regard high respect. While in prison, class be I initiated a literacy or write. That to read how know inmates didn’t cause of a lot students was the time. at my projects of One my was one of a paramilitary of member group. a retired even teaching peasants—simple experience had previous I’d EA: ABCs. JS: And there you spent the days and nights. spent you the days And there JS: JS: What kind of space talking we JS: are about? JS: How many people are in a regular cell? people many in a regular How are JS: JS: So you were first placed first in isolation? were So you JS: JS: And the illegal explosive was your laptop? was your And the illegal explosive JS: JS: What was the official charge you? against charge official What was the JS: EA: Eight by six meters. Eight by EA: EA: 12 toEA: 16. EA: Yes, for a few weeks, before being placed in the regular before weeks, a few for Yes, EA: prisoners. cells with the regular theoretical content contained within it concerns. EA: The laptop was very explosive I suppose, as far as I suppose, as the far explosive was very The laptop EA: EA: IllegalEA: possession an explosive. of to most rebels and revolutionaries upon capture. revolutionaries to and rebels most sleep. But my situation is not unique. This is what happens This is what happens situation unique. not my is But sleep. he was kindhearted—he simply wanted a promotion. At the the he was kindhearted—he At wanted a promotion. simply of tortured,camp I was mentally deprived and physically in order to earn himself a higher ranking. It was not because It not was ranking. a higher to himself earn in order the arresting officer three more phone calls and lobbying to phone and lobbying calls more three officer the arresting as wanted he to me to bring the camp life, alive take my not an encounter,” which basically which to meant eliminate on the me an encounter,” spot. It was to be reported confrontation. as a rebel It took learned that his superior had used the phrase “charge it to had used superior that his learned “charge phrase the had arrested someone and I listened to his conversation. I I someone to listened I and arrested had conversation. his to write inside. I would start writing at night, when everyone among many of CAP’s efforts this year. A first challenge was asleep. During the day it was too hot to work. The heat for CAP was to effectively encourage the film’s crew, is oppressive and there were no windows, just air holes. cast, and production team to delve further into the study There were coal ovens on all day in the prison. Of course, of Philippine society’s real conditions and the discourse there were also lots of things going on with the inmates. of nationalist and militant struggle. The process of mak- However, there was a lot of pressure to keep on writing, both ing the film itself has actually proved to be a very posi- from my wife and the campaign, and packages containing tive advantage. CAP should also be prepared to engage writing materials continued to arrive. corporate media and the government’s spinmasters who, in one way or another—I’m quite certain—will try to assail JS: You yourself are part of the cultural organization the film and use it to vilify and “red-tag” the progressive, Concerned Artists of the Philippines, and with some independent cinema community. colleagues from the group you will soon release the film The Guerilla Is a Poet, which highlights the revolutionary JS: So, you consider the political education of the movement in the Philippines and the central role of Pro- film crew to be as important as preparing for coun- fessor Jose Maria Sison within it. With this upcoming terstrategy against possible government censorship project in mind, what do you consider to be the main of the film? In other words, the education of the art- challenges ahead of CAP? ist must come through the people and not the other way around? EA: The screenplay of The Guerilla Is a Poet is the product of a wide-ranging and collaborative effort, including those EA: Yes. of my wife Kerima Tariman, who herself is a former politi- cal prisoner and Keith Sicat, the producer of the film. My This is an edited version of the transcript of the interview that took most active and direct participation with CAP took place place between Staal and Acosta on 14 July 2013 in Manila, the Philip- pines. The interview is reproduced here with the authors’ permission. in the mid–1990s. That period provided me with significant experience in forming national-democratic cultural mass organizations in the urban youth and student sectors, which involved cultural productions, the organizing of artists and writers, and theoretical studies on revolutionary aesthetics. This was very helpful in the work that I did as one of many who successfully revitalized CAP sometime between 2000 and 2001. After this period, I decided to go to the country- side to be part of the antifascist and cooperative movement in the peasant sector, which of course also has a clearly- defined revolutionary cultural orientation and program. Assisting with the filmThe Guerilla Is a Poet was just one Terrorist Trials as a Stage: Some Notes on Performativity

Beatrice de Graaf 110–111 - - - - For the past decade, European countries have severely the past decade,For countries severely European have I would argue that in the case of Professor Sison, we Sison, we that in the case of Professor argue I would Counterterrorists stage are also They as well. players a country that has nothing at all to Peo a country do with the New Army. ples’ criticized the United States on terror its war extralegal for for and its persistent use in the form, of military repression to review The timeexample, of drones. has come, however, democracies also deal with terrorism—per European how their legal but through or drones, wars haps not through and perhaps subtle even us more makes which frameworks, can see We of all-out than the wagers war. pervasive more condemn war, can and we we judge war in progress, war Today we are reviewing the case of Professor Jose Maria case the of Professor reviewing are we Today this caseSison. so makes I believe What special is the fact it pertainsthat to the Philip someone—a suspect—from pines, to purported Philippines, carried out in the crimes but toand to a trial is a citizen which of the Philippines, staged crimes This is a trial for in the Netherlands. here been not committedthat have in or against the Nether not committed were at all and crimes that,lands, moreover, substantiallack habeas is corpus. Because of this, there Sison has been a huge disparity between what Professor he is accused.accused and how and where of One terrorism. effect—not witnessingare a performative act, as a performative could consider occupying terrorism but one might also consider counter- the space of theater, its performative with own of theater, as a form terrorism some with you toqualities. And today share like I would aspect,thoughts on the performative but not of terrorism, of counterterrorism. Sison, we And in the case of Professor produce theater. war on of the witnessing effect terror are the performative that affects not only form form—a in its most far-reaching in the Netherlands, Sison, but also of law rule the Professor 112–113 ------in 2004. The members this so-calledin 2004. The members with and charged arrested were network and pre constituting network a terrorist attacks.paring terrorist The investigation was calledinto this network the “Arles the public prosecution.case” by There was a huge media sur was a huge presence There 1 The notion the trial of is not something as performance I The purported acted crime and its object are out in spectators. to not only The aim of these was performances justice, out royal but also to of demonstrate the fate carry trial The sinners. acted as a memento mori, as a reminder who tres gates anyone the of how open of hell would for also of theaters passed were They and human rule. divine rounding that trial taught and the experience rounding the us how convictsmediaoften suspects the trial already even before takes place. invented. Indeed,have it dates back to the pre-modern age, the perpe theatrical much shows: very trialswhen were trator was placedwasquarteredfor on the scaffold, he view of the bodily in full example, he received punishment black box of the trial, and in the end you have something something have you trial, of the box the end in and black trial, trans one is terrorism the through Hence, criminal. citizen into someone without an ordinary from formed statusany instance, for at all—into refugee, a or a convict. trial that the meaning during the actualAnd it is terrorism and the scope as those such juridical of new provisions decisions are out in the EU lists their framework and laid made real. the courtroom, by the prosecution—the prosecu evoked to he has story tell, he acts piece out his tor is an actor, accepted either and or rejected by the defense and it’s or judge. The public and the media are judged by the jury the trial a veritablealso present, thus rendering theater of the trials against will remember you Perhaps performance. the Hofstad Groep. is a term coined by the Dutch General coined the Dutch General is a term by Intelligence and Security Service (AIVD), named after and used to define or less connected more of friends a group and acquaintances Mohammed around Gogh Theo of van the murderer Bouyeri, The Hofstad Network [Hofstadnetwerk] [Hofstadnetwerk] The Hofstad Network 1. - - - - - So, terrorism trials are analogous trials to first are boxes: black terrorism So, But terrorism trials are a very serious business. Law is a very trials are terrorism But The performative power of the terrorism trial is a very trial is a very of the terrorism power The performative First, I would like to address this performative aspect to this performative address in First, like would I So allow me to relay to thoughts on the per three me to you So allow relay I must admit that, as I a historian legal without training, enacted and contested. the it goes and then through political have you behavior, productive of reality, symbolic orders, and power. And tri And and power. symbolic orders, productive of reality, spaces—the theatrical spaces the very and the real als are these which productions theatrical are scenes—through deal with terror—not through drones or military drones through means, as I deal with terror—not stated, previously have trials. but through important element in the legal war against terror. In de important the legal against in war terror. element is criminal law bates measures, preemptive concerning as means with which often the most regarded effective to more depth; second, depth; the notionmore I will address of the terror I management;ism trial as of risk instrument an and lastly, remarks. evaluative some to general wish make formative aspect being that is this legal on terrorism formative of war as speak. we waged in the Netherlands example, on the extradition of acquitted suspects, terrorist been cases have many the last decade. in there of which Netherlands. So rather than focusing on the US, Iraq, or Iraq, than focusing on the US, So rather Netherlands. toAfghanistan, penal you and study your go home I urge code, and alongside it the small articles in newspapers, for so I challenge you all to you home to go so tablets I challenge your and read the Dutch penal code,through becausedocument that in simultaneously role the most crucial plays supporting and potentially our democratic rights in the undermining out these cases? in Dutch laws, the legal paragraphs tend to forget always but what about legal measures? Who really knows every knows really Who about what but legal measures? aboutthing instance, those for legal measures, for except and prosecutors that carry specializedthe highly lawyers 114–115 - - - - on on performative perspective This is especially the case concrete that when evidence Counterterrorism, too, is a form communication.Counterterrorism, too, So the is a form aspect trials considers This performative of terrorism attention, and public outrage. political pressure, links a perpetrator to and the a crime scene is lacking, and preparatory subsequent criminalization of ancillary adds a new dimension to the performativityacts arguably futures, trials. premediated violent By invoking of terrorism intent”the “terrorist and legitimate mundane of otherwise library borrowing money, activities as transferring such books, someone or giving a lift in a car as made a is real criminal act.present importance Of key to of the work premediation within legal proceedings, in is the way then, produce political disputes.A trials trials as considers the stageterrorism these where contestations (in)justice of are narratives out, play where established, subject positions and where enacted are and person who has a terrorist, or a been Hence, entrenched. labeled as terrorist, is by definition a chal someone who a new vision political offers system, and the current lenges of justice. is what is staged That in the trial of Professor Sison: competing images and ideas of justice. is essentially a politicalcrime of terrorism and contested con trialcept, embodies and the terrorism this political debate. asthem stagesthese political where contestations play justice of established, are out, the narratives where where the positions enacted, or confirmed. This are overthrown to the authority provides theatrical platform the element putting popular for example, demands ter for address, can become a space the in which on trial.rorists Trials legitimacy actions of the disruptive of police and security canservices both become contested as much or affirmed, of tried.are The “space as a space the defendants in which trial” hence does the court include the terrorism not just room proceedings,processes but also the wider of media ------Of course there are also “normal” trials, such as trials, those such also “normal” are Of course there But how does this happen? Law and action com are does how happen? But this Trials have since lost some of their dramatic quality, as since lost have some quality, dramatic of their Trials possible of justice and injustice. versions alternative The is essentially a politicalcrime of terrorism and contested concept, trials, thus, almost inevitably and terrorism Counterterrorism and criminal justice offer their version of version Counterterrorism and criminal justice their offer justice, the ter whereas according to of the land, the laws to tell, has story his or her involves which defendant rorist both terrorism suspectsboth and the prosecutors terrorism communicate visions of justice and injustice, visions on the rearrange and attempts relations of power ment to them. rebalance a show to different system of justiceexample.for The thief to different a show has stolen he does a case to something, not want make trial, during a terrorism a new kind of justice.for However, involving murder or theft, cases re murder but such often don’t involving competing around has volve ideas of justice. The murderer someone, does to and he or she not want make murdered Public presentationPublic and contestation of narratives of the justice and injustice especially important, are both sus for pects the security for and forces. tion. Trials provide the medium though which communica the medium though which provide tion. Trials tion takes also the production are place, sites but they of trials. this is especiallynew meaning. And true of terrorism municative processes, and law also offers a framework framework a municative processes, also offers and law human action to which and communica interpret through performative spaces realityperformative is shaped in which and estab so to new sinners, where measures, by new punitive lished powers—inter new divine produced,speak, where are and actednational powers—are out. people are no longer physically punished in full view of view in full punished physically people no longer are still that they retain however, argue, I would an audience. trials are Modern character. of their performative much horror, intended to inflict horror on the hearts the on intended to and horror inflict of souls horror, the onlookers. 116–117 - - - - This brings me to second my point: what, is the then, The second and even more problematic aspect problematic more The second of current and even these for aspect, problematic The third is very which example of how changes in the political changes example of how climate often lead to in the mindsets changes and the higher of the judges court. if no attack For has taken judge place, do we how de much or not? someonewhether is a terrorist That very pends on the political climate and political within pressure can drastically change know, and this, we society, a given overnight. to So I want emphasize that trials do not take place in a vacuum—criminal is not an absolutist law entity, it has to constantly be filled with new meanings. is no habeas a trial there corpus,function when of such to try toto legitimizetry of justice system own their attempt by ing to just than to delegitimize more have do they his. So, to have They of society. laws the produce, reproduce, or to claim justice. against this other their laws defend trials that occur or without trials before involves terrorism an actual attack. suspect is apprehended If the terrorist attack, proof of a real without a the trial becomes a virtual allegations, rumors, only gun, is no smoking there show: associations, lists, deliberations, taped and conversations, with no victims. so And the state steps into the position of the victim because the suspected purportedly terrorists attacked the state the bodies are the of where system. But dead? to It something is hard convict the suspect that for projections. exists in conjecture and in future only the held within trials that are trials, involves performative threat.context of a still prevailing Consider the Hofstad instance. trials,Groep for best Despite ef the prosecutors’ forts,convicted first their and then con the suspects were convicted were after they which overthrown, victions were again. appeals The higher out of thirteen of three suspects the Hofstadfrom being are overturned Groep by the high court as speak. we The Hofstad a clear trials Groep are - - - . International International , vol. 7, no. 4 (2013), pp. 4 (2013), no. 7, , vol. tion in Terrorism Trials,” Trials,” tion in Terrorism Political Sociology 313–331. legal prosecution for basis - 2 Yet I believe that there are still three problematic aspects still problematic are three I believe that there Yet However, it is not only a negative story I wish to I wish tell. a negative Tri is not only story it However,

of justice. The prosecutor, the judge, and the jury all have all have the judge, and the jury of justice. The prosecutor, to with the crime, but also with the political deal not only attack.statement have implied And they by the terrorist’s has to deal with the explicit claim tohas to claim justice deal with the explicit stated by the often suspected who are prior toterrorists, terrorists the system trial competestrial. The terrorism with terrorist’s to current terrorism trials. Of course, if the trial occurs terrorism after to current attack, terrorist a real bomb after a real has exploded, for trial by the formal example, the system of justice invoked defendant can successfully defend his or her case. his or her Thus, can defend successfully defendant as the site the space trial can serve where of the terrorism vision an alternative of justice is produced. als can also provide the stageals can also provide the legitimacy on which of the actions of police security and can be contested forces can They also beand overthrown. the the spacewhere of the violent deed are severed. The sword of justice The sword has deed severed. of the violent are been “securitised.” response that serves to neutralize risk and placate to risk neutralize politicalresponse that serves Depending on the assessment of prepara or public fears. of culpability moment the evidence, and the moment tory with competing mediations of potential The trial futures. thus becomes sense: in a dual of premediation a theatre both to criminal actsit serves produce through present premediated violences, and to demonstrate a mediated so as to become reconfigured as criminal acts that form the the form that so as to becomeacts as criminal reconfigured ver basis assessing than of sentencing. Rather different sions of truth about a past incident, are judges confronted which it has a bearingwhich the on and money gathering acts mundane Thus, of information futures of violent to into be have sending a narrative drawn

Marieke de Goede and Beatrice de Graaf, de Goede and BeatriceMarieke de Graaf, and Precau Temporality Risk. “Sentencing For a more elaborate argument, see elaborate argument, a more For 2. 118–119 ------I have argued today that Sison’s trial was performative in trial was performative today argued that Sison’s I have But not even primary risk management, as risk Sison did not primary not even But a ritual aimed at reassert trial was not merely Sison’s the trial whether against Sison to ourselves ask have We than waging a physical war against terrorism, the EU is than waging a physical against war terrorism, legaland means, war through kind of waging a different can not forget, significantly must impactthis, we future the as such. of the democratic of law rule the sense that it attempted to reality create a new by brand we Sison an international terrorist. Moreover, ing Professor out the possibility laid have Sison that the aims of trying depended upon the impossibility of extraditing him, on the one hand, and the attempt to support and the American on the other. on terror, war Philippine prosecute Professor Sison: tosolidarity their demonstrate prosecute Professor launched and support terrorism on international the law for US administration.by the this sense it is in And the that Sison an instrument was trial against Professor terrorism management.of risk was He poseto of society. the Dutch threat legal any order an alleged the suspect from according toUS, the rather, and so the Dutch authoritiesPhilippines, decided to support the perspective of the US and began to the show perform this through Terror on of international solidarity in the War so to was the workhorse, speak,trial. of the Netherlands So the US. ing Dutch traditionsand conventions. It was also a perfor in the sense that it generated mance, and it was referential definednew meanings that Sison as an international ter who was exertingrorist influence on a global scale and who could be only combated within the international legal order. govern on behalfAnd by PR-mediation of the Philippines ment, produced images of impending doom if Profes were acquitted.sor Sison were the securitizationsignifies a towards turn of justice. Rather ------3 assassinations carried out in the Philip Kintanar Romulo of in the murder pines: Arturo of Tabara and the murders 2003, Ong in 2006. and Stephen But there were no witnesses to the be and yet were found, there But

they decided tothey be humane it would more prosecute him be That may to so, but I want that the Dutch suggest here. compellingauthorities had a more have reason to might against Professor Sison for reasons of humanity. Rather Rather reasons of humanity. Sison for against Professor he would where than extraditing Sison to his home country, be torturedlikely or killed, the Dutch authorities that claim crimes against the Netherlands. Did the prosecutor crimes against the Netherlands. pursue The Netherlands Perhaps. the case the Philippines? for that it startedclaims its investigation and prosecution party—would be deterred from carrying out possible at party—would carrying be from deterred tacks by a trial taking did So then place in the Netherlands. the Dutch public prosecutor initiate reasons the trial for Sison committed because no No, Professor of retribution? to deter Sison from further crimes? Was it about retribu Was to further deter crimes? Sison from terrorism that any because No, unlikely it was highly tion? Sison’s of Professor suspect in the Philippines—members nar, Arturo Tabara, and Stephen Ong. and Stephen Arturo Tabara, nar, trial on. So was the trial still the about went deterrence, was his trial about finding a truth? Yes, in factwas,was it it Yes, in was his trial about a finding truth? Professor of all aboutquestion first the as or not to whether Sison participated in the assassinations Kinta of Romulo of the rule of law and trials a democratic within society. of law of the rule trialWhat, in particu is the function the terrorism of then, risk often not sheer than more it’s that lar? argue I would management. take And if we the case of Jose Maria Sison, mocracy? To find out who find committed crime, deterrence the mocracy? To of crimes, restoration of future prevention of the criminals, all the classical functions are retribution—these social order, when there is no body with a knife in it? Trials, I want to I want sug it? in body is no Trials, a knife with there when management.gest, of risk instruments are Let back: us think need is the functionwhat do we of a trial, trials why in a de

Investigation Team for his purported for Team Investigation in three the Netherlands from involvement arrested by a Dutch International Crime by arrested On 28 August 2007, Jose Maria Sison was 2007, On 28 August 3, When Sison was removed from the UN’s list of designated can also be performances of justice, as long as all we pay terrorists in 2007, and then again in 2009, and no further them close attention. incriminatory evidence was found, the prosecution’s case fell apart. The performative power of this particular terror- Beatrice de Graaf (born 1976) lives in The Hague and is historian and ism trial was neutralized by the delisting procedure initiated professor for conflict and security history at the Centre for Terrorism and Counterterrorism, Leiden University. This is an edited transcript of by Sison and his lawyers, and subsequently enforced by the her spoken lecture delivered on 29 December 2012 in the context of the European General Court. second New World Summit held in Leiden, the Netherlands. It appears And now I’d like to give a brief recapitulation of some key in this reader with the permission of the author. points, and a few concluding remarks. First, terrorism trials always run the risk of support- ing a permanent state-of-emergency and of becoming instruments of risk management, thereby undermining the democratic legal order. In sentencing terrorism suspects without , state prosecutors have to rely on hearsay, intelligence, and speculation, but in some cases these unreliable protocols undermine the individual’s right to a fair trial. Second—and this is a positive remark—the current system of justice is better equipped to deal with terrorism suspects than we think, through a series of court proceed- ings, appeals, and various other procedures. The law itself can still apparently overturn one-dimensional, political definitions of terrorism: Sison has been acquitted for lack of evidence, and the prosecution has terminated their case. Lastly, trials do not restore breaches in society—on the contrary, they make them more explicit. Hence my plea for more trials—more open trials—as they provide an institu- tionalized way of discussing conflicting concepts of justice and different ideas about security. Trials are open-ended theater plays, open-ended nar- ratives of justice and injustice, in which not only the state has its say, but so do the defendants, public pressure groups, the media, and human rights organizations. Ter- rorism trials can be performative spaces where compet- ing stories of justice are presented and upheld, but they The Guerrilla Is Like a Poet

Jose Maria Sison The guerrilla is like a poet Keen to the rustle of leaves The break of twigs The ripples of the river The smell of fire And the ashes of departure.

The guerrilla is like a poet. He has merged with the trees The bushes and the rocks Ambiguous but precise Well-versed on the law of motion And master of myriad images.

The guerrilla is like a poet. Enrhymed with nature The subtle rhythm of the greenery The inner silence, the outer innocence The steel tensile in-grace That ensnares the enemy.

The guerrilla is like a poet. He moves with the green brown multitude In bush burning with red flowers That crown and hearten all Swarming the terrain as a flood Marching at last against the stronghold.

An endless movement of strength Behold the protracted theme: The people’s epic, the people’s war.

[1968] Protest Puppetry: An Update on the Aesthetics and Production of Effigy-Making, 2005–2012 Lisa Ito 128–129 - - - -

Most of Most of 1 Batasang net/234213/protesters-burn- aquino-effigy. , 23 July , 23 July [National himself president the Legislature], Inquirer News Inquirer Effigies are known in Philippine well in culture as popular in known Effigies are Outside in the streets of Quezon City, effigies move effigies move Outside in the streets of Quezon City, Introduction president. partsother of the globe as fabricated puppets that embody personalities, often as subjects of satire andor represent been have appropriated as they potent Historically, parody. the employing popular of puppetry, ritual and radical forms potency of caricature and satire as of subversion. a gesture reflect effigies generally As objects of art historical inquiry, Pambansa imagined body politic of the the in front addressing appears witnesses the public a ceremo hours, several camera. For statenial affirmation of red on the live unfolding power carpetof Congress. of protesters. Scatteredalong with thousands the around as puppets unflattering are that serve caricatures of crowd all united in the mock likenesses different president: the among all of the personas denote. Most prominent they ery atop a bulldozer andperched of these is a 14-foot-tall effigy, donning two the Aquino faces—each alternately conveying sides. and menacing” “charming administration’s these puppets to up burned later end stumps, grotesquely Doz distorted as the conflagration aparttears the effigy. devices document and of cameras if not hundreds, ens, deaths that bring the spectaclethese performative to the same public that consumes state-controlled images of the Constructed spectacles of both pomp prolifer and parody of the Philippines ated the occasion during of President Statethird of the Nation Address III’s Aquino Benigno Inside the halls of the 2012. in July (SONA) Aquino effigy,” effigy,” Aquino 2012, online at: http://newsinfo.inquirer. Jamie Marie Elona, “Protesters burn burn Jamie Marie Elona, “Protesters 1. 130–131 - - - - For For 4 , ed. Robert , represent hudas simultaneously 5 6 of Angono, on the of Angono, (Quezon City: University of the Philippines City: the Philippines of (Quezon University 2001). Press, for Art History Critical Terms Uni (Chicago: Shiff Nelson and Richard S. 51-61. pp. 2003), Press, Chicago of versity W. J. T. Mitchell, “Word and Image,” in and Image,” “Word Mitchell, T. J. W. gigantes 6.

[festivals] and religious playlets in in playlets and religious [festivals] -

fiestas 1970–1990 , Protest/Revolu , large figures made from papier-mâché, would would papier-mâché, from made figures , large (Makati City: St. Paul’s (Makati City: St. Paul’s Prusisyon: Religious Pageantry Religious Prusisyon: Practical and Symbolic Mediations and Symbolic Practical between what W. J. T. Mitchell defines in his essay “Word Mitchell “Word defines in his essay T. J. between what W. as and Image” “institutions and “institutions of the visible” historically that have complementedof the verbal” the political mobilizations—a counterpoint to visual the entire repertoire of speeches, manifestos, songs, and slogans used of political in the course struggle. Gigantes be used in some as asin Rizal as Angono Quezon. well such provinces instance, of of an effigy burning the ritual was ing the apostle Judas Iscariot Testament, of the New and Luzon townsdocumented Central in the in several regions. The Visayas Central believed, according tradition, to hand, are other to oral have paraded landlords, parodies as of the ruling subtle served fiesta. annual few cen In the span of a during the town’s folk art of forms from shift turies,the usewould of effigies and puppetry of radical toand popular pageantry a form political protest. been produced effigies have Since twentieth the century, has termed G. Guillermo in the context of what Alice art", protest and revolutionary "Philippine reflecting and helping shapeto the political campaigns in the Philippines. of the national democratic movement by activistBelonging to of media employed wide range the artists usedform along and social is a the effigy realists, mediating posters, masks, the like, side and street murals, Castañeda. in the Philippine 1995). Press, tionary Art in the Philippines See Jaime Laya and Lulu Tesoro Tesoro and Lulu See Jaime Laya See G. Guillermo, Alice 4. 5. - - - - -

46, 46, Philippine Studies Colonial Culture,” Colonial Culture,” 3. p. 1 (1989), no. Reinhard Wendt, “Philippine Fiesta “Philippine and Wendt, Reinhard 3. to facilitate the processes of 3 2 (2012) effigy of President Benigno Aquino III is burned at Two-Face the 3rd SONA protest, Quezon City, 2012, photo: Productions Tudla The After they arrived in the archipelago in 1521, the Spanish the Spanish in 1521, in the archipelago arrived they After

as “attraction strategies” as “attraction colonial into resettlement enclosed localities and conver sion of the locals animist beliefs into from Christianity. teenth centuries. religious pageantry of forms introducedcolonizers different sculpture. The latter, however, seems to originated have as however, sculpture. The latter, part assimilated pageantry Spanish of the religious from colonial the late practices sixteenth seven from and early out different periods and contexts,itsout different denotationranging an imitativefrom or mimeticspecificrepresen to a figure tationhas conceptual paral person. The former of a reviled as funerary such culture, lels in pre-Hispanic Philippine The etymology of the word “effigy” haschanged through The etymology “effigy” of the word social specific defining realities practical,milieus fulfill and ritual functions and in contributingvisual, to spectacle the history. of political the country’s in struggle

Undergraduate Thesis, University of the of University Thesis, Undergraduate 32. p. Diliman, 2005, Philippines, Effigy in Philippine Radical Politics.”Philippine Radical in Effigy See Lisa Ito, “Dissident Puppets: The See Puppets: “Dissident Lisa Ito, 2. 132–133 ------These were Thesewere 8 More sys More 9 (BAYAN). Ibid. 9. Bagong Alyansang Makabayan Bagong Alyansang Major Protest Puppets from 2005 to 2012 from Puppets Protest Major Arroyo and Aquino III administrations been and Aquino have undertakenArroyo activist the internet resource by BAYAN, years in the last few its through and UGATLahi website www.arkibongbayan.org, Facebook account. Media reports releases alike and press produced takeeffigies routinely over note of the different as incumbent such individuals the past Finally, 10 years. also cited have the pro Palatino V. Raymond Congressman effigies in reflectingspeeches on different the of gression resources constitute a SONA. of these different body of All online, about effigies. available information, growing generally commissioned by major progressive or people’s or people’s commissioned by major progressive generally organizations based in the National Capital (NCR). Region of similar scale works and prominence least nine more At continuously beenhave produced since 2004 by the artist in cooperation alli with the umbrella collective UGATLahi ance and documentationtematic archiving the of effigies under failures of these of twothe notion administrations. It failures explores not only immolation or provides of burning the ritual that expresses but also of disposinga practical way effigy, the inequalities that the structural the call to prevailing destroy exceptionAn was the deci personified image standsfor. Aquino President sion burning to desist temporarily from wasviewed as a strategywhich comple 2010, in effigy III’s political issued by the broad menting the challenge spec its electoral to promises. pursue the government trum for as to the basis also a precedent served lay This, however, rising public disillusionment at the state claiming for of two the next years. during governance the effigies documentedfourduring the study, In an earlier todecades 1964 2004 number from about 60. Ibid. 8. -

------Artista ng From the early the early From 7 would produce would increasingly - UGATLahi (ABAY) and (ABAY) The practicaland symbolic functions of the effigy as a

images that convey the rising disgust at the various images public that convey dent Macapagal-Arroyo and incumbent President Aquino, Aquino, and incumbent President Macapagal-Arroyo dent ef have respectively, and 2010–2012 between 2001–2009 as both served and propaganda iconic fectively barometers creating the effigy creating the effigy as an object and sitefrom of struggle, its conceptualization to of the the execution and display Presi that effigies former image.caricaturing It argues highlights developments and changes in the themes, in the themes, and changes highlights developments used in effigies since and forms 2005 and af imagery, value of the processes the of collectivefirms production in execution: from simple straw figures to elaborate figures floats. simple execution: straw from protest art persisted have of Philippine and affirmed form This paper years. in practice the last several throughout Joseph Ejercito Estrada, Gloria Macapagal-Arroyo, and Be Gloria Macapagal-Arroyo, Joseph Estrada, Ejercito III. As puppetsnigno Aquino figures, of mostly presidential effigies became in increasingly complex both concept and Bayan effigies to be usedlarger during the next in demonstrations Aquino, C. presidential administrations Corazón under four ship grew in both strength and number. in bothgrew strength ship of progres generations 1990s up to the present, several organizations and artistsive as collectives such Philippines on 21 September 1972. During the latter During period, on 21 September 1972. Philippines resurfacing view, public from all but disappeared the effigy and street plays demonstrations in mid–1980s later in the againstas the dictatorlegal the democratic movement cardboard effigies were used were as agitational effigies cardboard propaganda in Manila-based as as demonstrations up early 1964 and precedingto the imposition days the martial of in the law Effigies were present in varying degrees of degrees popularity in varying in present were Effigies political transitions major protests in Phil marked that and papier-mâché, politics.ippine instance, For straw,

figy in Philippine Radical Politics."Philippine Radical in figy See Lisa Ito, "Dissident Puppets: The Ef See Puppets: "Dissident Lisa Ito, 7. 134–135 - - - - 11 effective, then that’s our reward. But at the same But at the same time, reward. our that’s then effective, able to broadcast are we a message as part of a mass movement. Parodies of Presidents as Puppets as Presidents of Parodies both personality through The parody thus threads and is a The effigy component so that people will be able to to up a not just a way dress the issues. . . . It’s visualize If it’s of expression. a form artists,mobilization.. . For it’s The effigies produced after thus 2004 have on the taken unpopular an increasingly Presi of representing challenge the after year, III. Year Aquino and President Arroyo dent artists productionvisual in the SONA effigy origi involved and sec or less the same organizations more nate from Artist Collective, of volunteers of UGATLahi members tors: and its affiliate the United organizations in States, BAYAN Operating on the iconic level are the particular the are Operating the iconic on level likenesses, by effigies. The most employed symbols, and references protest ef common personality in Philippine represented 1964 is the president: present from to figies Head of the State, of the Executive, and Commander-in-Chief Chief In the electedterm. into Forces for a Armed six-year office who political a figure is the president structure, current at the same influence, but who, time, wields tremendous inequalities structural that complex of more is an emblem administrations. persisted different have throughout ofideology: is the effigy constructed mockery not only as a system that but also of the larger the person represented, embodies. It likeness is conceivedhis or her not merely to the protest action,as an ornament but as vital a part of imaging dissent and projecting this image to the larger populace aim to Visual whom these movements reach. attitude and artist up UGATLahi’s sums Rodriguez Iggy the creation of effigies: philosophy towards - - (2001)

10 July 2009, online at: http://newsinfo. 2009, July inquirer.net/inquirerheadlines/nation/ view/20090726-217234/Arroyo-effigy-is- larger-than-ever. - , 26 (Manila: Ateneo de (Manila: Ateneo Image toImage Meaning: Es Image to Meaning: EssaysImage to Meaning: Art on Philippine Philippine Daily Inquirer The representations in question span the transitional had trust or belief little in the credibility remaining of Presi while becoming disillusioned increasingly Arroyo withdent III. Aquino the succeeding administration President under many policies and socioeconomic problems from the former policiesmany and socioeconomic the former from problems administration his. persist under Thus, these were works produced context in the of responding to a public that has elected degree of public trust higher with a comparatively into thrust the position in the wake than his predecessor, Aquino But death. Aquino’s C. Corazón President former of deemed wanting weighed, as when a president III remains highly unpopular administration under President Gloria Gloria unpopularadministrationhighly President under and the startMacapagal-Arroyo tenuous an increasingly of was former III. The Aquino Benigno President under term period between two presidential administrations and cabi- 2004 to August December a 2012: of nets, the end from elements of the works); the iconic plane (denoting the (denoting the the iconic plane of the works); elements specificsymbols); and and the contextual plane imagery and political contexts). (historical varying planes where image encounters audience. Guill image encounters where planes varying ermo’s meanings can be producedwhere in levels defines several of art:a work the semiotic (comprised plane of the visual the nature of historicalthe nature documents whose appearances milieu in which of the the character for evidence provide produced. operate as They representations were they on Effigies assume the character of works that are reflective, reflective, are that works of character the Effigies assume representative original of their generally or emblematic, time, place, circumstances and of production, taking on

than ever,” than ever,” says on Philippine Art says 2001), 5-9. pp. Press Manila University Tarra Quismundo, “Arroyo effigy is larger is larger effigy “Arroyo Quismundo, Tarra Alice G. Guillermo, G. Guillermo, Alice

11. 10. 136–137 - -

- 15 http://bulatlat.com/main/2005/07/30/ art-for-oust’s-sake/. , vol. , vol.

Bulatlat 2004–2009: Capturing President Arroyo’s Last Last Arroyo’s President Capturing 2004–2009: in Effigies Term after 2005 proliferated Arroyo President effigies of More mobile works, generally ranging from 12 to high to 15 feet from ranging generally mobile works, verticalfit with the overpasses. clearance cap of traffic of mechanization, degrees also Most of them used varying using a simple system of customized internal and pulleys to simple movements, animate and make the effigy levers during the protest march. and waving, as swaying such After former President Estrada was ousted by a popular re Estrada President former After former a daughter of Arroyo—herself President in 2001, volt Diosdado official Macapagal a government and President administrations—assumed two previous under the office administration that her would pronouncement with a public a nation. pronouncement This was a and “reconcile” “heal” as be groups an emptythat would dismissed by progressive and policies did not problems as remaining promise, many administration. that of the previous from drastically differ also recanted in her made early declaration another Arroyo toterm not seek a second office in term during the 2004 national elections. compounded The worsen effects of the ing socioeconomic condition and successive of the country Arroyo’s political scandals led to President calls massive for office resignation from beginning in 2004. These as public discontent administration with her grew. life-size productions from ranged produced as the central massive multisectoral images for as mobilizations, such to effigies madeSONA rallies, smaller by dif the annual large-scale yet organizations. Thesewere effigies ferent V, no. 24, 30 July 2005, online at: 2005, July 30 24, no. V, Lisa Ito, “Art for Oust’s Sake,” Sake,” Oust’s for “Art Lisa Ito, 15. - - - - -

13 effigy is larger than ever.” ever.” than is larger effigy Ibid. 14. Whenever possible, and banners Whenever 12

14 The process of conceptualizing the effigy is foremost a foremost The process of conceptualizing is the effigy While the artistsWhile the materi continue different to explore tion]. . . .” quotes UGATLahi’s artists as asserting that the “ideas for quotes UGATLahi’s [coming] . . year. a collective[are] processevery the effigy presidential administra with [the our experiences from another level, it also upholds the principle of “unity of form of form it also upholds the principle of “unity level, another deems importantand content” UGATLahi which when of art.creating works This is echoed in a news report that it was made for that purpose.”it was made for part of systematic the artists consensus-building among and the organizations that support the protest actions. On According to UGATLahi, “[e]ven making the effigy is af the effigy making “[e]ven toAccording UGATLahi, fected by the rising prices. Art cost But now more. supplies it because a waste just burn that we it’s like do not feel we for SONA effigies. SONA for was especially and this the “recycled,” effigies are smaller administration.case during the protests against Arroyo the an eight-year-old steel that was repeatedly used platform an eight-year-old effigy centerpieces duringas or base a mount previous for protest actions. Costs estimated are 10,000 PHP at around able materials or alternatives in order to make the effigies to make in order able materials alternatives or for replicate. In 2009, to accessible affordable and more instance, media reports quoted the artistsas that saying and processed clay, cocolumber, used paper, they recycled and museums have also volunteered at various points.also at various volunteered and museums have avail cheaper and readily employ stillals, they generally as well as students from nearby schools such as schools nearby Uni the asas such students well from pool a regular and in Diliman of Philippines of the versity artists Individual carpenters. in galleries work exhibit who

PHP 10,000 amounts to roughly 232 USD. 232 amounts to roughly PHP 10,000 UGATLahi quoted in Quismundo, “Arroyo “Arroyo in Quismundo, quoted UGATLahi At the time of publication in October 2013, the time publication of in October 2013, At

13. 12. 138–139 - 17

Inquirer Reyna ng Kadiliman ng Reyna “loudly made itself heard, “loudly tuko (2007), photo: Arkibong Bayan Arkibong photo: (2007), stubbornly sticking stubbornly to Malacañang the seal tuko UGATLahi artists and volunteers pulling [Prior to the 2005 SONA effigy], the women’s alliance towomen’s the 2005 the effigy], SONA [Prior as a of [Arroyo] came small effigy with a up Gabriela smiling Liwasang at Bonifacio. rally the June 30 for recalls in a ironically even de Quiros columnist Conrado 2003 anecdote an column about on Dec. 1, of [Ar one speaking at a schoolCity engagements in Lucena royo’s] south a of Manila, where speaking, to was the laughter of students.”while she The tuko effigy appearedwas effigy in what describedThe tuko as among since rallies 1986. SONA the largest - - - :

tuko , which denotes, which (traditional politi The effigy was made The effigy 16 trapos kapit-tuko ,” a gigantic gecko clinging clinging ,” a gigantic gecko Ibid. 17. effigy (2005) represented Presi represented (2005) effigy (2005) paraded along Commonwealth Avenue, Avenue, Commonwealth along paraded (2005) Gloriang Tuko Quezon City, 2005, photo: Arkibong Bayan Kapit-Tukong Gloria Kapit-Tukong Kapit-Tukong Gloria Kapit-Tukong

The effigy’s symbolism is summarized by BAYAN symbolism summarizedBAYAN is by The effigy’s

articles this period from also note the repeated references, both intended and accidental, of the to the imagery cians) in the Philippine politicalcians) in the Philippine context. media com Many mentators did dub President of those years and laymen in their critiques. Other as an example of kapit-tuko Arroyo translation of the Tagalog idiom of the Tagalog translation term This insatiably a person clinging to position of power. has often been used to describe Secretary-General Renato Reyes, Jr. asan illustration of Jr. Reyes, Renato Secretary-General “insistence on to on holding power Arroyo’s President resignation,” and a visual despite her calls for widespread to of Malacañang Palace. a replica side by moving toy to inspired to from side, a feature move commonly sold by sidewalk vendors. snakes The as a “ Arroyo dent Ito, “Art for Oust’s Sake.” Oust’s for “Art Ito, 16. 140–141

VAT- (KMU) (2009), the work work the (2009), Kilusang Mayo Uno Kilusang Mayo tion/view/20080726-150903/Protesters- create-ugliest-Arroyo-effigy-for-SONA. ever.” Quismundo, “Arroyo effigy is larger than is larger effigy “Arroyo Quismundo, The Philippine DailyThe Philippine Inquirer [decaying] leader, perched perched leader, [decaying] 19. Gloria Forever - effigy (2009), photo: Arkibong Bayan Titled

nabubulok 19 18 Philippine Daily Gloria Forever Gloria The , in reference to President Arroyo’s imposition of the Arroyo’s to President , in reference , 26 July 2008, online at: 2008, , 26 July http:// atop a throne mounted on a bulldozer, half-eaten by worms half-eaten by worms atop mounted a throne on a bulldozer, President Arroyo’s final year in governance was marked was marked year in governance final Arroyo’s President reports that media by an effigy described as largest “the of discontentyet,”years effigy eight one that “[captures] in papier-mâché.” portrayed as her a Media reports Media also noted were organizations more that the in order the SONA for effigies own their making main image. the complement reported that labor organization had its artisticallysupporters and members endowed paperwood, and from effigy named a smaller prepare Girl Added Tax. Value Arroyo effigy for SONA,” effigy Arroyo Inquirer newsinfo.inquirer.net/breakingnews/na Jerome Aning, “Protesters create ugliest ugliest create “Protesters Aning, Jerome 18. - -

- - Pietà (2007), , a mythical Reyna ng Kadiliman Reyna ng manananggal face of her oppressive policies. who will be oppressive Then, the of her face victimnext of this barbaric “war act in the guise of her campaign? on terror” and anti-insurgency In this effigy, we see the gun of the Arroyo fascistregime we seegun of the Arroyo the In this effigy, pointed at the people, us to threatening be silent in the Also worth nothing are smaller effigies that different effigies that different worth smaller are Also nothing members, Brother Gilbert Brother Billena: members, Punzal who was killed who on 3 September 2005 in Bulacan Punzal intoby unidentified who gunmen barged their home. The is effigy accompanied by a writtentext by one of PCPR’s her deadher son. tableau The entire is an allusion to the Christian of art,real life a figures represents but it also incident: the scene is based on the testimony Maxima of of activist mother and communityPunzal, leader Ledegario ple’s Church Response (PCPR), for instance, Response for (PCPR), Church to the brought ple’s repre effigies that set of papier-mâché protest their own over grieving soldier and a mother sented a government sectoral organizations have producedsectoral as organizations have part their own of contributions to protest. the SONA Peo for The Promotion as the “real terror,” portraying between as a cross her the terror,” as the “real draped in jewel- of darkness,” a “queen manananggal and toned taffetarobes and wielding a mace right hand. in her with a figure presumably more familiar familiar to most Filipinos: more presumably with a figure asfolkloric a Arroyo President the coun in folk rural blood-sucking monster terrorizing Arroyo President represented effigy The resulting tryside. rights and civil liberties.rights and civil The representation of state repres administration re-emphasizedwas Arroyo the sionunder in effigy, SONA protest this year’s In 2007, President Arroyo signed into law the Republic Act Act signed Republic the into law Arroyo President 2007, In Security (Human 9372 Act), was questioned which by civil human on society repercussions many for organizations 142–143 - -

- - for President President for Noynoy Magician Noynoy effigy (2010), photo: Arkibong Bayan 21 Noynoy Magician Noynoy will bewill be will and used toable Monday on withstand the battering cannons.of the water will The effigy be the call for placed a garbage in can to group’s the signify Philippine to to the 1987 junk moves amend government Constitution. Disillusionment Chronicling 2010–2012: Artists made an effigy titled the new representing 2010, in July SONA first III’s Aquino while surrounded as a wand a magician president waving by people of the coun bearing many on which placards worsening and issues—sovereignty, problems various try’s economic crisis, corruption, human poverty and hunger, rights violations, environmental degradation, and intensi written.fied strife—were Recent years have been marked by a change in political by a change been marked have ad years Recent Aquino Benigno ministration with the election of President against the former of charges pursuit III in 2010 and the are organizations progressive However, Arroyo. President criticalof the new administration growing increasingly as articu were of which many problems, unresolved many of the continue effigies years, past lated in the different to persist. ------

20 . Gusto talaga mana view/20090728-217559/She-is-longest- burning-President. ity at anti-SONA rallies.” Mark Merueñas, “MilitantsMark Merueñas, to use ingenu 21.

, Philippine Daily Inquirer She’s the President longest burning She’s of President Arroyo made entirely of styrofoam. The made entirely Arroyo of President carton-made the usual said that unlike effigies group made they in the past, the image that of the President In response to the police’s plan to plan use water cannons In response to the police’s of the militantagainst members protesters, Bayan group Muna said it has constructed a water-resistant effigy (Gloria liar)” in an outpouring(Gloria liar)” of discontent. disfigured head first. As the rap-rock band Datu’s Tribe head first.disfigured rap-rock Datu’s As the band bottles took protesters rock, heavy throwing turns played “Gloria sinungaling!chanted and at the figure, and trash “Gloria Forever” effigy seemingly repelled fire amid a driz repelled fire effigy seemingly Forever” “Gloria It took 10 min roughly 3:45 Monday. zle at around p.m. razing theit, overpowered finally utes the flames before ela party-list Rep. Liza Maza joked, as repeated party-listLiza protesters ela Maza joked, Rep. lighting that militants up the bulkiest of all effigies from . . . The rallies. the SONA built for Bayan the umbrella “ post)” her wants to keep tili really sa pwesto! (She Gabri

even produced releases to press accompanyeven these images releases a set of annual that BAYAN in the same manner attention releases topress draw to the SONA effigy: Different organizations were by then regularly bringing regularly by then were organizations Different of the president. effigies their own Some organizations women’s organization GABRIELA organization the spirit of sat captures women’s and festivity rage, embodied: that this last protest ire, alternative media would regularly cite the different “incarna cite the different regularly media would alternative and representationstions” been have used that to lampoon the president.the militant release by text The of a press and maggots and reliant on life support.on life maggotsand reliant and capped This an the under nine years repertoire of imagesentire chronicling administration. time, By this both andArroyo mainstream

28 July 2009, online at: http://newsinfo. 2009, 28 July inquirer.net/inquirerheadlines/nation/ President’,” President’,” Inquirer Staff, “‘She is longest burning burning is longest “‘She Staff, Inquirer  20. 144–145 - - - - -

26 25 24 July 2010, online at: http://www.abs- 2010, July 24 cbnnews.com/nation/07/24/10/activists- noynoy-effigy-looks-harry-potter. effigy (2011), photo: Arkibong Bayan Giant PeNoy Giant mili treatment” from will be a “kinder receiving Aquino tant his effigy as a magician preparing who are groups Potter” The group with a “Harry theme. in a protest rally said its portrayal will be than those “kinder” of Aquino of Gloria Maca Rep. Pampanga and now president former (ter who had been portrayedpagal as Arroyo, an “anay” . . Reyes (a mythical creature). mite) and “manananggal” for built the effigies they that unlike the assurance gave ef Aquino’s , President former Presi will not Instead, the figy be burned. will give they an opportunitydent himself. to prove “recycled” waslater III Aquino President of This effigy and reused in the 2011 SONA protests. effigies of the country’s top leaders in the last 12 years. years. last 12 in the leaders top the of effigies country’s spectaclehad regular been a Effigy-burning during the militants this year, predecessors. For of Aquino’s SONAs not effigy month-oldto his madecondemn an Aquino administration, but to him pose and remind challenges he wooed he made when of the promises this in voters presidential campaign. year’s during SONA.” ABS-CBN News, Potter,” Harry like looks Abella, “First in 9 years: No Effigy burned Effigy No in 9 years: Abella, “First effigy Noynoy “Activists’ Cariño, Jorge 25.  26. - - - effigy was the effigy

23 PNoy’s 2nd SONA,” BAYAN News Release, Release, News 2nd SONA,” BAYAN PNoy’s online at: 2011, http://www.bayan. July 24 ph/site/2011/07/artists-to-parade-giant- penoy-for-pnoy%E2%80%99s-2nd-sona/. BAYAN, “Artists to parade giant ‘Penoy’ for to giant ‘Penoy’ parade for “Artists BAYAN,  24. Noynoy Magician Noynoy

(July 2010), 2010), (July 24 22 “It’s too early to ‘burn’ him (Aquino),” said visual artist said visual him (Aquino),” too to early ‘burn’ “It’s has which been making Max Santiago of UGATLahi, promise of change was not set on fire as progressive was not setas progressive change on fire of promise good a chance to wantedgroups to Aquino make on give his promise. Both the press releases and media reports from this releases and media reports this Both the press from symbolized that effigy Aquino’s The magician-themed Effigies have symbolicEffigies have been a traditionally burned as GMA News Online period decision, as emphasized the three the organizations’ indicate: excerpts following organizations agreed to desist from burning the effigy the effigy so organizations agreed to burning desist from than conadministration rather as the current to challenge in president. the newly-sworn demning interesting aspect to the conscious Fol decision to it during the program. burn not allied and other a series of consultations,lowing BAYAN way to end the life of the subject portrayedto the life asway end the adver often constructed are easily they This is why from sary. an However, materialssuch as papier-mâché. flammable signal the end of all of our problems. But the people the But must problems. of all of our signal the end just PR job, is just [a] this point, that at realize everything an illusion.” Max Santiago expressed caution and skepticism at the cautionMax Santiago expressed and skepticism electoral III’s Aquino President public jubilation following will victory victory: “There an illusion exists that Noynoy’s The portrayal of President Aquino III as a magician drew III asa magician drew Aquino portrayalThe President of attention made tothe of in the course promises many the artist electoral campaignthen-recent period. UGATLahi

during SONA.” news/story/197050/news/nation/first-in- 9-years-no-effigy-burned-during-sona. SONA,” online at: http://www.gmanetwork.com/ “First in 9 years: No effigy burned during effigy No in 9 years: “First Abella, “First in 9 years: No effigy burned effigy No in 9 years: Abella, “First Max Santiago Abella, in Jerrie quoted

 23. 22.  146–147 - - - - - : the president as a villain with a half- as with a villain : the president Two-Face Little of the artists seems to changed in terms have and Conclusion annual SONA mobilizations. SONA annual Of these, the effigies cited in significant,this study are due function primarily to their as mass demonstration annual symbolscentral of the largest staged by activist images that synthesize and give groups: these seek which groups issues to the people’s form visual to address. conceptualization and the effigy’s responsiblegroups for execution. A possible the level factor that might explain of continuity their practice that characterizes is that the process assessing, of collectively and learning producing, The effigy produced to mark the second year of President President produced effigy The the mark to second of year and attempted term to BAYAN what unmask Aquino’s use of described administration’s asthe Aquino UGATLahi deception to discontent quell people. among the A refer ence to the effigy in the Batman series, the comic villain was titled This riding atop face a bulldozer. half-menacing charming, representation was both and a response an indictment to taken approach” by “soft and machinery the media-savvy old policies administration, and pro where the Aquino persisted visiblegrams intense alongside and more mar strategiesketing used to up the new administration. prop of form popular as a considerably evolved Effigies have utilized peoprotest art by progressive in the Philippines, to not only entertain, movements but also to arouse, ple’s the sentimentsmobilize, and capture of the people. The but a fraction of the examples discussed are in this essay increasing number of effigies produced by progressive use in their mobilizationsorganizations for since 2005. Presi effigies of made five 2005 to 2012, UGATLahi From for the Aquino President effigies of and three Arroyo dent - -

- 27 (2011) produced (2011) Giant PeNoy Giant , a premature duck egg an exotic duck considered but , a premature PeNoy

ships, unemployment and demolition of communities. unemployment ships, The egg appears to break or crack to The egg appears to or crack let out the issues break hounded the administrationthat have in the past year, public-private as oil price partner hikes, rampant such for the July 25 SONA. 25 the July is comprisedfor The effigy of the egg The and a US-made jeep. Hummer face with Aquino’s is mounted“penoy” on the camouflage-painted jeep. Parodying the president’s nickname PNoy, artists and PNoy, nickname the president’s Parodying effigy organizations created a “penoy”-inspired people’s In 2011, the press release issued by BAYAN expounds on BAYAN release issued by the press In 2011, The effigy for the SONA on 25 July 2011 2011 25 July form SONA on tookfor the on the The effigy

middle of the SONA protest. Unlike in 2010, this effigy was in the burned this effigy to the ground in 2010, Unlike rotten alluding to egg,” popular perception public of his year of the presidency: during the first performance (i.e., “bad as a rotten egg” and “itlog—‘egg’ or zero—rating”). as a rotten “bad egg” and “itlog—‘egg’ (i.e., III as a “giant Aquino the analogy of portraying President erences and messages: a pun poking fun at the president’s a pun poking and messages: at the president’s fun erences state the perceived a symbol for well-publicized nickname, new administration by the manifested so far of leadership of a This image containedpopular multiple Filipino delicacy. ref ic” (an allusion to the term “Cory magic”) wore off, more more off, magic”) wore ic” (an allusion to “Cory the term began organizations and more to point the increasing out new set a of personalities under even of governance failure and cabinets. initial skepticism, the effigy the effigy initial skepticism, second SONA reflected a administration’s the Aquino for the president. of perspectivechange towards As the “mag While the effigy produced for the first SONA of President President of SONA first for the produced effigy the While groups message the progressive that conveyed III Aquino new administration the giving chance despite a their were BAYAN, “Artists to parade giant ‘Penoy’ for PNoy’s 2nd SONA.” PNoy’s to giant ‘Penoy’ parade for “Artists BAYAN, 27. from their past experiences has enabled this bloc to create the last effigy we make,”28 convey their desire for wider increasingly complex yet systematic and dramatic works. structural and social changes. Another development that occurred between 2005 to A development that must be studied further is the in- 2012 is the increased production of “decentralized” effigies creasingly influential role of technology and social media by BAYAN’s affiliate organizations from different regions or in the reception, archiving, and distribution of images of representing various social sectors (e.g., Church, women’s, effigies in the last few years. The proliferation of digital and environmentalist organizations). Some examples are and cellular phone camera technologies has created more smaller effigies made by KMU, PCPR, andBayan Muna in avenues through which to document the works, in addi- the National Capital Region as well as organizations based tion to the reportage by both mainstream and alternative in the Southern Tagalog and Southern Mindanao regions. media. These technological changes create faster sys- Many of these have yet to be comprehensively document- tems and channels for the wider distribution of images ed. These examples indicate that the effigy is a form of to the Filipino public and beyond. These technologies protest art alongside a wider range of visual art forms such constitute a compelling means to document and revisit as street graffiti, murals, and T-shirt graphic design. these images of protest to arrive at a more comprehensive A survey of how the SONA effigies have been cov- understanding of both art and society. ered by print media leads one to the conclusion that the production of effigies and the rituals of protest that follow Lisa Ito (born 1980) lives in Quezon City, where she teaches art history have increasingly and systematically been packaged as a and theory at the College of Fine Arts, University of the Philippines, Diliman and is a member of the Concerned Artists of the Philippines combination of parody, political ritual, and public spec- (CAP). This is an edited and shortened version of the author’s original tacle. The act of burning the effigy remains among the text, focusing on six effigies. strongest of symbolic actions associated with this form of protest art. BAYAN’s experience with the decision to refrain from burning the 2010 effigy on the occasion of President Aquino III’s first SONA also reflects this level of political acumen and analysis: that the process and elements of the effigy as protest art are intertwined with the ways a political movement also creates, defines, and pursues political discourse. On the other hand, the artists who produce the effigies seem to accept the process of destruction as integral to the completion of the effigy as a work of art, as demonstrated in their repeated statements captured by mass media. This attitude is not merely lim- ited to artistic production itself, but also mirrors the artists’ growing political conscientization as activists. Repeated 28. Amita Legaspi, “Effigy 5 times President story/109342/news/nation/effigy- Arroyo’s size to grace SONA protests,” 5-times-president-arroyo-s-size-to-grace- statements, such as “our artists wish that this [will] be GMA News Online, 25 July 2008, online sona-protests. at: http://www.gmanetwork.com/news/ Definition of Terms

Alice G. Guillermo 152–153 -

- . The present revolution that began revolution . The present ilustrados is a social movement usually involving the large large the involving usually is a social movement is a social phenomenon or movement which is is which social is a or movement phenomenon All revolutions involve two sets of contradictions. involve revolutions The All Political terms Political bourgeois revolution that saw the emergence of the native the emergence that saw bourgeois revolution bourgeoisie or in the sixties is a national democratic revolution—uniting pettythe people the peasants, from workers, bourgeoisie, to the national bourgeoisie against US imperialism and its local agents. oppositional the state vis-à-vis nature in seeks and which system, but within the political reforms economic and/or move can bewhich a revolutionary radicalized towards change. for ment Revolution masses of the people who seek prevailing to the overthrow of as as struggle, armed well legal forms system. It involves as the parliamentary. struggle, such is the anticolonialfirst or anti-imperialist contradiction, relationship is basedwhich colonial/neocolonial on the population.between and the indigenous the colonizers The second contradiction, is the class based is which on the peasants,versus conflict of landlords social such as classes, these two sets In general, and capitalists workers. versus the two of contradictions aspects that form of a revolution aspect and a class has both an anticolonial/anti-imperialist aspect and second as contradictions, interrelated primary or stage on the nature depending ary The of the revolution. both was of 1896 an anticolonial Revolution and Philippine Protest 154–155 ------espouses the peoples’ struggle for radi espouses struggle for the peoples’ espouses and cause the interest of the is a school or movement in art is a school that exposes or movement is a style is based real of observation keen the on art is basically antifascist or anti-dictatorial, anti-imperi alist, and pro-people in orientation. Revolutionary art cal social within of regimes change change—not a mere system, but a disman the traditional political/economic tling of the system itself institutionalizes which and perpetuates exploitation and inequality to be by replaced shall which government a system of popular and sovereign rights human and an equitableensure distribution of the wealth. country’s Realism artists Courbet, the French nineteenth In the century, ity. Real called consciously and Millet themselves Daumier, in addition,ists who, espoused the socialist ideas of their and peasants, whosetime dignity and chose workers they upheld, as the subjects of their work. Social Realism as keen based on the artist’s the true conditions of society, for human alternatives and proffers observation of reality, betterment. as countries in other such Philippines, In the as the United States social in art and Mexico, realism not is a particular sociopolitical styleshared but is a commonly orientation exploited espouses which the cause of society’s Un change. and their aspirationsand oppressed classes for social is the perception of conflictingderlying realism inter estssociety in Thus, social and of the need organization. for or joined political formed have artrealists organizations or been have associated with popular mass organizations. Progressive art art, or reactionary es people. conservative which Unlike pouses the status art progressive is forward-looking quo, and seeks progressive social In the Philippines, change. - - - - espouses the cause of the proletariat, the bears a content bears touching upon the prevail sets social, itself against political, the prevailing Art Terms it became a vital artistic the thirties concept from to the postwar fiftieswas it used“artfor when in opposition to sake.” art’s This term came into currency during the Depression in in the Depression during cameThis term into currency rise tothe US that gave militant political art and literature to causes. over the Philippines, Brought espousing workers’ Proletarian art engaged class in industrial or the working wage laborers, or agro-industrial production exploitative under conditions. inhuman conditions; go beyond protest to thus, it may prof alternatives. revolutionary fering regime would necessarily change conditions for the better. necessarily conditions change the better. would regime for protest art against not only a level, react may On a third sys particular but against the political/economic regime, tem institutionalizes which inequitable, such unjust, and a particular as Marcos dictatorship, the such a regime, which to it perceives be social the main cause of the deplorable logic, of the this conditions; the overthrow thus, following the first level, protest art, level, relatedthe first is often which to particu socialthe form in issues with current deal may issues, lar against react it may of Secondly, sociopolitical commentary. and economic conditions. It is an art one that is primarily striking images of the inequitable, showing exposure, of unjust, conditions and inhuman people in which On live. by simply reflecting or even supporting reflectingeven by simply or system the the on hand. other Protest art ing political/economic system. Relative to this, political Relative system. ing political/economic art takesan oppositional stance system by the towards exposing its ills and advocating or on one hand, change, Political art Socialist Realism is the political art of socialist countries in the period of reconstruction following the revolution, as in Russia, China, and Cuba.

In the title of this book, Protest/Revolutionary Art in the Philippines, 1970–1990, the two categories of protest and revolutionary art as defined above, are not conflatable be- cause they have certain significant nuances if not differenc- es, nor are they mutually exclusive because protest art may contain a revolutionary potential or may indeed become revolutionary. In the same way, it would not be feasible to classify artists into either protest or revolutionary artists because of the overlapping of the two categories.

Alice G. Guillermo lives in Quezon City and is Professor Emeritus at the University of the Philippines, Diliman. This is an edited excerpt from “Chapter 1: Introduction and General Theory” in of her book Protest/Revolutionary Art in the Philippines, 1970–1990 (Quezon City: University of the Philippines Press, 2001). The editors chose to provide a number of “dictionary” definitions by Guillermo, so as to ease the reader into the landscape of protest and revolutionary art in the Philippines. 167 New World Academy Reader #1: Lisa Ito (theorist and member of Towards a People’s the Concerned Artists of the Philip- pines, Quezon City), Jose Maria Culture Sison (founder of the Communist Party of the Philippines and the New New World Academy (NWA) invites People’s Army, Utrecht), and Mao progressive political organizations Tse-tung (revolutionary, theorist, to share with artists and students founder of the People’s Republic their views on the role of art and of China and former Chairman of culture in political struggles. the Communist Party, Beijing). Together, they engage in critical thinking through concrete exam- NWA is established by artist Jonas Staal ples of transformative politics and in collaboration with BAK, basis voor actuele kunst, and functions as a depart- develop collaborative projects that ment of the New World Summit, an artistic question and challenge the various and political organization dedicated to frameworks of justice and existing developing alternative parliaments for models of representation. NWA organizations banned from democracy. Future iterations of NWA will take place proposes new critical alliances be- in a variety of political and geographic tween art and progressive politics, contexts throughout the world. as a way to confront the demo- cratic deficit in our current politics economy, and culture.

The National Democratic Move- ment of the Philippines consists of a variety of underground guerilla movements as well as (semi-)legal political parties and organiza- tions with strong leftist and Maoist affinities. Its development can be traced back to resistance move- ments against the Spanish and United States occupations in the

Philippines. Today, the movements continue their struggle against US influence in the Filipino govern- ment. Central to the movements’ understanding of art is the figure of the cultural worker, whose task is both to educate, and to be educated by, the masses of landless peasants and the urban poor.

Texts by: Ericson Acosta (activist and poet, Manila), Beatrice de Graaf (head of the Centre for Terrorism and Counterterrorism, The Hague, Leiden University), Alice G. www.newworldsummit.eu Guillermo (theorist, Quezon City), www.bak-utrecht.nl