Friday, May 7, 2010
Thursday, May 6, 2010
Allan Manalo
Allan Manalo’s abbreviated acting workshop was a great change of pace for the class. His lecture created a historical platform for the fil-am community in San Francisco. And it was great to see such a striving sense of community and respect for the arts, in a culture that seems so built on industries such as law, medical practice, and engineering. And from what I understand, Bindlestiff studio appears to create work that speaks directly to the fil-am experience.
I think his comedic tone really helped lighten the mood and break the ice. His exercises got the class to interact with one another, and personally woke me from my usual morning daze. He revealed performance to be a more complicated act of mind, body, and voice that went beyond the superficial surface often associated with acting and comedy. Not having much experience with Philippine cultural nights and organizations, Allan’s presentation gave me a new perspective on such collective communities. His work and that of other performing artist address cultural identity in a refreshing manner, reformatting commonly accepted stereotypes and issues in a contemporary fashion. Overall, I found his lecture engaging and a means of better examining my cultural experience through that of a bigger community.
His passion and dedication to art and ability speak to the community of Bay Area fil-ams was exciting to see, first hand. As much as we’ve discussed the work of artists within this perspective, it doesn’t seem to compare to observing someone dismantle and examine their own process. Additionally, as a person hoping to work within the arts field, it is great to be able to hear about individual experiences and backgrounds from someone active in the community.
I think his comedic tone really helped lighten the mood and break the ice. His exercises got the class to interact with one another, and personally woke me from my usual morning daze. He revealed performance to be a more complicated act of mind, body, and voice that went beyond the superficial surface often associated with acting and comedy. Not having much experience with Philippine cultural nights and organizations, Allan’s presentation gave me a new perspective on such collective communities. His work and that of other performing artist address cultural identity in a refreshing manner, reformatting commonly accepted stereotypes and issues in a contemporary fashion. Overall, I found his lecture engaging and a means of better examining my cultural experience through that of a bigger community.
His passion and dedication to art and ability speak to the community of Bay Area fil-ams was exciting to see, first hand. As much as we’ve discussed the work of artists within this perspective, it doesn’t seem to compare to observing someone dismantle and examine their own process. Additionally, as a person hoping to work within the arts field, it is great to be able to hear about individual experiences and backgrounds from someone active in the community.
Wednesday, April 28, 2010
Kwatro Kantos
Kwatro Kantos is an art collective that works under a desire to question and explore the fil-am identity, often touching on the commonalities in cultural experience. The collective consists of curator Lian Ladia and artists: England Hidalgo, Marcius Noceda, Carlo Ricafort and Mel Vera Cruz. Their more recent works share a communal interest in “subversive” semiotics. Semiotics, similar to the artistic understanding of iconography is a nuanced ability to communicate through the use of imagery and signs. And Kwatro Kantos uses this study of symbols as a means of upsetting the accepted meaning behind objects, creating a new perspective for viewing both social and cultural experiences.
Lian’s presentation was interesting but simultaneously dry, revealing that despite their contemporary flare, kwatro kantos’ themes find much inspiration in a historical understanding of art, referencing Dada, pop art, surrealism, etc. Given my own interests in art history it definitely helped me contextualize their process and come to terms with their mission as a collective. Having presented on the group, I was able to look at a range of their works and read into their history and exhibitions. So hearing the views of both artist and curator was interesting in comparison to not only how I responded to their art but also how I presented the their work. I had hoped that a larger number of the artists could have come in as their work was very personal and at times hard to decode without outside information, which was evident as a attempted to lead a discussion and analysis of some of their pieces. But I did find it helpful to hear their take on working within a collective and the dynamic between the group and the artists as an individual.
Despite cultural commonalities, it was difficult to come to a concrete conclusion without any real point of reference. and as a result Mel’s video was very appreciated and it was interesting to go into his studio and see how he displays his work. It’s fairly unusual so see gallery spaces exhibiting working in such a way but it was also somewhat reminiscent of the older salon style of exhibition. Due to both my study and creation of art, I’m always very interested in seeing physical spaces / work and discussing process. Overall I really appreciate having guest artists such as the kwatro kantos coming into the class.
Lian’s presentation was interesting but simultaneously dry, revealing that despite their contemporary flare, kwatro kantos’ themes find much inspiration in a historical understanding of art, referencing Dada, pop art, surrealism, etc. Given my own interests in art history it definitely helped me contextualize their process and come to terms with their mission as a collective. Having presented on the group, I was able to look at a range of their works and read into their history and exhibitions. So hearing the views of both artist and curator was interesting in comparison to not only how I responded to their art but also how I presented the their work. I had hoped that a larger number of the artists could have come in as their work was very personal and at times hard to decode without outside information, which was evident as a attempted to lead a discussion and analysis of some of their pieces. But I did find it helpful to hear their take on working within a collective and the dynamic between the group and the artists as an individual.
Despite cultural commonalities, it was difficult to come to a concrete conclusion without any real point of reference. and as a result Mel’s video was very appreciated and it was interesting to go into his studio and see how he displays his work. It’s fairly unusual so see gallery spaces exhibiting working in such a way but it was also somewhat reminiscent of the older salon style of exhibition. Due to both my study and creation of art, I’m always very interested in seeing physical spaces / work and discussing process. Overall I really appreciate having guest artists such as the kwatro kantos coming into the class.
Jenifer K. Wofford and Johanna Poethig
Both Jenifer Wofford and Johanna Poethig’s work examine the complexities of Philippine identity. Wofford reexamines the idea of the Filipino nurse and under the issues of power, gender, and immigration she evokes a style of modern ambiguity, which I view as a means of challenging her audience to rethink the stereotypes and iconic imagery off which she plays. And on a different level Poethig’s work delves into Philippine history, exploring the political strife, which led many to move outside of the country’s borders during the early – mid 80s. I found her perspective unique, as it is one of a child of American missionaries growing up in the Philippines. Her position seems to be a physical reversal of the idea of “the other” which we often examine in class.
Personally I enjoyed the discussion of the history and controversy surrounding Poethig’s work LAKAS SAMBAYANAN. The piece itself, commemorating the People Power Revolution, illustrated the complexities of the Filipino experience during the fall of the Marcos regime. Heavily covered in cultural iconography, the seemingly simple mural holds a multitude of meanings. The vibrant colors and active composition seem representative of the energy, spirit, and mobilization of the people in regaining their freedom. And the striking symbolism behind the cracked statue of Marcos further emphasizes the importance of this moment in history, commemorating the country’s new potential outside of his dark shadow.
And with a personal interest in the Bay Area’s deeply rooted mural tradition, it was interesting to hear people’s thoughts regarding the notions of public and community art. In my experience I find that it is essential for such works, being in the public sphere, to speak to the concerns and identity of the surrounding community. And the erasure of the mural seems almost fitting as we witness the gentrification of such areas by the growing number of city developers. In a case where a work personally speaks to the community I believe that it is both the responsibility of the property owner and community to keep the work relevant and in tact, reflecting their own interest and care for the piece. And despite the impact of the mural at the time, it seems to have faded into the memories of those who once celebrated its meaning. but i believe that like the moment that it celebrates, it is a distant memory to those who knew of it, but nonetheless a memory of a important moment in history.
Personally I enjoyed the discussion of the history and controversy surrounding Poethig’s work LAKAS SAMBAYANAN. The piece itself, commemorating the People Power Revolution, illustrated the complexities of the Filipino experience during the fall of the Marcos regime. Heavily covered in cultural iconography, the seemingly simple mural holds a multitude of meanings. The vibrant colors and active composition seem representative of the energy, spirit, and mobilization of the people in regaining their freedom. And the striking symbolism behind the cracked statue of Marcos further emphasizes the importance of this moment in history, commemorating the country’s new potential outside of his dark shadow.
And with a personal interest in the Bay Area’s deeply rooted mural tradition, it was interesting to hear people’s thoughts regarding the notions of public and community art. In my experience I find that it is essential for such works, being in the public sphere, to speak to the concerns and identity of the surrounding community. And the erasure of the mural seems almost fitting as we witness the gentrification of such areas by the growing number of city developers. In a case where a work personally speaks to the community I believe that it is both the responsibility of the property owner and community to keep the work relevant and in tact, reflecting their own interest and care for the piece. And despite the impact of the mural at the time, it seems to have faded into the memories of those who once celebrated its meaning. but i believe that like the moment that it celebrates, it is a distant memory to those who knew of it, but nonetheless a memory of a important moment in history.
Thursday, March 4, 2010
Lysley Tenorio & Rashaan Alexis Meneses
Lysley Tenorio was born in the Philippines and is currently based in the San Francisco Bay Area. Personally, I found his discussion of the “I-Hotel” greatly informative and appreciated. In the years before actually learning about the hotel, I had always heard of the “controversy” surrounding it and I felt the historical aspects and background information really helped, in my eyes, better define the reality of what happened to these people. Additionally, the personal stories of the two characters, Vicente and Fortunado, gave a face to a cause from which many would easily feel disconnected. They reveal the struggles of difference and rejection on a larger cultural level but also on a personal level as we bare witness to their at times tumultuous and complicated relationship. The story allowed me to see how these cultural characteristics of “today” were a result of the environment that was pressed upon these people of the “past”. Overall I felt the story not only educates but also got me interested into looking further into the experiences of early Filipino immigrants and the roots of the “Philippine Diaspora”. My family moved here within the last 22 or so years, which changes their experience from that which was explored in the story. I feel that the story of the I-Hotel, examined by Tenorio, is a profound statement for injustice and a record for social change.
Additionally, I believe that Rashaan Alexis Meneses was a great addition to our class, as I found her descriptions of her writing process and the development of her style quite interesting. I enjoyed listening to her discuss on how her own cultural experiences and identity have found a place in her work. In my own experience, I’ve always felt that as much as I want to delve into cultural topics and exploration, my Fil-am experience is not a distinct quality in much of my creative work, despite the large role it plays in my life. I genuinely identified with her description of LA and its ability to shape her creative outlet as I often recognize it as a source of inspiration in my own life. Consequently, her approach to her stories is something I want to perhaps apply to a future venture and a style I’m interested in looking further into. Her writing exercise was also a refreshing task as I haven’t been able to free write much on topics outside of my academic world in art history and design. Overall, I hope to better explore that aspect of my own identity and thought process through my work in the future.
Additionally, I believe that Rashaan Alexis Meneses was a great addition to our class, as I found her descriptions of her writing process and the development of her style quite interesting. I enjoyed listening to her discuss on how her own cultural experiences and identity have found a place in her work. In my own experience, I’ve always felt that as much as I want to delve into cultural topics and exploration, my Fil-am experience is not a distinct quality in much of my creative work, despite the large role it plays in my life. I genuinely identified with her description of LA and its ability to shape her creative outlet as I often recognize it as a source of inspiration in my own life. Consequently, her approach to her stories is something I want to perhaps apply to a future venture and a style I’m interested in looking further into. Her writing exercise was also a refreshing task as I haven’t been able to free write much on topics outside of my academic world in art history and design. Overall, I hope to better explore that aspect of my own identity and thought process through my work in the future.
Thursday, February 25, 2010
Poetry, "World's Fair, St. Louis, 1904"
The poems we discussed were interesting as they echoed some of the themes and discussion we’ve had so far and consequently are intertwined into the experiences of all Filipino Americans, like myself. The poetic techniques helped emphasize and elaborate on the Filipino American experience, as identified by the poets.
Jaimie Jacinto, a Philippine born poet, was raised in the Richmond District of San Francisco. Identifying with both cultures he appears to have a curiosity on how the two have come together, a notion that he explores in his poem, “World’s Fair, St. Louis, 1904”. The poem plays on the irony in the American desire to civilize the “savage”. With seemingly good intentions the American persona becomes desensitized to their treatment of the Filipino, blurring the line between accommodation and exploitation. Presenting varying perspectives, the poem sets the divide between the experiences at the World’s Fair. Stylistically, the poem creates a very personal view, as the reader is able to identify with the sense of self, established in the second stanza. Overall it reveals the power struggle between a reigning world power and a still developing nation.
The other poems explored various themes in the Fil-Am experience, including the plight of the Philippine oversees worker, the cultural obsession with branding, betrayal, and foreign aggression. All seem to present an illusion of American glamour and opportunity, only to negate the experience with harsh realities of exploitation and mistreatment. Understanding theses stories of struggle, I question whether or not those who did immigrate to the states, such as my family, truly found what it was they were looking for in America, or if it fell short of their expectations. Personally I see the move as successful as my parents and extended family were able to establish themselves in a new country, start their own businesses and live relatively comfortable lives. This obviously isn’t everyone’s story and perhaps the generation of my parents still feels as if they had to compromise more than they initially set out to. Hearing other Fil-Am experiences in these poems definitely made me question why my family relocated and how they feel about the world and life they left behind. Additionally I feel as if I’ve been made more aware of that cultural gap and disconnect between the two worlds that seemed to have always meshed well in my life. This realization has become a growing interest of mine, and definitely something I want to further explore, both in and outside of any creative work I do.
Jaimie Jacinto, a Philippine born poet, was raised in the Richmond District of San Francisco. Identifying with both cultures he appears to have a curiosity on how the two have come together, a notion that he explores in his poem, “World’s Fair, St. Louis, 1904”. The poem plays on the irony in the American desire to civilize the “savage”. With seemingly good intentions the American persona becomes desensitized to their treatment of the Filipino, blurring the line between accommodation and exploitation. Presenting varying perspectives, the poem sets the divide between the experiences at the World’s Fair. Stylistically, the poem creates a very personal view, as the reader is able to identify with the sense of self, established in the second stanza. Overall it reveals the power struggle between a reigning world power and a still developing nation.
The other poems explored various themes in the Fil-Am experience, including the plight of the Philippine oversees worker, the cultural obsession with branding, betrayal, and foreign aggression. All seem to present an illusion of American glamour and opportunity, only to negate the experience with harsh realities of exploitation and mistreatment. Understanding theses stories of struggle, I question whether or not those who did immigrate to the states, such as my family, truly found what it was they were looking for in America, or if it fell short of their expectations. Personally I see the move as successful as my parents and extended family were able to establish themselves in a new country, start their own businesses and live relatively comfortable lives. This obviously isn’t everyone’s story and perhaps the generation of my parents still feels as if they had to compromise more than they initially set out to. Hearing other Fil-Am experiences in these poems definitely made me question why my family relocated and how they feel about the world and life they left behind. Additionally I feel as if I’ve been made more aware of that cultural gap and disconnect between the two worlds that seemed to have always meshed well in my life. This realization has become a growing interest of mine, and definitely something I want to further explore, both in and outside of any creative work I do.
Thursday, February 18, 2010
Nara Denning, "Madalien the Small"
Nara Denning’s Madalien the Small was a very interesting take on an individual’s experience of coming to terms with a sense of identity and belonging. Personally, I really enjoyed hearing Denning’s descriptions of her influences in addition to her discussion of artistic process. I was really taken by her sense of community in the mission district, which truly speaks to that aspect of the arts that we’ve discussed as being an ideal situation for reflecting on cultural experiences.
As Madalien discovers this new world, in the film, she seems to lose track of herself, trying to assimilate to the “wild” ways of her new community. The realities of the world harden her and force her to realize and value certain aspects of her past and the world she once belonged to. And as she appears to long for familiarity, she finds a guide and hope in the moon, which ultimately draws her away from her insecurity and suffering. Her sense of disconnect regarding the morals, values, and actions of the characters around her parallel some of the feelings of immigrants who may feel forced to blend into their new surroundings. Some of the other themes she used included an awareness of “the other”, a living of “the dream”, and a sense of self-loss in relation to another.
The surrealistic tone is set by dream sequences and psychological charges, with dark undertones of manipulation, exploitation, and longing. The mood is set by instrumental music with minimal information provided by the changing title cards. This seemed effective in that it made you think more about what Denning was trying to portray and forced you to piece together some of the loosely presented topics. The focus on symbolism rather than the more common realistic approach gives the story more depth, engaging the viewer to question and analyze rather than just accept what is seen. Overall I enjoyed the film for its unique nature and for Denning’s timeless yet somewhat vintage aesthetic.
As Madalien discovers this new world, in the film, she seems to lose track of herself, trying to assimilate to the “wild” ways of her new community. The realities of the world harden her and force her to realize and value certain aspects of her past and the world she once belonged to. And as she appears to long for familiarity, she finds a guide and hope in the moon, which ultimately draws her away from her insecurity and suffering. Her sense of disconnect regarding the morals, values, and actions of the characters around her parallel some of the feelings of immigrants who may feel forced to blend into their new surroundings. Some of the other themes she used included an awareness of “the other”, a living of “the dream”, and a sense of self-loss in relation to another.
The surrealistic tone is set by dream sequences and psychological charges, with dark undertones of manipulation, exploitation, and longing. The mood is set by instrumental music with minimal information provided by the changing title cards. This seemed effective in that it made you think more about what Denning was trying to portray and forced you to piece together some of the loosely presented topics. The focus on symbolism rather than the more common realistic approach gives the story more depth, engaging the viewer to question and analyze rather than just accept what is seen. Overall I enjoyed the film for its unique nature and for Denning’s timeless yet somewhat vintage aesthetic.
Subscribe to:
Posts (Atom)