Litanya ng Matandang Ulupong

Sa inisyal, naisip kong gumawa ng the usual Bagong Taon post, reminiscing 2011. Pero, naisip ko, huwag na lang. Proprosepoetry attempt na lang ako, in Filipino. O prose na lang pero fiction, sakaling matatayang kulang ito sa pagiging poetic. Basta ayoko ng nonfiction. May inayos naman na akong lihim na blog para sa mga ganoon. Tas nanonfiction ako pero kaunti lang, yung nairehistro ko na rin sa facebook, and, I quote

"in sum, ang gusto ko lang naman irehistrong mga leksyon at realizationg pansarili ay ang tatlong ito: 1.) 2011 is the best teacher, kasi gago at kupal, to the point na gusto mo na lang siyang krowbarin at lumpuhin at ito, naghihingalo na ampota. 2.) madalas, wala kang maaasahan sa mga inaasahan mo at ang kind words e hindi magmumula sa mga inaakala mong pagmumulan nito; at 3.) hindi lang paghingi ng tawad at pagpapaabot ng pasasalamat ang kailangan kong matutunan--pati yung pageexpress nito, gaano man ka-dramashit. eto, papraktisin ko na: salamat sa kanilang mga naging katuwang at patawad sa kanilang mga napakyu ko noong 2011. no thanks and no apologies to you, IPBK. New Year's Revolution ko ay pagpapaigting sa pakikiisa sa pagpapabagsak sa inyo, guise. ♥ "

Apir. Prompt itong susunod. Burador as usual. Game.

Natatanaw ko pa sa kabilang dako ang nakaraang panahon. Ilang kaliskis ko ang nalagas sa pagtatangka kong lingkisin ang mga asno at tupang kailangan sagpangin upang maging sakrispisyo, sa ayaw man nila o gusto. Nasa rurok ng Zion ang mga tupa, may guya sa kaliwa yaong dating mga kambing, may asno sa kanan yaong dating mga kalabaw, kung hindi kabayo. Ang mga nanatiling hindi nagtataksil ay nanatili sa aking bisig at naging mga baphomet at mga tikbalang, mga hayop na nagkaroon

ng wangis, ng talino, ng puso ng tao ngunit nananatili ang bahid ng bangis ng mga isinumpang mga hayop upang maipagtanggaol ang sarili. Natatanaw ko pa sa kabilang dako ang nakaraang trono ng kapangyarihan kung saan nakadekwatro ang mga halimaw na nakabihis tupa, kaya nagmimistulang tupa. Suot nila ang kanilang mga nalinlang, ang mga naakit ng luntian nilang mga damuhan, ang mga nalansi ng pangako ng mga panaginip ng kaunlaran, ang mga tupang walang muwang na hinabi upang maging barong ng mga asong ulul at mga musang at mga papel na tigreng

unang tutupukin ng isusuka nating apoy, ang apoy na marapat humalik muna sa mga tupang mangmang, ang apoy na walang ibang magagawa kundi idamay ang nagtatanggol sa mga asong ulul, sa mga musang at sa mga tigreng papel, mga hayop na wala namang sapat na lakas ngunit tuso at gagawin ang lahat para mapanatili ang kanilang mga sariling lasing at bangag sa kapangyarihan. Naglalaho na ang kabilang dako at nalulunod sa usok at hamog at labi ng mga tingga, ng mga punglo, ng mga paputok kaya nilingon ko ang kabila ng kabilang dako at natanaw

ang iba't ibang hinaharap kung saan iba't ibang mukha ang may kani-kaniyang ginagampanang papel, iba't ibang tigreng papel ang dumarami ang lahi, ang nagiging bato, ang nagiging bakal, ang nagiging kambing, ang nagiging tikbalang, ang nagiging kapwa ulupong, ang nagiging kaliskis ng mga nabanggit na halimaw, ang nagiging mga tumor sa kung saan-saang bahagi ng nasabing mga hayop, ang nagiging diablo para sa iba't ibang paksyong nakadepende sa kani-kaniyang lente, ito ang nagbabadyang pagkagunaw upang ipanganak ang panibagong daigdig na siya rin nating gugunawin, walang katiyakan

maliban sa pagiging ganap ng walang hanggang hiyaw ng mga tagumpay at hikbi ng mga pagkawasak, paghalakhak sa bangkay ng mga kaaway at pagtangis sa mga sumakabilang mahal sa buhay, at lalo itong tiyak sa limitado nating sandali, ang oras kung kailan tayo pinakamabangis at pinakamalakas at pinakamarangal at pinakamakapangyarihan. Tayo na, mga matatandang ulupong! Humayo, magpakarami,

wasakin ang lahat, pandayin ang bawat pulgada ng panahon at espasyo tangan ang ating mga kukong lasing sa dugo, ang angil ng mga pangil nating uhaw sa kaluluwa at ang ating mga isusukang apoy na hayok sa paghahasik ng abo at kamatayan, pandayin ang lahat hanggang maging sandata ang mga ito upang gamitin laban sa atin, hanggang sa pagwawakas ng ating paghahari, hanggang sa pagbibigay-daan sa mga panibagong mamumunong babangon mula sa ating mga bangkay.

Let the drama shit commence: Salamat sa pagbisita. At, isa sa new year's resolution ko e huwag nang magpost sa social networking sites. Uunti-untiin ko ito. Ngayon, sa twitter na lang ako magsheshare since kakaunti ang tao doon. Dahil pakiramdam ko talaga e nagdaragdag lang akong clutter sa feed. Dumaan na lang dito sa carcosite yung mga interesado. Tas, yun nga, sana masolusyonan ng lihim na blog ang tangkang gawing as professional as possible itong munting pa-official kong espasyo sa pook-sapot!

Apir! Umabot sa 9k ang hits bago ang apokaliptik year, tengks, Camila, ha! Mag-iisang taon na pala ang carcosite sa Pebrero! Oo, isang taon, yung 2010 posts e imported from old blog. Manigong bagong taon!

PS! Ewan ko, mas gusto ko ang tunog ng "matandang ulupong" kaysa "dragon." Para kasing "lost cause" o "dead ideology" ang dating. PPS pa pala! Salamat sa mga nagpaabot ng appreciation o pagtangkilik sa mga shit ko, naappreciate ko kayo, salamat! Kahit mabibilang kayo sa daliri! At, sa totoo lang, hindi ko inasahan ang mga pagkausap at pagpapaabot ninyo!

May Bagyo, Walang Pasok

[Kundi mo trip ang dalit, may prose poetry rin on the

same matter dito, pero, hindi direktang salin.]

May Bagyo, Walang Pasok

Signal number ano ba ang

sampunlibong estudyante?

Wala akong instrumentong

panukat nito, subalit

klarong kahit walang sikat

ng araw: ang sampunlibong

estudyanteng sumuspinde

sa klase ay hindi anggi,

hindi ambon kundi unos

ang mamamayang nag-aral

ng lipunan sa lansangan,

kung saan bumabagyo ng

protesta, kung saan hindi

kailangang sabihing walang

pasok upang lumiban sa

opisina man o 'skwela,

kung sa'n nagbabantang muli--

hindi si Ondoy kundi--ang

mga sinalanta nitong

walang masilungan, walang

makain, walang anuman

dahil sa pagkakait ng

naghahari, at kung saan

mapatutunayang muli:

Walang pasok t'wing may Sigwa.

~arbeen acuna, na iba pa kay tildeng dibuhistang lumpen, somewhere

sa metro manila ika-27 setyembre habang nangwawasak si pedring.

btw, kuhang-larawan ko yan^ noong ika-23 setyembre sa mendiola

at hunghang ang nagsabing 1k tao lang ang nagrehistro ng protesta.

M is for Movement

a rough draft like everything else in this blog.

i. In the acronym MOOE, M is for "Maintenance." In the case of Malacanang, Valte in particular, M is for "Morons who should have focused on trying to consult google and researched first what M in MOOE means before even telling the militant students (who are aware that M in MOOE is not 'Miscellaneous') to focus on their studies." M is for

Meaning, or for Multiplicity of Meaning, or for Masquerade of Meaning, through arithmetic magic among other methods of fabricating information.

M is for the "massacre of the people" care of the machination of Malacanang to deny access to basic social services and even deny access to life by issuing execution orders, the malversation of anything that can be misappropriated in the name of maintaining order, the misdeed of manufacturing lies such as nominal---never substantial--increase in the budget for education and other social services such as

the medical care that does not really care as the generous government is so generous that it is willing to spend a peso (which cannot even purchase a chewing gum that one may, well, chew, while waiting in line for check-up) for each of the citizens, M is for murder, metaphorical, brutal, spiritual, legal, physical, transcendental, emotional, even literal murder that is the punishment for those

M's being "militants marching to Mendiola" (include different metaphorical mendiolas, as well), the masses who know the constitution more than lawmakers who only know how to manipulate the laws for their private interests. M is for martyrs, victims of killings and enforced disappearances, metonyms of mobilizations as monumental fractions of the Revolution. M is for the Movement against another M that is this Machine that shall be

dismantled at all costs and be rebuilt as another Machine and perhaps be dismantled again and be rebuilt and be dismantled a couple of times depending on the metastability of the system and its material conditions and its multi-cultural/-sectoral considerations which may include M being maroons from the University and maroons from other universities and maroons of the Philippine society living their lives like the maroon people who are marooned, ie, left, abandoned by the state that cares for nothing but

M's being Malls (yes, protect the malls, the private properties of the propertied, and kill the people struggling for a better world, the public): the manifestation of the market, the monetary, the motive for profit that reduces everything into another M being mediocrity--forget the quality of life, forget human dignity, forget everything for the sake of money while claiming that that monopoly is for the sake of the majority, for the sake of societal stability. M is for the messianic complex, the chronic disorder of the ruling elite--those megalomaniacs masquerading their decision-making as a necessary sacrifice that has to be made for the salvation of the humanity--that propagates and infects the middle class into

subscribing to the template of changing the world by earning a degree then running for office then initiating change: something which is only possible if you can pay for your education, secure a political clan and be so divine as to be immune to the operating system's filth--though there are, of course, exceptions. M is for the model or life cycle that they shove up our throats: be born, be raised by a family, be educated, be employed and work til you die without angering the dysfunctional system that nurtured you into the mechanical being that you are, into the mechasapien that maintains this Machine that attempts to confine

the aforementioned M among other aforementioned M's, being any Movement that attempts to humanize the mechanized, ie, the alienated, the estranged; that attempts to re/program compassion into hearts of cold steel; that attempts to make the desensitized sensitive again. (M is for the margin that divides an attempted sociopolitical commentary being this first part from the the next part, which shall be more of a brief offtangent personal reflection or rather a confession that shall inevitably reek of preferences that might not be of interest to any of you. This parenthetical remark is that aforementioned margin serving as another M being a monition that suggests you stop reading from this point.)

ii. As admission of being human, and neither a god nor a beast nor a machine, and as an attempt of getting things off my chest in compliance with Che Guevarra's quote that I'd rather not quote any longer, and as both the foundation of physics and the foundation of the societal order are consistently being challenged and threatened into obsolescence, I dare say

that this time, M is neither for the love of Maynard James Keenan and Milla Jovovich nor for the love of the music of Massive Attack, Meshuggah, My Dying Bride, Mars Volta among other M's but for the mission of stirring an intrigue by declaring that the problem that needs to be solved is the variable M raised to two.

Factsheet 43 and Sigwa @ UPLB

The Factsheet 43 art exhibit, for the benefit of the Morong 43 healthworkers would be showcased at the University of the Philippines Los Banos, in One Caldi Place on September 13 2010. While on September 21, there would be a film showing of “SIGWA” (Rage…of Perils and Hopes), a film by Joel Lamangan and written by Boni Ilagan--an "Official entry to the Cinemalaya 2010, a Top Grosser of the Cinemalaya 2010, a film Graded “A” by Cinema Evaluation Board-MTRCB." Attached herein, from UPLB Zoomout Multimedia collective, are the press releases and related images of the mentioned events:

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Art imitates life, particularly that of the illegally arrested health workers, in Fact Sheet 43: 43 Artists for the 43 Health Workers. Fact Sheet derives its title from the document prepared by paralegal and human rights volunteers in relation to reported cases of human right violations. The exhibit reflects the artist's interpretation of what is contained in the real fact sheets, which are otherwise unaccounted or discounted by state forces.

For two consecutive years, Fact Sheet has regularly been exhibited every December in time for the commemoration ofthe International Human Rights month. However in 2010, the group saw the urgency to mount the exhibit early in the year following the illegal and arbitrary arrest of 43 health workers, composed of professional and volunteer doctors, nurses and paramedics, in the middle of their health training in Morong, Rizal. Collectively known as 'Morong 43', the health workers were arrested allegedly for their affiliation with progressive groups. Based on the victims' accounts,they were subjected to various type of mental and physical torture in the hands of the military while in Camp Capinpin.

Despite growing clamor by the local and international communities to release the health workers, the 43 remained incarcerated and are facing non-bailable and dubious case of illegal possession of explosives. In particular, the artists, together with the family of the health workers appeal to the new administration to immediately release the 43and litigate those responsible for the violations against them.

Fact Sheet 43, which has already been exhibited invarious galleries and public areas in Manila, will attempt to sow creative and emotional revelation about the human rights situation in the country through visual arts.

Martial Law has ended almost three decades ago but gross human rights violations have persisted to this day. In fact, violations of civil and political rights have even worsened now than the Martial Law era.

The human rights group KARAPATAN has accounted more than 1,000 victims of extrajudicial killings, 207 victims of enforced disappearances, and 217 political detainees during the nine-year regime of former president Gloria Macapagal-Arroyo. Alongside these direct assaults are growing cases of torture, hamletting, and violence against women and children among many other forms of human rights atrocities. Many of the victims are members and leaders of progressive and militant organizations, which are critical to the Arroyoregime. Even artists and filmmakers were not spared from this.

This pattern of impunity against progressive groups has extended to the new regime,wherein a total of 6 victims of extra-judicial killings have been accounted in less than a month under President Noynoy Aquino.

In light with the commemoration of Martial Law this September, various groups and cultural workers will have the nationwide screening of 'Sigwa', a Cinemalaya 2010 film directed by Joel Lamangan; written by Bonifacio Ilagan; and starred by Dawn Zulueta, Zsa Zsa Padilla, and Tirso Cruz III among others. In theSouthern Tagalog region, the 'Sigwa' screening is slated on September 21 at theNCAS Auditorium, UP Los Banos; a forum-discussion will follow shortly after the screening. Sigwa hopes to educate students on the human rights situation,especially during Martial Law.

As a regional event, the proponents are sounding the call to all institutions, organizations, and schools in the region to support the activity by attending and publicizing the film screening. As a pioneering activity, this is an open and continuing call to all youth, filmmakers, and members in the academe to defend and uphold human rights. Recognizing the power and reach of films, weare optimistic that in one-way or another, we can sow resistance among the public against attempts to curtail their human rights.