Challenging the Stillness: A Statuary Critique of Resilience
Written by Mary Charisse A. & Kian B.
Introduction
Across its vast array of rich and diverse history, Filipino art stems more from its unique Indigenous roots, shown in textiles, literature, music, and contemporary visuals. Our very own cultural practices continue to thrive and evolve from its original foundation, with sparks from modern techniques that more or less still speak for every Filipino. For the longest time, almost all of its artistry shows our exhaustive roots in the history of what we stood for and what our tribulations have aroused, but how should we define art that bears our forefront trials in life without ever really sharing the Filipino people’s path to “Victory”?
Jefre Figueras Miguel, also known by their stage name “Jefrë” is a 35-year-old Filipino-American visual artist from the States who incorporates his take on the avant-garde art scene in the Philippines. Recently, he captured some mixed receptions on their newly built “The Victor” statue between Quezon City and Pasig. The faceless human caricature stands 60 meters in height and is ergonomically designed as a perforated piece to withstand strong climate winds here in the country. According to Jefrë, the statue internalizes the “Global Filipino,” to which it honors the achievements brought about by the resiliency of the common Filipino worker. Moreover, it exalts Filipinos who’ve chosen to aspire opportunities outside of our country (i.e. OFW’s). Robinson’s Destination Estates Manager Austin Bernard Diaz interprets that a podium is set to stand for visitors to pray or wish their fortunes when stepping outside of the country. Jefrë’s intention is to collate his two distinct ancestry homes from America to the Philippines, weaving their cultural aesthetics together to form a message.
Glorifying Resiliency
Among its other existing critics are local artists who have compared the statue’s featureless sculpting to a “faceless lazy 3D animation” lacking any muscle, veins, or even emotions that convey its pride to triumph. Some question the message of “Pinoy Pride” that it takes a euphemistic approach to poverty that honors a broken system instead of fixing it entirely, and as artists share their take on it, the inevitable question arises: What level of expertise must the chosen artists have in order to add their unique vision to the cultural art scene?
It’s no surprise that Jefrë came from a moderately modest background before taking on national contracts like these. In fact, his previous art installation “Points of Origin ‘’ inside the Metropolitan Museum of Manila was his point break on constructing avant-garde statues back in 2021. He had previously worked as the creative head of “Pag-asa” and “Bayani” both located in Pasay; and of “Time Sculpture”, found in front of SM Megamall, that also reinforces a Filipino sentiment behind it.
Thus begs the question of when ordinary local artists can have a shot at these kinds of projects. An objective basis for creating art is that creativity knows no bounds. Foreign artists like Jefrë create a bubble display of competitiveness in the art scene that equates the amount of education and finance to its creative opportunities, leaving less fortunate artists with arguably better ideas in mind on the side. A vocal notion is that we need to broaden our horizons when commissioning artists. It isn’t to say that one vision is better than the other but it will certainly break the stigma of “Only rich people have the time and luxury to enjoy and create art.”
Besides the concern about artist competence, there are also questions about fund allocation. The Victor Statue showed aesthetic resiliency because of its form, which could be compared to other statues in the world. Resilience is emphasized here because it might be evident in its outward appearance, but there is a deeper concern underlying what is currently visible: budget allocation that may be required for addressing other concerns. The project was funded by the government and the Robinson’s corporation. In the narratives of Robinson’s, this statue was made to honor John Gokongwei Jr. with his success, however, given that the project has become a statue that is not just for him anymore but is all for Filipinos around the world, the government became involved in the funding. Funding public art drives the economy as it attracts tourists, and it preserves the culture of the people living in the area. Even though there is a positive intention in this funding, the problem is in the joint funding of the government and Robinsons which should just leave the Robinsons to fund the arts, as the government should prioritize funding other essential concerns that involve the important needs of the people. The government’s budget is meant to meet the demands of its people in the important sectors of education, economy, healthcare, etc. With this, there is a questionable move when it comes to the funding that came from the government.
It equates to a deeper notion of undermining systematic problems for the sake of our continued resiliency. According to Yu’s report from the SONA 2023 statistics, an increase in inflation is at an all-time high along with the country’s severe unemployment rate will surely burden everyone into poverty. The message of the art itself doesn’t necessarily speak for every working class citizen who tries so hard to lift themselves with their own blood and sweat; this also only projects to certain individuals who could only appreciate the statue itself for the “Victory” it chooses to show, leaving once again the majority of the masses behind to try. Shouldn’t everyone appreciate art?
The Dual Nature of the “Victory” Narrative
Art has the power to shape the minds of people. This power could be seen in the minds of Filipinos when “The Victor Statue” was built to portray victory for Filipinos. It is indeed a proud moment for all Filipinos who are always craving honor or something they can be proud of. It is their “Pinoy Pride” to show the world that they have made the tallest installations in the world. But why are Filipinos so proud of the installment without examining its impacts on them?
It stems down to the fact that the country has a leash on any bare minimum level of efforts aided by the government, what once was a responsibility of the elected officials to its people has now turned into a twisted notion of charity of humanitarian aids like medical and housing assistance. According to Gideon Lasco, a medical Anthropologist and a columnist on Inquirer.net, Filipinos have experienced humiliation in history in which they are portrayed as second class by those who exploited them, and that is why every time their culture is showcased, they take pride in it. He mentioned that by taking the Pinoy Pride label, Filipinos feel the ‘foreign validation.’ This is the reason why even in a statue like “The Victor,” Filipinos feel so much pride.
There is a danger in the thinking of Pinoy Pride because they might not understand the real definition of the statue with its disguise in the meaning of “victory for all the Filipinos abroad.” This description of the statue romanticizes the Filipinos who leave the country for a better opportunity in work and in livelihood. Romanticizing the victory of Filipinos abroad undermines the real reasons for their presence overseas. Filipinos haven’t felt the government’s effort to secure a better future for its citizens, which is one of the reasons why they leave the country. Other than that, poverty, employment issues, family concerns and financial needs are the other explanations for why most of them become OFWs or migrate to another country.
In this context, the criticism that will now arise is, How can we be competent in honoring Filipinos around the world, including OFWs, when they can’t even work and feel secure in their own country?
Such pandemonium in basic social service needs leaves us with a cynical exchange in enjoying and creating art itself; it requires recognition in achieving something or to someone in life that necessarily isn’t something to behold, especially when the said achievement is to sustain your family from hunger every day. Such conditions don’t equate to the sentiment of a “Pinoy Pride” moment for the Victor Statue; rather, it sets the bar of living in an unlikely low manner that each trial we face needs a recognition award for the battles we didn’t even start in the first place.
The Philippines is still a developing country. In an explanation made by Deloria (2021) in his research, “Why the Philippines Remains a ‘Developing’ Nation for so Long?”, he mentioned, “the inescapable poverty is what keeping the migrants and those who are subject to diaspora take the step out of the country.” This poverty is not an individual concern where only those determined to escape it can win the competition of life. However, it is caused by something, which, according to Deloria (2021), includes graft and corruption, political dynasties, a lack of opportunities, and conditions of suppression through the inaccessibility of education. Given that Filipinos who are aiming for a better life encounter this in their country, obtaining a working visa in another country has become an aspiration. They work abroad, often petitioning their loved ones to join them, all in pursuit of better opportunities and living conditions. So in the end can it truly be called a victory when they feel compelled to leave everything behind in their homeland to find what they can’t achieve here? Is it really a victory to leave your family behind for years to come just so you can afford the best treatment in the world? This calls into question what true victory really means for us.
Conclusion
As a pivotal recommendation and a resounding call to action in its response to the thought-provoking analysis presented in the article, it is imperative to prioritize Cultural Awareness and Education initiatives in the Philippines. By actively promoting programs that facilitate a deeper understanding of the intricacies of Filipino identity and history, we can empower our fellow countrymen and women to engage in critical thinking regarding the portrayal of Filipinos in art and media. These programs should be designed to foster a more informed and discerning perspective among the populace, encouraging individuals to question stereotypes and the implications of such depictions. This educational approach not only enriches our cultural fabric but also equips Filipinos with the tools necessary to challenge misconceptions, champion authentic narratives, and contribute positively to the evolution of art, culture, and society. It is a collective responsibility to ensure the narrative of the Filipino people, both at home and abroad, is shaped by informed voices and reflects the diverse and complex reality of our heritage. Art in general shouldn’t be limited to an aesthetic passive motif, but rather an engagement that not only solidifies its message to the viewers but also engages our emotional senses. Artists have the responsibility to mediate the world around them with their work, though Jefrë arguably did manage to set their aesthetic unto the world, their notion to bring about conformity rather than equality in a system that glorifies unnecessary labor has voided their message of work.
As a whole, the statue represents a “lucky strike” rather than an absolute message of victory, it calls for a post-cause effect on a minority level of people who underwent the Filipino Resiliency stereotype. Such accomplishments, while perfectly valid, still deprive us of the real battles in the life of our Government, diluting opportunities here in our homeland thus needlessly making OFWs in the first place that interns glorify a commissioned statute for the sake of Victory within our hardships. The rhetorical question of “Shouldn’t everyone appreciate art?” comes within the lenses of the working class masses, who believe that post cause art installations should be lessened in order to demolish a status quo in life that one has achieved victory; instead, we should commission art that speaks for everyone no matter what level we are in life, art that sparks for change rather than complacency, art that is made by the people and is for the people. If we don’t, to what end should “Victory” be for someone as they rise above their peers, creating a systemic ladder of thorns? Or to dethrone meaning and rebuild that ladder in order for the majority of us to feel the true meaning of victory.
