What the play ‘Anatomiya ng Wala’ teaches about art

ALBAY, Philippines – “What is art?” the play about Bikolano progressive artists and activists asked.

Even the cast seemed perplexed about what art truly meant to them. But as Anatomiya ng Wala (Anatomy of Nothing) creatively curated valuable insights about what art can be, it started a multifaceted discussion about the purposes art can serve, particularly in a country trapped in false consciousness and where citizens appear to have developed sympathy and exhaustion for artists.

Directed by Performing Arts Professor Jobert Grey Landeza, the play follows the story of Greg, an amateur painter, and his uncle Vic, a multi-award-winning progressive artist. Their conversations touch on concerns about the role of artists and their craft in society.

When Greg entered college as a fine arts student and eventually became a member of the Concerned Artists of the Philippines (CAP) and the League of Filipino Students (LFS) during the presidency of Gloria Macapagal Arroyo, the play explored how Greg and his peers saw art and culture as vital in pushing for society’s progressive reforms.

The Sining Banwa, a Bicol theater arts group, provocatively presented the ensemble by unconventionally introducing art as a medium that mirrors life, a vessel for history and reality, and a tool that shakes minds and liberates the oppressed through its depictions of their struggles.

Art mirrors life

“A bleeding universe amidst the melting morality of humanity,” Greg narrated in the first act of the play. He and his Uncle Vic purposefully employed metaphors to create a grander understanding of how art conveys meanings and represents society.

Amid the abstractness of life and the tall tales of indefinite meanings draped across every canvas in their studio, they discussed the concrete value of art, particularly in their sector, where art’s worth determines the resources that sustain artists.

They agreed that art’s value is determined by the meaning assigned to it. It cannot be described solely in monetary terms, but rather by the purpose it serves. Vic explained further that art does not merely focus on the canvas or visible manifestations but is more concerned with how it generates a powerful new entity reflecting life in all its grandeur and misery.

In another act, a character named Eva discussed how nude art, despite its controversies and rejection by conservatives, might extend life by filling the creative freedom that prized art embodies.

“Art, for me, is something that extends life when my sibling was in desperate need of help. It helped us survive,” said Eva.

Eva’s portrayal reflects the unfortunate reality of many models in the Philippines who are frequently mistreated due to the perception of nude art as lascivious, shaped by the country’s predominantly religious norms.

Vessel for history, reality

Interestingly, the play also touched on and rekindled old scars, revisiting human rights violations committed during the Arroyo administration, particularly against activists and progressive artists.

In 2007, human rights organizations in the Philippines accused the Arroyo administration  of being responsible for the political assassinations and disappearances of over 400 activists, human rights defenders, and journalists.

The way the acts were presented hinted that what occurred under Arroyo’s administration continues today, particularly in Bicol, where human rights violations were prevalent, and where the story was set.

Almost 15 years after Arroyo’s presidency, the human rights watchdog Karapatan in Bicol has reported recent enforced disappearances of activists in Tabaco City, peasant killings in Masbate province, extrajudicial killings in Guinobatan town in 2021, and rampant red-tagging in Albay and Camarines Sur.

The character Pit declared, “The art of the masses should not be sold, but instead serve as a purpose and return to the masses.” The play itself served as a powerful statement, depicting the story of the masses and demanding justice for victims of impunity under both past and current administrations.

Art liberates

Progressive art, as the pinnacle of expressionism and artistry, challenges minds and helps break the chains binding people’s rights.

“Art can serve as protest because it reflects the conditions of the masses,” said Greg, highlighting his belief that art is powerful enough to be an instrument for the social reform and development that Filipinos need.

In this way, art goes beyond aesthetic pleasures and magnificent displays; it serves as a tapestry that fuels the fire of liberation.

The famous line of the late Lino Brocka, national artist for film, was retold in the play: “To the best of our abilities and even if we often times fail, we must produce art that hurt, art that will disturb, art that will not let you rest. For the times are bad, given times like these, it is a crime to rest.”

Instead of just asking what art is, it may be important to ponder: “For whom and why do we create art?” – Rappler.com

Reinnard Balonzo is a senior journalism student at Bicol University-College of Arts and Letters. An Aries Rufo Journalism Fellow of Rappler for 2024, he is also chairperson of the College Editors Guild of the Philippines-Bicol.