ART IN THE FIELD OF MASS CULTURE

By: Iris P. Concepcion

When I returned home in Mindanao almost six years ago, the city that I can have ready access with in terms of travel distance is Davao City. Its feisty mayor, Rodrigo Duterte, has thouroughly combed its streets off criminals, hoodlums and other misfits that hamper its growth economically. Once these were laid down, its cultural resurgence gained grounds.

I have seen a giant statue of David erected in one of its seashore landmarks. The city was then caught abuzz with cultural gossip. It was sensational in an intellectually enriching manner. The city councilors brought to the plenary halls important debates, primarily involving the morality or lack of it, of the nude David.

The thread of contention was whether or not David's extremity (his vital male member became prime suspect for length dimension) should be covered or not. The church raised a howl. Caving in to the array of cultural debates, an innovation was introduced. A leaf covered that part of the statue, cemented as it was by the furor of cultural bickerings. Its local news were filled with art, art, art and art. The discussions turned hilarious at one point  as politicians brushed up their knowledge of the aesthetics to join in the exciting cultural roar.

I thus postulated a premise: art can only thrive freely in two extreme conditions. One in absolute desolateness, the other in a wild and free environment where hoodlums could not get in the way of the artists' horns and invention scalpels.

I experienced this vibe of cultural re-awakening last night.

I have watched an ultra spectacular presentation of an artwork straight from an O. Henry novellete. I know the best part shall boomerang on my psyche like a Colette ending. Short but unforgettable.

I am referring to the unveiling of the Quatrromondial statue at the Quadricentennial Park at the University of Santo Tomas.

It is a curious installation. For one, it created a talk reserved only for the likes of world-class cultural pioneers like J. Bieber. I am kidding.

Students milled around waiting for big-named moviestars to appear. They shrieked. Medical men pushed wheelchairs gushing about "Oh my, I saw..........," namedropping a box-office star.

I could not figure out much of the programme prior to the unveiling. I looked at the majestic blue and yellow lights hanging over at the main building, a Christmas imprint that remains bold and bewitching. Of course, you likewise see balloons tied up somewhere looking quite forlorn and out of place.

I am equally fascinated by these facts.

Students stayed with the unveiled statue more than the entertainment hoopla being staged nearby. As the golden yellow veil was pierced like a corporate identity defrocked in legal suit, slowly pulled down to reveal the art piece, a suspended excitement and captured awe drummed up the visceral psyche of the audience.

The yells and excitement are befitting a rockstar's ascent on stage.

When finally disrobed, it was the best triumph of art in a broadbased setting. It was magical and soulful.

The cherry pie has finally arrived. An artwork is elevated to the stature of an entertainment box-office hit. I am sure Krip Yuson will find solace in the company of these hoodwinkers. What you did in that mall is spreading like rabbits in universities. It is horrifying!

My cellphone could not do justice to the installation. You have to view it as is.

Its shining structure is unlike the somewhat uneven texture of the EDSA shrine. You suspect its creator can improve the Ninoy busts better. It is truly enthralling. The domed globe is carried by four representations of the university's educational thrusts. Bold but tasteful.

Unlike the University of Philippines' oblation landmark that represents nationalism at its peak, symbolizing that human freedom is addressed by its state of undress, the four giant structures held a book, a cross and a right, yes, this is the art shock of the century, breast. Yes, a boob. A left boob, to cite its exact location. It is tasteful nonetheless. Freedom of flesh rendered intellectually as the late Ophie Dimalanta would have it. She fought hard for this kind of leverage in the past and got censored. She got the better deal this time around.

Inside the globe are hues of blue and green, in jade-like jewels. I am excited how the natural lights shall play out on this come sunny weather or dawnbreak. Its reflections could vary. It invites a foreplay to a heated, visual passion.

The great crane, with SS on its logo carried this (see picture), made sure this piece was installed. Yes, Filipinos can erect something celebratory like this piece.

If you prefer mindless hilarity, you can swift your eyes to a giant screen where an entertainment program is screened singing a popular ditty about being belonged. The art enthusiasts debated on this too, like they would Van Gogh.

I am overwhelmed by this victory.

A statue ultimately dislodged, in that askewed manner, a Billboard Number One Specialist Song through an educational mass psychology of the aesthetics.

When students chose to have their pictures taken with the artwork instead of the moviestars, that eventually sealed my day as a scribbler, literally and figuratively.