Home⇛PCS Review⇛vol. 15 no. 1 (2023)

Representations of Youth Activism in Sining Adhika’s Online Theatre Plays with Critical Discourse Analysis Approach

Jade A Oraa

Discipline: performing arts (non-specific)

 

Abstract:

Augusto Boal’s “Theatre of the Oppressed” explicates that theatrical stage is where all actors rehearse for the revolution and social movements. This paper concerns how activism and social movements, rooted from today’s plight of Filipinos, conveyed through the online theatrical performances of Sining ADhika during the AY 2020-2021. Sining ADhika was established as a young campusbased theatre group of Senior High School Department in the Manuel S. Enverga University Foundation, Lucena City, Quezon. In spite of the challenges brought by the COVID-19 pandemic in 2020, this group of Arts and Design Track students and artists have produced and distributed short and full-length online theatrical plays through their official Facebook page. This study specifically attempts to briefly discuss Philippine activism, particularly in local theatre productions; to identify the themes of all online theatrical plays, including scripts and songs performed; to interpret how the online theatrical plays conveyed activism through the theme of youth in the Philippines; and to discuss these plays in lieu of the political and economic landscape of the Philippines. Appropriating Fairclough’s framework (1992), this paper follows the three dimensions of Critical Discourse Analysis: (1) text, (2) discursive practice, and (3) social practice, in analyzing the discourses within Ako Rin and Langit, Lupa… Sino ang Taya? This study dives deep on how Sining Adhika performed online activism and represented critical issues that the Filipino youth experienced during the Duterte administration. Further, Augusto Boal’s theory is demystified in analyzing the meanings of activism from the scripts and performed songs of the online theatrical plays.



References:

  1. Abelinde, B. (Director). (2021). Apat na kaluluwa sa loob ng ari ng ama [Online Theatre]. University of the Philippines Diliman.
  2. Adams, R. (2017). Michel Foucault: Discourse. CLT. https://criticallegalthinking.com/ 2017/11/17/michel-foucault-discourse/#:~:text=Foucault%20adopted%20 the%20term%20%27discourse,1
  3. Alqaseer, S. & Pile, C. (2020). The president’s monologues: Duterte’s rhetoric and toxic masculinities. University of the Philippines Diliman. https://cswcd.upd.edu.ph/wp-content/uploads/2022/09/PJSD13_The-Presidents-Monologues_SAlqaseer.pdf
  4. Andone, D. & Faidell, S. (2017). Philippines’ president Duterte says he’ll protect lgbt community. CNN. https://edition.cnn.com/2017/12/17/world/rodrigo-duterte-philippines-lgbt-protection/index.html
  5. Antonio, J. (2021). Community pantry initiator fears for life after false red-tag claims. ABS-CBN News. https://news.abs-cbn.com/news/04/20/21/community-pantry-initiator-fears-for-life-after-false-red-tag-claims
  6. Baldwin-Philippi, J. (2015). Using technology, building democracy: Digital campaigning and the construction of citizenship. Oxford University Press. 
  7. Bernardino, S. (2020). TFC to stream ‘Ang Huling El Bimbo Musical,’ Cinemalaya 2020 films. Manila Bulletin. https://mb.com.ph/2020/08/20/tfc-to-stream-ang-huling-el-bimbo-musical-cinemalaya-2020/?amp
  8. Biescas, A. (2021). Wangwang, Coffee break, and Solo [Online Theatre]. Polytechnic University of the Philippines Sining-Lahi Polyrepertory.
  9. Boal, A. (2020). Theatre of the oppressed. Routledge. https://www.taylorfrancis.com/ chapters/edit/10.4324/9780429355363-26/theatre-oppressed-augusto-boal-leal-mcbride?context=ubx
  10. Brooks, S. & Patel, S. (2022). Challenges and opportunities experienced by performing artists during COVID-19 lockdown: Scoping review. Social Sciences &. DOI: 10.1016/j.ssaho.2022.100297
  11. Capinding, R. (Director). (2021). Password: 03d1pu5_R3x [Online Theatre]. Tanghalang Ateneo.
  12. Cervi, L. & Marín-Lladó, C. (2022). Free palestine on TikTok: from performative activism to (meaningful) playful activism. Journal of International and Intercultural Communication. https://doi.org/10.1080/17513057.2022.2131883
  13. Chikiamco, C. (2021). Capitalism and Philippine development. Business World. https://www.bworldonline.com/capitalism-and-philippine-development/ 
  14. Conde, C. (2020). Children have become collateral damage with the Philippines’ “drug war” scarring a generation. Euronews. https://www.hrw.org/news/2020/06/04/children-have-become-collateral-damage-philippines-drug-war-scarring-generation
  15. Deiparine, C. (2021). Duterte vows ‘quality’ education amid pandemic, but no other plans in last SONA. Philstar.com. https://www.philstar.com/headlines/2021/07/26/2115382/duterte-vows-quality-education-amid-pandemic-no-other-plans-last-sona
  16. Delima, J. (Director). (2021). 3SAM [Online Theatre]. University of the Philippines Diliman.
  17. Delima, J. (Director). (2021). 3SAM [Online Theatre]. University of the Philippines Diliman.
  18. Delimata, Maria (2013). Contemporary theatre in the Philippines: The actor in the identity shaping process. Mimesis Journal. https://doi.org/10.4000/mimesis.342
  19. De Jesus, G. (Director). (2021). Kung paano maghiwalay [Online Theatre]. FEU Theatre Guild
  20. De Jesus, B. Director). (2021). Over a cup of coffee [Online Theatre]. University of the Philippines Diliman.
  21. De Paula, I. (2020). ‘Dekada ‘70’ is more timely than ever. Rappler. https://www.rappler.com/ entertainment/theater/253628-dekada-70-musical-review/
  22. Dressler, W. (2021). Quarantining activism: COVID-19, frontline defenders and intensifying extractivism in the Philippines. Journal of Political Ecology.
  23. Duncombe, S. (2016). Does it work? The effect of activist art. Spring. https://www.jstor.org/stable/44283398
  24. Fairclough, N. (1992). Discourse and social change. Cambridge, UK: Polity Press.
  25. Fernandez, D. G. (1987). Philippine theatre after martial law. University of Hawai’i. https://www.jstor.org/stable/1124438 
  26. Flores, P. D. (2019). The abstractions of critique: Alice Guillermo and the social imperative of art. Project Muse. https://doi.org/10.1353/sen.2019.0006
  27. Gavilan, J. (2021). In 2021, activists, human rights defenders fight to survive under Duterte. Rappler. https://www.rappler.com/newsbreak/iq/2021-review-activists-human-rights-defenders-fight-to-survive-under-duterte/
  28. Govinden, B. (2020). The Arts in the time of pandemic. Routledhe. https://doi.org/10.1080/10130950.2020.1783888
  29. Huarcaya, S. M., (2015). Performativity, performance, and indigenous activism in Ecuador and the Andes. Comparative Studies in Society and History. DOI:10.1017/S0010417515000298
  30. Human Rights Watch (2017). “License to kill” Philippine police killings in Duterte’s “war on drugs”. ISBN: 978-1-6231-34488
  31. Jimenez, J. V. (2014). The first sparks of student activism at De La Salle College, 1968-1972. De La Salle University. https://www.researchgate.net/publication/355854437
  32. Lanuza, G. M. (2020). The Theological Squabble of Duterte Against the Catholic Church: Discourse Analysis of Duterte’s God-Talk Based on the Verses Found in Online News. Plaridel Journal.
  33. Leonhardt, Nick (2019). Severino Montano and the development of theatre in the Philippines in the 1950s. Journal of Global Theatre History. 
  34. Lo, B. (2022). Maria Ressa and Reynaldo Santos’ convictions of cyber libel upheld by Court of Appeals. CBS News. https://www.cbsnews.com/news/maria-ressa-rey-santos-convictions-of-cyber-libel-upheld/
  35. Medel-Anonuevo, C. (1996). Women reading the world. Policies and practices of literacy in Asia. UIE studies 6. United Nations Educational, Scientific, and Cultural Organization. ISBN-92-920-820-10
  36. Mendizabal, L. S. (2020). Ang ‘Huling El Bimbo, The Musical’ review: When is nostalgia too much that it hurts? Kodao Productions. https://kodao.org/ang-huling-el-bimbo-the-musical-review-when-is-nostalgia-too-much-that-it-hurts/
  37. Mendoza, B. (2021) Poverty porn. Our Brew. https://www.ourbrew.ph/poverty-porn/ 
  38. Mouffe, C. (2001). Every form of art has a political dimension. Grey Room.  https://doi.org/10.1162/152638101750173019
  39. Nuevo, R. (2020). REVIEW: “Dekada ’70 the Musical” is a rousing reminder to never forget. Theatre Fans Manila. https://theaterfansmanila.com/review-dekada-70-the-musical-is-a-rousing-reminder-to-never-forget/
  40. Official Gazette (2020). An act to prevent, prohibit and penalize terrorism, thereby repealing Republic Act no. 9372, otherwise known as the “Human Security Act of 2007” https://www.officialgazette.gov.ph/2020/07/03/republic-act-no-11479/
  41. OHCHR (2020). Report of the United Nations High Commissioner for Human Rights on the Situation of human rights in the Philippines. Human Rights Council, Annual report of the United Nations High Commissioner for Human Rights and reports of the Office of the High Commissioner and the Secretary-General.
  42. Patag, K. J. (2021). Citing relentless red-tagging and arrests, SC urged to temporarily stop anti-terror law implementation. Philstar.com. https://www.philstar.com/headlines/2021/ 02/23/2079836/citing-relentless-red-tagging-and-arrests-sc-urged-temporarily-stop-anti-terror-law-implementation
  43. PETA (2023). ‘Walang Aray’ returns! PETA Newsletter. https://petatheater.com/walangaray #:~:text=%27WALANG%20ARAY%27%20RETURNS!&text=The%20all%2Doriginal%20Filipino%20musical,wonderful%20music%20and%20comedy%20gold.
  44. Philippine Educational Theatre Association (2023). ‘Walang Aray’ is a fun and riotous look at the well-worn tale of revolution. https://nolisoli.ph/106043/walang-aray-peta-2023/
  45. Ranada, p. (2019). Duterte implies being gay is a disease. Rappler. https://www.rappler.com/ newsbreak/inside-track/231882-duterte-implies-being-gay-is-disease/
  46. Said, F. (2019). Review of UP Dulaang Laboratoryo’s “Makinal”: Woes of a woman. Blogger. http://3xhcch.blogspot.com/2019/04/review-of-up-dulaang-laboratoryos.html
  47. Scalice, J. (2017). Crisis of revolutionary leadership: Martial law and the communist parties of the Philippines, 1957-1974. Berkely. https://escholarship.org/uc/item/2mc0496x 
  48. Siciliano, L. M. (2021). Is online theatre really theatre?: Teaching and researching during a pandemic. Teaching Artist Journal. https://doi.org/10.1080/15411796.2021.1958220
  49. Spiro, N., Perkins, R., Kaye, S., Tymoszuk, U., Mason-Bertrand, A., Cossette, I., Glasser, S. & Williamon, A. (2020). The effects of COVID-19 lockdown 1.0 on working patterns, income, and wellbeing among performing arts professionals in the United Kingdom (April–June 2020). Frontiers in Psychology. https://doi.org/10.3389/fpsyg.2020.594086/
  50. Tadem, E. C. (December 16, 2020). Philippine marginalized communities and the state in pandemic times. Rappler. https://www.rappler.com/voices/thought-leaders/analysis-philippine-marginalized-communities-state-pandemic-times/
  51. Tenorio, J. (Director). (2021). VEER@US: Tetralohiyang hinaing na ibaling ang pansin sa atin [Online Theatre]. ENTABLAD.
  52. Theatre Fans Manila (2021). 5 university-based theater productions online this March 2021. https://theaterfansmanila.com/5-university-based-theater-productions-online-this-march-2021/
  53. Thimsen, A. (2022). What is performing activism? Philosophy and Rhetoric. DOI: 10.5325/philrhet.55.1.0083
  54. Timberman, D. (2019). Philippine politics under Duterte: A midterm assessment. Carnegie Endowment for International Peace. https://carnegieendowment.org/ 2019/01/10/philippine-politics-under-duterte-midterm-assessment-pub-78091
  55. Umali, Justin (2020). Harassment, red-tagging of farmers continue in Quezon amid lockdown. Bulatlat.com 
  56. UP Laboratoryo (2020). Makinal [Online Theatre]. UP Laboratoryo’s YouTube account. (no longer accessible as of today)
  57. Valera, P. (Director). (2020). Dekada ’70 The Musical [Theatre]
  58. Wong, A. (2021). The politicization of community pantries in the Philippines. ASEAN Today. https://www.aseantoday.com/2021/05/the-politicization-of-community-pantries-in-the-philippines/

Tools


Copyright © 2024  KITE Digital Educational Solutions |  Exclusively distributed by CE-Logic