Colonization and Filipino Professors (continuation)

The training here in the United States allows for curiosity and inquisitiveness. The training for the Philippines requires discipline and respect. Sometimes I wonder at the ability of writers to break through this training regimen in the Philippines. I know that placed under the same critical eye of Pilipino professors, I would wilt. In my opinion, Filipino professors care too much about how they are perceived and not really about the materials that they cover.

One case in point is the visit by Rio Alma to Berkeley. Several students asked him to read from his works and for some bizarre reason, he did not. My initial guess is that for some reason, he did not feel that his reading is worthy of the location. Why he would guess that is beyond my comprehension. But then again, I am someone who begs for anything that is Pin@y. Another explanation offerred by one of his former students is that he had lost his vigor. Maybe ten or twenty years ago, he would have read from his book and he would not have stopped reading.

Rio's refusal to read his works strikes a confusing note to those of us in attendance who were trained in the US. An opportunity to show off the rhythm and rhyme scheme of balagtasan at a major university is not an everyday occurrence. The opportunity to spread the form and the spirit of balagtasan came and went in a matter of seconds. The scheme would not be so farfetched because of the musical style of rap which can be changed into that of balagtasan. It is an opportunity wasted.

In my small mind, I credit colonialism and the way Pin@ys are brought up for the wasted opportunity. Sometimes, we are intimidated by the Caucasians. God knows I was when I lectured at an undergraduate anthropology class. But sometimes, the needs of the few outweigh the needs of the many. I struggle against these chains which weigh my mind and my soul. Each day, I try to stretch a link in the chain so that someday, one of those links will break and I will be released. Each day, like an alcoholic reciting AAA's motto, I state "I am a colonized man. I must stretch a link each day so that I can break the chains."

During dinner, I was lucky not to sit next to Rio Alma. Otherwise, I believe I would have had to ask him in Tagalog why he refused to read an example of balagtasan.

One question posed to Rio Alma was "How do I begin to learn about balagtasan?" His reply was that of a doorman trying to preserve the last few vestiges of a dying art.

"First, learn the language. [REtong: Thanks for that pointer. Let's spend two years learning Tagalog.] Then, you need to become familiar with the aphorisms in Tagalog. [REtong: Anyone want to spend another two years or maybe five?]. Then, you can study balagtasan." This is loosely paraphrased by REtong. I suppose that this is very similar to the way in which master craftsmen teach their art. There is only one pure way of doing this art. Deviate and you bastardize the form.

However, as we were discussing the lecture, a point was made. The balagtasan is hardly practiced in the Philippines anymore. If there was an opportunity to revive it in the United States, why not take advantage of it? Sure, it will be different, but so is the practice of the haiku.

I believe that Rio Alma is as much a product of colonialism as I am. My hope remains in buying his book.