NOW that photo canvasses, digital graphics and even 3D printers are providing user friendly alternative methods to the old fashioned oil and acrylic painting on canvass, new breed of content creators have in fact invaded the arena of fine arts.
What we had then as fine art students and neophyte artists was a far cry to what technology offers today.
Back then, media mileage was as elusive as winning first place in art competitions. For young and emerging artists who are intending to mount an art exhibit, they often resort to gifting writers and columnists with their works or deal with the exorbitant cost of gallery curating and media promotion unlike today where social media and online marketing is very much in use.
It is a known fact in the Philippines that many artists and artisans do not have health insurances, housing, disability, retirement, and death benefits. A sad fact is if they cannot cry out for help from friends and relatives who do not also have social security, many just stay in seclusion and shun away from the world. This concern came to me when a former college classmate came up to Baguio for some important family undertaking and we had quick chats about our work as government employees. A fellow artist and fine arts graduate of the University of Santo Tomas, Bayani Rumbaoa, like me had already spent three decades in government service. Yannie as we call him has been with the Banko Central ng Pilipinas (BSP) as the Chief Engraver who carved the prototypes of most of our coins in circulation. Older than me, he is turning sixty next year and his records and contributions with the Government Service Insurance System (GSIS) assure him of certain pensions and health care.
For fellow artists who made a mark as painters, sculptors and engravers in their prime times but were not privileged to enter an institution with retirement benefits such as SSS, GSIS, Pag-Ibig and Philhealth, I wonder if there’s a way where their creations can be considered as a bond or payment for medicines and health services. Artworks has a definite bargaining value and Yannie and our BFA group of UST graduates would be more than willing to propose and co-author such proposal that artists needing medical attention are allowed to be treated in public clinics and hospitals using their valuable artworks as collateral and item for payment. The matter of work appraisal for purposes of valuation can be done by heads of local art institutions, fine arts professors or gallery curators. The Ugnayang Tomasino composed mostly of UST-BFA graduates can also be tapped to draw out the mechanics and basis for artwork appraisal.
Recently, Arnie Delos Reyes and I nominated our late classmate Antonio Ko Jr. s to our school’s grand alumni homecoming and recognition event but were not able to succeed because we are still trying to locate Antonio’s daughter Josephine who appears to be no longer in Padre Faura. It is a sad fact that Antonio Ko died in our school’s hospital due to severe appendicitis infection while waiting for his turn to be admitted among many indigent patients. I remember the hearty and tearful conversation we had when his mother Aling Pining called me in desperation while Tony was brought to the morgue instead of a waiting hospital bed.
I certainly hope that we can help push legislators enact a law that recognizes the valuable contributions of artists from the varied fields and put a corresponding monetary value to their artworks, creations and intellectual properties.
This may sound like a wishful thinking but I am optimist that this is a fair and implementable suggestion that can also instill dignity and pride to Filipino artists in general. If not for my friend Chiquito and the Mabini artists, I would not have thought of such proposition and I hope that other artists in the country would also help raise this matter so that it can be adopted and passed into a law that assures artists like us for our medical needs. I was happy to learn that the baby that I saw being cradled by Antonio when I visited him few years after our graduation has grown up and followed her father’s footsteps.
I also felt guilty at the same time because Josephine is my goddaughter or “inaanak” and that I haven’t kept track of her growth and whereabouts throughout the years. I only encountered her name at the website of the Heritage Arts and Antiquities as among its contributing artists. I truly look forward to meeting her and wish that she continued the legacy left by her late father and Papo de Asis in elevating the plight of the struggling artists and for government to recognize our proposal for artist’s health welfare. cnatelevision@gmail.com.ph
