high, taking into account the vertical clearance of traffic overpasses. This year’s effigy depicts President Macapagal Arroyo as “ Gloriang Tuko,” a gigantic gecko (a species of tropical lizard) clinging voraciously at a replica of Malacañang Palace (a traditional local symbol of political power).
One of the bigger effigies, this time, is the yearly State-of-the-Nation (SONA) effigy sponsored by the Bagong Alyansang Makabayan (Bayan or New Patriotic Alliance) and facilitated by the artists’ group, UGAT-Lahi. The rallies of the past two months are not an exception, such as the effigy of a desperate Gloria Macapagal-Arroyo (GMA) being torched at the June 30 rally in Liwasang (or plaza) Bonifacio. “Art for Oust’s Sake,” as some term it.Įffigies – puppets or resemblances of unpopular figures – have always been around with the social protests in recent Philippine history. Unlike mainstream cultural objects, they may be viewed and experienced without having to pay entrance fees and expensive tickets, without glass cases all around, and without the silence of a solitary viewer.Īrt historians classify these various forms and practices as “protest/activist art.” Recent media reports have labeled such productions as “street” or “rally art.” To activists, however, the mix of images, words, and sounds are produced with a definite purpose in mind. Overtly political, straight to the point, and often transient in nature, these images and scenes delight, educate, and agitate media crews, photographers, bystanders, and activists everywhere. As the rallies for GMA’s removal grow exponentially, so does the resolve to find more creative forms of articulation and expression grow. The effigies, placards, streamers, shirts, songs, skits and speeches comprise an entire spectacle of protest that shows no sign of abating for now.
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