Roselle Pineda | University of the Philippines Diliman (original) (raw)
Papers by Roselle Pineda
TURBA
The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiat... more The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreography and the Moving Image, proposed the term filmic performance as a “comprehensive term incorporating all aspects of cinematic production, so that the choreographic quality of the dancefilm can be considered in relation to both the profilmic and filmic elements” (2011: viii). The profilmic here refers to that aspect of the initiative that coincides with the live event, the writing on the danci...
Philippine Humanities Review, 2022
The COVID-19 pandemic has exacerbated what Judith Butler describes as the exposure of our precari... more The COVID-19 pandemic has exacerbated what Judith Butler describes as the exposure of our precarities through the "falling away" of many support systems within our society. Within these conditions of distance, disconnection, and precarity, the Aurora Artist Residency Program and Space (AARPS) Collective strive to gather and examine (their own) practices of collective making and collective-making through Doculektiv, a process-led research project in multiple iterations presented in this manuscript as, first, Doculectiv, a three-part series of curated conversations released in July 2020, and “Doculektiv,” this manuscript—as a continuation of the same
conversation that articulates the process of intercapturing that occurs between process and iteration, and within and among the collective as the participants of the research/creative practice. It presents the self-translated and self-edited transcript of Doculektiv: Curated Conversations, in which the AARPS Collective unpacks the term "collective" and describes how each member approaches ideas of processes and relationships, and how they work within the collective through these interweaving valuations and embodiments of "collectivity." At once research and creative work, this
manuscript ventures to capture the fluidity of such dynamic practices as, in this case, performance, collaboration, and collective work, and to understand collective-making as critical practice, as creative process, and as ethos of care and accountability. These words are fuelled by notions of history, care, ethics, failure, and trust, on which are built the resolve to gather despite, in spite of, and regardless of our precarities.
WOMEN IN ACTION-ROME THEN MANILA-, 2002
... She is currently finishing her masters thesis on lesbian art in the Philippines for an MA deg... more ... She is currently finishing her masters thesis on lesbian art in the Philippines for an MA degree in Art Theory and Criticism in UP Diliman. References: Berger, John. 1979. Ways of Seeing. London: Penguin Books. Butler, Judith. 1990. ...
Die Autorin versucht in ihrem Artikel die verlorene Geschichte der zweijahrzehnten alten Lesbenbe... more Die Autorin versucht in ihrem Artikel die verlorene Geschichte der zweijahrzehnten alten Lesbenbewegung in den Philippinen aufzudecken, sie in einen größeren historischen Kontext zu stellen, und ihre Stellung in verschiedenen sozio-politischen Arenen zu erklären. Das Problem dabei ist die lesbische Unsichtbarkeit, die der Autorin zu Folge durch auf gezwungene Heterosexualität des Patriachats und Gewalt gegen Lesben entstanden ist.
Kasarinlan: Philippine Journal of Third World Studies, 2008
The author attempts to recover the lost history of the two-decade old lesbian struggle in the Phi... more The author attempts to recover the lost history of the two-decade old lesbian struggle in the Philippines, to mark it in the larger historical map, and to explain its location within the various socio-political arenas. The problem is lesbian invisibility. Enforced heterosexuality, an institution imposed by the patriarchy, and violence committed against lesbians have forced them to keep their struggle invisible. Even with lesbian voices in the women's movement and the national democratic movement, the lesbian issue is not widely discussed. Women's issues are discussed along the lines of heterosexual concerns in relation to socio-economic conditions with lesbian concerns only peripheral. While feminism poses itself as a women oriented cause, it imposes certa.in heterosexual pattems that relegate lesbians to a dark corner. Lesbians also find themselves the humorless counterparts of the usually flamboyant male homosexual. In 1992, the movement achieved a breakthrough with the fo...
Review of Women's Studies, 1999
Ginto: Art Association of the Philippines Compendium, 1999
When I first learned about what I was supposed to write for this anthology, I admit, I had severa... more When I first learned about what I was supposed to write for this anthology, I admit, I had several doubts in mind. The task: I was asked to subject the works in the Ginto: 50 Years of Art Association of the Philippines exhibition to engenderdization and detect lesbian images embedded in them. My first reaction was to find women artists who outrightly discuss the issue in their works, and by treating them as a window to these women artists' identity, possibly inquire if the images they used parallel their sexual preference. With this in mind, I immediately eliminated works by men, primarily because eventhough their works may have lesbian potentials (and in fact most works by men have this potential), their biology can never be equal to lesbian identity... as we all know, there is no such thing as a lesbian man. Searching... scrutinizing every work, I roamed around the exhibition area. My head started to spin both from tiredness and frustration after a few hours of my futile quest to find outright lesbian images by, possibly lesbian artists. I began to feel the baggage of my task. Finally, I said to myself, I had to redefine my mission. And so, from trying to find lesbian artists through their works, my thesis became, trying to find lesbian works as an end. After all, I was invited to be a part of this anthology precisely because the editors know that I am a lesbian, and I am expected to subject the works included in this exhibition according to my experiences and identity politics as a lesbian 1. By introducing myself as a lesbian reader, I am positing myself as
Fresh Street #4, 2021
The pandemic has intensified inequality and insecurity, but also created a space to rethink our u... more The pandemic has intensified inequality and insecurity, but also created a space to rethink our underlying structures.
If others are seizing the moment, why can’t artists?
Curator and artist Roselle Pineda on communities coming together and the liveable life.
Arts Management Quarterly, 2021
This paper outlines the author's process of creative collaboration with the Dumagat indigenous pe... more This paper outlines the author's process of creative collaboration with the Dumagat indigenous peoples community in Dingalan, Aurora and the Aurora Artist Residency Program and Space (AARPS) Collective, in making and presenting the "Adow ne Domaget 2020 KKK - Kuwento, Kultura at Kalusugan sa Katutubong Komunidad,"1 radio program-festival during COVID-19 lockdown in the Philippines. In the course of the discussion, she will provide insights on the role of an immersive curatorial process and the creative impulse in reimagining places, moments and acts of gathering and collective action, in bringing out the stories and the voice of the community, in the time of lockdown, distance and forced isolation.
SUKI Japan Foundation Magazine, 2020
The paper discusses the AARPS' (Aurora Artist Residency Program and Space) Art Collective creativ... more The paper discusses the AARPS' (Aurora Artist Residency Program and Space) Art Collective creative space and process during lockdown that lead to their collaborative projects with the Dumagat indigenous peoples community in Dingalan, Aurora, as well as the curatorial exercise in archiving the performative, process-based and ephemeral project, Doculektiv; and how these processes and projects led to the collective's questionings and new conceptions for gathering, collectivity and collaboration in the time of physical distancing.
Likhaan , 1999
Short story.
Review of Women's Studies, 2001
Women in Action, 2003
A creative non-fiction exploration on navigating personal spaces that allow for (non)conversation... more A creative non-fiction exploration on navigating personal spaces that allow for (non)conversations about sexuality.
Review of Women S Studies, Apr 7, 2012
Kasarinlan Philippine Journal of Third World Studies, Sep 18, 2008
TURBA
The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiat... more The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreography and the Moving Image, proposed the term filmic performance as a “comprehensive term incorporating all aspects of cinematic production, so that the choreographic quality of the dancefilm can be considered in relation to both the profilmic and filmic elements” (2011: viii). The profilmic here refers to that aspect of the initiative that coincides with the live event, the writing on the danci...
Philippine Humanities Review, 2022
The COVID-19 pandemic has exacerbated what Judith Butler describes as the exposure of our precari... more The COVID-19 pandemic has exacerbated what Judith Butler describes as the exposure of our precarities through the "falling away" of many support systems within our society. Within these conditions of distance, disconnection, and precarity, the Aurora Artist Residency Program and Space (AARPS) Collective strive to gather and examine (their own) practices of collective making and collective-making through Doculektiv, a process-led research project in multiple iterations presented in this manuscript as, first, Doculectiv, a three-part series of curated conversations released in July 2020, and “Doculektiv,” this manuscript—as a continuation of the same
conversation that articulates the process of intercapturing that occurs between process and iteration, and within and among the collective as the participants of the research/creative practice. It presents the self-translated and self-edited transcript of Doculektiv: Curated Conversations, in which the AARPS Collective unpacks the term "collective" and describes how each member approaches ideas of processes and relationships, and how they work within the collective through these interweaving valuations and embodiments of "collectivity." At once research and creative work, this
manuscript ventures to capture the fluidity of such dynamic practices as, in this case, performance, collaboration, and collective work, and to understand collective-making as critical practice, as creative process, and as ethos of care and accountability. These words are fuelled by notions of history, care, ethics, failure, and trust, on which are built the resolve to gather despite, in spite of, and regardless of our precarities.
WOMEN IN ACTION-ROME THEN MANILA-, 2002
... She is currently finishing her masters thesis on lesbian art in the Philippines for an MA deg... more ... She is currently finishing her masters thesis on lesbian art in the Philippines for an MA degree in Art Theory and Criticism in UP Diliman. References: Berger, John. 1979. Ways of Seeing. London: Penguin Books. Butler, Judith. 1990. ...
Die Autorin versucht in ihrem Artikel die verlorene Geschichte der zweijahrzehnten alten Lesbenbe... more Die Autorin versucht in ihrem Artikel die verlorene Geschichte der zweijahrzehnten alten Lesbenbewegung in den Philippinen aufzudecken, sie in einen größeren historischen Kontext zu stellen, und ihre Stellung in verschiedenen sozio-politischen Arenen zu erklären. Das Problem dabei ist die lesbische Unsichtbarkeit, die der Autorin zu Folge durch auf gezwungene Heterosexualität des Patriachats und Gewalt gegen Lesben entstanden ist.
Kasarinlan: Philippine Journal of Third World Studies, 2008
The author attempts to recover the lost history of the two-decade old lesbian struggle in the Phi... more The author attempts to recover the lost history of the two-decade old lesbian struggle in the Philippines, to mark it in the larger historical map, and to explain its location within the various socio-political arenas. The problem is lesbian invisibility. Enforced heterosexuality, an institution imposed by the patriarchy, and violence committed against lesbians have forced them to keep their struggle invisible. Even with lesbian voices in the women's movement and the national democratic movement, the lesbian issue is not widely discussed. Women's issues are discussed along the lines of heterosexual concerns in relation to socio-economic conditions with lesbian concerns only peripheral. While feminism poses itself as a women oriented cause, it imposes certa.in heterosexual pattems that relegate lesbians to a dark corner. Lesbians also find themselves the humorless counterparts of the usually flamboyant male homosexual. In 1992, the movement achieved a breakthrough with the fo...
Review of Women's Studies, 1999
Ginto: Art Association of the Philippines Compendium, 1999
When I first learned about what I was supposed to write for this anthology, I admit, I had severa... more When I first learned about what I was supposed to write for this anthology, I admit, I had several doubts in mind. The task: I was asked to subject the works in the Ginto: 50 Years of Art Association of the Philippines exhibition to engenderdization and detect lesbian images embedded in them. My first reaction was to find women artists who outrightly discuss the issue in their works, and by treating them as a window to these women artists' identity, possibly inquire if the images they used parallel their sexual preference. With this in mind, I immediately eliminated works by men, primarily because eventhough their works may have lesbian potentials (and in fact most works by men have this potential), their biology can never be equal to lesbian identity... as we all know, there is no such thing as a lesbian man. Searching... scrutinizing every work, I roamed around the exhibition area. My head started to spin both from tiredness and frustration after a few hours of my futile quest to find outright lesbian images by, possibly lesbian artists. I began to feel the baggage of my task. Finally, I said to myself, I had to redefine my mission. And so, from trying to find lesbian artists through their works, my thesis became, trying to find lesbian works as an end. After all, I was invited to be a part of this anthology precisely because the editors know that I am a lesbian, and I am expected to subject the works included in this exhibition according to my experiences and identity politics as a lesbian 1. By introducing myself as a lesbian reader, I am positing myself as
Fresh Street #4, 2021
The pandemic has intensified inequality and insecurity, but also created a space to rethink our u... more The pandemic has intensified inequality and insecurity, but also created a space to rethink our underlying structures.
If others are seizing the moment, why can’t artists?
Curator and artist Roselle Pineda on communities coming together and the liveable life.
Arts Management Quarterly, 2021
This paper outlines the author's process of creative collaboration with the Dumagat indigenous pe... more This paper outlines the author's process of creative collaboration with the Dumagat indigenous peoples community in Dingalan, Aurora and the Aurora Artist Residency Program and Space (AARPS) Collective, in making and presenting the "Adow ne Domaget 2020 KKK - Kuwento, Kultura at Kalusugan sa Katutubong Komunidad,"1 radio program-festival during COVID-19 lockdown in the Philippines. In the course of the discussion, she will provide insights on the role of an immersive curatorial process and the creative impulse in reimagining places, moments and acts of gathering and collective action, in bringing out the stories and the voice of the community, in the time of lockdown, distance and forced isolation.
SUKI Japan Foundation Magazine, 2020
The paper discusses the AARPS' (Aurora Artist Residency Program and Space) Art Collective creativ... more The paper discusses the AARPS' (Aurora Artist Residency Program and Space) Art Collective creative space and process during lockdown that lead to their collaborative projects with the Dumagat indigenous peoples community in Dingalan, Aurora, as well as the curatorial exercise in archiving the performative, process-based and ephemeral project, Doculektiv; and how these processes and projects led to the collective's questionings and new conceptions for gathering, collectivity and collaboration in the time of physical distancing.
Likhaan , 1999
Short story.
Review of Women's Studies, 2001
Women in Action, 2003
A creative non-fiction exploration on navigating personal spaces that allow for (non)conversation... more A creative non-fiction exploration on navigating personal spaces that allow for (non)conversations about sexuality.
Review of Women S Studies, Apr 7, 2012
Kasarinlan Philippine Journal of Third World Studies, Sep 18, 2008
PCI, 2017
This is the Performance Curators Initiatives international symposium of 2017 entitled "Imagining ... more This is the Performance Curators Initiatives international symposium of 2017 entitled "Imagining a Curatorial Vision for Performance" held at the University of the Philippines, Diliman, in 2017. The conference featured the presentations by Dr. Dena Davida (Canada), Prof. Eileen Legaspi-Ramirez (Philippines), Ms. Eri Karatsu (Japan), Mr. Boyet De Mesa, SIPA (Philippines), Sipat Lawin Ensemble (Philippines), Dr. Jonas Baes, University of the Philippines (Philippines), Ms. Myra Beltran (Philippines), Dr. William Peterson (Australia), Dr. Steven Fernandez (Philippines), Dr. Flaudette May Datuin (Philippines), Mr. Marc Pronovost (Canada), Mr. Leonardo Carino, Teatro Ambahanon, (Philippines), Dr. Jane Gabriels (New York, USA), Dr. Cecilia Sta. Maria-Dela Paz (Philippines), Prof. Sarah Miller (Australia), Dr. Sir Anril Pineda Tiatco (Philippines), Prof. Loujaye Sonido (Philippines), Dr. Paul Rae (Australia), Mr. Paschal Berry, (Australia), Prof. Angela Lawenko-Baguilat, Performance Curators Initiatives (Philippines), Mr. Masayoshi Yahagi (Japan), Dr. Jazmin Llana (Philippines), and Roselle Pineda.
Arts Management Quarterly, Apr 30, 2021
After 14 months of the pandemic, it is still largely unclear in many regions of the world when vi... more After 14 months of the pandemic, it is still largely unclear in many regions of the world when visitors will be allowed or willing to return to arts and cultural institutions. Although interest in travel, art and cultural experiences may be at an all-time high, there are still health and security concerns that could keep away visitors for an indefinite period of time. This effect could be even amplified for tourists in particular by action against the climate crisis, such as a reduce or even ban of short-distance flights. But that is not the only reason to turn some attention away from global cultural consumers and toward local communities. Additionally, resident communi- ties can become returning audiences, multipliers, and partners for long-term cooperation. Anyway, addressing them is not that simple. While a culturally enthusiastic audience is intrinsically motivated, local communities are not necessarily. Their needs and issues must therefore be at the center, and arts and cultural institutions have to perceive themselves as servants rather than providers. Communi- cation, trust, and listening must take precedence over marketing. In this issue we present arts and cultural organizations and initiatives that have managed to align with local communities, before and during the pandemic, and now serve them in a tangible way both online and, where possible, on site. We hope that these examples from different cultural sectors and regions of the world can be an inspiration, a manual and motivation for action for all those arts and cultural managers struggling with the (post) COVID world.