Crossing The Lines With OBRA 20

In the recently concluded Students’ Week 2024, the Visual and Performing Arts Production Unit (VPAPU) kicked off its 20th OBRA titled “Ten-Twenty: Distansya sa Magkahilerang Linya: Laro at Buhay” at the Gregoria Montoya Hall (GMH). In her opening speech, OBRA co-chair Shiela Mae Misamin delved into the concept of “sonder”—a unique realization that each person, from children playing Chinese garter on street corners to adults we encounter on our daily commutes, has their own lived experiences. The exhibit pushed the envelope, exploring how the invisible lines of socioeconomic division shape our communities and seep into our daily life.

 

Overcoming Barriers

Coordinating and creating the event was not without its challenges. In an interview with the co-event chairs, Sylvester Deuda recounted the obstacles VPAPU faced in bringing OBRA 10-20 to life—from typhoon-related suspensions to scheduling conflicts and repeated floor plan revisions. “We had to change the floor plans four to five times,” Misamin noted, highlighting the team’s persistence. “We’re dressed formally now—” Deuda added, “—but 30 minutes ago we were still painting and hammering away at the exhibit walls.”

This adaptability and dedication produced an exhibit that showcased the remarkable intention behind each section and piece.

 

Piece by Piece

Upon paying the 60-peso ticket fee and entering, visitors encountered the first section, ‘Barangay Walang Pake,’ which reimagined nostalgia in all its forms through insightful pieces that explore the daily lives of Filipino communities. The section can almost be interpreted as a twist on the concept of “sonder”, leading the gallery goers through a series of corridors featuring artworks that spin the idea of mundane lives into  remarkable ones—turning seemingly ordinary sights into something that holds a unique place in these little pockets of communities we call our neighborhoods. 

Notable digital, traditional, and mixed-media art pieces were featured, including Isang Daan by Jan, Nay Pabili Po by Just Alex, and Violy’s Store by Serescene—all offering poignant reflections on the often-overlooked lives within these communities. 

 

 

Meaning Making

A simple collection of buildings does not make a community—this is one of Barangay Walang Pake’s key messages, a truth that becomes increasingly evident as we navigate a tumultuous decade marked by social, economic, and environmental challenges. We are not isolated islands as our environment shapes us. In turn, we must create space in our busy lives to contribute to it. 

When we look back on our childhoods—the kids who helped gather chalk for us to etch out the markings to play pico, the sari-sari vendor who sold ice candy to quench our thirst, or the elderly ladies we offered mano to and handed fresh fruits and vegetables in return—these seemingly mundane interactions built bonds that fostered communities and gave us a sense of home and identity. In a world such as ours where over one in four older adults reportedly experiences social isolation, and where concerns about rising loneliness among youth become increasingly urgent, we must seek to overcome our reservations and actively forge the connections that are vital to sustaining our communities.

 

Reimagining Filipino Identity

Welcome to Barangay Walang Pake, where additional thought-provoking pieces awaited. Among them was Tagong Hirap sa Araw-Araw by Lee Alphabet E. Ajugari, which depicted community workers’ daily struggles. Hiraya by Lilli offered a hopeful glimpse of tomorrow through children’s perspectives while Bawal Taympers by Jing and Hinto Para Sa’yo by AA explored the intriguing and systemic invisible lines within our culture.

This part of the exhibit raises a critical question: What defines something as systemic? Is it simply a phenomenon with such widespread impact that its roots become entrenched in society? To truly address societal issues, we must critically examine our understanding of the systemic forces at play, as it ignites the shift from being a passive bystander to actively contributing to the dismantling of it. Systemic inequality in the sense of deeply institutionalized and cumulative socio-economic struggles continues to characterize the lives of many Filipinos. From every sector of the Filipino masses—students, workers, and farmers—struggling with ineffective education system, inhumane transportation and healthcare systems, and a soul-sucking capitalist framework, the daily struggles of Filipinos are often rooted in hindrances that encompass factors far beyond what is directly actionable to them.

 

Every Step of the Way

A separate segment of the exhibit remained the only section where attendees could take pictures on the carefully curated walls, interspersed with positive but challenging road signs, photo opportunities, and a freedom wall that amassed a multitude of messages from Lasallians as the Students’ Week progressed.

Beyond this, gallery goers were guided through a corridor that showcased stunning artworks and photographs, all created and captured by members of VPAPU. This served as a bridge leading to a truly unique display for their merchandise options: the facade of a sari-sari store. From beginning to end, OBRA evoked a strong sense of nostalgia with printouts of childhood snacks we all know and love. VPAPU truly outdid themselves, offering a merch booth that was both vibrant and true to its roots, evoking the familiar sense of walking up to a sari-sari store after a long day.

The booth itself offered many collectible items for sale, including lanyards, stickers, and keychains—each designed by VPAPU members. Among the favorites were the iconic La Salle directions sign, the “Sulong!” name tag, and the “Ako po ay Isang Pilipino, Your Honor” button pin, each piece representing the values of the exhibit: cultural pride, acknowledgment of the invisible lines within our society, and nostalgia. 

 

 

***

Amid the buzz of Students’ Week 2024, OBRA 10-20 offered its audience a fleeting space to sit and reflect on the paradox of life—how complex yet mundane it is to be Filipino—through the artworks of Lasallian students. This exhibit encouraged us viewers to look beyond ourselves and consider our communities, values, and the institutions we engage with daily. It invited us to ruminate on how even the things we deem insignificant—just like the taho vendor we passed by on a random Monday, or the fire accident in some barangay—work like puzzle pieces of our society, pointing to larger dilemmas and realities once they converge. While best experienced in person, the themes that made this gallery compelling are universal, prompting Filipino youth to reflect deeply on the world around them.

 

Photo slider by Imee Antonette Ocampo