Manileãƒâ±os a Film by the Filipino Street Art Project

The founders of the Filipino Street Art Projection hash out their hopes and goals for the initiative, and their experience of street fine art in the Philippines.

For the second installment of our iii-part serial on the Filipino Street Art Project, Art Radar presents an exclusive interview with Founders Kim Dryden and Austin Smith about the idea backside the project, the journey and then far and what lies alee.

Kim Dryden and Austin Smith of the Filipino Street Art Project. Paradigm courtesy FSAP.

Read "Manila'due south hateful streets: The Filipino Street Art Projection – office 1 here.

Read "Manila'south mean streets: vii Filipino street artists – role three here.

The Filipino Street Art Project is a transmedia project that seeks to explore street art scene in and around Metro Manila, telling the stories of the country'due south urban artists through their work. Through a documentary flick, an interactive website and a blog, a monthly newsletter and various other aspects, the Project highlights the broader telescopic and function of street art.

Fine art Radar asked Kim Dryden, a documentary filmmaker, and Austin Smith, a Filipino-American storyteller with degrees in South and Southeast Asian studies, more than about their experience and goals for the time to come of the project.

Lee Salvador, 'Untitled', 2013, acrylic paint. Prototype courtesy the creative person.

Could you introduce our readers to the Filipino Street Art Projection and its various facets?

The Filipino Street Fine art Projection (FSAP for short) is a documentary-based transmedia project that seeks to explore the Philippines through street fine art. It is comprised of a longer class documentary, the Imagination Project, a serial of short videos and an interactive website to tie it all together. The goal is to use many storytelling elements – video, photos, written content, maps, etc. – to explore the Philippines and celebrate street art every bit a vibrant, populist course of communication.

We began working on this project in October 2012 and our start production trip started in October 2013. This trip was mainly about documenting 7 artists and collecting materials for the Imagination Project.

Tell usa more nigh the Imagination Projection.

In the bound of 2013, we began developing the Imagination Project. Information technology's a media production form at Wake Forest University – our alma mater – where groups of undergrads and graduate documentary filmmaking students produce interactive e-books, each group focusing on ane artist. Nosotros developed this class based on an existing model at Wake Forest's Documentary Filmmaking Programme, where Kim received her MFA.

Main instructors and guest lecturers requite the grade context about the Philippines – economic system, politics, the history of colonialisation, effects of globalisation – so they have a solid agreement of the place as they create their projects. Each group is instructed to not only tell the story of their artist, only also utilize their artists' work to dive deeper into issues affecting the land or the individual artist. For example, the group working with Gerilya is looking at how comics have contributed to the social dialogue in the Philippines, peculiarly as it pertains to identity.

Kim Dryden (KD): These students are very talented – I might be biased because they're my colleagues and skilful friends of mine – they're doing amazing piece of work. I'1000 so excited to exist working with such creative minds and likewise excited to be working together on a transmedia projection, a frontier of storytelling I'1000 very interested in exploring more.

Austin Smith (AS): It'southward a dream come true. All these American students, from all over the country, are learning well-nigh the Philippines. Equally a second generation Filipino American (FilAm), it's really heartening to run into. The Philippines is so overlooked from an American perspective and I'g happy to be a office of bringing these Filipino stories to lite.

Equally nosotros move forward, we're focusing on cutting curt videos to back-trail the Imagination Project e-books, and generally creating new media content for our website and social media platforms. We'll then employ that momentum to launch a Kickstarter campaign, with the goal of returning to the Philippines to document the street fine art scene more in-depth, plus raising money to pay for mail production. Ultimately, we want to create a really interactive, engaging website that marries all of these elements, then that users can dive into street art as a form and larn about the Philippines and the issues affecting the country in a really visual, hands-on way. And then, who knows? This project may serve as a template for another transmedia project we'll tackle downwardly the line or nosotros may continue to focus on street art as a communicative course.

Austin Smith films street fine art in progress. Production still. Prototype courtesy FSAP.

How has the project grown and diversified from your initial plans for it?

The project has grown incredibly from when nosotros started. We launched our Facebook page – the basis of our projection to get-go with – in January 2013. Information technology grew quickly and nosotros began to do interviews on our Tumblr page, accompanied by Facebook photo albums, to feature a new street artist (commonly Filipino, sometimes others) every other week or and so. Then we added a bimonthly newsletter to keep our growing fan base engaged and nosotros developed the beta launch of our website which is what's currently upward. In the concurrently, we've been attracting press – the FilAm, GMA, The Mail service Standard (Kim'due south hometown paper) and some blogs. People were excited to come across more in-depth coverage of the street fine art scene.

How did the project begin? Where did the inspiration and interest come up from?

KD: Austin and I were camping in North Carolina in the Fall of 2012, taking a mini holiday from university. We were having a couple of beers, talking nearly what we wanted to do afterwards graduation. I told him I really wanted to position myself as a transmedia storyteller and that I wanted to do so through some form of gimmicky art, using it equally a way to tackle larger problems. He suggested street fine art – he'd just read an article near the street art scene in the Philippines.

Every bit: I had been looking for means to tell people about the Philippines or at to the lowest degree make them aware of the relationship between our countries, considering it'southward a land that'south very overlooked by the Us media and people. When we looked more into the street art in Manila, we realised that we came across it at the right time – it's growing quickly and but starting to proceeds the international attention information technology deserves.

The Filipino Street Art Project's Facebook page. Image by Art Radar.

What has been the role of social media in driving your project forward?

This project really couldn't have existed, in this form, without social media, especially Facebook. That's how nosotros got in touch with the artists in the first identify, and how we kept up with them and their work before we met in person. We utilise Facebook, Tumblr, Instagram and, to a lesser extent Twitter, to engage with our followers, share the work of the artists we work with and reach out to new potential audiences.

How has the journeying been and then far? Could you tell us about any surprises and discoveries along the way?

KD: The journey has been incredible. I think the most surprising affair is the reception we got from the artists. I assumed that street and graffiti artists would be edgy, perhaps a bit "hard." I besides figured we'd face some resistance as we're both Americans, outsiders, coming into this customs that's very new and strange to u.s.. I couldn't have been more wrong.

The artists we've had the privilege to become to know have been so immensely warm, welcoming and helpful. Everyone has been so supportive of the work we're doing and never laughed at whatever of my probably very stupid questions, peculiarly early. They quickly became proficient friends and some of them became like family. I was surprised at how difficult it was to say goodbye and how much we miss them!

Equally: I grew upwards in the Filipino community in the Bay Area and ever considered myself Filipino. When I got to Manila, though, I realised merely how American I am and how much I have to learn about the state. It was a intensely personal experience for me – to larn almost my heritage, where my family is from, the ins and outs of life at that place.

Looking back, information technology was then incredible to be immersed in then many different lifestyles – we went from sleeping on a flooring in Crus na Ligas with community organisers and staying with my family who are rice farmers in Pangasisnan, to going to a club in Makati, all in one calendar week. More often than not, though, I constitute it and then rewarding to alive like your average Manileño – we ate at carinderias, took jeepneys, shopped at tiangges and crammed into the MRT at rush hour. I experience like I've had such an astonishing opportunity to empathise part of my roots, to become to know the environment that shaped my family.

What is the aim of the FSAP? What affect exercise y'all promise it will have?

We want to do a couple of things. First, to evidence people how amazing street art is. We're trying to utilise it as an approachable way to showtime talking about heavy topics. Effectually the globe, street fine art is being used to make people recall well-nigh and talk over things similar the furnishings of globalisation, consumerism, colonialism, etc. Street art is a seemingly simple thing that tin exist used to take on really large issues.

We also desire to betrayal international audiences, especially American audiences, to the Philippines. Our two countries have such a long, circuitous relationship, just most Americans have no idea nearly the Philippines – information technology doesn't bear witness up on the news or in conversation until something like Yolanda happens. We desire to change that, to show people that not only is the street art scene there really incredible, really dynamic, but also that the land equally a whole is very circuitous and interesting and becoming more and more important to pay attention to.

Dee Jae Paeste, 'Animal Spirit Murals', 2013, spray pigment and stencils. Image courtesy the artist.

How much freedom practice street artists have in Manila? Is street fine art frowned upon?

Most people are just starting to take notice of street art. Your average bystander who watches a paint session will say at get-go, "Hey, this is vandalism." But when they talk to the artists, see how skilled they are and finally witness the quality of the concluding product, they come effectually. At the cease of the day, sometimes the people who've been watching brand requests – they want the artists to come back and paint their buildings!

Street artists continuously take to justify their piece of work as art – to cops, barangay officers, the general public – but the more people see information technology, the quicker perceptions are changing.

How practise residents and holding owners experience most street fine art? And the government? Have there been any controversies or run-ins with government?

This is a question better directed at the artists themselves. Nevertheless, near of the time, the regime don't care besides much. If you lot take permission from the owner, they generally but inquire questions and brand you lot jump through the hoops of being respectful of their authority. And the punishments for "vandalism" aren't very severe virtually of the fourth dimension. The police probably have style bigger problems to worry about than some artists creating some pretty nice work on public walls.

In the above context, were the artists open to talking to you about their piece of work, letting yous film and photograph them and revealing their identity?

Yep, all of the artists were incredibly open and receptive to our work. In that location are very few artists or groups in the Philippines who are bearding, so that helped. Almost everyone was really curious nigh why we're doing this project, but very supportive of the attending and helped us every bit much as they could. Most creatives are happy to talk most their work, their motivations, their stories and we're giving them a platform for that because we believe in them, their fine art and what they're trying to practise with it. It's really a win-win.

Jood Clarino, 'Untitled', 2013, spray paint. Epitome courtesy the artist.

How has street fine art impacted or altered urban space in Manila?

Over again, maybe a improve one for the artists, especially Rai Cruz who has thought and written a lot about this. However, in our experiences, nosotros've seen an interesting dynamic develop. Some regime, like MMDA [Metropolitan Manila Evolution Authority], are buffing walls but also commissioning artists. While in some contexts street art is nonetheless viewed every bit vandalism, in others it's very valuable. The artists we know are getting hired to do their art everywhere, from skateparks and restobars to SM Supermalls and Boniacio Global City. People in accuse of public spaces in Manila are clearly starting to recognise that street fine art can exist a very beautiful, powerful medium and they're seeing how information technology benefits communities on then many levels, not but aesthetically.

How is street art in Manila different from that in other parts of the world? Is there annihilation that distinguishes it or makes it unique?

We didn't know much about street art in full general earlier this project, but overall nosotros've experienced the scene in Manila every bit being open, accepting and more collaborative than competitive. At that place aren't as many big egos in the Manila street art scene as there are in other international cities and in general they seem more welcoming of outsiders. Function of this is perhaps because the scene there is much younger than it is in cities similar Berlin or LA. As it grows and matures, and every bit commission work becomes more plentiful and financially rewarding, that may modify. Nosotros'll see.

Why is graffiti an effective tool for alter among Filipino street artists?

Non all artists are looking to make specific change, only for those who are, street art is constructive on several levels. It'south visual and visceral – like shooting fish in a barrel to read. Information technology'due south also really attainable on both sides, to create and to swallow. Because it's on the street, it's approachable for everyone – people with depression income, people who wouldn't exist comfortable going to galleries – so everyone is able to run into and think about the letters the artists are conveying through their piece of work. Information technology can be colourful and fun, also, something that stands out, grabs your attention and makes you lot think critically.

Kookoo, 'Untitled', 2013, spray paint. Prototype courtesy the artist.

What volition your picture show reveal about contemporary art and contemporary society in the Philippines?

Our project looks to capture this hopeful, forward-thinking spirit that we're seeing, peculiarly in younger communities. Nosotros're seeing more activism, more people being outspoken nigh their beliefs. There'due south a sense of edifice momentum, of a cohort of people who are realising that they tin accept a say in their world, maybe make a divergence, beyond the confines of what'southward often felt to be a broken political arrangement. The street fine art scene is 'a small story writ big', ane small facet of an art scene that'due south really coming into its own at a really exciting, turbulent fourth dimension in the country's history.

Beyond capturing that spirit, we're hoping to develop a platform for people to explore the art and stories, more so than "teach" anyone in a didactic way. We run into our project every bit telling stories of artists in the context of the Philippines, the global street art scene and letting people take away what they will. For example, we're focusing on Dee Jae Paeste, a second generation Filipino American who came to Manila for a gallery opening, fell in honey and never left. We're also working with Gerilya, an fine art collective whose work is cultural, historical and socio-political – it'south fascinating how they deal with Filipino identity, for example. And so there's Kookoo, whose work is very personal to her and seems to celebrate her idea of a Filipina woman: strong, trigger-happy, confident.

Our project actually just aims to put these stories out there, requite them context, and make them fun and visual and exciting to dive into. The Philippines is a complex, complicated place and we are ultimately outsiders, and so it'due south non our office to teach so much as to explore and encourage people to explore along with us.

How practise the artists feel about the picture?

Everyone's been very supportive of us and our piece of work. I think they're appreciative of the attention and sympathize that nosotros need access to their lives and work to make this whole thing possible. It's been a very collaborative process – we're open up well-nigh what we're doing, why, what we need from them, and we also make it a betoken to actually mind to what they're maxim, to take their advice and work together to figure out how to make this projection the all-time information technology can exist.

From the start, we've been honest most what we know and the many things we don't, and have always sought the input and guidance of the artists. Rai Cruz has been especially helpful in talking with united states of america about the big picture, how the street art scene has evolved since its inception and how he views the role of street fine art in the public sphere. People like Jood, one of the seven artists nosotros're featuring for the Imagination Projection, has get a very good friend of ours every bit well and incredibly helpful to united states of america as filmmakers. He's e'er willing to aid u.s. with logistics – figure out where the jeep lines become, for instance, and has talked us out of more than one sticky situation with the cops.

FSAP was recently invited to bring together the Google Cultural Institute. How did this come up nigh and how do y'all call back it will touch on your project and the artists?

Google contacted united states about being role of their Art Projection – they're making a button to work with not-profit street art groups, among others. Their aim is to make art freely available to as many people as possible by putting interactive, high quality exhibits online for free. This falls right in line with what street art is about, so we were immediately on board. It'south been a lot of work to collect, catalogue and curate the piece of work, only nosotros're about washed and it's looking amazing. The launch will be in April and we're excited to come across peoples' reactions. We're hoping that this will further our mission to gloat street art in general and to draw more than attending to the work and stories of the artists we work with in the Philippines.

Next in this series

In the final installment of this three-office series, Fine art Radar features the seven artists that are part of the Imagination Projection.

Read "Manila's mean streets: The Filipino Street Fine art Project – function 1 here.

Read "Manila's mean streets: vii Filipino street artists – office 3 here.

Kriti Bajaj

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Related Topics: Filipino artists, acrylic art, film, street art, interviews, documentary, graffiti, public art, urban art, fine art and the community, art and the cyberspace, democratisation of art, art in Manila

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Source: https://artradarjournal.com/manilas-mean-streets-the-filipino-street-art-project-part-2-interview/

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