Sunday, October 11, 2009

GOVERNANCE IS NOT JUST GOVERNMENT AND POLITICS NOT ONLY FOR POLITICIANS


In these months nearing the elections and days following the recent typhoons, the terms “politics” and “governance” have moved beyond the vocabulary of politicians and the news media and into the lexicon of ordinary Filipinos. For most people, however, “politics” remains to be understood as the work done by politicians and “governance” as the functioning of government, exclusively.

It is likely these perceptions that account for much of the blame being placed solely on the shoulders of government for the apparent breakdown of governance mechanisms in the case of recent disasters. The private sector and civil society are being hailed deservedly as heroes, though this perspective reveals the still-prevalent thinking that only government is responsible for governance.

Yet governance transcends the state and includes civil society organisations and the private sector, because all three are involved in most activities, and politics is rightfully the concern of every citizen.

“Governance,” as defined by the United Nations Development Programme over a decade ago and long accepted in public administration, is the exercise of political, economic and administrative authority to manage a nation’s affairs. It comprises the complex mechanisms, processes, relationships and institutions through which citizens and groups articulate their interests, exercise their rights and obligations and mediate their differences. Clearly, it is not solely the domain of government.

Harry C. Boyte, Senior Fellow and Co-Director of University of Minnesota’s Humphrey Institute of Public Affairs and author of Everyday Politics: Reconnecting Citizens and Public Life, advances the view that the global emergence of governance requires a change in the way participants in the process are to be perceived, involving nothing less than a paradigm shift in the meaning of democracy and civic agency. As governance involves collaboration and empowerment more than hierarchy and control, this will mean not only looking at the structures and processes but an emphasis on the people involved as well as the tools. The shift can be seen as a move from seeing citizens as merely voters, volunteers, and consumers to problem solvers and co-creators of public goods, and the role of public leaders from providers of services and solutions to partners, educators, and organizers of citizen action.

In order to achieve this, Boyte advances the view that governance needs to be “politicized in a non-partisan manner.” Politics is the process of negotiating diverse interests and views to solve public problems. Politics in this sense is citizen-centered, productive and pluralized.

The change in the nature of politics can actually be traced through history. Lifting from Hubert Humphrey’s biography, for example, Boyte illustrates that at a certain point in American history, certain citizens like Humphrey’s father considered it their duty to champion public goods and organize public citizens even as they work in their own trade, such as a pharmacist in his case. Women’s groups, for one, considered and taught politics as “civic housekeeping.” In the 1940’s, the concept of democracy as society still had broad appeal and powerfully revived by the American freedom movement of the 1950’s and the 1960’s, building on the civic heritage of churches, schools and other organizations. However, these civic dimensions of public culture have been eroded, with political campaigns being driven more and more by advertising dynamics, the author write.

What exists today, Boyte asserts, is a narrowing of the concept of democracy, largely because of theorizing by many scholars and specialists that brought into the lexicon such concepts of “political system” and a re-definition of the concept of politics as located singularly in the state.
What should be done is to re-center politics among citizens. There have been many examples that examined civic innovations and endeavors that are reconceptualizing politics more and more as “the interactions among citizens of roughly equal standing by diverse views and interest, in horizontal relationships with each other, not simply in vertical relations with the state, who solve common problems, create public value, and negotiate a common life.”

By seeing politics in this light and bringing non-partisan democratic politics back into public affairs, the practice of public affairs can be improved. “The idea of democracy as a work in progress, with governance as its everyday politics, can rework political discourse generally,” says Boyte. Private citizens and the civil society are partners in governance and not consumers or mere alternatives to government. Everyone is involved and needs to be involved in every opportunity and in every step of the way. In the case of disasters, it should be from planning and management all the way to response and rehabilitation.

Tuesday, August 25, 2009

SUPREME COURT STOPS NATIONAL ARTISTS AWARD

The Supreme Court (SC) on Tuesday issued a resolution stopping Malacañang from conferring the Order of National Artists to seven individuals pending a petition filed before it.
The high court issued a status quo order while it resolves a petition seeking to disqualify four of the seven National Artists, including movie director Carlo J. Caparas, selected by President Arroyo.
"The court saw the urgency to issue the status quo order and stop the conferment of the awards. It has the same affect as a temporary restraining order," SC spokesman Jose Midas Marquez said in a press conference.
Aside from the status quo order, the SC also directed the respondents to comment on the petition filed by several National Artists and cultural workers on August 19.
Marquez said SC en banc came up with the resolution during its regular session Tuesday.
Named respondents in the case were Executive Secretary Eduardo Ermita, the Department of Budget and Management (DBM), the Cultural Center of the Philippines (CCP), the National Commission on Cultural and the Arts (NCAA), Cecile Guidote-Alvarez (theater), Caparas (film and visual arts), Francisco Mañosa (architecture), and Jose “Pitoy” Moreno (fashion design).
After the submission of the comments of the respondents, Marquez said the high court would then decide whether or not to set the case for oral arguments.
‘Grave abuse of discretion’
On August 19, a group of National Artists and their supporters asked the high court to stop Malacañang from awarding this year’s Order of National Artists to four individuals.
The group, led by National Artists for Literature Bienvenido Lumbera and Virgilio Almario, filed a 38-page petition for prohibition, certiorari and injunction with prayer for restraining order to prevent the Palace from conferring the title to Guidote-Alvarez, Caparas, Mañosa, and Moreno.
The petitioners said President Arroyo committed "grave abuse of discretion” when she added the names of Guidote-Alvarez, Caparas, Mañosa, and Moreno to the final list submitted by CCP and the NCCA.
They also lamented the “unexplained deletion” of composer Dr. Ramon Santos from the final shortlist.
The final shortlist submitted by the CCP and the NCCA included Santos, Manuel Conde Jr. (posthumous award for film and broadcast media), Lazaro Francisco (posthumous award for literature), and Federico Aguilar Alcuaz (visual arts, paintings, sculpture and mixed media).
When Ermita publicly disclosed the Order of the National Artists late July, the roster included Caparas, Moreno, Mañosa and Alvarez.
The petitioners decried that none of the four had been chosen by their peers or recommended by the CCP and NCCA. They noted, in particular, that Guidote-Alvarez is not eligible to become National Artist since she is NCCA executive director and the President’s adviser on culture of arts.
Guidote-Alvarez has denied taking part in this year's screening for the Order of National Artists.
They scored the President for her alleged disregard of “the rigorous process for screening and selection of National Artists.”
They also argued that the President's prerogative to add to the Order of National Artists roster is not absolute or unlimited.
The petitioners asked the high court to set the case for oral arguments.

Monday, August 24, 2009

Follow Artist selection process, Palace told - INQUIRER.net, Philippine News for Filipinos

Follow Artist selection process, Palace told - INQUIRER.net, Philippine News for Filipinos

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Tuesday, August 11, 2009

LETTER TO THE EDITOR, PHILIPPINE DAILY INQUIRER

The Editor
PHILIPPINE DAILY INQUIRER

Dear Sir:

This is a reaction to the column of Ms. Belinda Olivares Cunanan, Political Tidbits, which was published today with the title “Artist Protesters Should Work to Revoke EO 236.”

Ms. Cunanan is correct in stating that the Committee on Honors was created by Executive Order No. 236 issued by President Gloria Macapagal-Arroyo on Sept. 19, 2003 and in identifying its members.
In all other respects, she seems to be misinformed about the provisions of this Order (which was actually meant to rationalize all civil awards and decorations of the Philippines, not only the Order of the National Artists) and the specific function of the Committee. (It may be important to point out that in certain parts of EO 236, conferment is not a task that only the President is authorized to do, since the Secretaries of Foreign Affairs and National Defense are also allowed to do so, in the name of the President, for certain honors.)

First, EO 236 does not give the Committee the “prerogative to nominate ‘recipients of honors’”; its task is limited to assisting the President “in evaluating nominations for recipients of Honors.

Second, nowhere in EO 236 is there a provision that states that the Committee is empowered to become a second layer “above the NCCA/CCP” and to “screen nominations from renowned persons and institutions.” Instead, EO 236 provides that the Order of National Artists, the highest national (not presidential) recognition for Filipinos who have made distinct contributions to arts and letters, is conferred “upon the recommendation of the Cultural Center of the Philippines and the National Commission for Culture and the Arts (NCCA).” This provision leaves no doubt as to the procedure to be followed: no recommendation, no award.

Third, Ms. Cunanan’s statement that the Committee nominated other names upon seeing that “certain categories were not filled by the NCCA/CCP committee” is based on an incorrect premise, if not an outright lie. Manuel Conde and Federico Alcuaz had already been recommended by the NCCA and the CCP as National Artists for Film and Visual Arts, respectively, the categories for which one of the added names is reported to be honoured.

Fourth, while Ms. Cunanan is right in stating that the NCCA was involved in the consultation process leading to the issuance of EO 236, she seems unaware that the consultation was premised on the stated objectives of the order (already discussed above) as well as the elevation of the National Artist Awards to a rightful position among honors bestowed by the nation and not about the creation of a “hated second layer.”

* * *

Ms. Cunanan has chosen to disregard the many points being raised by the growing MULTI-SECTORAL protest:

THE PROCESS FOR THE SELECTION OF THE NATIONAL ARTISTS AWARDS REQUIRES THE PARTICIPATION OF THE NCCA AND THE CCP. The CCP is mandated and recognized by law (Presidential Decree No. 244) to administer the Awards. The NCCA is also vested by law (Republic Act No. 7356) with the responsibility of advising President on matters of culture, including advise on the creation of awards and recognition. EO 236, a Presidential Issuance, could not have superseded these and in fact recognizes the authority of the NCCA and the CCP to recommend who may be conferred with the Award.

THE GUIDELINES FOR THE AWARDS ARE BINDING, EVEN TO THE PRESIDENT – Since the NCCA and CCP issued these in order to implement the provisions of law, they are legal. T he guideline explicitly states the automatic disqualification of officers, staff and consultants of the NCCA and CCP from being nominated, and that nominations can only be made by government and non-government cultural organizations and educational institutions, as well as private foundations and councils, not individuals.

THE SELECTION PROCESS took more than a year involving hundreds of artists, art critics and historians, and researchers, including the living National Artists. This began with the open call for nominations, followed by extensive research into the life and works of nominees; then, a peer evaluation panel per discipline coming from various parts of the country came up with short-list in their particular field, after which another panel of over twenty other artists, art experts and historians from all the disciplines further narrowed down the list. This second shortlist was presented to and deliberated by the combined Boards of the NCCA and CCP together with living National Artists, and only then were four names were recommended to be conferred as National Artists.

PRESIDENTIAL PREROGATIVE IS NOT ABSOLUTE; it is limited by the letter and spirit of the law and pertinent issuances, including EO 236, as well as one’s own moral compass.

* * *

But then, even if we were to agree that presidential prerogative allows for other nominees to be considered for and conferred the Order of National Artists, then are we to believe and comprehend that

a. the President and/or the Committee on Honors, by their stand that the NCCA and CCP have not done a thorough selection process, are undermining the position of the very agencies under the Office the President in the eyes and mind of the public?

b. in the case of one of the names submitted by NCCA and CCP (Ramon Santos) and the four names added, the President and/or the Committee on Honors set aside the recommendation of the body/bodies specifically tasked with this function and chose instead to go by the President’s personal evaluation or that of the members of the Committee as far as the prospective national artists’ “significant contribution to cultural heritage, artistic accomplishment and dedication of their lives to forging new paths, and direction for future artists”?

c. for three of the four added names (Caparas, Manosa and Moreno) the President and/or the Committee on Honors received nominations and allowed these to prosper despite being informed that these were not voted favourably during the nomination process?

d. in the case of two of the added names (Alvarez and Caparas) and going by the explanation of the Undersecretary of education and similar pronouncements by the Press Secretary and Cabinet Secretary and by Ms. Cunanan herself, the President and/or the Committee on Honors disregarded the procedural guidelines by considering their nominations despite being nominated by individuals and not groups?

e. going by the reported announcements from Malacanang, the President and/or the Committee on Honors is giving one of the added names (Caparas) an award for achievements he did not do: he did not draw/illustrate the comic stories he is famous for and did not write the screenplay or direct the films based on his stories for which he is being honoured?

f. in the case of one of the added names (Alvarez), the President and/or the Committee on Honors chose to disregard the ab initio disqualification of being an officer of the NCCA?
In closing, and going beyond Ms. Cunanan’s article, if we are to follow the intent of all the laws, decrees, proclamations, orders and guidelines pertinent to the award and harmonize them at the outset (as is the standard practice in statutory construction), then can we not comprehend that the Order of National Artists being the highest award the Philippines bestows to artists, the thorough process and the participation of the President as representative of the nation are both equally important. This being so, shouldn’t the least that the President and/or the Committee on Honors could have done was to respect the process in form and in substance?

Sincerely yours,


DENNIS N. MARASIGAN

Saturday, August 8, 2009

ARTISTIC COMMUNITY MOURNS DEMISE OF “MEANINGFUL” NATIONAL ARTIST AWARDS;PGMA PROCLAMATION CALLED "IMMORAL" AND "ILLEGAL"





In a show of unity, the artistic community led by National Artists Napoleon Abueva, Virgilio Almario, Salvador Bernal, Ben Cabrera, Bienvenido Lumbera, Arturo Luz, Eddie Romero, and F. Sionil Jose, together with Celeste Legaspi representing her father Cesar Legaspi, held “memorial services” for what they describe as “the demise of a meaningful National Artist Awards.” 

In the program held on Friday, 07 August 2009 at the ramp of the Cultural Center of the Philippines in Pasay City attended by hundreds of artists, cultural workers, students, professionals and civil society, National Artists Bernal, Cabrera, Almario and Lumbera delivered eulogies, offered prayers and read statements decrying the “subversion of the National Artists Awards process,” denouncing the insertion of four names that did not undergo the deliberative process and the removal of one that passed it. “It’s a mockery of the system,” according to Cabrera. “The awards have been debased.” 

Lumbera read a manifesto stating that in doing the “immoral act,” Malacañang has shamed the National Artists who have been legitimately chosen and those artists who are more qualified than those named by President Gloria Macapagal Arroyo. Expressing the fear that this action will ultimately lead into politics being the basis for the Awards, Lumbera called on everyone to work towards restoring the dignity of the awards process. 

The National Artists symbolically laid their National Artists Medallions to rest, vowing not to wear it until the Awards regains its meaning and decency.




The rites were also participated in by various artists; among them “Juana Change” (Mae Paner) who did a short performance entitled "National Artist na Ako! - Have Mercy on Us!”, Celeste Legaspi (who recited Vim Nadera's adaptation of Amado V. Hernandez'a "Kung Lumuha Ka Aking Bayan," cellist Renato Lucas, and singer Bituin Escalante who led in the singing of the National Artists. Rep. Riza Baraquel announced that she had filed House Resolution No. 1305 seeking a congressional inquiry on the matter.

Among the many prominent personalities in attendance were directors Behn Cervantes, Alexander Cortez,Laurice Guillen, Jose Estrella, Henry Frejas, Anton Juan Jr., Joel Lamangan, Chris Millado, Dennis Marasigan, Raya Martin, Mark Meilly, Gil Portes, Raymond Red, Carlos Siguion Reyna and Jose Javier Reyes, actors Adriana Agacoili, Cara Barredo, Red Concepcion, Johnny Delgado, Eugene Domingo, Bart Guingona, Simon Ibarra, Roli Inocencio, Nanding Josef, Leo Martinez, Raul Montesa, Bibeth Orteza, Ces Quesada, Armida Siguion Reyna, Peter Serrano, Raquel Villavicencio and Joy Virata, poets/writers Ogie Arcenas, Abdon Balde, Marne Kilates, Liza Magtoto, Vim Nadera, Rody Vera and Krip Yuson, dancers/choreographers Edna Vida and Nonoy Froilan, singers Danny Javier, Leah Navarro and Jim Paredes, architect Raul Locsin, pianist Della Besa, arts administrators Emily Abrera, Baltazar Endriga, Bambi Harper and Maan Hontiveros, visual arists Boots Herrera, Marian Pastor Roces, Ige Ramos and Jun Yee, students and professors from the Philippine High School for the Arts, St. Scholastica's College, University of the Philippines and University of Santo Tomas,and many others, including Gilda Cordero Fernando, Irene and Imee Marcos and Sylvia Mayuga. 

The attendees then proceeded to the National Commission on Culture and the Arts building in Intramuros where the National Artists symbolically laid their National Artists medallions on a funeral wreath.

Malacañang has tried to defend its choices by stating that President Gloria Macapagal Arroyo followed the process in naming this year’s National Artists. A Malacañang official has been quoted as saying “I think we can defend the track record and qualifications… [it was] a thorough process,” a claim belied by the Cultural Center of the Philippines, the body tasked by law to administer the awards, with regard to the names added by Malacañang. Seeming to contradict himself, the same official has also announced to the media that Mrs. Arroyo was not confined to the list of nominees coming from the NCCA and the CCP and that “the President was consulted or advised by several artist groups,” including an “Honors Committee” created in Malacañang. was responsible for the final choices presented to the President.

According to Atty. Lorna Kapunan, member of the CCP board of Trustees, Malacañang’s action is illegal and that presidential power is limited to “confirmation, proclamation and conferral” only. “The president has no prerogative as regards the National Artist Awards,” she said.

Atty. Nicolas Pichay, former legal consultant to the National Commission on Culture and the Arts, clarified that Executive Order No. 236 issued by Mrs. Arroyo in 2003 governs the Order of National Artists. The Executive Order provides that the Order of the National Artists “is the highest national recognition conferred upon Filipinos who have made distinct contributions to arts and letters conferred upon the recommendation of the Cultural Center of the Philippines and National Commission for Culture and the Arts” and that the role of the Committee on Honors is limited to assisting the President in evaluating nominations for the honor. 

Former CCP President Nestor O. Jardin believes that a new law is needed to specifically state the limit of presidential prerogative which would include measures that would safeguard the integrity of the award. 
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