CLUTCH Vol.4 presents:
BRUHA
April 14, 2012
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Author Archives: Clutch Vol 4
CLUTCH Vol4 presents: BRUHA – April 14, 2012
CLUTCH VOL 4: Performance Workshop?! Yes…Let’s!
WRITTEN BY CLUTCH VOL. 4 PARTICIPANT, RENELYN QUINICOT
Getting cozy
On December 17th, the CLUTCH girls walked into what I’m sure most of us would agree on as being one of the best CLUTCH workshops we’ve experienced so far. Gracing the empty, gloomy cold basement of the Kapisanan centre that day stood the vibrant and always beautiful musician, Maylee Todd! Known for her quirky and charismatic personality and extravagant stage performances involving furry costumes and some of the most exotic instruments, no other mentor would’ve felt more perfect to be leading this group in our much anticipated performance workshop.
This volume, the CLUTCH gang is made up of plenty of musicians, performers and more than this, some extremely unique and equally as dynamic personalities. What we all lacked though, was experience in letting all this show, especially in first impressions and actual live performances.
Clutch Vol 4: Fake ID
WRITTEN BY CLUTCH VOL. 4 PARTICIPANT, VICTORIA MARIE SAWAL
On Yonge street alone there are more than 7 places that a minor could buy their very own fake ID. They could change their name, change their height, address and obviously their age; anything that is unsatisfactory to their standards. Customers are willing to cough up 20 to 60 dollars (depending on the quality they’re looking for); all in efforts to be something they aren’t. The funny thing is, these ID’s are most likely being used by these people, to be in places they don’t belong.
Brian Bantugan, our Filipino History workshop facilitator
Every Saturday, I travel from Durham to downtown to participate in workshops with my Clutch Vol. 4 sisters. I don’t pass Yonge street at all, but it came to my attention after one of the most surprising workshops of Clutch that every single person carries a fake ID, with out even knowing.
On December 10th, Brian Bantugan, a graduate from UP (University of the Philippines), facilitated a workshop entitled “Filipino History”. Clutch workshops have a knack for catching us girls off guard, but this time it left us wide-eyed and more curious than ever!
Posted in @ THE K, CLUTCH Tagged arts, Brian Bantugan, christine balmes, CLUTCH, CLUTCH Vol. 4, Culture, filipina, filipino culture through media, filipino history, Filipino history classes, filipino identity, Filipino-Canadian, filipino-canadian artists, filipino-canadian community, Filipinos in Toronto, Kapisanan, Kapisanan Philippine Centre, Kapisanan Philippine Centre for Arts and Culture, toronto, victoria marie sawal Leave a comment
CLUTCH VOL 4: 3 Ways to Survive Prison
WRITTEN BY CLUTCH VOL. 4 PARTICIPANT, VICTORIA MARIE SAWAL
When I was filling out my application for Clutch Volume 4, we were asked what our expectations of the program was, what did we intend on gaining by joining Clutch? From the beginning, I was aware that this program could offer so many opportunities for networking. I simply knew, that clutch would open many doors for me, but I never expected it’d open a prison cell door.
Prison PROOF, here's a shot by Nicco Lorenzo (who plays Shakespeare in Prison Dancer) rightfully entitled 'Maximum Security Bebot'
Yes, that is correct. Thanks to Kapisanan, I ended up in jail for an entire week. Now, before you get into a tizzy, you have to understand that it was a beautiful, life changing experience. I met some of the most interesting and inspiring people, the food was great and best of all… I SURVIVED.
I’m B R U H A. Are you?
Note: All videos require Adobe Flash to play. Click here to download.
B R U H A, derived from the Spanish word bruja (meaning ‘witch’), has become an inter-generational pet name that every Filipina encounters throughout their life. The Spaniards designated the name to Filipino native women who were revered for being spiritually instinctive and intuitive.
Renamed and refashioned into something more suitable for the colonized, what used to bring pride now brought shame. Filipinas began to adapt to the mold and adopt the negative impression that reminded them of their original cultural identities, passing down the same disapproval to daughters that possessed the strong, spiritual characteristics they once had.
The name spilled into a broader spectrum; until it was given to every out-spoken, naively brave, independent, spiritually and artistically free women, who highly resembled their powerful ancestors. We have forgotten that the views that discourage us from exploring and expressing our artistic potentials are not our own — just like the word itself.
We are retracing and reclaiming; correcting misinterpretations, false impressions, mistranslated stories.
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