Provenance:
Acquired directly from the artist by the present owner

ABOUT THE WORK

Social Realism in the Philippines arose out of a necessity to combat the escalating dictatorial milieu espoused by the repressive Martial Law regime. As discussed by Alice Guillermo, it is "not a particular style but a commonly shared socio-political orientation, which espouses the cause of society's exploited and oppressed classes and their aspirations for change." She added that it "stresses the choice of contemporary subject matter drawn from the conditions and events of one's time" and "is essentially based on a keen awareness of conflict." The spirit of the times brought out the artistic activism of Pablo Baens Santos, a principal figure in the Philippines' first wave of social realists. After graduating with a BFA in Advertising from UP in 1967, Santos worked as an illustrator, layout artist, and photographer under the Manila Times. Santos' exposure to mass media broadened his political viewpoints and laid the foundations of his activism, which he expressed through his provocative art. In 1976, Santos became one of the founding members of the Kaisahan (Solidarity) group, the Philippines' first organized social realist artists' collective. Diverging from the state-sanctioned art promoted by the regime's cultural apparatus, Kaisahan promoted art as an avenue to advance the ideals of national democracy and the interests of the oppressed. The Kaisahan committed themselves to creating art for the masses, echoing the national democratic principle of "from the people, towards the people." Theirs is an art rooted in achieving the historical imperative of a revolution. In its 1976 manifesto, the group declared: "To be true works of imagination, our works of art should not only reflect our perception of what is, but also our insights into what is to be. We grasp the direction in which they are changing and imagine the shape of the future." As a Kaisahan member, Santos addressed a broad spectrum of issues afflicting the Filipino working class. Throughout the 1970s and the 1980s, his works reflected the proletariat's struggles. In this aptly titled piece, Santos depicts men in the middle of a crucial meeting. A "terrible gathering storm" was foreseen in 1980, when Santos produced this work. Unabating socio-political turmoil marred the beginning of the 80s. Thus, mass organizations continued to increase. Among them was the progressive labor union Kilusang Mayo Uno (KMU). Justifications for its foundation resulted from the repercussions of the government's policy of debt-driven growth and crony capitalism, such as high inflation rates (18.20% in 1980) and unlivable daily wages. For context, a skilled urban worker who had earned P100 in 1962 was paid only P45.5 in 1980. Likewise, an unskilled urban worker who had made the same amount in 1962 received only P45.1 in 1980. The regime banned strikes and restrained trade unions, leaving workers vulnerable to unjust labor legislations and practices. Hence, the KMU's foundation was militant in boldly representing the workers' interests. As a painter of the proletariat, Santos presents a radical assembly of workers. They are bound by their commitment to raise political consciousness, consolidate a strong alliance with the toiling masses, and protest their immediate interests. With this piece, Santos fosters the conviction that the Filipino proletariat is an enlightened and puissant force behind radical change and societal development. As activist-martyr Emmanuel Lacaba put it, "Awakened, the masses are Messiah." Santos reminds us that art is a reflection of societal conditions. And in these times of relentless tyranny and state fascism, every space is an avenue for amplifying our calls and continuing our collective struggle.