Monday, February 19, 2024

LESSONS FROM GRAMSCI

12 AntonioGramsci’stheoryofthe “national-popular” and socialist revolution in the Philippines Epifanio San Juan Jr
Though in substance, yet in form, the struggle of the proletariat with the bour- geoisie is at first a national struggle. The proletariat of each country must, of course, first of all settle matters with its own bourgeoisie. ... The workingmen have no country. We cannot take from them what they have no [sic] got. Since the proletariat must first of all acquire political supremacy, must rise to be the leading class of the nation, must constitute itself as the nation, it is so far itself national, though not in the bourgeois sense of the word. (Karl Marx and Friedrich Engels, Manifesto of the Communist Party) Gramsci has been pronounced “dead” so many times that one suspects the announcement to be unwittingly premature and question-begging (Day 2005). Of all the Western Marxists, Gramsci is exceptional in being the subject of an immensely burgeoning archive of scholarly studies and the object of furious worldwide political debates (Rosengarten 1994). Except for the somewhat opportunist inflection of “subaltern” by Derrideans/Foucaultians and the trendy fashion of reinterpreting “hegemony” as pluralist consensus, Gramsci’s thought seems useless for postmodernists, including establishment postcolonialists. Stuart Hall and the Birmingham School successfully popularized Gramsci as an innovative cultural theorist and founded the academic discipline of mainstream Cultural Studies. It was Gramsci’s resurrection in advanced capitalist forma- tions, the birth of what David Harris (1992) calls “gramscianism.” This followed the Eurocommunist view of Gramsci’s “revolution against Capital” – to quote his famous article of 1917 – in which the Italian road to socialism (classless society, socialization of crucial productive means) would be won not through revolutionary violence but through cultural reform – through education and moral/ethical persuasion. Communist parties will thus gain hegemony, that is, domination by consent, peacefully or legally. Communism will win without replacing the prevailing “common sense.” Pre- sented as ideals to be aspired for, and naturalized as “common sense,” the belief system of bourgeois society does not require armies or police; only a finely tuned art, schools and mass media, ideological apparatuses that would do the job (Finnochiaro 1995). From this prophylactic stance of postcolonial scholastics, PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 164 E. San Juan Jr Gramsci is seen as a precocious neoliberal avant la lettre, committed to “rational persuasion,” political realism, methodological fallibilism, liberal democracy, and pluralism. Something is surely wrong with this picture. Clearly, history – or, better yet, neoliberal metaphysics exacted a vengeance on Gramsci’s historicist “good sense.” While reborn as a theoretician of the superstructures, civil society, rule by consent, and non-economistic “open Marxism,” Gramsci became irrelevant to socialist revolutions as they were occurring in the “Third World.” He had nothing to say to peoples struggling against finance–capitalist imperialism, old-style colonialism that ruled by brute force, or neocolonial rule masquerading as latter-day “civilizing mission,” humanitarian intervention. For postcolonial studies, in particular, the obsession with Eurocentrism (the fallacious subsumption of capitalism into an abstract Western modernity) in the case of Edward Said, as Neil Lazarus (2002; see also San Juan Jr 2007a) has shown, led soon to the speechless subalterns of Gayatri Spivak and the sly mimics of Homi Bhabha. Meanwhile, the logocentric discourse of poststructuralism wrought its dire effects on the critique of the nation/nationalism launched by Bhabha and the Australian “high priests” of the discipline after the collapse of “actually existing socialism.” With nations and nation-states abolished or rendered defunct by the “New World Order” and later by triumphalist globalization, we are on the way to the heady disjunctures of Arjun Appadurai and the nomadic multitudes of Hardt and Negri’s Empire. Until September 11, 2001 exploded over this academic scenario and overtook our missionary enlighteners who had attended Gramsci’s redundant burials. We owe it to Benita Parry’s appraisal of the historical-political contexts surrounding the disciplinary formation of postcolonial studies that we can now begin to appreciate Gramsci’s relevance to “Third World” social transformations. Parry’s argument on the centrality of Marxist principles (internationalism, perman- ent revolution) in liberation theory actualized in anticolonial revolutions, is salutary. The erasure of socialism and an anticapitalist modernity in postcolonial discourse coincides with the refusal of a national-democratic stage in anticolonial revolutions led by a historic bloc of anticapitalist forces. What kind of nation-state do postcolo- nialists have in mind? Certainly not the Italian nation of 1861 that witnessed the colonization/annexation of the South through the subjugation of the insurgent peasant masses, and produced the “Southern Question” that Gramsci considered decisive in carrying out a socialist revolution in the twentieth century (Verdicchio 1997). Postcolonialists erase the ugly fact of neocolonized nation-states (the Philippines, Haiti, Colombia, etc.) resistant to their fantasy of a world-system of hybrid social formations equal in power and wealth, all inhabited by transnational consumer-citizens. Postcolonial obfuscations The asymmetry of uneven and combined development distinguishes the structure of nation-states born in the shadow of finance–capitalist imperialism. Archaic, feudal, and modern sectors coexist in these societies. The Althusserian idiom of Bhabha PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 165 is revealing when he problematizes the “ambivalent temporalities of the nation space.” For Bhabha, nationalism is fascism tout court. Ultimately, the culprit is “that progressive metaphor of modern social cohesion – the many as one –” and so, Marxist theories of culture and community defined as holistic, expressive social totalities should be repudiated. Unity, solidarity, the multitude envisaged by Gramsci as “national-popular” collective will (Jessop 1982) are all anathema, contaminated by bourgeois universalism and other archaic irrationalities. For her part, Spivak rejects anticolonial revolutions as hopelessly controlled and manipulated by a native bourgeoisie. The colonized subaltern is made not only speechless but immune to experience. Parry’s comment applies a Gramscian optic to this fantasized self-erasure: It dismisses the experiential transformation of the “subalterns” through their participation, and disregards situations where an organic relationship was forged between masses and leaders sharing the same class interests and revolutionary goals – there is after all no essential and invariable correlation between objective class position and ideological belief or political stance. (2002: 144) In short, history as a dialectic of subject–object is denied by postcolonialists for whom pacified subalterns are speechless or tricky ventriloquists (for Gramsci’s concept of subaltern, see Green 2002). With the formalization of canonical postcolonial studies as an academic discipline, a reconciliatory attitude seems to have emerged. Stuart Hall’s inflection of this fetishism of ambivalence or difference is only symptomatic: anti-imperialist opposition, for Hall, must be conceived in terms of “transculturation” or cultural translation “destined to trouble the here/there cultural binaries for ever” (1996: 247). This postcolonialist bias against binarism, telos and hierarchy, as we have seen, returns us to the question of agency and the role of the subaltern in a revolutionary disruption of the colonial predicament. But, as Parry notes, this impulse to find a middle ground between domination and oppression, to describe colonialism as “generically ambivalent,” the site of dialogue and cultural assimila- tion, is both historically mendacious and “morally vacant” (2002: 144). This applies to the tendentious genealogy of nation/nationalism offered by Ashcroft et al. (1998; see my critique in San Juan 2001). In effect, the nation (and its attendant set of beliefs called “nationalism”) is a foul ideological invention, a dangerous myth of exclusivism, homogeneity, and naturalness. It refuses internal heterogeneities and differences. It informs the violence of the nation-state (such as the Stalinist Soviet Union, as well as European imperialism as “an extension of the ideology of a ‘national’ formation”) against those who are different, thus making the cause of national liberation for oppressed colonies suspect if not hopelessly tainted. Postcolonialists cannot face the truth of sustained colonial legacies and their insidious resonance in everyday lives. As to the notion of the “subaltern,” Ashcroft et al. (1998) cannot but invoke Gramsci’s terminology but not the polit- ical project that motivates it. They elide the whole issue of hegemony (consent PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 166 E. San Juan Jr armored by coercion) and replace Gramsci’s framework with the entirely dis- parate paradigm of the Indian historians’ Subaltern Studies Group (with which Spivak is affiliated). This group’s primary preoccupation is the criticism of elites and elite culture in India whose anti-British nationalism worsened the oppression of the landless peasantry. Consequently, they criticize Marxist class analysis which to them ignores the “politics of the people,” and by implication Gramsci’s notion of the popular as a transcendence of economic–corporatist position, and a national-popular culture as a crystallization of the diverse interests/sectors consti- tuting the nation (SCW: 203–212). Their concern with power and authority, with governability (a variant of Foucault’s governmentality), displaces the question of sovereignty vis-à-vis the occupying colonial power. While Gramsci envisioned the “national-popular” as a process of lay intellectuals expanding and elaborating a secular “humanism” attuned to the grassroots, for the Subaltern Studies Group, an implacable fissure exists between the nation represented by the native elite and the people, specifically the peasantry. Gramsci is accused of essentialism, though it is unclear how the Indian historians can be credible when they themselves pos- tulate a rigid distinction between the elite and the subaltern, subject-positions which are constituted by converging and diverging lines of differences. Again, difference becomes fetishized or reified when Spivak claims to establish a fixed incommensurability between elite and subaltern, even canceling the at least relational category of dominant/subordinate groups in structural-functionalist sociology. Since the categories of nation and class are rejected, subalternity becomes mystified or trivialized as all or any kind of subordination removed from any revolutionary socialist telos. The habitual imposition of a monolithic grid of difference in postcolonial methodology sets it apart from a historical-materialist analysis such as that subtending Gramsci’s “Notes on Italian History” (1934–1935) in the Prison Notebooks. It accords with a nihilistic and even cynical skepticism toward any emancipatory project of overthrowing capitalist social relations of production. For those desiring to change the impoverished and exploited condition of what is now called the global “South,” it is better to forego Establishment postcolonial studies and go straight to Gramsci’s Prison Notebooks (see the lucid exposition of Bellamy and Schechter in Gramsci and the Italian State). The twin issues of the peasantry and national sovereignty constitute the blind spot that defines the limit of postcolonial critique. In quest of Gramsci “A new way of being Gramscian” – to quote Pasolini’s (1982) slogan – is to apply Gramsci’s dialectical–materialist (not homological) approach to the task of popular democratic mobilization against finance capital in specific national settings. I am not interested in deriving axiomatic truths or formulas from Gramsci’s texts. Nor am I interested in ascertaining which text represents the “real” Gramsci among the multiple Gramscis now available (Holub 1992), including the “rightist” Gramsci quoted by neoconservatives. My task here is PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 167 circumscribed: to see how we can deploy or adapt certain modes of analysis initiated first in Gramsci’s historical studies. I would locate Gramsci’s useful- ness today in the application of precisely the speculative tools he devised earlier in his vocation as a radical activist. One key concept is the “national-popular” and its resonance with the conceptual archive of alliances, anti-corporativism, blocs, ensembles, etc. Following the nuanced approach of Nicola Short (2007) and Stephen Gill (2003c) to the historical-materially structured nature of inter- national production in the context of antagonistic core-periphery relations, I would argue that Gramsci’s dialectical analysis of class-realignments, especially the stratified divisions of epochal and conjunctural sequences, would prove most useful in elucidating what is involved in the theory of combined and uneven development first formulated by Lenin and Trotsky and explored by activists in the Marxist tradition. Gramsci is, as Boothman (1995: liii) aptly puts it, “the theorist of the historical bloc” engaged in a concrete analysis of relations/ articulations of social forces in a given country at specific conjunctures or periods for the purpose of calibrating at which exact point human agency can produce the most decisive transformative effects. The “Southern Question” epitomized for Gramsci the problem of uneven, disarticulated, non-synchronous development carried out by the bourgeois liberal state. Before Gramsci became a socialist, around 1913, he was a Sardinian nationalist, alienated as he was by the industrial North’s subjugation of the predominantly rural South. Even when Gramsci became an active socialist intent on constructing a proletarian-led state within the fabric of civil society, he never stopped insisting on the need to concentrate on the specificity of the Italian situ- ation, its “particular, national characteristics,” compelling the party to assume “a specific function, a particular responsibility in Italian life” (LP: 4). The premise here is the forced unification of Italy by the northern bourgeoisie’s subjugation of the southern peasantry and the unresolved issue of landed property. What this implies is an active program to counter the transformist politics of the liberal state which maintained the fragmented social reality of Italy characterized by diver- gent regional traditions, polarized classes and economic disparities. The material inequalities were reflected, and in turn sustained by, the ideological/cultural incompatibilities between a popular culture of the quasi-feudal, rural areas and the elite culture of the caste of cosmopolitan intellectuals. To mobilize the masses, a whole program of education and organization of the entire populace was needed, a pedagogical mobilization led by a political party of the proletariat and its organic intellectuals. New values and ideals were needed to generate a critical consciousness – “unitary” and “coherent” thinking, as he put it – of the social situation, together with the ethico-moral imperative for organized collective action. Gramsci had in mind a national-democratic liberation project based on the protagonism or participatory mobilization of the people that would constitute the emergent nation. What was needed is a mass movement to emancipate the prole- tariat, together with the peasantry, and the establishment of a communist society, the precondition for the full liberation of the individual. This fundamental PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 168 E. San Juan Jr Marxist belief Gramsci enunciated in his articles of 1914 and 1916, “An Active and Functional Neutrality,” and “Socialism and Culture.” It was specifically in the 1917 article “The Revolution against Capital” that Gramsci expressed for the first time his distinctive Marxist conviction that without organized political will and social consciousness of the people, even the most favorable objective con- ditions of crisis will not lead to revolutionary change. Economic statistics do not mechanically determine politics; it was necessary for people “to understand ... and to assess them, and to control them with their will, until this collective will becomes the driving force of the economy, the force which shapes reality itself ” (LP: 40). In colonial and peripheral societies, historically sedimented divisions of class, race, religion, nationality, and so on present more formidable obstacles to mass mobilization. The appeal of national self-determination in such colonial formations as India in the 1920s and 1930s led Gramsci to conceptualize the “national-popular” movement as a powerful agent of revolutionary change (Bocock 1986). The centrality of organic intellectuals and the pedagogical strat- egy of mobilizing the masses is immediately relevant to peripheral societies (such as the Philippines) where bureaucratic and authoritarian institutions support and are reproduced by patronage, clientelist politics, reinforced by police–military coercion and para-military gangsterism and warlordism, all beholden to the dictates of US finance capital. We owe it to Forgacs’ review of its historical context that Gramsci’s concept of the “national-popular” has been foregrounded into a site of controversy and revaluation. While textually faithful in his reconstruction of its genealogy, Forgacs’ renovation is qualified by the British/European political and ideological milieu of the 1980s – the rise of neoconservatism in the UK, North America and the industrialized nation-states. Like Ernesto Laclau and Chantal Mouffe (against the background of the Althusser/Poulantzas/Foucault orbit of dissonance), Forgacs’ chief concern lies in using Gramsci’s idea to transcend economistic Marxism and assert that there is no necessary correlation or link between class and ideology. Forgacs is correct in appraising Gramsci’s concept as integral, fusing the political and cultural, but at the expense of the economic – a term misconstrued as a separate, independent sphere usually isolated to the “base” in the misleading couplet “base–superstructure.” Removing “national- popular” from the underlying historically specific relations of production in any given society, Forgacs concludes that the notion “recognizes the specificity of national conditions and traditions” in which multi-sectoral and cross-cultural struggles are strategically linked together to promote common interests (1993: 219; compare Hall 1981). In effect, Forgacs has re-inscribed Gramsci’s idea in the process of “passive revolution,” or transformism, at the same time as he marginalizes the role of the state. By detaching the “national-popular” from its Gramscian framework of socialist transformation, its link with the abolition of private property and class inequality, in short, an expansive proletarian hegemony, Forgacs confuses himself and others in wondering how a class alliance can contain a collective will, and how such an alliance can become reorganized by bourgeois hegemony. PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 169 This is due to the mistake of using the term “alliance” for a populist, sponta- neous trend that has no will, no purposive direction. Once a collective will is defined as non-class (in the functionalist sense) since it has transcended narrow corporatist class interests, then it is impossible to fashion a collective will lacking goals that are defined as simultaneously national and popular. Nation and people (both the discourses and institutional practices associated with these terms) are class-stratified and acquire coherence by articulation into a hegemo- nized nation-people. Hegemony is not only ethico-political but also economic, given “its basis in the decisive function exercised by the leading group in the decisive core of economic activity” (Boothman 1995: li). Why this is so from Gramsci’s perspective, can be explained by his own singular understanding of “collective will.” Beyond idealist hermeneutics Two earlier texts may illuminate the political condition of possibility for the theory of the “national-popular” will. The first is the 1916 article “Socialism and Culture.” Here Gramsci defines culture as a creation of humans as products of history, not natural evolution. Culture is: The organization, the disciplining of one’s inner self; the mastery of one’s personality; the attainment of a higher awareness, through which we can come to understand our value and place within history, our proper function in life, our rights and duties. (Gramsci [1916]) This inventory and ordering of the layers/aspects of one’s self becomes the staging-ground of class consciousness. Change occurs gradually, through “intelli- gent reflection” of a few, then of a whole class. Revolutionary change comes about through critical reflection and enlargement of one’s awareness via solidarity or collective mobilization of the people constituted as nationwide directing agency (Jones 2006). The formation of a socialist collective will thus results from “a critique of capitalist civilization.” Gramsci emphasizes the growth of a collective will through critique, through the discovery of the self (ultimately social) as an inventory of traces inscribed by history. Gramsci focuses on the objective or goal pursued through discipline and order: Discovery of the self as it measures itself against others, as it differentiates itself from others and, having once created an objective for itself, comes to judge facts and events not only for what they signify in themselves, but also according to whether or not they bring that objective nearer. To know oneself means to be master of oneself, ... to emerge from chaos and become an agent of order. ... And one cannot achieve this without knowing others, ... the succession of efforts they have made to be what PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 170 E. San Juan Jr they are, to create the civilization they have created, and which we are seeking to replace with our own. (Buci-Glucksmann 1980: 348–349) The labor of acquiring self-knowledge is key to grasping the nation/people as a site of constituting oneself as an agent of change. The dialectical interface of nation/people found in self-understanding – a form of cognitive appropriation of the world – leads to the integral state, thus abolishing the liberal distinction between civil society and state: “State = political society + civil society, in other words hegemony protected by the armour of coercion” (SPN: 263; Williams 1980). Learning has an ultimate emancipatory drive (LP: 11–12). It epitomizes the “catharsis” bridging economics and politics (ideology). Space limitations prevent my elaborating on this “catharsis,” the cognitive praxis enacted by the national-popular subject; as a corrective to the sanitized interpretation of Gramsci (e.g. Germino 1990; see Gedo 1993; Haug 2000; Thomas 2007). The second text for elucidation is the 1917 article, “The Revolution against Capital.” Here Gramsci spells out the versatile diagnostic power of historical materialism, “the real, undying Marxist thought” purged of positivist, naturalist incrustations. This Marxism upholds, as the most important factor in history “not crude, economic facts but rather men themselves, and the societies they create, as they learn to live with one another and understand one another; as, out of these contacts (civilization), they forge a social, collective will.” This collective will understands and controls facts, becoming “the driving force of the economy, the force which shapes reality itself, so that objective reality becomes a living, breathing force, like a current of molten lava, which can be channeled wherever and however the will directs” (LP: 40). Knowledge, will, and practice/action all coalesce in the collective transformation of social life in a determinate historical milieu. Beyond being a united front tactic, the project of a national-popular ensemble is the project of a mass-based proletarian party constructing hegemony – moral- intellectual leadership – as it confronts “the problems of national life.” Gramsci’s collective will arising from historically determined “popular forces” is premised on “the great mass of peasant farmers” bursting “into political life” (SPN: 132). This event will materialize through a Jacobinist strategy: when the working class overcomes its “narrow economic–corporative” outlook and incorporates the interests of the peasantry and urban artisans into its own program and praxis. In the “Notes on the Southern Problem,” Gramsci predi- cates the capacity of the proletariat to govern as a class on its success in shed- ding “every residue of corporatism, every syndicalist prejudice or incrustation” (1995: 27). While this may be described as an educative, universalizing and expansive alliance, the strategy does not abandon class – does not break the connection between ideology and class, as Forgacs et al. (1985) insist. Rather, the class ideology used to dominate the peasantry and other intermediate strata is thoroughly analyzed (as witness Gramsci’s meticulous anatomy of traditional, petty-bourgeois intellectuals, their ethos and worldviews). Gramsci thus asserts PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 171 that aside from getting rid of inherited prejudices and sectarian egoism, they have to take one more step forward: they have to think like workers who are members of a class that aims to lead peasants and middle classes into a collect- ive project of releasing human potential for the benefit of all; “members of a class which can win and build socialism only if it is helped and followed by the large majority of these social strata” (LP: 28) – the majority – whose subsump- tion by bourgeois leadership serves as the chief obstacle to socialist reconstruc- tion. This process of a generating directed consensus through organic intellectuals who will synthesize the cultural traditions of the whole people is a process not only of education but of organization for class war. Proletarian agency is thus universalizing and sublating at the same time. This entails the imperative of further elucidating the purpose of a national-popular alliance and the goal of constructing a national-popular will. Again, Gramsci directs our attention to the shifting balance (equilibrium/ disequilibrium) of political forces. Given the situation of the South as “a social disintegration,” and the peasants’ inability “to give a centralized expression to their aspirations and needs,” Gramsci notes, the landlords and their intellectu- als (Croce, for example) dominate the political and ideological field. Likewise, the proletariat as a class “lacks in organizing elements,” just as it lacks its own stratum of intellectuals with a left tendency “oriented toward the revolutionary proletariat.” With the mediation of intellectuals as organizers, the proletarian party will facilitate the alliance between peasant masses and the workers prepared to “destroy the Southern agrarian bloc.” The party needs to organize the masses of poor peasants “into autonomous and independent formations” free from the stranglehold of the “intellectual bloc that is the flexible but very resistant armature of the agrarian bloc” (1995: 47). Thus the people, not the bourgeoisie nor the Church and its cosmopolitan intelligentsia, will proceed to constitute the nation by releasing the productive forces needed for a more humane civilizational project, a new social order. While the educational–pedagogical task seems a prerequisite, Gramsci does not envision an ideological-moral reform as an end in itself, a continuous “war of position” regardless of changed circumstances. Nor does it have anything to do with the numerical weaknesses of the proletariat nor of the fascist monopoly of military reserves and logistics. Rather, the problem Gramsci faced then was historically dictated by the deleterious moral-intellectual leadership of the fascist bloc enabled by the continuing political and economic subordination of the peasantry and the failure of the workers and their party in mobilizing them. For Gramsci, one of the ways (specific to Italy but not to all social formations) in building a counter-hegemonic bloc is the cultivation of organic intellectuals that can help shape a genuinely democratic national unity (the Italian nation as a legal, formal entity had no real cultural unity rooted in the people’s lives) on the basis of a unified struggle with the popular forces (peasantry, middle elements). Before applying Gramsci’s theory of the national-popular strategy to the Philip- pines as a model neocolonial formation, I want to summarize its fundamental elements: PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 172 E. San Juan Jr 1 A national life and field of action is needed for the proletariat to settle first with its bourgeoisie, as Marx and Engels stipulated in the Manifesto, and a synthesizing historical program based on commonalty of experiences will be used to unify, activate and lead the majority of the population. 2 For socialist revolutionaries to defeat the capitalist bloc and its feudal or semi- feudal supports, the party of the proletariat needs to move beyond sectarian- ism, that is, beyond corporatist/syndicalist tendencies and win the consent of the peasantry and middle elements by including their interests/demands in a common program/platform of action through concessions/compromises without abandoning their humanist, secular principles and the goal of a classless society. 3 To build such an alliance or historic bloc of subaltern masses under the leadership of the party of the working class, organic intellectuals are needed for organizing the nation-people, and to supervise the inculcation of discip- line in thinking and action; these tasks aim to generate a collective will informed by a knowledge of the totality of social relations that is its condition of effectivity. 4 The field of political mobilization involves civil society and the state institu- tions, without any predetermined approach (as always, an orchestration of frontal assault in a war of maneuver needs to be synchronized with political- legal actions in a war of position); the tactics of mass actions will depend on the concrete situation and the alignment and balance of political forces in any specific conjuncture. Consent is always armatured with the legitimacy of coercion. 5 The national-popular has a socialist orientation based on internationalist solidarity, geared to utilizing the scientific and progressive achievements of all of humanity to improve the material and spiritual well-being of all communities and national formations. Historical triangulation I will now summarize briefly the political history of the Philippines and sketch the most crucial problems of neocolonial development in the epoch of globalized capitalism and the US-led “war on terror” gripping the whole planet. This exercise is intended simply to illustrate the usefulness of Gramsci’s thesis on the imperative of a “national-popular” will applied to a colonial/neocolonial formation. While Italy and the Philippines belong to sharply disparate temporal and spatial regions and scales, with incommensurable singularities, one can discern rough similarities. The principal difference, of course, is that the Philippines was colonized by theocratic feudal Spain for 300 years and by the industrialized capitalist United States for nearly a century. US colonial rule preserved the feudal infrastructure, heightened ethnic divisions (principally between Christian and Muslim), and deepened class inequality by supporting a comprador-merchant class and an army of bureaucratic intelligentsia. After forcibly subjugating the revolutionary forces of the first Philip- pine Republic, it used a transformist “passive revolution” to win the subaltern PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 173 intelligentsia and thus incorporate the peasantry into a colonial order and eventually a neocolonial setup. It suppressed the birth of a Filipino national-popular will. The parameters of revolutionary socialist change in the Philippines are clearly drawn by the legacy of its colonial history, first by Spain and then by the United States. This resulted in the continuing fragmentation of the country in terms of class, language, and religion with deadly consequences (instanced by the undefeatable Moro separatist struggle). Spain used the Philippines primarily as a trading post for the galleon trade with China, using natural and human resources it found, until primitive mercantilism took over in the nineteenth century. The Portuguese explorer Ferdinand Magellan was killed in the Philip- pines as a result of tribal conflicts which the Spanish civil authority resolved mainly by force and partly by concessions to the local chieftains. Unable to occupy the Muslim territories with its limited resources and personnel, the Spanish colonial administration used this conflict to heighten insecurity and legitimize their authority. They relied mainly on the friars of the religious orders to extract tribute from the Christianized inhabitants who were reduced to serfhood or abject slavery. In time the encomienda system generated a stratum of Spanish landlords who, together with the Catholic Church, maintained a tributary system in which only a few selected natives functioned as petty administrators and bureaucrats. So Spanish hegemony was tenuous, obtained mainly through the disciplinary regime of religious practices and institutions. When the children of Chinese and Filipino creoles or mestizos succeeded in acquiring formal education in schools adminis- tered by the religious orders, and also in Europe, they absorbed liberal ideas that formed the basis for the nationalist movement which began in the 1870s and ripened in the 1898 revolution. But this consciousness of Filipino nationality was confined mainly to the artisans and professions led by the ilustrado gentry class. It was not shared by the peasantry who were mobilized in terms of kinship or traditional loyalty to their village elders; or in terms of affiliation with millenary, chiliastic sects. In time, because of the organizing efforts of the Propagandists (reformist intellectuals, ilustrados, from the classes of rich farmers, artisans and petty traders) with their ideals of enlightenment rationalism and autonomy, and the recruitment of the petty landlords–merchants, a hegemonic social bloc of anticolonialists emerged: the Malolos Republic led by General Emilio Aguinaldo. This signaled the emergence of a Filipino national-popular intelligence and communal-oriented sensibility. A sense of Filipino nationhood founded by the cosmopolitanized petty bour- geoisie with allies in the merchant and small landlord class was aborted when the United States suppressed the young Republic in the 1899–1903 Filipino–American War. The formal republican institutions built on the ruins of Spanish theocracy collapsed when the ilustrado leadership surrendered to the US colonial authority. While the Spaniards used violence armored by Christian evangelization, the United States occupied the islands with brutal force armored by diplomatic propaganda, the promise of “Benevolent Assimilation” and eventual independence. Using scorched earth tactics, torture and mass imprisonment, the US killed 1.4 million PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 174 E. San Juan Jr Filipinos, 10 percent of the population. Unable to defeat the Moros (Filipino Muslims) despite a series of massacres, the US deployed a combination of diplo- matic chicanery, subterfuge and “bribery” to pacify them. Up to the present, US Special Forces are still battling the Moros (Muslims living in the Philippines) in the form of the “Abu Sayyaf” terrorist bandit group, a proxy for the massive and more formidable Moro insurgency forces of the Moro Islamic Liberation Front (MILF) and disaffected sections of the Moro National Liberation Front (MNLF) (San Juan 2007a) who refused to cooperate with the current US-subservient administration. One can summarize the 50 years of direct US colonial rule as an illustration of hegemony won initially through military power and stabilized through the twin methods of bureaucratic coercion and cooptation. When the Philippines was granted formal-nominal independence in 1946, the US had set in place an Americanized privileged minority, an oligarchy of landlords, bureaucrat-capitalists, and compradors that would fulfill US economic needs and global foreign policy. Consensus on elite democracy and the formal trappings of representative govern- ment was obtained through decades of violence, cooptation, moral persuasion, and a whole range of pedagogical–disciplinary methods, with the active collaboration of the religious institutions (both Catholic and Protestant). Hence the Philippines today is a nation of impoverished peasants and workers, with less than 1 percent of 90 million people comprising the middle class and landlord-comprador elite (Lichauco 2005). It is basically agricultural and dependent on foreign investments (lately, on remittance of Overseas Filipino Workers (OFW)), devoid of the full exercise of its sovereignty (the US has veto power over its military and foreign policy). Its political system is characterized by the presence of formalistic liberal- democratic institutions administered by a tiny group of oligarchic families, reinforced by the Church, and a vast military–police apparatus chiefly dependent on US aid (economic, military, political) rationalized by the US-led “war on terror” (on US support of “low-intensity conflict” see Agee 2003). There is as yet no national-popular will exercising genuine independence, only a subalternized elite whose ascendancy and survival depend on direct or mediated (via World Bank–IMF–WTO) US military and political patronage. The Southern Question in the Philippines Gramsci of course did not directly engage with the process of Western colonization of a “Third World” country. However, even though there are considerable differences, one can consider the Philippines as analogous to the Italian “southern region” vis-à-vis the US industrial metropolis. The current metaphorical use of “North” (industrialized nations; center) and “South” (underdeveloped regions; periphery) in international relations is clearly indebted to Gramsci’s geographical–economic polarity. To be sure, Gramsci’s categorization of the North–South binary is less economic than sociopolitical and cultural, in contrast to the orthodox Marxist definition of a nation histori- cally predicated on the existence of a market and a commodity exchange system. PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 175 Contrary to orthodox Marxism (Rosenthal and Yudin 1967: 304), which considered the capitalist national market as the basis for nationhood, the sense of a Filipino nation was born in armed struggle against Spanish theocratic rule and later against US military aggression. No full-blown commodity market existed in a feudal-theocratic mercantilist order. However, the emergent national identity was cancelled outright when Filipinos were excluded in the 1898 Treaty of Paris (Spain, militarily defeated, was forced to cede the islands to the US for 20 million dollars). Laws were immediately promulgated to criminalize anticolonial dissent: the 1901 Sedition Law and 1902 Brigandage Act punished anyone advocating separation from the US. The 1903 Reconcentration Act relocated entire rural communities into towns to deny refuge to rebels; the Flag Law, which prohibited displays of the revolutionary flag of the Filipino Republic, was enacted in 1907, the same year when the last revolutionary Filipino general, Macario Sakay, was hanged in public. Nationalist discourse and symbols were proscribed, thus destroying the material practices sustaining the collective spirit of resistance and will to independence. This period of pacification (1898–1935) involved a variable if shrewd application of force and consent, violence and persuasion, guided over- all by a transformist, “passive revolution” strategy administered by the local oligarchy and its bureaucrats tutored by American overseers. US colonialism thus applied “transformism” by supplementing coercive tactics with a long-range strategy of ethnocentric, opportunistic extraction of consent from the new subjects (Pomeroy 1970). After Filipino guerilla resistance waned in the first decade of the twentieth century, the US established the Philippine Assembly as an auxiliary law-making body under the US-dominated Philippine Commission appointed by the US President to manage the colony. It was one way of implement- ing the slogan of “Benevolent Assimilation” of the natives proclaimed by President William McKinley in the midst of the violent pacification of the islands under the aegis of the white-supremacist slogan of “Manifest Destiny.” This Assembly served to co-opt the native elite (elected by at most 3 percent of the population) and defuse the popular agitation for “immediate independence,” a submerged, repressed tendency in the majority of colonial subjects. A neocolony was born from the destruction of the insurgent nation and the systematic deepening of divisions among the people (Schirmer 1987). The principal instruments for winning consent were the school system of universal public education and the enforcement of English as the official medium of instruction, government communication, and mass media. Among progressive intellectuals, Renato Constantino (1978; see also Martin 2001) was the first to stress the crucial role of the pedagogical apparatus and the modes of the production and transmission of knowledge, specifically through the English language, in enforcing the allegiance/conformity of the majority of citizens whose national imaginary has thus been captured and detained. Americaniza- tion of the Filipino through education and cultural domination may be viewed as a kind of “passive revolution” aimed chiefly to defuse nationalist impulses in the peasantry and working class, and re-channel the energies of the middle strata of intellectuals–professionals to serve the interests of US policy in Asia PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 176 E. San Juan Jr especially in a time when Japan was rising as an imperial power and revolu- tionary ferment in China and other countries was dangerously looming in the horizon. Future independence was promised to pacify the nationalist intellec- tuals while recruitment to the Hawaii plantations gave temporary relief to unmitigated misery in the countryside. In the process of revolutionizing the political and cultural institutions “from above,” the US colonial regime also cultivated its own intelligentsia. Politics imitated the prevailing patronage system binding landlord and tenant. Filipino ilustrados serving the defeated Republic – the educated gentry – were enticed to join the colonial administration as teachers, policemen, clerks, and technical help in the bureaucracy; as judges and municipal legislators. One example of a traditional intellectual who participated in this negotiated compromise was Trinidad Pardo de Tavera. In 1901, Tavera wrote to General Arthur MacArthur, the chief administrator of the military occupation: After peace is established, all our efforts will be directed to Americanizing ourselves, to cause a knowledge of the English language to be extended and generalized in the Philippines, in order that through its agency the American spirit may take possession of us, and that we may so adopt its principles, its political customs, and its peculiar civilization that our redemption may be complete and radical. (Quoted in Constantino 1978: 67) This stratum of neocolonized intellectuals cemented the tie between the oligarchic elite and the colonial rulers, performing a necessary role in disinte- grating the popular memory of past revolutionary struggle and alienating this elite from the everyday lives of the masses. When the Philippine Commonwealth was established in 1935, the Filipino intellectuals who came from the peasantry and working class gathered around the US-sponsored President Manuel Quezon and his program of “social justice.” This populist rhetoric re-channeled nationalist impulses toward legal ameliorative schemes won as concessions from Washington. The social bloc of landlords–bureaucrats–compradors funded cultural programs with a sentimental patronizing attitude toward the native or aboriginal populace. While writers in the vernacular gravitated toward more activist left-leaning circles on the fringes of the Communist Party of the Philippines (formed in August 1930), the writers using English remained “cosmopolitan,” as can be gleaned from this reflection of a progressive-minded critic, Salvador P. Lopez (written during the Japanese occupation circa 1942–1944): For culture is fluid, volatile, impossible to confine in an air-tight compart- ment; and nothing is truer than that real culture is universal, the exclusive property of no particular nation but of all nations that have intelligence to harness it to their own uses. (1945: 61) PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 177 Cosmopolitanism Filipino-style lurked astutely behind this left-wing nationalist figure who eloquently voiced proletarian sentiments in the 1930s and 1940s against European fascism and Japanese militarism. Uneven and combined development Unlike Italy, then, the Philippines were distinguished as an undeveloped rural- agricultural economy without any heavy industry, under US ideological-moral control and political “tutelage.” Utilitarian and pragmatic norms permeated the social habitus of the middle strata. This hegemony flourished due to the acquiescence of the oligarchic bloc of landlords, comprador merchants, and bureaucratic intelligentsia, complemented by overt and covert tactics of violence and bribery unleashed on the unruly sections of landless peasants, workers, and artisans. Challenged by numerous peasant insurrections and workers’ strikes, US hegemony continues as a compromise setup enforced by juridical-police means of untenable legitimacy. Filipino cacique/elite democracy is built on the parasitic dependency of the local clients on US military, economic and political assistance. The Philippines is a polity formally identified as “national” (since the Philippines is recognized by the United Nations as a “nation-state”) without genuine sovereignty, but only “popular” on the basis of periodic elections. This is concealed by John Gershman who, in a historical survey of the country, describes the Marcos dicta- torship as a hybrid of personalistic caudillo rule, aided by technocrats and regional alliances of governors, without any mention of US dependency of the whole structure validated by bilateral treaties and secret stipulations (1993: 162). From 1899 up to 1946, the US utilized the Philippines as a source of cheap raw materials and labor (the colony began earlier to supply the Hawaii plantations with contract workers), as well as a military-naval outpost. The semi-feudal system of land tenure, especially in the sugar plantations, maintained landlord/rentier power that shared governance with the comprador merchants in the cities. Clientelism and patronage regulated class friction. More impoverished than before, the peasant masses staged regular revolts culminating in the numerous peasant uprisings in the 1920s, the Sakdal uprising of the 1930s and the Communist-led Hukbahalap rebel- lion of the 1940s. The Moros for the most part followed their tribal chieftains who were allowed limited local power by the central government. After World War II, the neocolonial government re-located landless peasants, former Huk partisans, to the southern island of Mindanao, temporarily relieving population pressure and unemployment in the North. The question of land and the demands of the peas- antry eluded the leaders of the Communist Party of the Philippines because, in a one-sided manner, they gave priority to the issue of formal independence, thus subordinating them to elite politicians like Quezon and abandoning the peasantry to the military, church and landlord private armies. Based on the small urban industries (printing, cigar-making, etc.), Crisanto Evangelista and other trade unionists set up the party with 6,000 members, a few from the peasant sector. Impatient, they tried to skip the necessary stage of winning hegemony in civil PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 178 E. San Juan Jr society, opting mainly for confrontational tactics within a narrow geopolitical arena. Within less than one year, however, the leaders were in jail and the party criminalized and substantially dismantled. James Allen, a leading Communist Party USA functionary, visited the Philippines in 1936–1938 and helped amalgamate the urban-based Communist Party with the peasant-based Socialist Party led by Pedro Abad Santos. In his memoirs, Allen criticizes the limitations of the Filipino Marxists, influenced by anarchist and syndicalist notions absorbed from Spanish progressive intellectu- als rather than from “liberal and radical ideas emanating from the United States” (1993: 27) – for example, the Popular Front perspective. Allen describes the peasant leaders Juan Feleo, Mateo del Castillo, and Pedro Abad Santos who, in contrast to the Communist Party leaders, emphasized the need for unifying the peasant and proletarian movements. Even though they were not familiar with the debates among Western Marxists, at least they paid attention to the “Southern [peasant] Question.” With the merger in 1938 of the communists and socialists into one Communist Party, the theme of national independence was eclipsed by a “democratic front policy” to oppose the victory of fascism in Europe and Japan. The mediation of Allen and other patronizing mentors displaced the “national-popular” agenda with an internationalist one, thus legitimizing the continuing authority of the US-patronized cacique, Quezon, who had terrorized the party and persecuted its officials, and only grudgingly tolerated their 1938 convention. Proletarian and socialist principles were displaced by the virtues of entrepreneurial individualism and US-style pluralism, ironically conveyed by a trusted “tutor”/adviser from the US Communist Party. From a Gramscian point of view, a shift of party policy from the national to the international (in Gramsci’s specific case, this was brought about by the need to confront the rise of Italian fascism in the 1920s) sacrifices the interests of the party’s mass base. It subordinates the party to the oligarchy whose defense of elite/cacique democracy would conceal their subservience to US authority. The outcome in the Philippines was disastrous. When the US forces returned in 1945, the axiomatics of US imperialism, which disappeared in the struggle against Japanese occupation, had to be re-learned after the arrest and killing of anti-Japanese Huk (Filipino commu- nist-led) guerillas. A similar situation occurred 30 or so years later when former leftists made a fetish of “civil society” as an entity separate from the state, following US Cold War strategy against the Soviet state. Filipino postmarxists (now flunkeys of the Establishment or ideologues of globalization) glamorized a hypothetical “democratic space” and electoral democracy without any substantive land reform or even token social-democratic improvements during Corazon Aquino’s presi- dency. Meanwhile, Aquino and her successors welcomed US advisers to supervise terrorist and fascist measures against the left, up to inviting US Special Forces to help wipe out Moro dissidents. This policy of systematic terror against leftists, nationalists, and indigenous advocates continues under de facto president Gloria Macapagal Arroyo, with over 1,000 extra-judicial killings (also designated by human rights monitors as “summary executions”) and enforced disappearances since 2001. PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 179 Again, Gramsci’s lesson here is clear: replacing the need for an anti-imperialist “national-popular” bloc fighting for genuine national sovereignty, and the democratization of social property to abolish class privileges, means abandoning the entire socialist project. It is a formula for defeat. During the Marcos dictatorship (1972–1986), the revolutionary project of building socialism through a worker–peasant alliance took the form of a united front – the National Democratic Front (NDF) agenda initiated by a party estab- lished under “Marxism–Leninism–Mao Tsetung Thought.” Established in April 1973, the NDF sought to fight Marcos’s authoritarian-martial rule through the transitory alliance of the proletariat, peasantry, urban petty bourgeoisie and the national bourgeoisie in a national-democratic revolution – a people’s war geared to forming a democratic coalition government (on the postwar elite, see Agoncillo and Guerrero 1970: 670–671). According to the 1985 draft program, the NDF Provides a framework and channel for the unity and coordination of all groups and individuals adhering to, and advancing, the general line of fight- ing for national liberation and genuine democracy. It wages armed struggle – specifically a people’s war – as the principal form of struggle at this stage of the Philippine revolution; but it also recognizes the importance of other forms of struggle, and in fact combines and coordinates the armed struggle with all types of clandestine and open, non-legal and legal struggles. (National Democratic Front Secretariat 1985: 5) In later elaborations of this program, one finds the “armed struggle” accentuated as the primary form of struggle nationwide, taking pride of place over all the other forms. The first item in the 12-point general program reads: “Unite the Filipino people to overthrow the tyrannical rule of US imperialism and the local reactionaries.” Clearly, the NDF may have sidetracked, at certain conjunctures, the primacy of the armed struggle in favor of peace negotiations with the government begin- ning with the Hague Joint Declaration of 1992 (NDFP 2006). Combined with armed political mobilization, I see these negotiations as an astute move of the NDFP to build public consensus on the most crucial issues of land reform, social justice, and sovereignty. This is an opportunity denied to it except in the liberated zones where the New People’s Army (NPA) exercises precarious ascendancy. However, the NPA cannot win consent in the domain of civil society (including the economic sphere) unless its program is translated into community-wide practicable agendas. But the drive for winning consent (through a wise strategic balancing of frontal assault and positional warfare) seems premised on a mechanical reading of the prevailing social production relations (not just the economic base, in the conventional sense). For example, there is a recurrent stress on the developing crisis as engendering the imminent collapse of the regime. Conversely, there is a belief that a spontaneous outburst of mass action may precipitate revolutionary victory, ahead of any nationwide acceptance of the legitimacy of the NPA as the liberating people’s army. PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 180 E. San Juan Jr Whereas Gramsci proposed that what is decisive is moral-intellectual leadership of the historic bloc of social forces subtending the people’s army, a leadership which does not passively anticipate crisis breakthroughs but in fact prepares the ground for such direct confrontations. In addition, the forces of the ruling bloc need to be sufficiently demoralized, disaggregated, and decapitated of its intellectual-moral leadership before proletarian hegemony can be assured. Toward clarifying the problem of transition The problem of the national-democratic transition to socialism in the Philippines has been surrounded with the endless and often futile debate on the mode of production, in particular, whether feudalism or capitalist social relations obtain. Numerous volumes have appeared contradicting Sison and De Lima’s (1998) thesis of the Philippines as a semi-colonial and semi-feudal formation. For example, Ben Reid (2000) argues that the Philippines is now overdetermined by rent capitalism which is more vulnerable to urban insurrections, therefore a peasant-based insurgency is no longer valid or tenable as a revolutionary strat- egy. This kind of empiricist-positivist thinking is what Gramsci warns us to reject when he states: “it is not the economic structure which directly determines the political action, but it is the interpretation of it and of the so-called laws which rule its development” (quoted in Bobbio 1979: 33). And for Gramsci, such laws in Marxism are tendential laws that are historical, not methodological, because they always beget unpredictable countervailing forces. “Economic contradiction becomes a political contradiction” and economic law passes into political strategy (Bensaid 2002, 283). Statistics proving uneven and combined development in neocolonial formations like the Philippines can be interpreted to serve either progressive or reactionary purposes; they cannot by themselves propose a revolutionary strategy. A leader- ship formation is needed. Gramsci writes that the mythical “Modern Prince” (van- guard political party) is a creator or initiator, basing itself “on effective reality” which is not something static or immobile, but rather “a relation of forces in continuous motion and shift of equilibrium.” Hence, normative ethical judgment and realistic critical analysis fuse in political action: “What ‘ought to be’ is there- fore concrete; indeed it is the only realistic and historicist interpretation of reality, it alone is history in the making and philosophy in the making, it alone is politics” (SPN: 171). The ascendancy of the national-popular will as the sign of accom- plished hegemony does not hinge on the resolution of the feudal-or-capitalist debate but on the meticulous analysis of the balance of political forces, that is, on theorizing the alignment and conflict of social blocs on the terrain of a specific historical formation. The Philippines is indeed a complex test case for any revolutionary socialist politics removed from its European provenance. In such a highly differentiated political economy with divisions and fragmentation on every level, what is imperative is precisely an inventory of social-political forces. For there to be a revolutionary change there has to be a national-popular movement in which PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 181 masses will be “led to think coherently and in a unitary manner an existing reality” (Fontana 1993: 45). This critical and coherent practice of understanding is expansive, moving beyond sectarian, corporatist or parochial views. Gramsci’s strategy of striving for a national-popular bloc is premised on the notion of catharsis, the dialectic of the war of position and the war of maneuver, neither one nor the other but always contingent on the highly mutable balance of political forces: The term “catharsis” can be employed to indicate the passage from the purely economic (or egoistic-passional) to the ethico-political moment, that is the superior elaboration of the structure into superstructure in the minds of men. This also means the passage from “objective” to “subjective” and from “necessity” to “freedom.” (SPN: 366) In short, proletarian class ideology becomes universalized; it becomes the nation-people’s “common sense,” pervading everyday life. All these have been prefigured in the emphasis Gramsci laid on the need for self-inventory, order gained from self-discipline, knowledge of social relations, and collective will in the essays I have cited earlier. Failure to heed this dialectical analysis of the ever-shifting equilibrium of political forces, which is essentially a symptom of positivistic or dogmatic think- ing, has led to catastrophes in the past. Most notable is the prediction by the leadership of the Huks in the 1950s that the neocolonial regime would collapse because of the sharpened crisis of international capitalism (Dalisay 1999: 116). This error stems from ignoring the form of the state being challenged and the existing balance of political forces, allowing the supposed transnationalization of production and finance to dictate the terms of the national-democratic struggle. It is the current malady afflicting anti-globalization “leftists” who consider the battle against the IMF/World Bank/WTO as more important than fighting the ruthless fascist acts of the US–Arroyo regime. The other lesson in ignoring the problematic of achieving hegemony via a national-popular bloc may be found in the CPP/NDF’s boycott of the “snap elections” of February 1986, a mistake due (to quote the official explanation) to the mechanical analysis in terms of class standpoint and subjective intentions, without taking into account “the objective positioning of each of the political forces in motion and in interaction with others” (Schirmer and Shalom 1987: 384). But that self-criticism does not mention at all where and how the protagonism of the masses will intervene in the conjuncture. With the demise of the Soviet system and the proliferation of Western-funded NGOs (Non-governmental organizations) in the civil society of “Third World” countries, Gramsci was discovered as a quotable sage. In the Philippines, the “new social movements” opted for US-promoted electoral democracy instead of socialism or national independence. In this milieu, Gramsci’s notion of engaging the state from bases within civil society was refunctioned to resolve the crisis of PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 182 E. San Juan Jr left-oriented political forces. It was purged of its historically realist theorems (see Jaluague 1993). The Filipino “civil-society” advocates were dutifully silent about US imperial plunder of the Philippines and the utter subservience of its rapacious local agents to the Washington Consensus. Thus Gramsci is instru- mentalized to deflect attention away from the lack of national sovereignty, the fragmentation and anomic decay of society, and the unprecedented impoverish- ment of the masses – a majority of Filipinos subsist on $2 a day – and the endemic unemployment, which explains why eight out of ten households are stricken with hunger (Lichauco 2005; Oliveros 2008), and why between nine and ten million Filipinos are exploited migrant workers in over 200 countries around the world. This use of Gramsci was surely an exercise in tendentious extrapolation at the tail of the Cold War when neoliberal themes/slogans purveyed via privately funded NGOs led by managerial technocrats flourished. Gramsci’s hegemony was equated with radical democracy, all struggle being reduced to the ideological realm (Wood 1986). In fact, the call for hegemony (construed as electoral supremacy) eclipsed and erased the call for revolution, for people’s war. This is of course a prelude to the trendy, chic sectors of the anti-globalization movement embodied in the World Social Forum and its eclectic, opportunist accommodationism. Imperial terror contra revolution Immediately after September 11, 2001, the Philippines was declared the “second battlefront” after Afghanistan in the “war on terror” (Tuazon 2002). In October, Secretary of State Colin Powell classified the CPP and the New People’s Army as “terrorist” organizations, clearly revealing the normative unilateral criterion of “terrorist” as any group or individual that opposes US imperial policies and its effects. President Bush dispatched thousands of US Special Forces and Marines to pursue members of the Moro guerilla contingent called “Abu Sayyaf,” actually a kidnap-for-ransom gang, alleged to be Al Qaeda followers. The informed public in the Philippines already knows that this group was set up by government military/police, local politicians and businessmen to split up the Moro revolutionary camp and also channel ransom money into their private bank-accounts (Vitug and Gloria 2000; International Peace Mission 2002). Notwithstanding this truth, the Bush regime utilized the brutal 1899–1903 colo- nial pacification of the islands to justify sending US troops to the Philippines as an example of the US spreading democracy and freedom to benighted lands at horrendous costs for both Americans and Filipinos (Katz 2004; Kolko 1976). There is no doubt that US policies of hegemony succeeded in making the Philippines one of the first genuine neocolonies on the planet. Concluding his history of Philippines in the twentieth century, Renato Constantino states that after the 1946 grant of formal independence, “the culture, the institutions, the sciences and the arts that evolved only served to confirm in the minds of orthodox Filipinos the need for some form of dependence on the United States” (1975: 393–394). Lichauco contends that “the contradiction between colonialism and PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 183 nationalism remains the principal contradiction of Philippine society” (2004; see also CENPEG 2005; Bauzon 1991). Consequently, parasitic on US support, the Filipino ruling bloc has never really won hegemony over the nation-people. Like the previous administrations from day one of the Republic up to the present, the Filipino elite has never enjoyed the full and total consent of the governed, as witness the uninterrupted peasant rebellions in the first 50 years of the last century, as well as the periodic eruptions of Moro antigovernment resistance. Even after the end of Marcos’s “constitutional dictatorship,” the military and police apparatus of the neocolonial state continues to be fully deployed both against the communist guerillas and the Moro insurgents – the Moros in fact receiving worldwide recognition of its legitimacy by the Organization of Islamic Conference. Class war persists in both its positional and confrontational dimensions, across ethnic, sexual, and regional heterogeneities (Eadie 2005). Despite their unflagging struggle against fascist violence in defense of people’s rights and welfare, the NDF, CPP and NPA are branded as terrorists by all those who succeeded Marcos. At present, the Arroyo regime has been accused of unprecedented and massive extra-judicial killings and abductions of over 1,000 citizens, priests, lawyers, journalists, human-rights advocates, labor union leaders, women, and activists from “civil society.” Amnesty International, the UN Special Rapporteurs, World Council of Churches, Human Rights Watch, and others have all agreed that Arroyo’s government, in particular the US- funded and supervised Armed Forces of the Philippines and the National Police, are all guilty or complicit with those crimes. In March 2007 at The Hague, Netherlands, the Permanent People’s Tribunal held a trial of the US–Arroyo regime and found it guilty of “crimes against humanity,” a judgment conveyed to the United Nations, the European Parliament, and the International Court of Justice (San Juan 2007b). It would be logical to conclude then that following Gramsci, the war of maneuver, frontal assault, may be considered appropriate (as it was in Russia in 1917), especially if the state (military-police power) was everything and civil society “primordial and gelatinous” (SPN: 238). But is that the case in the Philippines today where, behind the army and bureaucracy, the trenches and fortifications of civil society – church, media, schools, etc. – have already been taken over by the national-popular bloc, the alliance of workers and peasants? If so, then the revolution has won. If not, we need to go back to the mass grass-roots organizations and reassess our frameworks, paradigms, conceptual tools, and experiences. We may sharpen our inquiry further. While the situation may be crisis-ridden and Arroyo deprived of majority support in “civil society,” has the working class party achieved hegemony in that realm? Apart from the current logistical weak- ness and decreased size of the NPA (the Moro insurgents, though massive and well-equipped, appear to be plagued with leadership problems), the CPP and other left-leaning or socialist-oriented groups have not yet fully attained “national-popular” stature. That is, their leaders and intellectuals have not yet achieved that “organic cohesion in which feeling–passion becomes understanding PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research 184 E. San Juan Jr and thence knowledge,” precisely that moment when they can be said to be representative insofar as a “shared life” exists “which alone is a social force ... the ‘historical bloc’” (SPN: 418). We do not yet have proletarian-oriented “common sense” operating in everyday social life. In other words, the historical bloc of national-popular forces has not been realized as yet, despite the utterly corrupt, mendacious and criminal actions of the illegitimate president. The neo- colonial state survives by virtue of superior military-police organization (though rent by factional in-fighting, as attested to by several mutinies in the last decade, which persist up to now), the inadequacy of its challengers, and sheer psycho- cultural inertia. Above all, the neocolonial state is able to function with a semblance of normality (though quotidian life is replete with emergency episodes and punctual ruptures) because of unremitting US support. Aside from US military-political aid, the elite is able to survive because of the $12–14 billion annual remittance of OFWs (Overseas Filipino Workers), enough to pay the growing foreign debt and fund the irredeemably corrupt bureaucracy and military-police apparatus. Globalizing the nation? Viewed from the neo-Gramscian perspective of international political economists (Gill 2003c; Bieler and Morton 2003), we need to take account of the current world order, the appearance of trends such as “the new constitutionalism” and “discipli- nary neoliberalism.” Future research should take into account the “recomposition of state-civil society relations” that generate new structures of exploitation, forms of class-consciousness, modes of resistance and class struggle (Bieler and Morton 2003). World-systems analysis has to be supplemented by a historical-materialist critique of mutable forms of political subjectivities generated by new innovative forms of commodification and marketization of both private and public spheres, as well as the corresponding changes in the planet’s bio-eco system (Gill 2003c). Gramsci’s theory of hegemony operating through the historic bloc of the national/popular conceptualizes the idea of socialist revolution as a transformation in the relation of political forces. Protracted people’s war, if it is not just a carry- over slogan from the Chinese experience, needs to be judged as a tactic, not a long-range strategy of political struggle where the land problem coexists within the question of neocolonial dependency. “People’s war” also needs to concede if not incorporate the more urgent demand for Moro self-determination within its parameters. Within the dual perspective that Gramsci applies to the revolutionary process, the military moment of a relation of forces – the moment of maneuver or frontal assault – must be located within the unity of the whole formation and the complex relation of the elements within it. Gramsci warns us that it is foolish to be fixated by a military model since politics must have priority over its military aspect: “only politics creates the possibility for maneuver and movement” (SPN: 232; Sassoon 1980). Notwithstanding the primacy of class struggle in historical materialism, the people-nation (mainly in the “Third World”/global South) remains the pivotal PROOF ONLY 372_12_perspectives_ch12.pdf Routledge Research Gramsci’s theory of the “national-popular” 185 agency for a strategy against finance–capital imperialism. The people (prefigured by the revolutionary worker–peasant alliance) and the emergent nation endowed with critical universality (Lowy 1998) remains the dual thematic and narrative vectors of any socialist praxis in neocolonized formations. In the case of the Philippines, as long as the peasantry, rural middle stratum, and indigenous communities remain the base of landlord–comprador power, and therefore of bourgeois (US and local capitalist–bureaucrats) control, the insurgency in the countryside will always be an irrepressible part of the “civil society + political- ideological domain” (the integral state) which is the paramount terrain of the national-democratic struggle (Q2 §6: 763–764). Again, we need to be reminded that civil society includes the economic sphere lest everything be reduced to the cultural or ideological realm. The immiserated countryside and its urban exten- sions continue to serve as the reservoir for the thousands of migrant contract workers who now remit billions of their earnings, enough to pay the country’s huge foreign debt to the World Bank and financial consortiums. And as long as the Philippines is a deformed or inchoate “nation-state,” without real sovereignty, the nationalist project – global decolonization as “the most significant correlate of US hegemony” (Arrighi 1993) remains pivotal and decisive in socialist trans- formation. Without the Filipino nation-people, there is no agency to carry out the socialist revolution in a neocolonial location. Without the national-popular, there can be no historical specificity to analyze, no particularity to authenticate the universal drive of global socialist transformation of the global capitalist system. By grasping the full implications of Gramsci’s “national-popular” as applied to the historicized formation of a neocolony like the Philippines, by exploring its heuristic and explanatory value for socialist goals, we may be able to find to explore the most fruitful way of being Gramscian in this new millennium of imperial terror and impending planetary ecological disasters. PROOF ONLY

Monday, December 18, 2023

ART UNDER CAPITALISM

Commodity Fetishism and the Crisis of Contemporary Art E. San Juan, Jr. University of Connecticut
Only through the objectively unfolded richness of man’s essential being is the richness of subjective human sensibility...either cultivated or brought into being...The forming of the five senses is a labour of the entire history of the world down to the present. — KARL MARX The smell of impending death rose from these avantgardes. The future was no longer theirs, though nobody knew whose it was. — ERIC HOBSBAWM It is no longer news anymore, at this late date, to declare that art, in our marketized planet, is deemed a precious commodity. Considered as property, artworks are bought and sold, circulated, forged, stolen, recovered, auctioned everyday. Profits are made for artists, merchants, smugglers, consumers, and anyone involved in trading/ merchandising. It’s banal or trivial to observe this fact. So intense was this commercialization from the mid-1950’s that Ian Burn complained how it spelled “corruption and the prostitution of the artist” (1999, 397). A few recent examples can be cited as prolegomena to our discourse. In Sotheby’s contemporary art auction in November 2013, avant-garde art confirmed its absorption by the market with the $104.5 million sale of Andy Warhol’s 1963 “Silver Car Crash (Double Disaster).” In 2007, his “Green Car Crash” sold for $1.7 million, a proof that the aura of the name dictates market value, with the subject or content of the artwork adding enough differentia specifica to mark its historical period or milieu. In the past, Francis Bacon’s “Three Studies of Lucien Freud” was sold for $142.4 million while Gerhard Richter’s abstract, MABINI REVIEW | VOL. XI (2022): pages 1-20 © 2022 San Juan, E. Jr. | ISSN 2012-2144 [I] “A.B. Courbet” was sold for $26.4 million and Cy Twombly’s “Poems to the Sea” (1959 drawings) was sold for $21.6 million (New York Times 2013). Recently, Jean-Michel Basquiat’s 1982 painting, Warrior,” a work which is said to symbolize the struggles of Black men in a white- dominated world, was sold in a Christie auction for $41.9 million, which does not rival a Basquiat painting sold for $110.5 million in 2017. The earlier commodification of cubist art (Picasso, in particular) has been diagnosed by John Berger (1965; see also Raphael 1980). Together with Warhol and Picasso, Basquiat continues to be a key player in the blue- chip art market even in this crisis of globalized neoliberalism. Commodification seems to have climaxed in a species of trading rituals involving postmodern art, including both “conceptual” and “post-conceptual” species. Exchange-value (embodied in money as cause) has displaced use-value (now conceived as effect). At the outset, the term “conceptual” art offers a conundrum since it is not clear what concept is referred to, or whether the term designates the artist’s intention not necessarily fulfilled or carried out (Smith 1974; Godfrey, 1998). Indeed, Sol LeWitt states that “the artwork may never leave the artist’s mind” (1999,107), though how we can verify or ascertain this remains a mystery. In any case, a metalepsis seems to have occurred. Art generates the concept (telos; universal significance) instead of the concept (vision or intuition) engendering the performative, linguistic/ discursive, visual practices that followed expressionism and cubism: constructivism, abstract expressionism, kinetic art, fluxion happenings, pop art, minimalist art, op art, conceptual art, etc. A historic, epoch-making event occurred at the threshold of postmodernity. In 1973, the “dematerialization of the art object” from 1966-1972, was documented by the critic, Lucy Lippard. It was inaugurated by Marcel Duchamp’s “readymades.” With this gesture, Peter Osborne asserts, “art changed its focus from the form of language to what was being said,” changing the nature of art by focusing not on morphology, structure, or medium, but on function—from “appearance’ to conception. Osborne further notes that “all art (after Duchamp) is conceptual (in nature) because art only exists conceptually” (2002, 13). The idea/intention/concept preempts its hypothetical realization and its physical embodiment or actualization. [2] MABINI REVIEW | Volume XI (2022) The epochal transformation initiated by Duchamp abolished the categorical distinction between creative artifice and found objects/ incidents in nature and everyday life. Minimalism further destroyed traditional barriers and conventions. Performance art reconceptualized the art-object as an act or event constituted through and disappearing into time, sustaining itself at the level of its motivating agenda. No longer can art be confined to its visual or spatial experience and pleasure attached to the medium or vehicle. Following the break-up of formalist modernism, minimalism followed after with Sol Lewitt’s 1967 manifesto, “Paragraphs on Conceptual Art.” Osborne summarizes the lineages of negation characterizing conceptual art and its aftermath: 1. The negation of material objectivity as the site of the identity of the artwork by the temporality of ‘intermedia’ acts and events. 2. The negation of medium by a generic conception of ‘objecthood,’ made up of ideal systems of relations. 3. The negation of the intrinsic significance of visual form by a semiotic, or more narrowly, linguistically based onceptual content. 4. The negation of established modes of autonomy of the artwork by various forms of cultural activism and social critique (2002, 18). It is the last negation that generates art-oriented activities intervening into everyday life in order to transform sociopolitical structures. In this process, alternative or subaltern ideological positions are explored, analyzing, and defining the relations of power at play in all cultural institutions, in particular the appropriative mechanisms of the museum and the market. Social and political critique ensues from the practice of diverse forms of conceptualist experiments, procedures, and historically defined forms. Consequences of Dematerialization As early as 1970, Mel Bochner, one of the practitioners of “conceptual art,” questioned the epithet’s ambiguity and lack of precision. In any case, the rubric “conceptual art” has been used to cover the works created by artists such as Sol LeWitt, Robert Smithson, Joseph Kosuth, Lawrence Weiner, Bruce Naumann and others during its MABINI REVIEW | Volume XI (2022) [3] apogee and crisis in the years 1966-72 (Godfrey 1998). While Kosuth proposed that conceptual art defines itself by questioning the nature of art, Lewitt posited its essence to be found in “the idea or concept” which becomes “a machine that makes the art” (1967), the concept itself subsuming the planning and decisions that enable the execution of the art-work. LeWitt’s pronouncements have become so scriptural that a popular Dictionary of Theories ascribes conceptual art as a “cerebral approach” championed by Lewitt in 1967 as a reaction against post-war formalistic art. Since the concept or idea becomes paramount in the artistic process, “the planning and concept are decided beforehand, but the end result is intuitive and without recognizable purpose” (Bothamley 1993, 108-09). Why and how do we explain this shift of aesthetic concern from the material embodiment of art-ideas to the ideas/notions themselves? One answer is provided by Marx’s theory of commodity-fetishism and its further elaboration in Marxist-Leninist thought (for expositions of the Marxist approach, see Arvon 1973; Laing 1978; Johnson 1984). Reification and Alienation In the initial chapters of Capital Volume 1, Marx delineated the two aspects of that mysterious entity, the commodity. Its use-value refers to the utility of the product, its realization in the act of consumption. Its twin aspect, the exchange-value, is only manifest in the process of exchange in the market where the deposited quantity of labor-time expended in producing the product—the form of value—is recognized. Its “metaphysical subtleties and theological niceties” inheres in the fact that “the social character of men’s labour appears to them as an objective character stamped upon the product of that labour” so that the social relations among producers appear then as relations among the products/commodities. In short, “definite social relations between men...assumes, in their eyes, the fantastic form of a relation between things” (Marx 1978, 320-321). That insight serves as the matrix of social alienation in a profit-centered political economy (for further elaboration, see Meszaros 1970; Ollman 1971). What lesson is conveyed by Marx’s insight? In producing any useful thing that is exchanged, the objective value of that thing is ideal, [4] MABINI REVIEW | Volume XI (2022) a suprasensible notion translated into price, whereby private labor appears as part of social total-labor. However, the commodity’s abstract ideal property (exchange value) appears as if it were an objective, socio-natural property of the object itself, embedded in the product. Thus, social relations between people assume a phantasmagorical form of relations between things, “social hieroglyphs” (Osborne 2005, 15). Something purely social, exchange value, conceals itself in the product, generating social illusions found in religion, ideologies, and various mystifying practices: the rationale of the hegemonic neoliberal order now in crisis but still devastating the world today. How do we escape from this fetishized world based on historically varied exploitation of labor-power? Marx responds: “The religious reflections of the actual world can vanish only when the practical relations of everyday life between people, and between humanity and nature, present themselves in a transparent and rational form. The social life-process, which is based on the material process of production, does not strip off its mystical veil until it becomes production by freely associated men and women, and stands under their conscious and planned control” (Marx 1976, 173). Art as a form of religious thinking draws its power from the exchange-value it commands, as illustrated earlier. In order to suppress this potential, conceptualists strive to eliminate the concrete embodiment (various media or performance) of the artists’ intention, including the situations or places where they customarily occur (museums, galleries, etc.). Those sites/situations are transvalued, negated, sublimated. “Almost anything goes” as art today from the art-criticism point of view, Cynthia Freeland remarks. She writes: “Even shocking art like Serrano’s Piss Christ can now count as art, an object with the right sort of idea or interpretation behind it...It communicates thoughts or feelings through a physical medium” (2001, 39). Conceptualists claim that a physical medium is not obligatory. Paradoxically, despite this theoretical claim, their activity does not create transparent, rational arrangements since the whole transaction of learning, judging, and appreciating the art-idea still transpires in a capitalist, profit-dominated society. Ironically, the motivation-idea becomes a value to be communicated or exchanged. While art-as-commodity may be intentionally transcended, the artist remains anchored and circumscribed in a world of alienated institutions and practices governed by the profit-motive, by capital MABINI REVIEW | Volume XI (2022) [5] accumulation. The conceptualist remains a victim of this illusion, his desire for knowledge free from object-attachment was left unsatisfied due to the inescapable reality of his reified, commodified milieu (Wood 1996). This epitomizes the irony of commodified de-materialized art. Aesthetic Discipline Allow us to offer a brief historical parenthesis at this juncture. Before venturing further into nomenclature and further inquiry, it might be illuminating to review the traditional field of aesthetics and, with it, the theory of art. Art and aesthetics need to be differentiated, the former dealing with the object produced or created and the latter with the experience and knowledge of the art-object. Ultimately, however, with the postmodern interrogation of the concept of art (in both the ontological and phenomenological senses), the two aspects coalesce in the conceptualist revision. Whether such a result is helpful in clarifying both remains to be resolved. Meanwhile, a historical investigation into the status of the art-object as a distinctive category might be instructive and heuristic. Foregoing a complete history of the origin of aesthetics from classical antiquity up to the Renaissance, we may begin with German philosophical idealism. Aesthetics (from the Greek aisthesis, “perception, sensation”), aesthetics was first theorized by Alexander G. Baumgarten in 1750 as “the science of sensory knowledge or cognition” whose aim is beauty, not truth. It was later elaborated by Kant as “the science of the rules of sensibility in general,”chiefly concerned with the a priori principles of sensible experience. In Thomistic aesthetics, the intuitive knowledge of the sensible is grounded in intellectual judgment as a knowledge of the universal. The artistic criteria of integritas, consonantia, and claritas are abstract ideas mediating the comprehension of the sensibles (Eco 1988). In his Critique of Judgment (1790), Kant posited aesthetics as involved with the subjective feeling of pleasure and pain, hence aesthetic judgments pertain to the subject, not the object represented. What is beautiful is tied with disinterested pleasure, a judgment of taste based on immediate intuition without a concept. Kant argues that “Beauty is the formal aspect of purposiveness, insofar as it is perceived in the objectified without the representation of purpose...[T]hat which is [6] MABINI REVIEW | Volume XI (2022) generally pleasing, without a concept, is beautiful” (quoted by Guttman 1963, 18). In effect, conceptualists reject this aesthetic speculation about beauty as meaningless. Formal purposiveness without purpose-- this axiom established the privileged autonomy of art which prevailed up to Clement Greenberg’s pontifications on abstract expressionism. Two additions to Kant may be cited here. First, Schelling proposed the romantic theme of beauty as “the Infinite infinitely presented,” while Hegel is said to have summed up the classic traditional thinking in his view that Beauty equals Idea, beauty as the sensuous manifestation of the Idea. However, the beautiful is nothing unless it is externalized or mediated in the work of art in which the beholder and the artist’s mind encounter each other. The idea then is the content of the art-work in its dynamic historical evolution. In the nineteenth century, the psychological approach dominated the investigations of Schopenhauer, Nietzsche, Herbart and Fechner, the latter inaugurating the empirical-experimental approach to aesthetics. This was followed by Theodor Lipps’s notion of empathy, with esthetic enjoyment conceived as “objectivized self-enjoyment,” an inner imitation of artistic creation. With Benedetto Croce, this idealist line of speculation culminates in art as intuitive activity, an expression of inwardness, eluding the screen of formal mediation. Hegelian Articulation To the rationalist-idealist line of speculation, Hegel introduced a historicizing orientation. He emphasized the philosophical function of art as a vehicle of reason in quest of universals realized in history. While Hegel believed art to furnish “the sensuous semblance of the idea,” for Croce, universals and history disappear. Croce reduced art to lyrical intuition, separated from the phenomenal contingent world, subsisting in pure intuition whose modes of expression germinate in the artist’s mind. The actualization of this intuition is secondary; expression and communication do not affect the value of the unreflected intuition. Unconcerned with the play of imagination or the immediacies of feeling, Croce absolutized intuition as a complex blend of idea, image, and expression whose singularity, however, resists philosophical generalization (Richter 1994, 145). Croce’s expression theory complements the formalist stress on essential form in Clive Bell, Roger Fry, I.A. Richards, and their American counterparts in the MABINI REVIEW | Volume XI (2022) [7] New Criticism. Whether the naturalism of John Dewey’s theory of art as intense experience can be reconciled with Croce, is still a debatable proposition. Aesthetics as an inquiry into normative concepts and values regarding beauty may have given way to the modern interest in a descriptive and factual approach to the phenomena of art (production and reception) and aesthetic experience. Beauty is now construed as an effect of form, of discursive signifying practice. One can mention Charles Morris’ idea of art as iconic symbol of value, as well as Susanne Langer’s conception of art as the symbol or expressive form whereby emotions are rendered apprehensible in their formal embodiments or styles. Both thinkers are anathema to conceptualism. More congenial to postmodernist aesthetics would be the semiotic approach of Charles Sanders Peirce. He proposed an innovative approach in which a constellation of signs (icon, index, symbol) in the art-work becomes the bearer of meaning and significance. These signs generate a dynamic network of interpretants that encompass form and its organic links with lived experience, exploring virtually all the mimetic and expressive possibilities of art that we have so far summarized here (for elaboration, see San Juan 2022). Historicizing Form Together with beauty and the sublime, the ideal of autonomy and artistic genius dissolved with the age of mechanical reproduction. Walter Benjamin dealt a fatal blow to the norm of authenticity intrinsic to the romantic idea of imagination. In capitalist society, the Here and Now of the original is constantly being destroyed by the commodification of labor and practically all domains of human life. Besides the formal properties that authenticate the art-work, the contents of art (idealistic content-aesthetics) have suffered the impact of contingency, chance or accident, entropy, the inexorable incursions of the unpredictable. Art is not timeless but changeable, subject to the process of becoming. Hegel’s “bad conscience” implies that art is never for itself but requires, in fact demands, the exegesis and interpretation of others outside the artist. Art’s truth-content cannot be fully exhausted by any single hermeneutic organon. Since interpretations are open and endless, all art is subject to historicity and the mutability of standards and criteria of judgment (Morawski 1974). [8] MABINI REVIEW | Volume XI (2022) Alas, have we finally entered the forbidden zone of undecidability, relativism, antifoundationalist skepticism, and cynical reason? So if anything goes, what is the point of argument, dialogue, inquiry? Bitcoins, derivatives, simulacra, expungible fantasies previously called “the sublime” now dominate exchanges, making precarious or unfeasible any agreement or consensus on purposes, motives, intentions, goals. Only the process of everyday living compels us to proceed as though we are all on the same page, using a lexicon and code understood by all participants in the interminable conversation. In this new catastrophic period of triumphalist globalism, the issue of materialist aesthetics appears not only anachronistic but also a perverse joke. Except those fashioned for immediate use- value (for therapy, etc.), all art in capitalism has become a commodity (exchange-value), as attested to by the auctions enumerated earlier. And since Marxist revolutionaries have allegedly become obsolete if not rare today, aesthetics has become the preserve of museum curators, academic experts/shamans, and pseudo-theologians attached to art galleries and auction houses. Except for Terry Eagleton, Fredric Jameson, John Berger, Adolfo Sanchez Vazquez, and the late Polish philosopher Stefan Morawski, no serious Marxist thinker has devoted a wholesale engagement with the theory of art, with aesthetic criticism and inquiry in our late-capitalist stage. This is a conjecture, obviously open to future correction. Indeed, in a 1983 international conference on “Marxism and the Interpretation of Culture,” Michelle Barrett bewailed the lack of adequate discussion of aesthetic pleasure and value among various tendencies in the left. Given the vogue of poststructuralist textualism and postmodernist nominalism, aesthetics was overshadowed by or subsumed in discourses on ideology, representation, and the deconstruction of the subject. Nature and objective reality have been cancelled out to give room to the floating signifier, differance, liminality, and contingency. Henceforth, the “free play” of the liberated signifier would call the shots. Subjectivity, or subject-positions, become reduced to simulacra, aporia, or undecidables wholly vulnerable to infinite semiosis,that is, interminable sequence of interpretations without any conclusion. MABINI REVIEW | Volume XI (2022) [9] Ironically, this putative chaos did not discourage Barrett from giving self-confident judgments. She nonchalantly dismissed vulgar concerns about art’s “truth” and social relevance because the meanings of art-works are not immanent but constructed “in the consumption of the work” (1988, 702). Readers/spectators actively co-create the meaning and significance of the art-work. Contrary to the orthodox ideas about typical characters and organic form, Barrett holds that ideological content and political implications are not given in the art-work but are effects or constructions by readers/audiences, an assertion justified within the framework of a reader-response/reception aesthetics. This position is clearly symptomatic of the move of Barrett’s cohort toward a more open-ended, adventurist, experimentalist stance, rejecting not only reflectionist theory (Lukacs; Goldman) but also interventionist approaches (Gramsci; Sartre). But what exactly do we mean by a Marxist approach to aesthetics as a mode of distributing the sensible (Ranciere 2004)? Interrogating the Messenger In the wake of the post-structuralist transvaluation of texts as the ceaseless play of differance, of the unchoreographable dance of signifiers, which one may interpret as a historically specific reaction in the Western milieu to dogmatist leftism in its various manifestations- -economistic, sectarian, mechanical, empiricist, etc.--I would like to reaffirm once more the occluded yet irrepressible matrix of art in the Marxist concept of praxis and political struggle based on Marx’s insight into commodity-fetishism. Enunciated by Marx in the “Theses on Feuerbach” and The Eighteenth Brumaire in particular, this inscription of the aesthetic in transformative action I would call the “Leninist moment,” the hegemonic or ethico-political crux in Marxist critical theory. Let us explore its relevance to understanding the politics of conceptualist writing as propounded by its main theoreticians (Alberro and Stimson 1999; Dworkin and Goldsmith 2011). The original intent of conceptual artists was democratic, subversive and revolutionary. Not only were art and its institutions converted by them into a field of negotiation in order to link it with the everyday politics of bourgeois society; they rebelled against the fetishizaion of art and its systems of production and distribution. But as Benjamin Buchloh (2006) observed, Pop art, and other postconceptualists [10] MABINI REVIEW | Volume XI (2022) achieved a “liberal reconciliation” and compromise of high art and mass culture. A test-case can be offered here in the controversial performance of canonical “uncreative” writer Kenneth Goldsmith. The Goldsmith Incident On March 13, 2015, in the program Interrupt3 sponsored by Brown University, Goldsmith performed a 30-minutes reading of the official St. Louis County autopsy report on “The Body of Michael Brown.” Brown is the 18-year old black man fatally shot by a white police officer in Ferguson, Missouri, in August 2014. The first report stated that Goldsmith introduced his poem as “something to do with quantified self,” but an artist Faith Holland remarked that Goldsmith had re-arranged the original text, focusing on the description of the Cranial Cavity in the line “The weight of the unfixed brain is 1350 gm,” with the poem ending in the line “The remaining male genitalia system is unremarkable” (Steinhaven 2015). The hands of the “uncreative” poet displayed itself quite obtrusively. He was no innocent bystander or naive witness. Immediately came an avalanche of negative responses, such as: “Goldsmith appropriates Michael Brown’s murdered body, reframed as his poetry, and retweets the angry reactions. A troll with tenure,” with even more violent condemnation mounted a few days later. Death threats ensued, prompting Goldsmith to apologize for the pain he had caused, asking Brown University to withold the video of his performance. C.A.Conrad summed up the outrage in quoting the poet Anne Waldman’s comment: “What was Kenny Goldsmith thinking? That it’s okay to self-appoint and perform the autopsy report of murdered black teenager Michael Brown and mess with the text, and so ‘own’ it and get paid for his services? No empathy no sorrow for the boy, the body, the family, ignorant of the ramifications, deaf ear to the explosive demonstrations and marches? Reeks of exploitation, of the ‘racial imaginary.’ Black Dada Nihilismus is lurking on the lineaments of the appropriated shadow of so much suffering” (Conrad 2015). Anatomy of an Inquest We have been ushered into the domain of ethico-political judgment. What seems on trial here are the central techniques of the allegorical gsture of appropriating a pre-existing object or text, and MABINI REVIEW | Volume XI (2022) [11] the procedure of montage. Is the artist free to do whatever he wants, at any time and place? True to his previous practice of copying and reproducing raw materials—eyewitness reports from radio/television broadcasts, as shown in his 2013 book, Seven American Deaths and Disasters, Goldsmith tried to prove that inflammatory material, handled in a certain way, can “provoke outrage in the service of a social cause.” His Facebook entry reveals the “idea” or motivating principle behind the import of information: I took a publicly available document from an American tragedy that was witnessed first-hand (in this case by the doctor performing the autopsy) and simply read it. Like Seven American Deaths and Disasters, I did not editorialize; I simply read it without commentary or additional editorializing... The document I read from is powerful. My reading of it was powerful. How could it be otherwise? Such is my long-standing practice of conceptual writing: like Seven American Deaths, the document speaks for itself in ways that an interpretation cannot. It is a horrific American document, but then again, it was a horrific American death... I indeed stated at the beginning of my reading that this was a poem called The Body of Michael Brown; I never stated,”I am going to read the autopsy report of Michael Brown’... That said, I didn’t add or alter a single word or sentiment that did not preexist in the original text, for to do so would be to go against my nearly three decades’ practice of conceptual writing, one that states that a writer need not write any new texts but rather reframe those that already exist in the world to greater effect than any subjective interpretion could lend. Perhaps people feel uncomfortable with my uncreative writing, but for me, this is the writing that is able to tell the truth in the strongest and clearest way possible.... Ecce homo. Behold the man....(quoted in Flood 2015) Evidently, in quest of the truth via reframing, the poet’s ethics became muddled in defending his habit. His mendacity exceeds the boldness of his disingenuous apologia. Contradicting his testimony that he did not editorialize, Goldsmith added that he “altered the text for poetic effect; he translated medical terms into plain English and [12] MABINI REVIEW | Volume XI (2022) narrativized the words “in ways that made the text less didactic and more literary.” The qualification sounds pathetic. Goldsmith claimed that he acted normally for an artist: “People behave very badly in the art world, but it’s what pushes boundaries and makes discussion” (Wilkinson 2015). A group called Mongrel Coalition Against Gringpo called Goldsmith’s conceptual poetry “building blocks of white supremacy.” The repartee that persisted for quite some time provides lessons in how postmodern aesthetics, despite its claims to go beyond conventional ethics and morality, cannot elude public criticism if they are staged in public, paid by the sponsors, with the sanction of institutional legitimacy. Poetry has become a commodity too even in the groves of non-profit academia. Despite the conceptualist’s emphasis on context, sites, situations, Goldsmith failed to recognize the sociopolitical parameter of his performance and the institutional constraints of the information being moved. Concepts are historically grounded and mobilized/ immobilized. Instead of animating the fragments of copied texts, or satirizing them as quantifying modes, Goldsmith in “The Body of Michael Brown” evoked the “rigid immanence of the Baroque” devoid of any anticipatory, utopian sense of historical time,” fixed by an attitude of melancholic, awed contemplation—a deliberate theatrical gesture. His montage technique of fragmenting and juxtaposing depleted signifiers mimicked the fabrication of sold commodities. Thus, instead of rescuing the possible elements of communicative value in the report (for example, the excessive shooting inflicted on the victim’s body), Goldsmith allegorized his act of “uncreative” composition by accentuating the ethnic/racial resonance of the anatomical catalogue. Walter Benjamin presciently described the collage/montage aesthetics underlying conceptualist works: “The devaluation of objects in allegory is surpassed in the world of objects itself by the commodity. The emblem returns as commodities” (Buchloh 2006, 29). Goldsmith repeated and reinforced the instrumentalist devaluation enacted by the State, repudiating the classic avantgarde practitioner’s anti-conformist, anarchist stance. Revenge of the Immaterial Marx’s concept of commodity-fetishism exposes the irony in the post-Duchampian, conceptualist program of dematerialization. Goldsmith’s “uncreative” alteration of the “ready-made” did not issue MABINI REVIEW | Volume XI (2022) [13] into “immaterial” creativity; on the contrary, it materialized a racialized foregrounding of semantic features otherwise buried in scientific, empirical discourse instrumentalized by the State. As Boris Groys noted, the conceptual artist’s submission to the art institution (usually under academic patronage) and its commodifying hegemony is symptomatic of the failure of avant-garde movements in their avowed aims. What happens is the triumph of alienated abstract labor over non- alienated creative work so that, as Groys notes: “It is is this alienated labor of transporting objects combined with the labor invested in the construction and maintenance of art spaces that ultimately produces artistic value under the conditions of post-Duchampian art. Other concrete, historically specific examples, such as the artistic labor of Vito Acconci, Yoko Ono, Bruce Nauman, Lawrence Weiner, and others, may be scrutinized in Peter Osborne’s graphic documentation, Conceptual Art (2002). The crisis of conceptualism originates from the stoic acceptance of a unity of opposites: marketed art produced by the culture industry enabling the sophisticated elite culture of the oligarchy. In 1979, Adrian Cristobal, a bureaucrat-spokesman for the Marcos authoritarian regime argued that mass culture serves profit-making big business, while the State sponsors its opposite, humanist culture. Amid widespread human- rights violations committed by State agencies, Cristobal pays homage to the dictator and his wife: “One sees and one appreciates the role of the First Lady in her sponsorship of such ventures as the Cultural Center of the Philippines, the Folk Arts Theater, the Metropolitan Theater and all other similar ventures. For these are, in the main, institutions which are designed to deliver that redeeming humanist culture to the people. A point of view no doubt shared by the President himself who is, in his own right, a competent writer and more than this, himself a contribution to the development of a truly national culture” (1979). Today, the conjugal dictatorship’s “humanism” has been exposed as euphemistic alibi for barbarism, with the brutalization of thousands of victims by the Marcos “martial law” regime (1972-1986; see McCoy 2001). Provisional Epilogue In the new millennium, the Philippine neocolony deteriorated further with the neoliberal rampage of the U.S. crusade against global “terrorism.” The “humanist” culture so highly extolled here coincides [14] MABINI REVIEW | Volume XI (2022) with the religious imagination, the realm of illusions, which is the antithetical reflex of the world of commodities in “the heartless world” invoked in Marx’s double-edged praise and rejection of the people’s opium: “Religion is, in fact, the self-consciousness and self-esteem of man who has either not yet gained himself or has lost himself again....It is the fantastic realization of the human being because the human being has attained no true reality....The wretchedness of religion is at once an expression of and a protest against real wretchedness. Religion is the sigh of the oppressed creature, the heart of a heartless world and the soul of soulless conditions. It is the opium of the people....The abolition of religion as the illusory happiness of the people is a demand for their true happiness. The call to abandon illusions about their conditions is the call to abandon a condition which requires illusions...(1970, 131). Here, Marx grasps the superstructure (religion) not as phenomenon but as an integral element of an all-pervasive social practice. Religion, like art, subsists on the fixation with illusions. In conceptualizing the contradictory relation between intellectual objectification and social reality, Marx laid the groundwork for the active, dynamic and creative intervention of transformative agents such as artists and intellectuals fully cognizant of the power of fetishized objects, beliefs, practices, and institutions. In a recent inventory of “the ideology of the aesthetic,” Terry Eagleton distinguishes Marx’s singular theory of art from Romantic humanism, “with its expression/repression model of human existence” (1990, 219). Marx’s vision of an “all-round human self-actualization” is premised on the establishment of socialist relations of production, with a communist ethic where mutual or reciprocal self-realization of persons is cultivated. Eagleton argues that Marx resolves the Kantian dilemma of the noumenal/phenomenal split—the problem that aesthetics/art endeavors to dissolve—by locating “the unity of ‘fact’ and ‘value in the practical, critical activity of men and women—in a form of understanding which is brought to birth in the first place by emancipatory interests, which is bred and deepened in active struggle, and which is an indispensable part of the realization of value” (1990, 226). Thus, the moment of “revolutionary practice” posited in Marx’s “Theses on Feuerbach”(1978) is essential to fully appreciating the dialectical-materialist theorizing of art/aesthetics as a mode of the MABINI REVIEW | Volume XI (2022) [15] realization of human powers, capacities, virtues for the sake of universal happiness and well-being (see Lifshitz 1973; Solomon 1973; Williams 1977; Johnson 1984; Eagleton and Milne 1996). We have noted earlier that conceptual art-practice vitiates its radical impetus due to its nominalist tendency, “an essential scepticism about the existence of an objective reality, or the possibility of arriving at an agreed understanding of it by rational means,” as Eric Hobsbawm diagnosed the postmodernist malady. But an antithetical tendency exists within it of engendering a “socialist art practice” if it returns to its original inspiration in Russian art following the October Revolution (Burgin 2002, 256-58). One evidence of a hopeful revitalization of the anti-commodity impulse in postmodern art may be found in Yoko Ono’s recent intervention, a billboard in New York’s Times Square inviting people to read its message: “Imagine Peace.” It appeared on a screen at Broadway and 45th Srreet. The message was spelled out in black letters on white, lasting three minutes; it appeared every night in March 2022 in public areas in London, Los Angeles, Milan, Melbourne and Seoul (Smee 2022). Before being overshadowed by Beatle John Lennon, Yoko Ono was acknowledged as one of the most sophisticated and bold artists of post- World War II, inventing the Event performance (such as “Cut Piece”) as part of the Fluxus art-movement in the fifties and sixties (Higgins 2002; Menand 2022). Her timely peace activism somewhat vindicates the flaws and inadequacies of conceptualists and other anti-Establishment projects over-determined by their disparate historical situations. One conclusion emerges from this brief survey of the nodal stages in the vicissitudes of our brief reflection on the politics of aesthetics, with special reference to conceptual art. A fallibilistic proposition can be offered here: without the focus on the moment of praxis--the artist’s or critic’s intervention in the concrete arena of political struggle for hegemony, any reflection on the nature of art and its function will compulsively repeat the metaphysical idealism (Kant, Hegel, & Croce) it seeks to overcome. It is in the arena of political and ideological conflict that consciousness is grasped in its overdetermined trajectory as a complex of material practices functioning in conserving or disintegrating a determinate conjuncture, a lived situation. The problematic dialectic of conceptualist art that was previously discussed is an example of such a conjuncture. Without positing this moment of rupture or opening for intervention, we shall reproduce the predicament [16] MABINI REVIEW | Volume XI (2022) of the bourgeois intellectual that progressive thinkers such as Brecht, Lukacs (San Juan, 1972), Gramsci, Caudwell, Berger, and others (Arvon 1973; Laing 1978), acutely diagnosed: the division of mental and manual labor; the antinomy between subject and object, society and individual, nature and history, which revolutionary practice hopes to gradually and eventually resolve, despite the mistakes that were made by avant-garde artists who lack the totalizing vision and dynamic praxis of intellectuals working in the socialist tradition. REFERENCES Alberro, Alexander and Blake Stimson. 1999. Conceptual Art: A Critical Anthology. Cambridge, Mass: MIT Press. Arvon, Henri. 1973. Marxist Esthetics. Ithaca: Cornell. Barrett, Michele. 1988. “The Place of Aesthetics in Marxist Criticism.” In Marxism and the Interpretation of Culture. Eds. Lawrence Grossberg and Cary Nelson. Urbana, IL: University of Illinois Press. Berger, John. 1980. The Success and Failure of Picasso. New York: Pantheon Books. Bothamley, Jennifer. 1993. Dictionary of Theories. London: Gale Research International Ltd. Buchloh, Benjamin H.D. 2006. “Allegorical Procedures: Appropriation and Montage in Contemporary Art.” In Art After Conceptual Art. Ed. Alexander Alberro and Sabeth Buchmann. Vienna: Generali Foundation. Burn, Ian. 1999. “The Sixties: Crisis and Aftermath (or the Memoirs of an Ex-conceptual artist).” In Conceptual Art: A critical anthology. Cambridge, Mass: MIT Press. Caudwell, Christopher. 1937. Illusion and Reality. New York: International. Conrad, C.A. 2015. “Kenneth Goldsmith Says He is an Outlaw.” Poetry Foundation. https://www.poetryfoundation.org/harriet/2015/06/kenneth- goldsmith-says-he-is-an-outlaw MABINI REVIEW | Volume XI (2022) [17] Cristobal, Adrian. 1979. “Mass culture also means big business.” The Sunday Times Journal (Nov. 25): 12. Eagleton, Terry. 1990. The Ideology of the Aesthetic. Cambridge, MA: Basil Blackwell. ________ and Drew Milne, eds. Marxist Literary Theory. Cambridge, MA: Blackwell. Eco, Umberto. 1988. The Aesthetics of Thomas Aquinas. Cambridge, MA: Harvard University Press. Flood, Alison. 2015. “US Poet Defends Reading of Michael Brown autopsy report as a poem.” The Guardian (March 17)L 7-8. Freeland, Cynthia. 2001. Art Theory. New York: Oxford University Press. Godfrey, Tony. 1988. Conceptual Art. London: Phaidon. Gramsci, Antonio. 1957. The Modern Prince and Other Writings. New York: International. Groys, Boris. 2010. “Marx After Duchamp, or The Artist’s Two Bodies.” e-flux journal # 19 (October). Guttmann, James, ed. 1963. Philosophy A to Z. New York: Grosset & Dunlap. Higgins, Hannah. 2002. Fluxus Experience. Berkeley: University of California Press. Hobsbawm, Eric. 1994. Age of Extremes. London: Abacus. Jameson, Fredric. 1971. Marxism and Form. Princeton: Princeton University. Johnson, Pauline. 1984. Marxist Aesthetics. London: Routledge and Kegan Paul. Laing, David. 1978. The Marxist Theory of Art. New Jersey: Humanities Press. Lenin, V. I. 1967. On Literature and Art. Moscow: Progress. [18] MABINI REVIEW | Volume XI (2022) LeWitt, Sol. 1999. “Sentences on Conceptual Art.” In Conceptual Art: A Critical Anthology. Eds. Alexander Alberro and Blake Stimson. Cambridge, Mass: MIT Press. Lifshitz, Mikhail. 1973. The Philosophy of Art of Karl Marx. London: Pluto Press. Lukacs, Georg. 1970. Writer and Critic. London: Merlin. Macherey, Pierre. 1978. A Theory of Literary Production. London: Routledge. Marx, Karl. 1976. Capital, Volume 1. Tr. Ben Fowkes. New York: Penguin. ________. 1978. The Marx-Engels Reader. Ed. Robert Tucker. New York: Norton. McCoy, Alfred. 2001. “Dark Legacy: Human Rights Under the Marcos Regime.” In Memory: Truth-telling and the Pursuit of Justice. A Conference on the Legacy of the Marcos Dictatorship. Quezon City: Ateneo de Manila University. Menand, Louis. 2022. “The Grapefruit Artist.” The New Yorker (June 20): 24-29. Morawski, Stefan. 1974. Inquiries into the Fundamentals of Aesthetics. Cambridge, Mass.: MIT. Mulhern, Francis. 1974. “The Marxist Aesthetics of Christopher Caudwell.” New Left Review, No. 85 (May 1974): 37-58. New York Times. 2013. “Grisly Warhol Painting Fetches $104.5 Million, Auction High for Artist.” (November 14). www.newyorktimes.com. Osborne, Peter, ed. 2002. Conceptual Art. New York: Phaidon Press. ________. 2005. How to Read Marx. New York: W.W. Norton. Raphael, Max. 1980. Proudhon Marx Picasso. New Jersey: Humanities Press. MABINI REVIEW | Volume XI (2022) [19] Richter, David H. 1994. “Croce, Benedetto.” In The Johns Hopkins Guide to Literary Theory and Criticism. Baltimore and London: The Johns Hopkins University Press. 174-176. San Juan, E., ed. 1973. Marxism and Human Liberation Essays by Georg Lukacs. New York: Delta. ________. 2022. Peirce’s Pragmaticism: A Radical Perspective. New York: Lexington Books. Smee, Sebastian. 2022. “That’s been Yoko Ono’s message all along.” The Washington Post (March 26): C1. Smith, Roberta. 1994. “Conceptual Art.” In Concepts of Modern Art. Ed. Nikos Stangos. New York: Thames and Hudson. Solomon, Maynard, ed. Marxism and Art. New York: Alfred Knopf. Steinhauer, Jillian. 2015. “Kenneth Goldsmith Remixes Michael Brown Autopsy Report as Poetry.” Hyperallergic. Wilkinson, Alec. 2015. “Kenneth Goldsmith’s Controversial Conceptual Poetry.” The New Yorker (October 5). Williams, Raymond. 1977. Marxism and Literature. New York: Oxford University Press. Wood, Paul. 1996. “Commodity.” In Critical Terms for Art History. Ed. Robert Nelson and Richard Shiff. Chicago: University of Chicago Press. [20] MABINI REVIEW | Volume XI (2022)

LESSONS FROM GRAMSCI

12 AntonioGramsci’stheoryofthe “national-popular” and socialist revolution in the Philippines Epifanio San Juan Jr Though in substance, y...