All posts by Rogelio Braga

Anti-Migrant Censorship at the Royal Court Theatre’s ‘No Borders’

TONIGHT I ASKED the Royal Court Theatre to remove any references about me in their company due to their anti-migrant censorship in my piece that was supposed to be presented tomorrow at the ‘No Borders’ programme at the Jerwood Theatre Upstairs.

I don’t want to be used by any institutions that are anti-migrant and for the love of God, would censor me again because I had enough of this from where I came from, and I am so exhausted from this I might just fucking kill myself.

I am so exhausted from this.

I was being asked to perform only for 1 minute and 46 seconds and the part of my piece critical to the hostile environment, the killings in the Philippines, and the monarchy was removed.

This has been going on for several weeks. I was being politely asked to change my piece because (1) it’s too long compared to other pieces to be presented to the public and (2) told that my theme does not align with the themes of other pieces and a lot of other reasons from the characters of my plays, to whose going to act, etc non-stop.

I signaled for help and alarm to the management on the 4th of June through an email asking to intervene because there was something wrong with how I was being treated within the program since the time I was asked to submit for the public presentation together with the other cohorts.

I was able to shorten my piece to 7 minutes and 43 seconds with the help of trans activist theatre colleagues from the Philippines. They recorded the monologue. Because I cannot act (I am not an actor, I told them previously). I was told that I cannot ask for help from my community here in London when told that my second piece had two trans characters and I am the only trans-identifying person in the cohort.

So I was left with the choice that it was either change my piece or not join the presentation. I removed the other character and made it into a monologue.

(I am exhausted I cannot put here other things that I was not allowed to do during the weeks I was asked to submit something for the presentation.)

This afternoon, while my piece was running during the rehearsal at the Jerwood Theatre Upstairs – it was stopped in the middle. IN THE MIDDLE WHILE THE PIECE WAS RUNNING during the rehearsal. Yes, it was stopped politely in the middle. I was told politely that it will end there, in the middle. I was waiting for anybody in the room to react. None. So, I said yes, just for the sake of the show tomorrow. Honestly, was so exhausted from how I was being asked constantly politely ‘what to write’, politely ‘what not to write ‘ – or politely ‘not to participate at all’ – I just said ‘yes’ politely.

During the company call after the rehearsal this afternoon, I was asked politely if it was okay if only half of the 7 minutes and 43 seconds will be performed tomorrow. I was waiting for other people in the room to intervene, so I said ‘yes’ politely. BUT I explained politely the piece and its form because it was stopped in the middle and the other cohorts did not hear the entire super long and huge space 7 minutes and 43 seconds for a migrant with a vulnerable migration status in the group. And I explained politely (I was exhausted doing this tbh) that there is a hierarchy among migrants because the struggle of the brown migrant is not the same as white European migrant.

7 minutes and 43 seconds is too long for a brown, trans, refugee migrant inside the Royal Court Theatre.

If you are curious about my piece, here it is:

NOTE: Voice Performers are TojaMari Sadie and Stephen Artillero and the sound recordist and editor is Gio Potes (UP Repertory Company). Artillero is part of the ‘Tinang 97‘ – a group of farmers, peasant advocates, writers, and theatre-makers detained by the police in Tinang, Tarlac, a province in Northern Philippines on the 9th of June. The group was forcibly dragged from their peaceful protest called ‘bungkalan’ where they cultivate the land the farmers claimed awarded to them.  Artillero, together with Sadie, recorded this piece for ‘No Borders’ while on bail. Read the statement of the International PEN here on the incident

In the first part half of the piece, the character (a tiktik in London) devours the powerless, and, in the second half, the character devours the powerful. We are removing the part of 7 minutes and 43 seconds that the character devours the powerful. The piece is in four parts.

I had to leave early from the rehearsal because I had to work as a kitchen porter in Peckham. While at work, I received a message that tomorrow, they will only allow me 1 minute and 46 seconds. THAT’S 1 MINUTE AND 46 SECONDS. Napakabastos ng Royal Court Theatre! They will only allow the first part to be performed.

The Royal Court Theatre removed these three parts from the super long 7 minutes and 45-second piece:

(1) Critical references to the deaths of refugees crossing the English Channel and the hostile environment as experienced by undocumented migrants.

(2) Critical references to the extra-judicial killings in the Philippines under the Duterte regime.

(3) Critical references to the Monarchy and the British ruling class.

Napakabastos ng Royal Court Theatre. Should I be grateful for the 1 minute and 46 seconds space they provided to me after all those weeks of being asked politely how to be a brown, migrant, refugee playwright in this country?

Joining Theatre Témoin’s NHS Yarns Project as a Playwright This 2021

I will be one of the playwrights for Colchester-based company Theatre Témoin project with the Mercury Theatre this first quarter of 2021.

NHS Yarns is “a collaborative project bringing artists and frontline first responders together to create rich, nuanced, and revelatory pieces of storytelling in partnership with The Mercury Theatre.” When I read their job posting last October I hurriedly submitted my application as the project is closer to what I was currently working then with Kanlungan Filipino Consortium and with Migrants Rights Network and affiliated migrant organisation’s: research on the experience of Filipino and other migrant workers working for the NHS.

Ailin Connant, Theatre Témoin’s Artistic Director interviewed me last December and they released the results within two weeks.

Since December I was reading about Theatre Témoin’s previous works and their aesthetics as a theatre company. One thing that excites me though is Theatre Témoin’s themes (and the processes!) of their works in past were almost the same with my practice back in the Philippines.

I am looking forward for exciting theatre pieces that will come out from this engagement and to learn something new from Theatre Témoin.

Keep it coming, 2021!

Theatre Témoin’s Flood

Balangiga Press in Exile

2021 is the last year of Balangiga Press in the Philippines. No, we are not closing. We are just looking for a closure.

We are moving its operations elsewhere. Where exactly? I have no idea. Literature outlives even the most powerful fascist state. This year we will publish the remaining titles we originally scheduled to release since 2018 and close some accounts and ask bookshops to pay us back. Our operations were disrupted by whatever shit that is happening in the Philippines since 2016, the circumstances of some of our collaborators (and that includes me), and endless hearthbreaking reasons that I am really tired even to repeat to myself.

It took me the whole week to decide on what to do, how to proceed. I was talking to a friend and a long-time collaborator and asking for his advice. He is going to help us on how to make our books accessible to Filipinos in the UK and Europe through our website and on whatever cloud technology can offer us. He told me to just ‘let go’ of the Philippines and start something new in London. I vehemently opposed the idea as I was still thinking of the communities of readers and writers we have back home. Well, he said, it’s up to you. I was still ambivalent on my decision to keep the operations back home while I am living elsewhere and some of our collaborators are moving out from the Philippines.

But weird things happen sometime in this afternoon, it was like the ‘sign’ you were waiting for before coming up with that final decision. I just caught someone in social media shared a pdf of our book, the pdf that we send to the printing press to produce the physical copy of the book. As the publisher I was happy that someone was talking about our book in social media. But then I panicked from the idea of what if our author discovered the copy of her book outside the press. When I reached out to the person I was horrified when I was met with an arrogant response as if he was entitled to the pdf and even commanded me to check with our author on why he got the copy of the book. I called my collaborator friend and showed him my exchanges with the bloke sent from Heaven to make up my mind. We were laughing with our endless ‘I told you so’ while talking about writers in the country’s literary establishment and he mockingly asked me if I changed my mind. You are already there, he said, don’t look back. And he was right. He got my final answer.

We are not closing Balangiga Press. We are moving it elsewhere temporarily and we are in a transition. We still want to publish works by Filipino authors, find new readers, and expand the spaces for our writings elsewhere. I really don’t know what future awaits us but we will keep on walking.

The Leicester Secular Society annual Human Rights lecture series presents Rogelio Braga and Status Now for All

About this Event

The Leicester Secular Society (LSS) invites you to its annual Human Rights Lecture which, this year, will be given by Rogelio Braga, who is based in London and is an exiled human rights activist, playwright and novelist from the Philippines.

Titled “The Radicalization of a Woman Without a Paper: Status Now For All”, the lecture is free and open to all and is taking place as part of the 2020 Leicester Human Rights Arts and Film Festival.

Since the onset of the lockdown in the UK in 2020, Status Now 4 All, a network of almost 90 organizations, labour unions, and community organizations has been calling for the regularization of all undocumented migrants and those in the legal process living the country.

Using the study of Filipino women working as domestic workers in the UK which was conducted by Ella Parry-Davies, “A Chance to Feel Safe: Precarious Filipino Migrants amid the UK’s Coronavirus Outbreak”, as a springboard for narration and exposition, Braga’s lecture will emphasize the immediacy of regularization of all undocumented migrants and those in the legal process as a public health concern, reveal the narratives of those who are living in precarity under the Government-imposed lockdown, and explore the many voices calling for status now for all in the UK—the radicalization of a woman without a paper speaking to the void as a controlling metaphor.

About the Speaker

Rogelio Braga published two novels, a collection of short stories, and a book of plays before he left the Philippines archipelago in 2018. He was a fellow of the Asian Cultural Council for theatre in Southeast Asia in 2016. His first play on the human rights situation in Duterte Philippines, Miss Philippines, written entirely in English is currently under development commissioned by the New Earth Theatre in the London. He co-chairs Status Now 4 All, a network of rights and migration charities, labor unions, and community organizations across the UK campaigning for regularization of all undocumented migrants and asylums seekers living in the UK. He lives in London as a political asylum seeker.

About The Society

The Leicester Secular Society was founded in 1851 and is the world’s oldest Secular Society. Among other things, The Society defends rationalism and free speech, works for justice and fairness, and opposes unfair discrimination, bigotry and coercion based on factors such as beliefs, racial or ethnic origins, disability, sex, age, sexuality or lifestyle.

The Society holds regular speaker events which are also free and open to all. Past speakers have included George Bernard Shaw, Bertrand Russell, Tony Benn and Annie Besant.

About The Festival

The Leicester Human Rights Arts and Film Festival runs from 4 December through to 10 December every year.

The Festival aims to explore human rights issues through a series of events that are free and open to all and which include panel events, film, art, and music. The Festival aims to give people a platform through which to engage with human rights issues at home and abroad.

The Festival also aims to draw attention to International Human Rights Day which is celebrated annually, around the world, on December 10.

This year, The Festival will be highlighting:

i. Status Now 4 All, and

ii. Black Lives Matter: Poems for a New World (CivicLeicester, 2020)

Register here

Ulirát: Best Contemporary Stories in Translation from the Philippines

‘Fungi’ my short fiction in the Filipino language published in several literary journals in Manila in the early 2000’s is included in this groundbreaking collection of stories translated from seven languages in the Philippines.

Book cover of Ulirát: Best Contemporary Stories in Translation from the Philippines (USTA, Gaudy Boy, fortcoming March 2021) edited by Tilde Acuña, John Bengan, Daryll Delgado, Amado Anthony G. Mendoza III, and Kristine Ong Muslim

Gaudy Boy Press will release Ulirát: Best Contemporary Stories in Translation from the Philippines this March with stories translated to English from several laguages in the Philipines. Fungi, my short story written almost two decades ago and appeared in literary journals in Manila since then is included in the collection.

Yes, the Philippines has several languages and the Filipino (some people mistankenly called ‘Tagalog’ which is one of the several major languages in the country and spoken mostly in the island of Luzon and in the capital Metro Manila) is the country’s lingua franca. English, of course, the language of our former colonial master is widely used across the archipelago.

The Philippines decided to have a lingua franca so we have a language we can shift to in a conversation that is not the English language.

Fungi is also included in my last book before I left the country in 2018, a collection of stories May Rush Hour Ba Sa Third World Country (the formidable poet and storyteller Kristine Ong Muslim is translating the entire book to English!)

As a Philippine Literature teacher back in the Philippines, Ulirát: Best Contemporary Stories in Translation from the Philippines editors’ introduction For Consciousness to the collection is a breathtaking essay on the history of the short story form in the Philippines, the practice, the politics of anthologizing, and an invitation to readers outside the Philippines to go beyond the textual productions of Filipino writers writing in English for them to have a glimpse of Philippine literary imagination within across the archipelago.

Ulirát’ which translates to ‘consciousness’ in English is also an invitation to the complex imaginations in Filipino literary productions across the archipelago that are usually beyond and probably outside the Filipino literary production in English. As a Filipino writer writing from the lingua franca some of the stories in this collection are even inaccessible to me unless, of course, they get to be translated to English or Filipino.

Curious on what Fungi is all about? Here’s an excerpt from For Consciousness on the decision why the editors and the translators included my story.

Currently in exile in London, where he sought and received refuge from the harassment and death threats of the Duterte regime, Rogelio Braga wrote “Fungi” as part of his short-story collection Is There Rush Hour in a Third World Country. The story’s main characters—two kids who we are made to believe have found a “magical” object in a dumpsite where they scavenge for fabric scraps and other discarded items for a living—follow Joseph Campbell’s archetypal “hero’s journey” monomyth down to the finale. We chose “Fungi” for its empathy and its staunch refusal to go for cheap shots and poverty porn in its harrowing depiction of the lives of the Filipino urban poor. A “best of” short story anthology using the Philippines as a thematic pivot is not complete without a narrative that aims to capture and question Filipino consumerism, the absence of national industries, and the lives of people in the slums of Manila.

Fungi is my first work of fiction translated to the English language that will be released to the public. I can’t wait for March!

‘Miss Philippines’: Are you ready to meet the rest of the women of Calle Real?

Miss Philippines as a full-length play tells the story of a slum community in Manila struggling to mount a gay beauty pageant in the middle of Duterte’s ‘War on Drugs’

Victoria Gigante (left) and Vivienne Mesias essayed the roles of Mimi and Madame Stella, respetively.

Yes, Miss Philippines is stil running!

For those who are asking, the short play running in the festival is the opening scene of longer play-in-progress. This is actually my newest full-lengt piece on stage since 2015 when I wrote Mas Mabigat ang Liwanag sa Kalungkutan (Light Falls Heavier in Sorrow).

Just a teaser on what the full-length Miss Philippines looks like.

The play revolves around a story of a slum community in Manila in Duterte Philippines where only women are left to survive since their husbands, sons, lovers, and gay male friends are either killed through extra-judicial killing, fled, jailed, or missing (forced disappearance) in the bloody government campaign against illegal drugs since 2016.

In the full-lenght play, all the characters are women from different ages and backgrounds: a grandmother who survived the war in Mindanao during the Marcos Martial Law regime, a Filipina domestic helper who just returned from abroad, a nurse waiting for her flight to London, transgender women, a mother, a former Communist rebel turned street vendor, a lesbian journalism student, and a Muslim woman. All these women have three things in common: poverty, the absence of men in their lives because of state violence and persecution, and the various ways of coping with loss.

Mimi and Madame Stella are just the two in the ensemble of women struggling to mount a gay beauty pageant in the middle of the fascist Duterte regime’s ‘War on Drugs’ in the Philippines.

Miss Philippines is a play in three acts exploring the themes of loss, violence, beauty, and the power of collective resistance to a patriarchal fascist regime in the present Philippines. Under the Duterte government, extra-judicial killings of suspected drug pushers, users, human rights activists, indigenous peoples, progressive cultural workers, and members of the media are rampant and being normalized.

In a pageant-crazed Philippines, beauty contests are important cultural markers. Duterte‘s popularity is still unchallenged in the archipelago. His supporters call him Tatay Digong—‘tatay’ literally translates as ‘father’ in the Filipino language. The killings that he orders are seen as punishment of the ‘tatay’ to discipline his ‘children’. The violence and the culture of impunity in the Philippines is framed on a power structure that is definitely patriarchal.

Madame Stella to Mimi: tough love between two Filipino women who refuse to make the fascist Duterte regime successful even just for a night.

The opening scene of Miss Philippines is still running in New Earth Theatre’s New Stories Short Plays Festival, a festival of 17 short plays .

Miss Philippines is one of the four plays under development commissioned under New Earth’s Professional Writers Program. Are you excited to meet the rest of the women of Calle Real?

Miss Philippines this October at the Digital Short Plays Festival

Miss Philippines will be streamed from London this 30th of October, 1:00 PM BST as part of Yellow Earth’s New Stories: Digital Short Play Festival.

The public presentation of a scene from my play-in-progress currently under development from Yellow Earth Theatre Company will performed by London-based actors Victoria Gigante (Mimi) and Vivienne Robles Lacson (Madamme Stella). Andrea Ling will direct the play.

Miss Philippines is my first play written entirely in English and the first production of work for stage since 2018 when Ang Mga Maharlika (The Aristocrats) and Mas Mabigat ang Liwagan sa Kalungkutan (Lights Falls Heavier in Sorrow) were performed in September in Manila that year.

I am excited and hope to see you there!

Poster of my last play before I left the country

Poster of the 2017 production of Ang Mga Maharlika. Designed by Manila-based artist Rombutan, the poster depicting Imelda Marcos, Ferdinand Marcos and his American mistress Dovie Beams. Performed by the UP Repertory Company and directed by Manuel Mesina III

This is the poster of the last production of my play before I left the country in 2019. UP Repertory Company performed Ang Mga Maharlika (The Aristocrats) in September that year ; it premiered on the same year at the Fringe Manila.

The poster was designed by Manila-based artist Rombutan. It was revised several times after it was released to the public to promote the performances. It was banned on Facebook, the actors and the production (including me) received countless death threats and intimidation from the supporters and loyalists of the Marcoses and of course, Duterte. Ang Mga Maharlika was supposed to be toured in several venues that year but the production decided to cancel the shows.

Ang Mga Maharlika retells the story of the scandal of the former dictator Ferdinand Marcos and his mistress, the American actress Dovie Beams.

I wrote and finished the play in 2010 in a quaint cafe in Cebu City called Kukuk’s Nest owned by actress and writer Maria Victoria Beltran. The play was based on Beams’s biography written by exiled journalist Hermie Rotea; the book was banned by Imelda Marcos in the Philippines. I found and eventually bought the hardcover copy of the book used as a display in Kukuk’s Nest along with other trade books. It was stolen from my table inside the faculty room of the School of Languages, Humanities, and Social Sciences at the Mapua University where I used to teach. Beltran, last April, was taken by the regime’s police authorities without warrant for her criticisms to government’s inaction to the pandemic.

I am posting this here for posterity. Freedom of expression and the freedom to dissent are long dead in the Philippines. Duterte and his fascist regime’s Anti-Terror Bill is awaiting for his signature to formalize and ‘legalize’ the death of freedom of expression in the country.

I am Playwright and Duterte’s Anti-Terror Bill Affects Me, Too

Perhaps out of frustrations with the passing of Anti-Terror Bill the other day at the Congress my former student, now a painter based in Manila, sent me these photos. She took these photos from the 2017 production of my play Mas Mabigat ang Liwanag sa Kalungkutan (Light Falls Heavier in Sorrow) in Marikina City, the last production of my work as a playwright before I left the archipelago in 2018.

At first, I wasn’t really sure what’s on her mind that she suddenly sent me these photos years after she took it while the performance was on going. This morning I realized that probably she thought of this play, it’s story, and its future in the country’s theater halls once Duterte’s Anti-Terror Bill becomes a law. Mas Mabigat ang Liwanag sa Kalungkutan was about the children in conflict in Mindanao: the story of war in Southern Philippines from the points-of-view of young Moro freedom fighters, of child soldiers.

The story line was a product of a half-a-year research talking with leaders of Moro freedom fighters in Cotabato and Maguindanao, of former child soldiers, and in conversations with communities in Central Mindanao that suffered in militarization Moro communities in Southern Philippines. It was expected that Moro lawmakers in the Congress were the first to reject Duterte’s Anti-Terror Bill because obviously they know this game, they know that their communities will suffer in a Filipino Philippines as a police state.

Written in 2015, this play failed to make it to its premiere; five days before the opening, I was asked to revised the play, to change its story line. Of course, I refused as a playwright. Since then, none will dare produce this play except the autonomous government of the Bangsamoro and the radical and progressive university-based group inside the University of the Philippines, the UP Repertory Company.

And then I realized, fuck it, it’s not just Mas Mabigat ang Liwanag sa Kalungkutan that theater organizations back home will face the problems of mounting it once Duterte’s Anti-Terror Bill it becomes a law. Almost half a dozen of my plays (still being performed for the last five years and one even appears in several textbooks of senior high school students) endlessly talk of collective resistance, the independence for the Bangsamoro people from the Philippine government, and stories of freedom fighters and the violence of state forces to vulnerable communities. I even have a young adult novel that teaches kids the importance of overthrowing a fascist regime.

More than the impact of this another draconian law to the right to dissent, to activism, and the freedom of expression in the country — my rejection to the Anti-Terrorism Bill is also personal to me. All writers, artists, cultural workers, and theater maker should reject this law. This fascist and murderous regime is always afraid of Filipino writers writing from the tradition of socially engaged literary production in the country. Let’s continue to scare them.

PS. Ownership of the photos belongs to my former student. Her name was omitted in the attribution for her protection.

#JunkTerrorBill #JunkTerrorBillNow #OustDuterte