The politics of the ugly

Mother always taught me to see only the beautiful and ignore the ugly.  I was always in trouble with her. It was not really that I had the talent for seeing ugly things--for that is something that I would develop a taste of much, much later.  But early in life, I'd been made aware of the politics of the ugly. "Ugly girl," Father, rest his soul, used to tell me over the dinner table when he was angry and ill-tempered, which he always was when I was a girl. Your own father telling you that. The feeling stayed with me until I grew up and  I had to tell my boy one day at breakfast: "I grew up believing I was an ugly duckling only to catch my reflection on the mirror and discover I was  a swan!"
That startled everyone in the family.
Later, I discovered it was the in-thing to be ugly.  Still, I could not yet bring myself to do it the way that my boy would scrunch his face, distort it before the camera, revealing things inside out.  Will  that make him automatically an artist? Making a canvas out of his own face? 

It merely made me more aware of how much of my own Mother's creature I had become. Was this also the reason I was junked at about the same age she was cheated, betrayed by friends, fellow teachers? corrupted supervisors?

She always gave us the English equivalent of things, although the Cebuano ones had more texture, more color.  Why would I call kamungggay horse radish? Why would I call nangka jackfruit? kaimito, starapple, ampalaya, bitter gourd? My first writing composition, which had to be done in English, did not include the mud that got stuck and dried flaking on the carabao's back, or those that had caked around my shoes--I never had shoes at this point, she only bought me sandals! Mud wouldn't get itself into my writing composition because it was simply dirty, messy, and way below Mother's eyes. She always wanted things to be dainty, like the round white crocheted doilies she put on the table top or the settee. With Mother, I had learned to clean up;  though, her things around the house were always so messy. She never had the time to fix them.

Now, as my adulthood deepens and I've been going through lots of pain and disorientation, I would consciously study the ugly. I would stare at it in the eye and I would not flinch. I should be the one to strip it naked, to describe it inside out. I should be the first to explore its underbelly.  Speaking the ugly truth, this should be my project.

How it Dawned Upon Me

Of course, I consider myself lucky, even privileged enough, to be surrounded by so many photographers, photojournalists in their own right, who wield their cameras like seasoned warriors in the Trojan War. Standing by the doorway, awed by the color of the sky, I would aim a point and shoot, and over my shoulders, Ja would say, "Not too much of the sky, Ma, look at the dome, instead. There should be more of the dome and less of the sky." "But the sky, I want the sky, can't you see its color, how different it is from yesterday?"
In another place, another time, I'd look over the window on the third floor of Marco Polo, fascinated by how the Ateneo de Davao building looked from there. So, I'd aim my point and shoot again, near where Tatay Rene was engrossed over his aerial shoot; then, unwittingly, he'd take a glance at what I was doing and say, "Why do you include the windows, Day, that would clutter the picture, you can do away the windows." "But I want the windows, Tay, I want to take a picture of that building through the window of another building." He would give me a puzzled look; and shrugging his shoulders, leave me alone.
At the lobby of a new mall, fascinated again by how the speakers creatively used an overhead mirror, instead of an overhead projector in making their cooking demonstration visible to a larger audience, I aimed my camera again to capture the scene. Keith, with a calculating photographer's eye, noticed my distance from my subject; and nudging me, said, "Get closer. You won't get anything there." In another forum in another mall, Bing Gonzales noticed how I was focusing my camera at the cords on the floor while a press conference was going on. "What are you trying to capture? What story are you trying to impart?" "I don't have a story here," I said, still focusing on the stupid cords. There is no story here except my endless search for stories.
Then, finally, I found solace on what photographer Nick Onken said in his book “photo trekking”: Choose subjects that interest you. Don’t only photograph subjects just because you are paid to do it but you should follow your guts. Explore subjects that naturally fascinate you and attract you for some reasons. This is how you develop your style.
It's just a bit like writing, I guess.