Mindworks: Towards its Second Decade

Mindworks
by Raymund Fernandez

A class taught by Prof. Javy Villacin at the Fine Arts Program of UP Visayas, Cebu College (UPVCC) staged a series or performance art that turned into what is now called Mindworks. It was born with an affinity to the Dada movement and, considering the social environ when it happened, fed by a revolutionary spirit in response to the dictatorial regime of the Martial Law. It answered the need to be independent from the control of the conservative pedagogy of a faculty dominated by the influence of Fernando Amorsolo. The principles of chaos and anarchy espoused by Dada became a convenient cause to brandish against the old school and spur Mindworks onwards for a while.

In 1981 only was it called Mindworks when students presenting at the UPVCC Audio-Visual Room coined the term. The name stuck from then on. Notable participants of that year would include the late Martino Abellana and J. Karl Roque. After this writer finished his studies in the Fine Arts Program, however, Mindworks as a yearly occurrence stopped for a while until the mid 80’s when he returned as a member of the faculty. At this time, Mindworks was making money at gates making funds available for other projects such as “Tabo,” a show done in collaboration with Visayan poets and performers, and other exhibits in and out of the campus.

The early 90’s saw the increasing popularity of the Fine Arts Program but signaled the slow decline of Mindworks. Dada was still used as a guiding idea but the nature of the rebellion became unclear as its social context changed. The older faculty retired or passed away and most of the proponents of the original Mindworks now became teachers. The show had become entirely absorbed into the academe.

Mindworks is now moving into its second decade. The reactions to this longevity have been varied. While the students themselves are still enthusiastic to continue this performance art, much criticism has been raised against this show. Student performances were questioned in terms of consistency and the level of maturity. Involvement of the faculty is not customarily practiced. Instances when the faculty required the students to perform were detrimental to the general integrity of the show. Inferior presentations were shown as they were done only to pass the course.

To see the show in its entirety one has to bear through a muddle of mediocrity and senseless confusion. The influences of Dada may have a lot to do with this but it is obvious that even this movement has lost much of its spirit here. Yet from time to time, we come across a hopeful sign, an inkling of some sense being made, a sudden unexpected turn of quality and then inevitably comes a reversion to the usual. One is tempted to dismiss the whole thing until one realizes that the show does maintain a substantial though rather young audience and they seem to be enjoying themselves. One finally is resigned to walk away with the thought that here is a show that has grown entirely out of hand and if we do not enjoy it now, perhaps the fault is simply in the fact that we have outgrown the ‘hoopla.’ It might help to remember that it was at this forum that we broke away from the encapsulating traditions of our past and perhaps it’s still the case with the present crop of students.

There is presently a renewed interest in performance art among the teachers. Mindworks, however, has always been a forum for expression of students and teachers must tread carefully. This year’s performance might be interesting if only because older alumni will be participating, and providing input during the preparatory workshops. These inputs are important because it keeps the show consistent with its guiding idea. This author and Roy Lumagbas happened to be invited last year. They presented a musical performance together with Prof. Villacin. Incidentally, Mindworks stemmed from the interactions and ideas of these three artists.

In the discussions so far, it was decided that the best way for the faculty to be involved would be to present performances that would set the standard in which the students would rate their own performances. By example, the faculty might be able to provide and point out directions the current performances can foray.

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