CA N VA S
“There’s no way to strictly define a zine. Anything can be a
zine, and anyone can make a zine.”
Local mainstream publishers are also quick to capitalize on
new authors, which is great for the authors if that's what
they want. It's great too for the readers who can afford to
buy their books. In short, mainstream publishers still reach
their target audiences, it seems. On literature: we know that
mainstream publishers have the capacity (and interest) to help
establish Philippine literary canons, which in the long run are
what prove to be profitable. Thus, contemporary Philippine
literature that is published by mainstream publishers remains
to be in a great position indeed.
Alternatively, there is significant progress in the
underground movement that is independent publishing.
Do you think that this rise in interest on independent
publishing among younger creators affect the industry
of mainstream publishing? If so, in what ways?
MF: Independent publishing is almost a direct criticism
of mainstream publishing, so I definitely think that there is
an effect. For one, it democratizes the craft of art-making
and writing, ensuring that it belongs to established writers
and rookies alike. More events and gatherings among the
community have been keeping it alive. I think it has also
been reviving interest in tangible, print-based work (albeit
produced digitally). I believe that there’s been growing
interest in general toward literature and art, but especially
for younger generations, there’s less faith in mainstream
institutions. I think that eventually creators will veer toward
their own platforms for publishing their work, whether
through print or digital. I think that alternative publishing is
still on the rise.
GP: The interest in independent publishing only
strengthens mainstream publishing, which always grabs
the opportunity to co-opt what is new and interesting
and transform it into capital. Mainstream publishing is
helped in this task by institutions like universities and
cultural institutions, seducing independent creators with
funding, awards, recognition and validation, promotion,
etc. ‘Gandang-Ganda Sa Sariling Gawa 2’, Gantala Press’s
own all-women art fair, itself is co-presented by the
Cultural Center of the Philippines; our "compromise" is
that the event is free to both sellers and visitors. And the
Silangan Hall is really a large, safe, comfortable space for
women creators and readers to meet. Likewise, we would
like to think that holding an all-women small press fair at
the CCP is a way for women to reclaim and assert their
position in the shaping and defining of art and culture,
even if only metaphorically.
What projects do you have lined up that we can we
look forward to? How can we support you and your
collective?
MF: I would like to try making comics soon. I’m also
looking forward to working on more collaborations. You
can support The Cabinet (as well as several other local
collectives and individual artists) by keeping the community
alive: go to events, buy from the artists, tell your friends
about it. Make your own zines, collaborate with people,
keep creating.
GP: We are publishing the collected poems of the
feminist-activist Aida F. Santos, to make her work accessible
to this generation of young women. Aside from the briefer
for the Cavite farmers, we are also working on a Manual
on Activism for young readers. We are co-publishing a
series of manifestos on motherhood with Alam-am, another
independent publisher. And we are closely working with
Amihan in collecting the literature of peasant women all
over the country.
Follow the works and advocacies of Gantala Press on Facebook and Instagram @gantalapress.
Find The Cabinet on Facebook @technologiesoftheself.