Read with caution
By Juan Mercado
Cebu Daily News
Last updated 03:12pm (Mla time) 05/31/2007
CEBU, Philippines—These stories are not to be read with a full stomach,” painter-turned-author Joselito Velasco warns. He meant accounts of his talks with 12 street kids whom he painted into a Manila slum “last supper” canvas that still provokes.
“I first saw a replica of ‘Hapag ng Pagasa’ (Table of Hope) painting on a billboard along Edsa,” Magsaysay Awardee Tony Meloto writes. “This painting disturbed and excited me…. Is it because I forgot where I came from and the many left behind?”
A Don Bosco graduate, 40-year-old Velasco painted Hapag in 2005. The canvas depicts the Master breaking bread at a slum-home table of broken wooden slats. At the table are 12 Quezon City urchins in street rags, painted from photos Velasco snapped. They vanished into cesspool anonymity thereafter.
But Hapag exploded into art discussions, columns, homilies. The picture took a life of its own. “It was haunting,” Velasco recalls. He dug up crumpled oil-stained photos of the 12.
“Searching for (the kids)… was like spiraling into Dante’s Inferno,” he writes. “I went as far as North Cemetery, La Dakila, Litex, Yuen, Lilac and Fairlane under the bridge…. (I) was assaulted by the unbelievable stench and filth that filled the labyrinthine streets. Tattooed men stared at me suspiciously…”.
Persistence tracked down all 12: Tinay, who clings to her doll and was abused by her drug father addict; stuttering Onse, mocked because his mother is a nightclub strip dancer; seven-year-old Buknoy, with the weary face of a 40-year-old. All are ill-fed. “Does this mean free noodles again?” they asked.
“By crossing a line, from mere bystander to a friend, I began to know gradually who (they) were,”
Velasco recalls. They’re the “tip of a hovering mountain of muck…. Greed of the privileged few, glorified by society and media as competition, (condemns) them to being treated like mosquitoes or stray cats. (This) calcified into all facets of society.”
The post-painting interviews flowed not from strength but from “weakness as fellow-journeyer… of children drifting in the dark,” Velasco says. “(Their) tiny dreams are shattered before they take form… whose voices are often unheard.”
Here are voices of three: Nene of cemetery niches; Emong, a “kalkal boy;” Michael, garbage cuisine chef.
Nene is 11. Her insane mother disappeared, leaving her a La Loma “apartment” dweller: tenders of cemetery niches. Some questions and answers:
Q. “What did you do on your birthday?”
A. “We ate Jollibee. We lumped those thrown into the garbage can.”
Q. “Where do you live?”
A. “Here in the cemetery. Sometimes in the pushcart.”
Q. “Are you not afraid?”
A. “I’m used to it. I grew up there.”
Q. “What work do you do?”
A. “I baby sit my brother. I scavenge.”
She climbs moving jeepneys and shines shoes of passengers. At the fastfood shop, Nene stopped eating to pack the food as “take-home meal for her grandmother.”
Q. “If you’re able to study, what would you like to be?”
A. “A doctor, so I can have my mother treated.”
Q. “Where is she now?”
A. (Weeping) “Wandering aimlessly.”
In the painting, 10-year-old Emong drinks juice, next to the Christ. In life, he’s a “kalkal boy” – who hops from junk shop to another, selling what his group scrounged: plastic bottles, empty cans, cartons, etc.
Q. “Do your parents take care of you?”
A. “Early morning, my mother and friends already play tong-its.”
Q. Do you have other work?
A. “We sell pan de sal. At 2 a.m. we line up in the bakery, get the bread. By 7 a.m., the bread runs out.”
They breakfast on a peso worth of rice. “Basketball follows, cara y cruz afterwards. Then kalkal.”
Kalkal boys bypass the clock. “I overslept as I waited for my brother to wake up, so I could use the bed,” says one. “There was no food left for me,” explains another. “I sold additional pan del sal so my younger brother would have food.”
“Pers time we had cake,” Emong says on tasting hopia. Afternoons, they eat from the garbage can. Usually, it’s rotten cabbage and sayote.” And his interpretation of the Hapag painting is striking: the kids invited the Master, and not vice versa.
“The Filipino from all walks of life is hospitable,” Velasco reflects. “This last supper is a banquet of the poor kids for… a special Guest. “Kumain ka na ba?” is a Filipino traditional greeting. And so is “Kain tayo” (Come, let’s eat).
In the painting, 13-year-old Michael holds a paper plate. As Payatas scavenger, he’s an expert on papag: a mix of scraps from the dump. “You boil it, then fry. Or cook with vinegar and soy sauce. It’s sour because it’s spoiled. But papag fills the stomach. And it doesn’t last until evening.”
Some 400 trucks dump refuse daily. “We know where the trucks come from, just by the smell. I’m here everyday. I don’t care about the smell. I can eat waste. What’s important is milk for my younger brother…”
Home is two kilometers from the dump where a jobless grandfather and siblings wait. Invited to a fastfood restaurant, Michael just stares. To him, “everything and everyone is garbage.”
Velasco sat at a coffee shop beside a lady whose remote lacked a few buttons. “She spoke to Edgar Allan Poe and Leo Tolstoy. She squinted at Hapag and said: ‘This strikes me as a poor kids’ Last Supper. But they’re not actually poor… because they have Jesus.”
And that’s where the title of this 237-page Kenosis Publication book came from: “They Have Jesus: Stories of the Children of Hapag.” Ask your favorite bookstore. It’s a good read, but not on a full stomach.