The question of whether art should just be for arts’ sake, or whether it should serve some higher social purpose, has always been debated over the course of history. It is a divisive question that has come to define the work of some of the country’s greatest artists.

But for the artists that are part of Dakila, the Philippine Collective for Modern Heroism, there is no debate to be had. Beyond making works of art, the group believes that artists should also be catalysts in inspiring the masses when it comes to issues of social change.

“As disciples of the creative art, artists are not exempted from the responsibility of helping contribute to positive change,” explains Leni Velasco, secretary general and core member of Dakila. “Artists, big or small, have the power to convey an urgent message and the capacity to educate through their modes of expressions. Artists can no longer afford to be apathetic.”

CREATIVE EXPLOSION

Dakila first came about in 2005, during the height of anti-GMA sentiment and the impending implementation of EVAT(expanded value added tax). Velasco, along with Lourd de Veyra of Radioactive Sago project, comedian Tado, Buwi Meneses of Parokya ni Edgar, and actor Ronnie Lazaro, got together and established Dakila. Alongside singers Noel Cabangon, Cooky Chua, Dong Abay and Karl Roy, the group immediately plunged into advocacy work, leading around a thousand people in a symbolic and literal cleaning of the Philippines relief map in Luneta called “Linisin ang Pilipinas!”

“We gathered people from all walks of like, from celebrities like Epy Quizon, Angelica Jones, Diether Ocampo, to seafarers, students, cab drivers, and families on a picnic in Luneta,” recalls Velasco. “It was a rite of passage for Dakila who proved that the Filipinos, especially the youth, have the desire to get involved. They are simply lacking venues where they can express their activism.”

That initial success for the group did not mean that it did not face its own problems when starting out. Its eclectic membership – 60 members composed of singers, visual artists, and actors – would turn out to be as much of a challenge as it was an advantage.

“The greatest hurdle we had to face was turning all these artists’ creative energies into one collective action. While some artists are veterans of social movements, others have never gotten involved in advocacy projects,” recalls Velasco. “But it is also the differences of experiences, background, styles, cliques, and views that fueled the dynamism of Dakila as an organization. We’ve been able to capitalize on these diversities without sacrificing collective action.”

The group has certainly been dynamic since its inception four years ago. The group regularly participates with fellow social change organization RockEd, as well as holding its own film festival entitled “Active Vista,” which showcased films aimed at awakening the youth’s social consciousness.

“‘Active Vista’, aside from being the very first big project of Dakila, was also its most memorable,” says Velasco. “The only capital that we had was our strong belief in the project and a small grant from the National Commission on Culture and the Arts (NCCA). We all had full-time jobs, we did not have an office, and no experience organizing a film festival. Every member pitched in with whatever resources they could contribute to the project. It was collective action at its finest hour.”

More recently, the group has seen itself working alongside Oxfam on “Tiktok Pilipinas,’’ a call to governments around the world to take action on climate change.

The group is also helping out young actor Ping Medina’s Barangay Soup Kitchen, which offers free and hot arroz caldo to the flood-affected victims of Typhoons Pepeng and Ondoy.

MARRYING CREATIVITY AND ADVOCACY

Since its initial membership of 60 people, Dakila has balloned to 600 members, counting such names as singers Bayang Barrios and Bituin Escalante, radio and television personality Ramon Bautista, filmmaker Jim Libiran, and various band members – from Bamboo bassist Nathan Azarcon to Ebe Dancel of Sugarfree.

The collective’s membership also decidely skews towards the younger demographic, something which Velasco attributes to the group’s ability to marry creativity and advocacy.

“We understand the effects of popular mythology on the imagination of the youth, and how the worship of heroes -- real or imagined -- can be utilized to establish effective communication. These artists that they look up to inspire them towards social consciousness formation and the common good. They see that genuine social concern does not need to be solemn and grave and that it can be a true celebration of life,” she explains.

Velasco says that the group has also learned to organize its efforts towards a set goal.

“In our first two years, we had no semblance of a structure or framework. What we had was the desire to help change the world,” she says. “Now we have programs that serve our overall objectives. We continue to deepen the soul of the organization by taking on more advocacy projects and tackling more social issues.”

Velasco says that young people looking to start change in society should look to the example of Dakila and learn that social change does not have to be a one-man job.

“You have to be aware, educate yourself, and be part of a movement or an advocacy you believe in. There is strength in collective action,” she ends.