Myths
Barthes (1957) introduced the concept of myths, focusing on how they operate in a socio-cultural setting and the functions they serve. First, we must understand their form: myth is a type of speech. This is not limited to verbal communication but extends to other media, such as drawings and photography. What makes a myth a myth is that it conveys a message. It is didactic, teaching us something. A good example of a myth is the story of Icarus, which tells us that we shouldn’t fly too close to the sun. It teaches humility, patience, and restraint. Here, the myth serves the purpose of transmitting messages to people through a narrative. It is cultural, and people adapt it over time.
In his book Mythologies, Barthes (1957) studied myths as part of a semiotic system. He explored the relationship between the signifier and the signified: how a word (the signifier) can represent a thing in the world (the signified) and how these two elements are often incongruent. Yet, we are able to form communities and civilizations using these codes in a form of language that we agree upon culturally. The signifier plus the signified becomes a sign when the meaning bestowed on the signifier is repeated over and over again and adapted culturally. This relationship between the signifier and the signified is the first order of semiology. An example of this is the association of passion (signified) with a bouquet of flowers (signifier). The repeated association of flowers with passion turns it into a sign because the meaning is continuously reinforced culturally.
Myth then enters the picture once we arrive at the sign. The sign becomes a new signifier, pointing to another signified, and opens up a deeper level of signification (second order of semiology). For example, imagine two countries: one has a tradition of giving flowers, and the other does not. The first country may suggest a myth that it is more romantic than the second, using the first order of semiology earlier mentioned.
Barthes, R. (1957). Myths as second order of semiology. Mythologies.
Myths operate in accordance with dominant streams of power. Hegemony forms and exerts control over others. This can be seen in the kinds of narratives that are proclaimed through myths. It has an instrumental purpose: they make ideologies that serve the interests of those in power seem natural. Barthes calls this naturalization (1957), wherein alternative interpretations are foreclosed, making it difficult for other ideas to challenge the status quo or bring attention to their existence.
As artists, it is our duty to reveal the extent to which these myths are artificial. Barthes (1957) counterargues with the idea of artificial mythologies: myths created deliberately to expose and demystify existing ones. This challenges the hegemony and directs certain narratives toward the benefit of the few.
In my current practice, I apply the idea of creating artificial myths as a revolutionary language to unmask underlying ideologies in our society. I seek to demystify the grand narratives that continue to plague the country. Case in point would be the romanticized image of rural life, particularly the idealized farming scenes made famous by Amorsolo.
Amorsolo, F. (1921). Planting Rice [Painting]. Encyclopedia of Philippine Art. Cultural Center of the Philippines. https://epa.culturalcenter.gov.ph/3/82/2272/
This image contrasts with the militarization of rural areas, specifically in San Miguel, Bulacan, shedding light on the hidden conflicts and struggles in the region. The unseen violence stands in stark contrast to the peaceful narrative depicted in Amorsolo’s paintings.
Roque, K. (2024). Planting Rice [Drawing]. Photo by Anima Art Space.
Reference:
Barthes, R. (1957). Mythologies. Hill and Wang.
