Trapped Futures: A Sociological and Psychological approach on Fraylon’s Kinabukas... Saan?
- deskvalor
- Mar 25
- 4 min read
Introduction
Kinabukas... Saan? is a painting made in 2017 by Joseph Fraylon. Included in the Center for Art, New Ventures, and Sustainable Development (CANVAS) collection, the artwork serves as a reflection on the sociopolitical climate of the Philippines during the height of President Rodrigo Duterte’s controversial anti-drug campaign. According to Fraylon, his artwork critiques the emotional and psychological trauma inflicted upon children who grow up in the midst of violence. Through a sociological and psychological lens, the paper examines how the painting reflects the lived reality of children exposed to poverty, government violence, and systemic neglect during the Duterte administration. The artwork compels viewers to reflect the lasting effects of oppressive social policies and the psychological trauma they inflict on the youth.
Body
At a first glance, the painting is an oil on canvas artwork that depicts a young child standing behind a glass pane isolated from the outside world. On the glass is a text, stating the phrase "Kinabukas... Saan?” ("Future... Where?"), written in what resembles red smears, symbolically suggesting blood and evoking a sense of fear or worry. The muted tones and dark background represent emotions such as loneliness or gloominess, which adds intrigue and mystery. Furthermore, the child’s face is partially obscured by glass panes, portraying an anonymous victim, serving as a representative of countless children growing up amidst an environment of violence and systemic poverty, particularly those who were caught in the crossfire of Duterte’s war on drugs.
Moreover, the artist's short description of his work signifies the news about the continuously bloody results of Duterte’s anti-drug campaign and how these actions tarnished the lives of many marginalized innocent children. The former president's campaign raised concerns about human rights violations, with prolonged exposure to violence affecting children's behavior and thinking.
Joseph Fraylon’s work was included in the Center for Art, New Ventures & Sustainable Development (CANVAS) collection, which communicates themes to the devastating impact of the war on drugs on Filipino children living in poverty and violence. The central theme revolves around the uncertain future of marginalized Filipino children, questioning how societal structures, government violence, and abandonment shape and dictate their lives.
Critical Analysis
Using a sociological lens, Fraylon’s painting critiques the societal and governmental structures that have failed the marginalized poor, especially under Duterte’s administration. The faceless child behind the glass pane represents the "invisible" status of many marginalized children, who are not only physically confined by their impoverished surroundings, but also socially silenced, which often leaves them unheard and unprotected. Duterte’s war on drugs, as documented by Human Rights Watch (2025), transformed impoverished neighborhoods into war zones, with children as direct and indirect witnesses to violence that leaves lasting psychological scars. Fraylon’s commentary mirrors Pierre Bourdieu’s theory of social reproduction (1977), where marginalized communities remain trapped in a cycle of violence with limited opportunities to escape poverty. The use of dark tones and the separation between the child and the outside world using the glass panes reflects the reality of social exclusion. Moreover, Judith Butler’s "grievable lives" concept (2009) applies here, in which certain populations such as the urban poor are treated as unworthy of public mourning by the state and media narratives, making their suffering less visible to the public.
Additionally, from a psychological perspective, the painting delves into the inner emotional turmoil of a child exposed to sustained violence. The child’s partially obscured face suggests a loss of identity, self-worth, emotional withdrawal, and dissociation, which are commonly found as symptoms faced by individuals who experience trauma (APA, 2013). Additionally, studies by Garbarino (2001) link exposure to violence with emotional disorders, aggression, and trauma in children. The haunting red question in the painting points to existential despair and foreshadows the risk of these children becoming further victims of violence due to unaddressed psychological wounds. The child’s detachment evokes learned helplessness (Seligman, 1975), suggesting that repeated exposure to violence leaves children feeling powerless to change their fate.
With Duterte now facing international scrutiny and legal repercussions, including cases before the International Criminal Court (BBC News, 2024), the painting serves as a compelling warning, underscoring the psychological and sociological damage caused by government violence, particularly among marginalized youth. In addition, the piece portrays the agony experienced by marginalized children through its use of subtle yet powerful symbolism whilst merging socio-political critique with psychological depth, which compels viewers to confront the systemic violence on the vulnerable. However, the limitation may be the subdued presentation, which might not immediately communicate its full sociopolitical context to viewers without extra background knowledge. Nonetheless, Fraylon’s work stands as a compelling and timely visual reminder of the psychological and societal consequences of government violence.
Conclusion
To conclude, Fraylon’s Kinabukas... Saan? effectively portrays the grim realities faced by children living amidst systemic violence and poverty. Through compelling imagery and symbolism, the painting critiques and reflects the societal neglect and structural harm inflicted upon marginalized Filipino youth. In addition, emotional and visual elements reveal the link between psychological trauma and societal oppression, exposing the lasting wounds of Duterte’s war on drugs. By conveying isolation, fear, and helplessness, the artwork urges society to confront the long-term consequences of violent policies. Kinabukas... Saan? challenges viewers to face the unsettling truth of government violence and its effects on future generations. The painting calls for greater awareness and social reform to protect the rights and well-being of children trapped in cycles of poverty and violence.
REFERENCE LIST
American Psychiatric Association, DSM-5 Task Force. (2013). Diagnostic and statistical manual of mental disorders: DSM-5™ (5th ed.). American Psychiatric Publishing,
Bourdieu, P. (1977). Outline of a Theory of Practice. Cambridge University Press. https://doi.org/10.1017/CBO9780511812507
Fraylon, J. (2017). Kinabukas… Saan?. Google Arts & Culture. https://artsandculture.google.com/asset/kinabukas-saan-joseph-fraylon//EgE0srcFCn8NBg?hl=n&avm=4
Garbarino, J. (2001). An ecological perspective on the effects of violence on children. Journal of Community Psychology, 29(3), 361–378.
Guinto, J. (2025). Philippines' Duterte in The Hague after ICC arrest over drug war. BBC News. https://www.bbc.com/news/articles/c9819r2en4do
Mohanty, A. , Kumar Pradhan, R. & Kesari Jena, L. (2015). Learned Helplessness and Socialization: A Reflective Analysis. Psychology, 6, 885-895.
Philippines: Duterte arrested on ICC warrant. (2025). Human Rights Watch. https://www.hrw.org/news/2025/03/12/philippines-duterte-arrested-icc-warrant
Comentarios