INScapes Volume 1, Issue 1

wage colors of resistance! amplify voices against state fascism and imperialism!

VOL. 1 ISSUE 1 | FEB 5, 2021

THE OFFICIAL ZINE OF THE INSTITUTE FOR NATIONALIST STUDIES

ABOUT THIS ISSUE This issue is a testament to fascism and its various forms as experienced by the Filipino people today. As the Filipino people struggle to survive the onslaught of environmental and economic threats amid a global pandemic, the Duterte regime not only neglects its people, but it is beyond desperate in institutionalizing its machinery of oppression.

This issue also celebrates the struggle and resistance of the Filipino people against oppression. Forms of resistance as well as solidarity with other peoples resisting attacks from terroristic regimes are celebrated by this issue through short pieces, poems, as well as artworks. It features contributions from various authors and artists, as well as articles from the Institute for Nationalist Studies.

ABOUT THE COVER Aligned with the theme of battling fascism and imperialism, the overarching theme behind the narrative of the zine encapsulates the movements and stories — formed by death by a thousand cuts and the masses’ battle cry. The buildings are representative of the echo chambers glorified by the oppressive, capitalistic, and fascist entities controlled by a puppet on strings. Like a ticking time bomb, the transgressions of the puppet’s wind up compels the masses to shred it, take action, and organize a hauntingly powerful melody with a thirst for justice.

From writers and artists that have resolutely picked up the rusty pen that once fell, and to the masses that gleams with hope and justice — we must allow the ink of our pens to taint our calloused hands for as long as we can — to write and to learn rather than bask with clean hands, replete with blatant ignorance and false hope with the absence of progress.

Editor-in-Chief Gabriel Gagno Managing Editors Eunice Mallari Nathaniel Molina Jonah Leigh Ramos Janielle Villamera Kea Chiva Jerome Matthew Ramos Layout Editors Kirsten Mansilungan Lloyd Evangelista Theo A. Cover Credits Mika de Castro EXECUTIVE COMMITTEE Chairperson Lance Espejo Secretary-General Alonzo dela Cruz Nationalist Studies Program Committee Head Pat Jasmin People’s Education Committee Head Ryan Martinez Editorial-Research Committee Head Gabriel Gagno Information dissemination Committee Head Kirsten Mansilungan Membership Committee Head Heather Andres Management Committee Head Kristine Rosarda

The Institute for Nationalist Studies is a non-profit, research organization based in the Philippines. It stands for a nationalist economy, people-centered development, and alternative views on local and international socio-economic and political concerns of the Filipino people. Its mission is to provide data-driven and critical analysis on national policies and the international situation to promote a sovereign and democratic nation.

INS was originally founded on March 15, 2003 in coordination with the Center for Nationalist Studies (CNS) of the University of the Philippines and the Polytechnic University of the Philippines.

In July 2020, the institute was reformed and relaunched in response to these trying times where the call for a sovereign Philippines that upholds the democratic rights of the majority of its people rings true.

JONAH LEIGH RAMOS Jonah Leigh Ramos is a high school teacher and a graduate student. She is in her fourth year of teaching language and literature and has always seen to it that the politics of language and the sociopolitical contexts of literature be discussed in class--as at least entry points for students to engage with the here and now. She is currently taking a master’s degree in Literature and hopes to study new media and social movements for her thesis.

LANCE ESPEJO Lance Espejo is the current chair of INS. He is a writer, activist, & musician who is currently the chairperson of the Institute for Nationalist Studies. He is also currently an instructor in the Department of Art Studies of the College of Arts and Letters in UP Diliman.

RENZ ROSARIO Manggagawa sa Pasay na kasalukuyang naninirahan sa Bacoor si Renz Rosario. Bahagi siya ng mga organisasyong pangkultura gaya ng Musicians for Peace, KAMANDAG, Damdaming Nakapaskil, at BAON Collective. Nagsilbi siyang Ulo ng Panitikan ng QCPU – Creative Student Society, na ngayon ay kinikilala bilang QCU – LIKHA, noong siya ay nasa kolehiyo. Naging fellow siya ng Palihang LIRA 2018 at ngayon ay kasalukuyang fellow para sa Tula sa Filipino sa 27th Iligan National Writers’ Workshop. Nailathala na rin siya sa mga zine gaya ng Salamisim, Hayag. Kartilya, Caution, at Hapag; sa mga online publication gaya ng ALPAS Journal at Katitikan; at sa mga aklat gaya ng BAGA at AKDA. “Ang sinomang humahalakhak ay hindi pa nagigimbal sa masamang balita,” paborito ninyang sipi mula kay Bertolt Brecht.

MARK SIMON ENGRACIAL

RAM BERNAL Ram Bernal is a graduate student of Women and Development at the UP CSWCD.

CONTRIBUTORS II

VISUAL ART

POETRY

Simon Engracial is an advertising art graduate who is currently working for a regional publishing group.

Simon has seen so much wrong about our country’s political state and would like to contribute his skills to help people see the ugly truth.

THINKPIECE

GABRIEL GAGNO

JERWIN BILALE

Gabriel John Gagno is the current Research and Editorial Committee Head at the Institute for Nationalist Studies. He is currently working towards a Master of Arts degree in History at the University of the Philippines Diliman. His research interests are urban history, history of urbanization, and history of social movements in the Philippines.

Si Jerwin Bilale Uy ay naging fellow sa online Luntiang Palihan 2020 ng Bienvenido N. Santos Creative Writing Center sa De La Salle University. Nailathala ang kaniyang mga akda sa magasing Liwayway, Novice, at Revolt [kung saan paminsan-minsan din siyang nagsusulat para sa kolum na “Seresa”]. Samantalang ang iba naman ay mapalad na napabilang sa mga antolohiya ng iba’t ibang lokal na publikasyon. Nakamit niya ang unang gantimpala [sa kategoryang tula] sa nakaraang Saranggola Blog Awards (2019) maging sa katatapos lamang na Heritage Essay Writing Contest (2020) ng Filipino Heritage Festival Inc. Kasalukuyan siyang nag-aaral ng programang AAMPF (Associate in Arts, Malikhaing Pagsulat sa Filipino) sa UP Diliman.

SANDRA SENDINGAN Sandra is a journalism graduate who previously worked for a regional publishing group.

Sandra is sad about the way power works in philippine society, but is left with no choice but to support the status quo with her business stories.

LILIOSA SILANG Liliosa Silang is a student activist currently studying in the University of the Philippines Diliman. She was the Associate Editor of her high school newspaper. Her interests include journalism, creative fiction, poetry, rock ‘n roll, Taylor Swift, and horror. She also has experience in theater and acting.

She writes both in English and Filipino and currently working on finishing a novel. Some of her works are greatly influenced by J.R.R. Tolkien. Liliosa Silang is a pen name inspired by Liliosa Hilao and Gabriela Silang—both women of great drive and passion for justice.

CHRISTIAN MERON Christian Meron is a visual artist from Quezon City. He specializes in painting and drawing but is more liberal with the way they’re presented and the medium he uses, navigating through different styles and presentation. He is constantly motivated by trying out something new, entering uncharted territory and coming out of it with new understanding and appreciation of art and its multifacetedness.

JANIELLE VILLAMERA

ANDRES V.

Janielle Villamera is a 2019 Cum Laude graduate of AB Literature in the University of Santo Tomas. She is currently working as a cybersecurity analyst

PARA KANINO?

YOO JUNG LEE Lee is a Speech Communication student in the College of Arts and Letters, UP Diliman, where she serves as a Councilor and the Students Rights and Welfare head of the CAL Student Council. She is active in her mass organization Anakbayan CAL and also convenes the local college chapter of Rise for Education (R4E-CAL).

ROI YVES VILLADIEGO “Natapos ni Roi Yves H. Villadiego ang kaniyang pag-aaral ng kursong BA Communication Arts, Major in Speech Communication sa UP Los Baños noong 2019. Sa apat na taon, natutunan niya na ang paglikha ay isang lenteng nakapagpapaintindi ng mga problema sa lipunan. Naniniwala siyang dadating ang panahon na ibabahagi niya ito at ang iba pa niyang natutunan sa pamamagitan ng pagtuturo.”

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PEPING BAGATSING

LUDWIG BABLES

Peping loves to hoard readings but never reads them at all. He’s quite short, as in “Jose Rizal” short. He’s your typical nerdy student whose intimidating aura may seem bothering to some, but hey, he’s a charmer.

JEROME MATTHEW RAMOS Jerome Matthew Ramos is an architecture student from the De La Salle-College of Saint Benilde and a writer for the Institute for Nationalist Studies.

JULIA CLAIR

A.K. NIODA

RUEN ZAPANTA Ruen is a web app developer by day who does illustrations by night.

JOSHUA MARI LUMBERA SI Joshua Mari B. Lumbera ay tubong Laguna, kasalukuyang nasa ikatlong taon ng kaniyang kolehiyo sa Pamantasan ng Cabuyao sa kursong BS Psychology. Siya ay kasapi ng Sunday Writing Class, isang pangkomunidad na samahan ng mga kabataang manunulat sa kanilang lugar na pinangungunahan ni Büm Tenorio ng Philippine Star. Kasalukuyan siyang Filipino Editor ng Novice Magazine.

CONTRIBUTORS IV

VISUAL ART

POETRY

RAY MARK ESPIRITU Ray Mark Espiritu, 22, is studying BA Communication in Gordon College. He is an editor of The Forefront, the college’s official student publication unit.

R.B. ABIVA Si R.B. Abiva o RBA ay manunula(t) sa wikang Iloko at Filipino. Writing Fellow siya ng 58 th UPNWW, 11 th Palihang Rogelio Sicat, 6 th Cordillera Creative Writing Workshop, at 9 th Pasnaan- Jeremias A. Calixto Ilokano Writers Workshop.

THINKPIECE

To all the victim-survivors of this fascist state, this zine is dedicated to you. May you never dim your fire.

To struggle is to live.

To Whom is the City For?

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by: Jerome Matthew Ramos Original Artwork by: Kirk Damian

t took me time to realize what the mathematical concept of “area� really meant. The area of any shape could easily be calculated using a provided formula. To me as a child, the value of area simply stopped at being a number upon solving. It was only when I designed my first architectural plate in college did I realize its practical use: it provides how much space objects could occupy. However, more than determining its capacity, the objects also involve organization within the said space.

In an architectural plate, one cannot simply dump all the features at one place. Instead,

they must be given roles. In the living room, it would be composed of sofas, a television set, and tables where parents slow-dance to 90s music while the children watch Tagalogdubbed movies on a Sunday afternoon. In the kitchen, it would be filled with the aroma from a cooking pot simmering on a kitchen stove containing the reminiscent lutongbahay with its supplementary ingredients and seasonings resting on the countertop.

In the dining room, it would be highlighted by a woodwork table topped with a thick glass which your parents tell you not to slam your glassware on. Finally, in the bedroom, it would comfort the weary body from the mind-boggling and soulcrushing demands of the modern world; only to wake up in the morning feeling energized and revived, not only because of the given period of rest, but also because of the continuous pursuance of the dream.

The 1x1 unit space, in its multiplicity, forming various shapes and sizes,

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goes beyond the mathematical value.

Rather, it also includes organization and memory formation necessary to establish a harmonious relationship. Such concepts could also be applied to how cities are organized. We have business centers and malls that drive the economy of the country forward. We have the recreational parks and plazas that serve as the point where people could connect to nature and refreshen themselves. We have historical monuments that remind us of our identity as Filipinos and the lessons of the past to resolve the challenges of tomorrow. And finally, we have the residential areas that provide a place for refuge and rest with various objects that constitute our humanity. However, it is as if in the current organization of the city, it is not anthropocentric or eco-centric but rather, business-centric: parks and open spaces converted to malls, residential areas turned into high-rise condominium complexes, and ancestral lands and forests transformed into the ‘green’ and sustainable city of the future. Therefore, in this essay I assert, to design the city considering only the numerical and economical value in mind is to forget what fueled its progression and stability: the people.

Living within the city comes as a challenge to someone who grew up in the province, yet, a delight to someone

curious of its historical background. From the ancient walls of Intramuros established during the Spanish era, the (almost) City Beautiful-inspired design implemented by the American urban planners, the localized Art Deco architecture brought by the first generation of Filipino architects, to the contemporary city serving as a melting pot of various cultures and a center of economy.

However, in viewing this, I would like to borrow a description from sociologist Edwin Wise, regarding the metropolis: it is a city of islands. At one point, we have the internationally renowned cultural center complex as well as the exquisitely designed hotels, casinos, and malls that cater the cosmopolitan lifestyle of the middle and upper class and entice the consumerism culture. click here to continue reading

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KAY HIRAP MAGLINIS SA PANAHON NGAYON by: Renz Rosario

Umaalingasaw ang basurahang tinatanuran ng mga aso sa tapat ng malaking bahay.

Dating inuukilkil ng ilong ang sangsang nito tuwing madaraanan.

Ngayon ay kilala na, kilalang-kilala, ng bawat pang-amoy ang bahong nagmumula sa engrandeng gusali.

Walang makapaglinis, walang makakuha maski ang mga basurero pagkat umaangal ang umaangil na pumpon ng mga aso.

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CHRISTIAN MERON

UNTITLED 6

DISTANCE LEARNING

JONAH LEIGH RAMOS

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S

ince May 2020, Filipino gay serials have lately been born in the midst of and influenced by worsening government incompetence and fascist practices in COVID-hit Philippines. However, these are not the ultimate cause of the proliferated consumption of the former across the islands; in fact, they are what has modified the logistics of TV production and made production companies think of ways to still make things possible in their objective of telling stories, or even innovate in their approach and direction. And needless to say, the observed boom of 2gether: The Series and the genre where it originates have both prompted local producers to welcome more queer narratives, and emboldened writers and filmmakers from the LGBT+ community to tell said narratives on digital, mainstream media.

Nonetheless, the already-finished and ongoing local gay shows are products of the recent, life-changing times: something that can never be refuted by anyone.

A Call for More Anti-Fascist Resistance and Intersectionality from Filipino Gay Serials

One aspect that has become part of a number of these serials is the use of mouthpieces for political innuendos. Gameboys has Pearl, with her scathing question, “Na- by: A. K. Nioda flatten na ba ‘yung curve?” (which Original Artwork by: does not actually point to the literal Georgette Duran Honora curve of COVID-19 cases in the country). Gaya sa Pelikula has Karl who, after hearing Vlad that

he is not a burglar and his family is welloff, said, “Maraming mayaman, mayaman dahil nagnakaw,” whereas Quaranthings has Judah instructing Rocky while taking a formal photo: “Ayusin mo! ‘Yung parang walang korupsyon sa Pilipinas, ‘yung ganung ngiti.” Boys’ Lockdown, too, has Ate Libby and her “shade” during a webinar that she organized (“We all know who the real criminals are, don’t we?”), although she was very much blunt during a particular dinner with her brother Chen in Episode 3 by releasing her grievances on the presence of the coronavirus: “It’s now up to us to fend for ourselves? Where are the people who are supposed to lead us? They should know better! They should fix this! They should make things better, but I don’t think it will get better.” Analyzing them based on authorship, all these examples may have shown the current political stances of the

writers and/or filmmakers, and perhaps the producers as well who have allowed these lines to be part of the final cut, if not respected the freedom of expression. Their stances may lean towards the opposition, deviating from worldviews that favor machofascism and the ruling class.

A second aspect in these shows that also has to be mentioned is the visibility of working class characters amid the predominantly middle-class sensibilities, albeit little. An exceptional example is Rocky from Quaranthings. In Episode 1, he establishes himself apart from the likes of Judah who are in a more privileged position: “Alam mo, ibang-iba talaga kayo sa’min.”

In the succeeding episodes, Rocky’s character is revealed more: he has been the breadwinner since his mother’s death, his main job (which, later on, he would be fired from) is being a waiter at a gay bar, and he has side jobs that he begins to lose. The stress that he feels about what has been going on in the pandemic speaks volumes of his mental state as a worker.

His family from the province is also sometimes seen through video calls, further justifying his own person. In some instances has he been equally used as a mouthpiece to convey a social message, highlighting how it is hard to be poverty-stricken in this country; and in the final episode, he expressed incredibly striking lines on being simultaneously gay and poor: ROCKY: Swerte mo. Mas madaling magpakatotoo ‘pag 9

walang pinoproblemang pera.

JUDAH: Grabe ka naman. Pa’no nangyari ‘yon?

ROCKY: ‘Pag mahirap tulad namin, maraming limitasyon. Maraming komplikasyon sa sarili… Kaya…‘di na namin inaasikaso pa ‘yon… Trabaho, tulog, dasal, trabaho ulit, paulit-ulit…ganun lang.

JUDAH: May mga problema rin naman kami.

ROCKY: Oo naman. Pero mas marami kayong solusyon. Mas marami kayong pwedeng gawin.

With the utilization of mouthpieces and the visibility of queer workers, it can be argued that Filipino gay serials are not only a definite site of heteronormative resistance and queer celebration but can also be a site of anti-fascist resistance and intersectionality. This has certainly been done before, in other forms of art and popular culture—political leanings and emphases on the oppressed injected in creative outputs—so it is neither new nor alien at all. It is interesting to note, moreover, that the very same genre of 2gether that paved the way for the existence of Gameboys, Gaya sa Pelikula, Quaranthings, and Boys’ Lockdown, among others, is slowly being challenged and destabilized by these exact shows. Unlike 2gether and its contemporaries (usually from Thailand) that lack sociopolitical voices/allusions, Filipino gay serials are beginning to assert their respective positions that are most likely oppositional against the contexts surrounding them.

promising future of more socially and politically aware creators and a more socially and politically aware audience, we cannot simply end there. While we can always go for a fresh mouthpiece in a fresh plot that is not mainly politically charged and does not primarily tackle social issues, we cannot be stuck in this way. As long as inequality and struggles hold their ground, all the more artists should fight back and let their people and the world know about them through art. A call for more anti-fascist resistance and intersectionality is thus set in place, whether overt or allegorical, which is precisely different from just giving hints at the dialogues.

Why respond to this call? Because the bourgeois and fascist terrors that continue and, if not overthrown, will continue to roam around the Philippines, capable of piercing themselves through homes and compounds, invading sanctuaries, and destroying thousands of lives, deserve utmost attention. At the end of the day, reality shall, without fail, get to Filipinos, who will be compelled to use their bare lenses in making sense of the nation’s present state.

One might think that doing this violates the expectation, and therefore quality, of the show being “light” (in spite of the “drama”), which admittedly can be a coping mechanism for people during these quarantine months. Well, writers can retain it in their works—it is up to them and to the material that they are handling—and after all, there is nothing wrong with a “light” or funny plot. Another might think next that doing this ruins the quality of While this is a good start, with the imagination in fiction writing, where the

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characters live within a constructed reality that focuses on them dealing with their personal dilemmas; but in all honesty, isn’t it boxing gay content? Isn’t it boxing the audiences’ consumption (i.e. what they watch is what they get), and, with that, their reception? Exploration and wonder start off by boring a hole through a caging box and walking through it. Portrayals of anti-fascist resistance and intersectionality can only occur if upcoming programs depart from their roots and consider a diversity of queer stories and voices. This means that queer workers should be more visible onscreen, and that a storyline can be uncentered from queer romance and/or the exploration, acceptance, and development of queer identity.

pandering.

As art is liberating and holds no bounds, the call will not answer the exact “hows” of responding to it. Although for sure, when a creative process is over, it ought to be represented in the teleplay or the final cut, and it definitely should not be merely laden with “shade.” Producers, creators, and artists might also pay no heed to this, but there is no harm anyway in advocating for more audacious, enlightening outlooks within the local LGBT+ media, and in inviting them to amplify their resistance against oppressive regimes, systems, and hegemonies through their productions (that is, if they do resist and can voice it out) until problems and inequalities no longer have a place in Philippine society. While we still To rephrase and reiterate: after can, let us exhaust efforts to this humble concurring with the value of diversity of yet bold endeavor. Then again, even if narratives about men loving men, let the time will come where things will alone ones about other members of the no longer be at our side, we could LGBT+ community, a writer or filmmaker is always find a way. Always encouraged to produce Filipino gay serials have, always will. Doing this that embody, not only put forth, social to gay stories will be no and political themes conveying resistance different. (and championing happiness nonetheless for male characters who love men), and to make it a paramount matter. That the country has relatively reinvigorated episodic gay content this year is and must be irrelevant. At the moment, queer voices in tune with the present-day times are terribly needed. In addition, the idea that a show that is overtly or allegorically sociopolitical is instantly awful has to be unlearned and erased. Messages can go hand-in-hand with artistic expression that, ideally speaking, has nuance and avoids preachiness, “face slapping,” and obvious 11

OVERKILL by: Julia Clair Artwork by: Theo A

Under him, there’s uncertainty.

Seas of bodies, all are numbing.

Tune in to the pleas, deafening.

“Don’t fear, the cure shall be ready.”

Uncover the fascist, shall we?

“Tell the army to shoot them dead, Even better, bring forth their head!

Reload your guns, give them a fight, Then leave no man alive tonight.”

Ended with the triumph of red.

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ROI YVES V

FITTING THE UNFITTING ONE

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MAÑANA HABIT

VILLADIEGO

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A Short History of Who Gets to Define Terrorism and Why We Ought to Question it

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by: Lance Espejo Original Artwork by: @manshaade

espite many appeals against it, the Philippine government has released the implementing rules and regulations of the AntiTerror Act (ATA). Its criteria for terrorism is still questionable. So who gets to decide the definition of terrorism, and for what purpose? And why is it crucial for us to stop the Anti-Terror Act by all means?

The Summary 1. The “Terrorist” discourse is manufactured for the usage of regimes who struggle to maintain the problematic status quo; and that status quo is imperialism.

3. Looking at the Global Terrorism Index (GTI’s) report on Terrorism, one can read between the lines and see that any group which uses armed means to resist (particularly American) capital’s interest is tagged as Terrorist, without distinction as to which groups are really just conspiratorial bands resorting to terror tactics, and which are actual mass rebellions.

4. Since 9/11 and the War on Terror, America, its allies, and puppet states like the Philippines, have put a spotlight on the Terrorist to justify their intervention to us common people. This is why the Terrorist is always seen everywhere as sensationalized spectacles of violence against state forces and elite property.

2. The Terrorist is a derivative of social boogeyman tactics of old. It is predicated on the discourse of preserving the current 5. Duterte’s Anti-Terror Law is a order; in this case, the order where the hodgepodge of reactionary discourses monopoly capitalist’s state and property are rooted in our worsening semi-feudal sovereign. It is a discourse that reacts to condition, to hold on to such status quo. any form of resistance.

6. We must take back the initiative 16

and steer the political discourse away from the reactionary talk, towards addressing the real problems of the Philippines right now. It is only through this path that we can sincerely look towards the ending of armed conflict, and towards progress.

The different origins terrorism and the Terrorist

of

Violence for political means has been a running phenomenon throughout human history. It is the most blatant expression that there exist differences that are based on real problems like exploitation, oppression, and discrimination.

For centuries, human societies have had political violence from below, (mobs against foreign invaders and oppressive masters), as well as violence from above, (the tyrant’s display of despotism in the bodies of the hanged). Acts of political violence by a small band of conspirators have happened as early as the Israeli Zealots of the first century, who harassed and attacked their Roman invaders. These acts, which are similar in nature to what is now portrayed as terrorism, have been happening for a long time.

It is with the advancement of society towards mass production, and the ensuing forms of political friction, that terror as a discourse would begin to appear in legal documents, state proclamations, and other

forms. It is during the rise of the bourgeoisie at the end of the 18th century, that the word terror comes into play. It coincided with the Jacobin reign of terror during the development of the French revolution, in which the bourgeoisie attempted to instill fear and suppression upon their enemies.

Despite the entrance of terrorism in the language of political discourse, the Terrorist figure arrives when the bourgeoisie has taken reigns of the state from the feudal order, and have developed capitalist production into a new stage.

This new stage has intensified the antagonism between the efficiency of socialized production, new technologies and techniques, and the private ownership of these means of production. click here to continue reading

PARA KAY JEV by: Ram Bernal Original Artwork by: Theo A Babae ka: Bahagi ng isang lipunang baog Sa pagmamahal sa kababaihan.

Itatangi ka sa ‘yong kagandahan; Itatakwil kung ‘di na kailangan.

Ihahambing ka sa isang mamahaling pinggan; Babasagin kung napaglumaan.

Ipamumukha sa’yo ang ‘yong kahinaan; Bubusalan ‘pag ginamit ang prinsipyo at kaalaman.

Ang iyong kalayaan ay nakabatay Sa ‘yong lalaking kapatid, asawa, at tatay.

Isa ka lang rosas sa hardin Na maaaring pagnasahan, pitasin at angkinin.

Ang iyong boses ay para umungol; Papatayin ka sa ‘yong pagtutol.

Mga kamay ay para sa labada at kusina; Ipoposas ka kung hindi tumalima.

Lagi kang papipiliin kung pag-ibig o ang bayan?

Ngunit paano kung ang iyong iniibig ay ang bayan?

Babae ka: Matapang at may kalayaan Na lumikha ng kasaysayan.

Babae ka: May pagkilala sa sarili Walang dapat patunayan.

Babae ka: Mulat at palaban.

Babae ka at lagi’t lagi kang may puwang sa pakikibaka.

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MARK SIMON ENGRACIAL SANDRA SENDINGAN

DEBOLD TRUTH 20

MALAYANG PAMAMAHAYAG

JONAH LEIGH RAMOS

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ith the entrance of COVID-19 we Filipinos have been hit by an onslaught of crisis after crisis: an ill-prepared online sem, increased workload, lockdown, decreased job security, among many others.

In this situation, dealing with mental health, as it should, appears to have taken the attention of multiple institutions.

But mental health has already been a pressing issue since the past couple of decades.

Why is mental health appearing to be a much more critical concern now? If mental had already been a pressing issue since the past couple of decades, what have we been doing about it? Why is mental health still an issue, if not much more exacerbated now, at current times? Is how we have been addressing mental health in the past and current times inadequate, or more so, wrong?

Without setting aside national politics or COVID-19, it is crucial for us to take control and re-assess the discourse of mental health, with the hopes that this think piece would serve as a start to rethink strategies with dealing a key factor to our well-being.

But before we get into the specifics of strategy, it would be best if we come from the same page of how we should be looking at the issue in the first place.

Mental Health is a serious issue in the Philippines despite the lacking data 22

Advocating Mental Health Should Be a Matter of Political Struggles Beyond PolicyMaking by: Lance Espejo and Yoo Jung Lee Original Artwork by: Vincent Jamill

Let us begin with the facts — or lack thereof. The Philippines’ Department of Health (DOH) data on mental health problems in the Philippines is very much outdated, as supported by the research of Lally, Tully, and Samaniego (2019) entitled, “Mental health services in the Philippines”.

Checking the page’s Frequently Asked Questions (FAQs) on how many suffer from depressive disorders, it claims that 5.3% of our adult population are struggling with it. The catch is — this data comes from a 1994 study. The DOH’s page on the general mental health situation was last updated in 2018, around the time the Mental Health Law (RA 11036) was enacted, while utilizing data for their statistics from surveys done up to decades ago. Since 2018, therefore, we don’t know any official government data on the mental health situation.

among males (based on a 2011 study), (2) 32% of 327 respondents experienced a “mental health problem” in a 2006 study (whilst not actually clarifying whether this meant a general deterioration of mental health or a specific mealth health illness/ disorder), and (3) intentional self-harm was the 9th leading cause of death for Filipinos in their 20’s in a 2003 study.

What did our medical system look like? As per the findings of Lally, Tully, and Samaniego (2019), only 3–5% of the health budget went to mental health using 2006 data. Sixty-seven percent (67%) of psychiatric beds were to be found in the National Center for Mental Health, using a 2004 study. In terms of staff, 2006 data showed that the ratio of mental health workers per person runs at 2–3 per 100, 000 Filipinos, with the increased number of But what did we gather from this data Filipino health workers emigrating to other from decades ago? As per the bulleted list countries. of general statistics from the DOH page: (1) click here to continue reading suicide rates increased from 1984–2005

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HULING TITIG SA TAĂ“NG 2020 by: Jerwin Bilale Original Artwork by: Jonah Leigh Ramos

(pasintabi kay Lamberto Antonio) ang mga tao’y paru-parong pinutulan ng pakpak, malalamig na trosong palutang-lutang sa maputik na bahang lagpas-dibdib; puntod na walang kandila ang siyudad. nalalantang sampaguita ang nobyembre, habang mahimbing ang tulog ng presidente.

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JONAH LEIGH RAMOS

MARK SIMON ENGRACIAL SANDRA SENDINGAN

EXPORT

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FOREIGN COMPANIES: THE ROOT OF OUR CALAMITIES ROI YVES VILLADIEGO

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The Makeshift Reality of Balik-Eskwela and Academic Freeze

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by: Janielle Villamera Artwork by: @manshaade

he abrupt transition and persistent justifications on the modality of teaching exposed the commercialized operations and anti-democratic policies that the Department of Education (DepEd) and the Commission on Higher Education (CHED) have always pushed.

Academic Freeze suspends all proposed types of classes in both public and private educational institutions until a COVID-19 vaccine is accessible.

Assessing the developments and vulnerabilities of the current learning processes from March to October, what is the state of the youth, teachers, and DepEd Secretary Leonor Briones’ parents now? More so, how did the DepEd proposed communication system of modular and CHED officials spring back from their distance learning further reveals their obvious and basic pedagogical mistakes? grave neglect of the economic struggles of These counter checks on pleading for teachers, students, and parents. Whereas academic freeze and demanding for safe CHED Chairman Prospero de Vera III return of face-to-face classes depict how expounded that they promised immediate capital penetrates and maneuvers the capacity-building for teachers to understand direction of the Philippine education system, the use of the resources included in their while government officials savor the pity crisis management plan. But, as introduced party among these philanthropists and their by the former Senior Citizen Party-List benevolent forms of financial support. Their Representative Francisco “Jun” Gamboa- capability to anchor academic policies Datol, Jr. in the House Resolution №950, with market-oriented interests subjected 28

education with similar profit motivations as private industries.

The Material Sacrifice of the Teachers Last August 10, during the “Handang Isip, Handa Bukas” press briefing, DepEd Undersecretary for Finance Annalyn Sevilla reiterated that there was never any allocated budget system for teachers who contracted COVID-19. The band-aid solution Sevilla has provided is that DepEd already appropriated the necessities for the personnel’s compliance on certain health protocols. Healthcare assistance will only come from personal contributions and collective efforts of their co-workers.

As government funding for health treatment is absent, these officials took advantage of the educators’ financial lack to attack their work stability. According to the Job Displacement Monitoring Report of the Department of Labor and Employment (DOLE), as of September 14, displaced workers nationwide — including the ones affected in the temporary/permanent closure of establishments and flexible work arrangements — have amounted to 3, 296, 741. This displacement have implemented forced leaves, fewer workdays, and rotations.

With the State downplaying the drop in the enrollment rate, how can we “learn as one” if there are no proactive measures against the increasing 3.07 million unenrolled students, 650 approved tuition fee increase applications, and the continuing experiment of the K-12 education system?

As for the 14th Congress Report last

July, the government has allocated PHP 700M to improve the digital infrastructure of 7,000 public schools. Still, their target completion will be in 10 months, despite the adjusted opening of some classes last September and the reported minimum costs of PHP 137.8B for distance learning alone.

Although since June, DepEd expected to receive in-kind private donations of 475, 650 tablets and 634, 877 desktop computers for 21.4M public school students, along with 190, 574 laptops for public school teachers by the end of this year.

The disproportionate access to these technologies uncover the inadequacies of modular distance learning and academic freeze as worn out alternatives, where the priority is outcome-based education instead of providing physical, mental, and emotional support and needs of students, parents, and teachers. click here to continue reading

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THE VOICELESS by: Liliosa Silang Original Artwork by: Jonah Leigh Ramos

In today’s world, there are two kinds of mute And two destinies the two mutes shall have— from the same tree but shall bear unlike fruits Under one moon, seeing different halves.

First comes the peasant with the stolen voice Under the harsh sun—overworked and bound Witness to how power corrupts and destroys Strives to break their muzzle and make a sound Second comes the bourgeois—well-off and rich Blinded, deafened by their stature in life Content in their stone-made castles—out of reach Lips willingly zipped in the wake of strife Stolen voice shall return to its owner But unused voices are lost forever.

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RUEN ZAPANTA

NASAAN ANG PANGULO

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Research at the Mercy of Capital by: Gabriel Gagno

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Introduction

These disparities in research capabilities do not remain at the top, administrative he impact and importance of levels; rather, its effects trickle down to universities can be understood the individual researcher on the ground, by their ability to undertake three whose talents are being wasted by lack of functions: teaching (instruction), opportunities to undertake useful research research, and extension. These three are in their own country. This article looks at equally important and efforts to carry them the difficulties the Filipino researcher has to out have a huge impact on society. endure to plan, manage, and carry through Nowadays there is emphasis on an entire research project from start to strengthening research capabilities, and completion: from small, local problems like many universities have either achieved funding difficulties and red tape, to larger, remarkable reputation in doing research, systemic problems. or are drawing up plans to bolster their Plight of the Filipino Researcher capabilities. Nevertheless, many universities in the so-called developing countries are The difficulties in research are especially still mostly teaching universities, with less aggravated in countries like the Philippines, emphasis on research, while universities where roadblocks like bureaucratic from developed countries are renowned for processes as well as corruption divert the their strengths and capabilities in research. researcher’s attention to problems other In the Philippines, only about 20% than that of their research. The Commission undertake research activities in addition to on Higher Education (CHED), for example, their teaching and extension duties, while is supposedly the prime provider of grants a sizable 80%-90% are mostly engaged in as well as capacity building for research, teaching. but funding acquisition has been needlessly 34

difficult and stringent. While guidelines are there to ensure fair implementation, it also adds up to bureaucratic processes that make research funding more difficult than it should be. An applicant for a specific research grant, for example, has to go through some 3 or more months of bureaucratic processes, writing and revision of research proposals, as well as waiting time before funding gets approved and disbursement finally takes place. The approval rate lies between 30% and 40%, which CHED attributes mostly to weak research background or methodologies, or that the applicant is not considered an expert in their field. While ideally these are sound criteria for judgment, the low approval rate might also be a symptom of the lack of training or access to capability building programs, a point which will be discussed later. Besides this, some grants take too much time to be disbursed to the researchers, and sometimes it never reaches the researcher at all. The process is tedious and tiring, discouraging potential researchers from applying.

This relative scarcity of research funding and opportunities lead to a sort-of competition between various research interests, forcing the government to prioritize what kind of research is deemed to be important at a given time.This scarcity also leads some researchers to bend over backwards just to secure funding, even if sometimes it means conceding to the advice of CHED’s evaluation panels at the expense of the researcher’s agenda or leeway.

In some cases, funding opportunities, and especially capability-building seminars, are also available yet not widely disseminated. CHED’s research capabilitybuilding conferences are mostly held in Manila, making access by educators from the provinces to these conferences more challenging. Aside from lack of awareness, some find the CHED application process too tedious and thus were discouraged to try.

The unreliability of government funding in research efforts is also manifested by the tendency of Filipino researchers and research institutions to rely on private and foreign sources of funding, which may have adverse effects on the direction of research. click here to continue reading 35

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2016-PRESENT by: Renz Rosario Original Artwork by: Mika de Castro

Gabi-gabing may inilalantad na bangkay ang dilim, mga katawang bulagta sa malalansang bangketa’t hindi pa rin makila-kilala kung sino

ilabas ang nananahang testimonya sa nanunuyo nilang lalamunan kaya nananatili sa anino ng kuro-kuro ang mga salaring walang balak lumitaw.

ang nag-iwan, ang kumitil sa mga ito.

Ilang konsensiya na ang kinatok ng mga sisiw sa ibabaw ng ataul ngunit walang nagbukas upang sumiwalat.

Paulit-ulit na ibinabalita ang pagkakakilanlan ng mga pinaslang.

Adik, magbubukid, mangingisda, iskwater, tindero, basurero, rebelde, at terorista.

Kayrami ng mga inusig at ni isa’y walang makapagsabi kung anong nasaksihan ng kanilang puso.

Mayroong takot na pumipigil

Matagal nang may nakaumang na hatol sa lahat ng hinahanap na may sala’t kahit isa ay wala pa ring nadadakip.

Payapa’t tahimik ang dapat na sinusukol.

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When Parents Become Tools of State Repression by: Peping Bagatsing Original Artwork by: Lloyd Evangelista Trigger warning: this article includes disturbing elements, including domestic abuse and state harassment. “Kinakasangkapan ng AFP ang aking pamilya para sa black propaganda para supilin ang boses ng mga kabataang aktibista na lumalaban sa gobyerno.�

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n October 29, Irix Romero, a fulltime activist and member of the Student Christian Movement of the Philippines and Anakbayan Bulacan, was arrested without warrant and forcibly brought to Camp Aguinaldo, Quezon City, then to a military base in Capas, Tarlac to be interrogated by state forces. Romero was reportedly home the day after the incident, but definitely not safe. No further updates followed after.

What happened that day was a clear act of harassment by the state. The very disturbing fact, however, is that it was her own parents, along with relatives who 38

have links with the military, who turned Romero over to the troops against her will.

To say this incident was a family matter is definitely an understatement; it is politically motivated, and indeed traumatic for anyone to experience. Many youth activists today, though not to the same extent of what happened to Irix, share similar experiences.

Reared to preserve the status quo In this current capitalist world where the lower and middle classes are left without any other option but to stay hell-bent on minding their own business and trying to last a life-taxing twelve hours or more of work everyday just to have something to eat, and achieving your dreams is synonymous to getting employed, advocating societal change seems a waste of time to many, and there is no monetary gain in doing so.

Most parents of today’s Filipino youth spent their formative years during the height

of an anti-communist hysteria under the late President Ferdinand Marcos, using Red Scare tactics to establish his fascist ploy and ensure his plunder under the guise of Martial Law. Even after Marcos was ousted from power in 1986, the government’s Red Scare tactics continued. A wolf in sheep’s clothing, President Corazon Aquino, like her predecessor, painted communism as the bogeyman, whilst giving the real conditions of the country a brush off her shoulder. It was during these times when the widespread of anti-communist propaganda and statesponsored paramilitary forces was at its peak in the Philippines.

The education system is another culprit. The entire 1980’s were the Ronald Reagan years, and in his entire term as US President, neoliberal ideas spread as a pervasive fungus all over the world, making its way to the Philippine education curriculum in the 1990’s and plaguing our culture with individualism and profit-driven

life motives.

Nowadays, the youth are reaping the fruits of what the previous generation grew up with in the past.

Louis Althusser describes the family as an ideological state apparatus (ISA) which functions to maintain an ideology subservient to the ruling class within its members.[5] Such terminology, however, does not suffice to tell the whole traumatic narrative of how the youth who seek to overthrow the reigning anti-people ideology of the status quo are being silenced in their own homes through repressive means.

When asked about their personal accounts, experiences include having been redtagged, held at gunpoint, disowned by their own family members, verbally abused, and ridiculed. But could parents really go too far by calling the aid of the state against their own children?

Can parents really go too far?

What happened to Irix Romero was not the first time it happened. In 2019, a year before the implementation of the Anti-Terrorism Law, Alicia “AJ” Lucena, a full-time activist, ran away from home after a series of abuse and harassment from her own parents for joining Anakbayan, and was once mistakenly reported ‘missing’. click here to continue reading 39

ASSIMILATION by: Ludwig Bables Original Artwork by: Mika de Castro

In an adrenaline rush, you pulled me out of the shade---into the flowing angry mass.

I took refuge under someone’s payong. The sun mercilessly burning.

There it is: the resonance. A piercing chant envelops what is already a busy boulevard.

I still have a lot to learn. I marched not knowing the tugon.

The burning flags sting the nostrils. As pungent as the plunderers of all things Philippine.

I see nothing but red, and with it the death of debt.

There is no room for fear. Only a heart of righteous indignation.

I witness calloused hands taking hold: shaping history and its narration.

This is a century-old resistance against the powers that be.

Yet a new fight for a neophyte like me.

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The Mythos of Filipino Resiliency by: Institute for Nationalist Studies

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Media Representation of Resiliency n the private-led campaign video entitled, “Ingat Angat Tayong Lahat,� that was conceptualized to restore the economy, particularly on consumerism, it asserted that Filipinos can only recover from concerted crises if we are willing to confront the fear, doubt, and uncertainty of what lies ahead. Sponsored by the Department of Tourism along with notorious monopoly capitalists, the worn-out concept of resilience is highlighted among competing markets, where economic distress and lack of resources are just inevitable phases, given our state of livelihood. The misleading content that the media and government has been disseminating shows how they harness social validation through mindless online chatters, to which false positives equate their overall credibility

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The government has been propagating an exhausting mantra of resiliency as a form of psychological recovery, where instead of developing risk-informed policies and comprehensive disaster management, humanitarian assistance from all walks of life is exploited.

Public Perception Resiliency

of

Filipino

Resiliency is often seen as an important quality to have because it shows how adaptive individuals and communities can be during times of uncertainty. For Filipinos, being resilient is an even more valuable quality to have considering that we live in communities that are very vulnerable to natural disasters (e.g. typhoons, earthquakes, volcanic eruptions, etc.). Furthermore, our society is in the middle of a coronavirus pandemic — an unprecedented event that has been really taking a toll on our physical and mental well-being. Although being resilient definitely helps our people in keeping a positive mindset during these trying times, one might ask: is

my resiliency being reciprocated with proper and effective action from the government? One might also think that the government has learned from decades of destruction brought upon by natural disasters. Unfortunately, as shown by the government’s response (or lack thereof) to these recent disasters, that is not the case.

Romanticizing Filipino Resiliency Romanticizing the Filipino resiliency is a problem because it overshadows the need for a proper and effective response from the government during times that call for it. Furthermore, it can be argued that the government perpetuates the notion of Filipino resiliency as a means to cover up their negligence and incompetence. Paired with the news media using it as one of their favorite angles during typhoon disasters, this notion becomes normalized and therefore, is accepted by the middle class.

The perpetuation of the narrative does not help because it teaches people to be more individualistic in terms of survival, blaming the actions of the poor for not preparing enough, and carrying the mindset that we are on our own during these terrible times.

In his statement not too long ago, President Duterte employs this rhetoric during a speech in Malacañang. In the speech, he says “Kaya natin ito, ilang pahirap na ng panahon… Babangon din tayo, mahirap

pero alam mo naman ang Pilipino, alam niyang tumindig uli…” . This statement was done under the pretext of him creating a task force which focuses on rehabilitation and relief operations on areas that are usually visited by typhoons.

The Flipsides of Filipino Resiliency: Government Negligence In light of the coronavirus pandemic, although it is true that we are going through unprecedented times, it is not justifiable to claim that no one really knows how to respond to it. The pandemic-induced disaster that we are currently facing is the culmination point of the government’s negligence and incompetence.

Instead of providing more funding for public health initiatives, what are they prioritizing? click here continue reading

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ANG DAMGO NG SANTELMO by: Andres V Artwork by: Lloyd Evangelista

Daratnan ngayon ng nagtitimping buwan ang mga Uwak sa kabukiran na kukutkot sa bumbunan ng TinagĂĄng palay. Ito ang magsisilbing batingaw ng Epikong maititipa lamang sa sandali kontra sa dantaong Rimarim mula sa mga naglalaglagang bala at bomba.

Tataglayin nito ang bagong aning kamao at ang ulirat sa Eternal na samyo ng kanayunuan. Saka lilipad ang mga uwak, Pipikit ang mga tala sa kalangitan at magigising ang mga butil!

Aagos pataas ang natuyong dugo sa kaila-ilaliman ng lupa at Titindig ang mga diyos na marunong magalit sa ratrat ng Armalayt. Magpapatuloy ang damgo ng santelmo, ika nila. At Lumipad nga mula sa hukay ang mga buhĂĄy na apoy na sabik Silaban ang edipisyo at kaibuturan ng mga ganid. At sa gabing Iyon ipinagdamot ng kalikasan ang ulan, pinatay ang hagibis, Kinulong sa lagablab ng poot at suklam ang mga halimaw ng bayan.

Ito ang tunay na paglilitis! Mananatili ang gabing ito, ika nila. At Nagtagal nga ang buwan—hanggang ang gabi ay naging araw na rin.

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The Resurgence of Apologetics

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by: Janielle Villamera Original Artwork by: Maja S.

n Ideology and Ideological State Apparatus, Louis Althusser stressed that “man is by nature an ideological animal.”

Every idea becomes a sensual delight, thinking becomes an appetitive need, thus orienting man to be brute, almost insatiable, to reason. To be an ideological animal is to touch beyond the flesh and blood of an idea, to enter into it, possess even, and eventually be controlled by it.

First, the mind, then, the language, lastly, the gesture. How much can an idea devour humanness in a man?

When the mind basks in biases, language becomes demagogic.

Once language only speaks of fervent demands, gestures become violent. The various forms of violence explore the socio-cultural phenomenon of clerico-fascism, particularly how consent is utilized to forward authoritarian interests and defend conservatism through Christian morality and reasoning. Seeing the form of 46

political community in religious societies, the insistent presence of Christianity to different spaces — may it be institutional or digital — has the power to mobilize and structure mass psychology given its repressive power relations.

Further multiplying in social media platforms, specifically Facebook, this likewise intends to see the operations behind growth-based online societies, also known as “open society groups,” some of which are The Right Thomasian and Prager USTe. From perpetrators down to the spectators, the participation of diverse

actors and organizations enable the fascist ideology to organically permeate Internetbased communication, thus widening the political divide. Utilizing the communication opportunities in Facebook, this anticipates to explain not the recent rise of these groups, but the use of a moral standpoint in getting approval and validation to their target audiences.

The modern social practices of Christian values — such as adhering to scriptural authority, dogmatic formulation of truths, and charismatic freedom that guarantees redemption — are beyond lament, as the notion of good and evil are not only accomplished through augmenting the feeling of power, but likewise validated through enforced will. It is a compromise of the intellect and reason to base life on Besides their online fiasco, the issue blind obedience, as it is a malady to prey on here lies in the historical class struggle human willingness for fantasy fulfillment. from weaponizing religion caused by the ruling class. Legitimizing coercion through Insofar as sustaining social domination the use of conscience, sacred adulation, is concerned, the presence of reactionary and Biblical duty to supplement fascist emotional states and imposed prejudices interests in educational institutions are demonstrate the conforming aspect of evident of their resemblance with the State religion. Primarily, it assimilates utopic power at large. In other words, clerico- promises of liberation, when it actually fascist ideology aggressively appropriates is the smokescreen to their vicious claim administrative censorship while practicing of maintaining the status quo. Exploring “conservative” behavior among students the dialectics of class struggle in clericoand faculty members. fascism, the abstract yet universal character of Christianity has been vital to the human Mass Psychology and the Affective affect that is capable of structuring one’s Dimension of Religion hopes and fears to a belief system. Its The influence of holding on to Divine crucial role supposes the social attitudes truth — a belief system that is anchored of conservative religious societies against through emotional responses such as overwhelming internal-external conditions. empathy and sentimentality — makes Aside from driving people away from people prefer the actual truth less. Arguably, knowing actual truth and articulating Christian values are shaped out of human reason, the ruling class found religion to misery. Without a feel for concrete reality be the compensatory refuge for the people and practice, the mere utterance of these they are oppressing, which in this case, is sublime words — God, Logos, faith, among the whole Thomasian community. other things — illustrates that Christianity will remain decadent. click here to continue reading 47

KANSION NI LAKAY INDONG 1

Maaaring Kantahin sa Himig ng Leron Leron Sinta by: R.B. Abiva

Meron, meron Imnas Sa akin ay sumita Dala-dala’y bala, Riple, at batuta At kanyang wika Iyong quarantine pass Dapat mong ilabas Alagad ako ng batas.

Naku po Ginoo Ako po’y patawarin niyo Pagkat hindi ko po Dala ang hanap niyo Pobre akong tao Na ang sumamo Pintig ng aking puso Ako’y padaanin niyo.

Huwag kang mangatwiran Sa panahon ng lockdown _______________________ 1 Ilokano ng awitin

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Kami’y may kapangyarihan Na ikaw ay pigilan Ngunit kung mapilit ka Aba’y nakahanda na Yaong dalawang bunganga Ng aming masinggan.

Naku po’y kaawa-awa Ang lagay naming dukha Kami na umaasa Sa arawang paggawa Sabi tuloy nila Masa’y lebadura Na kung iminasa Pandesal ay umaalsa.

Iyan, iyan Imnas Kung bakit ngayong oras Bulalas ng ating tiyan Wala tayong bigas

Likas bang minamalas Gaya natin sa Pinas Na kung ‘di ka malakas Ikaw ay mauutas.

Oh mahal kong ama Hatid nitong corona Isang paalala Buklurin ating lakas Nang sa isang bigwas

Ang talipandas Gutayin kanyang timyas Patayin kanyang katas.

7 ng Abril 2020 Bayan ng Magbubukid

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Not an F4 Thing by: Ray Mark Espiritu Original Artwork by: Georgette Honora

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t is the year 2003. The bell rings.

You pack your things as you immediately leave school. You find yourself catching your breath as you rush back home. You turn on the television. Alas, Meteor Garden is on. Your mom prepares you a snack to go with your daydreaming as you aggressively stare at that small black box. The putok is your go-to munchie as it goes perfectly with your amoy araw scent. That ice-cold orange juice drips through the glass just like how you bathe over your own sweat after sprinting from school.

In that moment, you forget how stressful and/or boring school is because you are watching high school students in a university. You focus on who the lead girl will choose as her significant other while also cherrypicking your own ideal man. Your emotions build as the suspense of the show also builds, and you stress over the characters’ spontaneity and stupidity over their homework and school projects.

This was your after-class session.

Either you subconsciously incorporated your childhood snacks to certain attractive men, or maybe it was a sudden head-scratch

because Thailand is remaking the show and nostalgia pays you a visit and whispers in your ear about how simple life was back then. Either way, the memory lingers. You think back on how you furbished the walls of your room with their posters. How you collected notebooks and stickers with their faces on it. How you told yourself that you were going to marry one, if not all, of them one day.

Let me indulge you with the truth.

The notorious Flower 4 (F4), who is unsurprisingly composed of wealthy men, has monopoly over who will and should suffer next; it goes to show how wealth brings forth authority over the weak. They carry with them red cards—a status symbol, a sign of power—which when given to someone, expect the receiver’s misery. A declaration of war is what that red card signifies. Of course, you thought they were cool; we all did. Having the influence, via a small card, to summon pawns to serve and protect the ruling class is, if not every budding dictator, a good sum of the majority’s (who enjoys the ideology of liberation through authority) dream.

It is all fun and games until that red card of doom lies right in front of you.

When a person receives the card, it’s 51

over for them. The blind supporters of the group will then castigate whoever the target is. I can’t help but wonder how significant that specific narrative is in our society now?

Guised as what seems to be a petty comment or a weak clapback, a number of red-tagging happens here and there, on whatever platform is available. The crowd’s hyper-fixation to berate the innocent just because a disreputable cluster of four rich men told them to do so mirrors the present day in which the general public eyes the opposing dissenters as an extension of their idolatry to their political heroes, who in their mind, can do no wrong. Since when did criticizing public servants because of their inutility become a mortal sin?

Now that the infamous red notice paid me a visit, through Facebook’s comment section and inbox, I no longer see all these terrorizations as something far-fetched. It was more than just being labeled and way more than mere bullying; they are outright threats endangering both my life and my family’s. It was that time when someone asked me where I live, as if she was, for all the reasons I could think of, marking my location.

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me just because of my disposition on a political structure. I never downplayed the seriousness of being red-tagged but in that instant, I knew I was up against the horrors of being on the receiving end.

Should I be worried about the eggs that will be thrown at me as I lower my guard just for a second?

Should I prepare for the inevitable public humiliation I am about to embark on? If those are all I need to worry about, then no. In the fictional world where everything is possible, that kind of castigation—not to invalidate the harm and trauma it does—is child’s play compared to what our activists go through each passing day. But to deny that I was terrified is to deny the gravity of being red-tagged. Even so, I did not cower in terror.

Going back to Meteor Garden, one character willfully defies the F4. She stood her ground against their vanity and stubbornness. She remained unfazed despite all the continuous aggression against her.

No, she did not direct her anger to the students who followed orders then bullied and harassed her; she directly stood in front of the people, the very root cause, behind her

sufferings. Heck, she even managed to punch the group’s leader during a confrontation. In retrospect, her defiance positioned her at the group’s center of attention and attraction.

Eventually, she even gained their respect and she, unlike many of the readers, ended up with one of them.

The show did define a generation.

It fueled the macho system that many young men enjoy. But we should direct our energy more on how fierce of a queen the lead is; on how she single handedly broke the group’s corrupted egocentric values. It’s about time we release our inner Shān Cài.

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KARTONG PLAKARD by: Joshua Mari Lumbera Artwork by: Lloyd Evangelista

Sa buhol-buhol na eskinita Lumampaso ang magaang yabag Ng isang hinahabol ng patrolya, Umaatungal ang pula at asul sa mukha ng gabi Hinahanap ang anino ng binatang tibรกk.

Nilatayan sa kislap ng isang putok Ang nambubulag na dilim At nahagilap ang hinahanap.

Nagkatipon muli ang mga kuliglig at kulisap Sa patay-sinding poste Maski ang buwan ay nagkubli sa ulap Sa takot na maging saksi Tatlo pang putok.

Tumambad ang lantang katawan Bitbit ang kartong plakard, Nakasulat ang panawagan sa ayuda Isang mulat na naman ang pinapikit ng gatilyo.

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Ang Pandemya ng Neoliberalismo, Kapitalismo, at Pasismo ng Gobyerno by: Institute for Nationalist Studies Artwork by: @manshaade Pandemya, Neoliberalismo at ang at marami pang mga kalunos-lunos na Krisis ng Sistemang Kapitalismo sitwasyon ng mga ordinaryong pamilyang Pilipino. a gitna ng pandemya dulot ng Coronavirus Disease 2019 Sa gitna ng mga kalagayang ito, (COVID-19), kinahaharap ng ay nagiging lantad ang kabulukan ng mamamayan ang mas matindi at isang sistemang “normal” sa matagal na doble pasakit na kahirapan. Milyun-milyong panahon. Mula sa “business as usual” mga manggagawa ang nawalan ng hanap- ng mga pagawaang isinasangkalan ang buhay¹, mga negosyong nagsara², mga siguridad ng mga manggawa, hangganga indibidwal na stranded sa malalayong sa “business as usual” na kurapsyon, lugar, pagtigil at pagkaantala ng mga klase, kainutilan, at pasismo ng gobyerno. Habang patuloy na nasasadlak sa kahirapan ang matagal nang mahihirap na mga Pilipino, kasabay ng pangamba sa kalusugan at siguridad, niratsada ng gobyerno ang pagsasabatas ng Anti-Terrorism Law noong Hulyo³, nagpapaptuloy ang pagprotekta sa mga kaalyado at kapritso ng mga nasa kapangyarihan at pilit na ibinabaling ang atensyon ng mamamayan mula sa korapsyon

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at nakawan sa burukrasya tungo sa mga programang palamuti sa mata ngunit nakabubutas sa bulsa ng kaban ng bayan.

lamang ito sapagkat sila ang may hawak sa mga pinakamalalaking negosyo sa mundo gaya ni Elon Musk (may-ari ng Tesla) at Jeff Bezos (ang kasalukuyang Sa umiiral sistema sa ilalim ng mga pinakamayamang-tao sa buong mundo at neoliberal na mga patakarang pangang nagmamay-ari ng Amazon). Lagapak ekonomiya, bukang-bibig ng Pangulo ang pangkabuuhang ekonomiya ng mga at ng kaniyang mga alipores na wala di bansa sa mundo, samantalang ang mga umanong pondo ang pamahalaan para malalaking kumpanya ay nananatiling sa kalusugan, ayuda sa mga mahihirap nakatayo at malakas dahil sa suporta ng at malilit na negosyo, wage subsidy para kani-kanilang mga gobyerno. Ito’y dulot sa mga nawalan ng hanapbuhay, at ligtas ng neoliberal na mga patakarang itinutulak na balik eskwela ng mga kabataan. Sa ang pagpaparaya ng estado sa dikta ng mga patakarang neoliberal, tuloy-tuloy merkadong pinapaandar naman ng iilang ang pagbabawas ang mga pondo sa mga kapitalistang may monopolyo sa kalakaran batayang serbisyo gaya ng kalusugan, at produksyon ng mundo. edukasyon, at pabahay, at tuluyang pagsasapribado ang mga ito. Sa pagbungad Imbis na tugunan ng estado ang kanyang pa lamang ng pandemya ay dama agad ang konstitusyonal na mandatong tumugon sa pagkabigo ng neoliberalismo at sistemang panawagan ng mamamayan, nalalantad pagdaigdigang kapitalismo. Patuloy na ang katangian nito bilang institusyonal bumibigay ang sistemang pangkalusugan na kasangkapan ng naghaharing mga ng bansa — puno ang mga ospital, kulang monopolyo kapitalista’t mga alyado nilang ang mga healthcare worker, kulang ang isinasalba’t nagpapakasasa pa nga sa mga gamot at kagamitan. Pasan ng yaman sa gitna ng krisis. Saksi ang mamamayan ang kahirapang dulot ng isang Estados Unidos dito dahil nakapagtala sila sistemang hindi kailanman naging para sa ng mahigit kumulang 6 na milyon kataong mahihirap — ang sistemang neoliberal at nahawa ng COVID-19, at halos 200 libo pandaigdigang kapitalismo. na ang namamatay. Dagdag-pasakit ang kanilang pampribadong oryentasyon ng “The richest got $37 billion richer during mga programang pangkalusugan.

COVID-19, while millions lost their jobs”, ani ng isang article sa Yahoo! Finance Canada. click here to continue reading Ayon naman sa report ng Business Insider ay nasa $845 billion naman ang itinaas ng yaman ng mga bilyonaryo sa Estados Unidos. Kung susuriin ay mukhang normal 57

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SINONG MAKAPAGSASABI by: Joshua Mari Lumbera Artwork by: Lloyd Evangelista

Dinakip nila ang mga guro, manunulat at makata sa aming paaralan nang malamang subersibo ang kinakahig sa pisara.

May nakapagsabing kay rahas na ipinakain ang mga pahina ng peryodiko’t libro sa nangangatal na bibig.

Hanggang sa malagutan ng hininga ang lahat ng binusalan.

May nakapagsabing inilibing ang mga pinaghinalaan sa lumang sakahan sa Laguna dumating ang panahon, tumubo ang isang tangkay, naglaon ay naging puno.

May nakapagsabing bumubulong ang mga dahon ng puno sa lahat ng ibong dumadapo, laging tumutula sa hangin ng katotohanan tungkol sa nangyari.

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