Kapwa: The Filipino Magazine ISSUE #1 | June 2023

Issue #1 | Philippine Independence Day & Pride Month

1

Photo Credit: Marie Tablizo-Manalo

2

KAPWA: The Filipino Magazine

Credits LIGAYA CABALLES Editor-in-Chief

FRANCES MICHELLE CANNON Managing Editor

TOPHER ORIEL Art Director

EDITORS & SENIOR EDITORS Mia Balingit Eco Bautista Earl Briones Ligaya Caballes Frances Michelle Cannon Sarah Caro Moore Fernandez Mike Legaspi Sophia Lim Crystalyn Malbas Kim Matias Kharina Miramontes Jessa Naranjo Ethel Navales Chase Nick Des Ong Celleste Orque Dhanika Pineda Marc Harry Panesa Isa Pineda

COPY EDITORS Jo Aquino Amyliza De Jesus Shilyn Montgomery Mal Matson Jessa Naranjo Jenna Pascual Phoebe Pineda Abby Romano Roselle Tenefrancia Jessica Matheson Thomas

SENIOR COPY EDITORS Daisy Patiag Regie Marie Plana-Alcuaz

SOCIAL MEDIA Abby Romano

CONTRIBUTORS

PHOTOGRAPHERS

Rina Alzas Francesca de los Angeles Ashley Bacus Eco Bautista Earl Briones Ligaya Caballes Katrina Cabaltera Louvyl Mae Canda Frances Michelle Canon Blu Caoili Sarah Caro Rhicka-Joyce Crudo Robyn S. Caylor Kristen Cuaresma Eden C.L. Kathleen Damian Kristen Dominguez Michelle Dressler Muirgheal Forro Cat Prospero Johnson Owen Layugan Lynn Lazaro Mike Legaspi Jobelle de Leon Alannah Nicole de Leon-Estrada Nikki Lizares Nahia Lloren Trixie Lopez Crystalyn Malbas Kim Matias Mal Matson Vania Rabago McAllister Kharina Miramontes Ethel Navales Kalib Namwaran Jessa Naranjo Des Ong Marc Harry Panesa Danika Pineda Isa Pineda Alicia Ricafrente Abby Romano Lori Sal-long Drea Sandoval Nathalie de los Santos Erika Soliven

Francesa de los Angeles Theresa Arocena Ligaya Caballes Drea Castro Ben Macapugay Marie Tablizo-Manalo Sthanlee B. Mirador Mike Reza JKapture Studios Jonas Sung Marion York

ILLUSTRATORS Mia Balingit Marcello B.F. Burdis Hanna Casia Christopher Cruz Angela V. DelosReyes Sambong Mayari Hepas Kiara Lime Mielstrom Zyndi Dyan Namuhmuh Erwin Ong Jenielle Salarda Kian Joshua Sedghinasab Alyssa Solitario Renato Varquez Olivia Vera AnaRose de Vera Caralie M. Wegeng Caroline Wood

GRAPHIC DESIGNERS Marielle Atanacio Czeric Eliza Bennett Lizelle Ramores Din Laina Ilapit Zyndi Dyan Namuhmuh Topher Oriel Megan C. Smith AnaRose de Vera Caralie M. Wegeng

RESEARCHERS Francesa de los Angeles Jen Laforteza Mal Matson Julliana “Yanni” Santos

Issue #1 | Philippine Independence Day & Pride Month

3

in this issue

Conversations with Filipino Animator, Bobby Pontillas Page 8

Ano ka ba? Bisexuality in Global Filipino Culture Page 92

Beauty Standards Perpetuated Through a Colonial Lens Page 50

The Road to Independence Page 102

who’s On the cover?

Model: Maurelle Bagus Fashion Instagram: @wthmaurellewears Crafts Instagram: @wthmaurellemakes Photographer: Jonas Sung Instagram:@jonas.sung Bracelet/Headdress: Marharlika Website: marharlika.com Instagram/Tiktok: @marharlika

4

KAPWA: The Filipino Magazine

Also in this issue Entertainment Entertainment & Events & Events 14 Merkado Kultura 18 Filipino American Flavor in the Creative Community Panel Coverage 19 Four San Diego Arnis Clubs Host the 2nd Annual Honoring the Legends of FMA Tournament 22 Artist Spotlight: Drea Castro 25 NYC Philippine Independence Day Parade Photo Spread 28 Saturdays & Sundays are a Drag Brunch Featured Stories 30 Rewind: Diaspora Narratives From the VHS Era 34 Reconnecting Roots: Stories from Filipino Adoptee’s 38 Q&A With Artist April Werle 42 An Ode to the Sun 46 Modern Filipino Courtship for Sapphics Beauty & Fashion 58 Dress to Impress: Uncovering PreColonial Visayan Formal Wear 60 Breaking Down Barriers: The Role of Social Media in Liberating Filipinos in the LGBTQIA+ Community

kapwamagazine.com

Food & Drink 64 Letter From the Food Team 66 An Icon Born of an Icon: How Nina Daza Puyat Upholds Her Mother’s Culinary Legacy 70 From Vinegar to Paksiw: A Look at Pre-Colonial Philippine Food Preservation 74 Notes on the International Aisle Health & Wellness 76 Ninunong Gamot 80 Music is Healing: Wisdom From Music and Sound Healers Around the World 82 Health at Every Size 86 Pinxy Pride, Prejudice & Persistence 88 Sikolohiyang Pilipino - The Quiet Protest History & Culture 95 Looking at Philippine History with a Decolonized Lens 98 Yes I’m Queer, and I Don’t Know How I Feel About the Word “Bakla” 100 Celebrating Philippines Independence Day in the Diaspora

Language Learning 108 Suyat! A Get-to-Know Me Guide to Our Native Writing Systems 112 Good Morning Kapwa!

116 Preserving Filipino Language Spirituality & Folklore 118 A Tale of Love, Destruction and Beauty: Exploring the Mythology of Mt. Mayon and the Magayon Festival 123 Maria Bolaños Reclaims Filipino Folklore and Mythology in Her Poetry Collection SANA Nature & Environment 128 Reclaiming Bahay Kubo with Native Plants Poetry 130 Nanny with a PR Status 131 Welcome to America 132 Teka Muna 133 self-worth JOY-rney 134 Returning Home Coloring Pages 136 Portrait of a Victorious Lapu-Lapu 137 Map of the Philippines 138 Portrait of José Rizal

Political & Social Issues 106 Are We Really Independent?

@kapwa.magazine

@kapwamagazine

Words from the model This photo is the result of an incredible collaboration, and I’ll admit I can’t take all the credit! When Mar Velicaria and Jonas Sung reached out to me for a Marharlika product photoshoot, I felt truly honored.

Knowing them personally and being a long-time fan of their work, I was thrilled to be part of this project.

As a photographer myself, I’m no stranger to photography, but being in front of the camera has always been a struggle for me.

Growing up as a plus-size individual, I have continuously grappled with discomfort

in my own body, as societal expectations would have it. So, when it came to the shoot, I knew the provided clothing wouldn’t fit me (we had some fantastic Ternos!). Expecting this, I brought along a Malong from my time with Parangal Dance Company. It added a delightful touch and showcased the diverse mix of cultures in the Philippines beyond just Spanish influences.

take immense pride in being “bigger” and inspiring other curvy Filipinos to break free from society’s narrow standards.

So, you can imagine my excitement to be featured in Kapwa Magazine. It’s an incredible platform that celebrates Filipino diversity and reminds us that the Filipino experience is multifaceted, demonstrating that our unique differences can, in fact, fortify our collective strength.”

I’ve always loved Filipino folk dance, and have thrown myself into it since high school! Over the years, I’ve learned to

Issue #1 | Philippine Independence Day & Pride Month

5

Letter from the Editor

6

KAPWA: The Filipino Magazine

June is an eventful month. It is when we celebrate Philippine Independence Day, a time of remembering the history that led us to where we are today, but also raising the question of whether we are truly free or not. It is also Pride Month, celebrating and honoring the LGBTQIA+ community.

As we release the inaugural issue of Kapwa Magazine in this celebratory month, I can’t help but think of how important it is that a magazine like this has come together for our community. As Filipinos, whether in the Philippines or in the diaspora, while we all have a sense of strong pride of being Filipino, there is sometimes a desperate longing of knowing who we are and of feeling a connection to our people. There are many bits and pieces of what makes us Filipino. But with hundreds of different ethnic groups and languages, a question arises, what exactly makes us Filipino? Is it our food? Shared colonial history? Is it the shared identity of calling what is now known as the Philippines as our ancestral home?

In recent weeks, the question of whether someone is “truly Filipino” has come about that has further caused a divide between Filipinos in the Philippines and those in the diaspora. Comments such as “you are a foreigner” or “you are not Filipino” have been said to Filipinos in the diaspora, many of whom are children or grandchildren of immigrants. This rhetoric that because they were not raised in the Philippines, they are not seen as “truly Filipino”, goes against one of the key cultural and spiritual concepts amongst Filipinos: Kapwa.

The term kapwa is commonly defined as “shared identity” or “shared space”. It is an indigenous concept in Filipino Psychology in which we are all connected, singular threads that are woven together to create an intricate tapestry, one that unites one of us with the other. Together, as the single threads are brought together, it shapes the motifs and symbols that speak of the stories and history of our people. Kapwa is not separating us from another, it is the connection that you and I are connected in this space, regardless of boundaries.

This is why I choose to name the magazine, Kapwa Magazine or Kapwa: The Filipino Magazine, whichever name calls to you. Because we are kapwa, we share this connection to one another. A singular thread in that woven masterpiece has a story that needs to be heard and shared. Because as kapwa, we should not be divided or seen as “other”. We are one, our struggles shared, our passions shared, our love for our people and inang bayan shared. We are kapwa.

As you read through the articles in this first issue, I hope you will read them and keep this core indigenous value in mind. From the experiences of Filipino adoptee’s and their journey of reconnecting with their heritage, to conversations with Filipino animator, Bobby Pontillas, and of bringing more Filipino representation in media. From learning about the pre-colonial clothing in the Bisayas to looking into music, especially traditional music, as a way of sound healing.

May Kapwa Magazine bring you the stories of our people, in all our diversity. May it enrich and share our struggles, our history, cultures, languages, and love for one another and of the Philippines to you, your family, and your friends.

Ligaya Caballes aka The Pinay Writer Editor-in-Chief

Issue #1 | Philippine Independence Day & Pride Month

7

entertainment & events

Conversations with Filipino Animator, Bobby Pontillas Written by Ethel Navales Photography by Drea Castro Illustrations Courtesy of Bobby Pontillas In 1999, as Bobby Pontillas sat in a movie theater watching Disney’s “Tarzan,” everything changed.

According to Pontillas, that was the moment he decided to dedicate his life to becoming an animator.

Eventually, he would achieve that dream and work on films like Disney’s “Tangled” and “Frozen.”

But that’s not all! Last month, we were graced with news of a new muppet on Sesame Street, the second Asian-American muppet, TJ! Not only is TJ the second Asian-American muppet, but he’s also the first Filipino muppet on the popular children’s show. Pontillas is the man behind the design of TJ, who will be an inspiration to young Filipino kids everywhere. The Kapwa team sat down with Bobby in a studio at Hollywood Production Center in Glendale, CA to interview him and his inspirations behind his work.

8

KAPWA: The Filipino Magazine

Issue #1 | Philippine Independence Day & Pride Month

9

Let’s start at the beginning. When did you first pick up an interest in art?

Q:

BP: I’ve been drawing ever since I was 3 years old. I grew up as an only child and I spent a lot of time by myself. I spent that time drawing and being creative. I drew everything from the Ninja Turtles to HeMan. It gave me an outlet for creativity, even at a young age. A lot of kids were playing sports or playing the piano, and I just spent my time drawing.

BP: The biggest challenge that I had was getting into the space. It’s an artistic vocation, so there’s a lot of rejection.

There are a lot of trials and tribulations.

You’re going to face a lot of no’s. You’re going to face a lot of turmoil with relatives. People will say, “You want to be an artist? How is that even going to work out?” And traditionally, there’s a lot of pushback on that. Luckily, my mom was really supportive on that front. My mom was in the U.S. Navy, and I told her I had seen the life that [she] had lived, and it was very stable and secure. I wanted the same thing. And she said, “You better not do that. You can draw. You should do something with that.” She was a really huge supporter in that sense. She signed me up for art school. She was the one that kind of pushed me forward when I was in high school. As a teenager, all you want to do is go clubbing and spend time with your friends, but she pushed me in that direction and encouraged me to pursue the art path.

Q:

How would you describe your art style?

Q:

BP: I think my art style is based on the things that I was interested in as a kid — the cartoons and movies I grew up loving.

And [there’s] a little bit of my family too.

The people that are in your life kind of naturally come into the art that you do.

If you draw a character, you’re like, “This reminds me of my uncle or my auntie when I go back to the Philippines.”

10

KAPWA: The Filipino Magazine

What were some of your biggest challenges in pursuing your dream?

Q:

What inspired you?

BP: When I was coming out of art school, Disney Animation was the thing I set my sights on. I was a slacker during high school. But when I got into art school, it gave me a purpose in life. Once I found animation, I was like, “Okay. That’s exactly what I want to do with my life.” It just kind of changed my whole trajectory. I went after it 100%. My dream was to become a Disney animator.

How did you feel when Sesame Street first approached you for this project?

Q:

BP: It was amazing! At that point, there was already a Korean American muppet [named] Ji-Young who had been introduced into the Sesame Street family and the Asian American community was lit up by it. They were so proud and I was so proud as well. Rosemary Palacios, the director of talent outreach, inclusion and content development for Sesame Street, reached out to me and said, “We’re planning [on making] a Filipino muppet.

TJ, the first Filipino muppet in Sesame Street, was designed by animator Bobby Pontillas and debuted in May 2023

Do you want to be a part of it?” And I said, “Let me think about that – YES! Oh my god.

Are you serious? Is this really happening?”

I kind of lost my mind. I couldn’t believe they were actually going in that direction.

I knew this was going to mean so much to Filipinos. So they introduced me to Creative Director Louis Mitchell. What’s cool about him is the first time I met with him, he didn’t say, “We want to do this, this and this.” Instead, he asked, “What do you feel a Filipino kid is like? I want to make this authentic. What are the qualities — physically and personality-wise — that makes someone feel Filipino?” And he was so open. He wanted to know. He wanted to learn. I told him, “First of all, the kid needs to be dark. He needs to be mocha-skinned like me. Also, he has to have a Filipino nose.” They were very receptive to it. It’s such a simple design, but people could be like, “Oh, that looks like me!” or “That’s my nose. That’s my skin tone. That’s my hair.” And even more than that, I like TJ’s [struggle with] confidence.

Kal Penn asks him, “TJ, what makes you confident?” He says, “Well, I’m learning Tagalog.” What that represents to me is a Filipino American kid’s experience. [As kids] we don’t have a ton of confidence because we’re kind of caught in the middle between not being Filipino enough and not being American enough. There’s a little bit of insecurity there. So the fact that he’s

trying to learn Tagalog is wonderful. I can relate to that so much. I think that speaks to the Filipino American experience.

Q:

What was your inspiration for TJ?

BP: I tried to pull from the people I know and the friends I love. Everyone around me has kids now, and I just kind of turned to what their kids’ personalities were. There are two specific friends that I went to high school with and they both have sons. So, I looked at Max and Mateo’s demeanor, features and personality. I took inspiration from that because, hopefully, it would resonate with kids now.

How would you describe TJ? What happens to him during his episode?

Q:

BP: I think that TJ is trying to find his way in the world. He’s wrestling with two cultures and I love that because you have to wrestle with that. That’s something [many of us have] been through and I don’t look at it as a negative. He grew up on Sesame Street, which I assume is like a fantasy New York or New Jersey, but his family is from the Philippines. And you don’t even have to be Filipino to understand that.

You can be Irish American or Mexican American and kind of feel that same way.

Maybe they grew up in the U.S., but they don’t necessarily know a lot about their heritage or their home country. TJ’s trying to connect with his culture, and hopefully, that can encourage kids to do the same.

Why do you think it’s so important for young Filipinos to see themselves represented in the media?

Q:

BP: I took a trip to the Philippines in September and I loved going into the small villages where my family’s from. I used to take walks every morning and I would just see hundreds of Filipino kids living a humble life. They were incredibly happy, but I wrestled with what I saw. I realized I just want them to be represented. I want them to be proud of who they are and see themselves on the TV screen. I want to tell them, “You can do the same thing one day.” If they see somebody in the media representing them in popular culture, then they can know that they can do it too. I just want to help provide a platform for them to see themselves. I think that’s my life mission now. I keep remembering those kids and I want to tell them, “You guys can do anything you want to do.” (cont.)

Issue #1 | Philippine Independence Day & Pride Month

11

12

KAPWA: The Filipino Magazine

What are some of the other memorable projects you’ve worked on?

Q:

BP: I’ve been fortunate to work at Disney Animation on things I’m very proud to be a part of like “Wreck-It Ralph,” “Frozen,” “Moana” and “Tangled.” The next phase is putting more Asian and Asian American stories on the map, especially Filipino stories.

We’re coming up now! It’s nice to wake up in the morning and try to make that dream a reality. It’s not even about me. It’s all about helping to build up our community.

Q:

What would be a dream project for you?

BP: Creating, directing and writing an animated film or animated TV series inspired by Filipino culture.

What can we look forward to from you in the future?

Q:

BP: “Mayari” is a project that I developed in my spare time as I was digging into babaylan1 culture and folklore. It’s trying to show Filipino folklore in a way that’s

palatable to Hollywood, so that’s a project I’m pitching around as an animated series.

I believe in it. And I think it’ll be really cool to not only have Filipino representation but also Pinay representation, which means I need to partner with a female writer. They’re underrepresented, so I think it would be pretty cool, and I’d want to see that show.

What tips and advice do you have to for other Filipinos who want to break into the industry as an artist?

Q:

BP: Beyond honing your craft and the technical stuff like writing and drawing, finding your voice is a huge thing. Don’t try to make “Frozen” part three or four or nine. Bring your own stories to the table.

Bring the stories you grew up with and lean into who you are as a person. Show the experiences that you had and lean into your culture. It’ll mean more to you once you tell your personal stories and incorporate your lola, your mom, your uncle, your kuyas and your ates. Studios will pay attention because it’s different and it’s very personal.

What do you hope to see as more Filipino creatives enter the entertainment industry?

And how can we share and celebrate our culture through this work?

Q:

BP: Someone once said this: Once we get more Filipino Americans behind the scenes in executive roles and as the people that are green-lighting [decisions], then that’s when you’re going to see a big difference. You always have creatives like me that are trying to put that stuff out there, but now all these Filipino American creatives are coming together. Once we come together, we can’t be stopped. I think that’s ultimately what it’s going to come down to — having the power to make those decisions. Other than that, I would just encourage every Filipino creative to just keep digging into their personal lives, putting themselves on screen and being vulnerable. You have to get to a point where it almost feels embarrassing, but that’s where the good stuff comes up.

Connect with Bobby on Instagram: @bobbypontillas

[1]: The term babaylan is a Bisayan word for the old pre-colonial priestesses and priests who served their community and acted as the mediator between them and the spirit world.

Issue #1 | Philippine Independence Day & Pride Month

13

The Philippine flags outside the Philippine General Consulate Building in San Francisco, California where Merkado Kultura was held

Merkado Kultura

Igniting the Filipino Spirit and Culture at the Heart of AAPI Heritage Month Written by Kathleen Damian Photography by JKapture Studios

“Filipinos have so much to offer — we have such a rich heritage, we have bold flavors, we have so many Indigenous materials, and there is so much talent that needs to be highlighted.”

- Merkado Kultura Organizers

14

KAPWA: The Filipino Magazine

Merkado Kultura, the curated makers market featuring Filipino and Filipino American small businesses, returned triumphantly for its second pop-up event at the prestigious Kalayaan Hall of the Philippine Consulate General Building in San Francisco, California. From May 5 to May 7, 2023, the vibrant event showcased a captivating fusion of Filipino culture, artistry and flavors, welcoming in attendees from 11 a.m. to 5 p.m. daily. Best of all, admission was free.

In partnership with the DPhilippine Trade Investment Center in Silicon Valley and Philippine Consulate General in San Francisco, the event was curated by Lu France Interiors, ShipIt, 1Export, Filiflavors and Pili & Blu.

“We would really like for Filipino culture, food and crafts to be ‘seen’ more, and what I mean by that is to really showcase [items] beyond stereotypical products we [currently] see in markets,” expressed the organizers of Merkado Kultura when asked about their vision for the event.

“Filipinos have so much to offer — we have such a rich heritage, we have bold flavors, we have so many indigenous materials, and there is so much talent that needs to be highlighted. What we want attendees to take away is that Filipinomade products are world class. We want Filipinos to be proud of items made by Filipinos. It is time for us to shine light on what is ours, in order for other cultures to start recognizing and appreciating it.”

Merkado Kultura featured an amazing lineup of 26 unique vendors, including Angkan, ANTHILL, bago, Barong Barkada, Chunky Butt Ice Cream, Filiflavors, Gaenz, Hara, Hulma, Kokak Chocolates, Kubo California, La Kalidad, Lacson Ravello, Lu France Interiors, Mackbox Desserts, Malingkat, Narra, Narra Studio, Oodaalolly, Pampas.a.y.a., Pili & Blu, RĒJINS, Sarap Now, Sewn Sandals, Studio Zedsie, Style Ana and Ube Galore.

The air in the venue was filled with meaningful conversations between attendees and vendors, accompanied by upbeat music that set an energetic ambiance. The close proximity of vendors allowed for quick connections and networking opportunities, fostering a sense of community.

Community and belonging were recurring themes throughout the event. Merkado Kultura provided a supportive space for both vendors and attendees, fostering mutual pride in celebrating Filipino culture. Being able to speak with each of the 26 vendors revealed heartwarming stories behind their products and the brands they represented. Witnessing the success and positive representation achieved by Merkado Kultura in such a short span since its inception last October — during Filipino American Heritage Month — was truly empowering.

Brandon Comer, the founder of bago, revealed the multifaceted nature of preserving Filipino culture and affirming one’s identity. By addressing these challenges and promoting a more inclusive perspective, he expressed that events like Merkado Kultura play a vital role in

fostering a greater understanding and appreciation for Filipino heritage among both Filipinos and the broader community.

The challenges in preserving Filipino culture and embracing identity were also discussed. Comer shed light on a prevalent mentality among some Filipinos, where they tend to undervalue products originating from the Philippines in comparison to those from Europe.

He emphasized the necessity of a shift in perception, encouraging people to recognize and appreciate the value of Filipino-made products.

Furthermore, Comer addressed the duality faced by Filipino Americans in navigating their identity. Many individuals find themselves grappling with the question of whether they are “Filipino enough” or “American enough.” This internal struggle highlights the complexity of identity and the importance of acknowledging and embracing both aspects. Comer stressed the significance of going beyond surfacelevel knowledge and actively sharing deeper insights into Filipino culture. (cont.)

L: Various bags made with rattan, pandan and statement earrings displayed from Pili & Blu R: Assorted baked goods from La Kalidad, including ube custard buns and ube pop tarts

L: Colorful artisanal crafts from Hara on display R: Narra Studios founder, Katte Geneta, seen with an array of handwoven Filipino textile items

L-R: Brandon Comer, Founder and Creative Director of bago, Josef Gutierrez and Brandon’s mom

Issue #1 | Philippine Independence Day & Pride Month

15

Jilleo Recio, founder of RĒJINS, shared his motivation for creating his skincare brand. Recio noticed the dominance of skin-lightening promotions in the beauty industry during his time in Singapore, which led him to focus on celebrating and enhancing existing beauty instead.

His products were specifically designed to brighten and even out skin tones without resorting to bleaching. Recio also expressed the importance of representation in the beauty industry, especially for the LGBTQIA+ community.

He took the initiative to create his own skincare line to showcase the richness of Filipino culture and to inspire others to do the same.

Jilleo Recio (L), Founder of RĒJINS

France Malvar, founder of Lu France Interiors, invited others to learn more about Filipino culture that events like Merkado Kultura provide. Malvar highlighted the need for increased visibility of Filipino textiles in Asian art museums, as they often go unrecognized.

Lu France Interiors aims to share timeless pieces with compelling stories, preserving and promoting Filipino culture.

ANTHILL, a brand based in Cebu, Philippines, seeks to keep Philippine weaving traditions alive and support partner communities.

Founded by Anya Lim, ANTHILL represents an alternative approach to business with a strong focus on sustainability and empowering livelihoods. The impact of ANTHILL’s support for communities both in the Philippines and the U.S. was evident and commendable.

France Malvar (L), Founder of Lu France Interiors

Colorful handwoven Filipino textiles from ANTHILL, founded by Anya Lim

16

KAPWA: The Filipino Magazine

Kultura contributes to the preservation and appreciation of Filipino culture on a broader scale. It challenges stereotypes and misconceptions, inviting people to explore the depth and diversity of Filipino craftsmanship, cuisine and traditions.

Congratulations to all the organizers, partners, vendors and everyone involved in the successful execution of Merkado Kultura. The event’s purpose was evident in every detail, from the thoughtful collaboration among organizers to the careful selection of vendors. Attendees flocked to the Kalayaan Hall at the Philippine Consulate General Building, sharing their favorite products and vendors on social media to spread the word.

Makers markets like Merkado Kultura will continue to grow in popularity and visibility, fostering social, economic and cultural impact for Filipino and Filipino-American businesses in the Bay Area and beyond.

Stay updated on future events! merkadokultura.com Instagram: @merkadokultura

Merkado Kultura’s dedication to showcasing Filipino culture and nurturing a vibrant community is an inspiration to all. As more platforms like this emerge, Filipino culture will thrive, and its richness will be celebrated by people from all walks of life. The event has successfully created an avenue for Filipino artists, makers and entrepreneurs to share their talents and stories, reinforcing a sense of pride and belonging within the community.

The event’s significance extends beyond its immediate impact on vendors and attendees. By promoting Filipino-made products and highlighting the cultural heritage of the Philippines, Merkado

Attendees gathered in front of Hulma, a modern jewelry brand founded by Abie and Marianne

Left: The organizers of the of the event who made Merkado Kultura happen (L-R): Bianca Trinidad of Filiflavors and Pili & Blue, France Malvar of Lu France Interiors and Mel Nava of ShipIt and 1Export Photo Credit: Bianca Trinidad Bottom: All smiles from the many vendors of Merkado Kultura Photo Credit: Bianca Trinidad

Pampas stems and arrangements curated by pampas.a.y.a., founded by Kristine Valconcha-Malapitan

Issue #1 | Philippine Independence Day & Pride Month

17

Filipino American Flavor in the Creative Community Panel Written by Alicia Ricafrente

“Psst,” the moderators called out to the crowd. “Stop hanging about outside the door and come inside. There are too many strange characters out there! Plus there might be lumpia after this!”

Technically speaking, there were some strange characters outside, but the people hanging around were mostly cosplayers and the lucky attendees of the 3rd annual Fangaea Con, a pop-culture convention in San Diego, California. Held in April 2023, Fangaea Con gave attendees the chance to see cool costumes, try and escape from the mobile escape room, collect unique items from local artists and even attend the eye-opening panel, “Filipino American Flavor in the Creative Community.”

Imagine attending a convention panel and you see faces that look like you and sound like you. As a Filipino American, it hit differently to see a panel filled with Filipinos who are all doing well in various creative spaces. Moderated by Aaron Nabus, the host of “Hall H Show Podcast,” the panel featured a group of talented Filipino creatives, including Patrick Ballesteros, a freelance illustrator and educator, and Kirin Amiling Macapugay, a cultural educator and the former City Arts & Culture Commissioner. They were also joined by Jay Jay Maniquis, a YouTuber and the co-host of “Out of the Boondocks,” and Susan Empizo Vega, an adult literacy specialist and a former librarian.

One of the topics the panelists focused on was the importance of Filipino American artists and creators being recognized and celebrated. “It’s important to see ourselves, to own it, celebrate it and to encourage each other as fully as you possibly can because no one should feel like an outsider in their own home,” said Macapugay.

Prior to the panel, Macapugay presented at an Asian Pacific Islander Conference with about 1,200 people in attendance.

Many of those attendees voiced that they have always felt like they never belonged.

It seems that feeling like an outsider is not uncommon among Filipino Americans. As the panelists pointed out, some Filipino Americans don’t feel Filipino enough.

Others don’t feel American enough.

Feeling like an outsider can happen at work, with family members, while meeting someone new at a networking event or even at a fun gathering with friends. They also pointed out that it doesn’t matter what career field you’re in. There will always be someone who will make you feel like you’re not enough.

So how do you combat this? In the creative field, how do you find, make and hold space within this environment while maintaining your identity? The panelists emphasized that it’s important to find your people. Find those who are just as passionate about the same things as you are. Find people who

L-R: Panelists Susan Empizo Vega, Jay Jay Maniquis, Kirin Amiling Macapugay, Patrick Ballesteros and Aaron Nabus at the 4th Annual Fangea Con in San Diego, CA | Photo Credit: Men Macapugay

18

KAPWA: The Filipino Magazine

are willing to do the work alongside you and help pull you forward when times get tough. Show up and support one another any way you can. Share what you know and collaborate. The panelists spoke on how important all this was in the creative community. After all, how can we expect to get any kind of representation if we’re busy bringing down our own colleagues instead of lifting them up?

Mental health was another major conversation during the panel. The panelists acknowledged that it is often considered a taboo subject, but something that we need to have more discussions about. Whether you’re a creative in the industry or advocating for a cause in the community, the hustle and grind culture is real — and so is the burn out that comes from it. But why is it so hard for some Filipinos to accept help or to take some time for their own self care? According to the panelists, it’s often because many of us are in survival mode. There are traditional issues like paying the bills and having food on the table, but there are also modern-day problems like maintaining a good image online and needing the latest gadgets in technology. For artists, there is extra pressure to be one step ahead to stay relevant as a creative.

The panelists emphasized the importance of having a safe space where you can be yourself. This space will allow you to share your stories and gifts with everyone who resonates with your style and art form. It can allow us to truly feel seen and heard — something many Filipino Americans are denied in the creative space.

Finally, the panelists discussed how awardwinning films such as “Shang-Chi and the Legend of the Ten Rings” and “Everything Everywhere All at Once” showcase amazing API talent. These films prove there is a market for people of color, and they bring the topic of representation to the forefront of conversations. However, the panelists pointed out that we’re still a long way from truly being seen and accepted for our talents. Luckily, there are plenty of Filipinos, like those who spoke at this panel, who are putting in the work to change that.

Four San Diego Arnis Clubs Host the 2nd Annual Honoring the Legends of FMA Tournament Written and Photographed by Francesca de los Angeles

On a beautiful spring day in Santee, California, more than 150 Filipino Martial Arts (FMA) participants registered for the 2nd annual Honoring the Legends of FMA tournament. Held on April 29, 2023, the tournament was a joint venture between four schools: Pulahan Derobio Eskrima, Inayan Eskrima, Babao Arnis Academy and Siete Pares Eskrima. The highly-anticipated event blended love for the sport with gratitude for the elders that curated and passed down their knowledge.

weapons for FMA and Elhai’s Baked Goods, which specializes in Filipino snacks and desserts. The chocolate crinkles looked absurdly soft and were coated nicely in powdered sugar, while the Filipino-style siumai was perfectly spiced and seemed to be the snack of choice for fighters and kids alike. Orihinal Doce Pares of San Diego was also in attendance with a good setup of weapons including rattan eskrima sticks, colorful latigos and even whips for advanced-level learners.

The building buzzed with excitement. Trucks pulled up to the front unloading gear. The air was filled with the clacking of rattan and leather and the loud clink of metal snapping into place. It was only 7 a.m. and the location was already bursting, bracing for action.

Of course, what attracted everyone’s eye were the three marked rings surrounded by bleacher-style seating. The morning saw challengers in different categories for single stick, double stick and knife in three different weight classes for women. Children’s competitions were divided into age groups: 5-7, 8-10, 11-13 and 14-17. A separate room hosted competitions that were open to any black belt competitor for cash prizes. It was the only division that had an option for sayaw or forms.

Upon entering the sliding doors of the venue, Sonrise Church, attendees were immediately greeted by a sea of tart red T-shirts with this year’s tournament design emblazoned on the front and back. They were also greeted by a number of vendors, including Bunal Brand, a grassroots company that develops training

Story continues on next page

Photographed above: Siete Paraes Texas vs. Los Angeles Doce Pares

Issue #1 | Philippine Independence Day & Pride Month

19

Many eskrimadors are used to the World Eskrima Kali Arnis Federation (WEKAF) rules, but the tournament organizers made some adjustments. As the primary weapons are padded sticks and knives, the following rules were adopted: 1.

2.

3.

No WEKAF helmets. The helmets are made to withstand blunt force hits to the head and have a metal grill, which ends up breaking non-“live” or rattan sticks. Fencing helmets seemed to be the helmet of choice as well as MMA helmets with plastic guards.

White long sleeves were required to ensure easy judging for knife strikes.

A five-second flow with four judges and multi-plane scoring were implemented. The scoring system allowed five seconds of contact for point sparring instead of the more common rule of “one hit, one kill” in padded weapon events. It was a pleasant surprise! There were multiple benefits to adopting this type of scoring in a more family-friendly setting. It made it much easier for the judges to pinpoint the hits on each plane of the body, thus making it a fairer way to dispense points. It also allowed the fighters to get into a good flow and show some technique to avoid the dreaded no-points awarded “clashes.”

Finally, it made it much easier to follow for the spectators or the uninitiated.

Just like any other sport, being able to easily understand the rules helps to create a greater community.

At 8:30 a.m they were off. All three rings were full and the clashes started. A good mix of fierce women fighters from FMA School and Siete Pares Texas made for some exciting knife matches. Youth divisions were equally competitive, but overall, the matches were all genial. Each competitor was interested in testing their limits. The following fighters prevailed:

Youth Crowe Barton, Youth Single Stick 5-7 Grayson Roberts, Youth Single Stick 8-10 Raiden Gajo, Youth Single Stick 11-13 Immanuel Giron, Youth Single Stick 14-17

Women’s Single Stick Madeline Gongon, Fly Methuzl Cayson, Feather Angela Phipps, Bantam

Women’s Double Stick Madeline Gongon, Fly Donna Myers, Feather Marita Benigno, Bantam

Women’s Knife Jasmine Doctolero, Fly Marita Benigno, Bantam Before breaking for lunch, attendees had a special address by Consul Francis Maynard S. Maleon. They stated how thrilled they were about the attendance and growth of FMA in the San Diego region and how proud they were to witness such a large amount of community celebrating Filipino culture. Afterwards, there was a moment

L: Bantam knife fight featuring Grand Champion Marita Benigo of FMA School R: Photo of the first men’s lightweight division fight

20

KAPWA: The Filipino Magazine

of silence led by co-organizer, Chief Chaz Siangco, of the Siangco collective.

It was a quick tribute to those who have empowered the community through their teachings and examples.

Picking up at 1 p.m., after lunch, the atmosphere was different. It was tense and crackling with pent-up energy.

Starting off at flyweight, one of the first matches was explosive. It was a match with extremely hard hits across the chest and ended in torn shirts less than three minutes later. The fights were fast and intense from beginning to end.

The middleweight matches went a little more smoothly. The most athletic and younger athletes usually end up here.

Attendees saw a lot of leaping and lunging attacks focused on hits to the sides of the head and arms. There were a few instances of adrenaline getting the better of the competitors culminating in failing to listen to the referees, but these rounds stayed pretty neutral and had no grudge matches.

Bantam had the most action. This is where the most seasoned heavy hitters compete.

All the spectators could hear was the slap of pads as hit after heavy hit came bearing down. Everything from efficient footwork to disqualifications for arguing with referees happened in these two hours. The following competitors triumphed:

Single Stick Jeremy Ringor, Light Riley Silos, Middle Josh Litan, Light Heavy Raffy Villanueva, Heavy

Double Stick Drew Pagaduan, Light Riley Silos, Middle Damian Ymzon, Light Heavy Raffy Villaueva, Heavy

Knife Jeremy Ringor, Light JP Galido, Middle Radix Harris, Heavy Chawan Akkharachotmongkhol, Heavy

At the end of the competition, there was a fun little add-on for all the first and second place competitors. They were allowed to duke it out for the grand champion belts.

This didn’t have as much participation, as most teams had already started tidying up to head out, but this was definitely where everyone had the most fun. The winners are as follows:

Grand Champions Angela Phipps, Women’s Single Stick Madeline Gongon, Women’s Double Stick Marita Benigno, Women’s Knife Riley Silos, Men’s Single Stick Raffy Villanueva, Men’s Double Stick Jeremy Ringor, Men’s Knife

The long but successful tournament picked up so much interest that it’s been rumored to eventually transition into a two-day event in the future.

INTERESTED IN TAKING SOME CLASSES OR FINDING A COMMUNITY NEAR YOU? Below you’ll find the participants of this tournament:

San Diego, CA Babao Arnis Inayan Martial Arts Association (IMAA) Orihinal Doce Pares San Diego De Los Reyes Intrepid Arnis-Eskrima Pulahan-Derobio Eskrima Filipino Kali Academy SD Classic Eskrima FKA San Diego (Filipino Kali Academy) Grandmaster Joe Giron Siete Pares Integrated Fighting Systems (Babao Arnis Academy) Orihinal Doce Pares USA Maxwell Gym- Guru Joe Benedito Ronin Martial Arts Academy

Los Angeles, CA Los Angeles Doce Pares (LADP) Eskrima Combatives Estokada De Mano - Artesia

San Bernardino, CA Esgrimanati

Riverside, CA Filipino Martial Arts School (FMA SCHOOL)

Nevada TaeKaliDo-Las Vegas/Doce Pares

Texas Siete Pares Escrima 777

New York Tersia Serrada Rapilon Kali

Top: Grand Championship match between Riley Silos of LADP (black) and Jeremy Ringor (gray) Bottom: Riley Santos, Grand Champion for Single Stick being congratulated on his first championship win by Guro Norm Malonzo of Inayan Martial Arts.

Issue #1 | Philippine Independence Day & Pride Month

21

Artist Spotlight: Drea Castro Producer, Director, Writer, Photographer Written by Alicia Ricafrente

We couldn’t think of a better way to kick off our first Artist Spotlight than to feature one of our very own Kapwa Pamilya members, Drea Castro! This powerhouse Pinay has made a name for herself in the city of Los Angeles, California, over the past decade — as an actor, a photographer, a writer and a producer. Despite being obsessed with camping, hiking and being out in nature, it is clear that Castro’s real passion is directing through the lens of a Filipino American storyteller.“ My life’s purpose is to give those who don’t necessarily have a voice an opportunity to share their stories

22

KAPWA: The Filipino Magazine

and experiences,” Castro said. “To give a voice to underrepresented people but also to help pave a path for people who look like me.”

But being a voice for the voiceless doesn’t come easy. Despite being a successful creative, Castro has had to deal with many obstacles to get to where she is today.

“There are many challenges when you are making a film or TV series, but here [is] the biggest hurdle: finding your team — the right team. The team that puts themselves aside for the good and progress of the project,” said Castro. “One person can ruin

the productivity and morale of your entire production, so you need to be careful about who you bring into your production circle because essentially, you are married to them.”

Another issue Castro faced was getting enough funding to achieve her goals.

“I want to create films at the level these stories deserve to be told at. To do that requires funds to pay people correctly,” Castro pointed out. “We overcome [this issue] by searching for partners who believe in our work and who see us and the bigger vision.”

Drea’s latest directing project, The Jungle, written by Mariel Gutierrez | Photo Credit: Mike Reza

Castro’s dreams have no boundaries,

Creative.

official

performance by songwriter and rapper

which is evident in the current project she is working on: “The Jungle,” written

by Mariel Gutierrez. “The Jungle” is made for mainstream television and shares the Filipino American experience throughout history. The first season starts in 1970s Manilatown, a Filipino American neighborhood in San Francisco. The series follows the lives of people living close to the International Hotel, with Princess Punzalan, Val Victa, Charlie Reyes and Mattea Gutierrez bringing these experiences to life.

website, FilAm Creative is a non-profit community organization dedicated to the advancement and empowerment of Filipino Americans in media and entertainment. On May 7, 2023, Castro was joined by Jeff Francisco, the FilAm Creative Director of Live Events, and Mark Labella, the Executive Director of FilAmCreative, to host a successful Educational TV Industry Panel on “The Cleaning Lady” at Kumu Studios. The panel consisted of showrunner Miranda Kwok, actresses Martha Millan and Faith Bryant, show writers Celena Cupraiso and Denise Hahn, editor Diva Magpayo and music supervisor Bianca Valencia. The event wouldn’t have been complete without a

Ruby Ibarra, with special guest Klassy also taking the mic.

In addition to her already-full resume, Castro is also the VP of Career and Development programs at FilAm

According

to

their

According to Castro, they only expected 50-80 people to attend. But once the day arrived, the space sold out with over 170 RSVPs. The turnout exceeded their expectations and the audience left with inspiring insight. The event led Castro to reflect on how much she loves working with her FIlAm Creative team. She points out that everyone fully supports and encourages one another. There are no egos in their group, so they are all able to succeed and rise together. (cont.)

Packed room for The Cleaning Lady panel, part of FIlAmCreatives Educational TV Industry Panel | Photo Credit: Sthanlee B. Mirador

Issue #1 | Philippine Independence Day & Pride Month

23

L-R: Mark Labella (FilAmCreative Executive Director), Derek Basco (The Fabulous Filipino Brothers), Drea Castro (FilAmCreative VP of Career and Development Programs), Miranda Kwok (Show Runner - The Cleaning Lady), Jeff Francisco (FilAmCreative Director of Live Events) and Martha Millan (Actress - The Cleaning Lady) Photo Credit: Sthanlee B. Mirador

Castro was also surrounded by a group of supportive and inspiring individuals when she wrote and directed her short film, “Blessed.” Starring Maisie Jones, “Blessed” follows the process of grieving through the eyes of a 7-year-old. The characters also experience the blending of two families and the struggle to find a commonality with one another. The film also stars Ron Christopher Jones, Arianna Basco, Darius Basco and Marylynn Jones.

Despite her busy schedule, Castro still finds time to enjoy the outdoors. As a nature and hiking enthusiast, it is no surprise that Castro’s proudest moment is having her film “Baldy for the Blind” premiere at Dances With Films LA, a widely recognized indie film festival event in Los Angeles, California, at the famous Chinese Theater.

“Baldy for the Blind” is about a group of blind hikers making an attempt to reach the top of one of LA County’s highest mountains, Mount Baldy. Anyone who hears Castro speak about this film knows how near and dear it has been for her to be a part of that journey with that team.

After 13 years, their story will no longer be ignored. Thanks to Castro, that touching story will finally be told to a wider audience.

Drea directing on the set of Blessed | Photo Courtesy of Drea Castro

Baldy for the Blind | Photo Courtesy of Drea Castro

There is no doubt that Castro will continue to make strides and waves as a Filipino creative in the industry. If Castro’s story piques your interest and you would like to see updates on how to see her upcoming films, you can follow her adventures on her Instagram account @iamroamingtheearth and at roamingtheearthpodcast.com.

You may also find her portfolio at littlebeastproductions.com.

24

KAPWA: The Filipino Magazine

NYC Independence Day Parade Coverage Written by Ligaya Caballes Photographed by Ligaya Caballes, Marie Tablizo-Manalo and Marion York

Every year on the first Sunday of June, Madison Ave in New York City comes alive with vibrant colors, rhythmic beats and a display of traditional textiles during the NYC Philippine Independence Day Parade. Running along Madison Ave from 38th-27th Street, hundreds of people gathered to see the parade.

This year is the 125th anniversary of the commemoration of the Philippines Independence and the 33rd annual celebration in NYC. Every year the parade draws in more and more people to join the festivities. Its reputation continues to grow and it has become the largest street parade outside of the Philippines.

Issue #1 | Philippine Independence Day & Pride Month

25

Dancers representing the Sinulog Festival in Cebu, Philippines.

Kinding Sindaw, a local NYC-based non-profit dance theater company run by Indigenous activist and cultural bearer, Potri Ranka Manis, a member of the Meranao community. Kinding Sindaw performs traditional dances and plays from various Indigenous groups in Mindanao.

Representatives from the MassKara Festival, held in Bacolod City, Negros Occidental, Philippines every year in October, dance along Madison Ave entertaining the crowd.

26

KAPWA: The Filipino Magazine

Marching together with members of Kinding Sindaw are members representing Choose Bangsamoro: The Autonomous Region in Muslim Mindanao, who wave the green, white and red flag representing the Bangsamoro Autonomous Region. This includes the provinces of Basilan, Lanao del Sur, Maguindanao del Norte, Maguindanao del Sur, Sulu, Tawi-Tawi and Cotabato City.

Models Venus Raj, who was Binibining Pilipinas Universe 2010 and the 4th runner up for Miss Universe 2010, Megan Young, who was crowned Miss World 2013, and Miss Universe 2022, R’Bonney Nola Gabriel, attend the parade.

Kalye, a new and local Filipino Restaurant with their Pork Ube Sliders and Manang and Manong sauces.

Instagram @kalye.nyc and website kalye.com.

Issue #1 | Philippine Independence Day & Pride Month

27

Saturdays & Sundays are Drag Brunch Photo Spread featuring FiliPNX Photos by Theresa Arocena FiliPINX, a Filipino Bay Area Drag Supergroup held a drag brunch takeover at 620 Jones in San Francisco on May 28 in celebration of AAPI Month. The queens, Nia Politan, Yves Saint Croissant, Sassi Fran and Tila Pia gave stellar performances to a sold out crowd.

28

KAPWA: The Filipino Magazine

Issue #1 | Philippine Independence Day & Pride Month

29

featured stories

Rewind Diaspora Narratives from the VHS Era Written by Erika Solvien Photos Courtesy of Allyson Libao Fil-Am Video, Allyson Libao’s family VHS store in West Covina, CA, circa 1990s. In front of the store is young Allyson and her Lola, Generosa Naldoza Castro, or Lola Rosing.

30

KAPWA: The Filipino Magazine

I scroll through Allyson Libao’s photographs of her family’s VHS rental store. These are not the shelves, tape covers, or posters of my youth, but they reflect the memories of my childhood all the same and maybe even resonate with other diaspora kids growing up in the 90s too. Here is a rich collection of our stories decorating the shelves of a store owned by someone in our community. For those who migrated west, it’s a doorway to home and for first or second-gen immigrants, straddling intercultural values, the store and its VHS tapes are artifacts — and are foundations for nurturing Filipino culture.

“Different types of people rented similar films because we do share universal feelings, experiences and perspectives,” Allyson says. “Looking back, I’m so proud that we were able to share and provide a taste of home to our Filipino community.”

Allyson’s family migrated stateside in the 70s. “My Lolo came first on a professional visa to work for 3 years in Michigan as an electrical engineer in 1972,” she says. Benjamin Alonzo Castro — Lolo Ben — followed by his wife, Generosa Naldoza Castro — Lola Rosing — and their children; Allyson’s mum, Titos and Titas, followed suit between 1975 and 1977.

They eventually settled in West Covina, California, one of the many Filipino enclaves in Southern California. Here, Benjamin and Generosa would later open their VHS store in 1996.

A VHS collection is a time capsule.

Each memory is vivid.

Growing up in the Middle East, I was as Pinoy as I could be during the week. But on weekends, I got caught up in the Americana that permeated Riyadh, Saudi Arabia. My mom worked as an executive’s assistant at a US government-commissioned company, and through her job, we could access its recreational center. I can still see the lead-up to the bland building from the nondescript parking lot and a library, the library, that took over a modest corner of the building. To me, it represented my promise land as its kid section fuelled an early fixation with adolescent American adventures. I raced through the Sweet Valley series, all The Baby-Sitters Club,

Fil-Am Video, Allyson Libao’s family VHS store in West Covina, CA, circa 1990s

California and Manila; Circa 1970s | “My mom, dad, and tita and tito.”

Goosebumps, Fear Street, and other books of similar 90s ilk, filled with a variety of teen drama, mysteries and horror. Around the bend, away from the books, stood shelves upon shelves as they were stacked to the high heavens with VHS tapes. All recorded cable TV as well as intervening adverts including Full House, Family Matters, The X-Files, Beverly Hills 90210, America’s Funniest Home Videos — all the big hits of that era, we watched recordings of them. I never fast-forwarded through them, even the commercials that were recorded either.

Americana aside, I coveted the counter gig.

A favorite pastime of mine was playing the librarian, lending out books and lending out tapes. I would mimic the transactions like the sari-sari store located across from our home in Bulacan. Allyson’s photos plucked at that particular heartstring. She lived out my dream at her grandparents’

VHS rental store. “We had a number system with every movie, so we were able to easily retrieve the title from our shelves. It was about $1 per day to rent most of the movies, $2 per day for new releases,” she says of the no-nonsense system they would adhere to. I imagine a crinkly dollar bill sliding across the counter in exchange for the tape. My inner kid is singing with glee. “If they returned it late, we just charged them for however many days they returned it after.”

My family and I eventually moved to Canada when I was 10 and I’m certain the Canadian system was similar to our local Filipino general store on 14th Street and 17th Ave, New York. Its front entrance faced a bus shelter for the #7 route; a commuting detour that served us immigrant kids in our downtown Canadian city. Like Allyson’s family store,

Issue #1 | Philippine Independence Day & Pride Month

31

this shop also had a mix of Tagalog and American movies. “I remember we would go to a warehouse type of place and get movie copies and demos there,” she says, demystifying my child mind’s magical lore of how these movies were sourced. “We would also get movie posters and standees to put around the store… We also stopped by another warehouse for adult videos that I obviously never went into.”

Unlike Allyson’s family store, my local only had one wall hoisting up VHS rentals.

The rest of the shop offered up Filipino food, remittance services and cigarettes.

While there would be a mix of foot traffic stopping for gum, lottery tickets or snacks, we were not in the minority in this shop.

In this downtown corner, the manong behind the cash register, the posters on the wall, the goods in the freezer and on the shelves, the VHS tapes — they all validated our existence. So, this was where we gathered and visited. “The video store is one part of my life that I am so proud of,” Allyson reflects on what her Lola and Lolo’s business solidified for her.

“My unique experience has shown me one of the many ways to bridge together our

diaspora to the motherland. Helping our communities survive includes sharing art and entertainment to bring us together.”

Because, as every brown kid knows, it isn’t always rosy growing up in Western culture.

“I’m so proud of my younger self,” Allyson says, recalling a show-and-tell event when she was in elementary school. “I brought the Jocelyn Enriquez CD and had my teacher play the Tagalog ballad because I wanted to share what our language sounded like.”

It was a display of Pinoy pride for young Allyson. She then speaks to the moment that we can all relate to when the penny drops and you realize the society you live in has rejected you. “I immediately got made fun of and cried… There was a certain point where it wasn’t ‘cool’ to have Pinoy pride anymore. You were labeled as ‘FOB’ (fresh off the boat) in a derogatory way.”

When my family and I lived downtown, we were a hop and a skip away from ‘uptown,’ which hosted some of the richest postal codes in our city, and my elementary school was perfectly nestled between

both. Its catchment area included the immigrant kids, the working class kids, the kids living in one-bed apartments shared temporarily, sometimes permanently, between two or more families, alongside the old-moneyed kids, children of lawyers, financiers or oil execs with homes extending across lawns and backyards.

I had befriended some of these kids. At one sleepover, I scoured my friend’s VHS collection and discovered almost every Disney film she had. Original copies, no recordings to be found, including The Fox and the Hound, The Little Mermaid, Aladdin and more. The tapes themselves were well cushioned in their white, squishy plastic covers. Meanwhile, the taped recordings I had grown accustomed to were only protected by a hardy paper case with some geometric design on the cover. You’d have to crane your neck and squint your eyes to see the white sticky label and read the tape’s contents. But this private VHS collection? I felt like I could lay my head on these thick cases and absorb the films by pure osmosis. Total luxury.

One day her mum dropped us off at my place. At this point, I lived on the sixth floor

Holding the fort down! Fil-Am Video rented and sold both English and Tagalog VHS tapes to the local Filipino community in the 90s. As a child, Allyson would help out her Lola Rosing and Lolo Benjamin Alonzo Castro, or Lolo Ben.

32

KAPWA: The Filipino Magazine

Allyson helping Lola Rosing and Lolo Ben at Fil-Am Video

of a downtown apartment. I remember how her mum urged her older brother, a senior at high school, to escort us to my floor. I was confused. I made this trip and entered my home, every single day, on my own. Then, it dawned on me. I recoiled inwardly, embarrassed by our seemingly unsafe downtown environment. It was a subtle request by her mother, but its effect was enormous. There’s a flight, fight, freeze or fawn response. Looking back, mine was to fawn over, and 20-odd years later, I’m still undoing the tightly wound threads as a consequence. Meanwhile, Allyson’s was to fight against any hint of rejection. Using her family’s VHS store and her family’s love for movies, she found a way to embrace both cultures. As is her right. Both belonged to her.

There isn’t a singular way to absorb film.

Movies are subjective. There are films that are for us, and created by us. There are stories that are completely unrelatable, but a thrilling window into life. There are scenes that offer a lifeline, dialogue that draws out a laugh, a shriek or insurmountable tears. “Movies showed me another storytelling art form that all walks of life enjoy,” Allyson says. We can decide how we enjoy a film, a joyful

distraction, a mindless escape, a chance to connect with home, or a means to survive.

Those of us in far-flung lands, witnesses to alienation yet armed with resilience, come to rely on our tools for survival. It’s how we build a home against all odds. It’s how we double down on profound pride and respect for our family, our elders and the journeys they made. Our tools are the ringing of the bell when someone enters the store; the casual browse of covers and arrays of tapes sitting on the shelves; Lola and Lolo leaning back in their chairs, having achieved a dream which yielded opportunities for their grandchildren; the mischief of cousins as they set up bowling pins in front of the adult movie section and egging one another to retrieve the ball and pins from within the forbidden section; the Tagalog films we pay $1 to borrow so we can reconnect with home as soon we pop the tape into the VCR. “The store was in the same city as my Lolo and Lola’s house in West Covina, California,” Allyson says, casting back to the late 90s when the rental shop was in business. “My cousins and I spent a lot of time hanging out at the store because our parents would drop us off when they had work or were galavanting.” She summons back the tender moments with

her grandparents, watching the kids’ films of choice in the back room of the store. A privileged room, a source of honor.

Sadly, the store only remained open for three years and officially closed in 1999.

“I remember as soon as I learned what a DVD was, I realized our store was not going to last much longer.”

The importance of family and community — these are the Filipino values that help us and our stories survive, lasting longer than the VHS relics of our past.

“Though we may romanticize the motherland, I think we need to also consider the needs and struggles our kababayan (fellow Filipinos) face.

Community to me means sharing resources, compassion, and safety,” Allyson says, “I think we should be embracing our Filipino values that teach us to help each other survive this brutal life. This does not only include sending balikbayan boxes (Filipinos who have lived abroad), but also supporting Filipino organizations, artists, writers, and all the different types of creatives. As I search deep within my roots and our culture, I find myself inspired and closer to my own soul.”

Issue #1 | Philippine Independence Day & Pride Month

33

reconnecting roots Stories from Filipino Adoptees Written by Vania McAllister

to map out our own timeline of Filipino history, when our ancestors came here and the hardships that they went through and how that related to the larger context of Philippine American history, [at the time] I felt very alone,” James said. “My circumstances of coming to America or being in America were a lot different and it was a large contrast compared to a lot of other Filipino Americans who were born here.”

James documented his search for connection to Filipino culture and, eventually, his reunion with his birth family in his film, “Binitay: Journey of a Filipino Adoptee.” In Binitay and its sequel, “Once Upon an Ochia,” James tells his story of finding out the truth about the circumstances of his birth. It turned out Elizabeth Ochia, who allegedly found him hanging from a banana tree, was his biological mother. She was unmarried and gave him up for adoption. She had told RSCC she was his mother, but changed her story when the agency told her child abandonment was a criminal offense.

His adoptive parents had given him all the adoption paperwork when he turned 18, which he used to find his foster family.

While James says his adoptive mom has been supportive, he still worries about hurting her feelings.

L: James Beni Wilson and his adoptive mother R: James in a Barong Tagalog

Hundreds of orphans are adopted into Filipino families and raised by parents in the diaspora. Others are adopted by families who are unfamiliar with Filipino customs and culture. Because adoptions are often closed, there are no reliable statistics around where these children now live. We spoke with several adoptees raised in the US and Canada about their journeys to connect with Filipino culture and their search for their biological families.

James Beni Wilson was born in Tabogon, Cebu and was found in a plastic bag hanging from a banana tree. The woman who claimed to have found him, Elizabeth Ochia, took him to the Reception and Study Center for Children of Cebu City (RSCC) to report the abandoned child. She

34

KAPWA: The Filipino Magazine

told the agency the circumstances of his discovery and said she wanted to adopt him and raise him as her own. Instead, he lived in the RSCC orphanage for two years before the agency placed him with Perfecto and Bernarda Torres, his foster parents.

RSCC is managed by the Department of Social Welfare and Development (DSWD), which arranged for his transition from a temporary foster home to a permanent placement for international adoption.

Raised in Novi, Michigan, James learned about Filipino culture through an organization called Paaralang Pilipino. It was there where he learned how to speak Tagalog, about Filipino history and where he found his community.

“When I came to the class and we got

It’s a sentiment shared by Hannah Wright, who was born in Manila and raised in Lubbock, Texas by American missionaries.

When asked if she has gone back to the Philippines to try to find her biological family, Hannah said she has thought of it for the last five years.

“There was a fear of doing that because I was concerned about hurting the feelings of my adoptive parents,” she said.

Growing up, there wasn’t a large Filipino community nearby. Her parents were missionaries who were familiar with Filipino culture and had Filipino friends whom they spent time with when they came to Texas to visit. She found herself deeply interested in Filipino pre-colonial deities, and started following Ligaya Caballes, aka The Pinay Writer, Kapwa Magazine’s Editor in Chief, to learn more.

Now based in Bethesda, Maryland, she finds

herself actively trying to engage with other Filipinos and finding art, writing and other works online. Trying to understand her Filipino roots is important in her journey.

“I remember being a little girl growing up in Texas and nobody looked like me,” she said. “Some people harp on representation now, because it’s become very fashionable to make sure everyone is represented, but it matters, you know?

When you’re in those formative years and you’re growing up and someone’s like, ‘Well, what are you? Are you white? Are you Black? Are you Chinese? What are you?’ and you try to explain you’re Filipino, but you don’t know what that means, and other people don’t really know what that means. [So] it really does matter in terms of developing self and identity.”

Tsuki with her sister, Mila and niece, Keith

Hannah Wright

It’s that connection and engagement that helped Tsuki Puddicombe with her confidence and knowing who she is. Born in a small town called Cabugao, Tsuki was adopted from an orphanage at the age of three. She lived with her adoptive family in Rhode Island, but eventually moved to Vermont in fourth grade. Her adoptive mom had given her books about Filipino culture, but she didn’t really connect, possibly because she was so young. Tsuki and her mom went on a homeland tour when she was in middle school, visiting Missionaries of Charity, the orphanage where she lived. She met someone who remembered her as a child and made friends with other adoptees who were on that same trip. However, it wasn’t until the Black Lives Matter protests during the pandemic that Tsuki was truly inspired to find her roots.

Despite not really remembering how the initial conversations with her adoptive parents went, Tsuki does remember receiving a package with letters from her birth mom and her half siblings. The letters were all very loving and positive, and it was through those letters that she was able to make contact with her birth family.

Beginning with a friend request from her half sister on Facebook, Tsuki and her sister, Mila, began communicating through social media regularly. Worried that she wasn’t “Filipino enough,” Tsuki researched everything she could about Filipino culture.

She and Mila had many conversations

about Tsuki going to the Philippines to meet her biological family and yet she was overwhelmed by the idea of a reunion. After careful planning, Tsuki agreed to go, with Mila agreeing that a slow introduction would probably be best. That changed when she met her biological family in person.

“Meeting them made me more confident in all aspects of life,” she said.

Imee Dalton also found herself in her search for connection with Filipino culture.

Imee’s father was from Masbate and her mother was from Southern Leyte, where she was born. Imee was adopted at nine months old through a kinship transracial adoption; she was raised by her maternal aunt and her aunt’s white husband, whom she calls her mom and dad. Because her dad was in the military, they lived in Hawai’i until she was 10. They moved to Texas and Japan, before finally settling in Ohio.

Her parents were open with her about her adoption; even though they were biologically related, she didn’t look like her adoptive mom.

“I never felt like I couldn’t ask questions, but at the same time, like, I felt kind of discouraged because I’m like, why does it matter?” Imee said. Still, she traveled to the Philippines with her adoptive mom several times and had a desire to connect.

Driven by a deep, almost primal calling, Imee began the process of not just learning about Filipino history, but also decolonizing.

This led her to her spiritual practice of Kali, a Filipino martial art. Forbidden by the Spanish, Kali was hidden in dances, which Imee relates to, to a certain extent.

“Practicing Filipino martial arts has really helped me embody remembrance. This art is pre-colonial. It’s something that was taken away from us for a while by the Spanish and we weren’t allowed to practice it. It went underground, we hid it in our dances. And honestly, how I felt my whole life, as an adoptee, and as someone who grew up in white spaces, I felt hidden.

I felt like I had to hide a part of myself. I had to assimilate,” she said. Her practice and teaching of Kali has become a form of ancestral healing and remembrance for her. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

35

Kiki Steiner with bio dad and adoptive mom

Like Imee, Kiki Steiner has found that her own journey to learn about Filipino culture has impacted her profession in unexpected ways. Kiki credits her decolonization journey with giving her perspective and understanding of the systems surrounding adoption. She says the embodiment of decolonization has been a source of healing for the pain and trauma of separation. As a singer and choral conductor, a lot of her healing came from singing.

“Singing is storytelling and that was really how I was connecting with the various

“It was really challenging because I hadn’t gone through any preparation or processing about what I wanted to get out of the reunion and I really shut down. I

Kiki instinctively knew she wasn’t. She took a DNA test and found her paternal aunts, who did some detective work and reunited Kiki with her biological dad.

“I flew out to Portland, Oregon. My auntie, my dad and my uncle all picked me up from the airport. At the time, the DNA test hadn’t come back to confirm whether or not he was my dad,” she said. “He started asking me more questions about what I knew about my mom and I shared pictures of when I was growing up, and he was like, ‘You look like every single one of my kids. I think

“Even though everybody’s story is unique and there are more adoptees who have not met their birth parents, there is a thread of sameness throughout all of our stories.”

complicated emotions that I was going through as a child, and not ever being able to say, ‘I am feeling this because of my adoption,’” Kiki said.

Kiki was born in Madison, Wisconsin to a Swiss Irish mother and a Filipino father.

Her biological mother was an alcoholic and had made the decision to give her up. Adopted at six weeks, she was raised by a single mom. Their family was close knit and she grew up surrounded by grandparents, aunts and uncles in rural Viroqua, Wisconsin. Her mom had always

36

used the word “adoption” in a positive way and spoke openly with her about her adoption, which was closed until she was 18 years old. She initially made contact with her biological mother at 20, but had a difficult time.

KAPWA: The Filipino Magazine

- Imee Dalton wasn’t able to verbalize much of anything about why I wanted to reach out,” she said.

Fearful that she would hurt her adoptive mom’s feelings, Kiki wasn’t thinking too much about what she wanted out of making contact. “I mainly reconnected with her in a meaningful way when I met my biological father in 2020.”

Having been conceived in Hawai’i, she was always told she was Hawaiian. However,

you’re my daughter.’

Ever since we met, that was February 22nd of 2020, he went back to Hawai’i, I went back to Arizona and he has called me every single day.”

Today, her biological dad and her adoptive mom live in the same town as Kiki and her own family. In fact, her dad and her mom are neighbors and have become friends.

Part of Kiki’s journey now is finding her Filipino roots, which were largely filtered through Hawaiian culture. She would like to go to the Philippines someday with her biological dad, who has never been there himself.

Making that journey to the Philippines is on Haley Robinson’s bucket list too.

Haley was born to a Filipino mother and a Plain Cree father in Calgary, Alberta, Canada. She was adopted at birth, with her adoptive mom cutting the umbilical cord when she was born. Her biological parents had just broken up and her biological mom had three other children.

At the time she was not able to care for Haley herself. Adoption was openly talked about at home, especially since Haley’s adoptive mom had another adopted daughter, whom she raised alongside her.

not met their birth parents, there is a thread of sameness throughout all of our stories,” Imee said.

Unraveling the threads of adoption reveals worries about how their adoptive parents would feel and adoptees wondering if they’re “Filipino enough.”

“To any adoptees out there who suffer ‘impostor syndrome’ or ‘internalized racism,’ or feel ‘white-washed:’ It’s your life, your story. If you finally decide to reconnect, you do not have to prove yourself to your own people. I’ve definitely

tried to ‘Filipino-fy’ myself—only to have stressed over nothing when I saw how welcoming my birth family was,” Tsuki said, encouraging others who are thinking about taking that first step to do it in their own way, on their own terms.

According to the Philippines Orphanage Foundation, a faith-based orphan ministry, there are roughly 109 million people in the Philippines, 2 million of whom are orphans. Many orphans are never adopted, aging out of orphanages.

Despite adoption being normalized and talked about so openly, Haley was still worried about approaching her adoptive mom about getting to know her biological parents better.

“I was really scared at first. I thought she would think I’m saying she was less than my bio mom because I’m reconnecting, but I just came out to her,” she said. “I was like, ‘Hey, I want to reconnect with her and I want to hang out with them,’ and she was like, ‘Please! Do that. Do what you have to do.’” Haley said.

With her mom’s encouragement, Haley has formed a bond with her biological mom. They talk regularly and Haley asks questions about her mom’s life.

“She suffered a stroke so it’s difficult to communicate sometimes,” she said.

What she’s unable to learn from her biological mom, she is able to seek out online. She has been able to build a community on social media and has found support from others by sharing her story.

“I’ve been able to make a community of other Filipinos like me, who are also adopted. Sometimes when you’re a mixed adoptee, you feel like you’re the only one that is going through this. So it’s nice to meet people who are going through the same journey and are just like me,” she said.

Not all adoption stories are the same, but there are commonalities in every story and everyone’s search for connection to their ancestry.

“Even though everybody’s story is unique and there are more adoptees who have

Haley Robinson

Issue #1 | Philippine Independence Day & Pride Month

37

In Her Hands Q&A with Artist April Werle Written by Cat Johnson Once a thriving mining town and home to more millionaires per capita, Butte sits just below the Continental Divide of the Rocky Mountains in Montana. Its history is gilded in copper and its present continues to hold its secrets within the brick walls of remaining architecture. On one exterior brick wall painted sage green is the iconic Filipino sun, reigning over large hands joined and pointed upwards like a steeple.

The hands are surrounded by ocean water, pine tree branches and palm leaves featuring traditional Filipino tribal designs.

What is so special about such a mural? As in all real estate, it’s location, location, location.

38

KAPWA: The Filipino Magazine

For those unfamiliar with Montana, it’s that place you would die from dysentery, shoot buffalo or ford a river in the popular computer game of our childhood, “The Oregon Trail.” Nestled just below the Canadian border, Montana is the nation’s fourth-largest state and the eighth least populated with just over a million residents.1 Of those million people, 0.43% of the population identifies as Filipino, while 89.01% identify as Caucasian.

Needless to say, diversity in Montana is low. Butte, MT, known for its strong Irish and German American population, is one of the last places in the United States

where you would find a mural so clearly honoring Filipino heritage.

The artist April Werle, a Filipina from Helena, MT, is responsible for this incredible — albeit random — ode to Filipino culture. After following her art on Instagram, @AprilWerle, for more than a year and seeing her completed project in the summer of 2022, I was able to do a phone call with her to discuss connecting to roots in rural Montana and expressing her culture in her art.

“Food Tastes Better This Way” by April Werle

“I belong to my family” by April Werle

what is your connection to the philippines?

Q:

AW: I am mixed. My mom is Filipina and emigrated from Cebu. Most of my family are in the Philippines and Dubai.

Did you always have a strong connection to your Filipino roots or is that something that came about later?

Q:

April painting a mural located in Butte, Montana

AW: Yes and no. My mom would speak a mix of Visaya/Tagalog with me and my siblings at home. I was really ingrained as Filipino, not Fil-Am. I grew up in a Filipino community in Helena, MT where there were other single Filipino moms with mixed kids. But the concept of “mixed” wasn’t a concept for me until high school when I started dating. People would think I was Mexican/Native American, even Egyptian, and some wouldn’t think I was anything but Caucasian. That’s when it started to be a struggle. At that time, I also went back to the Philippines with my family and was told I wasn’t just Filipino, I was American. The struggle of identity persisted while pursuing my BFA. I wanted to do my thesis around being mixed and the identity of two cultures. I felt pretty

discouraged by all the pushback I received during the critiques. They were dismissive of my “struggle” because I wasn’t Black or Native American. In 2020, [during] COVID-19, I got the opportunity to produce a BIPOC mural for the Zootown Arts Community Center (ZACC) in Missoula. It really reignited my interest in exploring my culture in art.

what is your art background and chosen medium as an artist?

Q:

AW: I am a painter. I use acrylic and stain on wood. I went to the University of Montana.

Your art does feature a lot of Filipino iconography such as the bahay kubo, palm trees and tribal designs. What inspires you to put that into your pieces?

Q:

AW: I started putting motifs of Filipino culture into my art when someone told me to “write what you know.” So I took that approach to my art and I was inspired

by Cebuano folklore and deities, as well as being from Montana. My art also features things like pine trees and branches. On my recent trip to the Philippines, I actually saw pine trees not knowing they grew there

Issue #1 | Philippine Independence Day & Pride Month

39

You can find April on Instagram @AprilWerle or see and purchase her art on her website, aprilwerle.com.

She has originals, prints, cards and even stickers featuring her art.

She currently has a show running at the ZACC and has also been featured at the Holter Museum in Helena and the Missoula Art Museum. Her murals can be found in Montana, Colorado and abroad in Morocco, Malaysia and Thailand.

April pretending to eat in front of her painting at Zootown Arts Community Center (ZACC)

“Where Are You From From” by April Werle

40

KAPWA: The Filipino Magazine

“Oh Shit There Are Pine Trees Here Too” by April Werle

April proudly standing in front of her finished mural in Butte, Montana

“It’s for the Filipinos who live in tiny towns and may feel disconnected. I wanted to tell them I see you, and I am here too.”

- April Werle too! I also use hand images in my work.

They are my hands exploring the ideas of relationships in their placement and poses.

I like to put a bit of humor in my work.

Living in a rural state with a low Filipino population, how do you stay connected to “the culture?” Is there somewhere you go or something you do?

Q:

AW: Up until 2020, I definitely felt the disconnect. But at that time a Filipino grocery store opened up in Missoula where I live, and seeing that and going there helps me feel connected. I feel

connected in Helena when I see my titas and there is also the Filipino Association of Montana that holds events. I also went to the Pinayista summit in the Bay Area that year. It was a great experience and I found myself not feeling like I had to explain [that] “my mom is Filipino and my dad is American.” I could just be Filipino.

water theme and the use of CMYK [cyan, magenta, yellow and black] colors because the building was an old printing company.

It was my 15th mural.

Let’s talk about the mural in Butte. How did that opportunity come about?

AW: It’s for the Filipinos who live in tiny towns and may feel disconnected. I wanted to tell them I see you and I am here too.

AW: BT Livermore organized a series of murals for the town and we had been in talks about it for a couple of years. There were a couple of guidelines including a

Connect with April! aprilwerle.com IG: @AprilWerle

Q:

What do you hope people take away from the piece?

Q:

[1]: ZipAtlas.com. “Cities with the Highest Percentage of Filipino Population in Montana.” Percentage of Filipino Population in Montana by City | 2023 | Zip Atlas. Accessed June 3, 2023. https://zipatlas.com/us/mt/city-comparison/percentage-filipino-population.htm.

Issue #1 | Philippine Independence Day & Pride Month

41

An Ode to the Sun Written by Dhanika Pineda

May Salem met an elderly woman weaving piña in her hometown in Aklan, Panay the last time she visited the Philippines in 2004. She was the only weaver in practice that May knew of in the entire province at the time. For weeks, she watched her hands knot the fibers and trim them into a single length of thread. She recalls the coconut husk bowls of Boracay sand, glittering as the sun bounced off them at its peak in the afternoon. When the woman’s precise, wrinkled hands weren’t working the fibers, they sat in these bowls to keep them from knotting up.

May watched the woman spool the fiber on a foot loom. She missed a few days of the looming process in favor of visiting family and, of course, taking some sun-filled beach days for herself. The next time May visited the weaver, she was in awe. How that spool of thread had turned into sheets of beautiful, sun-catching translucent fabric, she did not know. May bought everything the woman had weaved and promised to buy more when she returned. She hasn’t been able to return home since then, and it hurts, she says, to break a promise she had so hoped to keep.

42

KAPWA: The Filipino Magazine

May is a short Filipina woman with curly, long black hair, a broad, bright smile and smooth, brown skin. She is a mother of five, a jewelry maker, seamstress and vegetarian on the cusp of Taurus and Gemini. When she first started Native Sol, a fashion and lifestyle business, May wanted to source the clothing and accessory aspect of the brand with allnatural, Indigenous fibers from the Philippines. Mainly, she wanted to work with abaca and piña. She quickly found these fibers harder to source than she’d initially thought, so she switched to working with other natural fibers such as hemp and bamboo.

Originally, May’s plan was to go back and forth between Aklan, Panay and Long Beach, California to source materials for Native Sol and to make connections with the local artisans whose crafts she hoped to bring to the States. Her trip in 2004 was the last time May sourced any piña.

Piña fiber is made from the leaves of a pineapple plant. Sharp, bright green piña leaves sprout out of the stalk which holds the fruit itself, surrounding the pineapple like the rays a child might draw around

the sun. These leaves are then separated and the fibers taken from them make up the sheer, sustainable fabric that May, and generations of seamstresses before her, have used to create and design the clothing that have been the staple of Filipino fashion for centuries.

The origins of its usage trace back with the history of the Philippines and May’s own geographic beginnings in Aklan, where the native pineapple plants have been grown and harvested for centuries.

Weaving the fiber into fabric material is a lengthy, tedious process, passed down through generations of Akeanon women.

Traditions and methods have been lost through the years. It is a dying art.

Even during May’s early childhood, the number of weavers had begun to dwindle drastically. What was once such a coveted material for Filipina seamstresses making barong tagalogs, baro’t sayas and other traditional Filipino formal wear, was beginning to be replaced by massproduced plastics.

From the 1500s through to the end of the 1890s, the Philippines operated as

a Spanish colony. The native Filipino people were known to the Spanish as “Tagalogs”, named after one of the main languages and people of the Philippines, in which clear influences from the Spanish language are still present today. During this time, Filipino men were asked to wear a long, transparent shirt with no pockets.

In the 19th century, during their last century of colonial rule, Filipinos began to embrace the barong. Filipina seamstresses began to take care in producing the clothing for their men and took pride in the hand-woven embroidery of their country’s native materials and fabrics. Filipinos found agency in this simple form of clothing, and claimed something for their own power from that which was intended for their oppression.

Against their own colonizers, they began to take up space.

“I think it’s so important to keep this spirit of tradition and rebellion,” May says. “We need to honor those old ways of fighting against the colonizer. That’s why I like to use Indigenous products and styles; I want to uplift the textiles of Indigenous communities.”

“There is such a rich history behind these Filipino clothes and fashions, and I want to honor that.” with and support local artisans in the Philippines who were already making sustainable crafts, especially family crafts made with practices passed down from generation to generation. She wanted to bring those practices to the States, especially to Filipino Americans who might feel disconnected from their culture.

May is constantly inspired by the Filipino diaspora. She chose CSU Long Beach not only for its fashion program, but for the large Filipino community she knew she would find there. She is heavily grounded in her culture and history. As a maker, she believes it is important to represent one’s own values in her creations. She uses Native Sol as her means to take up space.

All of her pieces at Native Sol are inspired by many different facets of Filipino fashion.

From pattern, to style, to material, May has tried to use it all.

“I use a lot of prints, like the batiks that normally we [Filipino Americans] see our titas and our moms just using as house clothes,” she says. “It’s part of our culture.

It’s been part of our culture.”

Filipino cultural clothing is known for its bold, bright colors. May has always been drawn to this brightness, but didn’t truly begin to work with them until college. As a seamstress and as a woman of impeccable fashion taste, May tries to bring these prints and styles into more contemporary fashion. She is transforming the prints of her culture, but never bends to the will of a Western fashion sense. She considers all her creations as a tribute to her culture, to the warmth of her origins and the origins of the materials and prints she values so deeply. May started Native Sol with this thought in mind: an ode to the sun. (cont.)

Though she cannot pinpoint the time in her life when she truly fell in love with Filipino fashion, learning about the barong in her childhood certainly influenced this interest.

The barong has many historic ties to the Visayas, which is the archipelagic region Aklan, Panay is located, and the oldest recorded province in Filipino history.

May moved to the States when she was seven years old. She settled with her family in Sacramento, California, where their relatives had already immigrated. After high school, she moved across the state to attend CSU Long Beach for their fashion program. Her values of sustainability and connection to Filipino culture through clothing pushed her to pursue the fashion industry on a professional level. To this day, May has yet to officially graduate from the program. Even after successfully running Native Sol for over a decade, she still needs one more course to complete her program and obtain her degree.

The beginning of Native Sol came in 2003, when May had the idea to connect

Issue #1 | Philippine Independence Day & Pride Month

43

She founded Native Sol with her partner, Tyrone “Ty” Maximum, as a sustainable, eco-friendly clothing, accessory and lifestyle brand meant to reflect their own zero-waste lifestyle and share sustainable practices of Filipino culture. At first, the brand began appearing as part of a collective at community pop-up events in 2005. At their first event, the Long Beach Art Walk, Native Sol was still small enough to share a table with other small jewelers.

businesses. It is a hub for many different cultures and May had long wanted to find a location there for the shop. In December 2020, she and Ty opened Earthing, a home and garden-oriented brand expansion two doors down from Native Sol. In November 2021, they opened a second Native Sol location in Oak Park, near her family in Sacramento, California.

Opening a physical space for the shop meant the world to May. Prior to the

May sees pop-ups as one of the most important avenues of exposure for small businesses. Though Native Sol is big enough now to table on their own, May enjoyed the first experiences of tabling as a collective with other small artisans. She believes in the importance of not only taking up space for herself, but helping make space for others who are not yet in the limelight. Today, she accomplishes the latter by featuring many of these other small artisans’ work in Native Sol’s physical shops.

one to deliver May when she was born in the Philippines. Her mother is a midwife as well and has helped May birth all five of her children at home.

While she and Ty have settled themselves, their family, and their storefronts in Long Beach, they often find themselves on the other side of the state, mainly in Oakland, San Francisco and Sacramento. May often drives up for pop-ups in San Francisco, with her route including many stops along the way where she likes to check thrift stores for vintage Filipino fashion pieces, which she then upcycles and sells later on.

“Some of us [Filipino Americans] have been raised to feel ashamed, to not be proud of our culture. It’s our practices, our clothing, even just food. I think clothing, creating and embracing Filipino traditional clothing especially, is just one way we can unlearn that.”

Occasionally, strangers will contact May with an offer of crafts they bought in bulk while traveling abroad. She always declines these offers, because it feels like bulk buyers don’t have the right intent. She needs to know that they’re treating the transactions they’ve had with the Indigenous people who create these items with honor and respect, and it’s hard for her to believe that this is the case with buyers who want to resell items at a higher price.

“They feel like they’re a savior, saying that they are helping these people but it’s like, ‘No, you’re not!’ They’re just helping themselves because they’re making money off of it. If they’re coming to these countries and just buying the crafts, but not really being truly connected to them, then I don’t really want to work with them.”

In 2011, May and Ty opened their first brick and mortar shop in the East Village Arts District of Long Beach, California.

Five years later, they moved the shop to its current location on East Fourth Street, Long Beach. This street, also known as Retro Row, is home to nearly 100 small

44

KAPWA: The Filipino Magazine

COVID-19 pandemic, she used the shop as a community space to hold talks and events. Their most popular event was a monthly sound bath, where dozens of folks would pack into the shop and meditate in the sound waves of singing bowls, chimes, rattles and more. The shop was also host to many educational workshops and talks. One of her daughters especially enjoyed a workshop held by a traditional Filipino herbalist, where they learned about traditional methods of natural Filipino healing.

May is interested in natural healing herself, specifically midwifery. Her interest comes from her grandfather, who was the

When May is not at pop-ups or checking on the Oak Park location, she is in Long Beach sitting at the checkout counter of Native Sol’s storefront, often stringing lines of small, colorful beads for her new creations.

A variety of handmade earrings are scattered throughout the shop. They sit in small metal bowls on the plain white shelves, or hang on large wooden picture frames.

Each product is tagged by a small, brown piece of paper tied to it by a bit of twine. Prices are handwritten in blue, black, and red ink.

Most of the earrings, along with a few bracelets, necklaces and rings, are displayed on a large wooden table right in the center of the store. May makes everything herself and believes in the power of uniqueness, so no two items in the shop are identical.

While none of her earrings are the same, they do share one thing in common: they retain the loudness that May associates with Filipino fashion. Most of her earrings are large and dangling and made with a brass base. One pair, sitting in a sungka board, features a cowrie shell on each earring, attached to a cut of batik the color and shape of a fox tail. Many of her other designs feature hewn selenite, a crystal known to hone understanding, clarity and concentration.

Her designs often feature shapes of natural elements such as flowers, leaves, the crescent moon and, of course, the sun.

Her most popular design however, takes the form of wrapped hoops — differentlysized circular, brass hoop earrings, tightly wrapped in various fabrics and prints. She mostly wraps the hoops with fabrics of red, blue, purple and yellow Batik patterns.

“I’m always crafting,” May says from her spot at the checkout counter, threading a thin needle through pretty, purple beads.

She tugs the beads onto different lengths of string. When the woman’s precise hands aren’t working with the strings, they sit atop the dark counter, pulled taut to keep them from knotting up.

Days later, the beads appeared on her shop’s Instagram page. How those strings turned into a pair of beautiful, suncatching earrings is a process May is all too familiar with, and one that keeps her customers in awe. May is pictured above with the earrings at the Yum Yams pop-up event in San Francisco.

Of course, the day May was in the Bay would be the sunniest of that week. She makes her own light and will continue to do so by bringing Filipino culture to the world.

May Salem is an ode to the sun.

Stay updated May/Native Sol! etsy.com/shop/nativesol/ IG: @nativesol

Issue #1 | Philippine Independence Day & Pride Month

45

Modern Filipino Courtship for Sapphics Written by Isa Pineda

Three women share their experiences with courting other women and femmes through online dating apps.

Traditional Filipino courtship is often considered as picturesque scenes of romantic serenades, passionate love letters and thoughtful gifts. It is associated with slow, respectful and reserved approaches to romance, as opposed to Western cultures’ more rushed and direct approaches.

The conventional partnership begins with a man courting a woman.

What happens when we take gender roles out of the equation? How do the traditions of Filipino courtship work for women and femmes dating other women and femmes?

Three Filipina’s were interviewed about their experiences with courting other women and femmes through online dating apps such as Her, Taimi and Tinder to understand the differences between then and now. Here are their perspectives.

Kristen Tell me about yourself! What do you put on your dating profiles?

Q:

Kristen (she/her): My name is Kristen. I’m a 25-year old cis bisexual woman living in Los Angeles. I have been working in Public Relations/Communications for years now. I grew up in a Catholic household and immigrated to the US. I grew up in a very Filipino household and identify as Filipino American. I matched with and met my lovely partner on Tinder around June 2021. We’ll be celebrating our two-year anniversary this year. Before meeting my partner, I never had a serious relationship, I mostly used Tinder and Hinge to meet folks in person for casual relationships. On my dating profile, I threw on some photos where I looked good and told everyone, “No expectations, just here for the vibes!”

Jen (she/her): My name’s Jen and I’m originally from Quezon City, Philippines and have immigrated to Japan. I’m a 28year old, cis female working in marketing and non-religious. I consider myself to be sort of a “baby bi.” While part of me

46

KAPWA: The Filipino Magazine

always knew I’m attracted to both men and women, my very traditional religious upbringing made it hard for me to fully accept it. On my dating profile, I’ve written that I’m new to stuff in general, that I’m from the Philippines and that I speak both English and Japanese. My interests and hobbies include cats, tea, reading, drawing, video games, drag shows and concerts.

Honee (she/her): I’m Honee. I identify as a homoromantic Filipino woman loving woman (WLW). I have used online dating apps such as Facebook Dating, Taimi, Her and Bumble to look for someone transparent and open. For my dating profiles, I usually just put my nickname, age, and [what I’m looking for in a partner].

A problem I have with online dating is the pictures. [To everyone else,] it’s always about what you see. I don’t like that idea; I don’t like judging a book by its cover, but that’s how online dating is.

How do you go about initiating courtship in online dating? Do you make

Q:

the first move, or do you wait for your potential partner to make the first move?

Kristen: When I was on apps, I would swipe based on a user’s profile and photos. Whether or not I would start a conversation would depend on my mood and how I felt about that profile at that moment. If we got along, they were safe and we had a few things in common. Then I’d ask them out on a date and we’d go from there.

Jen: I didn’t really have experience with traditional courting in the Filipino context because I never dated while I was still living in the Philippines. However, to me, part of the process now is talking via the dating app. I like to talk to them there first to get an idea of their vibe and see if they seem like a cool person. When I was using Tinder to date men, I often waited for them to ask me out first, but on Her, I’ve noticed that people aren’t as quick to ask the other person out. So far, I’ve been the one to initiate meeting up after I feel like I’ve talked to them enough.

Jen Honee: If someone has a really nice smile, I’ll swipe. I don’t get a connection until they swipe back. That’s how the app works.

When that happens, anyone can say ‘hi’ first. I usually wait for them to move on to [take the next step]. However, if I feel like the conversation can continue, I’ll ask for their phone number [and set up a date].

I’m eager to know if our chemistry is the same when we meet in person.

Q:

What do you expect in a partner?

Kristen: I was looking for someone who was on the same page as me — someone who had goals, was as much of a listener as I tried to be, had similar values, and who challenged me to want to be the best version of myself.

Jen: I prefer a partner who is easy to talk to, a person that I can be myself with. For context, I’m neurodivergent and I also have social anxiety. Feeling like I can fully be myself to the other person without needing to “mask” is really important to me. I also expect to go on dates with them.

Honee Honee: Lately, I don’t have too many expectations. I have been going with whatever matches the universe throws at me. At the least, I do need them to be respectful and attentive. I have been in two long term relationships for a total of ten years where I was the more masculinepresenting woman. I was expected to be more dominant with everything, but I became disinterested after a while.

With these dating apps, I wanted to try something different. I wanted a partner, not someone following me.

Q:

What do you think a partner expects of you?

Kristen: In order to be the best partner I could, I expected myself to be a good listener, to be someone supportive, to be someone who could make my partner smile and to be someone who supported and inspired my partner to be themselves.

Jen: I think a partner expects me to have similar values as them, to get along well with them and to be kind and affectionate.

Also, I think [they expect] dates and actions

that express and validate that it’s important to me that I have them in my life.

Honee: There are women who expect the more “masculine” woman to pay [for a date] and I try to avoid that to see how they react, or to see how they are. There have been a couple of dates where they assume [that I will pay], and I don’t like that. Also, from the first interaction, a lot of people think that I am younger than I actually am. They don’t expect me to be so mature and put together.

How do your approaches to dating differ online and offline?

Q:

Kristen: When I had the opportunity to date in person, I don’t think I was really actively pursuing long-term relationships.

Meeting in person was a great way to really know what people’s intentions were and to determine how I was going to pursue that relationship. Online apps were great, too, because they expanded my dating pool. I got to interact with people that I may not have ever been in

Issue #1 | Philippine Independence Day & Pride Month

47

the same space with. [On the other hand,] dating apps could often get overwhelming and tedious. When COVID hit, [online dating] was really the only option I had.

From there, I just had to figure out which apps worked for me and how I personally approached dating in general.

traditional sense, since I didn’t really care about religion. However, someone having similar values and a similar upbringing [to mine] did impact how I approached the relationship. It could determine whether that relationship would be long term, short term, or if I wasn’t going to pursue it at all.

Jen: I haven’t really had the chance to meet people to date offline, so I can’t speak about the pros and cons of each. However, I think a big upside to online dating is that you get to talk to people outside of your normal circles that you wouldn’t have otherwise had the chance to meet. As for the downsides, I think people not being very responsive, “ghosting”, or matching, then not initiating a chat can get tiring after a while.

Jen: I’m non-religious so I don’t adhere to any religious restrictions. Coming from a more traditional and heteronormative culture, though, the man (or in this case, the other person) must make the first move.

I personally still tend to wait for the other person to make the first move, but I’m learning to be more proactive as a woman.

Honee: Nowadays, because I don’t have a queer community to reach out into, online dating has been [my queer community]. In college, it was easier to meet people, but now I’m in an office every day. A downside to meeting someone online is that their picture may not be accurate; it may be pretty old and misleading. I am actually pretty shy and it can be a challenge for me to find someone offline. Online, you meet someone through your phone. Messaging back and forth [is less anxiety-inducing than] meeting in person.

How do your religious or cultural beliefs affect the way you approach online dating with women and femmes?

Q:

Kristen: I wasn’t necessarily strict about my religious or cultural beliefs in a

48

KAPWA: The Filipino Magazine

Honee: I was raised Catholic and I went to Catholic school from kindergarten to eighth grade. After that I went to public high school. I am not currently practicing Catholicism. I’m also Filipino, so they taught us to hold everything in and not to say anything. I was taught to put on this facade like everything was fine when it really wasn’t. My whole group of friends are all Filipino; they’re all strong Filipino women and they don’t talk about their emotions a lot. Compared to everyone else, I’m the softie. With the culture, I’ve had to do a lot of emotional work.

Dating people who didn’t share the same cultural background as my own helped a lot, because they’re all about talking—– they’re all about expressing themselves. If they asked me how I felt, there was a point where I couldn’t identify [my emotions], I wouldn’t know. If we had an argument, I wouldn’t understand how I felt until a week later, and that had a lot to do with my upbringing. I was very quiet.

Does your family or culture play a role in how you date? If so, how?

Q:

Kristen: In a way, I do believe it had an impact on how I dated. This is mostly because I was the eldest daughter in a first-generation immigrant household and at the time when I was dating, I wasn’t “out” yet. I needed someone who understood the familial responsibilities and family dynamics I had and respected the personal timeline I was on when it came to “coming out”.

Jen: Yes, definitely. Like I said, my family in the Philippines is very religious and traditional. No one in my family is nonhetero that I know of, so I’m not actually “out” to people back home. Part of me still thinks my mom would disapprove of me dating other women and I haven’t figured out if or when I’ll tell her. She’s also against me having sex, so she doesn’t know that I’ve done that at all. I think that I’ll keep it from my mom until I’m in a serious enough relationship that feels like the other person will be a permanent part of my life.

Honee: My mom always worked. She was a single mom, so she always worked and I respected that. That’s what I did, too. All I did was work until I realized that just working and paying the bills wasn’t enough to keep up with a relationship.

It’s not enough. Just because I make a lot of money, doesn’t mean they’re going to stay with me. I had to learn that the hard way. I don’t blame my mom, but that’s just how she grew up and so that’s just how I grew up. That’s what I knew.

Dating other cultures made me realize that blood doesn’t always mean family, which was hard to accept. Being Filipino, family is family. Even if you don’t agree with what they say or if they don’t make sense, they’re family. [You’re taught that] you have to follow them. You don’t speak out, but [I learned] that you can speak out.

Online dating opened [my world to] new and different perspectives by connecting [me] with people outside of my race.

What advice would you give to someone downloading a dating app for the first time?

Q:

Kristen: Know your intentions and be patient! Also, know that finding “the one” is never easy whether you date online or in person. It’s important to just be open and honest, and to communicate.

Jen: Have realistic expectations. Not everyone you like will match with you or reciprocate your efforts. It’s also important to stick to who you are and what you actually want to get out of the app, since lots of different people use it for reasons different than yours.

Honee: Expect to swipe for a while before finding someone you connect with. There might be times where you’re swiping every day and you don’t get a match. Don’t focus on the anxiety of not matching. Be patient.

From 50 people, you’re gonna get maybe one or two “yes”-es. Learn to let go, [and learn] that it’s okay if people don’t swipe on you; it will help with the anxiety.

Honee added that online dating also helped her explore polyamory. “It’s interesting since I’d always been monogamous [before]. It’s actually fun dating multiple people and having them know about each other. For me, I’m happier dating multiple people without the pressure of being in a monogamous relationship.”

Whether we’re looking for one partner or one more, online dating is becoming an increasingly popular means for queer people to meet other queer people. According to researchers at the University of British Columbia, dating apps are often used by queer people to avoid the persistent stigmatization outside of dedicated communities.

Further, according to a study published in the Journal of Social and Personal Relationships, explicitly queer dating apps (Her, Taimi, etc.) can act as easily accessible safe spaces for queer people and reduce uncertainty about others’ identities while we operate in a heteronormative society.

In situations where socially conservative families could be less than accepting of queer relationships, courting a partner through online dating may be a safer alternative to flirting in person. Many closeted Filipinos fear rejection because of their families’ religious beliefs. Some Filipinos have even expressed this through art shared at De La Salle University’s Research Congress in Manila, Philippines.

may hold onto the “modest, shy, and well-mannered” Maria Clara attitude, as defined by research published in Intersections: Gender and Sexuality in Asia and the Pacific. Those that wish to avoid transparency with their intentions as Maria Clara models may prefer to leave more “weak signals”, which can include simply viewing an online dating profile with the knowledge that the potential partner would see their interaction, showing only implicit interest, rather than definitive interest, as defined by one study on online dating. Others may be more flirty and direct, explicitly sending the first message and taking an approach that parallels the assertive and independent temperament of the pre-Hispanic Filipino woman, as defined by research previously mentioned. With the Online Disinhibition Effect, it seems easier than ever for queer women and femmes to make connections through online dating.

Whatever preferences, families, or platforms a person may have when seeking a partner, the experiences of Kristen, Jen and Honee show how to be open, honest, and patient with the people we love for the best outcomes.

Everything considered, the traditions of Filipino courtship can manifest for sapphics in different ways. Some

Issue #1 | Philippine Independence Day & Pride Month

49

Beauty & Fashion

Beauty Standards Perpetuated Through a Colonial Lens Part 1: Skin Whitening Written by Jessa Naranjo & Blu Caoili Header Images by Zoe Manalo

50

KAPWA: The Filipino Magazine

Issue #1 | Philippine Independence Day & Pride Month

51

A Love Letter to Our Readers: “Anak, you are so beautiful.

It is said that beauty is in the eyes of the beholder. So behold yourselves, dear ones, with the love and admiration you’ve been wanting and deserve. May every moment you breathe, taste, see, touch, and smell, remind and inspire you to smile and see yourself with beauty and love.

We see your struggle, trying to fit yourself into a mold as if you are like clay, when in fact, my anak, you are gold. You are gold because you’ve molded yourself with the heat of your ambition, creating the shape that you seek to fit. And no, they cannot dull what constantly shines. And although there are days where it might seem so out of reach - Anak, you are still valid even on those days that you feel weak. You are enough. You have always been enough, and we are so proud of you.

Anak, you are so, so, so beautiful.”

There are hundreds, if not thousands, different types of “whitening” and “brightening” skin products distributed throughout the world. Found anywhere from drug stores to high end boutiques, skin lightening products have become a huge commodity in today’s market. So much so that its market value is estimated

52

KAPWA: The Filipino Magazine

to be over $16 billion (USD) by 2030.

Even with the multitudes of sources and media covering the problematic physical and psychological implications of these products, the influence of wanting lighter skin has entrenched itself so deeply within our Filipino communities that it is considered the beauty standard.

Our co-authors recollect on their own experiences growing up in a world that prioritized whiter skin.

“Growing up, I had seen my mother apply multiple products onto her skin to make herself look whiter. She would layer them in the morning, afternoon and at night.

I was so influenced by her - I would find myself bathing with lemons, putting the same whitening skin products she used on my own 8-year-old body. Looking back, knowing what I know now, I’m saddened at the shame I felt for not looking a certain way. However, as I grew I was fortunate enough to experience more positive and influential communities and I learned to embrace the shade of my skin. Sadly, I still hear those comments on skin tones imposed on our younger generations from our elders.

But whenever I hear these comments, I try to curb the damage by encouraging young people. Reminding them on how beautiful they are despite what they are told. And although I see some reassurance in their eyes, I can also still see their hesitation in that belief.” - Jessa

“As someone who grew up in California, colorism didn’t greatly affect me until I was mature enough to notice. At first, it was seen through the passing glances of my dolls, the pale Filipina heroines in telenovelas and the comments of those who couldn’t understand that I was beautiful, even if I was tanner.

When the influences of those voices grew too loud, my mother would ground me with words of love for my skin and would tell me that all the girls of California were jealous that I was kissed by the sun and would pay so much just to look like me. Hearing those words would sober me up and would put me onto the course of influencing the way I would care for myself and the people I would interact with. I’ve grown to love my skin the way the sun has blessed it and I hope to help be a positive reassurance to anyone else who might be going through the same thing.” - Blu But now it bears the question, what do we do about it? Sometimes, the only way to move forward is to go backwards. Through joint research, it’s been discovered that even before the first Spanish ship arrived on the shores of our islands, the aspiration

for lighter skin was something that already existed. In pre-colonial times, a practice existed known as “binukot”. Binukot, which can be translated into the word “seclusion”, was a practice where a young girl or woman was kept from the sight of anyone who was not their family or female servant. Once they were of age they would then be sold to the highest bidder. The practice was commonly utilized by nobles in the Philippines in order to make their child more desirable for marriage, in exchange for a higher status or dowry. Throughout history, the binukot were placed on a pedestal, fawned over for how beautifully frail, fair, and well-spoken they were. Dubbed “moonlight women,” these young girls would go so far as to bathe exclusively at night in order to avoid the sun.

In modern times, while the practice is no longer as widespread, its permeation is still something that has laced itself into the very threadwork of our culture.

Another contributing factor in associating lighter skin with affluence was the mingling of native Filipinos with fairskinned colonizers. The most commonly sought after relations were that of

Filipinos and Spaniards. Spain, who has historically colonized the Philippines for centuries, reinforced the notion of darker skin as a negative by putting those of mixed blood and fairer skin in positions of importance and high authority, while those with darker skin were often placed in positions of hard labor and servitude.

An example of this perception was the privilege of not having to work outside under the tropical sun for a living, while having servants doing the field work for them instead. Is it really a surprise that this practice led people to believe that the paler the skin, the more wealth and favor a person had? And though the Philippines has gained its sovereignty from oppressive rule, colorism still continues to this day, widening the divisive gap between those with lighter and darker skin.

In E.J.R David’s book, “Brown Skin, White Minds: Filipino-American Postcolonial Psychology”, he wrote about his own experiences in his upbringing where relatives tried to find ways to make their skin lighter or take preventative measures to keep their skin from getting darker. In a

Issue #1 | Philippine Independence Day & Pride Month

53

Filipinos are divers submissions of ev within our comm beauty in

54

KAPWA: The Filipino Magazine

se and these photo veryday Filipinos munity show the n all of us.

Issue #1 | Philippine Independence Day & Pride Month

55

country like the Philippines where the sun shines for long hours of the day, he found these ‘vampire-like behaviors odd’. Even more noticeably in entertainment and media, celebrities are often seen as rolemodels, idolized for having light skin or being mixed-blood mestizos/a’s. If you’ve ever watched a Filipino teleserye (drama), notice that quite often the hero is usually light-skinned, whereas the villain or comic relief characters are often dark-skinned.

These same celebrities and influencers could also be seen promoting whitening skin products or procedures, proudly endorsing whitening clinics throughout the Philippines by sharing their experiences on treatments and usage of these products. David has also written that individuals who were dark-skinned were often perceived as unattractive or undesirable. When complimenting someone on their good looks, the response would be “aba, maputi yun!”

As the trend of skin whitening gained popularity, people searched for easy and accessible methods since avoiding the sun is not always the most feasible option. While affluent individuals have access to skin care products with lightening agents and specialized services such as skin lasering procedures and microdermabrasion, the less privileged masses have limited options. Cheaper and potentially dangerous methods are the only alternatives available to them.

Some procedures go so far as to inject glutathione, a controversial antioxidant, into the body. The injection of glutathione inhibits the production of melanin by targeting cells in the liver, which leads to the skin whitening from the inside out. And while marketing glutathione injections as a “vitamin” or “naturally occurring” substance may seem justifiable, it carries several potential drawbacks and risks. Studies suggest that these injections may result in low blood pressure, nausea, vomiting, abnormal digestive symptoms, rashes all over the body and in severe cases kidney and heart failure. The use of such procedures and products that endanger an individual’s health is a troubling practice for the sake of maintaining an unfair standard.

56

KAPWA: The Filipino Magazine

When complimenting someone on their good looks, the response would be “aba, maputi yun!” (Of course! He/She is light-skinned).

- E.J.R David Brown Skin, White Minds: Filipino-American Postcolonial Psychology Conversely, those who cannot afford the glutathione IV drip - sometimes colloquially called ‘snow-white’ or ‘Cinderella drip’ injections - would resort to purchasing cheaper skin products that have been discovered to contain high levels of mercury. Studies showed that these products contained beyond the legal FDA approved amounts, as well as the legal limit in the Philippines which is one part per million. In a 2020 Youtube documentary

by Refinery29, products purchased from a local street market in the Philippines were found to contain 42,000x the legal amount of mercury. Where common ingredients such as Vitamin C, Kojic acid and Hydroquinone are typically found in many skincare products, mercury was the dominant ingredient used in these cheap creams due to its accessibility and low cost.

A toxic and deadly metal, mercury, if used repeatedly on the skin, could cause kidney failures, loss of vision, neuromuscular impaired bodily functions, birth defects and even memory loss. Despite this, many still risk their health to achieve the desired result of looking lighter in complexion.

Why are these facts important to know? Simply because it underlines the problematic obsession that prioritizes physical appearance over a person’s wellbeing. It’s essential to promote a healthier and more accepting ideology of beauty that emphasizes celebrating one’s natural skin tone rather than potentially risking one’s health to meet unrealistic beauty standards.

The rampant economical growth of these products may continue to pass into the major market and encourage widespread consumer usage. This will also likely encourage subversive and dangerous products like the cheaply-made creams with unsafe levels of mercury to coexist.

This status of beauty based on skin tone and the need to survive in order to obtain opportunities for oneself, is being capitalized by multi-billion production companies which create and promote the idea that beauty is only obtainable if you are fair-skinned. At the current rate, the financial commerce of these products as of 2022 is at $10 billion (USD). Whether this includes the illegal production of the cheaper alternative products, the industry continues to pose a genuine public health risk. Even with all of the research and factual breakdowns, many minorities will still continue to use them.

It is a constant cycle ingrained into our present that whiter-skin equals a better.

It’s not just an isolated hardship in the Philippines, but it’s seen worldwide.

And yet, even with colonization and the discovered practices in our pre-colonial antiquity, it is our responsibility in these modern times to reassess our perception of what beauty really is. In order to answer our previous question, we must first ask ourselves these: What does beauty really mean and why does it matter? Is it so ingrained in us to judge others based on what societal constructs have defined for us? Can we, as a people, recognize that these harmful ideologies have psychological effects on our communities and our own families? And is there a way to encourage a change of course to prevent our current climate from continuing to engulf us the way it already has?

nurtured in us. Beauty is subjective and in our own reflections we can control what we find beautiful. It will take many moments of intention to create a practice of selfassurance and forgiveness in ourselves.

And though we may still have moments of struggle, we must remind ourselves that it will be okay. We also cannot choose how others should live or survive in this world.

For those who feel the need to choose to whiten their skin, we have to remember that this perception of beauty is deeply rooted in an inequitable expectation. We have no right to judge those on how they feel the need to survive. Though individual perspectives can be heavily influenced by a community that created this perception in the first place, as independent writers, free thinkers and hopeful bohemians, we need to show our support for one another.

No matter the choices that were made to endure and survive; we need to remind ourselves and each other that beauty is already residing within. It might take some time to allow that love and kindness in. So, take your time – and be proud of yourself if you find that despite all of that, you’re willing to try anyway.

So, now comes the answer to our original question: What do we do about it? We have to realize and remember, we hold power in our own hands every day and we can inspire and support those around us. This is something that has to be awakened and

Issue #1 | Philippine Independence Day & Pride Month

57

Dress to Impress Uncovering Pre-Colonial Visayan Formal Wear Written by Nahia Lloren & Kalib Namwaran Photography by Alex Jimenez & Great Image Studio Normally, when someone asks what the traditional clothing of the Philippines is, what comes to mind is the Barong Tagalog and the Baro’t Saya.

Both attires are a result of native, Asian and Spanish influences due to the Philippines’ 333 years of Spanish colonization, with further evolutions and westernization happening by the end of the 19th century, when the Americans colonized the country. Further innovations eventually led to the creation of the terno, a one-piece western evening gown with butterfly sleeves.

With this in mind, people also wonder: “What did we wear before the colonizers invaded?” And here is where it gets tricky.

People on opposite sides of the spectrum have varied opinions on this, with one side outright demonizing pre–colonial/ pre-Hispanic traditions and cultures as uncivilized, barbaric and chaotic. Not to mention that years of colonization warped their way into thinking that we were naked people, to the point that what comes to their minds is the look of a caveman.

The other side of the spectrum believes that the Barong Tagalog and Baro’t Saya originated from Spain and were enforced by the colonizers. Misinformed people have spread the infamous hoax that the Barong Tagalog was transparent so the natives would not conceal their weapons underneath and was worn untucked to deem the natives as inferior to the Spaniards. This is ironic considering the fact that it was the wealthy middle and upperclass citizens who wore the translucent piña barongs, whilst the working-class natives wore opaque, cotton camisas.

Kalib wears a maroon red baru with a red tampi (akin to a sarong/tapis), a light orange hulun and a copper-toned salagbay. Wrapped around his head is a red pudong (headwrap). On his wrists are gold arm bands and on his ears are gold pendant earrings.

Photo Credit: Alex Jimenez

58

KAPWA: The Filipino Magazine

Indeed, the Barong Tagalog and Baro’t Saya have been fused with influence from the colonizers, but they have their origins from the pre-colonial era. When

his attire as consisting of only a bahag (loincloth), an exquisitely made pudong (turban), and various gold jewelry. Tattoos covered the rest of his bare body, including his face, which Antonio Pigafetta described as being “fiery” in appearance.

In “Vocabulario de la Lengua Bisaya”

by Matheo Sanchez, there is an entry describing “esteemed and precious things such as a dress reserved for parties and for visits” - this was lihin-lihin. Historian William Henry Scott used this term to exclusively refer to ceremonial wear in his book, “Barangay: Sixteenth Century Philippine Culture and Society”.

Nahia wears two different styles of Visayan precolonial wear. On the bottom, she wears a tapis lambong where the garment is tied as a wrap dress, a salagbay (shawl) complete with gold accessories and jewelry. On the top, she wears a baru (blouse), a tapis and a green salagbay. Of course, she is also decked in gold jewelry. | Photo Credit: Great Image Studio, Eastwood Mall Branch, Philippines

the Spaniards set foot in the archipelago, multiple records described some people wearing the baro. Even old dictionaries from different languages mentioned native terms for “blouses” or “jackets”.

With this in mind, we can move forward into digging deeper into our heritage and culture, to unlearn misconceptions and to take pride in our history.

Lihin-Lihin Since pre-colonial Visayans sported tattoos which demanded to be constantly flaunted, tailored upper garments were seldom worn by most Visayans; in fact, toplessness was perfectly acceptable for all sexes. Even firsthand accounts of Spaniards meeting native royalty, such as Rajah Humabon of Sugbu (modern day Cebu), describe

As supported by many different historical sources and accounts, the most common forms of lihin-lihin consisted of long tunics, cloaks, and robes--garments that wouldn’t normally be worn by the average Visayan.

These lihin-lihin garments would most likely be made from expensive, imported textiles, including but not limited to: • Chinese silks • Indonesian batik • Fabrics woven by non-Visayan tribes Or the garments could be of foreign origin themselves, which were referred to as sinina (“in the manner of foreigners”).

Depending on an individual’s social standing, their access to certain fabrics for formal wear would vary. Tumao (nobility) could easily get their hands on the fanciest materials like brocades, though they did not shy away from wearing locally made weaves. Hara Humamay of Sugbu wore a beautifully patterned habul (native Visayan fabric) during her baptism. Talk about a #SupportLocal Kween.

The Timawa (freemen, warrior vassals) would primarily wear colorful hablon weaves and batik, though if they were especially accomplished warriors and/ or close friends with the ruling family, they could’ve also worn silk brocade. A

special yarn-dyed abaca textile known as pinayusan was worn exclusively by highly respected warriors and heroes, dyed a deep scarlet from which their pudong and bahag would be made. Lumpot (dyed cotton fabric) and abaca were also worn by Timawa who weren’t particularly wealthy.

(FUN FACT: Pre-colonial Visayans had a pejorative term for Timawa who behaved like Tumao: timindok, which literally meant “big banana”. Timindok were ridiculed for building houses rivaling the size of their datu (ruler), and this may very well be the case for those who dressed up in their lihin-lihin casually.)

For the Uripon (slaves and serfs), their textile options were limited to lumpot, abaca and bark cloth, as they could afford very little. Often, their clothes were ukay-ukay (hand-me-downs) from their masters. They would still wear gold, but in minimal capacity, and their other jewelry would consist of wooden materials and seashells. In the pre-colonial Bikol region (which shared many cultural similarities with the broader Visayan world), a simple kerchief tied across the shoulders was enough to be considered as dressed up for the occasion.

Lihin-lihin wasn’t limited to robes, cloaks and tunics, but it applied to one’s very best typical garments. Whether it be a tapis (handwoven wraparound skirt), bahag, baru (blouse) or lambong (tube skirt), as long as it was your very best, it could be counted as such. The special occasions were also like a fashion show event, especially among the wealthy, to show off the best garments that they could afford.

Even until today, the appropriateness of wearing certain types of garments still persists. But that doesn’t come without evolution. With fashion influencers challenging the norms, maybe we may see the lihin-lihin being revived, not only during events, but even on a normal day.

[1]: William Henry Scott, Barangay: Sixteenth Century Philippine Culture and Society, First Edition. (Ateneo de Manila University Press, 1994).

[2]: Matheo Sanchez, Vocabulario de la Lengua Bisaya. (Colegio da la sagrada comp. de Jesus, 1711).

[3]: The Boxer codex : transcription and translation of an illustrated late sixteenth-century Spanish manuscript concerning the geography, ethnography and history of the Pacific, South-East Asia and East Asia, ed. George Bryan Souza and Jeffrey S. Turley (Boston: Brill Leiden, 2016).

[4]: Mintz, Malcolm. “The Philippines at the Turn of the Sixteenth Century with particular reference to the Bikol Region.” Intersections: Gender and sexuality in Asia and the Pacific (2011): http://intersections.anu.edu.au/.

Issue #1 | Philippine Independence Day & Pride Month

59

Breaking Down Barriers The role of Social Media in Liberating Filipinos in the LGBTQIA+ Community Written by Ashley Bacus Illustration by Renato Varquez

*Author’s Note: Culturally, people of the Philippines are described as Filipino, which is traditionally masculine or when referencing in plural form, while Filipina is the feminine term. And while the ending in “x” is more commonly used in America, for this article, “Filipinx” will be used to be more cognizant and inclusive of gender identities.

60

KAPWA: The Filipino Magazine

Growing up, I remember taking a trip to Cebu, Philippines with my family.

I was given a tour of our neighborhood, walking by such places like my lola’s sarisari store, a school and a barber shop. I distinctly remember when passing the barber shop, hearing someone say “Ally Bayot.” When I found out that what I had originally thought to be a last name, was actually not, it sparked curiosity in me. “Bayot” in the Bisaya language is an informal word that translates to gay. Other translations can be “male homosexual”, “trans-female”, etc. I’d heard this term being used in other ways that seemed to have a negative connotation connected to it. However, it wasn’t until I was older that I really understood its implications.

At a young age, we were taught that you can only be male or female, and that being bayot was wrong or something to laugh at like a joke. I even remember one of my transgender aunts who was consistently made fun of behind her back by family, mocking her, saying things like “he” or “they’re not a real woman anyway.” Each time a queer person was referenced, family members would often just add “Bayot” as their 2nd name and it would get to the point of irritation for me. I still remember the first time I defended one of my cousins and told my parents to stop adding “bayot” to their name because it doesn’t make them different from any other person.

Granted, I was a little older, more vocal and had a better understanding of its implied negativity. But it really showed me how homophobia was culturally ingrained in our minds before we could even understand such concepts.

As I remember times like these I realize how prominent homophobia was, not just inside my own family, but also in our culture. I find that it can be very sad and discouraging for those who want to come out. Saying someone is gay in our culture can really ruffle the feathers. Luckily, as time has gone on, people’s perspectives are evolving and more are likely and even willing to have open conversations.

Current generations are breaking through the traumas created by our previous ones, uplifting those we’d call influencers on social media today. Social media has

given many individuals the power to be raw and unfiltered in their expression of themselves. Older generations who use social media often find themselves exposed to how much times have changed and the difference these influencers have made in our own community. I am hopeful that it helps us learn about our own culture within the LGBTQIA+ community and forces us to open our eyes and acknowledge the things we have chosen to remain ignorant about.

In the last decade, the world has become more aware of LGBTQIA+ influence in the fashion and beauty space. In this day and age, through social media, we see how it has helped aspiring creatives in expressing themselves and their talents.

One of the largest platforms for artistic expression was YouTube. From what was initially a place to upload random videos, birthed a whole industry of content creation. Anyone could create a video to showcase their talents, their opinions and who they were. Views that originally started off circulating through family and friends, became a viral pathway to popularity that could gain thousands of subscribers. Going viral can be one of the fastest ways someone can be discovered in an instant.

When it comes to LGBTQIA+ Influence in Filipino fashion & beauty, I immediately think of Patrick Starrr and Bretman Rock, but there is now someone else to keep an eye on. Before we jump right into who’s up and coming, let’s take a minute and look at a couple Filipino pioneers in this internet industry.

Patrick Simondac, known as Patrick Starrr, a makeup artist and digital creator, identifies as gay and uses the pronouns he/him. Simondac was born and raised in Florida. After he graduated high school, he worked at MAC. It wasn’t until he discovered makeup that he was able to truly express himself. This led him to vlogging and being known as the first male, Filipino American beauty influencer.

He started his YouTube Channel in 2013 because he didn’t see anyone that looked like him in the industry. Simondac doesn’t shy away from his identity, his size or being bald. He loves to express himself

through his beauty, dresses, wigs and signature turban looks. With almost a decade of creating, he has gained over four million followers.

Simondac has continued to grow in his artistry by creating his own makeup brand called ONE/SIZE, which emphasizes his stance on self expression, being confident in one’s own skin and telling your story through your own unique identity.

Thanks to this platform we could finally see others with the same culture, background and interests. To no surprise, Bretman Rock was inspired by Simondac when creating makeup tutorials. Rock broke through in 2015 with a makeup contouring video. He immigrated from the Philippines to Hawai’i at a young age. He grew up in a family that let him express himself where he never felt the need to openly come out as gay. Rock takes all aspects in showcasing being Queer, Filipino and an immigrant. Using the pronouns he/she/ they, Rock identifies as a human being, non-binary and goes by all the pronouns.

From his recent book, “You’re That Bitch”, he says, “I don’t mind, I’m cute either way.”

He is proud to be LGBTQIA+ and FIlipino and feels honored to represent both underrepresented communities. A few accolades he has gained includes working with brands such as Balmain, Michael Kors and Nike. In 2021, Rock made history as the first gay man on the cover of Playboy Magazine. His unapologetic, comedic personality has gained over eighteen million followers on Instagram and over eight million subscribers on YouTube.

Rock continues to break barriers and build a positive visibility for brown Asians in entertainment, beauty and fashion.

Just recently, he even graced the cover of Vogue Philippines for their June issue, which is the first time they have featured someone who is LGBTQIA+ on the cover.

We can’t wait to see what’s next!

Simondac and Rock have made an influence within the LGBTQIA+ community as beauty and fashion gurus. Their social media presence has inspired many Filipinos to show their authentic selves and their trailblazing has allowed us to be excited for others who are up and coming. Knowing

Issue #1 | Philippine Independence Day & Pride Month

61

that both Simondac and Rock broke into their fame while in the United States, with the support of Filipinos across the globe, it is nice to see someone from the motherland start to gain some recognition too.

Recently, as I was searching for Cebuano creatives, I came across a photo of someone wearing an all black mesh jumpsuit by Mugler. When you think of Mugler, you usually think high fashion, and risque silhouette. Not something you’d normally picture in a backyard setting.

Imagine the photo, taken in front of a payag, which is a little hut. You can spot the walis (broom), crates, electric fans, chickens and a rooster. I was absolutely thrilled to come across this post and I wondered, “Who is this and what are they wearing?” It was one of those images that left you wanting to know more.

Who is this person, you may ask? The Instagram handle is @thirdworldbb. And the model and designer behind it is Luke Quismunod, or Lukresia. Breaking down the handle, you are introduced to the first half of what to expect from this account, being in the Philippines. I then thought “bb” was in reference to the slang way of saying baby, but it was even better and more witty.

Bayot boang. Quismunod shares with Preen PH what reclaiming the “bb” title means.

Instead of taking the term as derogatory, like my introduction in this article, Quismunod uses it as one of empowerment. “[Bayot] is generally how one would describe a queer person in Bisaya. Although it is dynamic, it has unfortunately become a slur used mostly by cis people to project prejudice. [But] when we say it among queer people, it is empowering. I had it tattooed to try to reclaim the beauty in the word. For ‘boang’, which literally means eccentric or crazy, I am one,” they said.

If you haven’t looked at their Instagram yet, what are you waiting for? You truly get to see how Filipinos are resourceful.

Quismunod does it in a way to show that you can work with anything and make it your canvas. They break through fashion and norms. Fashion can sometimes feel luxurious, but Quismunod takes everyday items and makes it a statement.

62

KAPWA: The Filipino Magazine

A few pieces that stood out were things you wouldn’t initially think of as fashion.

Quismunod hand sews a colorful banig into a structured dress. If you’re not sure what a banig is, it’s a handwoven mat that one typically lays or sits on. It reminds me of childhood or times we’d use it at the beach or park. It’s thick and not as easy to manipulate as any regular fabric, so you can imagine how hard it must’ve been to make it look fashionable. Quismunod poses in front of their payag, does a little catwalk and serves all the fierceness. The other statement accessory highlighted on their page is the palm leave sunglasses.

Honestly, the only time I have ever made anything with those leaf were crosses at Palm Sunday mass with my lola, so to see it in a fashionable form was exciting.

Earlier this year, Mugler hosted their couture show in Paris, where Quismunod made their runway debut. It’s been 2 decades since a Filipino model has been a part of Mugler’s catwalk, but it’s historically the first time a queer Filipino model walked for the brand. Talk about full circle.

Quismunod took to the show by wearing a corset top with an off the shoulder rhinestone fringe, paired with cutout leather pants. This designer has created looks for BlackPink’s most recent Coachella performance, Beyonce’s Renaissance tour and has done a collaboration with H&M. I can’t even imagine how Quismunod felt representing the brand. Watch out for the next Queer Filipina Queen! I hope to see more of Quismunod on the runway along with their pieces worn on red carpet events or the Met Gala.

Social media has truly given access to show the world that Filipino LGBTQIA+ artists are here to stay. To finally have a platform with such a global presence, where this community of people can openly express themselves, be heard and use that influence to show the world who they are, is mind blowing. With various responses from the audience, there will be times when negative comments arise, but hopefully our community notices one’s dedication to their craft, persistence and fearless character can be inspiring. I hope as we continue to move forward in this world, our acceptance of the culture will grow. The lack of awareness may be

due to the old societal and cultural norms, coming from a place of sweeping one’s gender identity or sexuality under the rug.

It is important for newer generations to keep a welcoming space and environment for our community. As a collective, we can continue to have conversations with our own families about being proud of who they are and be empowered. These different social avenues have helped launch careers of so many marginalized people. With the power of social media, we can see more and more Asians being recognized and the growing hope that there will be more and more LGBTQIA+ Filipino creatives represented in this industry.

Photo Credit: Ligaya Caballes

Issue #1 | Philippine Independence Day & Pride Month

63

food & drinks

A Letter from the Food Team Written by Chef Earl Briones

64

KAPWA: The Filipino Magazine

Malugod na pagbati po sa inyo (We sincerely welcome you) Any journey starts with a first: a first appearance, first celebration, first publication. Inaugural moments are memorable and special, especially with the first edition of Kapwa Magazine launching just days after the anniversary of Philippine Independence Day. As a chef by trade and an anthropology enthusiast, I have a huge passion for encouraging others to learn about and appreciate our food and to preserve the cultural heritage of the Philippines.

Growing up in the Philippines in my early years, like most children, I was more interested in Jollibee than the traditional dishes that surrounded me at home and familial celebrations. After moving back home to Canada, I found a desire to explore the part of my culture I took for granted. While I had earned many accolades and recognition as a chef, I felt ashamed that I didn’t know the food of my homeland. I began researching, reading, and reconnecting with both Philippine history and that of my family. Through this process, I learned that I am a descendant of rice farmers in the Pampanga region.

With this learned information, I found inspiration in the shared power of storytelling and food. At the beginning of this year, I launched my latest culinary project: a dinner series that explores the flavors, techniques and beliefs surrounding food during the pre-colonial era of the Philippines. Rice & Mysticism has allowed me to forge a deeper bond with my ancestral roots, filling a part of myself I did not realize was missing.

Never in my wildest dreams did I think I would be part of an amazing project like Kapwa Magazine. I am lucky to be working with some very talented individuals to bring this new publication into fruition.

It’s honestly been inspiring being among everyone and hearing all the ideas being pitched. I am lucky to have amazing writers and am blessed to have an amazing senior editor in Frances Michelle Cannon.

This section will not be your typical Food & Drinks section. While we will have recipes and articles about food, we also want to provide you with stories and topics that will make you think and take a new look at our food. As editors, we encourage our writers to think outside the box and challenge the norms of how they have been taught to perceive our culture. You

will learn about old, new and unique conversations that surround the growth of Filipino food.

Without further ado, I am proud to introduce the stories you’ll read in this inaugural issue of Kapwa Magazine.

“Profile: Nina Daza Puyat”: Frances Michelle Cannon talks with Nina Daza Puyat about her recent work and life as the youngest child of the late culinary icon Nora V. Daza.

We take a look back with Kristen Dominguez at how food has evolved over the generations with “Pre-Colonial Food Preservation.”

Finally, Mal Matson shares a personal essay about how the concept of the “International Aisle” in grocery stores contributes to a toxic culture of “otherism.”

Since the first gift we historically provided was food, we want our section to be a gift to your brain, your heart and of course, your stomach.

Chef Earl Briones Food & Drinks Editor

Recipe: Paksiw na Isda (Fish cooked in vinegar) On the topic of food preservation, vinegar-making and its uses in pre-colonial Philippine culture in particular: much like adobo, paksiw is an old recipe that carries on in the modern and old cookbooks of a lot of Filipinos. However, since soy sauce was a later addition to our culture, one could wonder if paksiw is the older recipe of the two.

Ingredients

Directions

1 kg bangus (milkfish) or tilapia, cleaned and halved

1.

1 onion (yellow or white), sliced thinly 1 thumb ginger, sliced thinly

them aside 2.

4 cloves garlic, pounded and peeled 3 pcs siling haba, whole (green chili peppers/green finger chilis)

Slice your fish into 4 pieces (2 filets cut in half). Place In a wide pot, add the oil, peppercorns, ginger, onion, and garlic. Saute until aromatic and sweated.

3.

1 small ampalaya, sliced (bitter gourd)

Add the fish, water, vinegar, salt and ampalaya into the pot. Simmer on medium high heat.

250 ml vinegar (white or coconut)

4.

Once the liquid starts to simmer, add in the siling haba.

500 ml water

5.

Cover and let simmer for 15-20 minutes or until the

40g salt 5g peppercorns 40 ml canola oil

fish is cooked and the liquid has reduced.

6.

Taste and adjust seasonings if needed. Serve hot and with one piece of sili.

Notes •

If you’re not a fan of ampalaya (bitter gourd), you can easily swap in talong (eggplant) or okra instead!

•

The vinegar you choose is up to you! White vinegar will result in a more tart and sour paksiw, while coconut vinegar will add a little sweetness to the sourness of your stew!

•

Adding a little patis (fish sauce) to paksiw is a really amazing balance of sour and umami.

Issue #1 | Philippine Independence Day & Pride Month

65

An Icon Born of an icon How Nina Daza Puyat Upholds Her Mother’s Culinary Legacy Written by Frances Michelle Cannon Illustration by Angela de los Reyes Photos Courtesy of Nina Daza Puyat Nina Daza Puyat is truly her mother’s daughter. An icon in her own right, Nina continues to champion Filipino cuisine through her books, speaking engagements, and by revitalizing her mother’s iconic cookbooks. The youngest daughter of celebrated culinary multimedia powerhouse Nora V. Daza, Nina has made a name for herself alongside a family who have maintained deep roots in Filipino culinary history.

Nina didn’t always think that following in her mother’s footsteps was the path that she’d carve out for herself.

“In grade school, I was interested in becoming a lawyer like my dad — or even

66

KAPWA: The Filipino Magazine

a painter, because I love art,” she said. “But as a young girl growing up, I saw my mom take on various roles as a restaurateur, cookbook author, and TV cooking show host with such ease and elegance, that by the time I got to high school I decided that I wanted to be in the same field.”

For the uninitiated, her mother Nora was the closest thing to a Filipino Julia Child.

Her books became required reading in home economics classes across the Philippines and her work extended from media to owning several beloved restaurants, including Aux Iles Philippines, the very first Filipino restaurant to open in Paris, France in 1972, and the French restaurant Au Bon Vivant in Manila. The

Dazas were even responsible for opening the first Filipino fine dining restaurant in New York City, on the ground floor of the Philippine Center in 1975.

While Nina has certainly cemented herself in the food and writing world over the years, life had a slight detour in mind for her. By the time she reached Cornell University, she shifted her focus towards food and beverage in the hospitality industry. She interned at the Hyatt Regency back in Manila for one summer before realizing that being a hotelier was not her dream after all. Upon her college graduation in 1986, she returned to Manila and began helping her sister Stella run the family’s French restaurant, Au Bon

Vivant. It was during this time that Nina began to see that her mother’s schedule was becoming harder for her to manage.

her brother Sandy to take it over, updating “Cooking It Up with Nora” to “Cooking It Up with the Dazas.”

“My mom was always traveling between Paris and Manila,” she said. “She sometimes made commitments that she was not always able to fulfill.”

The family cooking show was wellreceived, but Nina’s passion for food was always closely tied to the printed word.

MEGA founder Sari Yap took a chance on Nina and made her the editor-in-chief of

To ease the burden of being spread too thin, Nina began ghostwriting on behalf of her mother. It started off with Nora’s food column in the Manila Times and eventually grew into substituting for her on her mother’s TV cooking show on ABS-CBN.

Appetite Magazine.

“I ghost-wrote three columns for her [Nora] before the editor Thelma San Juan suggested I should have my own byline,” she said.

Appetite had started out as a publication that championed high-profile chefs and gourmet recipes. Nina’s vision was to bring this back to basics to appeal to a wider audience. She went out of her way to seek out home cooks for the Filipino Issue in order to highlight hyper-regional recipes.

The themes of the magazine spanned many different cultures — from other parts of Asia, Mexico, Europe, and beyond. (con’t)

From there, Nina’s writing career began with columns in Parents Magazine and Isyu — even a brief stint at the Manila Chronicle. As for Nora’s television commitments, her mother asked her and

“I’m very grateful to Sari Yap,” she said.

“She gave me carte blanche to turn Appetite into a magazine that was more for everyday home cooks.”

Issue #1 | Philippine Independence Day & Pride Month

67

Nora V. Daza leading a cooking demonstration at a university’s home economics course in the 1970s

“I made sure the recipes were doable,” she said. “The procedures had to be wellwritten and the ingredients had to be easily accessible and affordable.”

new ingredients or update things like the canned mushrooms that were included during a time when fresh mushrooms were difficult to find.”

It was this attention to detail and commitment to making cooking approachable that served her well when Anvil Publishing recently asked Nina to update her mother’s most iconic cookbook, “Let’s Cook with Nora.” This book is often described as the essential reading to new wives. It was included in various college curricula and has stood

She went on to tell us about how, despite working so closely with her family over the years, many recipes were brand new to even her.

the test of time in terms of its lasting impact on Filipino cuisine.

testing, I discovered many new dishes that I simply ignored back then.”

“My experience at Appetite prepared me for the biggest and most challenging task of my life; retesting and rewriting my mother’s entire cookbook — one that is considered a classic,” Nina explained.

Nina noted that there were more obscure recipes that she found to be very good, including Baked Fish with Bread Sauce, Oriental Beef with Noodles, and Nora’s version of gazpacho.

Nina went on to tell us about the daunting process of going through nearly 270 recipes and modernizing kitchen techniques and ingredients.

“I also renamed some dishes such as Pork with Sauce (now Pork Chops with Mushroom Sauce), the Roast Pork (now called Lechon Belly Roll), and the Carbonara (now Pinoy Carbonara) because it has red and green bell peppers,” she said. “We now know that a true carbonara doesn’t have any peppers nor does it have cream.”

“I had to test recipes, then test them again and again,” she told an audience at a recent book event. “I had to add

68

KAPWA: The Filipino Magazine

“There are thousands of Filipinos who love ‘Let’s Cook with Nora,’ but only come back to their 15-20 favorite recipes,” she said. “I was the same… and when I started recipe

During her testing, she also found longoverlooked typos, including a glaring error in her favorite Suki-Yaki recipe.

“There was a typo in the original book,” she said. “The Suki-Yaki only called for half a cup of beef stock, so in the new version I have updated it to 4 ½ cups.”

The Dazas continue to influence the food world today. While it’s been many years since their days of helping run the restaurants, there is a new generation of Nora’s grandchildren who have also taken an interest in being ambassadors to Filipino cuisine. Nina recounts a time when she and her siblings were helping run their business in Paris.

“Our customers [in Paris] were 90% French people,” she said. “This was in the 70s and 80s when the French didn’t really know much about the Philippines.” She went on to add, “They thought that we ate with chopsticks like the Chinese and Japanese!”

The desire to inform the masses of what Filipino food is and what it can be has always resonated strongly with Nina, as evidenced by her most recent creative endeavors. Most recently, Nina has released two of her own original works.

Nina Daza Puyat leading a cooking demonstration at The Maya Kitchen Culinary Arts Center in 2017

The first is a chapbook of food limericks called “Tugtong: Mga Tulang Bugtong Tungkol sa Pagkain Para sa Mga Pinoy na Mahilig Kumain.” The second is her first foray into children’s literature, a beautifully illustrated folktale called “Ang Alamat Ng Lumpiang Shanghai.”

The latter was created entirely during the pandemic. Nina thought about what she wanted to gift her grandchildren and came up with an idea to tell a tale that marries meat and vegetables.

“I enjoyed using my imagination and creating these scenes and dialogue,” she said. “It was also important for me to show the Filipino character traits of being kind and helpful to others in need, and also being respectful to the elderly.”

“Ang Alamat ng Lumpiang Shanghai” is just the first in what Nina says will be a series on food-related books for children.

“I have another children’s book being illustrated right now which will be released as an ebook,” she said. “A goal of mine with these books is to do more readings to children in schools.”

Nina’s first children’s book

Follow Nina Daza Putay on social media @ninadp8 Buy a copy of the new edition of “Let’s Cook with Nora” via Anvil Publishing at anvilpublishing.com

Issue #1 | Philippine Independence Day & Pride Month

69

(From bottom going clockwise): Paksiw na Isda, dried matangbaka (butterflied dried big-eye scad), Sukang Illoko, Sukang Tuba, Patis (fish sauce), dried tiny shrimp

From Vinegar to Paksiw

A Look at Pre-Colonial Philippine Food Preservation Written and Photographed by Kristen Dominguez

As long as humans have existed, cultures across the world have preserved and processed their food in one way or another. For Indigenous Filipinos, this was no different. Whether as a means to ensure there was enough to eat during

Fermentation

seasons when supplies were low, to have a meal during travel, or to make an essential cooking ingredient, food preservation in the pre-colonial Philippines helped play a major role in developing some of the signature flavors of our cuisine.

landscape today, it would be doing a great disservice to not mention one of the most essential Philippine ingredients: vinegar.

Antonio Pigefetta, a historian who arrived with Magellan’s crew, recorded coconut vinegar as one of the first food items he encountered when he arrived in 1521.

While it’s easy to associate the term “precolonial” with something that is no longer being practiced, these methods haven’t disappeared completely. Although the procedures may have evolved, preserved foods have helped lay the foundation for many of the most beloved Filipino dishes; from the vinegars that flavor our lola’s signature adobo to the tinapa (smoked fish), our parents served with rice and eggs.

70

KAPWA: The Filipino Magazine

The word fermentation often invokes images of alcohol or pickles (like atchara).

While both of these were made prior to the Spanish landing on our islands and are still part of the Filipino culinary

Vinegar, or suká, was extremely important to the pre-colonial Filipinos. In addition to being used for cooking and food preservation, vinegar was also believed to cure a variety of physical ailments, including fevers and headaches. To make vinegar, one could use a variety of natural ingredients; some of the most popular include: nipa palm sap, coconut flower sap, and sugarcane. There

was no primary vinegar type that was used throughout the entire archipelago, as this depended on what natural resources were available where it was being made. To make vinegar, the natural liquid of choice was gathered and stored in earthen-ware clay jars called tapayan. Sometimes, this would require cooking the liquid. The jarred liquid would then be exposed to the sun. Within a week, it would turn into vinegar and be ready to use. While today’s modern world relies more on mass-produced vinegars, there are still a small number of artisans today who make their vinegars according to the traditional methods passed down through the generations.

Aside from vinegars, our ancestors also made alcohol. Commonly called alak, tapuy, or tuba; these libations were also made from saps, nectars and other fermentable ingredients. Oftentimes, vinegar happened to be a by-product

T: Ginisang bagoong alamang (sauteed shrimp paste) B: Patis (fish sauce)

of this alcohol-making. For example, in the Illocos region they make their Indigenous alcohols and vinegars from the abundance of sugarcane in the region.

The sugarcane juice is extracted, boiled down and fermented in tapayan to make

primary ingredient, rather than the whole fish. The result of all three fermentations is a wonderfully salty condiment and seasoning agent. Today, despite being produced industrially, these products are still enjoyed by Filipinos both at home in

of dried or smoked food without thinking of seafood. Walk into a Filipino market or restaurant and find at least one dish with a component prepared in this way.

According to Filipino food writer and historian Doreen G. Fernandez, fish was

the fermented wine called basi. Sukang Illoco vinegar can be made by further allowing the basi to ferment past its required fermentation period.

the motherland and spread throughout the diaspora.

salted and dried in times of abundance, in order to prepare for times of scarcity. This was such a common practice for those who had access to the ocean and rivers that there were specific terms for the methods of drying, salting and smoking.

For those with access to the various bodies of water, seafood was fermented to make beloved condiments. Similar to surrounding Asian countries, Filipinos fermented tiny fish in tapayan to make patis (fish sauce). Bagoong (a fermented seafood paste) was also made through salting and fermenting small fish or shrimp. In the Visayas and Mindanao, dayok was made according to a process similar to that of bagoong; a key difference being that fish entrails were used as the

Salting, Drying and Smoking While it’s no longer necessary for us to hunt and fish as our ancestors did, it doesn’t mean that dried foods aren’t enjoyed any less. Similar to the bacon and jerky that we enjoy today, early Filipinos also smoked, dried and salted their proteins to preserve them for extended use. It is unknown if Pigefetta was able to witness any specific methods of salting, drying, or smoking food, as he didn’t record any of these observations.

As an island nation, it’s impossible to think

If you were looking to prepare fish in the daing method, a large fish would be split open and butterflied from the back. This fish would be dried in the sun for later use (often to be roasted as is or used to flavor vegetable dishes). Tuyo referred to smaller fish prepared in this manner; tuyo is still enjoyed today as a popular accompaniment for champorado (chocolate rice porridge) and as a snack. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

71

Tinapa was the term for any size of fish that was smoked until its skin turned golden brown. Balbakwa (in Tagalog) referred to small fish that were layered in rock salt and allowed to dehydrate in containers; these were often saved to cook in vinegar or as a flavoring agent for other dishes.

Fish wasn’t the only water-based protein that was preserved either. Shrimp was an abundant resource around the coastal areas of the archipelago. The Illongo would salt and dry tiny shrimp into kalkag. Larger shrimp prepared in this manner (after being peeled) was called hibe.

Communities with limited access to fishing waterways also dried their land-based proteins after hunting. This method, called tapa, usually invokes our modern mental images of beef. However, in the pre-colonial Philippines, their tapa usually consisted of deer or wild boar. According to Fernandez, the meat used for tapa was never sold for profit. Instead, it was shared amongst members of the hunter’s community.

Cooking with Vinegar This one probably shouldn’t come as much of a surprise, due to the fact that Philippine adobo has often been hailed as one of the dishes that has survived from pre-colonial times. To reference

previous parts of this article, vinegar has long been used for purposes other than fermenting. In “Tikim: Essays on Philippine Food and Culture” by Doreen G. Fernandez, there is a theory by Raymond Solokov that states that Philippine adobo was named because Spanish explorers thought the cooking method was similar to their “adobado” method, which was meat being stewed in wine and onions.

Pigefetta recorded “adobado” as “meats marinated in vinegar to avoid them from spoiling quickly.”

On all accounts, there is a nugget of truth in this. Pre-colonial Filipinos didn’t have refrigeration or widely-used methods of cooling foods to avoid spoilage. Cooking and marinating items in vinegar and other souring agents, such as sampalok (tamarind) or kamias (sour member of the starfruit family), served as a way to extend the longevity of these proteins, as well as a way to preserve food for travel. There are quite a few of these methods, used both for seafood and animals hunted from the land. It is believed that these long-used cooking methods are one of the many

reasons why the Filipino flavor palate has a love for sourness.

Beyond adobo, another method is that of paksiw. Foods cooked for paksiw (traditionally fish) were cooked in vinegar and could be served either hot or cold. In modern cuisine, leftover lechon (suckling pig) is often cooked paksiw-style as a way to transform an ingredient for use in another dish. The Illongo people also use a method called pinamalhan. When cooking something pinamalhan, the food is cooked until all the liquid (including the vinegar) is cooked away. This comes from the word “mala,” which means “dry.”

Finally, there is the lamayo method, which is also popularly used for fish. This “wet” preservation method (a marination step) is commonly used for dishes like daing na bangus. For dishes that use the lamayo method, the fish or other desired seafood is marinated in garlic, spices, and vinegar (or other souring agent). The acid partially cooks the seafood, helping it last a bit longer before the protein is cooked or dried.

The food preservation methods detailed above are only a sampling of the ones used by our ancestors, but it is apparent how they still greatly influence Philippine cooking today. Mass production may have helped bring these methods into the modern age, but our culture will always have the blueprint.

Despite the passage of time and foreign influence, these techniques and the iconic dishes they produce remain undeniably Filipino.

L (From top clockwise): Sukang Paombong, Sukang Illoko, Sukang Tuba R: dried matangbaka (butterflied dried big-eye scad) and dried tiny shrimp

72

KAPWA: The Filipino Magazine

Issue #1 | Philippine Independence Day & Pride Month

73

Notes On the International Isle Written by Mal Matson Illustration by Miel Rodriguez

When the pandemic began, I was living in a onebedroom apartment with a window air-conditioning unit, a three-walled kitchen and a bathroom door that would not shut without a proper shove. It was full and generous, and became a container for both my professional and personal being. I have to admit that I wasn’t bothered at first. I had enough physical separation to draw boundaries between these two lives and felt okay about the times they had to blend. I quickly learned to add on to my usual morning routine and that helped make the day feel a little put together — even normal.

This morning routine, as you may have figured, started in the corner of my three-walled space where an hourglass-shaped coffee pour-over device sat. I would turn on the electric tea kettle, take a shower, then go about the drip coffee process.

I’ve done this so often and unaffectionately that looking at it any other way only felt inconvenient. Before this, on the days where I wanted a thoughtful cup, I’d walk a few blocks to the coffee shop next to the laundromat. Now I couldn’t really bother myself or anyone to go out. After a month or so of this mundane routine, I not only grew bored, but the news that many parts of society were growing weak and entire races and cultures were being broken, made me feel like anything I did for myself was so miniscule and pointless.

Change was happening, yet my inability to do so persisted.

74

KAPWA: The Filipino Magazine

I began chasing many things: The “change your mindset, change your life” mentality.

The “government isn’t for the people” mentality.

The “Filipinos aren’t a part of the Stop Asian Hate movement” mentality.

These were spaces I did not know how to work through alone. Though the readings and podcasts reminded me that I wasn’t the only person fumbling through this, it was still very lonely. My therapist advised me to be present with the expectation that through my enduring a newfound romanticization of my values, identity and routines would appear.

I suggested my walking schedule. He suggested something much smaller — my coffee routine.

I wasn’t hesitant, but how could I not wonder how romanticizing one of the only routines I’ve been able to maintain during this time would impact the nature of society? Or how I was supposed to view it? Unlike other things, it wouldn’t harm others. It would have no impression, really.

I allowed it.

I exhausted all media. By scrolling and watching little boxes on a screen, I was able to analyze the way I bloom my coffee, how I clean my bad reusable filter and the consequences of poor coffee beans. I wrote down lists of local coffee brewers, types of roasts and unconventional ways to make a decent cup in case my electricity failed. I looked up the brands that I could access at the grocery store and the ones that could be expedited to my front door. I found one that seemed promising — Italian, with a generational following and within reach.

The next morning, I lined up early — many feet behind, and in front of, another person on their own assignment. With social distancing and other regulations in place, stealth was necessary. It was an imported good, so I figured my first stop would be where all those “foreign” products seem to be. I knew that packets of instant Vietnamese coffee lived in the international aisle, so why wouldn’t Italian coffee beans?

After passing by aisles filled with hands

grabbing boxes of pasta, tubs of hummus and cans of black beans, I walked into a nearly empty international food aisle. I saw Vietnamese coffee packets. I saw matcha.

What I did not see was the silver tin of Italian coffee. My eyes scanned the glass bottles of Ramune and the stout cans of Mr. Black, but they did not find the coffee they wanted to see. I squinted and walked to the coffee and tea aisle in a fuss. There it sat — neighboring jugs of Folgers, Maxwell House, and Community coffee. Was this a marketing measure? I was never ignorant to racially motivated choices, but the pandemic had made me more sensitive to things I would’ve overlooked. I grabbed the tin in petulance and went on my way.

Therapy had allowed me to be conscious of what someone might call my “tell”, and my highway hypnosis was telling. Once home, I returned to scrolling and squares with a new pursuit.

The international aisle was created after World War II to accommodate soldiers returning to civilian life. They had experienced cuisines that were so inviting and unfamiliar that supermarkets adjusted their product placement to connect with their nostalgia.

This adjustment was intended to be helpful and possibly communal. Unfortunately, the origins of the ethnic aisle became less relevant than the presence of one. For me, knowing where to find Datu Puti vinegar was comforting, but why I expected to find it there made me question and begin to dissect this “universal understanding” of othering an aisle.

I questioned whether this space was for me too. Who was actually shopping with me?

As I thought about why this narrow space impacted me so sharply, I realized that this keenness was a reflection of how I felt about my own placement. With these biases against Asian communities at the forefront of my mind, I thought of the ways in which having an ethnic aisle perpetuated them.

I became fixated.

It became necessary to identify that I felt condensed to Mamasita packets, Lucky Me! noodles and bottles of banana ketchup. I was no longer comforted by this effort of access.

I felt more segregated than accommodated.

We were forced to live slowly and function wholly, but these items seemed to be bitesized representations of entire cultures.

These items hold a forever foreignness — as I may too. No matter my American nationality, my cultural association will never be lost on me because of my physical features. Banana ketchup’s association may never be unseen regardless of its purpose.

How did other imported and international goods make it out of this aisle? Was there a second thought when pita bread was added to the bread section? Or olive oil with the other condiments? These decisions might not have been settled on easily but I wondered if what it meant to be truly American had anything to do with it. If that was the case, then my proximity to whiteness determined what shelf I would be on.

As the effects and views on the pandemic have changed, I remain diligent in continuing a conversation about the necessity of an international food aisle.

Some things to chew on: • Are the products in the ethnic food aisle diverse and representative of a wide range of cultures, or do they focus on a few popular or mainstream ethnic cuisines?

• Are the products in the ethnic food aisle respectful of the cultures from which they originate, or do they appropriate traditional recipes and ingredients without proper acknowledgement or compensation?

• Are your local ethnic foods integrated into the main aisles of the grocery store, or is it segregated as a separate section?

Does its placement reinforce the idea that these products are only meant for certain types of people?

• Are the products in the ethnic food aisle priced reasonably and accessible to a wide range of shoppers? Or are they priced higher compared to similar products found in the main aisles of the grocery store?

• Does the ethnic food aisle provide information and educational resources about different cultures and their cuisines, helping to foster cultural exchange and understanding?

Issue #1 | Philippine Independence Day & Pride Month

75

Altar of Philippine fruits and herbs

health & wellness

Ninunong Gamot Written by Katrina Cabaltera Illustrations by Olivia Vera Western medicine has its time and place. It’s great for critical conditions, life-threatening emergencies and acute illnesses. In general, Western medicine’s approach to disease is in treating symptoms.

Sometimes we may fail to recognize that an acute illness, one that suddenly pops out of nowhere, may have been the manifestation of a chronic condition developing over time. Even if there were no immediate physical symptoms to forewarn any issues, it’s possible that a cascade of activity in the body was weakening the immune system. By the time you see a doctor and run lab tests to confirm a pathology, the disease may have reached past the point of prevention.

An Eastern medicine view of health looks at how everything is connected. Our ancestors perceived the healing journey as doing work both inside and out. They

76

KAPWA: The Filipino Magazine

knew the importance of bringing balance to the body, mind, emotions and spirit.

This awareness taught them how to use the abundance of the land not only to make remedies for ailments, but also as food for preventive health and tools for routine care. Today, stressors of day-today life, socioeconomic status, political issues and other traumas have put a spotlight on holistic health.

On Earth Day, April 22, 2023, Bay Area locals gathered in San Jose, CA for Ninunong Gamot: Philippine Folk and Ancestral Medicine. We spent an interactive half-day at ATMOS, a yoga studio and community space for healing and wellness, for an introductory workshop on herbalism. Angela Angel (she/her/siya), a traditional and clinical herbalist,1 shared her knowledge of Philippine flora and how to use traditional Filipino folk methods as well as Western

techniques in creating natural medicines.2 Angela’s exposure to plant medicine began as a child from her mother, a master gardener. Working with the land always felt aligned with what she needed to do and this innate sense guided her toward connecting with her roots. She pursued technical training in plant work through farming, landscape gardening and permaculture design. After more than 15 years of experience, Angela developed an intimate relationship and spiritual connection with plants.

Angela’s offerings in herbalism and ancestral work were created to help others ground in their original medicine. As a long-time community organizer, Angela recognized trends and epidemics of health crises and burnout. People sought non-Western ways of healing to manage these stressors, but their connection to the land was amiss. Do we really know

what we’re eating? Angela views eating as one of the most intimate acts a person can do. When we eat, we are literally putting something in our bodies that is consumed, broken down and absorbed. It becomes a part of us. If people see food as medicine, the mindset shift can empower folks to take control of their health by choosing the quality of food that should be healing them. Angela also saw a gap in how people connected with ancestors.

Although traditions do get lost through migrations and consequent assimilations, folks weren’t even connecting ancestrally through prayer. To fill this void and provide solutions for what was lacking in the community, Angela’s classes and consultations are rooted in tradition and remind folks of ancestral ways of healing.

Plants for the Subtle Body: Clearing Stagnant Energy Angela began the workshop in ceremony.

She created an altar displaying several seasonal herbs, led us in prayer and guided us on a heart-felt journey to connect with our ancestors.

The first plant medicine she used was a resin from the Elemi tree, which is native to the Philippines. Tree sap is basically tree blood since the sap gets released when the tree is wounded. The sap falls on the forest floor to nurture the ground and feed surrounding plants and animals, but our ancestors used it for energetic cleansings.

Another resin native to the Philippines comes from the Almaciga tree of Palawan.

Our ancestors knew how to sustainably harvest Almaciga resin, but these trees are now considered endangered because of its exploitative use in the leather and textile industry. Angela taught us to honor the sacredness of resins and learn how to carry the medicine in a good way.

Angela burned the gum-like resin of the tree to produce a smoke for clearing our auric fields. The fragrance reminded me of other resins commonly used for smudging, such as copal from Mexico and frankincense from Egypt. The energetic body, also referred to as the subtle body, is ruled by our emotions. When we hold negative feelings, they accumulate as energetic blockages that may manifest into physical pain or challenges. Negative

energies from external forces, such as electromagnetic frequencies and toxic relationships, can also bring us out of alignment. By clearing our energy and releasing what was no longer serving us, we created space to receive the teachings from the day with clear intentions and open hearts.

forward bitterness of the takip kuhol.

Mangosteen comes from a tree native to Mindanao and is a powerful adaptogen that has been found to repair DNA, making it one of Angela’s favorite plants for wellness.

Plants for the Nervous System: Bringing Balance to Emotional and Mental States The first batch of herbs that Angela introduced to us were nervines, herbs that supported the nervous system. We learned that several of the nervines also fell under the category of adaptogens, which means they help adapt to stressors.

These power plants, however, could be better termed as “full spectrum” because they do more than just adapt to physical and mental stressors and build immunity strength. They are also great for supporting all systems in the body (e.g., digestive, endocrine, cardiovascular, lymphatic, respiratory, reproductive, etc.).

Takip Kuhol Angela prepared a tea from takip kuhol (Asian pennywort). Takip kuhol was used for providing energy. If you need a pickme-up during the day, takip kuhol tea can be a go-to for “brightening the brain.”

Malunggay Tinola, anyone? That’s what comes to my mind when I think of malunggay.

Malunggay is an adaptogen that surpasses other plants in vitamins and minerals.

It is so vitamin and mineral dense that it contains two times more protein than eggs, three times more iron than spinach, four times more calcium than milk, three times more potassium than bananas, seven times more vitamin C than oranges and the list goes on. It’s no wonder why malunggay has been hugely popular in health food aisles and marketed as a “superfood.” I was impressed by how all the parts of the plants can be used for a multitude of medicinal purposes.

Malunggay is another favorite of Angela’s and I can see how it’s a must have for your medicine bag.

Pandan

Mangosteen Mangosteen was the secondary ingredient in the tea. It gave a sweet, nurturing aftertaste, which contrasted from the

Angela showed us real pandan leaves during the workshop. I honestly didn’t know that pandan was a separate plant from coconut (buko) since “buko pandan” are often combined. We learned that pandan was good for soothing pain and calming the nerves. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

77

Participants of the Ninunong Gamot workshop at ATMOS in San Jose, CA.

Pasiflora Passion Fruit is a nervine whose whole fruit and plant is edible. I’ve commonly seen the seeds being made in boba drinks, which makes for a fun texture to the drink, but did you know that eating the fresh fruit is great for reducing anxiety and insomnia?

Plants for the Digestive System: Detoxing the Physical Body The next batch of herbs that Angela introduced to us were for maintaining a healthy digestive system. Their benefits ranged from helping to cleanse the liver to improving gut health. One of the takeaways I got from this section was how our ancestors perceived the process of digestion. In Western nutrition, digestion starts when we chew our food. From an Eastern nutrition perspective, digestion starts in the mind. Just thinking about food gets the body to secrete enzymes for breaking down food, which essentially starts the mechanical and biochemical process of digestion. It’s as simple as remembering how our mouths water when we think about eating something delicious, especially when we’re hungry.

A healthy gut is crucial for a better wellbeing. Let’s revisit the Eastern medicine view that everything is connected. When our normal gut microbiome is distressed, levels of inflammatory cells increase, which can ultimately lead to physical manifestations from intestinal disease.

Even mental, emotional and spiritual distresses, such as feeling disconnected or less than, have negative physical effects on our gut health. Bringing these emotions in check and finding ways to move these stagnant energies out of the body will help restore balance. When we maintain a healthy gut, our nervous system is balanced and vice versa.

78

KAPWA: The Filipino Magazine

CHERIMOYA STAR ANISE Star anise seeds, not to be confused with anise seeds from the Parsley family, can be decocted into a tea for alleviating symptoms of indigestion like bloating and gas.

Cherimoya is part of the Annona genus and is related to guyabano, which has many names including soursop, graviola and custard apple. Cherimoya has been found to contain antioxidants that fight free radicals.

AMPALAYA PINEAPPLES Pineapples serve as a nervine especially with the juice’s ability to reduce inflammation, but they have also been used for treating parasites. A bonus use of pineapples is for their fibers, which are used to make Barong Tagalog.

Last but not least, we worked with ampalaya. Many of the herbs that support gut health are bitter-tasting, but if you’ve had ampalaya before, then you know it’s the queen of the bitters. We created an ampalaya tincture for daily detoxification and were informed of its benefit as a complement to diabetes treatment.

Plants for Spiritual Health: Connecting with Our Ancestors and Kapwa PAPAYA We learned that the seeds have strong digestive enzymes and they are also used to treat parasites. During the workshop, we created our own digestive enzyme pills with ground papaya seeds, turmeric and black pepper.

After exploring how herbalism supports us physically, mentally and emotionally, the question remains as to how it supports our spiritual health. Religion aside, spirituality has so many meanings to an individual. If you ask me, the workshop enabled me to feel an interconnectedness with my lineage that transcends time and space. One of the quotes from Angela that

really resonated with me was that “Plants are our living ancestors.” The Philippine plants that exist today are ones that have been cultivated by our ancestors for food and healing properties.

I also got a deep sense of oneness with my community. Not every student at the workshop was Filipinx, so it was fascinating to see how plant medicine brought us together. Thanks to the likeness of regional tropical climates, a lot of fruits and plants have survived and thrived in Southeast Asia. I also learned that not all plants and fruits are indigenous to the Philippines.

Angela showed us which ones were originally from Central and South America that came over through colonialism.

Another thread that tied us together was the commonality of illnesses and issues that we or family members have experienced.

Chronic diseases like cancer, stroke, high blood pressure, arthritis, diabetes and heart disease were repeat issues among us, which we found to be generational.

Students learning how to make plant medicine from ampalaya for digestive system support.

Ninunong Gamot Part II Interested in working with Angela? Find out more about her ancestral work, herbal consultations and upcoming classes on her website: otherwaysofseeing.com. She now offers herbal consultations online and can arrange to meet remotely on the phone or in-person for her other services.

Angela is offering Part II of the Ninunong Gamot Workshop at ATMOS in San Jose, CA, on June 24, 2023. Follow @otherwaysofseeing and @atmos.sj for updates on this event and upcoming health and wellness workshops.

Angela Basbas Angel holds her own healing practice that you can find out more about her work at: otherwaysofseeing.com & natureasmuse.etsy.com A teaching and a tasting of fresh mangosteen.

[1]: Angela Angel is not a doctor/physician, physician’s assistant, nurse, advanced nurse practitioner, psychiatrist, psychologist, therapist, counselor, dietician, licensed nutrition or any other medical or health professional.

[2]: Content in this article is for informational and educational purposes only. It does not constitute medical advice nor substitute for any kind of professional advice. If you suspect that you have a medical or mental health problem, contact your own Medical or Mental Health Provider.

[3]: Word of caution: do not take the seeds or eat unripe papaya while pregnant because of its abortive properties.

Issue #1 | Philippine Independence Day & Pride Month

79

Music is Healing Wisdom from Music and Sound Healers Around the World Sing, dance, and celebrate with us! Visit youtube.com/kapwamagazine for more content!

Written by Kim Matias Illustration by Caroline Wood

Music is at the epicenter of any Filipino party; karaoke is a gold standard and dancing in a circle with your titos/titas is essential. In celebration of Philippine Independence Day and Pride Month we invited the perspectives of various master artists, musicians, healers, elders, and youth into a sharing circle. We span across the generational landscape and beyond the boundaries of land and water to discover how the lineage of music is deeply healing to our people, and to preserving and evolving our culture.

Q:

What is your lived healing experience with music and sound as healing?

“I’ve had hyperthyroidism, and the thyroid sits in the throat. Through voice coaching and singing I’ve been able to work through traumas that have blocked my throat chakra.

Sound healing is not a new phenomenon, it has been a human practice that dates back to our ancestors. Evidence has shown that sound for ceremony and rituals are to transform the consciousness and heal the mind, emotions, and the body.”

- Katrina Cabeltera (@trina.c.yogini)

ability to reach deep within us to touch our emotions and feelings in a way that other forms of communication cannot. Chanting can be directed to someone you are in love with or if someone is sick it can be used to aid the healing process and can be used to support conflict resolution. And not just chant but all the music gives relaxation, calmness, and connection to the music world. We call it chanting or music for healing.”

- Waway Saway (@1969waway)

become of service to others. Sound Healing is a form of music therapy, where I use vibrations and frequencies to relax the body and the mind. As these vibrations flow in our body, it relieves us from blockages, releasing negative and/or stagnant energies.”

- LJ Navera (@lj.navera)

Talaandig tribe Sungco, Lantapan, Bukidnon, Philippines

Healing Ritual: music and meditation

Yoga and Meditation Teacher, Writer Healing Sound: chanting so-hum Healing Feeling: rest Healing Ritual: Journaling

“Music can communicate to the most silent corner of the heart. Music has a unique

80

KAPWA: The Filipino Magazine

Resident Sound Healer of the House of Gaia, Multidisciplinary craftsman and artist Healing Person: Buffalo God the life giver Healing Food: whatever food you crave

Master Artist, Recording, Artist, Chanter, Soil Painting, Artist, Teacher, Councilor, Rainforest Conservationist Healing Feeling: freedom, flying above the sky & mountains Healing Person: happy people Healing Food: indigenous food

San Francisco, CA Trained Vocalist, Healing Sound Workshop Facilitator,

Lipa City, Philippines

“I have been in recovery from depression for more than 25 years, I started to heal with music, vibrations, and I have created [my own] instruments. It has been my tool to help calm my mind, relax my body, and be able to meditate. It played a major part in finding my own healing and it also became my calling to also share what I do and

“For the Maguindanaos, chanting has two significance. First for entertainment, and also an association with shamanic practices.

For shamans, chanting is used to summon the spirits and incorporated into the rituals.”

- Faisal Monal (@paramatabantugen) Cotabato City, Maguindanao Master Artist, Chanter, Shamanic Practitioner, Artistic Director, Social Cultural Affairs, Recording Artist Healing Sound: sacred texts of the dagguing Healing Place: spiritual summoning of the spirits of the rainbow Healing Food: ritual food offerings

How do you believe music plays in preserving and/or evolving Filipino culture?

Q:

was preserved by our forefathers. This tradition was passed on through generations and now we still have it and it is part of our way of living.”

- Farid Guinomla (@dashofaridgee) Maguindanao Philippines

“From a diasporic perspective, in the 21st century there is a growing demand among us for deeper knowledge and understanding of the cultural arts beyond folk dances. This is the environment where Danny Kalanduyan presented music that comes from perpetuating music from a family or tribe.

What I think young people are looking for is why we put on Gongster’s Paradise, the only North American Kulintang Festival, every 2 years, and why Kapwa magazine is here is because people are wanting and needing a better understanding of who they are. And for those of us who survived immigration and assimilation, we carry these scars and wounds and we need to find our way back beyond Manila from sounds like kulintang, gangsa, chanting, and rituals. This is what I observe people are wanting now.”

- Ron Querian (@kulintronica)

Master Kulintang Artist, Nurse, Humanitarian Healing Sound: tagunggo Healing Place: home Healing Person: younger self

Q:

What does Philippine Independence Day represent for your group?

“It lights up with pride and as both queer and Filipino, whenever June hits we think about activities that celebrate both. Our music is a memoir that talks about our journey as queer and diasporic Filipinas in Canada. To play

Healing Sound: tagunggo

music as Filipinos, it is a privilege to represent ourselves in an otherwise very white dominated industry. In Canada, June is also National Indigenous History Month. Kulintang music survived because of the determination and resilience of Indigenous peoples. There is such a connection between Indigenous people in the Philippines and also here in Turtle Island. It is a reminder to us where we stand, where we align our values and to look at the systems of oppression that are still in place and explore our role in dismantling them. And hopefully our music is one way to get people to think about that and for us to express that as artists.

We wanted to learn Kulintang because music is the most accessible way to learn about our culture. Being far removed from the islands now known as the Philippines there is that longing to connect with the culture, ourselves, our lineage, our people, and our teachers. The name Pantayo is inspired by Zeus A. Salazar’s work, “Pan”-”Tayo” means --- for us, of us, by us. It means making space for each other’s perspectives even if they’re different and gives us space to be ourselves. Our best selves.”

- Pantayo: Eirene Cloma, Michelle Cruz, Joanna Delos Reyes, Kat Estacio, and Katrina Estacio (@pantayomusic)

Healing Feeling: wedding dancing

Toronto, Canada

Healing person: grandma (my mamma G)

Songwriters, Singers, Musicians (Agung, Kulintang, Sarunay,

San Francisco/Hawaii/Philippines Gongster, Electronic Dance Musician, Co-creator House of Gongs, Instructor Healing Sound: gong Healing Food: chocolate Healing Ritual: river offering

“There are accounts where Magellan’s ships were approaching Mactan, Cebu and they were hearing bell sounds that resembled Kulintang gong music. Kulintang is used in many different forms of healing, and communicating to the spirit. Many Indigenous types of gongs in the Philippines, in the south, they call them kulintang or kulintangan up north, they are called gangsa. They all create a percussive sound that connects us with the spirit world.”

- Lydia Querian (@ellekarayan) San Francisco/Hawaii/Philippines Musician, Dancer, Fashion Designer, Entrepreneur, Cocreator of House of Gongs

Synths, Bass, Guitar)

“I first learned Kulintang music when I was a child. It was a pre-colonial tradition that we had in the southern Philippines that predates Islam and Spanish colonization of the Philippines so it

Healing Sound: sounds that match our mood Healing Place: any body of water Healing Person: oneness of the group Healing Ritual: moving our bodies

Deep gratitude to Lydia, Ron, Waway Saway, Balugto, Farid, Faisal, LJ, Tipati, Katrina, and Pantayo who weaved their presence, spirit and knowledge into this sharing circle.

Issue #1 | Philippine Independence Day & Pride Month

81

Top Row (L-R): Maya Velardez, Resha Mella, Emerson Piros | Bottom Row (L-R): Jennifer Valido Panlasigui, Kiana Malbas, Kristine Evangelista

Health at Every Size Written by Robyn S. Caylor Photo Essay by Crystalyn Malbas If you ask a Filipino tita why they think you should lose weight, it goes one of two ways — either vanity or health. Maybe it goes both ways.

The idea that thin and pale equals beautiful and healthy is rooted in antiblackness and fatphobia, both tools of white supremacy that dates back to the colonial era. This was used by Spanish, Japanese and American colonizers to establish control over Filipinos. Social hierarchies are passed down from generation to generation and are still with us today. This is the basis of modern Filipino body shaming. If you are thin you will be healthy, you will never get sick and you will look better in your clothes. Many of us have internalized this because of how common body shaming is in our culture. Luckily, there is a framework to lead us out of this toxic mindset rooted 82

KAPWA: The Filipino Magazine

in white supremacy, colonialism and oppression. The comments on our bodies are presented as constructive criticism to help us live long and healthy lives, but ultimately cause us to chase unrealistic body standards and destroy our mental health in the process.

The Mental Weight of Body Shaming Body shaming, in Filipino culture, is much more than telling someone they would look pretty if they lost weight. There’s the blatant “You gained weight, anak,” the pinching of cheeks and stomachs, comparisons to thinner community and family members, and the name calling like “siopao” or “Dabiana”. Regardless of the intention behind these actions and statements, they sting. It just creates more hiya in a world where thin, white

and blond is the “ideal”. This is rooted in colonialism, racism and colorism, and all forms of discrimination to assert power and control over marginalized peoples.

Maybe unknowingly, our friends, family and greater community continue to perpetuate these colonial ideals. Many Filipinos look in the mirror and dislike what they see because of this.

The pressure to conform to beauty standards, whether it be Filipino or Western, creates a form of psychological warfare internalizing within young Filipinos. The mental side of being body shamed is developing a skewed self image, known as body dysmorphia.

This may include seeing your body as larger or smaller than it actually is, being unhappy with the body you inhabit, and being hypercritical of your appearance.

Healthy is Not an Aesthetic.

Filipinos Join the Body Positivity Revolution

Top Row (L-R): Robyn Caylor, Aizel Agustino, Crystalyn Malbas. | Bottom Row (L-R): Katarina Velardez & Christian Vivero, Bernard Malbas

Some people, like myself, take it further and develop disordered eating or a full eating disorder. The physical side goes hand-in-hand with the mental side, especially in eating disorders. The long term effects of chasing calorie deficits and overall restriction of food can lead to the breakdown of muscles, cognitive decline, electrolyte imbalances, hormone imbalances and chronic health problems.

So while you may be thinner, you may not be physically healthy. When trying to match the so-called “body ideal”, our physical and mental health takes the backseat, regardless if we say, “This is for our health.”

those in larger bodies, can access health care without weight discrimination.

The approach centers data, like blood pressure, lab work results, symptom tracking and other diagnostic tools to make informed decisions about health. While Health at Every Size is a predominantly white American movement, people of color largely benefit from the framework as we are more likely to face medical discrimination, regardless of body size.

This includes eating for well-being (eating enough, eating what feels good, not restricting intake), participating in joyful movement, paying attention to your health (mental, physical and spiritual) and respectful care from the practitioner who takes into account social and cultural factors. Health at Every Size also acknowledges that every person has a different genetic makeup, which will contribute to size and body diversity.

Health at Every Size

The Health at Every Size framework also acknowledges that the BMI scale (body mass index), still in use today, is not an accurate measurement of health and is not built for people of color.

Health at Every Size is a social justice and weight-inclusive approach to healthcare.

This approach is about ending weight stigma so that all people, especially

Health at Every Size practitioners, like myself, emphasize health in your current body, regardless of the weight or size.

Why should Filipinos care about this?

This is of particular interest to Filipinos since our genetics are widespread among many ethnic groups and there is no “one” Filipino. While this seems like a framework primarily for practitioners, it’s also a movement for folks to practice body positivity, body liberation and self care.

Adapting this framework into healthcare

Issue #1 | Philippine Independence Day & Pride Month

83

Left and Middle: Maurelle Bagus; Right: Raine Bolo, Kapwa writer for Featured Stories

Every size is powerful.

We are warriors, survivors, and healers. allows folks to distance themselves from white-centric healthcare standards.

Being thin or living in the ideal body does not save you from illness. Even illnesses that we see as weight related, such as type II diabetes, high blood pressure and low back pain are extremely common in folks who are “in weight”. Moving the health standard away from “thin” or “skinny” allows people to be in tune with their body. That means knowing when you’re sick, feeling symptoms and being properly acknowledged by medical professionals instead of written off simply due to weight.

This is particularly important as Filipinos are more likely to develop illnesses such as cardiovascular disease due to social disadvantages, but are often told to lose weight as treatment and prevention.

Size and weight discrimination in healthcare also applies to eating disorders.

84

KAPWA: The Filipino Magazine

Typically, eating disorders such as anorexia nervosa and bulimia nervosa are connected to low weight, distorted body image and malnourishment. The fact is eating disorders can affect anyone at any weight and body size, just like any other

skin tone and ability. The movement has garnered support from all walks of life, but particularly the plus size community.

Body positivity seeks to challenge the often unrealistic ideals of attractiveness, promote a healthy relationship with

illness. Eating disorders and disordered eating run rampant in the Filipino community due to the culture of body shaming and pressure to be “healthy,” yet it is taboo to discuss our mental health.

Luckily, the new generation is changing this with the willingness to seek therapy and decolonizing healthcare. As Health at Every Size becomes the healthcare standard, Filipinos can benefit by looking at their health holistically, instead of relying on the number on the scale.

one’s body and build self confidence. As a mental health tool, body positivity and self acceptance can help folks heal from body dissatisfaction, which can play a major role in depression, social anxiety and eating disorders. Despite having roots in the fat acceptance movement, body positivity focuses on the acceptance of both thin and larger bodied individuals, emphasizing that skinny shaming and fat shaming are not accepted.

Body Positivity Body positivity is a social movement centered on acceptance of all bodies, regardless of size, shape, gender, race,

Inclusion has been a highlight in the body positivity movement in recent years. While the body positive movement is centered around acceptance of all bodies, people of color and non-women have struggled

to find acceptance in the larger group.

Body positivity, as a movement, still centers whiteness and conventionally attractive people. Social media campaigns from popular brands embracing body positivity have been under scrutiny for only including models that have larger bodies but flat stomachs, no double chins and European facial features. Despite that, Filipinos of all sizes have found themselves thriving in the body positivity movement and community.

While Health at Every Size can contribute to body positivity by promoting that people can be healthy at every size, body positivity does not explicitly discuss health. Many people who participate in the body positivity movement still believe that intentional weight loss and body augmentation is an effective way to boost self esteem. For some people that may be the case, but intentionally changing your body is not embracing self acceptance or addressing the root issue of why changing your body will make you happy. It’s an issue of both physical health and mental health.

Intertwining body positivity and Health at Every Size can positively affect physical health by promoting joyful movement (not associated with intentional weight loss) and eating for what feels good for your individual body.

Even with its pitfalls, the overall concept of body positivity can be extremely helpful for Filipinos trying to find body peace and body acceptance. It can be a starting place for individual body acceptance for ourselves and work towards acceptance of all bodies in our culture. Working towards individual body acceptance and then greater body acceptance can transform our culture that is so obsessed with perfection and thinness. By setting the

example for our older generations that we are truly happy and accepting of the body passed down to us from our ancestors, we can shift the body shaming culture to one of body love. Together, Health at Every Size and body positivity can lead individuals to a life that serves them and their body in the state that it currently exists. While it may take time and practice, embracing these frameworks can distance Filipinos from the colonial ideas of perfection and end the war on our own bodies. Every step we take towards self acceptance in a culture of body shaming is a step towards making sure these colonial and Eurocentric beauty standards are not passed to the next generation.

Tips to Build Body Positivity In my work as an eating disorder and body image therapist, people often tell me, “I can appreciate other people living their truth but not myself.” Our tendency to be self critical, especially as Filipinos, hurts ourselves and our community as a lot of us are thinking like this. Fighting with your body may seem familiar. For hundreds of years, Filipino bodies have been subject to discrimination, disdain and criticism from not only our family members, but the larger systems at play. It is a generational trauma. It is encoded in our DNA to be critical of ourselves. But it doesn’t have to be like this. Everyone deserves to live their life in the body they have, regardless of size. When you start treating yourself as a loved one, you lean into the acceptance of your body.

Building a positive relationship with your body can be a lifelong journey, but is a journey that is worth your time. Starting a routine where you are at the center, like a skincare routine can acquaint you with your body. Set aside time to begin

affirmations. Use phrases like, “My body did its best today,” and “I am in the body that serves me best for this period of my life.” Using phrases that stray away from appearance builds a positive relationship with your body itself and does not emphasize a relationship with how your body looks. Remind yourself that body size has nothing to do with your health.

You can be thin and unhealthy and you can be thick and healthy. It doesn’t matter as long as you are taking care of yourself in whatever ways feel good for you. Maybe that means lifting weights at the gym five days a week, going on a long walk once a week, stretching for two minutes a day, or roller skating to relieve stress; these are all methods of taking care of your physical health. Taking care of your physical health also means eating food. Food should not simply be labeled as good or bad, within reason. Filipino foods have a reputation as being unhealthy, yet these are the foods that have built generations upon generations.

Body positivity is not something that is easy in a world where anything other than thin and white is considered wrong, but we can combat that by showing up and living authentically. Regardless of body size, we deserve to live healthy and happy lives, and that begins with accepting ourselves and acknowledging the toxic body shaming culture we come from that is rooted in racism and colonialism. Every single one of us is unique and makes up the culture we know today as Filipinos. We can change the body culture from toxic to loving by continuing to show up and practicing radical love and acceptance for ourselves and our community.

References: [1]: Fearing the Black Body: The Racial Origins of Fat Phobia, Sabrina Strings. 2019.

[2]: Dabiana is a character portrayed by Filipina actress Cecille Inigo. Dabiana is described as “fat but charming.” In Filipino culture, to be called a Dabiana is meant to be an insult.

[3]: “The Health at Every Size® (HAES®) Principles.” ASDAH, 1 Apr. 2023, asdah.org/health-at-every-size-haes-approach/.

[4]: Fatphobia and racism: The history of weight stigma. Fatphobia and Racism | The History of Weight Stigma. (n.d.). https://withinhealth.com/learn/articles/the-racist-history-of-fatphobiaand-weight-stigma [5]: Geriatrics, Stanford University. geriatrics.stanford.edu/ethnomed/filipino/health_risk_patterns.html.

[6]: Martinez, Andrea B et al. “Filipino help-seeking for mental health problems and associated barriers and facilitators: a systematic review.” Social psychiatry and psychiatric epidemiology vol. 55,11 (2020): 1397-1413. doi:10.1007/s00127-020-01937-2 [7]: “A Filipina’s Body Struggles & Search for Radical Body Love.” Cambio & Co., www.shopcambio.co/blogs/news/a-filipinas-body-struggles-search-for-radical-body-love. Accessed 10 May 2023.

Issue #1 | Philippine Independence Day & Pride Month

85

Pinxy Pride, Prejudice & Persistence Written by Rhicka-Joyce Crudo Illustration by Kian Joshua Sedghinasab

Where do we begin?

The second you were born you were exposed, or more accurately, bombarded by messages that began to sew the social fabric of your being. Instantly, doctors define you by your genitalia for diagnostic and treatment purposes. This medical identification became one of your first recorded identities, probably before your birth certificate or name were even officialized. But what happens when you’ve never been able to conform to the ways you were told? What happens when the messages around you catalyze negativity and hate toward the ways you feel are natural?

Like a phoenix stuck in a cage or a grown koi fish stuffed in a bowl, the feeling of being limited in following your soul’s wishes might run you mad. For us folks who identify as LGBTQIA+, this is a common circumstance that arises as we begin to uncover and form our identities.

Core Distinction Meories Do you remember your first memories of going against the grain? Or when the things you were told to be didn’t align with your reality? I remember hearing “lesbian” and more commonly “gay” used as an insult, synonymous with things like “bitch,” “trash,” ”basura,” “idiot,” “worthless,” ”unworthy,” “irrelevant,” “piece of shit,” and any other term that was basically meant to express an aggressive “NOPE’’ to LGBTQIA+ acceptance. I remember feeling conflicted because I didn’t want people to think I liked girls. In my little head, the best way to deter people (including myself) from ever entertaining that idea was to perpetuate the hate. This was during the 2000s, when diversity, belonging, inclusion and equity work was still at a minimum.

Unfortunately, I used “gay” and “lesbian” as insults to roast others.

Like most, I associated these identities with being abnormal. All I wanted was to be normal. All I wanted was to be accepted by my peers, to make my family proud or at minimum not disappoint them. I was already a hard sell, being nearly 175 pounds as a fourth grader. I already viewed myself through others’ eyes which

86

KAPWA: The Filipino Magazine

was fat and ugly; fugly. So I had to be the life of the party. I had to make people smile and I had to make the room laugh, even at the expense of others. If I didn’t have a personality people enjoyed or at least accepted, I would have nothing. But as I leveled up socially, emotionally and intellectually, I realized how much harm was caused by being a perpetrator or bystander of hate speech in social settings.

If you were to recall, what core memories might you have had that distinguished you as unique? How did you cope with crucial conversations and tough topics? What did you need to feel open and comfortable to have conversations like this? What messages did you hear about the LGBTQIA+ community? How did you, or did you not, stand in solidarity?

Outdated Tradition and Outdated Beliefs Growing up, both of my newlyimmigrated-to America, 100% Filipino parents told me, “If you can go the right way, go the right way.” This implied to me, as a girl, if you can make yourself like boys, do it, and don’t stray from what’s socially and religiously acceptable. For my bisexual brother, this meant, like girls if you can like girls because boys shouldn’t like boys. As a middle schooler, I understood their logic, thus it became my logic. I already liked boys. Hell, I didn’t have a first crush, I had two first crushes. Equally admired and equally cute in my kindergarten eyes were Michael and Matt. They were the only two Filipino boys in class and they were best friends. At that age, I did nothing about the attraction aside from acting way too eager to give each of them a cupcake for my birthday. Come grade six, I knew this feeling, this attraction… wasn’t limited to boys. I wondered, how can I be drawn to feminine males, masculine females, athletic boys and trendy girls? But I disregarded that thought train and stuck to the only acceptable type on the list, those darn jock boys.

With religion weighing heavily over the politics of the Philippines, my parents were only raising me the way they were taught. It was

contradicting, though. To be taught that we, as Filipinos, value welcoming others and extending love while also being told we cannot love anyone we want. We must love those who are “right” by “God’s” terms and we must not get intertwined with those who “need to be fixed”. Being pansexual wasn’t even a term in our vocabularies, let alone an option or identity I was allowed to express.

With suboptimal circumstances, I thought I would be okay because at least it was possible for me to like straight, genderconforming males. But this did not prevent me from continuing to question. This did not stop me from feeling like a thick ol’ koi in a two-gallon tank.

Psychosocial Mt. Everests Why did I think that? Why did I do that?

Why won’t these intrusive thoughts stop? Why am I asking these questions?

As we embrace ourselves in the context of society and we process the different reactions we receive, we may discover answers to the questions that were scary to ask the person in the mirror.

Mood disorders, anxiety disorders, and substance-related addictive disorders are common mental health conditions for people who are gender diverse. Every day, many who identify as LGBTQIA+ prepare for a treacherous and weathered mountain climb of social messaging.

Raising their shield to be ready to take on the stings, stabs, social transgressions, insensitivity and sometimes violence.

The world is full of beauty, but it also contains bitterness. We know that hurt people hurt other people, but that doesn’t make the traumas people inflict on you any easier to accept or cope with. When you’re surrounded by a group of closed minds, when do you find a moment to pause, process and begin to heal the pain before more toxins are shoved into the open wound; pushed so deep that you can see your vulnerable, exposed bones?

You might be learning who you are in the context of your culture, religion, family, school, friends, teams, clubs and other environments. With all of these settings imposing their beliefs on you, onto you, learning yourself in the context of YOU

might take a while to emerge through all the noise. Whether you had to survive being bullied or outcast in a small community that did not represent your identity, had to rise above the colonial mentalities that erased the history of LGBTQIA+ in Filipino culture, were forced to assimilate to machismo and patriarchal values, possess identity-based anxiety in areas most people don’t have to consider, felt shameful of your true self around loved ones, were forced to erase some of your personality to please others or whatever else: you are here today for a damn good reason.

Alive, Queer and Well As far as this movement has gone, the reality is, many are still living without the basic protection and human rights LGBTQIA+ folk around the world deserve.

Regardless of systemic inequities, through the thunder and the rain, you made it.

You are here, alive and reading this in the month of June. Which is the month of PRIDE! And if Filipinx culture has anything, it’s Pinxy pride.

As we embrace our colors and all their shades and undertones, we must continue on our consistently-evolving journeys through wellness. The LGBTQIA+ community often has to encounter experiences that can be harmful, damaging and traumatizing. Coping is just step one in a long journey of healing, selfacceptance and self-love. When we ignore the experiences that send our senses into a frenzy, any pain felt will find another way to manifest itself. Whether it’s physical, social or emotional, your body will make sure you hear its message loud and clear.

In some form, your body will demand you take a look at the root of your issues.

As you try new strategies, whether that be therapy, journaling, meditation, working out, eating clean or whatever that may be, remember that what works for one person will not work for all and what works during one stage of our lives might not work later on. Or maybe your strategies just need to undergo some growing pains. This June — and I don’t mean your Tita or Tito June — pause and ask yourself, how far have I come? What have I learned about myself?

What do I want to feel a year from now?

What makes me feel full and what might I

need if I do not feel fulfilled? Ask yourself questions that help you learn, grow, achieve your goals, solve your problems, build relationships, reflect on your experiences and assess your well-being.

While you do, follow the Northern Star of loving and respecting the REAL [iyong pangalan dito/insert your name here] and all of your layers.

There are immense benefits to unpacking what you picked up in the past days, weeks, months and years. When Lao Tzu stated, “Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become character. Watch your character, for it becomes your destiny,” what he really wanted was for people to be mindful, drop cognitive distortions and increase their selfawareness. Take the time to intentionally pause and purge any thoughts that are harming you. The only person who can truly state where you stand in your physical, intellectual, emotional, spiritual, social, occupational, multicultural, environmental and identity wellness is you. And the only way to move forward is by knowing where you currently are, where you’ve been and where you’re going.

Legacy and Ripples Your journey is written in the stars and one day there will be young folk standing on your shoulders. Continuing your legacy.

Captivating others the way you captivated them. You might even be reincarnated to continue this movement in the next era if that’s a part of your belief system. Today, your presence is a gift. Your love and what you give to the world is accepted. There is a community that loves you, within and outside of you. And as you move through the universe, remember to catch glimpses of your inner and outer beauty. Hold your pride high, wave it slowly, fast, short, tall, soft, hard, however you want; continue to declare unconditional love to yourself. You belong here, in this moment of time, for way more reasons than you will ever know.

Happy Pride Month, Sisstah Rheek

Issue #1 | Philippine Independence Day & Pride Month

87

Sikolohiyang Pilipino The Quiet Protest Written by Trixie Lopez Illustrations by Olivia Vera

The effects of colonization continue to resonate throughout the Filipino way of life, leaving a lasting impact that extends beyond mere territorial acquisition. As successive countries took control, their cultures permeated our very essence, gradually eroding the remnants of our preexisting culture and shaping a distinct hybrid identity that characterizes the Philippines today. In response to this, Sikolohiyang Pilipino, also known as Filipino psychology, endeavors to delve into the Filipino experience, cultural orientation and perspective from an Indigenous standpoint, aiming to counterbalance the post-colonial western-influenced lens through which we have been taught to perceive the world.

Colonial Mentality Colonial mentality is defined as “a form of internalized oppression that conditions colonized people to believe that their ethnic or cultural identity is inferior to Western culture or whiteness. Therefore, they live their lives striving to be westernized and learning to hate their indigenous roots.”1 Another definition as it pertains to Filipino culture is that it “involves uncritical rejection of anything Filipino and uncritical preference for anything American.”2 This mentality did not spread naturally but by design. The 300-year Spanish rule deeply embedded their culture in ours, with Spanish loanwords making up around 30%3 of the current Tagalog language and the evangelization of Christianity leading to the abandonment of the many pagan deities we once worshiped. Subsequently, America’s almost 50-year occupation sought to eradicate our “uncivilized” culture entirely. They imposed English as the official language, introduced a new education system and molded the country in the image of industrialized American civilization. Although Japan’s four-year occupation during World War II was too short to have a lasting impact on our

88

KAPWA: The Filipino Magazine

culture, it was considered the most violent period in Philippine history, which dealt another devastating blow to the alreadyabused Filipino psyche. The oppression that we have endured over time deeply ingrained the belief that our inherent identity is flawed, compelling us to reject it in favor of the imposed ideologies. In this context, Sikolohiyang Pilipino emerges as a crucial endeavor, challenging these deeply ingrained notions and encouraging a more critical understanding of the Filipino identity.

Historical Context To understand the role and importance of Sikolohiyang Pilipino, it is crucial to have some context. The study of psychology was introduced as a part of the American education system that was forced upon us in the 1940s.4 Despite claiming universality, western psychology often contradicted and offended Philippine culture, with its concepts undermining the uniqueness of Filipino perspectives.5 In the 1960s, many Filipino scholars became aware of these inconsistencies with regards to western psychology and the incompatibility highlights that “the native Filipino invariably suffers from the comparison in not too subtle attempts to put forward Western behavior patterns as models for the Filipino.”6 Led by Virgilio Enriquez, a renowned social psychologist known as the Father of Sikolohiyang Pilipino, this psychological practice was established in the 1970s during the nationalist indigenization movement.7 Enriquez earned a bachelor’s degree in sociology from the University of the Philippines Diliman and later obtained a master’s degree and doctorate in social psychology from Northwestern University in The United States. Having received formal training rooted in western ideals, Enriquez became acutely aware of the incompatibility between western psychology and the Filipino context, driving him to delve deeper into understanding the psychology of Filipinos.

Basic Tenets of Filipino Psychology Kapwa At the heart of Filipino culture lies the concept of kapwa, a fundamental value that serves as the foundation for the rest of our cultural beliefs with a literal translation meaning “kindred” or “fellow humans”. Enriquez describes kapwa as “a moral obligation to treat one another as equal fellow human beings ...we are Kapwa people.”8 Central to this value is the notion of pakikipagkapwa, which encompasses the way we interact and treat our fellow human beings, recognizing and acknowledging the shared inner self that connects us all.

Filipinos deeply cherish this principle, as it shapes their perspectives and influences their behaviors toward others.

Kapwa is broken up into two categories which include various methods of cooperation that dictate how we deal with and interact with people in those categories:

Ibang Tao (or “outsider”) • Pakikitungo: The act of civility. This occupies a prominent place in Filipino society. It reflects the deep respect and deference of Filipinos according to to the elderly and those in positions of power, emphasizing the importance of exhibiting appropriate behavior towards these authorities.

• Pakikisalamuha: The act of mixing.

Communitarian in essence, highlights the value of adapting and integrating oneself into a community, fostering a sense of belonging and shared experiences.

• Pakikilahok: The act of participation.

This underscores the communal responsibility to lend a helping hand to those in need. It emphasizes the collective effort of the entire community in offering support and assistance.

• Pakikibagay: The act of conformity.

This finds its roots in the historical context of colonization. It reflects the willingness to relinquish individuality and conform to the expectations and

•

norms set by those in positions of power.

Pakikisama: Camaraderie.

This emphasizes the importance of unity and solidarity within the community.

It highlights the value of being united and connected with others, fostering a sense of togetherness.

Hindi Ibang Tao (or “one of us”) • Pakikipagpalagayang-loob: Intimacy and mutual trust with one another.

• Pakikisangkot: Reflects the value of active participation and engagement within the community.

• Pakikipagkaisa: Being one with others.

This underscores the significance of unity and harmony, encouraging a collective sense of purpose and shared goals and assistance.

•

Pakiramdam

This pivotal interpersonal value shines a light on the innate inclination of Filipinos towards indirect communication. Our socialization has heightened our sensitivity to non-verbal cues and heightened our awareness of others’ emotions. While the closest translation is “feeling”, pakiramdam encompasses more. It is a

form of empathy that guides our interactions with one another. This quality proves particularly beneficial because our penchant for indirect communication has bestowed upon us a wealth of euphemisms, body language and intonations that convey meaning beyond mere words. Through pakiramdam, we gain the ability to comprehend messages that are communicated subtly and indirectly.

Hiya This surface value is often categorized as a colonial or “accommodative” trait, reflecting how Filipinos adapt to the demands of the world around them.

While this value has no direct translation, American scholar Willis E. Sibley loosely interpreted it as “shame.”9 However, such a translation falls short in capturing the true depth of this concept. A more accurate translation, as coined by Zeus Salazar, is a “sense of propriety.” This highlights how Filipinos conform to societal norms imposed by foreign powers during the era of imperialism, often relinquishing aspects of our own culture in the process.

Utang na Loob The concept of utang ng loob, literally translated as “a debt of one’s inner self,” holds a nuanced meaning that goes beyond a literal interpretation.11 Various scholars have attempted to capture its essence in translation. Charles Kraut and Tomas Andres rendered it as a “debt of gratitude” and “reciprocity,” respectively.12 However, Enriquez suggests that combining the concepts of gratitude and solidarity provides a more accurate translation.13 Utang ng loob represents an obligation to repay someone for a favor, but it is not a simple transaction. By incorporating the dimension of “loob,” it distinguishes itself from ordinary debt or “utang.” It pertains to deeply personal debts that are challenging to quantify and goes beyond the act of returning a mere favor. This exemplifies how the core concept of kapwa shapes the notion of reciprocity into something more profound—an internal phenomenon that places less emphasis on the burden of indebtedness and instead fosters a sense of gratitude and solidarity among individuals. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

89

Pakikisama and Pakikipagkapwa The last accommodative value is the concept of conformity. It involves aligning oneself with the prevailing norms and behaviors within a group, aiming to maintain peace and foster harmony within the collective.

bahala na American psychologist Bostrom attempted to translate this concept, likening it to American fatalism —an outlook that whatever occurs is predestined to happen.

However, this translation fails to capture the true essence of the concept. While no direct translation is available, the term signifies “determination in the face of uncertainty,” rather than resigning oneself to circumstances. It represents the willingness to take risks amidst uncertainty, while also acknowledging our individual limitations and the inherent order of the world. This display of courage in the face of adversity is known as lakas ng loob, which directly translates as “inner strength.”

Contradicting Beliefs One area where Filipinos grapple with the interplay of kapwa and the individualistic values of the West is in relation to the role of LGBTQIA+ individuals. In precolonial times, the Philippines embraced a polytheistic belief system, where different tribes worshiped various deities. These mythologies depicted intersex gods and goddesses, challenging traditional gender norms and emphasizing the essence of humanity. For example, Lakapati, the Tagalog deity of fertility and giver of food, was described as an androgynous and intersex figure. Other deities were never given a gender, often times being seen as

genderless or one or the other depending on the ethnic group. For example, Bathala, the supreme transcendent being and ruler of the universe for the Tagalog, was not ascribed a specific gender in early Spanish accounts.

In modern times, the Philippines is recognized as one of the most LGBTQIA+ friendly countries in the world, reflecting the remnants of its precolonial acceptance of gender fluidity and operating under the value of kapwa. However, the deep influence of Catholicism brought during the post-colonial era has introduced conflicts and challenges. Gay Filipinos still face discrimination and are denied certain rights, such as same-sex marriage, due to clashes with religious beliefs. While Filipino society generally accepts and respects individuals who identify as LGBTQIA+, the struggle lies in providing them with legal protection under the western-influenced government systems imposed upon the country.

your Filipino identity. The generational trauma of the country is passed down through blood, regardless of its quantity.

Even within the confines of your home abroad, traces of Filipino culture are quietly or often times loudly expressed. It is important to recognize that your beliefs and behaviors are shaped by a set of Indigenous values, whether consciously acknowledged or not, and it is acceptable if they do not align with the mainstream.

Sikolohiyang Pilipino sheds light on the reasons behind these behaviors and it is an ongoing process of refinement and understanding. As a global Filipino community, it is critical for us to unite and free our minds from the colonial mentality imposed upon us in the past. Embracing our unique identities by understanding our inherent cultural values is a protest against the colonial standards we have been forced to live by and redefines what it truly means to be Pinoy.

Conclusion There is an ongoing debate about whether the concept of Sikolohiyang Pilipino applies exclusively to those residing in the Philippines or extends to the wider Filipino diaspora. Some argue that it is limited to the experiences of individuals on the islands, implying that those outside the Philippines are viewed as the “other” and excluded from this psychological framework. However, such an argument contradicts the very essence of kapwa that Sikolohiyang Pilipino promotes. One’s Filipino identity should not be defined by borders or geographical location.

Regardless of where you were born or currently reside, you have the right to claim

[1], [2]: Balbas, Cassandra. “Colonial Mentality in the Filipino-/American Community.” Asian Mental Health Project, 22 October 2020, https://asianmentalhealthproject. com/2020/10/22/colonial-mentality-in-the-filipino-american-community/. Accessed 10 May 2023.

[3]: Rodríguez, Rafael. “New Prospects for the Spanish Language in the Philippines (ARI) - Elcano Royal Institute.” Real Instituto Elcano, 26 February 2009, https://www. realinstitutoelcano.org/en/analyses/new-prospects-for-the-spanish-language-in-the-philippines-ari/. Accessed 10 May 2023.

[4]: Morley, Ian. “America and the Philippines: Modern Civilization and City Planning.” Association for Asian Studies, 2011, https://www.asianstudies.org/publications/eaa/archives/ america-and-the-philippines/. Accessed 10 May 2023.

[5], [7], [8], [11], [13], [15]: Enriquez, Virgilio G. Filipino Psychology in the Third World. 1977, https://www.pssc.org.ph/wp-content/pssc-archives/Philippine%20Journal%20of%20 Psychology/2002/07_Filipino%20Psychology%20in%20the%20Third%20World.pdf.

[6]: Pe-Pua, Rogelia, and Elizabeth Protacio-Marcelino. “Sikolohiyang Pilipino (Filipino Psychology): A Legacy of Virgilio G. Enriquez.” Asian Journal of Social Psychology, vol. 3, 2000, pp.

49-71. https://www.indigenouspsych.org/Members/Pe-Pua,%20Rogelia/PePua_Marcelino_2000.pdf.

[9]: SIBLEY, WILLIS E. “Persistence, Variety and Change in Visayan Social Organization: A Brief Research Report.” Philippine Sociological Review, vol. 13, no. 3, 1965, pp. 139–44. JSTOR, http://www.jstor.org/stable/41853514. Accessed 30 May 2023.

[10]: Salazar, Zeus. “Four Filiations in Philippine Psychological Thought. Handbook of Filipino Psychology” The University of the Philippines Press. 2018.

[12]: Dela Cruz Porcadas, Maica. Evolution of Discourse: Identifying Sikolohiyang Pilipino in the Classroom. 2019, https://sfsu-dspace.calstate.edu/bitstream/handle/10211.3/214005/ AS362019EDUCP67.pdf.

[14]: Bostrom, Lynn C. (1968). Filipino bahala na and American fatalism. Silliman Journal, 15 (3), 399-413.

90

KAPWA: The Filipino Magazine

Kapwa Gardens hosted their annual Philippine Independence Festival Crawl on Saturday, June 10! The event celebrated Filipino creativity, liberation and heritage by bringing together Filipino small businesses, organizations and performers.

Photography by Theresa Arocena Top: Matthew Espina Harris of Pamana Treasures | Instagram @pamanatreasures Bottom: Necklace designs by Ray Haguisan | Instagram @kapuwaco

Issue #1 | Philippine Independence Day & Pride Month

91

health & wellness

ano ka ba?

Bisexuality in the Global Filipino Culture Written by Lori Sal-long Illustration by Kiara Lime

“It’s my experience of myself within my own body, as it is for everyone else.”

- Inabel Uytiepo (they/siya, pansexual) 92 92

KAPWA: The Filipino Magazine KAPWA: The Filipino Magazine

Nora Aunor, Mikey Bustos, Mark Bautista, Issa Pressman and Alex Diaz not only have their celebrity status in common, but also their sexuality: they’re bisexual. According to Esquire Philippines, these celebrities have expressed their preference for both male and female genders.1 Confused parents may ask their Filipinx children who identify as bisexual, “Paano ka nagkakagusto sa lalaki at babae? Dalawa ba ang ari mo? Isa-isa lang. Hindi ka naman binabae o linalake.

Hindi ba puwedeng iisa lang? (How can you like both men and women? Do you have two genitals? Just pick one. You’re not gay or lesbian. Can’t you just pick one?)” There are a lot of outdated ideas about the definition of bisexuality, some of which mirror the former definitions of bisexuality mentioned by Martha Robinson Rhodes in “A Short History of the Word ‘Bisexuality.’”2 One may also find that even their contemporaries do not always separate one’s sexuality and

undermining their attraction to the other sex. There is no allotted percentage for how much someone who is bisexual is attracted to male- or female-presenting people; it is fluid. Reyes mentions that with the Philippines being a religious and traditional country, one’s sexual orientation and gender identity expression (SOGIE) as bisexual is attributed to just exploration and curiosity for binary genders and that they just “haven’t found the right girl/guy yet.”5 According to Rhodes, “It’s also important to note that this terminology is particular to English-speakers in the West, and that elsewhere in the world there has been a diverse range of approaches to sexuality and gender that often reject binary categorizations.”6 Bisexual people can be attracted to the spectrum of genders, as she explains: Some people attracted to more than one gender identify as both bi and pan, some as one or the other, and some as neither.

The 1990 manifesto of Anything that Moves, a US bi magazine, explicitly stated that bisexuality shouldn’t be understood as binary: “Do not assume that bisexuality is binary or duogamous in nature: that we have “two” sides or that we must be involved simultaneously with both genders to be fulfilled human beings. In fact, don’t assume that there are only two genders.”7 one’s gender identity. In Lora Reyes’s article “Putting the ‘B’ in LGBTQIA+: What it means to be bisexual in the Philippines,” the modern definition of bisexuality and pansexuality is distinguished: In modern times, Bisexuality Resource Center (BRC) defines bisexuality as an individual who experiences physical, romantic, sexual and/ or emotional attraction to more than one gender. It adds that people who identify as bisexual “may experience different kinds of attraction to different genders,” and this may change over time. Oftentimes, bisexuality is compared to pansexuality as people assume they are the same thing, but these two identities

are different from one another. “Bisexuality is the romantic and sexual attraction towards two or more genders,” explains Evren Raia Jay (who uses any pronouns). “Pansexuality, on the other hand, is the attraction to anyone regardless of gender.” 3 With this in mind, it is apparent that sexuality is fluid. Some bisexuals will marry those of the opposite/oppositepresenting sex but still have a preference for those of the same sex as them.* Some bisexuals will have fluidity in their preference of partners over time and their choice of spouse does not mean they “settled” for whomever they married,

Rhodes’s article emphasizes the existence of these beliefs in the Western world.

However, we need to remember that Filipinxs from all over the world also have to create and curate their own definitions to explain it to those they come out to.

In the Philippines, there is a growing awareness of bisexuality with respect to pre-colonialist practices. Before the Spanish inquisition in the Philippines, which began on the island of Limasawa in 1521 (and the other occupations by the Japanese and the U.S. after that), the emphasis on separating men and

*: The terms “sex” and “gender” are not used here interchangeably but refer to two distinct concepts. From Merriam-Webster: “Among those who study gender and sexuality, a clear delineation between sex and gender is typically prescribed, with sex as the preferred term for biological forms, and gender limited to its meanings involving behavioral, cultural, and psychological traits.”4

Issue #1 | Philippine Independence Day & Pride Month Issue #1 | Philippine Independence Day & Pride Month

93 93

women, male or female, was close to none.8 All the members of each tribe were working in conjunction with their roles to promote harmony and equality and with the utmost respect for nature. In her book “Babaylan: Filipinos and the Call of the Indigenous,” Leny Mendoza-Strobel mentions the existence of harmony with those being two-spirit or nonbinary among the babaylan — taking on responsibilities and roles as needed in order to cultivate the tribes’ and group’s interconnectedness and functions, like prioritizing provisions for the people with proper medicinal and sustenance methods, defending land and maintaining the peace and utmost respect for nature and the spiritual world.9 Their gender identities did not determine hierarchy and their preferences for a partner[s] did not affect their effectiveness in nurturing the tribe’s needs. The arrival of foreign occupation in the Philippines paved a shackling of peoples’ freedom with their sexuality and according to MendozaStrobel, “Instead what we have is an Eros imprisoned by the narrow definition of romance and sexuality centered on the genitals.”10 Is it difficult to come out as bisexual?

According to a Pew Research Center analysis of survey data from Stanford University, mentioned by Anna Brown in her article “Bisexual Adults are Far Less Likely than Gay Men and Lesbians to be ‘Out’ to the People in Their Lives,” 19% of bisexuals have come out to people close to them or are aware of their sexuality, versus 75% of gay and lesbian people.11 The stark contrast between the two shows the hesitance of bisexuals in coming out.

This can be mirrored by a few Filipinx interviewees and according to them, it has not always been a smooth process in breaking the news to their parents and

peers, or even just interacting with others.

Blue Moon Tailor (they/them/theirs, nonbinary demisexual, and bisexual) mentions some obstacles they encountered: “Obstacles I’ve encountered as [a] Filipin[x] person identifying as bisexual is “casual” queerphobia from my (extended) family of origin and all the b------t systemic violence showing up in interpersonal interactions while dating too many cis-het masc folks.

By “casual” queerphobia, I refer to how my parents and [lola] would mention the sexuality of a cousin or family friend and “gently” giggle at their faux pas for being too effeminate as a gay man or my physician father giggling when saying he served trans people.”

Len Sanqui (they/she, bisexual) mirrors the sentiment with this statement: “A big reason I did not come out to my parents is because of the prevalence of homophobia and transphobia in Filipino culture. I think my parents are much more accepting than other Filipino parents, but they would still be uncomfortable if I told them I was queer, especially if I was in a queer relationship.

I think there would be a lot of discomfort around how my parents’ other Filipino friends and relatives would perceive me and our family if I was openly queer.”

Cyril Cabalquinto (he/him, bisexual) also mentions the difficulty of dating while identifying as bi: “Dating is difficult when it comes to the Filipinx community[.] Filipino women always think that I’m too gay to be dating women.”

The question “Ano ka ba? (What are you?)” should be replaced by “Sino ka ba? (Who are you?)” Not giving other people the power to state what you are goes hand

in hand with knowing who you are and allows one to not have to conform to all the multiple ideals others have stated as their standard. As mentioned by Inabel Uytiepo (they/siya, pansexual): “Just because I present like and could claim to be a cis-woman, doesn’t mean that is my experience of myself. It’s my experience of myself within my own body, as it is for anyone else. It’s so important for folks to be allowed to define themselves for themselves.

It’s lifesaving and life-affirming to support others in their exploration of their sexual and gender identities.”

When we understand who we innately are, there is no need to justify our gender based on who we are attracted to. There is fluidity in sexuality, as all the interviewees mentioned and they all advocate that figuring out one’s sexuality is a journey one has to take without others dictating how to navigate it. When one’s relationship with themselves is focused on being secure and standing up for one’s opinions and beliefs, it gives less room for others’ opinions to reside in one’s consciousness, because there will only be room for self-security and confidence. The ones who find fault in others or question their sexuality are those who have not embraced a part of themselves that may be reflected by the ones they mock or insult. Being a Filipinx bisexual has been a great struggle for many, but knowing that bisexuals have a place in the world — and can reestablish their place if need be — and that their emotions and identity are determined by themselves and not what others say they should/would/could be, strengthens the reality that sexuality is fluid, and people are allowed to be attracted and love those whom they find themselves drawn to.

[1]: Esquire Philippines, “6 Bisexual Filipino Celebrities Who Put the ‘B’ in LGBTQ,” Esquiremag.ph, October 2, 2020, https://www.esquiremag.ph/culture/arts-and-entertainment/ bisexual-filipino-celebrities-a00203-20201002.

[2]: Martha Robinson Rhodes, “A Short History of the Word ‘Bisexuality,’” Stonewall, January 31, 2022, https://www.stonewall.org.uk/about-us/news/short-history-word-bisexuality.

[3], [5]: Lora Reyes, “Putting the ‘B’ in LGBTQIA+: What It Means to Be Bisexual in the Philippines,” POP!, September 26, 2022, https://pop.inquirer.net/333864/putting-the-b-in-lgbtqiawhatit-means-to-be-bisexual-in-the-philippines.

[4]: Merriam-Webster, s.v. “gender,” last updated May 25, 2023, https://www.merriam-webster.com/dictionary/gender.

[6], [7]: Rhodes, “A Short History of the Word ‘Bisexuality.’”

[8]: Kevin L. Nadal, Filipino American Psychology: A Handbook of Theory, Research, and Clinical Practice (Hoboken, NJ: John Wiley & Sons, 2020), 115.

[9], [10]: Leny Mendoza-Strobel, Babaylan: Filipinos and the Call of the Indigenous (Santa Rosa, California: Center for Babaylan Studies, 2010), 314.

[11]: Anna Brown, “Bisexual Adults Are Far Less Likely than Gay Men and Lesbians to Be ‘Out’ to the People in Their Lives,” Pew Research Center, June 18, 2019, https://www. pewresearch.org/short-reads/2019/06/18/bisexual-adults-are-far-less-likely-than-gay-men-and-lesbians-to-be-out-to-the-people-in-their-lives/.

94

KAPWA: The Filipino Magazine

llustration by Marcello B.F. Burdis

Looking at Philippine History with a Decolonized Lens Written by Abby Romano Illustration by Marcello B.F. Burdis & Kian Joshua Sedghinasab Colonization goes beyond the violent acquisition of land and resources. It has cultural, spiritual, and generational consequences. The Philippines is technically an independent nation, but colonial mentality runs deep within Filipinos. It’s seen in the beauty standards reflected in our media, the demonization of our own cultural traditions and the secondary status of our unique Philippine languages. Decolonization is a movement that aims to acknowledge and shift away from that mentality. We can implement decolonization in an area that deeply impacts how we see our people and ourselves: our history.

Story continues on next page Issue #1 | Philippine Independence Day & Pride Month

95

The decolonial movement that originated in South America originally sought out to critique perceived western superiority and to separate from eurocentric frameworks.

The movement has spread globally, as former and current colonies aim to recenter their people and cultures.

The Philippines has a long account of colonization and centuries of the colonial mindset to unpack. Because of this, we have our own decolonizationindigenization movement that started in the 1960s with three major works: Virgilio Enriquez’s Sikolohiyang Pilipino, Prospero Covar’s Pilipinolohiya and Zeus Salazar’s Pantayong Pananaw. These works, rooted in Filipino psychology, specifically aimed to ​​ ”critique and challenge academic colonialism, and proposed alternatives based on Indigenous Filipino experiences, concepts, languages, and orientation.”1 At the root of the decolonization movement is the advocacy of cultural, psychological and economic freedom for Indigenous peoples. In a greater sense, it challenges dominant western social and political norms brought about by colonization. In decolonizing, we generally recognize the colonial influence in our current day. It’s seen in the exploitation and displacement of our people, ecological destruction for selfish gain and diminished collectivism. Through decolonizing, we strive to understand and mitigate the consequences of colonialism.

But, how does colonial mentality reflect in the way we learn our history? When we talk about Philippine history, it’s often the simplified timeline as follows: prehistory, Spanish conquest, American acquisition, Japanese Imperialism, independence, today. While that does cover major events in our history, it leaves out critical narratives, regional events and dissection of neocolonial influences that are pertinent to understanding our past and present with a holistic, decolonized point of view.

We know our history as a collective Philippines, but what about who we were prior to being a combined nation?

“Prehistory” is a common term we still hear when referencing the time period before Spanish colonization, but the term

96

KAPWA: The Filipino Magazine

extends into the paleolithic age. Lumping the precolonial era with prehistory dismisses Indigenous histories — histories that have been kept and passed down orally in spite of the lack of physical records. It is a colonial perspective that regards Indigenous knowledge as primeval rather than sacred. During this pre-colonial period we were composed of sultanates and barangays flourishing with trade, societal structure, sophisticated goldsmithing and vibrant life.2 We had a deeply animistic, spiritual and communal way of living. Oppressive Spanish rule and Christianization forced many of our ancestors to adapt and syncretize out of survival, though not without resistance.

We’ve persevered as a people with centuries of rebellion and resilience, yet we often ignore — or forget altogether –- the other events that led up to our declaration of independence from Spain. The Katipuneros were not the only revolutionaries. The Igorot Revolt, the Tamblot Uprising and the Mandaya Revolt were only a few of the notable rebellions led

by Indigenous tribal leaders against the Spanish –- and aside from those they led, many more they inspired.

Yet, after achieving independence under the United States of America (U.S.) in 1946, despite the centuries of struggle to defend our land and people, ancestral land became public domain. This left most Indigenous groups to technically be squatters on their own land until the Indigenous Peoples Rights Act in 1997.3

We received our independence as a nation from the U.S., but we aren’t truly free of their influence. Tracing back to 1903, Filipino scholars, drawn mostly from middle- to upper-middle- class families, were sent to earn university degrees in the U.S. These scholars were required to return and work as civil servants for the colonial government.4 This set a precedent for the educational exchange agreements currently in place that promote export of our people to the U.S. for education. The signs of neo-colonization are made clear when paired with the fact that Indigenous Peoples in the Philippines have a disproportionately limited access to education, while the primary benefactors of the educational exchange are children of wealthier families. A more obvious indication is the very recent extension of U.S. military presence in the Philippines, framed as a mutually beneficial friendship by the U.S. Department of Defense in 2023.

With all of this in mind, how do we further explore our history with a decolonized lens? As above, we must consider the perspective from which our history has been told, acknowledge the colonial frame or principle that has been applied and seek out the impacts on the marginalized.

We must consider the voices that are not heard. We need Indigenous voices to be part of the discussion. They are the culture bearers of our heritage, the original protectorates and nurturers of our land. They know our land and history beyond anyone else.

being Indigenous corresponds to redtagging, violence and disproportionate access to education, it’s no surprise that “the current state of affairs of Indigenous histories in the Philippines is still founded on the colonial representations of highland Indigenous groups, especially during the U.S. occupation... Indigenous histories and the heterogeneous composition of Philippine society are virtually absent in historical narratives, even today.”5 If we decolonize the way we see history, we position ourselves to identify patterns of colonial framework that have been deeply integrated into Philippine society and systems. We give ourselves a full account of who we were and are. Learning our past informs our future, which we can further build with the intention of restoring power to those from whom it was violently taken. We can encourage justice, cultural understanding and prosperity. This means advocating for Indigenous Peoples’ rights so their voices may be safely represented, honoring Indigenous knowledge and creating safe communities for all Filipinos.

We know that we have various regions and cultural heritages, yet we tend to speak of the Philippine islands as homogeneous.

This neglects the identities of the 182+ ethno-linguistic groups and 110+ individual tribal identities, which are much more vast than what we see represented in government, education institutions and media. In a post-colonial climate where

Footnotes: [1]: Paredes-Canilao, Narcisa, and Maria Ana Babaran-Diaz. “Sikolohiyang Pilipino: 50 years of critical-emancipatory social science in the Philippines.” Annual Review of Critical Psychology 10 (2013): 765-783.

[2], [4]: Francia L. (2010). A History of the Philippines : From Indios Bravos to Filipinos (First). Overlook Press.

[3], [5]: Acabado, S.B., & Martin, M.M. (2022). Indigenous Archaeology in the Philippines: Decolonizing Ifugao History.

University of Arizona Press. https://doi.org/10.2307/j.ctv2c3k1bm.

Illustration by Kian Joshua Sedghinasab

Issue #1 | Philippine Independence Day & Pride Month

97

Yes I’m queer, And I Don’t Know How I Feel About the Word Written by Kristen Cuaresma Illustrations by Caralie Wegeng

It’s been three years since I’ve been out. Growing up, I had a feeling that I was queer, but it was something that I ignored until three years ago. It was an interesting feeling, especially growing up with Filipino LGBTQIA+ cuties all around me, yet I continued to just be an “ally”.

Finally, three years into my journey, I can finally say I am a proud bisexual Filipino with a beautiful girlfriend and a wonderful dog. However, we live in a world where not everyone understands queer joy and would rather spread hate. I remember the first time I was judged for being queer, my girlfriend and I were called a slur. After that incident, I began to examine the words used to describe our community including bakla, a word synonymous with Filipino queerness. It was something I grew up hearing and even used, but I wasn’t sure how it now interacted with my own queerness. In order to find an answer, I began examining the origins of the word bakla and its relation to the Filipino LGBTQIA+ community in the modern day: What does it mean? Where did it come from? And how does it fit within our modern community? As I explored its origins and its evolution, I came to realize

nonconformity is seen through the revered shamans, the babaylan, although the name depended on the region. Often, the babaylan were female, however biological gender was not a requirement - as long as a person embodied ‘female power and spirit’ they could be considered babaylan.

Historically, another subclass among the babaylan were the asog, who often were either what we would consider transgender or they were men who dressed like women.

With emphasis on the power of life, creation, mitigation and extension, the babaylan transcended the societal conceptions of gender. They were powerful and respected; having a high status in society, almost unheard of in today’s modern society despite their queerness.2

that while bakla (and its opposite, tomboy) might be used comfortably within Filipino society today, they do not provide an accurate representation of diversity within our modern queer community.

to Catholicism and Christianity.3 With the silencing of our once celebrated gender transcendence and queerness, it was eventually relegated to performances like vaudeville and satire.

Deep diving into the Philippines’s rich and complicated past is difficult, to say the least, with constant interference of colonialism and American presence. Pre-colonial Philippine society is one in which gender plurality and the celebration of queerness was a part of life.

Such rejection of western gender roles can be examined by the gender transcendence of pre-colonial deities including Lakapati or Ikapati, the Visayan intersex deity of fertility and giver of food.1 In everyday life, gender

The oldest written record of the word bakla comes from the “Vocabulario de la Lengua Tagala” (1860); a Spanish-Tagalog dictionary written by Juan de Noceda and Pedro de Sanlucar.4 In the dictionary it lists 4 definitions of the word; bacla: 1. An illusion to make a person appear beautiful and radiant 2. A change in and fear of an object 3. Shift in interested to attain an object 4. Part of the skin that one is scratching

98

KAPWA: The Filipino Magazine

It was not until colonization with the arrival of Christianity and Miguel Lopez de Legaspi in 1565 that queerness became a sin, and the asog and babaylan were silenced for generations to come. Throughout the Spanish colonization and the American occupation, the establishment of religion remained a prevalent force in how the queer Filipino community is viewed.

Today, 90% of the population subscribe

The origins of the word are unknown. It’s speculated to be derived from a group of “male” Babaylan, while others say it’s a melding of the phrase “babaeng akala ay lalaki (girl who is thought to be a boy).”

Regardless of where it came from, it has become synonymous with “gay”. This can be confusing because it also served as an umbrella term for “crossdressing men, non-binary and trans while tomboy represents the opposite.”5 Interestingly enough, bakla did not refer to sexuality until the 20th century - it was originally used to describe gender. Knowing this, it is confusing to use bakla and tomboy to enforce a gender binary.

It can be said that bakla refers to “having the interiority of femininity, a feminine psyche, but the exteriority of masculinity”6 while tomboy can be referred to as the “embodiment of a masculine center.”7 In Kevin L. Nadal and Melissa J.H. Corpus’s examination of the Fil-Am queer experience, “Tomboys” and “Baklas”: Experiences of Lesbian and Gay FIlipino Americans, they note that “contrary to the Western view where same-sex sexual acts are equated

with being gay or lesbian, the Filipino culture does not stringently associate sexual behaviour with sexual orientation; rather, sexuality is based on one’s gendered behavior or sexual role.”8 If we are to follow that line of reasoning, more masculine presenting women were referred to as tomboys (as opposed to lesbians) while those who are feminine presenting may still be deemed heterosexual.9 With that, I can not help but think about my ‘femme’ presenting girlfriend and how she often doesn’t feel as if she’s perceived as queer, due to the standards of ‘queerness’ in the United States. According to the modern Filipino definitions, in spite of how someone actually identifies, the use of reductive terms like bakla or tomboy would define someone’s sexuality and gender based solely upon their gender expression.

Under this train of thought, she would not be, which invalidates anyone else who might have the same experience. There are a million other examples where the terms have excluded instead of included others and ultimately, these two terms fail to reflect the diversity of the community.

So as the world and the LGBTQIA+ community has shifted, where do bakla and tomboy fit within this context? As a Filipino, I understand the connotations and context of the term. It might serve as an umbrella term for those with a “pusong babae”10

or an “embodiment of a masculine center”,11but it does not represent the whole LGBTQIA+ spectrum. Additionally, considering its gendered influence, the two terms create gender within the inherently gender non-conforming structure of the queer community. When surveying Filipino Americans who identified as LGBTQIA+, the respondees observed that: “Back [in the Philippines], there are more rigid definitions of what it means to be gay and lesbian, versus in the United States, there’s more flexibility. You have to fit into a caricature back home, versus here it’s not unfathomable to be a guy and gay or femme and gay. And same thing with being lesbian, you can be perceived as being a woman and feminine and lesbian and you don’t have to fit the stereotype that you’re butch or tomboy if you’re a lesbian.”12 The observation above describes the divergence between the confining characteristics of bakla and tomboy and the different identities within the community.

While bakla and tomboy traditionally focus on gendered characteristics of an individual, there is a danger in the emphasis that it puts on definitions of “masculinity” and “femininity.” Whether we acknowledge it or not, “bakla and Philippine gay discourses can be complicit in maintaining rather than effacing heteropatriarchy and draws attention to the decentered subjectivities rendered invisible by the impetus toward queer globality”.13 As queerness does not subscribe to the same structures of heteronormativity and traditional gender norms, why should the well-known identifiers for queer Filipinos subscribe to

those same traditional notions? Especially when I think about queerness, I think about living outside the stringent ideas of heteronormative and gendered society.

So knowing what we know, what now? I am not going to shift the mindset of generations of use with one article, but I think people should have a better understanding of its origins and be mindful that it doesn’t necessarily describe the diversity of the modern LGBTQIA+ community. With more people identifying and accepting themselves outside of the bounds of heteronormativity and traditional gender, being a bakla or a tomboy may not totally encapsulate the identity of queer people. If you are like me, it might feel isolating and invalidating since I don’t necessarily fall into the strict gendering that both terms subscribe to while also failing to acknowledge sexuality within the community. Now I must acknowledge that this is different within the LGBTQIA+ community: bakla can be a self-identifier, term of endearment or even empowerment, but that is a situational circumstance within the community.14 Using bakla or tomboy would require caution and context. In order to remain respectful of all LGBTQIA+individuals, we must understand the societal and cultural implications behind these words. After examining Filipino pre-colonial roots within the LGBTQIA+ community as well as its historical use, bakla and tomboy do not entirely serve the community as a label. Lastly, it is important to acknowledge that this examination of bakla and tomboy showcases how much history we have to explore within the LGBTQIA+ community worldwide. We have grown so much already, and will continue to grow as a community, together.

[1]: AZI Media. “Queer Mythology and History in the Philippines.” AZI Media. https://azimedia.medium.com/queermythology-and-history-in-the-philippines-3d90c35965dc. June 2021.

[2], [5], [10]: Alegre, Brenda Rodriguez. “From Asog to Bakla to Transpinay: Weaving a Complex History of Transness and Decolonizing the Future.” Alon: Journal for Filipinx American and Diasporic Studies 2, no. 1 (2022): 51–64.

[3], [9], [12]: Nadal, Kevin L. and Melissa J.H. Corpus. “‘Tomboys’ and ‘Baklas’: Experiences of Lesbian and Gay Filipino Americans.” Alon: Contemporary Asian America: A Multidisciplinary Reader, third edition (2016): 291-311.

[4]: Jay Jomar Quintos, “A Glimpse Into the Asog Experience: A Historical Study on the Homosexual Experience in the Philippines,” Plaridel 9, no. 2 (August 1, 2012): 155–70, https://doi.org/10.52518/2013.9.2-09qntskmp.

[6], [11]: Alegre, ‘feminine psyche/masc exterior’ [7], [13]: Velasco, Gina. “‘That’s My Tomboy’: Queer Filipinx Diasporic Transmasculinities.” Alon: Journal for Filipinx a7–73 [8]: Citation re Nadal/Corpus’s description of Fil-Am queer experience [14]: Salazar, Jaime Oscar M. “How ‘Bakla’ Explains the Struggles for Queer Identity in the Phillippines.” Foreign Policy. https://foreignpolicy.com/2022/07/30/bakla-queer-identity-philippines/. July 2022.

Issue #1 | Philippine Independence Day & Pride Month

99

Celebrating Philippines Independence Day in the Diaspora Written by Drea Sandoval Photography by Marie Tablizo-Manalo The raising of the Philippine flag.

The military and national police academy ceremonially marching through Rizal Park.

Food stands, people gathered to celebrate and some foreigners even gathered to learn.

These are the sights you will see celebrating Philippine Independence Day in Manila.

Growing up in the United States, Independence Day is a day that everyone celebrates. You grow up surrounded by it in the form of sales, promotions and media. Everyone throws a barbecue and spends hundreds of dollars on fireworks.

Things look a little different in the Philippines. Philippine Independence Day holds a sense of pride and history for many Filipinos. Though it is a day filled with pride, it wasn’t always a day of celebrations.

When speaking to my family who were born and raised in the Philippines, it seemed like Philippine Independence Day was not a big celebration for them. They would learn about it in school around the time of the holiday and they knew that things like banks and some stores would be closed.

But it wasn’t a holiday to be taken home and celebrated with the family.

100

KAPWA: The Filipino Magazine

“It’s up to each family whether or not they want to celebrate,” my grandfather said when I asked him if he had memories of celebrating.

My mother and her cousins don’t even remember celebrations happening throughout the city. Maybe there was a shift through the generations. When speaking to friends in my age group, their recollections of celebrations in the Philippines are different.

“Every year they would block out dates where we just celebrated and didn’t do much school work. We wore barongs and sayas. Our classes would have little programs and talent shows. And it was the same throughout the city,” one friend said.

“We had a week of celebrations (in school). Every grade would do a cultural performance,” said another.

It seems as though celebrations throughout the Philippines have grown over the years. With the development of all of these celebrations, I was curious about Filipinos who leave the Philippines.

Do the celebrations for independence continue? Is it hard to continue to celebrate when you leave your home country and the people and the culture no longer surround you?

Outside of the Philippines, the largest Philippine Independence Day parade takes place annually in New York City (see the Entertainment & Events section for this year’s coverage). Since its start in 1990, the parade has only grown in popularity and recognition. In British Columbia, Canada, a two-day festival is held. The festival begins with the rising of the Philippine flag followed by both Filipino and Canadian national anthems.

People gather in ballrooms in Tokyo and Russian embassies. A lot of dancing can be seen in the streets of Hong Kong.

All throughout the world, Filipinos are keeping their pride for their country alive.

In 2016, a large parade in Hong Kong was met with heavy rainfall. But that did not dampen the spirits of the performers or attendees. Onlookers smiled under their umbrellas. Performers kicked off their shoes and danced barefoot in the streets.

A woman danced atop bamboo sticks that men held elevated on their shoulders, despite the added danger of the rain making the bamboo slippery. Everyone had prepared and practiced for months for this day, and nothing could get in the way of sharing this joy and celebration.

In June 2021, in Utah, a Filipino food truck that goes by the name Yum Yum Food Truck was vandalized with anti-Asian remarks in graffiti all across the truck. The news spread quickly. When NBA player and Filipino American Jordan Clarkson heard this, he wanted to help in any way he could.

With the help of a graphics company, Clarkson donated a new wrap for the truck.

“I stand in solidarity with the Utah Filipino community - love is more powerful than hate!” Clarkson tweeted.

The Pierce family, who owns Yum Yum Food Truck, decided to debut the new truck with a grand reopening at the Philippine Independence Day celebration in Salt Lake City. Not only did the Filipino community come out to celebrate and support, but many people in the Salt Lake City area also came out to show support for the Filipino community in the form of an independence day celebration.

When something is no longer a part of your everyday life, understandably, it can fade. But all over the world, many Filipinos are keeping the fight for and history of our independence day alive. It is being kept alive not only for the people who have emigrated from the Philippines but also for Filipinos who were born elsewhere.

For those of us who didn’t grow up with this history or surrounded by the culture, these celebrations are a way we can find a connection to our roots. If we didn’t have these celebrations kept alive for us, I don’t know that many of us outside of the Philippines would have the knowledge to be able to carry out these celebrations for freedom for ourselves.

NYC Philippine Independence Day Parade

I decided to also ask my Filipino friends who were born outside of the Philippines if they celebrate Philippine Independence Day. “When is Philippine Independence Day?” is the common response that I received. Being born in the United States myself, I’ll admit that I also had the same question. Growing up as a Filipino away from the Philippines can sometimes mean that traditions and celebrations aren’t passed down to us. However, having so many ways to join these celebrations, no matter how far we may be, has served as a

way for a lot of us to connect to our roots.

The more I have learned about the history of Philippine Independence Day and seen the pride of people celebrating, the more I wanted to join in these celebrations myself and share them with those around me. There is so much importance in community and sharing our traditions with one another. Though Philippine Independence Day may not have widely known traditions for celebrating, it is still one that we can rally around together no matter where we are in the world.

Footnotes: [1]: “Philippines Independence Day - June 12,” National Today, April 18, 2022, https://nationaltoday.com/philippines-independence-day/.

[2]: 118th Philippine Independence Day Celebration in Hong Kong (Kapangyawan 2016) - The SUN Online, YouTube (YouTube, 2016), https://www.youtube.com/ watch?v=Dydauuh9RXA&t=122s [3]: Cynthia Silva, “Utah Jazz’s Jordan Clarkson Helps Fix Filipino Food Truck Covered in Slurs,” NBCNews.com, June 11, 2021, https://www.nbcnews.com/news/asian-america/utah-jazzsjordan-clarkson-helps-fix-filipino-food-truck-covered-slurs-rcna1178.

Issue #1 | Philippine Independence Day & Pride Month

101

The Road to Philippine Independence Written by Sarah Caro, Kharina Miramontes, Lynn Lazaro, Rina Alazas, Isa Pineda, Owen Layugan, Marc Harry Panesa, Mike Legaspi, and Nikki Lizares Illustrations by Sambong Hepas 1715 The Agrarian Revolt takes place in present-day Calabarzon and Bulacan to demand for the return of lands on the basis of ancestral domain

1521 First contact with Europeans when Ferdinand Magellan arrives in Cebu

25,000 bc

1500’s 1542 Ruy de Villalobos’s expedition claims the Philippine Islands in the name of Spain and the islands were named Las Islas Filipinas

1744-1829 The longest revolt in history; Dagohoy leads uprising in Bohol against Spanish government

1621-1622 The Tambolt Uprising

1600’s 1645-1650 The Sumuroy Revolt led by Agusin Sumuroy over the forced labor system

1700’s 1762 The Silang Revolt brings independence to the Ilokano people

25,000 BC

1542

1583

First settlers on the islands were the Aeta, Agta, Ayta, etc. groups.

Ruy de Villalobos’s expedition claimed the Philippine Islands in the name of Spain and the islands were named Las Islas Filipinas, after the current heir, Felipe, who would become the eventual King Philip II.

The Kapampangan Revolt of 1585 by those who resented the Spanish encomenderos.

3,000-2,000 BC Different waves of Austronesian groups from parts of Southern China, Taiwan and present-day Indonesia and Malaysia arrived on different islands.

1521 First contact with the Europeans - Ferdinand Magellan arrived in Cebu. He formed a blood comp with Rajah Humabon and died at the hands of Datu Lapu-Lapu and his men at the Battle of Mactan.

• March 17: First encounter with a Portuguese explorer marked the beginning of Spanish colonization in the Philippines and introduced a new era of cultural exchange and conflicts. Ferdinand Magellan, sailing under the Spanish flag, “discovered” the Philippines when he landed on Homonhon Island while searching for a western route to the Spice Islands.

• March 31: During Magellan’s time in the Philippines, he ordered the first Catholic mass to be held by Father Pedro Valderrama on Limasawa Island.

The Easter mass marked the birth of the nation’s dominant religion: Roman Catholicism.

102

KAPWA: The Filipino Magazine

1565 Miguel Lopez de Legaspi’s expedition and subsequent colonization of the Philippines.

• Spanish settlement between the 16th and 17th century.

• The start of the Manila Galleon and the creation of the trade route between Acapulco, Mexico to Manila.

• The construction of the church and convent of Santo Niño, the first Roman Catholic church in the Philippines, in Cebu by Father Andres de Urdaneta.

This is the start of the priests stepping into an authority figure role.

1571 The Battle of Bangkusay, led by Tarik Sulayman of Macabebe. This would be the start of many revolts against the Spanish colonial regime.

1574 The Sulayman or Manila Revolt - Sulayman welcomed Martin de Goiti and Juan de Salcedo after they arrived. After being abused and seeing them taking control, he led a coup.

1601 The Igorot Revolt was a religious revolt against Catholic conversion among the Igorot in Northern Luzon. Father Marin, sent by the Governor-General to proselytize to the Igorot, was martyred in the process, and in retaliation, an expedition led by Lieutenant Aranda was sent to subjugate the Igorot. With the geography of the land on the Igorot’s side, the expedition was ambushed and they were unable to conquer the Igorot tribes that dwelled in Northern Luzon.

1621-1622

The Tamblot Uprising took place in the island province of Bohol, an Indigenousled revolution against colonial Spanish rule in 1621. This uprising was led by Tamblot, a Babaylan — a community leader and spiritual guide healer, who rallied the collective. These uprisings are a critical event in Philippine history, embodying the continued fight for native liberation and sovereignty.

• January 1: Tamblot’s rebellion lacked infrastructure to fight Spanish militarization, weakening their rebels over time. On New Year’s Day, 1622, Tamblot was apprehended and executed by Spanish forces. Despite

July 7, 1892 Founding of the Katipunan

October 6, 1907 The First Philippine Assembly is establlished in Manila February 15, 1935 The Philippine Constitution is signed

April 6, 1861 Birth of José Rizal

August 1920 The Philippines Herald is established by Manuel L. Quezon and former Manila Times journalists, and became the first pro-Filipino nationalist newspaper.

January 23, 1899 Emilio Aguinaldo takes his oath as the first president of the Philippines

1800’s

1946 The United States recognizes the independence of the Republic of the Philippines

April 6, 1942 Battle of Bataan

1900’s February 17, 1872 Execution of GomBurZa; beginnings of the Revolution

February 4, 1899 The Beginning of the Philippine-American War

their ultimate defeat, the uprising became a symbol of unwavering resistance, echoing the generational struggle of a people seeking to preserve their ancestry and sovereignty.

The Bankaw Revolt, led by Bankaw, a Datu in Southern Leyte, who welcomed Miguel Lopez de Legazpi and converted to Christianity. After around 50 years, he then converted back to the native beliefs and built a temple dedicated to a diwata (spirit or god) with a Babaylan named Pagali. At first, the Spaniards offered peace but Bankaw rejected the offer. He led a revolt against the Spaniards but was killed in battle, alongside Pagali, after the temple was burned for 10 days.

1628-1627 The Itneg or Mandaya Revolt was a religious uprising led by Miguel Lanag and Alababan of the Itneg of Capinatan, who were baptized against their will along with many others.

1645-1650 The Sumuroy Revolt in Northern Samar. It was led by Waray leader, Agusin Sumuroy, wherein he and some of his followers rose in arms on June 1, 1649 over the forced labor system taking place.

October 16, 1916 The Jones Act is passed, establishing an all-Filipino legislature

1660-1661

1763

The Maniago/Pampanga Revolt led by Francisco Maniago. The Malong Revolt, which took place at the same time, derived from the Maniago Revolt and became a bloody battle in Pangasinan.

•

1681-1683

1861

The Zambal Revolt led by a group of chiefs, who refused to accept the authority of the Spanish crown.

•

1715

1872

The Agrarian Revolt took place in presentday Calabarzon (specifically in Batangas, Laguna and Cavite) and in Bulacan to demand for the return of lands on the basis of ancestral domain.

• •

1744-1829 The Longest Revolt in History (85 years).

Francisco Dagohoy led another uprising in Bohol against the Spanish government, lasting 85 years.

1762 • • •

The Rape of Manila Manila fell to the British, starting the British occupation The Silang Revolt of 1762-1763, led

by Diego and Gabriela Silang for the independence of the Ilokano people

•

The Treaty of Paris was drawn up and the Philippines was returned to Spain.

The execution of Gabriela Silang, the only Filipina to have led a revolt against the Spanish.

June 19: Birth of José Rizal, our national hero, in the city of Calamba, located in the province of Laguna, Philippines

January 20: The Cavite Mutiny February 17: The execution of the Mariano Gómes, José Burgos, and Jacinto Zamora, colloquially known as “GomBurZa”. Native priests (called “Secular”) were fighting for their right to serve their parishes, to which the Spanish priests were opposed because they saw them as unfit to do so, due to their brown skin and lack of education, among other reasons. In Cavite, rights and privileges were taken away from the local Filipino troops and laborers.

They were now forced to pay personal taxes and perform forced labor.

Issue #1 | Philippine Independence Day & Pride Month

103

1889 La Solidaridad was founded by Filipino exiles in Spain. With more freedom in Spain compared to the Philippines (most likely due to the influence of the friars), they created a newspaper with the same name to increase Spanish awareness of the Philippine colony.

• Key Members: José Rizal, Antonio and Juan Luna, Mariano Ponce

1892 •

•

•

July 3: Rizal founded the Liga Filipina as a means to be a mutual aid to society, but began to be a threat to Spanish authority and led to Rizal’s exile.

July 7: The Katipunan, a revolutionary society that fundamentally altered the course of Philippine history, was founded. Their goal was to overthrow the Spanish regime through a nationwide armed revolt and served as the backbone of the 1896 Philippine Revolution, widely recognized as a key turning point in the Filipino struggle for independence.

July 17: Rizal was exiled to Dapitan.

This incited Filipinos to fight against the Spanish government.

1896 • •

•

•

August 19: The Spanish government discovered the Katipunan.

August 23: Andres Bonifacio called an emergency meeting in response to Spain finding evidence of the Katipunan’s existence where the tearing of their cedulas (a tax certificate that proved they paid tribute to the Spanish government) symbolically declared war on the government.

August 31: The Philippine Revolution officially starts with the Battle of Pinaglabanan.

December 30: Rizal was executed at Bagumbayan.

• • •

•

•

The Tejeros Convention. The Katipunan created a revolutionary government and held its first election. Emilio Aguinaldo was elected president.

Events led to Bonifacio’s death November 1: Biak-na-Bato was formed.

Aguinaldo was exiled to Hong Kong.

declared, led by President Aguinaldo.

August 14: The Spanish surrender to Manila.

December 10: Spain and the U.S. signed the Treaty of Paris and the U.S. received the Philippines in exchange for $20 million.

December 21: U.S. President McKinley issued the Benevolent Assimilation Proclamation.

•

•

•

•

• •

•

January 20: U.S. President McKinley appointed the first Philippine Commission, called the Schurman Commission.

January 23: The Malolos Republic (First Republic) government, Asia’s first republic, was inaugurated at Barasoain Church in Malolos, Bulacan. Emilio Aguinaldo takes his oath of office as the first president of the Philippines.

February 4: Hostilities between Filipinos and U.S. forces began. This was the beginning of the PhilippineAmerican War, otherwise known as the Forgotten War. February 6: The U.S. ratified the Treaty of Paris with Spain.

May 6: Aguinaldo created a new cabinet and the country’s first municipal election was held in Baliuag, Bulacan.

May 12: Emilio Aguinaldo led Filipino troops to recapture Calumpit and Baliwag towns from the Americans.

1900 •

•

March 16: U.S. President McKinley appointed the second Philippine Commission, the Taft Commission.

William Howard Taft was placed as the first Head of the Commission.

May 5: General Arthur MacArthur Jr. was appointed Military Governor.

August 20: President Aguinaldo ordered the start of attacks against U.S. military forces in Northern Luzon.

1901 •

•

1898

•

• •

America declared war on Spain.

June 12: Philippine independence was

•

104

KAPWA: The Filipino Magazine

March 23: President Aguinaldo was caught by American authorities in Palanan.

April 1: Aguinaldo swore an oath of allegiance to the U.S..

July 1: The end of the insurrection was declared.

July 4: Civil government was

established with William Howard Taft as Military Governor of the Philippines.

September 29: The Balangiga Massacre occurred. The battle was described as the worst defeat of U.S. Army soldiers since the Battle of Little Bighorn in 1876.

1902 •

1899

•

1897 •

•

May 2: Disillusioned by the U.S. government’s intentions and their refusal to grant independence as they were meant to have done after the Spanish-American War, Macario Sakay and other like-minded individuals formed the “Republika ng Katagalugan” (Republic of the Tagalogs). Their organization sought to continue the struggle for freedom from foreign rule.

1904 •

April 30 - December 1: St. Louis World’s Fair — The Louisiana Purchase Exposition. The Philippines’ participation in the St. Louis World’s Fair was marked by the inclusion of Filipino Indigenous people as human exhibits, displaying the rich culture and heritage of the United States’ newlyacquired territory. However, it came at the very dear cost of the exploitation of the Indigenous for the entertainment of the American public.

1907 •

•

September 13: Macario Sakay was executed by hanging, ending the Second Tagalog Republic.

October 16: The First Philippine Assembly was established in Manila.

1912 A silent movie about José Rizal was the first Filipino movie introduced to the Philippines.

1913 •

June 11-15: The Battle of Bud Bagsak takes place during the Moro Rebellion against the United States. The Moro leader, Datu Amil, and approximately 800 warriors were fortified on Mount Bagsak. This event serves as a reminder of the Moro people’s fight for autonomy and cultural preservation against the American occupation.

1916 •

October 16: The Jones Act was passed, establishing an all-Filipino legislature.

1917 •

August: The Philippines Herald was established by Manuel L. Quezon and former Manila Times journalists, and became the first pro-Filipino nationalist newspaper.

1934 •

•

•

March 24: The Tydings-McDuffie Law, known as the Philippine Independence Law, was approved by U.S. President Theodore Roosevelt Jr. July 10: 202 delegates were elected to the Constitutional Convention in accordance with the Tydings-McDuffie Act. July 30: The Philippine Constitutional Convention was inaugurated.

1935 • •

•

•

•

•

February 15: The Philippine Constitution was signed.

May 2: The Sakdalista uprising against the Philippine Constabulary failed, and left at least 60 members dead.

May 14: The Philippine electorate ratified the Constitution in a referendum.

September 17: Manuel Quezon was elected president in the first Philippine presidential elections.

November 15: The Philippine Commonwealth was inaugurated and the Office of Civil Governor was abolished.

December 21: The National Defense Act of 1935, which created the Armed Forces of the Philippines, was signed.

December 28: Filipino and U.S. armies retreat to Bataan.

1944 •

1942 •

January 11: The first cabinet of Filipinos under the U.S. regime was organized.

1920 •

•

•

•

• • •

January 3: General Masaharu Homma declared end of American rule in the Philippines and declared martial law.

January 13: All forms of opposition against the Japanese forces were declared subject to the death penalty.

February 17: The Japanese Military Government issued an order adopting the Japanese education system in the country.

February 20: President Quezon and the war cabinet left for the U.S. March 13: The Commonwealth government was moved to the U.S. April 9: The Battle of Bataan runs for 3 months between U.S. and Filipino troops against the Japanese in order to delay attacks near Manila Bay.

1943 •

•

• •

•

August 1: The death of President Quezon. Vice President Sergio Osmena assumed the Office of the President of the Commonwealth of the Philippines.

September 21: U.S. forces raid Manila.

October 20: General MacArthur landed in Palo, Leyte, accompanied by President Osmena and U.S. troops.

October 24: The Battle of Leyte Gulf and the Battle of Sibuyan Sea.

1945 • •

•

February 24: The Battle of Manila ends June 14: Filipino soldiers, along with the Americans, defeated the Japanese under General Tomoyuki Yamashita in a battle in Tagudin, Ilocos Sur. July 5: General MacArthur announced the liberation of the Philippines and no longer occupied by Japan

1946 •

October 14: The puppet government was inaugurated. Jose P. Laurel took his oath of office.

November: The Philippine economy collapsed and the shortage of rice became a serious problem.

•

April: U.S. President Harry Truman signed into law the Philippine Trade Act (Bell Trade ) of 1946, continuing free trade relations between the U.S and the Philippines and imposing tariffs.

The Tydings Rehabilitation Act was also passed.

July: The United States recognized the independence of the Republic of the Philippines.

1941 • • •

•

November 11: Manuel Quezon was reelected as President.

December 10: Japanese planes attacked Sangley Point in Cavite.

December 17: Wenceslao Vinzons organized a citizen’s army to fight the Japanese forces in Camarines Norte.

December 26: General MacArthur declared Manila an open city.

Issue #1 | Philippine Independence Day & Pride Month

105

political& social issues

Are We Really Independent?

Written by Des Ong Illustration by Christopher Cruz In the Philippines and in Filipino communities around the world, June 12 is normally a day of celebration. This date commemorates the 1898 proclamation of independence from Spanish colonization.

Though the 1898 proclamation was immediately followed by the colonization of the United States, the Filipinos were only recognized as free people and the Philippines as a sovereign nation in 1946.

Spain, who colonized the Philippines for more than 300 years and with the US ruling the country for more than 40 years, had lasting impacts on who we are as Filipinos. Christianity, much like the education system in the country, were just some of the impacts of colonization.

When the Western colonizers finally left and the country was declared an independent nation, the Philippines had its own government and now for the first time, is no longer living as a colony and can govern its own people. In schools and history books, we were taught about these key milestones in our Philippine history and how our heroes fought the colonizers and paved the way for our freedom.

But is fighting for our freedom really a story in our past? Do we really currently live in a sovereign state? Are we really independent of any form of colonization?

While the influences of colonizers and the effects of being a colonized country have had lasting impacts on our society until the present day, the Philippine government will always have the capacity, power and opportunity to rebuild our nation. And by doing so, they would be honoring our ancestors who sacrificed their lives for future generations of Filipinos.

The Indigenous communities, who are estimated to be about 10 to 20 percent of the 109 million national population, have been increasingly threatened over

106

KAPWA: The Filipino Magazine

the years. In the past 5 years alone, 1,000 hectares of ancestral land were taken away from 1,000 Indigenous families in Manobo-Pulanghinon tribe1 who then suffered from hunger and extreme poverty, forced to live in broken tents in the backstreets of Quezon, Bukidnon.

There was also the permanent closure of 55 Lumad schools in Davao2 at the start of the global pandemic in 2019, wherein the government claimed they were being used by the New People’s Army. In 2021, the Armed Forces of the Philippines entered the University of San Carlos-Tambalan Campus3 and took at least 26 Lumad students and teachers into their custody and claimed it as a “rescue operation”.

Military harassment and school shutdowns did not only disrupt the lives of our Indigenous communities, but also forced them to flee their own ancestral land to save their lives. This poses risks to their culture, heritage, livelihood and welfare just to advance the developmental and commercial agendas of other people or organizations. Harassment of our Indigenous communities is a clear example that we are still operating in a colonized system in our very own country.

In addition to this, especially from a nonIndigenous perspective, we must also recognize how our very own government is advancing the agendas of other countries at the expense of the Filipino people.

Rodrigo Duterte, during his term, provided a path for China to flourish in the country at the expense of its citizens. Not only did he declare unofficial separation from the United States,4 but he also did nothing to implement the international tribunal ruling5 on the South China Sea, further allowing China to build facilities in the area and making it hard for Filipino fishermen to navigate the waters without harassment from Chinese vessels.

In May of this year, while the Filipinos were still navigating the negative impacts of the pandemic and the inflation, the son of the late dictator and current Philippine president, Ferdinand Marcos Jr, went to the United States to strengthen the alliance of the Philippines and to provide support to the Biden government.6 This visit cemented its alliance and allowed the US to expand their military bases in different parts of the Philippines.

Other countries imposing control over the Philippine government and allowing them to expand their power, access and impact to Filipino citizens are proof that colonization still exists until today. This also provides us with a glimpse of how our society is very much impacted and still operating in a colonized society.

The Philippine Independence Day, however, is an important milestone for our country and an opportunity to honor all those who came before us who fought hard, sacrificed their lives and paved the way for our freedom. This day signifies how the Philippines was able to move past colonization.

And while it’s a very a good idea to celebrate the holiday by embracing and showcasing our colorful and vibrant culture and heritage through festivities, I believe there is value in looking deeper at and really understanding our history; that includes the stories beyond what were told in the history books as well as the current challenges of our countrymen and why they exist in our society. In addition, it is an opportunity to really look at how

our government decides and implements (or doesn’t implement) rulings, what types of new laws they are trying to pass and implement, the reasoning behind every executive, judiciary or legislative decision and even what type of partnerships we have with other countries.

The Philippine Independence Day is the best occasion to reflect individually and as a society on how we want the future generations to see, live and enjoy a life of being a Filipino. We can take this opportunity to connect to our roots, our ancestors and how all those who came before us tried to give our generation pride to be Filipinos. It is also an opportunity to use our individual and collective voices, talents and platforms to stand up for our Indigenous communities, the fishermen and our kababayans, especially those who are traumatized by the people in power. It is an invitation to empower ourselves, our communities and our countrymen and to question things and situations that do not promote fairness, truth and justice and hold the government accountable for any injustices.

Perhaps by holding and embracing all these complexities of being a Filipino --our vibrant and diverse culture and heritage as well as our colonial past and current socio political activities – we can see the entirety of who we truly are and by doing so, we can plan towards a better future and act towards building a better nation for the future Filipinos. This way, we can really honor the sacrifices of everyone who came before us and really recognize the Philippines as a sovereign and independent nation.

[1]: Peña, Kurt Dela. “Lumad Quest for Ancestral Domain in Bukidnon: Starvation Meets Gunfire.” INQUIRER.net, April 27, 2022. https://newsinfo.inquirer.net/1588275/lumad-quest-for-ancestral-domain-in-bukidnon-starvation-meetsgunfire#ixzz80we1d1ot.

[2]: Palo, Ruth. “DepEd Shuts down 55 Lumad Schools.” cnn philippines, October 8, 2019. http://www.cnnphilippines. com/regional/2019/10/8/deped-salugpungan-schools.html.

[3]: Sitchon, John. “Police arrest students, teachers in Cebu City Lumad school.” Rappler, February 15, 2021. https:// www.rappler.com/nation/police-arrest-students-teachers-lumad-school-cebu-city-february-2021/ [4]: Delkic, Melina. “Duterte: Philippines Separating From ‘Discourteous’ US, Turning to China.” abc news, October 20,2016.

https://abcnews.go.com/International/duterte-philippines-separating-discourteous-us-turning-china/

story?id=42946680 [5]: Reed, Betsy. “Philippines to ‘set aside’ South China Sea tribunal ruling to avoid imposing on Beijing.” The Guardian, December 17, 2016. https://www.theguardian.com/world/2016/dec/17/philippines-to-set-aside-south-china-seatribunal-ruling-to-avoid-imposing-on-beijing [6]: Lema, Karen. Brunnstrom, David. “Philippines’ Marcos to forge stronger relationship with US during visit.” Reuters, May 1, 2023. https://www.reuters.com/world/us-expects-business-engagement-military-enhancements-philippinessummit-2023-04-29/ [7]: https://www.instagram.com/sabadostudiosph/

Issue #1 | Philippine Independence Day & Pride Month

107

language learning

SUYAT! A Get-to-Know Me Guide to Our Native Writing Systems Written by Eco Bautista Illustrations & Editorial Design by AnaRose de Vera

ᜑᜒᜈ᜔ᜇᜒ ᜄᜈᜓᜅ᜔ ᜃᜇᜎᜒ ᜀᜅ᜔ ᜉᜄ᜔ᜐᜓᜐᜓᜎᜆ᜔᜵ ᜉᜒᜇᜓ ᜋᜃᜃᜆᜓᜎᜓᜅ᜔ ᜀᜅ᜔ ᜄ᜔ᜇᜋᜇ᜔ᜎᜒ᜶ ᜆᜋ ᜀᜅ᜔ ᜄᜇ᜔ᜋᜆᜒᜃ ᜈᜅ᜔ ᜁᜆᜓᜅ᜔ ᜉᜅᜓᜅᜓᜐᜉ᜔᜵ ᜉᜇᜓ ᜈᜉᜃᜑᜊ ᜀᜆ᜔ ᜋᜑᜒᜇᜉ᜔ ᜊᜐᜑᜒᜈ᜔᜶ [1]

Did you get that? It’s okay!

Ang bayan natin, kekatamung balen, atong nasud, ti pagiliantayó our islands are home to a broad spectrum of languages that differ in sound, tone, prosody, grammar and many other aspects. This includes the wide range of Indigenous writing systems used in the Philippines throughout history. These scripts are an integral part of our cultural heritage.

Due to the previous impact of the greater Indosphere starting around the 10th century as part of the Indianisation of south-east Asia, our scripts derive from early Brahmic scripts such as Pallava Grantha, Brahmi itself and particularly Kawi, the script engraved on the Laguna Copperplate Inscription. Our ninuno (ancestors) were influenced by these scripts and developed their own. Our suyats were born in the image of the land, the sea and the beauty of nature.

Suyat Suyat, popularised by L. Castro (Orejas 2018), is a modern unifying term for the Indigenous writing systems pre-dating the Spanish colonial period to promote a sense of neutrality amongst all the differing scripts. This is due to their typically similar shapes, number of characters and the system in which they function.

Most suyat are what's known as an alphasyllabary, in which characters in the script have a base consonant with an inherent vowel /a/ and are thus modified with a diacritic (kudlít). A dot on the top of the character changes the vowel to an /i~e/, while a dot on the bottom changes it to an /u~o/ vowel.

Baybayin Baybayin, often misnamed as alibata and widely used in Luzon and other areas of the archipelago, is one of the most well-known, most modernised of the writing systems (Madarang 2018). From the root word baybay meaning 'to spell' in Tagalog, Baybayin is primarily used within the context of Tagalog. However, text in Ilokano, Bikolnon, Pangasinan and more do exist — though they are referred to by their native endonyms (Morrow 2011). To our ancestors, the distinctions between Baybayin, Kuritan, Badlit and others did not exist; for them, it was simply how it was spelled.

108

KAPWA: The Filipino Magazine

Baybayin Chart

Famous works in Baybayin include the "Doctrina Christiana en lengua española y tagala" by Fray Plasencia (1593) and the "Libro a naisurátan amin ti bagás ti Doctrina Cristiana" by F. Lopez (1620).

No Krus

With Krus

The latter invented the krus-kudlít to "delete" the inherent vowel, making it easier to spell syllables with consonant finals.

Old Baybayin was traditionally written with consonant finals omitted; for example, only from context could you tell if i-lo referred to itlog (egg) or ilog (river).

Modern Tagalog embraces the krus-kudlít created by Lopez (1620), allowing for more nuance in text.

Now it’s your turn!

When writing in Baybayin, it's important to understand that it is a purely phonetic writing system. See if you can strip your name down to its most basic consonants regardless of how you spell it in English.

(Pronouncing your name with a Filipino accent can help with this exercise.) A common mistake when writing Baybayin is writing the particles ng and mga as ᜅ᜔ /ng/ and ᜋ᜔ᜄ /m’ga/. Instead, the full word should be written in the way that it’s pronounced. Thus ᜈᜅ᜔ /naŋ/ and ᜋᜅ / maŋa/ (ŋ is the phonetic letter for the sound ng).

Issue #1 | Philippine Independence Day & Pride Month

109

Kulitan

Kulitan Chart

Heading up to central Luzon, we meet the Kapampangan and their script Kulitan, derived from what Spanish lexicographers like Bergaño (1732) called the characters culit. It is referred to by the common folk as Súlat Kapampangan. Historically, Kulitan functioned similarly to Baybayin in that it would use a kudlít to modify the character's vowel. However, in the late 20th century (Camaya 1991, in Pandey 2015: 28), efforts to revive and change the script were made, creating modern Kulitan — a script which employs syllable consonant stacking as a rejection of the krus-kudlít due to its Spanish roots.

Kulitan (modern) is written vertically topdown, right-left (Pandey 2015: 2), employing the horizontal space for consonant stacking.

Kulitan words consist of the indûng súlat (mother characters) which are then given diacritics to "give birth" to anak súlat. Final consonants in a syllable are placed to the right of the indûng súlat.

examples

In the last two examples above, Kulitan does something quite interesting. Rather than following the sound changes when adding affixes, the word stem is preserved in the writing. For example, mangan (let’s eat) is spelled "man-kan", as kan (to eat) is the root word. Similarly, the word Kapampangan is spelled "ka-pangpang-an", as the root word is pangpang (river bank).

Kulitan also differs by allowing the phonemic stress of the word to be indicated in writing. For example, the words kaluguran (to (be in) love) and kálugúran (friend) are spelled differently.

Your turn again!

From what we know now, can you write your name?

110

KAPWA: The Filipino Magazine

Badlit Next up, we take a mighty karakoa (outrigger warship) down to the Visayas! Here, we meet Suwat Badlit. A sister system to Baybayin, Badlit is predominantly used by the Binisayâ speakers all throughout the region, most notably Sugbuanon and Hiligaynon.

Badlit Chart

The Badlit writing system functions nearly identically to the Baybayin system. It is, more or less, a Bisaya-specific stylisation of Baybayin.

Key differences include the shape of the “sa”, “la”, and “da/ra” characters. Our modern stylisation of Badlit stems from the Hervás (1787) stylisation, possibly influenced by the “Arte de la lengua Bisaya en la provincia de Leyte” (Ezguerra 1663) style of Badlit (Morrow 2002).

Similar to the Baybayin form, can you write your name in Badlit? Pay attention to the fluidity of the strokes and how your name would "sound" to our native ears.

Other Suyats These are just a few of the many Indigenous writing systems that have been used in the Philippines throughout history. The island of Mindoro hosts two similar systems used by the Mangyan ethnic group: Surat Buhid and Surat Hanuno'o, scripts that are still active today, especially in the writing of poetry and other creative arts. Hanuno'o is particularly unique in that it is conventionally written bottom-to-top in columns.

Our scripts are a valuable part of our cultural heritage and they are a reminder of the rich and diverse history of the Philippines. Though these scripts aren't used as often as they used to be, they are still a source of pride for many Filipinos. We should all do our part to preserve and promote these important cultural treasures.

[1]: Bergaño, Diego and Venancio Q. Samson. 2007. Vocabulary of the Kapampangan language in Spanish and dictionary of the Spanish language in Kapampangan: The English translation of the Kapampangan-spanish dictionary. Angeles City, Pampanga: Holy Angel University Press.

[2]: Camba, Allan. 2021. Baybayin: The Role of a Written Language in the Cultural Identity and Socio Psychological Well-Being of Filipinos. 10.13140/RG.2.2.12961.94563.

[3]: Catapang, Emerenciana Lorenzo. 2014. Reviving the Hanunuo and Buhid Mangyan syllabic scripts of the Philippines. LingDy3. Mangyan Heritage Center. https://lingdy.aa-ken.jp/ wp content/uploads/2014/02/140227-intl-symp-and-ws_emerenciana_lorenzo_catapang_paper.pdf (2023).

[4]: Morrow, Paul. 2002. Baybayin styles & their sources . Baybayin Styles & Their Sources. http://www.paulmorrow.ca/baychart.htm (2023).

[5]: Morrow, Paul. 2017. Baybayin Transcriptions. Baybayin Transcriptions, Ancient Filipino Writing. http://www.paulmorrow.ca/transcrp.htm (2023).

[6]: Orejas, Tonette. 2018. House of Representatives Press releases. House of Representatives. INQUIRER.NET. https://newsinfo.inquirer.net/985669/protect-all-ph-writing-systemsheritage advocates-urge-congress (2023).

[7]: Pandey, Anshuman. 2015. Towards an encoding for Kulitan in Unicode. unicode.org. Department of Linguistics, University of California, Berkeley. https://www.unicode.org/L2/ L2015/15232-kulitan.pdf (2023).

[8]: Unknown. Badlit. Badlit script. Simon Ager. https://omniglot.com/writing/badlit.htm (May, 2023).

Issue #1 | Philippine Independence Day & Pride Month

111

n i n g r Kapwa o M d o Glooring the Linguistic Diversity of the Philippine!

s

Exp

Written by Michelle Dressler, Mike Legaspi, Eco Bautista, Marc Harry Panesa, Francesca de los Angeles, Louvyl Mae Canda, Muirgheal Forro, and Owen Layugan Illustrations by Zyndi Namubmuh Magandang araw! We begin our language learning journey with simple greetings. Filipino culture is known to be warm and friendly, with greetings being a true conversation starter.

Conversations about a variety of topics can often start from a smile and a simple greeting.

Below, we have a sample dialogue where our main character Emily explains to her grandmother her plans for the day. She wishes her ‘good morning’ and explains her activities from lunch through to the evening.

Cebuano

Hiligaynon - Ilonggo

FORMAL:

(Informal/Conversational)

Emily: Maayong buntag!

Emily: Ma’yong aga!

Lola: Maayong buntag! Unsay plano nimo para karong adlaw?

Lola: Ma’yong aga! Maano ikaw subong nga adlaw?

Emily: Inig udto, Maniudto mi sa akong amiga.

Emily: Sini nga ugto, manyaga kami sing amiga ko.

Lola: Dayon inig hapon?

Lola: Tê, karon sa hapon?

Emily: Inig hapon, naa koy miting sa trabaho.

Emily: Karon sa hapon, may meeting ako sa obra.

Lola: Ug inig gabi i?

Lola: Kag karon sa gab-i ya?

Emily: Inig gabi i, muadto ko sa karaoke.

Emily: Sa gab-i makadto ko karaoke.

Lola: Waw, ka bisi nga adlaw

Lola: Baw! Masákò gali ang adlaw mo.

INFORMAL: Emily: Maayong buntag, lola!

Lola: Mayng buntag, dai! Unsay plano nimo karong adlaw?

Emily: Maniudto mi sa akong ‘miga Lola: Dayon sa hapon?

Emily: Inig hapon, Naa koy miting para sa trabaho.

Lola: Ug inig gabi i?

Emily: Inig gabi I, muadto ko sa karaoke.

Lola: Waw! Sobra ka bisi!

There’s a running joke between Ilonggos and Cebuanos saying they’ll never meet at the right time because karon means later in Ilonggo and karon means now in Cebuano.

112

KAPWA: The Filipino Magazine

Kapampangan Emily: Mayap a abak[1] apû/impû[2]! ápû/impû: Mayap a abak anak! Nanu ya ing gawan mu ngéning aldo?

Emily: Magtu ku kayabe ning kaluguran ku ápû/impû: makananu ngening gatpanapun?

Emily: king gatpanapun, atín kung meeting king óbra ápû/impû: ampo king béngi?

Emily: King béngi, munta ku king karaoke! ápû/impû: Aru, karakal mung gawan ngeni o!

Ibanag Emily: Dios nikamu ta umma!

Afu: Dios nikaw ta umma gapa ko anâ! Anni kwammu sango aggaw?

Classic Ilocano/Iloko (contributed by Professor R. Fabunan, St. John’s University) Emily: Naimbag nga bigat!

Lola: Naimbag nga bigat! Ania dagiti planom para tata nga aldaw?

Emily: Tata nga aldaw kadwak ni gayyem ko nga mangan pangaldaw.

Emily: Ta tangnga na aggaw, maggub kami na kofukku.

Afu: Eh Anni gapa ta fugak?

Emily: Ta fugak, Egga gapa meeting ku ta trabahu Afu: Anni gapa sonu gabi?

Emily: Ta gabi, Makkaraoke nâ Afu: Afú! Anni gapa ka kalangan na aggom!

Sinurigaonon (Surigao del Norte) FORMAL:

Lola: Ket madamdama nga malem?

Emily: Marajaw na buntag!

Emily: Madamdama nga malem ket adda meeting ko idiay

Lola: Marajaw na buntag sab! Umay imo plano kuman adlawa?

trabahok.

Emily: Pagkaudto, maniudto mi sa ako amigo.

Lola: Ket madamdama nga rabii?

Lola: Hampan, pagkahapon?

Emily: Madamdama nga rabii ket mapan ak nga agkaraoke.

Emily: Pagkahapon, naay ako miting sa trabaho.

Lola: Wow! Nasingarngar iti aldaw mo!

Lola: Pagkagabii?

Contemporary Ilocano/Iloko

Emily: Pagkagabii sab, muadto ko sa videokehan.

Lola: Waw, ka bisi nga adlaw.

(contributed by Lina) INFORMAL: Emily: Naimbag a bigat!

Emily: Marajaw na buntag, uya!

Lola: Naimbag a bigat! Ania ti panpanunutem nga aramiden?

Lola: Marajaw na buntag isab! Umay imo plano kuman na adlaw?

Emily: Mangan ak kini barkadak

Emily: Maniudto mis ako amigo.

Lola: At idi aldaw?

Lola: Na, pagkahapon?

Emily: Idi aldaw, adda ti panagtataripnong dagiti trabahok

Emily: Pagkahapon, naay ako miting sa trabaho.

Lola: Intono rabii?

Lola: Unja, pagkagabii?

Emily: Intono rabii, mapanak ti karaoke

Emily: Pagkagabii nua, muadto mis videokehan.

Lola: Apo addo unay nag maubram iti aldaw mo ita.

Lola: Astikay! Grabe ka bisi na adlaw anhi!

[1]: when spoken, if the word following the linking particle ‘a’ starts with a vowel, the word is spoken with an inherent y-, as in the example “mayap a abak” would be pronounced as “mayap a yabak”.

[2]: in Kapampangan there is a distinction with paternal lola Ápû and maternal lola impû

Issue #1 | Philippine Independence Day & Pride Month

113

Minamanwa (Surigao del Norte)

Manila Tagalog (“Filipino”)

Emily: Madazaw na pagkabokas, inà!

Emily: Magandang umaga po!

Lola: Madazaw na pagkabokas! Ono say kamong plano

Lola: Magandang umaga! Ano’ng mga plano mo ngayong araw?

Emily: Ka odto, maniodto kami ka kanaong maglagi.

Emily: Sa tanghali, makikipag-tanghalian ako kasama ang isang kaibigan.

Lola: Ka pagkadelem?

Lola: At sa hapon?

Emily: Pagkadelem, watoy kanaong miting ka trabaho.

Emily: Sa hapon, may miting ako sa trabaho.

Lola: Kon kahabzen di?

Lola: Sa gabi naman?

Emily: Pagkakahabzen, an karo kami ka videokehan.

Emily: Sa gabi, mag-kakaraoke.

Lola: Bisi baza ko koman!

Lola: Wow!!! Napaka-bisi ng araw mo!

koman na aldaw?

Vocabulary Table English

Cebuano

Ilocano/Iloko

Kapampangan

Ibanag

Hiligaynon-Ilonggo

Sinurigaonon

Minamanwa

Tagalog

good

maayo

naimbag

mayáp

mapia

maayo

marajaw

madazaw

maganda

morning

buntag

bigat

abak

umma

aga

buntag

pagkabokas

umaga

day

adlaw

aldaw

aldo

aggaw

adlaw

adlaw

adlaw

araw

ugtú

tangnga na aggaw (middle of the day, but also used for noon)

ugto

udto

odto

tanghali

malem (used for noon onwards) noon

udto tengnga ti aldaw (lit. “middle of day”

afternoon

hapon

malem

gatpanapun

fugak

hapon

hapon

pagkadelem

hapon

evening

gabii

rabii

bengi

gabi

gab-i/gabi-i

gabii

kahabzen

gabi

Maayong aga

Marajaw na buntag

Madazaw na pagkabokas

Magandang Umaga

Maayong adlaw

Marajaw na adlaw

Madazaw nga aldaw

Magandang Araw

Maayong hapon

Marajaw na hapon

Madazaw nga pagkadelem

Magandang Hapon

Maayong gab-i/gabi-i

Marajaw na gabii

Madazaw nga kahabzen

Magandang Gabi

[3] Dios nikaw/nikamu ta umma (literally god bless you in the morning.)

Naimbag nga bigat Good morning

Maayong buntag

Good day

Maayong adlaw

(“Naimbag nga agsapa” in parts of the Cordillera Region)

Naimbag nga aldaw

Mayáp a ábak Nakasta nga umma (used to a lesser degree but is also recognized) [4]

Mayáp a aldo

Dios nikaw/nikamu ta aggaw Nakasta nga aggaw

Good afternoon

Maayong hapon

Naimbag nga malem

Good evening

Maayong gabii

Naimbag nga rabii

Mayáp a gatpanápun

Dios nikaw/nikamu ta fugak Nakasta nga fugak Dios nikaw/nikamu ta gabi

Mayáp a béngi Nakasta nga gabi

Filipino languages have multiple greetings for different times of day. Some have no direct translation for the word “hello”, so a simple “good morning” or “good evening” is used instead.

Grammar Notes 1.

2.

114

Filipino languages make use of many prefixes and suffixes to transform their words into new ones with related meanings. Here, we observe the prefixes “ma-” and “na-” which are used to make an adjective, depending on the language.

Linkers are used when adjectives are in front of nouns. Sometimes a suffix like “-ng” is tacked onto the end of an adjective that ends in a vowel. Other times, when the adjective ends in a consonant, the linker is a separate word like “nga” or “a”, depending on the language.

KAPWA: The Filipino Magazine

Calabarzon Tagalog Emily: Maligayang umaga ho!

Lola: Maligayang umaga ineng! Anu-ano ang mga plano mo ngay-on araw?

Emily: Sa tanghali ho, mananaghalian kami ng kaibigan ko.

Lola: At sa hapon?

Emily: Sa hapon nama’y may pulong kami sa trabaho.

Lola: Sa gabi naman?

Emily: Sa gabi, makiki-karaoke ako.

Lola: Aba’y pagkarami-raming pinagkakabalahan ngay-ong araw!

Exercise As Emily goes about her day, she’ll be greeting new groups of people at each activity.

Fill in the blanks with the appropriate greeting Emily should use during her day today.

(Answers to the exercise can be found on page 141)

1

2

3

4

[1] “Dai” is used in Cebuano as a term of endearment for women and girls, and can be replaced with “dong” when addressing someone male or dropped altogether for a gender-neutral sentence.

[2] “‘Miga” is used to refer to female friends.

[3] When spoken, if the word following the linking particle “a” starts with a vowel, the word is spoken with an inherent y-, as in the example “mayap a abak,” which would be pronounced as “mayap a yabak.”

[4] In Kapampangan, there is a distinction between paternal lola, “Ápû,” and maternal lola, “Impû.”

[5] The traditional Tuguegarao dialect of Ibanag employs the “dios nikaw/nikamu ta__” format for greetings. The “makasta/nakasta nga __” format is a newer phenomenon that follows a more Tagalog pattern; although acceptable, it is not the norm. It often has the meaning of “it is a beautiful ___.”

[6] In Ibanag, “nikaw” denotes the informal second person, while “nikamu” is both the formal and plural form of second person.

Issue #1 | Philippine Independence Day & Pride Month

115

Preserving Filipino Language A Journey Towards Cultural Rediscovery Written by Marc Harry Panesa Illustration by Hannah Casia In the age of globalization, the Filipino diaspora is spread across the world.

Among second-generation Filipino migrants, maintaining connections to their heritage is an ongoing challenge, with loss of language being one of the most significant barriers. The power of language to connect families and communities cannot be underestimated, and for those who choose to embrace it, learning their mother tongue can be a rewarding journey.

Stephanie Bow, a 16-year-old secondgeneration Filipino migrant living in Australia, is one such individual who decided to embark on a mission to learn Tagalog, upon which the national language ‘Filipino’ is based. Growing up in a vibrant Filipino community, Stephanie was exposed to various dialects, food and films. However, she realized that learning Tagalog would allow her to better understand and connect with the people around her. As she puts it, “I wanted to understand them better and be included in different conversations.” Like many others, Stephanie has faced challenges in her language learning journey. The fear of making mistakes and feeling embarrassed to speak Tagalog with others, even her own family, has proven to be a significant hurdle.

But through practice and determination,

116

KAPWA: The Filipino Magazine

Stephanie has been making progress, thanks to the support of her language tutor, her family, and her immersion in Filipino media. She says, “The resources and methods that have helped me most in my language journey are definitely being fortunate enough to have a language tutor, watching Filipino movies that pique my interest, and most importantly practising the language frequently with my family, especially my mother.”

As Stephanie learns Tagalog, her relationship with her community has evolved in subtle yet meaningful ways.

Although she is still hesitant to converse with others in Tagalog, she actively listens and absorbs as much of the language as possible. This active engagement has allowed her to pick up on conversational cues, idiomatic expressions and cultural nuances that might otherwise be lost in translation. Over time, this gradual immersion has helped her to build her confidence and expand her linguistic repertoire, paving the way for deeper

connections with her Filipino community.

Stephanie’s experience is a testament to the power of perseverance and the importance of fostering a supportive environment for language learning.

Her family, especially her mother, have been instrumental in providing her with a safe space to practice and improve her language skills. By engaging in conversations, correcting her mistakes, and offering encouragement, her family has played a crucial role in her progress.

Stephanie’s experience underscores the significance of preserving the Filipino language to unite families and communities across borders. “Preserving the Filipino language helps unite families and communities in all places because language is what connects people. Sharing a language brings joy to those who speak it.” By learning Tagalog, Stephanie has also been able to reconnect with her roots and gain a deeper understanding of her cultural heritage. This connection has encouraged her to explore the history

“I wanted to understand them better and be included in different conversations.”

of the Philippines further, allowing her to celebrate and embrace her Filipino

them, learners can gain confidence in their language abilities, improve their

the flavors of the Philippines, Stephanie hopes to foster a greater understanding

identity more profoundly. For young Filipino migrants or diaspora communities considering learning Tagalog or other Filipino languages, Stephanie’s advice comes from her own experience and perseverance. She emphasizes the importance of practicing as frequently as possible, acknowledging that making mistakes is a natural part of the learning process. It is through these mistakes that learners can gradually refine their language skills and gain fluency.

Furthermore, Stephanie encourages learners to seek out opportunities to converse with native speakers and participate in Filipino community events.

These interactions provide a supportive environment for practicing the language in real-life situations, further developing their speaking and comprehension skills.

Moreover, Stephanie plans to continue practicing her language skills with her family, nurturing the bonds that tie them to their cultural heritage.

listening and reading comprehension, and acquire a better understanding of the language’s nuances, including slang and colloquial expressions. This immersion can also deepen one’s appreciation for Filipino culture and history, fostering a stronger connection to their roots.

and appreciation for her heritage.

As Stephanie looks to the future, she envisions an exciting and fulfilling journey in deepening her connection with the Filipino language and culture. One way she intends to do this is by immersing herself in Tagalog literature, expanding her vocabulary and fluency while also gaining insights into the rich tapestry of Filipino storytelling. Stephanie also highlights the value of immersing oneself in Filipino films, literature, and other cultural content, as these resources can offer a wealth of authentic language exposure. By engaging with materials that genuinely interest

Beyond cuisine, Stephanie aims to continue learning about Filipino history, arts, and traditions, enriching her understanding of the culture and her place within it. By sharing her knowledge

“Preserving the Filipino language helps unite families and communities in all places because language is what connects people. Sharing a language brings joy to those who speak it.”

Stephanie’s aspirations also extend to the possibility of living in the Philippines for a short period. This experience would offer her an unparalleled opportunity to immerse herself in the country’s vibrant local culture and customs. By being part of everyday life in the Philippines, she will not only strengthen her language proficiency but also foster a deeper appreciation for the nuances of Filipino culture.

In her local community, Stephanie is committed to celebrating and promoting Filipino culture by sharing the traditional food she grew up with. Food is a powerful means of bridging cultural divides and connecting people through shared experiences. By introducing others to

and experiences with her community, she can inspire others to explore their own Filipino roots and contribute to the preservation and celebration of this rich cultural legacy.

Stephanie Bow’s story serves as a powerful testament to the transformative potential of language in forging connections, promoting cultural understanding, and inspiring personal growth. Her experiences demonstrate the importance of embracing one’s heritage and investing in the journey of cultural rediscovery, encouraging others to embark on similar paths and celebrate their roots with pride and passion.

Issue #1 | Philippine Independence Day & Pride Month

117

Illustration by Sambong Hepas

spirituality & folklore

Maria Bolaños Reclaims Filipino Folklore and Mythology in Her Poetry Collection SANA Written by Nathalie De Los Santos Illustrations by Sambong Hepas & Alyssa Solitario “SANA” is a debut poetry collection by Maria Bolaños, published by Sampaguita Press. “SANA” invites us to revisit our difficult personal histories, lived experiences and losses using Filipino mythology. Across the collection, Filipino heroes and monsters call across oceans of longing and loss, asking us to listen. Bolaños is one of many phenomenal Filipino poetry authors that Sampaguita Press has published.

118

KAPWA: The Filipino Magazine

The Divide From the Debt Inside “Tell me the first name was the sound of beak against bamboo, the sound of a tree splitting when we emerged nameless sameness.

One of us they called Crisostomo, and he became man.

One of us they called Maria Clara, and I became ghost.”

- Listening to Clouds “SANA” opens with the story of Maganda and Malakas. The reader is immediately drawn in by the gender inequality presented in how the man becomes a hero, and the woman becomes a passive subject. Another poem, “Brighter,” explores the story of the deities Apolaki and Mayari’s fight for equality.1 Apolaki is viewed as the golden child, while Mayari has to endlessly fight for her worth, which translates into a personal struggle for recognition in the poem.

Bolaños’ poems were inspired by the stories in “Philippine Myths, Legends, and Folktales”

by Maximo D. Ramos.2 All the mythology in the work ties into the personal, into the ever present. The reader moves through words and passages that explore the feeling of longing for the place your ancestors come from. The feeling of disconnection and the yearning for belonging echoes throughout.

“You draw me a map to my inheritance -- the world promised, the world lost, the world left -- at least, this was what you hoped and if there was another way, you didn’t see it -- bad eyesight, like pain, is a thing we share. our only bridge in a widening sea where I am no pagi -- I forget more every day, and that is a quiet grave robbery -- if I said, mano po -- would you bless me” - Prayer to my Ancestors Filipinos in the diaspora are often met with resentment for not knowing enough about the Philippines and its history, current events and languages. In response, they are accused of “not being Filipino enough” and mocked for their lack of knowledge. With pressing concerns like survival and assimilation, what Filipinos experience in the diaspora is a lack of capacity, not of interest. This divide and gatekeeping in our community puts those living in the diaspora into an in-between space as they try to reconnect.

Once when I was questioning why we have this crab mentality, a friend said: “It comes from the same place of hurt.” Her response made me think of E.J.R. David’s words in “Brown Skin, White Minds.” David says in his book, “It is possible that the person who is the “victim” or target of crab mentality is a person who is considered by the rest of the community as someone who no longer has Utang na loob or Pakikisama…It is possible that crab mentality takes place when community members begin to see someone who used to be one of them lose (if not deny) their connection to the Filipino culture.”

But there are many layers of colonial mentality and trauma folded into us. On the road of independence, we must do this shadow work of understanding our crab mentality. If we ask that shadow what it wants, it actually is longing for a shared identity, for togetherness, for kapwa. It knows only the lateral violence that we learnt from our colonizers, but it is time we teach it these songs and stories from the heart. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

119

An Ocean of Longing and Loss “That we are here is a myth.”

- Tomorrow is a Long Way Back Bolaños is no stranger to what her kababayan are facing. “Tomorrow is a Long Way Back” is based on the Ifugao myth, “The Man Who Reached the Sky-World.”3 The different passages of time in the Sky-World and the world of the living mirrors life abroad and life when you return home.

“The Man Who Reached the Sky-World” begins with a man who is off with his dogs one day, and he happens to stumble into the land of the dead. The village is clean, quaint and filled with kind people. At first, they think he’s died and come to their village as a spirit, but he maintains that he’s still alive. They wonder how he arrived here. The inhabitants welcome him but also let him know that a day in their world is a year in his own.

“The city shines as if made of sky. Its lights, so many mirrors waiting” - Tomorrow is a Long Way Back The man is curious about this new place and decides to stay for four days. He gets to know the inhabitants, works hard and even collects some riches they put into jars for him. When he wants to return home, they lead him to a ladder. As he climbs, he drops his jars and loses his riches. When he returns, his wife and children have grown much older. Everyone asks where he’s been. He tells his adventure into this other world. Not everyone believes him. But for the most part, everyone is happy he is back and listens to his story.

Having this tale speak to Bolaños’s poem gives her words a richness of how time is uneven between two places. A parent that’s gone overseas lives through this different perception of time. They feel it when they miss their child’s first word, cannot attend their first birthday party or be there when their child is sick. When they return, so much has happened without them and that time away is a lifetime to someone who’s far away from home.

Reconnecting to Ancestral Knowledge and Embodying the Aswang “She bids me to come sit at the kitchen table, where she tells me the stories no one else hears and the way to sing love songs in another language. She laughs and the sound is like jasmine rice raining free and plenty into the basket. We begin the humble task of keeping time — winnowing the clouds, sifting through the grains of each day.”

- Aubade

120

KAPWA: The Filipino Magazine

Illustration by Alyssa Solitario

In the poem “Aubade,” ancestral knowledge comes through everyday rituals. Aubade explores how this knowledge is within our bodies, written in the love and daily rituals in our families. The author depicts the small, transient moments between women as a ritualized and sacred space. Her words highlight this feminized space as a place to preserve knowledge in living memory and that the connection to culture exists in every moment.

“War is a Woman’s Body” is based on the myth, “The Origin of Bananas.” In both the poem and the myth, the confines of a home burns a woman alive, but from it comes a tree that bears sweet fruit that everyone loves. Caregivers leave what they know as home to a new one, which often ends up being racist and uncomfortable spaces. They work to provide for their families, but the next generation do not fully understand their struggles. These providers have very few to talk to about their inner turmoil. But they are the heart of the home, the bearer of fruit and life. They are the ones who nourish us and teach us about worlds bigger than our own. They are our sisters, mothers and lolas, singing songs and speaking in their mother tongue, stroking our heads to sleep and cutting mangoes into cross hatches. They are women and their love languages we remember, even after they’re long gone.

Bolaños’ other poem “What Did She Hear'' is based on the myth “The Tale of Magbaloto.” In this poem, the woman’s wild self is depicted as her broken wings. Marriage is leaving one life for another. In the beginning of the poem, the speaker reflects on how her sisters will not come back for her in this new life. She surrenders to her love for her child, which reshapes her as a human. In her complicated marriage, she wonders about her broken wings. In the myth, the man steals an elf’s wings so she cannot return home and her sisters fly away. She marries him and has his child until one day she finds her wings that he’s hidden. She leaves her child and her husband to return to her home in the sky. Her husband follows her and after he faces many trials, she decides to come back to earth. In both poem and myth, there is a deep awareness of that woman’s loss of self, the wild within.

Both poems remind us of that intuitive side; the wild within is key to understanding our inner worlds. “In Women Who Run with Wolves,” Clarissa Pinkola Estes teaches us, “The way to maintain one’s connection to the wild is to ask yourself what it is that you want. This is the sorting of the seed from the dirt. One of the most important discriminations we can make in this matter is the difference between things that beckon to us and things that call from our souls.”

Across Bolaños’ last poems, aswang live inside diasporic bodies, giving them power or speaking to their brokenness. It is fitting that the book ends with these aswang poems, as Bolaños leads us back to the wild self that lives inside. By becoming aswang, we survive this new world. We become creatures of the night together, howling as a pack. (cont.)

“Every so often, we see our faces on the news. We are wanted for being unwanted. They chase us, we shapeshift and escape each time. We’re spiders, we’re foxes with many tails. We’re tikbalang, the way we run so far and fast we confound them. We jackrabbit down the dirt roads, laughing at them.

They call us stranger, outlaw, enemy. They don’t know our real names. They can’t understand me when I say to them: I am a mountain; I am a wind so wild it flows like freedom; I was born in a volcano; I come from a hundred lands.

When I say these words, only the ones who have lost something, too, can understand. We nod to one another, they don’t see. They think it is only a myth.

And the black market grows.”

- Ballad of the Trickster Issue #1 | Philippine Independence Day & Pride Month

121

Maria’s work is a quiet call to look within and a reminder that we do not need to seek validation from an external authority on our spiritual beliefs and folklore. Our folkloric knowledge is not a pyramid; its wisdom is not dispensed by a scholar at the top.

Someone who wants to learn about our folklore and mythology doesn’t have to read every book out there. You don’t have to be “Filipino enough” to learn the wisdom these stories carry; your inner gnosis will tell you all you need. Having to be factually correct by citing your sources or being wellread in a Eurocentric academic sense about the study of mythology and folklore is very absurd when the true source that would be cited is someone’s lola’s lola’s lola.

Home is where this memory continues.

That knowledge is contained within our quiet intuition that is always talking to us if we listen. And we will find a community if we allow ourselves to embody that voice.

Authors who use Filipino mythology like Maria Bolaños are helping us find our words, in our own voices. She is one of many that are paving the way for these acts of reclamation, on the road back to ourselves.

“I am a winged child spilled in half, drowning my blood in the work, twisting tongue around pregnant pauses.”

- Portrait of the Artist as Manananggal

Holding Onto Our Cultural Roots and Developing That Connection “SANA” reminds us of the importance of holding onto our cultural roots and developing a connection to our ancestors. “SANA” means “if only,” and it is the hope of reconnection that calls to us within this poetry collection.

A desire to reconnect to our culture and our history should not be silenced. The act of reclaiming myths is our collective path to dream again. In her act of reclamation, Maria Bolaños effortlessly weaves myths and memories together to fill that wide ocean of belonging and loss with family, home and a sense of self.

[1]: Dean Spruill Fansler, “Filipino Popular Tales,” n.d., https://www.gutenberg.org/files/8299/8299-h/8299-h.htm. This myth was recounted by Leopoldo Layug of Guagua, Pampanga to Dean Fansler. It was later retold as a Tagalog myth with no source, by Felipe Jocano.

[2]: Maximo D. Ramos, Philippine Myths, Legends, and Folktales (Createspace Independent Publishing Platform, 1990).

[3]: Pia Arboleda, “Siblaw Taraw and Other Stories : Ifiallig Orature and Worldview,” March 28, 2006, https://ir.library. osaka-u.ac.jp/repo/ouka/all/79978/. An older account describing this myth can be found in Philippines Folk Fiction and Tales by Teresita Veloso; published in 1977 with New Day Publishers.

122

KAPWA: The Filipino Magazine

A Tale of Love, Destruction and Beauty Exploring the Mythology of Mt. Mayon and the Magayon Festival Written by Ligaya Caballes Illustration by Jenielle Salarda Nestled in the fertile plains in the scenic province of Albay in the Bikol peninsula, lies the majestic Mt. Mayon. Rising at 2462 meters, this active stratovolcano is known for its beauty and perfect conical shape.

The landscape surrounding Mt. Mayon has played a significant role in the local communities by providing them a source of livelihood. Due to the rich, volcanic soil that dominates the land, agriculture has become one of the leading sources of income. Taro, coconut, rice sugar and abaca are some of the major crops grown in the region.1 As one admires Mt. Mayon from a distance or sees it in a photograph, one can’t help but be in awe of both its beauty and power. It has long held a place in the hearts of the people of Ibalon, the ancient name for the Bikol peninsula, having great importance in its history and culture.

But what makes Mt. Mayon an icon of Bikol?

History of Mt. Mayon Throughout history, Mt. Mayon has erupted multiple times, leaving a mark on the surrounding areas. Its eruptions have ranged from minor explosions to catastrophic events, resulting in loss of lives, property damage and significant changes to the landscape. Being the most active volcano in the Philippines, it has had a total of 52 recorded eruptions since 1616, according to the Philippine Institute of Volcanology and Seismology (PHIVOLCS). The deadliest and largest eruption happened in the year 1814, when around 12,000 people died. In its wake, it buried the town of Cagsawa under volcanic debris and eventually left behind the iconic Cagsawa Ruins, a remnant of the town’s church left standing as a solemn reminder of the volcano’s mighty power. The last eruption was in 2018, from Jan. 13 to March 18, which captivated onlookers and the world as it made headlines. However, despite the frequent volcanic eruptions, her beauty remains, and people have learned to adapt and live alongside the volcano in harmony.

(NOTE: At the time of publication, this has changed since the author originally wrote the article. On June 8, Phivolcs put Mt. Mayon under Alert Level 3, as a few days prior volcanic activity could be seen. As of publication, lava continues to flow as ash and smoke continue to rise from the volcano.

We pray for the safety of all those in the area.

If you live in close proximity to Mt. Mayon, please follow warnings of evacuations.)

The Battle Between Two Volcanoes Mt. Mayon has always been regarded as a sacred site and has been central to the mythology and folklore of the people of Bikol. One such myth is that of the Bikolano god of destruction, Kalaon,2 who lived in the bowels of Mt. Mayon and who was said to bring his wrath of lightning and rain to the region. (cont.)

Issue #1 | Philippine Independence Day & Pride Month

123

sacred fire and Gugurang swearing to cut Mt. Malinao in half if his brother tried. Soon the gods declared war against each other and became enemies. Asuang gathered all the evil spirits, whom he then sent to earth to corrupt and turn the people to commit evil acts. In the wake of this chaos among the people, Gugurang sent pestilences to their communities and requested another atang, warning them to follow him and not Asuang. If not, he would sweep away their villages in floods or cause the mountain to erupt. Fearing that Asuang might steal the sacred fire, Gugurang assigned his katambang, spirit helpers, to guard it. He refused to give the fire to Asuang, fearing that if his brother did get it, the whole world would then be consumed in flames.

Historical illustration of the eruption of 1814, illustrated 15 years after. Found in the archives of the Franciscan religious order in Spain and reprinted in the monograph "Seraphico: The Franciscan Missionaries in the Aurora Region, 1609-1899" by Carlos Madrid.

Photo of the cloud formation above Mt. Mayon during the recent 2018 eruption Photo Credit: Ciriaco Santiago III

Another, more well-known myth involves Gugurang, the supreme god of the Bikolano, and Asuang, oftentimes recounted as the brother of Gugurang.

The story of Gugurang and Asuang can be found in an account dated to 1931, called “A Collection of Bikol folktales from Bacacay, Albay” by Hilarion Vibal.3 Both gods were originally friends or brothers, who lived separately in their respective mountains.

Gugurang lived inside Mt. Mayon and Asuang lived inside Mt. Malinao. Gugurang, being the chief deity of the people of Bikol, was looked to for protection. Whenever the people disobeyed his orders or wishes, he would cause the pit of Mt. Mayon to rumble. In time, the people saw this as a warning from Gugurang and adjusted their ways, so as not

124

KAPWA: The Filipino Magazine

to feel the wrath of the god. If their actions were unforgivable, Gugurang in anger would cause Mt. Mayon to erupt. Whenever people saw fire flow out from the crater of Mt. Mayon, they became scared. In an effort to calm Gugurang’s wrath, they would hold an atang, or ritual food offering, to appease him.

They would have the baliana, or priestess, conduct the ritual ceremony.

Meanwhile, his brother Asuang did not have any fire to control in his abode in Mt. Malinao. In jealousy, he envied Gugurang having possession of the sacred fire of Mt. Mayon. One day, he asked Gugurang if he could have some of the fire given to him, but Gugurang refused. The two gods quarreled, Asuang threatening to steal the

Despite this, Asuang managed to sneak into Mt. Mayon and locate the sacred fire.

After many attempts, he finally tempted and bribed the guards with gold. With the sacred fire now in his possession, Asuang put it inside a coconut shell and fled. Soon, cries were heard in the bowels of Mt. Mayon and its insides turned black, and the land and villages were on fire. In fury, Gugurang cried out Asuang’s name and flew to stop him. As Asuang was about to descend on Mt. Malinao, Gugurang snatched the fire from the coconut shell and then vanished. Returning to Mt. Mayon, the god returned the sacred fire back home to its rightful place and the light began to shine inside the volcano once more. With the land still in flames, Gugurang made it rain until the fire was put out. In joy, the people offered more atang and celebrated Gugurang’s victory, and as punishment for Asuang’s actions, Gugurang sent his thunderbolt to Mt. Malinao, cracking it in two.

While this myth is more commonly known, there is actually another myth involving the two volcanoes that is rarely discussed.

In a myth recounted by Venacio Prietoziga in 1930,4 the two volcanoes were seen as female and Mt. Malinao originally had the sacred fire. Mt. Mayon, on the other hand, was just a mountain and had no fire or smoke. She was often barren of vegetation, resorting to borrowing from her neighbors, Mt. Malinao and Mt. Isarog. Malinao, though annoyed with Mayon, was still hospitable and tried her

best to help her. Mayon, with greed, took advantage of Malinao’s good nature and soon took whatever she wanted.

One day, Mayon unexpectedly received visitors and had to prepare food for them. Unfortunately, there was no fire and in haste she went to Malinao to ask for some. Tired of Mayon and her antics, Malinao refused to give her a share of the sacred fire. Furious, Mayon became impulsive and hated Malinao for refusing her. As Malinao began to weave a piece of cloth, Mayon saw a big bolo knife beside her. After continuously asking Malinao to give her the sacred fire, Mayon tried to grab and steal it. Failing in her attempt, Malinao managed to keep the sacred fire away from her. In anger and desperation, Mayon then grabbed the bolo, closed her eyes, and struck Malinao, successfully beheading her. Frightened, Mayon ran back to her home, taking the sacred fire with her and attended to her guests. From this point on, Mt. Mayon held the sacred fire, while Mt. Malinao became only a mountain with a split peak.

The Lovers of Mt. Mayon One of the most famous myths surrounding the volcano focuses on a tragic love story: Bikol’s own Romeo and Juliet. The myth is called “Daragang Magayon” (Beautiful Maiden), and according to local folklore, Magayon was a maiden of unparalleled beauty who captivated the hearts of all who beheld her. While there is no historical text or documents that have the myth recorded, the myth itself is heavily ingrained in the culture and history of the Bikolano people. For context on the telling of the myth, we will look at an account written

by Damiana Eugenio, a renowned author and professor who was titled the Mother of Philippine Folklore in 1986.

In the myth,5 Daragang Magayon was the only daughter of Datu Makusog, the chief of Rawis. His wife, Dawani, died in childbirth and he was left to take care of their only daughter. As the years went by and Daragang Magayon grew older, her beauty and kindness became well known. As she came of age, many suitors from different tribes and towns were captivated by rumors of her and traveled far and wide to try and

win Daragang Magayon’s heart. However, none of those men were successful in drawing an interest from Magayon. Not even Pagtuga, the handsome and proud hunter and Datu of Iraga. Among the many gifts of gold, pearls and other treasures offered to Magayon and her father, she turned them away, rejecting his affections.

captured him. He then sent a message to Magayon, threatening that he would kill her father and start a war if she did not marry him. Scared for her father’s and people’s safety, and with no Panganoron in sight, she agreed to marry him against her will. In triumph, Pagtuga immediately started to prepare their wedding.

One day, a curious young man named Panganoron/Ulap, the son of Datu Karilaya of Katagalugan (Tagalog), journeyed far from home just to get a glimpse of Daragang Magayon after hearing of her beauty.

He was a quiet but courageous young man, who only wanted to see Magayon and discover if the rumors were true. He eventually caught glimpses of her from afar, while she paddled in the Yawa River. One rainy night, Magayon went to the Yawa River again and the kind Panganoron happened to see her once more. Suddenly, as she was wading through the river, her foot slipped on a rock and she fell into the cold waters.

Panganoron immediately sprung into action and raced to the river to save her. Grabbing hold of Magayon, he helped bring her to the shore to safety. As Magayon went to thank her savior, their eyes met and thus started the beginning of their love.

News spread fast, and Panganoron soon learned of what happened. With his bravest warriors, he hurried back to Rawis to stop the wedding and save Magayon, her father and their people. As he arrived, the wedding ceremony was just beginning and a bloody war broke out between Panganoron and Pagtuga. The sky was filled with arrows and the air rang with the sound of swords clashing. Panganoron and Pagtuga began to fight one another, battling for the hand of the beautiful Magayon, until Panganoron slashed Pagtuga, killing him. Magayon, who was hiding in wait, saw that their fight was over and, overjoyed, rushed to Panganoron’s embrace. Sadly, however, as the young woman ran to her love, a stray arrow hit her in the back and she collapsed into Panganoron’s arms. As he held her, one of Pagtuga’s warriors, Linog, stabbed Panganoron in the back with a spear and killed him.

After that initial meeting, the two lovers would continue to meet each other. One day, Panganoron brought Magayon home, whereupon arriving at Datu Makusog’s house, he threw a spear to the stairs of the house with all his might and courage — a precolonial custom that signified his desire to marry. After the declaration of marriage, Magayon blushed, stifled a laugh and shyly looked away. Datu Makusog, upon seeing her happy reaction, knew that his beloved only daughter was in love with this young man. And so, the Datu accepted the marriage proposal and they began to make plans for a wedding in a month’s time.

Panganoron, overjoyed, began to make his way back home to deliver the wonderful news to his people and bring them to Rawis for the wedding celebration.

News of the wedding soon spread and eventually reached the ears of Pagtuga, who fumed red with anger that the beautiful Magayon was marrying someone other than him. One day, as Datu Makusog went out to hunt, Pagtuga ambushed and

Datu Makusog, seeing the two lovers slain in an embrace, cried out and killed Linog with his minasbad, a type of sharp bolo.

Soon, all the warriors fell silent and the war stopped. Instead of a joyous wedding celebration, cries and wails of mourning for the dead echoed in the air. Distraught with the loss of his beloved daughter, tears formed in Datu Makusog’s eyes as he began to dig a grave for the two lovers. Once ready, he tenderly buried them together, side by side, their arms hugging each other in an embrace, just as they had when they died.

Days passed, but the people soon noticed that the land where the two lovers were buried gradually rose higher and higher.

A shaking of the earth, muffled rumblings, and red-hot, burning rocks burst into the air from its peak as a mighty volcano formed. Elders believe that whenever an earthquake or eruption happens, it’s Pagtuga in anger who causes it, wanting back the treasures he gave to Magayon, which were buried with her.6 (cont.)

Issue #1 | Philippine Independence Day & Pride Month

125

Photos of the Albay’s Festivals Street Dance in Peñaranda Park, displaying dancers from various festivals throughout Albay. The dancers in yellow represent the Tinapa Festival of Pio Duran, the light green dancers represent the Pinangat Festival of Camalig and the red dancers represent the Nito-Talahib Festival in Manito.

Photo Credit: Aina Tolero

126

KAPWA: The Filipino Magazine

On days when clouds cover the tip of the volcano, the elders say that it’s Panganoron kissing Magayon and when it gently rains down the slopes of the volcano, it is Panganoron shedding his tears. Over time and generations, Magayon’s name was shortened to Mayong, then Mayon, and the majestic volcano was named after her.

During the most recent eruption in 2018, a peculiar event happened within the clouds above Mt. Mayon that made headlines.7 On Jan. 17, 2018, as ash clouds formed in the sky above the volcano, a photojournalist, Ciriaco Santiago III, was taking photos of the scene from a vantage point in Barangay Tagaytay, Camalig, Albay. He posted the photo and it went viral as many saw in the clouds an image of what looked to be two people embracing one another like lovers.

The photo captivated locals and Filipinos around the world, with many commenting and believing that it was Daragang Magayon and Panganoron making their presence known as they awakened from their slumber. The photo eventually inspired artist Kerby Rosanes to create an illustration depicting the lovers within the same photo.

The Magayon Festival Over time, the people of Albay and Bikol have developed local myths and beliefs regarding Mt. Mayon, even having several festivals in honor of it. One of them is the month-long Magayon Festival, held every year in May. Locals celebrate the rich cultural heritage of the people of Bikol and honor the folklore of Mt. Mayon, with Daragang Magayon and her lover, Panganoron.

The Magayon Festival is named after Daragang Magayon herself, and all

through May, a schedule of events is planned throughout Bikol. They include a plethora of activities and events that showcase the unique cultural heritage and talents of Bikolanos, including the Magayon Drum & Lyre Corps Parade and Competition, and the Miss Magayon Beauty Pageant. Parades feature people dressed up in traditional clothing and vibrant costumes as they make their way down the streets. A variety of musical instruments are played as songs fill the air and people dance. Art exhibits and cultural showcases provide glimpses into the diverse artistic expressions that abound in the region. Additionally, culinary events and food fairs present the flavorsome Bikolano cuisine.

Now, how did the festival start? Was it a precolonial festival? Well, no, not quite. The festival itself is a fairly recent development and was originally created to not only enrich people with the history and culture of Albay, but also to bring tourism to the region. On Dec. 16, 1998 the 23rd Governor of Albay, Al Francis C. Bichara, signed Proclamation No. 6, declaring the Magayon Festival to be an annual celebratory event. Since then, it has driven tourism to the area and brought joy to the people of Albay.

A Legacy Mt. Mayon is not just a geographical wonder to behold. It is steeped in myths and lore that have been passed down through generations. From the destructive battle between the gods, Gugurang and Asuang, to the tale of love and sacrifice of Daragang Magayon and Panganoron, these myths have been

ingrained into the culture of the people of Bikol, of Ibalon. The myths and beliefs of Mt. Mayon even reached nearby islands such as their neighbors in the Bisayas. The 1637 Hiligaynon and Panay dictionary by Alonso de Mentrida includes an entry that lists the goddess of Mt. Mayon as Mayong, signifying that the Illongo and other ethnic groups in the island of Panay possibly knew of the tale of Daragang Magayon and saw her as a goddess.

Besides the myths, certain beliefs and practices were developed by the Bikolano people in kwentong bayan, or community stories. They have been passed down through the generations to help predict when an eruption would occur — methods and lessons learned over time to help save lives in the event of another disaster. One such method and belief is in the ominous appearance of an old lady asking for water prior to an eruption. This would happen when water sources on the mountain and in nearby areas dry up before an eruption occurs, and has been learned from experience. The elders living around Mt. Mayon know that if the water sources at an 8 km distance dry up during the rainy season, the volcano is preparing to erupt.

As another year passes with the celebration of the Magayon Festival, we continue to celebrate the rich mythology and culture of Albay, Bikol. May it continue to bring joy and a sense of pride to the Bikolano people, as the stories of Mt. Mayon continue to survive and thrive.

[1]: Jefferson Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context,” Ateneo, January 1, 2019, https://www.academia.edu/64005829/The_Mixed_Heritage_Values_of_Mount_Mayon_Natural_Park_A_Case_Study_on_ Harnessing_a_People_Centered_Approach_to_Nature_Culture_Linkages_Conservation_in_a_MultiHazard_Context?auto=download.

[2]: Lucita Cachuela, “Kalaon, The God of destruction,” NLP Digital Collection, September 3, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002067/bs/datejpg.htm.

[3]: Hilarion Vibal, “A Collection of Bikol folktales from Bacacay, Albay,” NLP Digital Collection, September 27, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002068/bs/datejpg. htm.

[4]: Venacio Prietoziga , “Folktales From Albay Province,” NLP Digital Collection, January 1, 1930, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002061/bs/datejpg.htm.

[5]: “Ang Alamat Ni Daragang Magayon Ni Damiana Eugenio | Philippine Literature,” n.d., http://www.thephilippineliterature.com/ang-alamat-ni-daragang-magayon/.

[6]: The myth detailed by Damiana Eugenio is contradictory in regards to the treasures Pagtuga gave to Magayon. Earlier in the article, it’s mentioned that Magayon refused them; however, in the myth, they were buried with her. It's unclear who buried them with her or why.

[7]: Ivy Jean Vibar, ABS-CBN News, “Photo of Mayon Volcano Sparks Romance in Social Media Users' Hearts,” ABS-CBN News, January 18, 2018, https://news.abs-cbn.com/life/01/18/18/ photo-of-mayon-volcano-sparks-romance-in-social-media-users-hearts.

[8]: “Province of Albay : MAGAYON FESTIVAL 2008 : History,” n.d., https://web.archive.org/web/20080916185029/http://magayonfestival.albay.gov.ph/history_mf.htm.

[9]: Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context.”

[10]: Greg Bankoff, Christopher G. Newhall, and Alicia Schrikker, “The Charmed Circle: Mobility, Identity and Memory around Mount Mayon (Philippines) and Gunung Awu (Indonesia) Volcanoes,” Human Ecology 49, no. 2 (April 1, 2021): 147–58, https://doi.org/10.1007/s10745-021-00225-0.

Issue #1 | Philippine Independence Day & Pride Month

127

nature & environment

Reclaiming Bahay Kubo with Native Plants Written by Nikki Lizares Illustration by Miel Rodriguez

If you grew up in a Filipino household, chances are that you know this traditional Filipino folk song. You may have even learned about vegetables used in Filipino dishes by singing the song.

Although widely accepted and still taught in schools, the origin of “Bahay Kubo” remains unclear. Some of the earliest written records of it was an entry in Emilia Cavan’s “Filipino Folk Songs” in 1924, a collection compiled as part of a movement to preserve Filipino culture.

128

KAPWA: The Filipino Magazine

My own experience of “Bahay Kubo” stems solely from having learned it as a young child in school. It was taught at my kindergarten as a way for children to familiarize and eat vegetables. As someone who grew up speaking mostly English and Hiligaynon at home, it was difficult for me to memorize the words of this Tagalog song and I quickly forgot about it.

I didn’t think much about the song again until I married a non-Filipino and was searching for bits of my native culture to

share with him and my in-laws. “Bahay Kubo” came to mind not only because it was one of the few folk songs I could remember, but because it centered around an easy enough topic. After all, who doesn’t like to talk about food? I figured sharing about the vegetables in the song would be a good way to introduce my in-laws not just to Filipino dishes but to also give them an idea of what the climate and environment in the Philippines was like. The fact that “Bahay Kubo” is also sung like a nursery rhyme was a plus — I could teach it to my sister-in-law’s son.

Bahay Kubo (O cube house)

kahit munti (however small)

ang halaman doon (the plants all around)

ay sari-sari (are very diverse)

In my home province of Negros Occidental, there is a tree that grows wild almost anywhere you go. It’s found in many backyards inside the city or on unbroken land and lightly forested areas around sugarcane fields. The seeds of this tree are used as a souring agent in many dishes typical of the region. It is called batwan and almost all these seeds that you may find in the market are from wild trees.

In trying to re-learn the words, however, I realized two things. First, most of the vegetables in “Bahay Kubo” aren’t native to the Philippines. Kalabasa (squash) and mani (peanuts) for example, are of Latin American origins and are thought to have been introduced to the Philippines through the Galleon trade when ships from Acapulco made their way to Southeast Asia and landed on our shores.

Second, in singing and visualizing the song in its entirety, one might imagine a fairly rural scene of a little bamboo house surrounded by patches of cultivated farmland. Quaint, but not everywhere in the Philippines looked like that — certainly not the neighborhoods I had grown up in, nor are the beaches, mountains and other landscapes this archipelago is known for.

I thought: what if we could re-imagine “Bahay Kubo” so that it lends a vision of these diverse landscapes and people?

What if we could include more native and even wild-growing plants beyond the farmland this song resides in?

In the same province, but higher up in the mountains where the air is cooler and the climate is almost temperate all year round, bright sun and constant rains allow a wild fern called pako to thrive. Mostly found along gravelly sand on riverbanks and beside streams, pako is said to be rich in micronutrients and minerals and is a popular ingredient in salads. In my family, we like to serve it at Sunday lunch: lightly blanched with salted eggs, tomatoes and a bit of patis (fish sauce).

Should one travel back down the mountain and toward the sea, one may find the kamansi, a large fruiting tree that grows mostly in coastal areas. Also known as the bread nut tree, the fruit of the kamansi, round with a spiny surface, can be harvested and boiled as a vegetable then used as a main ingredient in salads like the Ginataang Kamansi. The seeds can also be roasted; it’s not uncommon to find children happily munching away on them as an after-school snack.

Closer still to saltwater, within the mangrove forest, is the bayog, a species of bamboo that is endemic to the Philippines. Like the wood from mangrove trees, bayog was historically used as construction material for homes and buildings. Widely distributed across Luzon, Visayas and Mindanao, this species was almost wiped out when mangrove forests were converted to farms or fishponds, but they have recently become popular again for their shoots, which, like the kamansi, are blanched or boiled and used as a main ingredient in salads.

Another wild growing tree that is as widely distributed as its counterpart dish, the pinakbet, is the alukon (in Sugbuano known as himbabao). The alukon grows in hilly areas and places with low elevation, and its flowers are used to balance the strong flavors of the pinakbet.

Lastly, there is kadyos. Known in English as “pigeon pea”, I imagine the kadyos plant as little green beans sprinkled across the wildly diverse terrains that make up the Philippines. For it is found anywhere and everywhere: from sea level all the way up to the highest mountains. Kadyos is a hairy shrub that can be identified by its yellow flowers and the small, smooth seeds that are used to give the famous KBL (kadyos, baboy, langka) its nutty and earthy flavor.

The sheer breadth and scope of wild, edible, native and nutritious plants in the Philippines (“Flora de Filipinas Vol.1,” compiled by plant expert Dr. Domingo Madulid, itself lists 150 native plants, most of which are edible or have medicinal uses) would make “Bahay Kubo” a much lengthier song but probably also one that is more indicative of our interisland cultural and ecological diversity. It would be interesting to see how different communities in different islands could use the song to depict their own island environments. As for me, re-imagining the song through the lens of the landscapes I’ve come to know allows me to share a considerable amount of this wild, beautiful and diverse archipelago I call home.

Issue #1 | Philippine Independence Day & Pride Month

129

poetry

Nanny with a PR Status Written by Jobelle de Leon Illustration by Alyssa Solitario Is it still positive affirmations when I use the language of the colonizer English is my second language Twice colonized Benefiting from assimilation While discussing cultural competency Bitter from being uprooted Forced into the culture that don’t want me Benefactor of this stolen land Immigrant on Turtle Island Land acknowledgment without compensation Genocide without acknowledgement But let me be grateful for what this government has offered my people Nanny with a PR status

Note:*PR* is Permanent Resident A permanent resident is someone who has been given permanent resident status by immigrating to another country. Permanent residents are citizens of other countries.

130

KAPWA: The Filipino Magazine

Welcome to America Written by Alannah Estrada Leaving a treasured, indigenous land.

Looking up at the horizon of: Welcome To America.

On the land our ancestors pledged to fight for.

Once invaded by Spain And held captive by America Take the opportunities on American soil.

First generation to be born in America.

Try to fit in.

Straight As. No dating until college.

Join the military.

Become a nurse.

The all too familiar paths To make our ancestors proud But they are buried On that treasured, indigenous land.

Issue #1 | Philippine Independence Day & Pride Month

131

Teka Muna Written by Kim Matias Illustration by Jenielle Salarda

Dear Life - Buhay,

But first - teka muna. May I have this moment to release my aching tears?

But first - teka muna. May I have this moment to tend to my anger?

But first - teka muna. May I take this moment to relinquish my fatigue?

But first - teka muna. May I take this moment to aimlessly wander in this fog?

But first - teka muna. May I take this moment to be in the isolation of my sacred space?

Season(s) laters - pagbabago ng panahon

And now - at ngayon, I can move on gracefully.

And now - at ngayon, I can move on trustingly.

And now - at ngayon, I can move on strongly.

And now - at ngayon, I can move on knowingly.

And now - at ngayon, I can move on in relationship with others lovingly.

132

KAPWA: The Filipino Magazine

self-worth JOY-rney Written by Rhicka-Joyce Crudo Comparison is the thief of joy Yet in a pamilya with a lola joy, tita joy, mama joy, and ate joy They can’t help but compare Me to my sister and cousins and mother Every interaction reminds me I’m taba Reminds me I’m tanga Any compliment I should be thankful for But what about when they’re double-edged?

It slits self-confidence But they say it out of love?

It diminishes self-worth But they say I’m weak if I cry?

I never welcomed the power of their words Yet every name dug seeds of shame I never had a chance to let my own thoughts be heard Cause every day was filled with self-hate If I had lived free of the body comments Free of the intelligence jabs I wouldn’t be hyper-aware Of every room I step into Where I scan to see if I weigh the most Breathe a sigh of relief if for once, someone looks more gross You’d think I’d be more kind and have some empathy Truth be told, it’s auto words, toxic mindsets instilled in me I ran 500 miles, moved 5 years to rid self-pity To uncover who I truly am Free of the influence of negativity Free to experiment passions plus anything I can Without the fear of anger Plus rejection Followed by disappointment And disgust with my lack of perfection Here, there’s space to recreate the voices in my head Space to sit and reflect on what mindsets to shed This air is mine to control as I breathe Every move I make has no need to please I’m learning what’s mine, what’s passed down, what’s absorbed I’m realizing there’s culture worth keeping and some things of no worth I feel grown, independent, open, ‘n ready To attempt with no fear and even fail consecutively I rewrote my story to believe in myself without criticism Continue to be my best friend, number one, ‘n embrace healthy egoism While continuing to stay rooted, prideful, ‘n loving Of my beautiful culture, family, body, ‘n brown skin Issue #1 | Philippine Independence Day & Pride Month

133

Returning Home Written by Eden C.L. Illustration by Olivia Vera

There is a mass of wild brambles twisting like a climber of damp things writhing inside you, like a million needles carved from ancient bone, the narrow shape of each moment punctures your voice, seeking footholds in the slippery veins of wild pink, climbing up from intestines to sleep in the walls of your throat; the passage of noise breathes, exhaling deep.

Small feet tiptoe by moonlight through down bamboo floors past the chamber of mother as she gives birth, like a howling ceremony they listen to the sound of her core spill from the water of the rivers to the roof of their stilted house, the wind running its body through each fibre of wood lining the thatched ceiling; waiting gently, they whisper in a distant tongue to Kulalaying to keep their mother’s soul afloat. Floating. A gown spreading its wings in the deep.

The noise breaks into the forest like an animal learning to walk, alerting the spirits that there is now another baby to notice, another aura to be held close; the cutting of the umbilical cord resounds like the snapping of a carabao’s neck; sunrise has leaked itself into the colour of each small foot. The narra trees are swaying and their roots stand tall. Running through seas of deepening grass, they toss stones into streams, feet streaked with ever-reddening mud, veins pulsating with every breath of their new life.

134

KAPWA: The Filipino Magazine

“What is the ground saying?” Return to the noise of what is always yours.

“What is always mine?” What remains always changing, remain here.

Remain where the distance of heritage reminds us that we are still here.

Return to the noise that once convinced you that your voice was too deep.

“Remain here?” In this space? Yes, remain here.

We feel the mass of brambles scatter its limbs, like opening one’s heart up to the flooding soil within, bubbling and eager until one’s insides tumble in a heap upon the dew-speckled grass like a symphony of trampled fruit; we blink through the swelling that has hunted down our skin and taught it to expand. The babies learn to sidestep fallen nails in the road, they find that their pockets are filled with stories, stories of sleep and of mother; of harvesting pieces of her own little self:

Mother is six years of age again, the branches skimming the border of the paddy fields.

Wading through the wet and murky earth, the island of Palawan flickers gold; her hair is dark, waving like the orderly patterns of thinly clustered blades, green rice plant tips jutting from cloudy fissures; infinity pools divided by mud, full to the brim, seeds planted deep where the islands gulp. Breathing. Her ankles skim scurrying bodies of mudfish, ripples kissing each step, tickling her bare feet in an oblong dance, they dart in and out of the growth- and the growing.

“Remain here?” she will ask. Yes, remain here growing.

The rice boils over the flame and she remembers those fish at her ankles: Beneath mud and water, there we are, swimming as distance swims for love.

The spaces between their cries widen into eternity. Remain here.

Balancing in sync with the rhythm of ocean lullabies, the children sleep, swaying as she holds them, mimicking the softness of the womb.

They let light filter each moment into a thousand tiptoed steps around the sun, the noises of the village rolling their slumber into the eddies of dreams.

Wild bramble hands use a dampened cloth to wash away the salt that has left ivory speckles on little flushing shoulders. Return to me.

Issue #1 | Philippine Independence Day & Pride Month

135

Portrait of a Victorious Lapu-Lapu | Illustrated by Jenielle Salarda

136

KAPWA: The Filipino Magazine

Map of the Philippines | Illustrated by Erwin Ong

Issue #1 | Philippine Independence Day & Pride Month

137

Portrait of Jose Rizal | Illustrated by Caralie M. Wegeng

138

KAPWA: The Filipino Magazine

Sources & References Dress to Impress: Uncovering Pre-Colonial Visayan Formal Wear The Boxer codex : transcription and translation of an illustrated late sixteenth-century Spanish manuscript concerning the geography, ethnography and history of the Pacific, South-East Asia and East Asia, ed. George Bryan Souza and Jeffrey S. Turley (Boston: Brill Leiden, 2016).

Matheo Sanchez, Vocabulario de la Lengua Bisaya. (Colegio da la sagrada comp. de Jesus, 1711).

Mintz, Malcolm. “The Philippines at the Turn of the Sixteenth Century with particular reference to the Bikol Region.” Intersections: Gender and sexuality in Asia and the Pacific (2011): http://intersections.anu.edu.au/.

William Henry Scott, Barangay: Sixteenth Century Philippine Culture and Society, First Edition. (Ateneo de Manila University Press, 1994).

Beauty Standards Perpetuated Through a Colonial Lens Pt. 1 - Skin Whitening Beauty, Jivaka. “Skin Whitening Injections in Korea - What Are Their Effects?” Jivaka.

Beauty. November 19, 2019. https://beauty.jivaka.care/blogs/blog/skin-whiteninginjections-in-korea.

Clark, Jordan. “BINUKOT: Women Secluded and Veiled in Philippine History.” The Aswang Project. December 8, 7. https://www.aswangproject.com/binukot/.

EPA. Accessed June 18, 2023. https://www.epa.gov/mercury/health-effects-exposuresmercury.

Funtecha, Henry Ph.D. “THE ISSUES ON THE USE OF THE WORD ‘BISAYA’.” Akopito. March 24, 2012. http://akopito.weebly.com/blog-naacutekocirc/the-issues-on-the-use-ofthe-word-bisaya.

“Health Effects of Exposures to Mercury.” United States Environmental Protection Agency. https://www.epa.gov/mercury/health-effects-exposures-mercury.

“The Issues on the Use of the Word ‘Bisaya.’” Akopito. Accessed June 18, 2023. http:// akopito.weebly.com/blog-naacutekocirc/the-issues-on-the-use-of-the-word-bisaya.

Jivaka Beauty. “Skin Whitening Injections in Korea - What Are Their Effects?” Jivaka Beauty, March 2, 2022. https://beauty.jivaka.care/blogs/blog/skin-whiteninginjections-in-korea.

Madarang, Catalina Ricci S. “The History behind the Philippines’ Culture of ‘Colorism’.”

Interaksyon.

June 11, 2018. https://interaksyon.philstar.com/breakingnews/2018/06/11/128496/history-behind-philippines-culture-colorism-skindiscrimination/.

Mendoza, Roger Lee. “The Skin Whitening Industry in the Philippines.” National Library of Medicine. December 19, 2013. https://doi.org/10.1057/jphp.2013.50.

Senthilingam, Meera, Pallabi Munsi, and Vanessa Offiong. “Skin Whitening: What Is It, what Are the Risks and Who Profits?” CNN. January 25, 2022. https://www.cnn. com/2022/01/25/world/as-equals-skin-whitening-global-market-explainer-intlcmd/index.html.

“Skin Lightening Products Market Size, Share & Trends Analysis Report By Product (Creams, Cleanser, Mask), By Nature, By Region, And Segment Forecasts, 2022 - 2030.” Grand View Research. https://www.grandviewresearch.com/industryanalysis/skin-lightening-products-market.

“Why People Risk Their Lives To Bleach Their Skin | Shady | Refinery29.” Rifinery29. May 25, 2019. Video, https://youtu.be/hYTIh2cXfvM. Breaking Down Barriers: The Role of Social Media in Liberating Filipinos in the LGBTQIA+ Community 01.27.2023, Lyn Alumno, and Lyn Alumno. “After Almost Two Decades, a Filipino Model Is Finally Back on Mugler’s Catwalk.” NYLON MANILA, January 31, 2023. https:// nylonmanila.com/filipino-model-mugler/.

Acosta</a>, <a href="https://preen.ph/byline/zofiyaacosta" rel="tag">Zofiya. “Lukresia Is Coming for Your Gig.” Preen.ph, June 13, 2022. https://preen.ph/130950/lukresiais-coming-for-your-gig.

Kumar, Naveen. “Bretman Rock Says to Always Remember That ‘You’re That Bitch.’”

InStyle, January 19, 2023. https://www.instyle.com/bretman-rock-youre-thatbitch-interview-2023-7095200.

“Patrick Starrr.” Forbes. Accessed June 18, 2023. https://www.forbes.com/profile/ patrick-simondac-patrick-starrr/?sh=7fff055b8f05.

Pellot, Emerald. “Who Is Bretman Rock? The Makeup Influencer Is Now a Reality TV Star.”

In The Know, February 9, 2021. https://www.intheknow.com/post/bretman-rock/.

Spruch-Feiner, Sara. “Patrick Starrr, One/Size: Influencer Brand to Know.” Glossy, October 25, 2022. https://www.glossy.co/beauty/patrick-starr-one-size-influencer-brand/.

From Vinegar to Paksiw: A Look at Pre-colonial Philippine Food Preservation B. Banaay, Charina Gracia, Marilen P., and Francisco B. “Lactic Acid Bacteria in Philippine Traditional Fermented Foods.” Lactic Acid Bacteria - R & D for Food, Health and Livestock Purposes, 2013. https://doi.org/10.5772/50582.

“A Brief History of Food Preservation - the Full Dossier from DehydratorLab.” Dehydrator Lab, April 29, 2023. https://dehydratorlab.com/history-of-food-preservation/.

Culture ingested: On the indigenization of Phillipine Food - Usenix. Accessed June 18, 2023. https://www.usenix.org/system/files/culture_ingested_doreen_fernandez. pdf.

Fernandez, Doreen, and Jonathan Best. Palayok: Philippine Food Through Time, on site, in the pot. Makati City, Philippines: Bookmark, 2000.

Fernández, Doreen G. Tikim: Essays on Philippine Food and Culture. Manila: Anvil, 1994.

Kim, Evelyn. “Processed Food: A 2-Million-Year History.” Scientific American, September 1, 2013. https://www.scientificamerican.com/article/processed-food-a-twomillion-year-history/.

María, Felice Sta. Pigafetta’s Philippine Picnic: Culinary encounters during the first circumnavigation, 1519-1522. Ermita, Manila, Philippines: National Historical Commission of the Philippines, 2021.

TasteAtlas. “Lamayo: Traditional Technique from Philippines: Tasteatlas.” World Food Atlas: Discover 16713 Local Dishes & Ingredients, January 13, 2021. https:// www.tasteatlas.com/lamayo.

Health at Every Size “Fatphobia and Racism: The History of Weight Stigma.” Fatphobia and Racism | The History of Weight Stigma. Accessed June 18, 2023. https://withinhealth.com/ learn/articles/the-racist-history-of-fatphobia-and-weight-stigma.

Fearing the black body: The racial origins of Fat Phobia. NYU Press, 2019.

“A Filipina’s Body Struggles & Search for Radical Body Love.” Cambio & Co. Accessed May 10, 2023. http://www.shopcambio.co/blogs/news/a-filipinas-bodystruggles-search-for-radical-body-love.

“The Health at Every Size® (HAES®) Principles.” ASDAH, April 1, 2023. https://asdah.org/ health-at-every-size-haes-approach/.

“Home.” Geriatrics. Accessed June 18, 2023. https://geriatrics.stanford.edu/ethnomed/ filipino/health_risk_patterns.html.

Martinez, Andrea B., Melissa Co, Jennifer Lau, and June S. Brown. “Filipino Help-Seeking for Mental Health Problems and Associated Barriers and Facilitators: A Systematic Review.” Social Psychiatry and Psychiatric Epidemiology 55, no. 11 (2020): 1397– 1413. https://doi.org/10.1007/s00127-020-01937-2.

Sikolohiyang Pilipino The Quet Protest Balbas, Cassandra. “Colonial Mentality in the Filipino-/American Community.” Asian Mental Health Project, 22 October 2020, https://asianmentalhealthproject. com/2020/10/22/colonial-mentality-in-the-filipino-american-community/.

Accessed 10 May 2023.

Bostrom, Lynn C. (1968). Filipino bahala na and American fatalism. Silliman Journal, 15 (3), 399-413.

Dela Cruz Porcadas, Maica. Evolution of Discourse: Identifying Sikolohiyang Pilipino in the Classroom. 2019, https://sfsu-dspace.calstate.edu/bitstream/ handle/10211.3/214005/AS362019EDUCP67.pdf.

Enriquez, Virgilio G. Filipino Psychology in the Third World. 1977, https://www. pssc.org.ph/wp-content/pssc-archives/Philippine%20Journal%20of%20 Psychology/2002/07_Filipino%20Psychology%20in%20the%20Third%20World. pdf.

Morley, Ian. “America and the Philippines: Modern Civilization and City Planning.”

Association for Asian Studies, 2011, https://www.asianstudies.org/publications/ eaa/archives/america-and-the-philippines/. Accessed 10 May 2023.

Pe-Pua, Rogelia, and Elizabeth Protacio-Marcelino. “Sikolohiyang Pilipino (Filipino Psychology): A Legacy of Virgilio G. Enriquez.” Asian Journal of Social Psychology, vol. 3, 2000, pp. 49-71. https://www.indigenouspsych.org/Members/Pe-Pua,%20 Rogelia/PePua_Marcelino_2000.pdf.

Rodríguez, Rafael. “New Prospects for the Spanish Language in the Philippines (ARI) - Elcano Royal Institute.” Real Instituto Elcano, 26 February 2009, https://www. realinstitutoelcano.org/en/analyses/new-prospects-for-the-spanish-language-inthe-philippines-ari/. Accessed 10 May 2023.

SIBLEY, WILLIS E. “Persistence, Variety and Change in Visayan Social Organization: A Brief Research Report.” Philippine Sociological Review, vol. 13, no. 3, 1965, pp. 139–44.

JSTOR, http://www.jstor.org/stable/41853514. Accessed 30 May 2023.

Yes I’m Queer, and I Don’t Know How I Feel About the Word “Bakla” Alegre, Brenda Rodriguez. “From Asog to Bakla to Transpinay: Weaving a Complex History of Transness and Decolonizing the Future.” Alon: Journal for Filipinx American and Diasporic Studies 2, no. 1 (2022): 51–64.

AZI Media. “Queer Mythology and History in the Philippines.” AZI Media. https://azimedia. medium.com/queer-mythology-and-history-in-the-philippines-3d90c35965dc.

June 2021.

Jay Jomar Quintos, “A Glimpse Into the Asog Experience: A Historical Study on the Homosexual Experience in the Philippines,” Plaridel 9, no. 2 (August 1, 2012): 155–70, https://doi.org/10.52518/2013.9.2-09qntskmp.

Nadal, Kevin L. and Melissa J.H. Corpus. “‘Tomboys’ and ‘Baklas’: Experiences of

Issue #1 | Philippine Independence Day & Pride Month

139

Lesbian and Gay Filipino Americans.” Alon: Contemporary Asian America: A Multidisciplinary Reader, third edition (2016): 291-311.

Salazar, Jaime Oscar M. “How ‘Bakla’ Explains the Struggles for Queer Identity in the Phillippines.” Foreign Policy. https://foreignpolicy.com/2022/07/30/bakla-queeridentity-philippines/. July 2022.

Velasco, Gina. “‘That’s My Tomboy’: Queer Filipinx Diasporic Transmasculinities.” Alon: Journal for Filipinx American and Diasporic Studies 2, no. 1 (2022): 67–73 Looking at Philippine History with a Decolonized Lens Acabado, S.B., & Martin, M.M. (2022). Indigenous Archaeology in the Philippines: Decolonizing Ifugao History. University of Arizona Press. https://doi.org/10.2307/j. ctv2c3k1bm Francia L. (2010). A History of the Philippines : From Indios Bravos to Filipinos (First).

Overlook Press.

Paredes-Canilao, Narcisa, and Maria Ana Babaran-Diaz. “Sikolohiyang Pilipino: 50 years of critical-emancipatory social science in the Philippines.” Annual Review of Critical Psychology 10 (2013): 765-783.

Ano Ka Ba? Bisexuality in the Global Filipino Culture Anna Brown, “Bisexual Adults Are Far Less Likely than Gay Men and Lesbians to Be ‘Out’ to the People in Their Lives,” Pew Research Center, June 18, 2019, https://www. pewresearch.org/short-reads/2019/06/18/bisexual-adults-are-far-less-likelythan-gay-men-and-lesbians-to-be-out-to-the-people-in-their-lives/.

Esquire Philippines, “6 Bisexual Filipino Celebrities Who Put the ‘B’ in LGBTQ,” Esquiremag.ph, October 2, 2020, https://www.esquiremag.ph/culture/arts-andentertainment/bisexual-filipino-celebrities-a00203-20201002.

Kevin L. Nadal, Filipino American Psychology: A Handbook of Theory, Research, and Clinical Practice (Hoboken, NJ: John Wiley & Sons, 2020), 115.

Leny Mendoza-Strobel, Babaylan: Filipinos and the Call of the Indigenous (Santa Rosa, California: Center for Babaylan Studies, 2010), 314.

Lora Reyes, “Putting the ‘B’ in LGBTQIA+: What It Means to Be Bisexual in the Philippines,” POP!, September 26, 2022, https://pop.inquirer.net/333864/putting-the-b-inlgbtqia-what-it-means-to-be-bisexual-in-the-philippines.

Martha Robinson Rhodes, “A Short History of the Word ‘Bisexuality,’” Stonewall, January 31, 2022, https://www.stonewall.org.uk/about-us/news/short-history-wordbisexuality.

Merriam-Webster, s.v. “gender,” last updated May 25, 2023, https://www.merriamwebster.com/dictionary/gender.

Celebrating Philippines Independence Day in the Diaspora Cynthia Silva, “Utah Jazz’s Jordan Clarkson Helps Fix Filipino Food Truck Covered in Slurs,” NBCNews.com, June 11, 2021, https://www.nbcnews.com/news/asian-america/ utah-jazzs-jordan-clarkson-helps-fix-filipino-food-truck-covered-slurs-rcna1178.

“Philippines Independence Day - June 12,” National Today, April 18, 2022, https:// nationaltoday.com/philippines-independence-day/.

118th Philippine Independence Day Celebration in Hong Kong (Kapangyawan 2016) - The SUN Online, YouTube (YouTube, 2016), https://www.youtube.com/ watch?v=Dydauuh9RXA&t=122s.

The Road to Independence Abad, Antonio K. General Macario L. Sakay, The Only President of the “Tagalog Republic”: Was He a Bandit or a Patriot? Manila: J.B. Feliciano, 1955.

Alvarez, A. “The Cry of Pugadlawin.” Philippine History, October 17, 2022. https://www. philippine-history.org/cry-of-pugadlawin.htm.

Alvarez, S. V. (1998). Ang Katipunan at Paghihimagsik. In Katipunan and the Revolution: Memoirs of a General with the Original Tagalog Text ; translated into English by Paula Carolina S. Malay. ADMU Press.

Alvarez, A. “The Katipunan Finally Starts a Revolution.” Philippine History, September 17, 2022. https://www.philippine-history.org/katipunan.htm.

Ano Ang 1872 Cavite Mutiny?: Execution of GOMBURZA: Filipino and Spanish Perspective: Kasaysayan, YouTube, 2021, https://youtu.be/3PDYOFOnTQU. Aristia Castiello, “Cavite Mutiny of 1872 Spanish Version - Cavite Mutiny of 1872 (Jan 20, 1872) Introductory,” Studocu, accessed May 11, 2023, https://www.studocu. com/ph/document/university-of-the-visayas/rizal-works/cavite-mutiny-of-1872spanish-version/17272404.

Arnold, James R. The Moro War: How America Battled a Muslim Insurgency in the Philippine Jungle, 1902-1913. New York, NY: Bloomsbury Press, 2011.

“Battle of Bataan.” The National WWII Museum | New Orleans. Accessed May 18, 2023. https://www.nationalww2museum.org/war/topics/battle-bataan-death-march.

“The Bancao Rebellion of 1622 in Carigara, Leyte.” The Kahimyang Project, January 6, 2012. https://kahimyang.com/kauswagan/articles/857/the-bancao-rebellion-of1622-in-carigara-leyte.

Bernad, Miguel A. “The Trial of Rizal.” Philippine Studies 46, no. 1 (1998): 46–72. http:// www.jstor.org/stable/42633622.

Borrinaga, R. O. (2019). The 1521 Magellan Landing on Homonhon Island Revisited. The Journal of History, 65(1).

140

KAPWA: The Filipino Magazine

Carlos Quirino, “The Conquest of a Frontier: Bohol Before the Sixteenth Century,” Philippine Studies, 1953.

“The Cavite Mutiny Took Place on January 20, 1872,” The Kahimyang Project, January 19, 2012, https://kahimyang.com/kauswagan/articles/891/today-in-philippinehistory-january-20-1872-the-cavite-mutiny-took-place.

“The Cry of Balintawak or Pugad Lawin Controversy [Readings in Philippine History Made Easy].” YouTube, October 15, 2021. https://www.youtube.com/ watch?v=m4wHcSkMRgo&ab_channel=YourOnlineClassroom.

Francisco R. Demetrio, “The Religious For in the Tamblot Uprising: A Case Study in the History of Conflict,” Philippine Studies, 1965.

Fuentes, Marlon, and Bridget Yearian. Bontoc Eulogy, 1995.

Guerrero, A. (2014). The Philippine Revolution of 1896. In Philippine Society and Revolution (Sixth Edition, p. 11). Institute for Nationalist Studies.

GOMBURZA: An NHCP Documentary, YouTube, 2023, https://youtu.be/iUlf9KtbqC8.

Hawkins, Michael C. Semi-Civilized the Moro Village at the Louisiana Purchase Exposition. Ithaca, NY: Northern Illinois University Press, an imprint of Cornell University Press, 2020.

Jose, Ricardo Trota. “July 4, 1946: The Philippines Gained Independence from the United States.” The National WWII Museum | New Orleans, July 2, 2021. https://www. nationalww2museum.org/war/articles/july-4-1946-philippines-independence.

“José Rizal.” Encyclopædia Britannica. Accessed May 12, 2023. https://www.britannica. com/biography/Jose-Rizal.

Kennon, L. W. V. “The Katipunan of the Philippines.” The North American Review, vol.

173, no. 537, 1901, pp. 208–20. JSTOR, http://www.jstor.org/stable/25105201.

Accessed 17 May 2023.

Khilko, Ivan, et al. “The Philippines (1899–1902).” Money in the Bank--Lessons Learned from Past Counterinsurgency (COIN) Operations: RAND Counterinsurgency Study--Paper 4, 1st ed., RAND Corporation, 2007, pp. 7–16. JSTOR, http://www. jstor.org/stable/10.7249/op185osd.9. Accessed 17 May 2023.

Leopoldo Y. Yabes, “Padre Burgos,” Philippine magazine. [vol. 34, no. 1], accessed May 11, 2023, https://quod.lib.umich.edu/p/philamer/acd5869.0034.001/82/82/1?q1= Education%2B--%2BPeriodicals.%2B--%2BPhilippines&view=text.

Library of Congress. “Katipunan - the World of 1898: The Spanish-American War (Hispanic Division, Library of Congress).” Loc.gov, 22 June 2011, loc.gov/rr/ hispanic/1898/katipunan.html.

Luis Francia, History of the Philippines: From Indios Bravos to Filipinos (New York, NY: Overlook Press, 2010).

Melshen, Paul. “Littleton Waller Tazewell Waller”. Archived from the original on April 21, 2008.

Montemayor, Teofilo H. “Jose Rizal: A Biographical Sketch.” Jose Rizal website. Accessed May 12, 2023. http://www.joserizal.ph/in01.html.

N/A. “The Founding of the Katipunan - Travelandculture Blog.” Travelandculture. expertscolumn.com, 2023, travelandculture.expertscolumn.com/foundingkatipunan. Accessed 17 May 2023.

Ochosa, O. A. Bandoleros, Outlawed Guerrillas of the Philippine-American war, 19031907. New Day Publishers. 1997.

Official Catalogue Philippine Exhibits: Universal Exposition, St. Louis, U.S.A. 1904: Philippine Exposition. St. Louis, MO: Official Catalogue Co., 1904.

“Philippines, Guam, and Wake Attacks.” Naval History and Heritage Command, July 8, 2019. https://www.history.navy.mil/browse-by-topic/wars-conflicts-andoperations/world-war-ii/1941/philippines.html.

“The Philippines - The 19th Century.” Encyclopædia Britannica. Accessed May 12, 2023. https://www.britannica.com/place/Philippines/The-19th-century.

P. S. Res. no. 623 Republic the Philippines. Accessed May 18, 2023. https://legacy.senate. gov.ph/14th_congress/resolutions/resno121.pdf.

Readings in Philippine History: Analysis on the Cavite Mutiny in 1872, YouTube, 2020, https://youtu.be/bR-JujViKio. Resil B. Mojares, “Bohol’s Babaylan Revolt: The Inscription of Subaltern History,” Philippine Quarterly of Culture and Society, 1988.

Rosemary G. Gillespie and D. A. Clague, “Bohol,” essay, in Encyclopedia of Islands (Berkeley, CA: University of California Press, 2009).

Schumacher, John N. “The Cavite Mutiny Toward a Definitive History.” Philippine Studies 59, no. 1 (2011): 55–81. http://www.jstor.org/stable/42635001.

Stamper, P. (2020, May 10). How this Portuguese explorer set sail to discover Pacific Beauty which would become his final resting place. History Hit. https://www. historyhit.com/locations/homonhon-island/ “Teodora Alonso Rizal’s Was Born in Tondo, Manila November 9, 1827.” The Kahimyang Project, November 6, 2012. https://kahimyang.com/kauswagan/articles/1335/ today-in-philippine-history-november-9-1827-teodora-alonso-mother-of-dr-joserizal-was-born-in-meisik-tondo-manila.

“Timeline of Philippine History.” Wikipedia, May 13, 2023. https://en.wikipedia.org/wiki/ Timeline_of_Philippine_history.

“Tydings-McDuffie Act of 1934.” Immigration History, February 1, 2020. https:// immigrationhistory.org/item/tydings-mcduffie-/.

Vicente Rafael, “Tamblot, the Banawon Monarch, and the Politics of Conversion in Bohol, 1565–1622,” Journal of Asian Studies, 1985.

Virginia Benitez Licuanan and Mira José Llavador, eds., “September 1, 1564: A Copy of the Instructions given by the Royal Audiencia to General Miguel Lopez De Legazpi for His Voyage to the Islands of the West. And the Oath of Allegiance He Took upon Receiving It.,” in The Philippines under Spain: The Legazpi Expedition, Conquest and Colonization (Manila, Philippines: National Trust for Historical and Cultural Preservation of the Philippines, 1991), pg. 34.

“What Happened in the Cavite Mutiny - Case Study 2: What Happened in the Cavite Mutiny? (1872) – It,” Studocu, accessed May 11, 2023, https://www.studocu.com/ ph/document/university-of-perpetual-help-system-dalta/readings-in-philippinehistory/what-happened-in-the-cavite-mutiny/18518498.

Wicentowski, Danny. “The World’s Fair and The Lost Dead of St. Louis’ Human Zoo.” Riverfront Times, May 31, 2023. https://www.riverfronttimes.com/news/theworlds-fair-and-the-lost-dead-of-st-louis-human-zoo-36217034#:~:text=They%20 were%20far%20from%20their,same%20summer%2C%20also%20from%20 pneumonia.

Woods, Damon L. The Philippines : A Global Studies Handbook. Abc-Clio, 2006, p. 43.

Xiao Talks: Rise of the Nation, The Martyrdom of GomBurZa, YouTube (YouTube, 2021), https://www.youtube.com/watch?v=f_1pOhNbcSc&ab_channel=XiaoChua.

Yumol, D. T. (n.d.). NHCP affirms Limasawa Island as site of first Catholic mass in the country. cnn. http://www.cnnphilippines.com/news/2020/8/20/NHCP-affirmsLimasawa-Island-as-site-of-first-Catholic-mass-in-the-country.html Suyat! A Get-to-Know Me Guide to Our Native Writing Systems Bergaño, Diego and Venancio Q. Samson. 2007. Vocabulary of the Kapampangan language in Spanish and dictionary of the Spanish language in Kapampangan: The English translation of the Kapampangan-spanish dictionary. Angeles City, Pampanga: Holy Angel University Press.

Camba, Allan. 2021. Baybayin: The Role of a Written Language in the Cultural Identity and Socio Psychological Well-Being of Filipinos. 10.13140/RG.2.2.12961.94563.

Catapang, Emerenciana Lorenzo. 2014. Reviving the Hanunuo and Buhid Mangyan syllabic scripts of the Philippines. LingDy3. Mangyan Heritage Center. https:// lingdy.aa-ken.jp/wpcontent/uploads/2014/02/140227-intl-symp-and-ws_ emerenciana_lorenzo_catapang_paper.pdf (2023).

Morrow, Paul. 2002. Baybayin styles & their sources . Baybayin Styles & Their Sources. http://www.paulmorrow.ca/baychart.htm (2023).

Morrow, Paul. 2017. Baybayin Transcriptions. Baybayin Transcriptions, Ancient Filipino Writing. http://www.paulmorrow.ca/transcrp.htm (2023).

Orejas, Tonette. 2018. House of Representatives Press releases. House of Representatives. INQUIRER.NET. https://newsinfo.inquirer.net/985669/protectall-ph-writing-systems-heritage advocates-urge-congress (2023).

Pandey, Anshuman. 2015. Towards an encoding for Kulitan in Unicode. unicode.org.

Department of Linguistics, University of California, Berkeley. https://www. unicode.org/L2/L2015/15232-kulitan.pdf (2023).

Unkown. Badlit . Badlit script. Simon Ager. https://omniglot.com/writing/badlit.htm (May, 2023).

In Her Hands: Q&A With Artist April Werle ZipAtlas.com. “Cities with the Highest Percentage of Filipino Population in Montana.”

Percentage of Filipino Population in Montana by City | 2023 | Zip Atlas. Accessed June 3, 2023. https://zipatlas.com/us/mt/city-comparison/percentage-filipinopopulation.htm.

Are We Really Independent?

Delkic, Melina. “Duterte: Philippines Separating From ‘Discourteous’ US, Turning to China.” abc news, October 20,2016. https://abcnews.go.com/International/dutertephilippines-separating-discourteous-us-turning-china/story?id=42946680 Lema, Karen. Brunnstrom, David. “Philippines’ Marcos to forge stronger relationship with US during visit.” Reuters, May 1, 2023. https://www.reuters.com/world/ us-expects-business-engagement-military-enhancements-philippinessummit-2023-04-29/ Palo, Ruth. “DepEd Shuts down 55 Lumad Schools.” cnn philippines, October 8, 2019. http://www.cnnphilippines.com/regional/2019/10/8/deped-salugpunganschools.html.

Peña, Kurt Dela. “Lumad Quest for Ancestral Domain in Bukidnon: Starvation Meets Gunfire.” INQUIRER.net, April 27, 2022. https://newsinfo.inquirer. net/1588275/lumad-quest-for-ancestral-domain-in-bukidnon-starvation-meetsgunfire#ixzz80we1d1ot.

Reed, Betsy. “Philippines to ‘set aside’ South China Sea tribunal ruling to avoid imposing on Beijing.” The Guardian, December 17, 2016. https://www.theguardian.com/ world/2016/dec/17/philippines-to-set-aside-south-china-sea-tribunal-ruling-toavoid-imposing-on-beijing Sitchon, John. “Police arrest students, teachers in Cebu City Lumad school.” Rappler, February 15, 2021. https://www.rappler.com/nation/police-arrest-studentsteachers-lumad-school-cebu-city-february-2021/Morrow, Paul. 2002. Baybayin styles & their sources . Baybayin Styles & Their Sources. http://www.paulmorrow. ca/baychart.htm (2023).

A Tale of Love, Destruction and Beauty: Exploring the Mythology of Mt. Mayon and the Magayon Festival “Ang Alamat Ni Daragang Magayon Ni Damiana Eugenio | Philippine Literature,” n.d., http://www.thephilippineliterature.com/ang-alamat-ni-daragang-magayon/.

Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context.”

Greg Bankoff, Christopher G. Newhall, and Alicia Schrikker, “The Charmed Circle: Mobility, Identity and Memory around Mount Mayon (Philippines) and Gunung Awu (Indonesia) Volcanoes,” Human Ecology 49, no. 2 (April 1, 2021): 147–58, https://doi.org/10.1007/s10745-021-00225-0.

Hilarion Vibal, “A Collection of Bikol folktales from Bacacay, Albay,” NLP Digital Collection, September 27, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002068/bs/ datejpg.htm Ivy Jean Vibar, ABS-CBN News, “Photo of Mayon Volcano Sparks Romance in Social Media Users’ Hearts,” ABS-CBN News, January 18, 2018, https://news.abs-cbn. com/life/01/18/18/photo-of-mayon-volcano-sparks-romance-in-social-mediausers-hearts.

Jefferson Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context,” Ateneo, January 1, 2019, https://www.academia. edu/64005829/The_Mixed_Heritage_Values_of_Mount_Mayon_Natural_Park_A_ Case_Study_on_Harnessing_a_People_Centered_Approach_to_Nature_Culture_ Linkages_Conservation_in_a_MultiHazard_Context?auto=download.

Lucita Cachuela, “Kalaon, The God of destruction,” NLP Digital Collection, September 3, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002067/bs/datejpg.htm.

“Province of Albay : MAGAYON FESTIVAL 2008 : History,” n.d., https://web.archive.org/ web/20080916185029/http://magayonfestival.albay.gov.ph/history_mf.htm.

Venacio Prietoziga , “Folktales From Albay Province,” NLP Digital Collection, January 1, 1930, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002061/bs/datejpg.htm.

Peña, Kurt Dela. “Lumad Quest for Ancestral Domain in Bukidnon: Starvation Meets Gunfire.” INQUIRER.net, April 27, 2022. https://newsinfo.inquirer. net/1588275/lumad-quest-for-ancestral-domain-in-bukidnon-starvation-meetsgunfire#ixzz80we1d1ot.

Maria Bolaños Reclaims Filipino Folklore and Mythology in Her Poetry Collection SANA Dean Spruill Fansler, “Filipino Popular Tales,” n.d., https://www.gutenberg.org/ files/8299/8299-h/8299-h.htm. This myth was recounted by Leopoldo Layug of Guagua, Pampanga to Dean Fansler. It was later retold as a Tagalog myth with no source by Felipe Jocano.

Maximo D. Ramos, Philippine Myths, Legends, and Folktales (Createspace Independent Publishing Platform, 1990).

Pia Arboleda, “Siblaw Taraw and Other Stories : Ifiallig Orature and Worldview,” March 28, 2006, https://ir.library.osaka-u.ac.jp/repo/ouka/all/79978/. An older account describing this myth can be found in Philippines Folk Fiction and Tales by Teresita Veloso; published in 1977 with New Day Publishers.

Good Morning Kapwa: Dialogue Answer Key Emily: Good morning!

Lola: Good morning! What are your plans for today?

Emily: At noon, I have lunch with a friend.

Lola: And in the afternoon?

Emily: In the afternoon, I have a meeting at work.

Lola: What about the evening?

Emily: In the evening I’m going to karaoke.

Lola: Wow, what a busy day!

Issue #1 | Philippine Independence Day & Pride Month

141

142

KAPWA: The Filipino Magazine