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Photo Credit: Marie Tablizo-Manalo
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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
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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
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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
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Letter from the Editor
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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
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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.
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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
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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
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Beauty & Fashion
Beauty Standards Perpetuated Through a Colonial Lens Part 1: Skin Whitening Written by Jessa Naranjo & Blu Caoili Header Images by Zoe Manalo
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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
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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
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food & drinks
A Letter from the Food Team Written by Chef Earl Briones
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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.
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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/.
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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.
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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.
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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).
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n i n g r Kapwa o M d o Glooring the Linguistic Diversity of the Philippine!
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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.
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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
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