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luminousvision · 10 months

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Maple Court

JJ, the 1st grader next door, taught us the compendium of four letter words far ahead of schedule. Where did you learn to say that, his older brother Danny asked in Spanish, only half-shocked. Jessica, our token white girl, was the only one who didn’t think it was funny. It was bad influence on Meghan, the shy Filipino kindergartener whose parents spoke even worse English than the rest of ours.

The gregarious sisters Britney and Kiana lived outside Maple Court but we still called them family. They knew no fear of adults. They’d knock on our door and ask my parents if Henry and Vivian could play. Yes, of course our homework was done, we’d say in a snippet of Korean that the others soon picked up. We’d march over to Wanda’s and repeat, except that house ran in some other Spanish that JJ said was wrong. We never knew who we’d get, because even though Wanda was an only child, she had about thirty cousins, and some permutation of them would always be there, ready to play. At her ninth birthday party in the backyard, I asked if all Mexican families were this big. Of course, she said. The more the merrier.

We all agreed. We cheered when Sarah solved the mystery of who-lived-in-that-blue-house by moving into it. She taught all of us True Americana with its Bratz, Wonderbread, and Chevy-Truck dad who never moved anything bigger than the grill for their hotdog and hamburger parties. It was good to have more than one white kid, we would realize a year later, when Jessica packed her adorable white rabbits and left. We technically got two, if you count Sarah’s older brother Dalton, but he was so glued to his XBox that we only saw his pale, muscle-less figure when his dad forced him get off his ass and fetch the mail. Even big seventh-grade Chanho couldn’t make him leave the house, so he just went to Dalton’s to play XBox together.

We invented the greatest games. We played kickball using lampposts as bases until Danny sent our best ball sailing over the fence at the end of Maple Court and into the angry man’s backyard for the third time. Not even Britney could negotiate this hostage recovery. We played clever variations on tag to make sure even Meghan and JJ could get out of being ‘it’. We’d always try to have two people be ‘it’ and the space we could run in was based on how old they were. Even the older Jessica and Chanho would run around with us. In the summers, we’d walk to the neighborhood pool together. We went fishing in the lake with Sarah’s dad who eagerly offered tips but didn’t catch anything bigger than we did. Every August we’d compete to catch the most butterflies and then free them all at once like one reverberating kaleidoscope.

Jessica was the first to get busy with school and stop coming out to play, even when Kiana begged her mom at the door. We didn’t even realize she had moved until we took a chance one day but instead met new white parents who brought infants, not kids. Danny and JJ left a pink house that bleached fully by the time an old white family replaced them with their kids off in college. Baby genius Meghan graduated from Maple Court knowing all her four letter words and was replaced by Lizabeth and her aunt who brought a Mexican family almost as big as Wanda’s. The short-lived abundance of Mexican kids ended when Wanda left. In her place, we got Amber, a cheery only-child with a single mom whom I only ever heard yelling. Even Britney and Kiana moved when their dad lost his job. We each put our scooter handles at half mast when we heard the news. Who would go door-to-door to drag the kids out to play?

Sarah started to spend more time at the mall, hanging out with her cool friends. She’d still play with us, but would roll her eyes every time Austin and Dakota joined us. The two, still in elementary school, had just moved in with their aunt and uncle. My sister said their parents kicked them out of Texas for how annoying they were. Amber and I laughed.

She and I would bike around the neighborhood, past the hallways of cookie-cutter suburban homes. We’d venture farther than either of our moms allowed and lie about it together when she sometimes ate dinner at our house. We had a bench at our favorite park where we’d watch the older kids play basketball. Here, Amber shared the abrupt dating stories of her middle school friends. I told her about my crush on a cute Chinese girl in my class. She asked me if I knew what periods were and laughed at my horror, explaining it was normal for girls to bleed down there. Amber’s green eyes sparkled against the sunset and her brown hair waved playfully in the wind. She asked me if I’d go to the school dance. Not with her, of course. Dancing? I didn’t like dancing.

By the time Amber moved, my sister and I were fighting high school, while Sarah was trying to keep her parents together. Austin and Dakota were shipped back to Texas. Nobody laughed when someone joked they were too much for their aunt and uncle. Lizabeth went back to live with her mom. Chanho left for college and Dalton bought an XBox 360.

The house at the mouth of Maple Court now sported a middle-aged man enjoying his daily cigar from a plastic folding chair next to an enormous RV. This sparkling trophy ate the whole driveway and never moved. Austin and Dakota’s uncle expanded his shiny car collection to five. On many of the evenings I came home from SAT tutoring, the two men would talk at each other, shouting, across the street, sitting in their respective pristine lawns. They were much louder than the two kids from Jessica’s old house who were now big enough to play. The two kids silently rolled marbles on the ground, helicoptered by six retirees who fulfilled their dream of adventure by sitting in plastic folding chairs around a charcoal grill.

I would soon leave for college. My sister was buried in schoolwork. Sarah with dark circles shrugged when I asked about her future. She’d study at community college to be a vet or work at a hair salon. Sarah moved the week before I left, when her parents decided that neither of them would get to keep the house. My Mormon high school principal took it instead, armed with six toddlers including triplets. On my last evening in Maple Court, I looked out my window to see eight white kids sitting, piled up on the asphalt. Their white parents encircled them in plastic folding chairs, smiling with glasses of champagne.

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nopefun · 3 years

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Interview #494: Ryan Frigillana

Ryan Frigillana is a Philippine-born lens-based artist living and working in New York. His work focuses on the fluidity of memory, intimacy, family identity, and visual culture, largely filtered through the lens of race and immigration. Embracing its plasticity, Frigillana explores photography’s relationship to context as a catalyst for thematic dialogue.

His first monograph, Visions of Eden, was published as two editions in 2020, and is held in the library collections of the MoMA, Getty Research Institute, and Smithsonian among others.

We spoke to find out more about Visions of Eden, his love for photobooks, and photography as a medium for introspection.

Lee Chang Ming Ryan Frigillana

Thanks for agreeing to do this! As we’ve just arrived into the new year, I want to start by asking: how did you arrive at photography and how has your practice evolved so far? Your earlier work was anything from still life to street photography, but your recent work seems to deal with more personal themes.

It’s my pleasure; thank you for having this conversation with me! Wow, looking back at how I’ve arrived at this point makes me feel so grateful for this medium, and excited to think of where it will lead me from here. I came to photography somewhat late. I was initially studying to become a nurse and was set to start a career in that field, but I found myself unhappy with where I was going. My mother was a nurse and I know what goes into being one; it’s not an easy job, and I respect those who do it, but my heart wasn’t in it. I found photography as a creative outlet during that stage of my life, and I’ve clung onto it ever since.

My first exposure to photography (no pun intended) came in the form of street and photojournalism. I would borrow books from the library a lot, consuming works by Magnum and other photographers working in that tradition. At the time, it was all I knew so that’s what I tried to emulate. Even early on in my undergrad career, these modes of creation were reinforced by curriculum and by what I saw from my own peers. My still-life work branches off of that same sentiment: the only names that were ever thrown around by professors were Penn and Mapplethorpe, so that’s who I studied. Thankfully over the years, I’ve been able to broaden that perspective through my own research. Though I don’t necessarily pursue street or constructed still-lifes anymore for my personal work, I’d like to think my technical skills (in regard to timing, composition, light) owe a debt to those past experiences.

I suppose now I’m starting to explore how photography can be used as language, to communicate ideas and internal conflicts. I’m thinking more about the power of imagery, its authorship, its implications, and how photographs have shaped, and continue to shape, our reality. That’s where my work is headed at the moment.

I liked how you mentioned photography as a language, which calls into question who we are speaking to when we make images and what kind of narrative we construct by putting photographs together.

In your work “Visions of Eden”, you trace your family’s journey as first-generation Filipino immigrants in America. I was quite struck by how you managed to link together original photography, archived materials and video stills. To me, with the original photography there was a sense of calm and clarity, perhaps in the composition. But with the archived material it was like peering through tinted glass, and the video stills felt like an unsteady memory. What was the editing process like for you and how did you decide what to include or exclude?

For me, editing is the hardest part about photography. Shooting is the enjoyable part of course because it can feel so cathartic. Sometimes when I shoot it feels almost like muscle memory in the sense that you see the world and you just react to it in a trained way. But with editing, it’s more of a cerebral exercise. More thought is involved when you have to deal with visual relationships, sequence, rhythm, and spacing, etc. The real creation of my work takes place in the editing process. That’s where the ingredients come together to form an identity.

When creating this identity, I not only have to think about what I want to say, but also how I want to say it. It’s like speaking; there are numerous ways you can communicate a single sentence. How are images placed in relation to one another? How large are they printed, or how much white space surrounds it? Are the images repeated? What’s on the following page? The preceding page? Is there text? How are they positioned on the spread? All of these little choices impact the tone of your work. And that’s not even mentioning tactile factors like paper stock or cover material. I think that’s why I have such a deep love for photobooks because 1) they’re physical objects and 2) someone has obsessed over every aspect of that object.

I’m aware that my photographs lately have a quiet, detached, somewhat stripped-down quality to them. I think that’s just a subconscious rejection of my earlier days shooting a lot of street where I was constantly seeking crowded frames and complexity in my compositions. As I’ve grown older, I realize less is more and if I can do more by saying less, that’s even better. Now, the complexity I seek lies in the work as a whole and how all these little parts can form something fluid and layered, and not easily definable.

For Visions of Eden, I wanted the work to feel somewhat syncopated and wandering in thought. That meant finding a balance between my quiet static photographs and the movement and energy of the video stills, or balancing the coldness of the illustrations with the warmth of the family snapshots. The work needed to be cohesive but have enough ambiguity for it to take life in someone else’s imagination. Peoples’ lived experiences in regard to immigration and religion are so complex that they can’t be narrated in any one definitive way. Visions of Eden, hopefully, is a rejection of that singularity.

Yes, there’s definitely something special and intimate about flipping through a photobook! For your monograph, you recently released a second edition which is different from your first (redesigned, added images, etc.). Why did you decide to make it different? Was the editing mainly a solitary process?

The first edition was a partially hand-made object. Illustrations were printed on translucent vellum paper and then tipped into the gutter of the book. When you flip through the pages, those vellum sheets would overlap over certain images, creating a collage-like effect. That was my original concept for this book. Doing this, however, was so laborious and time consuming, and not to mention expensive! Regretfully, I wound up making only twenty copies of that first edition. I wanted the work shared with a wider audience so that’s why I decided to publish a second run.

The latest edition is more of a straight-forward production without the vellum paper. With this change in design, I had to reconfigure the layout. I took liberties in swapping out some images or adding new ones altogether. Also, a beautiful afterword was contributed by my friend, artist, writer, and curator Efrem Zelony-Mindell. I still feel so fortunate and grateful to have had my work seen and elevated by their words in my book.

For the most part, yes editing is quite a solitary process for me. But there does come a point when I feel it’s ready, where I share the work with a few trusted people. It’s always nice to have that outer support system. Much of Visions of Eden was created during my time in undergrad school so I had all sorts of feedback from peers and professors which I’m grateful for. But in the end, as the author, you ultimately have the final say in your work.

Given that Eden is a starting point and metaphor in the work, I was thinking about ideas of gardens, (forbidden) fruit, and movement of people.

How do you view yourself in relation to your place of birth? In your series, I see the most direct links in the letters, old photos where tropical foliage is present in the background, and the photo of the jackfruit (perhaps the only tropical fruit in this series).

I came to America when I was very young, about five years old. For my family and for many other families still living in the Philippines, America is seen as a sort of ideological Eden: a land of milk and honey, of wealth and excess. We all know that’s far from the truth. Every Eden has a caveat, a forbidden tree. Which leads me to ask: as an immigrant living in this country, what fruits were never intended for me?

I honestly don’t remember much about my childhood in the Philippines aside from fleeting memories of my relatives, the sounds of animals, the smell of rain and earth, the taste of my grandmother’s cooking. The identity that I carry with me now as a Filipino is not so much tied to the physical geography of a place but rather it is derived from a way of life, from shared stories, in the values we hold dear, passed on from generation to generation. This is a warm flame that lives on in me to this day as I write these words thousands of miles away from where I came.

Photographs have a way of shaping our memory and our relationship to the past, which in turn affects how we engage with the present. The family photographs and letters used in my book act as anchors in a meandering journey. They serve as landmarks that I can return to whenever I feel lost or need assurance so far away from “home”. They give me the comfort and affirmation that I need to navigate a space where I never really felt I belonged. The spread in my book that you mentioned—the jackfruit on one side, and the Saran-wrapped apple on the preceding page—was a reference to my duality as both Filipino and American. It’s a reminder and an acknowledgment that I am a sum of many things, of many people who have shaped me. If I flourish in life, it’s because my roots were nourished by love.

I like how you mentioned photos as anchors or landmarks. Isn’t that why we create and photograph? To mark certain points in our lives and to envision possible futures, like a cartographer mapping an inner journey. Do you feel like you and your relationships with those you photographed changed through the process of making your works?

When my parents took pictures of our family, it wasn’t done solely in the name of remembrance; it also served as an affirmation of ourselves and our journey—a celebration. Every birthday, vacation, school ceremony, or even the seemingly insignificant events of daily life were all photographed or video-taped as a way of saying to ourselves, “Here we are. Look how far we’ve come. Look at the life we’ve made. And here’s the proof”.

Now, holding a camera and photographing my family through my own lens still carries all of that celebratory joy, but with so much more possibility. Before I really took photography seriously, I never realized its potential as a medium for introspection, but that’s ultimately what it has become for me. In taking pictures of my family, I not only clarify my own feelings about them, but the act of photography itself informs and builds on my relationship with each person. The camera is not a mere recording device, but a tool for understanding, processing, and even expressing love...or resentment. Though I may not be visible in my pictures, my presence is there: in my proximity, my gaze, my focus.

Does all of this impact my relationships? Absolutely. Photographing another person willingly always demands some degree of trust and vulnerability from both sides. There’s a silent dialogue that occurs which feels like an exchange of secrets. I think that’s why I often don’t feel comfortable photographing other people unless we’re very close. Usually my family is open enough to reveal themselves to me, other times what they give can feel quite guarded. That’s a constant negotiation. After the photograph is made though, nobody ever emerges the same person because each of us has relinquished something, no matter how small.

Being self-reflexive in photography is so important. I agree it should be a constant negotiation, but it’s something that bothers me these days – the power dynamic between the photographer and photograph, particularly for personal and documentary projects. More significantly, after the photograph has been made, who is really benefiting. But I guess if we are sensitive to that then perhaps we can navigate that tricky path and find a balance.

Right, finding that balance is key and sometimes there are no clear-cut answers. That power dynamic is something I always have to be mindful of. As the photographer, you are exercising a certain role and position. At the end of the day, you’re the one essentially “taking” what you need and walking away. There’s an inherent violence or aggression in the act of taking someone’s picture, no matter how well-intended it may be. This aggression carries even greater weight when working, as you say, in a genre like documentary where representation is everything.

I remember an undergrad professor of mine, Nadia Sablin, introducing me to the work of Shelby Lee Adams—particularly his Appalachian Legacy series. Adams spent twenty-five years documenting the disadvantaged Appalachian communities in his home state of Kentucky, visiting the same families over a long period of time. Though the photographs are beautifully crafted, they pose many questions in regard to exploitation, representation, and the aestheticization of suffering. He is or was, after all, an artist thriving and profiting off of these photographs. Salgado is another that comes to mind. This was the first time I really stopped to think about the ethics of image-making. Who is benefitting from it all?

I think the search for this balance is something each photographer has to reckon with personally. Though each situation may vary with different factors that have to be weighed, and context that must be applied, you can always ask yourself these same ever-pertinent questions: am I representing people in a dignified way, and what are my intentions with these images? Communication (listening), building relationships, acknowledging your power, and respecting the people you photograph are all foundational things to consider when exercising your privilege with the camera.

Well said! The process of making photographs can be tricky to navigate yet rewarding. Any upcoming projects or ideas? What’s keeping you busy these days?

Oh, let’s just say I’m constantly juggling 3-4 ideas in my head at any given time, but ninety percent of the time they don’t ever lead to anything finished haha. This past year has been tough on everyone I’m sure. I’ve been dealing a lot with personal loss and grief and the compounded isolation brought on by the pandemic, so for months I’ve been making photographs organically as a subconscious response to these internal struggles. It’s more of an exploration of grief itself as a natural phenomenon and force—like time or gravity. Grief is something everyone will experience in life and each of us deals with it differently, but in the end we have to let it run its course. I see these photographs as a potential body of work that could materialize as a zine or book one day, so we’ll see where that goes.

Other than that, I’ve been working on an upcoming collaboration project with Cumulus Photo. Speaking of which, I saw your photograph featured in their latest zine, running to the edge of the world. Congrats on that! It’s beautiful. But yeah, just trying my best to keep busy and sane, and improving myself any way I can.

Thanks! Looking forward to your upcoming projects! Last question: any music to recommend?

I feel like my answer to this question can vary by the week. I go through phases where I exhaust whole albums on repeat until I get tired of them. So I’ll leave you with the two currently on my rotation: Angles by The Strokes, and Screamadelica by Primal Scream.

Thank you for your time!

Thank you for a lovely discourse. I had a lot of fun!

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#Ryan Frigillana #nope fun #new york #photographer interview #artist interview #Contemporary Photography #Visions of Eden #PhotoBook

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kozutenshi · 4 years

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"neh, tooru." he tilted his head to the side, looking at your figure arranging the pillows in your small makeshift house.

"i'll definitely marry you when we're older."

he chuckled at your sudden outburst, not coping with what you said. "what do you even mean by that?"

"well, marriage.. isn't that what happens when two people want to stay together in each other's side forever?" your unsure and confused expression made him laugh harder. the pout on your lips made him stop, patting your cheek with a soft smile on his face.

"well then, i guess i'm gonna have to get a ring ready."

BALAY BALAY

— "bahay-bahayan" in Filipino!

— a game played my two or more wherein the kids would act like a real family doing what a family does normally. literally in simple terms, playing house.

— used to play this with my cousin, two other friends, and my childhood friend. yes, my childhood friend was the dad and i was the mom.

sometimes, you wonder which events made things turn out to be how they currently were.

seasons change, and your years of stay in this world had been growing. the amount of times you told a lie or two, the amount of times you cried, laughed, burst out of anger; collectively, this was what our life was.

oikawa thinks the same way too.

the young man sat on the park bench, looking out to the beach of brazil. he should be in argentina right now, practicing the sport he loves, but ever since he got the mail, it was as if a part of him felt too empty to function. his team gave him a week off, and he found himself going back to brazil reminiscing.

he thumbed the gold letterings, almost wishing the letter came with your scent instead of the roses that made the contents painfully obvious.

of course he had opened it, the seal already broken enough to know that he had opened it several times. taking a deep breath, he held his tears back.

how did it come to this?

on the other side of the world, you waited for his answer, the man you stuck with since children. it had been days since the mail was reportedly received. you were nervous, gulping down a lump on your throat to his lack of response. warm arms wrapped you from behind, kissing your temple. "hasn't he replied yet?"

his hand took yours, playing with the ring he gave you and drawing slow therapeutic circles on your skin. you smiled sadly at your fiancee, before shaking your head and melting into his arms. "nope. aren't you supposed to be at work?" he chuckled sheepishly before picking up his things and kissing you tenderly. "yeah. i'm off now. i'm sure he's just preoccupied so don't stress yourself over his response, yeah?" you nodded, sending him off with a loving smile which he returned.

as the door closed, your eyes went back to the laptop screen, begrudgingly thinking of your work before sitting down and continuing it. you didn't know what time it was when you finished, but it was probably an hour or two already when the doorbell rang.

lazily, you stood up and opened the door to find oikawa standing at your doorstep. "yo, n/n-chan." your eyes showed your shock and your body froze, before you relaxed and chuckled. "yikes, i'm hallucinating," you muttered under your breath before closing the door in his face.

"you know.. i'm flattered that you think of me that much that i can be a hallucination.. but for real, i'm 100% human, no alien stuff here."

the "I can't believe you're here" face you had made him chuckle, opening his arms for you to fall into. your scent was familiar, your warmth, your smile, until you dissolved into sobs. frantically, he moved away from you and wiped the tears off tenderly with shaky hands. "what? why are you crying?!"

"tooru! why weren't responding to me?" he chuckled nervously, knowing full well that telling the real reason will complicate things. "i wasn't sure what to answer just yet so i decided to discuss the matter with my coaches first. sorry, n/n-chan. now, can you stop crying, princess?"

it was painful to lie to you, but if it is for what's better, then he'd do it. "don't call me that." you urge yourself to move away and invite him into your apartment shared with your fiance. his eyes scanned the loft, noting the things that mirrored your personality on every shelf, every wall.

"how long have you been here in japan?"

"this is my third day. i'll go back tomorrow."

"ah, i see. then shall we spend the day together?"

"yeah. i did meet the three guys yesterday. it's your turn."

you placed the bowl of chips in front of him, urging to eat while he raised his eyebrows in question. "why didn't you invite me?"

"better question. why are you eating chips this early?" you shrugged, shoving a piece or two into your mouth. "it's not that early. it's like, almost noon."

he rolled his eyes and started eating. the silence stretched on but it was comforting. his eyes raked on your figure, how you were still the same, but different. as if a part of you stayed, the other changed.

"oh yeah. i have to go to that volleyball thing to help takeru with his plays. wanna come with?"

"takeru, as in my nephew?"

"yeah, who else?"

"there are tons of takeru's in this country, y'know."

you shrugged. "well you have no choice. you're coming with. say cheese to the camera. i'll tell my fiancee about you suddenly being here." raising your phone, you snapped a photo to your fiance, telling him you'll spend the day with tooru which he agreed with a "take care" message.

oikawa watched your lips curve to a smile, the same one he fell in love with, only to realize it wasn't for him. was he hurt? no.

numb. that's what he was.

the two of you passed by your previous school, onto the training grounds reminiscing stories after stories. with a pouting takeru, the three of you watched the smaller children train, a fond smile on your face. a small little girl stumbled to you with tears. "mama?"

oikawa saw how petrified you looked for a second before you sat down and tried to ease her. he then recalled how the two of you used to play, hand in hand, eyes to eyes. he sat beside you, patting the head of the child lightly which she seemed to like.

you watched how he calmed her with no words, and how she went from crying to laughing in minutes. a fond smile was on your face when the mother came over and took the child.

"you two look good together. thank you so much for taking care of her."

"thank you but we aren't-"

"thank you. it was no problem ma'am!"

he waved a hand to the child who smiled at him and waved back. his smile was a genuine warm one, his eyes holding adoration, before they shifted to you. "what are you staring at, n/n-chan?"

you shook your head. "i just wondered where you got your skills in calming down a child until i remember takeru."

"I didn't learn it from taking care of him, y'know." confused, you looked at him, his eyes looking somewhere far. "i learned it from you." he stood up, stretching and looked down on your sitting figure.

"c'mon n/n-chan. before they remember who i am-"

"excuse me. you're oikawa tooru, right?"

a highschool girl shyly stood with her group of friends, their phones clutched to their chests. somehow this reminded you of the days when he was innocently playing volleyball with iwaizumi, until a bunch of girls came from the vending machines, clutching boxes of milk in different flavors, some holding milk bread in their hands. you deadpanned when you realize they were holding out their phones for you to take their picture.

"tooru. you better treat me food after this, okay?" he knew your look. the one that made him gulp and feel threatened. "yes, of course, n/n-chan."

and so he did, and before you know it, it was getting dark. the two of you were in the apartment, the credits rolling just like every other times the two of you bonded.

"today was fun."

it's always fun with you. "sure was."

now, unlike before, the silence was deafening. "have you ever wondered.. how things would've worked out if you did something different in the past?"

your question caught him off guard and he tensed up before he suck into the couch. "not really." a lie.

"it might weigh down on me too much if i did."

your chuckle came sad, a hint of pain under it. "i see." now the atmosphere was too quiet. the movie has rolled its credits, the TV flashing a selection of movies again.

painful. it was painfully obvious that something is wrong and you couldn't help but want to cry.

"do you.. remember-"

"will you come?"

your voice was unsure, shaky, loud, when you looked at him with tears in your eyes. "you will, right?" his heart cracked. he knew this would happen already. he flashed a soft smile before taking you in his arms.

"of course i will. it's the wedding of my favorite n/n-chan after all. besides, you know i.."

he pressed a kiss to your forehead, his thumb wiping your tears gently. there was something lonely about his movements, the way he caressed you, as if saying 'this is the last time', or maybe a temporary goodbye. he held you closer, his warmth enveloping you.

"i will always be there."

TRAVELLERS: @doodleniella @kenmakodzu @lyzzklm @mfcassandra @oikaw-ugh @seijohlogy @thesecondapplepienation

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sulatni-flerida · 3 years

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~ pilit na mga titik, kakaibang tinig

in English : forced letters, different voice

/// under the cut : a few casual thoughts of a Filipino during her country's Buwan ng Wika

ang hindi marunong magmahal sa sariling wika ay higit pa sa hayop at malansang isda.

i grew up under the impression that English is the basis of intelligence. i grew up watching influencers and shows that use English. i grew up paying a peso for every word i say in Filipino, despite living in the Philippines, for my school was an English speaking one.

i live today in a world where people would learn English just to get a job, just so they won't be told off by others, just because they're made fun when they speak their own language.

don't you think that's messed up?

if i remember my sixth grade history right, Filipinos learned English because we were colonized by the Americans. those Westerns tried to make us one of their states, and declared our Independence Day on the 4th of July. imagine.

(thank goodness Philippine Independence Day was changed to the 12th of June.)

we still continued speaking English even when the Americans left though. can you blame the Filipino, though? we were under the impression that the Americans are better, and by speaking their language, we'd be more like them.

ah, colonial mentality at its finest.

i feel like English became the world's "standard language". i don't know if it's actually a real thing or what, but it would make sense.

i acknowledge that language unites people. it lets them share their ideas and exchange. it gives them common ground, it's the bridge between finding out about each other's experiences.

but for people to bring others down for speaking their native language?

i've heard of people making fun of other's accents and languages, including Filipino. it's disrespectful and wrong to tell off other people for speaking in their own tongue. we grew up with our own language, and we're the ones adjusting to keep up with the English speakers.

every language is beautiful, but people need to learn how to respect each other.

and i'm voicing these thoughts out right now because it's Buwan ng Wika in the Philippines. In English, Month of Language. i just can't help but think about the whole "being bilingual" and "English is the basis of your intelligence" takes.

well, your ability to speak English is a basis of intelligence, but it isn't the only basis. some people would take your ability to speak as the only basis, and that's wrong for me. however, we have to keep in mind the main language people use - and in this world, for most jobs, it's English.

a minor thing i want to bring up that's kinda in the topic is the language content creators use.

most people nowadays are on platforms like YouTube, Twitch, and TikTok, watching or creating content. and most of the time, at least the creators i watch, English is still the language used. creators that'd use a language other than English would tend to not be as famous as those that do speak English.

i'm someone that wants to be content creator, (i mean, i technically am being one now). at the same time, i'm more comfortable with speaking in Filipino (which is my native language) instead of English.

do any of you reading this think i'd make it far if i speak/make my content in Filipino instead of English sometimes?

and just in general, actually. do y'all think content creators that use English along with their native language(s) would have as much as a shot in the creation game as those that just speak English?

i apologize if i had any grammatical errors in this. this post is a more "free, spew what i'm thinking" post, haha.

feel free to comment below or reblog to share your thoughts! i'd love to hear them, whether you're a native English speaker or not.

thanks for reading this! have a lovely day/afternoon/night/whatever, lol. stay safe! :DD

#filipino #bilingual #buwan ng wika #thoughts #🇵🇭#sulat ni flerida #saloobin ni ree

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theresabookforthat · 3 years

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Asian American & Pacific Islander Heritage Month: Young Readers

May is Asian American and Pacific Islander Heritage Month and this week—May 3 to May 9 —is also Children’s Book Week with the motto “Every Child a Reader.” Therefore, we are celebrating the following glorious stories, for children and adults to share, that honor the rich cultural history of Asian Americans and Pacific Islanders:

THE MAGIC FISH by Trung Le Nguyen

NAMED ONE OF THE BEST BOOKS OF THE YEAR by the New York Public Library • Kirkus Reviews • Booklist • Publishers Weekly

This beautifully illustrated YA graphic novel follows a young boy as he tries to navigate life through fairytales. Tiến still enjoys reading his favorite stories with his parents from the books he borrows from the local library. It’s hard enough trying to communicate with your parents as a kid, but for Tiến, he doesn’t even have the right words because his parents are struggling with their English. Is there a Vietnamese word for what he’s going through? Is there a way to tell them he’s gay?

ANY DAY WITH YOU by Mae Respicio

Kaia and her family live near the beach in California, where the fun of moviemaking is all around them. This summer, Kaia and her friends are part of a creative arts camp, where they’re working on a short movie to enter in a contest. The movie is inspired by the Filipino folktales that her beloved Tatang, her great-grandfather, tells. Kaia hopes that by winning a filmmaking contest, she’ll convince her great-grandfather not to move back home to the Philippines.

PATRON SAINTS OF NOTHING by Randy Ribay

A powerful coming-of-age story about grief, guilt, and the risks a Filipino American teenager takes to uncover the truth about his cousin’s murder.

THEY CALLED US ENEMY by George Takei, Justin Eisinger, Steven Scott, Harmony Becker

A stunning graphic memoir recounting actor/author/activist George Takei’s childhood imprisoned within American concentration camps during World War II. Experience the forces that shaped an American icon—and America itself—in this gripping tale of courage, country, loyalty, and love. Available in a Spanish edition here.

THE UGLY VEGETABLES written and illustrated by Grace Lin

In this charming story about celebrating differences a Chinese-American girl wishes for a garden of bright flowers instead of one full of bumpy, ugly, vegetables. The neighbors’ gardens look so much prettier and so much more inviting to the young gardener than the garden of “black-purple-green vines, fuzzy wrinkled leaves, prickly stems, and a few little yellow flowers” that she and her mother grow. Nevertheless, mother assures her that “these are better than flowers.” Come harvest time, everyone agrees as those ugly Chinese vegetables become the tastiest, most aromatic soup they have ever known. As the neighborhood comes together to share flowers and ugly vegetable soup, the young gardener learns that regardless of appearances, everything has its own beauty and purpose. THE UGLY VEGETABLES springs forth with the bright and cheerful colors of blooming flowers and lumpy vegetables. Grace Lin’s playful illustrations pour forth with abundant treasures. Complete with a guide to the Chinese pronunciation of the vegetables and the recipe for ugly vegetable soup! Try it…you’ll love it, too!

WATERCRESS by Andrea Wang; Illustrated by Jason Chin

Driving through Ohio in an old Pontiac, a young girl’s parents stop suddenly when they spot watercress growing wild in a ditch by the side of the road. Grabbing an old paper bag and some rusty scissors, the whole family wades into the muck to collect as much of the muddy, snail covered watercress as they can. At first, she’s embarrassed. Why can’t her family get food from the grocery store? But when her mother shares a story of her family’s time in China, the girl learns to appreciate the fresh food they foraged. Together, they make a new memory of watercress.

The book is illustrated by award winning author and artist Jason Chin, in an entirely new style, inspired by Chinese painting techniques. An author’s note in the back shares Andrea’s childhood experience with her parents.

LAXMI’S MOOCH by Shelly Anand, Illustrated by Nabi H. Ali

A joyful, body-positive picture book about a young Indian American girl’s journey to accept her body hair and celebrate her heritage after being teased about her mustache.

WHEN YOU TRAP A TIGER by Tae Keller

WINNER OF THE 2021 NEWBERY MEDAL

WINNER OF THE ASIAN/PACIFIC AMERICAN AWARD FOR CHILDREN’S LITERATURE

When Lily and her family move in with her sick grandmother, a magical tiger straight out of her halmoni’s Korean folktales arrives, prompting Lily to unravel a secret family history. Long, long ago, Halmoni stole something from the tigers. Now they want it back. And when one of the tigers approaches Lily with a deal—return what her grandmother stole in exchange for Halmoni’s health—Lily is tempted to agree. But deals with tigers are never what they seem! With the help of her sister and her new friend Ricky, Lily must find her voice…and the courage to face a tiger.

DANBI LEADS THE SCHOOL PARADE by Anna Kim

An Asian/Pacific American Award for Literature Honor Book

Danbi is thrilled to start her new school in America. But a bit nervous too, for when she walks into the classroom, everything goes quiet. Everyone stares. Danbi wants to join in the dances and the games, but she doesn’t know the rules and just can’t get anything right. Luckily, she isn’t one to give up. With a spark of imagination, she makes up a new game and leads her classmates on a parade to remember! Danbi Leads the School Parade introduces readers to an irresistible new character. In this first story, she learns to navigate her two cultures and realizes that when you open your world to others, their world opens up to you.

FATIMA’S GREAT OUTDOORS by Ambreen Tariq; Illustrated by Stevie Lewis

An immigrant family embarks on their first camping trip in the Midwest in this lively picture book by Ambreen Tariq, outdoors activist and founder of @BrownPeopleCamping. This picture book debut, with cheerful illustrations by Stevie Lewis, is a rollicking family adventure, a love letter to the outdoors, and a reminder that public land belongs to all of us.

THE DOWNSTAIRS GIRL by Stacey Lee

By day, seventeen-year-old Jo Kuan works as a lady’s maid for the cruel daughter of one of the wealthiest men in Atlanta. But by night, Jo moonlights as the pseudonymous author of a newspaper advice column for the genteel Southern lady, “Dear Miss Sweetie.” When her column becomes wildly popular, she uses the power of the pen to address some of society’s ills, but she’s not prepared for the backlash that follows when her column challenges fixed ideas about race and gender. With prose that is witty, insightful, and at times heartbreaking, Stacey Lee masterfully crafts an extraordinary social drama set in the New South.

FRANKLY IN LOVE by David Yoon

An Asian Pacific American Librarians Association Honor Book

Frank Li has two names. There’s Frank Li, his American name. Then there’s Sung-Min Li, his Korean name. No one uses his Korean name, not even his parents. Frank barely speaks any Korean. He was born and raised in Southern California. Even so, his parents still expect him to end up with a nice Korean girl—which is a problem, since Frank is finally dating the girl of his dreams: Brit Means. Brit, who is funny and nerdy just like him. Brit, who makes him laugh like no one else. Brit…who is white. Desperate to be with Brit without his parents finding out, Frank turns to family friend Joy Song, who is in a similar bind. Together, they come up with a plan to help each other and keep their parents off their backs. Frank thinks he’s found the solution to all his problems, but when life throws him a curveball, he’s left wondering whether he ever really knew anything about love—or himself—at all.

For more on these and related titles (for kids and adults) visit the collection Asian American & Pacific Islander Heritage Month

#AAPi #penguinrandomhouse #there'sabookforthat #asianamerican

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ehliena · 4 years

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FilAms referring to the Philippines as the acronym PI while they are calling homelanders for the use of Filipinx and Pinxy is peak irony. That is without adding these two facts: the letter F is a loaned letter in Tagalog from the oppressors (and its corresponding phoneme too) and that the demonym is an appellation to Felipe II of Spain. And for someone like me who reads and writes in Baybayin since age 15, to write a Baybayin X seems like a dark humor scene in a Taika Waititi comedy. (Yes, I do Baybayin shiz for fun, but not as serious as Kristian Kabuay and NordenX.)

I first encountered PI among FilAms during Christmas vacation 2002 in LA; and Pilipinx when I joined the theatrical production of a FilAm musical at CalState East Bay in 2016. I understand that it is their culture and I respect it, and I assimilate. I easily assimilate with what I call my Nickelodeon voice, which I have acquired from when jailbroken cable services became a thing in Mega Manila and through my theatre background. But when in Rome, we live the Roman way, so as the Santa Mesa-born foreigner, I have to hide that dark laughter every single time someone uses PI.

But of course, 2020 had to make us see PI-using FilAms pressuring homelander to use Filipinx, citing political correctness and gender neutrality (while white American Pemberton, the killer of Filipino transwoman Jennifer Laude, was given an absolute pardon by Duterte).

So, let us start my TEDtalk.

P.I. is a colloquial acronym for Putanginamo (the equivalent of Fuck You) used by conservative Filipinos who probably are only retelling a story.

Tsismosa 1: “Minura ni Aling Biring si Ka Boying.” (Aling Biring cursed Ka Boying)

Tsismosa 2: “Oh? Ano ika?” (Really? What did she say?)

Tsismosa 1: “Malutong at umaatikabong PI.” (A hard and surging PI.)

Then I imagine PI as the curse when FilAms say some sentences:

“Are you flying back to Putangina?”

“I miss Putangina. We went to Boracay.”

“Duterte is President of Putangina.”

But it’s fine with me. I understand they mean well and I know that Americans, as first world as they are, have poor grasp of history. It’s a little sad though that FilAms have not always been reminded of this special footnote in the history of the United States:

P.I. stands for Philippine Islands. That’s the colonial name of the Philippines as a commonwealth republic under the United States, which the republic stopped using when the 1935 Constitution was enacted in 1946. Yes, in case people are forgetting, the Philippines has long been a state with full sovereignty recognized by the United Nations (of which we are a founding member of and wherein Carlos Romulo served as President) and recognized by Shaider Pulis Pangkalawakan.

Also, RP is used to refer to the Republic of the Philippines before the use of the standard two-letter country code PH.

I’m not saying FilAms should stop using PI to refer to the Philippines but I’m saying that the roots of that practice is from American oppression that homelanders have already cancelledttt.

Our oldest bank in the Philippines is BPI. It stands for Bank of the Philippine Islands, originally named El Banco Español Filipino de Isabel II because it was founded during Queen Isabella II’s reign. It was a public bank by then; perhaps comparable to the Federal Reserve. Upon its privatization during the American occupation, the bank started using BPI for the sake of branding because it was the Americans who christened us with P.I. (I have a theory that Manila was a character in Money Heist because the Royal Mint of Spain used to have a branch in the Philippines and operated very closely with BPI. And my other supernatural theory is that our translation of peso which is ‘piso’ affects our economy. ‘Piso’ means ‘floor’ or ‘flat’ in Spanish.)

Now, going back. To me, P.I. is more appropriate an acronym for the ethnic group of Pacific Islanders. I don't think I need to explain further why. These would be the natives of Hawai’i, Guam, Tuvalu, Kiribati, and other islands in the Oceania continent, and maybe even New Zealand. If a curious FilAm raises a question of whether Filipinos are Pacific Islanders or Asians or Hispanics, the answer is long but easy to understand.

The Filipinos live in a group of islands within the Pacific Plate. The Philippines is an Asian country, following conventions of geopolitical continental borders from the other. We are Hispanics by virtue of being under Spain for three fucking centuries. And Teresita Marquez is Reina Hispanoamericana because why not? (We could’ve been a part of America still if not for the efforts of Quezon.) So, the quick answer is that the Filipino is all of it.

Yes, the Filipinos have an affinity with the Pacific through nature and geography. Think of the earthquakes, volcanoes, flora and fauna, and the coconuts. And they even look like us. The earlier inhabitants of the archipelago were Pacific Islanders who were introduced to Hinduism and Buddhism as being closer to the cradles of civilization India and China. Then, the Islamic faith has grown along with the rise of the kingdoms and polities in Southeast Asia. The Spaniards arrived in the archipelago, to an already civilized Islamic polity - too civilized that they understood how diplomacy is necessary in war. We knew that it resulted to the defeat and death of Magellan who was fighting for Rajah ‘Don Carlos’ Humabon. Then came the 333 years of being under Spain AND (sic) the Catholic Church which made us more Hispanic. Our Austronesian/Malayo-Polynesian languages (Tagalog, Bisaya, Kapampangan, Ilocano, Bikol, Waray, Cuyonon, etc.) have kept our Asian identity intact - unlike Latin American countries where the official language of each is one of the Romance languages; thus "Latin".

(It is only towards the end of that 333-year Spanish rule that the 'Filipino' emerged to be something the oppressed could claim, and for that we thank the poet in Jose Rizal. I see a parallel in how Christians claimed the cross, the former symbol of criminals in Jewish tradition, to become the symbol of God’s love and salvation through Jesus. Wow. That’s so UST of me. Lol.)

You add into the mix that our diaspora is so large and identifiable, the data gatherers decided to mark the tables with “Filipino” - too Asian to be Hispanic and Pacific, too Pacific to be Hispanic and Asian, and too Hispanic to be Asian and Pacific.

What many FilAms do not realize everyday is that unlike the words Blacks, Latinx, Asians, or Pacific Islanders, or Hispanics, the word Filipino is not just a word denoting an ethnic group. At its highest technical form, the word Filipino is a word for the citizenship of a sovereign nation, enshrined in the constitution of a free people whose history hinges on the first constitutional republic in Asia.

By state, we mean a sovereign nation and not a federal state. (Well, even with Chinese intervention, at the very least we try.)

By state, we mean we are a people with a national territory, a government, and a legal system inspired by the traditions of our ancestors and oppressors. It may be ugly, but it is ours, and we have the power to change it.

This one may be as confusing as Greek-Grecian-Greco-Hellenic-Hellene, but let’s examine the word 'Filipino' further when placed side by side with related words.

*Pilipinas is the country; official name: Republika ng Pilipinas. It is translated into English as “Philippines”; official name: Republic of the Philippines. Spanish translates it into “Filipinas”, the Germans “Philippinen”, the French “Les Philippines”, the Italians “Filippine”.

*Pilipino refers to the people. It is translated into English as Filipino. The plural forms are ‘mga Pilipino’ and ‘Filipinos’.

*Philippine is an English adjective relating to the Philippines, commonly used for official functions. It may be used as an alternative to the other western adjective ‘Filipino’ but the interchangeability is very, very nuanced. Filipino people not Philippine people. Filipino government and Philippine government. Philippine Embassy, Filipino embassy, not Filipino Embassy. Tricky, eh?

*Filipino also refers to the official language of the state (which is basically Tagalog).

*Filipiniana refers to Philippine-related books and non-book materials (cultural items, games, fashion, etc.) which could be produced by Filipinos or non-Filipinos, inside or outside the Philippines.

*Pinoy is a colloquial gender-neutral demonym; comparable to how New Zealanders use the word Kiwi.

The demonym Filipino has evolved from that of referring only to Spaniards in the Philippines into becoming the term for the native people who choose to embrace the identity of a national.

It started from when Jose Rizal wrote his poem “A la juventud filipina” and he emerged as an inspiration to the Philippine Revolution through Andres Bonifacio’s leadership. (But take note of ‘filipina’ because ‘juventud’ is a feminine word in Spanish.)

Today, no less than the 1987 Philippine Constitution, which was neither written by Hamilton nor a group of straight white men but by people of different faiths, genders, disabilities, and skin colors, in its first five words in both Filipino and English versions read: "Kami, ang nakapangyayaring sambayanang Pilipino", translated as "We, the sovereign Filipino people” validates the legitimacy of the word as gender-neutral, alive, aware and awake with our history of struggles.

Article 14 Section 7 of the current Constitution says Filipino is the national language. And while I agree that it is not really a real language but an alias for Tagalog, it is a conscientious codification of a social norm during the time of Manuel Quezon as he is aiming for the world to recognize the unified Filipinos as a sovereign people. People. Not men. Not heterosexual men. People.

It is a non-issue for the homeland Filipino that the word Filipino refers to the people and the language. But FilAms are concerned of political correctness due to an understandable cultural insecurity also felt by other non-whites in the US. And there is added confusion when FilAms pattern the word Filipino after the patriarchal Spanish language, without learning that the core of the grammars of Philippine languages are gender-neutral. The Tagalog pronoun "siya" has no gender. "Aba Ginoong Maria" is proof that the Tagalog word 'ginoo' originally has no gender. Our language is so high-context that we have a fundamental preposition: “sa”.

It is difficult to be a person of color in the United States especially in these times of the white supremacy’s galling resurgence. Well, it’s not like they have been gone, but this time, with Trump, especially, it’s like the movement took steroids and was given an advertising budget. But for FilAms to force Filipinx into the Philippines, among homeland Filipinos, is a rather uneducated move, insensitive of the legacies of our national heroes and magnificent leaders.

The FilAm culture and the Filipino homeland culture are super different, nuanced. It’s a different dynamic for a Latinx who speak Spanish or Portuguese or whatever their native language is - it reminds entitled white English-speaking America of their place in the continent. It should remind a racist white man whose roots hail from Denmark that his house in Los Angeles stands on what used to be the Mexican Empire.

Let’s use a specific cultural experience by a Black person for example: the black person not only has Smith or Johnson for their last name, but there is no single easy way for them to retrieve their family tree denoting which African country they were from, unless the Slave Trade has data as meticulous as the SALN forms. Let’s use a specific cultural experience by a Mexican-American with Native American heritage: the person is discriminated by a white US Border Patrol officer in the border of Texas. Texas used to be part of Mexico. Filipinos have a traceable lineage and a homeland.

Filipinos and FilAms may be enjoying the same food recipes, dancing the same cultural dance for purposes of presentations every once in a while, but the living conditions, the geography, the languages, social experiences, the human conditions are different, making the psychology, the politics, the social implications more disparate than Latinxs like Mexicans and Mexican Americans.

I don’t know if it is too much advertising from state instruments or from whatever but FilAms don’t realize how insensitive they have become in trying to shove a cultural tone down the throats of the citizens of the republic or of those who have closer affinity to it. And some Filipino homelanders who are very used to accommodating new global social trends without much sifting fall into the trap of misplaced passions.

To each his own, I guess. But FilAms should read Jose Rizal’s two novels, Carlos Romulo’s “I am a Filipino”, materials by Miriam Defensor Santiago (not just the humor books), speeches of Claro Recto, books by historians Gregorio Zaide, Teodoro Agoncillo, Renato Constantino, Nick Joaquin, Regalado Trota Jose, Fidel Villaroel, Zeus Salazar, Xiao Chua, and Ambeth Ocampo, and really immerse themselves in the struggle of the Filipino for an unidentifiable identity which the FilAms confuse for the FilAm culture. That’s a little weird because unlike Blacks and the Latinx movement, the Philippines is a real sovereign state which FilAms could hinge their history from.

I have to be honest. The homelanders don’t really care much about FilAm civil rights heroes Philip Vera Cruz and Larry Itliong, or even Alice Peña Bulos, because it was a different fight. But the media can play a role sharing it, shaping consensus and inadvertently setting standards. (But it’s slightly different for Peña Bulos, as people are realizing she was already a somebody in the Philippines before becoming a who’s who in the US, which is somehow similar to the case of Lea Salonga who was not only from the illustrious Salonga clan, but was also already a child star.) How much do Filipino millennials know about Marcoses, Aquinos? Maybe too serious? Lol. Then, let’s try using my favorite examples as a couch potato of newer cultural materials accessible to FilAms - cultural materials on television and internet.

FilAms who only watched TFC wondered who Regine Velasquez was when ABSCBN welcomed her like a beauty queen. Those with the GMA Pinoy TV have a little idea. But they did not initially get why the most successful Filipino artist in the US, Lea Salonga, does not get that level of adulation at home that Velasquez enjoys. Was it just Regine’s voice? No. Well, kinda, maybe, because there is no question that she is a damn good singer with God knows how many octaves, but it is the culture she represents as a probinsyana who made it that far and chose to go back home and stay - and that’s already a cultural nuance Filipinos understand and resonate with, without having to verbalize because the Philippines is a high-context culture in general, versus the US which is low-context culture in general. I mean, how many Filipinos know the difference of West End and Broadway, and a Tony and an Olivier? What does a Famas or a Palanca mean to a FilAm, to a Filipino scholar, and to an ordinary Filipino? Parallel those ideas with "Bulacan", "Asia", "Birit", "Songbird".

You think Coach Apl.de.Ap is that big in the Philippines? He was there for the global branding of the franchise because he is an American figure but really, Francis Magalona (+) and Gloc9 hold more influence. And speaking of influence, do FilAms know Macoy Dubs, Lloyd Cadena (+) and the cultures they represent? Do FilAms know Aling Marie and how a sari-sari store operates within a community? Do FilAms see the symbolic functions of a makeshift basketball (half)courts where fights happen regularly? How much premium do FilAms put on queer icons Boy Abunda, Vice Ganda? Do FilAms realize that Kris Aquino's role in Crazy Rich Asians was not just to have a Filipino in the cast (given that Nico Santos is already there) but was also Kris Aquino's version of a PR stunt to showcase that Filipinos are of equal footing with Asian counterparts if only in the game of 'pabonggahan'? Will the FilAms get it if someone says ‘kamukha ni Arn-arn’? Do FilAms see the humor in a Jaclyn Jose impersonation? Do FilAms even give premiums to the gems Ricky Lee, Peque Gallaga, Joel Lamangan, Joyce Bernal, Cathy Garcia Molina, and Jose Javier Reyes wrote and directed? (And these are not even National Artists.) How about AlDub or the experience of cringing to edgy and sometimes downright disgusting remarks of Joey De Leon while also admiring his creative genius? Do FilAms understand the process of how Vic Sotto became ‘Bossing’ and how Michael V could transform into Armi Millare? Do FilAms get that Sexbomb doesn’t remind people of Tom Jones but of Rochelle? Do FilAms get that dark humor when Jay Sonza’s name is placed beside Mel Tiangco’s? What do FilAms associate with the names ‘Tulfo’, ‘Isko’, ‘Erap’, ‘Charo’, ‘Matet’, ‘Janice’, ‘Miriam’, ‘Aga’, ‘Imelda’ and ‘Papin’? Do FilAms get that majority of Filipinos cannot jive into Rex Navarette’s and Jo Koy’s humor but find the comic antics of JoWaPao, Eugene Domingo, Mr Fu, Ryan Rems, and Donna Cariaga very easy to click with? Do FilAms know Jimmy Alapag, Jayjay Helterbrand, Josh Urbiztondo? Oh wait, these guys are FilAms. Lol. Both cultures find bridge in NBA, but have these FilAms been to a UAAP, NCAA, or a PBA basketball game where the longstanding rival groups face each other? Do FilAms know the legacy of Ely Buendia and the Eraserheads? Do FilAms know about Brenan Espartinez wearing this green costume on Sineskwela? Do FilAms know how Kiko Matsing, Ate Sienna, Kuya Bodjie helped shape a generation of a neoliberal workforce?

That list goes on and on, when it comes to this type of Filipiniana materials on pop culture, and I am sure as Shirley Puruntong that while the homeland Filipino culture is not as widespread, it has depth in its humble and high-context character.

Now, look at the practical traffic experiences of the homelanders. People riding the jeepneys, the tricycles, the MRT/LRT, the buses, and the kolorum - the daily Via Crucis of Mega Manila only Filipinos understand the gravity of, even without yet considering the germs passed as the payments pass through five million other passengers before reaching the front. Add the probinsyas, people from periphery islands who cross the sea to get good internet connections or do a checkup in the closest first-class town or component city. Do FilAms realize that the largest indoor arena in the world is built and owned by Iglesia ni Cristo, a homegrown Christian church with a headquarters that could equal the Disney castle?

Do FilAms know the experience as a tourist's experience or as an experience a homelander want to get away from or at least improved?

Do FilAms understand how much an SM, a Puregold, or a Jollibee, Greenwich, Chowking branch superbly change a town and its psychology and how it affects the Pamilihang Bayan? Do FilAms realize that while they find amusement over the use of tabo, the homelanders are not amused with something so routinary? Do FilAms realize how Filipinos shriek at the thought that regular US households do not wash their butts with soap and water after defecating?

Do FilAms understand the whole concept of "ayuda" or SAP Form in the context of pandemic and politics? The US has food banks, EDDs, and stubs - but the ayuda is nowhere near the first world entitlements Filipinos in the homeland could consider luxury. But, that in itself is part of the cultural nuance.

Do FilAms know that Oxford recognizes Philippine English as a diction of the English language? While we’ve slowly grown out of the fondness for pridyider and kolgeyt, do FilAms know how xerox is still used in the local parlance? Do FilAms know how excruciating it is to read Panitikan school books Ibong Adarna, Florante at Laura under the curriculum, and how light it is to read Bob Ong? Do FilAms realize that Jessica Zafra, with all her genius, is not the ordinary homelander’s cup-of-tea?

Do FilAms know that Filipinos do not sound as bad in English as stereotypes made them believe? Do FilAms really think that Philippines will be a call center capital if our accents sound like the idiolects of Rodrigo Duterte’s or Ninoy Aquino’s Philippine English accent? Do FilAms realize how Ninoy and Cory speak English with different accents? Lea Salonga's accent is a thespian's accent so she could do a long range like that of Meryl Streep if she wants to so she wouldn't be a good example. Pacquiao's accent shows the idiolect unique to his region in southern Philippines. But for purposes of showing an ethnolinguistic detail, I am using President Cory Aquino’s accent when she delivered her historic speech in the US Congress as a more current model of the Philippine English accent.

Do FilAms bother themselves with the monsoons, the humidity, and the viscosity of sweat the same way they get bothered with snowstorms, and heat waves measured in Fahrenheit?

Do FilAms know that not only heterosexual men are accepted in the Katipunan? Do FilAms even know what the Katipunan is? Do FilAms realize that the Philippines had two female presidents and a transwoman lawmaker? Do FilAms take “mamatay nang dahil sa’yo” the same way Filipinos do? Do FilAms know the ground and the grassroots? Do FilAms know the Filipino culture of the homeland?

These are cultural nuances FilAms will never understand without exposure of Philippine society reflected from barrio to lalawigan, from Tondo to Forbes Park. It goes the same way with Filipinos not understanding the cultural weight of Robert Lopez and the EGOT, or Seafood City, or Lucky Chances Casino, or what Jollibee symbolizes in New York, unless they are exposed.

The thing though is that while it is harder for FilAms to immerse to the homeland culture, it is easier for homeland culture to immerse into the FilAm’s because America’s excess extends to the propagation of its own subcultures, of which the FilAm’s is one.

We’re the same yet we’re different. But it should not be an issue if we are serious with embracing diversity. There should not be an issue with difference when we could find a common ground in a sense of history and shared destiny. But it is the burden of the Filipinos with and in power to understand the situation of those who have not.

Nuances. Nuances. Nuances.

And while I believe that changing a vowel into X to promote gender-neutrality has a noble intention, there is no need to fix things that are not broken. Do not be like politicians whose acts of service is to destroy streets and roads and then call for its renovation instead of fixing broken bridges or creating roads where there are none.

The word ‘Filipino’ is not broken. Since Rizal’s use of the term to refer to his Malayan folks, the formal process of repair started. And it is not merely codified, but validated by our prevailing Constitution, which I don’t think a FilAm would care to read, and I cannot blame them. What's in it for a regular FilAm? They wouldn’t read the US Constitution and the Federalist Papers; what more the 1987 Saligang Batas?

The bottomline of my thoughts on this particular X issue is that FilAms cannot impose a standard for Filipinos without going through a deeper, well-thought-out, more arduous process, most especially when the card of gender neutrality and political correctness are raised with no prior and deeper understanding of what it is to be a commoner in the homeland, of what it is to be an ordinary citizen in a barangay, from Bayan ng Itbayat, Lalawigan ng Batanes to Bayan ng Sitangkai, Lalawigan ng Sulu. It is very dangerous because FilAms yield more influence and power through their better access to resources, and yet these do not equate to cultural awareness.

Before Rizal’s political philosophy of Filipino, the ‘Filipino’ refers to a full-blooded Spaniard born in the Philippines, and since Spain follows jus sanguinis principle of citizenship, back then, ‘Filipino’ is as Spaniard as a ‘Madrileño’ (people in Madrid). The case in point is Marcelo Azcárraga Palmero - the Filipino Prime Minister of Spain.

But the word ‘Filipino’ was claimed by Rizal and the ilustrados to refer to whom the Spaniards call ‘indio’. The term was then applied retroactively to those who helped in the struggle. It was only later that Lapu-Lapu, Francisco Dagohoy, Gabriela and Diego Silang, Sultan Kudarat, Lorenzo Ruiz, and GOMBURZA were called Filipinos.

The word 'Filipino' was long fixed by the tears and sweat of martyrs through years of bloody history in the hands of traitors within and oppressors not just of the white race. The word Filipino is now used by men, women, and those who do not choose to be referred to as such who still bears a passport or any state document from the Republic of the Philippines. Whether a homelader is a Kapuso, Kapamilya, Kapatid, DDS, Dilawan, Noranian, Vilmanian, Sharonian, Team Magnolia, Barangay Ginebra, Catholic, Muslim, Aglipayan, Iglesia, Victory, Mormon, IP, OP, SJ, RVM, SVD, OSB, OSA, LGBTQQIP2SAA, etc., the word 'Filipino' is a constant variable in the formula of national consciousness.

Merriam-Webster defines Filipina as a Filipino girl or woman. Still a Filipino. Remember, dictionaries do not dictate rules. Dictionaries provide us with the meaning. To me, the word Filipina solidified as a subtle emphasis to the Philippines as a matriarchal country faking a macho look. But that’s not saying the word Filipino in the language is macho with six-pack.

The word Filipino is not resting its official status on the letter O but in its quiddity as a word and as an idea of a sovereign nation. The words Pilipino, Filipino, and Pinoy are not broken. What is broken is the notion that a Filipino subculture dictates the standard for political correctness without reaching the depth of our own history.

If the Filipinx-Pinxy-Pilipinx movement truly suits the Filipino-American struggle, my heart goes out for it. But my republic, the Philippines, home of the Filipino people, cradle of noble heroes, has no need for it (not just yet, maybe) - not because we don't want change, but because it will turn an already resolved theme utterly problematic. The Filipinos have no need for it, not because we cannot afford to consider political correctness when people are hungry, abused, and robbed off taxes. We could afford to legalize a formal way of Filipino greeting for purposes of national identity. But as far as the Filipinx, it should not be the homeland’s priority.

We may be poor, but we have culture.

From Julius Payàwal Fernandez's post

#Filipino #culture #Philippines #filipinx #pinxy #pinoy #filipina #pinay

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divergent-mshs · 3 years

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Perturbing the Comforted: On the Philippine Education System

Carrying the brandished hope of an unassailable force, the circle continues in its mindless cycle — traversing the same path, and leading to the same point from where it started: an imprisonment within the system that only seeks to continuously perpetuate itself rather than pave way for the birth of a new resolution. The chains that persist in their regressive purpose of molding dilemmas within the Philippine educational system converges in three grips — colonization, commercialization, and fascism.

Back when I was in primary school, I remember loving the color orange in a strange manner I could not comprehend. It would always be my go-to whenever we were made to pick our crayons to paint our coloring books with our desired touches. Even when the alphabet was first taught to us, the example used for words starting with letter “o” was the word orange. Growing up, the realization slowly starts to dawn on me: through the process of being socialized in my first years of education, there is always something foreign with how examples and lenses are taught to us. Something out of touch.

The enslavement of the Filipino people, ever since time immemorial, is reproduced in the way the culture they are a part of creates a machinery of impunity by molding itself to justify superficial ideals imposed by those who hold our economy, ensuring that it will be maintained through their ceaseless hold in our social conditions. As Renato Constantino put it, the most effective means of subjugating a people is to capture their minds.

After all, what better way is there to capture the people’s mind than controlling the very institution tasked with the responsibility of indoctrinating the people in the society they operate from, taking form in education?

The system of education that exists within the Philippines could not be analyzed without properly tracing its roots. Myopic analysis devoid of its own historical context is one of the major setbacks that hinder the progression of a refined discourse in this topic. It is only through dissecting the material conditions of the society will the understanding of the educational system’s orientation come in its true essence.

The domination of the English language as the medium of instruction, as well as the implementation of Commission on Higher Education (CHED) Memorandum 20 which eliminates Filipino at Panitikan as one of the core subjects in college, is one of the many proofs that the colonial orientation of education persists in its stronghold upon the system.

Philippine education was once shaped in the purpose of preserving American control. In order to attain this, it was of paramount importance that any separatist ideas are decimated. This goes hand-in-hand with the colonizers’ interest of maintaining their control on the nation’s mode of production. The ideological apparatus they have consolidated, taking root in education, ensures that they will mold generations of Filipinos who shall view themselves as obedient little colonials, free of any genuine nationalistic notions of liberating themselves, and putting American culture in superior heights in order to turn back on their identity.

According to Joseph Hayden in his study, it has been the English language and the very struggles necessary to acquire it that molded American culture to be instilled in the country, to which its usage brought the Filipinos to Americans and their culture. In 1925, the Monroe Survery Report criticized the system of education that the colonial administration imposed on their first decade of colonization. They said that the very curriculum instills American culture through organized and systemic means.

The English language as the medium of instruction is the strongest grip, in our time, of colonial chain in our educational system. The machinery of power in this society is held by the people who believe that it is only through English shall the Filipinos acquire real education.

Alienation presents yet another peril brought by the colonization of education. It ensures that bourgeois-liberal tendencies will be championed to nurture individualism within the students, separating them from the society they are a part of. It glorifies suffering and masks them as necessary pain from where their consciousness must be submerged in instead of troubles that require transformation — it encourages the submission to the status quo, a defeatist approach, in order to quell any attempt of transforming it which is against the interest of those whose power lie on the succession of the inequality within the system.

It glamorizes the Philippines as an agricultural country, but it pries away from awakening the students from the fact that the backbones of the sector that makes this country agricultural are suffering and are subjected to inhumane societal conditions. It vilifies any hope for national industrialization, ensuring that our economy will remain dependent on foreign hold. The preservation of backward culture is systematic, creating ideological conditions that promotes colonial assimilation.

The struggle of the Filipino people, however, does not stop there — the chains only continue to expand, clawing even deeper upon their already decaying flesh.

The K-12 program has embarked as yet another weapon of colonial spite. The issue here isn’t as simplistic as whether the Philippines is ready for this change, but its core orientation that urged its implementation. Its design conformed to the Bologna Accords of European Union and Washington Accord of USA. It mentioned how those who shall work in other countries must finish 12 years in accordance to the needs of foreign multinational companies.

In short, it is another path for foreign interests to use our education as breeding grounds for a bulk of cheap laborers. According to the Philippine Statistics Authority, the number of Overseas Filipino Workers (OFWs) who worked abroad at any time during the period April to September 2018 was estimated at 2.3 million. This accounts to more than 6,000 Filipinos migrating every day to work outside the country. The objective of the K-12 centering on readying its completers for jobs entails the underlying consequence of further satisfying foreign avarice at the expense of the Filipinos.

The dilemma of colonization in education brings forth the second ordeal — commercialization. It lies on the principle of marketization that the capitalist foreign forces have shaped in the educational system. A principle that equips the students to be coerced in submerging themselves within market demands, rather than studying as means of changing the social conditions that make it unbearable to begin with.

According to a Department of Education report back in 2012, in every 100 students that enroll in elementary, only less than 14 of those are able to finish college. The significant amount of the youth who have been incapable of finishing their education can’t be isolated cases — they are manifestations of the ills within the system.

Once brought upon the slums, would one really still have the opportunity to persist in their studies when their churning stomachs are already driving them on the edge?

It is, yet again, social conditions that hinder the progression of the majority of those driven out of their schools to settle in clamoring for jobs. This is strengthened with commercializing education, treating it as means of gaining profit rather than a right for the people.

In present times, public institutions are seen as inferior compared to their private counterparts. Only those who can’t afford private schools send their children to public schools. Those who can afford it, however, send their children to private institutions. Its outcome led to over-glorification of private education which has unfortunately resulted to the proliferation of diploma mills.

This dilemma is further exacerbated with the education’s deregulation. This is when the government frees themselves from tenets of their responsibility to ensure free education for all, and allow power for private sectors to enter the educational realms. The MTHEDIP mentioned a case study that illustrates the collaboration of transnational corporations like IBM with the Far Eastern University (FEU) in setting up the East-Asia College.

The government argues that the educational system ought to be internationalized in the case of our curriculum in order to attract as many foreign enrollees as possible as in the case of the Asian Institute of Management (AIM). In order to further justify decreased budgetary allocation for education, the MTHEDIP makes no pretense at advocating the commercialization and corporatization of the tertiary public school system.

Finally, it comes at a full circle — the form of fascism is instilled within the educational system, functioning in their earnest objective of preserving the structures mentioned earlier.

Constantino described how nationalism is taught at schools in a very narrow-sighted way. It merely raises patriotism in the sense that it could be fully achieved through its symbolic means of respect in the flag, appreciation for our national symbols, and obeying to authorities without question. It creates a culture of compulsory subservience — one that is needed in maintaining power structures.

True nationalism, however, lies on the desire to cultivate national survival, which is what education should be made for in the first place. Fascism derails this — it simply generates a nonscientific culture of imposing ‘discipline’ by having powers remaining unquestioned, shunning criticality, and alienating the students from the broad masses where they can channel their true nationalism to. After all, it is the people who make up the nation.

It is only warranted that these three rots be vanquished, for as history itself has shown, nothing is subject for permanence. The call for a genuine nationalistic, scientific, and mass-oriented education waits to be heeded. It is only through that should education finally come in its full terms of providing an avenue for the people to mold a society that leans on itself, liberated from ideas that only oppress the people, and addresses the struggles that have long been untapped in the community.

Given these, what’s left for the Filipino youth is their collective will to stand for their democratic rights. History already proved how their united action could bring upon societal change. The youth of tomorrow leave their hope on the youth of today to topple regressive forms and destroy whatever illusion the people still cling into as means of justifying the exploitation of the Filipinos — the path to liberation is never comforting, for the comforted ought to be disturbed, and from there on, the disturbed will rise to spring comfort upon everyone.

#mshs #filipino #philippines #education #kids edition

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marcmaccoy · 3 years

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”LA DIVERSIÓN EN IDIOMAS”

The title above is translated as, “The fun in languages”, something that I never really felt and had at the beginning. Ever since the quarantine started, I really did not plan to do anything nor to improve myself in any of my hobbies at all. Maybe it’s because I expected that all these crisis will be over in a week or two, which obviously and sadly, did not happen. Before, I just like to play my musical instruments, paint, and I got into Korean Dramas as well because of my friends. Sometimes, I bond with my pets and do cooking experiments too. All of these are done in order for me to avoid boredom. However, as time goes by, those things became a bit dull to me and I felt the need to discover something new.

Let me share a bit of my journey first.

As I watch Korean Dramas, I got this tendency to copy what they say and it became a habit of mine whenever I want to express something. So instead of saying, “Salamat” or “Thank you”, I often say, “감사”(gam-sa) which is an informal way of saying “Thank you” in Korean. Also, “안녕”(an-nyeong) which means “Hi”, “네”(ne) which means “Yes”, “아니”(ah-ni) which means “No” and many more. At that time, I didn’t know how to read their alphabet yet but because of my curiosity, I’ve thought of studying it. Surprisingly, I learned “한글”(han-geul) or the Korean Alphabet in just a day! Nine total hours to be exact. I was dumbfounded by how I was able to understand that in just a short manner of time. This inspired me to continue moving forward until I decided to finally learn the Korean language.

In the middle of my journey learning the said language, I began to encounter a lot of interesting facts about it. Such as it wasn’t the writing system of Korea before and how it only existed at about 578 years ago during King Sejong’s reign. It is said that “한글”(han-geul) was created in order for people with little to no education could learn how to read and write. Because before, many Koreans are illiterate due to their very complex Chinese-based writing system called Hanja (漢字) which is difficult to understand. Meaning to say, it was created by the King for the purpose of literacy. Also, the shapes of the letters in 한글 was based on the surroundings and how you say it. These are among the facts that I knew while I became deeply interested in Korea’s traditions, history, and cultures. I was so excited to be fluent that time. I even made flashcards to enhance my vocabularies, watched a lot of tutorials on YouTube, surfed many websites on the Internet, and proceeds to watch Korean series. Little did I know, I was going to unexpectedly give up studying this language. Why? Well, when I got into its grammar, I was surprised by how complicated it is. I also saw videos on YouTube about Filipino learners of the Korean Language that aren’t still fluent after years of studying. So I got a bit down and frankly, I lost my motivation.

Even so, my language learning journey did not stop there. I still want to learn a foreign language that interests me other than the ones I already know which is Filipino, my native mother-tongue and English, my second language. I tried Japanese because of Animes but it was a bit complicated too. They have three kinds of writing systems and the grammar is similar to Korean. French because I have a French uncle and a Filipino cousin and aunt which speaks fluent French but when I knew how it sounded and how the words were pronounced, I already lost hope. French pronunciation is too complicated for me. I also dig up about German because my main to-go-to country in the future is Switzerland and of course, I would want to communicate with people there. However, German is laborious too! The words, the combinations of letters, and the grammar is too confusing. Until I finally encountered the language that’s spoken by the first colonizer of my motherland and it is no other than Spanish.

I started by memorizing basic phrases such as, “Gracias”, “De nada”, “Hola”, and a lot more. I was, once again, amazed by how easy this language is spoken. It is because Spanish is a phonetic language. Meaning, the words are pronounced exactly the way they are spelled. Also since Spain colonized my country for about 333 years, we adopted a lot of words from them which are now considered as loan words. It is estimated that about 4,000+ Tagalog and 6,000 Visayan words came from Spain. Some of the examples include baso(vaso), lamesa(la mesa), tinidor(tenidor), kutsara(cuchara), bumbilya(bombilla), and banyo(baño). As well as the number system, the names of the months, days, expressions, greetings, and many more. For this reason, I was determined to continue learning it because unlike in the other languages, there is no need for me to struggle in memorizing new vocabularies.

I did the same things I did to Korean and just added some new tactics. While my school is on a term break after the first semester, I enrolled at a Spanish Beginner course online where we are taught by a Filipino teacher who is fluent in 5 languages: English, Tagalog, Spanish, Portuguese, and Italian. My cousin from France, who’s also fluent in Spanish, gave me books like Spanish dictionaries and grammar textbooks for writing and reading purposes. I was also able to use my Netflix binge-watching skills and started to watch a lot of Spanish series for listening purposes. And on YouTube, I began to discover facts about Spain. Their rich culture, history, and traditions, and how their language was influenced by Arabic as well. Additionally, Spanish is the 2nd most spoken language in the world, surpassing the English language, having over 460 million native speakers located in Spain and in Latin American countries. It is also the 3rd most used language on the internet. That’s a lot of people to talk to!

Furthermore, did you know that being multilingual gives your brain several remarkable advantages? Some of it can be seen such as higher density of the grey matter that contains most your brain’s neurons and synapses. It also helps our brain engage in more activities in certain regions where that language is spoken. And although not yet definitively proven, learning many languages decreases the rate of having dementia by 5 years! In addition, more businesses nowadays are seeking applicants who can navigate the modern global economy. It can be seen that in the 21st Century, knowing a second language is not only beneficial, but necessary for success in life. The continual globalization of the world’s economy is bringing diverse cultures and communities into more frequent contact with each other.

Looking back in time, I was nothing like this way before the quarantine started. Learning languages was never really included in my interests. But now, it is! In fact, I am even determined to shift my college course to something related to languages and pursue a master’s degree about linguistics. Indeed, it changed my life. It changed how I see things from a monolingual perspective and it opened a new horizon for me. Gladly, I was even able to have Spanish speaking friends! I have this one friend from Peru who speaks fluent Spanish and I happily encountered Spanish native people here in Facebook who are trying to learn a different language as well.

Overall, my experience was a blast! There are times that I became tired and almost lose my motivation because of how slow my progress is. But even so, I will not give up. I am not fluent yet and I still have a lot to know but I will keep on practicing until I become one. I believe that in the near future, it will open new opportunities that will be helpful for me too. Moreover, It has always been my dream to travel and I truly think that language learning will be an aid to that. Hoping that I’ll be able to talk to that nearing 500 million people soon!

Before I end my blog, I just want to share this quote from Charlemagne, also known as Karl and Charles the Great, a medieval emperor who ruled much of Western Europe during 768-814, “To have another language is to possess a second soul.”

Bueno. Eso es todo. Gracias por su tiempo leyendo mi blog. Espero que encuentres algo interesante. Además, a aquellos que están aprendiendo otro idioma, nunca perder la esperanza! Pronto seremos fluidos.

Truly, there is fun in languages.

#languages #languagelearning #spanish #korean #french #german #learninglanguages #studying #culture #idiomas #linguistics #fun #writing #reading #listening #speaking #journey

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purplesurveys · 3 years

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1157

survey by hxcsingingsk8r

Phone Scavenger Hunt

First off, what phone do you have? I have an iPhone 8.

And what provider do you use? It’s a local one you wouldn’t know about, called Globe.

How long have you had your current phone? I can’t remember if it would be 3 or 4 years this 2021. Either way, it’s definitely been a while and I’ve been itching to upgrade. It’s too early to make such a big purchase, though.

Do you have any cases for it? Describe them. I have a clear case that I bought last year. Before that, I had a pink Otterbox case that I managed to destroy even though Otterbox is normally known for its durability. I just have a very unique ability to wreck everything I’ve ever owned lol.

How old were you when you got your first cellphone? I was technically 6, but it was meant to be a present for my 7th birthday. We threw a birthday party a month in advance because my dad had to fly back abroad for work before my actual birthday, but we wanted him to be present at the celebration so we decided throwing a party early was the best route.

What about your first smartphone? [If the answer is different] It was an iPhone 5S.

How old are you now? Dunno what this has to do with the theme of the survey but I am now 22.

Okay, move onto the scavenger hunt part

What is your lock screen picture of? It’s of Kim Seon Ho at a restaurant, lmao.

Home screen? It’s one of the shots from a recent promotional photoshoot Hayley did for Good Dye Young.

How many pictures are thre currently on your phone? This question just made me so anxious hahaha. I have way too many photos; and upon checking, it turns out I currently have 6,266. My god do I need to clean up my camera roll this weekend.

How many videos? I have 227. I have no idea it’s gotten to be this many; I barely use my phone to take videos. I’ll go ahead and delete some of them right now, just to give my phone (and its storage) space to breathe.

What is your most recent picture of? It’s a work thing...I guess I’ll explain it so it can make more sense. So one of our clients has got this Lent campaign going on, and to spread word about it we’ve tapped a handful of food bloggers to try out the offers themselves and post about their experience on social media. Now that we’re in the middle of Holy Week they’ve gone ahead and uploaded their own posts, and I’m in charge of taking screenshots so I can show to the client that the execution had been successful.

And the most recent video? It’s a private vlog. Every Sunday, or at least every other Sunday I take a few minutes to sit down and do a weekly video thing where I talk about my ~mental~ and ~emotional~ status, and it’s basically a way to be in touch with myself and keep track of my progress. Who knows, maybe I’ll actually get to uploading them one day.

Do you have any albums? If so, of what? Yeah. I have one for Cooper, one for Kimi, and a bunch of tiny albums I’ve made where I compiled 4–5 photos of friends to post on their birthdays.

What pictures have you favorited? I have a lot of favorited photos. There’s no required category for me to label them as such.

Do you have any shared albums with friends or family or work? No. I’m not sure if I can do that, or how to do it if it is allowed.

Do you have any alarms set? For what time and for what occasions? I have a bunch of alarms but only because they’re archived into the Clock app and I just haven’t gotten around to deleting them. When I was still new at my work, I used to have alarms set for certain work tasks I have to take note of every week – but now that I’ve gotten into the groove of things, I don’t need the alarms to be reminded about them anymore.

Check your weather app, what is the weather and temperature where you live? It says ‘Mostly Clear’ and shows a temperature of 26ºC.

Do you have the YouTube app? Do you have your own channel? I do have the app and my own account, but I never use it to post videos. It’s nice to have my own channel so that my homepage can be tailored to my interests.

Do you have an email app? Which one do you use? I just have the default Email app that comes with iOS, but I never use it because it’s so wonky. It doesn’t refresh new emails and it takes forever when it does, and it doesn’t always show the full thread of email conversations. If I absolutely need to check my email for something I usually have to pull out my laptop.

Does it say that there is an update available on your phone or any apps? Yes, it reminds me everyday hahaha. I don’t update unless Apple has been planning a big revamp with new features, though; and if the updates are just to address bugs, I disregard the reminders.

Go into your contacts, how many contacts do you have total? It says I have 178.

Name all of your contacts under the letter M: Feels a tad bit invasive, so I’ll just name five people I have under M: Lui, Kim, Patrice, Danika, and Andi.

Name all of your contacts under the letter U: I don’t have anyone under U.

Do you have any contacts that are businesses rather than people? Which ones? No, I don’t really use text to contact businesses. If I wanted to inquire or order from one, I usually head to their social media page.

Go into your notes, how many notes do you have saved? This is another one I have a hoarding problem with lol. My phone says I currently have 561 notes, though I’m fairly certain the biggest chunk of it comes from minutes I’ve taken down from work meetings. It was a whole lot less when I was still in school.

What kinds of things do you save in your notes? Like I said, I use Notes for taking down minutes from meetings. There are also a few surveys on there, from times I didn’t have internet and couldn’t post them on here.

Do you have any voice memos saved? What of? Yep. Some of them were recordings I had to do for journalism classes I was assigned to do voiceovers; some are interviews, also from my journ class; and the rest are of me rambling.

Do you ever use the calculator app? Pretty frequently for work.

Do you ever use the Maps app? Not really. If I needed directions, I would check out Waze for that.

Do you have any health/fitness apps? Which ones? I still have the Nike Training app from the very brief time I wanted to start working out earlier this year.

Do you have the Instacart app? The what now? I’ve never even heard of that.

What about a delivery service like Postmates, Uber Eats, Grubhub, Doordash? I have the McDelivery app for McDonald’s, but I also have other general delivery apps like Grab, Lalamove, and Transportify.

Do you have something like Venmo, Cashapp, or Paypal? I have the Paypal app but I never use it. I also have a couple of e-wallet apps just in case I’d have to use them as a payment method, since some businesses I purchase from prefer certain ones. Ultimately, though, I use Grab’s mobile wallet the most often.

Do you use Bitmoji? I think I did before? I never used it all that regularly though. Didn’t see the point.

What other keyboards do you use besides English? Any? Filipino, Korean, and Emoji.

Which social media network apps do you have? Twitter, Facebook, Instagram, YouTube, Tumblr, TikTok, and Snapchat. So I guess I have all the main ones?

If you have Instagram, what is your handle and how many followers? I have a very private one I only use for work. I didn’t want it to have any followers but at present there’s Angela (because she asked to follow it this week) and Bea (idk why).

What do you typically post on the various social media platforms? The only ones I regularly post on are Twitter and Facebook, and on either I share life updates (if there are any) and memes; though on Facebook I have to watch out what kind of memes I share and make sure they aren’t too offensive because I’m friends with relatives, workmates, and media on there lmao. But on Twitter, I basically have no filter.

Do you make TikTok videos? I don’t make any myself, but I do enjoy going through the app.

Do you only add people you know on Facebook? Yes, for the most part. I’ve taken to adding people as long as they’re from UP or my high school even though I’ve never met them as well, but if I sense that they only added me to try and sell me insurance OR try to get me into MLM, then it’s an instant unfriend for me.

Do you have an app that tracks Instagram followers? No, because I don’t need to track my Instagram followers. I’m off the radar as off the radar gets.

Do you have a Snapchat? Yeah, it’s still on my phone just because but I literally never touch it anymore.

Do you ever take selfies with filters? What app's filters do you use? Eh, just before. I don’t really take selfies anymore, period.

Do you use any apps like Depop or Poshmark or Etsy? No. Out of these three I’ve only ever heard of Etsy, too.

What messengers do you use to talk to people? Any besides just texting? I have Messenger to stay in touch with family and friends; Whatsapp and Viber for work; and Telegram just in case my friends want to play games.

Do you have any photo editing apps? Which ones? I have this app called Foodie that has some pretty filters. Otherwise, since I’m not on Instagram anyway I’m never on the lookout for photo editing apps; no one ever filters their photos on Facebook and Twitter lol.

Do you have any games? Which ones? I do have a ton of games on my phone. I never play any of them, but I keep them just in case I get bored enough to start revisiting them. I have word games, drinking games, games similar to Heads Up! where one person will have to guess the word on the screen while the phone is on their forehead, and gimmicky games like 1010! and Candy Crush haha.

Do you have any rideshare apps like Lyft or Uber? I have Grab, which is a rideshare, parcel delivery, food delivery, and online grocery app all in one.

Now go to the actual phone app, whose phone numbers are saved as favorites? I don’t tag any of my contacts as favorites.

Who was your most recent outgoing call to? I can’t recognize the number, so it was probably a Transportify driver that I called to give him directions to my house.

Who was your most recent incoming call from? I also can’t recognize the number, but this time he was most likely a Grab driver.

Who was your most recent missed call from? Again, can’t recognize the number HAHAA

Why did you miss that call? On purpose? Were you sleeping? Busy? My phone is on silent 24/7, so I must have missed it while I was working.

Who is your most recent voicemail from and what's it regarding? We don’t have voicemail in the Philippines.

What was the last thing you Googled or searched on your phone? Candle tunneling and how to fix it.

What music app do you use? Apple Music? Spotify? Something else? I use Spotify, but I also availed of a 3-month trial on Apple Music earlier this year just because. I think it’s supposed to end soon but I have no plans to shift.

What playlists have you made on there? I have playlists called, “robyn discovers kpop,” “winding down,” “angst,” “not my loss,” and my personal favorite, “paramore but fuck you.”

Lastly, what is the most recent song/album you've added to your collection? What Type of X - Jessi.

#survey #surveys

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cometscape · 3 years

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Intro to Digital Publishing

It's already been established that mass media plays a vital role in our society. They update, inform and entertain individuals. They also shape the way people look at the environment and change their stance in life. Journalism is essential, much as the mass media, because it provides the audience with current and appropriate knowledge and news. The nation would be unaware without journalism. By revealing injustices that go unpublished, and collecting potential tools to investigate a particular tale, journalism will help deliver justice. However, Journalists do not directly insert themselves on delivery justice.

Lately, there’s this new TV show that is viewed by the majority of the country. I was confused why a lot of the people found the show entertaining. This show is led by a Raffy Tulfo. I tried to watch an episode that is about a teacher and it became viral on Facebook, Twitter, and everyone was debating about what was the right thing to do in this situation. Upon deeper research, I have noticed that the show focuses on issues of different citizens in the country who seek justice. The people who show up in the show as the complainant are said to be people who cannot afford to go to court. In a court, you need a judge present during proceedings. Raffy Tulfo is not just the host of the talk show but, he is also acting as the commentator, mediator, police officer, and judge who gives the predicament on what to do for the victims during every episode. Compared to the show face to face, he does not invite licensed people equipped to help. He’s a media practitioner that acts as if he is a license to serve the justice that these victims demand. But despite this, people still find the show amusing and entertaining in a way where some of the situations in the show are so mediocre that you end up making this issue something comedic. I can assume that the reason why the Raffy in Action show receives a lot of interest and views is that we Filipinos seem to slip into the category of being chismosa/chismosa because Filipinos love the word drama. We tend to enjoy watching telenovelas because of the conflict it gives us and we find it entertaining to watch. This is why Raffy Tulfo is in demand its justice serving show offers the Filipinos a variety of drama and conflict.

For me, I don't like this setup. Some people might find it entertaining to watch people cry, scream and curse at each other. This show is not licensed to decide how justice should be served. As I have said in the second paragraph that this show doesn't invite licensed professionals with them. Only a media practitioner acts as the psychiatrist, officer, and judge on the said show. Some of the victims deal with mental illness that only a professional can help them. But since he's not licensed, he tends to give them the “wrong solution”. Our justice system in this country undergoes due process. Even if our judicial system is slow, I don't think it's ideal for unlicensed personnel to act in a profession he is not licensed to do. A lot of testimonies on the comment section have already shared their experience that only the oddest problems or problems that the mainstream media would love and trend are the ones that get addressed in the show and those that are not would only get a referral letter if your story is not air time worthy. Tulfo-justice is not justice. To anyone who needs help with the means of justice, I hope they quit running to Tulfo for justice because he is only using the victims for views and manipulating them to think that they're getting the justice they deserve. They are a product and he is a capitalist that monetizes from their private story and shares it to a public audience.

#ACN4305 #IntroToDigitalPublishing

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bts-story · 4 years

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hi! is it ok to request where in y/n and namjoon are a couple, and were casually talking using y/n's mother tongue (filipino) around the boys? The boys were shocked about it because not only they didn't know that you're half fil/kor (you look more korean), but because namjoon used to be you and your brother's best friend, and eventually knew how to talk in your language (besides speaking in english) since he was a kid bc he thought it was cool. 😂 sorry if its too much!

Using a different language is always weird.

Well, as weird as it is to fully and completely understand how works putting letters together to form a chain which forms a word. And what are word put the essence of a language, something made by living a long, long, long time ago just so they could understand one another. It’s even weirder to say many different words mean the exact same thing.

Spanish might call an airplane ‘avión’, while the Dutch would say it’s only called ‘vliegtuig’. Italians would argue and say it’s more something like ‘aereo’while maybe the Icelandic would defend body and soul that no, it is called ‘flugvél’. Final point.

What there is to understand about the differences of all the languages in the world, is that, in the end, everything means the same. In the end of the day, an airplane is still called an airplane and there is nothing anyone can do about that.

Not even Namjoon. Because, as fun as it sounds to learn many different languages, he found it difficult, sometimes, to find the proper word to a proper something. He knows the English and the Korean word for an airplane, he even considers saying he vaguely remembers what it sounds like in Japanese, but that Filipino word seemed to be out of his reach. That day, at least.

“Eroplano, is that it?”

“Yes, right,” Namjoon nodded then, a smile on his lips at the sudden memory of that word.“So, when the airplane landed, I accidently spilled my orange juice. And that’swhy I have a nice wet spot on my crotch, thanks for asking.”

What’s interesting about learning a new language, is to be able to understand all the quirks and possibilities of a tongue that seems completely and utterly foreign to some other people. It all sounds like gibberish and maybe that is why both Hoseok and Jungkook were looking at the both of them with round eyes, frowned brows and lips parted slightly open at the scenery in front of them.

“Hyung,” Jungkook interrupter then, a pout on his lips that always made him younger than he really is, “you speak Filipino?”

“Filipino?” Jimin interrupted, turning his face around to take a proper look at the couple. “I didn’t know you could speak Filipino.”

“Well,” she smiled delicately, amused and a little bit taken off-guard because, it hasn’t exactly been a secret and she wondered how come no one noticed it before. “Since I amFilipino, I surely do speak the language. And Namjoon only thought it was funny to learn when we were kids,” you continued, looking at your boyfriend for support as if you were unsure you said it correctly.

But Namjoon nodded, adding a smile to confirm your sayings and it left all the other boys blinking confusedly, lips parted open still and a blank look in their eyes. “Okay,” Jungkook added then, surprised that even after seven years spent side by side with his leader, there are still things he doesn’t know about him. “how do you say ‘Fuck’in Filipino?”

“Oh my God, why do you always get so interested in curses? Who raised you?” Namjoon flipped the back of the younger’s head but it only made everyone all around erupt in a fit of laughter.

It’s fun, to learn a new language, it always is and Namjoon would find out later maybe it wasn’t so bad the others didn’t really know about it because, both Jimin and Jungkook would learn a whole bunch of different kind of insults and randomly joke about it to make subtle innuendos.

I hope this is what you wanted <3

- Nageoire

#bts scenario #rap monster scenario #rm scenario #namjoon scenario #drabble #rm #namjoon #bts #rap monster

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josemarienave · 4 years

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#creativenonfiction #cebuanoterm

AGIK-IK

It was my 10th birthday when I first heard the laugh of my grandpa. Ever since when I was a child, I never saw my grandpa laugh or giggle, he always has his poker face, and when if there are times when there are funny circumstances he just simply smile. During my 10th birthday it was only my uncles who made my grandpa laugh, I did not heard how did they make my grandpa laugh but I am certain that it was them. When my grandpa laugh my grandma told us that “Hala, for the first time ning agik-ik na ang inyong lolo”. When I was kid I never heard the term agik-ik, so I ask my grandma what did she mean about agik-ik and she told me that it was somehow a small laugh of a person.

The other day when I was visiting my old friends, we are having fun playing Uno and then Rico suddenly laugh a bit because he knows that this time he is going to win and I heard the term agik-ik again, when Shawn told Rico “Hoy, Rico ayaw sig agik-ik dana, pag focus basin mapildi nasad ka suko-suko raba ka dayon” then Rico just smirk. All day I was curious about the term agik-ik, and then when I came back home, I heard agik-ik again in my neighbor’s house when Tita Mindang told her husband,”Tacio, nganung sge man kag agik-ik dana, unsa diay na? Patan-awa daw ko” At some point I was feeling kind of weird because the agik-ik term was keep on repeating on my mind so since I was really curious about the term agik-ik so I research about it and I found that.

The term agik-ik is one of the famous term used by the cebuanos, it is used to describe a person who is laughing softly or laughing quietly with restraint to produce laughter and until now this term is still commonly used by cebuanos and other bisaya people. As I was searching about the definition of agik-ik, I found that the term agik-ik was also used in waray but in different meaning. The term agik-ik in waray means rattle which refer to a sound made by loose objects shaking or vibrating against one another like a baby’s toy designed to make sound when shaken, usually contain loose grains or pellets in a hollow container or a device that makes a rattling sound such as put on an animal so its location can be heard. Agik-ik is not only used by Cebuano but also in waray or maybe in other places with different meaning. I also found that the term agik-ik in Malita, Davao Occidental was used as name of the school which is Agik-ik Elementary School. I wonder why is it that the school was named agik-ik, so I research about it and it turns out that the school was named agik-ik because the school believes that it is created to showcase the Cebuano jokes at its side-splitting best. They welcome the jokes from people, they believe that people’s jokes makes the humanity somehow happy. The good thing about this school is cool, thinking about how they managed to name the school agik-ik is maybe they think about how nice to have happy school.

The term Agik-ik is the cebuano language colloquially referred to by most of its speakers simply as bisaya/binisaya, is an Austronesian language spoken in the southern Philippines namely in central Visayas western parts of Eastern Visayas and on the majority of Mindanao. The language originates from the island of Cebu and is spoken primarily by various Visaya ethno linguistic groups who are native to those areas mainly the cebuanos. While Filipino has the largest number of speakers of Philippine languages, Cebuano had the largest native language-speaking population in the Philippine from the 1950s until about the 1980s. It is by far the most widely spoken of the Visayan languages, which are in turn part of the winder Philippine language. It is the lingua franca of the island of Central Visayas, western parts of Eastern Visayas some western parts of Palawan and most parts of Mindanao. The name Cebuano is derived from the island of Cebu, which is the Urheimat or origin of the language. Cebuano is given the ISO 639-2 three letter code ceb, but has no ISO 639-1 code. The Komisyon ng Wikang Filipino the official regulating body of Philippine language spells the name of the language as Sebwano. Cebuano and its dialects are also sometimes to as Cebuan especially in linguistics where it is one of the five primary branches of the Visayan languages.

To understand more about the term agik-ik, here’s a few put examples using agik-ik term in a bisaya sentence for deeper understanding.

“Gigahin ang imong kaugalingon alang sa usa ka tawo,” siya miingon, nga nag-agik-ik.”

“Ang mga dalagita nagdalidali paglakaw, apan dili sila makapugong sa pag-agik-ik.”

“Busa kon unsay may nagapukaw kanila —usa ka kinasingkasing nga komplimento o masakit nga insulto, pag-agik-ik ug katawa o mga kaguol, ang labing makalilipay nga hitabo o grabe nga kalugda —usa ka andam nga suplay sa mga luha naghulat sa pagpadayag sa imong mga pagbati.”

“Ang iyang natural nga ekspresyon igo gayud ang kakusgon nga ming-agik-ik ang mga bata sa duol.”

“Mikalma ang kahadlok sa akong anak, ug ang pagbakho nahimong tipikal nga pag-agik-ik.”

“Ang mga bata naghunghongay ug nagsigeg agik-ik panahon sa pagpangaon.”

“Daghan kamig gikalingawan ug pag-agik-ik, apan may mga trabaho usab.”

“Maayo nakong agik-ik tungod sa inyong tubag ilalom sa ulohang Nasayop sa Pag-ila diha sa Pebrero 22, 2020, nga isyu.”

“Nakita niya ang ilang pahiyom samtang nag-piknik, ug ang ilang pag-agik-ik dihang gipakaon nila og ice cream ang iro.”

“Ang bata mobalos niining paghagwa pinaagi sa masadyaong mga pagsinggit ug pag-agik-ik sa kalipay, nga nalingaw ug nagpahadla pa ug dugang.”

“Pananglitan, kon imong pangutan-on ang asawa kon sa unsang paagi nagkita sila sa iyang bana, siya motubag pinaagi lamang sa maulawong agik-ik.”

“Ang mananakod nga agik-ik sa usa ka grupo sa mga batan-ong babaye nagpadayag sa ilang kahinam —hapit na silang makatunob sa Green Island, usa ka dakong atraksiyon sa Great Barrier Reef sa Australia”

“Ang duha ka mga bata nag-agik-ik pag-usab, dayon mitabon sa habol ubos sa ilang mga suwang, mipiyong sa ilang mga mata, ug wala maglihok kutob sa mahimo samtang sila naghulat.”

“Samtang siya naglakaw, “nga nagsul-ob sa makiurog nga karsones ug makapadaning T-shirt,” iyang namatikdan ang pila ka Insek batang lalaki nga nagtudlo kaniya ug nag-agik-ik sa pagpangatawa.”

“Ang ilang kaukyab sa pagpatay ug biktima o pagkaplag ug patayng lawas sa mananap ipalanog diha sa taas ug tuno nga mga agik-ik.”

“Madungog nimo ang dinaguok sa mga balod nga napusgay sa lapyahan, ang tingog sa kabataan nga nagduladula, ang tingog sa nag-agik-ik nga mga klasmet og maestra?”

These are the bisaya examples of a term agik-ik if it is used in a sentence. Since the examples are too deep. The term agik-ik in English means laugh or giggle, so here are few of the examples of agik-ik in english version:

“His spontaneous expression was loud enough to cause several children nearby to giggle.”

“My son’s fears subsided, and sobs turned into his typical giggles.”

“The children whisper and giggle throughout the meal.”

“The girls briskly stride off, but they cannot stop giggling.”

“There was a lot of fun and giggling, but there were chores too.”

“And so are the frivolous gigglings and follies of the fool.”

“He sees their smiles as they shared a picnic and their giggles when they were caught feeding ice cream to the dog.”

“For example, if you asked the wife how she met her husband, she may answer by simply giving an embarrassed giggle.”

“Their excitement at making a kill or discovering carrion is voiced in high- pitched giggles.”

“You can hear the sound of the waves crashing on the shore, the sound of children playing, the sound . . . of giggling classmates?”

Agik-ik is a universal bisaya word used if a person laugh soflty or giggle. As I was sitting in this cozy sofa couch, thinking that learning bisaya expression is easy but who would have taught that common bisaya expression has different meaning in different places and was also used as a front name in a certain business, school or town. This Agik-ik term made me think that there are really deeper meaning between words that may seem common to us to some or on the past it may have different meaning specially in our country the Philippines we have lots of borrowed words since we've been colonized a lot of times and also we have a lot of diversity in our country we have a lot of ethnic groups so this word might seem common to us but to others it may not. Learning about this made me think about the history and the background of our language and expressions we really have been through lots in order to be where we are

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thebaronmunchausen · 5 years

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Like most of you writers, I got my start as a writer in the campus press, first in high school, then in college. And, like most of my contemporaries I dreamed of a career in journalism—writing for the national newspapers and magazines, since, in those days, there was only print journalism. Creative writing programs, and even creative writing courses didn’t exist.

UST, my alma mater, offered a degree in Journalism (with course offerings which included the new fields of Advertising and Public Relations). In the same faculty (the Faculty of Philosophy & Letters, or Philets), which taught Journalism, it also offered a Bachelor of Philosophy (with course offerings which included many Literature subjects). I chose Philosophy even if I had no idea what profession a degree in Philosophy prepared one for, mainly because I wanted to take all those Literature courses.

In high school, while writing for and eventually editing The Paulinian, I began to contribute feature articles to several national magazines (all unfortunately short-lived). As a sophomore in college, while writing for and eventually editing The Varsitarian, I wrote a weekly column in the youth section of the “Manila Chronicle”; and as a senior, I became Editor of the youth section of the “Weekly Graphic”. So, when I graduated from college, I considered myself a professional journalist.

But what I really wanted to be was a writer of short stories, and, of course, to win a Palanca. This didn’t come easily to me. It was essays that I wrote, and the Palanca Awards then did not yet include the essay category. My best friend had already won a Palanca for her poetry while still an undergraduate. But I hadn’t even published a story! And when she was invited to be part of the first Writers’ Workshop in Silliman, and I wasn’t, I was devastated.

When my first short story was published, I was 25, married and a mother. When I won my first Palanca, my husband had accepted a job with UNICEF, and we were living in Beirut. The news got to me in a letter from my mother, sent via diplomatic pouch by UNICEF in Manila. Tony was out of the country, and my oldest daughter was in school. So the only one I could share my big news with was my second daughter, Anna, who was around 4 years old. I said to her: “Anna, guess what, I won a prize for my story—I got 3rd prize.” She thought about that for a moment, and then, she said, “Gee, Ma, you have to try harder next time.”

I have another favorite Palanca memory. It happened in this very room on Palanca Night. I was here with my husband, Tony. Either he or I had served as judge for one of the categories. A young man came up to greet us—it was the late Luis Katigbak, still an undergraduate in the UP’s Creative Writing Program then. He looked rather self -conscious in his dark suit. I had only ever seen him in t-shirts and jeans, so I almost didn’t recognize him. We congratulated him for his prize, and he shook our hands, gave us a wide smile, and a little bow. After he had left us, Tony said to me, “That’s the look and the swagger of a writer who has just won his first Palanca. Recognize it?”

And every Palanca night since, I have seen that look and that swagger in some of the young writers in attendance. But now and again, I wonder: how long will this last? The question I’m asking is not long will the Palanca Awards last, but how long will writers keep on wanting and trying to produce the kind of writing that wins a Palanca award?

Why am I asking this question? We all know that in the different branches of the country’s biggest bookstore chain, what few shelves are devoted to books are not occupied by literary titles written by Filipino writers. Of course, these days, the question that follows naturally on that one is: but what do we mean by that term “literary title”?

A few months ago, at a meeting of the Board of Trustees of the Book Development Association of the Philippines (BDAP), I heard another term used for the first time: “hard literature.” I learned that, in the publishing world, the term has replaced the earlier term, “serious literature.” As a writer, and a reader, my own definition of “serious literature” is literature that is carefully crafted, literature that seeks to explore ideas which the writer feels strongly about, literature that is written, not just to share experiences, but to offer insights about its subject. In other words, literature which has a chance of winning a Palanca award.

But at that meeting I am referring to, the speaker (himself a very successful local publisher, who happens to be here tonight, and who has given me permission to mention his name—Mr. Jun Matias of Precious Pages and Lampara) made a pitch for Filipino publishers to be more open—not just to “hard literature”—but to all forms writing. There is so much of it being produced now, he said, so many young people wanting to share their stories, and so many people wanting to read them, that publishers who choose to continue to ignore it, or “judge” it—by which he meant, look down on it—run the risk of being left behind. This made me sit up.

Jun then showed us a brief video of one of his authors—a Wattpad writer—arriving for a “meetup.” This writer’s fans were so numerous that they had to open another room to accommodate them. When she arrived, she was received like a rock star—with screams and shrieks and wild applause. And she looked the part too—young and slim with straight long hair, her face partly hidden by huge shades.

Another publisher later told me that her company has been in an arrangement with Wattpad since 2014, to turn selected Wattpad novels into print novels. One of these, “She’s Dating a Gangster” by Bianca Bernardino became, not just an National Bookstore bestseller, but the first Wattpad novel to be turned into a movie (by Star Cinema, with Kathryn Bernardo and Daniel Padilla in the lead roles).

This publisher also informed me that their most popular writer, Jonaxx, is so big that the company has created an imprint just for her. Her real name is Jonah Mae Panen Pacala; she’s 28 years old and a pre-school teacher from Cagayan de Oro. According to her fan page she is the first Filipina Wattpad author to gain 1 million followers. Last year, that figure went up to 2.7M+. And her fans are so fiercely devoted to her that they object to her novels’ being changed in any way, including correcting grammar and syntax. “Mapapansin Kaya?” the first of her books to be published, had a print run of 40,000. Seven of her books have been published so far. Since she joined Wattpad in 2012, she has published 32 novels. (That was a year ago. Perhaps she has since produced more.)

Actually, my initial reaction to the Wattpad phenomenon when I first heard of it was astonishment. I had no idea that so many people wanted to write fiction. But why not? Looking back on my own teen years… didn’t I, too, want to write stories?

I began writing stories because I loved reading them. I’m talking about novels like “Little Women” and “Anne of Green Gables” and “Daddy Long Legs;” and later, the Nancy Drew series and the Beverly Gray series—what today are called “YA novels.” My world was a small one. My parents were conservative and kept me at home most of the time. To use a hoary cliché, reading books opened doors for me, doors into other, larger, worlds.

When I first tried to write stories, I was a pre-teen. I simply wanted to imitate the stories I had read. The heroines in those stories had adventures; they fell in love. And they wanted to be writers! They became my role models. My writing—like my reading—was not so much for self-expression or sharing with others. It was a form of escape, an escape from a life I considered boring and humdrum.

But I outgrew those stories. There was something predictable in their plots, and in their characters, principally, the little orphan girl, neglected and deprived of love, but gifted with a vivid imagination. After various mishaps, some painful, sone hilarious, she transforms into a strong-minded, large-hearted, confident, accomplished, and lovely young woman; and of course finds a young man worthy of her.

So, I moved on to Jane Austen and the Bronte sisters, to Mark Twain and Harper Lee and Charles Dickens. I discovered Nick Joaquin and Kerima Polotan and Carmen Guerrero Nakpil. I realized I was no longer reading just for escape. Without fully realizing what I was looking for, I just knew I was looking for something else, for something more.

My writing began to change as well. I showed my new essays and stories to my English teachers and the school paper adviser. When they edited these, or wrote comments on the margins, I did not take this as an infringement on my freedom. Neither did any of my classmates, by the way. We took it as an effort to help us become better writers. And we were grateful. (Which is I find it difficult to understand why, today, some beginning writers are averse to being edited.)

Anyway, this whole process simply meant that I was growing up as a person. And that I was developing as a writer.

Today, I ask myself: if the Net had existed when I was a teen-ager, and had it been possible to post my scribblings on an app like Wattpad, without the benefit of comments or suggestions from teachers or more experienced writers; had I acquired a huge following, and my stories been turned into printed books, which would sell copies in the hundreds of thousands… if these things had happened to me, would I have chosen to stop writing girlish romances, and moved on to other subjects, and other ways of writing? What would have been the reason for doing so?

It has occurred to me that this may well be the situation some of the Wattpad writers find themselves in. They’re already successful. What else do they need to do? In particular, why do they need to go to college and study writing?

Actually, I know people—some of them, writers—who believe that one does not have to get a degree in creative writing to become a writer. And that is certainly true. National Artists Nick Joaquin, NVM Gonzalez, Francisco Arcellana didn’t have degrees in Creative Writing. National Artists Bienvnido Lumbera, Virgilio Almario, and Frankie Sionil Jose don’t have degrees in creative writing. And, as I said earlier, neither do I.

The establishment of Creative Writing as an academic discipline is relatively new (unlike the B.A. in Fine Arts and the B.A. in Music, which have been around for more than a century). But I’m not quite sure why anyone would discourage young writers from wanting to get degrees in creative writing.

The myth seems to be that a formal education in writing will “destroy” your natural, instinctive talent. And, perhaps, there ARE some teachers out there whose methods may, in fact, have a negative effect on their students. But doesn’t this happen in all fields, be they the arts, the natural sciences, or the social sciences? There are good teachers and bad teachers; there are teachers whom some students find inspiring while others find them boring.

I tell my students that, at some point, they should become pro-active and choose the mentor they feel is the best suited to their own temperaments, someone they admire and trust and feel they can work with. Such a mentor cannot harm them; in fact, he or she, is more likely to be a great help to them.

I’ve said this often before: writing is a profession like any other. One trains to become a professional. It is accepted as natural that people in the other arts, like painting or sculpture should wish to enroll in a College of Fine Arts, and musicians should wish to enter a Conservatory of Music. And, certainly in the visual arts and in music, the more highly skilled you are, the bigger your chances of selling your works via the great international auction houses or doing solo performances to the accompaniment of great symphony orchestras. Why should it be any different for literature?

Of course writers who don’t want to get a university education don’t have to get it. But if they’re serious about making writing their career—if they wish to be professional writers—they need some form of training, even if it be self-training. All training requires hard work, but this kind of training—self-training—even more so.

One learns any skill, first, by imitating those who know how to do it. Even child prodigies—like Tiger Woods, who was playing golf when he was two years old—took golf lessons, from his father, first of all. Even gifted musicians—like the band Queen and its brilliant front man Freddie Mercury—have acknowledged the influence on their work of other rock stars, whom they respected, and whose music they spent time studying: Elvis Presley, David Bowie, Jimi Hendrix.

When the UST Center for Creative Writing invited Ely Buendia to speak at a forum on song writing, I asked him what he thought had led to the Eraser Heads’ great success. He said he didn’t know, but he also told me that he had admired many other musicians, had studied them, and tried to incorporate those influences into his music. He mentioned, in particular, Elvis Presley (who, in turn, had been influenced by African American blues, southern country music, and gospel music). And he mentioned our own folk songs, which he said he had also studied.

To return to what I was saying earlier: what would be the incentive of the phenomenally popular and commercially successful Wattpad writer to raise the level of her writing skills, and take on concerns larger than first love or first heartbreak?

Actually, I know someone who has done just that. Perhaps some of you will recognize the name Charmaine M. Lasar. She’s a 20-year-old Wattpad writer, who won the Carlos Palanca award for the novel in Filipino in 2015. She has been quoted to the effect that she joined the Palanca literary contest because she “wanted to refute the idea that only garbage comes out of Wattpad.” But she also added that, in writing her 35,000-word novel, Toto-O, which she claims to have written in just one month, she “consciously deviated from her Wattpad writing style, which is looser and more carefree,” and opted to write something that was “medyo malalim” in terms of language.” Also, its plot has nothing to do with young love or heartbreak.

The novel was published in 2016 by JumpMedia. And last year, Maine was accepted by the UP Institute of Creative Writing as a writing fellow for its National Writers Workshop. I met her there, and she told me she was considering saving up to enroll for a Creative Writing degree. I salute her, and I salute the Palanca Awards for giving her the recognition she earned.

Her crossover is proof that the two worlds—the world of pop fiction and the world of hard literature—are not mutually exclusive.

Back in 1999, after retiring from government service, my husband (who, in one of his earlier incarnations, had also been a poet, an essayist , and a journalist), set up a small publishing company that he ran pretty much by himself. He had in mind two lines: information books, and literature. But when he found out how small the print run of most literary titles was, he was shocked. Why, he asked me, would I go to all that trouble and use up all that time to write a novel or a collection of short stories or essays, if only a thousand people were going to read me?

He was determined to publish books that would appeal to larger audiences, and he decided that the way to do that was to produce short, light, nonfiction books, targetting readers in their 20s and 30s; books which would be accessible, without losing their literary quality. Many of the writers he published were first-time authors, like Vlad Gonzalez, Carljoe Javier, Rica Bolipata Santos; but he also published writers who already had something of a name, like Marivi Soliven Blanco, and Luis Katigbak; and award-winning writers like Butch Dalisay, Vince Groyon, and Chris Martinez. The award winners were not averse to trying their hand at writing that would have a more popular appeal.

Milflores books did well in terms of sales. A few did exceptionally well. And some of the Miflores books also won awards, like Rica Bolipata Santos’ “Love, Desire, Children, Etc.,” which won the Madrigal Gonzalez Best First Book Award.

Today, we have Visprint Publishing, which is doing something similar, but on a much larger scale. Some of the writers whom Nida Ramirez publishes are actually academics, like Chuckberry Pascual, Joselito Delos Reyes, and John Jack Wigley. All three have written “hard literature.” All have won awards for their writing. But Nida has chosen to publish their lighter work. Visprint books are small, inexpensive, light, humorous. Nida has also published the speculative fiction of Eliza Victoria and the graphic fiction of Manix Abrera. Actually, none of Visprint’s titles are sleepers. And some have won literary awards too. In fact, in 2015, Visprint received a National Book Award as Publisher of the Year, a prize which goes to the publisher with the biggest number of winning titles for that year.

So Visprint would seem to represent the happy bridge between the commercially successful book and the artistically lauded book, proving, yet again, that these are not incompatible.

In that sense, this is actually a very exciting time for writers. There have never been so many choices available, including what would have been mind-boggling for me and my contemporaries: self-publishing online.

Before making those choices, though, writers need to figure out a few things. First, what kind of books do they want to write? Second, what kind of writers do they want to be, or think they can be? Third, do they mainly want to entertain readers, or to challenge them intellectually, or to influence them politically? Do they want to make as much money as they can? Or do they want to write in the best way they know how? Or do they want to try and do both? And, finally, how do they want their books distributed—by commercial publishers? by academic publishing houses? by themselves, on line and in small expos?

These choices will be determined by what they believe the function of literature is in a country like ours, at the time in which we live, and what role they want to play in it as writers.

Because I am a writer who is also a publisher, I understand the need to be commercially viable. But, as an educator, I also believe that public service is an important responsibility of the publishing industry. And this means recognizing that expanding the market for books is important, not just for bigger profits, but because more educated citizens make more mature citizens—an indispensable element for any experiment in democracy, like ours.

In concrete terms, this means: on the one hand, accepting the level at which most of our reading public is—what it’s willing to read, what it enjoys reading—and, on the other hand, committing at least a part of the resources available to producing books which will upgrade standards and tastes.

Personally, I remain committed to writing in the best way I know how, no matter how small the audience for this kind of writing might be. Because I feel that literature of this sort—“hard literature,” if you will --serves its own purpose.

In another essay, I wrote about this, and perhaps you will allow me to quote from it: “Writers of all generations have tried to define that purpose. But there are periods in our history when it becomes startlingly clear. The period we live in today, in this country, is one of them—one of those periods when events, both natural and man-made, conspire to drain one of all hope that better times lie ahead."

I mentioned the book, "Sonoran Desert Summer," by John Alcock, professor of Zoology at Arizona State University, where he describes June in the desert as "the month of almost no hope for all living creatures, with the temperature at 102 degrees, rainfall at two-tenths of an inch, and a wind that has removed almost every hint of moisture from the desert world."

He calls it "a time for hanging on, enduring, letting the days pass."

And then, he describes how, suddenly… "from the boulders on the still shaded lower slope of Usery Mountain comes a song, the clear, descending trill of a canyon wren. Loud, defiant, and encouraging, it announces a survivor... (The bird) bounds from rock to rock, at perfect ease in its home in the desert.’’

Sometimes I think that this might be the reason we do it, the reason we keep on writing. This is our song, “defiant and encouraging.”

As writers, we all know that we must stay the course, most particularly in bleak times such as those that confront us now. We will not necessarily agree on what we are called upon to do, but we will do it according to our best lights. We will observe, we will record, we will protest. Above all, we will remember. And we will endure.

Cristina Pantoja Hidalgo

*Speech delivered during the Carlos Palanca Memorial Awards, November 8, 2019, at the Manila Peninsula, where the author was Guest of Honor and received the Dangal ng Lahi Award

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leanfdelima · 4 years

Text

a love letter, an approach to a new decade

i am writing this as a landmark to what has happened these past few weeks. everything is such a sweetheart. there maybe some awkwardness to it, but it sure is good to look back at. its currently 6am and i am doing this small yet sentimental nostalgic hell of a trip letter to people whom i experienced love with, feel it? just a piece of my heart turned into a loveletter of sorts- if we can call it that hm?

from my perspective, everything went well. even if the family isn't complete due to my oldest brother not giving a total shit about our relatives going vacation. went to unheard places and saw new faces. everything was placed onto the table and everyone was a participant. my heart searches for more laughter and adventures and words many haven't heard of yet still. don't you just love it when everyone is just.. there. there for everyone and socializing even if its kinda awkward? (it felt kinda awkward talking to my cousins living in america and the ones that are living in the area). but eventually, everything went well. i have never been this much of a fucking socializing person ever in my life, i insult a lot of people but those were just small talks for me. especially when on the trip to quezon and back, those were fun to look back at.

the heart cannot explain whatever is going in the back of my mind. i try to think of words and make up sentences that will try to make sense, ok?

currently still daydreaming of events. i love my relatives so much. they will be going back to the US later and i (we) will miss them. so much. they made us feel alive, even for a bit. i know us teenagers go through rough stuff like anxiousness and loneliness- but every once in a while, some person (or a number of people) will try to make life seem worth every single peso there is. they wanted us to feel alive every once in a while, feel liked, feel loved, feel like its forever, like for a lifetime or something that i cannot explain. they want us to know more, experience more, feel safe in our own skin. i completely understand what they're trying to do with their temporary stay. thats why i love them so much. my grandparents were literal sweethearts. i will never forget about them. especially pops who is naturally at lost for words and always forgets about distant things and sentences said just a couple of seconds ago. a literal sweetheart. my grandmother is also a master chef. she cooks for the family, all in the house. makes the most delicious filipino food that my palate will never forget for a lifetime.

my cousins were cool too. they were chill as fuck and its kinda weird someone is much more weirder in the same room as me. watched films and talked for a long while. laughed at people and insulted some of them too. we never get in too deep and personal because its not our kinda thing, you know? i mean were cousins but we don't have the right to straight talk some of cousins.. its just weird and not in our nature to approach from a different spot. anyways, we watched parasite by bong joon ho, the wailing by na hong jin (making a review of it on my blog soon, kinda not in the mood right now), southpaw by antoine fuqua and hard eight by the great and always stunning paul thomas anderson (we were supposed to watch phantom thread too, but its kinda boring for some people because its mostly talk- which is the main point of the film. and also a reason to watch another daniel day-lewis). erika is a pretty chill filmgoer and film talk is a must with her. wish we'd see taxi driver like she talks about it almost halfway into finishing it. she loves korean films a bit too much- and i do too. i've been fanboying about parasite a bit too much in the past few days and thank god erika fulfilled my craving for new bong joon ho. thank you so much. my long haired cousin who is also a fiend like me, emman is a pretty cool guy. i find him pretty interesting and cool to listen to if given a time to talk about life. god, i love these people so much. as i'm writing this i am currently smiling with joy. kinda weird but really something powerful. my cousins who are the demons of arizona (jk) who i also adore so much are pretty matured now, also getting into my height which is kinda scary (in the next few years they will outgrow us when they come back and invade the philippines). and i wish that they come back as soon as possible! will miss them and i wish them all a safe flight back to the US.

me and mom are very close, like all close friends do, talk about people. told mom all about the happy things thats happened in the past few days. we both smile and probably at the same boat that we both cherish the moments that are drifting away, but the memories will forever take ahold of it. thats why i love the mind. the mind is a beautiful storage room of delightful and monstrous memories that will forever hunt us till death.

i wish everyone a happy new year and my relatives a safe one and my relatives flying to the US later a happy and safe flight. we never got to say goodbye to my cousins and to our tita who will be flying later because they were resting for the big leap back to their home. but if you ever see this letter, i hope you return back to the philippines soon. i love you all with all my heartstrings and the ENTIRETY of my heart.

probably my greatest story to be told in 2019. theres still so much stories to tell and speak of in the next few years. i wish everyone a fucking amazing life. let us all cherish this moment together.

p.s.

i totally forgot to name some people in here, but i promise you are in this. and sorry for swearing, i love every single one of you.

#2019

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