the people.
lucid.
the mirror room.
the bathroom.
after-practice processions along the spine road.
pestering sir percy.
critique sessions with the ca peeps.
brainstorming over frappe, butterscotch and smokes.
advertising.
production.
writing for the catalyst.
late night play practice.
late night editing.
the old yo area.
palm trees, mountains, sunset.
and surprisingly, la casita.
Tuesday, July 15, 2008
Thursday, July 10, 2008
call me ann
yes.. call me ann.. my swerte name according to majo's numerology.. so far the name's taking me to where I wanna be.. hehehe
Monday, July 7, 2008
A Lesson in Humility
With only 7 days of practice for the big event, I went up the stage not breathing. Literally.
Missed steps. Lacked focus and energy. Everything I've learned about dancing in the last few months all in the bin...
And to think I was even more worried about how the others would handle the challenge. To think I've even invited friends to come see us perform...weh..
This is definitely a wake up call for me- I guess I was too confident that I could handle it, given the experience I already had... weh... Guess you'll never know..
Lesson learned.
Missed steps. Lacked focus and energy. Everything I've learned about dancing in the last few months all in the bin...
And to think I was even more worried about how the others would handle the challenge. To think I've even invited friends to come see us perform...weh..
This is definitely a wake up call for me- I guess I was too confident that I could handle it, given the experience I already had... weh... Guess you'll never know..
Lesson learned.
Monday, April 7, 2008
On Getting Better and Smaller and Smaller Circles
Straight to the point...
Getting Better did fulfill the genre expectations of chick lit - you have a damsel stressed out with the demands of today's modern, fast-paced world, juggling a rather hip career at an ad agency, living independently on a apartment, having girlfriends with liberated, quirky personalities and a conservative mother, worrying about weight gain, when will one ever get 'shagged' again, etc. In the middle of all the raucous, the photocopy machine gets busted, she comes into terms with getting married to the self-absorbed AE. The plot was somehow unrealistic especially the 'underwear-buking' part but the character's dialogues, personalities and their rather 'mababaw' worries are reflective of today's middle class yuppies. However the conflict was not something uniquely Filipino.
Smaller and Smaller Circles on the other hand could be thought of more as a social commentary. It does fall under the 'whodunit' crime fiction genre but there were too many "give-aways", there's not much left for the reader (or at least me) to speculate or imagine. Come Chpater 20, you already know who the killer is and you read on not because you have this adrenaline rush , the excitement, the stimulation to find out what's going to happen next, but because somehow you were hoping in the end that there would be some twist in story - the most important element that gives detective crime fiction that yun, yon! The yon yun!, the twisted ending makes you want to go back to the other few chapters.. and you say to yourself : why the hell didn't I see that coming!?! The story however, failed to satisfy my expectation for that umpf! in the end.
Getting Better it did not make me think more about the real worries of Pinays: discrimination in the work place, domestic violence, the Maria Clara stereotype that women are struggling hard with, etc.
The 2nd Pinoy crime fiction written in English to date, Smaller and Smaller Circles is reflective of our country's otherwise slow justice system, which is the 'punot-dulo' of the antagonist's conflict. Alex Carlos wouldn't be cutting off kid's genitals and remove their faces if years ago, Mr. Gorospe had been arrested. Like the plight of the characters in Rosca's Generations, Alex and his parents knew (although not written) that nothing will happen, that they will not get the justice they seek. Also, the story showed how crimes were usuallu solved here: you have a journalist/documentor who has the connections and the means to investigate the case, hands out the video tapped evidence to the police. The police in turn would do their thing, with the media/journalist in tow..
Getting Better did fulfill the genre expectations of chick lit - you have a damsel stressed out with the demands of today's modern, fast-paced world, juggling a rather hip career at an ad agency, living independently on a apartment, having girlfriends with liberated, quirky personalities and a conservative mother, worrying about weight gain, when will one ever get 'shagged' again, etc. In the middle of all the raucous, the photocopy machine gets busted, she comes into terms with getting married to the self-absorbed AE. The plot was somehow unrealistic especially the 'underwear-buking' part but the character's dialogues, personalities and their rather 'mababaw' worries are reflective of today's middle class yuppies. However the conflict was not something uniquely Filipino.
Smaller and Smaller Circles on the other hand could be thought of more as a social commentary. It does fall under the 'whodunit' crime fiction genre but there were too many "give-aways", there's not much left for the reader (or at least me) to speculate or imagine. Come Chpater 20, you already know who the killer is and you read on not because you have this adrenaline rush , the excitement, the stimulation to find out what's going to happen next, but because somehow you were hoping in the end that there would be some twist in story - the most important element that gives detective crime fiction that yun, yon! The yon yun!, the twisted ending makes you want to go back to the other few chapters.. and you say to yourself : why the hell didn't I see that coming!?! The story however, failed to satisfy my expectation for that umpf! in the end.
Getting Better it did not make me think more about the real worries of Pinays: discrimination in the work place, domestic violence, the Maria Clara stereotype that women are struggling hard with, etc.
The 2nd Pinoy crime fiction written in English to date, Smaller and Smaller Circles is reflective of our country's otherwise slow justice system, which is the 'punot-dulo' of the antagonist's conflict. Alex Carlos wouldn't be cutting off kid's genitals and remove their faces if years ago, Mr. Gorospe had been arrested. Like the plight of the characters in Rosca's Generations, Alex and his parents knew (although not written) that nothing will happen, that they will not get the justice they seek. Also, the story showed how crimes were usuallu solved here: you have a journalist/documentor who has the connections and the means to investigate the case, hands out the video tapped evidence to the police. The police in turn would do their thing, with the media/journalist in tow..
Monday, March 3, 2008
Insights on Rosca's Generations
I was struck by how fortunate I really am that I am not raised in an environment like this.
The story I believe is not something that happens only in our country. Nor is this something that happens only during the martial law days when the Pinoys cannot exercise their freedom. Feudalism still happens to this day (think Hacienda Luisita..). Although we practice democracy, generations of following the feudal system made it difficult to break it off- the have-nots depend on the landlords they serve to help put food on the table.
I was dumbfounded when I read the part where the daughter offered herself to the soldiers in exchange of her father’s freedom. In fact, she need not even rescue her father – she hated him and she could’ve let him rot behind prison bars, her family could move on with life. But she took matters in her own hands, offered herself to the soldiers and killed her father the following morning.
What she did, according to our laws/religion was wrong. But who are we to blame her given the environment she was exposed to? Given the lack of education? Given her ignorance? And the questions lead to other questions: Should our standards of right or wrong depend on the environment we are exposed to? Is it justifiable to say, “I did not know it was wrong”, given the lack of education, given the inhumane environment? (Mejo malayo to pero….On the national level.. Lookng at the bigger picture) Does the principle, “Those who have less in life must have more in law” still apply? And do those who ‘have less in life’ know that they ’should have more in law’?
I’m sure the family knows the difference between right or wrong – else the kids shouldn’t have bothered to tell the story of how Old Selo got the broken lip, the kids shouldn’t be bothered by how their father harms their mother, the father shouldn’t have fled when he realized that he was hurting his kids, the eldest daughter shouldn’t have took matters in her own hands and kill their father if she believes that it’s ok for her father to hurt their mother…. But what could they do? If the family filed a complaint about what the men did to Old Selo, if the mother or the kids file for domestic violence against the father, would they find the justice they seek? How long would it take, how much money do they have to spend, what else would they have to sacrifice (their pride, dignity) before they get the justice they deserve?
For generations the poor had nothing to hold on to but each other. “Laws were paper and ink. They were kept in filing cabinets in offices and in town and city buildings.. People’s laws had nothing to do with people…”
The story I believe is not something that happens only in our country. Nor is this something that happens only during the martial law days when the Pinoys cannot exercise their freedom. Feudalism still happens to this day (think Hacienda Luisita..). Although we practice democracy, generations of following the feudal system made it difficult to break it off- the have-nots depend on the landlords they serve to help put food on the table.
I was dumbfounded when I read the part where the daughter offered herself to the soldiers in exchange of her father’s freedom. In fact, she need not even rescue her father – she hated him and she could’ve let him rot behind prison bars, her family could move on with life. But she took matters in her own hands, offered herself to the soldiers and killed her father the following morning.
What she did, according to our laws/religion was wrong. But who are we to blame her given the environment she was exposed to? Given the lack of education? Given her ignorance? And the questions lead to other questions: Should our standards of right or wrong depend on the environment we are exposed to? Is it justifiable to say, “I did not know it was wrong”, given the lack of education, given the inhumane environment? (Mejo malayo to pero….On the national level.. Lookng at the bigger picture) Does the principle, “Those who have less in life must have more in law” still apply? And do those who ‘have less in life’ know that they ’should have more in law’?
I’m sure the family knows the difference between right or wrong – else the kids shouldn’t have bothered to tell the story of how Old Selo got the broken lip, the kids shouldn’t be bothered by how their father harms their mother, the father shouldn’t have fled when he realized that he was hurting his kids, the eldest daughter shouldn’t have took matters in her own hands and kill their father if she believes that it’s ok for her father to hurt their mother…. But what could they do? If the family filed a complaint about what the men did to Old Selo, if the mother or the kids file for domestic violence against the father, would they find the justice they seek? How long would it take, how much money do they have to spend, what else would they have to sacrifice (their pride, dignity) before they get the justice they deserve?
For generations the poor had nothing to hold on to but each other. “Laws were paper and ink. They were kept in filing cabinets in offices and in town and city buildings.. People’s laws had nothing to do with people…”
Monday, February 25, 2008
Not only will the setting reveal the difference between the standard Filipino literature and the contemporary. For me, one interesting element to look at when comparing the standard from the modern is the story’s conflict and how values and/or issues of the present compare to that of the past. How does the character look at the self? What is their state of mind when placed in a certain situation?
Looking back at Rivera-Ford and Tiempo’s stories, the protagonists look at themselves as if they can only find self-worth if they are loved/admired by somebody (even if they have no feelings for that somebody whatsoever). Tinang of “Love in the Cornhusks” married a man she doesn’t love, probably to assure herself and others that there’s nothing wrong with her that made Amado leave – she is worthy of being loved, that someone is willing to marry her. Pilar of “The Corral” out of fear of being labeled an old maid decided to marry Mr. Perfecto even if she cannot stand being around him. On the other hand, in Noelle De Jesus’ “Games” the protagonist looks at herself as not a “real woman”, that she can only be loved and accepted if she was “Chiqui or Aleli or Teeny or Cookie or Sarina or Kay as she dreamed up… with sleek hair, curving bodies, linen suits and high heels, with green eye shadow and mauve lipstick, with dimples or freckles or a tiny beauty mark on the corner of her mouth…”
Another interesting factor to look at is who/what dictates the mentality that somebody can only find self-worth if one is admired/loved by somebody or one is a “real woman”. Where did Tinang for example got the idea that she can be more happy if she marries a man she does not even love? Who/ what made Pilar settle for Mr. Perfecto instead? Where did the protagonist in “Games” got the idea that she can only be interesting if she pretends to be somebody she’s not?
Blame it on culture and the media. Before, getting married was the end all and be all for a woman. In our collectivist culture, nobody certainly wants to be alone. Also, Filipinos tend to always think about who will take care of them when they get old. Nowadays, the end all and be all for a woman is having a sense of achievement and looking like Carrie Bradshaw of “Sex and the City”. Pinays are bombarded with local and foreign Billboard ads, commercials and magazines with flawless, ageless, figure-perfect women who get what she wants (the man, the career), that there is now constant pressure for the Pinay (and women of other countries as well) to be like them.
With culture and the media setting the standards, women get tangled up with who they should be. Although there are countless women who are now making names for themselves, there is still pressure for women to get married, the only difference now is that there is no time pressure. I know of a lot of women who want to fulfill their own dreams first before settling down with a partner as they now recognize (thanks to women writers ) that defining and discovering who they are first is essential before spending a lifetime with a partner. It does not matter how long discovering oneself would take.
Although there are campaigns that advocate for ageless beauty, the media still sets standards for beauty. Although a woman’s weight does not seem to be a factor nowadays, women are still pressured to look “healthy” - pearly white teeth for that picture perfect smile, cellulite-free thighs, shiny locks, wrinkle-free eyes and detoxified, even-toned skin complexion.
A Pinay’s conflict with herself and society may have changed over the years (as exemplified by the difference of conflict between the stories mentioned) but there is still that pressure to conform.
Looking back at Rivera-Ford and Tiempo’s stories, the protagonists look at themselves as if they can only find self-worth if they are loved/admired by somebody (even if they have no feelings for that somebody whatsoever). Tinang of “Love in the Cornhusks” married a man she doesn’t love, probably to assure herself and others that there’s nothing wrong with her that made Amado leave – she is worthy of being loved, that someone is willing to marry her. Pilar of “The Corral” out of fear of being labeled an old maid decided to marry Mr. Perfecto even if she cannot stand being around him. On the other hand, in Noelle De Jesus’ “Games” the protagonist looks at herself as not a “real woman”, that she can only be loved and accepted if she was “Chiqui or Aleli or Teeny or Cookie or Sarina or Kay as she dreamed up… with sleek hair, curving bodies, linen suits and high heels, with green eye shadow and mauve lipstick, with dimples or freckles or a tiny beauty mark on the corner of her mouth…”
Another interesting factor to look at is who/what dictates the mentality that somebody can only find self-worth if one is admired/loved by somebody or one is a “real woman”. Where did Tinang for example got the idea that she can be more happy if she marries a man she does not even love? Who/ what made Pilar settle for Mr. Perfecto instead? Where did the protagonist in “Games” got the idea that she can only be interesting if she pretends to be somebody she’s not?
Blame it on culture and the media. Before, getting married was the end all and be all for a woman. In our collectivist culture, nobody certainly wants to be alone. Also, Filipinos tend to always think about who will take care of them when they get old. Nowadays, the end all and be all for a woman is having a sense of achievement and looking like Carrie Bradshaw of “Sex and the City”. Pinays are bombarded with local and foreign Billboard ads, commercials and magazines with flawless, ageless, figure-perfect women who get what she wants (the man, the career), that there is now constant pressure for the Pinay (and women of other countries as well) to be like them.
With culture and the media setting the standards, women get tangled up with who they should be. Although there are countless women who are now making names for themselves, there is still pressure for women to get married, the only difference now is that there is no time pressure. I know of a lot of women who want to fulfill their own dreams first before settling down with a partner as they now recognize (thanks to women writers ) that defining and discovering who they are first is essential before spending a lifetime with a partner. It does not matter how long discovering oneself would take.
Although there are campaigns that advocate for ageless beauty, the media still sets standards for beauty. Although a woman’s weight does not seem to be a factor nowadays, women are still pressured to look “healthy” - pearly white teeth for that picture perfect smile, cellulite-free thighs, shiny locks, wrinkle-free eyes and detoxified, even-toned skin complexion.
A Pinay’s conflict with herself and society may have changed over the years (as exemplified by the difference of conflict between the stories mentioned) but there is still that pressure to conform.
“Mahirap mag-assume”.
Such is the dilemma in the two stories “Document” by Katigbak and “The Tale of the Spinster and Peter Pan” by Hidalgo. In the “Document”, the male protagonist tries to read between the lines of the articles, essays, reaction papers of the girl he’s not sure he has feelings for. The words exchanged between them and the typewritten words are his only basis for evaluating the relationship that they have. He seems to be type who finds more comfort on tangible things (“actual printouts are a more reliable way of storing written material” – things that can be seen, touched, etc) and reflecting that they have “no official ties, not even memories of physical contact” makes it more difficult for him to assess this certain bond that they have. On the other hand, in the “Tale of the Spinster and Peter Pan”, the woman protagonist imagines the lead vocalist of the band to be Peter Pan and goes on fantasizing about the special friendship that they have. In the end, she’s frustrated with how far the malicious man was compared to the innocent, mischievous young lad she has imagined him to be.
What could be the possible cause of this blurring – the difficulty of coming up with the right conclusion, the right interpretation about other people’s actions, etc?
Fairy tales?
Snow White, Cinderella, Sleeping Beauty – women in need of rescuing, the damsels in distress. We are all introduced to these fairy tales during our younger years to make reading more interesting, pleasurable, entertaining. And such became the pattern for romance novels where a woman actually waits one way or another for something magical to come to her life – a man who would rescue her from anything, keep her from harm, blah blah blah. And so is the woman in Hidalgo’s story who lived a monotonous life. Her life, her routine changed when this young lead singer started performing in a bar restaurant she goes to every Thursday. Something in her life changed. However she was not the cause of that change.
Technology?
While cellular phones, computers and email broke geographical boundaries and time zones, communication seems to be more difficult, most especially if one’s basis in interpreting a person’s message is via emoticons, smileys, and abbreviated SMS with its own language. Without body language/non-verbals, it is indeed difficult to evaluate a person’s sincerity and honesty. At times, even if you know the person so well, we still find it difficult to read between the lines of his/her message. The protagonist in the “Document” tries to look for clues from his friend’s files about how she feels about him or if she feels anything at all for him. The computer was the channel but without the girl’s facial expression or body language, it is difficult to draw conclusions.
Combine our orientation about fairy tales and technology and we are caught in a pit of countless unrealistic assumptions in our relations with others…
Watcha think?
Such is the dilemma in the two stories “Document” by Katigbak and “The Tale of the Spinster and Peter Pan” by Hidalgo. In the “Document”, the male protagonist tries to read between the lines of the articles, essays, reaction papers of the girl he’s not sure he has feelings for. The words exchanged between them and the typewritten words are his only basis for evaluating the relationship that they have. He seems to be type who finds more comfort on tangible things (“actual printouts are a more reliable way of storing written material” – things that can be seen, touched, etc) and reflecting that they have “no official ties, not even memories of physical contact” makes it more difficult for him to assess this certain bond that they have. On the other hand, in the “Tale of the Spinster and Peter Pan”, the woman protagonist imagines the lead vocalist of the band to be Peter Pan and goes on fantasizing about the special friendship that they have. In the end, she’s frustrated with how far the malicious man was compared to the innocent, mischievous young lad she has imagined him to be.
What could be the possible cause of this blurring – the difficulty of coming up with the right conclusion, the right interpretation about other people’s actions, etc?
Fairy tales?
Snow White, Cinderella, Sleeping Beauty – women in need of rescuing, the damsels in distress. We are all introduced to these fairy tales during our younger years to make reading more interesting, pleasurable, entertaining. And such became the pattern for romance novels where a woman actually waits one way or another for something magical to come to her life – a man who would rescue her from anything, keep her from harm, blah blah blah. And so is the woman in Hidalgo’s story who lived a monotonous life. Her life, her routine changed when this young lead singer started performing in a bar restaurant she goes to every Thursday. Something in her life changed. However she was not the cause of that change.
Technology?
While cellular phones, computers and email broke geographical boundaries and time zones, communication seems to be more difficult, most especially if one’s basis in interpreting a person’s message is via emoticons, smileys, and abbreviated SMS with its own language. Without body language/non-verbals, it is indeed difficult to evaluate a person’s sincerity and honesty. At times, even if you know the person so well, we still find it difficult to read between the lines of his/her message. The protagonist in the “Document” tries to look for clues from his friend’s files about how she feels about him or if she feels anything at all for him. The computer was the channel but without the girl’s facial expression or body language, it is difficult to draw conclusions.
Combine our orientation about fairy tales and technology and we are caught in a pit of countless unrealistic assumptions in our relations with others…
Watcha think?
Sunday, February 10, 2008
In High Heels
Kudos to Rivera-Ford and Tiempo! As our instructor said, if not for their stories and the stories of other women writers during those times, there is a huge probability that we Filipinas would still be suffering the same plight.
The stories also remind me of Rizal’s novels. His writings revealed how women were not given the opportunity to vote and be heard, how they were trained to do household chores, how they were measured and regarded by society depending on who their fathers were, how they have limited choices and how they suffered living in a society where there is pressure to tie the knot with somebody of equal social status.
Fast forward to the 40s/50s - Americans giving equal opportunities to education opened doors to the Filipina. High, pointed heels gave her the confidence that she needed to stand up and be of the same height as men.
But still the 1940-50s Filipina suffers the same plight of the women in Rizal’s novels– only this time they were made to believe that they have options to choose from. They may have the right to vote and to education. But one thing remains the same – although they were given opportunities to pursue their careers, they were still expected to drop their jobs the moment they get married and be a fulltime ‘Ina ng Tahanan’. Marriage was not a choice, it was more of standard measurement of becoming a true Filipina woman – to be a mother, to take care of her husband, to raise her children well, to do household chores, to host parties for her husband. To be a spinster means there might be something wrong with you that nobody is willing to take you for a wife!? The tendency of Filipinas back then was to get married primarily out of fear for being discriminated against. Love simply comes in second place.
Tinang of Rivera-Ford’s “Love in the Cornhusks”and Pilar of Tiempo’s “The Corral”, although coming from different social classes, suffers the same dilemma. I believe Tinang got married to assure herself that she was worth something. Amado leaving without explaining why crushed her and it might’ve gotten her thinking that she wasn’t worth pursuing. What guarantee does she have that Amado loves her? Is she not worth marrying? Marrying the Bagobo however guarantees their family’s survival. She is also certain that she will be marrying a man who is really willing to marry her. To assure herself of her worth, she marries the Bagobo.
“The Corral” ended with Pilar thinking to herself that she will end up with Mr. Perfecto. Pilar was a teacher and her family has their own business and household servants. Mr. Perfecto would seem more apt for her as he is educated as well and was the school principal. He seems to have a good relationship with her father – “Often they got coarse in their talk as between two men who understood each other well”. Her options were limited. If Pilar chose to marry the woodcutter Gregorio, how would she and their family survive? If Pilar chose not to marry, she would be labeled an old maid. Choosing Mr. Perfecto was more of a convenience for her – she not need beg for her father’s approval and they belong to the same social class.
I’m relieved that women today are not pressured to be married at a certain age. Nor are they limited with the choices that they can make. Now, not only can Filipinas juggle household chores, they can pursue their careers and be a supportive mother and wife in high heels. Or they can opt to be single, take time, get a master’s degree, or climb up the corporate ladder in pointy Manolo’s. Being a true Filipina in this generation simply means being able to pursue the goals she has set out for herself while not forgetting her heritage and her values.
The stories also remind me of Rizal’s novels. His writings revealed how women were not given the opportunity to vote and be heard, how they were trained to do household chores, how they were measured and regarded by society depending on who their fathers were, how they have limited choices and how they suffered living in a society where there is pressure to tie the knot with somebody of equal social status.
Fast forward to the 40s/50s - Americans giving equal opportunities to education opened doors to the Filipina. High, pointed heels gave her the confidence that she needed to stand up and be of the same height as men.
But still the 1940-50s Filipina suffers the same plight of the women in Rizal’s novels– only this time they were made to believe that they have options to choose from. They may have the right to vote and to education. But one thing remains the same – although they were given opportunities to pursue their careers, they were still expected to drop their jobs the moment they get married and be a fulltime ‘Ina ng Tahanan’. Marriage was not a choice, it was more of standard measurement of becoming a true Filipina woman – to be a mother, to take care of her husband, to raise her children well, to do household chores, to host parties for her husband. To be a spinster means there might be something wrong with you that nobody is willing to take you for a wife!? The tendency of Filipinas back then was to get married primarily out of fear for being discriminated against. Love simply comes in second place.
Tinang of Rivera-Ford’s “Love in the Cornhusks”and Pilar of Tiempo’s “The Corral”, although coming from different social classes, suffers the same dilemma. I believe Tinang got married to assure herself that she was worth something. Amado leaving without explaining why crushed her and it might’ve gotten her thinking that she wasn’t worth pursuing. What guarantee does she have that Amado loves her? Is she not worth marrying? Marrying the Bagobo however guarantees their family’s survival. She is also certain that she will be marrying a man who is really willing to marry her. To assure herself of her worth, she marries the Bagobo.
“The Corral” ended with Pilar thinking to herself that she will end up with Mr. Perfecto. Pilar was a teacher and her family has their own business and household servants. Mr. Perfecto would seem more apt for her as he is educated as well and was the school principal. He seems to have a good relationship with her father – “Often they got coarse in their talk as between two men who understood each other well”. Her options were limited. If Pilar chose to marry the woodcutter Gregorio, how would she and their family survive? If Pilar chose not to marry, she would be labeled an old maid. Choosing Mr. Perfecto was more of a convenience for her – she not need beg for her father’s approval and they belong to the same social class.
I’m relieved that women today are not pressured to be married at a certain age. Nor are they limited with the choices that they can make. Now, not only can Filipinas juggle household chores, they can pursue their careers and be a supportive mother and wife in high heels. Or they can opt to be single, take time, get a master’s degree, or climb up the corporate ladder in pointy Manolo’s. Being a true Filipina in this generation simply means being able to pursue the goals she has set out for herself while not forgetting her heritage and her values.
Sunday, February 3, 2008
Bread of Salt and Summer Solstice
Nick Joaquin’s “The Bread of Salt” and NVM Gonzalez’s “Summer Solstice” show how the male characters understand the meaning of ‘adore’ and the relationship that exists between the rich and the poor. The fourteen year-old musician of Joaquin’s story adored Aida, constantly dreaming of her admiring him as he plays his violin or writing her a love note that she would later discover in a math book which he borrowed. Guido of the “Summer Solstice” adores women, the power they could possibly have over the male and sees the ‘holiness’ and the mystery of what is vulgar” (I could only assume here that Guido may be referring to ‘being adored’ as something vulgar. Gonzalez’s story has a clear distinction between love and adore.) Don Paeng also sees adoration as different from love and respect – “A gentleman loves and respects Woman. The cads and lunatics, they adore the women.”
In the ‘Bread of Salt’ Joaquin did not describe how Aida offered the male lead a big package, but the male lead’s embarrassment and reaction (“I felt all ardor for her gone entirely”) reveals how derogatory the offer must’ve been for a him, especially during those times when they see the musician as, in the words of his aunt, ‘always eats last during parties’. The middle part of the story narrated how the young lead felt as if his aunt was ‘thinking of a pack of dogs scrambling for scraps tossed over the fence by some careless kitchen maid’. He must’ve felt the same way when Aida made the offer. On the other hand, Dona Lupeng of “The Summer Solstice” treats their house help the way a typical senora would – she gives commands, without ‘pakiusap’, and there is no room for objections and complaints.
We always value being a ‘maginoo’ or being a conservative Filipina, and so sex and lust are not usually talked about. I’m not sure if its true or its unique in our culture, but I heard stories of how the husbands would not dare talk about their sexual fantasies with their wives. In ‘The Summer Solstice’, Don Paeng even seems to struggle to admit to his wife that he ‘adores’ her.
The relationship between the ‘haves’ and the ‘have nots’ is the same today as it was during the time the stories were written. Although we value being a gentleman and being conservative, how our culture regards sex and gender relations has changed due to influence of western and Asian cultures, technology and the media.
In the ‘Bread of Salt’ Joaquin did not describe how Aida offered the male lead a big package, but the male lead’s embarrassment and reaction (“I felt all ardor for her gone entirely”) reveals how derogatory the offer must’ve been for a him, especially during those times when they see the musician as, in the words of his aunt, ‘always eats last during parties’. The middle part of the story narrated how the young lead felt as if his aunt was ‘thinking of a pack of dogs scrambling for scraps tossed over the fence by some careless kitchen maid’. He must’ve felt the same way when Aida made the offer. On the other hand, Dona Lupeng of “The Summer Solstice” treats their house help the way a typical senora would – she gives commands, without ‘pakiusap’, and there is no room for objections and complaints.
We always value being a ‘maginoo’ or being a conservative Filipina, and so sex and lust are not usually talked about. I’m not sure if its true or its unique in our culture, but I heard stories of how the husbands would not dare talk about their sexual fantasies with their wives. In ‘The Summer Solstice’, Don Paeng even seems to struggle to admit to his wife that he ‘adores’ her.
The relationship between the ‘haves’ and the ‘have nots’ is the same today as it was during the time the stories were written. Although we value being a gentleman and being conservative, how our culture regards sex and gender relations has changed due to influence of western and Asian cultures, technology and the media.
Sunday, January 27, 2008
‘Paligoyligoy’: Unweaving the mats and reading between the fences
Reading the two stories by Fransisco Arcellana – ‘The Mats’ and ‘Divide by Two’ – makes for a good brain workout. One really has to read the short stories at least thrice to understand the theme and how the elements fit together. Arcellana’s stories entail one to really read between the lines. Unlike Arguilla, Arcellana does not give you a detailed description. He lets the readers imagine for themselves what the characters might actually look like and how they utter the melodramatic, telenovela-worthy lines. His style is rather straight forward – whereas in most stories or even films where one is taken or shown first the setting/time frame to establish the mood, Arcellana zooms in to the characters.
At first I thought ‘The Mats’ reflects the Filipino more than ‘Divide by Two’. The customary way of bringing home ‘pasalubong’ for the family members, how the father is considered the bread winner and head of the family, how the wife stays at home to take care of their children, and how their children cannot question their parents’ behaviors are all reflective of the relationship between the members of a conservative, middle-class Filipino family. On the other hand, I imagined the setting for ‘Divide by Two’ to be on another country. The name of the street, references to Mozart and piano pieces that are not familiar to a common Pinoy’s ears and even the name of one of the characters (Belle) gave me the impression that the story was set elsewhere but the Philippines. (Turns out street actually exists in the UP Diliman campus according to our instructor). If Arcellana did not use the terms ‘sando’ and ‘sala’, I wouldn’t have thought that the characters were Filipinos.
The conflict in ‘Divide by Two’ is not something that’s unique in our culture nor does it reflect solely how we Filipinos exhibit and deal with jealousy. The conflict in the story can be seen in foreign films, in some Asian television series or can be read in novels written by international authors. In ‘The Mats’, the fathers anguish and guilt with the death of his 3 daughters reflects how we Filipinos regard the parents to be responsible for their children. In our country, there seems to be an unwritten rule that as long as the children are not married (even if they got pregnant early, already of legal age), their parents are still responsible for them. I believe it has something to do with the fact that Filipino families are close-knit and each family member has a role (Also, in ‘The Mats’, Marcelina helps her mother in the kitchen which is typical of the eldest Filipino daughter).
But looking at it closely, ‘Divide by Two’ reflects the Filipino more. Although some countries are high context as well, the reason behind why Filipinos are high context could be different from other countries.
It is the ultimate Filipino virtue to be polite and respectful, as our elders have always taught us that it reflects how well educated we are or if we have ‘breeding’. We are known in other cultures as hospitable and friendly, who are capable of adapting to different types of people and cultures so as to maintain harmony. I believe these values are the reason why we Filipinos are high context communicators – out of being polite and respectful, we tend to choose our words carefully, that we sometimes end up beating around the bush. Consequently, out of being polite and respectful, people find it difficult to express our true feelings, out of fear that expressing our feelings might hurt others (or ourselves) and be labeled ‘manhid’. When a friend asks you if she is fat, we would usually go in circles, out of respect for the friends’ feelings. Some are also ‘siguristas’ – they want to be sure that they would not appear vulnerable to others and expose themselves to keep the respect that other people have for them. In ‘Divide By Two’, the neighbor asking in a low-pitched, soft-spoken manner if Belle and the husband had been fighting could mean a lot of things. The manner in which he asked the husband could either mean that (a) he is simply concerned, (b) he does not want to be embarrassed by raising his voice and letting the neighbors know what’s going on, or (c) he wants to know if he stands a chance with the wife. The neighbor does not ask his intended question directly. Belle does not ask her husband directly if there is something going on between him and the neighbor’s wife. Rather, she asks him what he thinks about ‘the demonstrativeness of her puttering about her garden in very short shorts’. The husband does not give her a definite answer – he replied with a vague ‘I don’t like demonstrativeness…moving here wasn’t my idea’ crap.
While some countries have individualist cultures, we Filipinos are collectivists – A member of a group usually considers how a course of action would affect/ benefit the others. As much as possible, we avoid conflict. This also affects our being high context in communicating our feelings: If telling the truth would disrupt the status quo and ruin the respect that other people have for us, then we’d rather go ‘paligoyligoy’ and let other people realize for themselves the meaning behind the words.
Arcellana’s does not go ‘paligoyligoy’ in introducing the characters of the story. No detailed or panoramic description of the setting or the physical attributes of the characters. Rather, he prefers that the readers use their energy in whacking their brains out to figure out the meaning behind the character’s lines and actions.
At first I thought ‘The Mats’ reflects the Filipino more than ‘Divide by Two’. The customary way of bringing home ‘pasalubong’ for the family members, how the father is considered the bread winner and head of the family, how the wife stays at home to take care of their children, and how their children cannot question their parents’ behaviors are all reflective of the relationship between the members of a conservative, middle-class Filipino family. On the other hand, I imagined the setting for ‘Divide by Two’ to be on another country. The name of the street, references to Mozart and piano pieces that are not familiar to a common Pinoy’s ears and even the name of one of the characters (Belle) gave me the impression that the story was set elsewhere but the Philippines. (Turns out street actually exists in the UP Diliman campus according to our instructor). If Arcellana did not use the terms ‘sando’ and ‘sala’, I wouldn’t have thought that the characters were Filipinos.
The conflict in ‘Divide by Two’ is not something that’s unique in our culture nor does it reflect solely how we Filipinos exhibit and deal with jealousy. The conflict in the story can be seen in foreign films, in some Asian television series or can be read in novels written by international authors. In ‘The Mats’, the fathers anguish and guilt with the death of his 3 daughters reflects how we Filipinos regard the parents to be responsible for their children. In our country, there seems to be an unwritten rule that as long as the children are not married (even if they got pregnant early, already of legal age), their parents are still responsible for them. I believe it has something to do with the fact that Filipino families are close-knit and each family member has a role (Also, in ‘The Mats’, Marcelina helps her mother in the kitchen which is typical of the eldest Filipino daughter).
But looking at it closely, ‘Divide by Two’ reflects the Filipino more. Although some countries are high context as well, the reason behind why Filipinos are high context could be different from other countries.
It is the ultimate Filipino virtue to be polite and respectful, as our elders have always taught us that it reflects how well educated we are or if we have ‘breeding’. We are known in other cultures as hospitable and friendly, who are capable of adapting to different types of people and cultures so as to maintain harmony. I believe these values are the reason why we Filipinos are high context communicators – out of being polite and respectful, we tend to choose our words carefully, that we sometimes end up beating around the bush. Consequently, out of being polite and respectful, people find it difficult to express our true feelings, out of fear that expressing our feelings might hurt others (or ourselves) and be labeled ‘manhid’. When a friend asks you if she is fat, we would usually go in circles, out of respect for the friends’ feelings. Some are also ‘siguristas’ – they want to be sure that they would not appear vulnerable to others and expose themselves to keep the respect that other people have for them. In ‘Divide By Two’, the neighbor asking in a low-pitched, soft-spoken manner if Belle and the husband had been fighting could mean a lot of things. The manner in which he asked the husband could either mean that (a) he is simply concerned, (b) he does not want to be embarrassed by raising his voice and letting the neighbors know what’s going on, or (c) he wants to know if he stands a chance with the wife. The neighbor does not ask his intended question directly. Belle does not ask her husband directly if there is something going on between him and the neighbor’s wife. Rather, she asks him what he thinks about ‘the demonstrativeness of her puttering about her garden in very short shorts’. The husband does not give her a definite answer – he replied with a vague ‘I don’t like demonstrativeness…moving here wasn’t my idea’ crap.
While some countries have individualist cultures, we Filipinos are collectivists – A member of a group usually considers how a course of action would affect/ benefit the others. As much as possible, we avoid conflict. This also affects our being high context in communicating our feelings: If telling the truth would disrupt the status quo and ruin the respect that other people have for us, then we’d rather go ‘paligoyligoy’ and let other people realize for themselves the meaning behind the words.
Arcellana’s does not go ‘paligoyligoy’ in introducing the characters of the story. No detailed or panoramic description of the setting or the physical attributes of the characters. Rather, he prefers that the readers use their energy in whacking their brains out to figure out the meaning behind the character’s lines and actions.
‘Paligoyligoy’: Unweaving the mats and reading between the fences
Reading the two stories by Fransisco Arcellana – ‘The Mats’ and ‘Divide by Two’ – makes for a good brain workout. One really has to read the short stories at least thrice to understand the theme and how the elements fit together. Arcellana’s stories entail one to really read between the lines. Unlike Arguilla, Arcellana does not give you a detailed description. He lets the readers imagine for themselves what the characters might actually look like and how they utter the melodramatic, telenovela-worthy lines. His style is rather straight forward – whereas in most stories or even films where one is taken or shown first the setting/time frame to establish the mood, Arcellana zooms in to the characters.
At first I thought ‘The Mats’ reflects the Filipino more than ‘Divide by Two’. The customary way of bringing home ‘pasalubong’ for the family members, how the father is considered the bread winner and head of the family, how the wife stays at home to take care of their children, and how their children cannot question their parents’ behaviors are all reflective of the relationship between the members of a conservative, middle-class Filipino family. On the other hand, I imagined the setting for ‘Divide by Two’ to be on another country. The name of the street, references to Mozart and piano pieces that are not familiar to a common Pinoy’s ears and even the name of one of the characters (Belle) gave me the impression that the story was set elsewhere but the Philippines. (Turns out street actually exists in the UP Diliman campus according to our instructor). If Arcellana did not use the terms ‘sando’ and ‘sala’, I wouldn’t have thought that the characters were Filipinos.
The conflict in ‘Divide by Two’ is not something that’s unique in our culture nor does it reflect solely how we Filipinos exhibit and deal with jealousy. The conflict in the story can be seen in foreign films, in some Asian television series or can be read in novels written by international authors. In ‘The Mats’, the fathers anguish and guilt with the death of his 3 daughters reflects how we Filipinos regard the parents to be responsible for their children. In our country, there seems to be an unwritten rule that as long as the children are not married (even if they got pregnant early, already of legal age), their parents are still responsible for them. I believe it has something to do with the fact that Filipino families are close-knit and each family member has a role (Also, in ‘The Mats’, Marcelina helps her mother in the kitchen which is typical of the eldest Filipino daughter).
But looking at it closely, ‘Divide by Two’ reflects the Filipino more. Although some countries are high context as well, the reason behind why Filipinos are high context could be different from other countries.
It is the ultimate Filipino virtue to be polite and respectful, as our elders have always taught us that it reflects how well educated we are or if we have ‘breeding’. We are known in other cultures as hospitable and friendly, who are capable of adapting to different types of people and cultures so as to maintain harmony. I believe these values are the reason why we Filipinos are high context communicators – out of being polite and respectful, we tend to choose our words carefully, that we sometimes end up beating around the bush. Consequently, out of being polite and respectful, people find it difficult to express our true feelings, out of fear that expressing our feelings might hurt others (or ourselves) and be labeled ‘manhid’. When a friend asks you if she is fat, we would usually go in circles, out of respect for the friends’ feelings. Some are also ‘siguristas’ – they want to be sure that they would not appear vulnerable to others and expose themselves to keep the respect that other people have for them. In ‘Divide By Two’, the neighbor asking in a low-pitched, soft-spoken manner if Belle and the husband had been fighting could mean a lot of things. The manner in which he asked the husband could either mean that (a) he is simply concerned, (b) he does not want to be embarrassed by raising his voice and letting the neighbors know what’s going on, or (c) he wants to know if he stands a chance with the wife. The neighbor does not ask his intended question directly. Belle does not ask her husband directly if there is something going on between him and the neighbor’s wife. Rather, she asks him what he thinks about ‘the demonstrativeness of her puttering about her garden in very short shorts’. The husband does not give her a definite answer – he replied with a vague ‘I don’t like demonstrativeness…moving here wasn’t my idea’ crap.
While some countries have individualist cultures, we Filipinos are collectivists – A member of a group usually considers how a course of action would affect/ benefit the others. As much as possible, we avoid conflict. This also affects our being high context in communicating our feelings: If telling the truth would disrupt the status quo and ruin the respect that other people have for us, then we’d rather go ‘paligoyligoy’ and let other people realize for themselves the meaning behind the words.
Arcellana’s does not go ‘paligoyligoy’ in introducing the characters of the story. No detailed or panoramic description of the setting or the physical attributes of the characters. Rather, he prefers that the readers use their energy in whacking their brains out to figure out the meaning behind the character’s lines and actions.
At first I thought ‘The Mats’ reflects the Filipino more than ‘Divide by Two’. The customary way of bringing home ‘pasalubong’ for the family members, how the father is considered the bread winner and head of the family, how the wife stays at home to take care of their children, and how their children cannot question their parents’ behaviors are all reflective of the relationship between the members of a conservative, middle-class Filipino family. On the other hand, I imagined the setting for ‘Divide by Two’ to be on another country. The name of the street, references to Mozart and piano pieces that are not familiar to a common Pinoy’s ears and even the name of one of the characters (Belle) gave me the impression that the story was set elsewhere but the Philippines. (Turns out street actually exists in the UP Diliman campus according to our instructor). If Arcellana did not use the terms ‘sando’ and ‘sala’, I wouldn’t have thought that the characters were Filipinos.
The conflict in ‘Divide by Two’ is not something that’s unique in our culture nor does it reflect solely how we Filipinos exhibit and deal with jealousy. The conflict in the story can be seen in foreign films, in some Asian television series or can be read in novels written by international authors. In ‘The Mats’, the fathers anguish and guilt with the death of his 3 daughters reflects how we Filipinos regard the parents to be responsible for their children. In our country, there seems to be an unwritten rule that as long as the children are not married (even if they got pregnant early, already of legal age), their parents are still responsible for them. I believe it has something to do with the fact that Filipino families are close-knit and each family member has a role (Also, in ‘The Mats’, Marcelina helps her mother in the kitchen which is typical of the eldest Filipino daughter).
But looking at it closely, ‘Divide by Two’ reflects the Filipino more. Although some countries are high context as well, the reason behind why Filipinos are high context could be different from other countries.
It is the ultimate Filipino virtue to be polite and respectful, as our elders have always taught us that it reflects how well educated we are or if we have ‘breeding’. We are known in other cultures as hospitable and friendly, who are capable of adapting to different types of people and cultures so as to maintain harmony. I believe these values are the reason why we Filipinos are high context communicators – out of being polite and respectful, we tend to choose our words carefully, that we sometimes end up beating around the bush. Consequently, out of being polite and respectful, people find it difficult to express our true feelings, out of fear that expressing our feelings might hurt others (or ourselves) and be labeled ‘manhid’. When a friend asks you if she is fat, we would usually go in circles, out of respect for the friends’ feelings. Some are also ‘siguristas’ – they want to be sure that they would not appear vulnerable to others and expose themselves to keep the respect that other people have for them. In ‘Divide By Two’, the neighbor asking in a low-pitched, soft-spoken manner if Belle and the husband had been fighting could mean a lot of things. The manner in which he asked the husband could either mean that (a) he is simply concerned, (b) he does not want to be embarrassed by raising his voice and letting the neighbors know what’s going on, or (c) he wants to know if he stands a chance with the wife. The neighbor does not ask his intended question directly. Belle does not ask her husband directly if there is something going on between him and the neighbor’s wife. Rather, she asks him what he thinks about ‘the demonstrativeness of her puttering about her garden in very short shorts’. The husband does not give her a definite answer – he replied with a vague ‘I don’t like demonstrativeness…moving here wasn’t my idea’ crap.
While some countries have individualist cultures, we Filipinos are collectivists – A member of a group usually considers how a course of action would affect/ benefit the others. As much as possible, we avoid conflict. This also affects our being high context in communicating our feelings: If telling the truth would disrupt the status quo and ruin the respect that other people have for us, then we’d rather go ‘paligoyligoy’ and let other people realize for themselves the meaning behind the words.
Arcellana’s does not go ‘paligoyligoy’ in introducing the characters of the story. No detailed or panoramic description of the setting or the physical attributes of the characters. Rather, he prefers that the readers use their energy in whacking their brains out to figure out the meaning behind the character’s lines and actions.
Sunday, January 20, 2008
On Arguilla and Bulosan: Who is the Filipino?
Almost any form of classic Filipino art seems to have family and farm life as its subjects or inspiration. Even in music and in paintings, family and farm life can be seen as the recurrent theme, capturing the simple, resilient, close-knit Pinoy family.
Bulosan and Arguilla both see the Filipino as somebody who values his family. In both stories, the family is seen as influential. The fathers are both regarded as the head of the family and are treated with great respect and admiration. The father in Bulosan’s story is a man who laughs heartily and makes fun of himself despite their disposition, setting an example to his kids who came up with their own antics to make their family laugh. In Arguilla’s story, the father is also accorded with great respect – the story did not show a Baldo, who is hesitant to follow his father’s orders not to pass by the camino real and to use Labang and the cart instead of the calesa. The way Baldo noticed how his father’s voice resounded across the room without raising his voice seem to exemplify his father’s authority.
Arguilla shows in his story how the Filipino values his family’s opinion about his actions and how we Filipinos sometimes tend to be a bit proud about our how far we’ve come by being generous. Noel/Leon brought home a fiancé who he strongly believes would get the approval of his family. Baldo’s initiative to light up the lantern earns him his brother praise and this warms his heart. A man coming back to his hometown after being in Manila for several years, Noel/Leon gives a rather generous tip to Ca Celin (not only will his fiancé be the talk of the town) showing how much he has made for himself already.
On the other hand, Bulosan sees how the Filipino deals with life – the Filipino tries to make his situation bearable by laughing at himself or his condition. The son in Bulosan’s story brings a bundle with a cat inside, making it appear like he brought home something extravagant to eat and everybody was in hysterical laughter when they found out what it contained.
It is funny how these traits still ring true today. I really appreciate how Arguilla was able to craft a simple story that only a Filipino can understand- although it is written in a foreign language, it has a language and tone on its own, one that only a person raised in this country can truly appreciate. Bulosan was able to capture the pilosopo Pinoy and the Pinoy sense of humor in his story. Despite his condition in life, the Filipino sees the funny side of things and tries to make the most out of whatever he has – his family and his sense of humor.
Bulosan and Arguilla both see the Filipino as somebody who values his family. In both stories, the family is seen as influential. The fathers are both regarded as the head of the family and are treated with great respect and admiration. The father in Bulosan’s story is a man who laughs heartily and makes fun of himself despite their disposition, setting an example to his kids who came up with their own antics to make their family laugh. In Arguilla’s story, the father is also accorded with great respect – the story did not show a Baldo, who is hesitant to follow his father’s orders not to pass by the camino real and to use Labang and the cart instead of the calesa. The way Baldo noticed how his father’s voice resounded across the room without raising his voice seem to exemplify his father’s authority.
Arguilla shows in his story how the Filipino values his family’s opinion about his actions and how we Filipinos sometimes tend to be a bit proud about our how far we’ve come by being generous. Noel/Leon brought home a fiancé who he strongly believes would get the approval of his family. Baldo’s initiative to light up the lantern earns him his brother praise and this warms his heart. A man coming back to his hometown after being in Manila for several years, Noel/Leon gives a rather generous tip to Ca Celin (not only will his fiancé be the talk of the town) showing how much he has made for himself already.
On the other hand, Bulosan sees how the Filipino deals with life – the Filipino tries to make his situation bearable by laughing at himself or his condition. The son in Bulosan’s story brings a bundle with a cat inside, making it appear like he brought home something extravagant to eat and everybody was in hysterical laughter when they found out what it contained.
It is funny how these traits still ring true today. I really appreciate how Arguilla was able to craft a simple story that only a Filipino can understand- although it is written in a foreign language, it has a language and tone on its own, one that only a person raised in this country can truly appreciate. Bulosan was able to capture the pilosopo Pinoy and the Pinoy sense of humor in his story. Despite his condition in life, the Filipino sees the funny side of things and tries to make the most out of whatever he has – his family and his sense of humor.
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