#ilocano poetry | Explore Tumblr posts and blogs

aaartemisia · 1 year ago

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Josie Rizal and her likes and dislikes (if she was been confirmed and has a huge role and major comeback in Tekken 8):

- she likes to eat healthy food and having a very lethargic diet (even she has an hourglass figure and being physically fit and sexy due to her being a eskrima practitioner)

- she was a fan of Aaliyah and Selena Quintallina and she would sometimes wore like them while attending Halloween parties.

- she was into math, science, essay and history but she’s being a straight-a student herself.

- Josie was also a Zendaya fan.

- Josie has a crybaby personality but Josie was been described by some people she met with as a “her smile, her kindness and her beauty was a ray of sunshine”.

- Josie loves to help with other people and being hospitable.

- Josie would decline the offer if she didn’t want to sing at a karaoke but she sang good.

- HBO’s Euphoria was her favorite tv show.. it is because of Zendaya, duh

- Josie tended to be shy, mysterious, wholesome, sweet but she was sometimes sarcastic.

- josie was a big fan of red lipstick but she prefers wearing orange lipstick.

- she speaks Tagalog; but she knew how to speak bicolano, ilocano, kapampangan hiligayon and cebuano (Josie was bisdak) but she spoke English, Japanese and Spanish too.

- a collector of canvas tote bags, clothes, shoes and keychains (especially books, magazines, makeups and also nail polishes).

- also a switftie herself.

- “in love with his red…”

- josie has a crush on Miguel Rojo and she was into hot Spanish bad boy (but a wholesome from the inside).

- josie loves eating sweet’s especially some Filipino sweet delicacies like halo-halo, mais con yelo, egg pie, buko pie, pastillas, espasol, ginataang mais/ginataang bilu-bilo and also haribo gummy bears, kit-kat, Goya, Hershey’s and some other international sweetened foods.

- Josie would get mad if someone’s trying to get her favorite Haribo Gummy Bears.

- Josie also listens to Utada Hikaru, R&B rap and hip-hop music and metal rock and soft rock music.

- an avid traveler and wanted to learn different kinds of languages and cultures (since she works as a supermodel outside of her country).

- Josie plans to get married at 25 and having two daughters of her own at 34.

- Josie’s Highschool course would be humanities.

- a fan of haikus and poetry.

- she was into gold made jewelries and white Pearls.

- Was born under a Virgo sign.

- She would get insecure and jealous sometimes.

- was good friends with Xiaoyu, Alisa, Asuka, Lili, Kuma and Panda.

- Josie would yell, saying a roasting reply at someone else who’s being racist towards Filipinos (since she hates racist people.)

A white racist karen : “that is why I don’t hire Filipinos.”

Josie Rizal herself : “Oh okay Karen, lemme ruin your entire life perspectives about the Filipinos and why they left their own motherland and worked abroad!”

- was a victim of school bullying since childhood (due to her tall and shy nature she was until her parents convinced her to learn kickboxing so she could defend herself from bullies).

- if she saw a good stuff (ex. a new iphone or a new pair of silettos), she would earn some money and buy it.

- Josie works mutiple jobs wc includes a seamstress, a substitute tutor, a cashier, call center agent and also a domestic helper.

- she would rather come home from work for not being drunk and having a daily dose of happy-happy time with friends but instead; she would go home, having a nice bath, eat some snacks and watch some tv shows from an online streaming app than going for a midnight drinking sess.

- she didn’t like Filipino parents using their kids as their own “retirement fund” but Josie was lucky to have parents who weren’t like that and they supported her.

- Josie would send some money via online bank remittance to her parents that she would rather surprise them with gifts.

- both a cat and dog person herself.

- a weeb herself.

#josie rizal #filipino #tekken7 #headcannon #zendaya #aaliyah #selena quintanilla perez #likesanddislikes #Utada Hikaru #miguel caballero rojo #spanish

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drawingto23 · 2 years ago

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2 Remarkable Filipino

PRE-SPANISH PERIOD

Credit: wikipedia.org

Pedro Bukaneg (March 1592 – c. 1630}

Was a Filipino poet. He is considered the "Father of Ilocano literature." Blind since birth, he is the believed to have authored of parts of the Ilocano epic Biag ni Lam-ang (Life of Lam-ang).

Being a romanticist, he composed poems and songs which were so tenderly sweet that he gained fame among the Ilokano masses as a gifted troubadour. Bukaneg was good not only in poetry but also in oratory.

Pedro Bukaneg was a Filipino poet. He is considered the "Father of Ilocano literature." Blind since birth, he is the believed to have authored of parts of the Ilocano epic Biag ni Lam-ang. A street inside the Cultural Center of the Philippines complex in Pasay, Philippines is named in his honor.

Born: March 1592, Bantay

Died: 1630

Credit:filipinaslibrary.org

Nicanor Abelardo

Kundiman

A composer of over 140 works that included sonatas, concerti and chamber music, Abelardo is best known for elevating the Philippine genre of the Kundiman into a western art-song form.

The Violin Sonata (1931) by Abelardo is a composition for violin and piano that does not fit the characteristics most associated with Philippine music, particularly the Kundiman that Abelardo is best known for during that time period.

Nicanor Santa Ana Abelardo was a Filipino composer known for kundiman songs he wrote before the Second World War.

Born: February 7, 1893, San Miguel

Died: March 21, 1934, Intramuros, Manila

Awards: Awit Award for Best Traditional Recording

Parents: Placida Sta. Ana, Valentine Abelardo

Genres: Kundiman; classical music

SPANISH PERIOD [1521-1871]

Credit: wikipedia.org

Antonio Abad

Antonio M. Abad (1894-1970) was a poet, playwright, essayist and novelist born in Barili (Cebu) and is frequently referred to as “The Greatest Hispanic Filipino Novelist after Rizal”. In 1927, he published his first novel El Último Romantic.

Antonio Abad y Mercado was a prominent Filipino poet, fictionist, playwright, and essayist.

Born: May 10, 1894, Barili

Died: April 20, 1970

Books: Magda: A Three-act Play

Education: University of San Carlos - Talamban Campus

Language: Cebuano, Spanish

Notable awards: Premio Zóbel, Premio Literario Filipino de la Mancomunidad

Credit: alchetron.com

Jesus Balmori

He wrote three novels: Bancarrota de Almas (Failure of the Soul), Se Deshojó la Flor (I Tear The Pages Out of The Flower), and Pájaros de Fuego (Birds of Fire) which was completed during the Japanese occupation.

Born: January 10, 1887, Ermita, Manila

Died: May 23, 1948, Mexico City, Mexico

Books: Birds of Fire: A Filipino War Novel

Education: University of Santo Tomas (UST), Colegio de San Juan de Letran

Language: Spanish

PERIOD OF ENLIGHTENMENT(1872-1898)

Credit: tatlerasia.com

José Protasio Rizal Mercado y Alonso Realonda

He was a prolific poet, essayist, and novelist whose most famous works were his two novels, Noli Me Tángere (1887) and its sequel, El filibusterismo (1891).

José Protasio Rizal Mercado y Alonso Realonda was a Filipino nationalist, writer and polymath active at the end of the Spanish colonial period of the Philippines. He is considered the national hero of the Philippines.

Born: June 19, 1861, Calamba

Died: December 30, 1896, Rizal Park, Manila

Full name: José Protacio Rizal Mercado y Alonso Realonda

Siblings: Paciano Rizal, Saturnina Hidalgo, Concepción Mercado, MORE

Parents: Teodora Alonso Realonda, Francisco Mercado, Francisco Rizal

Spouse: Josephine Bracken (m. 1896–1896)

Credit: bayaniart.com

Marcelo Hilario del Pilar y Gatmaitán

Also known by his pen name Plaridel, was a Filipino writer, lawyer, journalist, and freemason. In 1882 Del Pilar founded the newspaper Diariong Tagalog to propagate democratic liberal ideas among farmers and peasants. In 1888 he defended José Rizal's polemical writings by issuing a pamphlet against a priest's attack, exhibiting his deadly wit and savage ridicule of clerical follies.

Marcelo H. Del Pilar is the most famous journalist in our history and is also considered as the father of Philippine journalism . His contributions as a lawyer, revolutionary, and propagandist emulates his patriotism, bravery, and intelligence.

Born: August 30, 1850, Bulacan

Died: July 4, 1896, Old Hospital de la Santa Creu, Barcelona, Spain

Nickname: Plaridel

Siblings: Toribio H. del Pilar, Fernando del Pilar, Valentín del Pilar, MORE

Children: Anita H. del Pilar de Marasigan, MORE

Parents: Blasa Gatmaitán, Julián Hilario del Pilar

THE AMERICAN REGIME (1898-1944)

Credit: alchetron.com

Adelina Guerrea

Adelina Guerrea was the first woman poet in the Philippines who was good in Spanish. She obtained the Zobel prize in her song El Nido . (The Nest).

Occupation writer, journalist, poet, playwright, historian, linguist Alma mater Santa Scholastica de Manilla

Died April 29, 1971, Madrid, Spain

María Adelaida Gurrea Monasterio (La Carlota, Negros Occidental, Philippines, September 27, 1896–Madrid, April 29, 1971) was a Philippine journalist, poet and playwright in Spanish.

Credit: peoplepill.com

Macario Adriatico

(10 Marso 1869-14 Abril 1919)

Macario Adriatico wrote of a legend of Mindoro entitle La Punta de Salto (The Place of Origin).

Born: March 10, 1869

Died: April 14, 1919

Scholar, journalist, and politician; known as the “Father of Manila’s City Charter

Credit: alchetron.com

Fernando Ma. Guerrero

The king of Balagtasan. His poetry book Crisálidas was published in 1914. Subsequently, he published another verse compilation called Ayes y Flores. Guerrero died on June 12, 1929, coinciding with that year's anniversary of the República Filipina (Philippine Republic). A school in Paco, Manila, was named after him in his honor.

Guerrero was the major lyric poet before and after the revolution, until the introduction of English literature in our schools. Known as the “Prince of Filipino lyric poets” in Spanish, he also played the flute and guitar. In Spanish lyric poetry, he was unsurpassed by his contemporaries.

Born: May 30, 1873, Manila

Died: June 12, 1929, Philippines

Full name: Fernando María Guerrero Ramírez

Children: Evangelina Guerrero Entrala

Education: University of Santo Tomas (UST), Ateneo de Manila University

Nationality: Philippine

Previous office: Member of the Philippine Assembly (1907–1909)

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jovelagraceorabe · 2 years ago

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TWO FILIPINO WRITERS

CLARO CALUYA

Claro M. Caluya was a Filipino poet, novelist, and journalist born on September 7, 1907, in Batangas, Philippines. He started writing poetry at an early age and became a prominent figure in the Filipino literary scene in the 1930s. Caluya was known for his use of Filipino idioms and his depictions of rural life in his works. He also wrote articles and editorials for various newspapers and magazines. In 1952, he received the Republic Cultural Heritage Award for Literature. Some of his notable works include "Ang Kamatayan ni Tiyo Samuel," "Ang Kalibugan ng Bayan Kong Pilipinas," and "Sa Buwan ng Mayo."

PEDRO BUKANEG

Pedro Bukaneg was a Filipino poet and hero born in the early 16th century in Tuguegarao, Cagayan. He was a blind poet who composed and recited poems in the Ilocano language. His works are regarded as some of the earliest examples of Philippine literature. Bukaneg is also known as the "Father of IlocanoLiterature." He wrote several poems, including "Biag ni Lam- ang," an epic poem that tells the story of a hero who goes on a quest to avenge his father's death. Bukaneg's work has been influential in Philippine literature.

#Famous writer in the Philippines #Amrican Regime #Biography

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ryanndalesworld · 2 years ago

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Ilocano Lit| A Reflection of Us, Ilocanos

Literature is one of a kind. It opens opportunities for us readers to take a break from reality to places we've never been or will never be. Just by reading with our wide imagination, we will not only be entertained, but we will also gain knowledge, lessons about life and understanding of the world including the people around us. However, have you heard of the richness of Ilocano literature?

"Iloko" is the language while "Ilocano" refers to the people who speak the Iloko language and lives in the provinces of Ilocos Norte, Ilocos Sur, La Union, and certain sections of Pangasinan, Tarlac, Cagayan, Isabela, Nueva Vizcaya, and Nueva Ecija. There are also some Ilocanos in Apayao, Kalinga, Ifugao, and Mountain Province. The entire region is sometimes called “Ilocandia” or the “Ilocos Region”.

The term Ilocano originates from i-, "from", and looc, "cove or bay", thus "people of the bay." A families and clans arrived by viray or bilog, meaning "boat". Ilocanos also refer to themselves as Samtoy, a contraction from the Ilokano phrase sao mi ditoy, "our language here".

One of the reasons why Ilocanos are known is because of the richness of their literature. In fact, it is believed by scholars to be the richest and most highly developed in the Philippines.

Ilocano literature are the literary works written in foreign or Philippine languages by the Ilocano ancestry writers. It is one of the several regional Philippine literatures. Ilocano literature, next to Tagalog and Philippine Literature in English, is one of the most active tributaries to the general Philippine literature.

Want to know how Ilocano literature developed? Let's see its historical background.

Folk songs, riddles, proverbs, lamentations called dung-aw, and epic tales in written or oral form made up the pre-colonial Iloco literature. The dallot, a long, spontaneous poetry given in a sing-song style, was a form of expression used by ancient Ilokano poets along with folk and battle songs.

During the Spanish regime, Iloko poetry was generally patterned after Spanish models. In fact, the earliest known written Iloko poems were the romances translated from Spanish by Francisco Lopez, an Augustinian friar who, in 1621, published his own Iloko translation of the Doctrina Cristiana by Cardinal Bellarmine, the first book to be printed in Iloko.

During the 18th century, the missionaries used both religious and secular literatures among other means to advance in order to further their goal of converting the Ilocanos to Christianity.

The comedia, otherwise known as the moro-moro, and the zarzuela were presented for the first time in the Ilocos in the 19th century. The comedia, a highly picturesque presentation of the wars between Christians and Muslims, and the zarzuela, an equally picturesque depiction of what is at once melodrama, comic-opera, and the skit interminably preoccupied with the eternal theme of boy-meets-girl-who-always-live-happily-ever-after-against-seemingly-impossible-odds are still as popular today as they were when first staged in the Ilocos.

Today, there is a sizable body of Ilocano literature, including newspapers and periodicals like the Bannawag.

Click this link to gain more information: https://en.m.wikipedia.org/wiki/Ilocano_literature

What's more interesting about Ilocano literature is that there is one piece that survived in the Spanish colonial period and still shines up to now!

Who wouldn't know the oldest, yet greatest Ilocano epic, Biag ni Lam-ang?

An illustration depicting the protagonist Lam-ang.

For many generations, Biag ni Lam-ang (The Life of Lam-ang) has been passed down orally, then it was later written down and documented during the Spanish Colonial era in the Philippines. It is notable for incorporating Roman Catholic elements into the piece, such as references by the characters of Lam-ang and Ines Kannoyan to marriage as a sacrament.

It tells the story of Lam-ang's life from avenging his father's murder, to being eaten by the water monster Berkakan, to being reborn and living happily ever after with his love, Ines Kannoyan. Furthermore, the epic poem showed some of the customs, culture, tradition and belief of the Ilocano people of the Philippines, including how they value their family. The story also presented some of the qualities of the people of the Ilocos region such as adventurous, hardy, and brave, loyal as strongly portrayed by Lam-ang.

Click the link below to have access on the summary of the Ilocano epic poem, Biag ni Lam-ang:

Ilocano literature indeed has a special place in everyone's heart. This treasure of ours portrays Ilocano's ways of life, beliefs, cultures, traditions, customs, behaviors, ways of thinking, and many more amazing facts about Ilocanos. This literature speaks about who we are, what we are, and what we used to be. Thus, Ilocano literature is the life and identity of Ilocanos.

This is just a glimpse of the richness of Ilocano literature and there are more amazing facts and information waiting to be discovered by you. At this point, you may realize that Ilocano literature is far different from yours. Ilocano literature might portray things that are not normal in your culture, beliefs, tradition, ways of life and the society you used to, but don't stop. Continue reading Ilocano literature because I guarantee that it will be worth it. You already gain awareness about our differences through literature and soon you will understand these differences which makes you to love and appreciate Ilocanos and Ilocano literature deeply.

As you read various Ilocano literature, you will be exposed to various situations. You will experience to be in the shoes of others and think or act like them. You will gain sympathy from others, understanding about differences, lessons about life and it will open your mind as to what reality is all about. Ilocano literature will change you in a good way.

In conclusion, Ilocano literature brings out the best version of ourselves which contributes to making the world a better place to live. A place that is peaceful, sorrounded by love, full of kindness, free from discrimination, and where everyone is open minded, understanding and normalize differences. We can easily have access to a wide range of information in this generation. At this point, use any various means to feed yourself more information about Ilocano literature such as the technology which includes the internet, mobile applications, gadgets and various social media sites etc.

Read and read and read Ilocano literature.

#21st century #literature #ilocano

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chesspnoi-eaa · 5 years ago

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Listen to my new song, “I’m Pinoy.” on Spotify, Apple or iTunes, later this week 👇 https://distrokid.com/hyperfollow/chesspnoi/im-pinoy #rapchatapp #pinoy #rap #rapper #music #rhyme #rhymes #rhyming #rhymer #poet #poetry #poem #poems #musician #musicians #boombap #boombaphiphop #kangol #pinoy #ilocano #hawaii #ilocanos #hiphopculture #hiphopmusic #bandgeek #musician #musicians #musiclife #mixing #mastering #songwriter #spotify #spotifyplaylist (at Okinawa, Okinawa) https://www.instagram.com/p/B6G48cIgZ8X/?igshid=6rz82kqftuhn

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iloco-lit · 2 years ago

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There are around 7 million people who speak Ilocano as their first language, mainly in Northern Luzon, the provinces of La Union and Ilocos, the Cagayan Valley, Babuyan, Mindoro, and Mindanao. Ilokano is also used as a lingua franca in trade, commerce, and everyday conversation by perhaps another 2 million speakers in the northern parts of Luzon. Ilocano is more widely spoken by ethnic groups from the country's northside than Tagalog, which is also its official language. Ilocano does not, however, have official status at this time; it is merely a regional tongue. Only the first few classes of elementary school use it.

The Ilocanos were the first ethnic group from the Philippines to immigrate in substantial numbers to North America, establishing sizable settlements in Hawai'i, California, and the Pacific.

Ilocano literature, also known as Iloko literature, refers to the literary creations of authors of Ilocano origin, regardless of the language(s) they have written in, including Ilocano, English, Spanish, and other foreign and Philippine languages. The words "Iloko" and "Ilocano" are distinct in the Ilocano language.

HISTORY OF ILOKO LITERATURE

Pre-colonial Iloko Literature-were composed of folk songs, riddles, proverbs, lamentations ( dung-aw), and epic stories written or oral form.

•Ancient Ilokano poets expressed themselves in folk and war songs.

DALLOT- an improvised, versified and at times impromptu long poem delivered in a sing-song manner.

FRANCISCO LOPEZ- an Augustinian friar

-translated the earliest written Iloko poems(romances) from Spanish

-also translated the DOCTRINA CRISTIANA (Cardinal Bellarmine)- the first book to be printed in Iloko.

GRAMATICA ILOKANA (1895)

- where the study of Iloko poetry could be found

- based on Lopez’s Arte de la Legua Iloca

PEDRO BUCANEG

- collaborated with Lopez in the translation of the Doctrina into Iloko

- credited for having been the first known

Ilokano poet

- Father of Ilokano Poetry and Literature

- blind since childhood

- authored the popular epic Biag ni Lam-ang (Life of Lam-ang) in the 17th

Ilocano Literary Works

•The poem is thought to have originated as oral literature in pre-colonial times, evolving as it is transmitted from poet to poet and generation to generation. The poem's first written documentation is sometimes credited to the blind Ilocano poet and preacher Pedro Bucaneg, but historian E. Arsenio Manuel gives that honor to Fr. Blanco of Narvacan, who collaborated with publicist and folklorist Isabelo de los Reyes.

The Biag ni Lam-ang narrative teaches us about Philippine history and provides insight into the methods our early ancestors used to identify suitable hunting grounds and establish territorial control. Because our country is full with so many wonderful things and is so magical, it is the ideal place for children to reside. We think that there are living things about us that are unseen to the naked sight, but can nevertheless see us and feel their presence thanks to our instincts.

•In the 1943 short story "My Father Goes to Court," two families with vastly different levels of wealth are shown to be at odds with one another. The plot revolves around the way the impoverished family deals with hardships in life and the way of life of the wealthy family. The wealthy family has a spacious home and servants because they have been awarded a considerable quantity of wealth. Rarely did the wealthy family's children leave their home. Given their high level of purchasing power, the wealthy family can purchase everything they desire and just enjoy it in the comfort of their own home. Too much time spent at home results in inactivity. As they were depicted in the story as being skinny and pale, this prevents them from being healthy.

This tale shows how useless money is without good health. In the narrative, it was mentioned that the underprivileged kids engaged in a variety of physical activities, which is undoubtedly better for their health. The best anti-depressant is a healthy lifestyle or exercise. It also has a good impact on how our brain functions.

Appreciating Ilocano Literature

One of the most dynamic Filipino literary traditions through the ages is Ilocano literature. Ilocano regions are also among the literature of the Philippines' most active tributaries.

We Ilocanos have a rich literature as we have published many stories, songs and many other literary pieces. We should appreciate these because it depicts our culture, traditions, behaviors through literary works.

Literature allows a person to step back in time and learn about life on Earth from the ones who walked before us. We can gather a better understanding of culture and have a greater appreciation of them. We learn through the ways history is recorded, in the forms of manuscripts and through speech itself. Humanity is reflected in literature, and literature helps us to comprehend one another. We can start to understand someone else's way of thinking by listening to their voice. I think literature is significant because it serves a purpose, and books start conversations in a world that is growing more and more disconnected from interpersonal interaction.

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asianartsblog · 3 years ago

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LEK BORJA RENEWS FILIPINO HISTORY THROUGH ART

BY PRECIOUS RINGOR

Asian Pasifika Arts Collective New Outlooks Blog

April 2, 2021

http://ow.ly/fEby50FlQWZ

Editor’s Note: Precious Ringor brings us a second artist profile, this time of Filipino American interdisciplinary artist and poet Lek Borja, whose work is an attempt to track the continuous colonization across time, first within the Philippines from Spain and the United States, through present day America and trying to give voice to Filipino life against a white hegemony. Precious displays how Lek crosses borders of cultural stereotypes, seeking to expand the visions placed on Filipinos by other oppressive powers, and inserting her culture in art spaces where they are new and unfamiliar, but for the community, reminders of home.

Header Image: “Heritage at the Threshold” by Timothy Singratsomboune | Digital photography collage, 5400 x 4050 px, 2021.

Getting to know someone virtually is one of the sad realities we’ve had to face because of COVID-19 regulations. It’s both a blessing and a curse—we’ve become a global village, but at the same time we’ve all had more eye and back problems from sitting around and zooming this past year.

A zoom call and an hour was all I had to get to know Lek Vercauteren Borja, a Filipino American interdisciplinary artist and poet widely known for her thought-provoking work into the Asian diaspora. Chatting with Lek didn’t feel like a job though; time flies fast when you’re having fun.

One of the things I noted was Lek’s warm and friendly nature. Most of the time, it’s uncommon for an interviewee to ask questions about the interviewer. Lek unabashedly admitted that she did a bit of ‘stalking’ before we hopped on Zoom, “I like to know about the person I’m talking with, even before the interview starts.”

Lek started in poetry. Armed with a love for Shakespeare, she pursued a dual concentration in Art and Creative Writing at Antioch University. It was there that she first fell in love with art history and sculpture. During that time, her first chapbook, Android, was published by Plan B Press. She took this as a sign to continue pursuing a career in arts.

As an artist, she admits that’s where she gets inspiration from, “I want to talk about the history of Filipinos, the invisible stories. Growing up in the Philippines and studying there, I realized there was a lot missing in our history books. It seemed as if it were written from a western perspective.” She reminded me so much of the Philippines, of home. Because of our similar upbringing, I immediately understood her search for truth.

The themes of home and longing, of memory and the present, and of giving Filipino lives new voices, carry across her work, and no more palpably than her piece Evolution of the Aswang Myth, what she calls “seed and the origin” to all her current works. Lek says “Without it, I wouldn’t be thinking about art, the way I’m making now.” This 8 x 8 feet painting explores the origins of the aswang or manananggal, a Filipino mythical creature typically depicted as a woman feared for its penchant for eating infants and unborn fetuses during the night. Interestingly, the aswang was also a word ascribed to the Filipina women who went against the forced religious conversion by Spanish friars during their colonization of the Philippines.

March 2021 marked 500 years since Spanish ships first arrived on the shores of the Philippines.

Since then, our country fought hard for liberation, first from Spain and then from the United States of America. In retrospect, it hasn’t been long since the Philippines became an independent nation. Today, we are striving to find our voice amidst the imperialistic erasure we’ve endured.

As Lek puts it, “What propelled me to tell these stories is the feeling that I had no voice. For one, I didn’t speak English well so I couldn’t really talk about what I was going through or how I felt. That’s why a lot of my work now focuses on bringing my experiences of living in the Philippines at the forefront and seeing how that’s connected to bigger conversations and narratives around us.”

Currently, Lek’s work called Anak (My Child) is being featured in the gallery at Towson University’s Asian Arts & Culture Center.

View Anak (My Child) Exhibit: https://towson.edu/anak

Besides online exhibitions and virtual galleries, Lek is also conducting several workshops in Baltimore’s upcoming Asia North Festival. These workshops are a good model for Lek’s philosophy in making art out of personal histories. Whether it’s experiences of displacement or change, she points out that everyone’s story matters and there will always be a community of people who can empathize with that.

“I think it’s really important for our stories to be brought to light in the larger narrative. They think by calling us model minority, our problems can easily be brushed aside” I lamented the steady rise of xenophobic crimes these past few months.

“I agree, it’s a really complex issue” Lek adds, “Why are we so silent? Why do we stand in the shadows? I’ll probably look for an answer my entire life. It’s hard to talk about our struggles and it’s not easy to have conversations about the past. There’s a culture of silence that’s been normalized and it’s perpetuated even in our own homes. But that’s part of the work I do, bringing everything from the past into the forefront so we can have deeper conversations about it.”

Speaking of the past, Lek’s introduction to the arts started in Tarlac, a city located north of the Philippines. Besides being known as the most multicultural province, the city is home to numerous sugar and rice plantations. “The population of our barrio was probably less than 1,000. Our family had a farm as well as a sugar-cane and rice field plantation. My inang [grandmother] also worked in the market as a butcher. It was a pretty simple country lifestyle but my childhood was amazing.”

Life in the country has been instrumental to Lek’s artistry. “The memory of the landscape and of the community is an extension of my art,” Lek explains. As a young girl, her biggest inspiration comes from her grandfather who, like herself, was also an artist. Lek would copy his drawings and eventually create drawings of her own. Recently, Lek has started to incorporate banana leaves into her work. Banana leaves are incredibly important to Filipino culture as it is used for cooking and traditional homebuilding.

“Sounds like you had to find your own path, coming here at such a young age and experiencing culture shock. America is very different from the Philippines!” I quipped.

“It was snowing where I first came here!” she exclaimed, thinking back to her initial introduction of America. “It was November when we landed in New York, it was freezing. I remember our families bundling us in huge warm winter coats before wecould even say hello. It was definitely a huge shock.”

I laugh, thinking back to when I first arrived in California ten years ago. Silly to think I was already freezing in sunny temperatures when she had to endure piles of snow. “Do you think you’ve had to change yourself in order to adjust to that culture shock?”

“For a long time I really didn’t know who I was,” Lek admits. “When I was younger, the school I went to was predominantly white. What I thought about how I should present myself came from that image. I dyed my hair blond and put on blue colored contacts to fit in. It was a lot of assimilation and cultural erasure. I started talking less Tagalog and less Ilocano. But art has really helped me find myself. It made me think more deeply about who I really was and what was important to me on an authentic level.”

Halfway through our conversation, we slowly realized just how similar we were. From migrating at the age of ten to living twenty miles apart in the same city. It was also in chatting that Lek found out I spoke Tagalog fluently, one thing she regrets losing unexpectedly. As it is my first language, Lek asked me to speak it instead. Once again, her warm nature bled through the Zoom interview; I found it refreshing since hardly anyone thinks about the interviewer’s comfort.

Unsurprisingly, community building is important to Lek. Before working, she likes to ask herself the following questions, ‘How is what I’m doing connected to my family and everyone in the Filipino community? How can I better serve my community?’ One of the main reasons she moved to L.A. is to network with other Filipino artists.

“A few years ago, I showed my art alongside a group of all Filipino artists at Avenue 50 Studio gallery for an exhibition that Nica Aquino and Anna Calubayan organized (also both Filipinas). It’s crazy because I’ve lived in and out [of L.A.] for over 10 years now and it was only in 2019 that I started to be part of that community. It’s probably the most fun I've had at an art show, I really felt at home.”

“I’d love to visit the studio’s galleries once it’s safer to go outside”

“Definitely! I’ll keep you updated on any gatherings” Lek pitched excitedly.

“And I'll bring you guys homemade ube cakes and puto pao!” I teasingly replied back.

As our call came to a close I couldn’t help but ask Lek if she had any advice to give to budding AAPI artists.

“I’ll echo what people who have supported me have said in the past: trust yourself and trust that you can make a difference. It’s hard to figure out who you want to be when [the world] has expectations and demands from you. We’re lucky to live in a time where there’s so many possibilities. Figure out what you want to do authentically and genuinely, and go for it.”

Lek continues on, “Personally, it took me a long time to find my voice. When I was in grad school, I had a lot of doubt in myself because most visiting artists and curators couldn’t understand my work. What made it all worth it were the moments that people got [my voice] right away.”

Getting to know Lek and learning about her commitment to showcasing invisible stories has been awe-inspiring; it made me proud to be a Filipino American artist. And in the wake of our hurting AAPI community, I believe it’s incredibly important, now more than ever, to highlight and support works of people like Lek. People who have had to fight for their voice in this world, who our youth could look up to and be inspired to become.

About the Author:

Precious Ringor is a Filipino-American singer/actress/writer residing in Los Angeles, CA. Ringor graduated from Cal State University, Fullerton with a degree in Human Communication Studies where her research is geared towards Asian American socio-cultural communication norms. Besides performing in various theatre shows and indie film sets, Ringor also works as a content contributor to Film Fest Magazine and Outspoken

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thenamesnotatallrelevant · 1 year ago

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Ni Baket a Nagsiksi

Idi naminsan ku a pannakatarubaiNakaimatangak ti nagpintasken anyan a nagsiksiAy ta ni baket ku gayam adri!Anyan apu a lasbang ken lapsat na a pirmiAglalun agsangaili

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#beautiful wife #Ilocano #ilocano poetry

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olreid · 4 years ago

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[Transcript:

Tsang: If I have to say something about identity, I also think of ritual practice. I was recently asked to write something about identity for a publication, and the first thing that came to my mind was that identity is the act of putting yourself together each day.

Moten: If identity is the ritual practice of putting yourself together every day— the ritual and jurisgenerative practice of putting yourself together every day— then it manifests on the most specific level under the rubric of dis-identification, as José taught us. The way you put yourself together every day is the way that you take yourself apart every day. In other words, dis-identification is this practice by tearing oneself apart. You can see it precisely in that interplay between the fighting and dance that is such a big part of your film. These modalities of dancing and fighting are really about a ritualized activity of ripping your body apart. It almost feels like...

Tsang: Like your limbs are coming off!

Moten: Like you’re slicing your own limbs off. In that opening scene, you see the first swordswoman and this tremendous twirling and flash of the sword, accentuated by its flexibility and thinness—it’s as if you have a whirling circle of matter that keeps slicing parts of itself off that almost immediately recoalesce. So, putting oneself together every day is inseparable from tearing oneself apart every day.

Tsang: In that opening scene, the voice-over recites a famous line of Qiu Jin's poetry, but it was translated and performed in Ilocano [a language spoken by the Ilocano people in the Phillipines]: "My body will not allow me to mingle with men, but my heart is far braver than that of a man." I'm just thinking about what it could mean to segment the body into parts, and how those parts would measure up to one's assessment of power. What limbs can we sever, or momentarily conjure, to constitute our place in this world? End transcript.]

all terror, all beauty: wu tsang and fred moten in conversation for trap door: trans cultural production and the politics of visibility

#like your limbs are coming off!!!!#made for cutting #body horror /

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pr0ud0fmyroots · 4 years ago

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─────❝ 𝐚𝐛𝐨𝐮𝐭 𝐦𝐞 ❞ ─────

College student

Taga U.K. ako (I was born/raised in the U.K.)

Mahal ko ang mga anime shows!

My dads from Bikol, and my moms Ilocano. But they’ve always spoken in Tagalog though so hindi ako marunong mag-Ilocano or Bikolano

My mother’s side of the family is from ilocos sur, and whenever I visit them we go to Vigan super often. I really love it there

My favourite place in Vigan has to be Cafe Uno. I definitely recommend it if you’re visiting

I lowkey want to learn ilocano, but I decided Tagalog is my top priority since it’s easier to find resources of it.

Weirdly enough, I used to be fluent in ilocano because I was raised in the Philippines when I was a baby, but I’ve forgotten everything kasi mag-english lang sa’kin yung mama ko (also my dad couldn’t understand me lmao)

Other hobbies: reading, dance, writing stories / poetry

#about me #filipino #filipino language #philippines #Tagalog #learning tagalog #taglish

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boughtwithaprice · 4 years ago

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The Literary Forms in Philippine Literature

by: Christine F. Godinez-Ortega

The diversity and richness of Philippine literature evolved side by side with the country's history. This can best be appreciated in the context of the country's pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions.

The average Filipino's unfamiliarity with his indigenous literature was largely due to what has been impressed upon him: that his country was "discovered" and, hence, Philippine "history" started only in 1521.

So successful were the efforts of colonialists to blot out the memory of the country's largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country's wealth of ethnic traditions and disseminating them in schools and in the mass media.

The rousings of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the "Filipino identity."

Pre-Colonial Times

Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to know more and better judge information about our pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past.

Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our Southeast Asian neighbors.

The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilongo and patototdon in Bicol. Central to the riddle is the talinghaga or metaphor because it "reveals subtle resemblances between two unlike objects" and one's power of observation and wit are put to the test. While some riddles are ingenious, others verge on the obscene or are sex-related.

The proverbs or aphorisms express norms or codes of behavior, community beliefs or they instill values by offering nuggets of wisdom in short, rhyming verse.

The extended form, tanaga, a mono-riming heptasyllabic quatrain expressing insights and lessons on life is "more emotionally charged than the terse proverb and thus has affinities with the folk lyric." Some examples are the basahanon or extended didactic sayings from Bukidnon and the daraida and daragilon from Panay.

The folk song, a form of folk lyric which expresses the hopes and aspirations, the people's lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the children's songs or Ida-ida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag).

A few examples are the lullabyes or Ili-ili (Ilongo); love songs like the panawagon and balitao (Ilongo); harana or serenade (Cebuano); the bayok (Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as a tool for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song) or the mambayu, a Kalinga rice-pounding song; the verbal jousts/games like the duplo popular during wakes.

Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or the Annako (Bontoc).

A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil, uses for its subject matter the exploits of historical and legendary heroes. It tells of a Muslim hero who seeks death at the hands of non-Muslims.

The folk narratives, i.e. epics and folk tales are varied, exotic and magical. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of the origins of things. Fables are about animals and these teach moral lessons.

Our country's epics are considered ethno-epics because unlike, say, Germany's Niebelunginlied, our epics are not national for they are "histories" of varied groups that consider themselves "nations."

The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds and they embody or validate the beliefs and customs and ideals of a community. These are sung or chanted to the accompaniment of indigenous musical instruments and dancing performed during harvests, weddings or funerals by chanters. The chanters who were taught by their ancestors are considered "treasures" and/or repositories of wisdom in their communities.

Examples of these epics are the Lam-ang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (Livunganen-Arumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang--Manobo); Ag Tobig neg

Keboklagan (Subanon); and Tudbulol (T'boli).

The Spanish Colonial Tradition

While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the playlets and the drama. Spain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand the meanings of "liberty and freedom."

Literature in this period may be classified as religious prose and poetry and secular prose and poetry.

Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish language. Fernando Bagonbanta's "Salamat nang walang hanga/gracias de sin sempiternas" (Unending thanks) is a fine example that is found in the Memorial de la vida cristiana en lengua tagala (Guidelines for the Christian life in the Tagalog language) published in 1605.

Another form of religious lyrics are the meditative verses like the dalit appended to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in octosyllabic quatrains and have a solemn tone and spiritual subject matter.

But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that became entrenched in the Filipino's commemoration of Christ's agony and resurrection at Calvary. Gaspar Aquino de Belen's "Ang Mahal na Passion ni Jesu Christong Panginoon natin na tola" (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country's earliest known pasyon.

Other known pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag, Cebuano, Bicol, Ilongo and Waray.

Aside from religious poetry, there were various kinds of prose narratives written to prescribe proper decorum. Like the pasyon, these prose narratives were also used for proselitization. Some forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and tratado (tratado). The most well-known are Modesto de Castro's "Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza" (Correspondence between the Two Maidens Urbana and Feliza) in 1864 and Joaquin Tuason's "Ang Bagong Robinson" (The New Robinson) in 1879, an adaptation of Daniel Defoe's novel.

Secular works appeared alongside historical and economic changes, the emergence of an opulent class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries.

The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were Jose Corazon de Jesus (Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael Gandioco.

Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas' "Florante at Laura" (ca. 1838-1861), the most famous of the country's metrical romances.

Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the simmering calls for reforms by the masses gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio.

This led to the formation of the Propaganda Movement where prose works such as the political essays and Rizal's two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and, at the same time planted the seeds of a national consciousness among Filipinos.

But if Rizal's novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural and is considered the first Filipino novel. Although Paterno's Ninay gave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not flourish.

Other Filipino writers published the essay and short fiction in Spanish in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the prosa romantica or romantic prose.

But the introduction of English as medium of instruction in the Philippines hastened the demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing. During the language's death throes, however, writing in the romantic tradition, from the awit and korido, would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the new colonialists. These appeared in the vernacular poems and modern adaptations of works during the Spanish period and which further maintained the Spanish tradition.

The American Colonial Period

A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer's individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness.

The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, "Art for art's sake" to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation, more writers turned up "seditious works" and popular writing in the native languages bloomed through the weekly outlets like Liwayway and Bisaya.

The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio.

While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the Philippines Free Press, the College Folio and Philippines Herald. Paz Marquez Benitez's "Dead Stars" published in 1925 was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story.

Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Peña and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch).

The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs' Tarzan by F. P. Boquecosa who also penned Ang Palad ni Pepe after Charles Dicken's David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, among others.

It should be noted that if there was a dearth of the Filipino novel in English, the novel in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon and Bannawag.

The essay in English became a potent medium from the 1920's to the present. Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos.

Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez's criticism that grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his "Literature and Society." This essay posited that art must have substance and that Villa's adherence to "Art for Art's Sake" is decadent.

The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, made writers pay close attention to craft and "indirectly engendered a disparaging attitude" towards vernacular writings -- a tension that would recur in the contemporary period.

The Contemporary Period

The flowering of Philippine literature in the various languages continue especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s.

Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not.

Of course the Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run.

With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche among the literatures of the world will not be far behind.

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theheartofateacher · 5 years ago

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PHILIPPINE HISTORY

♣️The first book written in the Philippines was DOCTRINA CRISTIANA.

♣️The Father of Ilocano Literature is PEDRO BUKANEG.

♣️The Father of Tagalog Poetry is FRANCISCO BALTAZAR.

♣️Lola Basyang is the pen name of SEVERINO REYES.

♣️The first and longest running komiks series in the Philippines is KENKOY(Liwayway Magasin,1929)

♣️The Father of Pampango Literature who wrote There is no God is JUAN CRISOSTOMO SOTO.

♣️The oldest existing newspaper in the Philippines since the 1900 is MANILA BULLETIN.

♣️The Father of Modern Tagalog Poetry is ALEJANDRO ABADILLA.

♣️The work of Bonifacio which tells the history of the Philippines ANG DAPAT MABATID NG MGA TAGALOG.

♣️He wrote the popular fable The Monkey and the Turtle - JOSE RIZAL

♣️This is known as Andres Bonifacio's Ten Commandments of the Katipunan - THE DECALOGUE.

♣️Rizal's model for Pilosopong Tasyo was PACIANO RIZAL.

♣️The following characters created by rizal reflect his own personality except SIMOUN (El Filibusterismo)

♣️The line 'whoever knows not how to love his native tongue is worse than any beast or even smelly fish' TO MY FELLOW CHILDREN

♣️Rizal's pen name - DIMASALANG, LAONG-LAAN

♣️Taga-ilog is JUAN LUNA's Pen name.

♣️The first filipino alphabet was called ALIBATA/BAYBAYIN

♣️the first filipino alphabet consisted of 15 LETTERS

♣️This is a song about love - TALINDAW, awit ng mga taong hindi naimbetahan sa kainan (COLADO)

♣️He was known for his `Memoria Fotografica` - JOSE MA. PANGANIBAN

♣️He is known as the `poet of the workers or laborers` - AMADO HERNANDEZ

♣️Ilocano balagtasan is called BUKANEGAN

♣️Visayan epic about good manners and right conduct - MARAGTAS

♣️The father of Filipino newspaper is PASCUAL POBLETE

♣️Lupang Tinubuan is considered to be the best story written during Japanese Period. The author is NARCISO REYES

♣️The original title of Ibong Adarna was CORIDO AT BUHAY NA PINAGDAANAN NG TATLONH PRINSIPENG ANAC NG HARING FERNANDO AT REYNA VALERIANA SA CAHARIANG BERBANIA

♣️PANDEREGLA - first filipino bread

♣️The Great Plebian: Andres Bonifacio

♣️The Father of the Katipunan: Andres Bonifacio

♣️Hero of the Tirad Pass Battle: Gregorio Del Pilar

♣️President of the First Philippine Republic: General Emilio Aguinaldo

♣️Brains of the Philippine Revolution: Apolinario Mabini

♣️Martyred Priests in 1872: GOMBURZA

♣️Brains of the Katipunan: Emilio Jacinto

♣️Co-founder of La Independencia: General Antonio Luna

♣️Mother of Balintawak: Melchora Aquino

♣️Greatest Filipino Orator of the Propaganda Movement: Graciano Lopez- Jaena

♣️First Filipino Cannon-maker: Pandar Pira

♣️Managing Editor of La Solidaridad: Mariano Ponce

♣️Lakambini of Katipunan: Gregoria de Jesus

♣️Poet of the Revolution: Fernando Ma. Guerrero

♣️Outstanding Diplomat of the First Philippine Republic: Felipe Agoncill

♣️First University of the Philippines President: Rafael Palma

♣️Greatest Filipino Painter: Juan Luna

Greatest Journalist of the Propaganda

♣️Movement: Marcelo H. del Pilar

♣️First Filipino Poetess: Leona Florentino

♣️Peace of the Revolution: Pedro Paterno

♣️Founder of Philippine Socialism: Isabelo

♣️Delos Reyes Viborra: Artemio Ricarte

♣️Author of the Spanish lyrics of the Philippine National Anthem: Jose Palma

♣️Chief of Tondo: Lakandola

♣️The Last Rajah of Manila: Rajah Soliman

♣️Fiancée of Jose Rizal: Leonor Rivera

♣️Maker of the

First Filipino Flag: Marcela Agoncillo

♣️Co-founder of Katipunan: Galicano Apacible

♣️Leader of the Ilocano Revolt: Diego Silang

♣️First Filipino Hero: Lapu-lapu

♣️Leader of the Longest Revolt in Bohol: Francisco Dagohoy

♣️The Man of Many Talents: Epifanio Delos Santos

♣️Prince of Tagalog Poets: Francisco Baltazar

♣️Visayan Joan of Arc: Teresa Magbanua

♣️Mother of Biak-na-Bato: Trinidad Tecson

♣️Wife of Artemio Ricarte: Agueda

♣️EstebanLeader of the Tarlac Revolt: Gen. Francisco Makabulos

♣️Composer of the Philippine National Anthem: Julian Felipe

♣️Spaniards born in the Philippines: Insulares

♣️Leader of Magdalo: Baldomero Aguinaldo

♣️Leader of Magdiwang: Mariano Alvarez

♣️Founder of La Liga Filipina: Jose Rizal

♣️Painter of the Spolarium: Juan Luna

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