Kasiyanna by novice

A collaborative project with Lingkod Maria Community Development and Advocacy Center of Saint Mary’s University - Bayombong

ForeworD Human activities have ever been dynamic and enigmatic. Even perhaps immemorial are the human imagination and creativity that impacted many endeavors in which one accomplishment commences another. COVID-19 pandemic has mired these human undertakings so much so that we have to live with the “new normal.” This may have restricted our activities; nonetheless, social advocacies must continue and endure.

The product of this collaboration is this digital magazine. Novice started the invitation last September 7, 2020 from ingenious visual and literary creatives to submit their pieces. Consequently, the many entries from the Philippines —there was even one from Europe—were screened after October 3. This issue was launched during the celebration of Ethnicity Week at SMU on October 12.

Being the center that empowers people and creates sustainable communities imbued with Christian values, Lingkod Maria Community Development and Advocacy Center (LMCDAC) of Saint Mary’s University (SMU), Bayombong, Nueva Vizcaya collaborates with Novice in continuing the cause of advancing the rights and uplifting the plight of indigenous peoples.

This year’s Ethnicity Week theme is derived from the international celebration of Indigenous Peoples’ Day last August 9, 2020. In the Philippines, recognition of IPs is a month-long activity that falls in the month of October. But our IP brothers and sisters will always be recognized and will always be our partners in stewardship. They are our co-stewards, and they are also vulnerable to the threats

of COVID-19.

Kasiyanna, which means “all will be well” in Kankanaey, brings forth stories on resiliency of our IP brothers and sisters. Reflected in this issue is SMU’s missionary zeal of serving indigenous cultural communities, which is one of its priority concerns. At the same time, it animates Novice’s passion for the arts in promoting its social advocacies. On behalf of LMCDAC, I would like to respectfully extend my gratitude to the brilliant and creative minds of Novice; and together with the staff of Novice, we are very much indebted to all artists who contributed to the enormous success of this digital issue! At this point, I personally appeal to everyone that we should normalize authentic diversity. Let us continue the conversation. Kasiyannak!

Christopher Allen S. Marquez, PhD Director, LMCDAC SMU, Bayombong, Nueva Vizcaya

About SMU and LMCDAC Saint Mary’s University traces its roots back to the dream and initiative of the late Msgr. Constant Jurgens, CICM. He was the Parish Priest of Bayombong and one of the earliest CICM missionaries to arrive in the Philippines who wanted to establish a school to give the children of his parishioners the benefit of a Christian education. When he was recalled to Europe, Rev. Fr. Achilles de Gryse, CICM, saw his dream through. Thus, Saint Mary’s Elementary School was inaugurated in June 1928. In 1934, with Fr. Godfrey Lambrecht, the High School was opened and in 1947, the College Department. Through the years, many more Departments and Colleges/Schools were opened with more degrees and title course offerings. Thus, from its birth throes in 1928, Saint Mary’s University has steadily grown over the years and has metamorphosed into one of the more developed and important institutions in the Philippines, particularly in the Cagayan Valley Region. In August of 2019, the merging of the Indigenous Knowledge and Tradition (IKAT) Center and the Community Extension and Services Center (CESC) eventually established

Lingkod Maria Community Development and Advocacy Center (LMCDAC). The merging transpired with the solidification of the Vice President for Mission and Identity (VPMI) in CICM Philippine educational institutions which articulates the desire to come as one body, as one congregation. LMCDAC underscores the need to surface in all the activities of CICM institutions the very reason for its existence. In the context of education, it seeks to unify all educational programs, plans, projects, and activities bringing to the fore the CICM flavor in every CICM Higher Educational Institutions. It serves as the clearing house of all outreach and community extension services of the six major schools and their flagship programs. The apostolate for the Indigenous Peoples is interwoven in these outreach and extension flagship programs of the university. Saint Mary’s University through LMCDAC situates Marian teachers and students to come as one body to participate in the mission to extend assistance to needy sectors of society. Moreover, LMCDAC is tasked to develop, facilitate, implement, and manage the community

development and advocacy programs of the Institution in fulfillment of its commitment to transform the lives of people—especially the last, the least, and the lost—through empowerment activities that help them create sustainable communities imbued with Christian values. Lingkod Maria highlights the brand identity of Saint Mary’s University under the patronage of the Congregatio Immaculati Cordis Mariae (CICM) and the term “advocacy” somehow embraces SMU’s apostolate for the Indigenous Peoples—one of the priority concerns of the said Congregation. Thus, emanating from the University’s vision of forming persons exemplifying passion for Christ’s mission, the mission of the Center is to provide enabling experiences for its faculty, students, and other stakeholders to develop their missionary spirit and demonstrate the passion to transform people—whose lives are dominated by poverty, illiteracy, diseases, unemployment, and other forms of disadvantages. When this enabling environment is maximized, the institution believes that it could form Marians who will become catalysts to and facilitators of community development.

Editors'

notes The COVID-19 global pandemic has exposed the country’s chronic disregard of basic services and the moral decay in our healthcare institutions that plagued our nation for years. Those living on the fringe of society are the most vulnerable, often the subject of exploitation and disproportionate representation. The Indigenous Peoples have not been spared. Although they have developed responses and coping mechanisms rooted from their traditional customs and practices to help their communities survive, they continue to wrestle with the societal and political challenges from long-standing neglect

and discrimination. In Guarding the Ancestral Path, Cedrix Hay discusses the threats and issues these communities need to confront during the pandemic. The risk of socioeconomic impacts of the pandemic in labor, agriculture, and education contributed to further inequalities. For example, remote learning through digital education is most likely not accessible and affordable for them. Rosalyn Dawong tells the daily strife of her fellow students from Ifugao during the pandemic in her essay Online Class Sa Amin. Also, disparities in healthcare infrastructures and inadequate access to information only led to

poorer health outcomes. Featuring Dr. Ryan Guinaran, an indigenous health expert, he shares in The IP Exponent the strategies and approaches on how to overcome these challenges, emphasizing the need for cultural sensitivity in healthcare programs. Novice’s third special issue Kasiyanna, is an anthology that honors the traditional, rich cultures of indigenous people and sheds light on the collective issues within their communities amidst the pandemic. There might not be a silver lining to the crisis yet, but this issue hopefully allows deeper dialogue and engenders a stronger call to action.

Kasiyanna A Kankanaey word meaning “all will be well,” an affirmation that balance in the world will soon be restored. Kankanaey is a language widely used by Cordillerans in the northern regions of Luzon.

ON THE COVER

awesome team CREATIVE & MANAGING DIRECTOR Allen Esteban CONTENT EDITORS Freniel Austria Ellaine Marie Laureta

ATI TRIBE Part of the Philippine Tribes Art Series by artist.ray INSIDE ART COVER

COPY EDITOR Hazel Buctayon LITERARY EDITOR Brent Jericko Narciso FILIPINO EDITOR Joshua Mari Lumbera ONLINE AND COMMUNICATIONS EDITOR Rebekah Antonette Muñoz WRITERS Justine Mae Caringal Coleen Castro Patricia Villar GRAPHIC ARTIST James Cafirma GRAPHIC ILLUSTRATORS Ninotchka Arreola Martina Cobres WEB EDITOR Marc Ryan Brosas

THE WEAVER OF PEACE by Kean Larrazabal ISSUE LAYOUT BY Allen Esteban

Connect with us

/noviceph | @novicemagazineph @novicemagazineph | Novice Magazine novicemagazineph@gmail.com

No part of this publication may be reproduced in whole or part without permission from the team and contributors.

www.noviceph.com

Contents 10 G reat Walls of Venazir

Connecting communities through art and murals

51 52 54 58 60 68 70 72 76 78 82 84 86 87 88 90 94 98 100 102 103 104 106 110 112

22 T extiles

and Identity

How the Ga’dang people’s heritage outlives the pandemic

Geela Garcia R.B. Abiva Allan Paul Catena Kean Larrazabal artist.ray Roselyn Dayuwan Dawong Joanna Coline Montoya Genesy Timonera Tin Javier Christine Marie Lim Magpile Val Lean Dy Kristine Joyce Aguilar nelart.ph Carelle Faith Asuncion Krystan Rodulfo Cedrix Hay Louvia Marie Ramos Dawn Cabua Clemencia Licyayo Nadiahan Karyle Valerozo Dela Cruz Paul Joshua Morante Rico-Teodoro Jose III Carrasco Deej Amago Juan Elani Tulas

114 116 118 120 128 130 134 136 137 138 140 142 143 144 147 148 152 153 154 156 162 164 166 167

30 T he IP

Exponent

Bridging indigenous knowledge and cultural competence in healthcare

Tracy Nicole Fundamiera Vince Agcaoili Chinnich Candao Eduard Cortes Dionio Kristoffer Aaron Tiña Chris Oquindo Marian Hukom Ma. Isabelle Kailah Faye Guillermo Felichie Laroya Dom Parañal Lea Louiza Tominez Rodolfo LOYNEI SUMALINOG Edison Fenequito Kerovin Gaerlan Gwendolyn Marrero Henry Gabatin Jr. Violetology Waren Valdez Ayan Ninotchka Arreola Raychard Viner Matias YM Lagdao

e r G at 10

walLs

a z i r n VE Connecting communities through art and murals

Kasiyanna

People come to Baguio for two things: 1.) the cold mountain air and 2.) the sense of nostalgia that the city offers. Nothing is as therapeutic as walking along Session Road and getting lost among the hundreds in the crowd, feeling small and fleeting. Afterall, walking is the best way to explore the city. Trudging upward through steep steps, one would wonder how can someone leave a mark in a city where transience seems to be the only permanent thing. For Venazir Hannah Laxa Martinez, she decided to paint the town red, literally. It started out as a social experiment inspired by a local tattoo design, the gayaman (centipede). Armed with cans of spray paint and latex, paint rollers, creativity, and a vision, Venazir painted a series of pieces spread out over one of Baguio’s barangays. The response ranged from distaste to fear and to awe and an understanding of what it is—a street art version of connect the dots and

Text by

JUSTINE MAE CARINGAL

treasure hunting. The treasure lies in piecing the individual parts together and seeing the whole picture. Street art, much like the city itself, is transitory. Venazir’s project has evolved and is continuously developing. Other than the aesthetic appeal, the colors and shapes that take form on the city’s surfaces, her street art also tells the community’s narrative. Venazir’s art and advocacy hopes to bring awareness to the public of the individual Cordilleran identities and shed light on how indigenous communities can contribute to our society’s betterment. Venazir considers flexibility of street art and its public nature as one of the purest art forms.

In a city full of stories of coming and going. Venazir’s art tells the story of those who stay, the locals. She has adorned the city’s walls about the stories of the Cordilleras, its people, and its culture.

Photos by CK Valeriano, Seyer Visuals Artworks courtesy of the subject Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

12 How do you describe your art?

My works are essentially nationalistic, representational, and abstractive. My creative process delves into the influence of Filipino indigenous knowledge and links it with our contemporary mindset through the lenses of our multitudinous identities. My style captures the realistic representations of Indigenous Peoples and customs. Simultaneously, it is filled with flamboyant stratification of abstractive, delineating forms, and spontaneous overall. This progressive visual approach exemplifies our multifaceted influences that shaped our core values. My deep fascination on the discourse of the discovery of one’s identity ultimately created my own existence, thus, primed to deconstruct my concept of continuity on Filipino’s connected presence on a global scale.

Since street art is exposed to the

Kasiyanna

public, have you had any experience where your art was vandalized? How do you try to preserve your public art pieces? As a street artist, you must sign an

invisible contract with yourself that your art no longer belongs to you, rather, it belongs to everybody. The beautiful thing about street art is the democratic engagement you provide to the locality and it creates a mirror of society. One concrete example of comparison is when I created a mural in Manila versus in Baguio City. In Baguio City, the street art I did wasn’t directly vandalized but instead markings were made beside my work. Unlike the one I made in Manila, it was abruptly painted over. Mulling over the experience, the competitive nature of the art scene in Manila is way over the line compared in Baguio City. This case study indirectly reflects the mindset of the people encapsulated by my work.

13 Preserving your pieces in the street seems impossible. You can upload it on social media, that’s how far digital preservation of street art can be utilized. I see preservation in a form where you go back, and paint it over again and again with new forms of ideas and visual message. Progression is preservation. Like how I did in my advocacy project where I painted over my existing works to physically visualize my developing process from sticking into one concept and considering the colorful stratification of ideologies and concepts, embedded onto one wall. These layers of paints when chipped off is an embodiment of my life’s work.

Being a part of the street art community, what is your greatest challenge as everyone is focusing on digital art? My mindset on innovation is by integrating different discourses and

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

finding a common ground. Street art can encompass digital media especially now that a majority of the population has access to social media platforms. You can engage in street art as long as you have the proper documents and procedural outlines to do so. (Maybe that’s my biggest hurdle—documents.) However, I’ve been in battle with our inconsistent weather and mental anxiety of having contact with a lot of people. It’s really a question of how willing you are to go out there to paint the town red.

In your body of work, we see a strong showcase of identity representation. How and where do you get inspiration from? For you, how important is creating ethnographic visuals, especially in this generation? Cultural

identity is my prominent stroke. Identity is power. Harnessing our own thoughts, identifications, characterizations, categories, and ideologies is to have power, control, and confidence over our own lives. I explore the concept of indigeneity, with integration to arts as an approach for uplifting the spirit of the community, because these endeavors keep us intact. There is power within a shared cultural identity and history that can be utilized for our country to grow as one nation. On Finding Inspirations. This is probably my favorite method of learning—to be empirically immersed with individuals having interesting stories. A big chunk of my creative process is purely delving into the community’s soul—our people. I love having spontaneous and intellectually stimulating conversations with different people from all walks of life. This is how I integrate concepts in my work. If you happen to notice the subjects I use for my works, they are all cultural advocates with deeply immersive stories that are worth magnifying. On Community Immersions. Before

the COVID-19 pandemic created a global

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recession, I used to visit rural and urban communities around the Philippines to give talks, workshops, and community murals. I believe that street art can change the course of our educational system. One can engage their visual-spatial awareness and experience their rich culture through community workshops. Academic Researches. Apart from the

colorful stratifications of artmaking, I also read a lot of academic research related to my theme. This goes beyond the connection of Filipino indigenous knowledge systems and practices; it also involves the interconnected histories and cultural facets we have on a global scale. In my case, my works exemplify the beauty and diversity we have in our country; however, there is a thin line between cultural appreciation and misappropriation. Since many of our diverse ethnolinguistic groups consider their own identities as sacred and in need of deeper understanding, this process of anthropological research as part of my endeavor is critical. This has always been a challenge for me considering the fact that I wasn’t biologically born as an indigenous person. But I intend to keep a safe border between my art, and the people who molded my artistic individuality.

On Ethnographic Visuals. I believe that engaging Filipinos on Philippine’s socio-cultural and historical influences play a vital role in nation-building and having a unified conscious presence. In order for us to be aware of such intricate systems of knowledge, pursuing ethnographic visuals in one way to create a supplementary learning tool that appeals to the majority’s level of understanding.

What personal or commissioned project do you consider your favorite, concept-wise? March 28, 2019 was going to be another creative and productive day. Waking up at five o’clock in the morning, I grabbed my spray cans, latex, and paint rollers, then headed towards UP Diliman’s iconic graffiti wall along Katipunan Avenue.

“Identity is power.” Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

That day, I celebrated Women’s Month by literally “Taking Back Spaces” through the use of street art to give voice to women experiencing street harassment. Aptly entitled as such, the project was mounted by the group called Youth Against Sexual Harassment from the University of the Philippines. After a hard day’s work, the painting was then uploaded to social media and gathered encouraging responses. Two days later, the mural was defaced by a graffiti artist seemingly taunting the caption on our mural, “Itigil ang Karahasan!” (Stop the Violence!) The battle against defacement continued for a week and generated a series of nationwide debates all over social media and hogged the news. I felt a strong sense of urgency to fight for our cause and to this day, the debate continues in various forms. Ensconced in my heart and in my art too was an advocacy—to continue waging the fight. Deconstructing each facet of my creative voyage, I realized that I am metaphorically comparable to UP Diliman’s graffiti wall. My artistic journey is parallel to the recoating process of each artist on that specific wall. The colorful stratification process conveyed a visual look at the historical and cultural progression of society. Through time, layers of paint from distinct mindsets of different creatives have strengthened it as it was subjected to adversities and challenges from external forces.

Does your art reflect your views about the social and political issues surrounding IPs? Yes. Particularly on the

Photos from Youth Against Sexual Harassment Facebook page.

Kasiyanna

issue of self-determination. I believe in my role as an artist to provide a supplementary democratized learning system for our fellow Filipinos particularly for tourists visiting to and from Baguio City. My work directly translates into a public dialogue for the deconstruction of the homogenizing mindsets of our neighboring localities.

From empirical bases, my subjects are deeply rooted cultural advocates of respective ethnolinguistic groups who in turn provided an exchange of ideologies, principles, and socio-political issues for me to visually translate. I think this is an effective tool to inspire critical thinkers, and researchers alike, to provoke their external web of influences to delve deeper into the heart and soul of our indigenous communities.

I have sold paintings exhibited for a cause to help indigenous communities every time there’s a global recession and donated several of my pieces to communities in need of help. Monetary aid is not worth mentioning though, but I always see to it that every time I earn, I get to share it to the community, through donations, community projects, artist talks, and workshops.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

18 What is the Hila-bana Street Art Project? Hila-bana Street Art Hunt

Project is a social experiment and my selfdeveloped advocacy using site-specific street art that challenged the visual perception of the public utilizing Gestalt’s theory of design. The series of public art is found in Baguio City, Philippines, entitled “Hilabana” or temporary stitching, unified by the pulang sinulid (red string) concept portraying anthropological figures of the collective Filipino identities. I have been visually reformulating and developing this creative voyage in tune with the National Commission for Culture and the Arts (NCCA) and Harnisch Foundation in the United States. How it all started.

I believe that the key to innovation is by

Kasiyanna

integrating different discourses and finding a common ground. When I first got into street art, I never really thought of myself as an underground (the stereotype hip-hop artist). Rather, as an educator. I combined the framework of Visual Anthropology—using key elements where our locals have common knowledge; Psychology—experimenting on visual perception of the public using Gestalt’s theory; and Street Art— a supplementary visual tool for democratized learning. The first social experiment I did was when I vandalized a whole barangay with an iconic indigenous tattoo design of a gayaman (centipede) while spreading this simple design by turning it into a game of street art hunt. Results were diverse based on my random interviews from the locals, there were positive reactions from curious minds

19 who were deeply engaged by the hunt (they counted 10 centipedes in total). There were these scared individuals who said there was a cult forming around town. Lastly, people who hated vandals saying they should be punished for using drugs. I became deeply rooted in the process and the immersive nature of street art so decided to take things a little further by no longer using tattoo designs as subjects. In 2018, the real project Hila-bana came to play. I began focusing on my creative process by purely delving into the community’s soul, its people. The rise of western culture created a confusing mindset in today's setup. Our historical involvement of assimilations from foreign aggression created our own

unique identity. Such confusion led our nation towards intrinsic misconceptions and discrimination often take for granted the importance of indigenous knowledge and practices; our rich history amplifies our sense of identity and a big piece of the puzzle for nation-building. The shifting grounds where our people stand paved a homogenizing mindset on our indigenous ways. Each tribe has its niche in the region, and it is essential to include them in the popularization of the core concept of systems of being a Filipino. No matter where our bloodline originated, the innate beauty brought about by our indigenous groups enriched our Filipino individuality on its fluidity in spaces in our archipelago, creative ideologies, and on our spiritual resources. It is high time to deconstruct the mindsets of our people's value systems and produce a

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

catalyst for enrichment for the individuals who fought for their preservation of identity and remind us of who we are. The advocacy hopes to bring awareness to the public about the individual Cordilleran identities and be able to distinguish their similarities and differences through their corresponding traditional attires and call to action. Thus, explains their movements seemingly “in search” of their identity. The project created an emotional connection for the public as the subjects depicted are cultural advocates with deeply immersive stories. The term "Hila-bana"

It is derived from the Tagalog term hilbanahan meaning temporary stitching or basking. The word used for this project symbolizes the action made alongside the traveling individuals of different ethnicities. The unifying element of the project is the concept of hinihilang habi (red thread). Which actively encompasses the various ethnolinguistic groups in the region. The red string depicts the dominant material used in our indigenous weaving traditions. I believe there’s a possibility of globalizing the Hila-bana project because based on the anthropological history of our indigenous communities, our knowledge systems and practices are more universal than we are local. In order for us to improve such concepts on a global scale, we must first start engaging ourselves with our own unique identities.

What have you been up to during these months of quarantine? I have

been working on my street art advocacy Project Hila-bana: Popularizing the Cordilleran Identities through a Street Art Hunt that was endowed by NCCA (preCOVID-19) and Harnisch Foundation (COVID-19) in the US. So basically developing my works digitally to create a virtual environment of what the project was all about.

Kasiyanna

The pandemic pushed me to go home in my province in Tarlac. This was my first time to spend so much with my family. All the mental recession from the toxicity of social media caused me to stop creating for a while. Until so much time when I decided to create something for my family. So I made wall murals around the house that my parents would love. This was my way of giving back to my family as they were my first concept of community. I started studying again, reading academic writings on our local history and culture. I went back to social media, and decided to create works rooted on indigenous knowledge systems and practices.

How can your advocacy and art be used during this time of the pandemic? I love connecting dots

especially towards our past and present situations. As an artist, I see visual concepts that can eventually be a supplement of resolutions for our current crisis. My works are deeply rooted on the vast concepts and systems of beliefs on indigeneity whereas in our contemporary setting, often taken for granted. I strive to revive these concepts by cultivating stories from our cultural advocates in the Philippines using any kind of visual platforms. I believe in the power of these visual entities as an emblem of hope, and connection. Indigenous knowledge is vital because, without these empirical systems, we won't survive this pandemic. It is high time that we should give rise and respect to our Indigenous People's resilience and intellect. They kept the economy going through their brilliance in agriculture. I can’t believe that the government can't seem to comprehend their significance in our economic growth. I really hope that through my works, I can permeate the minds of the people around us about the bond our indigenous communities cultivate for the betterment of our civilization.

I believe

there’s a

possibility of globalizing

the Hila-bana project...In

order for us to improve

such concepts

on a global

scale, we must first start

engaging ourselves with our

own unique identities.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Given the threat of cultural homogenization, times have challenged the indigenous people to look for ways of preserving the rich cultural heritage embedded in their designs. But with the advent of social media and fleeting trends, how does culture and tradition stay relevant and survive the everchanging currents of art and fashion? Quarantined, we talked to Margarita "Marge" Balansi, a native of Paracelis, Mt. Province, on how the Ga'dang weaving of the Cordilleras found its way to the world and how it withstands the all-consuming COVID-19 pandemic.

Text by

HAZEL BUCTAYON Introduction by

RICHARD OLANO Photos courtesy of the subject

Kasiyanna

T I

Textiles & Identity How the Ga’dang people’s heritage outlives the pandemic The Paracelis Ga’dang The Paracelis Ga’dang are among the most isolated peoples of the Cordilleras, in contrast with the better-known Gaddang community in Nueva Vizcaya and Isabela. Both, however, share a common identity—their colorful and intricate weaving which is one of the most complex among the indigenous peoples in North Luzon. “Ga'dang and Gaddang came from the same roots… [However], the Gaddangs became Christianized during the Spanish period while the Ga'dang did not leave the mountains where [the Spaniards] cannot penetrate and thus, they remained in their old traditions,” Marge explains.

Like other IP communities in the Cordilleras, the Ga’dangs are composed of different tribes, mostly evident in the differences in their words and accents. The term Ga'dang means "higher ground," Marge says, which some may find ironic for the better-known Gaddangs who settled near the great Magat River in Bayombong and Solano, Nueva Vizcaya. The traditional Ga’dang weaving The Ga'dangs are one of the tribes with the most colorful weaving in the Cordillera region. In fact, history books point out that the “‘discovery’ of the visually arresting Ga’dang costume has resulted in an extremely rapid movement of these materials through collector circuits.”

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

“Basically, there are four to five colors of threads used in Ga'dang weaving. These are white, yellow, indigo/black, and red which is the most dominant color of the four,” Marge describes. “Per history, only these four colors were available to the community as dyes during the old days. They get these from tree barks and wild vines.” The materials are basically threads and beads aside from the ornaments being attached to the attires and accessories. These go through the process of warping, weaving, sewing, embroidery, beadwork, and attaching accessories and other ornaments. On the most special Ga’dang garments are beads which are varicolored, minute, and made of glass. While originally, threads were sourced from raw materials personally made by the Ga’dang in a very tedious process that takes weeks, Marge says that they now switched to using cotton and polyester threads which they can buy from the market. Ga'dang weaving is the identity of the Ga'dang people. A complete male ensemble consists of the Ga’dang tapit, a cape-like garment; barangal, a red headkerchief with profuse beadwork at the corners; the beaded kuton, an upper garment; abag, loincloth; a long pouch, called sayay, “locked” by brass rings; and a small basketry hat, so’lung. A female ensemble, on the other hand, means wearing the Ga’dang aken, a wrap-around skirt, held in place by a bakwat, sash; a barawasi, longsleeved blouse; the beaded headdress called singat; the beaded forehead piece, attifulan; the buraway earrings similar to those worn by Kalinga

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

women; a laggud, comb, on her hair; and a two-strand bead bracelet called ginalmaddan. The female may also bring with her a small bag called tufut, formerly for males where they put betel nut. Designs and patterns also vary. Marge explains, “The lallad, which consists of straight lines, is the simplest form of weaving. Then there’s the inammata, an eye-like pattern, the ilintuwan and the annalifambang which refer to butterflies, among others.” Marge’s weaving Marge’s journey as a weaver began in 2009 at a training on weaving at the National Center for Culture and the Arts (NCCA) funded School of Living Tradition. It was her sister who invited her to the event.

“Since then, my heart was always longing to look back on my roots, maybe because of my interest in history as well,” she says. In July 2010, she went abroad to work but her passion to promote and safeguarde the tribe's identity “haunted” her. “The Ga'dang ethnolinguistic group has a lot to offer. I started searching the Internet about [the] Ga'dang [tribe] but I barely saw any information about it. That's when I started telling the world about my tribe's rich cultures and traditions through social media platforms,” Marge explains. In 2012, when her contract abroad ended, she decided to come back to her community to continue learning and asking the elders about the Ga’dang history. “I joined a lot of events related to culture and the arts. Because of my passion and volunteer work, I gained

Kasiyanna

so much knowledge and I owe this to my community and to all the people who became a big part of my journey,” she says. Marge’s efforts were not for naught. She was eventually recognized as one of the Gawad Gabay Awardee by the NCCA, an award given to all cultural workers, because of her contributions in safeguarding and promoting the Ga'dang culture and traditions.

The Ga’dang and its art in the middle of the pandemic The effects of the coronavirus disease-2019 (COVID-19) does not discriminate. Not even the isolated Ga’dang community in Paracelis was spared. Like any other Filipino, the Ga’dangs of Paracelis could not easily go to other places because of travel restrictions. But like their heritage, the Ga’dangs

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

slowly coped with the new normal as the days of lockdowns and quarantines passed. “The community has always been resilient even though this COVID [pandemic] caused a lot of troubles. Life here is still normal. People still do farming, weaving and other related works. We slowly coped with these trying times as days went by,” she tells. As a person who loves adventures and travels, however, Marge had a hard time during the pandemic. “I'm a person who is always on the go and loves adventure because it's my way of destressing. It's very frustrating being isolated. It really affected me because I cannot travel easily to the city to ship the orders of my

Kasiyanna

clients,” she shares. The hard days, however, did not deter Marge’s artistic spirit. Aside from being occupied by the “plantita/tito” hype, she found a way to not only help the frontliners but also promote the art of Ga’dang weaving. “My friend and I thought of a way to help our frontliners. During the height of the outbreak, we made and donated woven facemasks to our frontliners,” she says. The facemasks feature different traditional weaving designs, the most common of which, Marge says, is the lallad. When news reached the public, however, insistent demands for the Ga’dang motif

*** Once, there were only four colors in the Ga’dang people’s weaving. But four was enough to reach this age. And not even the extraordinary event of a COVID-19 pandemic could dampen the Ga’dang weaving. It has, instead, made its colors bright for more and more people to see (and even wear loud and proud!) “These days, there are already a lot of weavers from other communities and tribes being inspired by our designs and patterns, that's why they are also producing it. Plus, the weaving industry is booming because a lot of people are already patronizing it,” Marge happily shares. Aside from this, however, she and other Ga’dang weavers have also been teaching interested younger generations of the craft.

facemask to be sold made Marge and the Ga’dang community even busier. She and her team of kids, mothers, and even senior citizens, made hundreds of facemasks which they now sell not only in Paracelis but also to customers from other provinces and cities, and even from abroad.

The Ga’dang people have come a long way. It has even gone on to museums abroad. But the Ga’dangs offer more than their colorful fabrics.

“Due to insistent public demand, we also [sold the masks] within the community, until some friends and other people outside my hometown were really interested to buy,” she says.

“I hope that people will be more informed and educated about the historical background of the Ga'dang weaving. Not only that people are attracted to use our traditional attires but also, may they know its cultural value and roots as well,” Marge hopes. “By promoting our weaving correctly, it's already a way of preserving it. So, I won't stop promoting it in and outside social media.”

Price for the surgical-type facemask ranges from P100 to P150 while a rider mask costs P120-P200, depending on the beads and intricacy of the embroidery.

The Paracelis Ga’dang may be isolated, but there is no way their bright, beautiful colors would remain hidden.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong



T When cultural identities and practices are diverging in the globalizing world, a strong-willed Ibaloy Igorot Filipino has a positive sense of indigenous culture and heritage.

Dr. Ryan Camado Guinaran exudes the eminence of the Cordillera. His contribution to local health systems as the Executive Director of the Doctors for Indigenous Health and Culturally Competent Training, Education, Networking and Governance (DITENG) is a ray of light that keeps the IP communities illuminated. Even when clouds seem to cast shadows over the mountains, he has been a beacon to doctors and the government in promoting local health development and reforms. As a former member of the Board of Regents of the Benguet State University and a professor of various universities, his academic work embodies the ridges and peaks of the mountain ranges, always an exemplary and hardworking learner and educator. And while he stands resolute, he is a mountain breeze that solemnly blows across trees and meadows. He is an author of inspirational and informative books on the preservation of Igorot history, culture, and indigenous knowledge, devotedly calling the youth to join his mission. In his earnest interview with Novice, Dr. Guinaran shares the importance of cultural competence in healthcare, his advocacies as a doctor and educator, and his authorship focused on the Igorot youth.

Text by

FRENIEL AUSTRIA

Kasiyanna

Photos courtesy of the subject



XPONNT Bridging indigenous knowledge and cultural competence in healthcare

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Disparities in access to comprehensive, quality health care services as well as the poor reception of Filipinos to health information have been prevalent in the country, more evidently during the COVID-19 pandemic. How do IP communities struggle with the current situation? What steps could be made to improve their access and acceptance of such services In terms of the quality and quantity of permanent health services, these are lacking in IP communities and geographically isolated and disadvantaged areas (GIDA) where most IPs live. For example in the Cordilleras, nine out of 10 municipalities have GIDA barangays. Eighty-five percent of the population in these GIDAs are indigenous. Many reports in the country have revealed that health and social indicators in IP areas are worse compared to the general population. The disparity can run from 10 to 20% with IP populations having the poorer conditions.

Barriers to access are too many to mention: these exist from individual to family to community to societal and structural/system levels and these are due to economic, political, socio-cultural, technological, and geophysical factors. You also have challenges in peace and order and development aggression in IP areas and ancestral lands. It is a highly complex challenge that requires a systems approach. IP development can benefit from a strategy akin to gender mainstreaming which induces a whole of government and whole of society approach. If you are someone who is in charge of programs for IP, develop cultural sensitivity in programs that engage with IPs not as beneficiaries but as partners in development, as claimholders to their rights. You become a duty-bearer in fulfilling their IP rights. I propose a 6C’s strategy to cultural sensitivity in programs. Capitalize on these ways: Character, Count, Closeness, Communication, Community Involvement, and Context and Care. These are various ways to indigenize programs and projects and work best if employed as a whole. We build on the beneficial aspects of the IP culture to generate participation and ownership.

Kasiyanna



Character Count Closeness



r t s



Communication Community Involvement Context and Care

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Cultural competency and sensitivity in healthcare are important. How do you take someone’s cultural perspective into account while dealing with them? Everyone is called to have empathy and manage their stereotypes, prejudices, and discrimination towards others. This othering experience has made us feel superior to others focusing on differences rather than the similarities that strengthen us as a nation. Let us regard IPs positively and nurture each other’s potential.

Kasiyanna

Have a SELFIE to reflect on yourself and your actions:

 Start with self as an example of a sensitive, respectful, and accepting change agent.

F 35

Educate yourself and others about IPs.

Live your culture proudly and in harmony with others.

Foster patriotism and not colonial mentality.

Institutionalize equal and equitable service.

Engage with diversity and empathize.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

You have been the training coordinator for the Health Leadership Governance Program of Benguet State University Open University, handling more than a hundred mayors and doctors in Northern Luzon. What are some of the notable innovations in health system development implemented through this program?

Kasiyanna

Together with local leaders and stakeholders, we are exploring how bridging leadership through the Health Change Model of the Zuellig Family Foundation can make a positive impact in LGUs. The model invests in improved leadership to create efficient and effective local health systems that consequently will result in better health outcomes. Bridging leadership is an approach that builds on the processes of ownership, co-ownership and co-creation to address societal divides and social inequities. There were many innovations that were co-created in the LGUs across

DITENG is a strong advocate for pushing advancements in indigenous health. What have been your actions especially during this pandemic? DITENG engages in knowledge generation that feeds into practice or dissemination. The current focus is on cultural sensitivity in health and social welfare through LGU training and development of modules, assisting government committees for this purpose, and conducting research and documentation activities. In this time of pandemic, we have advocated for culturesensitive health communication projects and assistance. Effective communication especially to the community level means half the battle has been won during this pandemic.

What can we learn from the traditions, culture, and practices of IP communities in relation to handling various crises including this pandemic? How can these indigenous knowledge and traditional practices be incorporated into the Westernoriented medicine we have today?

health service delivery, financing, information systems, human resources, regulation and access to medicines and governance. The most striking lesson that local leaders have consistently articulated is their realization that “good health is good politics”. Health provides a solid political capital. It builds sustainable “people infrastructure:” individuals, families, stakeholders, and communities engage, participate and benefit.

As a physician in an indigenous area, I have always believed that the definition of health by IPs is more encompassing than the World Health Organization’s (WHO) definition. The WHO defines health as the state of complete physical, mental and social well-being, which is marked not only by the absence of disease. Indigenous concepts of health also identify physical, mental and social well-being, but it also emphasizes spiritual, interpersonal, and environmental balance and harmony. Hence, health is approached through a very holistic manner and is not overdependent on physical interventions only. As such, an integrated response was visible in IP communities where you have government-recommended strategies and Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

also community-initiated coping mechanisms such as rituals and indigenous practices, outpouring of community support through bayanihan (baddang, og-ogbo, adoyon, dinada, inatang, etc.). Indigenous communities are resilient due to cultural practices like the to-or/ te-er, tengaw, ngilin, obaya, far-en which are the indigenous ways of doing a lockdown or quarantine. The communities tapped into their cultural capital to make sense of new and technical government policies like the ECQ and GCQ. With a strong belief in doing what is right, proper and good (inayan, paniyew, lawa), some IP communities did not accept the Social Amelioration Program assistance by the government since they thought that others might need it more as they have agricultural produce to last for a year. It was admirable as municipalities in CAR that returned their excess SAP or did not accept it at all were fourth to fifth class municipalities, basically poor LGUs but with a “heart.” Then you also have the gifts of nature that are widely available—organic food and herbs to boost immunity. Hope springs eternal in the IP value system—kasiyanna and laton (all will be well). There were many more IP examples that promoted the sense of wholeness and discipline, balance and harmony, and agility and resilience during this pandemic. Westernbased health care can learn from indigenous knowledge systems and practices especially in providing a holistic and system-oriented approach to care and development.

With your education, immersion with communities, and collaboration with different groups and organizations, what are the most significant lessons you have learned? Challenges are so complex that we sometimes get demotivated and paralyzed. Thoughts about self-efficacy would come to our mind. We would be content with saying “Okay, just do your share then.” But I also reflected that more than “just do your share,” it’s about “do your just share”.

Kasiyanna

These are five little things every Filipino can do:

 02 03 04 0

Think positively about IPs and fellow Filipinos. Let us not be strangers to ourselves. Update yourself. Realize that you are not only a work in progress but more importantly you are a progress at work. Pray. Make your community your prayer to God. Make it pleasing. Know your spirit. Put value in your money not money in your values.

Be happy when you share. Be generous in thanking.

Your ongoing pursuit of promoting and preserving the history, culture, and indigenous knowledge, systems, and practices of the Igorot people is admirable. What is the most important thing you want people to know about this work? What is your dream for the Ibaloy community and the whole IP community? As an involved Igorot Cordilleran Filipino, my advocacies focus on health, youth mobilization, education, and culture and arts. My personal as well as DITENG’s vision is an “e-diteng ja Cordillera” (Healthy Indigenous Peoples of the Cordilleras adopting the IP health concept). The mission is to improve the quality of health of indigenous populations by facilitating a culturally-competent health care system in the Cordilleras through the various means of engagement with stakeholders: training management and learning fora; research, documentation and publication; project management; outreach services; community mobilization and participatory governance initiatives. These activities represent what

we have done for the past 10 years. As a partner to health development, our fourpronged approach is:

 b  

to value cultural diversity, advocate for quality care, conduct researches, studies, and assessment for information and appropriate action toward improved health of indigenous communities, to institutionalize cultural knowledge and systems,

to build on beneficial contributions of indigenous cultures and communities, and to advocate for culturallycompetent health and social service delivery programs, raining, education, support networks and governance mechanisms.

The most important message here is: live your

culture with pride, with integrity. Our indigenous culture is a unique treasure that supports life,

health and wellness, productivity, and resilience.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

Not only are you an IP doctor and advocate, but you’re a recipient of various awards and accolades in writing as well. Could you share more about your body of work as an author? What was your vision or initial thoughts when you started creating them? Do you have any books coming up soon? With the blessings of God, we have published three books and my first book AnecDoc’s: Brown Sauce for Health Students won the Jaime Cardinal Sin Catholic Book Award (Youth and Children Category) during the 32nd Catholic Mass Media Awards in 2010. My most recent book To My Fellow Igorot Youth: Poems, Stories and Essays garnered the same award in the 39th CMMA in 2017. I also released a poetry book Love Hainaku: Haiku Readings of the Heart in 2011. I am proud of these books as much as I value the various academic research that we have also published locally and internationally.

We were also the project leader of a youth volunteer-led documentary film titled Nowhere yet Everywhere: Untold Stories of the 66th Infantry Regiment, a film about our Igorot World War II veterans which has been shown in LGUs, schools, and at the UP Film Institute. We were contributors and co-publisher of the Ibaloy Dictionary which was awarded the Premyong Komisyon ng Wikang Pilipino Prize by the National Book Development Board and the Manila Critics Circle during the National Book Awards in 2013. I wrote my thoughts and ideas not thinking that these will form a book, hence, my books are actually compilations of personal poems, stories, essays, songs, sketches and drawings in the past two decades. The idea of producing books came from a thought that there is a dearth of books written by Cordillerans, which is sad. So it’s usually a foreign/Western or a nonCordilleran perspective that we read. It is quite incongruous that many Cordilleran IPs are educated but we have not been a powerhouse in publication and research for IP advocacy. These books for whatever it’s worth are our small contribution to the CARiana collection of publications. These are especially directed and dedicated to the Igorot youth and these were written as a tribute to my family, community and friends. I do have some manuscripts that I have written years ago which I hope to publish soon. I also have upcoming collaborative works with young Igorot writers – all about the Cordillera we love!

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

Cordillera Day 43

These pictures were taken during Cordillera Day, last 2018.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Cordillera Day is an annual gathering in the provinces in the Cordillera region to commemorate the resistance of Kalinga pangat (leader) Macliing Dulag against the Chico River Dam back in the time of Martial Law. Every year, delegates from the provinces and advocates for national minorities gather to express solidarity as well as discuss present issues concerning the struggles of the Indigenous Peoples.

Kasiyanna

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Dumagat Day These photos were taken during Dumagat Day in 2019.

Kasiyanna

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

Just like Cordillera Day, Dumagat Day is an annual gathering of the Dumagat tribe to discuss present issues concerning the struggles of the indigenous peoples, particularly their tribe. Dumagat Day 2019 was the 4th Dumagat Day and it highlighted the current struggle of the community against the China-funded Kaliwa Dam.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

This was taken during a mobilization in Manila on November 30, 2019, where members of the Lumad community joined.

Photos and words by

GEELA GARCIA

Mobilizations This photo is from a mobilization against the AntiTerrorism Bill in UP Diliman. Photographed are children from a Bakwit School.

Antipolo City

Geela (b. 1998) is a documentary photographer based in Manila. Her work, which explores topics of displacement and culture, aims to expose the plight of the oppressed and the marginalized, with the intention of writing and documenting history from the eyes of its makers. K geela.portfoliobox.net Q @geelagarcia

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

n u g a B

Para kang patak ng ulan, Nang sumingaw sa kalupaan Ay palihim na nanaog Sa kalangitan Pagkatapos kang manahan Sa aking mga ugat at laman At sa kaluluwa kong nabaog Buhat nang iyong iwan. 7 ng Mayo, 2020 Bayan ng Magbubukid

1. Sa mga Ifugao ay siya si Eba. *Ang tulang ito’y bahagi ng Diro Series.

Kasiyanna

Gawat May panahong kailangang iwan kita habang ika’y aking hinihintay na mamukadkad at handa nang anihin ang bunga ng ating pag-iisa. H’wag ka sanang malungkot kung sakaling ako’y lalayo, kung sakaling ako’y kunin bilang manggagawa sa konstruksyon o kargador sa bodega ng sigarilyo. H’wag mo sanang isiping kaya kitang kalimutan ‘di mangyayari ‘yon! Naka-ugnay kaya ang aking bituka sa mga ginintuang butil sa ‘yong ulo. Isa lang ang hiling ko ikaw muna sana ang bahala sa mag-iina ko at pagbalik ko asahan mo ang pasalubong ko sa ‘yobagong panali, bagong karayom at bagong sako. Sa dapithapon, alalahanin mo lang ang mga sandaling nagpapalipad tayo ng saranggola; sa agaw-dilim, balikan mo ang mga salamisim kung paano nag-alay noon si Inang ng atang sa matandang puno ng Mangga; sa bukang-liwayway, hayaan mong tangayin ka ng malamig na tubig sa batis hayaan mong manuot sa kaibuturan mo ang bawat hampas ng panabas sa pilapil ang bawat paglusak ng kalyadong paa sa ‘yong dibdib ang bawat pagbaon ng mga daliring tangan ang binhi ng kanilang pag-asa ang bawat patak ng pawis at luhang umaasam na ika’y maging kanila balang araw. Setyembre 18, 2018 Lunsod Quezon, Maynila

Poems by

R.B. ABIVA

Cabanatuan City

Si R.B. Abiva ay nagsusulat sa wikang Ilokano at Filipino. Siya rin ay tagasalin, editor, musikero, pintor, at iskultor. Sa kasalukuyan ay kumukuha siya ng MA Malikhaing Pagsulat sa UP Diliman. Sa ngayon ay inihahanda niya ang kanyang nobela. E /ReneBoyAbiva

*Naisalang sa 58th UP National Writers Workshop noong Hulyo 7-14 sa Siyudad ng Baguio. Ang salitang gawat ay salitang iloko na ang ibig sabihin ay tiempo muertos. Nalathala ito sa Katitikan: Literary Journal of the Philippine South June 2019 Maiden Issue. Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Ang Panaginip ni Erikson 54

NAGISING SI ERIKSON

Short story by

ALLAN PAUL CATENA

San Jose. Occidental Mindoro

Si Allan Paul F. Catena ay isang guro sa Occidental Mindoro State College. Co-author siya sa mga librong Stopover: Mga Tula ng Pagninilay at Paglalakbay, Kapag Nalaman Mo: Mga Tula. Siya rin ang may akda ng unang solo book niya na Si Mang Francing at ang mga Lagalag na Kaluluwa ng Siete Central. E /allanpaul.catena

Kasiyanna

sa daigdig ng kanyang panaginip. Alam niya ito dahil lahat sa paligid ay para bang lumulutang na imahen. Subalit ang ipinagtataka niya ay kung bakit nararamdaman niya ang dampi ng hangin sa kanyang katawan. Naririnig niya ang agos ng ilog sa di kalayuan. Naaamoy niya ang simoy ng kagubatan.

Pero…Pero nasaan akong lugar? Tanong niya sa kanyang sarili. Iginala niya ang kanyang mga mata. Pamilyar ang lugar. Natanaw niya ang magandang rock formation ng Bato-Ili. Nasa gitna siya ng tulay na nagdurugtong sa bayan ng Rizal at San Jose sa Occidental Mindoro. Hindi ba’t kalimitan naman kapag nanaginip tayo’y mga lugar din sa totoong mundo ang napupuntahan natin. Sinubukang ihakbang ni Erikson ang kanyang mga paa. Bigo siyang lumakad. Pero laking gulat niya na kaya niyang lumipad. Hindi naman kataasan pero sapat na para hindi niya maramdamang nakatungtong siya sa lupa. Ganito pala ang pakiramdam ng isang anghel. Ang maramdaman na kaisa ang hangin. Para siyang lagalag na kaluluwa na naglakbay sa mundong gawa ng kanyang isip. Labis ang tuwa ni Erikson dahil kaya niyang maglakbay sa kanyang panaginip. Kaya niyang gumalaw. Hindi kagaya noon na ang panaginip niya ang nagpapagalaw sa kanya. Naglibot si Erikson na parang paruparo sa malawak na hardin. Pumaimbulong siya sa marahang agos ng ilog Busuanga. Umakyat sa tuktok ng Bato-Ili. Nagpabalik-balik. Sa realidad, tanging sa larawan niya lang ito nakikita. O kaya’y natatanaw lamang niya sa bintana ng bus kapag dumaraan dito tuwing lumuluwas siya ng Maynila. At nang

mapagod, nagpahinga siya sa batuhan sa gilid ng ilog. Sinubukan niyang dumampot ng bato para ihagis sa tubig. Lalo siyang natuwa dahil kaya niya. Para siyang bata na paulit-ulit ipinukol ang bato sa marahang agos. Paalis na sana siya nang makita ang isang budyung na lumutang mula sa agos. Ang budyung ay isang trumpeta na karaniwang yari sa kawayan. Gamit ito ng mga katutubong Mangyan sa kanilang mga ritwal. Namangha si Erikson dahil ngayon lang siya nakakita nito sa totoong buhay. Ay sa panaginip pala. May mga nakaukit dito na Mangyan scriptures na hindi niya maintindihan. Dinampot ni Erikson ang budyung, saka niya hinipan. Noong una’y walang tunog na lumalabas. Inulit-ulit niya hanggang marinig niya ang nakakaakit na tunog sa hangin. Bumuo siya ng melodiya. Pero habang nagpapatuloy siya sa pagtugtog ay unti-unti siyang umaangat sa hangin kasama ng agos ng ilog. Paikot-ikot. Para siyang hinehele ng musika, ang kanyang haraya. Nagpatuloy si Erikson. Nagbabago ang imahen sa paligid niya. Nawawala ang ilog. Ang tulay. Ang batuhan. Ang magandang tanawin ng Bato-Ili.

***

BUMALIK ANG ULIRAT ni Erikson nang marinig niya ang malakas na dagundong ng isang makina. Nakatatakot. Parang halakhak ng halimaw. Inisip niya kung ano. Tunog pala ng helicopter. Nang siyasatin niya ang lugar, nasa isang pamayanan siya ng mga katutubo. Mula sa helicopter ay may nagbabaan na mga armadong kalalakihan. Hindi niya masyadong maaninag pero tukoy niyang kulay berde ang suot ng mga iyon. Camouflage pa nga. Bumaba ang isa, dalawa, sampu, dalawampung tao mula sa

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

kaibigan. Kaibigan hindi kami rebelde Pagmamakaawa ng mga katutubo. 56

helicopter. Nagtaka si Erikson paanong nagkasiya ang mga iyon sa helicopter. Sa pag-alis ng helicopter ay napalitan ang tunog ng makina nang hiyaw at iyakan. Hindi alam ni Erikson kung ano ang mas kahindik-hindik na maulinigan. Mga batang katutubo na umiiyak dahil sa takot. Mga nanay na nagtatakbuhan. Nagkakagulo ang buong pamayanan. Gustong makitakbo ni Erikson pero hindi na siya makagalaw. Hindi gaya kanina. Para siyang ipinako sa kinalalagyan niya. Hawak niya ang budyung. Tinipon ng mga armado ang mga katutubo. Pinapila. Para silang mababangis na hayop. Galit na galit. Tinatadyakan ang mga kalalakihan. Dinudukdok ng baril ang nagmamatigas. Iginapos ang paa at kamay nang nagpakilalang lider ng pamayanan na parang baboy. Kahit pa magmakaawa siya. Gustong sumigaw ni Erikson. Gusto niyang pigilan ang nangyayari pero impit ang boses niya. Walang tinig na marinig kundi ang galit sa dibdib niya. Inihiwalay sa pila ang mga kalalakihan at kababaihan na itinuro ng isa sa mga armado. Bakit? Tanong ng isip ni Erikson.

Igapos ang mga rebelde na yan, sambid ng tila kumander ng mga armado.

Kasiyanna

Hindi kami rebelde, kaibigan. Kaibigan, hindi kami rebelde. Pagmamakaawa ng mga katutubo. Pero tila bingi ang mga armado. Wari’y hindi nila naiintindihan ang salitang makaawa. Suntok, Balya. Tadyak. Dukdok ng armalite ang inabot ng mga iginapos na katutubo. Hindi maatim tingnan ni Erikson ang nangyayari pero wala siyang magawa. Siya man ay tila nakagapos sa kanyang sariling panaginip. Hindi pa nasiyahan ang mga armado. Kinaladkad ang isang dalagita. Sapilitan na ipinasok sa isang maliit na kubo. Isa-isang nagsunuran ang mga armado. Naglalaway ang bawat yabag ng bota. Nagpupumiglas si Erikson sa sarili niyang panaginip. Gusto niyang magising at matapos na ang karahasan. Dahil ang bawat eksena ay parang kutsilyong tumatarak sa kanyang kaibuturan. Makamundo ang mga halakhak na lumabas mula sa bintana ng kubo. Hindi man

n, e.

nakikita ni Erikson ang nangyayari sa loob pero alam niya kung ano ang sinasapit ng dalagita. Pinakamalakas ang sa kumander. Habang umaalingawngaw ang boses nito’y parang sinasakal si Erikson. Sa kada batingaw ng kahayukan ay parang nauupod ang hininga ni Erikson. Humahangos siya. Pilit na inaapuhap ang tumatakas na sariling hininga. Hanggang sa umabot sa sukdulan. Gusto nang mamatay ni Erikson sa sariling panaginip para matapos na ang nabuong bangungot. Pero may pang-uusig ang kaluluwa niya na hahayaan bang manaig ang mga armado. Ang kasamaan na dala ng mga ito. Nagpumilit si Erikson na makagalaw. Parang siyang bulkan na nais sumabog ng sandaling iyon. Nagpupumiglas. Hanggang sa maigalaw niya ang kanyang mga kamay. Pero parang inuutusan siya ng panaginip na hipan ang budyung. Mahinang ihip noong una. Papalakas nang papalakas nung mga sumunod. Hanggang sa parang salamin na bumabagsak ang buong paligid. Gumagapang ang lamat. At sa huling silakbo ng galit ay itinodo ni Erikson ang pag-ihip. Sumabog ang lahat na libong pirasong bubog. Kitang-kita ni Erikson kung paanong

nagliparan ang mga repleksyon ng mga imahen sa salamin. Ang nakagapos na lider. Ang kumander na nasa ibabaw ng dalagita. Walang ibang nais si Erikson kundi madurog na parang buhangin ang lahat ng nakita niya. Upang mabura sa kanyang alaala. Maging sa kanyang gunita. Nagising si Erikson. Hangos na hangos. Tumatagaktak ang pawis. Dali-dali siyang bumangon sa kama para uminom ng tubig. Walang maalala si Erikson sa kanyang panaginip. Nadaanan niya ang nakabukas na laptop papalabas ng kanyang silid. Mapang-akit ang liwanag. Parang may nais sabihin. Binasa niya ang isang balita sa newsfeed ng Facebook niya.

“Mangyan Community Attacked by State Forces Despite Pandemic…” Nanumbalik ang lahat. Matutulog ba siyang muli o mananatiling gising sa realidad.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

the of

WeaveR

E e A c P

Mixed media art by

KEAN LARRAZABAL

Cebu City

A self-taught conceptual artist from Cebu City focusing on socially engaged art. His artoworks are inspired by various people and situation on the street, attaching allegory by using cardboard imagery to achieve visual storytelling. E /Keanlarrazabal Q @keanlarrazabal Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

p p i N e i h i l P BE s R i T Art Series

Kasiyanna

Ati Tribe

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Ifugao Tribe

Kasiyanna

Ivatan Tribe

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

Tagbanua Tribe

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Manobo Tribe

Kasiyanna

T’boli Tribe

Artworks by

ARTIST.RAY

Villasis, Pangasinan

Raymond Rabara (artist.ray) is a young self-taught artist. His subjects revolve around the culture and ordinary life in the Philippines. He loves to use earth tones and the color orange to bring warmth and vibrant atmosphere in his artworks. Q @artist.ray E /artistrayph M Raymond Rabara

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Essay and photos by

ROSELYN DAYUWAN DAWONG

Hungduan, Ifugao

I can do all things through Christ who strengthens me! E /roselyn.dawong

Kasiyanna

Online class sa amin... Ako si Roselyn, nakatira sa Maggok, Hungduan, Ifugao.

Gusto ko lang i-share ang mga na-experience ko last midyear online class habang ako ay nasa amin sa bundok. Una po sa lahat, walang malakas na signal sa mga bahay-bahay doon sa amin. Kung meron man, para sa text at tawag lang ang kaya. Kailangan pang umakyat ng bundok para magkaroon ka ng malakas na signal.

Bago pa mag-start ang enrolment ay tinanong ako ng kaklase ko kung mag-eenrol ba ako sa midyear. Sabi ko “yes” kasi ayaw ko ma-behind sa mga subjects ko at ayoko ring i-take mag-isa ‘yung mga subjects na iyon. Nakiusap ako kay Sir Samuel Damayon, ang Dean of Student Affairs and Services ng aming school, na mag-promissory note na lang muna ako para sa tuition ko. Sabi niya mag-enrol ako at siya na daw bahala sa promissory note. I'm so happy and thankful sa kaniya. Ang schedule ko ay 7:30AM - 5:30PM. Sa everyday ko na paglalakad, sumasakit ang buong katawan ko, lalong-lalo na ang aking paa. Nakakapagod, pero kailangan para maka-attend sa klase. Lagi akong kinakabahan kasi baka ma-late ako at nakakahiya. Sa mga requirements, I am honest to say na lagi akong nale-late na magsubmit kasi cellphone lang ang gamit ko. Maraming ginagawang requirements, nakaka-stress, pero kinaya naman. During video calls or BigBlueButton sessions naman, laging choppy at wala akong naiintindihan, kaya sa module na lang ako nagbabasa-basa. Speaking of module, kailangan din ng patience kasi medyo matagal matapos ang pagdownload sa bagal ng internet. At dahil walang printer dito sa’ming lugar ay tinitiis ko munang isulat sa papel o di kaya sa phone ako nagbabasa. During class days din, kapag mga 1:00pm na, kailangan kong maghanap ng puno para may pagsilungan kasi walang lilim sa kung saan may signal ang gamit kong network. Tuwing hapon, ipinagdadasal ko na sana hindi umulan nang maaga kasi malayo ako sa mga bahay-bahay at hindi sapat ang payong kapag umuulan. During exams ay kailangan magising nang maaga kasi maliban sa paglalakad ng isang oras para makarating sa lugar na may signal, doon na rin ako nagre-review para sa 7:30AM class. Sa pagsusubmit ng requirements, kapag binigay na ng mga teachers ang activity at exam at kailangang ipasa kinagabihan, bababa muna ako ng bundok para sa bahay ko na lang sagutan kasi wala akong table sa bundok. Ang tanging meron lang ay upuan Pagkatapos ko ng mga requirements, magpapasama ako sa ate ko para umakyat sa bundok para magsubmit.

doon ng signal hanggang sa naisipan ko na lang na umakyat pa sa isang bundok para maka-attend ng klase. May demo kasi kami sa isang subject noon. Dahil sa nangyare, nakiusap muna ako sa aming guro na bigyan ako ng ibang option para sa demo. Sabi naman niya, i-video ko na lang daw ang sarili ko then i-send ko through email. I am so thankful sa consideration niya. Gusto ko ring kunin ang pagkakataon na ito para magpasalamat sa mga guro ko noong midyear na sina Sir Allen Marquez, Sir Ernest Esmeralda, and Ma'am Federicia Caluagan. Dahil sa kanila, nagkaroon din ako ng lakas ng loob dahil sa effort nilang magturo at napaka-considerate pa nila. Hindi ko nasabi sa sarili kong maggi-give up na ako. Teachers, thank you po sa inyo. During that midyear class, pagod na pagod ako lagi kasi pabalik-balik ako. Nakakaiyak at nakakastress. Minsan, hindi ko na iniisip na kumain kapag umaga kasi pagkagising ko, inom ng tubig tapos aakyat na agad ako ng bundok. Lagi akong pinapagalitan dahil hindi ako kumakain, kaya thankful ako na may parents ako at kapatid ako na nagdadala ng pagkain ko sa bundok. Dahil din dito, hindi ko inisip na sumuko kasi alam ko na kaya ko and ayokong ma-left behind. Patience is a virtue talaga.

Ang naging motivation ko para makapag-aral last midyear kahit na mahirap ang naging sitwasyon ko ay ang pag-iisip na as a preservice teacher, kailangang maging matatag, matapang at matiyaga habang maaga pa kasi paano na kapag in the future ay mapunta ako sa mas liblib na lugar. So kahit na mahirap ang sitwasyon ko last midyear ay alam ko sa sarili ko na kaya ko dahil I have my family, friends, loved ones, and also because, I trust God. Alam kong andiyan sila palagi para gabayan ako. Another thing that motivates me is that kung kaya ng iba, kaya ko rin, para sa pamilya, para sa sarili ko, at para sa future ko.

Learning Management System o LMS, ang tawag sa online learning platform ng school namin. Ang hirap ma-access kasi mabagal ang internet connection. Noong nasira yung cell site doon sa amin, halos ‘di ko na alam ang gagawin ko. Umiyak ako habang kinakabahan kahahanap dito, hanap Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Stand with Lumads 70

The Lumads are indigenous people in the Philippines' southern Mindanao region. Lumad is short for Katawhang Lumad which means "indigenous people." They founded schools in their communities to provide information to young adults and youth on how to protect their rights, property, and culture. Because of

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this, the government has taken the unusual steps of ordering their shut down while killings and arrests of teachers from the Lumad schools continue to go unpunished. Many of the Lumad have sought protection and refuge in evacuation centers where they are crammed into small spaces with other war refugees, lacking sanitary facilities and food, and facing abuse from local police, including sexual harassment. STOP LUMAD KILLINGS. SAVE LUMAD SCHOOLS.`

Digital artwork and words by

JOANNA COLINE MONTOYA

Bambang, Nueva Vizcaya

18-year-old BS Nursing student who creates art in PowePoint for fun E /joannacoline.montoya.56

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

I lovE yo

si not thE SamE t a K a u D s ID

Kasiyanna

Short story by

GENESY TIMONERA

Mandaluyong City

Genesy Timonera is a holder of Communication Arts and Juris Doctor degree. She is an advocate of women’s and children’s rights and does volunteer works in Lunas Collective, The Red Whistle and RITM. She commits to live a purposeful life to serve the people through her writing and the rule of law. E /genesyrtmnra Q @genesytmnr

I hummed the last two lines of Pagayaya when I heard Brian’s minimal snores. Makeyawa tam mulamuagang, kegafuanan na kapawan. I sang with short pauses and made each lyric count. I then ended the phone call, took a deep breath and fixed my eyes out to the windows. I used to gaze out but only saw hanging laundry shirts of our neighbors and wires of unpaid electric bills. There were no stars and no cinematic night lights. This is not what the Metro promised, I thought. And so I started to close our doors and windows. We, however, made ourselves comfortable with displayed collectibles and some aged Ibanag ornaments. Nanang and I didn’t bring most of our personal items but we brought artifacts, weaved baskets and embroidered cloths that will remind us of the values of brotherhood, peace, dignity, respect, and bayanihan which are still very much alive in the Ibanag tribe. Practices and traditions are important to the Ibanags because it defines us. It is our trademark. Even though modernization continuously invades our way of life, we consciously keep our tradition, practices, and culture preserved. The sourness of fish stew quickly enveloped the whole apartment when Nanang opened the tub container. I made no remark when I caught Nanang eyeing me. There was only stillness. Just as I chose to not notice the leftovers that we have been eating since the pandemic started, Nanang chose to have callous as a cook when she could have had a languid life as one of the elders in our tribe. It was my dream to live a posh life in an attractive home in an exclusive neighborhood. I wanted to run away from the weaving, woodcarving, and lunch-making for men farmers in the tribe. And so Nanang moved away with me and left the kubo with Papang and my brother. My secretariat employment was insufficient to live in luxury. I pondered on the reason behind my misfortune. I thought that it might be because of the gender that I am born with or that I do not work hard enough. But there are executive women soaring high in the field and even when I toiled double shifts, I would still come home with only enough in my pocket. Later on, I figured that it was not because I am a woman but a woman who came from a more vulnerable community. I have come to live in prejudice knowing the historical discrimination and marginalization towards my community. It scared me whenever I think about the day that I will not notice the inequity anymore. I wanted to succeed, so I figured to give in to the corporate pressure. I was, however, unscathed through Brian’s protection as the next director. I was sheltered in his masculinity and I, with a whiff of reservation still chose to embrace the post. Liking Brian was easy. I could weave a basket

eyes closed but liking Brian was still the easiest thing to do. When nobody wanted to be partnered with the tall woman with slightly darker elbows, Brian took me as his. He had a habit of adjusting his flimsy loosened glasses and in those moments I could peek behind his academic exterior and glimpse his endearing eyes as he laughed. It was the most comforting sight I have seen in the city. We did a research on the rich tradition and culture of our tribe as the Hidden Jewel of the North. When we visited the lengthy river banks, he witnessed a woman washing clothes in the river after the burial of her husband. Back in our town, we believe that it will wash away bad luck; it is a process of accepting the truth for the bereaved family. A practice called Mawwagga. It must have left him with an emotional disturbance than he realized that he awakened us with screams of monstrous tremor. We did a ritual called Ikattag the following day. It was done by hitting a tree which bears a sour fruit using bolo. By doing Ikattag, the bad dreams will stop from happening. Brian was not a believer, I saw it through his unwillingness but he, nevertheless, respected these practices even when it deviate his modern ideologies. Brian escorted me to the conference meeting that, I, as the executive secretary did not know anything about. They made me sit in the round table and the bosses upfront informed me of the management decision to lay off employees due to the economic fallout. The emotionless corporate dragons turned their backs as soon they finished breaking the unfortunate news of my unemployment. I have had firsthand experiences of bigotry in the

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

academe and workplace that it wasn’t longer surprising. This rampant inequity even before the pandemic was very well-known to me, The only ] thing is the more that I experience life outside the textbook, the more that the public behaved as if they weren’t aware, including Brian. He was not able to save me on that one. “Maybe you will get another job. Things will be fine,” he said.

Maybe. My frustration cropped up when I heard those consoling words. Brian never understood the agony boiled down in me throughout the years of trying to be acknowledged by this ruthless world. I felt the need to propel anything that I could hold on to. I was feeling over the edge, head spinning in my own wheels until I saw Brian clench his fist for the first time in a long time that I knew him. “They are not worth it.” I felt a rumbling of anger but chose to grab his arms instead. It calmed him down that he nodded in response.

I felt the need to have a loaf of tasty bread before telling Nanang of the unfortunate news. I was a few steps away from our apartment and saw passersby peeking through our apartment. Two women I visibly saw through our now open windows. Both of them covered in gears like scientists with chemical tubes. One of them was holding Nanang’s basket, I recognized its craftsmanship in the details of the basket. It was one of the rare occasions that we had a visitor but in that moment I sensed a ghastly aura in our depraved visitors. Nanang caught the virus at work. With my unemployment and petty savings, we looked for a public hospital that can accommodate my Nanang. All of which were full while the private clinics did not want to risk nonpayment knowing that the healthcare of a vulnerable patient costs great fortune. I didn’t know what bothered me the most: the fact that Nanang tested positive with the virus or that no public hospital was able to accommodate her while the private ones did not want to admit a patient who looked like they cannot shell out payment. The goddesses and deities must have intervened in that moment that an organization offered us assistance--back in Cagayan province. I realized at that point that being in a helpless condition compels a person to withdraw to whatever the

Kasiyanna

heavens offer. Brian strongly opposed the idea of my indefinite departure. The few minutes that time afforded us to bid our separation turned to quarrel. He never understood our circumstances and there was nothing more to argue. It was more than the financial difficulties, but the continuous struggle and graver challenges that we bump into while in lockdown. I felt the need to discontinue pressing on to myself the first-class city life I dreamed and go back in the care of my ancestors, where Nanang could possibly heal. Brian held onto my limp shoulders. I thought of the cliché in movies and I already knew what happened in that movie. The boy embraced his lover, her head rested on his shoulders and he pursued her against all odds. But in real life, Brian asked me to say the last two lines of his lullaby, Pagayaya. “Pagayaya. Makeyawa tam mulamuagang. Kegafuanan na kapawan,” each word broke me into tears. “Happiness. Which will make us forget. Our hatred and suffering,” he paused before I could even respond. “I always heard and felt you,” Brian said before each image fade into a hazy memory. I struggled to find even a sentence to utter and did the only thing my reflexes thought of doing. I reached for his face, took his glasses off and locked my eyes into his for the last time. If I had spoken before it ended, I thought of saying this:

That I came from a place which suffered historic abuse and marginalization and this surrender that I made to my destiny is inevitable. It is bound to happen; I just did not know it to be sooner than expected. I always knew that you accepted me and my heritage but I am not a tourist spot that people only view from the grace of rituals and the breathtaking sight of scenery. My beauty is embedded in my strength to endure, my courage to pursue greater heights, and my fight against society’s predetermined providence of my community. You are aware of that, I’ve come to know, but your love and my love are not coming from the same veins. I love you is not the same as Iddu ta ka. I was asked to self-isolate in a bamboo-made shelter one town away from the mountains of our

tribe while Nanang was immediately confined for treatment. My brother and Papang were not allowed to be anywhere close to us, while meal was delivered to the volunteer staff then served to my room. Isolation in our tribe was stricter than the city. With understaffed and under-equipped medical facilities, our community understood that we cannot afford any local transmission. Our tribe eventually decided to take action using traditional practices by sealing off territories within different tribes and taking medicinal herbs as vitamins. I was forced to pawn my phone for the medication fund needed for Nanang. Sustenance was harder in the province because livelihoods strongly depended in agriculture. With the tightened security measures, there was no way of shipping our produce. My father and brother resorted to fishing and hunting in the forest and made good of the few hundreds I was able to hand over.

after the other. The last message was a photo of Brian wearing an Ibanag shirt topped with embroidered cloth and finished the look with a brown bonnet.

My isolation was at a snail’s pace of hunger, anxiety and heartbreak which was all vivid in my memory. In four consequent days, I was brought a meal of herb leaves and beans cooked as stew. I walked the next two kilometers to our hut in the hopes to clear my mind with the landscape of the mountains and skies. My eyes kept looking for a cheerful peer but soon grasp how awfully quiet our town has become. I missed the merry-making and children running around the fields. The image of my sick mother was excruciating that my steps were becoming heavier. I felt obliged to recite every healing prayer to the gods and deities for my mother. I never stopped my prayers but this time it was to help me rally around to whatever lies behind us. I arrived in our front door, looked down and saw my Nanang sitting crossed-legged, shoulders straight with piles of garments covering her weak body. I kneeled before her and begged for forgiveness.

“Yes, Miss. There had been an incident.” That couldn’t be. I requested the names of the bus passengers but there was no Brian Torres listed. It was a glimmer of hope but the sun will soon descend and the officer reminded me of the curfew hour. The officer was compelled to forward me to the morgue where I reluctantly adhered to. I didn’t want to see him there. I begged the deities not see him there. When I entered the morgue, I immediately recognized the red and blue garments with moon embroidery resting in the corner counter. It was the same garments that I made for Brian after we finished performing rituals on him. I was escorted to the claiming area of dead, as if I was receiving a package. I opened the blanket and gawked at Brian’s dead cold body. I froze in voidness at that instant. I was trembling in rage when I asked the personnel on the circumstances of the incident that happened.

“I’m feeling better now, ‘nak,” the virus made her frail. Her voice was almost a whisper but she brightly smiled and eyed me to position myself within her reach. “I’m healed. Home healed me,” my mother slightly pat my shoulders in the most comforting way. It took days before I reacquired my phone from the pawnshop through the money I gained from making school worksheets for the loaded families in the city. When I opened my phone, it beeped again and again until I lost count of the messages. All of them were from Brian. I read one message

“I will see you soon. Meet me at the city center terminal,” it was captioned in his photo. My heart was pounding with every step I made as I looked forward to seeing him. He is here! He is here! My heart was exhilarated and overjoyed with our reunion. I arrived at the terminal and immediately looked for his brown bonnet. I searched further and waited longer as he was supposedly to arrive that morning. The security officer eventually advised me to check the morgue. “What? Morgue? What?” I was shaking in disbelief.

Eyes cold, he looked down on me and said, “Maybe he did not observe protocol." I felt my tears welling and chest shaking. My system was flushing out of me. There was nothing more that I did but whimper in misery and begged the divinity for reincarnation into a new being, for the virus to stop taking lives and separating love ones and for the world to open its blind eye. I felt the refusal to live in a world where we will not end up together. Our love, this love, it may have had differences but it was accepting and giving, it was reaching out, it was Brian.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Acrylic in Paper Collage Materials: Acrylic, Glue, grocery brown bags, scrap papers, craft punchers and scissors

Kasiyanna

SimplenG KaligayahaN “Simpleng Kaligayahan” revolves around the story of the children from Ayta Magbukon, a tribe in Bataan, and how they had to go to the mountain to avoid the spread of virus during the enhanced community quarantine. Even though they all went together as a community, the children had to be separated from each other. Many of the kids’ tasks and daily activities changed.

They have to alternately go out to harvest honey, catch freshwater crabs, hunt wild chicken or labuyo, and play while bathing in the river. Children have been complaining about boredom, but for me, nothing is compared to the sadness of the Ayta children who don’t ask much but friendship and freedom. This is what inspired me to do this artwork.

Mixed media art and text by

TIN JAVIER

Naic, Cavite

Tin is a self-taught artist from Cavite. Her collage style involves recycled paper, reused vintage stamps for color, and punched papers to add style and texture to her work. She wants her art to express her advocacies such as empowerment of children, women, and indigenous people. E /heston.collage Q @estonsarts

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Ang Ating Tahanan sa Kabayan Mahal kong Lakay,

Short story by

CHRISTINE MARIE LIM MAGPILE Quezon City

Nagtapos si Christine Marie Lim Magpile ng Bachelor of Science in Secondary Education – History Major (Cum Laude) sa Unibersidad ng Santo Tomas. Kumukuha siya ng MA Araling Filipino sa Unibersidad ng Pilipinas. Kasalukuyan siyang copy editor sa UP Press. E /christinemarielimmagpile

Kasiyanna

Isang handog mula sa langit ang iyong pagdating. Ibinibigay ko ang karangalan sa iyo na ibahagi ang kuwento ng ating angkan. Kapag wala na kami ng iyong ama sa iyong pagtanda, ikaw na ngayon ang magpapaalala sa ating angkan ng kuwento ng ating lahi at bayan.

Karangalan ng ating pamayanan ang mga momiya ng Kabayan sapagkat labi ito ng ating mga ninuno. Noong bata pa ako, ikinuwento ng aking ama ang tungkol kay Apo Anno. Si Apo Anno raw ang ang kauna-unang pinuno mula sa ating lugar na ginawang momiya. Sa pamumuno ni Apo Anno, naging masagana at mapayapa sa ating lugar. Mahigit dalawandaang bungo na maayos na nakahanay at buong hilera ng mga buto na may kasamang ataul at momiya sa loob ang natagpuan sa Yungib ng Opdas. Hindi dapat katakutan ang mga momiya dahil mga ninuno natin sila na gumagabay sa atin. Bagama’t napangangalagaan natin ang mga momiya ng Kabayan, unti-unti namang naglalaho ang ating tradisyon sa kasamaangpalad bunga ng maraming pagbabago sa ating pamayanan. Hindi ko naman sinasabi na masama ang pagbabago. Marami rin namang kabutihan ang naidulot nito. Dati, mahigit apat at kalahating oras ang biyahe ng bus mula Baguio upang marating ang Kabayan. Kapag malakas ang ulan, mapanganib ang paglalakbay. Bukod sa madulas ang mga daraanan, maaari ding magkaroon ng pagguho ng lupa dahil bulubundikn ang Kabayan. Dahil nasa mataas na bahagi ang Kabayan, malamig dito kung kaya’t kaaya-aya ang klima sa ating tahanan. Mabibighani ka rin sa magagandang tanawin ng kalikasan. Noong panahon ko, napakapayak ng pamumuhay sa Kabayan. Matapos magtanim, mangaso, o mangahoy ng matatanda, ang pakikipagkuwentuhan sa mga kaibigan o bumisita sa mga kapitbahay ang tanging libangan nila. Samantala, kapag tapos ng tumulong ang mga anak sa kanilang mga magulang, makikita silang naglalaro ng takbuhan. Makikipaglaro ka rin kaya ng habulan o kaya’y taguan sa

ibang bata? Iba na yata ang hilig ng mga kabataan ngayon. Noong bata pa ako, nalilibang akong pagmasdan ang maliliit na trak na nagpupunta sa aming bayan. Bilang bata, nasasabik akong makita ang maliit na trak na dumarating isa o dalawang beses kada taon tuwing panahon ng anihan. Ibinibiyahe nito ang mga gulay at iba pang produkto sa karatig bayan tulad ng Baguio. Sino kaya ang magiging katulad mo paglaki mo? Ayon sa kuwento ng aking lolo, isa raw siyang mahusay na mandirigma. Bukod sa espada, alam din niyang gumamit ng pana at palaso maging ang sibat. Marami siyang nagaping mga kaaway na nagnasang sakupin ang ating lupain. Aniya, matapos ang pakikipagdigma, umaawit siya ng angba kapag idinaraos ang ritwal na cho-ongas upang ipagdiwang ang pagtatagumpay sa labanan. Ayon sa aking lolo, baka kamag-anak natin si Maochi, ang matapang na pinunong mandirigma sa ating bayan.

Paglaki mo, sana ay maging bayani ka ring tulad niya at ipagtanggol ang ating bayan. Ikinuwento sa akin ng aking lolo na bukod sa pag-awit, ipinagdiriwang nila ang pagtatagumpay sa pakikipaglaban sa pamamagitan ng bendiyan kung saan sumasayaw ang mga mandirigma. Hindi ibig ng aking lolo ang bendiyan dahil hindi siya magaling sumayaw. Kadalasan, natatapakan niya ang paa ng ibang tao at nahihirapang sumabay sa indak ng sayaw. Mayroong mga ritwal ang ating mga ninunong Ibaloi para sa iba’t ibang okasyon na tanda ng mayamang tradisyon. Sa mga ritwal tulad ng bendiyan, nagiging buhay ang paligid sa pamamagitan ng musika. Bukod sa magigiting na mandirigma, magagaling din na musiko ang ating mga ninuno.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Sa sayaw na tayaw, may mga musikong tumutugtog ng gong habang paikot na umiindak. Marami tayong iba’t ibang uri ng instrumento tulad ng sulibao at kimbal. Ang sulibao at kimbal ay halimbawa ng tambol. Samantala, isang uri ng gong na dapa naman ang pinsak. Ang palas o tiktik naman ay pares na bakal. Tinutugtog ang mga instrumentong ito kapag may pagdiriwang. Noong kabataan ko, isinasama ako ng aking lolo upang tumugtog ng tambol sa pagdiriwang ng kanyaw. Isang mahalagang pagdaraos sa ating mga Ibaloi ang kanyaw. Sa simula, kinakabahan akong tumugtog ng tambol. Baka magkamali ako sa paghampas nito at mapahiya. Malaking pagdiriwang pa naman ang kanyaw. Ngunit di naglaon, habang pinapalo ko ang sulibao, nakapagbigay sa aking tibay ng loob ang buo at malakas nitong ugong.

Habang isang magiting na mandirigma ang iyong lolo, ang iyong ama at ako naman ay masisipag na magsasaka. Kung susunod ka sa aming yapak, tandaan mong idaos ang ritwal na badjog upang malusog na lumago ang ating ani. Ang badjog ang unang bahagi ng peshit. Ito ang pinakamarangyang pagdiriwang ng mga Ibaloi. Sa lahat ng piging, ito ang pinakapaborito ng iyong ama dahil napakarami ng makakain. Sa sobrang dami ng handa, nakakain ang lahat ng tao sa bayan ng litsong baboy at baka. Sa ating bayan, ang pagtatanim ng palay ang pangunahing ikinabubuhay. Kapag

Kasiyanna

tumatatanda na, nagiging mahirap na ang pagtatanim. Masakit sa likod ang laging nakayuko at namamanhid ang mga binting nakababad sa tubig. Kaya, mahal na apo, tutulungan mo ang iyong mga magulang kapag panahon ng pagtatanim. Bilang Ibaloi, marahil pula at hindi puti ang kulay na maiuugnay mo sa bigas. Ang kintoman ang tanyag na pulang bigas na galing sa ating bayan. Bukod sa bigas, nagtatanim din kami ng iba’t ibang gulay at pananim. Noong bata pa ang iyong ama, nasasabik siyang lagi sa tuwing panahon ng anihan dahil nakakakain siya ng kaniyang paboritong lakatan. Isang uri ito ng saging na matamis at may matingkad na kulay dilaw. Habang mahilig ang iyong ama sa saging, mahilig naman akong kumain ng pusnayan. Isa itong uri ng kamote na mabango rin. Sa tingin ko ay magiging mahilig ka ring kumain ng kamote tulad ko. Habang ipinagbubuntis ka ng iyong ina, lagi siyang naghahanap ng ta-shawan, isang uri ng gabi na kaniyang kinakain sa agahan at hapunan. Sa paglipas ng panahon, natapos na ang mga alitan sa ibang tribo at nagkaroon na ng mapayapang kasunduan sa mga karatig bayan. Unti-unti, ang mga mandirigma noon ay naging magsasaka na at nagpapayaman ngayon ng lupa. Kapag tapos na ang anihan, nag-aalaga ng mga hayop sa kanilang bakuran ang ating mga kababayan tulad ng baboy at manok. Ang iba

naman ay nagmimina ng ginto sa Ilog Agno. Kapag pinagmamasdan ko ang mga likas yaman ng ating bayan, naniniwala ako na tunay tayong pinagpala ng mga Diyos. Subalit, bibiyayaan pa rin kaya tayo ng mga Diyos sa ngayon? Habang nagdulot ng kaunlaran at teknolohiya ang pagbabago, tila nakalilimutan na ng mga kabataan ang ating tradisyon. Tanging ang matatanda na lamang ng pamayanan ang tunay na nakaaalala sa maganda nating kultura. Balang-araw, maaaring mawala na ito lalo’t kakaunti na lamang ang nalalabing mga mambunong o katutubong pari. Noong bata pa ako, nais kong maging mambunong. Sa pamayanan, ang mambunong ang kadalasang nagsasagawa ng pagdarasal at ritwal. Sa tuwing nagtutungo ang aking ama sa pakikipaglaban o pangangaso, nanalangin ako para sa ligtas na pagbabalik niya. Isa pang dahilan kung bakit nais kong maging mambunong ay upang magkaroon ng pambihirang kapangyarihan. Ibig kong magkaroon ng kakayahan na makipag-usap sa mga espiritu ng ibang mundo na maaaring magbigay sa akin ng kakaibang lakas. Sakitin ako noon at hindi ko kayang maging isang malakas na mandirigma tulad ng aking ama at lolo. Noong namayapa na ang aking ama, ako na ang nagbubungkal ng malawak na lupaing iniwan niya sa aming magkakapatid. Kahit hindi ako naging mambunong, hindi ko kinalilimutang isagawa ang kosdey na ritwal at ialay ito kay Kabunian para sa isang masaganang ani.

Bagama’t malakas pa ako, unti-unti na akong nagiging malilimutin. Ilang taon mula ngayon, maaaring hindi ko na matandaan ang kuwento tungkol sa ating angkan at bayan. Kaya minabuti kong isulat ang magagandang kinagawian at tradisyon ng ating mga ninuno upang maipagpatuloy mo sana ito. Sa kasalukuyan, bibihira ng makita ang ating mga kababayan na nagsusuot ng ating tradisyonal na pananamit. Sinusuot na lamang ito kapag may natatanging okasyon tulad ng kasal o pagdiriwang. Nagtataka tuloy ako kung bakit mas nais ng mga kabataan ang magsuot ng modernong kasuotan na payak namang tingnan. Makukulay at may malikhaing disenyo ang ating mga kasuotan. Bukod pa rito, napapalamutian din ito ng mga alahas at hiyas. Kapag ikaw ay malaki na, maaaring nais mong makipagsapalaran tulad ng mga kabataan ng iyong henerasyon at lisanin ang ating bayan. Hindi kita pipigilang manatili dahil ibig kong magalugad mo ang mundo at mahanap ang iyong lugar dito. Ngunit saan ka man dalhin ng iyong paglalakbay, lagi mong tandaan na balikan ang iyong pinanggalingan. Bilang lolo mo, ipinakikiusap ko sa iyo, mahal na apo na panatilihin mo ang ating kultura. Huwag mong hayaang mawala ito bunga ng modernisasyon. Ang gawi ng ating mga ninuno ay bahagi at pinagkukunan ng ating kultural na pagkakakilanlan. Ipagmalaki mo ang ating angkan at tahanan. Saan ka man mapadpad, lagi mo tatandaan na pag-ingatan ang pamanang tradisyong ihahabilin ko sa iyo na mula sa ating mga ninuno.

Ang Nagmamahal Mong Lolo, Apo Pagey Ang kuwentong pambata na ito ay inspirasyon ng aklat na The Vocal Repertoire of the Ibaloi from Kabayan / Repertoryong Pantinig ng mga Ibaloi mula Kabayan (UP Press, 2016) na isinulat ni Pambansang Alagad sa Sining sa Musika, Ramon Pagayon Santos, PhD. Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Bigat Na Dulot ng Pandemya Bukang-liwayway hanggang dapithapon, Ikaw ang dala-dala Lakas ng katawan ang tanging pag-asa Sa likod ng ngiting tila ayaw kumawala Ay ang pagod na siya namang iniinda, Tanong na, "Ito ba kaya'y matatapos pa? Pa'no na bukas, makalawa?”

Kasiyanna

Photo and poem by

VAL

Cabarroguis, Quirino

Val is freshman nursing student at Saint Mary’s University. She may not be a professional photographer but she loves taking photos for it brings her relaxation. E /catatuyavallerie D @ValCatatuya_

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

oil Slick

Gangsa

Holiday is almost here. I remember when I was a child, one of the scenarios that always gets my attention is when I see indigenous people here in the city, with their gangsa. They will play a beat while some of them dance on the streets.

Digital art by

LEAN DY

Pateros

“I’m a freelance illustrator and designer based Manila. I am always inspired with other artists and my goal is to inspire others, too. Most of my works are character design, concept art, pixel art, and idle animations. K www.artstation.com/lean_dy E /leandychengco Q @art_leandy

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Artwork by

KRISTINE JOYCE AGUILAR Solano, Nueva Vizcaya

Aquarius. Determined. Optimistic. Artist. I am too busy to hold grudges. Unexpected is my motto. Anything a boy can do, a girl can do better. E /kristinejoyce.aguilar.7

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My clothes does not define how I should be treated and respected.

Whatever they are wearing, men and women should be respected. Our clothes does not define who we are and what we are worth.

Digital art by

NELART.PH

Cabuyao City

I am Nela Tapia, a graduate of BS Architecture from Malayan Colleges Laguna. I’m a beginner in making digital artworks and I enjoy drawing and creating illustrations. E /nelart.ph

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Bugkalot in Carranglan In the early days of Carranglan, Nueva Ecija, there is a feared time for people living in the lowland, the time when the headhunters show themselves to people. They are the Bugkalot tribe, popularly called Ilongots. They inhabit the mountain borders of Carranglan and Nueva Vizcaya now called Abaca, Dupax Del Sur. In this photo is the same river where the Bugkalot ancestors first lived. They are known to live close to rivers for easy transportation and as a primary source of food. Today, members of the Bugkalot tribe are now civilized and don’t practice headhunting anymore. They are now one of the producers of fruits and vegetables in the town's market as they still live in mountainous areas which is perfect for vegetation.

Photo and text by

CARELLE FAITH ASUNCION Carranglan, Nueva Ecija

“I am Carelle Faith S. Asuncion, 17 years old. I was born in Rizal, Saguday, Quirino. I am currently residing at Bunga, Carranglan, Nueva Ecija taking up Bachelor of Science in Nursing at Saint Mary’s University.” E /caifaith.asuncion

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

These photos were taken on September 19, around 7 in the morning.

‘pag may itinanim may aanihin... Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

The Agta Tabangnon are Indigenous Peoples living at the foot of Mt. Mayon at Buang, Tabaco City.

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In the frames are the members of Mrs. Teresita and Mr. Vicente Panti’s family. Planting sweet potatoes are one of the root vegetables they grow.

Photos and words by

KRYSTAN RODULFO

Bacacay, Albay

Krystan, or Tatan, is a Grade 11 student from Albay. He has been a campus journalist for seven years now. E /krystan.rodulfo.5 Q @rodulfotatan

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Guarding the Ancestral Path 94

The Flight for Indigenous Protection, the Fight for Civil Amelioration

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e Essay and collage by

CEDRIX HAY Lucena City

A Manila-based creative, Cedrix S. Hay is currently on a hiatus. Cedie, as known to his peers, is interested in creative writing and current affairs aside from graphic arts and novels. y /cedrixhay Q @misscedie C /cedrixhay

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

They are the world’s tropical gatekeepers yet forsaken by the land on which they rightfully reap and sow. To globally preserve the rights of their population and celebrate their milestones in protecting the environment, the United Nations (UN) General Assembly has declared the ninth day of August, through Resolution 49/214 dated December 23, 1994, as the International Day of the World’s Indigenous Peoples (IPs) in honor of their movement toward cultural and biological diversity. According to the United Nations Educational, Scientific, and Cultural Organization, on its commemorative address this year, the IPs vastly comprise 22 percent of the global land area with a population between 370 and 550 million and contribute to the development of almost 7,000 languages.

However, the life of IPs lays hanging in poverty and extreme violence, topping it off with the ongoing coronavirus (COVID-19) pandemic, making them vulnerable to our state’s negligence. Not only are they disadvantaged medically but also nutritionally due to the loss of their ancestral domains. Posing a massive economic threat— also home to 80 percent of the world’s biodiversity—these might be gone sooner if left in the hands of capitalism.

areas up to 30 percent could easily be increased to half of the planetary surface by 2030. Investing in countries and communities ready to elevate their land rights, as White says, can save the planet from ruining itself. Aside from protecting our biodiversity, securing land rights allows these communities to properly govern their territories and prevent animal-to-human hazards. Conservation expert Anthony Waldron, who initiated a study on zoonotic disease risk, told the RFI that IPs and conservationists managing clearly defined land rights own “large blocks of defined territory…therefore, not being invaded [chaotically].”

Silencing Tactics The Philippines is already suffering from the militarized COVID-19 response of the national government. The suppressed freedom of the IPs and communities to express dissent against the commercialization of their ancestral domains aggravates their marginalization down the line.

With the UN’s call to secure the IPs’ interest in these challenging times, this year’s celebration is themed “COVID-19 and indigenous peoples’ resilience,” which focuses on safeguarding their traditional lore and practice, rebalancing our relationship with nature, and reducing future pandemics.

A case in point is the Dumagat-Remontados indigenous community. Although they had successfully appealed for the stoppage of Laiban Dam in 2009, the Duterte administration secured a dubious environmental compliance certificate and a $211-million loan from China Exim Bank.

While they are known for their holistic relationship with the natural world, we, on the other hand, must help them flourish the lands their ancestors have tilled before us.

Adding fuel to the fire is the pushing through of the Kaliwa Dam within the Sierra Madre range, their natural habitat within the Luzon area. The presence of soldiers is heightened; individuals are being harassed and red-tagged as members of the New Peoples’ Army to manipulate resistance from “extractive developments” (i.e. mining, forest exploration) and infrastructure projects in the uplands.

Land of the mourning The loss of our indigenous communities’ ancestral rights is often traced from the shortage of implementing laws. Resource and Rights Initiative coordinator Andy White says in an interview with Radio France Internationale (RFI) that the IPs, local communities, and Afrodescendants “are under siege from all sides” albeit they protect the world’s remaining biodiversity. Moreover, existing global targets to expand conservation

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A member of the tribe was even abducted and physically abused while in custody, tells Stop Kaliwa Dam Network area people leader and coordinator Conrado Vargas in an interview with The Diplomat magazine. Displaying excessive autonomy, as he says, is their way to get their territories industrialized.

Based on a report from the Philippine Daily Inquirer dated July 30, the Philippines is in the top rank of deadliest Asian countries for land and environmental defenders, and second overall next to Columbia with 64 cases. Corruption watchdog Global Witness has recorded a 13-point rise in cases from 30 killings two years ago. Most deaths are mining-related and mostly happened in Negros Island and Mindanao, with 16 cases last year. One of which is Manobo leader Datu Kaylo Bontulan, who passed away during a military airstrike in Kitaotao, Bukidnon, last April, few of those tribal leaders who asserted “…their right to self-determination and their ancestral lands.” An uprising in indigenous schools is also present driving communities away from their ancestral grounds. According to Global Witness, half of those documented murders held under the Duterte regime are linked to state forces and paramilitary groups. Over 260 human rights abuses are then documented during the lockdown. Meanwhile, environmental activists are now finding ways to keep exercising their rights online and offline, in reserved spaces. The Asian Indigenous People Pact (aippnet.org/ covid-19-response/), an established response network of 47 indigenous people’s network in 18 countries, helps spread factual COVID-19 data and coordinates relief operations and traditional rituals among their locales. Three women are at the helm of Haribon Foundation’s Asia-Pacific Forest Governance project funded by the European Commission and in collaboration with BirdLife International, in defense of their ancestral lands from degradation and deforestation. Bae Elma Bauzon of the patriarchal Manobo tribe helps her community conserve Mount Hilong-Hilong in Northeastern Mindanao. She takes full environmental responsibility sans holding a tribal role. Former Barangay Indigenous People’s Representative of the Mamanwa-Manobo tribe, Bae Virgilia Juagpao serves as the leader and “the voice” of her Bantay Banwa group on forest governance and protection, and law enforcement. “Ka Ningning,” as known to her Dumagat tribe in General Nakar, Quezon Province, is the tribal chieftain or Kaksaan in the local dialect. She identifies herself as a forest defender who is willing to sacrifice her life “in the name of service for

our environment.” These people and their stories truly prove with all might their love for their homeland.

The price to pay Rogelio Bayod of Cor Jesu College Inc. in Digos City, Davao del Sur, mentions in his published position paper on the IP’s future (www.researchgate.net/ publication/330712577) their relationship to their ancestral grounds, hence their “divine origin”. People must understand that their ransacked lands are essential to their core. Their rich natural biodiversity and resources have already been eroded as multi-companies penetrate their territories in favor of national interest. The destruction of their habitat and the perceived environmental apathy are the price to pay beyond national development. Aside from these destructive practices, the oncemarginalized community becomes more marginalized with the loss of their ancestral domains. Mining is central to the loss of their land as cultural identity. Mineral reserves account for 58 billion tons of metallic and non-metallic minerals mostly hidden within the land of indigenous communities. Mass promotion of large-scale mining by the government, through exploiting contracts and permits, further heightens the overall damage.

Additionally, the past and current administration pave the way to dams and other infrastructure projects amid criticisms which, in turn, become an enabling mechanism to continually and fully diminish their lands. Several government policies favor national interest; these indigenous communities are losing their cultural heritage and are becoming more dependent on their environment over the years. Our forefathers’ ancient soils are now made into commercial stones and pebbles. The government turns a blind eye when we speak of ancestral welfare, leaving us with nothing but hopelessness. Our indigenous brothers and sisters should rightfully reclaim their homeland and cultural pride. We, in return, must pay homage to and preserve their heritage. That is their gift to the world.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna

Ahon, Bangon, Layon Walang krisis ang hindi kayang lampasan ng mga katutubong Dumagat. Ang tubig— bilang parte ng kanilang pamumuhay ay tulad nilang handang bumalangkas sa bawat alon at patuloy na aahon sa bawat agos ng buhay.

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LOUVIA MARIE RAMOS Pililla, Rizal

Louvia Ramos is a 20-year-old multidisciplinary artist based in Rizal, and a current Visual Communication student at the Philippine Women’s University. Her works are conceptual with socio-political themes that are visually engaging and unconventional to tell significant situations in her time. E /akosilubeya Q @akosilouvia y /RamosLouvia

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Acrylic on canvas 30x40 cm 2020

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Kasiyanna

A greAT Catch Due to the pandemic, we have experienced a lot of challenges and problems. I painted this to remind us that there will always be a positive side to everything. That we can always find happiness as long as we learn to appreciate what we have and be contented with it. The painting shows a Filipino kid who is very happy with his catch, depicting the simple joys in life.

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Painting and text by

DAWN CABUA

Liloan, Cebu

“I am Dawn, 22, a Medical Technologist graduate and a self-taught painter from Cebu. With quarantine and everything that has been happening in the world, it has pushed me to express my emotions through art. It started with a dream and now I am here. Believe in yourself, nothing is impossible.” Q @paintingsbydawnc Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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This photo was taken during a punnuk in Hungduan, Ifugao. Punnuk is an annual thanksgiving for a good harvest, usually held where the three rivers of the municipality meet. During this celebration, rituals are being done along with cultural games like tug-of-war or guyyud, bultung and more.

Photo and text by

CLEMENCIA LICYAYO NADIAHAN

Hungduan, Ifugao

“I am Clemencia Nadiahan, 18 years old, and currently taking Bachelor of Science in Nursing in the Saint Mary’s University. I finished my senior high school at Nueva Vizcaya General Comprehensive High School. E /clemencia.nadiahan.3

Kasiyanna

COVID-19 and Indigenous People’s Resilience

Digital art by

KARYLE VALEROZO DELA CRUZ

Bagabag, Nueva Vizcaya

I am an 18-yearold freshman nursing student studying hard to become a doctor someday. I also hope to be acknowledged for the art I make. I try to devote myself to all forms of art by enhancing my skills through extra-curricular activities and contests in school.

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E /karyle.delacruz.104 Q @delacruzkaryle

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Nang Dumating ang mga Uniporme 104 I. Napatingala kami isang umaga Nang gulantangin ng dagundong Mula sa ibon na bakal na iniluwa ng langit Halimaw na humapon sa aming lupain Sinakmal kami ng mangha at hilakbot Dumaong sa aming dibdib ang pangamba Lumakad ang mga uniporme sakay ng mga trak at buldozer Umalingawngaw ang mga makina

II. Pinatag at binungkal nila ang bundok Na santwaryo ng aming diyos at ninuno Pinutol, itinumba ang punong tahanan ng aming mga kaibigang ibon at hayop Natuyo ang aming batis, sapa, ilog Lumutang ang mga isda sa lason na kemikal mula sa pagmimina Tumigil sa pamumunga ang aming pananim Naiwan ang tanod na balyan sa palayan Marami ang tumutol at nawala Ninakaw ng gabi ang kaibigan, kakilala, kapamilya Nilisan ng huni ng kuliglig ang aming mahahabang magdamag at Nagsimula kaming managinip ng mga yabag

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BAlik-eskwela Kinukulayan ng aming maliliit na kamay ang dingding ng bagong itinatayong paaralan sa baryo Dilaw, bughaw, luntian, pula, lila Sumasayaw ang mga kulay! Ang titingkad!

Nagdrowing kami ng araw Ng kaibigang kalabaw sa palayan Ng matikas na bundok at malawak na parang Ng mga punong nagdarasal Ng lumilipad na ibon, inaabot ang mga ulap Ng namumulaklak na halaman sa tabi Ng umaawit na ilog Paulit-ulit man na sunugin, ikandado, sirain Nakawin man ang aming aklat, pisara, at haraya Takutin man at bantaan ng putok ng armalayt Babalik at babalik Muli’t muli naming ititindig ang haligi’t dingding Pipintahan ng pangarap at panaginip Ang bawat sulok ng aming paaralan

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Poems by

PAUL JOSHUA MORANTE Cabuyao City

Si Paul Joshua Morante ay tubong Cabuyao, Laguna at kasalukuyang nagtatrabaho sa isang BPO Company sa Makati. Siya ay kasapi ng Sunday Writing Class, isang komunidad ng mga lokal na manunulat na pinangangasiwaan ni Büm Tenorio ng Philippine Star. E /pauljoshuamorante

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Photos of Sama Dilaut people in Bongao, Tawi-Tawi.

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Sea Gypsies Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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The Sama Dilaut, more often known as the Bajau or Bajau Laut, is a small ethnic Sama group (Bajao, Bajaw, Samal Laut, Pal’au, Orang Laut, Badjau, Lutao, Sama Dilaut, Sama Jengngeng) concentrated in Bongao and Tawi-tawi, known as the 'Sea Gypsies'.

kuay-kuay

Colorful kuay-kuay also called sikad or trisikad in Jolo,Sulu.

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Photos and words by

RICO-TEODORO JOSE III CARRASCO Cotabato City

A graduate of BS Biology, he is currently a researcher of a nongovernment organization. He practices photography through documentary and street genre. He is an advocate of culture preservation and awareness. He believes it is one of the pathways of peace and solidarity—to find unity in diversity.

Coast of Tawi-tawi

E /teodoro.rizal Q @ricoteodorojose

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Alin ang sa Atin, Alin ang sa kaNILA

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He is one of the Igorots in Coney Island’s human zoo in 1912. They were paid $15 per month by Truman Hunt to show the Americans the culture and way of life of the tribe. Art and text by

DEEJ AMAGO San Pedro, Laguna “Hello! I’m Deej and I am an erotic illustrator/painter from Laguna.” Q @djamago Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Maskara 112

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Ngayong panahon ng pandemya, humina ang komersyo at ekonomiya dahil sa lockdown. Huminto ang mga negosyo at maraming nawalan ng trabaho. Apektado lahat, lalong-lalo na ang mga katutubo. Ang agrikultura na siyang pangunahing pangkabuhayan ng mga katutubo ay apektado rin. Nabubulok ang mga gulay dahil hindi na nakakaabot sa merkado.

Ang aking entry na may pamagat na “Maskara” ay tungkol sa alternatibong pinagkakakitaan ng mga katutubo ngayong mahina ang ekonomiya. Ito ay ang paghabi ng mga maskara o facemask na ang disenyo ay hango sa mga katutubong kasuotan. Dahil ako ay kabilang din sa pangkat etnikong Ibaloy at Bontoc, ang disenyo sa facemask na aking iginuhit ay hango sa disenyo ng mga tagaCordillera.

Artwork and words by

JUAN ELANI TULAS Sinait, Ilocos Sur

Juan Elani Tulas is a half-Bontoc and half-Ibaloy styro artist. He collects discarded styropor and uses them as his medium for his art. He was born in Baguio City but was raised in Ilocos Sur. He is married to wife Nemalyn and was graced with two children, Bigwell and Brave Hunter.

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E /juanelani.tulas

Diluted styropor and oil 40x23 cm 2020

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Celebrating Sama-Bajau This surreal art or collage defines the living of SamaBajau in the Philippines. These different images are from Danilo Martinez of Trekearth, Erwin Mascarinas of Mindanews, Danny Pata of GMA News, and more.

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Digital collage and words by

TRACY NICOLE FUNDAMIERA Lipa City

“I am Tracy Fundamiera, a 19-year-old artist from Batangas. I create collages and surreal art which defines the mix of reality and fantasy. Through collage, I could express my imagination and notion.” Q @aesthetic.creationn

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Paniningil Nabasag na naman ang buwan. Sinuntok ng tinig natin ang porselana niyang dibdib. Ganito tayong magdusa. Halimbawa: pagkahugas natin ng mga pinggan, maniningil ka ng mga bubog ng kahapon. At bibigyan kita ng mga pangalan na malayo sa akin. Mga salarin tayong paruparo. Nagsasalitan magpanggap na mga bulaklak. Hanggang sa tabunan tayo ng umaga.

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R E V E F

They begin with a gun. This is always the case. After all, a routine can mean: to check our bodies for wounds, to conceive from these a fruit. But this is not a miracle. Our streets know heat from pools of blood. Our blood knows peace from the gutters. Tonight, the pavement rests again. With a body that yields to the fever of the earth.

Poems by

VINCE AGCAOILI

Antipolo City

Vince Agcaoili finished his BA in Humanities and MA in Humanities, Major in Literature, in the University of Asia and the Pacific. His works have appeared in Road Map Series and in The Bosun. He was a fellow of the poetry workshop and community, Tara, Tula. He teaches literature at UA&P. Q @ecnivilioacga E /ecnivilioacga D @ecnivilioacga Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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To the

n n e g i B ing An impression of forming energies where one traces the flow of time going to the beginning. As you can see, the colors are fusion of blue symbolizing spirituality, red, green, and yellow which are colors of our tribe in Maguindanao symbolizing

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abundance, flecks of gold for royalty, and black as the shadows of humanity. The inaul patterns are subtly interweaved in the waves to give tribute to my roots as Maguindanaon, people of the flood plains.

Painting and text by

CHINNICH CANDAO

Cavite

A Muslim Filipina artist whose graceful and intuitive brush strokes bring to life the flow,energy and richness of waves. Her rich compositions, subtly weaved with inaul patterns, honor her roots. With her own flair that evokes mysticism and spirit, there is so much more to see beyond her veil. Q @chinnich_

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

These are photos of the Ati children we met in 2019 at Nueva Invencion, Barotac Viejo, Iloilo when we had our school supply drive with the non-government organization Ambit.

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Ati of Nueva Invencion Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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We picked this community to be the recipient of our notebook and school supply drive because we felt and realized that they need those items more than any of our lowland communities here in Iloilo. Since this Ati tribe settlement is considered far-flung, the kids' access to materials is very limited. Notebooks and pencils are as elusive as their next meal; most of their parents can’t even afford to buy them one. Instead of them going to the town centers and beg, we brought some of the things that they need and hopefully be put to good use.

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Among the highland communities that we have adopted—mostly situated in the remote areas of Hinobaan, Negros Occidental—we have noticed that the reach of education is limited and not intersectional. Oftentimes, the villages up in the mountains are neglected; schools are miles away from the sitios so some children are left

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

illiterate. Some kids who didn't go to school just work in the forest clearings and help their families tend to their daily needs. And so the wheel of intergenerational poverty continues. I believe that convenient access to education can change the whole trajectory of life for our indigenous children. Government infrastructures like schools, roads, and bridges will be of big help. They can be professionals, too, and break the wheels of intergenerational poverty or even hold higher positions in the government if given the chance.

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Ambit believes that every child is a million great possibilities. We have been doing this mission for years and we hope that other people who are in capacity to help will do the same, too, in their respective far-flung communities. Imagine the amount of change we can do if we do it wholeheartedly and passionately.

Photos and words by

EDUARD CORTES DIONIO Jaro, Iloilo City

Ed is a literature graduate based in Iloilo City and currently a freelance writer and an online ESL teacher. On the side, he is a millennial poet writing in Kinaray-a, Hiligaynon, Tagalog, and English and a photography enthusiast, too. He loves scaling the mountains and doing volunteer work. Q @hakilevel999

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paglAlakbay ng

a kap y a Pg

Paano niyo kami yayakapin bilang mga kaklase kung wala kami sa silid-aralan? May ilang mga yugto upang kami ay makapasok. Una, dapat niyong mabatid na kami ay may kabihasnan din. Hindi inaari ng inyong pananaw-mundo ang buong mundo at mga rehiyon. Halimbawa, ang Buwan ng Wika ay buwan ng mga wika. Ikalawa, ipagdiriwang niyo kami, ipapakilala ang aming mga bayani, itatampok kami sa mga programa. Magdaraos kayo ng Araw ng mga Katutubo, isusuot ang aming pananamit, ihahain at titikman ang aming mga pagkain, tutugtugin at makikinig ang aming himig. Sa amin ang inyong pansin. Subalit itigil ang palabas, ang huwad na pagyakap! Hindi kami perya o banyaga o tribya. Hindi kami pista ng inyong aliw. Kaklase niyo kami. Ikatlo, isisingit niyo kami sa inyong kurikulum. May babasahin ukol sa amin. May ulat sa aming kasaysayan. Gagamitin kaming halimbawa. Subalit hindi kami pang-ipit. Sa huli, kung nais niyo kaming yakapin, lumabas kayo sa kahon niyo! Naglakbay na kami mula sa malayong gilid. Tagpuin niyo naman kami sa gitna. Nagpakilala at ipinakilala na kami. Kilalanin niyo naman kami. At ang ating mga katauhan ay mga bilog na magtatagpo, matututo sa bawat isa.

*Batay sa stages of multicultural curriculum transform mula sa website ng EdChange. Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Ang Layo ng mga Militar sa Kabihasnan: Isang Pananaliksik Paglalahad ng Problema: “August 24, magbubukas na ng klase whatever form it is.” Maliban sa paaralang bakwit. Layunin ng Pag-aaral: Sabi ng militar, hirap silang unawain kami. Malayo raw kami sa kabihasnan. Kawawa naman daw kami. Tanong: may kabishanan ba sila?

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Metodolohiya: Obserbasyon sa mga dumadalaw na militar Mga Resulta ng Pag-aaral: Natutunan kong pareho kami ng nararamdaman sa isa’t isa. Unang patunay: Nakasulat sa tarangkahan: “This school is a PEACE ZONE.” Subalit papasok silang may dalang mga baril at banta. Nakakabasa ba sila? Ikalawang patunay: Tagapagpatupad daw sila ng batas. Kaya marapat na sumunod kami sa kanila. “The State shall recognize, respect, and protect the rights of indigenous cultural communities… shall consider these rights in the formulation of national plans and policies.” Natupad ba nila ang pangakong ito?

Ikatlong patunay: Mag-aaral kami ng pagtatanim, ng krisis sa klima, ng agraryo. Sasagot sila sa wika ng bala, sa mga makina ng kapitalista, sa mga hayop ng estado. Tao ba sila o sandata? Ikaapat na patunay: Makamasa at makabayan kami. Sa matematika, bago lumutas, ang tanong muna namin: para kanino lulutas? Dahil lubog ang aming aralin sa putik ng mga magsasaka. sa mga dinaya ng panginoon, nilubog pang lalo ng mga usurero. Nalasahan ba nila ang dugo sa bigas ng magsasakang pinatay? Ikalimang patunay: Mahal lang namin ang yutang kabilin. Subalit kukulayan nila ng pula itong aming pangalan, tatawagin kaming terorista. Nananalamin ba sila? Konklusyon: Sobrang layo nga namin sa kanila. Sobrang layo nila sa amin. Pareho kami ng nararamdaman: malayo sila sa kabihasnan. Kawawa naman sila. Rekomendasyon: Manawagan at kung hindi makinig, tayo ay tumindig: layas militar, umuwi sa inyong kasukalan nang mabuksan ang aming paaralan at makita niyo ang kabihasnan!

Kasiyanna

papasukin

niyo kami

Kung itong bansa ay isang papel, tutulak kaming mga nasa gilid papunta sa inyong mga nasa gitna dahil hindi kami mga palamuti at hindi lang kayo ang may puwang. Papasukin niyo kami sa mga paaralan. Papasukin niyo kami sa mga silid-aralan. Batiin niyo kami sa mga pasilyo. At marapat na sumuso kayo sa aming mga sinusong wika hanggang ang mga dila natin ay lumagkit sa tamis ng pagniniig at matunaw ang toreng garing ng Babel. Papasukin niyo kami sa mga balita, makibalita kayo, ibalita at balitaan kami. Papasukin niyo ang aming mga pangalan. Papasukin niyo ang mga epiko at sugilanon. Papasukin niyo ang aming mga pakikibaka. Papasukin niyo kami sa kasaysayan. Papasukin niyo kami sa mga plano at pasya. Papasukin niyo kami sa pambansa. Hindi kami banyaga. Papasukin niyo kami sa inyong mga kaluluwa. Hanggang ang kami at inyo ay sa wakas maging tayo. Hanggang kaming mga nasa tabi ay maging mga katabi. Kakatok at tutulak kaming mga nasa gilid papunta sa gitna. Hilahin niyo kami papasok.

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Poems by

KRISTOFFER AARON TIÑA Calamba City

Si Kristoffer Aaron G. Tiña ay kasalukuyang guro sa City College of Calamba. Nagtapos siya ng BA Communication Arts sa UP Los Baños. Bahagi rin siya ng Sunday Writing Class, isang pampanitikang laboratoryong pinangangasiwaan ni G. Büm Tenorio, Jr. ng Philippine Star. E /kris.angel.5895

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Buscalan Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Photos and words by

CHRIS OQUINDO Quezon City

Manila-based artist and photographer who likes to spend much of his time creating something. K www.chrisoquindo.co Q @chris.oquindo

Kasiyanna

These photos were taken during my travel to Buscalan. Though remote, it's amazing to know that these people can still thrive amidst the pandemic, teaching us how important it is to be selfsufficient.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Padayon It’s called “Padayon” and it highlights the Lumad Community. Padayon is a Visayan word that means to continue or move on. I wanted to showcase the Lumad community’s strength in battling displacement, harassment, and losing their schools and ancestral lands.

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MARIAN HUKOM

Las Pinas City

Marian is an illustrator and comic artist from the south. She loves making comics and telling stories through panels and vivid colors (pink being a favorite!). If she’s not hopping around conventions and gigs, she’s probably doodling the day away. E /marianieart Q @marianieart D @marianieart

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kamalayan ng mga Walang Malay 136

sa manipis na pagitan ng dalawang magkaibang mundo hindi kailanman naging pantay ang liwanag na ibinabahagi at natatamo ‘pagkat ang hatinggabi ay walang ibang ginawa kundi ang maghintay at mang-api sa bukang-liwayway na siyang nagbibigay liwanag sa dulo ng mundo ng humihingi siyang kahit sa gitna ng kamatayan ay hindi binibigyan ng pagkakataon na marinig ang hinaing na matagal nang ibinabaon siyang hindi man lamang binibigyan ng oras na masulyapan ang kung ano ang kaniyang nais iparating hanggang sa kawalan subalit ano man ang maging resulta ng lihim na pagkakawalay ng mundo ng hatinggabi sa mundo ng bukang-liwayway wala sa mga ito ang magiging dahilan ng kanilang pagkakalimot at lalong wala sa mga ito ang magiging dahilan kung bakit sila matatakot, dahil silang mga naiiwan, silang hindi binibigyan ng kamalayan ay sila ring patuloy na mag-aalab na kahit pa may patibong ay walang takot na susunggab sapagkat sa likod ng yaman ng kultura’t tradisyong kanilang tinatangi ay nakatago ang sandatang kayang humiwa sa kung sino man ang mang-aapi ito, ang lihim na kwento ng bukang-liwayway ito, ang kamalayan ng mga inakalang walang malay kaya’t para sa hatinggabi, gaano man ang iyong dilim ika’y lalabanan nila at susugatan nang mas malalim pa sa iyong lalim Poem by

MA. ISABELLE Los Baños, Laguna nangangarap, lumalaban, at umaasa Q @isa.akda

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feast

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The photo was taken on September 20,2020. I have asked for permission first before taking this photo as they were celebrating a feast. These men are Ifugaos residing at Gundaway, Cabarroguis, Quirino.

Photo and text by

KAILAH FAYE GUILLERMO

Cabarroguis, Quirino

Growing up in close proximity with caves and mountains, my love for nature grew tremendously. I love taking photos of nature, making you wander into different emotions. E /kailah.guillermo Q @kailaaaaaaaahhh Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Whang-od

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Art by

FELICHIE LAROYA

Malabon City

Felichie Laroya is a freshman Multimedia Arts student. She wishes to create art that speaks volume for the country. E /felichie.art D @felichie_art Q @felichie_art

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Banaue 140

These photos were captured when I was in Banaue last 2013. We met these kids thru Ahon Foundation and Trail Adventours, where we distributed books and helped in the completion of school for the Ifugaos.

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Photos and words by

DOM PARAÑAL Makati City

Dom started photography when she was 13. The camera was her go-to gadget as a teenager. She got busier with college but found her love back for photography during the latter years of college, and her stay in New York. She hopes to let other people see that there is extraordinary in the mundane. C Dominique Parañal E /bomdom

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Amidst the silent ambiance of this place is a speck of concealed euphoria. A haven that will not only shelter its people but will deeply invigorate their spirits. A place where they can cast their worries and inhibitions away and break the complexities and uncertainties. These children in the photo are from the Ibaloy Tribe from Bliss, Malasin, Dupax del Norte, Nueva Vizcaya.

haven Photo and text by

LEA LOUIZA TOMINEZ

Dupax del Norte, Nueva Vizcaya

I am a 19-year-old freshman nursing student of Saint Mary’s University. I am from the land of culture and tranquility- Dupax del Norte, one of the places where you can find people who came from different tribes and where you can feel the sense of belongingness, love, and care for each other. E /lealouiza.tominez.5 D @leyalowiza Q @lustrouslouiza

Kasiyanna

Pagbabago sa Kanilang Palad Minsan nilang hinubog ang nakaraan, Mga patak ng dugong dumanak sa kalupaan, Madilim na kasaysayang binibitbit, Ngunit nanatiling matatag mula sa mundong kay pait. Mula sa salita ng kinaadman, Kulturang mayabong at mayaman, Tradisyong markado sa kasaysayan, Ngayon ay patuloy na kumikinang. Ang isip ay sintalas ng pana, Sintibay ng pader ang pagkakaisa , Anomang pagsubok ay ‘di patitibag, Kaugalia'y tunay ngang Marilag. Sila ang unang nagsindi ng apoy, Ang unang nakatuklas ng medisina, Unang lumikha ng sining at musika, Nagpayabong ng agrikultura. Ngunit bakit natin pinapatay, Nilalason, Sinisira Mga pamanang ipinunla.

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Poem by

RODOLFO

Cabarroguis, Quirino

“If opportunity doesn’t knock, build a door.” E /melvinjohn.miranda.3

Baliktarin man ang mundo, Lunurin man tayo ng aghimuan, Hinding-hindi mawawaglit Na ang katutubo'y bahagi ng ating pagkatao.

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

A CRYpti Episode my n c e e t X I s E c

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Short story by

LOYNEI SUMALINOG

Kidapawan City

Loynei Frias Sumalinog is a fourth year BSEd English student of University of Southern Mindanao Main Campus. He enjoys reading novels and literary works. He also writes stories for self-expression and leisure. He also does hosting sometimes.\Q @iamloyloyalty_

Kasiyanna

Both of his hands waved while his eyes were closed. It was midnight when I saw my father do that wave. He’s asleep beside my mother. The moonlight pass through the walls of our room giving brightness inside the house. I can see my family sleeping deeply in this old mat my mother weaved. I hugged my pillows, closed my eyes, and went back to sleep. When this pandemic started, our life in the farm didn’t stop. My parents who are farmers since the 90s kept visiting the cornfield we don’t own. We are the tenants of the land. Their boss who lives in the city just calls Papa if they have to put fertilizers or harvest the crops. With the threat of COVID-19, my parent’s boss sent us supplies of our basic needs including alcohol and cloth masks to keep us safe. It’s relaxing to think of the supplies. Unusual. I woke up one morning and the house was quiet. My parents usually start working in the farm before the sun rises. I stood up from my bed made of bamboo and washed my face. I got the pot, boiled some water, and started preparing breakfast for my parents and two little sisters.

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After half an hour, I went to my parents with their early meal. Under the mild heat of the sun, I saw them pulling off the grasses with the loud radio playing on the background. I called on to them as I opened a can of sardines. When most Filipinos eat white rice, we consume yellow corn. It’s sweet especially when hot. They both came to me, took off their hats, and started eating. When we’re done, my papa asked me to feed the chickens at home. Living in this humble home is surprisingly convenient even with sacks of fertilizers serving as walls and knitted coconut frond as roofing—fresh air comes in freely. Our rooms have divisions, too. But we feel weary when there’s heavy rain. The roof leaks, keeping us awake until the rain stops. There’s another thing in mind that worries

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

me. When the enrollment opened, my parents were undecided if they are going to enroll me to school. They can’t send me to online classes because we don’t own any gadget. Besides, it will be impossible for them to help and teach me the lessons if I enroll this year. My father only finished grade two. My mama didn’t continue school after kindergarten. I cried and I couldn't help it. I am worried about when this online classes will last. What if it will take more than one school year? I’ll just end up farming too. I’ll end up being a puppet to a boss. What about my younger siblings? My parents will not be able to teach them just. What about the dreams I learned to wish?

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My parents said that they were trained to plant rice and corn at a young age. They know farming well more than reading and writing. As Manobos from Mindanao, they are also skilled in hunting. My father sometimes hunts in the forest. Before he goes hunting, he asks permission from Lalawag, the God of all forest games. He brings our dog with him. It’s delighting to see when Papa comes home. I know for sure we have something to eat. As I arrive home to feed the chickens, my two little sisters are collecting coconut leaves to be trimmed and be sold as broomsticks. Their curly hairs and tan skin shine as the sunlight touches them. I can see their sweats dripping from their faces. I can see that they’re tired. I called on to them and have them eat two slices of sardines left from this morning’s meal. We sell broomsticks to the community down the hill for extra income. We also dug sweet potatoes planted in the backyard for our meal. Coping with the crisis in the mountains is difficult but as long as everyone is healthy, I know we can pull this off.

Kasiyanna

In the evening, after we ate boiled cardava banana for dinner, I heard my papa whine in his wooden chair. When I turned my see to him, his face distorts. Too silent but I hear him hiding a pain. I was washing the dishes when my Mama cried for help. Papa was shaking. His hands were cold. He whispered words I didn’t understand. “Addasá kit layon to Manama.” My sisters wailed as they held my father’s arm. My father’s voice became inaudible. His whole body shivered. His face turned red. I could see the details of his veins printed on his neck. My Mama hugged him. In a spur of a moment, he stopped breathing. His mouth was open. My mother screamed in despair. It felt like the whole world stopped and dropped all the pain the world bears inside this farmer’s house. I didn't understand why this is happening. River of tears flowed in our house that night. My Papa did not complain. Maybe he’s too tired already. I only realized that my father’s wave last night was his sign of goodbye. That even when we’re far from the virus, if it’s our time to leave the world, then we should. Even when the pain is literally fatal. I cannot see him wave anymore. This whole experience made me feel like falling and not knowing when to hit the ground. I am just six. I’m just starting to read and write. I belong to an indigenous family in Mindanao. I lost my Papa amidst the pandemic. not because he’s infected with COVID-19 but because of something we haven’t checked with a health professional. “Addasá kit layon to Manama.” “ We should always pray to God.” My father taught me this line before he died.

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Artwork by

EDISON FENEQUITO Pililla, Rizal

Si Edison Fenequito aka Botchock ay nakatira sa Wawa, Pililla, Rizal. Graduate ng BSBA Marketing Management sa URS Pililla. Full-time artist. E /pintoorah.de

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Faces of culture and traditions Kasiyanna

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A nation’s culture resides in the hearts and souls of its people. Acknowledging the past is history through their way of life, resources, rituals, and tradition passing from generation to generation.

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Their culture thrives on black and white. Culture is the arts elevated to a set of beliefs.

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Photos and words by

KEROVIN GAERLAN Pasay City

“I just love art and photography, being awesome, and making a difference.” Q @kerovingaerlan E//kerovingaerlan.crucial

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

etag Photo and words by

GWENDOLYN MARRERO Santiago City

“I’m Gwendolyn Marrero, currently studying at Saint Mary’s University as a first year student taking Bachelor of Science in Pharmacy.”

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Q @grimylyn E//gwendolyn.marrero.1

Etag, also known as “Igorot smoked meat,” is salted pork preserved through smoking over a low fire or sun-drying. In Sagada, Mountain Province, they celebrate Etag Festival during the month of January. Etag is an important part of their life especially in rituals for different occasions.

Kasiyanna

Primordial

Heroes

Colors burst with so much hue of culture and identity A complexion that pelts vogue perception to traditional cultivation Music, chant, and rituals that resonate with our people; reverberates us as a country People who weave and weaved us into a greater nation These people are the cradle towards the deepest of our roots Tracing what we were and what will we be They were the hunters and huntresses who brawled for our liberation into a dispute Blood dripped out to our lands; the very reason why freedom is all we could see Ad nauseam, we tend to rupture them and their beauty Through racism, they got invalidated and unappreciated From a distant vantage point, they were never our nitty-gritty With our words that bite and looks that stab, they felt prejudiced and discriminated Ne’er shall no one be this rude to these people We should not let negativity foster and destroy the vignette of our culture. Because without them, revering our nation is impossible. Without them, our identity as Filipinos will not be nurtured Ergo, gratitude must gnaw our hearts Be delighted for their presence Be thankful for they represent. For they are the Indigenous that in our nation plays a big part

Poem by

HENRY GABATIN JR.

Bambang, Nueva Vizcaya

I am an aspiring doctor who wishes to see the whole world someday. I am an advocate of wide dissemination of literary works. Let everyone taste poetry, indulge fictions, and smell literary. I am willing to help those who are in need of :) E /hgabatin D @heynrey Q @henrygabatin

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n ste

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Mama, it’s depression Listen, my daughter asks Ay tot-owa ha? Such big word, is this real?

Stop thinking, stop grumbling! She smiles and walks away Achi’ maawatan. I don’t understand her. Go to school, do your chores! She cries and does her way Usto ha, usto ha! Stop it, you’re tiring me Oh suicide, such big word She stopped, she really stopped Yachi peet chi. Why did I not listen?

Kasiyanna

I can only speak for our tribe. Mental healthrelated issues are not spoken about in our tribe. There is no avenue to talk about it until someone dies of suicide. And still it's a hush-hush issue. Mainly because there are no advocates or experts intentionally educating the locals that it's ok to talk about such things. Most of the teenagers going through depression, anxiety and suicidal attempts, do not understand what is going on inside of them. When they try to reach out, they

are met with apathy, disregard, confusion and sometimes anger. An understandable reaction to a condition that, of course, the elders also do not understand. During this lockdown, the COVID-19 virus has not killed anyone from our tribe, suicide has. These young people have ended their lives, desperate for relief, not knowing where to get help. Ignorance, stigma, shame, and isolation are the barriers why these teenagers have a hard time seeking help.

Poem, photos and text by

VIOLETOLOGY

Bayombong, Nueva Vizcaya

The verbal diarrhea of a storyteller who can’t dance, can’t sing, can’t cook so she tortures her pen instead and paraglides through clouds K www.violetology.com E /violetology Q @violetology M Violetology

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Bawat linggo ng hapon ay rituwal na sa akin ang mag-empake papuntang dormitoryo. Nakakapagod din ito, idagdag mo pa ang halos apat na oras na biyahe lulan ng dyip. May tatlo akong rutang pwedeng pagpilian, pero ‘di ko ba alam, paborito ko pa ring piliin ang pinakamahabang ruta. Iba ang hatid na enerhiya sa akin ng lungsod ng Ilagan sa bawat byahe ko rito. Maraming

Kasiyanna

tanawin, nagsulputan ang matatayog na imprastraktura, at abalang abala ang lungsod. Hindi ko batid ang kahirapan dito, pawang progreso at saganang komersyo lamang ang aking nasasaksihan. Ngunit nagkamali ako. Kasama ang aking matalik na kaibigan, napagplanuhan naming gumawa ng isang dokyu tampok ang lungsod ng

Photos and words by

WAREN VALDEZ Roxas, Isabela

Waren is a freshman student at the University of the Philippines Diliman College of Arts and Letters. He’s a graduate of Regional Science High School II. He works with different media such as visual and literary arts to document, place identities, and cultural productions that explore Filipino psyche. Q @kathalikha E//waren.valdez.50

Ilagan – ang sentro at pinakamalaking siyudad ng Isabela. Tubong Ilagan din siya, kaya’t kampante ako. Sa aming diskurso, nabanggit niya ang isang katutubong tribo malapit sa kanilang baranggay. Hindi na ako nagdalawang isip, at ito na ang aming napili. Sa sumunod na linggo, amin nang tinahak ang destinasyon. Halong pananabik at takot

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ang aking nadama, ngunit mas namutawi ang aking kuryusidad. Habang papalapit ang sasakyan sa aming patutunguhan, bawat ikot ng gulong, ay siya ring titig ko sa ilang naglipanang nilalang na may kaitiman sa balat at may maalong buhok – sila ang mga Agta o kung tawagin ng karamihan ay “Agay.” Sa aking unang enkwentro sa kanila, agawNovice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

atensyon sa akin ang mga abandonadong tahanan ng komunidad. Sa kabuoang 23 kabahayan, iilan lamang ang may bukas ng pinto noong araw na iyon. Mapapansin din ang mga maabong kalan na tila ginamit sa sandaling iyon. Tama ang aking pakiwari, bago pa man sumulip ang haring araw, maaga nang sumabak ang mga binata’t kalalakihan ng tribo upang humanap ng pantanghalian at salapi.

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Naging sentro na ng buhay nila ang ilog Abuan at bundok ng Sierra Madre. Dito ay malaya silang makapangisda, magtanim, mangaso at magkaingin. Marami ring sumisisid ng mga naanod na kahoy mula sa bundok na pwedeng palamuti sa mga bakuran. Ilan sa kanila ay gumagawa rin ng mga produktong rattan na kanilang ibinabyahe at ipinagbibili sa merkado. Ngayon ko lang natanto ang isang lihim ng lungsod: sa likod ng mayabong na pag-unlad ay mga taong kumakayod at naghihirap araw-araw. Sinusugal ang buhay sa maragasang ilog at nakabaon sa hukay ang isang paa para sa walang kasiguraduhang paglalakbay. Gustohin mang makasabay sa buhay-lungsod, wala silang magawa kundi balikan ang mga gawaing nakagisnan. Hindi na ako nagtaka kung bakit maraming pamilya

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Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

ipinagkaloob ng lungsod.

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ang piniling lumisan sa kanilang tahanan. Ramdam ko ang agwat ng kanilang estado sa buhay at ang dulot ng ‘di patas na mundo. Ngunit isang katanungan lamang ang bumubulabog sa’king isipan: bakit nanatili pa rin ang ilan? Masuwerte ako sa araw na iyon, dahil nagkaroon ako ng pagkakataong makapanayam ang chieftain ng tribo. Doon ko naunawaan nang lubos kung bakit ilan sa kanila ay patuloy na nakikipagsapalaran sa lungsod. Dalawa lamang ang kaniyang naging tugon: oportunidad at edukasyon. Dalawang bagay na ipinagkait sa kanila ng bundok, ngunit

Kasiyanna

Sa aking pagiikot sa munting komunidad, nakatagpo ako ng grupo ng mga kabataan. Abala sila sa pagsusulat sa kanilang mga kwaderno. Salo-salo silang gumagawa at nagbabahaginan ng kanilang mga kagamitan. Karamihan sa kanila’y nasa elementarya pa lamang, kahit ang ila’y lagpas na ang edad. Gayunpaman, banaag sa kanilang mukha ang mga ngiti ng pag-asa na balang-araw ay maiiba ang landas ng kanilang mga kapalaran. Sa aming pag-uwi, kasama ng aking kaibigan, minabuti muna naming mamahinga at magmeryenda na rin sa kaisa-isang tindahan ng baryo. Agad akong naumay sa walang palamang tinapay at uminom na lang ng nilalagnat na softdrink. Sa aking dagling pagpapahinga, napansin ko na hindi lang pala ito ordinaryong tindahan. Lugar din pala ito sa mga katutubong kapos at nais manghiram ng pagkain at salapi. Pansin rin ang pila-

pilang pag-iigib ng inuming tubig at tubig panligo. Oo, may bayad din ito. Bigla tuloy akong napaisip at naitanong: Masasabi bang umuunlad din sila o isa ba silang eksempsiyon? Tunay na kay sarap pagmasdan ang kanilang malayang pakikisama sa mga tao sa ibaba ng kanilang kabundukan. Subalit sa kabila ng malayang pakikisama sa mga modernisadong mamamayan ay hindi pa rin mawawala sa pagitan nila ang isang malaking espasyo na siyang nagiging malaking agwat. Sa daigdig ng makabagong panahon ay mayroon pa ring mga taong yumayakap sa makalumang takbo ng buhay para makaagapay sa pangangailangan sa pang araw-araw na pamumuhay. Huwag sana nating hayaan na hanggang dito na lamang ang patutunguhan ng mga taong siyang nagsisilbing marka ng ating kasaysayan. At darating ang araw

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na mapaghihilom ang agwat ng buhay ng mga modernisadong kabihasnan at buhay ng katutubong ating pinanggalingan.

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Tiyak na naiba ang aking pagtingin sa lungsod sa sumunod kong mga biyahe. Hindi na gusali ang aking nakikita, hindi na busina ang aking naririnig, ramdam ko na ang agwat sa lungsod na ito. Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Kasiyanna

Mambabatok

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Digital art by

AYAN San Fernando, La Union 26-year-old, graphic designer Q @ayanartsupats E /yantootz E /TheMungBeanCollective

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

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Kasiyanna

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Digital art and collage by

NINOTCHKA ARREOLA Makati City Makati-based presentation designer by profession, Ninotchka steers away from the corporate world and does a complete 180° in her illustrations. Inspired by dark themes and the occult, she uses art as a form of self-expression and a way to rebel against the rules. Q @st_ninotchka Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Kasiyanna Kahit ano ang ‘yong hangarin Malayo man ay aabutin Malapit ‘yan, oo, malapit lang Malapit nang makamtan Ano mang problema’s kakayanin Kahit ano ang ‘yong danasin Kaya yan, oo, kaya ‘yan Kaya ‘yang malagpasan

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Kasiyanna, tiwala lang Kasiyanna, abot mo na ‘yan Walang pasanin ang [hin]di kakayanin Umasa kang maayos din ‘yan Huwag kang sumuko kaibigan Kumilos na, ituloy ang laban Halika na, sasamahan kita Pangarap mo ay abot mo na!

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Song by

RAYCHARD VINER MATIAS

Solano, Nueva Vizcaya

Raychard Viner Matias is a music composer and arranger. He is the champion in the 2018 International Composition Competition in Maryland, USA. He is the owner of Malaya Center for Performing Arts in Solano, Nueva Vizcaya which won “Best School Implying Arts in Education” in the 2019 International School Award in India. E /RVMALAYA

Kasiyanna

Kasiyanna Kasiyanna Ang buhay ay sadyang May hirap na dala Kasiyanna Sa bukas may pag-asa Ngayo’y magkaisa

Sa kabundukan May kayamanang ‘di ikakaila Ang kalikasan at kabuhaya’y May pagkakaisa Dito sa amin May damdaming Dumadaloy Patuloy-tuloy Patungo sa kinabukasang Hindi mo malalaman Hindi maiiwasan Kasiyanna Sa bukas may pag-asa Ngayo’y magkaisa kasalukuya’y Nanghihinayang Sa'n makakarating Ang ating buhay Ay binabago Ng ilang may ganid Kailangan at kagustuha’y Madalas magkaiba Ang ating yaman Ay nasan Nasaan?

Katatohana’y Wag iwasan Ito’y harapin Ang pagbabago Ay nasa tao’t Wala sa itaas Ang mundo’y di gagalaw Sa ating sayaw Makibaka Magkapuso’t Tayo’y umahon Patungo sa kinabukasang Hindi mo malalaman Hindi maiiwasan Kasiyanna Sa bukas may pag-asa Ngayo’y magkaisa

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Song by

YM LAGDAO Baguio City

YM is a songwriter from the heavenly mountains of Baguio. She writes for herself and others, hoping that her music can comfort and motivate. Her music flows from things she loves and from advocacies she believes in. She loves yellow. M YM Lagdao

Novice | Lingkod Maria Community Development and Advocacy Center Saint Mary’s University - Bayombong

Strut

/wear.strut | @wear.strut strut.website@gmail.com

www.wearstrut.com

Profound

/prfndmnl | @profound_mnl profoundsupplyco@gmail.com

Going Sober & Tea - Bayombong 0966 348 6206 131 National Road, District IV Bayombong, Nueva Vizcaya 3700 /goingsoberandteabayombong

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