#Lusong

[castawaychris]

DIVING A WW2 JAPANESE SHIPWRECK 🇵🇭 CORON, PALAWAN (PHILIPPINES)

[sweaty-clouds]

1600s

Drew both Piris in the 1600s, but in their much fancier wear :D Their attire is very Lusong (Tagalog + Kapampangan) since they're pretty much under Maynila's care for most of the time here though the rest of their accessories are from other provinces.

[themakeupbrush]

Miss Universe Philippines Zambales 2023 National Costume: Lakapati

Lakapati, also known as Ikapati, is a pre-colonial deity worshipped by the Tagalog people of the Philippines. She is considered to be the goddess of agriculture, fertility, and harvest. Lakapati was responsible for ensuring the success of crops and the abundance of harvests. Farmers would offer pravers and sacrifices to her in the hopes of receiving a bountiful harvest. She was also believed to be the protector of farmers and their families. The costume exhibits the beauty and physique of the wearer while showcasing the elements of harvests like grains, carabao horns, and "lusong" or mortar. The color green symbolizes fertility and abundance, while the color gold represents prosperity and royalty.

[inkcurlsandknives]

Hey Writeblr today’s Writing Question

What's the furthest your MC travels?

Lunurin's furthest trip involved a voyage from her home island of Calilan to Lusong

[funsize-mermaid]

Yung 3 days stay ko sa coron naging 4 days. Rebook pa ghorl HAHAHAHAHAHA

Di pala kaya yung mga dive sites na ppuntahan ko in 3 days hahahah, yung 2 days alloted for:

-Barracuda Lake

-Twin Lagoon

-Skeleton shipwreck

-Reef Garden

-Smith Beach

-East Tangat Shipwreck

-Lusong Gunboat

-Lusong Coral

-Pass Island

Emeged so many divesites and dive playground 🥹💕

Excited na ko. 😭

[corysei]

my art which I finished today. I love it too much. ♡

a little about the character:

Shu-Long Lusong Shi is Cory and Haru's grandmother on their father's side.

The dragon, which is more than 700 years old, is still young, but has seen a lot.

[kulay-ng-banaag]

“Not all stories etched with ink and blood were on paper. I just think he gets to keep something.”

Physical Appearance (Tattoos) Headcanons for HWS Philippines

CW: war, violence, mentions of sex

(I'm sorry that sounds like clickbait... it's on the topic of feats that merit a tattoo).

UPDATE (03/09/23): Minor revisions to PH script tattoos

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Image 02 Description: Pantoron Manobo Pangotoeb (blue). Butbut Kalinga Whatok (red). Precolonial Visayan Batuk (yelllow). PH Scripts: Baybayin, Hanunó'o, Buhid, Kulitan, Tagbanwa (white).

Image 03 Description: Pantoron Manobo Pangotoeb. paloos (monitor lizard). ngipon-ngipon (teeth-like) + pisol (band). tirog (ladder-like). linayon (lines).

Image 04 Description: Precolonial Visayan Batuk. flower (lotus). flower (gumamela). flower (own design). "flowers" can also be interpreted as a "sun." reptile scales. can also be interpreted as "ocean weaves," "rivers," or "mountains."

Image 05 Description: Butbut Kalinga Whatok. inar-archan (ladder). chuyos (chest parallel lines). gayaman (centipede). whilig (mountain). pachok/chawwang (river). tinatalaaw (day & night). tinulipao (snakeskin). tabwhad (snake). inud-uchan (rain). *Labels with no given local terms are from designs modernized for tourists ("family," "traveler/compass/crab").

Image 06 Description: Extra Visual Notes. [encircled in blue] *Kalinga tatoo motifs also found in pottery. [encircled linayon] also known as binulibud (Kalinga). [yellow-highlighted chuyos] Similar pattern with chest tattoos of other N. Luzon groups. Also believed to imitate the outspread wings of a tulayan (eagle). [encircled in red] *animal motifs from folklore! [encircled paloos] Predominant animal motif among the tattooed Cordillera peoples. [encircled yellow] Manobo tattoo motifs also found in embroidery. [leg tattoos encircled in white] Visually similar to Kalinga tattoos. "inar-archan" can be ocean waves or "whilig." "tinatalaaw" can also be "pachok/chawwang" or "lusong" (rice mortar) or "sinwhuto/panyat" (rice bundles). [tattoos around forearm and behind the knee encircled in white] Visually similar to Manobo tattoos. triangles can also represent bladed weapons or animal teeth.

Image 07 description: Butbut Kalinga Whatok. khaman (headaxe). inud-uchan (rain). Hanunó'o.

Age of Eligibility for First Tattooing

Manobo: 10-12 years (pre-puberty) Kalinga: 15-20 years (“coming of age”) Visayan: ~20s (adulthood)

Order of Significance

Manobo: N/A; forearms, back, & chest for men (Only women could tattoo their abdomen and calves as well; interestingly among the 3 styles, tattooing on men's abdomens was sparse, if not left completely blank) Kalinga: Wrist —> Back of hand —> Arms —> Chest (+option: sides of torso/legs) —> Back —> Face Visayan: Ankles -> Legs -> Waist -> Chest -> Back -> Face

My idea of tattooing order for Piri would be as such:

Arms, from the wrist (Manobo)

Legs, from the ankles (Visayan)

Chest (Kalinga)

Back (Kalinga)

By tradition, the tattooist decided on the motif, but recipients could also pitch ideas. Piri's script tattoos were his suggestions.

A fully-tattooed arm would take 1 day to complete, while a Kalinga chest whatok was worth 3 days. The tattoo session could even be halted midway, and either the client expressed to resume on another day or simply ended the process altogether. Men would sometimes deliberately hold back on getting tattooed, but this was not without a buildup of peer pressure over time.

Piri got his forearm pangotoeb while young (for a personification) because he wanted to be like the cool, older folks. Poor baby boy would fail to immediately realize how much the process hurt, and he would frequently make up excuses to delay his sessions.

By the time Piri got his leg tattoos, he would gradually fill them up alongside his upper arms, depending on whether he was wandering around the Visayas region or at the Pantaron mountain range down in Mindanao. For sure, Piri received his Kalinga whiing (chest) and dakag* (back) after those parts had been inked.

Notice how I gave him tattoos from Luzon (Kalinga), Visayas, and Mindanao (Manobo)? Hehe.

What constituted getting a tattoo was not exclusive to warfare achievements or headhunting boons. Anything could be a reason for getting a tattoo, as long as the community itself acknowledged it as valid merit.

What exactly did Piri achieve to earn his tattoos? He changes the story every time you ask him.

Was his butt also inked? Yes. I won't show it for fear of unwittingly getting the boot from this platform.

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Buhid, Tagbanwa, and Kulitan never had a virama (the sign for canceling the inherent vowel). There had been attempts to introduce it in the latter two scripts, but it was never successfully mainstreamed. In writing syllables with canceled vowels, one must retain the original syllable in Tagbanwa and Kulit while you no longer had to write the syllable itself in Buhid. Viramas for Baybayin and Hanunó’o were introduced after the precolonial era, neither of the attempts accomplished by native Filipinos.

In taking these scriptwriting nuances into account, one should enunciate the script as it was being read to discern the word being referred to. Even though it was written as “wa-nga-ya”, a Buhid native would naturally understand it to be read as “way ngayan.” Although anyone could attempt to write in any language with these scripts, I wanted to stick to the intended native tongues to showcase how to properly interpret them.

After doing a guided tour in the National Museum of Anthropology, I opted out of using the "modernized" writing systems in exchange for the "historically utilized" method of not including viramas or writing out a character altogether to eliminate the vowel.

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TRANSLATIONS

Baybayin: Sumpa Kita (Tagalog) - “I Swear”

Depending on the tone, you could be proclaiming a promise or a curse. I love it. It was also the phrase that the name of the Philippine national flower, (sampaguita) originated from, which was also one of Indonesia's national flowers (melati putih). IndoPhil fans, start taking notes.

Kulitan: Tadtad (Kapampangan) - “To cut to small pieces (minced, diced, pinked, etc.)”

There was a saying: "Tadtaran decoman, ing catadtad a mitalandang, iyang maquiasaua queya." It could be roughly translated as: "They me cut me into a million pieces, but even one of those pieces is still good enough to marry 'the one.'" Morbid but romantic, and reflective of Piri’s love for Indo (he’d be that cheesy, okay?)

Tagbanwa: “Tablay” - “To cross hills and mountains”

It was a 4-verse song that narrated a variety of topics, ranging from household chores to community gatherings to expeditions to sentiments (positive or negative) for others. Penultimately the tablay served to express “what comes out from the heart.” That was so quintessential Piri.

Hanunó’o: “Harampanan” - “Discussion”

What was interesting was that the same term referred to both the conversations held in settling disputes and the moment of convening between the parents of a couple to consent to their marriage (or not). He might be a social butterfly, but he was constantly under pressure to fulfill the role of an intermediary.

Buhid: “Way Ngayan” - “No name”

I initially drew a different word and decided to change it as it didn’t fit for Piri to carry something he could never wield. Among the highland Tau-Buhid, it was common practice to answer “way ngayan” when outsiders of the community asked for their names. Instead, the outsiders would give a name to the Tau-Buhid being addressed to, and only then can the Tau-Buhid be allowed to speak to them. It’s funny how the Philippines was a name* christened by an outsider.

*The same goes for my headcanon name for precolonial Piri.

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The first name in the tattoo styles referred to the specific location of residence of the studied ethnolinguistic group. It was not a strict requirement to note it down at all times, but more often than not these groups identified themselves by their location.

Supposedly the Panay-Bukidnon/Suludnon preserved precolonial Visayan tattooing, but the one source I found online described it to be more of a freestyle practice. I was also unable to find images of the tattoos on the people themselves. Nonetheless, there was the Pintados Festival that paid homage to the titular tattooed warriors.

I wanted to point out the visual similarities because tattooists were also traveling practitioners to find clients for their work. It was a possible explanation for why tattooed people (if not the particular tattoo style) were observed across the Visayan islands as well as parts of southern Luzon. In the late 19th century, some Bagobo people shared that they were tattooed by an outsider practitioner. Whang-od herself used to be a traveling tattooist.

This was speculation on my part but I believed it was also possible that tattooists also took inspiration from other styles. Chest tattoos for men in both the Visayan tattoos and Manobo pangotoeb both had radial designs on the areola (which I did not draw for Piri’s chest tattoos simply because they clashed). Who knows, maybe a Manobo tattooist encountered the Visayans and wanted to create their version? I liked to think that the variations in motifs and pattern combinations could double as a tattooist's signature.

I allowed for a few liberties here and there in drawing some tattoo motifs for Piri because, at the end of the day, inspiration could come from anywhere. One could also say the variation lies in how artists created their visual interpretations of the sources of inspiration. Even the Kalinga tattoos made available for tourists are borrowed imagery from other groups! In the past, one Kalinga warrior had an eagle tattoo on his arm that was based on the image on an American coin.

Tattoos were meant to be unique to the individual. Their value on having to be earned was on the basis that they reflected not just the personal histories (if not necessarily achievements) of the wearer, but such histories must also be acknowledged by the community granting them.

That last bit was important because while anyone could pay to be tattooed (and it would still represent something about you), you would be considered a fake. Hiya (shame) was a thorn that penetrated deeper around these parts. Although only the Manobo did not have a stigma for not being tattooed, the social pressures still left a mark on Piri (literally!)

If one relied only on tattoos as a visual cue, one would be unable to distinguish which groups individuals belonged to from a distance. If every one of the most significant leaders were tattooed in the exact same patterns, it would be impossible to recognize who’s who until they formally introduced themselves (which no one would have the time for in the middle of combat!) The Visayans had a set of tattoos that could be used by all, which implied some designs were restricted only among the best of the best.

This was HWS Philippines. If he’s going to be the star, he needed to stand out from the crowd.

It would, however, be awkward for Piri when he spent time with certain other groups that carried a strong contempt for the ones he received his tattoos under. He would not be exempt from the consequences.

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Now here was one more reason why artists/designers should not be afraid to modify on the tattoo motifs (as long as one familiarized themselves with the foundations they worked with): The Butbut Kalinga believe it was taboo to copy older designs, all the more if the original recipient was deceased. So in letting a character don some Kalinga whatok, think twice about perfectly copying every last detail from reference image/s!

In the present day, tattoos for visiting tourists from Whang-Od had to make a selection from a prepared guide, all of them modified for a general audience v.s. designs exclusive to esteemed warriors of the past. I used the former for Piri’s Kalinga whatok.

This was where I addressed the elephant in the room.

My understanding of cultural appropriation was that the offense is in cherry-picking culturally significant symbols & practices and then using them out of their intended context by transforming them into pieces that fit the aesthetic criteria of the dominant - and often oppressive - group.

Save for that one taboo, I did not find any other explicitly recorded statement from either the Butbut Kalinga or the Pantoron Manobo forbidding outsiders from using their tattoos. (Mind you, this was all via resources I could access online - screw this pandemic!)

There was also the lingering question regarding the cultural preservation of PH tattooing practices. In the case of the Kalinga whatok, considering that we could not simply reintroduce headhunting in the present day for morality reasons, did that not mean the tattoos had essentially lost their cultural context? If that rendered them invaluable objects, would it not be self-defeating to the purpose of cultural preservation to just let the practice die out?

I sincerely believed it was just as patronizing to assume that even indigenous peoples could adapt and re-contextualize their traditions because it did not fit the (outsider) ideal of preserving their [I am knocking on wood here] "pristine, primitive forms."

Sometimes even good intentions/aspirations could still take away the platform from the ones it was built for.

(I know I just sounded like a hypocrite in saying that so I'm beating you all to it and calling myself out on it.)

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My biggest motivation for manifesting this headcanon at all was because I did not swim with the fanon of amnesiac Piri. 😭💦

I was at odds with what constituted as a collective (national) memory, all the more when not only was the Philippines as the nation we knew today was a far cry from the "nation" (bayan) that existed 1500+ years ago (and that was if you happened to go there, which I do because I also did not swim with chibi Piri by the time Magellan showed his ass up on our shores).

It sucked that we lost much of the perishable writings from that time, but written works were not the only means of cultural/historical preservation. I also disagreed with the implication that only written works counted as a valid archive.

The pen might be mightier than the sword, but efforts to improve literacy skills were a double-edged sword in itself. While it was important to teach people to be better communicators*, measuring intellectual capacity by literacy skills could get problematic. I condemned this assumption because I sincerely did not believe that precolonial Filipinos being unbothered to keep written records was a sign of their “backwardness.” What if they never felt the need to?

Because why bother writing it all down when you could say it out loud instead! We might not have books and written histories, but we got oral histories! Epics, ballads, hymns, riddles, folklores, you name it! People passed down traditions through storytelling, all the more for all the indigenous natives* residing in the nation that resisted imperialistic rule (not just colonial) for centuries! We were a nation of songbirds! And that was why "Piri chronically online on Twitter" was absolutely valid.

Although it was easy to justify the amnesia take because the colonizers massacred so many people, and without the people, you also lost the very guardians of those memories...in my most honest opinion that...registered poorly in my head.

What of the ones who survived? What of the people who lived to tell their tales?

When did we stop listening?

*More often than not, people grew up to be swayed to unwittingly support imperialistic/capitalist/fascist agendas because very subtle propaganda was discreetly inserted into the lesson plans in their formative education. Criticisms on colonial education deserved their own talk for another day.

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What constituted a memory was the affection, the emotion that came with certain experiences. It was why some memories persisted while others were easily forgotten. It was why even memory recollection (which indicated an active search) might not necessarily be true or not. Memory, both in itself and the processes surrounding it, did not follow a linear & and straightforward path (and that was already without taking the complexity of neurobiology into account).

While the merits for a tattoo were generally prescribed through specific or notable acts, I noticed that majority of them seem to share one common affection: Passion. The feeling of an intense, compelling desire for something (or someone).

Among the Manobo (today), most of them were compelled by aesthetic reasons in getting a tattoo. The desire to maintain an appearance that would equally leave an impression on others.

Headhunting/warfare was just the easily cited method, but the Kalinga appraised any act that denoted an individual’s bravery & valor. Bravery in fighting the frontlines, fueled by the compelling desire to defend one’s homeland.

Violence** born out of vengeance is also a thing, and vengeance was just passion manifesting negatively.

Precolonial Visayans had names for tattoos that marked an individual’s first-time experience in war…or love (sex, I guess). Two polar forces treated as equals. I think of how Aphrodite/Venus was also a goddess of war. A goddess of passion.

Headhunting could also have gendered notions that display the "mutual dependence" in the dichotomy of "male/female bloodshed." In a study of the Huaulu people (Seram, Indonesia*), they had a taboo where the men could not participate in headhunting if their wives were menstruating or giving birth. This reinforced the idea that women as "bleeding humans" were as powerfully influential as men who were "bleeders of humans."

On a similar note, there was a pervasive belief in certain other groups that headhunting blessed communities with fertile lands (alongside fertile women). Blood as life essence. Blood as a source of vitality.

Sometimes passion is comparable to being a force of vitality. The driving force of life and death.

Hades game Achilles was onto something when he wrote that Aphrodite "may be the mightiest of all [the Olympians]."

It got complicated, however, because headhunting and warfare were also a means of state violence**. The precolonial Visayans were engaged in and subjected to slave raids, born out of the need to harvest labor for trade motivations (fuck capitalism, am I right?). If all the battle experience from such activities counts as a merit for tattoos, what did that make of Piri?

I thought of how even blood was shed during the process of tattooing. In a way, Piri’s tattoos also functioned as a reminder of all the blood that was shed for him. A reminder of all the people who died for their passions.

Whether it was a price worth paying or not is a conflict he may never find a resolution for.

*They were comparable to the Buaya (Kalinga) in the shared gendered aspect in headhunting. While this implies a cultural backing to Beyer's Wave Migration Theory, the latter was contested by W.H. Scott. In the cited studies below that concentrated on Kalinga tattooing, there were no further details given regarding any connected symbolisms to headhunting.

**Just so we’re all clear, me conducting frank discussions on the topic of violence DID NOT equate to me condoning violence. Remember that Kalinga tattooing diminished because headhunting was outlawed for its nature as an act of violence.

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Fortunately, there was always the option to negotiate out of a fight (nail that persuasion check, Piri!!).

This was where tattoos as an indicator of one’s place in a community came into play: the more tattooed an individual, the more highly regarded they were. It was they who act as the primary mediator for any conflicts that arose.

It was a huge burden to bear for an entity that encompassed so many communities when he was not (exactly) a part of any of them. While his tattoos provided an opportunistic signal for Piri to be treated as someone due equal respect, it also made him vulnerable to open contempt. Righteously so when the community in question had been victims of the same state violence that advocated for a united nation.

Even prejudice could exist within the same group of people: between those who were content interacting with “lowlanders”/”outsiders” and those who adamantly remained isolated, with the latter even denying the “Filipino” identity. However, a people’s resistance in identifying as subjects of an oppressive government should not be cause to disregard their (co-)inhabitation of spaces. Mediation became a necessity to maintain harmonious relations.

It was a struggle that remains a constant throughout Piri’s history. Juggling the roles of the mediator between communities and the warrior who defended these communities.

The tattoos served as an eternal reminder of Piri’s passions to uphold all these narratives. A reminder of his purpose to maintain the fine threads between peace and war.

HA! I REALLY CAME BACK FULL CIRCLE TO THE FLAG SYMBOLISM!

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Speaking of flag symbolism, allow me to end this brainrot essay on a funny note.

Imagine telling HWS Philippines that the sun on his flag was inspired by his ASS TATTS.

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Sources

Abbacan-Tuguic, Lalin, and Lunes Marnag. “Whatok (Tattooe): The Aesthetic Expression of Traditional Kalinga Beauty.” International Journal of Advanced Research in Management and Social Sciences 5, no. 6 (2016): 725-939. https://garph.co.uk/IJARMSS-vol5-no6.html. Bergaño, Diego. Vocabulary of the Kapampangan language in Spanish and dictionary of the Spanish language in Kapampangan: The English Translation of the Kapampangan-Spanish Dictionary. Translated by Fr. Venancio Q. Samson. Angeles City, Philippines: Holy Angel University Press, 2007. Boxer Codex: A Modern Spanish Transcription and English Translation of 16th-Century Exploration Accounts of East and Southeast Asia and the Pacific. Edited by Isaac Donoso. Translated by Ma. Luisa Garcia, Carlos Quirino, and Mauro García. Quezon City, Philippines: Vibal Foundation, Inc., 2016. Bramhall, Donna. “Exploring Kalinga culture, tattoo artistry, tribal traditions,” Rappler, July 9, 2016. https://www.rappler.com/life-and-style/138427-kalinga-culture-tribal-traditions-tatoos/. Calano, Mark Joseph. “Archiving bodies: Kalinga batek and the im/possibility of an archive.” Thesis Eleven 112, no. 1 (2012): 98-112. https://doi.org/10.1177%2F0725513612450502. Clariza, Ma. Elena. “Sacred Texts and Symbols: An Indigenous Filipino Perspective on Reading.” The International Journal of Information, Diversity, & Inclusion 3, no. 2 (2019): 80-92. https://doi.org/10.33137/ijidi.v3i2.32593. Cultural Center of the Philippines. “Tagbanwa.” Encyclopedia of Philippine Art. Accessed December 6, 2021. https://epa.culturalcenter.gov.ph/1/2/2374/. De Las Peñas, Ma. Louise Antonette N., and Analayn Salvador-Amores. “Enigmatic Geometric Tattoos of the Butbut of Kalinga, Philippines.” The Mathematical Intelligencer 41, no. 1 (2019): 31-38. https://doi.org/10.1007/s00283-018-09864-6. Garlitos, Rhandee. “Great Elder.” Panyaan: Three Tales of the Tagbanua. Accessed Dec 7, 2021. https://www.canvas.ph/catalog/panyaan-three-tales-of-the-tagbanua. Hoskins, Janet. “Introduction: Headhunting as Practice and as Trope.” In Headhunting and the Social Imagination in Southeast Asia, edited by Janet Hoskins, 1-49. Stanford, California: Stanford University Press, 1996. Krutak, Lars. “The Last Kalinga Tattoo Artist of the Philippines.” Lars Krutak: Tattoo Anthropologist (blog). WordPress. May 30, 2013. https://www.larskrutak.com/the-last-kalinga-tattoo-artist-of-the-philippines/. Miyamoto, Masaru. 1988. “The Hanunoo-Mangyan: Society, Religion and Law among a Mountain People of Mindoro Island, Philippines.” Senri Ethnological Studies, vol. 22. Osaka: National Museum of Ethnology. Ocampo, Ambeth R. “Who owns Whang-Od and her tattoos?,” Philippine Daily Inquirer, August 11, 2021. https://opinion.inquirer.net/142977/who-owns-whang-od-and-her-tattoos. —. “Heritage: More heat than light,” Philippine Daily Inquirer, August 13, 2021. https://opinion.inquirer.net/143039/heritage-more-heat-than-light. Pagador, Renan. “The Philippine Scripts.” Baybayin Archives (blog). Blogspot. August 26, 2020. http://rapcom-archives.blogspot.com/2020/08/. Ragragio, Andrea Malaya D., and Myfel D. Paluga. “An Ethnography of Pantaron Manobo Tattooing (Pangotoeb): Towards a Heuristic Schema in Understanding Manobo Indigenous Tattoos.” Southeast Asian Studies 8, no. 2 (2019): 259-294. https://doi.org/10.20495/seas.8.2_259. Rosales, Christian A. “Sorcery, Rights, and Cosmopolitics Among the Tau-Buhid Mangyan in Mts. Iglit-Baco National Park.” Aghamtao 27, no. 1 (2019): 110-159. Salvador-Amores, Analyn “Batek: Tradition Tattoos and Identities in Contemporary Kalinga, North Luzon Philippines.” Humanities Diliman 3, no. 1 (2002): 105-142. https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/32. —. “Batok (Traditional Tattoos) in Diaspora: The Reinvention of a Globally Mediated Kalinga Identity.” South East Asia Research 19, no. 2 (2011): 293–318. http://www.jstor.org/stable/23750924.

—. “Burik: Tattoos of the Ibaloy Mummies of Benguet, North Luzon, Philippines.” In Ancient Ink: The Archaeology of Tattooing, edited by Lars Krutak and Aaron Deter-Wolf, 37-55. Seattle: University of Washington Press, 2017. —. “Re-examining Igorot representation: issues of commodification and cultural appropriation.” South East Asia Research 28, no. 4 (2020): 380-396. https://doi.org/10.1080/0967828X.2020.1843369. Scott, William Henry. Barangay: Sixteenth-Century Philippine Culture and Society. Quezon City, Philippines: Ateneo de Manila University Press, 1994. “Visayan Tattoo Design.” Akopito (blog). Weebly. February 18, 2014. http://akopito.weebly.com/blog-naacutekocirc/visayan-tattoo-design.

Final Note

While they were interconnected, the emphasis of my headcanon was on tattoos as (national) memory over tattoos as (national) identity. I know it's paradoxical of me to separate them but it did make you think twice about what built identity. What built character! It's a question I cannot answer through one headcanon or one comic even. ☼ BANAAG ☼ would be my attempt at a personal answer to that question.

[maganne-bonete]

Posting hetalia on main r n instead of my side-blog and pondering over my bias and perspective over my pre-colonial piri and pre-colonial polities portrayals

Disclaimer: I haven't updated my knowledge on pre-colonial history for more than 2 years and neither have I refreshed my knowledge on these things so keep that in mind

I'm somewhat still a bit iffy over the whole Lusong kingdom thing. Researching kampampangan history really hasn't been in my historical hetalia checklist at all.

It can't be help since I typically use OC making as a way to reconnect with my heritage. Most of the OCs are Tagalogs, which is from my dad's side. Meanwhile I'm doing a terrible (haven't even started) job at my mom's side, which is Bikolano and Ilokano.

But anyway, I'm typically against the whole "One Big Ancient Philippines" narrative. And in a sense, foreign records on the one giant kingdom/empire/rajanate of Luçõn, May-I, or what have you, tend to fall under this except it's saying that there was "One Big Ancient Luzon".

To be fair it is where the name of the island came from. The name was based from the word Lusong, referring to how many major rivers (like the one in Pampangga I think?) drains down to Manila bay. And like the meaning of the word "you have to ride through the flow of the water" or "riding through the flow" to get there.

There was some sense of identity. But often the thing that I find dangerous with narratives like these is forgetting that sense of "Different but Together" kind of perspective when not handled properly. And it's not necessarily true per se that Tagalogs never had wars or conflicts with each other.

(There was an old forgotten saying that people from my province are gentle mannered until you really crossed them. The balisong was supposed to cut mangoes, not draw blood.)

But yeah, Portuguese explorers have met Luçong warriors when they invaded Malacca. But we need to remember that this was through their perspective and it was only one of the many lenses of different civilizations that have interacted with the archeapelago.

And I think the thing that always urks me, and this bias I have against, is being perceived as some sort of monolith. For years, most of history is thought in schools in a very Manila-centric fashion and this goes the same for talking about pre-colonial history.

I had fun back in highschool learning about Kumintang, Tondo, and Namayan and other histories not commonly thought in schools. I just wish that people would look into their own local histories because these are often ignored.

I think there's this weird misconception that emphasizing the differences of each provinces and groups would only divide people more. For me, that's far from it. Everytime I learn something new about different traditions, cultures, and histories in the country it only makes me appreciate my nation more after years of cynicism due to politics and other toxicities I have to encounter growing up here.

But anyway, this has been my ponderings. Idk, if any of these makes sense but these have been running in my mind.

[mariajamaica]

Ipinaalala sa’tin ng buwan na ‘to ang posibilidad ng pagbabago. Na maraming sorpresa ang mundo. Na hindi mapipirmi sa iisang yugto ang puso.

Sa hindi inaasahang sandali, maaari mong matagpuang bigo ang sarili. Nakasadsad. Hindi makalipad. ‘Yung akala mong pinatibay na’t pinatatag, hindi na naman makausad. ‘Yung akala mong malapit na sa tagumpay, hindi na naman alam ang gagawin sa buhay.

Sa isang iglap, bagsak na naman ang pangarap. Danas na naman ang hirap. Lusong na naman sa saklap. Nanlilimos na naman ng yakap. At ang hindi natin matanggap—paatras ang pagsalubong natin sa hinaharap.

Muling magsisimula. Muling mangangapa. Sa pinakaayaw nating pagkakataon, tatagpuin muli natin ang sarili sa pinakadulo ng pila, sa pinakaibaba, sa hulihan ng tinatakbong karera.

Sa pagtatapos nitong buwan, mapagtatanto nating biglaan lagi ang pagbabago. Wala itong pasabi, walang babala, walang abiso. Ipinaalala nitong marami tayong hindi kontrolado. Ipinaalala nito na sa kabila ng paglago, tao pa rin tayo—binubuo ng mga delubyo’t pagkabigo.

Ng pagtangis at pagtitiis; ng takot at salimuot; ng pagkadapa, ng pagluha; ng mga tanong kung susuko na ba; at mga bulong na kakayanin pa; na kahit hagupitin man tayo ng buwanang sakuna, tangan natin ang pag-asa.

Umaasa. Sana. Sa susunod na yugto, paboran naman tayo ng mundo.

—

Ron Canimo

roncanimoph

[whooolaanmo]

Ahon Lusong 🌿

May bago pananim at may aanihin 🌾🌾🌾

Oct. 13, 2022 09:30 am

[huminahon]

"Bebeng Kalabaw"

Now it make sense... Habang hinuhugasan ko mga putik sa sumisiksik sa mga kuko ko sa paa, naalala ko bigla yung kapitbahay namin(mabait na sya ngayon) na lagi akong binubully nung bata pa ako. He's calling me, "Bebeng Kalabaw" pero di ko rin alam kumbakit. Siguro dahil magiging ako kasi ang taga lusong sa putik ngayon.

[benefits1986]

Dead-ends

That hyphen on the word "dead-end" makes more sense and no sense, at once. Or it is just me and my dyslexic moody nothingness, yet again? This morning, dad was supposed to go on a long ride in ode of the long weekend. In an hour or so, we heard a loud sound that seemed like a firecracker, a loud one to be exact. Since I am still recovering, I asked him to check it out. He opened the door of our tiny house and looked around. Lo and behold, his three-year old bike tire exploded. We were talking about how mother dragon must have been breathing down my neck and today, my dad's neck, too. LOL. I asked him to thank mom because he could have gone wild on the roads especially during lusongs na malala. He stopped and looked at me. I knew he misses mom more and more.

I nebulized today because I can feel my breath shorten a bit which is not usual for me. Asthmatic era na ba talaga ako as an old lady with pets who shed their furs a whole lot this time of the year? LOL. I said sorry to Vici as he had to sleep on his own because mhie, I am literally and figuratively breathless-ish. Damn this bug. Ang lala but we are not stopping. Dad asked me saan ba ako pupunta this long weekend. LOL. I said that he should stop irking me because I can't afford a binat. A number of close friends are recovering from the flu for two weeks and counting; and I CANNOT imagine me in that scenario. Anyhow, I am supposed to backpack in no less than Bicolandia. However, I need to prioritize my health not only in time for the mega mad dash to the end of Q4, 2023. More importantly, the past days and weeks taught me that I am not getting any younger. Yes, I am not taking any maintenance drugs, thankfully; but it does not mean that I can go all out non-stop. LOLOLLOLLOLL. FML. I went easy on OD-ing vitamins and meds because my liver maybe crying out loud. I remember LA Tenorio's post which talks about his bout with CA. It's not just about the game but most importantly, the one who drives the ball and is part of the team. It begins and end with the self... always. This is easier said than done especially when I along with countless millennials are experiencing the pull of gravity; regardless of BMI, insulin resistance, number of zeroes in our bank accounts or the emoji reacts that our feed grants us. :D LELS.

We're all racing toward our own versions of dead-ends. We're all bound by our breath and nothing else, really. We're all but a speck of dust in the wind. It's funny how we often say that dogs' dead-ends are shorter than ours; however, I'd like to believe that all dogs have a life well-lived. They know what true love, compassion, loyalty and pure intention are. Enough said. I might be too dramatic for tonight's thought fart. I guess this is my way of resisting the AI boss bitch streak which is where I'm swimming in and will be in for the next X number of years. I guess I'd want to believe that there is a better version of Her (the movie starring Joaquin Phoenix) in this lifetime. I guess, humanity will prevail if and only if there'd be people who'll choose to make their versions of dead-ends worthwhile. Can I just say that I kinda feel like Anne Frank right now? So many social unrest, injustice towards the women and the disadvantaged. So many unnecessary factions that can actually be tackled if and only if people come together to over-communicate and negotiate. If only we work toward our dead-ends to heal the world instead of lambasting it more and more, maybe, just maybe, we'd be in a better ground. Let's see. For the meantime, I shall rest my case. Catch you in the next one!

[lifesamarize]

Island Hopping, aber anders

15.03.2023 - Philippinen, Culion [Sama]:

Culion hat uns wirklich positiv überrascht! Bereits die gestrige Tour war ein Heidenspaß und machte Lust auf mehr! Mit unserem AirBnB Host haben wir eine Island Tour gebucht. Hier auf Culion läuft das aber etwas anders ab. Man bucht keine Tour, sondern leiht für einen Tag ein Boot, inkl. Crew (Kapitän und Hilfskapitän) aus. Und genau das haben wir heute gemacht.

Um 8.30 Uhr waren wir mit Pieter aus dem Restaurant von vor zwei Tagen verabredet. Mit seiner Crew und Boot würde es heute auf Entdeckungstour gehen. Doch bevor es dazu kam, liefen wir erstmal eiskalt an seinem Restaurant vorbei. Wir waren schlicht und einfach so in ein Gespräch verwickelt, dass wir daran vorbei spazierten. Zum Glück waren die Leute hier sehr aufmerksam. Es sprach sich rum, dass hier zwei Weiße Urlaub machten und heute eine Bootstour anstand. Kommt scheinbar nicht oft vor. Denn ehe wir uns versahen, rief man uns hinterher. Es war ein junger Mann, der fragte, ob wir Pieter suchten. Als wir dies bejahten und er uns zum Zurückgehen aufforderte, begriffen wir erst, dass wir das Restaurant verpasst hatten. Upps….

Im Restaurant angekommen, unterhielten wir uns kurz mit Pieter, der uns die heutige Bootsroute vorschlug. Die Crew lernten wir auch direkt kennen: Jack, unser sympathischer junger Tourguide, sowie Remus, der ziemlich schüchterne Kapitän des Bootes. Kurz die letzten Sachen eingeladen, ging es auch schon los zu unserem ersten Halt. Das Lusong Gunboat. Es lag keine 20 Minuten Fahrt von Culion entfernt. Das Wrack befindet sich an der Südspitze der Insel Lusong und ist eines von zwölf hier untergegangenen japanischen Versorgungsschiffen oder U-Boot-Jägern des Zweiten Weltkrieges. Die Schiffe wurden bei einem Luftangriff eines US-Trägerflugzeugs getroffen, als sie am 24. September 1944 in Coron Bay ankerten. Das Lusong Gunboat hat eine Länge von ungefähr 25 Metern. Da das Heck bei Ebbe auch für Schnorchler super zu erreichen und sogar von der Wasseroberfläche schon sichtbar ist, ankerten wir hier zuerst.

Nach dem Sprung ins kühle Wasser sahen wir es vor uns! Ein Wrack, so unglaublich nah und mit zahlreichen Weich- und Hartkorallen, sowie Seepocken und Schwämmen bedeckt. Der Kontrast zwischen dem dunklen zerstörten Schiff und dem bunten Leben, welches darauf entstanden ist, könnte nicht bizarrer sein. Gleichzeitig wirkte es aber auch wunderschön und fast schon magisch. Das schöne bunte Riff glich der Korallenwelt bei unserer gestrigen Riffhaisuche. Doch mit dem Wrack, war es noch um einiges hübscher. Und da wunderten wir uns auch nicht, dass wir bei solch einer schönen Gegend zahlreiche Fische sahen! Von Papageifischen über Doktorfische bis hin zu ganz kleinen Sardinenähnlichen Fischchen war alles vertreten. Es machte unglaublich Spaß, jeden Winkel des Riffs abzuschwimmen und andauernd neue Bewohner zu entdecken.

Nach gut 45 Minuten hatten wir gut jeden Winkel des Wracks erkundet und schwamen von dort aus weiter zum Coral Garden. Mit unserem Tourguide sprechen wir im Vorfeld ab, dass wir das Stück selber schnorcheln und die 5 Minuten nicht rübergefahren werden müssen. Wir sagten unserem Boot Bescheid und machten uns auf den Weg. Das Wasser wurde zwischen dem Wrack und dem Coral Garden extrem flach, sodass wir vorsichtig sein mussten, mit unseren Flossen nirgends anzustoßen. Die Gegend wurde felsig und kahl, sodass wir nur vereinzelt einige Fische und Seesterne entdeckten. Ganz einsam und verlassen, hatte sich dort aber eine kleine Clownfisch Familie in einer Anemone niedergelassen. Die Eltern waren nicht größer als mein kleiner Finger und Kinder so groß wie ein Fingernagel. Disney hat den Charakter des Fisches wirklich exakt widergespiegelt. Sobald uns die Familie entdeckte, verschwanden alle Mitglieder erschrocken in der Anemone. Nur ab und an lugten sie daraus hervor. Wirklich niedlich!

Nach gut 20 Minuten wurde es wieder tiefer um uns herum. Wir hatten die nahegelegene Insel um einviertel umrundet. Und plötzlich begann es! Erst vereinzelt, dann immer mehr. Weiche und harte Korallen wohin man sah. Solche bunten Korallen hatte ich noch nie im Leben gesehen. Alle Farben waren vorhanden. Ich konnte meinen Augen kaum glauben. Dabei habe ich in meiner Vergangenheit ziemlich viele Schnorcheltrips gemacht. Doch damals bestanden die Korallen lediglich aus harten, teilweise farblosen Korallen. Ich dachte mir damals nur, dass die wunderschönen Korallen höchstwahrscheinlich nur noch im Great Barrier Reef existierten. Doch ich wurde eines besseren belehrt! Neben den Korallen sahen wir überall die verschiedensten Fische. Es wirkte fast schon wie eine extrem belebte Stadt, in die wir eindrangen. Wohin man sah: Sternendrückerfische, Binden- Hornhechte, Scherenschwanz-Sergants, Doktorfische und viele andere. Selbst Exemplare, die wir zuvor noch nie gesehen haben. Schade, dass die GoPro die Aufnahmen nicht ansatzweise so gut wiedergeben kann. Dafür werden wir den wunderschönen Moment für alle Zeit in unseren Köpfen haben. Und dieses Erlebnis war noch schöner, da wir komplett alleine waren. Weit und breit keine Menschen, keine nervigen Touristen oder panische Schwimmwesten-Koreaner, die nur ihr Selfie im Kopf hatten. Nein, wir waren komplett alleine und konnten ein den Moment für uns genießen, ohne gehetzt zu werden. Ein richtiger Marmeladenglasmoment, wie Anne jetzt bestimmt sagen würde. Moment aufnehmen, einschließen und nicht wieder vergessen.

Nach einer Weile durch den Garden Eden schwimmend, zeigte Tobi freudig auf eine tiefere Stelle im Wasser. Erstmal sah ich gar nicht so wirklich was er meinte, doch bei der nächsten Bewegung wurde es mir klar. Es war eine Schildkröte, die ca. 8 m tief entspannt an den Korallen naschte. Sie musste mindestens einen Meter groß sein. Wow! Wir beobachten sie recht lange, in der Hoffnung, dass sie zum Atmen auftauchen würde. Doch leider war sie ziemlich trainiert und dachte erst gar nicht daran raufzuschwimmen. Und ehe wir uns versahen, paddelte eine zweite Schildkröte ebenfalls in den Tiefen des Wassers auf der Suche nach Nahrung. Welch ein Glück wir doch haben! Irgendwann war die Viersamkeit zwischen den Schildkröten und uns dann für eine kurze Zeit vorbei, da eine kleine Gruppe Schnorchler vorbeikamen und das Meisterwerk des Riffs ebenfalls begutachteten. Es waren zwei Schwimmwesten-Koreaner, die vom einheimischen Guide schwimmend hinterhergezogen wurden. Dieser musste ganze Arbeit leisten. Denn besonders leicht sah sein Schlepptau nicht aus. Er fragte uns, ob wir hier etwas besonderes gesehen hatten. Da zeigten wir nach unten auf die beiden Schildkröten, die wir entdeckt hatten. Die Truppe schaute sich die mampfenden Paddler kurz in der Tiefe an und der Guide tauchte nach unten, um die Tiere zu filmen (wahrscheinlich mit der Cam der Koreaner) und näher zu inspirieren. Als er auftauchte, teilte er mit, dass diese ca. 40 Jahre alt und die 1,5 m groß sein müsste. Vielleicht kann sie deshalb so lang die Luft anhalten. Die Schildkröten in Moalboal waren kleiner und wahrscheinlich auch viel jünger. Die Truppe ließ sich weiter treiben. Wir allerdings genoßen den Moment noch etwas.

Nach insgesamt 2,5 Stunden waren wir wieder am Boot angekommen. Dieses hatte in der Nähe des Strandes geparkt. Kurz bevor wir wieder ins Boot stiegen, hatte wohl ein ziemlich großer Clownfisch den Mut zusammengefasst Tobi's Kamera als Feind zu sehen und "anzugreifen". Er schwamm hastig hin und her. Seine Familie wartete derweil in der Anemone und feuerte ihn wahrscheinlich an. Dabei hatte Tobi das Kerlchen erstmal gar nicht gesehen.

Zurück an Deck, waren Jack und Remu gerade damit beschäftigt das Mittagessen vorzubereiten. Auf einem kleinen Grill grillten sie einige Hähnchenspieße. Mmhh… roch das lecker. Nach so einer Entdeckungstour knurrt einem schon ordentlich der Magen. Doch noch mussten wir uns gedulden. Denn es ging zur nächsten Station. Dem Pass Island. Es war eine kleine Insel, bestehend aus weißem Sandstrand und Palmen. Diese Insel war wahrscheinlich der Mittagsstopp für zahlreiche Touren. Denn als wir dort ankamen, lagen schon einige Boote vor Anker. Glücklicherweise war es trotzdem nicht überfüllt, da sich die Gruppen gut verteilten. Als wir vor Anker ging, brachten Jack und Remu unser Mittagessen an Land, während wir uns auf der Insel umschauten. Ein wirklich komisches Gefühl, wenn man mit einem privaten Boot angetuckert kommt und einem alles hinterher getragen wird. Das ist ja so gar nicht unsere Welt. Viel lieber wollten wir den beiden unter die Arme greifen, aber dies ließen leider nicht zu.

Das Mittagessen war wirklich super! Jen, unsere AirBnB Gastgeberin hatte es vorbereitet und der Crew mitgegeben. Es gab die verschiedensten Dinge. Reis, Nudeln, Salat, Tofu, die gebratenen Hähnchenspieße und vieles mehr. Es war so viel, dass wir nicht annähernd alles geschafft haben aufzuessen. Während Jack mit am Tisch saß und sich angeregt mit uns unterhielt, verkrümmelte sich Remu zurück aufs Boot. Er sei wohl sehr schüchtern und spreche nicht so gut Englisch. Während wir aßen, sah man Remu nur fleißig auf dem Boot werkeln. "Ja, er sucht sich praktisch immer irgendwelche Aufgaben, um bloß nicht hier bei zu sitzen. Und wenn es auf dem Boot nichts zu reparieren oder auszubessern gibt, schrubbt er halt das Boot," lachte Jack. Immerhin brachte Jack ihm dann einen großen Mittagsteller, damit er nicht komplett verhungerte.

Nach dem Mittag entspannten wir erstmal eine Zeit und genoßen die allmählich leerer werdende Insel. Die Tagestouristen hatten noch einen weiten Weg zurück nach Coron. Wir hingegen konnten solange bleiben wie wir wollten. Und das taten wir auch. Wir nutzten noch einmal die Gelegenheit und schnorchelten in der Gegend rum. Hier gab es ebenfalls ein kleines Riff, welches aber nicht annähernd an den Coral Garden von vorhin rankam.

Als die Insel schon komplett ausgestorben war, hob Tobi nochmal mit der Drohne ab und hielt das ganze fest. Ein wirklich wunderschöner Ort den wir nicht so schnell vergessen werden.

Gegen 18.00 Uhr wurden wir direkt an unserer Unterkunft vom Boot gelassen. Ein schöner Tag neigte sich dem Ende. Wir sind wirklich froh, die Insel Culion besucht zu haben. Und wieder einmal hat sich gezeigt: Ohne Plan und spontan ist es doch am besten.

[mgakwentongbayan]

Ang Alamat ng Buwan at Bituwin

Ang Alamat ng Buwan at Bituwin

Noong Kauna-unahang panahon, ang langit daw ay napakababa. Abot na abot ng mga tao at maari nga raw pagsabitan ang mga alapaap ng kanilang mga gamit, mga damit at maliliit na kasangkapan. May isang babae na kumuha ng isang salop na palay sa sako para bayuhin at gawing bigas. Ibinuhos ang palay sa lusong at handang babayuhin na nang maalalang tanggalin muna ang kanyang pulseras, kuwintas at mga…

[alaspoorwallace]

Lu Song (Chinese, born 1982), Neon Garden II, 2017. Acrylic on canvas, 150 x 100 cm

[akosiraptor]

🚴‍♂️🚴‍♂️🚴‍♂️ #ahon #lusong #sarapmagbike🚲 www.instagram.com/akosiraptor (at Boy Scouts Of The Philippines, Mt. Makiling, Los Baños, Laguna) https://www.instagram.com/p/CPxBpQYH3luCZNcdkipbmzWMuHEnkkmab3xu0A0/?utm_medium=tumblr