#shifting to noli me tangere

[my-reality-my-rules]

hello! I am wondering why do u want to shift in El Filibusterismo or Noli me tangere? Just curious to know.

[thanks for this ask!]

HOLY FUCK HOLY SHITTING FUCK SOMEONE FINALLY NOTICED I'M SO HAPPY LMAO

i have so much to say about this oh my fucking god-

first things first, with the el noli fandom being very small, and the novels' author being very dead, i feel obliged to say that i have been desperately craving for content for the past how many years. much of this is due to the fact that the story itself is unfinished (don't even get me started on Makamisa)—but what really takes the cake is that i, along with my friends, have some thoughts on the two main novels.

[immediate apologies for this rant,, i tried to keep this short as i didn't want to get too into the topic lmao]

[TW: major spoilers for Noli Me Tángere and El Filibusterismo by José Rizal]

- - -

(1) character disappearances

basilio was a major character in el filibusterismo not only because of his involvement in the story, but because of his past. he knew simoun's true identity, and likely had an idea what happened with elias (there's no way he wouldn't know this—especially when the scandal with crisostomo was such a big thing with the nobility, not to mention basilio being taken under captain tiago's wing after). while i wouldn't yet call him an accomplice to simoun's formation or development as a character at this point in time, when he buries his mother and elias with crisostomo, it's one of the points of interest in his story because it's how he gets involved with one of the main characters in the first place.

moving on to the sequel; he becomes a main character himself. for his story, he could've used his position as a lauded student of medicine to his advantage, especially after julí's death. I'm of the opinion that even if his reputation was ruined due to the arrests, there's no way he couldn't have pulled a favour or two. basilio was angry enough to agree to simoun's offer of revolution, and we don't see much else in the last few chapters save for him trying to stop isagani from going to the party. we don't see him at all after that.

and placido ))):< mans had a whole chapter to himself and we barely ever see him again. the one time we do later in the novel, it's a mere footnote. we don't know the specifics of what he did under simoun's command, we don't even get to witness him in action. what happened in the time between his meeting with simoun and the botched explosion? what happens with his mother after the debacle? what did padre millon do after his outburst? i have so many more questions crammed in one of my oldest google docs lmfao. overall, i really like placido's character too. i felt a kinship with him when i read his chapter—so that factored into my interest in his character.

- - -

(2) unfinished story + literature

i understand that the author died before the last novel was finished, but after getting so invested in the series, it left me wanting as a reader. don't get me wrong—i love reading about the theories being made on both official research and on fanfictions when it comes to the stories. but with the fanbase being so small, and some documents unavailable for perusal (at least for me), it's hard to cope with the knowledge that we won't get much else.

additionally, from what I've heard, the novels are being treated as homework, and just that. just research for a subject. perhaps it's my obsession with the stories peaking through, but i stand by that. as a fan of classic literature, especially of works that aren't as globally recognised, it kinda hurts my soul lmao.

alright, listen; material like Les Misérables, Crime and Punishment, The Count of Monte Cristo, The Picture of Dorian Gray, Pride and Prejudice, and et cetera—they deserve their acclaim. I'm not downplaying any of the author's successes nor the legacies that those kinds of works have earned. but stories such as Noli Me Tángere, El Filibusterismo, Wives and Daughters, The Setting Sun, Doña Barbara, and more—i enjoy reading lesser known literature. they have fewer analyses, lower recognition, and are generally more obscure. shifting for these classics is the true immersion, the true experience, in my opinion. it's a chance at finally getting the worlds I've only imagined fully come into life.

- - -

(3) personal reasons

a few days ago, a friend of mine remarked that we (the three of us who's in the group) might have had a chance at being called attractive had we lived during the time period the novels were written. this isn't to degrade my friends or myself in any way—just simply stating that there are always better people when it comes to things like beauty. i agreed with her. growing up, i never really fit into that category of conventional attractiveness; and while I've often been told otherwise, i know i still had to grow into my looks, and earn my place into the middle hierarchy with peers, not like the people who've had the privilege of money and breeding to comfort themselves with to actually pay to be attractive.

I'm not saying that to sound misogynistic—i genuinely don't give a shit about the peers who gave me trouble in the past—but i do want to experience that too, you know? everyone's always dreamed of a better life, and what finer way than shifting to experience that?

#forgive me for the rant #but this was building up for years #i had an obsession with these books #and while some of that faded over time #it doesn't make me any less passionate about it LMFAO #shifting #shifting realities #reality shifting #desired reality #shift #shifting shenanigans #shifting to noli me tangere #shifting to el filibusterismo #noli me tangere #el filibusterismo #josé rizal #philippine history #Esther's shifting posts

[maryhanaae4]

from 2020-2022 fsr I got way too obsessed with Noli me Tangere/El Filibusterismo and was like “ok but what if….steampunk au” that has a lot of fighting game elements fsr (????) and it never left the concept art level so I’m revisiting my old stuff and redesigning them for nostalgia reasons.

This one’s for Juli and Basilio (Close Range Fighter, Medic). I also made a bunch of stuff for the rest of the tropang nerds because yea. (Lord help me my art style is having a crisis because it keeps shifting every 2 posts on here)

#noli me tangere #el filibusterismo #el noli #steampunk #Filipino literature #filipino artists

[appleflavoredkitkats]

sometimes i still can't get over the fact that c!wilbur's entire l'manberg storyline mimics noli me tangere/el filibusterismo, an influential piece of filipino classical literature. like, i can't downplay that shit man— the explorations of a need for freedom acquired via pacifism, only for the main character to gain a heavy paradigm shift and lose hope in all the ideologies they believed in for so long. and both these characters end up making plans of revolution via bombs, because they were so nationalistic to the point they decided to ruin everything when they thought there was no hope left for their country. THE SAME THING. SAME FUCKING THING.

obviously wilbur could never make commentaries on colonization/oppression like what rizal did with noli/fili, but it genuinely still boggles my mind how wilbur can create something so similar to the book that catalyzed the philippine revolution against spain. like HOW. HOWWWW.

#dream smp #mcyt #wilbur soot

[johnangelorodriguez29]

Rodriguez, John Angelo D.

Baels 3105

"Jose Rizals unwavering Convictions"

Renowned for his remarkable literary creations, his persistent dedication to social reforms, and his crucial role in fanning the flames of Filipino nationalism, Jose Rizal stands tall in Philippine history Even so, the purported retraction, a statement that surfaced posthumously and ostensibly rejected his writings criticizing the Catholic Church, is one facet of his life that is still surrounded by dispute This essay posits that Jose Rizal did not retract his beliefs, as the authenticity of the retraction remains dubious, and his character and principles argue against such an action.

To begin with, the retraction document surfaced only after Rizal's execution in 1896, leading many to question its credibility. The absence of any records or publications of this retraction during his lifetime raises red flags regarding its authenticity. Rizal, a man known for his unwavering commitment to truth and reason, would hardly be expected to keep such a significant shift in his beliefs hidden from public scrutiny, especially considering the profound impact it would have on his reputation and legacy

Furthermore, Rizal's character and principles argue against the notion of a retraction. He demonstrated a strong devotion to the principles of justice, equality, and reason throughout his entire life His writings, particularly "Noli Me Tangere" and "El Filibusterismo," were bold critiques of the oppressive Spanish colonial regime and the abuses perpetuated by the Catholic Church. These works were grounded in his genuine concern for the wellbeing of the Filipino people and his unwavering commitment to social reforms. It is difficult to imagine a man of such integrity suddenly retracting these beliefs in the face of execution.

Moreover, Rizal's own words and correspondence during his imprisonment provide no substantial evidence of a retraction. His letters, written during his incarceration, reveal his stoic demeanor and his refusal to compromise his principles. The absence of any references to a retraction in these letters suggests that he did not make such a concession. The circumstances surrounding Rizal's execution are alsonoteworthy. He faced his impending death with remarkable composure and dignity, in line with his commitment to his ideals. It is highly unlikely that a man who bore his own death with such courage would yield to external pressures and betray his principles at the last moment The controversy surrounding Rizal's retraction underscores the need for critical examination of historical documents and events. While some may argue that the retraction is evidence of Rizal's inner conflict or a genuine change of heart, the lack of concrete evidence and the strong counterevidence in his writings, character, and actions suggest otherwise.

In conclusion, the claim that Jose Rizal retracted his beliefs is highly questionable. The dubious authenticity of the retraction document. his unwavering principles, and his consistent commitment to social reforms all point to the likelihood that Rizal did not retract. His legacy endures as a testament to his dedication to truth, justice, and the ideals of Filipino nationalism, making it highly improbable that he would betray these principles at the eleventh hour Jose Rizal remains a symbol of unyielding commitment to one's principles and the enduring struggle for justice and freedom.

[aneal8]

Virtual Sketchbook 2

7/16/2023

-UNITY is about distinct pieces collaborating in a composition. Unity in an artwork produces a sense of harmony and wholeness by using similar parts and arranging them in a way that creates a sense of "oneness." VARIETY provides interest to the composition by incorporating juxtaposition and contrasting components.

-BALANCE is the distribution of the visual weight of objects, colors, texture, and space. If the design were a scale, these parts should be balanced to give the design a sense of stability. ASYMMETRICAL components are those that do not match or are not the same size, shape, or position. Parts that are SYMMETRICAL have the same size, shape, and position.

-EMPHASIS are the Highlight notions, themes, or ideas that the artist want to express in a work of art. SUBORDINATION shifts focus away from one area in order to accent another.

-Paths established or implied within an artwork that lead the eye across the layout are defined as DIRECTIONAL FORCE. This piques the viewer's interest and keeps him or her interested in the work.

-A succession of similarly curved lines or a recurring motif could be examples of Repetition. A pattern is the repeating of multiple design elements that function in tandem with one another. Finally, RYTHM is the sensation of movement created by the interactions and spaces between distinct parts in a design.

-SCALE and PROPORTION are both size-related design aspects. The size of one object in relation to the other objects in a design or artwork is referred to as scale. The size of one part of an object in relation to other sections of the same object is referred to as proportion.

An example of unity can be the food we plate, each food has a different spot to make it more appealing and appetizing.

2- some examples for Symmetry can be a ball, cars, butterflies, and snowflakes, examples for Asymmetry can be plants, clouds, and buildings.

3- an example for emphasis can be the street signs at nights that have contrast with the dark background. Or a straight line amongst curved lines. For subordination we can use the example of having the lights off when you watch a movie at the theater.

4- examples for directional force can be Turning the steering wheel of a car. A ball thrown upwards changes its direction towards the ground

5-an example for rhythm can be the dotted lines that separate the two lanes on the road.

6- an example scale and proportion can be when we fill up our gas tank, there is a relationship between the number of gallons we put in the tank and the amount of money we will have to pay.

Titian, 'Noli me Tangere (chapter 4, sec 4.3, page 73)

This painting is a perfect example of the principle of emphasis and subordination. It represents the scenario where Mary first sees Jesus after his resurrection. The colors used for the background and visibly more dull and dark compared to the people in the painting. This Tanique is used to emphasize the desired main concept of the painting. Jesus and Mary are the focal pints, this is inferred by the colors used, such as whites, creams and grays, which are all lights colors and create contrasts. This painting also includes directional force, and its seen in the background and how the landscape flows together ( the tree with the ground, the sky and the sea).

My favorite color is emerald, and there is an experience I've had that stuck with me to this day. When I was younger I went to a beach in Spain and the coast was very close to a forest. watching the colors of the trees reflect on the water was so magical and calming that it made that moment unforgettable. The saturation of the color looked unreal. If I had to pick a color scheme it would definitely be warm fall colors, oranges, greens, yellow and reds are the colors I rent to lean towards more.

This is a painting of a lion fish. I love painting marine scenarios and animals, I find it soothing and relaxing. This painting has a meaning to me that I am sure most people can relate. When I think of any poisonous animals (such as a lion fish), I think of a creature that has a way to defend itself in case of danger. Now this applies to us humans as well, most people tend to not know how to react in certain situations and they tend to make the wrong choice. As a petite girl I had to learn the hard way that I have to be able to defend myself in case of danger, and that I cannot let people take advantage of me or disrespect me just because of my size. I am strong and I am worthy, just like every person out there. As people, we need to be confident of our capabilities and be prod of who we are. Be your own protector, be a lion fish.

[g1adzgabz06]

The New Society of the Philippines

Philippine literature underwent an important shift during the new society era in the Philippines, which initiated in 1972 with the implementation of martial law by then-President Ferdinand Marcos and lasted until 1986.

The government's focus on nationalism and social order during the new society era resulted in the promotion of literature that reflected traditional Filipino values and encouraged a sense of national identity. This sparked a resurgence in interest for indigenous literary genres in the Philippines, including pre-colonial epic poetry and oral traditions from different ethnic groups.

Noli Me Tangere and El Filibusterismo by Jose Rizal are two notable pieces of Philippine literature from the new social era that took on new significance as symbols of resistance against the

dictatorship. A well-known author at the time named Nick Joaquin also wrote about Philippine identity and history.

The government's strict censorship laws, however, also prevented many authors from publishing works that were viewed as critical or subversive. This prompted many authors to use more subdued social commentary techniques like allegory, satire, and symbolism to convey their ideas.

The new society era was a significant period of cultural development and creativity in Philippine literature, despite the difficulties posed by government censorship. Numerous authors persisted in creating thought-provoking works that have endured as enduring representations of the nation's cultural identity. (Wikipedia.com)

[poem-today]

A poem by Steven Heighton (RIP)

Missing Fact

         Noli me tangere, for Caesars I ame;          And wylde for to hold, though I seem tame."                                - Thomas Wyatt, c. 1535

Sometimes time turns perfect rhyme to slant, as in Wyatt’s famous sonnet—how the couplet no longer chimes, his “ame” turned “am,” now coupled more by pattern, form. So everything gets bent and tuned by time’s tectonic slippage. You and I, for instance, no longer click or chord the sharp way we did, when secretly wired two decades back (not fifty—but then human prosody shifts faster); and surely that’s best— half-rhyme better suits the human, and consonance, not a flawless fit, is mostly what counts over years. But, still, this urge (from the past? our genes?) to shirk all, for one more perfect- coupling rhyme: for two again as one pure fact.

Steven Heighton (1961-2022)

More poems by Steven Heighton are available on Canadian Poetry Online.

Steven Heighton died on Tuesday, April 19th. RIP 

#steven heighton #canadian poetry #canadian poet #sonnet #rhyme #slant ryhme #Sir Thomas Wyatt

[laconservancy]

An Iconic Mural in the Heart of Historic Filipinotown

Photo credit: M. Rosalind Sagara

Named one of the top 20 iconic murals in Los Angeles by L.A. Weekly, “Gintong Kasaysayan, Gintong Pamana” (“A Glorious History, A Golden Legacy”) in Historic Filipinotown’s Unidad Park turned 25 years old last year. Commissioned by the Social and Public Art Resource Center (SPARC) and created by artist Eliseo Art Silva in 1995, the mural tells a story of the awakening of Filipino national and political consciousness, and pays tribute to Filipinos, both locally and nationally. 

In May, the L.A. Conservancy’s Neighborhood Outreach Manager M. Rosalind Sagara interviewed artist Eliseo Art Silva about the mural, Historic Filipinotown, and how the two contribute to our growing understanding and appreciation of Asian American & Pacific Islander (AAPI) heritage in Los Angeles. 

RS: What inspired Gintong Kasaysayan, Gintong Pamana?

ES: Chapter eight of Jose Rizal's novel Noli Me Tangere is titled "Recuerdos," and it depicts a scene wherein the main protagonist encounters a kind of inverted telescope which converges Europe and Manila in one scene. Rizal calls it "The Spectre of Comparisons": a charged space where nationalism, art, and the imagination emerge from. It was the kind of space I wanted to recreate in the expansive “Great Wall of Pilipinotown" so that ultimately, we can emerge both a Creative Economy and Ethnic Economy within the Filipino enclave of Los Angeles. At that time (1994-1995), the area was not yet designated as HiFi. Filipino leaders Uncle Roy Morales and Joel Jacinto have said that the Filipino mural was integral to the successful designation of the district as Historic Filipinotown. 

RS: How does the mural fit in to the story of Historic Filipinotown? 

ES: There were four murals in Filipinotown painted by Filipino Americans with a Filipino theme prior to “Gintong Kasaysayan,” and two more painted after, but only “Gintong Kasaysayan” has been preserved. Three of the murals were lost to demolition and the other three were painted over without protest or resistance. The other artists that painted Filipino murals within the neighborhood are Faustino Caigoy, Orlando Castillo, and Papo De Asis. 

Since previous attempts to Filipinize Filipinotown were largely limited to Bahay Kubo ("Nipa Hut") aesthetics and the mentality it generates of minimizing the achievements of pre-colonial Philippines as a major player of The Filipino Story, “Gintong Kasaysayan” shifts the Filipino perspective. From one largely shaped by the Americanization movement, designed to rid the Philippines of Filipinos, to one that takes The Filipino Story as the main protagonist. It elevates Filipinos as a major player in America’s cultural landscape so our own Filipino community can earn and deserve that equal seat at the table of power and influence. Why have a seat at the table if all that we bring to the table is the stories of foreigners in our country told "on their behalf"?  

What the “Gintong Kasaysayan” mural offers to the city is what the Filipino community can offer and why they deserve that equal seat at the table. What the mural provides is The Filipino Story. It challenges people to answer the question: What is "Filipino" in Historic Filipinotown? 

At times, it aims to make people uncomfortable that they do not know enough about the story of Filipinos in this country and city, along with making Filipinos uncomfortable that they themselves do not take their own Filipino Story seriously enough to make it the main event in their own lives and humanity.

Festival of Philippine Arts and Culture, 2020

RS: Has the mural encountered challenges over its lifetime and how have these been addressed? 

ES: Yes, many challenges have surfaced throughout the more than 25 years that the mural was in public view in that area of the city. 

First of all, the Filipino community had not held an annual event in front of the mural until I initiated the Larry Itliong Day celebration in 2015 at Unidad Park. Because “Gintong Kasaysayan” was largely ignored by our own community for most of its two decades in the neighborhood, there were several instances when we almost lost the mural or the cultural integrity of the site. 

When I moved to the East Coast in 2000 and lived there for 15 years, the mural came to a point when the residents around the mural wanted to cover the it with a 15-foot-tall fence to accommodate 25 community garden beds which would have obstructed the entire length of the wall. Had I not happened to visit the site while the meetings were being conducted, that community garden would have completely covered the entire length of the mural. 

My personal protest produced the current mural signage for the public to recognize the significance of the mural and the site to the City of Los Angeles and the Filipino community. There was also a time when the neighborhood came close to erecting a life-size full figure monument honoring Bishop Romero at the center of the dap-ay space. 

(Author’s note: The dap-ay is circular in form and intended to create a communal gathering space. It is a character-defining feature of Unidad Park and is believed to be the first of its kind outside of the Philippines.) 

RS: What is your favorite part of the mural? 

ES: The shifts in meaning. I like the parts intended to be ambiguous, challenging and uncomfortable. 

RS: How do murals link the past to the present? 

ES:  I believe that murals are the best way to document communities. At its best, art and murals are not didactic, yet reveal core truths. I see murals as a kind of palimpsest intended to build upon previous stories and images which have ceased to be relevant, active and engaging. 

RS: Do you have favorite mural in L.A.? 

ES: América Tropical by David Siqueiros is my favorite mural in L.A

#aapi #aapiheritage #aapi heritage month #los angeles #los angeles history #Saving Places #historic preservation #public art

[my-reality-my-rules]

Hi! Idk if you've seen it but I'm just curious, what are your thoughts on the show "Maria Clara and Ibarra" on tv if you've heard and seen it? Just asking bc I remember seeing one of your posts back then about Noli and El Fili! 😄 And the concept of the show may not be totally related to shifting but it's interesting bc you know, the main character of the show travels to the fictional world,,,, or maybe a reality where the plot is taking place. 😄

[thanks for this ask!]

initially, i was stoked about the show. it's your classic isekai plot, added with the fact that it's about an obscure fandom, and it counts as historical fiction; i had been immediately head over heels for it.

i didn't watch it immediately, however. when a show I'm interested in comes out, i try to wait until it's finished (whether it's a season or as a whole in general). AO3 trauma should be counted as a real thing; i get so frustrated whenever i see a discontinued fic and find out it's actually really good. this factored in with my hesitance to watch shows i like.

and i disagree; the plot was totally related to shifting—while it's true that you're not necessarily creating a 'new' body that disappears while shifting [looking at you, 2020 shiftok], you're still shifting to a body that exists in a certain period of time. even if it's an isekai.

😭😭😭 don't be shy just list it as an isekai-

it's been a while since this ask was sent. I'm currently answering this just as the first part of the show is ending (the last episode for Noli was airing earlier), so i might finally watch it in full.

i might(?) update on this in the other blog, though. I've yet to finish my El Noli script, and the show just gave me some hot ideas.

#shifting #shifting realities #reality shifting #desired reality #shift #shifting shenanigans #shifting to noli me tangere #shifting to el filibusterismo #noli me tángere #el filibusterismo #josé rizal #Esther's shifting posts

[acaemia]

February 13 2021

Iced Coffee Phase in 3...2...1...

I’ve been recharging the past two days. The energy here is just calm and slow at the moment. It’s pretty cold too, which doesn’t bother me at all. I like how easy and kind things are right now. I really need a genuine break after the long term I had. My internship starts next week and my classes start the week after. I am excited to work again but for now, I want to rest. I’m trying to take things slow since the term break isn’t that long. I need to recover and rest.

I ended up in someone’s tiktok live earlier and he did a pick-a-pile reading for everyone who joined in. It was scarily accurate. Past and present me resonated with the reading so much. I’m just grateful and happy that the universe is constantly nudging me in the right direction. I just feel grateful knowing there are people out there who want others to heal and to live better. I gained so much new insights from that live, including reassurance that I am on the right path. I just need to trust myself more. The voice that pressures me to move all the time is slowly being silenced and I rejoice in her death. She will be reborn into a friend, not a foe.

You know, life really shifts once you realize that you can take control of it. I used to think it was best to surrender to the universe, since I believed that everything happens for a reason anyway. Que será, será.

Yet, I realized that it is important for me to take up space, to steer my own ship. After all, I know my vessel best. I don’t need to let the waves carry me. I have to be responsible for myself. I did not come here just to live on auto-pilot. I am allowed to desire things, to reach the places I want to go to. I don’t need to back myself into a corner all the time, like Dirk Gently told Todd. (Great show, sucks they cancelled it.) I’m breaking the pattern and taking control. The shit that happens to us, the trauma we experience—It is and never will be our fault. Yet, like everyone else has been saying, it really is our responsibility to heal. Wake up and remember that you are here. You have the power to live. You deserve to live the life you want for yourself. Don’t let anyone tell you otherwise.

“Hindi kayo ipinanganak para magtiis.”

You were not made for suffering.

— Elias, Noli Me Tangere (1887)

Live. Take Control. It’s never too late.

Sending healing energy to all of you. 💞

#light academia #iced coffee #studyspo #uniblr #bujo #university #studyblr #cafe #neutral aesthetic #sopher junior #studygram

[smolawkwardkidlat]

so I’m working on a new one-shot for the NMT fandom--sort of triggered by my new obsession, Welcome to Night Vale, and fueled by my love of fantasy, the supernatural, and mythology. I’ve gotten stuck, so have the opening while I try to work on the rest of it. 

fandom: Noli Me Tangere | pairing: Elias/Crisostomo Ibarra aka Elibarra | other: some Tagalog dialogue, supernatural character

Elias doesn’t know if he’s hallucinating or dreaming. 

For the record, his dreams are usually a lot less intriguing and a lot more disturbing than this. 

The thing sitting against the grave is shaped like a person—shaped, in fact, like a very handsome person within a decade of Elias’s own thirty-two. But the ears framed by the wavy dark hair have pointed tips, and the tattoos snaking up the bare arms and curling around one sightless dark eye glow faintly in the twilight. As he watches, the tip of a pink tongue flicks out between sharp white teeth and just as quickly disappears. 

The thing makes a clicking noise and frowns up at him. “What. The fuck.”

Lord, that voice. Elias swallows a surprised, mortified laugh. “Masasabi ko rin yan, a. Sino ka?” 

It’s shivering. Is it... cold? It raises an eyebrow. “That’s an odd question.” 

“Ne?” Should he offer his jacket? His hand twitches before he realizes it might see the gesture as rude. “Paano?” 

“I’ve never been asked that question before. I have no idea how to answer it.” 

“Weh?”

It shrugs and shifts, curling into a ball and locking its arms around its knees. He can see the tattoos more clearly now: a serpent—he can’t rightly call it just a snake—with fins fanning out from either side of its head on one arm, and a four-winged lawin on the other. “Ikaw? Sino ka?” 

He stalls. A lot of fairytales warn their readers not to give a fairy a real name, not ever. And while this thing might not be a fairy, it sure isn’t human, as the pale yellow eye following his motions reminds him. With its slight luminosity and slit pupil, that eye unnerves him more than the one that has no pupil or sclera whatsoever. “Talagang hindi mo ba alam kung paano sagutin ang ‘sino ka’? Wala ka bang pangalan?” 

It glares at the space between its feet. “Of course not.” 

His brain blanks for a moment. “Ano?”

“Ah. I take it that’s not normal out here, then.” 

“Ano yan? Ilang taon ka na ba at walang pangalan? Ano’ng tawag sa yo, ‘Hoy’?” 

It bristles, and for a moment he thinks the sun on its temple glows a bit brighter. He blinks and the glow is back to barely-there. “I don’t actually know how old I am, in your terms. I’m young, in mine—certainly too young to handle the responsibility of a name of my own.” 

“Ano’ng ibig sabihin nyan?” 

Its eyes—one darker than void, one paler than sunrise—snap to his in surprise. “Is a name really such a throwaway thing for you out here?” 

He almost says that he’s wondered the same thing a lot. Why do people say don’t talk to strangers but expect you to talk to strange people all the time? Why do stores that don’t need the customer to pick up the order themselves ask for a name? He bites it back, though, and offers a shrug. “Ewan ko. Baka nga.” 

“Do you have a name?” 

“Syempre naman.” I’m not telling it to you, though. 

The thing frowns. Is it just him, or are the stars crowning its brow… twinkling? “But you look no older than me, and I won’t have a name for at least another five years. Do you really get names so young?” It shudders visibly. “Maybe I don’t want to know.” 

Elias wants to laugh. He tries not to smile. “May palayaw ka ba?” 

“How else would people refer to me?” it sniffs.

He does smile. “So ano yun?” 

The thing—a spirit, maybe—tilts its head back and studies him thoughtfully. The eyes hood and the teeth gleam and Elias thinks of hunger. “Why don't you give me a new one?” 

Well, fine. 

He strolls a circuit around the spirit and the grave it’s using as a backrest. It sits up and watches him; somehow it feels less like a monster stalking him in the dark than like a curious cat padding after him in the street. He catches sight of faded letters and snaps his fingers. “Ibarra. Puwede ba yan?” 

The spirit’s dark eye flashes bright white for one second. Elias jumps backward, but it hums in thought like nothing happened. “Why that one?” 

“Nakaupo ka sa libingan ng isang Ibarra,” he says. “Sa kanila nga dati ang lupa na to.” And the tree he summoned the spirit out of, actually. Of course, it doesn’t belong to them anymore—the last one died over a hundred years ago—but they’re the owners everyone remembers. The spirit absorbs this in silence. Moonlight infuses the sun and the star tattoos with smoldering radiance, and all of that comes out of its mouth in two charged words. 

“I accept,” says Ibarra.

#el nolibusterismo #noli me tangere #elias #crisostomo ibarra #elibarra #modern au #supernatural au #probably both #both is good #lmao

[loucifieri]

Noli Me Tangere and El Filibusterismo are mandated by Philippine law to be studied by High School students. I won’t lie that these lessons bored me so much before, not only were they made to sound boring by our teachers, the lesson was also in Tagalog (which wasn’t my birth language; twas Hiligaynon/ Ilonggo) so it made the lessons even difficult to digest. 

The generation today relies on a more visual style of approach. Visual aids such as explainer videos have become an important tool in teaching as the breakdown of information is easy to follow, and there are animated visuals that help the topic easier to understand while keeping the viewer hooked.

Disney Animations have been rooted to most people’s childhoods, and they still continue to produce enchanting feature films. Aside from their animated films, their merchandise of their iconic characters and their theme parks all over the world are hard to miss.

So for my final project in my Jose Rizal course last year, I mixed two big things: Rizal’s easily most recognizable works and Disney Animations art style. I thought that, what if Rizal’s characters were brought to life through an animated film by Walt Disney Studios… Will that spark the interest of the youth today not only in Rizal’s two novels but to his other works as well? Though, I don’t have enough time nor manpower (and a producer) to animate a whole film so I decided to render the main characters of Noli Me Tangere in a Disney style instead, emulating what they might look like in a Disney animated film.

–

This was earlier last year so I couldn’t quite manage to emulate the style well yet. I was still just trying to shift from my anime style that time. (I might just redraw this soon :3)

Please don’t repost without my permission!

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#my art #noli me tangere #el filibusterismo #jose rizal #art philippines #art ph #filipino artist #illustration #artists on tumblr #fan art #fanart #character design #character art #pinoy stuff #crisostomo ibarra #elias #maria clara #filipino things #disney #disney animation #disney art style #sorry if padre salvi looks hot lmao #animation major

[cnfhumss12a-blog]

The Oxymoron of Ongpin

By Dana Gabrielle R. Benedicto

In the center of a bustling district lies a thriving street that meshes the past and the present of this nation. The dusty, stagnant highways of Manila could lead you to tourist spots and enshrouded treasures, each with their own charm and culture. Sometimes, it could lead you to a gate that holds a stark contrast to the gray urbanization that is Manila; to a brighter and more vibrant area, another culture on its own. It could lead you, as it has led me, to the world’s oldest Chinatown -- Binondo.

This enclave of traditional Chinese commerce, distinctly inhabited by Tsinoys or Filipino-Chinese, encompasses four Manila districts -- Quiapo, Santa Cruz, San Nicolas, and Tondo. Its large scope however, is not a deterrent for its streets to be heavily flocked; and for Ongpin Street, being one of the most renowned, attracting tourists and investors is an easy game.

From Taft, five of my friends, one of their mothers, and I drove to Binondo marveling at the shift of language in street signs and corporation signage. It was a subtle transition as most buildings were still structured similarly with those in other cities of Manila — grayscale and blocky. It was only when we entered the lane scattered with banks like UCPB and BDO with Chinese signs, and hopia stores like Polland, did it dawn that we truly are in Chinatown.

Just as the thought settled in, the driver stopped the car. This was our stop. I went down confused, immediately unsure of our itinerary and why we were stopping in the middle of the lane. For a moment I thought, is this Ongpin already? Good thing tita swooped in and answered my worries. “We’re going to walk from here!” she explained, as it seemed Ongpin’s heavy flock brings with them heavy traffic. A tingling of excitement surged through me. Walking for me, compared to driving, gives more room for adventure; a more personal feel of the place and its atmosphere.

“We walk through here,” she said, pointing in front.

Ahead from where the car dropped us, lies an eskinita. This is Carvajal Street. It is immediately distinct from the buildings outside with its vivid colors and heady aroma of fruits. Multiple wooden stalls line the sides of the buildings they intersected, and sunlight streams down through their multicolored awnings. Stalls of fruits, such as oranges, atis, lemons, and watermelons were arrayed across the alley; intermingling with nuts, dried mushrooms, and vegetables. Aside from the wet market, Carvajal also hosts eateries; a mix of Filipino and Chinese cuisine could be seen, with a few showcasing siopao, siomai, and noodles, while some with fried fish and menudo. Among the options, we tried a local favorite that features Chinese meals, Quik-Snack. One of the things I noticed at first glance upon the menu was the variety and the number of options in terms of noodles. They had three sections that only contained noodles -- Guisado, or stir-fried noodles, Noodle Soup, and Vegetarian Noodles. The second thing I noticed was that it didn’t offer fried chicken; or at least, did not name their meal as such. I find it rare for a fast-food joint, or any eatery to be frank, in this country not to offer it. My friends and I each ordered various noodles, their prices ranging from Php140 to Php 200, alongside their recommended iced coffee which is a tall glass of brewed coffee with lots of coffee jelly and a large scoop of ice cream. We also shared an order of kuchay ah or vegetable pie, which could be likened to empanadas stuffed with vegetables; a large fresh lumpia, oyster cakes, and finished with white fungus which felt quite stringy and tasted like black gulaman. Heading out of the restaurant full and fulfilled, we continued our walk along Carvajal. Multiple shops sprawled across that street, shifting from supplies stores like the Merriam Webster Bookstore, to those that feature charms and medicines. But Carvajal was not our main adventure that day. Swerving to the left at the end of this colorful alley led us to Yuchengco Street; and walking ahead, we finally saw the stretch that is Ongpin Street.

Before it was known as Ongpin, the street was called Calle Sacristia. This was mentioned in Rizal’s Noli Me Tangere itself, one of his books that sparked our countrymen to fight against the Spaniards. Interestingly, the man Ongpin was named after – Roman Ongpin, held a legacy quite similar to that of Rizal and Noli Me Tangere. He risked his reputation and safety in being a great businessman by tangibly aiding the revolutionaries who opposed the Spanish and American colonizers; by providing them finance, food, and a safe place to meet, even when he got detained. Today, Ongpin Street’s beauty could be compared to its eponym – that beyond their renown for business and commerce, are their richer history and culture.

At first glance, this busy area of Binondo had clearly manifested the traditional Chinatown I pictured in my mind. Scarlet Chinese lanterns with yellow knots hung around every store, and piles of bright red hóng bāo’s or money envelopes engraved with shiny golden calligraphy or symbols were displayed across storefronts. The prevalence of red and gold in the atmosphere was definitely observed.  

We stopped by a small grocery along the lane. A basket of century eggs alongside large packs of dry, brown, stringy objects which I found out to be meat floss would welcome you to the store. Charms and lanterns were once again displayed throughout the store, and jars of various candied fruits lined up the glass shelves. A wide selection of milks, sodas, and biscuits colorfully filled up a section of the place as well. As we were roaming around the store, looking in awe and wariness upon the products, tita suddenly bought each of us a jar of tsampoy. It seemed that none of us had tasted one before with the looks of astonishment and gratefulness from our faces.

After the grocery, we continued upon the lane and in the corner, we witnessed the oldest fast food chain in Chinatown -- Chuan Kee. The branch we saw was kept clean and fresh, and had customers here and there; I found it notable that though it is a truly old restaurant, the people behind it did not let it become run down. The continuous renovations and menu updates could be seen as the manifestation of the care and esteem the owners have for it.

Parallel to this fast food, just across the street, is the Blessed Lorenzo Ruiz Crusader’s Academy. With only a six-year difference in their time of establishment — the Academy in 1946 and Chuan Kee in 1940, it is humbling to witness the two renowned places still standing and functioning through time. This Filipino-Chinese school may not have been the oldest of its kind in Chinatown unlike Chuan Kee, yet both of them remaining in the service they uphold throughout the decades is commendable. Also, juxtaposed to the Academy was the famous Binondo Church whose facade took my breath away. Its iconic bell tower and the dome-shaped roofs across the skyline caught my eye. The Church’s slightly patched up, and rusty red and gray stone walls would remind you of its age; that this beauty has been standing since 1596.

Continuing the walk along Ongpin would then put you in between the Binondo Church and the two-storey Eng Bee Tin Chinese Deli. I have heard of this Chinese delicacy shop for years, and even went to a few branches; but never have I beheld a hopia store as large as this one. But its size is not the only eye-catching factor with its violet exterior already a stark contrast to the redness of the stores and lanterns around. Upon entering its sliding glass doors, I got to walk on a miniature, artificial bridge that would lead me to the rest of the store. Then, I was welcomed by two floating Chinese dragons colored yellow and violet. Eng Bee Tin, since its establishment in 1912, became known for their traditional Chinese pastries; but aside from that, they personally take pride in being the innovators of the different hopia flavors. With this, my friends and I roamed around the first floor, checking out the wide variety of hopias, tikoys, and glutinous peanut balls; and taking advantage of their free tastes for custard hopia variants, such as buko and ube. Afterwards, we rode the escalator to check out the second floor which was a vast space with a section dedicated souvenirs, another to tables and chairs for eating and relaxing. The tokens they sell were a mixture of Filipino and Chinese products. For instance, jeepney-shaped keychains and the Barrel Man were arrayed alongside porcelain tea sets and small, golden lucky charms. The other section filled with tables and chairs were meant to be the dining area because not only is this an Eng Bee Tin store, but also a Hopia King Bakery one. In the center of this section is a large golden Buddha with whom customers take pictures with. I also found its ceiling beautiful to gaze upon as its lights, shaped like mooncakes, cast a warm yellow glow to the room.

Exiting Eng Bee Tin, we crossed the street towards the Crusader’s Academy and continued our Ongpin walk from there. It was in this direction that I saw an arc with a “Welcome to Manila Chinatown” banner hung in the center of the road.

Passing through the arc and a creek, we headed to another grocery whose name is too similar with Eng Bee Tin that it was hard to forget. A large red sign with a yellow bumblebee on one side welcomed us to “Bee Tin Grocery Inc.” Peanuts in a large barrel were being scooped and measured in front of me, and as I stepped down to go further into the shop, a startling smell of cartons and stored food greeted me. I headed to the nearest section which offered various candies, such as chocolate coins and White Rabbit. This was highly different from the other section of Bee Tin which consisted of packs of dried mushrooms and fruits, bundles of spices, and plastic bags of white and black fungus among others.

We continued our Ongpin walk from Bee Tin, noticing multiple stores selling lanterns, and statues of gods or animals for luck. Then we found and went inside a boutique with lucky charms of their own, because clothes’ shopping gives a feeling that it is an adventure in itself. There were plenty of designer clothes with designs that were either simple garments, or borderline avant-garde. Though shopping and trying out clothes is fun, the price like in this case is often unkind, and so we left empty-handed.

From the boutique, we noticed Chinese drug stores on the other side of the street. We decided to visit one next since we were fascinated by their names and by what they could offer. We went to the “Hong Kong Chinese Drug House.” Entering it gave me a new sight to behold -- bones of dead, flying lizards, horns, and shells among others were arrayed inside their glass drawers. Herbs I am not familiar with were being crushed and given to customers. I also noticed an encased golden herb cutter, which was used in 1938; that was also the year this drug house was established according to one of the counters. Not only did this place pass through approximately eight decades, but it also passed on as a business generation to generation within their family. A few steps from the HK Drug House, on the other street, was another medicinal store called the “Friendship Drug Store” which we stopped at for a bit.

Returning to the lane of the HK Drug House, we then passed by three elderlies seemingly managing the publication “New Southern Press.” Then we continued our walk to Salazar, a Chinese delicacy shop established in 1947, to buy each of our parents’ pasalubong such as hopias for Php 44 per 5 pieces, and almond gulaman for Php 40 each.

Afterwards, we went to a store that was filled with magic gourds and bracelets that claim to heal your illnesses, or to increase your wealth. This store even had a wishing bowl with instructions wherein you follow the chant, drop some coins, make a wish, close your eyes while you get a crystal. Each crystal has a color that represents what you have gained; for instance, if it is yellow then it says you would have money and happiness. After each of us tried the wishing well, we left the store and headed to a nearby eatery. This was one of those restaurants that lets the audience see how they prepare and cook their meals. That is why I was able to witness the steaming of their siomai and siopao, and how they roll out and cook their noodles. Tita treated us with a siopao each, and then we decided to walk to our friend’s home; this signaled the end of our Ongpin trip.

But it did not mark the end of my Ongpin adventure. Throughout our walk, Ongpin seemed to place me in another timeline, as if I was simply in ancient Chinatown. It was manifested in the red lanterns, the golden charms and statues, even in the sight and smell of dried fungus and fruit. But I could not help but notice how there were several contradictions or at least, contrasts, from the timeline Ongpin revealed to me. And as we retraced some of our steps, this revelation became more founded.

When I looked upon our last stop, the authentic siopao and noodle shop, it dawned on me that it was surrounded by new buildings instead of traditional shops. It was squeezed between stores of lighting fixtures and bathroom furniture; and a new high-rise building is being constructed in front of it. All of which did not fit the whole atmosphere of Chinatown. Going further to the store filled with sickness-preventing charms and chants, it was baffling to see large bottles of western medicines atop the shelf of the wishing well. Witnessing pills such as Garlic Oil and Uric Acid Control displayed beside golden dog and horse statues made me rethink about how much the owners trust their own statues and lucky bracelets.

Walking back Ongpin, I also found myself in the “Friendship Drug Store,” just a few meters from the Hong Kong Drug House. Their similar name and proximity however, did not equate to a similarity in their products. Where the latter sold dried up animal parts and herbs, the former presented Paracetamol and Neozep products. When I asked one of their counters why they sold western medicine unlike the other stores, she merely answered “Eh para kagaya ng Mercury.” From there it seemed that not only are they retailers of Mercury Drug Store, but also an intentionally close namesake.

The boutique along the way was revisited by my thoughts. In the midst of its glamorous clothes were lucky charms in forms of baskets filled with coins, and a tower of rolled up money. The sight of these in Chinatown did not surprise me; rather, it was the Sto. Niño juxtaposed by the charms. It held great contrast in the beliefs concerning such objects.  

A bit further down the Ongpin lane and I return to Bee Tin, a place which I hold with eager curiosity. How it mingled its variety of traditional spices, herbs, and mushrooms, with several Western brands such as Fritolay and Heinz. A short stroll further back would lead me to the locally loved Eng Bee Tin. This would immediately remind me of the air-conditioned building with sliding glass doors and escalators. How did this initially traditional and authentic business get to become something so physically western? It was not a degradation, but it seemed unfit among the local favorites and sites of Ongpin.  

Having my mind along that area compelled me to point out that in the midst of this highly traditional Chinese enclave, lies in contrast two distinctly Catholic infrastructures -- a church building and a school that shares the same faith. The Binondo Church and the Crusader’s Academy led me to think about how the religious beliefs and practices of the people there go together.

Nearing the end of my retracing, I am back in the small grocery we first entered. The first official Ongpin stop to which I owe the credit of making me notice the blatant contrast of the place I am in. Along the display of drinks were several sodas of Chinese brands; but I recognized a few cans of Coca-Cola which had both its Chinese and English names etched. It was a minute observation, but it struck a chord on how westernization starts, and sticks, with the little things.

Witnessing this traditionally Filipino-Chinese enclave get seeped in by the Western culture was surely fascinating. But it made me rethink if Ongpin’s authentic culture could still be preserved, or would it continuously intersperse with, or even shift to others.

Bidding goodbye to Ongpin, I returned to the vivid Carvajal which was a place of contrast in itself. Old Chinatown hole-in-the-wall eateries and lines of pickled fruits were juxtaposed with luminescent optical shops and drug stores. Then finally, I’m back in the entrance of the flocked and brightly-colored street; where facades of western infrastructures block the blurs of color that is Ongpin. Whether as a form of protecting the magic behind its walls, or as a form of subtly seizing it. Gallery: https://cnfhumss12a.tumblr.com/tagged/Dana

#english #Dana

[waltangina]

A lot of El Fili characters + Trese AU + Philippine mythology

It’s bilingual, shifting from Filipino to English. It’s incomplete, but I’m working on it! 

#el nolibusterismo #tropang nerds #El Filibusterismo #Trese