Hillsong - Healer - With Subtitles/Lyrics - HD Version

Five Loaves and Two Fishes - Corrinne May (Illustrated)

Valediction sa hill crest

Valediction sa hill crest

Valediction sa hill crest

Pagkacollect ng Railway Express sa aking things
(Deretso na iyon sa barko while I take the plane.)
Inakyat kong muli ang N-311, at dahil dead of winter,
Nakatopcoat at galoshes akong
Nagright-turn sa N wing ng mahabang dilim
(Tunnel yatang aabot hanggang Tundo.)
Kinapa ko ang switch sa hall.
Sa isang pitik, nagshrink ang imaginary tunnel,
Nagparang ataol.

Or catacomb.
Strangely absolute ang impression
Ng hilera ng mga pintong nagpuprusisyon:
Individual identification, parang mummy cases,
De-nameplate, de-numero, de-hometown address.
Antiseptic ang atmosphere, streamlined yet.
Kung hindi catacomb, at least
E filing cabinet.

Filing, hindi naman deaths, ha.
Remembrances, oo. Yung medyo malapot
Dahil alam mo na, I’m quitting the place
After two and a half years.
After two and a half years,
Di man nagkatiyempong mag-ugat, ika nga,
Siyempre’y nagging attached, parang morning glory’ng
Mahirap mapaknit sa alambreng trellis.

At pagkabukas ko sa kuwarto,
Hubo’t hubad na ang mattresses,
Wala nang kutson sa easy chair,
Mga drawer ng bureau’y nakanganga,
Sabay-sabay nag-ooration,
Nagkahiyaan, nabara.

Of course, tuloy ang radiator sa paggaralgal:
Nasa New York na si Bob and the two Allans,
Yung mga quarterbacks across the hall
Pihadong panay ang display sa Des Moines.
Don ang Cosntance aren’t coming back at all.
Gusto ko nang magpaalam–
to whom?
The drapes? The washbowl? Sa double-decker
Na pinaikot-ikot naming ni Kandaswamy
To create space, hopeless, talagang impossible.
Of course, tuloy ang radiator sa paglagutok.
(And the stone silence,
nakakaiyak kung sumagot.)

Bueno, let’s get it over with.
It’s a long walk to the depot.
Tama na ang sophistication-sophistication.

Sa steep incline, pababa sa highway
Where all things level, sabi nga,
There’s a flurry, ang gentle-gentle.
Pagwhoosh-whoosh ng paa ko,
The snow melts right under:

Nagtutubig parang asukal,
Humuhulas,
nagsesentimental.

-Rolando Tinio

MORNING IN NAGREBCAN

MORNING IN NAGREBCAN

MORNING IN NAGREBCAN
It was sunrise at Nagrebcan. The fine, bluish mist, low over the tobacco fields, was lifting and thinning moment by moment. A ragged strip of mist, pulled away by the morning breeze, had caught on the clumps of bamboo along the banks of the stream that flowed to one side of the barrio. Before long the sun would top the Katayaghan hills, but as yet no people were around. In the grey shadow of the hills, the barrio was gradually awaking. Roosters crowed and strutted on the ground while hens hesitated on theri perches among the branches of the camanchile trees. Stray goats nibbled the weeds on the sides of the road, and the bull carabaos tugged restively against their stakes.
In the early mornig the puppies lay curled up together between their mother’s paws under the ladder of the house. Four puupies were all white like the mother. They had pink noses and pink eyelids and pink mouths. The skin between their toes and on the inside of their large, limp ears was pink. They had short sleek hair, for the mother licked them often. The fifth puppy lay across the mother’s neck. On the puppy’s back was a big black spot like a saddle. The tips of its ears were black and so was a pitch of hair on its chest.
The opening of the sawali door, its uneven bottom dragging noisily against the bamboo flooring, aroused the mother dog and she got up and stretched and shook herself, scattering dust and loose white hair. A rank doggy smell rose in the cool morning air. She took a quick leap forward, clearing the puppies which had begun to whine about her, wanting to suckle. She trotted away and disappeared beyond the house of a neighbor.
The puppies sat back on their rumps, whining. After a little while they lay down and went back to sleep, the black-spotted puppy on top.
Baldo stood at the treshold and rubbed his sleep-heavy eyes with his fists. He must have been about ten yeras old, small for his age, but compactly built, and he stood straight on his bony legs. He wore one of his father’s discarded cotton undershirts.
The boy descended the ladder, leaning heavily on the single bamboo railing that served as a banister. He sat on the lowest step of the ladder, yawning and rubbing his eyes one after the other. Bending down, he reached between his legs for the blak-spotted puppy. He held it to him, stroking its soft, warm body. He blew on its nose. The puppy stuck out a small red tongue,lapping the air. It whined eagerly. Baldo laughed—a low gurgle.
He rubbed his face against that of the dog. He said softly. “My puppy. My puppy.” He said it many times. The puppy licked his ears, his cheeks. When it licked his mouth. Baldo straightened up, raised the puppy on a level with his eyes. “You are a foolish puppy” he said, laughing. “Foolish, foolish, foolish,” he said, rolling the puppy on his lap so that it howled.
The four other puppies awoke and came scrambling about Baldo’s legs. He put down the black-spotted puppy and ran to the narrow foot bridge of women split-bamboo spanning the roadside ditch. When it rained, water from the roadway flowed under the makeshift bridge, but it had not rained for a long time and the ground was dry and sandy. Baldo sat on the bridge, digging his bare feet into the sand, feeling the cool particles escaping between his toes. He whistled, a toneless whistle with a curious trilling to it produced by placing the tongue against the lower teeth and then curving it up and down. The whistle excited the puppies, they ran to the boy as fast theri unsteady legs could carry them, barking choppy little barks.
It was sunrise at Nagrebcan. The fine, bluish mist, low over the tobacco fields, was lifting and thinning moment by moment. A ragged strip of mist, pulled away by the morning breeze, had caught on the clumps of bamboo along the banks of the stream that flowed to one side of the barrio. Before long the sun would top the Katayaghan hills, but as yet no people were around. In the grey shadow of the hills, the barrio was gradually awaking. Roosters crowed and strutted on the ground while hens hesitated on theri perches among the branches of the camanchile trees. Stray goats nibbled the weeds on the sides of the road, and the bull carabaos tugged restively against their stakes.
In the early mornig the puppies lay curled up together between their mother’s paws under the ladder of the house. Four puupies were all white like the mother. They had pink noses and pink eyelids and pink mouths. The skin between their toes and on the inside of their large, limp ears was pink. They had short sleek hair, for the mother licked them often. The fifth puppy lay across the mother’s neck. On the puppy’s back was a big black spot like a saddle. The tips of its ears were black and so was a pitch of hair on its chest.
The opening of the sawali door, its uneven bottom dragging noisily against the bamboo flooring, aroused the mother dog and she got up and stretched and shook herself, scattering dust and loose white hair. A rank doggy smell rose in the cool morning air. She took a quick leap forward, clearing the puppies which had begun to whine about her, wanting to suckle. She trotted away and disappeared beyond the house of a neighbor.
The puppies sat back on their rumps, whining. After a little while they lay down and went back to sleep, the black-spotted puppy on top.
Baldo stood at the treshold and rubbed his sleep-heavy eyes with his fists. He must have been about ten yeras old, small for his age, but compactly built, and he stood straight on his bony legs. He wore one of his father’s discarded cotton undershirts.
The boy descended the ladder, leaning heavily on the single bamboo railing that served as a banister. He sat on the lowest step of the ladder, yawning and rubbing his eyes one after the other. Bending down, he reached between his legs for the blak-spotted puppy. He held it to him, stroking its soft, warm body. He blew on its nose. The puppy stuck out a small red tongue,lapping the air. It whined eagerly. Baldo laughed—a low gurgle.
He rubbed his face against that of the dog. He said softly. “My puppy. My puppy.” He said it many times. The puppy licked his ears, his cheeks. When it licked his mouth. Baldo straightened up, raised the puppy on a level with his eyes. “You are a foolish puppy” he said, laughing. “Foolish, foolish, foolish,” he said, rolling the puppy on his lap so that it howled.
The four other puppies awoke and came scrambling about Baldo’s legs. He put down the black-spotted puppy and ran to the narrow foot bridge of women split-bamboo spanning the roadside ditch. When it rained, water from the roadway flowed under the makeshift bridge, but it had not rained for a long time and the ground was dry and sandy. Baldo sat on the bridge, digging his bare feet into the sand, feeling the cool particles escaping between his toes. He whistled, a toneless whistle with a curious trilling to it produced by placing the tongue against the lower teeth and then curving it up and down. The whistle excited the puppies, they ran to the boy as fast theri unsteady legs could carry them, barking choppy little barks.

Gahasa by Joi Barrios

Gahasa by Joi Barrios

Gahasa by Joi Barrios 

Ihanda ang mga ebidensya 

Eksibit blg.1: baril 

o kahit na anong sandata 

patunay ng pagbabanta 

Eksibit blg.2: panti na may mantsa 

patunay ng kabirhenan ng dalaga 

Eksibit blg.3: sertipikasyon ng doktor 

Patunay na-- 

a: sapilitan 

b: lubusan 

ang pagpasok ng ari 

Eksibit blg.4: sertipikasyon ng pagkatao 

patunay ng hindi pagiging puta 

Ipasok sa hukuman ang nasasakdal 

Iharap sa hukuman ang nagsasakdal 

Simulan ang panggagahasa

Maynila 1898

Maynila 1898

 

Labanan sa Look ng Maynila (1898)
Ang Labanan sa Look ng Maynila ay pagsiklab ng digmaan sa pagitan ng Estados Unidos at Espanya ay nag-udyok sa Estados Unidos na sakupin ang Pilipinas. Ipinakita ng mga Amerikano ang kapangyarihang militar nito nang lusubin ng kanilang hukbong pandagat ang hukbo ng mga Español sa Look ng Maynila noong Mayo 1, 1898. Walang nagawa ang mga Espanyol kundi isuko ang Pilipinas sa mga Amerikano. Upang hindi malagay sa kahihiyan ang Spain, nakipagkasundo ang Estados Unidos na magkaroon ng kunwa-kunwariang labanan sa Maynila. Isinagawa ito noong Agosto 13, 1898. Inakala ng hukbo ni Aguinaldo na magkakaroon ng tunay na paglusob ang mga Amerikano laban sa mga Español kaya nag-alok siya ng tulong militar ngunit hindi ito tinanggap ng mga Amerikano. Sa pamamagitan ng kunwa-kunwariang labanang ito, ipinakita ng mga Espanyol na lumaban ang mga hukbo nito sa abot ng kanilang makakaya at hanggang sa huling sandali.

Pepe Gallaga: another literary work

Pepe Gallaga: another literary work

Writers have long been fascinated with the centuries of effort required to devise reliable clocks, and the attendant imposition of notions like "standard" time and the time-regulated workday. The recent intellectual fashion has been to depict the development of accurate timepieces not as a convenience, but as part of the plot to divest people of their mystic connection to the pretechnological rhythms of nature by substituting a regimented clock-consciousness that served the interests of the lords of commerce. Probably the best expression of this view is Ronald Wright's beguiling 1991 book Time Among the Maya, which implausibly, if captivatingly, depicts ancient Mayan culture as more human than Ours because the Mayans believed time was not linear (tick...tick...tick) but in some vague fashion "circular" (tick ... retick ... tick). In postmodern theory, the progression from timekeeping based on sundials to giant pendulums to water engines with thousands of pieces to cheap digital devices with no moving parts is one long horror story. [Not that any intellectual would want to be late to a symposium to enounce this view.]
Yet as science writer Dava Sobel points out in her engaging and delightful new book Longitude, the big breakthroughs in clock construction came in pursuit of seafaring, not social regulation. In the 15th century, when nations began to sail the world's oceans seriously, the greatest obstacle to navigation was the inability to determine longitude (position east-west) at sea. Latitude (position north-south) could be read by observing the apparent motion of the sun. But this technique did not apply to longitude, and as a result the fleets of Europe spent inordinate time and incurred constant loss of life essentially wandering the high seas, trying to figure out where they were.
Minds as famed as Galileo, Newton, and Halley applied themselves to the problem and believed its solution lay in observation of the moon or the satellites of Jupiter. Sobel's tale concerns John Harrison, an obscure English watchmaker from a merchant-class background who believed clocks held the answer. Harrison had to battle the budding English science establishment, which wanted the solution to be based on the glamorous, aristocratic pursuit of astronomy, not the tinkerings of a mere craftsman. Sobel's story is rich with fascinating details both of scientific investigation and the bureaucratic politics of 18th-century England. Longitude is well-timed too, as the new Umberto Eco novel The Island of the Day Before features a protagonist marooned on an 18th-century vessel stocked with bizarre longitude instruments.

Frank Rivera presents .Ambon, Ulan, Baha

Frank Rivera presents .Ambon, Ulan, Baha

“AMBON ULAN BAHA” is a two-hour ethno-rock modern zarzuela that showcases twenty original musical scores inspired by kundiman, balitaw, ethnic and modern musical trends with choreography based on ethnic, folk/traditional and creative dances.

An original production of the celebrated Mindanao State University –Sining Kambayoka ( founded by Theater Artist Frank G. Rivera ) in 1978, “ Ambom…” was remounted by Teatro Metropolitano through NCCA Grant in 1992, also at the helm of Rivera.

This long –time running musicale which predicted the Ormoc tragedy in 1991, highlights environmental concerns and focuses on the preservation of Philippine forests. It also deals heavily on Filipino values, the importance of education, religion, family and youth. It also carries relevant commentaries on socio-economic and political issues of the times. It aims to educate its audiences especially the youth about issues of urgent and national importance.

To – date, ARNAI’s “ Ambon, Ulan, Baha” has been sponsored by several organizations and institutions and has seen more than 500 performances.

The zarzuela’s success in depicting the Filipino lives after almost three decades after it was first staged, proved its timelessness and its relevance to the evolutions of Philippine Theater.

Its music, inspired by folk/traditional songs like balitaw and kundiman, formerly considered provincial “ bakya “ , and unsophisticated as compared to “mainstream” of legitimate theater, proved to be good venue for improvisation and fusion, thus exploring and experimenting for new forms.

Its dances: a fusion of folk/traditional, modern and creative movements showcase creative interpretation of the play’s songs and scene.

The Boy who became a stone..

The Boy who became a stone..

One day a little boy named Elonen sat out in the yard making a bird snare, and as he worked, a little bird called to him: "Tik-tik-lo-den" (come and catch me).
"I am making a snare for you," said the boy; but the bird continued to call until the snare was finished.
Then Elonen ran and threw the snare over the bird and caught it, and he put it in a jar in his house while he went with the other boys to swim.
While he was away, his grandmother grew hungry, so she ate the bird, and when Elonen returned and found that his bird was gone, he was so sad that he wished he might go away and never come back. He went out into the forest and walked a long distance, until finally he came to a big stone and said: "Stone, open your mouth and eat me." And the stone opened its mouth and swallowed the boy.
When his grandmother missed the boy, she went out and looked everywhere, hoping to find him. Finally she passed near the stone and it cried out, "Here he is." Then the old woman tried to open the stone but she could not, so she called the horses to come and help her. They came and kicked it, but it would not break. Then she called the carabao and they hooked it, but they only broke their horns. She called the chickens, which pecked it, and the thunder, which shook it, but nothing could open it, and she had to go home without the boy.

Morning in Nagrebcan by Manuel Arguella

Morning in Nagrebcan by Manuel Arguella

It was sunrise at Nagrebcan. The fine, bluish mist, low over the tobacco fields, was lifting and thinning moment by moment. A ragged strip of mist, pulled away by the morning breeze, had caught on the clumps of bamboo along the banks of the stream that flowed to one side of the barrio. Before long the sun would top the Katayaghan hills, but as yet no people were around. In the grey shadow of the hills, the barrio was gradually awaking. Roosters crowed and strutted on the ground while hens hesitated on theri perches among the branches of the camanchile trees. Stray goats nibbled the weeds on the sides of the road, and the bull carabaos tugged restively against their stakes.

In the early mornig the puppies lay curled up together between their mother’s paws under the ladder of the house. Four puupies were all white like the mother. They had pink noses and pink eyelids and pink mouths. The skin between their toes and on the inside of their large, limp ears was pink. They had short sleek hair, for the mother licked them often. The fifth puppy lay across the mother’s neck. On the puppy’s back was a big black spot like a saddle. The tips of its ears were black and so was a pitch of hair on its chest.

The opening of the sawali door, its uneven bottom dragging noisily against the bamboo flooring, aroused the mother dog and she got up and stretched and shook herself, scattering dust and loose white hair. A rank doggy smell rose in the cool morning air. She took a quick leap forward, clearing the puppies which had begun to whine about her, wanting to suckle. She trotted away and disappeared beyond the house of a neighbor.

The puppies sat back on their rumps, whining. After a little while they lay down and went back to sleep, the black-spotted puppy on top.

Baldo stood at the treshold and rubbed his sleep-heavy eyes with his fists. He must have been about ten yeras old, small for his age, but compactly built, and he stood straight on his bony legs. He wore one of his father’s discarded cotton undershirts.

The boy descended the ladder, leaning heavily on the single bamboo railing that served as a banister. He sat on the lowest step of the ladder, yawning and rubbing his eyes one after the other. Bending down, he reached between his legs for the blak-spotted puppy. He held it to him, stroking its soft, warm body. He blew on its nose. The puppy stuck out a small red tongue,lapping the air. It whined eagerly. Baldo laughed—a low gurgle.

He rubbed his face against that of the dog. He said softly. “My puppy. My puppy.” He said it many times. The puppy licked his ears, his cheeks. When it licked his mouth. Baldo straightened up, raised the puppy on a level with his eyes. “You are a foolish puppy” he said, laughing. “Foolish, foolish, foolish,” he said, rolling the puppy on his lap so that it howled.

The four other puppies awoke and came scrambling about Baldo’s legs. He put down the black-spotted puppy and ran to the narrow foot bridge of women split-bamboo spanning the roadside ditch. When it rained, water from the roadway flowed under the makeshift bridge, but it had not rained for a long time and the ground was dry and sandy. Baldo sat on the bridge, digging his bare feet into the sand, feeling the cool particles escaping between his toes. He whistled, a toneless whistle with a curious trilling to it produced by placing the tongue against the lower teeth and then curving it up and down. The whistle excited the puppies, they ran to the boy as fast theri unsteady legs could carry them, barking choppy little barks.

Nana Elang, the mother of Baldo, now appeared in the doorway with a handful of rice straw. She called Baldo and told him to get some live coals from their neighbor.

“Get two or three burning coals and bring them home on the rice straw”, she said. “Do not wave the straw in the wind. If you do, it will catch fire before you get home.” She watched him run toward KA Ikao’s house where already smoke was rising through the nipa roofing into the misty air. One or two empty carromatas dawn by sleepy litte ponies rattled along the pebbly street, bound for the railroad station.

Nana Elang must have been thirty, but she looked at least fifty. She was a thin, wispy woman, with bony hands and arms. She had scanty,straight, graying hair which she gathered behind her head in a small,tight knot. It made her look thinner than ever. Her cheekbones seemed on the point of bursting through the dry, yellowish brown skin. Above a gray-checkered skirt, she wore a single wide-sleeved cotton blouse that ended below her flat breats. Sometimes when she stooped or reached up for anything,a glimpse of the flesh at her waist showed in a dark, purplish band where the skirt had been tired so often.

She turned from the doorway into the small, untidy kitchen. She washed the rice and put it in a pot which she placed on the cold stove. She made ready the other pot for the mess of vegetables and dried fish. When Baldo came back with the rice straw and burning coals, she told him to start a fire in the stove, while she cut the ampalaya tendrils and sliced the eggplants. Ehen the fire finally flamed inside the clay stove, Baldo’s eyes were smarting from the smoke of the rice straw.

‘There is the fire, mother.” He said. “Is father awake already?”

Nana Elang shook her head. Baldo went out slowly on tiptoe.

There were already many people going out. Several fishermen wearing coffee-colored shirts and trousers and hats made from the shell of white pumpkins passed by. The smoke of their home made cigars floated behind them like shreds of the morning mist. Women carrying big empty baskets were going to the tobacco fields. They walked fast, talking among themselves. Each woman had gathered the loose folds of her skirt in front, and twisting the end two or three times, passed it between her legs, pulling it up at the back, and slipping it inside her waist. The women seemed to be wearing trousers that reached only to their knees and flared at the thighs.

Day was quickly growing older. The east flamed redly and Baldo called to his mother, “Look, mother, God also cooks his breakfast.”

He want to play with the puppies. He sat on the bridges and took them on his lap one by one. He searched for fleas which he crushed between his thumbnails. You, puppy.” He murmured soflty. When he held the balck-spotted puppy he said, “My puppy. My puppy.”

Ambo, his seven year old brother, awoke crying. Nana Elang could be heard patiently calling him to the kitchen. Later he came down with a ripe banana in his hand. Ambo was almost as tall as his older brother and he had stout husky legs. Baldo often called him the son of of an Igorot. The home-made cotton shirt he wore was variously stained. The pocket was torn, and it flopped down. He ate the banana without peeling it.

..Maynila, Pagkagat ng Dilim...

..Maynila, Pagkagat ng Dilim...

Bakit itinuturing na isa sa mga pinagpipitagang pelikula ni Direktor Ishmael Bernal ang Manila By Night (Regal Films, Inc.)? Ating balikan ang pelikulang umani ng papuri mula sa mga kritiko noong taong 1980. Kilala si Bernal sa paggawa ng mga pelikulang puno ng iba't-ibang pangunahing tauhan. Tahasang isinaad sa pelikula ang suliraning pang lipunan sa kalakhang Maynila. Mula sa isang simpleng tinedyer (William Martinez) na anak ng dating putang nagbagong buhay (Charito Solis) hanggang sa isang tomboy na drug pusher (Cherie Gil), may bulag na masahista (Rio Locsin), nariyan din ang taxi driver (Orestes Ojeda), ang kabit niyang nagkukunwaring nars (Alma Moreno), mayroon ring probinsyanang waitress (Lorna Tolentino) at ang baklang couturier (Bernardo Bernardo) na bumubuhay sa kanyang pamilya. Iba't-ibang buhay ng mga taong pinagbuklod ng isang malaking siyudad. Tinalakay ng pelikula ang problema sa droga, prostitusyon, relihiyon at kahirapan na magpasahanggang ngayon ay mga suliraning hinahanapan pa rin natin ng solusyon. Maraming nagkumpara ng Manila By Night sa obra ni Direktor Lino Brocka ang Maynila Sa Mga Kuko Ng Liwanag. Kung saan nagkulang ang pelikula ni Brocka ito naman ang landas na tinahak ng obra ni Bernal. Hindi lamang nito ipinakita ang lumalalang situwasyon ng kahirapan sa Maynila sa halip ay hinarap nito ang ibang mga isyung hindi tinalakay sa pelikula ni Brocka. Sa aspetong ito mababanaag ang malaking pagkakaiba ng dalawang pelikula. Kung panonoorin sa ngayon ang Manila By Night masasabing may kalumaan na ang tema nito, di tulad ng unang ipinalabas ang pelikula sa mga sinehan. Matatandaang kinatay ito ng Board Of Censors sa utos na rin ng Unang Ginang na si Imelda Marcos dahil taliwas ito sa imahe ng Maynilang ipinagkakapuri ng administrasyong Marcos. Halos lahat ng linya sa pelikulang sinabi ang katagang Maynila ay pinutol. Pati na rin ang mga maseselang eksena sa pelikula ay iniklian o kaya ay tuluyang ginunting ng opresibong sensura. Hinarang din ng gobyerno ang dapat sanang pagpapalabas ng Manila By Night sa Berlin Film Festival.

Makaraan ang dalawampu't anim na taon mula ng ipalabas ang Manila By Night ay masasabing halos walang binago ang panahon kung susuriin natin ang mga suliraning pang lipunan ng Pilipinas. Nariyan pa rin ang problema sa mga ipinagbabawal na gamot, ang prostitusyon at kahirapan. Sino ba talaga ang dapat sisishin sa lahat ng mga ito? Ang pamahalaan ba? Tayong mga mamayan? Hanggang ngayon wala pang sagot sa mga tanong na ito. Nararapat nating pasalamatan ang mga direktor na tulad ni Ishmael Bernal na sa pamamagitan ng paggawa ng mga obrang tulad ng Manila By Night, isang pelikulang nagmulat sa ating kaisipan sa suliranin ng bansang Pilipinas.

Bulag , Pipi at Bingi

Bulag , Pipi at Bingi

sa bawat yugto ng buhay, may wasto at may mali
Sa bawat nilalang ay may bulag, may pipi at may bingi

Madilim ang 'yong paligid, hating-gabing walang hanggan
Anyo at kulay ng mundo sa 'yo'y pinagkaitan
H'wag mabahala, kaibigan, isinilang ka mang ganyan
Isang bulag sa kamunduhan, ligtas ka sa kasalanan

'Di nalalayo sa 'yo ang tunay na mundo
Marami sa ami'y nabubuhay nang tulad mo
'Di makita, 'di madinig, minsa'y nauutal
Patungo sa hinahangad na buhay na banal

ibigin mo mang umawit, hindi mo makuhang gawin
Sigaw ng puso't damdamin wala sa 'yong pumapansin
Sampung daliri, kaibigan, d'yan ka nila pakikinggan
Pipi ka man nang isinilang, dakila ka sa sinuman

Ano sa 'yo ang musika, sa 'yo ba'y mahalaga
Matahimik mong paligid, awitan ay 'di madinig
Mapalad ka, o kaibigan, napakaingay ng mundo
Sa isang binging katulad mo, walang daing, walang gulo

'Di makita, 'di madinig, minsa'y nauutal
Patungo sa hinahangad na buhay na banal

The Way We live by Danton Remoto .

The Way We live by Danton Remoto .

The Way We live by Danton Remoto .

 

Bang the drum, baby,

let us roll tremors

of sound to wake

the Lord God of motion

sleeping under the skin.

Of choosing what to wear

this Saturday night:

cool, sexy black

or simply fuck-me red?

Should I gel my hair

or let it fall like water?

Of sitting on the sad

and beautiful face of James Dean

while listening to reggae

at Blue Café.

Of chatting with friends

at The Library

while Allan Shimmers

with his sequins and wit.

Of listening to stories at Cine Café:

the first eye-contact,

conversations glowing

in the night,

lips and fingers touching,

groping for each other’s loneliness.

Of driving home

under the flyover’s dark wings

(a blackout once again plunges

the city to darkness)

Summer’s thunder

lighting up the sky

oh heat thick

as desire

Then suddenly the rain:

finally falling,

falling everywhere:

to let go, then,

to let go and to move on,

this is the way it seems

to be. Bang the drum, baby.

.Regla Sa Buwan Ng Hunyo ni Ruth E. Mabanglo.

.Regla Sa Buwan Ng Hunyo ni Ruth E. Mabanglo.

.Regla Sa Buwan Ng Hunyo ni Ruth E. Mabanglo.

Pagbigyan ang pwersang ito:
lakas na umaahon sa sinapupunan,
init na sumusubo, dumadaloy, umiigkas,
kusang lumalaya't lumalayaw
kahit na sinusupil,
dumadanak at bumabakas
hatdan man ng hilahil.

Pagbigyan ang pwersang ito--
ito:
kabuuan ng lahat kong pagkatao,
kabuuan ng kaibhan ko't pagkakatulad
sa lahat ng tao,
kabuuan ng naimpok kong alaala't
ginagastang kasalukuyan
kabuuan ng kinabukasang isinasanla
sa kalendaryo.

Pagbigyan ang pwersang ito--
hayaang magmapa sa talaan
ng utang ko't pautang,
hayaang maglimbag ng sagutin ko't
pananagutan:
sa sarili, sa angkan at sa lipunan:
hayaang magbadya
ng karaingan ko't pangangailangan,
ngayon,
habang nilalason ng maraming kabaro
ang itlog at semilya
at binubulok naman ng iba
sa sansupot na goma
ang bunga ng pag-ibig at pagtatalik.
Ay, anong kilusan, martsa't litanya
upang mapuksa ang sanggol
nang buong laya?
Ilang liblib na klinika, basurahan at
kubeta
ang pag-iimbakan ng kapusuka't sala?
Kahit ang ampunang nagbobodega
ng pananagutang itinatwa
may sumbat ng kalikasang
di matatakasan.

Pagbigyan ang pwersang ito--
ismiran ang humuhugot na kirot,
batahin ang hagupit
habang tinatanggap, tinatanggap
ang katuturang
pumapaso sa pagtigmak.

Ito ang pagtagay sa Hunyo
sa kalis ko--
nobya,
asawa,
kerida,
o kahit ng bayarang tagapagpaligaya:
ito ang testamento, ang kontrata, ang
sumpa:
ito ang saligan,
ang kahulugan at kahungkagan
ng buhay at pag-iral.
Pagbigyan,
ito,
ang agos ng madlang pagsulong--
hininga ng pag-asa
ang namimilapil dito.

Ang kagila-gilalas na pakikipagsapalaran ni Juan Dela Cruz by Dan Capule

Ang kagila-gilalas na pakikipagsapalaran ni Juan Dela Cruz by Dan Capule

Ang kagila-gilalas na pakikipagsapalaran ni juan dela cruz 
by dan capule



1.
isang gabing madilim
puno ng pangambang sumakay sa bus
si Juan dela Cruz
pusturang-pustura
kahit walang laman ang bulsa
BAWAL MANIGARILYO BOSS
sabi ng kondoktora
at minura
si Juan dela Cruz

2.
pusturang-pustura
kahit walang laman ang bulsa
nilakad ni Juan dela Cruz
ang buong Avenida
BAWAL PUMARADA
sabi ng bakod
kaya napagod
si Juan dela Cruz

3.
nang abutin ng gutom
si Juan dela Cruz
tumapat sa Ma Mon Luk
inamoy and mami, siopao, lumpia, pansit
hanggang mabusog
nagdaan sa Sine Dalisay
tinitigan ang litrato ni Chichay
PASSES NOT HONORED TODAY
sabi ng takilyera
tawa ng tawa

4.
dumalaw sa kongreso
si Juan dela Cruz
MAG-INGAT SA ASO
sabi ng deputado
nagtuloy sa Malakanyang
wala namang dalang kamanyang
KEEP OF THE GRASS
sabi ng hardinero
sabi ng sundalo
kay Juan dela Cruz

5.
nang dapuan ng...
si Juan dela Cruz
namasyal sa Culi-Culi
parang espadang bali-bali
YOUR CREDIT IS GOOD BUT WE NEED CASH
sabi ng bugaw
habang humihigop ng sabaw

6.
pusturang-pustura
kahit walang laman ang bulsa
naglibot sa Dewey
si Juan dela Cruz
PAN-AM BAYSIDE SAVOY THEY SATISFY
sabi ng neon
humikab ang dagat na parang leon
masarap sanang tumalon
BAWAL MAGTAPON NG BASURA
sabi ng alon

7.

bumalik sa quiapo
si Juan dela Cruz
at medyo kinabahan
pumasok sa simbahan
IN GOD WE TRUST
sabi ng obispo
ALL OTHERS PAY CASH
ang wala ng malunok
si Juan dela Cruz
dala-dala'y gulok
gula-gulanit ang damit
wala pa ring laman and bulsa
umakyat sa Arayat
ang namayat na
si Juan dela Cruz
WANTED DEAD OR ALIVE
sabi ng PC
ang walanghiyang kabataan
kung bakit sinulsulan
ang isang tahimik na mamamayan
katulad ni Juan dela Cruz

New Yorker In Tondo by Marcelino Agana Jr.

New Yorker In Tondo by Marcelino Agana Jr.

New Yorker In Tondo by Marcelino Agana Jr.

Scene 1:

Mrs. M: Visitors, always visitors, nothing but visitors all day long. I'm beginning to feel like a society matron.

Mrs. M: Tony! I thought you were on the province.

Tony: Is that you aling Atang?

Mrs. M: of course. It's I, foolish boy. Why?

Tony: You don' look like Aling Atang.

Mrs. M: I had a hair cut. Think it's horrible?

Tony: Oh, no, no.. You look just wonderful. Aling Atang for a moment, I thought you were Kikay.

Mrs. M: Oh, you are so palikero as ever, Tony. But come in. Here, sit down. How is your mother?

Tony: Poor mother. She is homesick for Tondo. She wants to come back here at once.

Mrs. M: How long have you been away?

Tony: Only 3 months..

Mrs. M: Only 3 months!!! It's too long for a Tondo native to be away from Tondo. My poor kumara. She must be bored out there.

Tony: Well, you know, we engineers are always on call. But as soon as I finish the bridge in Bulacan, we'll be going here in Tondo.

Mrs. M: Yes, must bring her back as soon as possible. We miss her when we play mahjong..

Tony: That is what she misses most of all.

Mrs. M: I understand. Once a Tondo girl always a Tondo girl. I wonder if that's fit my Kikay because after a year in America , she says she's not homesick at all..

Tony: When did Kikay arrive Aling Atang?

Mrs. M: Last Monday.

Tony: I didn't know it 'till I read it in the newspaper.

Mrs. M: That girl only arrived last Monday and look what happened to me! She dragged me to the parlor. My hair was cut, eyebrows shaved, nails manicured. And when I'm going to the market, I used lipstick! All my kumara are laughing. People think I'm a loose woman. Because of my age, but I can't do anything because it's hard to argue with Kikay. And she insists that I should look like an Americana ..

Tony: You look just wonderful, and where is she now?

Mrs. M: Who?

Tony: Kikay? Is she at home?

Mrs. M: She's still sleeping!

Tony: Still sleeping?!

Mrs. M: She says, in New York , people don't wake up until 12:00 noon.

Tony: It's only 10:00 now.

Mrs. M: Besides, she's busy. Since she came home. Welcome parties here and there. Visitors all day long. She's spinning like a top.

Tony: Well, will you tell her I called to welcome her. And kindly give her these flowers.

Mrs. M: But surely you're not going yet?

Tony: I did want to see Kikay. But if she doesn't get up at 12 noon

Mrs. M: Wait a minute. I'll go and wake her up.

Tony: Please don't bother Aling Atang. I can come back some other time.

Mrs. M: Wait right here. She'll simply be delighted to see her childhood friend. The flowers are beautiful, how expensive they must be.

Tony: Oh, they're nothing at all Aling Atang.

Mrs. M: Oh, Tony..

Tony: Yes Aling Atang?

Mrs. M: You mustn't call me "Aling Atang"

Tony: Why not?

Mrs. M: Kikay says that it's more civilized to call me Mrs. Mendoza.

Tony: Yes aling... I mean, Yes, Mrs. Mendoza..

Mrs. M: Wait a minute and I'll call Kikay.

Tony: Huh!!

Mrs. M: Oh! And Tony..

Tony: Yes, Aling.... I mean, Mrs. Mendoza?

Mrs. M: You must not call her Kikay.

Tony: And what shall I call her?

Mrs. M: You must call her Francesca..

Tony: Francisca?

Mrs. M: Not Francisca.. Fran-CES-ca..

Tony: But why Francesca?

Mrs. M: Because in New York , she says that's the way they pronounce he name, it sounds like "chi-chi" so Italian, be sure to call her Francesca and not Kikay.

Tony: Yes, Mrs. Mendoza .

Mrs. M: Now, wait right here while I call Francesca.... AIE DIOSMIO!!!

Tony: Never mind Mrs. Mendoza, I'll answer it.

Mrs. M: Just tell them to wait, Tony.

Scene 2:

Totoy: Tony!

Tony: Totoy!

Totoy: You old son of your father!

Tony: You big carabao!

Totoy: Mayroon ba tayo dyan?

Tony: You ask me that... and you look like a walking goldmine! How many depots have you been looting, huh!!??

Totoy: Hey hey!! More slowly there.. It is you the police are looking for.

Tony: Impossible! I'm a reformed character! Come in Totoy

Totoy: Okay Tony.

Tony: Good to see you old pal.. Here, have a smoke.

Totoy: I thought you were in the province, partner.

Tony: I am. I just came to say hello to Kikay.

Totoy: Tony. I've been hearing the most frightful things about that girl.

Tony: So have I.

Totoy: People say she has gone crazy.

Tony: No, she has only gone New York .

Totoy: What was she doing in New York anyway?

Tony: Oh, studying.

Totoy: Studying what?

Tony: Hair culture and Beauty Science. She got a diploma.

Totoy: Imagine that! Our dear old Kikay!

Tony: Pardon me, she's not Kikay anymore,.. She's Fran-CeS-ca..

Totoy: Fran-CeS-ca??

Tony: Our dear Kikay is now an American.

Totoy: Don't make me laugh! Why I knew that girl when she's still selling rice cakes.. Puto kayo dyan!! Bili na kayo ng puto mga suki!!

Tony: Remember when we pushed her into the canal?

Totoy: She chased us around the streets.

Tony: She was dripping with mud!

Totoy: Naku! How that girl could fight!

Scene 3:

Nena: Why, Totoy?!

Totoy: Nena, my own.

Nena: And Tony, too.. What's all this? A Canto Boy Reunion ?

Totoy: We have come to greet the Lady from New York .

Nena: So have I. Is she at home?

Tony: Aling Atang is trying to wake her up.

Nana: To wake her up?! Is she still sleeping??

Mrs. M: No, she's awake already. She's dressing. Good morning Nena and Totoy.

Mrs. M: Well, Totoy? Nena? Why are you staring me like that?

Nena: Is that you Aling Atang?

Totoy: Good God, it is Aling Atang!

Mrs. M: It's Kikay who prefers it.

Nena: How you used to pinch and pinch me Aling Atang, when I was a li'l girl.

Mrs. M: Because you were all naughty, especially you! Always sneaking into our backyard for mangoes

Totoy: Do you still have that mango tree?

Mrs. M: Yes. Come and help me carry something in the kitchen.

Nena: Aling Atang, don't you prepare anything for us. We're not visitors

Mrs. M: It's only orange juice. I was preparing some for Kikay.


Nena: Well. Tony.

Tony: You shouldn't have come today, Nena.

Nena: Oh, why not?

Tony: I haven't talked with Kikay yet.

Nena: Not yet! I thought you said it last night.

Tony: I lost my nerve.

Nena: Oh Tony, Tony!

Tony: Use your head. Nena it's not easy breaking off his engagement with Kikay
or with the girl for God sake!!

Nena: Are you in love with Kikay or with me?

Tony: Of course with you!! I'm engage with you.

Nena: Yes, and with Kikay. Too!

Tony: That was a year ago! Nena, you know how much I love you.

Nena: How could you ask me if you're still engage with Kikay!

Tony: This is what I get from being honest!

Nena: Honest? Making me fall for you when you're inlove and engaged with Kikay!

Tony: I thought I didn't belong to Kikay anymore. It's only a secret engagement anyway. I proposed to her before she left for America . But when she stopped answering my letters, I considered myself a freeman again.

Nena: And so you proposed to me..

Tony: Yes..

Nena: Then, you tell me to keep it a secret!

Tony: Because I found out that Kikay was coming back.

Nena: I'm tired of being secretly engaged to you!

Tony: Just give me a chance to explain to Kikay. Then we'll tell them.

Nena: Well, you better hurry. I'm getting impatient.

Tony: How can I talk to Kikay?

Nena: Why not?

Tony: Because you're here and also Totoy. I don't wanna jilt Kikay infront of everybody.

Nena: You want Totoy and me to clear out?

Tony: No.. just give me a chance to be alone with Kikay for a moment..

Nena: I'll take care of Totoy..

Tony: That's good..

Nena: Just leave it to me..

Scene 4:

Totoy: Puto kayo dyan.. Bili na kayo..

Mrs. M: Here comes Kikay, But she wants to call her Francesca.

Kikay: Oh hello darling people!! Nena my dear...... But how but you've become.. and Tony, my little pal... how are you? And Totoy... my raishing! You look goodness,, you look like a Tondo Super Production in Technicolor!! But sit-downmumsy!!!
everybody and let me look at you.. Oh

Mrs. M: What's the matter now?

Kikay: How many times I must tell you, never to serve fruit juices in water glasses?

Mrs. M: I couldn't find those tall glasses you brought home.

Kikay: Oh, poor li'l mumsy.. she is so clumsy noh? But never mind, don't break your heart about it. Here sit down.

Mrs. M: No, I must be going to the market.

Kikay: Oh, don't forget my celery. I can't live without it. I' like a rabbit, munch all day.

Mrs. M: Well, if you people will excuse me. Tony, remember me to your mother.

Kikay: And remember, a little bloom on the lips, a little bloom on the cheeks. Say mwah, mwah..

Mrs. M: Do I have to, Kikay?

Kikay: Again mumsy?

Mrs. M: Do I have to paint this old face of mine? Rancesca, what am I going to do with you?

Kikay: But how dreadfully you put it. Oh mumsy, what am I going to do with you?

Mrs. M: I give up!

Kikay: Poor mumsy. How pathetic!

Nena: Tell us about New York .

Tony: How long did you stay there?

Kikay: 10 months, 4 days, 7 hours and 21 minutes.

Totoy: And she's still there.... In her dreams...

Kikay: Yes, I feel as if I was still there, as though I had never left it, as though I lived there all my life. But I look around me and I realized that no, no, I'm not there. I'm not in New York , I'm at home. But which is home for me, this cannot be home because here, my heart aches with homesickness..

Nena: I don't think we ought to be here at all.

Tony: Yes, we shouldn't disturb her.

Totoy: Let's all just walk out very, very quietly.

Nena: And leave her alone with her memories.

Tony: Is that girl we used to go swimming with the mud puddles?

Kikay: Ah, New York , my own dear New York ..

Nena: Totoy, will you come with me..

Totoy: To the ends of the earth!

Nena: No darling, just out to our dear little backyard.

Totoy: Oh, the backyards of Tondo, the barong barongs of Mypaho, the streets of Sibakong..

Nena: Listen Idiot! Are you coming with me or not??

Totoy: Anywhere dream girl, anywhere at all!!

Scene 5:

Kikay: Apparently, out Totoy still has a most terrific crush on Nena. Do wake up, Tony. What are you looking so miserable about?

Tony: Kikay, I don't know how to begin.

Kikay: Just call me Francesca... that's a good beginning.

Tony: There is something I must tell you... something very important.

Kikay: Oh, Tony, can't we just forget all about it?

Tony: Forget??

Kikay: That's the New York way, Tony. Forget, nothing must ever too serious; nothing must drag on too long. Tonight, give all your heart, tomorrow, forget. And when you meet again, smile, shake hands... just good sports..

Tony: What are you talking about?

Kikay: Tony, I was only a child at that time.

Tony: When?

Kikay: When you and I got engaged. I've changed so much since then, Tony.

Tony: That was only a year ago.

Kikay: To me, it seems a century. So much had happened to me. More can happen to you in just one year in New York .

Tony: Listen, I don't want to talk about New York ... I want to talk about our engagement.

Kikay: And that's what we cannot do Tony. Not anymore.

Tony: Why not?

Kikay: Tony, you got engaged to a girl named Kikay. Well, that girl doesn't exist anymore. She's dead. The person you see before you is Francesca. Don't you see, Tony, I'm a stranger to you. I hate to hurt you, but surely you see that there can be no more talk of an engagement between us. Imagine, a New York Girl, marrying a Tondo Boy!!! It's so insane!!

Tony: Now look here..

Kikay: I'm sorry if I've hurt you, Tony.

Tony: I'm not going to sit here and be insulted.

Kikay: Hush! Tony! Hush! Don't shout, don't lose your temper. It's so uncivilized. People in New York don't lose their temper.

Tony: What do you want me to do? Smile, say thank you for slapping my face?

Kikay: Yes, Tony. Be a sport, let's smile and shake hands, and be just friends, huh?

Tony: If you weren't a woman, I'd I'd...

Scene 6:

Totoy: Hold it Tony. You must never, never hit a woman.

Nena: What's all this?

Kikay: Nothing,,, nothing at all..

Totoy: What were you two quarrelling about?

Kikay: We were not quarrelling. Tony and I just decided to be good friends and nothing more

Nena: Tony, is it true?

Tony: Yes!

Nena: Now, we can tell them!

Kikay: Tell us what?

Totoy: What's going on here?

Nena: Tony and I are engaged!!

Kikay: Engaged!!

Totoy: Engaged! Engaged!!

Nena: Yes! We've been secretly engaged for a month!

Kikay: A month!? Why you....you...

Tony: I did try to tell you Kikay, I was trying to tell you...

Kikay: You unspeakable cad!!

Nena: Hey, carefully there!! You're speaking top of my fiancé..

Kikay: He's not your fiancé!

Nena: Oh No!! And why not, huh!!??

Kikay: Because he was still engaged to me when he got engaged to you!

Nena: Well, he's not engaged to you anymore, you just said it yourself.

Kikay: Ah, but I didn't know about all this..

Tony: Now remember, Kikay... it's so uncivilized to lose one's temper, People in New York don't lose their temper.

Kikay: I've never felt so humiliated in all my life!! You beast, I'll teach you!!

Nena: I told you to leave him alone. He's my fiancé!!

Kikay: And I tell you he's not!! He's engaged to me until I release him... and I haven't release him yet.

Nena: You ought to be ashamed of yourself! You're just being a dog in the manger!

Kikay: You ought to be ashamed of yourself! Stealing my man behind my back!

Nena: What? What did you say!!??

Tony: Totoy, pull them apart!

Kikay: You keep out of this or I'll knock your head off!

Totoy: Naku lumabas din ang pagka Tondo!

Nena: Shameless hussy!!

Kikay: Man eater!!

Tony: How dare you suck her??!!

Nena: She hit me first!

Tony: Look what you've done to her!

Nena: Are you trying to defend her? You never defended me!

Tony: Shut up!!

Nena: I hate you! I hate you

Tony: Shut up or I'll bash your mouth off!!

Totoy: Hey, don't you talk to Nena that way.

Tony: You keep out of this!

Nena: He's more of a gentleman than you are. He defends me!

Totoy: You take your hands off her!

Tony: I told you to keep out of this!

Nena: Oh, Totoy, you've save my life

Kikay: Tony! Tony, open you eyes!

Tony: Oh, get away from her!

Nena: Take me away from her!

Totoy: Are you still engaged to him?

Nena: I hate him! I never want to see him again in my life!

Totoy: Good! Come on, and let's go!

Tony: Hey!

Nena: Don't you speak to me, you brute!

Tony: I wasn't talking to you!

Totoy: Don't you speak to me either! You have insulted the woman I love!

Nena: Oh, Totoy, why have you never told me?

Totoy: Well, now you know.

Tony: Congratulations!!!

Nena: Let's go darling; I don't want the smell around here.

Scene 7:

Tony: Now, you've ruined my life! I hope you're satisfied.

Kikay: I.... have ruined your life??? You.... Ruined mine!!

Tony: What you need is a good spanking!

Kikay: Don't you come near me, you,,, you Canto Boy..

Tony: Don't worry, I wouldn't touch you with my ten foot pole.

Kikay: And I wouldn't touch you with my twenty foot pole.

Tony: Just one year in New York and you forgot your old friends.

Kikay: Just one year that I'm in New York ... and what did you do? But when we got engaged, you swore to be true, you promised to wait for me. And I believe you!! Oh, you're a fickle, fickle..

Tony: What are you crying about? Be brave.....forget..... That's the New York way.. Nothing must ever be too serious, nothing must ever drag on too long..

Kikay: Oh Tony Please, please!

Tony: Besides, there could be no more talk of an engagement between us. Imagine a New York Girl, marrying a Tondo boy!!

Kikay: Oh Tony, I've been such a fool.. I'm sorry, Tony..

Tony: Well, I'm not! I'm glad I found out what kind of a person you are!

Kikay: Oh Tony, you're wrong, you're wrong! I'm not that kind of person at all..

Tony: Oh. "person" is just a relative name, huh!?

Kikay: Yes Tony, that was Francesca saying all that. But Francesca exist no more, Tony, the girl standing before you now, is Kikay.

Tony: In that silly dress?

Kikay: Oh this is just a gift wrapping, Tony.

Tony: Well, well, well..

Kikay: It's true Tony. I'm Kikay....remember me??

Tony: If I remember it right, I was right, I was engaged to a girl named Kikay.

Kikay: Yes, and you're still engaged to her Tony!

Tony: Welcome home Kikay!!! How was the trip?

Kikay: Horrible!! I couldn't wait to get back.

Tony: Like it in New York ?

Kikay: Uh-uh! Give me a Tondo anytime!

Tony: Why didn't you answer my letters?

Kikay: Francesca wouldn't let me write, Tony.

Tony: That nasty girl. I'm glad she's dead!

Mrs. M: Frances ....... Oh, Tony, are you still here? Francesca, don't be angry but I couldn't find any celery..

Kikay: Oh, never mind, Inay, I hate celery!

Mrs. M: Hate celery? Why? You said, you couldn't live without it!

Tony: That was Francesca. Aling Atang and Francesca is dead. The girl standing before you is Kikay!

Mrs. M: But Kikay is Francesca..

Kikay: Oh, no, Inay, I'm not Francesca......I'm Kikay!

Mrs. M: I give up!!

Kikay: That tune! What memories it brings back! I first heard it in New York , at Eddie Candon's..

Tony: uh-uh..

Kikay: Sorry darling. May I have this dance with you partner?