THE PHILIPPINE FLAG

THE PHILIPPINE FLAG

        As early as the 12th century, the natives of the archipelago that would become the Republic of the Philippines already had banners to showcase the tribes and hierarchy they belong. The archipelago was divided into balangays, and banwas, each having a chieftain called datu or lakan having his own symbolic banner to represent him. Each region is ruled by a sultan or rajah, also having his own banner which is unfurled wherever he goes.

        During the earliest rebellion against Spain such as the Magalat Revolt (1596-1597), Itneg Revolt (1625-1627), Dagohoy Revolt (1744-1829), the Silang Uprising (1762-1763), the Palaris Revolt (1762-1764), banners were unfurled, but these were localized and represent only specific areas or entities. 

The First Philippine Flags

        After establishing the Katipunan on July 7, 1892, Andres Bonifacio (1863-1897) asked his wife Gregoria de Jesus (1875-1943) to conceptualize a flag to represent the Philippine revolutionary society. It was of rectangular form, red all throughout, bearing three letter Ks in white and arranged horizontally, which stood for “Kataastaasang, Kagalanggalangang Katipunan ng mga Anak ng Bayan” (Supreme and Most Consecrated Society of the Children of the Nation).

First flag of the Katipunan

(July 7, 1892)

         Other variations of this flag, such as showing the three Ks in triangular formation or just a single K in the middle were also used by Katipuneros. There were also variations such as the flags of the Magdiwang and Magdalo faction of the Katipunan bearing a sun with the baybayin letter K in the middle, with the former having 16 rays and the latter eight rays.

Flags of the Magdiwang and Magdalo factions of the Katipunan
(1896)

        What can be considered as the first official flag representing the Filipino nation was unfurled on August 26, 1896, at the first cry of the revolution against Spain in Pugadlawin (in present day Balintawak, Quezon City). It was a similar red flag with smaller three Ks below a blazing sun with 16 rays in the middle, aptly called  “Bukang-Liwayway ng Himagsikan” (Dawn of the Revolution).

First National Flag called Bukang-Liwayway ng Himagsikan
(August 26, 1896)

        At the Naic Assembly on March 17, 1897, the Katipunan leadership adopted a red flag showing a sun with a face and eight rays representing the first eight provinces that started hostilities against Spain and were placed under martial law by the Spanish colonial authorities. This same sun symbolism minus the face will later become part of the Philippine National Flag.

Flag of used in the Naic Assembly

(March 17, 1897)

        Aside from these, there were other flags of historical significance like the one used by Mariano Llanera (1855-1942), which Bonifacio called “Bungo ni Llanera” (Llanera’s Skull); the “Watawat ng Matagumpay” (Flag of the Triumphants), which was first used by Pio del Pilar (1860-1931) on July 11, 1895; and the flag used by General Gregorio del Pilar (1875-1899) patterned after the flag of Cuba, which was also in an ongoing revolution against Spain.

Flags of Mariano Llanera, Pio de Pilar and Gregorio del Pilar

(1895-1897)

Flag of Independence

        The Philippine flag undergone several evolutions. On its third phase and during the proclamation of independence in Kawit, Cavite, on June 12, 1898, a tri-color flag – Bandera de Junta Patriotica – was officially unfurled by Ambrosio Rianzales Bautista (1830-1903). Except for the mythical face of the sun and the margins of the equilateral triangle with the edge of the flag, this bandera resembles our present-day flag. It was sewn in Hong Kong by Marcela Marino de Agoncillo (1859-1946) with the help of his daughter Lorenza and Delfina Herbosa de Natividad (a niece of Dr. Jose Rizal, 1879-1900). It was brought to the Philippines by General Emilio Aguinaldo (1869-1964) and first displayed in battle on May 28, 1898. This flag underwent several changes in specification and color, but the overall design remained the same.

The Flag of Philippine Independence

(First unfurled, May 28, 1898)

History of Philippine National Flag

(1899-Present)

The National Flag’s Specification

        The Philippine Legislature passed Act. No 2928 on March 26, 1920, which legally adopted the Philippine flag as the official flag of the Philippine Islands.

        On March 25, 1936, President Manuel L. Quezon (1878-1944) issued Executive Order No. 23 which provided for the technical description and specifications of the Philippine flag. Among the provisions of the order was the definition of the triangle at the hoist as an equilateral triangle, the definition of the aspect ratio at 1:2, the precise angles of the stars, the geometric and aesthetic design of the sun, and the formal elimination of the mythical face on the sun. The exact shades of colors, however, were not precisely defined. These specifications have remained unchanged and in effect up to the present.

Dimensions and technical description of the Philippine Flag

The Blue Debate

        With the legalization of the Philippine flag, the color of the cloth available in most stores was the navy blue of the flag of the United States, so the flag from 1919 onwards adopted the navy blue color (instead of sky blue or the lighter blue) for the Philippine flag.

        In the initial phase of the flag’s design, Apolinario Mabini (1864-1903) suggested the azul celeste (sky blue) color of the upper portion of the flag, which was said to have been adopted. The first flag, however, no longer exist. There was no physical evidence to show the real shade of blue that was used for the first flag.

The Making of the Philippine Flag by Fernando Amorsolo

        Historically, the Cuban flag made in 1849 by Miguel Teurbe Tolon (1820-1857) and Narciso Lopez (1797-1851) was one of the inspirations considered in the design of the Philippine flag. The lighter blue color of the Cuban flag is much nearer to the sky blue variant proposed by Mabini and far different from the navy blue of the American flag. Similarly, Juan Luna (1857-1899) used the sky blue shades in his paintings of the Philippine flag. And of course if you sing the Philippine National Anthem, you’ll come across “... sa langit mong bughaw...” (your blue sky).

        Specifications for the flag’s colors with shades matching those used in the American flag were adopted by the National Historical Institute in 1955. President Ferdinand E. Marcos (1917-1989) through Executive Order No. 1010 issued on February 25, 1985 instructed the National Historical Institute (NHI) “to restore the original color of the First Philippine Flag” amidst debate on the shade used in the original flag. The executive order declare that “the shade of the color blue was lighter than the dark blue color” at the time. The executive order did not specify a shade of blue to be adopted. The NHI in May 1985, adopted Cable No. 80176 or “Oriental Blue” for the new national flag. This was immediately overturned after the 1986 EDSA Revolt by the American-installed Cory Aquino (1933-2009) regime, and returned to the American navy blue variant. For the 1998 independence centennial celebrations, the “Flag and Heraldic Code of the Philippines” (Republic Act 8491) was passed designating royal blue as the official color variant. This was sort of a compromise to settle earlier debates. 

There is No Yellow

        According to the accounts between Emilio Aquinaldo, Apolinario Mabini, Marcela Agoncillo, and Delfina Herbosa, when the colors of the Philippine flag were being discussed, the agreed upon colors were red, white and blue, taken similarly from the tri-color of France, but symbolizing “courage,” “death before slavery,” and “sovereignty,” with the color gold added, to be the color of the three stars and the mythical sun to symbolize the independence that will be declared to be firm and absolute. The color yellow was never discussed. The four colors – red, white, blue, and gold – was officially adopted on May 19, 1898.

World Atlas entry about the Philippine Flag

        It’s unsure how the color yellow got mixed up in our National colors. The basis perhaps for the claim of yellow color was the faded photo samplings of the original Philippine flag. To repeat “faded.” Republic Act 8491 (particularly Section 28) states that the color is “golden yellow.” Gold coloring when it fades becomes yellowish. Former DECS Secretary Alejandro R. Roces said they (the lawmakers that passed RA 8491) only got confused and misled, so they added the word “yellow,” and the gold became “golden yellow.” It is, however, clearer in the Filipino version of the law where the color is indicated as “ginintuan” (golden). Pantone 80068 is much nearer to the color gold than yellow.

Section 28 of Republic Act 8491

        To be more blunt, only idiots and political sycophants would want the color yellow in the national emblems – the color of cowardice, jealousy, and treachery. 

A page taken from Tagalog Klasiks #79 (June 12, 1952)

Symbolism

        The Philippine national flag had a rectangular shape that consist of a white equilateral triangle on the hoist, symbolizing equality and fraternity (and in memory of the Katipunan); an upper horizontal blue field for peace and justice; and a lower horizontal red field for patriotism and valor. In the center of the white triangle is an eight-ray golden sun symbolizing unity and freedom. Each ray of the sun represents each of the first eight provinces that started the 1896 Philippine Revolution against Spain: Manila, Cavite, Bulacan, Pampanga, Nueva Ecija, Bataan, Laguna, and Batangas. Three five-pointed stars, one for each of the triangle’s points, stand for the three major geographical island groups that comprise the Philippines: Luzon, Visayas and Mindanao.

         The Philippines does not utilize a separate war flag; instead, the national flag itself is used for this purpose. This flag is unique in the sense that it can indicate a state of war when the red field is displayed on top, or on the observer’s left when the flag is displayed vertically. Historical examples of this wartime reversal in orientation are during the Revolution of 1896, the Philippine-American War, World War II, and during the 1986 EDSA Revolt and the subsequent coup d’etat during President Aquino’s regime where the soldiers displayed inverted flags and shoulder bands. 

How the Philippine Flag is displayed in times of war

Use and Misuse

        The flag may be flown at half-mast as a sign of mourning. Upon the official announcement of the death of the President or former President, the flag will be flown at half-mast for ten days. On the other hand, following the death of the Vice President, the Chief Justice, the Senate President or the Speaker of the House of Representatives, the flag will be flown at half-mast for seven days. When flown at half-mast, the flag should be first hoisted to the peak for a moment then lowered to the half-mast position. It should be raised to the peak again before it is lowered for the day.

        Aside from government officials, the flag may also be used to cover the caskets of soldiers, veterans of previous wars, national artists, and outstanding civilians as determined by the local government. In such cases, the flag must be placed such that the white triangle is at the head and the blue portion covers the right side of the casket. The flag should not be lowered to the grave or allowed to touch the ground, but should be solemnly folded and handed to the heirs of the deceased.

        Under Republic Act 8491, it is against the law to deface, tear or write anything on the flag. It cannot be used as a drapery, festoon, tablecloth, covering, upholstery or as a part of a costume or a uniform; as a tag, label, trademark or part of any merchandise or in any form of commercial advertisement; or as a pennant in the hood, side, back and top of motor vehicles. Moreover, the flag should not be displayed under any painting, picture or platform. It should not be displayed in leisure clubs, casinos, and other places of vice or frivolity.

MABUHAY ANG PILIPINAS! 

MABUHAY ANG BAYANG MAHARLIKA!

                                                o     O     o

EMILIA CLARKE IN THE MARVEL CINEMATIC UNIVERSE

 EMILIA CLARKE
IN THE MARVEL CINEMATIC UNIVERSE

Finally, my favorite Hollywood actress, Emilia Clarke (the Dragon queen Daenerys Targaryen in Game of Thrones), will soon be in the Marvel Cinematic Universe (MCU) Phase 4. Hurrah, the “Secret Invasion” will start production this September, and slated to premiere on the second week of June 2022 in a Disney 6-episode TV series.

In comics, Secret Invasion, like Avengers: Infinity Wars and Maximum Carnage is a multi-issue crossover series. Penned by Brian Michael Bendis and illustrated by Filipino artist Leinil Francis Yu, it is about the “evil” Skrulls led by Queen Veranke trying to infiltrate and conquer planet Earth. The plan was to shapeshift their way into the US government hierarchy and also capturing and replacing the persons of Earth’s mightiest heroes.

With this storyline, we are talking almost all of Marvel’s superhero groups being involved: Avengers, Fantastic Four, Inhumans, Shields, Thunderbolts, X-Men, not to mention many other superheroes and supervillains. So, thinking, imagining, conceptualizing, of what the television version would be is truly mind-boggling.

On board in this TV series are Samuel Jackson, reprising his role as Nick Fury, and Ben Mendelsohn as Talos, the leader of the “good” Skrulls. The two first met in the 2019 Captain Marvel film. Speaking of which, my other favorite Hollywood actress, Brie Larson (a.k.a. Captain Marvel), could make a sudden appearance in the series, as the sequel to her film, The Marvels, is scheduled to be released on November 2022.

If all goes well, that is going over mind-boggling, it could translate into another big screen production just like Avengers: Infinity Wars and Avengers: Endgame with an all-star cast of Marvel superheroes. What a “Jambalaya” that is going to be!

Now, can anyone of you hardcore Marvel fans venture a guess as to what character Emilia Clarke would be portraying?

NOTE: Wall pic courtesy of Disney Daily News.

ON MY WATCH

 

ON MY WATCH

        Is there a connection between chic, expensive watches and beautiful, gorgeous women? I think the answer to that is “absolutely!”

        Just take a look at the print ads of the different brands of watches below and decipher the enigma in your mind. 

Timex with Filipino actress and Darna portrayer Angel Locsin

Philip Stein with Filipino singer-actress Lea Salonga

 

Baume & Mercier with American actress Meg Ryan

Casio with Japanese singer-actress Anna Tsuchiya

Chanel Le Temps with model-actress Claudia Schiffer

Citizen with American singer-songwriter Kelly Clarkson

Dior with actress South African Charlize Theron

Ebel with Brazil-born German model Gisele Bundchen

Fossil with American actress Kristen Bell

Hublot with Israeli actress Bar Refaeli

Jaeger Le Coultre with German actress Diane Kruger

Longines with Miss World 1994 Aishwarya Rai

Movado with Ukrainian ballet dancer Irina Dvorovenko

Omega with American actress-model Cindy Crawford

Patek Philippe with Hungarian model Reka Ebergenyi

Piaget with Dutch actress-model Doutzen Kroes

Rado with Taiwanese actress-singer and writer Rene Liu

Rolex with Serbian Tennister Ana Ivanovic

Sony Smartwatch with Hungarian model Gabriella Papp

Tag Heuer with Russian Tennister Maria Sharapova

Tissot with American race car driver Danica Patrick

Tommy Hilfiger with Namibian model Behati Prinsloo

Cartier with a jaguar for a femme fatale

          Whew! Horology, horologist, horologiast! If only these were a real collection of awesome watches instead of mere print ads. That would be something. I hope Robert Downey Jr would read this and give me one among his collection, just for the kick of it, and well because he’s my favorite Hollywood actor and Iron Man is my favorite superhero.

PEDRO BUKANEG: Father of Ilokano Literature

 

PEDRO BUKANEG: Father of Ilokano Literature

        Pedro Bukaneg is one of the colorful figures in the history of the Philippines, particularly in the annals of Samtoy (ancient name of Ilocos, or Ylukon to the neighboring regions). His biography borders those of Philippine legends and folklores. From meager written sources and abundant oral traditions, biographers are able to weave the elusive strands of his life and remarkable achievements. They “rhapsodized” him as the first Ilokano man-of-letters.

BIRTH SHROUDED IN OBSCURITY

        Story-tellers compare him to the biblical Moses because as a newly-born baby he was found floating down the river by a woman; to the ancient Greek epic poet Homer, for he was born blind and grew up to be endowed with poetry and remarkable brilliance; and to Socrates, because he was not good-looking as a man but gifted with wisdom. As the first Ilokano poet, orator, musician, lexicographer, and linguist to appear in the limelight of history, whose name and deeds enhance the glory of Ilokandia’s literary heritage, historians and scholars has bequeathed upon him the title of “Father of Ilokano Literature.”

        Many aspects of Bukaneg’s life are obscured by legendary mists, so that it is quite difficult to dissociate the historical Bukaneg from the legendary Bukaneg. Bukaneg might have been born either in 1591 or 1592. It is said that one day in March, 1592, a laundry woman found a little baby crying inside a floating tampipi (big basket for keeping clothes) along the bank of a stream (now called Banaoang River), a tributary of the big Abra River, which flows between the town of  Bantay and Vigan, Ilocos Sur. She took the baby and saw it was a boy, ugly and blind. This story parallels that of the biblical Moses, who, was an infant found by an Egyptian princess (daughter of pharaoh) inside a basket floating down the Nile River. The only difference is that Moses was neither ugly nor blind. Evidently, Bukaneg was a victim of the brutal custom of destroying infants born with physical defects, practiced not only in Samtoy, but also in Sparta, Persia, and other nations of antiquity.

        After saving the poor infant from a watery grave, the kind-hearted woman brought him to the parish priest of Bantay, who baptized him as Pedro Bukaneg. The name “Bukaneg” was said to be a contraction of the Ilokano phrase “nabukaan nga itneg,” meaning “Christianized Itneg (heaten).” History still has no information as to who were Pedro Bukaneg’s parents. Though there are folklores attributing that he was an offspring born from the forbidden union of an Ilokano mountain guardian spirit Emlang Ibabantay and an Itneg witch called Alupugan. As such, he was bestowed great wisdom but cursed with inauspicious appearance.

EXTRAORDINARILY GIFTED

        Fate had invariably given Bukaneg certain wondrous qualities to overcome the handicap of blindness, such as intellectual brilliance, retentive memory, sensitive musical sense, magnetic eloquence, and gift for languages. He was brought up and educated by the kind Augustinian priests in the convent of Bantay, a priory (motherhouse) for new missionaries assigned to the missions of Ilokandia.

        As Bukaneg reached manhood, he proved to be a remarkable Ilokano who was well liked and appreciated by the Augustinian friars. A born linguist, he mastered Latin, Spanish, Ilokano and Tinggian languages. He possessed an extraordinary talent for assimilating all things pertaining to theology, the Bible, and Spanish literature which his Augustinian tutors taught him, and also the Ilokano folk songs and traditional legends he heard from the old apos. Being a romanticist, he composed poems and songs which were so tenderly sweet that he gained fame among the Ilokano masses as a gifted troubadour.

        Bukaneg was good not only in poetry but also in oratory. He preached the Christian religion in the streets of Vigan, Aringay, and other towns, and persuaded many of his people to discard their beliefs. Large crowds of people always listened to him notwithstanding his ugly face and blindness. Because of the numerous people he was able to convince to change faith, he came to be called the “Apostle of the Ilokanos.”

        The Augustinians friars recognized Bukaneg’s many talent, but most especially his being adept as a linguist. During the early days, Augustinian missionaries who arrived from Mexico and Spain studied the Ilokano language in the Augustinian convent of Bantay by way of preparing them for their apostolic labors in the mission fields of Ilokandia. Bukaneg was their teacher in the Ilokano language. Aside from his teaching, he wrote Christian sermons in Ilokano, translated the novenas and prayers from Latin and Spanish into Ilokano, and helped in the preparation of the first Ilokano catechism and grammar.

        In 1606, Bukaneg helped Fray Francisco Lopez (1565-1637), an Augustinian missionary-linguist, in the preparation of the book titled Libro a naisurat amin ti batas ti Doctrina Cristiana nga naisurat iti libro ti Cardenal a angnagan Belarmino (Book Containing the Laws of the Christian Doctrine written by Cardinal Bellarmine). This became the first Ilokano Catholic catechism, which was printed in the Augustinian Convent of Manila in 1621 by Antonio Damba and Miguel Seixo.

        The first Ilokano grammar, also authored by Fray Lopez, titled Arte de la Lengua Iloca (The Art of Ilocano Language), and printed at the University of Santo by Tomas Pinpin and Tomas de Aquino in 1627, was also made possible through Bukaneg’s invaluable assistance, In the prologue of the book, Fray Lopez admitted the considerable assistance given by Bukaneg. Some scholars even attributed the true authorship to Bukaneg. The book is now considered extremely rare. One copy of it is preserved in the British Museum in London. Later editions of this valuable book were printed, with certain revisions, such as by Fr. Fernando Rey (1792), Fr. Andres Carro (1793), and by Fr. Cipriano Marcilla (1895).

The Arte de la Lengua Iloca, 1627

        Unfortunately, many of the poems, discourses, fables, stories, compiled translated ancient scripts, sermon prayers, and other works written by Bukaneg have been lost. It is believed that a large number of linguistic works, poems, novenas, and prayers which were attributed to the Spanish friars were really composed by Bukaneg.

 

BIAG NI LAM-ANG

        The authorship of Biag ni Lam-ang (Life of Lam-ang), the famous Ilokano epic, was attributed to Bukaneg by some historians and authors. This, however, is a disputed issue. The epic poem containing 294 stanzas, about 1,500 lines, with the syllables of each line range from six to 12, was chanted by the Ilokano folks hundreds of years before the Spaniards arrived in the Philippines and long before Bukaneg’s existence.

        In fact, much-older non-Hispanized versions of this epic as narrated in oral traditions do not contain names like “Don Juan,” which was Lam-ang’s father in the 16th to 19th century versions. The Spanish name “Don Juan” could have been chosen based on phonemics, as according to older folk storytellers, the name of Lam-ang’s father was Apo Nakaliwliwan Peggadan.

A Bronze Sculpture of Lam-Ang Fight a Crocodile,

Kapurpurawan Rock Formation, Burgos, Ilocos Norte.

        The attribution of authorship to Bukaneg, on the other hand, was partly in fact due to his role as translator and interpreter. Being blind, he dictated the epic from memory to scribes at the same time translating it into Spanish. Consequently, the Ilokano epic was put into writing, revised with the incorporation of Spanish influences and Catholic dogmatic infusions, and was preserved for posterity with him as the storyteller. The earliest extant transcription of Biag ni Lam-ang, however, was from 1889. Nevertheless, we owe it to Bukaneg that this priceless Ilokano popular epic was saved from oblivion.

 

A WISE JUDGE

        The Ilokanos also recognized Bukaneg as a seer. They came to consult him whenever they were in trouble for they had implicit faith in his wisdom. Even the Spaniards in the province look for him for the guidance in their hour of need. An anecdote was told that one day the Servant Don Nicolas de Figueroa, Spanish encomendero of Narvacan and Bantay, was shot to death by arrows and the arquebus which he was carrying was stolen. Shortly afterwards, a band of Tinggians were captured near the scene of the crime and were taken to Bantay. One of them was believed to be the murderer, but the authorities could not determine the guilty party in as much as all of the accused refused to talk.

        In the midst of their judicial perplexities, the Spanish authorities called Bukaneg to help them in the trial. When Bukaneg arrived at the scene, he asked that all the Itnegs be freed from their bonds, explaining that “it was not right that all should suffer from the deed of the guilty man.”

        Bukaneg walked around the circle of Itnegs who stood silently, betraying no emotions on their stolid faces. He placed his right hand over the breast of each one, feeling their hearts throb. After this seemingly strange ritual, he pointed one Tinggian, declaring him the guilty murderer. Taken aghast by Bukaneg’s clever deduction, the Itneg broke down and confessed. He was accordingly punished. His companions, who were set free, returned to their village in the hills and related the tale of Bukaneg’s strange power of second sight.

 

ENDURING LEGACY

Historical Marker for Pedro Bukaneg,

Vigan, Ilocos Sur.

        Beloved by his people, Bukaneg died around December of 1629. His death was mourned by his people who had come to revere him as a man of remarkable wisdom and talents. Oral traditions narrated the story of an entire region mourning his death. To his enduring fame and in recognition of his literary legacy, the traditional Ilocano literary joust was named as Bukanegan, after his name, much earlier than the Filipinos of Tagalandia naming their literary joust Balagtasan, in honor of Francisco “Balagtas” Baltazar (1788-1862), the laureated “Prince of Tagalog Poets.” In his honor, a street inside the Cultural Center of the Philippines Complex in Pasay City was named after him.

        Whether legendary or historical, Pedro Bukaneg’s greatest heritage is evident in the fact that compare to regional literature that developed consistently from the Spanish Period, Ilokano literature progressed at a pace as fast as that of the Tagalogs. In poetry, for example, from the time of Pedro Bukaneg, we have seen the likes of Leona Florentino (1849-1884), Isabelo de los Reyes (1864-1938), Mena Pecson Crisologo (1844-1927), Leon C. Pichay (1902-1970), Godofredo Reyes (1918-2009), Jeremias Calixto, Juan S. P. Hidalgo Jr, Jose Bragado, Reynaldo Duque (1945-2013), and many more. Aside from poems, stories and novels published in the magazine Bannawag, numerous books being published in Ilokano are clear indications of the wealth, as well as health, of writing in the Ilokano language.

 

DEFINING LOVE

 

DEFINING LOVE 

For me, you don’t say you “fall” in love. It denotes negativity. It’s enough to say you’re in love. And when you’re in love, love only one, with all your heart, with all your mind, with all your soul.

Algebra offers the simplest but truest definition for love: X+Y=1, X-Y=0. I think even those who hates Math can understand these equations. Better yet, read your Bible, the best definition of love is in I Corinthians 13.

You know why love is the most powerful energy in the Universe? It’s because it knows no age, no boundary, no configuration, no distance, no extreme......, no limit. It sees no affliction, no blemish, no comparison, no defect, no evil....., no liability. It’s GOD’s paragon!

The Chinese character for love is 愛 (ài). It has several wonderful & interesting etymology, philology & calligraphy. The first is based on legends: The upper character represents 女花 (Nǔ Huā, interestingly sounds like Noah), a goddess. The lower character represents 伏羲 (Fú Xi), a king. And the middle character represents their hearts. Nǔ Huā & Fú Xi fell in love, but their love was forbidden since one is immortal and the other is mortal. One day Fú Xi got very ill from eating a poisoned apple (Again, interesting – apple?) Nǔ Huā gave half of her heart to Fú Xi to save his life, but in so doing she became mortal. Nǔ Huā’s father got very angry and destroyed the world with flood (again similar to the biblical account!). Nǔ Huā & Fú Xi were the only survivor, and they became the ancestor of the human (Chinese) race.

The calligraph of the character 愛 may also be broken down as 爫 (claw), 冖 (tight) 心 (heart) & 夂 (gentle care). So, in essence LOVE means“grabbing the heart tightly and caring for it gently.

Another way is putting 心 (heart) at the center of 受 (which has three literal meanings: 1. Accept, 2. Suffer, & 3. Endure). Again, in essence, LOVE means (With the heart at the center) Accepting everything, suffering all the consequences, and still enduring eternally.” This is similar to the biblical descriptions of LOVE found in I Corinthians 13:4-8.

THE TRUE DATE OF CHRISTMAS

 

HAPPY HOLIDAYS EVERYONE!

Notice I did not say “Merry Christmas!” Well, because December 25 isn’t really, truly, the correct day of Christ’s birth. By now because of the advancement in communication and technology, and the availability of treatises and data in the Internet, most people know this fact. The question is, why haven’t the different Christian churches, especially the Catholic church who instituted this wrong date, corrected the error.

Two popes, both name John Paul did try to correct the error. They both died of questionable circumstances.

FILIPINOS ARE BLESSED

Filipinos are really blessed. Why? Because for some divine reason, perhaps, they start celebrating Christmas on September 1, which is the correct day. In the Philippines, you’ll start hearing Christmas songs exactly on the first of September, and that has been the tradition for over half a century. 

THE CORRECT DAY

The date December 25, A.D. 1 is absolutely wrong in all contexts, Biblical, historical and scientific.

In Chapter 2 of the Gospel According to Matthew, it is narrated that wise men/visitors from the East came to Jerusalem seeking “He who has been born King of the Jews.” They said they saw “His Star in the East and have come to worship Him.”

According to an old Chinese Han Dynasty astronomical record, a supernova occurred on September 1, 5 B.C., visible for about seven months along a path from the eastern sky, going westward “above the heavens from the Heilong Jiang (Black Dragon River, China) passing the Gobi and Taklamakan Deserts on to Hyrcania (Caspian Sea), and farther west to where the Mediterranean and Red Seas meet.” Similar records occurred in Korean, Mongolian, and Mesopotamian (Iraq) archives.

 

IT’S IN THE BIBLE

“Behold, a virgin shall conceive and bear a Son and His name shall be Immanuel.” – Isaiah 7:14, c.f. Matthew 1:23.

Prophesied 700 years prior to the glorious event, the Bible narrates significant facts that contradict December 25, A.D. 1 as Jesus Christ birth day. Among them the pasturing of sheeps (July to October), clear night sky in the Middle East (March to October), the reign of King Herod I (73 – 4 B.C.), and Quirinius was appointed legate governor of Syria (5 B.C.) by Emperor Augustus (63 B.C. – A.D. 14) who ordered a census be made (also 5 B.C.).

ATTEMPT TO CORRECT THE MISTAKE 

Historically, the December 25 day was adopted from two pagan traditions, the Saturnalia and the Sol Invictus. It was done to subjugate the pagans into accepting Catholicism. There were those who attempted to correct this Catholic mistake, among them two popes, John Paul I (real name Albino Luciani, 1912-1978) and John Paul II (Karol Jozef Wojtyla, 1920-2005), but they died (some alleged they were assassinated) before it was even propose.

 

So you should give the greetings of MERRY CHRISTMAS on SEPTEMBER 1.

KOMIKS FIRST ISSUE COVER STORIES

 KOMIKS FIRST ISSUE COVER STORIES

        Philippine komiks, in general, contains several stories per issue. Some are short stories that conclude on the issue itself, but most are novel which runs for more than 10 issues or so. As such, it is like a magazine that has cover stories.

        The first issue of any publication is always highly collectible. In Philippine komiks, the cover story of the first issue adds to its value, especially if the story is written by a popular writer or drawn by a famous illustrator.

        Below are samples from the late 1950s to the early 1960s.

On the cover of Tsampiyon Komiks #1, March 30, 1957,

“Mobile Patrol,” written and drawn by Miguel Parungao.

On the cover of Redondo Komix #1, May 7, 1963,

“Ang Maskara ni Palos,” written by Virgilio Redondo & drawn by Nestor Redondo.

On the cover of Makabayan Komiks #1, June 7, 1963,

“Lapu-Lapu,” written by Zenaida Flores and drawn by Vidal Malatbalat.

On the cover of Bolniks Komiks Magasin #1, August 7, 1963,

“Amalia Darling,” written and drawn by Jim Fernandez.

On the cover of CRAF Klasix #1, January 29, 1964,

“Conquistador,” written by L. P. Calixto and drawn by Alfredo Alcala.

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Mars Ravelo and Nestor Redondo: The Tandem of Komiks Legends

 

MARS RAVELO AND NESTOR REDONDO:
The Tandem of Komiks Legends

        Among the writer-artist tandems in Philippine Komiks History, one if not the most popular and successful, is that of Mars Ravelo (1916-1988) and Nestor Redondo (1928-1995). Best known for the very successful and iconic embodiment of the Philippines’ best loved superhero – Darna.

        Darna was put into a pedestal in the Filipino people’s minds with Ravelo’s imaginative storyline and Redondo’s magnificent illustration in the pages of Pilipino Komiks #77 (May 13, 1950), running 28 episodes up to #104 (May 26, 1951), and the silver screen portrayal of Manila’s “Golden Age” movie queen, Rosa del Rosario (1917-2006), under the direction of Fernando Poe Sr (1916-1951).

The first episode of “Darna” in Pilipino Komiks #77 (May 13, 1950).

The last episode of “Darna” in Pilipino Komiks #104 (May 26, 1951).

        Soon after the Ravelo-Redondo tandem became the byword in the komiks community and stories one after another were printed on the pages of different komiks and magazines. Darna continued her many adventures given life by the scripts of Ravelo and the brush of Redondo.

        On their own, Ravelo and Redondo also reaped the impact of Darna’s success as each of them became the favorite and most sought after writer and illustrator of komiks publishers.

The first episode of “Roberta” in Tagalog Klasiks #28 (July 29, 1950).

        The Tagalog Klasiks #28 (July 29, 1950) began another Ravelo hit in “Roberta.” It was, however,  initially drawn by Redondo but was later on continued by another legend in komiks illustration, Elpidio Torres.

The first episode of “Raul Roldan” in Hiwaga Komiks #22 (August 1, 1951).

        Then there was “Raul Roldan,” another interesting story that the legendary tandem started in Hiwaga Komiks #22 (August 1, 1951). And the list continues for an entire decade or so.

The first episode of “Handsome” in Hiwaga Komiks #200 (May 28, 1958).

The first episode of “Devlin: Swahbuckler of the Seas” in Redondo Komix #1 (May 7, 1963).

        For their combine achievements as writer and artist, in 1985, then First Lady Imelda Marcos, one of the founding patrons of the Cultural Center of the Philippines (CCP), recommended Ravelo and Redondo for the National Artist Award in the category of Literature and Visual Arts, respectively. In 1986, however, the list that included the tandem was submitted to the office of the then de facto president Cory Aquino, which rejected all the nominees. Hence, no National Artist Award was given for that year. For the succeeding years, sad to say, Ravelo and Redondo were never again nominated for the prestigious award.