In Celebration of Filipino Women (Part III)

You may call the THIRD and the FOURTH GROUP of women in the song "Babae" as fighters for freedom and democracy. Though living in different but significant times in Philippine history, these women have shown that a woman, like a man, can stand up and fight for what she knows is right.

Melchora Aquino or Tandang Sora is known as "Ina ng Katipunan" (mother of the Katipunan). Like a mother that cares for her children, she let her home be used as a safe refuge for Katipuneros who were then fighting the Spaniards.

Gabriela Silang, on the other hand, was the first Filipino to ever lead an uprising. She led the Filipino forces in Ilocos when they fought against the Spaniards after her husband, Diego Silang, died.

Theresa Magbanua fought similarly like Gabriela but during the Japanese-American war. It is even said that she sold her properties to financially support Filipino guerilla forces.

Lisa Balando is described by some writers as an icon of the union movement. She lived at a time when Marcos ruled the Philippines with an iron hand and she was one of those who died during a big rally on May 1, 1971.

Liliosa Hilao was a youth leader during Martial Law while Lorena Barros was with the women sector. They were both members of organizations outlawed (for the strong and radical positions that they take on issues against the government) during Martial Law. Liliosa Hilao was a member of the Kabataang Makabayan while Lorena Barros was the founding member of MAKIBAKA. They both died in pursuit of their beliefs during Martial Law.

While the Philippines is presently not at war with any particular country, the spirit of these women live on in the women who continue to fight for what is right today... the struggles and desires merely taking on a new form. They are the women who continue to fight for gender equality and justice.

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Yes, there are women who, like Maria Clara, Hule and Sisa, are forced into silence and meekness. They choose not to speak a word or utter a complaint either out of fear or a feeling of helplessness or either because they simply feel that their opinion or words are not important ('why talk, when no one listens anyway?', they may ask). There are those who cannot say 'no' (who dare not say 'no') and those who do not fight back against abuses and oppression. They are the Maria Claras, Hules and Sisas of this world. For women like these, escape is inevitable or a necessity, even if escape means death or insanity.

Then there are also women who fancy themselves as damsels in distress to be swooped up by a horse-riding prince and taken away to safety. They feel that the men are their security. They depend on men for their survival. These are women totally dependent on men for support --- financially, emotionally, morally and psychologically. Instead of fending for themselves or saving themselves when danger comes, they opt to wait to their manly savior.

And then there are those who choose to speak. To fight back when necessary. To fight back even to their death. Because they are not afraid. Because they know that it is right.

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This is not to say that one kind of woman is better. Or that one kind of response is more apt. The song simply shows the versatility of women. Her capacity to respond in soooo many ways to sooo many kinds of situation at different points in time.... That a woman is special. That she is good, not only in bed, but also in the field of battle. That what she says is equally important as what she thinks. That what she thinks is equally important as what the next man on the street is thinking. That a woman is also human.

Yes, let's celebrate the Filipino woman. Let's celebrate not only her achievements or what she has become through history. In addition, let us celebrate her potentials. The present and her possibility of being man's partner for progress. Let us celebrate what she can eventually become --- free and equal with man.

In celebrating, let us also be challenged. Let us be challenged to fill in gaps --- gaps in laws and ways of thinking...gaps in implementation of good laws.. Let us improve the NOW. Let us do what we can to take women all over the world to her FULL POTENTIAL.

MABUHAY ANG MGA KABABAIHANG FILIPINO!!!

MABUHAY ANG LAHAT NG KABABAIHAN SA BUONG MUNDO!!!

PADAYON!!!

In Celebration of Filipino Women (Part II)

The FIRST GROUP of women from the song "Babae" are women who appear to the author of the song as having no might (strength). These women are: Maria Clara, Hule and Sisa. All these women are fictional for they are characters in Dr. Jose Rizal’s novels “Noli Me Tangere” and “El Filibusterismo.

Maria Clara

Maria Clara was introduced as the sweetheart of the protagonist, Juan Crisostomo Ibarra, and the daughter of Kapitan Tiyago and Pia Alba. However, at a later part of the story, Maria Clara will discover that her true father is a priest, Padre Damaso. Despite her being in love with Ibarra, Maria Clara was announced to be engaged to a certain Linares. Thinking that Ibarra was shot to death, Maria Clara went to the convent for nuns. While there, Padre Salvi who lusted for her body all these time, made good his desires. Because of this, it was implied in the novel that Maria Clara plunged herself to death from the top of the convent.

Hule

Hule is the daughter of Kapitan Tales, a former barangay head who became a bandit because of abuses he suffered under the friars. Hule was forced to work as a maid to raise enough money to free her father. When her boyfriend (Basilio, the eldest son of Sisa) was arrested, she tried to get the help of Padre Camorra but the latter, instead, attempted to rape her. To escape Padre Camorra, Hule jumped to her death over a balcony.

Sisa

Sisa is the beautiful and loving mother of Crispin (7 years old)- an altar boy who was wrongfully accused of theft and killed - and Basilio (10 years old)- an acolyte in charge of ringing the church bells for the Angelus. Sisa was married to Pedro who was a wife beater. Perhaps due to the tragedy of losing his youngest son and the daily beatings that she and her children got from her husband, Sisa became mentally deranged.

*** The common thread among the three characters, I think, is that they were all victims of abuse and they chose to escape from that abuse is various ways. Maria Clara was abused by Padre Salvi in the convent where she was staying. Her escape was to plunge herself from atop the convent to her death. Hule was almost the victim of rape by Padre Camorra and she escaped by jumping off a balcony to her death. Sisa was a battered wife who loved her children so much. She was able to tolerate the beatings but she could not accept the fate of her sons (one of which died because of friar abuse). This drove her crazy...this was her escape.

While their responses may be viewed by some as weak, notice should be taken of the fact that it takes guts to take one's own life...Maria Clara and Hule decided that they did not want to be a victim of abuse anymore. Admittedly, at that time, there wasn't much that they could do. Reporting to the authorities may have been viewed by them as futile (considering their own personal experiences with the authorities then). The same would have served no purpose other than to anger the church. There were also no women support groups to turn to. Thus, they decided: "Never again, over my dead body..."

The solution of death was not taken by Sisa. She was so consumed by love for her children, she had to continue to live for them. But where were they? This unanswered question plagued Sisa so much that it drove her to madness.

The three characters also show us that women abuse does not choose skin color (Maria Clara was mestiza, Hule and Sisa were of our native skin color). It does not choose class (Maria belonged to the upper class while Hule and Sisa, the lower).

The three characters also show us that women during the Spanish time were treated like goods and not persons with a voice of their own. Maria Clara was forced to be engaged to Linares. Hule was forced to work as a maid for Hermana Penchang to pay for her father's ransom. Sisa was battered like she did not have any feelings at all (as if she were a thing).

The SECOND GROUP of women from the song "Babae" are again fictional characters viewed as dependent on men for their salvation and survival.

Cinderella

Cinderella is a popular children's story character who waited for her Prince Charming to come and save her from the oppression and abuse of her stepmother and two stepsisters. Cinderella had to wait for the Prince to come and slip on her foot the famed glass slipper.

Nena

Nena represents women who are forced by poverty to engage in prostitution. The story of "Nena" is narrated in another song entitled "Nena" composed and sung by Heber Bartolome's Banyuhay. In the said song, Nena initially started out as a young student with working parents (her mother is a laundrywoman while her father works in a factory). Her father dies in an accident and Nena stops studying. She helps her mother with the laundry. Then her mother gets sick. Suddenly, Nena is put in a dilemma of where to get money. Hence, her decision to engage in prostitution.

*** Both Cinderella and Nena are stuck in a muck. Both use their beauty to get out of their deplorable state. Cinderella attracts a Prince Charming who, in the happy ending, takes her to be his wife. Nena, on the other hand, solicits clients who pay her money so that she and her sick mother could live (even if deep inside she is already dying because she does not want to engage in the activity of prostitution).

*** Both the FIRST and the SECOND GROUP of women in the song may appear to have responded in a way that is far from ideal. This differentiates them from the women in the THIRD and FOURTH GROUP.

To be continued again...

In Celebration of Filipino Women (Part I)

Tomorrow (March 8) is "International Women's Day" when the entire world celebrates women and their economic, political and social achievements. In the Philippines, Proclamation No. 224, signed on March 1, 1988, declared the 1st week of March of every year as "Women’s Week" and March 8, 1988 and every year thereafter as "Women’s Rights and International Peace Day”. In the same spirit, Proclamation No. 227, signed on March 17, 1988, provided for the observance of the month of March as "Women’s Role in History Month." Finally, the Philippines has Republic Act No. 6949, signed on April 10, 1990, which declares March 8 as a Working Special Holiday known as "National Women’s Day.”

On the occasion of this celebration, I would like to take a look at the women in the Philippine context by looking at the women mentioned in the song "Babae" written and composed in 1978 when the Philippines was under martial law. The women in the song came from different walks of life, lived in different times, and had different opinions and views on women, including themselves.

I view the song in three ways:

First, I consider it as a simple narration of the evolution of women's struggle in the Philippines;

Second, I view it as the writer's homage or tribute to the women mentioned in the song (including those who represented the women who were viewed either as weak or submissive because were it not for them and their stories, women around the world would not have awakened to realize that things should and could change -- that women were not weak (after all)and they need not be submissive all the time, that women also have strength, that women also have voices for you to listen to, that women can also push back and fight any form of oppression or abuse), and;

Finally, I consider the song as a challenge to everyone, to continue working towards fulfilling the hopes and dreams of women not only in the Philippines but also all over the world for a world free from oppression, discrimination, inequality, and injustice.

The lyrics of the song (including the English translation) copied from http://www.scribd.com/ramonayco/d/15009404-Babae-Women-with-English-version-below are as follows:

"BABAE" (1978)(Music and Lyrics: Ramon T. Ayco, Sr.)

I. Kayo ba ang mga Maria Clara [Are you women like Maria Clara]

Mga Hule at mga Sisa [Or women like Hule and Sisa]

Na di marunong na lumaban [Who are submissive and could fight]

Kaapiha'y bakit iniluluha [When you're battered, why you just cry]

Mga babae, kayo ba’y sadyang mahina [Oh women do you really have no might]

II. Kayo ba ang mga Cinderella [Are you women like Cinderella]

Na lalake ang tanging pag-asa [Who dream for Prince Charming to come]

Kayo nga ba ang mga Nena [Are you women like sexy Nena]

Na hanapbuhay ay pagpuputa [Whose profession is selling sex delight]

Mga babae, kayo ba’y sadyang pangkama [Oh women are you only for bed of love]

Refrain: Ang ating isip ay buksan [Women open up your mind]

At lipuna’y pag-aralan [Society needs to be analyzed]

Pa'no nahubog inyong mga isipan [How are you being molded and brainwashed]

At tanggaping kayo’y mga libangan [To admit you're just objects of fun]

Mga babae, ito nga ba’y kapalaran [Oh women is this really you destined life]

III. Bakit ba merong mga Gabriela [Why are there women like Gabriela]

Mga Theresa, at Tandang Sora [Like Theresa and Tandang Sora]

Na di umasa sa luha’t awa [Who didn't depend on mercy and cry]

Sila’y nagsipaghawak ng sandata [Every one of them took up arms]

Nakilaban, ang mithiin ay lumaya [They were women who struggled for our freedom]

IV. Bakit ba merong mga Lisa [Why are there women like Lisa]

Mga Liliosa at mga Lorena [Liliosa and like Lorena]

Na di natakot, makibaka [Who were not afraid to fight]

At ngayo’y marami ng kasama [And now there are so many comrades]

Mga babae, ang mithiin ay lumaya [They are women bravely fighting for freedom]

Mga babae, ang mithiin ay lumaya [They are women bravely fighting for freedom]



To be continued ...