Monthly Archives: December 2012

El Presidente (2012): giving Aguinaldo a break.

Two days ago, 29 December, Carmen Pedrosa wrote in her column in the Philippine Star: I have to see the film “El Presidente” to know if it does justice to Emilio Aguinaldo, a neglected hero. He offers many lessons to our present leaders. His role in the making of our nation has not been given its rightful place. […]

2012 in review

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog. Here’s an excerpt: 600 people reached the top of Mt. Everest in 2012. This blog got about 6,300 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 11 years to get […]

Category: Uncategorized

Kung Paano ko Pinanood na Filipino ang ‘Thy Womb’ ni Mendoza at may Katabi akong Moro sa loob ng Nilalangaw na Sinehan


Nora Aunor bilang Shaleha sa pelikula. 
ANG NASASAAD SA 2012 Framework Agreement ng Gubyerno ng mga Filipino at ng MILF: ‘The relationship of the Central Government with the Bangsamoro Government shall be asymmetric.’ Naisip ko: ano kaya ang makukuha mo sa isang relasyon na itinakda mo na ang guwang sa pagitan ninyong dalawa. Maaaring sa pagitan ng dalawang gubyerno o sa pagitan ng gubyerno at rebeldeng grupo, sa pulitika marahil—marami. Ngunit sa personal na buhay—sa personal na rela-relasyon, sa isang kasal halimbawa, nagtatagal kaya ang pagsasama ng mga taong pinananatili na mataas ang isa kaysa sa kanyang katuwang?  Kompromiso, konsesyon—mahahalaga ang mga ito sa isang relasyon. Ngunit nawawala ang bisa ng konsesyon lalo na ng kompromiso kung sa simula pa lamang ng relasyon hindi na pantay ang inyong katayuan sa loob ng isang relasyon.

Kahapon kasama kong nanood ng ‘Thy Womb’ ni Mendoza ang isang kapatid na Meranao mula sa Lumba Bayabao sa Lanao del Sur. Ang kapatid na ito ay isa ring matalino, para sa akin, na graduwadong mag-aaral ng Islamic Studies sa Unibersidad ng Pilipinas na talaga namang napakabuti sa akin at hindi ako pinagdaramutan ng kanyang mga pag-aaral, aklat at riserts mula sa Unibersidad – at oway sa malimit niyang panlilibre sa akin. Nais kong mapanood ang pelikula dahil magtutungo ako sa Bongao sa mga susunod na buwan kasama ng photographer na si Alberto Bainto at makatutulong marahil sa akin ang pelikula ni Mendoza upang mas kilalanin pa ang ‘lugar’ na dadalawin ko para sa aking pagsusulat. Ninais ko ring mapanood ang pelikula na may kasamang Moro (wala akong matalik na kaibigang Tausug, Samal, o Yakan o Badjao na mahihila sa panonood ng pelikula at alam kong makakausap ko sa diskusyon pagkatapos—wala rin sa Maynila ang kaibigan kong Kagan at hayun at aligaga pa rin sa kanila sa Compostela Valley dahil sa nagdaang bagyo) para mas madali sa aking magtanong sa mga hindi ko mauunawaan habang nanonood ng pelikula. Ang kapatid na Meranao ang pinaka-‘swak’ na isama dahil nag-aaral din ito ng Islam—bagaman may agam-agam ako na magka-interes siya sa pelikula dahil kabilang siya sa ibang ethno-linguistic group na bumubuo sa ‘Bangsamoro’ (labingtatlo ang grupong ito mula sa Palawan, Sulu, at Mindanao at kabilang dito ang mga Meranao sa Lanao at ang mga Badjao sa Sulu at Zamboanga—ngunit sa bisa ng Framework Agreement ang depinisyon ng ‘Bangsamoro’ ay hindi na ang labingtatlong ethnoliguistic na grupo na ito kundi ang mga probinsiya at siyudad na kabilang sa ARMM ng ating Saligang Batas at ang sampung porsiyento pa ng mga botante sa mga karatig na probinsiya at siyudad na magnanais na mapabilang sa ‘Bangsamoro.’)

            Binalak ko ang SM Fairview sana dahil mas malapit sa aming dalawa na parehong taga-Culiat sa Quezon City. Hindi na ipinalalabas ang pelikula sa SM Fairview. Sinubukan ko sa Robinson’s Ermita, wala rin ang pelikula roon bagkus tila sa dalawang sinehan nila ipinalalabas ang ‘Sisterakas’. At napagdesisyunan namin ang Mall of Asia dahil palabas daw doon ang pelikula, at isang beses pa lamang akong nakararating sa Mall kaya okay lamang sa aming dalawa na tawirin ang Ilog Pasig mapanood lamang ang pelikula. Nang nasa Cultural Center of the Philippines na kami bandang hapon, nalaman ko na wala na rin pala ang pelikula sa Mall of Asia. Nalaman ko sa internet na unti-unti na palang tinatanggal sa mga sinehan ang ‘Thy Womb’ ni Mendoza at ang pinakamalapit na sinehan sa amin ngayon na pinalalabas pa ang pelikula ay ang SM Manila. Bokya sa takilya ang pelikula sa Festival na ito. May nabasa ako na nakabuburyong daw ang kuwento at bigla na lamang natapos at wala naman daw ‘nangyayari’ sa kuwento. Kinahaban ako. Paano kung pangit nga talaga ang pelikula kaya nilalangaw ang takilya? Sayang ang pera. Kinabahan rin ako sa kasama ko. Paano kung ‘artsy’ nga ang pelikula baka iwanan ako ng kasama ko sa sinehan at maging ako rin—ayaw kong manood ng mga artsy film sa kasalukuyan sa panahong itong na ‘festive’ at ‘Festival’ ang simoy ng hangin sa buong Kamaynilaan—baka bigla kong iwanan ang pelikula at magwaldas ng salapi.   

At hayun nga, nagtungo kami sa SM Manila at nanood. Sa loob ng sinehan, may mangilan-ngilan akong nakita na naka-hijab na nanonood kasama ng kanilang mga bana marahil. Mapapansin mo ang iba mong mga kasama sa loob ng sinehan dahil, tulad nga ng balita at nabanggit, bokya talaga sa takilya ang pelikula na ito.

At nagbukas nga ang kuwento sa pelikula.

Nagsimula ang kuwento sa eksena na nagpapa-anak si Shaleha, isa kasi siyang komadrona sa bahaging ito ng Bongao sa Tawi-Tawi na hindi naman matanda ngunit masasabing ‘may edad na’. Sa unang eksena pa lamang nakahinga na ako. Isa sa mga agam-agam ko kasi sa tuwing manonood ng mga naratibo na ‘galing sa Mindanao’ ang tinatawag kong ‘cultural show’ na may sundot ng irita at pagkasuya—mga kuwento na magsasabi sa akin na kailangan kong ‘ariin’ ang kultura, kasaysayan, at masisining na pagpapahayag ng mga Moro bilang bahagi ng malaking proyekto ng konstruksiyon ng kamalayan at nasyunalismong Pilipino. Makatotohanan ang unang eksena ng pagpapa-anak ni Shaleha at inihanda ko na ang sarili ko sa halos isang oras at kahati marahil na ‘makatotohanang’ pagsasadula ng kuwento.

Tahimik lamang ang pelikula. Halos mabibilang sa mga daliri sa katawan ang mga linya ni Shaleha sa kabuuan ng pelikula. Alam mo rin na pag-ibig ang isa sa mga tinatalakay ng pelikula dahil ilang eksena na ang ipinakita na magkasama sa ‘hirap at ginhawa’ sina Shaleha at ang bana niyang si Bangas-an. Magkasama sila sa pangingisda, sa pagkakalakal ng kanilang mga bulad sa bangkerohan, sa mga gawain sa bahay, at si Bangas-an pa ang naghahatid at nagsusundo kay Shaleha sa mga gawain nito bilang komadrona sa pagtawid-tawid sa mga isla at mga komunidad sa iba’t ibang bahagi ng karagatan sa bahaging iyon ng Tawi-Tawi. Mga Badjao sina Bangas-an at Shalena – ‘marahil’ dahil maari namang Yakan sila mula sa Basilan na tumawid sa Bongao, o Samal, o Tausug.

“Mukhang makagagawa ako ng critique dito,” ang pagbabanta ng kasama ko sa aking tabi. Ito ang mga uri ng Moro na nais kong maging manonood ng aking mga dula at sa mga pamorningan na usapan sa kape at biskuwit. Hindi ako nagkamali sa aking isinama.

“Mali ang pronunciation niya,” ang puna ng kasama ko nang bumati ng ‘Assalamu alaykum’ ang artista na gumaganap sa tauhan ni Shaleha, maging sa tauhan ni Bangas-an. Sanay na ang kanyang mga tenga na marinig ang mga salita o malay lang siyang hindi Moro ang artistang gumaganap sa pelikula, hindi ko alam. Napapansin niya sa mga artista na gumaganap na imam ang siyang may tumpak na pagbigkas sa mga salitang Arabic. Siguro, naisip ko, baka mga totoong Muslim sila o ustadz kaya gamay nila ang tamang pagbikas sa wika. Tila magiging kritikal ang kasama ko sa mga aspektong may kinalaman sa Islam sa kabuuan ng pelikula, na aasahan mo naman sa isang mag-aaral ng Islamic Studies.  

“Ang ganda ng shot,” naibulalas ko nang manatili ang daloy ng kuwento sa eksena na naghihintay sina Shaleha at Bangas-an kasama ng isang matandang lalaking Moro sa pagdaan ng babaeng hinahanap nila. “Bakit maganda?” ang tanong niya. “Parang painting,” ang sabi ko. “May perspectives at balance ang paghahanay ng mga imahen.”

Hindi totoong ‘walang nangyayari’ sa kuwento tulad ng mga sinasabi sa mga blog at FB wall post na nababasa ko. Nagsimula ang conflict nang magdesisyon ang mag-asawa na hanapan nang mas batang babaeng mapapangasawa si Bangas-an para sa iisang dahilan: nais kasing bigyan ng anak ni Shaleha ang kanyang bana. Si Shaleha, mahihinuha natin, bagaman kilalang komadrona na nagpapa-anak sa komunidad, ay hindi pala kayang bigyan ng anak ang sariling bana.

Dalawa ang problema ng mag-asawa sa ninanais nila: una, ang mahanap ang pinakatamang babae para maging asawa ni Bangas-an. Ikalawa, tila naging mahal na ang dowry ng mga babae sa komunidad dahil nakapag-aaral na sila at mayroon nang edukasyon, hindi tulad ni Sheleha na bagaman kilalang komadrona ng komunidad ay isang semi-illiterate. “Pag mataas ang pinag-aralan, mas mataas ang dowry,” ang paliwanag ng kasama ko. At hayun nga sa pelikula, ang mga imahen ng sanlaksang mga batang babaeng estudiyante habang ang mga batang lalaki, naglalaro ng saranggola, nagtatampisaw sa dagat. Sa loob ng masjid, sa araw ng Jummah, mas napupuno ang lugar ng mga babae sa pagsasambahayang kaysa ang sa mga lalaki. At naalala ko ang kalupitan ng Pilar College sa Zamboanga City sa mga kabataang babaeng Muslim. Sa Islam kasi, wala pagpipilit sa pananampalataya. Kaya kung ang isang babaeng Muslim na magdesisyon na magsuot ng hijab, isa itong sagradong pagtatapon ng kanyang kalayaan bilang babae at bilang isang Muslim sa daigdig na nais niyang manampalataya. Ipinagbawal ng mga pinuno at di-Muslim na mga magulang ng Pilar College ang pagsusuot ng hijab ng mga kabataang mag-aaral sa loob ng kanilang paaralan. Kalaban talaga ng diskurso ng kalayaan ang mga makikitid na isipan. Nang minsang ialok ni Shaleha sa isang masipag na tindera sa bangkerohan ang kanyang bana bilang asawa sinagot siya ng babae na hindi ko na nga kayang buhayin ang sarili ko mag-aasawa pa ako—kung may kalayaan ialok sa merkado ng pangunahing tauhan sa kuwento ang lahat ng kanilang mga kalakal, may kalayaan din na tumanggi ang pinag-aalukan. Alam natin na hindi lamang pag-ibig ang nais na talakayin ng pelikula, eksplorasyon din ito sa konsepto ng kalayaan.

“Parang sa amindin,” ang paliwanag ng kasama kong Meranao. Nakikita niya sa mga imahen sa pelikula ang mga personal niyang mga karanasan sa kanilang komunidad bagaman kultura at realidad ng mga Badjao ang nasa kuwento. May eksena na ikinakasal ang dalawang tauhan sa kuwento at ipinapakita ang mga tradisyon at gawi sa kasal ng mga Badjao. “Parang ganyan din sa amin.” Ang binanggit niyang muli. Gusto ko sanang itugon sa kanya: sa amin, sa simbahan ginaganap ang kasal kung gusto mong maging tradisyunal. May mga abay. Nagsisimula sa ligawan. May kilig. May pamamanhikan. May pari at hindi pinag-uusapan ang halaga ng dowry—dahil walang dowry.   Sa amin, hindi mo hahanapan ng ibang asawa ang iyong bana. May konsepto kami ng ‘kabit’, ng ‘Other Woman’ sa hawla na kung tawagin ay ‘kasal’.

Nagsimulang maglala ng banig si Shaleha. “Alam ko kung paano iyan,” ang paliwanag sa akin ng aking kasama. “Marunong ng ganyan ang ante ko at ang nanay ko,” ang pagmamayabang niya sa akin. “Talaga?” ang sagot ko. At habang ipinapakita sa pelikula ang paraan ng paggawa ng banig inilalahad niya sa akin ang pangalan ng mga kasangkapan—mula sa pagkukulay, sa pagpapakulo ng mga dahon ng abaka, maging ang buong proseso—sa salitang Meranao. “Parang ganyan din sa amin. Kararaang tawag sa proseso. Riyara ang tawag sa product. Kaya ko yan. 500 pesos ang benta sa banig.” Nais ko sanang itugon bilang ‘pakiki-amin’ na mayroong ding ganyan sa Samar, sa Bicol, sa maraming probinsiya sa Luzon. Pero hindi ko na lamang ito itinugon. Ayaw kong mahulog sa bitag: iyon marahil ang proseso niya ng paglikha ng kamalayan ng kanilang nasyon, ng proseso ng konstruksiyon ng sarili niyang komunidad, ng ‘imagined community’ ika nga ni Anderson—siya na isang Meranao, at naroroon sa pelikula ang mga imahen na mga Badjao—“Parang sa amin din.” At bilang paggalang marapat lamang na tanggapin ko sa sarili na hindi ako kasama sa nasasakop ng ‘amin’ na iyon—ang ‘Bangsa Moro’ ng Moro National Liberation Front at ‘Ummah’ naman ng Moro Islamic Liberation Front.

May kakatwang eksena, isang dambuhalang baka ang isinakay sa bangka para itawid ng dagat. Sa kabilang pampang kakatayin ang baka na ito para ihanda sa piging, sa isang kasal. “Sa amin, pag ganyan hinahati ang baka equally sa lahat—kung 28 kayong lahat hahatiin sa 28 ang mga bahagi for distribution,” paliwanag sa akin ng kasama ko habang ipinapakita sa eksena na kinakatay ang baka habang nagsha-shahada ang kakatay. Ngunit habang itinatawid ang bangka na may sakay na baka biglang dumaan ang humaharurot na sasakyang pandagat ng Philippine Navy. Lumikha ito ng naglalakihang mga alon. Tumaob ang bangka at nahulog sa lalim ng dagat ang baka. Ngunit nagtulong-tulong ang mga tao upang isakay na muli ang baka sa bangka at maihatid sa pampang. Ganoon din sa reception ng kasal. Habang nagsasaya ang lahat nagkaroon ng encounter, putukan, nagkagulo ang mga tao. Huwag daw itigil ang sayaw at hayun nga, nang tumila ang mga putukan napanatag ang lahat at tuloy ang sayawan pati ng dalawang ikinakasal. Minsan napag-utusan si Shaleha na bumili ng mga kamoteng kahoy at nagkaroon ng hagaran, nabangga siya ng mga tumatakbong sundalo at nahulog niya mga pinamili sa lupa—tulad kung paano isinampa muli ang baka sa bangka, ang ituloy sayaw natapos ang encounter—kasimbilis niyang ring itinidig ang sarili sa mga panandaliang maliliit na eksena na sumisingit sa normal nilang pamumuhay. Naging bahagi na ng buhay nila ang mga ‘singit’ na ito.

“Mali ‘yan,” ang dagdag muli ng aking kasama. “Dapat itinitigil nila ang lahat ng gawain kapag   narinig na ang adhan.” Ngunit nasa eksena ang kasal at ang ‘pamamanhikan’ at totoo ngang habang nag-uusap ang mga kalalakihan naririnig ang adhan sa paligid. Nang dumating ang eksena na nakaharap sa karagatan ang mga Badjao at nag-aalay ng mga maliliit na bangka marahil para humiling nang mas masaganang pangingisda at bumibigkas ng Surah Fatihah ang madla napabulalas sa gulat ang aking kasama, “Ano ‘yan?” At alam kong hindi iyon pinahihintulutan sa Islam. “Baka pre-Islamic,” ang sabi na lamang niya bilang tugon na rin sa sariling tanong. “Culturesiguro,” ang sabi ko, “parang pag-ipatng mga Maguindanaoan.” Gusto ko sanang idagdag: parang Darangen ninyo. Bakit hindi pinag-aaralan kung anu-ano ang mga pagkakatulad at variations ng mga practices  sa Islam ng iba’t ibang tribong Moro? ang tanong ko sa kanya. Itinanong ko iyon sa kanya bilang isang kapatid na Muslim. Hindi moral para sa akin, sa lahat ng sitwasyon at pagkakataon na magtapon ng katanungan o mga pangungusap sa kapatid na Moro na naglalaman ng ‘kung ano nga ba ang dapat sa inyo’—ngunit hindi naman ako perpektong tao, may mga pagkakataon din na nahuhulog ako sa bitag dahil isa pa rin akong Filipino.

At hindi nga nahulog sa bitag ang Thy Womb ni Mendoza. Ang totoo: damang-dama mo na maingat na naglalakad sa gilid ng patibong ang pelikula. Malay ito na may bitag sa kanyang harapan at pinili nito ang manatili na naglalakad sa bingit ng pagkahulog. May mga bahagi sa pelikula na tila napapahawak ako sa dibdib sa takot na tuluyan na itong madulas o mapatid ng nakausling sanga at tuluyang mahulog sa bitag. Ngunit nagwagi ang pelikula. Dito ko nakita ang isang marikit na pag-asa sa Naratibo ng mga Filipino sa mga Moro: dahil malay ka sa bitag at nananatili ka pa ring naglalakad sa paligid nito nauunawaan mo ang iyong Sarili, ang iyong sariling mga takot, agam-agam, mga katanungan. “Ano ang gusto nilang sabihin, ha?” ang tanong ng akin ng kasama ko nang lumabas sa eksena na napadaan sina Shaleha at Bangas-an sa isang chapel ng mga Katoliko—tadtad ng bala ang mga haligi at nagkalat ang mga imahen ng mga santo sa loob. Tila nahulog sa bitag ang aking kasama. Nais ko sanang ipaliwanag sa kanya na hindi, hindi ninanais ng pelikula na ilarawan ang matagal na nating nalalaman, ang matagal nang ipinamumukha sa atin ng gubyerno at lipunan maging ng mga palabas, pagtatanghal at kuwento mula sa Mindanao. Nais lamang ipaalala ng pelikula na sa daigdig na inilalarawan sa kuwento, walang lugar ang kahinaan at ang saliwang relihiyon.

Sa pagtalakay ng Thy Womb sa buhay ng mga Moro sa bahaging ito ng Tawi-Tawi, pagtalakay na ingat na ingat na muhulog ang naratibo sa bitag, hindi malay ang pelikula na tinatalakay na pala nito ang neo-kolonyal na relasyon ng Pilipinas sa Bangsamoro: na ang daan na tinatahak nating mga Filipino sa konstruksiyon ng ating identidad, ng ating pagkatao at nasyunalismo hinuhubad natin ang mga bagay na magpapakatao sa atin—pag-ibig, responsibilidad sa iniibig, katapangan, pagwaksi sa takot ng pag-iisa sa katandaan, sa kamatayan, pananampalataya. Naalala ko bigla sa loob ng sinehan ang sinabi sa akin noon ng isang kapatid na Moro, “Baka kami ang inyong nakaraan na pilit niyong tinatalikuran?”

Kung ang Bangsamoro ang salamin na hawak ng Filipino upang mas makilala pa niya ang kanyang sarili, isang pambihirang pagtatangka sa katapangan ang Thy Womb na humarap sa salamin bagaman nakapikit ang kanyang mga mata upang sipatin ang sarili. Mas mainam na ang ganito kaysa ang nakasanayan na na ang siyang nakaharap sa salamin ang nagdidikta kung paano nga ba niya dapat makita at makilala ang kanyang sarili.     

   At nahanap nga ni Shaleha ang babaeng para sa kanyang bana. Si Mersila—bata, maganda, may pinag-aralan. At siguradong makapagbibigay ng anak kay Bangas-an. Ngunit malaki ang dowry ni Mersila tulad ng inaasahan. At nagpursige si Shaleha na likumin ang salaping kinakailangan para sa dowry ng mapapangasawa ng kanyang bana. Pati sarili niyang mga alahas at ang motor ng kanilang bangka na ginagamit niya sa paglalakbay sa mga isla bilang komadrona ibenenta para lamang mapunan ang pangangailangan ng dowry. Nakita rin kung paano sila tinulungan ng kanilang komunidad para lamang maipon ang sapat na salapi. Ganoon kamahal ni Shaleha ang kanyang bana. Ngunit kasama sa dowry ang isang bagay, ang isang katotohanan na ipinaalala ni Mersila kay Bangas-an: sa oras na isilang ko ang iyong anak, hihiwalayan mo ang iyong unang asawa, hihiwalayan mo si Shaleha. “Ang lungkot,” ang naibulalas ko sa aking kasama. “Hindi ganyan sa amin,” ang sagot naman niya, “ang unang asawa minsan ang masusunod.” Malungkot dahil maiiwanang nag-iisa sa katandaan si Shaleha—hindi na siya bata tulad ni Mersila na hahandugan ng nagtataasang dowry, wala nang lalaki ang iibig pa sa kanya marahil. Saan siya pupunta?

Naunawaan ko lamang ang lahat nang ipakita ang eksena na si Shaleha pa ang nagpaanak kay Mersila. Na ang institusyon ng kasal para kay Shaleha ay hindi isang hawla kung saan siya naikulong—ang kasal sa kanya ay isang espasyo para ibahagi niya ang kanyang pag-ibig at responsibilidad sa pinakamamahal niyang lalaki na katuwang sa buhay at paghahanap-buhay, isang espasyo na itatakda niya ang kanyang kalayaan bilang isang babae na may kapangyarihan sa kanyang mga desisyon at sarili, ang lunan kung saan malaya niyang sasambahin ang Allah (swt) at mapananatili ang pagpapakumbaba ng kanyang imaan. Na hindi ako mamamatay sa lungkot sa oras ng aking pag-iisa at mawala ang aking bana, kung sakaling maging shahid man ang aking bana at maiwanan sa akin ang pagtatagayod ng aking pamilya. Mahigpit na magkalingkis ang pag-ibig at katapangan sa bahaging ito ng daigdig, ayon sa pelikula na ito ni Mendoza.

Pagkatapos ng pelikula hindi kaagad kami tumayo ng aking kasama. Maraming salitang nais na pakawalan sa pagitan naming dalawa. Ganoon dapat ang Sining—hindi nito tinatapos sa aliwan ang lahat. Hindi nagtatapos sa palakpakan, sa tawanan ang relasyon ng likha at ng kanyang manonood o mambabasa. Hindi ninanais ng Sining ang pagtakas—tulad ng mga ninanais na ibahagi sa atin ng mga telenobela at mga mamerang pelikula ng mga kabit at nakakikilig na pag-iibigan ng mga magaganda at guwapong mga artista, na parang ang mga magagandang tao lamang ang may karapatan na umibig at mabigo sa pag-ibig at relasyon. Hindi pagtakas ang ninanais ng Sining, kundi paglaya.

Binasa namin ang closing credits ng pelikula. Pinasalamatan ng pelikula ang mga taong naging bahagi ng kanilang produksiyon. “Bakit magkapareho ang last name ng governor at vice-governor ng Tawi-Tawi?” ang tanong ko. Hindi sumagot ang aking kasama dahil baka namalik-mata lang ako sa aking pagbabasa. O may mga katotohanan sa labas ng pelikula, sa tunay na daigdig na kapwa naming iniiwasang pag-usapan. Tumindig na lamang kami sa aming mga kinauupuan at lumabas ng sinehan. Nakalulungkot isipin na sa paglabas para talagang kaming dalawa lamang ang nanood ng Thy Womb ni Mendoza.

“Bakit walang nanonood?” ang tanong ko sa aking kasama nang makita ko ang pila sa pelikula paglabas na pinagbibidahan ng anak ng dating pangulo ng Pilipinas. Hindi na naman siya sumagot.  At sa  pananahimik naming dalawa habang papalayo sa sinehan bigla akong nagimbal sa aking naisip na kasagutan sa sariling katanungan. Hindi, mali. Hindi dahil sa ‘bakya’ ang panlasa ng mga tao na parokyano ng taunang Festival na ito at hindi nila dinudumog ang takilya. Hindi, mali. Hindi dahil sa tila nakasasanayan na ng panlasa ng masa ang halos araw-araw at maghapon na soap operas at hahanapin na nila ang ‘teleserye’ sa lahat ng aliwan na kanilang hinahanap. Nakagigimbal na katotohanan: takot pa rin pala tayong harapin ang salamin. May mga katotohanan at naratibo na pilit pa rin nating iwinawaksi at di-malay na iniiwasan. Dito pala nanggagaling ang konsepto ng ‘asymmetric’ na relasyon. Hindi ito tapang at pagbabandera ng katapangan at paglalayon ng isang tunay na kapayapaan. Isa pala itong naratibo ng ating kaduwagan—at sa kaduwagang ito namamanhid na ang ating mga balat, ang ating mga budhi, ang ating mga kaluluwa at maging ang mga panlasa sa kung alin ang maganda sa karaniwan. Kaya sa harap ng madla, sa loob mismo ng Malacanang noong Setyembre, sa isang malakihang piging na hinahayaan natin silang hilingin sa atin ang mga bagay na marapat nang matagal na naririyan: ang hustisya, ang kanilang kasaysayan at identidad, ang kanilang mga kinabukasan, ang kanilang kalayaan. Hindi tayo nakaramdam o natinag man lamang sa hiya sa kanilang harapan, sa daigdig.
Mas lalong tumingkad ang aking pagkagimbal nang dumaong na muli sa akin ang katinuan na si Nora Aunor pala, na bagaman hindi na ang reyna ng takilya sa mahabang kasaysayan ng Festival na ito ngunit hindi mangyayaring lalangawin ng ganoon ang kanyang pelikula, ang gumanap sa Shaleha sa Thy Womb. Siya pala ang artista na gumaganap sa tauhan ni Shaleha sa kabuuan ng kuwento. Bravo.

Review: Shake, Rattle and Roll 14

The material was there. A good director was there. For this year, only one director, famous horror movie director Chito Rono did all the episodes. But the dedication wasn’t exactly there. This would have been a great “comeback” for this famous local horror anthology but it turned out to be a little lacklustre than expected.
The first episode, called Pamana may actually be reminiscent to the earlier Shake, Rattle and Roll movies. It had great camp factor, the necessary absurdity and wit. It had an interesting premise about a dead horror movie writer leaving some of his most famous worksto his nephews and nieces who don’t seem to care that much. The horror starts when these famous horror characters come to life and haunt them.
But there’s really something more in the movie. It shows us how these people value family and how money can win them over.  Their failure to even know anything abouttheir famous uncle and their other family dramas tell us something.
This is certainly one creative segment—from the inventive horror characters that seem to pay homage to classic Pinoy horror to the very talented cast lead by Herbert Bautista, who should leave politics and start acting again, and SRR veteran Janice de Belen. However, all these can end up wasted when the narrative suddenly feels rushed towards the end. 
There would have beena better way to end the whole segment without actually ending the story but what we had was hasty and bland. On the other hand, this is one of the best segments since 2k5. Jerrold Tarog’s Punenarya two years ago still holds the crown for best SRR segment since 2k5 though.
Lost Command is a little lost. Here, we have a great pool of talents and an interesting premise. But there are some things lacking that makes this second segment somewhat unremarkable when it really shouldn’t have to be. A few years ago, a troop ofshoulders were lost in this remote area. At the same time, uniformed (and somenot wearing uniforms) “zombies” who feed on the living to gain power are starting a new group of nationalist “armed” men. 
However, this segment might actually deserve a good full-length version just for the premise alone. Then again, with how this segment was implemented, it might not. There’s something really good and promising about this segment that it’s hard to believe that one cannot simply enjoy the whole episode after watching its entirety.There were some things to ponder on as the politics were obviously there. But for the horror aspect alone, it can really succeed but the lack of dedication for the narrative and characterization begs to differ.

The last segment is unwanted. But, seriously, it’s called Unwanted. It’s hard to want this since this looks really rushed and it’s probably the poorest in terms of quality among the three segments. It’s the end of the world and a group of survivors are trapped inside a mall. Later, we learn that the world was now taken over by alien seafood. I can’t swallow that.
It started out good until Albie Casino and those other two showed up. This probably had one of the worst ensembles ever in SRR franchise. And that’s saying a lot considering the lacklustre set of teenage Tv celebrities in the past 7 years. It was hard to root for most of them. I actually didn’t care when most of them got eaten alive. The CGI looked rushed as well. It should’ve stuck with the whole end of the world paranoia but it didn’t. It would’ve been the most exciting episode to watch out for since the whole marketing strategy was based on this one.
Rating: 2.5/5

Review: Si Agimat, Si Enteng Kabisote at Si Ako

It’s totally ironic that one of the movie’s characters is an advocate against waste. Si Agimat, Si Enteng Kabisote at Si Ako is unconditionally close to being trash—if it’s not one yet.
Where do I even begin? Hmmm. It sucks which means it’s tasteless, uninspired, most of the time rude, and a waste of money. Let me start by saying that I only watched this as part of my annual MMFF marathon. And this was one of the (if not the) worst MMFF entries ever.
At least last year’s Enteng instalment had the always reliable Eugene Domingo to keep us a little more patient with this unending folly.  For this year, we have Bong Revilla as Agimat and Judy Ann Santos as AKO which is a nickname to her full name. Yeah, they’re so creative.
Well, apparently, extra-terrestrial octopuses who speak beki are invading earth to spread dirt and turmoil. And our very own self-proclaimed superman, Enteng Kabisote, teams up with Agimat who just got married to long-time girlfriend Samara (played by Sam Pinto but most likely dubbed by a Koreanovela dubber), and environmentalist AKO, who’s actually a princess in this place called Diwatara or something.
There’s really no story to tell in the first place. There’s really nothing spectacular to show. All it gives is just a real headache and I can attest to that. Perhaps, it’s about time to retire this sick joke, Mr. Vic Sotto. I don’t really see how Enteng is getting the respect and admiration from everyone in the movie. He’s disgusting, conceited and most of the time, he gets a little too self-absorbed.
It’s also disgusting how this movie even attempted to integrate some gender politics. At the end of the day, Samara (or Sam Pinto’s dubber) finally gives a supposedly inspiring speech that’s all about finding a guy and being really happy about it. So, basically, the movie’s trying to say that one day, women who lust for guys like Enteng Kabisote will find a guy like him soon. Now that’s funny.
The jokes are too fusty but at least Jose, Wally and Ruby from Eat Bulaga were there to somehow make me laugh, even just for a while. Gwen Zamora is still the better actress here, as the youthful and caring wife of Enteng Kabisote. And, I guess Vic Sotto and Bong Revilla have truly mastered their roles to the point that hating the Enteng character might probably equate to hating Vic Sotto himself. Judy Ann Santos had her moments with the group-hug jokes which were quite funny and so Juday, but it’s just so sad to watch her in this kind of movie.
The editing is messy, the CGI is a headache, the narrative is weak, and let’s not forget about the Sun Cellular commercials. Watching the movie in a half-empty theatre, I could hear some people behind me mostly talking about the TV personalities and not exactly anything that would merit this latest Enteng movie as a good movie. It seems that the only effort that this movie even exerted was to just make sure that these fans of those TV personalities would still remain faithful to them. But I’m still hoping that they should just stay on TV.
Rating: 0.5/5

Critical Relations between International Relations and Islam

Call for papers and/or panels for the section on the “Critical Relations between International Relations and Islam” chaired by Nassef Manabilang Adiong.

8th Pan-European Conference on International Relations

18-21 September 2013

War…

Category: Uncategorized

Responding to the challenges in the coming year

  The year 2012 had many incidents that has rocked the Muslim world, from the arab spring, which dragged Arab regimes to the ground, to the blind massacres of Arab tyrants in Bahrain, to the massacres of Muslims in Burma. In the Philippines, we have faced many calamities which has affected many Muslims. With the […]

Category: Uncategorized

2nd Life: 24 Years Extension Lease of LIFE Allaahu Akbar

Second Life
If ever there was
an extension of Allah’s
Lease of Life
SubhanALLAH…

Tahmid
Am thankful
grateful for ALLAH
is great…
remorseful for
what might have beens
Takbir…
Al qadar wal qadaa’
mode breaks that mood

Alhamdulillaahi alaa kulli haal

That moment I have fully grasped
the Most Trustworthy Handhold
that never breaks
YET flailing my Eeman quakes
each weak moment
 I reminisce
of what might have beens
Nastagfirullaah…

Nonetheless
ALLAH never breaks His Promise
That moment I have fully grasped
the Most Trustworthy Handhold
that never breaks
I dread the thought
of letting go…
Secured,
cocooned
in the sweetness
of His Infinite Mercy!
Nahmadullaah wa nashkuruh! 

{Allaah is the Walee (Protector or Guardian) of those who believe. He brings them out from darkness into light. But as for those who disbelieve, their Auliyaa’ (supporters and helpers) are Taaghoot (false deities), they bring them out from light into darkness. Those are the dwellers of the Fire, and they will abide therein forever.} [Surah al-Baqarah (2): 257]

Category: Uncategorized

Review: One More Try

One More Try should have been the attempt by Star Cinema to reinvent itself—to give quality production another try. But, much like the premise of this film, director Ruel S. Bayani isn’t exactly sure how to handle the material.
The first half started solidly. We meet Grace (Angel Locsin) who travels to Manila from Baguio to ask for help from the father of her sick son, Edward (Dingdong Dantes) by donating his bone marrow. It turns out that he wasn’t a match, as well, so they had to resort to the doctor’s suggestion: Grace and Edward need to have a baby together who could donate a matching bone marrow to their son. But the real dilemma is that Edward is now married to Jacqueline (Angelica Panganiban).
Of course, they didn’t really need to have sex at all. But since the in vitro procedure failed, they needed to consider the natural way.
This was initially the main push of the film. It tried to zoom in on possible ethical and moral consequences, especially when we’re talking about a 5 year old’s life at stake here. That was the first half—enthused and almost effortlessly bold. It also came along with surprisingly real characters—people. Each was essentially a part of the sticky situation.
Jacqueline or nicknamed as Jack can’t bear a child for her husband. And she was devastated when Grace and her son came in the picture. It was the same thing for Grace who knew that she could only do so much but it’s really her son she’s very concerned about. She helps her son and herself lighten up the situation by reading him the supposedly almost similar tale of Ibong Adarna where Prinsipe Juan did the best he could, even if it meant hurting himself, just to cure his sick father.
We see how the movie wanted to involve everyone. This was a smart move for the narrative—to have these characters embody a certain facet or take on the issue. But just when we get to a certain impetus, it loses everything we could possibly engage ourselves in.
The second half felt too synthetic. It coerces the impression that it should, at all costs, have a happy ending. And that hurt the storyline. What was once intriguing and reasonably engaging reduced into another example of an apathetic melodrama. Its attempts to knot these conventional events in favor of achieving the happy—and may I add, predictable and unrealistic—ending.
It is also revealed that Grace’s son was the product of Edward’s unfaithfulness to then-girlfriend Jack. It unnecessarily made the complexity of the situation ridiculous when it really shouldn’t have to be. Every possible genuine emotion they could ever convey now feels artificial. Instead of holding on to sensibly flawed characters, it ended up making them do stuff without motivation.
Grace was compelled to take on a rather risky turn as soon as things didn’t go exactly what they planned. Her intentions are clear but the movie can’t back that up. It wants to reveal the consequences some people had to take but they still decided to remain preoccupied with exaggerating the crying and even the theme song.
The movie furthers with imposed emotions and instances to somehow give some sort of effect. It only goes to show the kind of dedication that the writers could only give to the narrative. We see some growth in Bayani’s direction but it’s sad that he can’t be consistent about it.  
And then, there are the actors. Angel Locsin tries to connect with a character but it might be difficult for her to do that since she’s dictated to cry out almost every emotional scene. Angelica Panganiban knows what she is capable of and it’s very obvious that she’s also finding her lines ridiculous. They could only do so much when they’re limited to forced characters. 
Then, again, there’s still some promise in the film—just under those thick layers of forced camp and overdramatic sequences. It could’ve generated its deserved intrigues and judgments but it wanted to take on the easy way—quite forgivable considering that thematically, this would have been the most favorable option. But with that, it loses the supposedly emotional core and substance of the situations.

The movie started trying to ask the question: “How far can you go (for love)?” But I left the theatre with “what the hell?” 
Rating: 2.5/5

Hataman turns over ambulances to district hospitals in ARMM

ZAMBOANGA CITY — Autonomous Region in Muslim Mindanao (ARMM) Governor Mujiv Hataman on Saturday turned over eight fully equipped brand new ambulances to district hospitals in the provinces of Sulu and Tawi-Tawi. In a simple ceremony at the Rojo Compound in Barangay Kasanyangan Village, Zamboanga City, Governor Hataman handed over the new ambulances to ARMM […]

Relief Mission in Compostela Valley

ARMM OIC Governor Mujiv Hataman assists an old woman during the relief operation in Montevista, Compostela Valley Province on Friday, December 21.The relief operation and medical mission is part of the ARMM Solidarity mission to the victims of typhoon pablo in the province. With Governor Hataman during the 3-day mission are officials and personnel from […]

Relief Mission in Compostela Valley

ARMM OIC Governor Mujiv Hataman assists an old woman during the relief operation in Montevista, Compostela Valley Province on Friday, December 21.The relief operation and medical mission is part of the ARMM Solidarity mission to the victims of typhoon pablo in the province. With Governor Hataman during the 3-day mission are officials and personnel from […]

Living the Borrowed Life

Man is said to be created for worship. We are in the situation which is not eternal. However, in this temporal period, there seems to be a lot to do that we forget the most fundamental ones.Every waking hour of our lives, we must ask ourselves. Are we …

Review: The Strangers

A good urban legend may be strangely vindicated but it usually doesn’t make much sense. And that makes them tick. But The Strangers is surely no good urban legend. It’s strange and significantly shocking but that’s just about it. It doesn’t make much sense as it badly needs it. 
The first half was about a family on a road trip to Murcia. The whole movie happens on one day which is also twins Max’s and Pat’s 18thbirthday. Pat (Julia Montes) doesn’t look excited for the trip and insists to stay in Manila. We don’t really know where they were going. It can be assumed, based on conversations that they do this at least once a year. But we’re badly in for the horror to even care about this earlier plot device.
Their van stops in the middle of a forest so the dad, together with the driver, tries to find help. The grandfather (Jaime Fabregas), his superstitious caregiver, Paloma (Janice de Belen), the mom (Cherry Pie Picache) and the twins are left in the van. The rest of the following events seem contrived. Each of the characters gets killed for making some very doubtful decisions. And that’s all part of the horror genre convention. But, no.
We learn in the second half that some things are trying to make sense. But the way the revelation was treated makes the narrative a little shaky. We, as viewers, try to understand their motivations but they’re mostly very outlandish to us. But it doesn’t feel out of place. But, then again, it does.
Well at least the movie was right about one thing: the title. We can’t tell what it’s in for. And that’s given.
Lawrence Fajardo puts the audience in a position where we can’t judge—where we can’t be sure about anything. It’s a little complex to handle this kind of treatment and that’s relatively new for this genre. I can’t say that Fajardo does a really great job but consider me sold. It’s just a waste that it ended so abruptly.
And Enchong Dee’s character’s storyline demands something more. Those flashbacks seem to personify these demands but they may not. Maybe he wasn’t crazy enough. He’s strange, all right. And it’s hard to just trust him. He seems motivated but then again, he may be not.
There were a lot of things left to explore but while it needs a sequel—or a prequel—it doesn’t seem to end that way. It ended like it was already pretty contented about itself. But that sounds selfish.
Everyone was in the mood. The performances were all convincing. Even the extras remained in character. That’s one good thing about this movie—everybody in the movie knew what they were doing. Especially with the kind of script they had. They could only do so much but they were still great. I couldn’t say much about the final product as it sometimes got confused about what to show. If only it didn’t try too hard to entertain and just went along with the anonymity.  
The movie is a little complicated to deal with. But, then there are Louie Quirino’s lush visuals and the ‘look’ of these aswangs. They feel like throwbacks of the early 90s. But once they transform to CGI flesh eating beasts, they exemplify the efforts put into this little production. They can be a little dodgy but the CGI aswangs here may actually look better than the ones in this year’s Tiktik: The Aswang Chronicles
Rating: 2.5/5

Review: Sisterakas

The title itself is no genius. And if you know who Wenn Deramas is, then you’re probably not in for anything really ample amidst everything that the movie inflicts.
There’s honestly something daft about Sisterakas. Totoy (Vice Ganda) hires his half-sister Detty (Ai Aidelas Alas) as his new executive assistant and takes revenge on her by making her do some really bizarre errands which are not entirely foreign to Deramas’movies. Kris Aquino comes in the picture as she plays an uncanny caricature of herself, named Roselle, owner of Totoy’s rival fashion company.
This 2-hour full-length comedy skit reject failed to capture any legitimate sense of thrust in spite of the supposedly melodramatic backstory. Here, we are introduced to the supposedly difficult themes of retribution and rivalry, and, may I add, how far things like this go. But we feel a little cheated when we realize that they don’t really make sense in the end. And why was everybody mean, in the first place? Where did the rivalry start? And bakitwalang bangs?
None of these seemed important in the duration of the movie. In the first place, it’s silly enough to take revenge on the half-sibling  who was probably 10 years old then. To carry that kind of burden for almost 20 years amidst the success that you’ve been getting is even sillier. And it appears that this was all play for the wealthy Totoy. There really is nothing emotional to invest on. Not even the constant crying. Come on.
It was clever enough to have Kris Aquino make fun of her public image in this one. But that alone couldn’t even save this mess. Vice Ganda’s supposedly funny one-liners return. There’s a reason why these jokes are more tolerable on TV though. Ai Ai delas Alas is a little lost with all the silliness contrived. I certainly doubt the existence of a real script to this.
The Amalayer reference was predictable. It only goes to show how quick the whole production was. Sequences were blandly shot and the editors forgot about the importance of a solid aspect ratio.
Performances were easy to foresee. We know who Vice Ganda and Ai Ai delas Alas are. And it’s sad that they’ll still stick to doing movies like this even if, as “actors”, it’s healthier to discover other materials. Kris Aquino was the biggest surprise though. And I’m not even sure if that’s a bad thing.
Rating: 1.5/5 

Road Trip To Empty Quarter

night with a stardesert sunrisedesert path in empty quarterbeauty in the quarterdesert treesclear blue sky in the middle of nowheremass grave click link as proofMount Abu in empty quarter wish to explore more photos regarding Empty Quarter? click this link…. NOTE: Try to use Google Chrome with google translate when opening the link for you […]

Category: Uncategorized

Think Out Loud: Links to Hijab/Niqaab issues in the Philippines

Think Out Loud: Links to Hijab/Niqaab issues in the Philippines: These are some links to the Hijab/Niqab ban issues in Philippine Schools and Hospitals.
 http://www.facebook.com/pages/ Hijaab-Niqaab-Advo…
http://www.facebook.com/pages/Hijaab-Niqaab-Advocacy-Network/280451248727431?ref=hl

http://www.mb.com.ph/articles/370519/in-name-religious-freedom

http://www.abs-cbnnews.com/nation/04/07/09/muslims-arms-against-discrimination

http://www.irfi.org/articles2/articles_2601_2650/Hijab%20-%20A%20Symbol%20of%20Liberation%20and%20Not%20of%20Oppression.HT

http://www.irfi.org/articles2/articles_2601_2650/Hijab%20-%20A%20Symbol%20of%20Liberation%20and%20Not%20of%20Oppression.HTM

http://www.mindanaoexaminer.com/news.php?news_id=20121114081808

http://neocatalyst.blogspot.com/

Wednesday, May 9, 2012

HIJAAB-NIQAAB Compilation of LEGAL Documents and Related Articles


Assalaamu alaikum warahmatullaahi wabarakatuhu!!

Every concerned Muslims (Muslimat) in the Philippines “MUST READ AND UNDERSTAND” all LAWS, MEMORANDA, ISSUANCES, DEPARTMENT ORDERS IN RESPECT FOR THE RIGHT TO WEAR HIJAB-NIQAAB in our country. 

Among the many legal documents:

1.) PRC Memorandum No. 2012-02 Re: Wearing of Veils of Muslim Womens Taking the Licensure Examinations dated January 24, 2012 issued by Commissioner Alfredo Y. Po, OIC PRC:

http://www.facebook.com/media/set/?set=oa.297790223602752&type=1

Note:  Moreover, this order is applicable to all Muslimat Niqaabi across Philippines and in all courses that need to take for a licensure examinations in PRC.

2.) NCMF Issuance Re: Legal Guidelines on Hijab by Bureau on Legal Affairs issued by Commissioner Atty. Edilwasif T.Baddiri dated September 20, 2011; Resolution No. 44, Series of 2011 approved and signed by Hon. Bai Omera D. Dianalan-Lucman and Commissioners of National Commission on Muslim Filipinos dated October 05, 2011:

http://www.facebook.com/media/set/?set=oa.245916968790078&type=1

3.) NBI Order Re: Memorandum Order No. 28 S. 2008, Guidelines on Photo Requirements and Picture Taking for NBI Clearance Purposes approved by Atty. Nestor M. Mantaring, Director of NBI Central Office, Manila in response to the appeal of Deputy Mufti Shaykh Abdulwakil S. Tanjilil:

http://www.facebook.com/media/set/?set=oa.246410378740737&type=1

4.) DOH Memo and Order namely DOH MEMO No. 2009-0107 issued by DOH Secretary Francisco Duque III, MD MSc. (Re:Strengthening the Protection of Religious Rights of Muslim workers, including but not limited to students and trainees in health facilities), which was duly reiterated by DOH MEMO No. 2011-0232dated 16 August 2011 Re: Reiterating Compliance to DOH MEMO No. 2009-0107 by Nemesio T. Gako, MD, MPH, CESO II, Asst Secretary of Health, Internal Finance and Administration Technical Cluster- lobbied by IMAN President Sherjan Kalim, MD:


http://home.doh.gov.ph/dm/dm2011-0232.pdf 

5.) Strengthening the Protection of Religious Rights of Students (DepED Order No. 53 s. 2001 by Sec Raul S. Roco; and CHED MEMO dated 26 August 2008 signed by OIC Dr Nina S. Ricafort):

http://www.deped.gov.ph/cpanel/uploads/issuanceImg/DO%2053_10-29-01_00001.pdf

6.) DFA and among others, SOON, In shaa’ Allah!





HIJAB RELATED ARTICLES


http://neocatalyst.blogspot.com/2012/05/not-merely-uz-even-malacanang-has-no.html 

http://www.abs-cbnnews.com/nation/04/07/09/muslims-arms-against-discrimination 

http://neocatalyst.blogspot.com/2011/10/defense-of-muslimat-fortress-no-dearth.html

http://www.mb.com.ph/articles/208565/doh-allows-wearing-muslim-head-gear

http://www.pinoypress.net/2008/04/09/the-hijab-a-symbol-of-liberation-not-oppression/

http://www.insidemindanao.com/article52.html

http://abna.ir/data.asp?lang=3&Id=161951



HIJAB RELATED VIDEO/AUDIO

http://insidemindanao.com/radio/SUG_Alun_Limaya_1.mp3

http://www.youtube.com/watch?v=Eyc5vLTGT9o

http://www.youtube.com/watch?v=7l9DpT3XmGs

http://www.youtube.com/watch?v=BkZzHpHUw6A

http://www.youtube.com/watch?v=BqgNg2aaoXQ

http://www.youtube.com/watch?v=NHY_E6XTrH0

http://www.youtube.com/watch?v=rfYdXYnnNSs


HUMAN RIGHTS VIOLATION REPORTING:


“HR ALERT! Witnessed a Human Rights Violation? SUBMIT A REPORT NOW” we call this the CSO-PIMM form: find the online submission below it:


We are thankful that our fervent prayers are granted by The Most Compassionate and Beneficent ALLAH.

This serves as proof which is quite a relief to our frustrations that there ARE still institutions who respect the dignity and inviolable rights of fellow human beings regardless of religious affiliation.

May we continue to uphold and abide the law in consonance with and respect to the inalienable rights of all Muslim Filipinos. 


Aameen Ya Rabb!

Category: Uncategorized

Links to Hijab/Niqaab issues in the Philippines

These are some links to the Hijab/Niqab ban issues in Philippine Schools and Hospitals.

http://www.facebook.com/pages/Hijaab-Niqaab-Advocacy-Network/280451248727431?ref=hl

http://www.mb.com.ph/articles/370519/in-name-religious-freedom

http://www.abs-cbnnews.com/nation/04/07/09/muslims-arms-against-discrimination

http://www.irfi.org/articles2/articles_2601_2650/Hijab%20-%20A%20Symbol%20of%20Liberation%20and%20Not%20of%20Oppression.HT

http://www.irfi.org/articles2/articles_2601_2650/Hijab%20-%20A%20Symbol%20of%20Liberation%20and%20Not%20of%20Oppression.HTM

http://www.mindanaoexaminer.com/news.php?news_id=20121114081808

http://neocatalyst.blogspot.com/

Wednesday, May 9, 2012

HIJAAB-NIQAAB Compilation of LEGAL Documents and Related Articles


Assalaamu alaikum warahmatullaahi wabarakatuhu!!

Every concerned Muslims (Muslimat) in the Philippines “MUST READ AND UNDERSTAND” all LAWS, MEMORANDA, ISSUANCES, DEPARTMENT ORDERS IN RESPECT FOR THE RIGHT TO WEAR HIJAB-NIQAAB in our country. 

Among the many legal documents:

1.) PRC Memorandum No. 2012-02 Re: Wearing of Veils of Muslim Womens Taking the Licensure Examinations dated January 24, 2012 issued by Commissioner Alfredo Y. Po, OIC PRC:

http://www.facebook.com/media/set/?set=oa.297790223602752&type=1

Note:  Moreover, this order is applicable to all Muslimat Niqaabi across Philippines and in all courses that need to take for a licensure examinations in PRC.

2.) NCMF Issuance Re: Legal Guidelines on Hijab by Bureau on Legal Affairs issued by Commissioner Atty. Edilwasif T.Baddiri dated September 20, 2011; Resolution No. 44, Series of 2011 approved and signed by Hon. Bai Omera D. Dianalan-Lucman and Commissioners of National Commission on Muslim Filipinos dated October 05, 2011:

http://www.facebook.com/media/set/?set=oa.245916968790078&type=1

3.) NBI Order Re: Memorandum Order No. 28 S. 2008, Guidelines on Photo Requirements and Picture Taking for NBI Clearance Purposes approved by Atty. Nestor M. Mantaring, Director of NBI Central Office, Manila in response to the appeal of Deputy Mufti Shaykh Abdulwakil S. Tanjilil:

http://www.facebook.com/media/set/?set=oa.246410378740737&type=1

4.) DOH Memo and Order namely DOH MEMO No. 2009-0107 issued by DOH Secretary Francisco Duque III, MD MSc. (Re:Strengthening the Protection of Religious Rights of Muslim workers, including but not limited to students and trainees in health facilities), which was duly reiterated by DOH MEMO No. 2011-0232dated 16 August 2011 Re: Reiterating Compliance to DOH MEMO No. 2009-0107 by Nemesio T. Gako, MD, MPH, CESO II, Asst Secretary of Health, Internal Finance and Administration Technical Cluster- lobbied by IMAN President Sherjan Kalim, MD:


http://home.doh.gov.ph/dm/dm2011-0232.pdf 

5.) Strengthening the Protection of Religious Rights of Students (DepED Order No. 53 s. 2001 by Sec Raul S. Roco; and CHED MEMO dated 26 August 2008 signed by OIC Dr Nina S. Ricafort):

http://www.deped.gov.ph/cpanel/uploads/issuanceImg/DO%2053_10-29-01_00001.pdf

6.) DFA and among others, SOON, In shaa’ Allah!





HIJAB RELATED ARTICLES


http://neocatalyst.blogspot.com/2012/05/not-merely-uz-even-malacanang-has-no.html 

http://www.abs-cbnnews.com/nation/04/07/09/muslims-arms-against-discrimination 

http://neocatalyst.blogspot.com/2011/10/defense-of-muslimat-fortress-no-dearth.html

http://www.mb.com.ph/articles/208565/doh-allows-wearing-muslim-head-gear

http://www.pinoypress.net/2008/04/09/the-hijab-a-symbol-of-liberation-not-oppression/

http://www.insidemindanao.com/article52.html

http://abna.ir/data.asp?lang=3&Id=161951



HIJAB RELATED VIDEO/AUDIO

http://insidemindanao.com/radio/SUG_Alun_Limaya_1.mp3

http://www.youtube.com/watch?v=Eyc5vLTGT9o

http://www.youtube.com/watch?v=7l9DpT3XmGs

http://www.youtube.com/watch?v=BkZzHpHUw6A

http://www.youtube.com/watch?v=BqgNg2aaoXQ

http://www.youtube.com/watch?v=NHY_E6XTrH0

http://www.youtube.com/watch?v=rfYdXYnnNSs


HUMAN RIGHTS VIOLATION REPORTING:


“HR ALERT! Witnessed a Human Rights Violation? SUBMIT A REPORT NOW” we call this the CSO-PIMM form: find the online submission below it:


We are thankful that our fervent prayers are granted by The Most Compassionate and Beneficent ALLAH.

This serves as proof which is quite a relief to our frustrations that there ARE still institutions who respect the dignity and inviolable rights of fellow human beings regardless of religious affiliation.

May we continue to uphold and abide the law in consonance with and respect to the inalienable rights of all Muslim Filipinos. 


Aameen Ya Rabb! 

Category: Uncategorized

Do Not Violate Our Niqaab; Do Not Shatter Our Dreams

Bismillaahir Rahmanir Rahiim
Assalamu alaykum wa Rahmatullaahi wa Baarakatuhu


Truly Allah decrees what Allah wills
And so we accept it, trust Allah solely as we surrender everything to our Rabb
Initially, my candidness got the worst of me.
I was appalled to learn from Atty Apion (AP) via telecom last December 14 that:


1. Judge Estacio (JE) like AP admitted to have spent sleepless nights over the stalemate;
2. Stalemate: for reasons of irreparable damage or injury on the niqaabis’ well-being a writ of preliminary injunction (WOPI) was issued by JE against UZ ordering the latter to enroll the niqaabi-complainants YET UZ Pres Atty Linda E. Lim (ALL) stubbornly defied it as she dared court to jail her if it must;
What a shame for UZ-ALL – being an attorney herself- to set a bad example as an educator by acrimoniously defying the WOPI of JE!
3. Why the gall? ALL ludicrous alibi: UZ Faculty is scared of niqaabi enrollees and even threatened to resign if UZ will follow court order.
4. UZ ALL instead offered a demanding compromise:
a. UZ will accept only 2 niqaabi enrollees who are graduating this semester, inshaALLAH;
b. BUT in exchange for A, AP along with complainants must withdraw case against UZ;
5. THUS, considering 1 to 4, JE implored AP to withdraw the case for the ff reaons:
a. JE cannot jail ALL considering she’s elderly and an icon in ZC;
b. IF AP were to pursue the legal battle it will be a useless and fruitless battle;
c. even if niqaabis were to be enrolled, UZ will give it a hard time or subject them to academic pressure;
d. except for two graduating niqaabis, the rest of the complainants were being disqualified for any of the ff reasons:
i. failure to comply with retention policy;
ii. dubious of their capacity to cope up in mid-sem as late enrollees;
iii. medical checkup result;
iv. outstanding balance re school fees;
What a shame for UZ-ALL to vitiate our vulnerable niqaabis of reason and free will by issuing grave threat, intimidation and sowing fear in them!
6. Considering the aforegoing issues, JE deemed it that AP withdraw the case and just pursue the fight thru an institutional response from CHED.
7. CONCLUSION: After consultations among AP, HAN Pres SZO and niqaabi complainants an ijma was reached: they accepted ALL’s offer (refer to item 4).


INTERVENTION:
There is no dearth of laws, memos, and other legal issuances but there is palpable emasculation in matters of implementation of law and its corresponding legal sanction.


In the interest of justice— the weakened and oppressed must NEVER be deprived of LIFE, LIBERTY and PROPERTY without due process of law- just as in this case where niqaabis who are barred from academic pursuit are suffering grave injustice and irreparable injury. 


The right to Religious Freedom is NON NEGOTIABLE especially so that it is a right to live as Muslims in accordance to our deen, ISLAM. Thus, it must never be compromised.
Truly Allah decrees what Allah wills


And so we accept it, trust Allah solely as we surrender everything to our Rabb. Aameen Ya Rabbal alameen!

Category: Uncategorized