Unknown Filipino Hero: Purmassuri

 

Purmassuri

Warrior Princess of Sulu

The remarkable bravery of Princess Purmassuri of Sulu is well known, and it was partly due to her leadership and slyness that the Spaniards were unable to establish themselves in Moro territory. Purmassuri's tale demonstrates how fiercely Filipino women are prepared to make sacrifices for the independence of their homeland.

A stunning princess from Sulu. She attempted to enchant the Spanish soldiers, ultimately bringing them to ruin, using her powerful will and passion.

A Moro leader named Siri Kala had already merged his forces with those of another Moro chief named Sigalo, but they were still unable to assault the Spaniards, who were well-armed and whom they believed they could not defeat. Purmassuri thus proceeded to the Spanish barracks. The Spanish soldiers were enchanted by Purmassuri's beauty, just like other descendants of Adam. She seized the chance and provided the white soldiers with excellent entertainment.

The Spanish soldiers were attacked by the soldiers of Sigalo and Siri Kala. All of the white soldiers were killed, with the exception of those who remained in the ship. The opes who exposed everything that transpired were the remaining soldiers.

This Purmassuri narrative demonstrated that our nation was never overrun without defense and that our ladies are always willing to try their hardest to do their share for the good of their nation.

Sources:

https://pilipinaskongminamahal.blogspot.com/2011/08/purmassuri.html

https://filipiknow.net/filipina-muslims-philippine-history/

https://dfa.gov.ph/images/AMabini/C__Managepoint_sessions_Diane_Rar848.pdf?fbclid=IwY2xjawGyYgpleHRuA2FlbQIxMAABHXINPNFqE-hJEYPRpRauU5lB_aGdsZzjpV_LizY0B0Vtrt4XhCu4Gj85Lg_aem_ojJsDiZGF07qqT5BD0A65g

Longing Song with Lyrics by Dante Beriong

 

Video Lyrics of the Song 

Longing by Dante Beriong 

This is one of the songs of the Antiqueño Kinaray-a and Hiligaynon speaking award-winning composer and lyricist Dante Beriong who also composed the theme song of the Dinagyang Festival.

Below is the lyrics of the song:

Longing

by Dante Beriong

I

It's true what they say about losing someone

Yet deep in your heart she's not really gone

The harder I try taking you off my mind the closer I get back to you.

II

We have time to discover ourselves and endure the pain that we share.

Keeping our love secure.

You know how I tried making things work out right?

But somehow love just slipped away slipped away.

CHORUS I

There's a longing in my heart that just won't die

To hold you close in my arms not letting go for a while.

Thus, after all this season after all this time

I find it hard to understand why 

Until now this heart, this heart could never say goodbye.

III

It's true what they say about time healing pain

Of love that was lost coming right back again.

Loving you from a distance is how it should be.

It hurts to know how much you still mean to me, mean to me.

CHORUS II

There's a longing in my heart that just won't die

To hold you close in my arms not letting go for awhile.

Cos after all these years and after all this time

I find it hard to understand why 

Until now this heart, this heart could never say goodbye.

BRIDGE

The world gets unchanging all friends come and go

Deep inside of me I still love you so 

There's so much in life that I wanted to do 

And one of them is letting you go yeah I do.

Repeat CHORUS II

Never say goodbye.

Repeat CHORUS II

Until now this heart, this heart could never say

Till now this heart, this heart just couldn't say

Till now this heart, this heart could never say goodbye 

Never say goodbye

Gay Filipino In History - Walterina Markova

Walterina Markova (1924 - 2005) 

Filipino Comfort Gay

Birth Name: Walter Dempster Jr.

Birth Date: May 20, 1924, in Pasay, Rizal

Death: June 24, 2005

During the Japanese conquest of the Philippines in World War II, Walter Dempster Jr. (May 20, 1924 – June 24, 2005), better known by his nickname Walterina Markova, was a gay Filipino who was compelled to work as a "comfort gay" (sex slave) for Imperial Japanese Army soldiers.

As a young child growing up in Manila in the 1930s, Markova's life was already influenced by cruelty. He was frequently harassed and mistreated as a child by his older brother, Robert. When Robert passed away, he experienced independence for the first time.

According to Markova, he was first unconcerned by the Japanese soldiers' presence in the nation in the early 1940s. Actually, the soldiers only chuckled when they witnessed his gang rifling through a Harrison food shop.

However, Japanese forces searching for Americans nearly arrested him during a raid. When the military arrived, he was accompanied by his American stepfather, and they brought him to a garrison at the University of Sto. Tomas.

Markova claimed that the Japanese soldiers eventually turned vicious. He remarked, "In the land they do not own, they were like kings." Rice, vegetables, and other goods were seized by the soldiers to be kept in their barracks. By then, he recalled, forced labor was also enforced.

Markova joined a gang of six drag queens, or crossdressing performers, after leaving home. Japanese forces detained him when he was a member of this group and brought him to what is now the Rizal Memorial Sports Complex.

For several years, he and his friends—along with other "comfort gays"—were forced to work and were sexually exploited by Japanese soldiers, who utilized the "comfort women" for their own purposes.

During World War II, when homosexuality was seen as a societal taboo and a cardinal sin, the Japanese army compelled him to work as a sex slave.

At Japanese sentry stations, violence was a common occurrence. Markova said how they were told to exit the car in order to give them a salute. They would be beaten severely if they did not perform the proper salute, which is to bow the head to hip level with the hands-on top of the thighs. He held his cheeks and remarked, "Pag hindi maganda ang saludo mo sasampalin ka…bibigyan ka ng mag-asawang sampal" (If the salute was not performed correctly, the soldiers would slap you on both sides of your face).

After learning from an informant that a gay man had killed a Japanese in retaliation for the loss of his parents, Japanese soldiers were once hunting out gays. At the San Beda College gate, a gay acquaintance was detained, shackled, and subjected to beatings and cigarette burns by passing Japanese soldiers. Only when another gay suspect—who was thought to be the Japanese murderer—was apprehended was he released.

The culprit was then taken to Fort Santiago, according to Markova, where burning wood was placed beneath his feet and his arms were hung. It appears that during torture, all of his toenails were ripped out.

Between 80,000 and 200,000 women were reportedly coerced into serving Japanese troops at "comfort stations" across the Pacific during World War II, according to historical records.

Even when men were around, Filipino women were not safe in those days. In reality, women were raped anywhere, at any time, and even in front of their male friends, according to Markova. "They would compel women to accompany them and sexually assault them anywhere," Markova said, describing the ways in which they would violate their rights.

Markova and his gay pals were not exempt from such "service" at the age of 18, which is considered to be the age of adolescence for women.

When Markova's barkada (friends) were brought to the Japanese officials' suites at the Manila Hotel, Japanese soldiers initially thought they were ladies. In addition to being beaten with weapons for their "deception," all drag queens were ordered to be detained. After being taken to a place that is now known as the Rizal Memorial Sports Complex, the gays were raped far more frequently than comfort ladies and turned into comfort drag queens.

"Buti sana eh hindi kung isang beses lang ginawa sa amin 'yon." Lahat ng klaseng kababuyan ginawa sa amin. "Mga bakla ito, hindi ito mga tunay na babae." He recalled, "Di ka naman makapagsabi ng 'huwag,' e bayoneta ang kaharap mo" (They did it not once, but multiple times; they were even enraged that we were gay and not women; they did all kinds of nasty things to us and we were unable to defend ourselves because their bayonets were pointed at us).

The barkada or friends would be transported to other Japanese camps for years in order to provide the soldiers with their "service." They simply had a set of clothes back then, Markova disclosed. He said that while they were washing their garments, they would just wear rice sacks.

Additionally, the barkada were forced to perform labor. They would wash the soldiers' uniforms and shine their battle shoes every morning before cleaning their barracks. The lawn in front of Manila City Hall also needed to be mowed.

He claimed that despite all of their "service" and other labor, they were frequently just given lugaw (rice porridge) to eat. Giving them sisid rice—sea rice that had to be fried due to its unpleasant odor—along with mongo beans and ginataang ubod ng saging, or banana stalk cooked with coconut milk, was already a feast for them.

Markova witnessed the army raiding communities nearly every day while they were in Japanese prison. Those who were arrested would be slain after having their hands tied. "D'yan sa may Remedios Church, ang daming paring Amerikanong pinatay d'yan" (Many American priests were slaughtered at the Remedios Church in Baclaran), he said.

Markova, however, was appalled by the infant deaths. "Cheers to the sanggol!"Ihahagis nila nang pataas bago sasaluhin ng bayoneta," Markova muttered, shaking his head in fear. (Babies were hurled up in mid-air and their bodies punctured by bayonets as they came down.)

These terrible events caused Markova to live each day as though it were his last. Nevertheless, his desire to regain his freedom had not been forgotten.

About a year before American troops returned, he had an opportunity to run for freedom. He was traveling to another Japanese garrison in a military truck with a few friends. The Japanese soldiers had to disembark to inspect the truck due to a mechanical issue. It was then that Markova and his companions fled. The Japanese soldiers pursued them through a grassy field that is known today as the EDSA highway, but it was too late for them. 

Markova witnessed a captured Japanese soldier bound to the rear of a jeep one day during the "liberation." He claimed to have struck the soldier with an umbrella in retaliation. Then he removed a safety pin and poked the inmate several times.

When the soldier's American prisoners attempted to step in, he warned them, "You don't know what the Japanese did to us...they tortured us."

To exact revenge for what they had done to us, I slapped the Japanese and then struck his arms, head, and face. “But nahampas ko na ‘yung Hapon…kung saan ko hampasin, sa likod, sa braso, sa ulo, sa mukha, para makaganti ako sa galit ko sa ginawa sa amin.”

Markova was eventually left alone to tell this story after learning that his two other gay friends had been killed in a raid shortly before the Japanese occupation ended.

He retired from crossdressing years after the war ended and worked as a makeup artist for the motion picture industry. He also discovered that some macho actors in the movie business were in relationships with gay lovers.

He would spend the night in the Home for the Golden Gays in Pasay City, where other elderly gay people who had experienced persecution from society also sought safety.

Additionally, he started training young Filipinas part-time to work as exotic dancers in Japan.

Markova never believed that his story, which was already widely known in print and on television, would be worthy of a movie. Dolphy, the comedy king of the film industry, depicts his life in much more detail.

His final years were spent in Pasay City at the Home for the Golden Gays. When he was unintentionally struck by a racing bike on June 24, 2005, he passed away at the age of 81.

He was cited as saying: "Tayo namang tao ay hindi talaga magtatagal. Kaya ako lumabas ay para magbigay inspirasyon lalo na mga baklang hanggang ngayon ay inaalipusta pa rin. Because of this, naniniwala ako na hindi lang ang sarili ko ang napalaya ko mula sa ganitong pagtingin." (As humans, we won't live long. By sharing my own story, I hope to inspire other gays who are still oppressed today, and by doing so, I may have likely granted freedom to many other gay people.)

Gil Portes directed the 2000 movie Markova: Comfort Gay, which was based on his narrative. It was screened at the San Francisco International Lesbian and Gay Film Festival as well as the Seattle Lesbian and Gay Film Festival in 2002.

Source Article: 

WP, excerpts from AUBREY SC MAKILAN's interview of Walter Dempster Jr for Bulatlat.com

Photo Source: 

The Probe Team

Philippine Mythological Creature: Kaperosa

Kaperosa

Kaperosa of the Tagalogs

The Tagalogs local term for the white lady.

Female ghosts are frequently seen wearing flowing white robes or dresses. Some may appear without heads or with rotten flesh. The most famous are the White Lady of Balete Drive and Loacan Road in Baguio. Common Kaperosa stories feature a female committing suicide out of hatred or being betrayed by her spouse or fiance, and then being murdered. Other 'ghost legends' describe them as souls who refuse to rest because they have unfinished business on Earth.

The KAPEROSA, also known in the Philippines as the WHITE LADY, is a white-clad spirit of a young woman who died tragically. She periodically appears to people at night near the location where she died, but she does not cause any harm. She appears to be seeking justice for her death.

A female ghost dressed in a white long garment with long black hair. Kaperosa is a female who commits herself because she is hated or betrayed by her spouse or fiance, or who is murdered, according to others. They are souls who cannot rest because they have unfinished business on Earth.

Some people believe that if you encounter a white lady in your house, whether it is rented or inherited from your parents or relatives, she is the former owner and want to remain on the property.

A white lady lives in a specific location where she had a negative encounter and died. Some people claim that she doesn't hurt others. She will appear briefly and then vanish.

White ladies often reveal themselves in seconds, but they will frighten you to death. Some individuals believe they live in high-stress environments such as 'balete', old houses, or the location where she died. There are reports that they are waiting on the road and need a ride. She will enter the vehicle and close it once the driver has given his OK. By the time he asks where he can drop her off, she has already left.

These are just a few of the unresolved questions. People believed they were lost spirits seeking assistance from mortals.

Philippine Mythological Creature: Yumud

Yumud 

Yumud of the Manobo ethnic group

A Manobo (parts of the Agusan valley) mythical creature. 

A water wraith that occasionally takes the form of a long-haired woman. It is a harmless spirit that lives beneath the water's surface in stony, deep regions that are typically pools. She is the owner of the color white and occasionally manifests as a masculine deity or spirit. It keeps an eye on the fish. People drown when they offended the Yumud.

Folk Dance of Western Visayas Region: Urukay

In the Philippines, it is customary to have a wedding feast no matter how poor or humble the bride and groom are. This feast is usually held at the bride's house or at the newly-build house of the couple. In this celebration, there is much fun and good-natured teasing. 

In Anini-y, Antique, where this dance originated, the parents of both parties perform the Urukay dance at the wedding feast. 

The Urukay dance is first performed by the father of the groom and the mother of the bride. Then another couple, the father of the bride and the mother of the groom dance the same dance or improvise their own steps.

The Urukay dance is a spirited dance with the male dancer showing off his power and superiority over his female partner by ordering the girl to crawl and pass between his legs in figure IV. The girl retaliates by elbowing the boy. All the time the onlookers cheer and encourage them to show off. 

COSTUME. Girl wears patadyong, camisa or kimona, soft kerchief around neck, and corcho, or chinelas/slippers.

MUSIC. is composed of two parts: A and B

COUNT one, two; one, and two; or one, and, two, and to a measure.

FORMATION. Partners face each other about six feet apart. When facing audience, girl stands at the right side of the boy. This is best danced by only one pair. (Second pair repeats the dance after the first pair) 

DANCE OF FATHER OF GROOM AND MOTHER OF BRIDE.

I

Music A.

       Partners face each other.

       (a) Rock R forward (ct. 1), and rock L backward (ct. 2) alternately six times (6 counts). Step R close to L (ct. 1), pause (ct. 2). Girl holds patadyong, boy places hands on waist. _______________ 4M

        (b) Raise L knee in front, L arm bent forward at chest level, sway body slightly backward, R hand holding patadyong, (ct. 1), tap L foot in front, trunk erect. L hand down at side, R hand of girl holding patadyong that of boy is placed on waist (ct. 2) __________________________________________ 1M

        (c) Starting with L foot, take four steps forward to partner's place, passing by L shoulders (cts. 1, 2, 1, 2). Take two steps in place turning left about to face each other. (cts. 1, 2) ___________________ 3M

        (d) Repeat all (a-c), starting with L foot. Reverse position of hands in (b). Finish in proper places, passing by R shoulders in (c). ________________________________________________________ 8M

II

Music B.

      Partners face each other.

      (a) With R foot leading, take eight mincing steps sideward right (cts. 1, and, 2, and, 2 and 1). Girl holds patadyong, Boy places hands on waist. ___________________________________________ 2M

      (b) Bend body slightly to right side, R arm in reverse "T" position and kumintang, L hand on waist (cts. 1, 2). _______________________________________________________________________1M

      (c) Repeat (b), reverse position of hands, bend body to left side. _________________________1M

      (d) Repeat (a-c), L foot leading. Reverse direction and position of hands in (b). _____________4M

      (e) Repeat all (a-d) _____________________________________________________________8M

III

Music A.

      Partners face each other. Boy and Girl do their movements simultaneously.

      Boy. Hold two opposite corners of kerchief diagonally.

      (a). Starting with R foot, take eight change steps forward going around girl clockwise. Start with R hand up, L hand down. Reverse position of hands every measure. __________________________ 8M

      (b) Repeat movements of Girl in (a) below. Hands on waist ____________________________8M

  

    Girl.

      (a) Rock R forward (ct. 1), and rock L backward (ct. 2) alternatively, sixteen times. L hand on waist, R holding patadyong and swinging forward and backward alternately. ______________________8M

      (b) Repeat movements of Boy in (a) above.) Hold kerchief in the same manner ____________8M

IV

Music B. First time.

       Partners face each other.

      (a) Boy stands with feet apart sideward, holding kerchief in front at two opposite corners, and says aloud to Girl, "Suhot, Balaye!" (Pass through, Balaye!) pointing to his open legs at the same time. Upon hearing this, the onlookers also shout, "Suhot, Balaye!" __________________________________8M

      Girl hesitatingly assumes four's base position and crawls between the legs of partner. While she is doing this the onlookers, shout, clap hands and tease girl. ________________________________8M

V

Music B. Second Time

       Partners face each other.

       (a) Starting with R foot, partners execute change steps forward going to any direction. Boy dances nimbly, trying to avoid girl who on her part tries to dig her elbow into him several times as they dance around ________________________________________________________________________8M

NOTE: To end the dance, girl takes her kerchief and puts it around the neck of the other girl (the mother of the groom) and boy puts his kerchief around the neck of the other boy (the father of the bride). The next couple may repeat the same dance or may improvise their own steps and movements. 

Unknown Filipino Hero: Timoteo Paez

Timoteo Paez

Filipino Revolutionary Leader and Reformist

(1861 - 1939)

Timoteo Paez is a Filipino revolutionary and patriot. He was born in Tondo, Manila. He is widely known as one of the co-founders of La Liga Filipina and Nilad Lodge alongside Philippine national hero, Jose Rizal.

Early Years

Timoteo Paez or “Teong” to his friends was born on August 22, 1861 in Tondo, Manila. Orphaned at an early age by his wealthy father, Francisco Paez, he had to take care of himself. After finishing his elementary school in Tondo Municipal School, he took clerical jobs or as messenger in offices during the day and studied at the Escuela Nautica during the night until he completed a course in accounting.

First Employment and Participation in the Reform Movement

He was employed at the shipping company of Carrinage & Co. when he became involved with the reform movement, which he served by raising funds for the support of the reformists and the La Solidaridad abroad. On July 3, 1892, he joined the La Liga Filipina and became part of its Supreme Council. Although the organization was short lived, he continued his support to the ideals for reform. He printed and distributed Bonifacio’s “True Decalogue” and the teachings of Rizal at his own expense. 

On August 19, 1896, Spanish authorities discovered the Katipunan and as a result, they arrested many suspected members including Timoteo Paez. He suffered nine months in prison until General Primo de Rivera pardoned him and placed him in exile in Hong Kong. There, he continued to update himself of developments in the Philippines and, later, became acquainted with the exiled revolutionary leaders.

The War Years

In September 1898, he returned to the Philippines and joined the revolutionary government of General Emilio Aguinaldo that have retreated to Tarlac. He was designated commissary officer with the rank of Lieutenant Colonel and represented the province of Surigao in the Revolutionary Congress. Paez was assigned to a command field during the Philippine-American War. In April 1899, General Aguinaldo attached him to the General Headquarters Service Force as one of his security officers on their retreat to Northern Luzon. After Tirad Pass fell to the Americans, the revolutionary leaders decided to make their flight from the Americans easier by surrendering the women and other non-combatant members in their company. Colonels Paez and Sityar were tasked to accompany those who surrendered back to Manila, where he was held as prisoner-of-war.

Later Years 

When the civil government was organized, Paez was one of the first councilors of Manila. In 1903, he erected a monument of Rizal in the place where the La Liga was established and was one of those who proposed the Rizal monument in Luneta. One who strongly believed in God, he had the Ten Commandments from the Bible inscribed on a stone block.

On September 18, 1939, Timoteo Paez passed away in Tondo.