FEATURE: The “Love” in Revolution: To Love is To Want a Better World
“Love is profoundly political. Our deepest revolution will come when we understand this truth. Only love can give us the strength to go forward in the midst of heartbreak and misery. Only love can give us the power to reconcile, to redeem, the power to renew weary spirits and save lost souls. The transformative power of love is the foundation of all meaningful social change. Without love our lives are without meaning. Love is the heart of the matter. When all else has fallen away, love sustains.”
— bell hooks
When we think of activism, we first think of the fight—the placards in red, the sea of people in rallies, and the violence that occurs when resistance starts. Truthfully, this has always been the way social change is achieved. Our generation has been more participant in activism, mainly due to the pandemic redirecting our attention online which led to increased exposure to movements and campaigns. To many, the lockdown was one of the key points that helped spark this will for social change (Asani & Juan, 2022). However, due to the fickleness of the internet and online discourse, it is crucial that we have a strong guiding foundation for what we stand for. Although online spaces have been a valuable source of information for social justice and politics—online activism is difficult to navigate due to its reactionary nature. Internet discourse only serves to distract us by sensationalizing the performance of activism—giving us the illusion of change and progress. Anger rises much more than our compassion for each other, which ultimately distracts us from our goal: to be free, to liberate ourselves and each other. Not only that, as time passes and social justice becomes more and more immediate, we seem to forget the roots of our desire to change the world—we keep so much of our attention on those who oppress us that, in a way, we lose our sense of community and collectivism.
If we empower our principles and motivations for change, we can avoid straying from what we are fighting for. To do this, we must look within ourselves—to go back to our core values.
You might already be familiar, but love is part of our school’s core values, along with truth, peace, justice, and freedom. Although, if we look closer, we will see that they are not necessarily independent of each other. In fact, these values are all interconnected, with love clearly at its center. UPIS has always expressed the importance of participating in social causes whether through our curriculum or events. Our school urges us to look at many different issues with these core values, but how about we hear from other important voices?
Come read further, and let us look at the various ways social critics and writers have proposed love as a solution to achieve a better world.
bell hooks (1952-2021)
bell hooks (stylized in lowercase) was an American author and social critic, best known for her writings and influence on intersectionality, race, and feminism—to name a few. The roots of her intellectual work came from her background as a Black woman experiencing segregation at its prime. Nevertheless, hooks credits the education she received in the segregated schools she studied in. To her, it cultivated her deep love for learning—the teachers who taught hooks were black women who she describes were “on a mission” to nurture their students’ intellect and transform them into thinkers and scholars. Eventually, this led to hooks’s career as a teacher and writer (Burke, 2024).
hooks’s works serve as an invaluable resource on love as a driving force for social change. One of her most famous and referenced works, All About Love: New Visions, is an intimate review about the ways love has cultivated itself in our lives while offering radical ways to think and act on love.
Love is an act of will:
“Love as ‘the will to extend one’s self for the purpose of nurturing one’s own or another’s spiritual growth.’ Love is as love does. Love is an act of will–namely, both an intention and an action.”
– All About Love: New Visions
As hooks articulated above, our concern and eventual actions out of care for one another is love. By extension, the advocacies and movements we choose to participate in are caused by our love for our fellow human beings. Remember that practicing love as an act of will doesn’t have to be a massive gesture. It can just be offering a simple smile to a stranger you happen to meet eyes with, asking a teacher how their day was, or taking the time to read and learn about certain movements and global crises that are happening all over the world. That’s the thing about love—each effort, no matter how big or little, is an act of resistance.
Aside from this, hooks wrote an essay entitled “Love as the Practice of Freedom” which can be found in her book Outlaw Culture: Resisting Representations, and it goes in-depth about how lovelessness is what keeps systems of oppression in power.
Love is a practice of freedom:
“The moment we choose to love we begin to move against domination, against oppression. The moment we choose to love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love as the practice of freedom.”
– Love as the Practice of Freedom
hooks clarifies that love is the first step we make when we move towards revolutionary acts. It is the flame that begins the first spark—and also the flame that keeps it alive. Love is a practice of freedom for it is not only the beginning of freedom, but by maintaining love, we begin to be conscious of the injustices around us—not only those that directly affect us, but also those that affect other people. We practice freedom through love because we start to collectively dream of a world that does not oppress us and other people. You are already doing this, just by reading this article (thank you, by the way!), and even in other ways—by recognizing the oppression others are experiencing or just learning where someone is coming from.
In the same essay, hook promotes an “ethic of love”, and emphasizes that love is an act of service—we center community in our lives and liberatory efforts:
“A love ethic emphasizes the importance of service to others.. Service strengthens our capacity to know compassion and deepens our insight. To serve another I cannot see them as an object, I must see their subjecthood.”
– Love as the Practice of Freedom
When we serve others, we start to see their humanness. We begin to see that they are individuals—with needs, with strengths and weaknesses, with hopes and dreams. We see all of what makes each other human—this is what fuels our compassion and eventual motivation to fight against injustice.
James Baldwin (1924-1987)
James Baldwin was an African-American author and a founding voice of the civil rights movement in America. His novels, speeches, and essays have left a lasting impact on culture and civil rights discussions.
In the short documentary, Meeting the Man: James Baldwin in Paris, Baldwin—while being interviewed—says this most memorable quote:
“Love has never been a popular movement. And no one's ever wanted, really, to be free. The world is held together, really it is held together, by the love and the passion of a very few people. ”
– Meeting the Man: James Baldwin in Paris [Film, dir. Terence Dixon]
Baldwin recognizes that the number of freedom fighters are only so little compared to how many people they fight for. Amidst hate, bigotry, and injustice, despite all odds, they have fought or have continued fighting for our liberty. This quote sticks with you, especially if you hear it in Baldwin’s despondent yet determined voice—truly if there were any explanation why freedom fighters endure, it would be because of the love and passion they have for the world and its people.
Love is to hope:
"We've got to be as clear-headed about human beings as possible, because we are still each other's only hope."
– A Rap on Race [Book, written by James Baldwin & Margaret Mead]
"I can't be a pessimist because I am alive. To be a pessimist means that you have agreed that human life is an academic matter. So, I am forced to be an optimist. I am forced to believe that we can survive, whatever we must survive."
– I Am Not Your Negro [Film, dir. by Raoul Peck]
Each and every one of us has the capability to use the love we have within us to participate in social justice. The world doesn't have to be held by a few people—it could be you, your friend, your classmates, or the people you walked past today and yesterday. Baldwin emphasizes in the quotes above that we are personally responsible for having compassion for each other, and we have to hold on to hope because injustice relies so much on us to not be able to.
Virgilio Enriquez (1942-1994)
Virgilio Enriquez, also known as the father and founder of Sikolohiyang Pilipino (Filipino Psychology) defined Kapwa and Pakikipagkapwa—undying everyday terms in the Philippines.
Kapwa is the central value that Sikolohiyang Pilipino is constructed on, and is defined as a shared identity and inner self with others. Due to this sense of togetherness, there exists a moral obligation for us to treat each other with respect and dignity. This also refers to Pakikipagkapwa, in which we treat each other with empathy, compassion, and love due to our sense of shared identity.
Love is to have a shared self:
“Kapwa is a recognition of a shared identity, an inner self, shared with others. This Filipino linguistic unity of the self and the other is unique and unlike in most modern languages. Why? Because implied in such inclusiveness is the moral obligation to treat one another as equal fellow human beings. If we can do this – even starting in our own family or our circle of friends – we are on the way to practice peace. We are Kapwa People”
— Professor Virgilio Enriquez, On Kapwa
Kapwa is the way we practice peace and fellowship as Filipinos. As said by Enriquez—“even starting in our own family and friends”—even if you are too shy express love or kindness to someone you aren’t very close with, you can start out with those you are already familiar with. We are not necessarily individuals, much of our lives depend on the good will of others, this is what it means to have a shared self. Once you internalize this belief, your kindness will be sure to grow and you’ll be brave enough for it to reach a stranger.
Love has always been the unspoken reason we continue to fight and try to survive. As we have learned from above—Love is an act of will, Love is a practice of freedom, Love is an act of service, Love is to hope, and Love is to have a shared self. The thing that is great about love is that we already have it within us, we each have the capacity to participate in love-based justice.
We all want the world to be a better place for us all. Somehow, we are convinced that it can only be achieved through force and violence. Despite all evidence, we struggle to hold the idea that the most radical acts are the most intimate and vulnerable ones. It’s the way bell hooks wrote relentlessly on how love and gentleness are what will save us despite experiencing the harshness of segregation and racism throughout her life, the soft urgency in James Baldwin’s voice whenever he is asked to speak about the state of the world, and how Virgilio Enriquez defined Kapwa—the phrase and mindset we always come back to during times of moral crisis.
As many social critics and writers try to tell us, love is the very heart of social transformation—our catalyst for a better world. A world which is held by not only a few—but every person who lives in it—with love.
//by Xia Mentes
References:
Asani K., Juan, F. (2022). Experiences of Online Activism amidst the Pandemic of Select Youth Organization Members in Metro Manila. 4th DLSU Research Congress. pp. 6. https://animorepository.dlsu.edu.ph/conf_shsrescon/2022/paper_frs/3/
Baldwin, J., & Mead, Margaret. (1971). A Rap on Race. J. B. Lippincott Company.
Burke, B. (2004) ‘bell hooks on education’. The encyclopedia of pedagogy and informal education. http://www.infed.org/mobi/bell-hooks-on-education.htm
Dixon, T. (1970). Meeting the Man: James Baldwin in Paris. [Film]. Solus Enterprises.
hooks, bell. (1999, December 22). All About Love: New Visions. Harper Collins.
hooks, bell. “Love as the Practice of Freedom”. Outlaw Culture: Resisting Representations. Routledge. (1994). pp. 243-250.
hooks, bell. (2001, January 9). Salvation: Black People and Love. William Morrow Paperback.
Jenks, T. (2024, August 2). Where to start with: James Baldwin. The Guardian. https://www.theguardian.com/books/article/2024/aug/02/where-to-start-with-james-baldwin
Lagdameo-Santillan, K. Roots of Filipino Humanism (1)”Kapwa”. Pressenza. https://www.pressenza.com/2018/07/roots-of-filipino-humanism-1kapwa/#:~:text=Because%20implied%20in%20such%20inclusiveness,Enriquez%2C%20founder%20of%20Sikolohiyang%20Pilipino
Peck, R. (2016). I Am Not Your Negro. [Film]. Velvet Film.
More than “Just A Girl”: Exploring female empowerment outside of internet trends
Illustration by Michi Sugawara
In recent years, there has been an insurmountable rise in conversations regarding “girlhood”. While womanhood as a demographic hasn’t been new in the industrialized world, the emergence of girlhood as a conduit of recent internet trends on women’s experiences has sparked various discourses due to how these trends glamorize gender-based stereotypes and self-perceived female incompetence and anti-intellectualism. Almost everywhere on the internet you will encounter the word “girl” attached to something, such as “girl math” or “girl logic”, typically making fun of one’s shortcomings attributed to them.
The prime variation of this phenomenon is the “I’m Just A Girl” trend.
virgobaby 🎀. [@mybvirgo]. (2023, August 13). i’m just a girl. [Instagram Post]. Instagram. https://www.instagram.com/mybvirgo/p/Cv2csPyOysT/
clare. [@sadderlizards]. (2024, January 18). i’m just a girl with an unemployable skill set and no sense of purpose or direction in life. [Tweet]. X (formerly Twitter).
“I’m Just a Girl” is a trend that has been ongoing since 2023. Taken from the song, “Just a Girl” which was released in 1995 by the band “No Doubt”, the trend/phrase has spread around social media, specifically TikTok. The trending audio only uses the lines, "I'm just a girl / I'm just a girl in the world" remarkingly leaving out the following line, “That's all you'll let me be”. Originally capturing the satirical message of the song, the trend began as a humorous take on female gender stereotypes and norms—it has since transformed into infantilization, belittlement, and the notion that women lack basic life skills and knowledge, according to Ajiya Stanford (2024). To that end, these trends are closely related to “Bimbo feminism”, which is a strand of feminism that embraces the “Bimbo” stereotype.
The “Bimbo” is a patriarchal stereotype that refers to conventionally attractive women with low intelligence. “Bimbos” are typically frivolous and shallow, and most often this stereotype makes fun of the contrast between a Bimbo’s beauty and lack of intelligence (Sunder, 2021). “Bimboism” or “Bimbo feminism” are used interchangeably, however, both of them operate as a subversion of the “Bimbo” stereotype and attempt to make it empowering to women by countering the low expectations assigned to it. Elle Woods from the film Legally Blonde, for example, is a popular character looked up to by those who closely follow “Bimboism” (Gauder, 2022). In the film, Elle Woods continuously grapples with being treated and stereotyped as a “dumb blonde”. In one of the beginning scenes of the movie, Elle and her friends were shopping in a boutique, and a sales lady tried (and failed) to sell her a dress that was from last season at full price—commenting that, “There’s nothing that I love more than a dumb blonde with daddy’s plastic.” Another particular scene is when Elle’s boyfriend broke up with her, reasoning that due to his acceptance at Harvard Law, he “needs to marry a Jackie not a Marilyn”. Her boyfriend, by calling her “a Marilyn [Monroe]”, stereotypes Elle as a dumb blonde or a “bimbo” due to the famous actress Marilyn Monroe being known and labeled as those archetypes. However, in the end, Elle broke from this stereotype—through excelling in Harvard Law and successfully defending a case for a client. Elle Woods’ version of female empowerment—that a woman can still be in touch with her feminine side while being successful and accomplished—is admired by many women who can be seen online attempting to replicate her journey and motivations. One such woman is Texas attorney, Kathleen Martinez, who started her own law firm after receiving sexist treatment from her previous male bosses. Martinez is also called “The Real Life Elle Woods”, for also being unafraid to express her femininity while being in a male-dominated field (Herbst, 2022).
In defense of these trends and movements, they aim or attempt to reclaim the pejorative stereotypes the patriarchy has made against women. Given that, however, rather than making use of subverting these stereotypes to promote gender equality, these trends only seem to normalize outdated gender-based ideologies.
Bimbo Feminism, the “Girlboss”, and Gender-essentialist Female Empowerment
The “I’m Just a Girl” trend and Bimbo feminism are part of a larger cultural phenomenon in which women are reclaiming traits and stereotypes the patriarchy has assigned to women (Zaeem, 2023). Bimbo feminism in particular is the subversion of the patriarchal feminine stereotype—which characterizes women as hyper-feminine, air-headed, and superficial. The female empowerment Bimbo feminism perpetuates is derived from not having to prove oneself as intelligent to be respected and valued (Chavan, 2023). However, this belies the trope that women are intellectually inferior to men, contrary to the movement being labeled as “feminist” (Elliott, 2022).
Concerning this, the “Girlboss” was part of the corporate “Lean in” feminist movement before 2016. A “Girlboss” describes a woman who is accomplished and successful in an otherwise male-dominated workforce, and in the present is seen within the popular phrase, “Gaslight, Gatekeep, Girlboss”. While “Lean In” refers to the thesis of the movement’s corporate female empowerment. “Lean in” feminism was pioneered by Sheryl Sandberg, former COO of Facebook, through her book Lean In: Women, Work, and the Will to Lead. Sandberg posited in Lean in that women should assert themselves in the workplace, and that only hard work and dedication would make any determined woman succeed. Sandberg and her book have been met with countless criticisms, mainly because it predicated that in order for women to be granted positions of power, they must replicate or take positions traditionally assigned to men. Famous author and social critic bell hooks (stylized in lowercase) had written an article concerning Sandberg’s biography, “Dig Deep: Beyond Lean In” criticizing the book’s message, and calling it “faux feminism”. hooks argued that Lean In ignored "the concrete systemic obstacles most women face inside the workforce." and that the gender equality Sanderberg only served to maintain the status quo since it pandered to wealthy white men—who wield the most power in our society (hooks, 2013).
“Girlboss” and ”Lean in” feminism relied on succeeding within the corporate and patriarchal framework. Both did nothing to empower women, even though they sought to within this movement, women are still unvalued within these spaces. The main reason is that the “Girlboss” relied too much on pursuing the idea of women dominating the workplace no matter what that it ignored that to do so, requires privilege. The “Girlboss” was insensitive to class struggle; as a result, many women were disillusioned with the movement’s promises (Senin, 2022).
According to Elliot (2022), “Bimboism” is the direct antithesis of the “Girlboss”; it rejects the careerism and hustle culture the “Girlboss” promoted. Due to this, many women had turned to “Bimboism” or “Bimbo feminism” to empower themselves as they couldn’t when they capitulated to the standards of the “Girlboss”. An example of women withdrawing from the expectations of being a “Girlboss” and transitioning to “Bimboism” is TikTok creator @rizzzabella's viral video on the platform. At the beginning of the video, there is a screen caption that says, “me at age 15-19 in an unquenchable thirst for truth and knowledge which only led to despair and depression” while she can be seen working hard on a computer in the background, and in the second half the screen caption changes to “me at 24 fully bimbofied only concerned with being, feeling good and pretty, just mindfully existing” and she can be seen exercising at the gym.
While the “Girlboss” resurges now and then, as of the present, “Bimboism”, and closely related, the “I’m Just A Girl” trend, are the mainstream. At their core, these trends rely on choice feminism, which is the belief that every individual choice a woman makes is inherently feminist. This particular strand of feminism is problematic, mainly because it is impossible to make a free choice due to the patriarchy assuming all parts of our society, and because it cultivates complacency within women (Patel, 2023). By believing that every choice a woman makes is inherently empowering, we promote the idea that women cannot do bad or harmful things, which is untrue; and leads to women not growing and learning from their poor decisions and actions.
“Boys will be boys” is an overused idiom used to excuse or dismiss rowdy, sexist, and sometimes harmful behaviors of men. There is a clear parallel between “I’m Just a Girl” and “Boys will be boys” as both share the same sentiment of lack of agency and therefore personal responsibility brought by their respective genders (Mesquita, 2024). Both these phrases fall under gender essentialism, which is the belief that the traits of men and women are dictated by their biological sex. Despite this similarity, we can see the stark difference on how gender essentialism serves each gender, while “Boys Will Be Boys” excuses men’s misbehaviors, “I’m Just A Girl” undermines women and their competence. It is also important to note that no similar trend attempts to minimize men’s intelligence and capabilities.
Again, these trends started as a light-hearted way to satirize patriarchal stereotypes of women. However, rather than reclaiming these negative stereotypes, it serves to normalize a gender-essentialist view of the capabilities and value of women in society. Nothing is empowering about playing into these stereotypes.
Are we content with being “Just A Girl”?
It is hard to ignore the exhaustion behind the “I’m Just a Girl”. Ever since the dawn of time, women have had to continuously prove themselves. After decades of being historically oppressed and undervalued, it is understandable that the majority of women jump on these trends to feel a sense of relief from the pressures and demands that come with existing as a woman. With that in mind, the problem with this approach is that it never progresses further. While it is an impossible standard to expect every action of a woman to be revolutionary or feminist, being a woman is inherently political. Therefore, while these jokes may seem harmless at first, perpetuating these ideas will have material consequences. Women have fought for decades for their rights, and if we continue to promote the outdated gender norms they have worked hard to counter, we risk being subjugated again by these misogynistic roles.
It is important to keep in mind that teenagers and young women are often unaware of the satirical nature of these trends that they come across on social media. They may internalize these ideas without a second thought; and as more and more younger generations have participated in feminism or identified as feminists, instead of approaching feminism as a radical liberatory movement, it has subsequently transformed into a commodity lacking any meaningful direction (Jickling, 2024).
The harm with commodifying socio-political movements is that it always leads to over-simplification and over-exertion of their goals and motivations. Not to mention, it gives way for businesses to capitalize on these movements, further misrepresenting them (Bank, 2024). With this in mind, these trends may lead the youth—regardless of gender—to have a misguided conception of feminism.
In the Philippines, there is a common phrase used in feminist movements and female empowerment that directly parallels “I’m Just a Girl”, which is “Babae ka, hindi babae lang” (“You’re a woman, not just a woman”). It resists the patriarchal confines of what women are expected to be capable of—and rather than viewing being a woman as limiting or a hindrance, it instead embraces one’s identity and uniqueness being a woman as inherently empowering.
Bearing this in mind, modern feminism must be taught and included in school curriculums. We should push for more discussions about modern feminism in classrooms that challenge us to engage with mainstream or popular culture critically, more specifically those that are aligned with socio-political issues. We should encourage educators to include more comprehensive and modern feminist literature and lessons to help young people or students recognize and think critically about the harm these trends pose, especially those attached to social movements, as they may regress and reduce their importance and value.
We as women can be empowered without belittling or infantilizing ourselves. Being a feminist first and foremost requires self-responsibility to liberate ourselves and other women from the structures oppressing us. When we say, “I’m Just A Girl”, we shirk from said responsibility. Women's empowerment cannot be boxed into a trend—it advocates societal and systemic change and challenges these regressive narratives and norms.
You are a woman, not just a woman. You are capable. You are intelligent. So stop telling yourself you are not.
//by Xia Mentes
References
(Warning: Some of the references contain content that may be sensitive to viewers.)
Bank, L. (2024, April 20). The Coquette Eevolution: The Commodification of Feminism. The Communicator. https://chscommunicator.com/90457/opinion/2024/04/the-coquette-revolution-the-commodification-of-feminism/
Chavan, D. (2023, August 7). Bimbo feminism: Counterintuitive or brilliant?. Medium. https://medium.com/leveled-legislation/bimbo-feminism-counterintuitive-or-brilliant-bb1d2c114f8a
coco. [@cocosaur]. (2023, September 22). (this whole thing was in fact not a skit jackie and i filmed this to avoid doing our homework) #girllogic #girldinner #girlmath #womeninstemcheck. [Video]. https://www.tiktok.com/@cocotsaur/video/7281335211747544366?is_from_webapp=1&sender_device=pc
Daanoy, S. (2024, March 8). “Babae Ka, Hindi Babae Lang”: Topnotcher ignites passion for female criminologists. Manila Bulletin. https://mb.com.ph/2024/3/8/babae-ka-hindi-babae-lang-topnotcher-ignites-passion-for-female-criminologists
Elliott, S. (2022, August 5). Feminism after the girlboss: Anxiety of the bimbo. Harbingers’ Magazine. https://harbingersmagazine.com/articles/feminism-after-the-girlboss-anxiety-of-the-bimbo/
Herbst, D. (2022, September 27). Texas Attorney, a Real-Life Elle Woods, Started Her Own All-Pink Law Firm After Being Fired by Male Boss. People. https://people.com/human-interest/texas-attorney-real-life-elle-woods-started-her-own-law-firm-after-being-fired-by-male-boss/
Hoffer, S. (2024, May 7). OPINION: The commodification of girlhood. Technician. https://www.technicianonline.com/opinion/opinion-the-commodification-of-girlhood/article_4f3de39c-dbe5-11ee-bade-87bec521f6fd.html
hooks, bell (October 28, 2013). "Dig Deep: Beyond Lean In". The Feminist Wire. http://thefeministwire.com/2013/10/17973/
JAZZY ❤️🔥🇮🇩. [@jazzybaby99]. (2023, August 10). GIRL MATH 🤝🏻 CONSUMERISM ✨ (why the system works for us 🤪) Stimulating the economy, one girl math at a time #fyp #shopping #capitalism #financebro #financetips #girlssupportgirls #womenempowerment. [Video]. https://www.tiktok.com/@jazzybaby99/video/7265539608945921286?is_from_webapp=1
Jickling, S. (2024, January 17). What is “Bimbo feminism” and why is it harmful?. Women Empowering Women (WEW). https://w4w.ca/what-is-bimbo-feminism-and-why-is-it-harmful/
Lavenia, A. (2024, January 24). Girlboss, Gaslight, Gatekeep: How Girlboss Became a Meme. CXO Media. https://www.cxomedia.id/general-knowledge/20220114101745-55-173134/girlboss-gaslight-gatekeep-how-girlboss-became-a-meme#:~:text=Gaslighting%20is%20a%20form%20of,complementary%20to%20being%20a%20girlboss
Matthew, E. (2023, March 21). The Failures of Lean-In Feminism. Law & Liberty. https://lawliberty.org/the-failures-of-lean-in-feminism/
Mesquita, L. (2024, April 30). Insight: I’m “just a girl.”. The State Press. https://www.statepress.com/article/2024/04/spmagazine-just-a-girl-trend
Patel, V. (2023, January 29). Opinion: “choice feminism” ignores institutional issues, prevents change. The Daily Illini. https://dailyillini.com/opinions-stories/2023/01/29/opinion-choice-feminism-ignores-institutional-issues-prevents-change/
Siebritz, G. (2023, August 22). Clueless and Legally Blonde Redefined Bimbo-Core. Medium. https://medium.com/@gabyonearth/clueless-and-legally-blonde-redefined-bimbo-core-e52a406bc152
Stanford, A. (2024, February 15). Are you really ‘Just A Girl’?. The Daily Free Press. https://dailyfreepress.com/2024/02/15/are-you-really-just-a-girl/
UNIQLO Singapore. [@uniqulosg]. Not us girl mathing our way through life 💁♀️💅 Offers end on 2 Nov! #girlmathexplained #girlmath #limitedoffer. [Video]. https://www.tiktok.com/@uniqlosg/video/7294611805169552642?is_from_webapp=1&sender_device=pc
Zaeem, S. (2023, November 15). Bimbo-feminism is not feminist. Rabble. https://rabble.ca/feminism/bimbo-feminism-is-not-feminist/
Commuter or not, every Filipino is familiar with jeepneys. Once dubbed “King of the Roads”, jeepneys are a symbol of Philippine culture and resourcefulness, as they were made from converted jeeps left by American troops after World War II. As the most popular public transport vehicle in our country for decades, these jeepneys are now at risk of disappearing, causing public uproar.
The controversy surrounding the phasing out of jeepneys first sparked in 2017 when the government launched the Public Utility Vehicle Modernization Program (PUVMP). The program’s goal is to replace the old model jeepneys with modern electronic jeepneys (e-jeeps) that are claimed to guarantee cleaner emissions and improved safety. This has been met with several worries that could adversely affect the Filipino populace.
Public unrest over the jeepney phaseout has been going on for years. The consolidation deadline for Public Utility Vehicles (PUVs) which included jeepneys, UV Expresses, and Filcab units was extended three times. The first was due to the COVID-19 pandemic and multiple protests from transport groups, which affected the government’s original plan to consolidate PUVs in March 2020. As a result, it was rescheduled at the end of last year, December 31, 2023. The second extension was on January 31, 2024, to allow unconsolidated PUVs to ply their routes with the stipulation of being barred from joining cooperatives and corporations. The third and “final” deadline was on April 30, 2024—three months after the last deadline—to allow driver-operators one last time to consolidate, or else they would not be allowed to ply their routes. Amid these several deadlines, protests and strikes are unwavering as dissents push for the PUVMP to be suspended, arguing that imposing deadline extensions does not address the structural problems of the modernization program.
One day before the “final” deadline, the Land Transportation Franchising and Regulatory Board (LTFRB) declared that unconsolidated jeepneys have a 15-day leeway to continue their usual routes before they are impounded. Again, this is another smokescreen from the systemic issues brought by the modernization program. The PUVMP must be suspended, as it ostensibly presents more problems than solutions. If the PUVMP truly is for the people, why is there a persistent and contentious pushback by the public?
Enforcing deadlines and giving grace periods for jeepney drivers only delays—the government must suspend the PUVMP and reevaluate its effectiveness. Displacing and disenfranchising jeepney drivers from their livelihoods defeats the purpose of an inclusive and sustainable program as the PUVMP endorses itself to be.
Who are those affected?
Jeepney drivers are most affected by the modernization program. If they choose not to consolidate with cooperatives and corporations or cannot afford an e-jeep alone, their vehicles will be impounded, taking away their only source of income. Additionally, commuters, UP Diliman constituents, and other sectors also have to bear the cost of the PUVMP due to the policies and funds allocated to this program.
The transport group for jeepney drivers, Pagkakaisa ng mga Samahan ng Tsuper at Opereytor Nationwide, more commonly known as PISTON, is the leading opposition group against the PUVMP. First established in 1981, PISTON serves as an organization that aims to promote the welfare and democratic rights of jeepney drivers. In 2013, they launched a campaign against the oil price hike, directed at the country’s main petroleum companies, namely Petron, Shell, and Chevron. Since the government has revealed plans to phase out jeepneys over 15 years old, they have been organizing protests against the PUVMP, criticizing its anti-poor policies and prioritizing for-profit corporate consolidation.
The PUVMP pressures jeepney drivers to switch to e-jeeps or new combustion engine vehicles that meet Euro IV emission standards which only permit carbon monoxide (CO) emissions of 1.0g/km for gasoline and 0.5g/km for diesel vehicles. Units and parts that make up the e-jeep are imported from other countries, which is why they are priced as high as PHP 3 million. While the modernization program offers subsidies of PHP 160 thousand through loan programs by the Development Bank of the Philippines (DBP) and the Land Bank of the Philippines (LBP) to help offset the costs, this amount is only 5.7% of the total cost of a modern jeepney. Jeepney drivers state that they will need to make around PHP 3.5 thousand each day to pay off the debt from switching to an e-jeep, but at the moment, they only make around PHP 2 thousand a day.
The large amount of money that needs to be spent transitioning to modern e-jeeps is the main concern of dissent to this program. Replacing a huge fleet of jeepneys requires massive resources, taking away from vital sectors such as education and healthcare. Additionally, the PUVMP disproportionately affects low-income citizens—specifically, jeepney drivers who mostly come from low-income families and struggle to meet the high e-jeep cost. The debt burden forces them to work longer hours just to break even, negatively impacting their livelihood. Jeepney drivers worry that the transition to e-jeeps or new combustion engine vehicles will exacerbate their financial burdens and force them to work longer hours just to break even.
Furthermore, units from local manufacturing companies such as eFrancisco Motor Corporation and Sarao Jeepneys are still priced at around PHP 2.5 million, further putting jeepney drivers at odds with the financial burden of the PUVMP. With large corporations dominating the market and the PUVMP’s policy to consolidate driver-operators to cooperative-led fleets, this raises concerns of corporate takeover and the economic marginalization of jeepney drivers. Since large companies are the ones who have the capacity to fully adhere to the program, jeepney drivers are left disenfranchised because of their financial disadvantage.
Commuters are also affected heavily by this program. Modern jeeps usually charge higher fares because, aside from the initial cost of modernization, their maintenance and repair costs are higher than the traditional jeepneys’. This adds more financial problems to Filipinos already facing higher living expenses as a result of inflation rates. Moreover, unfamiliar technology could present a significant challenge for traditional drivers transitioning to modern jeepneys, leading to potential operational difficulties and increased maintenance expenses.
Constituents of UP Diliman (UPD) share similar concerns. The UP Transport Group (UPTG), which consists of jeepney drivers from all routes around the campus such as Ikot, Toki, UP-Pantranco, UP-Philcoa, and UP-Katipunan, organized a silent strike on December 13, 2023, in protest of the earlier December 31 deadline. Based on interviews with the UPD Vice Chancellor for Community Affairs Roehl Jamon, UP jeepney drivers may have to comply with the modernization. According to Jamon, the only two options they have are for the university to pay for the units themselves, which cost about PHP 1.4 to 3 million each, or for the university to partner with transport cooperatives that already own modernized units and invite them to service the campus, which is the less expensive option between the two. Although the latter is cheaper, this still gives way for corporations to take advantage of the modernization program.
Jeepneys are extensively used by UP college students and students of UP Integrated School (UPIS) for commuting to and from the university campus because they charge less than other PUVs. However, these fares could be completely changed by the PUVMP’s effect on jeepney availability and rates, possibly altering their daily commutes by making them spend more on transport alternatives or by forcing them to look for different routes. This might put additional financial burden as well as longer hours of travel in their everyday life, affecting not only their academic performance but also their general welfare.
Moreover, the PUVMP is taking attention and funding from other sectors that have more pressing needs. In particular, the Department of Education (DepEd) is significantly impacted by lack of funding. Classroom and teacher shortages have been notable areas of concern with an estimated 165,444 classrooms and nearly 90,000 teachers needed. According to DepEd, PHP 105 billion would be needed each year up until 2030 to address the classroom shortage, while PHP 5.6 billion would be needed to hire 20,000 teachers in the upcoming school year, as discussed in the Senate plenary deliberations on the proposed 2024 national budget. Aside from the education sector, the Department of Health (DOH) has been grappling with vaccine shortages, namely pertussis, which has led to 54 infant deaths since the beginning of the year. According to the United Nations Children’s Fund (UNICEF), in 2022, the Philippines was among the top 5 contributors to the 18 million zero-dose children in the world. Despite this and multiple warnings from health authorities, the Philippines still hasn’t fully addressed this vaccine gap, leaving one million unvaccinated Filipino children vulnerable and susceptible to life-threatening diseases such as polio, measles, and tuberculosis. In light of these issues, resources should be prioritized in these matters instead of the PUVMP. Action must be taken immediately to address these pressing concerns and ensure the well-being of the Filipino people.
Are E-jeeps really the “better option”?
According to a study by the Center for Energy, Ecology, and Development (CEED), jeepneys only make up about 2% of the total registered vehicles in the nation and PUVs only contribute about 15% of the total particulate matter emissions in Metro Manila. If the PUVMP aims to transform our public transportation into becoming more sustainable and environmentally friendly, this number does not justify the relentless pressure on jeepney drivers to consolidate. The PUVMP will only contribute 2% to the country’s vehicles that cause pollution. This raises the question of the significance of its impact on saving the environment and reducing emissions in the long run. Additionally, modern jeepneys still run on fossil fuels, such as petroleum oil, defeating the purpose of the program’s goal of creating a more environmentally friendly public transport system. In the same study by CEED, it was argued that solely focusing modernization efforts on jeepneys to reduce air pollution would be negligible. Taking this into account, the government should instead consider upgrading traditional jeepneys to meet the proposed emission standards which would be cheaper for the program.
Furthermore, as said in a paper by the UP Center for Integrative and Developmental Studies, drawing from the current rate of assembly of modern jeepneys, it will take an estimated 270 years before all traditional jeepneys in the country are replaced. This begs the question of why the government keeps enforcing deadlines when it will take almost three centuries before all jeepneys are replaced with e-jeeps.
The PUVMP, while well-intentioned, presents a flawed solution. The environmental costs being too high, the unjust burden on the poor, and the uncertain consequences of such a drastic transition are strong arguments for reconsideration. The government should consider other options like rehabilitating existing jeepneys and using cleaner-burning fuels. One example that can be improved with the government’s help is the rehabilitated jeepney proposed by the Libmanan Transport Service Cooperative (LIBTRASCO). This model includes all government-specified features of the modernized jeepney—such as a side door, a higher ceiling, bigger windows, and even stabilizers to account for the increased height. Compared to e-jeeps, these rehabilitated models only cost around PHP 400 thousand to PHP 500 thousand, making them more affordable for jeepney drivers. Though the rehabilitated jeepney still uses the jeepney’s diesel engine, it can still be adapted to use a Euro 4 engine and even include air conditioning. If the government chooses to work with LIBTRASCO and retrofit the rehabilitated jeepney as an alternative, the Philippines can then improve its transport system while keeping its traditional jeepneys and people’s livelihoods by prioritizing affordability, inclusiveness, and a sustainable future.
Modernization shouldn’t be at the expense of the workers. The primary reason why many are aggressively opposing the program is that the welfare of jeepney drivers was not carefully considered when they should be the center of the solution. For the past years that the modernization program has been implemented, instead of listening to the pleas and concerns of jeepney drivers, commuters, and other constituents, the government has kept imposing the jeepney consolidation and resisting any demands by the public.
Taking all of this into account, we must request the government to prioritize policies that consider the money and power of all citizens, especially those from poor backgrounds. This includes subsidizing the move towards modern vehicles or examining other options that do not oppress marginalized communities. Instead of pushing jeepney drivers to consolidate and buy e-jeeps, the government should consider exploring and supporting initiatives that use cleaner-burning fuels and retrofitting existing jeepneys to meet emission standards to help maintain the environment in its sustainable state without overhauling the iconic jeepney fleet.
Above all else, this transition must be led by the workers—jeepney drivers whom the public has relied on for decades. Development must be made with the public in mind, not without.
// by Kela Alcantara & Xia Mentes
References:
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Relativo, J. (2024, April 30). Unconsolidated jeepneys given “15-day leeway” after consolidation deadline. Philstar.com. https://www.philstar.com/headlines/2024/04/30/2351543/unconsolidated-jeepneys-given-15-day-leeway-after-consolidation-deadline
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Santos, J. (2024, February 7). Consolidation extension is not what the protest demands. Philippine Collegian.https://phkule.org/article/1106/consolidation-extension-is-not-what-the-protest-demands
For decades, the UP Shopping Center (SC) was a staple for the UP community. Filled with various stores from computer shops, school supplies stores, photocopying and bookbinding services, to food stalls, and beauty parlors, among others, the SC catered well to the needs of students, faculty, staff, and even residents of the campus. However, in 2018, the well-loved SC burned down, causing vendors to be displaced and its once affordable items and reliable services to no longer be easily accessible.
After the fire, the tenants experienced difficulties with relocating and rebuilding their establishments. According to an article by ABS-CBN, the University’s Business Concession Office drew lots for the affected business owners. Those that were picked were allowed to reopen in other locations on campus, such as Vinzon’s Hall, the Food Hub next to the Fine Arts Building, the Centennial Building, and the Acacia Building, among others. Some tenants were able to rebuild at the old tennis court nearby, provided by the administration as a temporary space, and others opted to reopen in Area 2. A month later, during the 1334th Board of Regents meeting held in April 2018, former UP President Danilo Concepcion announced plans for the rehabilitation of the SC into a more modern structure. And thus, “DiliMall” was born.
The move to rebuild and rebrand the SC as DiliMall was criticized by community stakeholders because the administration’s priorities seem to be misplaced as revealed in the proposed floor plan of the structure posted by the UP Diliman University Student Council (USC) last November 24, 2023. Robinsons Easymart and other known restaurants such as Mary Grace, Pancake House, and Army Navy take up the first floor, while the space given to UP vendors is found on the third floor. Not to mention, the vendors in the tennis court are at risk of being displaced once again since the space will be converted into a parking lot.
This begs the question of whether these “development plans” are truly for the benefit of the community or are merely ways for developers and businesses to capitalize on the university.
In light of this, last March 12, the “UP Not For Sale Network” was launched, consisting of various organizations namely, the USC, Shopping Center Association, UP Academic Workers Union, UP Workers Alliance, Movement for Democratic Governance, and Local College Councils. The network calls against the commercialization of DiliMall and pushes for the prioritizing of the UP Community.
DiliMall is not just the issue
DiliMall is not the first time the UP community has faced commercialization on campus. In an article by the Philippine Collegian, USC Councilor and Community Rights and Welfare Head Kristian Mendoza claimed that DiliMall is part of the implementation of the UP Master Development Plan (MDP), a land use policy approved by the Board of Regents in 2014 aiming to “proactively and systematically” develop UP’s land assets.
Before this, the UP Administration had already begun developing idle lands of the university, approving Ayala Land’s bid to convert 37.5 hectares of land into an information and technology hub in 2006—the UP Ayala Technohub.
The UP Integrated School (UPIS) community is familiar with this issue, as the old Grades 7-10 Building was replaced with the UP Town Center in 2013 by the same developer. From our 8-hectare land along Katipunan Avenue, we were moved to a building built and donated by the Ayala Corporation, a 5-structure facility with a main 4-story building, where the Narra Residence Hall once stood. The new 7-10 Building was budgeted at P180-million, from which P40-million was allotted for upgrades to the Grades 3-6 Building.
Only 10 years later, the Grades 7-12 Building is in a state of downfall, proving to be a great inconvenience and safety hazard to the UPIS community. During the Academic Year (A.Y.) 2022-2023, grades 3-12 students had to share the 3-6 Building since the structural integrity of the 7-12 Building was still being assessed. In A.Y. 2023-2024, although the 7-12 Building was cleared for use, parts of the building have been barricaded due to the degraded structure resulting in longer detours when moving from classroom to classroom and restricted movement among students, teachers, and staff.
The new Gyud Food Hub, which opened in December 2022, posed similar concerns as the development of DiliMall with failing to prioritize UP vendors that have long served the community. In this case, vendors displaced from the Main Library received a handwritten note from President Concepcion assuring them slots in the new facility. However, contrary to the administration’s promise, these vendors were not granted a space in the hub.
Moreover, the implementation of these establishments serves to exacerbate class disparity in the university by focusing on businesses catering to higher-income consumers that exclude students and lower-income community members. Again, the firms affected by the 2018 fire incident in the Shopping Center are still grappling with getting proper spaces allocated among them where established businesses have taken precedence over them.
Additionally, vendors and business owners are not the only ones being displaced by UP’s development plans, but as well as its residents. Homes and residences were demolished and claimed in accordance with the UP MDP. Some of the affected communities were Pook Village C, residents located at the UP Arboretum in 2020, and farmers from Pook Aguinaldo in 2021. These communities and families have been residing in the said areas for decades without any issues, only for them to be evicted from their homes; their livelihoods taken away to give space for “sustainable” infrastructure projects, without proper plans for relocation.
This further demonstrates how commercialization discriminates against marginalized individuals within the UP Community and society.
Additionally, the commercialization in UP Diliman may lead to the phase-out of small local businesses and vendors that have long been an integral part of the community. This greatly affects not only their livelihood but also the culture and diversity of the university’s environment.
Concerns and detractors from the UP community continue to rise towards this issue as stakeholders of the community are negatively affected and neglected by the university. Examples of affected sectors are dormitories, classrooms, and faculty buildings, all of which are experiencing problems with their space, functionality, and facilities.
It is important to maintain and improve the academic environments of UP as this will keep the university’s name, provide equal learning opportunities, liaise with the communities, and secure student wellbeing. These areas are fundamental in the institution for they facilitate learning and contribute towards its success as a top-ranked higher learning institution. To uphold the eminence that characterizes UP, we need to give priority to the conservation and upgrading of academic spaces.
Commercialization for who?
The university insists that converging with the private sector is beneficial as income generated from these rented spaces can be directed to academic and community needs. However, based on the 2016 audit report by the Commission of Audit, it is revealed that Ayala Land Inc. has 209.2-million pesos worth of unpaid obligations to UP. The amount comprises underpayments in rent income and late interest payments for the spaces at UP Technohub and UP Town Center. This raises the question as to why the university continues to commercialize its land when the previous corporation failed to keep up with its lease agreements.
Nevertheless, the university is still in dire need of other means of income. Government funding shortages can be pointed as to why the university insists on commercializing its land assets. Despite the fact that UP’s 2024 budget increased by P508-million, amounting to P24.771-billion this year, 80% of the funds were allocated for the university’s infrastructure projects. Sectors such as utility and maintenance incurred a P1.3-billion cut, and the budget for university operations was reduced for the new budgetary focus. According to an article by the Philippine Collegian, even if the funds for infrastructure were excluded, UP still suffered a P873-million cut. Additionally, P943-million will be cut for the provision of higher education services—which may result in fewer resources allocated to quality education for students. Taking all of this into account, it can be understood why commercialization may appeal to UP—as the university is getting increasingly pressured by almost all sides of its community to take action for its funding shortfalls.
Even so, our integrity as a public education and service institution must come first. It must be emphasized that UP serves as the nation’s model for quality education, and when we allow commercialization and privatization to be fostered within our institution, it may invite other educational institutions in the country to also be dependent on for-profit provisions. Reinforcing this notion, the presence of privatized businesses as stakeholders in the university may greatly influence university decisions, academic programs, and student policies.
In the end, UP must decide between prioritizing the community's interests or pursuing commercialization at the expense of its constituents. However, we’ve experienced the effects of this firsthand: the building we’ve sacrificed for profit forced us to settle for our current building–one that is deteriorating, crumbling piece by piece. We must ask ourselves: are we going to let this happen again? If the university chooses to commercialize its spaces for funding, attention, and care for its students and community must still be sustained.
Therefore, we need to oppose the commercialization of spaces and services in our university, assert our right to quality basic academic spaces and student facilities, stand with the vendors, employees, and families affected, and call on the administration to negotiate better terms with business partners—terms that put the benefit and interest of the UP community first. Furthermore, it is important to stress the need for more funding from the government to be able to run UP’s essential activities and programs successfully. We should come together to protect the good name of our institution and meet its responsibility to the UP community and the Filipino people.
// by Kela Alcantara, Grace Gaerlan, Xia Mentes
Sources:
Abello, L. T. (2024, February 6). UP students protest increasing commercialization of campus spaces. Philstar.com. https://www.philstar.com/headlines/2024/02/07/2331536/students-protest-increasing-commercialization-campus-spaces
Abello, L. T. (2024, March 12). UP community on ‘DiliMall’ opening: ‘Do not commercialize the services to the people’. Manila Bulletin. https://mb.com.ph/2024/3/12/up-community-on-dili-mall-opening-do-not-commercialize-the-services-to-the-people-1
Chua, C. (2022, July 6). UP’s Proposed 2023 Budget Set to Fund DaniCon’s Infra Splurge in His Last Year in Office. Philippine Collegian. https://phkule.org/article/586/ups-proposed-2023-budget-set-to-fund-danicons-infra-splurge-in-his-last-year-in-office
Daduya, J. (2023, January 28). “Nabudol kami!”: UP’s small-time vendors cry foul over Danicon’s unfulfilled promises.https://csspsinag.wordpress.com/2023/01/28/nabudol-kami-ups- small-time-vendors-cry-foul-over-danicons-unfulfilled-promises/
Gavilan, J. (2018, March 8). From photocopying services to Rodic’s: What’s inside UP Shopping Center. Rappler. https://www.rappler.com/newsbreak/iq/197714-things-to-know-up-diliman-shopping-center/
Gonzales, I. (2016, February 25). Ali reviews COA findings on unpaid obligations to UP. Philstar.com. https://www.philstar.com/business/2016/02/02/1549017/ali-reviews-coa-findings-unpaid-obligations-up?fbclid=IwAR2xWm74RVI8zYPn3EHJ9eUw0jaLyj3TMVziHv6i9RFSKZuwoHnDfz-zZsU
Lara, R. (2018). Decisions of the Board of Regents 1334th Meeting, 6 April 2018. The University of the Philippines Gazette, 49(3), 23-24. https://osu.up.edu.ph/2018/04/1334/
Lirio, A. (2023, December 24). An increase with setbacks: A look into the UP System’s 2024 budget. Tinig ng Plaridel.
NOW SHOWING: The Self-Fulfilling Prophecy of Philippine Cinema
Drawn by Gabie Amorato of UPIS Media Center 2026
Imagine this: you are in the cinema at your local mall. You are met with the following film options: How To Make Millions Before Grandma Dies (2024), Inside Out 2 (2024), Fruitcake (2024), and Playtime (2024). Which one would you choose to watch?
All these films were showcased simultaneously last year, yet it was observed that the first two choices—both of which were foreign films—garnered the most viewership. Meanwhile, the local films, Fruitcake and Playtime, significantly lagged behind their foreign counterparts. The Thai film, How To Make Millions Before Grandma Dies reportedly made PHP 2 million in a single day in the Philippines. Additionally, the Pixar sequel Inside Out 2 had the highest opening day earnings of 2024 in the country, making a whopping PHP 88.8 million on its first day (LionhearTV, 2024).
It might come as no surprise that the local film industry is struggling to keep up with the global film market. According to the Annual Box Office report by The Numbers (2025), Hollywood—the film industry giant—is led by the studios of Walt Disney, Warner Bros., and Universal. The annualized market share rates of these distributors from the years 1995 to 2025 are 17.15%, 15.04%, and 12.54%, respectively. It can also be seen in the same report that for decades, these major studios have earned billions of US Dollars in total.
Despite Hollywood’s undeniable global dominance, even among our neighboring countries in Southeast Asia, the competition is steep. As mentioned, the Thai film, How To Make Millions Before Grandma Dies, was an international hit, earning 73 million USD (4 Billion PHP) in global sales (Frater, 2025) and winning the New York Asian Film Festival 2024 Audience Award (NYAFF, 2024). This success can be attributed to the various promotional efforts that the movie has utilized during the time it was screened. There have even been instances of local cinemas giving tissues to moviegoers. Despite the humorous note, one could wonder if there have been any similar promotional efforts and support for our films (Frater, 2024).
The current state of Philippine cinema
“Am I not enough? May kulang ba sakin? May mali ba sakin?…Kapalit-palit ba ako?”
- My Ex and Whys (2017)
But how did things get this far? One possible factor is the personal preference of Filipinos affected by our innate colonial mentality, which is defined as “having a perception that one’s identity is inferior compared to foreign culture and ethnicity.” It is a mindset of internalized oppression and inferiority, “deemed as a result of a long-term colonial history in the Philippines” (Adame, 2023). This way of thinking could be attributed to the decline of local films, where foreign works are appreciated more by Filipinos.
A study done by Garcia and Masigan (2001) discussing the history of the film industry in the Philippines stated that foreign films started to appear more frequently than local films in the 1970s. Adding to the fact that the Philippines has not assigned a quota for foreign films since the 1960s, the industry has been overwhelmed by foreign media. The study said this could have been the start of the bias colonial mentality brought, with us getting subjected to more and more foreign works compared to our own; as such, we are more familiarized with their movies rather than ours.
This is supported in Lumbera’s essay, “An Approach To The Filipino Film,” in which films were introduced to our country as commodities for American businessmen to profit from. Being the initial investors, American presence and influence in the beginnings of our film industry could explain the deeply rooted colonial standards observed in Philippine cinema and our instinct towards foreign films as a guidepost.
Another reason why locals prefer foreign media is the concern with quality. A survey done at the International Conference on Language, Learning, and Teaching at HCT Dubai Men’s College, UAE, shows Filipinos’ perception about the quality of local films. The respondents said that many problems pertaining to quality are present in the industry. These include: inadequate skills of movie workers, high cost of production, over-taxation, and lack of government support—all of which affect the overall quality and budget of the movie (Valera, 2015).
First, the inadequate skills of movie workers refer to the crew's lack of proper training and education. This could stem from many reasons, but the most prevalent one is the lack of funds for appropriate schools for the industry, which leads to the said inadequacy.
Second, the high cost of production—relating to the different expenses of movie production such as sets, equipment, casting, and more—is possibly not being met due to the poor economic status of the country. A movie especially has a high cost of production; as such, it severely relies on investments and is greatly affected by the lack of funds.
Third, over-taxation means extra taxation fees, just like the amusement tax of R.A. 9640, which permits the taxation of any entertainment business at a rate of no more than 10%. This 10% does not encompass all the taxes that movies have to pay (R.A 9640, 2009). However, the taxation was temporarily stopped for 3 years to help the local industry (Dela Cruz, 2024).
Lastly, the lack of government support also greatly affects the quality of the movies and the quantity of support the movie receives. One example of this is the previously mentioned lack of quota for foreign films, which resulted in the industry being flooded with them. The amount of foreign movies then took away the attention from local films, rendering them unpopular.
Another prevalent issue is the industry being slanted towards escapist entertainment, which refers to entertainment that is constructed to distract or relieve viewers of their current reality. Typically, such media do not incite much reflection from viewers. The Philippine public is inclined towards such, especially in films (Mojica et al., 2021). The most evident examples of this are actor Vice Ganda’s comedies (Girl, Boy, Bakla, Tomboy (2013), Beauty and the Bestie (2015), The Super Parental Guardians (2016), etc.), which amassed hundreds of millions at the box office per release. These films' plots are usually simplistic, and their narratives tend to be resolved lightheartedly. Their scripts do not take themselves seriously—they are often loaded with jokes and slapstick humor, overpowering the central story.
According to Halfman and Reinecke (2019), stress causes this preference towards escapist entertainment, and to the Filipino public, this can be attributed to the socioeconomic state of our country. Most Filipinos are part of the working class, according to the Philippine Statistics Authority (2025), the labor force is comprised of 64.4% of Filipinos in 2025; it is understandable that after a long day of hard work, they would rather indulge in escapist comedies than philosophically inclined films that may require prolonged contemplation and analysis in order to understand.
Escapist entertainment has become a natural outlet for Filipinos to cope with stress; in turn, the local film industry capitalizes on this to survive (Mojica et al., 2021). This is a matter of preference, but an oversaturation of one type of media tends to tire out the viewers, resulting in less support for the film. Besides this, the constant gravitation towards escapist films could lessen the incentive for Filipino filmmakers to be creative and experiment, which only contributes to the cycle of tired and repetitive Filipino films.
Why is this an issue?
“I deserve an explanation, I deserve an acceptable reason.” - Starting Over Again (2014)
It could be argued that a disinterest in Philippine cinema is a matter of preference—foreign or local films. While this is a valid perspective, we should be conscious of when our preference leads to the neglect of our own industry. The continuous acceptance of foreign trends will only reinforce the foreign perspective in our judgements. This could affect not only our media but also our traditions and values. We must be vigilant when our approach and perceptions are due to colonial mentality, and when we are debasing the Filipino context in favor of foreign standards.
In light of the above, it must be reiterated that there is a relationship between Filipino culture and Philippine cinema. Films exist not only to serve as entertainment, but also to document and reinforce existing culture and norms. That said, a study done at De La Salle University (DLSU) states that Filipino culture influences the production of movies, while movies typically depict the values of the Filipino people. In other words, the usual plot points of movies revolve around Filipino culture; therefore, it reinforces the notion that movies mirror culture (Sarmiento, 2013). Taking all of this together, if our films continue to lose viewers, parts of our culture may struggle to stay permanent.
Some examples of Filipino values and culture as the central narrative would be, first, And the Breadwinner is… (2024) featured in the Metro Manila Film Festival (MMFF) 2024. This movie portrays the dynamic of a Filipino family burdened by poverty and a returning Overseas Filipino Worker (OFW) relative. Another would be Isang Himala (2024), which is also from the MMFF 2024, focusing on the overzealousness towards religion among Filipinos, especially in times of crisis. Both of these examples mirror Filipino culture, with And the Breadwinner is… highlighting the importance of OFWs, family, and relationships in our country, and Isang Himala covering the religiosity of the Filipino people (Rappler, 2024). Four Sisters and a Wedding (2013), which is a film centered around Filipino family dynamics, also comes to mind. The family comedy-drama was nominated for various accolades for depicting a relatable and realistic portrayal of Filipino families.
This tendency to construct films around these cultural values leads to overexertion and tired tropes, however influential they may be to local popular culture. An example of such is the Rich and Poor romance, in which the two love interests are bound by their different social classes yet find a way to keep their love afloat. This can be seen in films such as Diary ng Panget (2014), Basta’t Kasama Kita (1995), Crazy Beautiful You (2015). This trope is a combination of two relevant sociocultural factors in our country: the first being the growing disparity in social class, and the other being a long-ingrained cultural fascination with romance. Another overused trope is the Dysfunctional Family, in which the plots of the film are driven by the conflicts of the protagonist’s family due to past misunderstandings and a difference of perspectives. Some examples include those that were mentioned before, such as Four Sisters and a Wedding and And the Breadwinner is; another film worth mentioning is Seven Sundays (2017). Local films that use this trope depict socioeconomic realities in its conflicts and especially in characters—like the OFW and the token breadwinner of the family or the family member that is burdened by the responsibility of getting their family out of poverty.
It can be observed that the most popular film tropes are based on socio-political and economic hardships in our country, although it could be explored through commentary that most films with these tropes do not challenge or critique the social issues they are based upon. Thus, contributing to the lack of exploration and experimentation contributes to the stagnation of Philippine cinema and its industry.
It should also be mentioned that the local film industry is essential to the Philippine economy. According to a report by the Manila Bulletin, the 2024 Metro Manila Film Festival (MMFF) reached the PHP 800-million target gross sales (Recuenco, 2025). Last year, there was PHP 1 billion in gross revenues (Philippine Daily Inquirer, 2024). Regarding the workers, in an article published by GMA Integrated News, a census done in 2018 states there are only 5,927 fully employed individuals in the industry, and it is expected not to increase in the following years (Panti, 2023). This declining trend has also been happening throughout the years, not just in the present, showing the worsening state of the industry.
By abandoning the Filipino film industry, we could possibly put all of this revenue at risk. We may also lose the jobs that filming brings, which will then negatively affect the lives of many people, exacerbating the problem of unemployment within our country.
As stated previously, this issue is heavily rooted in our colonial mentality, defined as the inferiority complex experienced by Filipinos towards foreigners. It is experienced throughout our society and not just in the film industry. We must address all cases of this internalized belief if we wish to progress from this slump.
What we can do
“May mga bagay na kailangan mong paghirapan bago mo makuha…” Kita Kita (2017)
Filipino cinema is arguably one of the most influential forces in our country. Although, as mentioned before that our cinema revolves around overused plots and tropes, it shines through historical-political films. Dekada ‘70 (2002), for example, is based on Lualhati Bautista’s novel of the same title. The story is centered on a middle-class family and their struggles during the Martial Law era, and the turmoil they faced when they were involved in activism against the dictatorship of Ferdinand Marcos. Another is Heneral Luna (2015) which depicts the life and heroism of General Antonio Luna during the Filipino-American war. However, it also delineated Filipino attitudes that have contributed to the failure to fight against our colonizers. These films, and many others when they are released, gain attention from the Filipino public, inspiring them to reflect on the current socio-political state of our country. Lines and commentaries from these films are also often referenced in activist movements, proving the power of cinema as a driving force. An example of a social commentary in a movie is the famous quote “Walang himala. Ang himala ay nasa puso ng tao. Nasa puso nating lahat. Tayo ang gumagawa ng himala,” from the movie Himala (1982), this line advocates for the action of individuals instead of relying on a religious being to solve one’s problems. Influences like this are the reason why we should pay attention to our local cinema, for abandoning it will only contribute to the degrading integrity of our culture.
As Filipinos, we must understand that the bias toward foreign media can negatively affect the production of local films. Our lack of confidence and support materializes and permeates into the quality of our films. Doing nothing about it will continue the self-fulfilling prophecy of our film industry.
Therefore, we must know that supporting local films goes a long way toward helping the industry improve. Perhaps watch a local film or two instead of the usual Korean or Hollywood ones that are reflexively browsed. What if you experience the rich legends of Philippine culture through various horror films centered around aswangs, tiyanaks, and other mythological creatures? You may also find taking a journey through nostalgia an enjoyable experience by watching all of the old classics. These might seem little, but every contribution counts for the betterment of the industry.
However, we should also take note that this means consumers also have a responsibility to fairly critique, as well as support local and foreign works without any underlying bias. We should keep in mind the colonialist origins of our film industry and how foreign influence has overpowered local innovation. Constantly using foreign films as a framework for critiquing our films is unproductive and only leads to imitation and a lack of identity. Furthermore, because of the connection between films and our culture, using other standards from countries such as the US means we are subjecting our own culture to their standards.
This can be seen in our unwillingness to present parts of our culture with the fear that it would not work due to these foreign standards, with the exception of family tropes, such as the one in And the Breadwinner is…, as family is universally important in all cultures. While family is a very influential part of our culture, there are many more aspects we can showcase to others. Examples of these are the struggles of the working class in Metro Manila (2013), our religiousness in Himala, the experiences of Filipino queer and transgender individuals in Die Beautiful (2016), among others. These movies are examples of how we can better represent more of our culture to the whole world.
It is also worth mentioning the efforts to restore old Filipino films. The ABS-CBN Film Restoration Project, also known as Sagip Pelikula, a collaboration digital film restoration project of ABS-CBN Cooperation and Central Digital Lab. It has restored over 100 films since the project’s launch in 2011, including notable works such as Himala and Oro, Plata, Mata (1982). The president of Central Digital Lab, Manuel Dayrit, said in an interview, “If we don’t start scanning them now, they will disappear. We have to see it as extinction for a lot of films. There is really an urgency...” (Cruz, 2016). The restoration and archiving of these films serve as a cultural preservation—we must not let ourselves be too distracted by what good films we can produce and also give equal attention to restoration efforts, for documenting local classics and films which have served as a foundation for our cinema at the present is a vital part of revitalizing it. Unfortunately, according to a report by the Inquirer on May 2 2025, Sagip Pelikula has officially ceased operations, shedding more concern on the state of archiving our films.
Aside from that, willing participation in preserving and developing local works is a major step in revitalization. This can be done in several ways, though the most accessible is through film festivals in the Philippines. These festivals are a way to present the films created by Filipinos to a wider audience, possibly reaching new investors who can help with the production of future projects. However, the purpose of these film festivals is not solely focused on promoting local films but also to explore what our government and major industry stakeholders could give as support to existing efforts.
Some notable film festivals in the Philippines include (Nadilo, 2019):
Another way to help the local film industry is by urging the government to take steps for the betterment of local films. This way, the government could implement new laws or policies that could benefit the production of movies. Examples of these are the previously mentioned removal of taxes, advertisement of quality Filipino films, allocation of funds for better education or equipment in film production, and so much more. The government has the capacity to play a vital role in revitalizing the film industry, and we should persuade them to use their power to help solve the issues that filmmaking is currently facing, such as quality and quantity.
As for the filmmakers themselves, making good movies is an essential part in revitalizing the industry. Hindrances like the shortage of funds will always be present, but there are alternative ways of making high-quality films. One movie that comes to mind is Cleaners (2019), an indie experimental coming-of-age film based on the experiences of students in a rural Catholic high school. The film premiered in QCinema International Film Festival 2019 despite only having a tiny budget of PHP 82 thousand, which was 41% of their target funding goal of PHP 200 thousand (The Spark Project, n.d.).
Another example is the movie Kita Kita (2017), which had a budget of only PHP 10 million, yet earned PHP 320 million, becoming the highest-grossing indie film after passing Heneral Luna (2015) (I See You (2017) - Trivia - IMDB. n.d.). This shows that not all success is based on budget, but also on the talent and originality of the movie. If this is what our filmmakers can do with a tight budget, imagine what they could do with a proper budget? We just need to properly believe and support their skills in filmmaking.
As students, we can show interest in our film industry and be aware of the problems plaguing it. According to a report by the Philippine Inquirer on April 19, 2025, the Film Development Council of the Philippines (FDCP) and the Department of Education (DepEd) have started collaborating on a film curriculum for senior high school students. This collaboration is part of the initiatives by the FDCP to revitalize the industry and to support local filmmakers and storytellers (Evangelista, 2025). At present, UPIS has a Film Appreciation course that aims to introduce students to the fundamentals and sensibilities of filmmaking. It is a required subject for Grade 12 students of the Social Sciences and Humanities Track and an interest course for other academic tracks. More importantly, it is centered on the local film industry and encourages students to consider how it can be improved. If the film curriculum by the FDCP and DepEd is similar to our class of Film Appreciation, which supplies students with the knowledge and skills of filmmaking, film critique, and Filipino film history, it can hopefully inspire students to not only constantly engage with our own films but to also pursue film.
It must be emphasized: media, especially films, create awareness and enrich our culture and public interest. The industry needs your participation in order to survive.
We have a long way to go in revitalizing our film industry, and we cannot risk leaving it in its current state. Filipino cinema needs us as much as we need it—so right now, we are asking you for your time, your thoughts, and most importantly, your effort.
Mabuhay ang Sine Filipino!
// by Xia Mentes & Ian Rafin
References:
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