The review magazine also ran through a history of Philippine comics from 1889 to the present time.

Written in Taglish, some of the articles found in “rebyu” are Gumagamit na ba ng cellphone si Darna habang lumilipad?, Mga Dahilan ng Pagbagsak ng Komiks, Halakhak Komiks: Ang Unang Komiks sa Bansa, and Komiks: Mula Noon Hangga Ngayon.

The “rebyu” is a great collection for comics enthusiasts and for everyone who love comics. It promises to be just the start of something big. As co-publisher and editor Randy wrote, “Napakarami naming plan para sa magasin na ito, at ito pa lamang ang simula. Kasama na riyan ang pagbabalik-tanaw natin sa makulay at masaganang daigdig ng komiks sa Pilipinas, at ang pagiging mahalagang ‘medium’ nito sa hinaharap.”

Mabuhay kayo, mga kaibigang Fermin at Randy. Sana lalo kayong magtagumpay sa inyong layunin na maibalik ang komiks sa dati niyang kinalalagyan sa ating mga kababayang mambabasa.

Like with other emanila and PINOY JOKES websites, PINOY KOMIKS will be part of our promotion packages to emanila members and users.

Here are some of them:

From emanilaliterary

Excerpt:

“Akala ko, sa pelikula ko lang makikita ang mga tagpong ito at sa komiks ko lang mababasa. Pero isang hamon ang umukit sa aking diwa na tuklasin ang hiwagang iyon.” Lampara ni Rey Tamayo Jr.

From emanilapoetry

Anak ni Zuma
Kenji

Aling Conching, na hawig ni Nida
Katiwala ni Papa, katiwala ni Mama
Sa bakery namin sa Talipapa
Komiks nya ay pwede ibenta
Dagdag “moolah” sa sweldo nya

Pag nandyan si Papa, komiks ay binibida…
“Pots, eto o, basahin mo! Bago to!” ang sweet sweet nya…
Pag wala si Papa, komiks nya ay encyclopedia
“Pots! Bwiset na!!! , wag mo lukutin komiks ko!!!”
“Aling Conching,” let me explain, “tatapusin ko lang, ‘anak ni Zuma!’”

Sa pamalengke na bigay ni Papa, bayong mo ay apaw huh!?!
Por kilong Ham, Por kilong Beef, Por kilo of every kind of Pork!
Isang araw, sabi ni Papa… “kami uwi Tsina, Conching bahala na!”
“Paktay na!” sabi ni Anya, “Paktay na!” sabi ni Achie
“Paktay na!” sabi ni Bantay, “Paktay na!” sabi ni Muning

Porke’t wala si Papa, Porke’t wala si Mama
Pork Chop ay deds na?
Galunggong for Lunes, Martes, Myerkoles
Galunggong for Huwebes at Byernes
“for a change,” Talong sa weekends, ismid nya

Isang araw after isang buwan, mga intsik ay bumalik na
“Papa! Mama! May isusumbong ako!”
“Ano yon bunso?” sabi nila…
Nilabas ni Conching, new komiks nya; Aliwan, Liwayway at Wakasan
“ahhhh ahhhh… si Boyet na anak ni aling Fita, away ako!”

“Wag ka away! Bad yan!” yakap ako ni Mama
Anya, Achie, Bantay at Muning hindi maipinta
“Langyang Pots! Komiks lang, tiklop na!”
Punta ako sa komiks section, Aliwan komiks inuna
Inalis isang tsinelas at inupuan… “ahhhh.. si Galema ang anak ni Zuma”

Posted: June 22, 2006

HOPE
Emmanuel Hizon

Katulad ng iyong pangalan umasa ka sa pag-asa na
Maaari kang yakapin ng lantay na pag-ibig
Na baka sakaling mauwi ang mga palihim na tagpuan at suyuan
Sa isang matamis na pagtatapos
katulad ng lagi nating nababasa
Sa mga wakasang nobela at komiks

Katulad ng iyong pangalan, kumapit ka sa pag-aakalang mapagbigay
Ang dampi ng pag-asa, ang bulsa ng kapalaran sa mga katulad mong
Naghahanap, lumalaban para sa sariling espasyo at kahalagahan sa tila
Walang katuturang ikot ng mundo

Katulad ng iyong pangalan,
pilit kang nagpumilit na baka sana, siguro, maaari
at nagtatanong bakit naman kaya hindi?

Pero hindi mabait ang kapalaran sa madaming pagkakataon
At ang matapang mong pag-ibig ay hinusgahan at kinutya
Ang iyong pagtitimpi at sakripisyo ay hinamak at paulit-ulit na
Pinaglaruan sa artipisyal na pagsusuri ng midya at bulaang tsismisan
Ang iyong matiponong iniirog ay iniwan kang nag-iisa,
Itinakwil, pinagtulakan, inaalay sa mga buwitre at pinasinungalingan.

Ngayon, ikaw ay nag-iisa,
sadyang pinagtutulungan ng lahat
Pinagpipiyestahan ng lahat
Binansagan, minaliit at pinagtatawanan
Mismong tawing mong pag-asa ay tila nilayasan ka at pinagtaguan
Ikaw o Pag-asa, na ang tanging kasalanan ay umibig ng matapang.

Ngunit sino nga ba ang tunay na pokpok at kaladkarin?
Ikaw ba na ang tanging nais lamang ay lumigaya at mahalin?
Ikaw ba na nangahas na basagin ang mitos ng moralidad ng bugaw na lipunang ito
At sadyang ipagdiwang kung ano talaga ang pag-ibig
Labas sa mga nakagisnang depenisyon,
Parametro,
Limitasyon
At tradisyon?

O baka naman sila ang tunay na may bahid ng putik?
Ang mga duwag at uhugin na hindi kayang umalpas at
bumasag ng mga masisikip na konsepto ng pagmamahalan,
Ang mga nagba-banal-banalan at pagod na mga purista,
Ang milyon-milyong kaladkarin na mas may panahon pa
sa mga buhay ng artista at basketbolista kaysa sa kanilang tunay na panlipunang suliranin.

O Pag-asa, marami silang sinasabi,
Kay dami nilang mga gawi
May lason sa kanilang mga labi
Ngunit ‘di hamak, sa katotohanan
mas marami kang binabali…

Posted: February 28, 2007

Si Barok
Fermin S. Salvador

Si Barok, karakter komiks, kathang-isip;
Deskripsyon: mabait, taga-bundok, unang
Panahon, komiko, sisteng Pilipino;
Milyong mambabasa, lubusang natawa.

Si Barok, maraming bersyon: pelikula,
Tv sitcom, hair-style; maraming istambay,
Ang palayaw: “Barok”; pati pagsalita,
May “salitang Barok”; si Barok, sumikat.

Si Barok, hilatsa, kulay, kakuwanang
Buhay-Pinoy, parte; ‘daming ambag; simple
Siyang pambihira; sa masa, simbulo
Rin; pero mas simple, mga Bert Sarile.

Posted: August 1, 2006

Yankee Doodles :: 6 July – 24 August 2003
Bulwagang Juan Luna (Main Gallery) :: Cultural Center of the Philippines
Opening Reception 6 July 5:00 PM

Artists: Elmer Borlongan, Antipas Delotavo, Imelda Cajipe-Endaya, Brenda Fajardo, Roberto Feleo, Egai Fernandez, Gerry Leonardo, Neil Manalo, Alfredo Manrique, Norberto Roldan. Curated by Santiago Albano Pilar Exhibition Design by Fatima Lasay

The history of the Philippine-American War (1899-1902) is largely forgotten today in the Philippines and the United States.

Yankee DoodlesForgetting was officially sanctioned; volumes of newspaper accounts, military reports, government documents, autobiographies, biographies and letters by American soldiers all became part of a “forbidden book” – so that a war that was at least 50 times more costly in human lives than the Spanish-American War was relegated in American textbooks as only an “insurgency.”

A few late 19th century journalists and political cartoonists, however, managed to express unpopular truths of massacres, tortures, pillaging, and wholesale destruction of villages.

An anonymous editorial cynically read, “We may have burned certain villages, destroyed considerable property, and incidentally slaughtered a few thousand of their sons and brothers, husbands and fathers, etc., but what did they expect? … And they complain that drunken American soldiers insult the native women. What did they expect from a drunken soldier anyway?”

McKinley’s and US Senate’s perception of the Filipinos

In 1898, the Philippine Constitution was ratified, creating an executive branch, a representative assembly, and judiciary. Then came the election of a president and the dispatching of diplomatic representatives around the world. But the creation of the first republic in Southeast Asia was cut short by the United States when it imposed its imperialist demands on the new republic. The Philippine Revolution was thus forced to continue its pursuit for national independence in the Philippine-American War. The Philippine-American War was also to become America’s baptism as an imperialist colonial power in the Pacific, and this expansionist agenda was met with fierce resistance by Filipino Revolutionaries.

When President William McKinley told a delegation of church leaders that God had counseled him to annex the Philippines and “to educate the Filipinos, and uplift and civilize and Christianize them,” few Americans knew that the Philippines had an educational system older than that of the United States and that the majority of Filipinos were Catholic.

McKinley’s depiction of Filipinos as uncivilized pagans played on prevalent racist sentiments and served to justify an unpopular war. One commonly held view ranked peoples of the world into four grades of culture — savagery, barbarism, civilization, and enlightenment. In this hierarchy, white America was the pinnacle of enlightenment while Filipinos belonged to the two lowest levels of culture and therefore incapable of self-government.

Senator Albert Beveridge in a famous Senate speech referred to Filipinos as “a barbarous race” of children incapable of even understanding “Anglo-Saxon self-government” adding: “[God] has marked the American people as his chosen nation to finally lead in the regeneration of the world. This is the divine mission of America, and it holds for us all the profit…” The first American teachers introduced English into hundreds of schools already in existence at that time but the myth that the U.S. brought the school to the Philippines remains to this day. American education became a tool for pacification and assimilation into the U.S. colonial system.

What to the United States was only an “insurgency” required the deployment of 126,000 U.S. troops, and took the lives of anywhere from 250,000 to a million people, the vast majority Filipino. Although the Philippine-American War was officially declared to have ended in 1902, fighting continued well beyond the first decade of the century.

Filipinos: the “gugus, niggers, and monkeys” of 1904

A fierce national debate ensued in the U.S. between pro- and anti-imperialists that became the subject of political campaigns and media editorials. In most publications Filipinos were presented to the American public as dark skinned savages. These portrayals were intended to project Filipinos and non-whites in general, as inferior beings within the racialized milieu of U.S. society. The imperialist cartoons appeared on the pages of Puck, Judge and Life magazines. These three were among the most influential opinion makers of their day. All three magazines employed some of the best artists of the day to draw for them. Puck and Judge were generally supportive of President McKinley. They wholeheartedly backed the U.S. war of conquest in the Philippines. In fact, at the time, Judge magazine was regarded as propaganda vehicle for the Republican party.

In these cartoons, Filipinos were portrayed as diminutive (slaves) (pickanninies) or wild beasts – images that were associated with blackness. These depictions were intended to vilify Filipinos as the enemy – much like Japanese, Vietnamese, and Arab peoples were demonized during the most recent wars. What Americans saw in pictures was reinforced by a racist language that labeled Filipinos as “gugus”, “niggers”, and “monkey,” and by the promotional hard sell of world fairs, such as the 1904 St. Louis World Fair, that displayed Filipinos along with other native peoples from other countries as uncivilized beings.

Meanwhile, the United States set up a colonial arrangement with the help of Filipino elites that allowed US corporations unlimited access to Philippine natural resources such as timber and minerals, and control of major industries. They created a market in the islands for American surplus products, installed the largest military bases outside the US, and exploited Filipinos as a pool of cheap labor for US businesses and the military. Note the mass migration of contract workers recruited to work in the fields of Hawaii and California in the 1920’s and ’30’s, and the mass recruitment of Filipinos in the US and the Philippines into the American military during WWII.

While many Americans led by the anti-expansionists opposed the colonial conquest of the Philippines, others argued that expansion was necessary for commerce and the capture of foreign markets for U.S. surplus products. Senator Albert Beveridge’s speech in Congress in 1900 was a rallying cry for U.S. imperialism: “The Philippines are ours forever…. And just beyond the Philippines are China’s illimitable markets…. Our largest trade henceforth must be with Asia. The Pacific is our ocean…. The Philippines gives us a base at the door of all the East.”

Struggles for justice

Pointing to a map on his wall, President William McKinley declared: “I sent for the chief engineer of the War Department and I told him to put the Philippines on the map of the United States … and there they will stay….”

On June 19, 1865, slaves in Texas learned of their emancipation; and on June 12, 1898, Filipinos declared their independence from Spain. Our separate histories are filled with many stories of struggles for justice. Now and then, the stories converge as it did in the Philippine American War when David Fagin and other African American soldiers joined the Filipino revolutionary forces to protect a fledgling republic from US domination. Their example foreshadowed the kind of inter-racial cooperation that became necessary for future generations to forge in the resistance against racism. Over the past 100 years Filipinos have continuously fought back against all forms of injustices.

“COLORED: Black and White”

In 2002, on the centennial of Philippine-American relations, three strong bulwarks of the Filipino activist community in California and the U.S. put together an exhibition of U.S. imperialist cartoons produced during the Philippine-American war. This exhibit, entitled “COLORED: Black and White,” presented drawings, editorial cartoons, photos, and news clips from prominent magazines and newspapers that covered the U.S. annexation of the Philippines in the late 19th and early 20th centuries.

This exhibit is part of a larger archival collection that has been on tour until today at various universities and institutions in the U.S. and Philippines. Exhibit curators, Helen Toribio, Abe Ignacio and Jorge Emmanuel are long-time cultural and community Filipino American activists. Helen Toribio, who grew up in Hawaii, said the exhibit is a way to get a dark period of U.S. and Philippines history ‘out of my system.’

‘Anyone who grew up here, grew up with the mythology of America the beautiful, the great democracy, and there is very little exposure to the dark side,’ she said. ‘There is a lot that is hidden about American history.’

Many who have seen the images in the “COLORED: Black and White” exhibition were shocked. Larkspur artist Elizabeth Saul said the exhibit helps explain the concept of Manifest Destiny, the philosophy that sought to justify the United States’ westward expansion. ‘These images speak so strongly,’ she said.

‘You can hear someone talk about (Manifest Destiny) over and over again, but when you are confronted with images that are vile, pompous and arrogant, it strikes a chord that words can’t communicate efficiently.’ A section of the exhibit focused on similarities in the portrayals of Filipinos and African Americans. U.S. troops fighting in the Philippines referred to Filipinos as ‘niggers’ or ‘gugus.’ Berkeley artist Mildred Howard said the exhibit ‘makes something horrible visible.’

“Sangandaan 2003″ and “Yankee Doodles”

This year, a centennial commemoration will be held in the Philippines.

“Sangandaan 2003″, an international conference on arts and media in Philippine-American relations, will present Filipino and Filipino-Americans the unique challenge and opportunity to assess, in reflective hindsight, how the events of the past century changed their lives.

The “COLORED: Black and White” exhibition is part of this commemoration, coming from an exhibition recently held at the UC San Diego Geisel Library and the Springfield College Art Gallery in City Heights. The exhibition in these venues, organized by John and Marivi Blanco, were spurred by the volunteer support by students at Miramar and Southwestern Colleges, as well as outreach events sponsored by UCSD students in various high schools and libraries throughout San Diego and Long Beach.

As the exhibition comes to Manila for the first time in July for “Sangandaan 2003,” it will be met by ten contemporary Filipino artists in an exhibition entitled “Yankee Doodles” to be held at the Main Gallery of the Cultural Center of the Philippines. In the virtual absence of discussions on the history of the Philippine-American War, “Yankee Doodles” responds by remembering and interrogating this critical period in American and Philippine history, and its consequences and implications in today’s world.

Text credits: “Malevolent Assimilation” from the “COLORED: Black and White” exhibition curated by Helen Toribio, Abe Ignacio and Jorge Emmanuel. Colored: Black ‘n’ White at the Intercultural Center, Program Director/Coordinator Darius Spearman, A Program of the Sonoma Student Union, Sonoma State University. “Images of racism: How 19th century U.S. media depicted Filipinos, Other nonwhites as savages” by Benjamin Pimentel, Chronicle Staff Writer, Tuesday, July 17, 2001.

—
Sangandaan Conference website www.sangandaan2003.upd.edu.ph – www.culturalcenter.gov.ph/sangandaan

Source: http://www.emanila.com/arts/article_2003_06_30_yankee_doodles.html

emanila’s website, PinoyJokes.net, considered one of the largest (if not the largest) Filipino jokes sites is now available as another source of quips and gaglines that illustrators can use.

The website managers, Team Emanila, said that illustrators are free to use the materials in the jokes site. For more information, contact Team Emanila.

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