Showing posts with label ambiguities. Show all posts
Showing posts with label ambiguities. Show all posts

Tuesday, October 16, 2012

After Making Love, You Hear Footsteps*



dawa garo mayo man; huna nindo lang
pirming igwang nagdadangadang. Ika
handal tibaad an saimong kasaruan,
sabi mong haloy nang nawara, basang
na sanang magbutwa; siya man masundan
daa kan ilusyon na an sugid haloy niya
nang itinalbong, alagad ngonyan saiya
tibaad nag-iidong-idong.

Sa laog ka'ning kwarto garo igwang
nakahiriling saindo. Sa saindong pinapaiplian
garo man sana dai kamo nalilipudan. Pagmati nindo
pirmi kamong linalamag kan kun anong duwang kalag.

Dai man daw basang na sana sinda nindong binarayaan
ta nganing sa kada saro kamo magpasiram-siram?
Sa saindang kasuyaan, dae ninda aram
kun sain maduman. Yaraon sinda bisan diin
kamo magduman. Sa saindang kasusupgan,
dai ninda kamo tinatantanan. Mga kalag sindang
dai nagkamirisahan. Ara-aldaw ninda kamong
sisingilon kan saindang kamurawayan.




*Dispensa ki Galway Kinnell

Sunday, March 25, 2012

Resisténsya


Aba ánang sirám kan buhay kan mga táwong igwá kaini. An resisténsya kan sarong táwo susog sa saiyang salud, sa mga bágay na namána niya sa pamilya, sa kultura, sa klima, sa saiyang kinakakán; segun man sa mga pangyayári sa saiyang palibot, sa saiyang komunidád o ibán pa. An sinasábi tang resisténsya dai nakatiwangwáng sana. Bakong gamá-gamá. Kun igwa kita nin resisténsya, dai ta saná mapapangyári an mga bágay, madadaog ta pa an minakontra sato. Kun an gamá-gamá ngaya iyo an tubig, an resisténsya iyo an kinompresor na tubig. Kaipuhan tang manu’dan kun pa’no gamiton an ináapod na resisténsya, o an báskog nga kusog. An mga nagpaparádaralágan nin hararáyo dai man tulos minakurutipas pagtanog pa saná kan silbáto. Mayong kitang dakul na magiginibo kun dai maluwáyluway, dai matyaga. Kun igwá man kita nin kusog alágad pabiribigla man lang, siring yan sa kikilát na biglang matáma sa dagá, nakakakilaghán, nakakadiskwido, alágad waáy pulós. An ginasiling na  resisténsya iyo an kuryenteng hababa saná an boltáhe, alágad haloy na panahon matao nin enerhiya, mahátag sang kusog, sige sanáng láad, dai napapalsok.





Sinurublian sa Hiligaynon
iban, iba
báskog, maurag, pinakamarhay
nga, na
waáy pulós, mayong kamanungdanan
ginasiling, sinasabing
mahatag, matao
sang, nin


Susog sa “Energy” na yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes Gaertner. New York: Viking Press, 1990, 75.




My Brother’s Keeper


Pirang banggi ko nang napapangiturugan
si Manoy. Kadto, ginaupod niya pa ko
sa lawod, nagpapangke kami magpoon
alas tres nin hapon asta nang magdiklom.
Sa ponongan, nagdadakop kaming kasili,
mga halas sa tubig, ta ngani daang
dai maubos an lukon na maaani. Pagkaretira
ko sarong hapon, dai ko na siya naabtan
sa harong. Hambal ni Iloy, nagpakadto kuno
siya sa sarong misyon. Dai man lamang sako
nagpasabong na mapanaw siya gilayon.
Hambal ni Amay, dai na dapat siya halaton
kay indi na siya mabwelta sa amon. An tugon
sa ginikanan, hulaton kuno an panahon
na kaming tanan nga pamilya paapodon
kan masunod na pamayo kan nasyon.


Sinurublian sa Hiligaynon
ginaupod, iniiba
ponongan, fish pond
lukon, sugpo, o darakulang pasayan
hambal, sabi
Iloy, Nanay
nagpakadto, nagduman
kuno, daa
mapanaw, mahali
Amay, Tatay
kay, ta
indi, dai
sa amon, samuya
ginikanan, magurang
hulaton, halaton
tanan, gabos

Pagtaóng-gálang


Sang naglígad, amo ini an satuyang panukol o palatandaan kan sarong tawong maáyo an pagpadakula. Dai naghaloy, nawara na sana sato an pagtaóng-gálang. Sa katunayan, kadaklan na beses, naoogma pa kita kun mayo ni, na garo logod ini pakaraot o pakitang-tao sana. Dai.

Igwang tiempo kadtong an pag-“tabi-apo” sa mga lugar na sagrado, an pagtaóng-gálang sa mga banal na tawo, an pagdungog sa yaon halangkaw sa puwesto, sa igwang kaálam, sa gurang, sa maboot, sa mabini, sa matali, sa magayon an ugali, nagparahay bako sana sa nasambit nang ta(ma)wo o grupo, kundi mismo sa tawong nagtaóng-gálang. Sa pagtataóng-gálang, an duwa nagakalípay, napapamarhay.

Saro ning pagbisto sa mga nakakalangkaw, nakakamarhay, hapós kag udok sa boot na ginahatag kan tawong pareho man ninda kagalang-galang, pareho man ninda kamarhay.


Sinurublian sa Hiligaynon
sang naglígad, kan nakaagi, kadto
amo, iyo
maáyo, marhay, magayon
kaálam, kaaraman, kabatiran
tamawo, tawong lipod
nagakalípay, naoogma
hapós, pasil, madali
kag, sagkod
ginahatag, tinatao


Susog sa “Respect” yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes Gaertner. New York: Viking Press, 1990, 74.

Wednesday, March 21, 2012

Corazon: Ang Unang Aswang

Rating:★★
Category:Movies
Genre: Horror
Erich Gonzales, Derek Ramsay, Mark Gil, Epi Quizon, Maria Isabel Lopez, Tetchie Agbayani
Directed by Richard Somes
Skylight Films, 2012

Save for one poignant scene in Richard Somes’s Corazon: Ang Unang Aswang, the rest of the movie leaves a number of unresolved scenes, let’s call them clutter, that rather only puzzle the audience.

This scene involves Erich Gonzales’s Corazon fleeing the townsfolk and Derek Ramsey’s Daniel escaping the personal army of the landlord Matias (Mark Gil) in the post-World War II sakadas, most probably in the vast lands of Negros. (Immediately this mention of probability is only one among the many unresolved elements that cloud the essence of the movie. Aside from the landlord-tenant relationship which was prevalent elsewhere in the post-war Philippines, no other elements in the movie can make us infer it happened particularly there.)

In the village of Magdalena, Daniel, the loving farmer husband of the innocently beautiful Corazon, has just murdered the landlord Matias in his own mansion after the couple’s house was burned down by the goons. And the wounded Corazon, after being shot by Matias when she devoured his daughter Melissa in her bed, has also been found (and found out) by one of Daniel’s friends to be the one responsible for the killings of children in the village.

Both Daniel and Corazon are fleeing the enraged townsfolk who want to kill the village murderer. The scene rips your heart because both characters are rather fleeing their own created monsters. Daniel has murdered the landlord in retaliation for having burned down their house; while Corazon has just been found out responsible for having devoured the children in the village.

What rips your heart more is that the couple only wanted to have a child but the wife’s devotion to San Gerardo failed them—after Corazon delivered a stillborn. So the reality of a dead baby drove the main character Corazon (the could-have been mother) to curse God and throw her faith away to the dark.

The man-on-the-road element in this work of fiction is rendered well in this climactic scene, with the score swelling as the couple flees their pursuers heightening the drama and resolving it to the conclusion—as in the French term denouement (day-no-man)—when the couple vanish in the dark. So there.

In the 1960s, American writer Susan Sontag was brought to the world limelight after she pinpointed that camp is the “love of the unnatural, the artifice and exaggeration.”

Well, we have seen camp movies proliferate in the horror flicks of the Filipino directors in the 80s—Shake, Rattle and Roll series and tons of other films in the same vein that entertained the generation of that decade.

Through time, we have seen tendencies of Filipino movies to make use of camp, which refers to the effects that the film made to scare the audience by propping monsters and supernaturals so they look hideous or horrible only to make them appear outrageously odd or simply outrageous.

In Corazon, these include madwoman Melinda’s (Tetchie Agbayani) over-disheveled wig which rather exaggerates Diana Ross’s afro look. When I saw this, prizewinning fictionist critic Rosario Cruz-Lucero came to mind. In cases like this, Cruz-Lucero hints at the creative sense that an author needs not “overkill” the essence of what he is portraying by overdoing descriptions and attributes that have already been established.

The movie was trapped in the premise that a madwoman must really appear overly unkempt and dirty with her tattered outfit, teeth and all—or totally taong grasa so audience knows she is mad. And mad. And really mad. But there is just no need for Agbayani’s Melinda to appear this ridiculous so she could portray her Sisa character [she’s looking for her daughter who disappeared during the war]. I suppose Agbayani is fairly a good actress that her delivery of lines or a dramatic monologue alone could make us infer without a doubt she is a Sisa who was driven mad because she lost her child to the war.

Furthermore, we cannot see the relevance of Eric Gonzales’s Corazon putting on a baboy-damo mask to cloud her real intentions that she is village monster preying on the innocent victims. What is Corazon’s reason for doing that? In the first place, where did she get the mask? Too implausible. Even the metallic effect of the face of the mask strikes us like it was stolen from the set of Kate Beckinsale’s Underworld which is too European to be accepted into the Filipino sensibility. Employing all these is more than camp, but more appropriately a rushed second-year high school drama production.

The movie also suffers from the complicated plot which requires more show time for them to be unraveled and resolved. Questions. Is Melinda the lost mother of Matias’s daughter Melissa? Or is Corazon the lost daughter of Melinda? We do not know. But it seemed as if the movie showed we knew they were.

While it could have just dwelt on the legend of the aswang, or how the first human-eating human being came to be—initially called halimaw in the film—the movie touched on other sensibilities and opened territories where the other characters dwelt but which it did not pursue or explore at all.

At the time the halimaw devours the village children one by one, Corazon contorts her head like the way it is done in the Asian horror flicks that became the norm made popular by the Japanese original Ring in early 2000s. Sadly, the movie reeks of this hackneyed style which looked fresh only the first time it’s done in those days.

While the supporting characters of Mon Confiado’s and Epy Quizon’s are comfortable, Maria Isabel Lopez’s Aling Herminia is a revelation. Her portrayal of the relihiyosa in the less-than-two-minuter scene as the partera (quack midwife) is eerie and astonishingly original. The rest is unmemorable.

In some instances, also, both of the main characters deliver their intense scenes well. For one, Erich Gonzales’s childbirth is more convincing than other women who fake their
ires and arrays in most films; while Ramsay’s macho tendencies and naturalness are without question.

The mestiza face of Erich Gonzales may be deemed realistic because she was said to be the love child of her mother and an American soldier during the war.

But the placing of Derek Ramsay as the farmer Daniel, whose roots we barely know, is farcical. If at all, the movie does not make clear the background of Daniel. He is too sculpted to be just a humble farmer in the barrio—he hunts boars after he works out in the Fil-Am-Jap bodybuilding gym. Funny. Mon Confiado would be the more believable Daniel.

Further, the lead actors' metropolitan or cosmopolitan twang, could have been reworked to render their rustic characters more realistic. Talk of George VI doing the entire movie reworking his tongue in The King’s Speech. They are too beautiful to be monstrous because they look too polished for these rustic roles. Ultimately they appear ridiculous. Sadly camp.

Tuesday, February 07, 2012

Paghinólsol


Siring sa paghinayang o panganúgon, maninigo lang kag kaipuhan ta sana man nanggad maghinólsol. Kun kita nakagibo nin sala, ukon kita nakakulóg sa iba, kaipuhan lang na magpangayo kita sang dispensa, dangan magsolsol. An paghambal gayod sang “Pasensya” sana dai bastante, dai husto. Igwa nin sarong klase nin panganganugon—iyo ni itong pagbasol na igwang upod na “Kun tani,” o “kuta na” (na may yara sang lakot nga “gayod” o tibaad.” Kun binakal ko na kuta kadto si daga ni padi, ukon si Mario gayod si inagom ko, kun dai gayod ako nagloko—an arog kaining pagbasol, an siring na panganugon iyo an mágadan kan satong kalag. Maiskusar kitang lingawan an siring na kapaladan. Kun gugustuhon ta man nanggad, magigibo ta pa ni. Yaon pa an satong lawas. Kun napapagal, madiskanso sana kita. Sa pagturog, mabubulong kita. Igwa pa kitang oras.


Sinurublian sa Hiligaynon
paghinólsol, pagsolsol
kag, sagkod
maghinólsol, magsolsol
ukon, o
magpangáyo, maghagad
sang, nin
paghámbal, pagsabi
upod, kaiba
kun táni, kuta na
may yára, igwa
lakot, kaiba
nga, na


Susog sa “Regret” na yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes Gaertner. New York: Viking Press, 1990, 116.

Sunday, December 25, 2011

My Christmas Rack

Songs They Sing for The Son 



“Sing a song of gladness and cheer!/for the time of Christmas is here!” sings Jose Mari Chan, in his all-time favorite anthology “Christmas in Our Hearts” (1990). Very well, these words spell my mood, inspired by listening to these heart warmers in my Christmas collection. 

Through the years of Christmas celebrations, holidays and December vacations, I acquired them. Every year, I have continually appreciated what they offer to the soul. They share grace and joy to whoever can listen to them. How these albums got into my rack or how I got these masterpieces I have yet to recall.

But regardless of their history and motivations, in all their original selections and covers of traditional songs—they offer one and the same message— ceremoniously and soulfully they pay tribute to Baby Jesus, the Lord of All.


Bonding with the Boy
98 Degrees, "This Christmas," MCA Universal, 1998

Boy band, boy bond—whatever term you use, Nick Lachey and his friends give us all the reasons to celebrate Christmas as they render cool covers to most traditional Christmas carols like “Silent Night,” “O Holy Night,” “God Rest Ye Merry Gentlemen,” and “Little Drummer Boy.” Here, they hardly resemble NKOTB, evading the boy band image by hitting notes that spell sweet things like “mistletoe” and “chestnuts roasting on an open fire.” The solos in some songs display vocalization and rhythmic intonations that remind us of more solemn choirs in churches. Surely, such style does not fail to send shivers from the spine to the soul.


Little Redeemer Boy
Glenn Medeiros, "The Glenn Medeiros Christmas Album: Recorded in Hawaii," Amherst Records, 1993

This 90s Leif Garrett is more than a heartthrob when he croons way, way beyond his pretty-boy image. When he reaches high notes, he is surely pop. He sounds like a lad who has seen the Baby Jesus so he doesn’t need to act silly—he just sings holy. His “Feliz Navidad” and “Ave Maria” are choice cuts, baring innocence and jolliness in varying degrees. He does away with his shrill voice when he allows the instruments to do it for him—he focuses on hitting the emotional rises of the lyrics to render a slightly pop finish. In all, Hawaii-born Medeiros’ almost girlish voice makes recalling the Nativity a simply light moment—just like the playful child Who shall redeem us from our lack, or utter loss of innocence.


Persons are Gifts are Instruments
Ken Navarro, "Christmas Cheer," Galaxy Records, 1996

This virtuoso acoustic guitarist offers an alternative way to remember our salvation. It sets your Christmas mood through an instrumental overload—with some traditional songs like “Angels We Have Heard on High” and “Silent Night” as choice pieces. Listening to Navarro’s one-of-a-kind strummings may tell us that salvation—by the Holy Child—need not be brought about by pain and suffering [like rock or harsh or hard sentiment]. Rather Christmas is all about cheer. With Navarro’s work, Christmas has never been so jazz, light and easy. For sure, you would want to play this bunch before you go to that Christmas party in which you’d render a surprise lousy fox trot number for all of them to see!


Cowboy Christmas
Randy Travis, "An Old Time Christmas," Warner, 1989

You would easily know how an ordinary Christmas carol sounds—but add to it some cowboy or any colloquial twang, then you get Randy Travis. But you do—not just for nothing. Here is one cowboy—whose stereotyped licentious lifestyle may tell you otherwise, whose pieces might ring a bell because they match with those of other CMT favorites—Travis Tritt, Allison Krauss or Garth Brooks. With this album, Travis proves that something more can be done beyond saddles and stall. He lets loose his soul when he chants both holy and hallowed. While his “Winter Wonderland” may perfectly fit the Marlboro ad in Time’s December issue, his reconstructed “Oh What A Silent Night” allows the guitar to sway the thoughts of the soul lulled to slumber. This cowboy’s treatment of traditional songs affords us easy cool and listening that can make us even remark oddly, as “Cowboys have Christmas too!"


Rebels We’ve Heard On High
Various Artists, "Christmas on the Rocks," Viva Records, 1994

This album hit the stands during the grunge and rock era—a time when anxiety and discord were the heyday. It gathered mostly artists and rockers who were perhaps angry at how Christmas was usually celebrated. Featuring covers of songs composed by National Artist Levi Celerio and other traditional Filipino compositions, it portrays and documents the consciousness of a more realistic Christmas, at least as defined by Filipino experience. For one, Sandugo’s “Pasko ng Mahirap, Pasko ng Mayaman” sings away a social realist stance—perhaps a self-talk on the part of the oppressed class who claims it’s also Christmas in their part of the world, despite their poverty and forlorn state [or even state of mind]. 

While DJ Alvaro’s “Gabing Tahimik” is a more soulful rendition of ”Silent Night,” which hit playlists and charts in 1990s, Ang Grupong Pendong’s “Ang Pasko Ay Sumapit” completes this collection to compose a sort of a Lino Brocka’s counterpart opus—it collectively makes a statement on the dismal social realities brought on to Filipinos at Christmas. You may not necessarily be one of those donning a cheap Che Guevarra T-shirt to appreciate its message; but one’s own salvation, according to the album, is simply working for social justice—and all it entails.

True, my collection is not the one you may have to die for—it is neither hard-to-find, for these artists are not as popular as, say, Ray Conniff and his singers, Chipmunks, Destiny’s Child, Frank Sinatra or even Nat King Cole. Yet, in this season of cheer and giving, their music all the same strikes chords in my heart and mind; when I play them,  I do not fail to realize all of mankind intensely desires to share the innocence, the joy, and the promised redemption by the Holy Child.


Good news from heaven the angels bring,
glad tidings to the earth they sing:
to us this day a child is given,
to crown us with the joy of heaven.
                                                      ~Martin Luther

Friday, December 23, 2011

Eat, drink with or without Mary

Dining out and other cafeteria ethics

Any sensible urban worker who is given no choice but fetch food from sources made accessible in a civilized jungle called a city or a university must acquire some neighborly ethics if he is to properly feed himself and achieve something through the day.

 

Eating in cafeterias or similar types of food sources requires that he learn a number of things on how to feed on properly and hopefully be nourished.

 

Dito Po ang Pila

city-data.comKun habo mong dai ka matunawan, magsunod ka sa linya kan mga nagkaerenot nang nag-oororder. Dawa halabaon na an pila, dawa huri ka na sa appointment, dai ka nanggad magsingit sa iba, o samantalahon na magpa-cute sa kabisto mong crew just to get ahead. Mayong maoogma sa bentahuso kundi si Taning sana. Magsala, sa kagagama-gama mong maenot kang makakua nin kakanon, mataon lugod saimo an tutong na torta, tipo kan sinapna, o tunok kan lapu-lapu.

 

Patience is virtue—gustong sabihon, saro ‘ning timeless na kostumbre o pag-uugali na nakakapamarhay sa siisay man na tawo. Dawa idtong barbarong ninuno ta mga perang oras naghalat bago nagluwas an usa sa ampas saka niya nasilô ‘ni. Ngonyan na mga panahon, sa kadlagan na inaapod tang siyudad o unibersidad, dai ka na masiod nin manok bago makanamit nin tinola. Mahalat ka na sanang ilapiga an paa o mailatag an pecho sa saimong plato kaya dai na kaipuhan magpalakpalak o magputakputak ta ngani sana makapanogok.

 

Just follow the crowd, toe the line, keep your cool, then ask for what you want, and dine.

 

Bawal An Dagdag

one.valeski.orgKun bisto mo an crew, pwede ka gayod magpadagdag. But unless you badly need that extra spare rib or cabbage leaves [which are probably pesticides-grown anyway], do not ask for extra amount of anything from the one that dispenses your food. So you insist, okay, ask if you can order half.

 

But you hard worker certainly do not deserve half serving of anything, unless you give your company or your country half of what it deserves from you. Scrimp and scrape you do. Perhaps save in other things like marked-down CDs or cheaper thrills or retail cellphone loads or bargained 3 for P100 FHMs—but for your food, spare this idea of saving.

 

Better yet, order dishes in full, so the idea of dagdag is out of question. The more you are inclined to haggling, the more it will appear to the crew that you are hungry—and this does not help because the crew will never be concerned with your hunger. They are just there assigned to portion and dispense properly for the business. And nowadays, the crew does not dispense the reasonable amount of food you are charged. But it is okay that the food given to you appears “unreasonable.” Just think you will be dispensed more amounts next time.

 

The cafeteria business, just like fast-food giants, places importance to one marketing aspect that is called portioning. Because the prices of raw materials and ingredients required for preparing food will never be saved from inflation, profits from this business are sensibly drawn from the quantity of food the business prepares and the quantity of food it can save to feed its own staff. Well, you know. But the advantage here is that the cafeteria food can be assured of the presence of freshness and the absence of trans-fats.

 

Dahil kadaklan na beses bawal an dagdag, mag-andam ka na sanang mag-order nin duwa tolong panira, bako sanang saro. Kun habo mo nanggad mabitin.

 

Logically, when you do, you are not just paying for the food, but essentially the service, services? rendered to you—which includes, among others, a clean washed plate [hopefully free of the smell of dishwashing liquid], a properly bussed table, despite its being in a mess hall; ventilation or air-conditioning, whether or not you personally require it; and of course the food itself that has probably undergone some quality control in the kitchen.

 

No need to argue

Talking about quality control, consider the next ethical principle in cafeteria dining. By all means, despite all tensions and stress pressed on by hunger, never ever argue with the service crew. Certainly in no instance should you get disappointed or intimidated by anyone who gives you your food even though you find it unpleasant or disagreeable.

 

While not all of them arecherylkicksass.blogspot.com likely to be trained to suit your dining ethics, it is important to treat them as if they treat their food like it’s their own. Even if they don’t. Even if you found some foreign matter in your soup, or the dish you were served tasted like Tide or Ariel, deem it important to “suspend disbelief.” In a more familiar term, always give them the benefit of the doubt.

 

Do not raise your voice to complain. Simply reach out to them to query in cool and composure. Clarify that the service rendered is not generally acceptable. Ranting and raving about “some soap in the soup” or plastic straws in the pinakbet will not help.  Just suppose you are given imagination to transcend reality. Or remember one Holocaust survivor named Viktor Frankl famously used his imagination to transcend the tragedy he was forced to witness. In his story it can be deduced that perhaps imagination is more powerful than knowledge. But here in your story, ignorance is indeed bliss. Not having known that there’s a fly in your soup makes a whole lot of difference from having known it.

 

Although, sabi nga nila, Kung malayo sa bituka, okay lang yan. Therefore, check your system, whether your food indeed passes through your stomach. If it doesn’t, you are one lucky organism—feeding on using your other organs.

 

But seriously, consider this. Ernest Hemingway’s The Old Man and the Sea is not about dining until the marlin is cooked by old Santiago [which he does not]—but it’s certainly about survival. There is a part there which says “a man is not made for defeat. A man can be destroyed but not defeated.”

 

The crew may poison you but it should not destroy your willingness to seek medication from the nearby doctor in case you get to swallow some plastic served with your pochero.

 

Ask For Receipt

istorya.netKun dai man kaipuhan na bayaran kan opisina mo an kinakakan mo dawa na ngani on official business ka, dai mo na gayod kaipuhan maghagad nin recibo. Dakula an karatula kan BIR na nakapaskil sa cashier na an sabi ASK FOR RECEIPT, alagad dai ka maglaom na tata’wan ka nin recibo pag bayad mo. Mag-andam ka na sanang sabihan kan cashier na hinahalat pa ninda an stub kan recibo hale sa BIR. Dai ka na magngalas dawa maaaraman mo ara-atyan na an kakanan na iyan since 1962 pa nagsisirbi sa mga employees alagad mayo pa nanggad recibo. If at all, you were taught in high school to be considerate. Think of good manners and right conduct. It is never good to intimidate people.

 

So unless it’s a matter of life and death, do not ask for a receipt. Mas orog na gayod kun cooperative an kinakakanan mo—such business involves benefiting a big number of underprivileged families and their sensibilities. Garo man sana naghulog ka na ka’yan nin pirang sensilyo sa lata kan Bantay Bata 163. Sabihan ka pa kaiyan, “an darakulang business ngani mga tax evaders, alagad mas concerned sindang magsingil sa mga small businesses na arog mi.”

 

Ano na sana an pulos kan nanu’dan mo sa social responsibility o sa moral philosophy? Think of social justice. It won’t hurt to give to small people. Dai ka ngani nag-aangal sa VAT kan bago mong Wrangler jeans. What right have you to question the purpose of this representative of the lesser evil? Sige lang, because the food you are about to eat is not evil. No food is evil. Unless it comes from one.

 

Hala ka.

 

Eating Utensils

leec.co.ukA cafeteria is a public place, so don’t expect that the utensils you are using are germs-free. One pair of spoon and fork must have fed all types of mouths or more than you can count. Kaya Bawal an masiri pagkakan sa cafeteria. Wisikon mo na sana an kutsara sagkod tinidor na nakapalbag kairiba kan mga sanggatos na iba pa. Magpasalamat kang dakul kun an la’ganan kan mga utensils nabuhusan nin nagkakalakagang tubig, tapos napaso ka pa kan kapotan mo. Mainit-init pa pagkakan mo. Okun habo mong magkahelang ka, magkakan ka sa cafeteria nin aga pa, mantang an mga kakanon nag-aaralusuos pa. By the time, swerte ka ta pati an mga utensils tibaad maray an pagkakahurugas. Bagong karigos pa sana si naghugas.

 

Alagad dai ka maghadit dawa dai disinfected an kutsara sagkod tinidor mo. Kun may pag-alaman man na mag-abot, an magiging helang mo tibaad helang man kan iba, kaya mas makakaantos kamo—nin huli ta igwa siempre sindang maiimbentong bulong para sa helang kan kadaklan saindo. In principle, in order to sell, pharmaceuticals as business in themselves have ISO-certified R&D arms that know the needs of the common good. Here, think collective. Hindi ka nag-iisa.

 

Alagad. Sabi kan mga gurang, maraot man an grabeng pagkatubis o masirî (squeamish). Garo idtong nabasa mo sa Reader’s Digest kaidto na don’t be too clean; it impoverishes the blood. By being too squeamish and obsessive-compulsive (OC) about not catching dirt or germs, you do not develop immunities to germs. You don’t make your antibodies work. You reduce your own resistance to the world, which is one of dirt. But washing hands properly is enough. Proper is just enough. Over is more than enough.

 

Don’t Just Grab A Bite, Eat Your Food.

fem-fatl.comAny meal is the most important meal of the day—kaya dai paglingawing kakanon an inorder mong kakanon. Yeah, you cram to go somewhere: an appointment, a fieldwork, a meeting—yes, nourish your career, nourish your soul [araatyan masimba ka, makihilingan sa amiga, mayaba-yaba] alagad ngonyan nourish your body first—make your cells tissues organs systems work. Girisa an mahibog, daula an matagas, sapaa an malumhok, halona an saradit. Maaskad an adobo, malagtok an maluto o minsan parareho an namit kan tolo mong panira—kumakan ka sana. Mayo ngani kaiyan an iba. Sa pagkahapay ngani nagagadan an iba. At least ika igwa.

 

Eat, drink, with or without Mary—in other words, eat for the sake of eating, regardless of whether you like it or not. Pagkatapos mong magdighay, rumdumang marhay. Food alone can’t save you. It fills but it hardly nourishes.

 

First finish or get done with your salivation; perhaps only after then can you start & think of your salvation.


Wednesday, December 07, 2011

Ngonyan Nga Aga

Ngonyan nga aga pasiring ka sa saimong obra pigpaparapaypay ka kan traffic enforcer mag-diretso kuno sana. Sa tungâ sang kalsada siya nakapostura, ginaagda an mga motorista nga magpadayon sana. Mayad pa siya kay kabalo kun diin makadto ka; guro an destino sang tanan nga nag-aaragi bal-an niya. Pagkalihis mo saiya pag-abot sa bangga indi mo mabal-an kun matoo ka ukon mawala.



Sinurublian sa Hiligaynon

nga, na

kuno, daa

tungâ, tahaw

sang, kan

ginaagda, inaagda

magpadayon, magpadagos

mayad, marhay

kabalo, aram, nasasabotan

diin, saen

makadto, maduman

bal-an, aram

indi, dae

guro, gayod

destino, destinasyon

tanan, gabos

mabal-an, maaraman, aram

bangga, kanto

ukon, o

Monday, December 05, 2011

Ngonyan Nga Aga

Ngonyan nga aga pasiring ka sa saimong obra pigpaparapaypay ka kan traffic enforcer mag-diretso kuno sana. Sa tungâ sang kalsada siya nakapostura, ginaagda an mga motorista nga magpadayon sana. Mayad pa siya kay kabalo kun diin makadto ka; guro an destino sang tanan nga nag-aaragi bal-an niya. Pagkalihis mo saiya pag-abot sa bangga indi mo mabal-an kun matoo ka ukon mawala.


Sinurublian sa Hiligaynon
nga, na
kuno, daa
tungâ, tahaw
sang, kan
ginaagda, inaagda
magpadayon, magpadagos
mayad, marhay
kabalo, aram, nasasabotan
diin, saen
makadto, maduman
bal-an, aram
indi, dae
guro, gayod
destino, destinasyon
tanan, gabos
mabal-an, maaraman, aram
bangga, kanto
ukon, o

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