Truth about Cats and Dogs

Pagkatapos kong mag-Internet sa lobby kan International House ngonyan na banggi, nagpaaram na ko sa in-charge na si Michelle na mauli na ko.Nagpaalam na akong uuwi na ako.

Paluwas, nariparo kong igwang nakalukóng ído na nakabantay sa may lobby. Sinabihan ko si Michelle na igwa ka man palan niyako nin bantay digdi sa luwas. Palabas, napansin ko ang isang asong nakabantay sa may lobby. Kako may bantay ka pala dito sa labas, (sabi ko) kay Michelle.

Paglakaw ko pabuwelta sa kwarto, suminunod sako an ído na kansubago pa sana nagbabantay sa may lobby. Dai ko man inapod an ído alagad ini suminunod sako. Pighayô ko an ayam nin perang beses alagad nagparasunod sana ini sako. Noong naglakad na ako pabalik ng kwarto, bumuntot sa akin ang aso. Hindi ko naman siya tinawag pero bumuntot siya. Mga ilang beses ko ring itinaboy subalit bumuntot pa rin ito sa akin.

Pagkabalyo ko nin duwang building, yaon siya sa likod ko. Enot nagsusunod, dangan paghaloy haloy, nag-aabay na sako. Pagkadaan ko ng dalawang gusali, nandoon pa rin siya sa likod ko. Una bumubuntot lang; mayamaya, sumasabay na siya sa akin.

Pag-abot ko sa tugsaran kan dormitory kun sain yaon an Room 11 na tuturugan ko, yaon pa an ído. Pagdating ko sa harapan ng Dorm building kung saan naroon ang Room 11—andu’n pa rin ang aso.

Sa sunod kong pwertahan, nahiling ko igwang sarong ikós; piglalabaran niya an duwang ogbon. Pagkahiling sako kan ikós, nakilaghanan ini; luminukso dangan nagtago sa may mga tinanom sa garden. Nawalat niya an duwang ugbon sa may pwertahan. Sa sunod na pinto, nakita ko ang isang pusa; dinidilaan niya ang kanyang dalawang kuting. Nakita niyang mayroong paparating; nagulat siya; dali-dali itong luminukso palayo at nagtago sa halamanan sa di kalayuan. Naiwan ang dalawang kuting sa may pinto.

Kan pigkukua ko na an llabe sa bulsa ko, pigranihan kan ído an duwang kuting, Dangan nanggigil na garong makikikawat siya sainda. Alagad dai pa ngani napaparong kan ído an duwang ogbon, luminuwas basang hali sa mga tinanom an inang ikós, dangan kinamros an ining ído—an duwa man na ogbon kasingrikas kan ina nindang luminukso parayo. Dinudukot ko na ang susi sa bulsa ko, nilapitan ng aso ang dalawang kuting—nanggigil at makikipaglaro sa kanila. Pero hindi pa nga naaamoy ng aso ang dalawang kuting, kisapmatang iniluwa ng halamanan ang inang kuting at kinamros ang aso. Tumalon papalayong kasimbilis din ng kanilang ina ang dalawang kuting.

Nakilaghanan man nanggad si ayam; Dangan nag-arual na garong dinulak siya kan dakulaon na hayop. Alagad, mas dakula pa siya sa inang ikós.Talagang nagulantang ang aso; nag-arual siyang parang inaaway ng pagkalaki-laking halimaw. Pero mas malaki ito sa inang pusa.

Nagdalagan parayo an ayam. Nakilaghanan. Huminakay. Dangan ruminayo. Tumakbo ang aso papalayo. Gulat na gulat ito. Humikab. At saka lumayo.

Luminaog na ko sa kwarto ko. Pumasok na ako sa kwarto ko.

Hiniram sa Bikol

kinamros, kinalmot

nag-arual, umungol, umiyak

Paghâdit

Úkon muya mo sang mas námî nga terminolohiya—angst—(hambál sa Aleman), saro sana ining normal na ugali kan tawo. Sa katunayan, susog ki Martin Heidegger, sarong pilosopong Aleman, kaipuhan ta man nanggad an maghâdit sa satong buhay. Siempre an sobrang paghâdit—dawâ ano man na bagay na sobra o labaw, bakong marhay. An marhay kaiyan, susog sa sako nang inagihan, kun kita naghahâdit, maghâdit lugod kitang sagad. Kumbaga, sa modernong paghambal, career-on ta an paghâdit. Sabihon ta sa sadiri ta na naghahâdit ako ngonyan, dangan paurogon ko gid nga mayád an paghâdit na ini. Nin huli ta nag-aaram kitang marhay na naghahâdit kita, tulostulos ini malalampasan ta. Nagiging kabudláyan an paghâdit kun madangog kita sa ibán nga nagasilíng indî kita magparápanumdóm. An matúod sinâ, maghâdit ka kun gusto mo, alagad magparahâdit kang mayád sagkod na mag-abot an tiempong dai ka na naghahâdit.

Elmer Borlongan, “Grass Fire” 

Sinurublian sa Hiligaynon

úkon, o

sang, nin

námî, marháy

nga, na

hambál, apód

gid, nanggád

mayád, marháy

kabudláyan, sákit

ibán, ibá

nagasilíng, nagsasábing

indî, daí

magparápanumdóm, magparahâdit

matúod, totoó

sinâ, sa árog kaiyán

Susog sa “Worry” na yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes A. Gaertner. New York: Viking Penguin, 1990, 38.

Pagkámainamígo

Atâ bako nang magasto, kadakula pa kan balyo. Dai man daa kaipuhan na sincero an saimong pagbugno: an dikit na pagbabalatkayo iyo an minapaandar sa makinarya kan komunidad tang mga tawo. Kun kalabanan, pinapahiling o pinapamatî ta sa iban nga muya ukon uyam kita sa íla, mayo kitang kinalaín sa mga kabataan sa day care center na tibaad pirmi sanang nagdidiringkílan nagkukurulugan naghihiribían kawasâ mga pusngak pa bayâ. Kaipuhan ta an minsan na pagsagin-sagin—ukon sa ibang pagtaram, pagpugol kan satong sadiri. Dai ta paglingawan an kasayúran sang una nga an sarong kutsarang tanggúli bako an sarong galon nin suka an minapadulok sa ligwan, na nagiging tabuán. Kun mainamígo kang marhay, tibaad an makidamay saimo gamáy. Alagad dikít sanang tiempong indî ka manîno, mayong tawong madulok saímo.

 

Sinurublian sa Hiligaynon

pagbugno, pagtîno

kalabanan, kadaklan na beses

nga, na

iban, iba

ukon, o

sa íla, sainda

kabataan, kaakían

kasayuran, kasabihan

sang una, kan enot na panahon

gamáy, dikit

indi, dai

 

Susog sa “Friendliness” na yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes A. Gaertner. New York: Viking Penguin, 1990, 101.

Servicio

“Ich dien,” iyo ni an panáta kan prinsipe kan Wales—maserbe ako. Sabi ni Jose Ortega y Gasset sa libron Invertebrate Spain, kadtong panahon an pagserbe bako sanang kagalang-gálang sagkod magayon gibohon kundi iyo sana ini an paagi ta nganing an tawo makapadágos, ta nganing an katawohan makaantos. Ngonyan na sana man an servicio bako nang gustong sabihon regalo,  kundi sarong kontrata; ngonyan saro na sana ining obligayon na an katumbas kwárta. Ngonyan na sana man an inaapod na servicio igwa nin presyo—kadaklan na beses halangkáwon pa an singil sa kagamáy na gibo. Alagad an totoong kantidad kan servicio sa tawo bako sanang kwarta, kundi an saiyang kalipayan, an saiyang kaogmáhan. An ginasiling tang servicio nagi na sana ngonyan isa ka produkto—ginapangdalok kun bagaman ipabakal, kaya tinatawad, binabarát—parating linalangkába sa mga karatula sagkod media na dai na man makatutubod.

Sinurublian sa Hiligaynon

kagamay, kadikit

kalipayan, kaogmahan

ginasiling, sinasabi

isa ka, saro na

ginapangdalok, pinapan-imot

Biligaynon [Binikol sagkod Hiniligayon] kan “Service.” Yaon sa Worldy Virtues: A Catalogue of Reflections ni Johannes A. Gaertner, Viking Press, 1990.

Pagtábang

Kun an tábang líbreng itinaó (mas marháy kun iyó), dángan man binísto kan nangaípo kainí, masasábi tang sarô ning kláse nin pagkámoot; dángan kun síring, iyó na gayód ni an pinakamarháy na giníbo kan tawo pára sa saíyang kápwa.

An mga darakulang táwo daí man nakakaántos kun sindá nagsosoroló-sólo. Alágad an mga pigádong nagtatarabáng-tábang, dawâ anóng óras nakakásaráng. Pero bakô man gabós na pagtábang marháy. Dai ka man maoogmá kun sa pagtábang mo napipirítan ka saná. Kun minatábang ka man na naghahalát nin balós o karíbay, mababaldê ka sana.

Kalabánan gánî, an pagtábang sa kapwa máyong naitataóng marháy. Kan áki pa daá si Hitler, naherákan siya dángan tinabángan kan nagkápirang mabobóot na Hudyó. Kan siya nagdakúla, naungís siya saindá dángan pinagaradán niya an pagkadakúl-dákul na mga Hudyó.

Sa pagtábang mo sa ibá, hingowáhon mong daí na siya giráray magsárig saimo. Magtábang kang sarô o duwáng beses saná, dai na diyan labí pa. Daí ka man maghalát nin anó man na balós. Kun iká man an natabángan, magpasalámat ka tulos; ma-ogmá ka. Dai man paglingawí an sábi kan mga guráng—kun an búlig itinaó mo sa oras mísmo nin pangangaípo, dóble an tábang na naitaó mo.

 

Sinurublían sa Hiligáynon

nakakaántos, nakakatíos

nakakásaráng, nakakaráos

kalabánan, kadaklán na béses

gánî, ngánî

búlig, tábang

Susog sa “Help” yaon sa Worldly Virtues: A Catalogue of Reflections ni Johannes Gaertner. New York: Viking Press, 1990, 111. 

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.

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

Pagtúyaw

Síring sa pagsílot, an pagtúyaw sa sarong bágay itataó mo saná kun hágadon saímo, úkon pigbayádan ka. Dawâ nanggigiríil ka na, nungka ka magtabúgâ o magtúyaw na garong ika na sana an igwang aram—na daw tanan nga salâ lang ang ginapangítâ mo, o na garóng ika na an butugón. Kakádlawan ka ninda; magsalâ, dakul kang makakaíwal. 

Kun matúyaw ka, kaipuhan itong bakong suway sa háwak. Pwede ka man magtúyaw sa magalang na paági. Ihámbal mo an pagtúyaw sa mahinay na tataramon, itong dai nanduduhágî, itong dai nangrarátak. Ipasábot mo sa tinutúyaw an tanán na kaayúhan siní; dangan hatági sing damô nga konsiderasyon. Uróg na marhay na sabihon mo kun ano an kapás mong magtúyaw; silíngon mo man kun wâáy ka gid diretso nga magsilíng sang amó. 

Salâ nganing pagtaram an ginasilíng nilang “constructive criticism.” Kabáli kaya digdi an mga gigibúhon mo ta nganing an nasambit nang bagay mahímô sing mas manámî kag mas maáyo. Kun siring, ini saro nang marhay na sílot; buót silíngon siní, liliwaton mo an mismong bagay na saimong tinutuyaw. Ini nangangahulugan saro nang bâgong obra, saro nang bâgong bagay; bakô na ning pagtuyaw.

Susog sa “Criticism” na yaon sa Worldly Virtues ni Johannes Gaertner. New York: Viking Press, 1990, 33.

Sinurublian sa Hiligaynon

ukon, o kun

daw, garo

tanan, gabos

ginapangítâ, hinahanap

kakádlawan, ngingirisihan

ihámbal, sabihon, taramon

mahínay, luway-luway

kaayúhan, karahayan

siní, kaini

hatági, tau-hán, ta’wan, ta’wi

sing, nin

damô, dakul

nga, na

silíngon, sabihon

wâáy, mayo

gid, nanggad

magsilíng, magtaram, magsabi

sang amó, kaiyan, kaini

ginasilíng, sinasabi

nilang, nindang

mahímô sing, magibong

manamî, marhay

maáyo, marhay

obrá, gíbo

Bikol Etymology

Silot, n.

1. Tibaad hali sa “Zealot.” Sa Biblia, sarong sekta sa tiempo ni Hesukristo na kun makatúyaw ki Hesus garong sinda na sana an maray na tawo, na daw sinda na sana an mga aki nin Diyos).

2. Sa Espanyol, abíso; sa Filipino, páyo; sa Ingles, advice.

Realism and magic realism

Rating:	★★★
Category:	Movies
Genre:	Other

Darren Aronofsky’s Black Swan surely catches our attention because Natalie Portman’s Nina Sayers grows feathers after she kills Mila Kunis’s Lily backstage to perform the Black Swan role in the final act. You cannot just forget the film because of that.

This psychological thriller—featuring Natalie Portman’s Nina Sayers, a ballerina haunted by some schizophrenic ambition—brims with magic realism, an aesthetic style in which “magical elements are blended into a realistic atmosphere in order to access a deeper understanding of reality.” The effects particularly in the final ballet scene where Nina grows more feathers than the previous times it appeared would surely remind us of the film.

Because of the device used, we are made to believe that “magical elements are explained like normal occurrences that are presented in a straightforward manner” allowing the “real” (Nina Sayers dream to be the Swan Queen) and the “fantastic” (she really becomes a Swan) to be accepted in the same stream of thought.

The obsession to become the Swan Queen later brings into the character graphic hallucinations that eventually cost Nina Sayers’ life.

Natalie’s facial features being transformed into a swan—rouged eyes, aquiline nose and elongated neck—all compliment to a dramatic flourish—where at the end of the performance, even we the audience could be convinced that she very well looks as the best Swan Queen for Tchaikovsky’s Swan Lake.

While Nina Sayers’ obsession for the Swan Queen role is enough persuasion, the horrific undertones notwithstanding, we the audience get the eerie feeling in Aronofsky’s close-up shots of the lead character who dances her way to death as the ambition-obsessed ballerina who lived and was haunted by realities she herself created.

Anyone or anything from Darren Aronofsky’s Black Swan will win an Oscar. Choreography, effects, actress. Let’s see.

Meanwhile.

The first time I watched Christian Bale’s Dicky Edlund in The Fighter, I already rooted for him to win a Best Supporting Actor citation.

A drama about boxer “Irish” Micky Ward’s unlikely road to the world light welterweight title, The Fighter features Ward’s Rocky-like rise as he is shepherded by half-brother Dicky, a boxer-turned-trainer who rebounded in life after nearly being knocked out by drugs and crime.

A far cry from Batman and his previous roles, Christian Bale’s Dicky Edlund exudes with stark realism, a has-been boxer backed up by his mother who hoped for a could have been contender, reminiscent of Marlon Brando’s Terry Malloy in Elia Kazan’s On the Waterfront (1954).

Not another boxing movie at the Oscars you might say. But there is more to this boxing movie which rather “depicts subjects as they appear in everyday life.”

In The Fighter, we see Dicky Eklund’s mere claim to fame is his 1978 boxing match with Sugar Ray Leonard, where Eklund knocked down Leonard, who eventually won the match.

Now a crack addict, Eklund is in front of HBO cameras making a documentary about him. Dicky has also acted as one of the two trainers for half-brother Micky Ward, a decade younger than him, first known as a brawler and used by other boxers as a stepping stone to better boxers.

Both boxers are managed by their overbearing mother Alice Ward (Melissa Leo) who believes it better to keep it all in the family. Now unreliable owing to his crack addiction, Dicky’s move with Alice at one of Micky’s bouts dawns on the latter that his boxing career is being stalled and even undermined by them, who are only looking out for themselves.

The situation allows Bale’s character to deliver an uncontrived performance that highlights a family drama and gives sibling rivalry a kind of high never before seen onscreen before.

Meanwhile, Amy Adams’ Charlene Fleming—Micky’s new girlfriend, a college dropout and now local bartender who inspires him—pulls out the fulcrum to the other side, opposite Micky’s family, when she salvages him from this predicament.

Much to Alice and Dick’s anger, Micky comes to choose between them and Charlene. The story’s rising action renders each character emotionally charged—each one wanting to claim what is good for the fighter, and each one being allowed to shine individually onscreen. Awesome story.

Bale’s character greatly evolved from the Batman lead role and other virile roles to one that exudes with so much life. Like Tom Hanks’ Andrew Beckett in Jonathan Demme’s Philadelphia (1993), Bale must have shed weight to fit the role of a has-been boxer who makes business out of his brother just like his mother.

Earning three Oscar nominations for Bale, Adams and Leo, The Fighter drives some of the best punches among other films I have seen in the past year.

The first time I watched it last year, I immediately thought it was essentially noteworthy of recognition. Christian Bale’s crack[ed] character is so real you will find him in your neighborhood.

With the larger-than-life performance of an underdog who wants to bounce back, Bale’s character transforms the movie about his brother to a movie about himself. If at all, he is the Fighter being referred to in the film.

Let’s see how some real practitioners of the craft consider these performances, which other people might call art.

An Magayon Na Tibaad Mangyari Satong Duwa Susog Sa Librong Binabasa Ko Dies Minutos Bago Ako Magsaka Sa Bus Pauling Naga Tanganing Mahiling Ta Ka Giraray

Namomotan ta ka. Anong buot silingon sini? Ma’wot kong buhay ka para sakuya sagkod ma’wot kong buhay ka para sa sadiri mo. Ma’wot  kong buhay ka. Ma’wot kong yaon buhay ka susog sa paging ma’wot mo. Ma’wot kong yaon ka na mayong nag-uulang saimo.

Mantang ibinibiklad mo sako an sadiri mo, sa tubang ko, minayaman an buhay ko. Nagiging mas buhay ako. Namamatian ko an sadiri ko na yaon sa mga bulutangon na pinapapangyari mo; nagkakaigwa nin saysay kag kahulugan an buhay ko.

Saro kang palaisipan na ma’wot kong maliwanagan. Alagad dai ta ka mapagibo nin ano pa man. Maaagda ko sana man asin mabibiklad mo sako an palaisipan ini. Ma’wot kong mamidbidan ta ka, namomo’tan ko. Ta nganing mamidbidan ta ka, kaipuhan mong magpahiling. Magpamate. Magparamdam.

Ta nganing mabiklad mo sako an palaisipan na, kaipuhan na magtiwala ka sako na igagalang ko ‘ni, o an mga ini. O maoogma ako sa mga ini. Magin ini amo an pagdata kan hawak mo sa lawas ko, bagay na dai ko pwedeng masabutan kun dae pa nangyayari. Magin ini iyo man an saimong ginapanumdom, iniimahenar, pinagpaplano, o namamati.

Ngaa mapamidbid ka kan sadiri mo sako kun dai ko man muya, okun ma’wot ko sana man gamiton ta ka sa mga obhetong dai ko ginasiling saimo? Mamimidbidan mo ko, an nagahambal na namomoot saimo.

Kun mimidbidon mo ko, kaipuhan kong magpabisto. Kaipuhan ipabisto ko saimo an sadiri ko, an pagkatawo ko, sa pakikipag-ulay, ta nganing magkamidbidan kitang dungan. Mantang pinapabisto mo sako an pagkatawo mo, nagkakaigwa ako nin ideya manongod saimo, na pag-uban-uban maagi sana, huli ta sa amo nga tiempo, daw naga-ilis ka na. Kun makikipag-ulay giraray ako saimo, an nagligad nga ideya ko bako nang matuod, kaya kaipuhan ko na ataduhon giraray idto, dangan pauro-utro.

Kun ika nagatalubo, na mayo nin ano man na kaulangan o nag-uulang saimo, makikibot na sana ako. Paparibongon mo an ulo ko, dangan baad mayad man sako.

Kun namomotan man nanggad ta ka, namomotan ko an mga ginigibo mo, huli ta sinda gikan saimo. Pwede man na tabangan ta ka kun muya mo. O pabayaan ta kang gibuhon mo sana ni nin solo, kun ini makahulugan saimo. Igagalang ko an mga kama’wotan mo sa mga butang na amo ni.

Kun namomo’tan ko an sadiri ko, namomo’tan ko an mga gibo ko, huli ta sinda buhay ko. Kun namomo’tan mo ko, tugot ka sa mga ginaobra ko; tinatabangan mo kong maobra sinda, dawa an boot silingon sini ako sana an magibo. Kun gibohon mo na pugulan mo ko, dai ka namomoot sako. Kun pugulan ta ka, dai ko namomoot saimo. Mayo nin kaipuhan mag-ulang saimo, sagkod tinataw’an ko nin saysay an saimong libertad. Mayo man nin mag-uulang sako, asin tinataw’an ko nin saysay an sadiri kong libertad.

Ako sarong lawas. Ako yaon sa lawas. Siring man ika. Ma’wot kong yaon ako, igwang lawas. Muya ko an lawas mo, an pagigi mong lawas. Kun dai ko muya an atado mo, o pagkaatado mo, hahambalan ta ka. Ta an pagkamoot niyato, katotoohan.

Saro akong sexual na linalang. Siring man ika. Kitang duwa naobra nin sarong bagay na masiram, magayon kag marhay para sa aton nga duwa. Inaagda mo kong mamidbid ta ka sa paagi kan lawas ko; inaagda ta kang mamidbidan mo ko sa paagi kan lawas ko. Sama’ kita sa masisiram kag manana’gum na puwedeng tang ipapangyari, sa kasiraman, sa kana’guman.

Kun muya mo ko tapos dai ta ka gusto, dai ko pwedeng magbalu’bagi. Nagsasabi sana kan totoo an lawas ko. Dai ta ka makukua kun dai mo itatao sako an sadiri mo. Dai man puwedeng maghambog an lawas mo.

Kun mahihiling dangan madadangog ta ka, orog na mamimidbidan ta ka kaysa kun mahihiling ta ka sana. Alagad kun kaputan ta ka, parungon ta ka, namitan ta ka, mas orog ta kang mamimidbid. Alagad dai ka matugot na gibohon yan saimo kun mayo kang tiwala sako, kun habo mong mabisto ta ka man nanggad.

Susog sa Transparent Self. Ni Sidney M. Jourard. New York, 1971, 52–53.

Sinurublian sa Hiligaynon

Silingon, sabihon

Sini, kaini

Kag, sagkod, asin

Amo, iyo

Ginapanumdom, iniisip

Ngaa, ta’no, nata’

Okun, o

Ginasiling, sinasabi

Daw, garo

Naga-ilis, minahira, minasangli

Nagahambal, nagsasabi

Sa amo nga tiempo, sa oras na’yan,

Nagligad, nakaagi

Nga, na

Matuod, tama, sakto

Makikibot, mabibigla

Ulo, payo

Mayad, marhay

Butang, bagay

Hahambalan, sasabihan

Naobra, (mi)nagibo

Aton, satuya

Copyright 1998–2011

Carbon Dating

I first saw Lolita Carbon and her band perform at the Bahay ng Alumni in UP Diliman in 1999. There they rendered a few numbers in a concert for a cause along with True Faith, Parokya ni Edgar and Eraserheads. 

There and then, I found her voice indispensable.

And on this one fine evening, in Poblacion Mambusao, Capiz, she opened the night with “Masdan Mo Ang Kapaligiran,” a rather slow tune to start the ball rolling. After singing the piece, she said everyone must have known the song. True, it reminded me of my childhood. The piece was widely played on the radio when I was a grade-schooler. And it has never been as relevant as today—as perhaps countless climate change activities would make use of the anthem in all efforts toregain Mother Nature.

After the first two songs, she asked if the audience was still there. The audience was shockingly quiet, as in composed. The space inside the Villareal Cultural Center bordered serenity. Perhaps the Mambusaonons only liked to listen, I thought.  The performer casually talked as she tried to engage the audience who hardly reacted. With a few applauses here and there, Lolita Carbon perhaps leveled off to her audience. Yet, it must have come effortlessly as her repertoire of songs consisted more of anthems of the soul, not the outbursts of a drug addict.

I supposed Lolita found it hard to have rapport with the audience, who perhaps expected a rather solemn repertoire. We, the crowd, were made to sit on Monobloc chairs—as in a graduation rites or a political rally, which is a rather awkward arrangement for a concert that you could possibly head-bang on. Well, what can you do? The concert was for a cause.

The audiences were old folks, perhaps religious men and women and their families who came in droves to support the fundraising. I came to the concert with Jennylen Laña, my teacher friend. Jenny joined me the entire evening.

I found myself singing along with Lolita Carbon, much to Jenny’s delight and awe. She was surprised that I know the lyrics of most of the songs by heart—some words across the lines I could barely recall. Having listened to Asin through the years, I told her some of their songs even became my anthems.

Lolita Carbon wrote and sang the songs from her heart—she sang “Magulang” and “Itanong Mo sa Mga Bata” to probably inject some morale into the audience. “Usok” reminded me of the nights many, many years ago when I would seek refuge from the tedium of city work. I remembered how the karaoke nights along Visayas Avenue just made me go on. That was before. That was before.

Have you ever roused someone from sleep, she asked. Perhaps the most difficult person to wake is someone who is wide awake—nagtutulug-tulugan lang. Lolita then sang, “Gising Na, Kaibigan Ko” which made me sing with her all throughout—“Nakita mo na ba ang mga bagay na dapat mong nakita? /Nagawa mo na ba ang mga bagay na dapat mong ginawa? /Kalagan ang tali sa paa; imulat na ang iyong mga mata; /Kaysarap ng buhay lalo na’t alam mo kung saan papunta.”

The song did not need Lolita Carbon’s conversation or explanation; her incantations were enough to make someone reflect. It also reminded me of the recent Nescafe TV ad—which asks, “Para kanino ka gumigising?” A purposeful life is worth living, it said.

Later in the night, Lolita related that many, many years ago, she wrote “Tuldok” with Cesar “Saro” Bañares, Jr. “Tuldok” said everyone has to be humble because compared to the whole universe, we are infinitesimal. Some years ago I learned how Bañares was knifed to death in a bar brawl somewhere in Mindanao. No amount of stardom can make someone supernova, indeed.

Towards the end of the evening, Lolita featured a song “Pagbabalik,” which she said won for her a music award back in the late 70s. Immediately, the song made me recall Ninoy Aquino’s plight when he was exiled to the United States—“Bayan ko, nahan ka?/Ako ngayo’y nag-iisa/Nais kong magbalik/Saiyo, bayan ko/Patawarin mo ako/Kung ako’y nagkamali/Sa landas na aking tinahak.”

Having read much of the national hero’s life and works, I could picture Ninoy’s famous last TV footage before he was gunned down in tarmac in 1983. I felt alive that I just do not exist—having these recollections and the ability to remember something significant beyond myself, I thought I proudly belong to history.

Some indistinct voices at the back requested for more numbers from the band. That’s why the last number was rendered with the sponsor priest. But soon after that, the night was over.

The concert wrapped up with Lolita Carbon singing with the sponsor priest, Fr. Banias, who sang “Dahil Sa’yo/Because of You” with the rock star. The last piece was more of a prayer, as it was sung with a priest. I heard my voice singing to God. “Dahil sa’yo, nais kong mabuhay/Dahil sa’yo, handang mamatay.” When the priest sang with the rock star, the melody, the harmony created went up the air as in “Usok,” in utter prayerful fashion.

It was too early to finish the concert. Yet, the husky voice of Lolita Carbon [when she said thank you and good night] told me two things. One, the Mambusaonons could have jammed with her the whole night long if they wanted to—her singing voice could simply relax anyone’s nerves. Her chords and her band’s drums and percussion will surely make one grab the next Red Horse bottle, and he could simply start to want to talk about something worthwhile.

Or, was it now the best time to end? The audience barely reacted to her. And the solemn concert arrangement disabled any wild audience to break out to head bang or something. Perhaps because the songs were just enough to make the audience recall. To make them recall is enough to make them quiet and spend their own spaces throughout the evening.

It was as if the audience came from an opera. Everyone was quiet and composed as the time they went in. All throughout the concert, Lolita engaged the audience, and made them sing with her and her band. The songs and their themes, I suppose, were more moral than musical, spiritual than synthetic. It was one of the most serious concert audiences I have been with.

“Kung tunay man ako ay alipinin mo/Ang lahat sa buhay ko’y dahil sa’yo.” I thought Lolita Carbon’s voice rose not only from her diaphragm but from her soul. I also thought perhaps if my soul has a voice, it would be hers. I thought I could tell her that.  I told Jenny I would want to meet the rock star at the backstage. I realized that I was one of her biggest fans. I wanted to talk to her. I asked one of the organizers if they sold CDs or stuff. There was none, I was told. It was simply a concert for a cause, I thought. 

Two weeks ago, Mrs. Erna Ticar, my fellow employee who works for the church, handed me the ticket labeled “Biyaheng Langit: Lolita Carbon of Asin and her Band in Concert.” The five hundred-peso ticket came with the privilege to donate for the reroofing of the church of St Catherine of Alexandria parish of Mambusao, Capiz.

Proceeds of the event will go to the renovation of the house of worship of the Mambusaonons, I thought. Or the ticket must have meant—perhaps Bro wants me to take things easy in my new work environment—and is probably telling me to relax and slow down. Really slow things down. I was right on both.

I thought that Lolita Carbon just sang it right, “Kaya wala kang dapat na ipagmayabang/Na ikaw ay mautak at maraming alam/Pagkat kung susuriin at ating isipin/Katulad ng lahat, ikaw ay tuldok rin.”

When Jenny and I stepped out from the crowd, it was still evening.

*For more information on how to donate for the St Catherine of Alexandria Parish, you can visit http://sanctacatalina.blogspot.com/