.

UNIVERSIDAD DE MANILA
One Mehan Gardens, Manila City, Philippines 1000
SENIOR HIGH SCHOOL DEPARTMENT

In Partial Fulfillment of the Subject

English for Academic and Professional Purposes

Presented by:
De Roxas, Lemuel Mari C.
Romero, Julian Kyle M.
Camacho, Queen Miracle
Lastra, Kristhia Cayle F.
Orallo, Robelyn Jamille U.

Presented to:
Mr. Melvin S. Relox
Lastra, K., et al 1

Skin Complexion Is Not Beauty’s Definition

A person is a beautiful or handsome human being if he or she is a "Mestizo/Mestiza."
Mestizo and Mestiza were formerly the focus of attraction, and they continue to be so today.
If one has a white skin tone, he or she is usually appealing to most individuals. However,
what about the ones who do not have a white skin tone? Having a Caucasian skin tone
compared to not having a Caucasian skin tone is a contentious topic that frequently divides
opinion. Assume they are not mestizos or mestizas; what might they feel if they are
mistreated because their skin tone is not Caucasian? The issue will be covered in the history
of the value "Maganda ang maputi" and how it was populated and sustained during the
Spanish and American colonial eras.
To begin with, Filipino colonial aesthetics in the present day could be rooted in
various dramatic forms when the Spanish and American empires were at their peak, which
occupied and sustained the value of "white is attractive and beautiful." According to a study,
throughout the Spanish period, komedya dramas explore the love of princes and princesses in
the struggle between Christians and Moros worldwide. The Indios became inspired and
enthusiastic for the cause of white Europeans as a result, which is thought to be favored by
gods and miracles. Invariably, the Moros were defeated; meanwhile, the Europeans desired a
recognized standard of beauty. Furthermore, the Europeans created the ideal mestizo or
'bastard.' According to research, having "matangos na ilong," "malaking mata," and "maliit
na bibig" was a condition for being a royalty during the Spanish era. Last but not least, one
must have a Caucasian skin tone and possess "magandang tindig" to meet the qualifications
for becoming such.
Secondly, and most importantly, are the performers who portray Christ, particularly
the Virgin. They were chosen because of their likeness with church pictures of Christ and the
Virgin. Nevertheless, it is also worth mentioning that the chosen ones were always, without
exception, Caucasians. It should also not be a surprise that the term "parang birhen" exists.
In addition, among native poets, "parang birhen" became a stock phrase, describing any
woman's ideal beauty. Another interesting truth is that the bodabil program singled out
Filipinos who could do Elvis Presley and Tom Jones impersonations. On the contrary, during
the American era, they still preferred Caucasian-looking Filipinos to impersonate over
Filipinos who were not looking as such. Furthermore, despite the Filipinos' extraordinary
abilities in this field, they were cast as maids, minor friends, and other insignificant
characters in slapstick comedy.
However, do not give up hope or be discouraged; Filipina actors such as Amalia
Fuentez and Barbara Perez, as well as Filipino actors Leonard Salcedo and Eddie Mesa, were
introduced to American films as new gods and goddesses. Another factor to consider is that
Philippine films have a history. According to research, an expansion and magnification of
colonial aesthetics in our Spanish colonization history and the present exists, much to the
dismay of Filipinos unswayed by this societal pressure; in light of the fact that in our day and
age, practically all Filipino performers are mestizos and mestizas. Actors like Eddie
Gutierrez, Dante Rivero, and Joseph Estrada, among others, can only do so. There are also
Lastra, K., et al 2

other Filipino actors such as Gina Pareno, Daria Ramirez, and others. However, native-
looking actors like Cachupoy, Balot, and Tange frequently take on comedic jobs because
their skin tone and features are not desirable to such standards as the rest.
According to the article written by Nicanor G. Tiongson, countless Filipinas spend
their money on surgery and trips abroad "to have their eyes wider, lips thinner, nose
sculptured to aquiline, or have Caucasian proportions like uplifted breast," among others. It is
also said that today's advertisements tempt them to purchase products that will make them
look like Caucasians. Moreover, their inner golden beauty is not genuinely revealed due to
the things they purchased, similar to Donya Victorina, the woman who "plastered so much
rice powder on her face that it looks cracked"—crumbling thereafter. Vicky, the secretary, is
also notorious for "spending a third of her pay on pricey Max Factor foundations" which,
according to rumors will make her look like a vogue cover model. It fails because it gives her
a goofy mask that contrasts with the rest of her physique. Therefore, because "white is
beautiful," one can observe how many Filipinas have squandered or destroyed their natural
beauty because they do not have a Caucasian appearance. Because of the same principle,
Filipinas have subconsciously acquired this ideology that a brown skin tone, or any skin tone
that is not white, is unattractive and undesirable.
Yet again, referring to the same articles, a study has concluded that the Philippine
economy relies on foreign investment, particularly from the United States of America. In
turn, it suffocates the development of a truly Filipino economy. Another factor to consider is
that American commodities, music, and literature necessitate the importation of cosmetics
into the country. The country's dollar output for cosmetic imports may be on a microscale,
but it totals when combined with our dollar output for all other commodities. That is, closely
related to the colonial mindset of "white is beautiful."
By and large, the value "maganda ang maputi" has both positive and negative
implications for Filipinos. Nevertheless, these values have undoubtedly harmed the
confidence and natural beauty of many Filipinos. Moreover, the unfortunate truth is that if
one does not have a Caucasian-like appearance, he or she will be assigned to a lower level of
the entertainment industry or any industry in general. This type of value altered people's
perceptions that attractive people are those with fair skin tone; which we know, is not the
case. A person is a beautiful or handsome human being even if he or she is not a "Mestizo or
Mestiza." They were formerly the focus of attraction, but it does not have to continue any
longer.
Lastra, K., et al 3

Eluding With Entertainment

As Mychael Danna stated, "We love films and storytelling as people, it is just a
human compulsion to listen to and tell stories. “Every single person in the world is in need of
entertainment. It can be any form, and people will still enjoy it, depending on its context. One
form of entertainment is a palabas or show. How does palabas implement in the Philippines,
especially the impact for the Filipinos?
During and after the regime of the Spanish, Traditional Filipino dramas were fulfilled.
Even now, the hunger for dramas can be sustained by any of these forms: "bakbakan, iyakan,
sayawan, kantahan, and tawanan." There are many themes of palabas that people went on,
like komedya, battalas, zarzuela, among others. In these themes, audiences have reacted in
many ways. They are sad, cheering for the main character, voicing their disapproval to some
scenes they do not want, and giving applause to the parts that they think deserve it. Dramas
are known as the theme that makes people tear. The impact of dramas on audiences made
them masochistic, as audiences want to watch more just to tear. During the American period,
entertainment dramas were enhanced by adding songs and dances. With zarzuela's
combination of song and dance, dramas became a tearjerker with the compilation of dances
and music. The Filipino films today are still regarding entertainment as their reason; this is
where "box-office" hits. Komedyas is the selling point of the Philippine movie industry.
Many films of Fernando Poe Jr. have made people "pick their wallets as he direct's any film
and performs exceptionally."
What entertainment is for the people? Is it only for entertaining people? That has been
proven not to be true. Entertainment makes us feel the fiction outside the state of things as
they exist and makes us escape the reality with which people are yet to be content. As the
word palabas which means outer-directed, it gives people value that will be appreciated on
their own. It will be much commendable if the industry of entertainment keeps on improving.
Lastra, K., et al 4

The Adversity of Clean Souls

Many believe that people who have suffered a great deal of loss are the most
empathetic and pure-hearted humans to have lived. One most likely has met some people in
life who choose to be more compassionate to others despite the hardships. It is generally
believed that kind people to others receive more blessings than those who are not. As a result,
showing generosity to others, no matter the intention, is prompted. Thereafter, the subject of
people in agony but still capable of offering love and acts of kindness to others will be
discussed.
According to Nicanor G. Tiongson's article, the origins of the phrase "mabuti ang
inaapi" were the Spanish and American colonial administrations that promoted and
legitimized it by making people who were in pain and suffering but still kind heroes that
deserve enthronement, dubbed "the hero of the underdog." During the Spanish and American
periods, a particular incident happened: the renowned awits and kuridos praised the
"dehado" royalties, or, to put it another way, "ermitanyos, lepers, and bilyanos" who nobility
—very ironic in its self. Another fascinating fact is that local playwrights indigenized
Filipino novels and Spanish zarzuelas during the American dictatorship. The heroine was
frequently in the form of rural maids who, among other things, "were abused by the harsh
donyas yet masochistic self-depreciation and submissiveness provide power to the weak
heroines."
The commonality disagrees that good people have no right to feel any rage because
they are the ones who are frequently abused, mistreated, and exploited. Referring to the same
article aforementioned, those who are compassionate yet suffer is not exactly wrong. What is
problematic is Filipino masochism, or the desire to be oppressed. This might manifest itself
in the harmful sense that the value manifests itself in a "psychotic urge that leads to self-
flagellation" in Filipinos. That ideal has "turned into a vice" because it instills in Filipinos to
accept all forms of hardship and oppression. Even if one were not in the natural
circumstances for it to occur, an imposition by foreign or domestic oppressors would be
blamed instead.
Filipinos adopt facile and escapist behaviors and do not bother to examine why
someone should be exposed to oppression. For example, people consider "pang-aapi" to be a
natural state in this world. Why should it cease to exist when agony and suffering are said to
be the base foundation of a human's fundamental values? It has been abominable since it
allows Filipinos "to avoid dealing with the problems they should be dealing with." Poverty,
famine, sickness, and death will become the norm if this trend continues—causing a disaster
at best, robbing Filipinos of human dignity at worst
Taking everything into account, "mabuti ang inaapi" is not a virtuous value for
Filipinos. Nevertheless, while having a loving and pure heart is a blessing, the fact that one is
mistreated is a different story. Many believe that people who have suffered a great deal of
loss are the most empathetic and pure-hearted humans to have lived. The truth is that
correlation is not equal to causation: any person, however life treats them, can do both the
good and the bad.
Lastra, K., et al 5

A Rift in Filipino History

The novel “Maganda Pa ang Daigdig” was written by Mr. Lazaro Fancisco in 1955
and published as a book in 1982. He grew the literature in our country using his intelligence
for writing and creating rare pieces. He wrote that novel to wake ordinary Filipinos up on
being accused of the sin that they did not do.
In 1950, the Philippines was still under the rule of Japanese authorities. And when the
socialist guerilla movement Hukbong Bayan Laban sa Hapon (HUKBALAHAP) was
rebelling in the provinces of Central Luzon. The novel is all about the life of Lino Rivera,
who is a farmer. Lino is being accused of committing two crimes, robbery, and homicide.
However, some friends still care and help Lino to go out in jail as they prove his innocence,
but at the same time, they should keep an eye on his son, Ernesto. Lino escaped from prison
to live the life of being a slave. The farmers at that time were considered unprivileged. The
government always makes them feel like they are animals. They will take their lands, take
the animals that help them earn money, not support their needs, and make them their
servants. Nevertheless, despite what Japanese authorities have done, the spirit of being a
Filipino was alive. They are tired of being just a servant in their own home country. That is
why they formed a rebellion group called "HUKBALAHAP" or Hukbong Bayan Laban sa
Hapon against the government. They want to be fair and build their regional government,
collect its taxes, and establish their laws. This is for them to cater to their own needs and
make a difference from the national government. Even though the sentence structure and
particular vocabulary are different from the Filipino language that we are using today, the
message of this novel is clear to us. Although the novel is fictional, Francisco made a
compelling novel to what was evident during the 1950s. He emphasized the context of that
time when the spirit of bayanihan was very much alive. Overall, this novel will show that
despite all of the hardships that one has faced, especially if he or she is unprivileged, at the
right time, it will all fade. It may take months or years, but with a heart that's full of patience
and optimism, they will be able to get through it. The hardship and mistreatment of our
fellow Filipinos were being shown and emphasized. It shows how they face and endure all of
the pain that they go through.
Experiencing this terrible treatment of Japanese authorities will never erase our
minds. Because of their faith in God and their "bayanihan," they successfully escaped the
captivity of these conquerors. We should never forget that only the truth will set us all free
from all of our problems. Lino remained honest and authentic to his principles. It is a story
about the harsh reality of the peasants' and bandits' plight. In the hardships of life, some
farmers are forced to take up other jobs to support their families. Most of the farmers are only
victims of robbery, especially when they leave Manila. The root of the problem is poverty.
Because of poverty, even the country's justice system is affected. Many livelihoods have
been affected, and to make matters worse, those who are genuinely hardworking and work
with dignity are not given the right benefits.
After all of the hardship they experienced, the optimism and false hope in their minds
did not fade. The false hope in their mind disturbs them. Of course, they are afraid that their
plans might not work. All of their hard work would fade and go nothing. Aside from that, if
the Japanese authorities had known about their plans, they might kill them immediately. Yet,
Lastra, K., et al 6

the optimistic side in them would always tell that there is still hope, and they are confident
enough that the outcome of all of their plans would turn out to be successful. Those
meticulous plans are made that come to the point that they are confident enough to do their
best. Their faith in God was always there, and they believed in themselves and their members
as a group. They use their guilt in themselves to do more and practice how they can defeat
their enemy. They want to get the freedom and peace that we have been waiting to achieve.
They want to end the torture and persecution of our fellow Filipinos. This is our land, and a
Filipino should be the one to rule and serve our country and our countrymen. Not another
race or another country.
Lastra, K., et al 7

Sun-Kissed
The effect is that individuals of color are taught that having dark skin indicates
inferiority and should be hated. Skin tone has a far too significant influence on society's
conception of beauty, let alone an individual's personal ideologies. The goal of this article is
to ensure that the notion of being unwelcome or unworthy because someone 'failed at the
genetic lottery and was born with kayumanggi skin' is further propagated. It is imperative that
something is said and done about colorism right now. Through this, colorism, specifically,
the kayumanggi skinned people, should not be discriminated against and receive treatments
that make them feel lesser for themselves.
Alice Walker coined colorism in 1983 to define "prejudice or preferential treatment
of people of the same race based purely on their color." Other researchers have researched
this phenomenon since then, popularizing terminology like "skin color bias" and "color
complex" (Harrison, Thomas, 2009; Russell, Wilson, Hall, 1992). Based on other physical
characteristics, such as hair texture, eye color, nose shape or size, and lips, prejudice is
similarly linked to colorism. (Blair, Judd, Sadler, & Jenkins, 2002; Maddox & Dukes, 2008).
Even while it is a global issue with differing implications across different groups, for the
purposes of this article, it will focus on its implications in the Philippines, specifically in the
media and culture. The first point of this argument is that the media has a significant
influence on the growth of a culture, and exposing people of color to pictures like this
consistently creates a never-ending loop of worries, shame, and discomfort. Second, the
people who follow likewise are being classified as colorful, diverse, and strong. Because the
media is so preoccupied with a particular "look," it is vital to share and highlight the stories
of persons who have been historically underrepresented. One statement from the article states
that "In the Philippines, it is the brown race that constitutes the majority." It simply means
that the brown race is in our culture, which shows no reason for it to be discriminated against
because it is already common.
Discrimination starts in the very heart of the family most of the time. At the very
beginning of one’s life. Some family members may find lighter-skinned relatives more
beautiful than darker-skinned relatives, and they may also treat them more favorably as a
result of this. In terms of colorism, there is nothing to be ashamed of or concealed. Today,
colorism may be found on magazine covers, blockbuster films, television shows, and just
about everywhere else in pop culture. People of this ethnically diverse country must stop
colorism racism and appreciate everyone regardless of their color and physical features.
Lastra, K., et al 8

A Mirror of Filipino Lives

Films are a unique form of creativity that can build or destroy society. In the
Philippine arts, film has become the most prominent mode of art that has undergone
significant changes due to globalization and technological advances sweeping worldwide. It
creates a platform for developing a new form of entertainment wherein it presents people
with a different form of escapism that helps to delve into the characters' lives. One of the
most notable aspects of drama and film is the pleasing characteristics that connect with
viewers emotionally.
As a Philippine art form, it reflects the country's culture and views of the people it
caters to and develops knowledge. It is critical to have movie content because it intends to
explain and show the lives of all Filipinos. Nowadays, movies tend to focus on quality films
that change the fact that films should have realistic characters and situations. Numerous
genre films bring lessons to help viewers understand Philippine culture and society, including
historical, comedy, and musical plays.
Furthermore, historical films are the most necessary genre because the era portrayed
in a movie resonates with present-day events. Throughout the years, several films based on
history not only entertained audiences with their powerful and enriching novels but have also
taken viewers back in time with the detailed costumes, scenery, and atmosphere. One of the
most successful films that brought historical period films back into the spotlight is the
Heneral Luna series film by Jerrold Tarog. Filipino General Antonio Luna's engaging true
story led his troops during the Philippine-American War and faced enormous odds both from
the American opposition and his countrymen. Through this, people learn how past
civilizations, ideologies, policies, government rules, and practices were built and valued.
In the same way, musical plays are also a way to understand Philippine society and
culture profoundly. It is a theater performance that tells stories by combining songs, dialogue,
acting, and dance. The musical play is a familiar and generally lighter form of musical drama
about Philippine history, discipline, and tradition. One such musical is Miong which Joy
Virata directs. It chronicles the birth of Emilio "Miong" Aguinaldo until the Philippine
independence declaration.
To wrap it all up, having a film with lessons to be learned has a vital role in
improving human and social conditions and the betterment of society. The rise of Philippine
films and dramas may have been a big step for Filipinos to understand Philippine culture and
change society deeply.
Lastra, K., et al 9

Films are Battlegrounds with a Good Mind and Spine

The film is acknowledged as one of the most well-known art mediums that can be
used as a source of entertainment and as a platform for educating, inspiring, and
indoctrinating viewers. With the rise of the digital period, where people can easily access
different kinds of technology, filmmaking quickly made its way in the local industry, making
it easier for everyone to watch films, documentaries, musicals, or even operas.
Aside from historical films, Philippine movies should concentrate more on true-to-life
movies that discuss Filipinos' social and personal obstacles within a bigger social
perspective. This kind of story has the power to teach the viewer about the lives of people,
how to decide when things get complicated, and what are the possible solutions to overcome
the problem. Indie film is one example of production where it features social problems such
as poverty, discrimination, drugs, and governmental issues to spread awareness around the
world.
Firstly, there are some producers and directors who successfully address various
social issues in the Philippines through a written storyline and screenplay of the movie. A
perfect illustration of a social issue film is "Ma' Rosa," directed by Director Brilliante
Mendoza. A focus on poverty, corruption, and the never-ending war on drugs is seen in Ma'
Rose, who markets illegal drugs to survive and provide for her four children. It is also a
movie to look at how corruption works on poverty and impacts the community. In this case,
viewers will learn how the world operates and provide a broader political, religious, or social
context. Additionally, viewers can react and be a catalyst for social change.
Pursuing this further, if the Philippine movie demonstrates the conflict deeply, it will
play a vital role in getting people to think about the social problem. Films and dramas are
essential for humans because they reflect and shape people's beliefs and values. Furthermore,
numerous filmmakers produced films that directly deal with the political and governmental
atmosphere and present social commentary. Brocka's film titled "Bayan Ko: Kapit sa
Patalim" tackles a laborer who needs money for his wife's pregnancy in exchange for not
joining a trade union. This movie shows the differences between the two people's statuses,
which are controlled by corruption.
Therefore, the show is good with a mind and spine to address social or personal
obstacles within a larger social perspective. These films capture critical stories that will
empower Filipinos to become aspects of social change, at least for the country's
development.
Lastra, K., et al 10

Compromises Meet Romanticisms

Audiences tend to be optimistic about what will happen at the end of a film. People
always think that the ending of a film will end on a happy, light-hearted, and hope-inducing
note. Acting this way is not that dreadful, but it certainly is often unrealistic. What if writers
and producers create a logical, realistic, and scientifically-based output instead of the usual
romanticism?
The usual romantic vision refers to insisting that the world in its physical and
metaphorical state is still beautiful, where every problem that may it be political, economic,
social, or personal, will be solved easily by the omnipotent writers and producers. For the
better sake of the film industry, a new romanticism must be made. Films and plays must
avoid using the idealization of characters, situations, and problems as the usual romanticism
tend to have. An adverse circumstance from real life must not be magically be changed into a
favorable, likable situation in films. For instance, if real life as it is is ugly, it must not be
glamorized. Create it as ugly as it is with respect to real life. In other words, films should be
as close to reality for the audience to relate as they have already experienced something
similar to the context. New dramas and films should not relate to the naturalism that ends
with despair. Rather, they must bring out the desire for social change from the Filipinos. New
dramas and films must give the audiences a clarified hope, instead of the false hope which
the solutions are oversimplified like the ones in traditional romanticism.
To this day, stages and plays are still, dismally, plagued by the four negative values;
"Maganda ang Maputi," "Masaya ang May Palabas," "Mabuti ang Inaapi," and "Maganda
Pa ang Daigdig." It is time to produce logical, scientifically realistic narratives within
entertainment alongside a critical frame of mind. In this way, the Philippines in its entirety
will drastically improve regarding its independence; our economic development in terms of
internal influences—political, economic, and cultural.
Lastra, K., et al 11

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