UNIVERSITY OF THE PHILIPPINES

Bachelor of Arts in Broadcast Communication

Milcielo Claire Sabanal Villamayor

PAGWAWARI SA HIRAYA MANAWARI:

THE CONSTRUCTION OF VALUES IN THE CHILDREN-ORIENTED PROGRAM
HIRAYA MANAWARI

Thesis Adviser:
Eulalio R. Guieb III, Ph.D.
College of Mass Communication
University of the Philippines Diliman

Date of Submission
April 2014

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Signature of Thesis Adviser:
 UNIVERSITY PERMISSION

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_____________________________

Milcielo Claire Sabanal Villamayor

April 2014
 PAGWAWARI SA HIRAYA MANAWARI:

THE CONSTRUCTION OF VALUES IN THE CHILDREN-ORIENTED PROGRAM

HIRAYA MANAWARI

MILCIELO CLAIRE SABANAL VILLAMAYOR

Submitted to the

COLLEGE OF MASS COMMUNICATION

University of the Philippines Diliman

in partial fulfilment of the requirements

for the degree of

BACHELOR OF ARTS IN BROADCAST COMMUNICATION

April 2014
 PAGWAWARI SA HIRAYA MANAWARI:
THE CONSTRUCTION OF VALUES IN THE CHILDREN-ORIENTED PROGRAM
HIRAYA MANAWARI

by

MILCIELO CLAIRE SABANAL VILLAMAYOR

has been accepted for

the degree of BACHEOR OF ARTS IN BROADCAST COMMUNICATION
by

Eulalio R. Guieb III, Ph.D.

and approved for the

University of the Philippines College of Mass Communication
by

Professor Rolando B. Tolentino, Ph.D.

Dean, College of Mass Communication
 BIOGRAPHICAL DATA

PERSONAL DATA

Name Milcielo Claire Sabanal Villamayor

Permanent Address Lot 13 Block 9 Road 2 Arveemar Homes Angono Rizal

Mobile Number (+63)328769569

Date & Place of Birth 1 March 1993, Manila

EDUCATION

Primary Level With Honors, Saint Paul College Pasig

Secondary Level With Honors, Saint Paul College Pasig

ORGANIZATIONS

Pi Gamma Mu International Honor Society

U.P. Mass Communicators’ Organization

WORK EXPERIENCE

Facilitator, The World of Outbound, Sept. 2012 – present

Intern, Rappler, July 2013-October 2013

Intern, DZUP Online, July 2013 – October 2013

ACHIEVEMENTS

University Scholar: 1st and 2nd Semester, AY 2010-2011

College Scholar: 2nd Semester AY 2012-2013; 1st Semester

AY 2013-2014
 ACKNOWLEDGMENT

This study would not have been possible if not for the people who supported me

along the way.

First, I would like to thank God, for without His guidance I would have given up

in the course of writing this thesis.

To all my professors in the College of Mass Communication, especially my

adviser, Sir Eli Guieb, I thank you from the bottom of my heart for the patience, the

inspiration you gave me to push mysef to the limit, and your help in developing my love

for wisdom and knowledge.

To my parents and brother, thank you for everything.

To Mel, I thank you, as always.

To my countless friends who believed in me when I lost faith in myself, thank

you. To my high school friends, college friends, Barks, and Lakbay friends, thank you.

To Mariah, Trisha and Cath, thank you for the words of encouragement.

To Ate Wang, for lending me your DVD compilation of Hiraya Manawari, thank

you very much. I could not have done this thesis without your help.

To all the people who have been a part of my life and who shaped me to who I am

today, I give my deepest gratitude to you.

All of this for Your glory, Lord.

 To my parents

Miguel and Lolita,

This is for you.

 ABSTRACT

Villamayor, M. C. S. (2014). Pagwawari sa Hiraya Manawari: The construction of

values in the children-oriented program Hiraya Manawari. Unpublished Undergraduate

Thesis, University of the Philippines, College of Mass Communication.

It is undeniable that the media plays a big role in society, but how does the media

represent values in broadcast programs? The study identifies the values constructed in

media programs, specifically children-oriented programs. The point of observation of this

study is the values education children’s show produced by ABS- CBN, Hiraya

Manawari, through the themes presented in each episode’s narrative. The study is guided

by F. Landa Jocano’s pamantayan (standard) system. The data and analysis are guided by

the theory on narrative semiotics and objective hermeneutics. The episodes were

categorized based on how the values were manifested by the characters in each narrative

and the value orientation exhibited in the episode. There are three classifications:

damdamin (in relation to self), kapwa (in relation to others), and dangal (in relation to

society). Based on the study’s parameters, it is found that the value orientation

constructed in the program focused on the damdamin (self) and kapwa (fellow beings).

Keywords: values, television drama, Hiraya Manawari, pamantayan

 ABSTRAK

Villamayor, M. C. S. (2014). Pagwawari sa Hiraya Manawari: The construction of

values in the children-oriented program Hiraya Manawari. Unpublished Undergraduate

Thesis, University of the Philippines, College of Mass Communication.

Hindi maipagkakaila na may malaking ginagampanan ang media sa lipunan. Ngunit

paano nga ba ipinapakita ng media ang mga pagpapahalaga sa mga programa nito?

Inaalam ng pag-aaral na ito ang mga pagpapahalaga na ipinapakita sa media lalo na sa

mga programang pambata. Hinahanap ng pananaliksik na ito ang binubuong

pagpapahalaga ng programang Hiraya Manawari mula sa mga temang makikita sa bawat

naratibo ng mga episode. Ang pag-aaral ay ginagabayan ng konsepto ng pamantayan ni

F. Landa Jocano. Ang pagsusuri nito ay ginabayan ng teorya ng narrative semiotics at

objective hermeneutics. Ang mga episode ay hinati sa tatlo batay sa kung paano ipinakita

ng mga karakter ang mga pagpapahalaga sa naratibo. Mayroon itong tatlong kategorya:

damdamin (patungkol sa sarili), kapwa (patungkol sa iba), at dangal (patungkol sa

lipunan). Ayon sa pag-aaral, makikita na ang binubuong pagpapahalaga ng programa ay

nakatuon sa sarili (damdamin) at sa kapwa.

Keywords: pagpapahalaga, pambatang drama, Hiraya Manawari, pamantayan

 x

TABLE OF CONTENTS

Page

Consent Page i

University Permission ii

Title Page iii

Approval Sheet iv

Biographical Data v

Acknowledgements vi

Dedication vii

Abstract viii

Abstrak ix

Table of Contents x

List of Tables and Figures xiv

Chapter I 1
INTRODUCTION: SEARCH FOR VALUES IN MEDIA

Chapter II 8
THEORETICAL GROUNDING AND METHODOLOGY:
A SEMIOTIC AND HERMENEUTIC APPROACH IN
VALUE CONSTRUCTION

Chapter III 18
CATEGORIZATION OF VALUES BASED ON THEIR ORIENTATION

Chapter IV 23
KAPWA AS A RELATIONAL STANDARD

Pakikisama
as the willingness to subordinate oneself 24
as a means in achieving a common goal 30
 xi

as being a team player 33

as a convenient alibi 35
as a group-oriented norm 36

Pakikitungo
as a coping norm 37
as an act of civility 39
as a preliminary relational norm 43

Pakikiramay
as the governing norm in times of crisis 43
in the context of losing someone 46
as a manifestation of genuine concern 50
that springs from shared experiences 54
as a norm highlighting the value of understanding 58

Familism as the high regard for one’s own family 59

Pakikisama, pakikitungo, pakikiramay as supportive norms of kapwa standard 61

Chapter V 63
DAMDAMIN AS AN EMOTIONAL STANDARD

Hiya
as the reluctance to interact 64
as the painful feeling of having let someone down 66
as the painful feeling of having done something wrong 69
as the prevention of the loss of face 71
Delicadeza
as the governing norm in fulfilling obligations 71
as the governing norm in doing the right thing 73
in the context of showing respect 75
as the driving force in acting in propriety 79
and amor propio as norms working side-by-side 79
 xii

Awa
as a crisis-oriented norm 82
as an expression of an individual’s ability to understand 84
as a manifestation of sympathy and compassion 86
as counterpart norm of pakikiramay 91

Self as the center of the damdamin standard 92

Hiya, delicadeza, amor propio, and awa as supportive norms of damdamin standard 92

Chapter VI 94
DANGAL AS A MORAL STANDARD

Pagbabahala
as a moral obligation 95
as a confrontative value 99
as a manifestation of one’s accountability and responsibility 104
Galang
as respect for an individual’s personal possessions 105
in the context of showing respect to living beings 107
as an ethical demand 109

Utang na loob as a form of social contract 109

Pagbabahala, paggalang, and utang na loob as supportive norms of dangal 111

CHAPTER VII 113

HALAGA AND DIWA:
THE OTHER LEVELS OF THE PAMANTAYAN SYSTEM

Halaga as the evaluative core of the pamantayan system 113

Diwa as the spiritual core of the pamantayan system 115

Halaga, asal, and diwa as complementary value orientations 117

 xiii

CHAPTER VIII 118

SYNTHESIS: HIRAYA MANAWARI’S VALUE ORIENTATION

BIBLIOGRAPHY 122

APPENDIX 126
NARRATIVE SUMMARIES
 xiv

LIST OF TABLES
Page

Table 1. Narrative Guide (Instrument) 13

Table 2. Categorization of values in each episode based on their orientation 18

LIST OF FIGURES

Figure 1. Henero Panadero trying to scare away the contractors 26

(Ang Lihim na Buhay ng mga Estatwa).

Figure 2. Carla and her friends discussing plans on how to buy the book (Aklat). 32

Figure 3. Daniel being treated as invisible (Imbisibol). 36

Figure 4. Dino foregoing pakikitungo with the varsity team to stand up 39

for what is right (Varsity Jacket).

Figure 5. Girl (far right) foregoing pakikitungo to stand up to Eric’s bullying 40

(Ang Kuya Kong Maton)

Figure 6. Amelia reconciling with Anino (Anino). 41

Figure 7. Raymond's friends bringing the party to him (Bulalakaw). 44

Figure 8. Martin pushing his friends away (Saranggola). 45

Figure 9. Jessie’s mom, Jessie, Vico, and Vico’s dad in the hospital (Jessie). 47

Figure 10. Michael expressing pakikiramay to his sister (Awit ni Kuya). 52

Figure 11. Buboy’s mini celebration (1305). 56

Figure 12. Faith and her family showing pakikiramay for one another (Faith). 57

Figure 13. Ciel walking by the shore, looking for her grandfather (Ciel). 60

Figure 14. Mrs. Petronilla offering Bart a taste of her water (Batang Smart). 66

Figure 15. Edward finally giving Ariel his due recognition (Obra Maestro). 67

Figure 16. Angelo meeting Hecate for the first time in the crossing (Daliri Discount). 70

Figure 17. Manuel’s destructive amor propio response (Lumang Tanghalan). 80

 xv

Figure 18. Aling Tasing’s accommodative amor propio response 82

(Lumang Tanghalan).

Figure 19. Roger giving back Kela’s peom (Ihip ng Hangin). 85

Figure 20. The giant trying to communicate with Ria (Si Ria at ang Higante). 88

Figure 21. MC giving Mang Leticio one of her happy memories (Regalo). 89

Figure 22. Mithi studying her lessons diligently while her friends played 98
(Si Mithi at Si Maya).

Figure 23. Indigo helping Serafin with the cloud maker machine 101
(Ang Kulay Indigo).

Figure 24. Apolonio helping Pepito in repairing his wing 103

(Apolonio sa Kaharian ng Hardinia).

Figure 25. Wena, Epzo, Lola Teresa, and Lola Meding exchanging bodies 107
(Ang mga Lola).

Figure 26. Townspeople rallying protests on the castle grounds (Haring Mapet). 110

Figure 27. JR asking Lester to read him a bedtime story 114

(Isang Gabi sa Buhay ni Lester).

Figure 28. Tina discovering other Tinas (Dalawampung Tina). 115

 CHAPTER I
INTRODUCTION: SEARCH FOR VALUES IN MEDIA

The research is primarily interested in the construction of values in the media.

Specifically, the research looks at the construction of values in the program Hiraya

Manawari, as guided by the pamantayan system developed by Jocano (1993). The

research takes into consideration Hiraya Manawari as the broadcast material to be

studied because it is a pioneer program of its kind where subsequent children’s programs’

formats were based from it, such as the award-winning show Wansapanataym. The study

mainly focuses on the construction of values, which is also another reason why Hiraya

Manawari, as a unit of observation, is relevant to the study since the focus of the program

is also on values. Instead of looking only at the values per se, the study looks at the

orientation by which these values are expressed and presented. As such, using the

pamantayan system as a guide is relevant to the study, since the system also looks at the

orientation of the values. Essentially, the research aims to answer the question, “What

values are constructed in the program Hiraya Manawari?”

For the past few years, the number of children-oriented programs produced in the

country has dwindled in number. In the 2010 census, it has been reported that there were

more than 30 million children aged 0-14 years out of about 96 million people in the

Philippine population (Albert, 2012). Considering that more than a third of the Philippine

population are children, the TV programs tailored for younger audiences, especially

educational programs, are considered a rarity in Philippine television (Encanto, 1989).

Most of the children programs now being aired on local television stations, especially in

the mornings, are imported from other countries such as Japan’s animations and
 2

America’s cartoons. As years go by, there has been a decline in the number of

educational programs on Philippine TV. Consequently, the industry has not reached its

full potential in educating the children (Andrade, 2010).

There was a time in Philippine programming, however, when there were a number

of educational programs on free television. During the 1990s, locally produced

educational programs were widespread on Philippine television. The production of these

programs were in cooperation with the then Department of Education, Culture and Sports

(DECS), now the Department of Education (DepEd) such as Sineskwela, Math Tinik,

Bayani, etc. There are criticisms, however, on DECS’s utilization of the television for

such programs especially since the television’s reach is very minimal as opposed to using

radio as an instrument for learning (Teotico, 1987). Nevertheless, it is also important to

recognize these attempts by DECS to address issues on education among the youth. One

of the programs produced by ABS-CBN Foundation in cooperation with DECS is Hiraya

Manawari, a drama anthology focused on teaching values to children.

Although the reception, consumption, and reasons for the consumption of media

of an individual may vary from one person to another (Aarsand, 2007; Donald, 2008;

Ekstrom, 2007; Hust & Brown, 2011; Lemish, 2008; Scantlin, 2011; Takahashi, 2008),

there are still reasons to believe that media has various effects on its children audiences.

These effects may vary depending on the kind of programs produced and shown for

them. Some of these are cognitive effects (Barr, 2011; Kirkorian & Anderson, 2011),

some are social effects (Garcia, 2004; Mares, Palmer, & Sullivan, 2011; Valkenburg &

Buijzen, 2011; Wilson, 2011), while others are health effects (Vandewater & Cummings,

2011; Young, 2011). Reportedly, cartoons which are usually consumed by children,
 3

contain most of the violence on Philippine television, and constant exposure to these

cartoons may have negative effects on the children (Encanto, 1989). Effects of these

children’s programs on the audience, however, is not part of the research. The research

focuses on identifying the values constructed in the program. The study aims to identify

the themes or values present in each episode through its narrative, and to interpret

meanings and implications of the data from a local context. The study also aims to apply

a narrative semiotic and hermeneutic framework in analysing the text which also entails

categorizing the episodes using the study’s frameworks as basis.

Since the focus of the study is on values, it is important to look at the concepts on

values, especially in a local context. In 1988, then Senator Leticia Shahani spearheaded a

study on Filipino values, commissioned to the Ateneo de Manila University, which was

jointly initiated by the Senate Committee on Education, Arts and Culture, and the

Committee on Social Justice, Welfare and Development (Moral Recovery Program,

1988). The study came up with an identification and enumeration of the strengths and

weaknesses of the Filipino character.

The perceived positive traits that surfaced were:

1. Pakikipagkapwa-tao
2. Family orientation
3. Joy and humor
4. Flexibility, adaptability and creativity
5. Hard work and industry
6. Faith and religiosity
7. Ability to survive

While the perceived negative traits that surfaced were:

1. Extreme personalism
2. Extreme family centeredness
3. Lack of discipline
4. Passivity and lack of initiative
5. Colonial mentality
 4

6. Kanya-kanya syndrome
7. Lack of self analysis and self reflection

The findings on this research implied that the positive traits of the Filipinos may

also become negative when expressed in an extreme manner (i.e., family orientation to

extreme family centeredness). The intention of the government in addressing moral

issues, and the commissioning of such research, is commendable. There are, however,

criticisms on the premise by which the research was done. First, there was an assumption

that the cultural traits of the Filipinos are to blame for the lack of development and

progress of the people as a nation. This perspective implies an attribution of the national

failure of the people to the intrinsic defects in the Filipino personality (Maggay, 1993).

Second, the research lacked an analytical framework comprehensive enough to take into

consideration various contexts by which the traits cited above may be fully understood.

The study commissioned by the government to the Ateneo de Manila University, looked

for the supposed values and traits of the Filipinos. Looking for specific traits and

branding them as Filipino values, however, pose some issues and limitations. This is

because there is now an obsession in looking for values that are unique in our cultural

context. Looking for unique traits becomes problematic since elements of values

expressed by Filipinos may also be found in other cultural contexts. It is, however, the

way by which these universal values (values present in other cultures) are expressed,

ranked, or emphasized that they take a Filipino angle or context (Gorospe, 1994).

Instead of theorizing on what the Filipino values are, it may be more apt to

formulate a basis on how to study Filipino values through the expression and orientation

of these values. One theory on this is the concept of pamantayan (standard) as a basis for

understanding the Filipino value system (Jocano, 1992). Pamantayan has three
 5

operational levels, one of which is asal, which is also the focus of the study, since it is the

expressive core of an individual making it more observable (Jocano, 1993). There are a

number of writings on values but most of these tend to be Manila- or Tagalog-centric

(Andres, 2002; Bulatao, 1964; Hollnsteiner, 1964; Lynch, 1964). Similarly, the values

looked into by this study were generally limited to Manila/Tagalog values and

perspective in a sense that the episodes were analyzed in my own perspective and context

as a Tagalog native.

It has also been argued that Filipinos have a dual value system in gauging how to

behave and conduct themselves in certain situations, one of which is acquired

indigenously or subconsciously, and the other is acquired exogenously (Jocano, 1992).

The foreign-derived or exogenous model guides the conscious behavior of the Filipinos.

This model is generally Western in nature, and brought to the Philippines by its

colonizers. The indigenous model, on the other hand, works at the subconscious level of

the Filipinos with native or traditional values as its basis. These two value systems exist

side by side but function independently of each other. When these two models are

utilized by an individual for a certain situation, “inner incongruences”, as how Jocano

(1992) puts it, sometimes arise where the exogenous values and indigenous values clash

with one another. This phenomenon consequently brings problematic issues in value

formation in general.

The study of signs, or semiotics, is also an integral part of the research since it is

by this principle by which the data are gathered and analyzed. Signs are arbitrary in

nature. As such, there is no natural reason for a sign to be linked to a particular thing,
 6

meaning, concept or idea (de Saussure, 1959). The signified, on the other hand, is linear

since it represents a span measurable in a single dimension, thus a line.

Semiology is important in understanding the process of myth creation where the

sign is used as the signifier to which a new meaning is added, making the sign the

signified (Barthes, 1957). These myths are ideological in nature and are often based on

cultural and societal norms of a nation. They do not conceal anything, but they do,

however, distort meaning. By demystifying myths, one discovers the ideologies from

their cultural representations.

Semiotics is helpful in analysing the text and the data gathered especially with the

nature of values as symbols. These values function as signs, as opposed to functioning as

the signified, for these values connote and bring more than just one ideology and

meaning. Studies focusing on values have already been made in the past. Some of these

focused on the construction and portrayal of values in advertisements and programs

(Canlas, 2008; Carbonel, 2000; Ordinario, 2000; Panao, 2009; Salirungan, 2007), while

others focused on the effects of media on the values of an individual (Espina, 2004;

Pablo, Silverio, & Valenton, 2002). This research, on the other hand, aims to look at the

construction of values based on the value orientations presented in the program. One

similar study is on the presentation of values of a children’s show as a platform for

educational media (Platero, 2009). Another study focused on values and humor which

was also guided by Jocano’s pamantayan system (Sequitin, 2010). There were also other

studies made on the program Hiraya Manawari. One study looked at the role and

portrayal of children through the narratives in the program (Marcial, 2012), while another

study was focused on the production of values in a fantasy genre (Colindres, 2000).
 7

While Colindres’ study utilized the fantasy theme analysis, it also used the framework of

semiotics in analyzing selected episodes in the program. Similarly, this study utilizes

semiotics for the methodology, and is guided by Jocano’s pamantayan system.

 CHAPTER II
THEORETICAL GROUNDING AND METHODOLOGY:
A SEMIOTIC AND HERMENEUTIC APPROACH IN
VALUE CONSTRUCTION

This qualitative study strived to look for the values constructed in the children’s

program, Hiraya Manawari. The narratives were examined and analyzed semiotically

and hermeneutically. The study was guided by F. Landa Jocano’s concept of

pamantayan (Jocano, 1992) to provide a localized context and understanding on values.

Jocano’s concept of pamantayan

Pamantayan is a standard which also refers to the level to which people adheres,

as dictated by customs, in order to be deemed acceptable in a society. Moreover, it serves

as a basis on whether an act is good or bad, and it also refers to ethical and moral ways of

thinking (Jocano, 1992). As a standard, pamantayan shapes how people think and

behave, and in some ways, it becomes a directive force or an action-guiding principle to

which people refer in evaluating behavior, choosing goals, or making decisions.

Pamantayan has three operational levels: halaga (worth), asal (character) and

diwa (soul). These levels are further discussed in the succeeding chapters. The main

variable the study delved into is on the asal level given that it focuses on the expression

of an individual’s values, thus making it more observable. It does not necessarily mean,

however, that other aspects of the pamantayan system were not observable in the text.

Elements that support other levels of pamatayan are discussed briefly in a separate

chapter.
 9

Asal refers to the commonly shared rules of conduct in interpersonal and

intergroup relation which are learned and internalized while growing up. As such, asal

serves as the ethical and moral standards by which a person defines and expresses himself

(Jocano, 1993). It is intrinsic to one’s personality and lies deep in one’s subconscious

(lubog na kamalayan). It is often referred to and mistaken as ugali or character. Asal,

however, is more than just character; it is the basis of character, and the expression of

one’s inner quality or behavior. It is not imposed from the outside, rather it stems from

within an individual as part of human nature. It also serves as the standard by which

one’s pagkatao (personhood) is known and manifested.

Asal has three major elements: kapwa (relational standard), damdamin (emotional

standard), and dangal (moral standard). Kapwa refers to the high premium one places on

being a part of a group or a social collective identity (Jocano, 1993). The kapwa, as a

relational standard, hinges on the way a person interacts with other people in order to

achieve or maintain harmony among members of the group. Ultimately, kapwa hinges on

the premise that everyone is human and should be treated equally as fellow humans

(kapwa tao) despite differences in social or economic status. In communities where an

organizational structure is observed, however, the members still recognize the hierarchy

that the structure entails. Nevertheless, the membership of the people in the community is

perceived to be the same, thus everyone is still to be treated as equals. It emphasizes the

importance of fostering and having harmonious relations with others not just to smoothen

interpersonal relations with others on a surface level, but also because it is an ethical

demand and a moral obligation for an individual to live in harmony with fellow humans.
 10

As an emotional standard, damdamin bears the emotional imperatives of the

values system. It is said to be mainly responsible for being personal and emotional of

Filipinos (Jocano, 1993). More than pertaining to emotions emanating from the self,

however, damdamin is also responsible for evaluating one’s actions to others. Kapwa as a

relational standard focuses on achieving harmony with others, and puts premium on

being part of a collective identity. Damdamin, on the other hand, is responsible on how

these relationships with others form, especially since one consults his/her own damdamin

in evaluating what one could do or should act in relation to others. Damdamin is also

considered the standard for judging an act as good or bad, right or wrong, and so on, for it

establishes the framework and content of the intuitive feel a person uses in making

decisions.

Dangal refers to one’s social honor and dignity. As a moral standard, dangal is

the embodiment of the moral imperatives of the pamantayan system. Dangal as a value is

used to characterize one’s identity based on his principles, ideologies, practices, and the

people surrounding him/her. Dangal involves knowing what is morally right, feeling

what is morally good, and acting in a way that is morally desirable (Jocano, 1993). As

such, dangal encapsulates the essence of both the kapwa and damdamin standards since, I

assume, one must take into consideration the self (feeling) before taking into

consideration other people through interaction (knowing), and then interaction with the

society or community as a whole (acting).

Since asal is the expressive core of the pamantayan system, it is the most

observable element among the three levels of value orientation of the system (halaga,

asal, and diwa). This is also the reason why I used the asal level as a guide for the
 11

categorization and classification of the episodes. It is, however, limited to the expressive

nature of human behavior, thus it cannot be used to describe other entities or phenomena

outside what is observable of a human’s actions, traits, and behavior. I looked into the

value orientation of the main character/s in relation to self, to others, and to society as a

whole using the themes found in the narratives of each episode of Hiraya Manawari.

Consequently, this categorization may be juxtaposed with the three major elements of

asal: damdamin as an emotional standard, kapwa as a relational standard, and dangal as a

moral standard, respectively.

I have chosen the concept of pamantayan as a framework to guide me in the data

analysis of this research because of the local context it provides. There is, however, a

question on whether this framework holds true for all ethnic groups in the Philippines.

This may also serve as one of the limitations of the framework of pamantayan. Based on

further readings suggested by the author in his literature, I am of the opinion that most of

his research are done in the Tagalog region and nearby groups. This limitation informs

the scope of the research.

Narrative semiotics

Texts are systems of signs consisting of two components: the surface structure

and the underlying meaning (Titscher et al., 2000). The surface structure is easily

recognizable and accessible while the deep structure refers to the fundamental system of

values which is embedded in the text. The system of values consists of norms, values, and

attitudes which are considered universal for they reflect the value and norm structures of

specific societies. Based on this premise, I have used the concept of narrative semiotics in
 12

analyzing texts to look at the surface level of the narrative, and also for the analysis of

selected episodes. The primary concept of this study is the construction of values in the

children-oriented program, Hiraya Manawari. The following are the concepts I

examined in the narrative, and their indicators helped pinpoint the data needed for

analysis.

1. Character – this pertains to the portrayal of the main character in the episode,

his/her behaviors and interaction with other elements in the narrative

2. Context - pertains to the setting and other information that give context to the

narrative

3. Narrative – this pertains to the story of the text

4. Themes or Discourse – this pertain to the topics and manner by which the

dialogue is delivered by the characters

5. Visual techniques – this pertain to the framing, symbols, treatment and other

techniques found in the text

These concepts and indicators are also the bases by which the research instrument that I

used for the data gathering is formulated. The instrument below is a modified version of

the semiotic square model of Titscher et al. (2000).

 13

Table 1. Narrative Guide (Instrument)

Concept Indicator
Character Behavior
Interactions
Context Setting
Inter-character Relations
Narrative Main Story
Supporting or Sub-story
Themes or Discourse Topics
Manner of Delivery
Visual Techniques Framing
Signs and symbols
Treatment
Other Techniques

The instrument served as a guide in determining the elements present in the

narrative by which a deeper analysis (determining the value/s embedded in the text) was

also made. I have determined the possible values or themes that surfaced in each

narrative from which further analysis was drawn.

Objective hermeneutics

In hermeneutics, it is believed that the interpreter is influenced or conditioned in

his/her understanding by his/her own cultural knowledge and experience. For objective

hermeneutics, meaning is an objective social structure which emerges in mutual action

(Titscher et al., 2000). Essentially, objective hermeneutics aims to show the objective

structures of interactions. It is considered objective because the structure works

independent of the subjective intentions of the participants.

 14

One basic concept involved in objective hermeneutics is context variation. To put

it simply, units to be analyzed are put in conceivable contexts in order to reconstruct or

look for the meanings that the unit text carries (Titscher et al., 2000). A context may

either be external or internal. An external context refers to the context or information

outside the text, for example, the culture and society in which I live. Internal context, on

the other hand, refers to the context or information derived from the text. In the appendix,

it can be seen that I included the internal context found in each episode. The external

context of each episode may be briefly seen in the ‘themes and discourse’ entry in the

research instrument, and may also be found in the appendix. Further elaboration of the

external context, however, was only given in selected episodes that were discussed for

analysis, so as to give a clearer picture of the concepts that were examined and illustrated.

I looked into the dialogue of each episode in utilizing the framework on objective

hermeneutics. The analysis was guided by Stefan Titscher’s framework of concrete

research steps in objective hermeneutics (Titscher et al., 2000), and below is a modified

version that served as a guide in analyzing the themes or discourse in the narrative based

on its dialogue. These were just guide questions, however, and the analysis may or may

not be limited to these questions.

1. How can the meaning of the dialogue be understood easily by a reader? How can

the statement be paraphrased?

2. What might be the intention of the speaker by giving such statements? What does

he/she wish to present or evoke in his/her listener?

3. What may be the hidden factors in the dialogue? How else can the dialogue be

read? What else might the dialogue mean in other social situations?
 15

4. What are the relationship/s between the speaker and the listener?

5. What is the course the discourse may take beyond the dialogue on screen? What

arguments may be expected? What are the connection points in the text?

Operational framework

The study focused on looking at how values are constructed in children’s

programs, specifically the values in the program Hiraya Manawari. The study looked at

the narratives of the episodes of the program as guided by the principle of narrative

semiotics. From the narratives, I looked for the themes that surfaced. I also looked at the

interaction of characters within episodes and employed an objective hermeneutic

interpretation in looking for the values embedded in the text. From these two approaches,

I integrated the findings into a cohesive interpretation of the values constructed in the

text.

Methods

The study focused on the construction of values in the program Hiraya Manawari

and employed a qualitative approach. The study used textual analysis as a method.

Specifically, the study employed narrative semiotics and objective hermeneutics in

looking at the text.

Sampling and units of analysis

From all the episodes that were aired from 1995 to 2002 (Marcial, 2012), ABS-

CBN, the producer of the program, released a four-volume compilation of episodes of the

program Hiraya Manawari. Some of the episodes in the compilation were directed by
 16

Noel Anoñuevo, Jon Red, Kokoy Jimenez, Rene Guidote, Rowena Concepcion, and

Mariles Gonzales. Some episodes were written by Gina Fernandez, Sammy Esquillon,

and Lem Garcellano. Artists playing roles in the program were some of the child stars at

that time such as Carlo Aquino, Angelica Panganiban, BJ Rodriguez, Agatha Tapan,

Michael Roy Jornales, Alfred Labatos, Gregorio Rodriguez III, Lorena Garcia, and Jiro

Manio, among others. Aside from the children artists, regular actors who portrayed the

roles of adults include Bodjie Pascua, Bernard Palanca, Angela Altomonte, and Dexter

Doria.

I used the 52 episodes found in the compilation in gathering data for this research.

From this data, I chose selected episodes using convenience sampling, which were

analyzed based on the values that surfaced in the episode. I only further discussed

episodes that showed values or norms that were mentioned in the pamantayan framework

by Jocano to limit the scope of discussion in this work. The units of analysis for this

study is the narrative and its elements (characters and dialogue) of the selected episodes,

as mentioned.

The reason behind choosing the values education DVD compilation by ABS-CBN

Foundation Inc. is that the episodes are focused on teaching values to children and also

that the DVD compilation has been primarily released for the consumption of Filipino

schools and students.

Data Analysis

I analyzed the data in two ways. First was through narrative semiotics, and the

second was through an objective hermeneutics framework. The text was first analyzed by
 17

its narrative (the narrative summary of each episode may be found in the appendix). The

data gathered from this were broken down into thematic blocks (data presentation in

Chapter III). The essential elements (characters, contexts, narrative, themes and visual

techniques) were also identified. The elements were first analyzed individually per

episode, then I analyzed the relationship between the elements within the episode.

Finally, based on the narrative analysis, I looked at the themes, discourse and values

embedded in the text. I also took into consideration the dialogue and the discourses

found in each episode with the framework of objective hermeneutics. The analysis from

these two frameworks were then further analyzeed and related with the framework on the

values system by Jocano.

 CHAPTER III
CATEGORIZATION OF VALUES BASED ON THEIR ORIENTATION

Using the themes found in the narrative of each episode of Hiraya Manawari, I

classified the episodes using the asal element as a guide. I looked into the value

orientation of the main character/s in relation to self, to others, and to society as a whole.

Consequently, as also mentioned in the previous chapter, this categorization may be

juxtaposed with the three major elements of asal: damdamin as an emotional standard,

kapwa as a relational standard, and dangal as a moral standard, respectively.

Below is the tabulation of the 52 episodes examined, their respective category/ies,

and the values expressed under the category/ies. A summary and preliminary analysis of

each episode may be found in the appendix for reference.

Table 2. Categorization of values in each episode based on their orientation

Title of Episode Kapwa Damdamin Dangal

(Relational) (Emotional) (Moral)
VOLUME 1
1. Si Mithi at Si Maya Pakikisama Self-discipline Pagbabahala
2. Daigdig Makalat Concern Hiya
Thoughtfulness Self-discipline
3. Boses Pakikiramay Humility
Concern Love
4. Batang Smart Hiya
5. Elemento Pakikitungo Courage (accept Pagbabahala
one’s fault)
6. Daliri Discount Pakikisama Delicadeza Pagbabahala
Concern Hiya Righteousness
Patience
7. Obra Maestro Concern Hiya
8. Lumang Tanghalan Pakikiramay Awa
Delicadeza/
Amor propio
9. Si Martin, Magiting Care Courage
Concern (against fears)
10. Ang Kuya Kong Maton Pakikitungo Courage (face Pagbabahala
responsibilities)
 19

Title of Episode Kapwa Damdamin Dangal

(Relational) (Emotional) (Moral)
11. Palaruan Pakikiramay Awa
Understanding
12. Tanawin Admiration
Self-control
13. Nang Makialam si Luntian Thoughtfulness Delicadeza Paggalang
Truthfulness
VOLUME 2
1. Eggward Concern Love
Understanding
2. Ang Kulay Indigo Cooperation Self-fulfilment Pagbabahala
3. Varsity Jacket Pakikitungo Self-confidence
Friendship
4. Isang Gabi sa Buhay ni Self-worth
Lester
5. Prinsesang Dalisay Concern Delicadeza
Purity of heart
6. Dalawampung Tina Self-worth
(identity)
7. Ang Shorts ni Alejandro Self-confidence
8. Aklat Pakikisama Curiosity
Cooperation Resourcefulness
9. Imbisibol Pakikisama Understanding
10. Ang Pader Harmony Self-esteem
Understanding Self-worth
11. Regalo Concern Awa
Thoughtfulness
12. Ate Concern Love
Understanding Self-esteem
13. Anino Pakikitungo Humility
Friendship
14. Tren ni Isaw Pakikiramay Love
Understanding Sentimentalism
VOLUME 3
1. Bad Boys Pakikitungo Self-worth
(identity)
2. Awit ni Kuya Pakikiramay Cheerfulness
Affection
3. Ciel Familism/ Love
Family bonds
4. Tabby Self-acceptance
Love
5. Daddy ni Dinggay Family Self-worth
Belongingness (identity)
 20

Title of Episode Kapwa Damdamin Dangal

(Relational) (Emotional) (Moral)
Effective
Communication
6. Faith Pakikiramay Awa
7. Ang Lihim na Buhay ng mga Pakikisama Decisiveness
Estatwa
8. Apolonio sa Kaharian ng Respect Delicadeza Pagbabahala
Hardinia Care Paggalang
9. Batang Iskawt Pakikisama Delicadeza Pagbabahala
Dependability
10. Hiyas Pakikisama Awa Pagbabahala
Pakikiramay
11. Si Ria at ang Higante Pakikiramay Awa
Harmony
Effective
Communication
12. Bulalakaw Pakikiramay Awa
13. Haring Mapet Respect Delicaadeza Utang na
Loob
VOLUME 4
1.Ihip ng Hangin Understanding Awa
Love
2.Yakap Understanding Courage
Effective
Communication
3.Jessie Pakikiramay Courage (fears)
Friendship
4. Saranggola Pakikiramay Awa
Understanding Love
5. Ang Agimat ni Ingkong Tano Pakikitungo Courage
Belief in
oneself
6. Ang Hiwaga ni Bre-ar Pakikitungo Patience Pagbabahala
Resourcefulness
Self-reliance
7. Ang mga Lola Pakikiramay Self-discipline Paggalang
Care
8. 1305 Pakikiramay Joyfulness
Thoughtfulness Sentimentalism
9. Ang Hiling ng Palamuting Hope
Anghel Love
10. Anak ng Salamangkero Pakikisama Selfless Love
11. Tumba-Tumba Understanding Delicadeza Paggalang
12. Saranggola ni Boyet Family Bonds Love
 21

From Table 2, it can be observed that there are instances where there are two or

more elements present in each episode. It is also important to note that the element of

kapwa and damdamin are seen together in an episode, and that every episode show values

in respect to the self or damdamin (emotions). Moreover, all episodes that exhibit the

dangal element also show the concepts of damdamin and kapwa. It is also important to

note that there are episodes that show values on damdamin and kapwa but not dangal. I

examined the dynamics of the three elements in subsequent chapters of this thesis.

As the results have shown, there are episodes that depict the notion of kapwa and

damdamin. It may be inferred then that Hiraya Manawari represented the notion that

characters have the tendency to take into consideration their own feelings and the feelings

of their peers, as well as their relationship or interaction with others, as the basis of their

values. It is also noticed that all episodes exhibit values in relation to the self. This only

shows that the value orientation, and consequently its expression, of an individual springs

from his/her own self – his emotions, beliefs, and environment. As such, self is the basis

by which an individual interacts and expresses values to himself (damdamin), his fellow

humans (kapwa), or the society (dangal).

It can also be seen in the results that in order to reach the moral standard (dangal)

as basis for value orientation, one must first be able to satisfy the kapwa and damdamin

standards. The fact that these two standards are necessary for the expression of one’s

dangal (social honor), with the society or community, shows that the program

represented the values that illustrate the premium the characters give to their relational

status with one another and their emotions especially in the expression of their values. In

other words, it may be assumed, using the text as basis, that the constructed value
 22

orientations in the program imply that an individual is a relational and emotional person.

There were episodes, however, which showed the value of kapwa and damdamin but not

dangal. This is because the value orientation found in the episode is not geared towards

the society as a greater whole but only to the self (damdamin) or selected others (kapwa).
 CHAPTER IV
KAPWA AS A RELATIONAL STANDARD

As a relational standard, kapwa focuses on the value orientation of an individual

based on his/her interactions or relations with others. Kapwa constitutes the relational

imperatives of the value system. It has been said that kapwa hinges on the premise that

everyone should be treated equally as fellow humans (kapwa tao) despite differences in

social or economic status. There are several rules of conduct (patakaran) in order to

observe kapwa standards properly, some of which are pakikisama (to come along or to be

concerned), pakikitungo (to act humbly or to deal with properly), and pakikiramay (to

sympathize or to condole) (Jocano, 1993).

This chapter discusses the concept of pakikisama and its contexts of pakikisama

as the willingness to subordinate oneself, pakikisama as a means in achieving a common

goal, pakikisama as being a team player, and pakikisama as a convenient alibi. From

these, pakikisama may be seen and considered a group-oriented norm. The episodes that

expressed the value of pakikisama, based on the data given on Table 2 in Chapter III, and

which are also used in this chapter to illustrate pakikisama, are Si Mithi at Si Maya,

Daliri Discount, Aklat, Imbisibol, Ang Lihim na Buhay ng mga Estatwa, Batang Iskawt,

Hiyas, and Anak ng Salamangkero.

The concept of pakikitungo is also discussed in this chapter. Pakikitungo as a

coping norm and pakikitungo as an act of civility are further explicated. These two

contexts imply that pakikitungo serves as a preliminary relational norm where

relationships with others may start to form and develop. The episodes that expressed the

value of pakikitungo, based on the data given on the table in Chapter III, and which are
 24

also used in this chapter to illustrate pakikitungo, are Elemento, Ang Kuya Kong Maton,

Varsity Jacket, Anino, Ang Hiwaga ni Bre’ar and Ang Agimat ni Ingkong Tano.

This chapter also illustrates the concept of pakikiramay. This chapter provides

the contexts of pakikiramay as the governing norm in times of crisis, pakikiramay in the

context of losing someone, pakikiramay as a manifestation of genuine concern, and

pakikiramay that springs from shared experiences. These contexts support the notion that

pakikiramay is a norm which highlights the value of understanding. The episodes that

expressed the value of pakikiramay, based on the data given on the table in Chapter III,

and which are also used in this chapter to illustrate pakikiramay, are Boses, Lumang

Tanghalan, Palaruan, Tren ni Isaw, Awit ni Kuya, Fairth, Hiyas, Bulalakaw, Jessie,

Saranggola, Ang mga Lola, and 1305.

The concept of familism as the high regard for one’s own family is also examined

in this chapter. In the end, this chapter illustrates how pakikisama, pakikitungo, and

pakikiramay are supportive norms of kapwa as a relational standard.

Pakikisama as the willingness to subordinate oneself

Pakikisama refers to the common shared expectations of a group to go along with

someone if it is for the good of the whole group. This should not be mistaken, however,

as an act advocating blind conformity to traditional and common ways. Pakikisama is the

willingness to subordinate one’s self-interest for the benefit of the group.

Ang Lihim na Buhay ng mga Estatwa is one of the episodes that clearly showed

pakikisama as the willingness to subordinate oneself. Henero Panadero was the newest

statue in Henerala Square, and his getting along well with the other statues manifested his
 25

pakikisama. Henero was a very playful and caring statue. Generala was one of the old

statues situated in Henerala Square who served as the centrepiece statue of the place. She

always looked at the blue mountain (asul na bundok) longing to taste real freedom

because it was said in the episode that it was only there where the statues can freely move

and do what they want. Darwin, the burger shop mascot, and Tik, Tak, and Toe, the

dwarf statues, were the other characters in the narrative. These statues had lives of their

own but was unknown to the people. If people saw the statues moving, the statues would

be turned to dust. The only place they can truly be themselves was in the blue mountain

(asul na bundok) that Generala always talked and dreamed about. This was the internal

context that can be found in the narrative. Generala, the considered leader of the group

(as symbolized by being in the center, and the Henerala Square being based on her

name), deeply desired to run away and to taste freedom. In the narrative, Henerala was

depicted as one who was lethargic, depressed, and one who was slowly losing hope. The

only thing that made her day was when she was able to gaze at the blue mountains

(freedom). As a leader, although she wanted to escape, she could not do it alone. It is the

same case in our context. No matter how honorable or ambitious our leaders may be, it

would not make much difference if the people would not cooperate and join in the causes

forwarded by the community (pakikisama). This notion of cooperation was seen in the

episode Ang Lihim na Buhay ng mga Estatwa when all the statues contributed and

planned on how to escape and finally live in real freedom.

The greatest act of pakikisama that Henero was able to perform was when he

moved (effectively breaking the rules of being a statue) and tried to scare away the

contractors despite knowing the consequences and implications to his well-being (Figure
 26

1). This act was the embodiment of the rationale behind pakikisama, and that is to

prioritize the group’s welfare, and to be concerned about, to be supportive of, and to be

helpful to people. Henero really showed concern for Generala’s and the dwarf statues’

welfare when he decided to scare the contractors. Henero’s acts also served as his support

for the group’s plan of escaping prior to the demolition. Henero’s act showed his

willingness to subordinate himself for the benefit of the group even though he was not the

‘leader’ of the group.

Figure 1. Henero Panadero trying to scare away the contractors (Ang Lihim na Buhay ng mga Estatwa).

The concept of pakikisama as the willingness to let go of self-interest for the

benefit of fellow humans (kapwa) can also be seen in the episode Anak ng Salamangkero.

Pepe, Pongko and Bianca were friends who eventually befriended the Anak ng

Salamangkero (magician’s child). Dominador was a worker in the local fair who was on

the lookout for people or children with unusual talent to sell for the shows. The Anak ng

Salamangkero was rumored to live in the forbidden mountain. One day, Pepe, Pongko

and Bianca decided to go to the mountain. Pongko, however, hesitated to come along
 27

with Pepe and Bianca for he was scared of what might be in the mountain. He was

eventually convinced by Pepe and Bianca that they should go together as one, for one

another.

PEPE:
Aatras ka pa ngayon?

BIANCA:
Ito naman si Pongko, natakot na naman.

PONGKO:
Eh baka ano pa ‘yung lumitaw dun eh.

PEPE:
Kaya nga aalamin natin eh. Malay mo meron ngang
mumu doon na kumakain ng mga batang takot.

PONGKO:
Matapang lang kayo ngayon pero pag nandun na kayo,
tatakbo din kayo.

BIANCA:
Sige na, Pongko. Sumama ka na. Mas marami, mas masaya

PEPE:
Magkakasama tayong pupunta. Magkakasama tayong aalis.
Lahat para sa isa.

PONGKO:
Sige na nga.
-from the episode Anak ng Salamangkero

One can see from this encounter that Pongko was clearly uncomfortable with the

idea of going to the forbidden mountain. He, however, eventually acquiesced to his

friends’ request to come along with them. This was an example of an individual

subordinating himself and his interest for the benefit of the group. Bianca clearly wanted

Pongko to come along because she thought that the experience would be more fun if

everyone was there. It may also be implied, however, that Bianca and Pepe actually
 28

needed Pongko to come along with them because going without him might be a handicap

for the group and its dynamics. Whatever the reason may be, it was clear that Pongko,

despite his qualms on the matter, gave in for the group’s benefit.

Pepe, Pongko and Bianca also showed pakikisama when they went out of their

way and subdued their interest of self-safety when they decided to warn the Anak ng

Salamangkero of the dangers that laid ahead of her. In this essence, pakikisama is not

necessarily done when it benefits the majority of the group. Rather, pakikisama should be

done because it levels the danger or evil to the good of the entire group. In this case,

although Pepe, Pongko and Bianca knew that they too would be put in danger, they had

taken into consideration the welfare of their new friend, Anak ng Salamangkero, and

deemed that her safety was also of the group’s utmost concern. If they did not warn her,

she would be easily captured by Dominador. In calculating the danger with which they

were faced, Pepe, Pongko and Bianca had a better chance to fight back as a group, as

opposed to the Anak ng Salamangkero fighting Domindor by herself.

The episode Si Mithi at Si Maya, likewise, showed this notion of pakikisama. This

was especially seen in the character of Mithi. Mithi and Maya were young diwatas

(fairies) in training. They were both gifted and were admired by their classmates and

even their teachers. Mithi was a very responsible student who devoted her free time

training, learning, and practicing. Maya, on the other hand, was not as diligent as Mithi.

Although, she showed interest in learning, she tended to be complacent, and consequently

had taken studying for granted. Mithi and Maya were both well-liked by their peers but

due to her character, Mithi spent less time with her friends and spent more time by herself
 29

studying and training. As such, the interaction between Mithi and the others were limited,

as opposed to Maya’s interaction with others.

The internal context of the narrative was that Mithi and Maya were fairies in the

world of the diwatas or guardians of the field. The characters were dressed in clothes

which resembled various things that can be found in the field such as flowers, plants,

trees, and so on. Essentially, there were three levels in the organizational structure of

their community. The highest position was that of Impong Diwata’s, which was fortified

by the grand costume or clothes she wore. She was responsible in giving out wands

(silver or gold) which corresponded to the level of the diwata in the society. The second

level was that of the senior diwatas, which included their teacher. Lastly, the lowest rank

was occupied by the diwatas in training, like Mithi and Maya.

Just like any society, it can be seen that there is an organizational structure in the

diwatas’ society, and that the levels also correspond to the responsibilities and

expectations that the society put upon a member on a specific level. For example,

professionals or people who have achieved a certain degree of education are expected to

be more understanding, more knowledgeable, and the expectations on them, whether on

the aspect of financial capability, intelligence, or others, are much higher compared to

that of the average person. Likewise, there are less expectations imposed by the society

on children. In the episode Si Mithi at Si Maya, Mithi and Maya rose from their ranks

when they were given the pilak na baston (silver wand) by Impong Diwata. As such, the

society’s expectation on them also increased. It may be interpreted that Mithi was aware

of this for she took the responsibility seriously. Maya, on the other hand, may have taken

the rise of her rank for granted, as could be inferred from her actions.
 30

Mithi has shown pakikisama when she disregarded her own leisure time to fulfil

the important task given to her by Impong Diwata which she knew will directly affect the

community of diwatas. She was essentially working for the benefit of the whole group

since failing in her task might endanger the welfare of each member of the group. Such

expression of the norm of pakikisama also gives the notion that pakikisama may be an

indicator of an individual’s concern for his/her kapwa. It is not to be confused, however,

that concern per se may be indicative of the concept of pakikisama. If one looks at the

Table 2 in Chapter III, it may be noticed that there are episodes where ‘concern’ as a

value is noted, but is different from the value of pakikisama. This is because the episode

showed concern as a value but did not fully show the whole concept of pakikisama which

entails other elements and complexities aside from just the aspect of concern.

Pakikisama as a means in achieving a common goal

I also reckon that pakikisama should be practiced in order to achieve a common

goal. I have discussed previously that cooperation is an essential aspect in the concept of

pakikisama. I have illustrated the episode Ang Lihim ng Buhay ng mga Estatwa as

pakikisama that entails the subordination of one’s self-interest for the benefit of the

whole group. The episode, however, also showed the value of pakikisama as a means of

achieving a common goal. In this case, the statues were able to push through with their

plan of escaping because everyone practiced pakikisama and cooperation. Even if Henero

did not sacrifice himself for the benefit of the group, his cooperation and concern for

everyone in the group, as well as the work he did for their goal, may still be considered
 31

pakikisama since they were working for a common goal that would benefit the group, or

which the group has aimed to do.

Pakikisama, as a means in achieving a common goal, can also be seen in the

episode Aklat. Carla was an elementary student in a public school and the topic that they

were discussing in class was about the solar system. Everyone in the class was enchanted

and intrigued by Ms. Paz’s description of the solar system. Together with her students,

Ms. Paz went to their school library and tried to borrow the book about the solar system

with pictures so they would be able to see for themselves how the solar system looks like.

Since the setting of the narrative was a rural public elementary school, the resources were

very limited, and oftentimes, already old and barely usable. As such, everyone was

disappointed when they found out that the book was already too old and the pictures

faded. Carla and her friends eventually decided to raise enough money to buy a new

book, which they believed was only worth 30 pesos (Figure 2). Everyone pitched in but

they still fell short of budget. They then decided to spend their weekend working at a

farm to add to their budget. Everybody participated, and they all had fun. In this context,

one can see that everyone expressed pakikisama when they all agreed to do things

together in order to achieve their goal of raising funds to buy the book so that everyone in

the class will get to see how the solar system looks like. Technically, Carla and her

classmates had three goals: 1) to see how the solar system looks like, and since the book

in their library was not able to give them that, another goal was identified, 2) to raise

money to buy a new book, this goal was needed to be achieved in order to overcome the

last goal, which was 3) to actually buy the book. From these goals, Carla and her friends

were able to do numbers one and two. They were able to raise money but they were not
 32

able to buy the book because the price already inflated and was now marked at 200 pesos.

Despite not being able to buy the book, they were still able to achieve goal number one

because Carla drew what she saw in the book on the board, which everyone joined in

completing the drawing. As I have previously mentioned, Carla could not have done all

this alone. She needed the help of everyone in order to achieve their common goal. As

such, pakikisama plays an important role in achieving a group’s common goal as

efficiently as possible.

Figure 2. Carla and her friends discussing plans on how to buy the book (Aklat).

This notion of pakikisama as an important means in achieving a common goal can

also be seen in the episode Hiyas. Celine, Alfred and Marco were best friends who like to

play in the forest. The story took place in a forest that was about to be deforested and

where a new establishment will be built. The forest was on the verge of being destroyed,

and the plants and animals were terribly distressed. Hiyas was the keeper of the forest,

and was believed to be the only one capable of saving the forest. One can only hear her

singing voice if he/she was truly and sincerely concerned for the forest and all the
 33

creatures in it. Marco was able to hear Hiyas’ singing voice, and so one of the trees asked

him for help in looking for Hiyas. Although Marco and his friends hesitated, they

eventually agreed. From there, Marco, Celine and Alfred had acquired goals, and those

were 1) to help the trees, and in order to do that, they had 2) to look for Hiyas. The three

showed pakikisama when they worked together as a team, not individually, to achieve

their common goals of helping the tree and looking for Hiyas. The group was able to find

Hiyas but they were unable to fulfil their ultimate goal which was to help and save the

trees and the animals in the forest. This was because they could not save a forest with just

the three of them, especially when there were other, more powerful people, determined to

destroy the forest. The degree of success in achieving a goal is dependent on the number

of people working on the common goal. In this case, the contractors were obviously not

working for the same goal of Marco and his friends. Since the contractors were more

powerful than the three children, they were able to achieve their own goal at the expense

of Marco, Celine and Alfred’s goal. Nevertheless, I have illustrated the value of

pakikisama as a means of achieving a common goal through the story of Hiyas.

Pakikisama, however, is not necessarily the only thing needed for the success of claiming

the goal as there are still other things to consider such as limitations on resources, as

shown in Aklat, and limitations of the team’s capabilities, as seen in Hiyas.

Pakikisama as being a team player

Pakikisama can also be shown when one becomes a team player and does what

he/she is supposed and expected to do, especially when he/she is working in a group.

This notion of pakikisama may be seen in the episode, Batang Iskawt. Mickey was an
 34

irresponsible scout member who was out on the field with his troop for outdoor activities.

He easily forgot his responsibilities and did not take his tasks seriously. He was teamed

up with Tony, Gerry and Marco. Mickey showed his incompetence as a scout member

when he failed to bring the canned goods that the team was supposed to eat which were

assigned to be brought by him. He also failed the team when he used the group’s supply

of potable water in cooking the rice just because he was too lazy to get water from the

lake. He, moreover, burnt the rice that the team was supposed to eat because he loitered

in the forest, leaving the rice cooking. During their trekking, he stopped marking their

trails, the task he was assigned, thinking that the task was pointless since they already had

a map and a compass with them anyway. In the end, Gerry who was holding the compass,

fell down, and as a result, the compass got broken. The team got lost on their way back to

the camp since they had a broken compass and Mickey stopped marking their trails.

These actions manifested Mickey’s disregard and lack of concern for the welfare of the

whole team. He has failed to do his tasks properly and has consistently disregarded the

value of responsibility and dependability. Ultimately, he failed to be a team player. By

failing to be a team player and considerate of his teammates, Mickey may be seen as

walang pakisama (inconsiderate) to his teammates. Mickey was able to redeem himself,

however, when he decided to take on the responsibility of looking for a golden snail,

Auwi’s task for him, in order to bring back his team’s original form (Auwi, the guardian

of Mt. Makiling, turned them into frogs when they disturbed her sleep). In the end, he

was able find a golden snail which enabled his teammates to go back to their original

form.
 35

Pakikisama as a convenient alibi

The concept of pakikisama is sometimes used in a wrong context such as the

rationalization of going along with others’ actions despite knowing that it is wrong.

Pakikisama becomes an alibi for justifying offensive acts. This twisted use of pakikisama

can be seen in the episode Imbisibol. Pepe and his friends had the habit of treating a

member of the group as invisible, to the point of emotionally hurting that member (Figure

3). Nonong, Daniel and Tito usually went along with this practice that Pepe initiated in

the group as a tradition. Throughout the episode, it can be seen that Nonong and Tito

knew that what they were doing was wrong, they did not stop, however, because they

were going along with Pepe’s rules. When they were able to get out of Tandang Enyong’s

house, Nonong and Tito badly wanted to lift their ‘invisible’ treatment off Daniel but

they still did not push through it because they did not have the go signal from Pepe, the

perceived leader of the group, who was really invisible that time (Pepe accidentally

consumed Tandang Enyong’s invisibility potion). This scenario showed the tendency of

some to blindly go with the ‘leader’ of the pack despite knowing that what he/she may do

may not always be right because, in the end, they could always use the concept of

pakikisama as a convenient alibi for doing such acts.

This notion of pakikisama can also be seen in the episode Daliri Discount where

Angelo was encouraged by his classmates to use “daliri discount” or to shoplift from the

convenience store. Angelo was tempted, and he was about to shoplift when a divine

intervention happened. He was brought into a crossing with Hecate where he was forced

to think about the implications of his decisions. In the end, Angelo opted to do the right

thing and veer away from shoplifting. If, however, he did push through with the
 36

shoplifting, chances are that he would use the concept of pakikisama (with his

classmates) as an excuse for shoplifting.

As opposed to earlier presentations of pakikisama as a positive norm, pakikisama

used in this context may be deemed negative. There is a fine line between practicing

pakikisama for the benefit of the group and the welfare of individual members for the

better, and expressing pakikisama in blindly going along with the whims of a perceived

higher member in the group in hopes of gaining a positive reputation from him/her. It

may be inferred then that pakikisama on its own is neither positive nor negative, rather it

is by its expression and the rationale behind the expression where one can actually

determine if the kind of pakikisama expressed is in good faith or not.

Figure 3. Daniel being treated as invisible (Imbisibol).

Pakikisama as a group-oriented norm

Based on the explications on the notion of pakikisama given in the previous

sections, it can be seen that pakikisama is primarily a group-oriented norm where its
 37

expression is usually based on a group dynamics. We have seen that pakikisama may be

considered as an individual’s willingness to subordinate his/her self interests if it is for

the benefit of the group. Pakikisama may also be seen as an essential means in achieving

a common group goal. Moreover, pakikisama may also refer to an individual’s

willingness and actions of being a team player who does his jobs and tasks expected from

him. On the other hand, pakikisama may also be seen as a convenient alibi by some in

justifying doing condemnable acts. This is a conflicting notion of pakikisama from the

earlier examples of pakikisama. In the end, the common factor in all these notions is that

they all work in the context of being in a group, and acting or doing things in a way that

is related to the group (i.e., working together on a project, going along with the group’s

plans, etc.). From this, it may be inferred that the notion of pakikisama expressed by

Hiraya Manawari is that of always being concerned with and being a part of a group.

Pakikitungo as a coping norm

Another supportive norm of kapwa is pakikitungo which means to act humbly, to

adjust, to relate with others properly, to deal with critical situations in the most

appropriate way, and to maintain grace under pressure (Jocano, 1993). Pakikitungo is a

coping norm in the sense that it is used when the consequences of one’s action is not in

his control such as situations brought upon by authorities in work.

An example of pakikitungo as a coping norm can be best seen in the situation

shown in the episode Elemento. The setting of this episode was in a factory where Mang

Abdul was one of the senior workers in charge of the factory’s storage room. He was also

the direct supervisor of the trainees like Rafa. Everyone in the factory knew how hard it
 38

was to work with Mang Abdul but they could not do anything about it since he was a

senior in the factory and every trainee had to go through his training.

FACTORY WORKER (NARRATOR):

Yan ang bagong assignment ni Rafa. Tumutulong siya ngayon sa bodega.
Lahat ng trainees, dumadaan sa ganyang trabaho at hindi sila nag-eenjoy.
At alam ninyo ba kung ano ang dahilan?
(flashback)
Si Mang Abdul. Ang namamahala sa bodega. Hindi niya makasundo ang
mga trainee. Ang tingin niya kasi e hindi sila seryoso sa trabaho.
-from the episode Elemento

This scenario is an example of a situation that is not in an individual’s immediate control.

The workers were expected to adjust (makitungo) with Mang Abdul’s way of training and

disciplining his interns.

Pakikitungo as a coping norm may not only be expressed in situations at work but

also with other groups of people. The episode, Varsity Jacket, showed this. Dino was a

newbie in the pool of basketball varsity players. As such, he had to go along (makitungo)

with the older members of the team. Dino was able to go along with the team but it was at

the expense of his friendship with Frida for he was forced to look down on her like what

the other team members do. In the end, Dino chose his friendship with Frida over fitting

in with the varsity team members. This encounter showed that there should be a limit to

where an individual must go along with others (makitungo), especially if it is already at

the expense of other people’s and one’s own morals. Dino’s pakikitungo earlier in the

episode was called for, especially since he was new on the team. When he has already

gained a reputation in the team, however, he was fully able to call out the wrong things

that the older members were doing (Figure 4). This episode only shows that not all

pakikitungo is good per se, and that one must still assess and evaluate the situation before

deciding on continuing to go along with the members of the group or not.

 39

The concept of initially showing pakikitungo with others before doing what the

individual thinks is right can also be seen in the episode, Ang Hiwaga ni Bre’ar. When

Bre’ar released the dark magician Kib’ar, he spared Bre’ar and made him his servant

instead. Knowing that he eventually had to do something to free his master and Tre’ar,

Bre’ar opted to show pakikitungo to Kib’ar at first. When he found the chance where

Kib’ar was off guard, however, he attacked him and eventually freed his mentors. This

encounter showed how pakikitungo is used in situations not in one’s immediate control.

Bre’ar had no choice but to go along with Kib’ar at first because if he immediately went

against Kib’ar, he would not be able to gain his trust and, consequently, would not be

able to free Falg’ar and Tre’ar.

Figure 4. Dino foregoing pakikitungo with the varsity team to stand up for what is right (Varsity Jacket).

Pakikitungo as an act of civility

Pakikitungo is usually done in situations where one is faced with situations that

require civility or a truce from other parties. The notion of pakikitungo as an act of
 40

civility may be found in the episode Ang Kuya Kong Maton. Eric was the younger brother

of an ex-convict Diego who used to be the resident bully in their area. Because of this,

Eric was very arrogant in their area, always cutting lines in getting water from the deep

well. The people around him would always take notice but would do nothing about it

because they want to remain civil with him. Civility, however, should have a limitation,

especially if it meant that breaking civility would drive a point to the offending party.

This was the case when a girl from a group that Eric bullied stood up to him and told him

to stop bullying them and to stop disturbing their game. The girl did not express

pakikitungo towards Eric because she did not want to remain civil to someone who she

knew was doing something wrong.

Figure 5. Girl (far right) foregoing pakikitungo to stand up to Eric’s bullying (Ang Kuya Kong Maton).

The other end of the spectrum of pakikitungo as a form civility can be seen in the

episode Anino. Whereas pakikitungo as a form of civility in the previous example is seen

in a negative light, pakikitungo in the episode Anino is actually positive. Carmen and

Nonie were best friends who just had a fight over who gets to decorate the cookies they
 41

had just finished baking with Tita Lia. They insisted on not talking to one another and

were ignoring each other when they were already in the attic. This was when Tita Lia

went up to them and told the story of an aspiring dancer, Amelia, and her best friend,

Anino (shadow). In the story, it can be seen that, at first, Amelia and Anino had a great

relationship with one another and that they were going along so well. When Amelia got

jealous of Anino, however, she started to be proud and treated Anino badly. She forgot to

stay humble before her friend, causing her to forget being civil, ergo causing her not to

express pakikitungo towards Anino. Since pakikitungo entails one to act humbly, Amelia

has broken this principle where she has self-destructed, causing her to lose her best

friend. When Amelia became a famous dancer already, she realized her mistake and went

back to where she last left Anino in an attempt to reunite with her in a humbled manner,

and to be civil with her once again (Figure 6).

Figure 6. Amelia reconciling with Anino (Anino).

In this context, pakikitungo may be seen as a good kind of civility, where there are no

fights ensuing and where relationships are aimed to be nurtured and fostered. This form
 42

of pakikitungo was also expressed by Carmen and Nonie when they realized not to let a

petty thing, like fighting over who gets to design the cookies, ruin their friendship. This

realization urged them to reconcile with one another and express pakikitungo (act

humbly) to one another.

This kind of pakikitungo, where one avoids conflict in order to foster civility

among one another can also be seen in the episode Ang Agimat ni Ingkong Tano. Nitoy

was the youngest of the three brothers who was usually bullied by them. He had a low

self-esteem and never told anyone about the bullying because he was trying to get along

with his brothers, hoping that one day they would eventually let him in their circle. In a

way, he was avoiding conflict and was expressing pakikitungo in order to avoid getting

into trouble with his brothers. It was only when their mother overheard the two older

brothers talking about bullying Nitoy that the culture of bullying among the siblings

became known. Because of this, their father punished the two older brothers causing

them to become even angrier with Nitoy. One day, they tricked Nitoy into playing with

them and effectively trapped him in a hole. Ingkong Tano found him early evening that

day and helped him get out of the hole. Even after this incident, Nitoy never took a

grudge and continued his pakikitungo (act of civility) to his brothers. It was only when

his eldest brother took the agimat (charm) that Ingkong Tano gave him did he speak up

and stand up to him. Again, in this scenario, we can see that the expression of

pakikitungo should have a limitation especially if the damage to one’s self is already too

much. In essence, pakikitungo as a value is neither positive nor negative per se, just like

the concept of pakikisama. Similarly, it is by the context of the expression of the value
 43

where one would be able to determine on whether or not the value is done in a positive or

negative way.

Pakikitungo as a preliminary relational norm

Based from the examples and illustrations given by the episodes above, I

established that pakikitungo is a preliminary norm in relating or interacting with others. It

serves as the preliminary or the stepping norm where relationships with one’s kapwa can

develop. First, one must act humbly and appropriately with others in order to have a

balanced level of interaction where no one is perceived to be of a higher status.

Pakikitungo may also be perceived as a coping norm where it is expressed by an

individual where his/her conditions is not in his/her control. Pakikitungo may also be

considered an act of civility in order to preserve harmony and order among individuals.

One thing that these two illustrations of pakikitungo have in common is that they

reinforce the idea that expression of pakikitungo should always have a limitation,

especially if there is already one party that is at a disadvantage. Although the initial

expression of pakikitungo as a value is ideal, it should never be considered a rule that

should always be followed, especially if the other party is not abiding by the same norm

of pakikitungo. Pakikitungo is expressed in its best form when all interacting parties

abide by the norm and do not use its notion to take advantage of the other.

Pakikiramay as the governing norm in times of crisis

Pakikiramay is another supporting norm of kapwa. It is to condole, to sympathize,

to share someone else’s sorrows, and to show compassion (Jocano, 1993). Pakikiramay is
 44

usually seen in times of crisis. It is expected for someone to go out of his way to condole,

to sympathize, and to share the sorrows of others in times of need. It should not be

mistaken, however, that pakikiramay is mandatory. It is voluntary and those who do not

exhibit this behavior are generally seen as those with no compassion (walang

pakikiramay).

This concept of pakikiramay as a governing norm in times of crisis was shown in

the episode Bulalakaw (Figure 7). Raymond had just recently contracted AIDS (Acute

Immune Deficiency Syndrome) from a blood transfusion in Manila, and he had just

returned to his province for recuperation. He and his friends were equally excited that

they would be able to go back to the times when they were younger, and that they would

hang out together again. When Raymond’s friends knew about his sickness, they started

to drift away from him, thinking that they would be affected and infected by the disease.

When the friends were enlightened by the facts on Raymond’s sickness, however, they

immediately sought for Raymond, kept him company, and shared their time with him.

Figure 7. Raymond's friends bringing the party to him (Bulalakaw).

 45

Although it took a while for Raymond’s friends to sympathize with him, they were still

able to share Raymond’s pains even for a little while. This compassion helped Raymond

cope with his personal crisis and sufferings until the pain was already too much to bear

and Raymond’s mother decided to go back to Manila due to the relapse that Raymond

was experiencing.

Pakikiramay in times of crisis was also shown in the episode Saranggola where

Martin was recently crippled from an accident. As a result of the accident, Martin became

depressed and distant from his friends. He pushed everyone who tried to comfort him

away (Figure 8). His friends did not know what to do anymore except for Kela who made

a kite and wrote a poem for Martin. In the end, Kela was able to ease Martin’s feelings

when they talked about the kite that Martin wanted to fly. From this encounter, one can

see how Kela went out of her way to condole and to sympathize with Martin, despite the

difficulty posed by Martin’s reactions to his crisis. Pakikiramay was shown in times of

crisis in the way that Kela was able to share Martin’s sorrows when he was hit by a car,

and even more so when he became distant and difficult to deal with.

Figure 8. Martin pushing his friends away (Saranggola).

 46

Pakikiramay in the context of losing someone

Pakikiramay is also usually seen in times when an individual share the sorrows of

another who just lost a loved one. Losing a loved one causes great pains to those who get

left behind. It may take months, or even years, to fully get over losing someone.

Pakikiramay in the context of losing someone may be seen in the episode Jessie. Jessie

was a girl who was perceived by the children in her neighborhood as a fearless child. It

was unknown to them, however, that she was actually afraid of hospitals because she was

always reminded of how her grandmother died when she was young. Why she has

developed a fear of the hospitals was not clear. I can only assume that the pain she has

suffered when she lost her grandmother was that immense to the point of hating going to

hospitals. Vico was the scrawny child whom Jessie saved from a group of bullies, and

also Jessie’s newfound best friend. One day, Vico got really sick and had to be brought to

a hospital. Jessie found it hard to visit Vico especially with her fear of the hospitals, but

when she found out that Vico had leukaemia, she eventually visited him. Jessie then

started to visit Vico regularly to play, to somehow ease Vico of his sufferings, and to

show her pakikiramay to him. Although Jessie comforted Vico regularly, they could not

escape the reality of Vico’s sickness, and Vico’s condition worsened by the day (Figure

9).

Vico knew that he was about to die. Before passing, however, he expressed

pakikiramay to Jessie when he helped her understand his situation and slowly accept that

he would have to eventually pass away. Vico was able to do this when he talked about his

beliefs on the afterlife, how he would be able to meet his mother who already passed

away, and by showing Jessie that he was ready die without any regrets. It was ironic how
 47

Jessie was the one who initially showed pakikiramay when Vico was hospitalized and

how the tables have turned when it became Vico’s turn to comfort and show pakikiramay

to Jessie. It was even more ironic that he was showing pakikiramay to Jessie for the

reason that he will be passing away and the fact that Jessie will grieve over him. As a best

friend, he has paid forward his expression of pakikiramay to let Jessie accept the reality

of his passing easier for her. The time came for Vico to leave, and although Jessie was

clearly upset, she was able to move on easily because of Vico’s prior pakikiramay and his

reaffirmation that Jessie will be fine, and that she will eventually be able to find new

friends with whom she can spend her time. Aside from this, Jessie was also finally able to

accept the passing of her grandmother when she was young and was able to visit her

grave years after she passed away.

Figure 9. Jessie’s mom, Jessie, Vico, and Vico’s dad in the hospital (Jessie).

The concept of pakikiramay in the context of losing someone may also be seen in

the episode Tren ni Isaw. Dodong is the child of Cesar who, after losing his wife, devoted

his time to work in hopes of forgetting about their painful loss. Shortly after Dodong’s
 48

mother died, Cesar accepted a project situated in a place far from their home so they had

to leave their house and find a new one near Cesar’s workplace. Cesar buried himself

with work, thus Dodong was usually left alone. He entertained himself by going around

the plant where Cesar worked. There he encountered a train inhabited by Isaw, an old

man perceived crazy by the people around him, who was capable of bringing anyone to

his memories. Dodong usually met with Isaw and travel with him to Isaw’s memories.

One day, Isaw decided to let Dodong decide on where to go in his own memories.

Dodong decided to go back where they were still in their old house and when his mother

was still alive. When Isaw and Dodong came back, Cesar found them and strictly told

Dodong to never come in the train and meet Isaw again. Despite this, Dodong still

decided to go to the train the next day and went back to the memory of his mother being

alive even when he was alone. Cesar was then looking for Dodong but he did not find

him. Isaw told Cesar that he may know where Dodong was. True enough, Dodong was in

the memory of their old house with his living mother. When Cesar found Dodong, the

child said that he only wanted to stay there with his mother and that he did not want his

father to get worried. Cesar then understood the immense longing and pain of loss that his

son was suffering, just as he was suffering from the loss of his wife. Cesar then asked for

Dodong to come home with him and promised that he would not leave him alone

anymore, and that they will spend their time together and slowly nurse the pain they were

experiencing from the loss of their loved one.

Cesar and Dodong showed pakikiramay to one another because they understood

the pain that each one of them was going through. This understanding finally compelled

them to condole, to sympathize, and to sincerely care for each other. In a way, they have
 49

expressed pakikiramay when they shared their own personal pains in comforting one

another and in eventually overcoming the pain that they were experiencing.

Lastly, the concept of pakikiramay in the context of losing loved ones is also

expressed in the episode Palaruan. Marietta was an orphan who liked to play in an

abandoned resort owned by Mang Lukas. Marietta always saw Mang Lukas preparing

snacks and drinks in the pavilion but she never actually saw anyone come by and eat with

him. Marietta also always saw Mang Lukas decorating the pavilion and yet no visitor

came. Due to these circumstances, Marietta perceived Mang Lukas to be crazy. She,

moreover, saw Mang Lukas as a grouchy old man for he always shooed her away. By the

end of the episode, it can be seen that Mang Lukas was suffering extreme depression

from the loss of his childhood friends who died during the war, and that the reason he

was always preparing snacks was that he was still hoping that his friends will come back

for him. Marietta has also become aware of this for she has time travelled with Mang

Lukas and his friends (a more comprehensive summary can be found in the appendix).

From this, one can see that understanding is an essential aspect in showing pakikiramay

to someone. When Marietta was still oblivious to this, she never understood Mang Lukas’

side. That was why she always made fun of him. By the end of the episode, however,

Marietta was able to show her pakikiramay to Mang Lukas and they eventually started to

have a better relationship with one another.

From the three scenarios given in this section, I have shown circumstances where

the value of pakikiramay may be expressed in the context of losing a loved one. First is

the expression of pakikiramay before the actual passing of the loved one (Jessie). This is

applicable for people who are aware that their time is near and that they have the option
 50

to express pakikiramay to the people he/she feels would be extremely affected by his/her

passing. The second expression of pakikiramay is that of someone showing pakikiramay

to another who has lost the same loved one (Tren ni Isaw). Since both parties have lost

the same person, it may be easier for both parties to understand one another, although the

degree of the pain from the loss may not necessarily be the same. The third expression is

that of one finally understanding the predicament of another who has long been suffering

from the pain of loss, and consequently expressing pakikiramay to the suffering party in

hopes of easing the pain and to help him move on eventually (Palaruan).

From these examples, it can be observed that the value of understanding is

essential in order to fully grasp and express the value of pakikiramay. In the episode

Jessie, Vico understood that he had to make his passing as smoothly as possible for his

best friend Jessie for he knew that Jessie may still be haunted by the passing of her own

grandmother. Cesar and Dodong were also able to understand the sentiments and

predicaments of one another, compelling them to share their sufferings and pains with

one another. Marietta, on the other hand, understood where Mang Lukas was coming

from which enabled her to deal with him appropriately and with sympathy and

compassion (pakikiramay).

Pakikiramay as a manifestation of genuine concern

More than sharing another’s pains and sufferings, pakikiramay also entails the

notion of an individual having genuine concern over his kapwa. This notion was

manifested in the episode Hiyas. It has been said that only individuals who were

genuinely concerned with the welfare of the forest and its inhabitants were the ones who
 51

were able to hear Hiyas’ singing voice. At first, it was only Marco who was able to hear

Hiyas but as the group journeyed through the forest in search for Hiyas (you may refer to

the section on pakikisama earlier in this chapter), Alfred and Celine were able to develop

their hearing of Hiyas’ voice (Alfred started hearing Hiyas when he let go of his food in

order to feed the wild boar they encountered who complained that he was too hungry as

he could not find any food in the forest anymore, and Celine got this ability when she

helped the pregnant bird, Ginang Ibon, who became tired from looking for a shady place

to rest on). Based on the internal context of the narrative, the three friends were able to

manifest genuine concern over the inhabitants of the forest. This concern enabled the

three to understand the plight of the inhabitants of the forest and, consequently, they were

able to express pakikiramay to them. This pakikiramay was further manifested when the

group even felt more pressured which caused them to go out of their way and comfort in

looking for Hiyas, the one believed to be able to save the forest, in hopes of improving

the situation in which the trees and the animals live.

Pakikiramay in the form of genuine concern was also manifested in the episode

Awit ni Kuya. Michael was an elementary student and the loving son of Karen and Ben.

He was an expectant kuya (older brother), as his mother was pregnant with his little

sister, Sarah. As an only child, I am inclined to think that Michael longed for a

companion. This desire was manifested by the way Dandy, his toy, came to life in his

imagination as a friend to whom he could talk. This longing may also be the reason why

Michael was really excited to have his very own little sister with whom he could

eventually talk and play. This excitement can be seen in the way he prepared the room

where his sister would stay and the way he always talked and sang to her while she was
 52

still inside their mother’s womb. Michael’s genuine concern over his sister, however,

may be seen in the way he tried to force himself in the NICU (Neonatal Intensive Care

Unit) where Sarah was in. He knew that his sister had a very slim chance to live, as she

was born weak, but he wanted to at least see her before she passed away. When he was

able to slip through inside, he immediately went to his sister and caressed her while

singing the song he always sang while she was still in the womb (Figure 10). Michael

knew that his sister was suffering, and showing physical affection and singing was his

own way of trying to ease the pain of his sister. This action, brought upon Michael’s

genuine concern for his sister, was his way of showing his pakikiramay to the sufferings

that his sister was going through.

Figure 10. Michael expressing pakikiramay to his sister (Awit ni Kuya).

The notion of pakikiramay as a manifestation of genuine concern can also be seen

in the episode Ang mga Lola. Wena was a young girl whose habit was to watch television

until late at night. Epzo, her brother, on the other hand, loved to eat a lot. They were the

children of Osan, the daughter of Lola Teresa who, like Epzo, also loved to eat a lot,
 53

despite the fact that she was on a strict diet due to her old age. Lola Meding, the sister of

Lola Teresa, loved to smoke. From the characters of the narrative, it can be seen that

everyone, minus Osan, had his/her own vices. The inner context of the narrative was that

the grandmothers, Lola Teresa and Lola Meding, were able to perform magic. One day,

Wena, Epzo, Lola Teresa, and Lola Meding decided to exchange bodies. Lola Meding

took Wena’s body and vice versa, while Lola Teresa took Epzo’s body and vice versa.

While in different bodies, everyone still kept up with their own personal habits. As such,

Epzo, who was inside the body of Lola Teresa, still ate as much as he usually would.

Because the body of Lola Teresa could not take Epzo’s excessive eating, he was

hospitalized. While Epzo was hospitalized, the rest of the group decided to abandon their

vices and change to a healthier lifestyle. This could be a manifestation of their genuine

concern for themselves – their health and their own bodies, as well as the bodies which

they have borrowed. Pakikiramay was shown when everyone supported the cause of

changing for the better and when they shared one another’s sufferings and discomfort in

achieving the goal. Similarly, this sense of pakikiramay was brought upon by the genuine

concern they had for one another.

In this section, I have dissected the notion of pakikiramay as a manifestation of

genuine concern. In the first example, pakikiramay was expressed by Marco, Celine and

Alfred when they showed concern for the condition of the forest and the plight of its

inhabitants. Pakikiramay was also shown by Michael when he showed physical affection

to his sister, Sarah, as a sign of concern for her well-being. Lastly, pakikiramay was

expressed by Wena, Lola Teresa and Lola Meding when they showed genuine concern

for one another’s welfare and well-being.

 54

Pakikiramay that springs from shared experiences

I believe that the concept of pakikiramay can also be seen in instances of shared

experiences with others. It is easier to show pakikiramay or empathy with another when

the two individuals share the same experiences and sentiments. This notion can be seen in

the episode Boses. Ringo was the father of Jossy who loved to sing just like his daughter

did. Ringo was a contestant in an ongoing videoke contest. After an inexplicable turn of

events, Ringo and Jossy had exchanged voices. Ringo had the voice of Jossy and vice

versa. They did not know what happened and they tried everything to get back their own

respective voices. They were unsuccessful, however, and they had to think of a way in

which Ringo would still be able to compete in the finals. As someone who also loved to

sing, Jossy knew how important it was for her father to finish the competition he had

joined. As such, she decided that they go to Aling Charing, the host of the competition,

and pretend that everything was normal. When this did not work, however, Jossy

immediately begged Aling Charing that they still be able to compete especially since the

competition was important for her father. This action showed Jossy’s pakikiramay since

she understood the plight of her father, thus she was able to sympathize with his father

compelling her to find ways for her father to still compete. Due to their shared

experience, it became easier for Jossy to understand the situation in which her father was,

and consequently, it became easier for her to show and express pakikiramay to his father.

Pakikiramay that arises from shared experiences can also be seen in the episode

1305. The narrative took place in the compound 1305 and its neigborhood. The birthday

of Buboy was fast approaching. Alex and Totep, Buboy’s siblings wanted to throw a

simple celebration for Buboy. The children knew that their family was having a financial
 55

crisis and that they had no money to actually hold a grand party for Buboy. They,

however, still wanted to at least celebrate his birthday. They decided to use their savings

to buy ingredients so that they could bake a simple cake and to buy powdered juice which

they could drink. When Amy and Eric, their elder siblings found out about their plan,

they got mad. Amy scolded her brothers for thinking in such a way despite knowing their

current financial situation. She said that they should use the money to pay off some

family debts. Eric, on the other hand, wanted to use the money to pay for his ROTC

uniform. Alex, Totep and Buboy were disappointed but they stayed firm with their

decision to have a little celebration which was also supported by their mother. All things

that could have gone wrong that day went wrong (see appendix for a more

comprehensive summary) but, in the end, they were still able to push through with their

little celebration (Figure 11). As a family, they have a shared experience, specifically that

everyone in the family is affected by their financial crisis. As such, the spirit of every

member, especially the elders, was generally down. Subsequently, the mood in the

household was also gloomy. Pakikiramay in this context was expressed when, despite the

problems that the family was experiencing, every member found a way to forget their

woes for a moment and join in the celebration of Buboy’s birthday. Since every member

in the family is coming from a shared experience, every one of them also knew and

understood the limitations they had in throwing a celebration. They also understood that

everyone needed a break, and the mini celebration was just the way to do that. This

understanding paved the way for the expression of pakikiramay among one another. This

was manifested in the way Buboy’s birthday was celebrated. The mini party was a way

for everyone to ease the sufferings and discomforts that they had been experiencing due
 56

to the shared experience they were going through. As such, the party became a symbol of

pakikiramay of one another in the family.

Figure 11. Buboy’s mini celebration (1305).

Another episode that illustrated how pakikiramay may spring from a shared

experience is the episode Faith. Faith was a kind and thoughtful child. Her father had just

recently left the family and she, her sister, Elise and her mother were left alone to fend

for themselves. Elise was having a hard time accepting their family’s current situation.

Having spent most of her life as a housewife, their mother tried very hard to earn a living

for the family. Their family of three had just recently moved to a new, albeit dilapidated,

house for it was the only place which the mother could afford. Incidentally, the house

they now live in also represent the state and condition of Faith’s family (see appendix for

summary). They were barely getting by when one day, their mother came home and

announced that she had lost her job. Everyone broke down and they eventually expressed

mutual support for one another when they comforted one another as a family (Figure 12).

Consequently, this mutual support is a manifestation of their pakikiramay with one

 57

another. Each member of the family was able to express this support for one another

because of the shared understanding of their recently shared experiences.

Figure 12. Faith and her family showing pakikiramay for one another (Faith).

The episodes I have given as examples, so far, in this context of pakikiramay

hinged on the literal shared experience where the individuals were under the exact

condition in which the others were involved. Shared experience, however, may also refer

to an experience that may not necessarily require individuals to be in the exact situation

as others’. As long as the general conditions of the experiences of the parties are similar,

the experience may still be considered a shared experience. This can be seen in the

episode, Lumang Tanghalan. Manuel was a child with a special characteristic where he

had a tiny friend inside his brain who played music from a piano. Clara was also a child

with a special trait where flowers fall down from the sky every time she spoke or sang.

These two children were always teased and bullied by other children because of their

unusual traits. Aling Tasing, on the other hand, also experienced bullying as a young
 58

woman because of her peculiar trait of hiccupping when performing in front of an

audience. These three characters, although experienced individually, have a shared

experience of being bullied. As a result, they easily understood one another’s woes and

easily found solace in one another. As a result of this shared experience, the three of them

found it easy to express pakikiramay with one another for they knew each other’s

sentiments, thus making it easier for them to empathize with one another. They also knew

what should be done to ease the pains and sufferings that they experienced from the

bullying of others.

I have shown in this section that pakikiramay may also stem from an individual’s

shared experience with his kapwa. Pakikiramay that stems from shared experiences

hinges on the premise that individuals going through the same conditions or

circumstances are easily able to show pakikiramay for they understand what the other

party/ies is/are going through, thus enabling them to better empathize with and comfort

the suffering or disadvantaged party.

Pakikiramay as a norm highlighting the value of understanding

Pakikiramay in its various contexts provided in the program has been explicated

in the previous sections. Pakikiramay has been expressed as the norm in times of crisis.

Pakikiramay was also explained in the context of losing someone. I have also shown

pakikiramay as a manifestation of genuine concern, and I have explicated the kind of

pakikiramay that springs from shared experiences.

From the above mentioned contextualizations, I have found that an integral part of

expressing the value of pakikiramay is the value of understanding. It is actually by the

 59

value of understanding where one can actually show pakikiramay for his kapwa. One

must first be able to understand his kapwa before he is able to condole, sympathize, or

share the pains and feelings of the other party. As such, I am inclined to think that

pakikiramay is a norm that highlights the importance and value of understanding among

one another.

Familism as the high regard for one’s own family

Familism, a core value of a family which puts a high premium on the needs of the

family as a whole unit, is another dimension in looking at kapwa as a standard. As a

relational value, familism is the state of one being concerned over the well-being and

state of his family or of his kin (Jocano, 1993). Some people view familism as a negative

trait especially since it may be partly responsible for the prevalence of nepotism in the

country. This, however, is not indicative of the concept of familism as a whole. Nepotism

only stems from the wrong decisions of family members in an attempt to answer to the

unemployment problems, and to reward patronage especially in the bureaucracy. This

practice, however, should not be condoned by the whole family for it may tarnish the

family’s honor and integrity. Familism expressed in its purest form is when the interests

of the family members are addressed, as well as their welfare, without resorting to unjust

actions or behaviors.

The concept of familism based on justice was seen in the episode Ciel where Lolo

Tonio deeply cared for his granddaughter, Ciel, whose mother had died giving birth to

her. Ciel was equally concerned of her grandfather’s welfare. This was especially seen

when she had not given up looking for her grandfather, sending messages and even food
 60

in bottles to the sea, hoping for her grandfather to come back home in spite of the

neighbors telling her that her grandfather may already be dead (Figure 13).

Figure 13. Ciel walking by the shore, looking for her grandfather (Ciel).

Attached to the concept of familism is the value one gives to family bonds or

family belongingness. This can be seen in the episode Ang Daddy ni Dinggay, where

Dinggay struggled to know more about her biological father in hopes of finding herself

and her own identity regarding her lineage. This encounter showed just how important

family belongingness is for an individual. This is indicative of kapwa as a relational

standard especially since the premise of kapwa is that an individual is compelled to be

identified with a group or a social collective. As such, feeling that one is recognized and

belonging to a family (which is also a collective unit) is vital. The value of family bonds

can also be seen in the episode Saranggola ni Boyet, where Boyet sought to feel loved by

his father who had become really busy with his work. From here, one can also see how

important it is for an individual to feel loved and to feel like he belonged in the group
 61

(family). As such, it is also important that the relationships within a group be consistently

nurtured and maintained.

Pakikisama, pakikitungo, pakikiramay as supportive norms of kapwa standard

Thus far, I have explicated the concepts of pakikisama, pakikitungo, and

pakikiramay in the contexts provided by the episodes in Hiraya Manawari. It was found

that pakikisama was expressed in the show as the willingness of an individual to

subordinate himself and his self interests for the benefit of the group. Pakikisama was

also shown as an important means in achieving a group’s common goal. I have also

shown how the value of pakikisama may refer to an individual acting as a team player.

The twisted notion of pakikisama as a convenient alibi was also discussed. From these

expressions of pakikisama, I have inferred that pakikisama is basically a group-oriented

norm where pakikisama is expressed in the context of being a member in a specific group

of people.

Pakikitungo, on the other hand, was shown as a coping norm where it is expressed

when an individual is faced with a situation not in his control. I have also shown how

pakikitungo may be perceived as an act of civility towards others. From these two

expressions, I have inferred that pakikitungo is a preliminary relational norm where one is

expected to have undergone the process of practing pakikitungo with his kapwa before a

deeper relationship with the interacting party can develop.

I have also explicated how pakikiramay may be considered as the governing norm

in times of crisis. Pakikiramay in the context of losing someone was also illustrated.

Pakikiramay was also expressed in the program as a manifestation of genuine concern for
 62

one’s kapwa. The notion that pakikiramay may also spring from the shared experiences

of individuals was also dissected. From these manifestations of pakikiramay, I have

inferred that pakikiramay is a norm that highlights the value of understanding among

individuals. An individual must first be able to understand his kapwa before he is able to

show and express pakikiramay to them.

 CHAPTER V
DAMDAMIN AS AN EMOTIONAL STANDARD

The previous chapter discussed kapwa as the relational standard in the asal

element of the pamantayan system. This chapter delves on the concept of damdamin, and

how it serves as the emotional standard in the value system.

As an emotional standard, damdamin bears the emotional imperatives of the

values system, and is considered to be the one mainly responsible for being personal and

emotional of Filipinos (Jocano, 1993). More than pertaining to emotions emanating from

the self, however, damdamin is also responsible for evaluating one’s actions to others. In

the data presented in Chapter III, it can be seen that there are instances where the

elements of damdamin (self) and kapwa (others) are seen together. This may be attributed

to the fact that these two elements are closely linked to each other. Whereas, kapwa as a

relational standard focuses more on achieving harmony with others and puts premium on

being part of a collective identity, damdamin is responsible on how these relationships

with others form, especially since one consults his own damdamin in evaluating what one

could do or should act in relation to others.

This chapter discusses the concept of hiya and its contexts of hiya as the

reluctance to interact, hiya as the painful feeling of having let someone down, and hiya as

the painful feeling of having done something wrong. From these, hiya may be seen and

considered a norm preventing the loss of face of an individiual. The episodes that

expressed the value of hiya, based on the data given on Table 2 in Chapter III, and which

are also used in this chapter to illustrate hiya, are Daigdig Makalat, Batang Smart, Daliri

Discount, and Obra Maestro.

 64

The concept of delicadeza is also discussed in this chapter. Delicadeza as the

governing norm in fulfilling obligations, delicadeza as the governing norm in doing the

right thing, and delicadeza in the context of showing respect are further explicated. These

three contextualiations imply that delicadeza is primarily a driving force for an individual

to act in propriety. This chapter also shows how the norms of delicadeza and amor propio

work side-by-side. The episodes that expressed the value of delicadeza and amor propio,

based on the data given on Table 2 in Chapter III, and which are also used in this chapter

to illustrate delicadeza, are Daliri Discount, Nang Makialam si Luntian, Prinsesang

Dalisay, Apolonio sa Kaharian ng Hardinia, Batang Iskawt, Haring Mapet and Tumba-

Tumba.

This chapter also illustrates the concept of awa. This chapter provides the

contexts of awa as a crisis-oriented norm, awa as an expression of an individual’s ability

to understand, and awa as a manifestation of sympathy and compassion. These contexts

support the notion that awa may be a counterpart norm of pakikiramay discussed in the

previous chapter. The episodes that expressed the value of awa, based on the data given

on Table 2 in Chapter III, and which are also used in this chapter to illustrate awa, are

Palaruan, Regalo, Faith, Hiyas, Si Ria at ang Higante, Bulalakaw, Ihip ng Hangin, and

Saranggola.

Hiya as the reluctance to interact

Hiya is an emotionally charged norm often mistaken as a negative value. It is used

to guide how one should behave in relation to others in a certain situation in order to not

hurt or offend someone’s feelings (Jocano, 1993). Hiya has been variously, albeit
 65

inadequately, defined as shame, embarrassment, timidity, and shyness, among others. The

notion of hiya includes being polite, bashful, tender, compassionate, and considerate.

Hiya is often invoked to effect conformity to the local practices for the prevention of

offending or hurting someone else’s feelings or causing others to lose face. This is the

reason why hiya may be found as the reluctance of an individual to interact with his

kapwa.

The notion of hiya as the reluctance to interact may be seen in the episode Batang

Smart. Bart was a smart, active, and generally curious student. She valued how Mrs.

Petronilla, her favorite teacher, saw her. She believed that she was Mrs. Petronilla’s

favorite student. As such she took pride in their similarities such as having the same kind

of water jug. One day, Mrs. Petronilla took out a gallon of bottled water. Bart and her

friends were shocked for they always saw Mrs. Petronilla drinking from a water jug

similar to Bart’s own water jug. This occurrence piqued their curiosity, especially Bart’s

who has always prided in the fact that she shared the same kind of water jug as hers. As

such, Bart tried to do everything, albeit unsuccessfully, to know just how different the

water from the bottle tasted (see appendix for a more detailed summary). In the end, it

was Mrs. Petronilla herself who offered Bart a glass of water from her bottle (Figure 14).

From this scenario, it may be inferred that the reason why Bart did not ask Mrs. Petronilla

for a taste of her water in the first place was due to her feelings of hiya. She was

reluctant and hesitant to talk to Mrs. Petronilla and ask her for something for she did not

know how she will react. Moreover, Bart was afraid that she may be judged or that she

may be embarrassed which would cause her to lose face in front of her favorite teacher.
 66

Figure 14. Mrs. Petronilla offering Bart a taste of her water (Batang Smart).

Hiya as the painful feeling of having let someone down

More than just a reluctance to interact, hiya may also refer to the painful feeling

of an individual for having let someone down. Hiya is invoked when one feels that he/she

is not able to abide by the expectations put upon him by either himself, his kapwa, or the

society in which he/she lives. One feels bad when he/she is not able to fulfil what he is

supposed to do, not only because he loses face, but also because he knows that he has let

another individual down, thus making him feel bad as well.

The notion of hiya as the painful feeling of having let someone down can be seen

in the episode, Obra Maestro. Maestro was the artist behind the works in the museum

where Carlo and his classmates were touring. When Carlo was left behind by his

classmates, Maestro came to life and eventually told Carlo the story of Ariel and Edward,

his two young apprentices. Edward and Ariel were siblings. Although he was the younger

brother, Ariel was the better artist compared to his older brother Edward. One night, Ariel
 67

was painting a portrait of Maestro. Their mother came in and mistakenly thought Edward

as the artist behind the painting. She got really excited and spread the word to her friends.

Everyone, except Maestro who knew the style of the painting was Ariel’s, believed that it

was actually Edward who painted the portrait. Ariel did not mind this much at first for he

believed that Edward will be able to clear the misunderstanding among the members in

their community. When he realized, however, that all the praises were getting to his

brother’s head, he became very disappointed and harbored bad feelings toward Edward.

In the end, Edward felt very bad for letting Ariel down. As such, he finally gave the

recognition where it is due during the opening ceremonies of the museum (Figure 15). As

a result, Ariel felt better and Maestro commended Edward for being courageous enough

to do the right thing.

Figure 15. Edward finally giving Ariel his due recognition (Obra Maestro).

Hiya as the painful feeling of letting someon down can be seen when Edward

expressed hiya towards Ariel and Maestro when he was not able to clear the

misunderstandings that was caused by his mother. Although he was not directly
 68

responsible for the misunderstanding, he was also not able to do something about it,

causing Ariel to feel bad making him feel bad inside as well. As a result, he felt hiya, a

painful feeling of letting someone down.

This notion of hiya as the painful feeling of having let someone down can also be

seen in the episode Daigdig Makalat. Joey was an elementary school boy who liked

playing and doing things that other boys his age usually did. There was nothing unsual

about Joey except that he was very messy and did not mind being unorderly and untidy.

His brother, Noel, was the opposite. One day, Noel was doing his science project, a

model of the solar system. He was missing his sun piece to finally complete his model.

Noel asked Joey if he had seen the missing piece. Joey only replied that he did see the

piece but he did not know where it was. When Joey went up his room, he laid down on

his messy bed and there he found the missing piece of Noel’s project. Before he could

give the piece to Noel, however, he got sucked in by his bed and was transported to a new

world, Daigdig Makalat (World of Mess). In there, he could be as messy as he wanted

without being scolded and reprimanded by anyone. He was enjoying his stay at Daigdig

Makalat until he got tired of living in a messy place. Moreover, he worried about Noel

and his project when he looked at his pocket and saw Noel’s sun. He felt hiya for he has

let Noel down by not being able to go back to their own world and return Noel’s missing

piece. He started cleaning up and Basua-ra and Kalat-Kalat, the residents of Daigdig

Makalat, were flabbergasted. In the end, they brought him back to his house. From this

enoucnter, one can see that hiya can be felt by an individual when he knows that he has a

task that he has to deliver but which he is unable to do. Moreover, the feeling of hiya is

magnified when another individual is affected by the actions that one is tasked to do.
 69

Hiya as the painful feeling of having done something wrong

Aside from the notion that hiya is invoked to prevent the loss of face of an

individual, hiya may also refer to the painful feeling of having done something wrong.

This feeling happens when an individual becomes aware of the wrong things that he has

done. He does not necessarily feel shame because of the fear of being judged by others

for his actions, rather he feels hiya because he knows that he could have done something

to avoid committing wrongful acts.

The expression of hiya as the painful feeling of having done something wrong can

be seen in the episode, Daliri Discount. Angelo was a big comics fan and a collector of

Hyperboy comics. He lived with his mother and they were currently living in a tight

budget. While he was loitering in a certain convenience store one day, he came across the

first edition of Hyperboy comics. He was surprised as it was a very rare issue of the

comics. He then went home and asked his mother for an extra allowance so he could buy

the comics. His mother, however, did not have any money to give. The next day, Angelo

still went to the convenience store. He was tempted by his classmates to just shoplift the

comics. As a really big fan of Hyerboy comics, he really wanted to have the first issue

and complete his collection. Before he could shoplift, however, he was brought into a

crossing where Hecate, the overseer of the universe (Reyna ng Sangandaan) was (Figure

16). It was there where Hecate showed Angelo the various consequences that may happen

if he continued with his shoplifting. Angelo saw that he may be suspended in class if he

got caught by the guard. He also saw that if he was able to get away from the guard, he

would go to Risa, his friend, to show off the comics. While in Risa’s house, he would

find out that the guard in the convenience store was actually Risa’s father, thus
 70

effectively shaming him in front of Risa. Another consequence of shoplifting he saw was

that of disappointing his mother for not doing the right thing.

Figure 16. Angelo meeting Hecate for the first time in the crossing (Daliri Discount).

It may be inferred that the concept of hiya played a big role in the decision

making of Angelo, especially since all the scenarios he came up with has something to do

with shaming himself. Although the scenarios playing in Angelo’s head hinged on the

premise of shaming himself, the painful feeling of having done something wrong was the

main reason why Angelo felt hiya. This was manifested in his reactions when he was

found out by his friend Risa and his mother. Although hiya may essentially indicate one’s

reluctance and hesitation, hiya may also indicate one’s painful feeling of having done

something wrong.
 71

Hiya as the prevention of the loss of face

I have shown how hiya can be expressed as the reluctance to interact. Hiya may

also refer to the painful feeling of having let someone down and the painful feeling of

having done something wrong. The common denominator in these contextualizations is

that hiya is generally expressed or invoked for the prevention of the loss of face

(mawalan ng mukhang ihaharap). This can be seen in the reluctance to iteract for an

individual is wary of the possible reactions of the interacting party causing him to be

hesitant in initiating interaction. As the prevention of the loss of face, hiya can also be

seen in the context of hiya as the painful feeling of letting someone down. An individual

feels hiya when he/she knows he has let someone down. This hiya becomes the driving

force for the individual to do everything he/she can to deliver his tasks so as not to let

anyone down. In a way, hiya compels an individual to fulfil his/her task in order to avoid

losing face in front of those who give expectations on him/her (self, others, or society).

Similarly, hiya also acts as a driving force as seen in the context of hiya as the painful

feeling of having done something wrong. This is because an individual is compelled to do

everything in his/her capacity to veer away from committing condemnable acts. From

this, I am inclined to believe that the primary driving force in the expression of hiya as a

value is for the prevention of the loss of face of an indivudal.

Delicadeza as the governing norm in fulfilling obligations

Delicadeza is the norm which governs the refinement of behavior or acts of

propriety in accordance with one’s self-respect, standing in the community, and the

occasion by which the individual is in attendance with. As such, delicadeza is also the
 72

governing norm that is followed when one is given an obligation or responsibility that an

indivdiaul must fulfil. This kind of expression of delicadeza may be found in the episode

Batang Iskawt. I have previously discussed Batang Iskawt in the conext of pakikisama as

an individual acting as a team player. Delicadeza actually plays a big role in order for an

individual to fulfil his duties as a team player. If Mickey was following delicadeza as a

norm in the first place, he would have known that he should have acted properly and have

not done things half-heartedly and haphazardly. This is because he should have known

his standing and the role he was playing in his team. Although Mickey has failed to show

his delicadeza in a number of tasks that was given to him, he was able to redeem himself

when he took it upon his shoulders, as dictated by his own delicadeza, to look for the

golden snail in order to bring his teammates back to normal. He knew that it was his

responsibility to do so, especially since he was the reason why they got lost in the forest

in the first place.

Another episode that manifested delicadeza in the context of fulfilling duties is

the episode Haring Mapet. Haring Mapet was the head of the government and was

accused of being a corrupt government official. The townspeople were already staging

protests on his castle grounds, urging him to come down from his post. Indeed, Haring

Mapet has pocketed the money of the taxpayers in order to satisfy his vice of collecting

toys. If he had followed his delicadeza, he would not have to face the wrath of his people.

As a king, his standing in the community was regarded with high respect, but he lost all

this when he was found to be stealing the taxpayers’ money. By stealing money, he had

failed to act in propriety, thus he failed to act with delicadeza. The only thing he could do

was to step down of his throne and to do the right thing as urged by his delicadeza. He
 73

did this with the help of Ikang, a child worker in the palace, who encouraged him to

surrender peacefully and to face the people.

The two examples given above showed the importance of delicadeza in fulfilling

the duties of an individual, whether or not these duties are given (as in the case of

Mickey), or acquired (as in the case of Haring Mapet due to his role in the society). It

does not matter how small or big the community or group with which one is working (as

seen in both examples), because in the end, every individual has his/her own duties and

obligations to fulfil effectively and in propriety. One of the ways to do that is to imbibe

the value of delicadeza in one’s character and to keep it in mind when making decsisions

that may affect the people involved in his/her duties.

Delicadeza as the governing norm in doing the right thing

Ultimately, delicadeza may be responsible in driving and compelling an

individual in doing the right thing, especially since delicadeza is the norm which governs

the refinement of behavior. This notion of delicadeza may be seen in the episode

Prinsesang Dalisay. Prinsesa Azon was the younger sister of Prinsipe Monde. She had a

naturally pure heart and only harbored good intentions on her kapwa and the things

around her. Prinsipe Monde’s heart, on the other hand, was not as pure as Prinsesa

Azon’s because of his selfishness and hobby of shooting down birds’ nests. The siblings

were wandering around the forest when they came across Aquina, a dark magician cursed

to be a gate. She needed to tempt 1000 children into entering her as the gate. She only

needed 2 more children in order to be freed from the curse. The catch is that no child with

a pure heart should enter or else Aquina will die. It was easy for Aquina to trick Prinsipe
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Monde into entering the gate because of his selfishness. She, however, found it hard to

convince Prinsesa Azon to enter the gate because all she wanted was to save her brother

who had just enetered the gate. Azon was almost tempted to enter when Aquina bribed

her with tons of beautiful dolls. Azon was able to resist the temptation, however, and

politely declined Aquina’s offer. From here it can be seen that Azon has completely

imbibed the value of delicadeza. She knew that Aquina was only trying to tempt her for

her own selfish reasons. Although she knew that Aquina was bad, this did not stop her in

keeping her behavior and manner of speech refined and polite. Another manifestation of

delicadeza in action was when Prinsesa Azon still decided to save her brother, despite

always being teased and bullied by him, instead of saving herself and simply walking

away from Aquina. Prinsesa Azon stayed and saved her brother because it was the right

thing to do.

Delicadeza as the governing norm in doing the right thing can also be seen in the

episode Daliri Discount. I have previously discussed the episode in the context of hiya as

the painful feeling of having done something wrong. I have inferred that the expression

of hiya as a value is hinged on the premise that an individual ultimately wants to save his

face. In the case of Angelo, he felt hiya which was one of the reason why he was

compelled to veer away from doing something wrong and to do the right thing instead.

More than the value of hiya, however, I also believe that the value of delicadeza had

something to do with the way Angelo decided not to shoplift and to do the right thing. As

a citizen in the society, he was expected to act in propriety and to ultimately do the right

thing. Although hiya may be the initial value in his decision making, delicadeza as a
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driving force, also compelled Angelo in his ultimate decision to remain honorable and to

do the right thing.

Delicadeza in the context of showing respect

I have established in the previous section that delicadeza may be one of the

driving forces which compel an individual to do the right thing. The discussion of

delicadeza in the context of showing respect may be an extension of the previous section

for showing respect to others will always be a right thing to do. Just as how delicadeza is

a governing norm in accordance with the individual’s self-respect and standing in the

community, delicadeza also takes into consideration another’s self-respect and standing

in the community. As such, the expression of respect to others may be partly influenced

by the value of delicadeza.

Delicadeza in the context of showing respect may be seen in the episode Nang

Makialam si Luntian. Luntian, Kariktan, Buhawi, and Batis were brothers and sisters who

were also the guardians of the forest. Each of them had his/her own individual stone

which gives them the power to manipulate the earth, fire, wind, and water, respectively.

They all fostered a good relationship with one another. Luntian, however, had the habit of

taking the things of her brothers and sister without permission. One day, Borga and his

sidekick, the destroyers of the forest, knew about this so they waited for the day where

Luntian would get all the stones and play with them. While goofing around, Luntian saw

Borga destroying the forest so she immediately went back to their home. Due to her

panic, however, she was not able to return the stones back to their proper places. As such,

everyone got a wrong stone, consequently, the guardians experienced a hard time
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defeating the villain. By failing to take into consideration the feelings of her siblings, as

manifested by her taking their things without their permission, Luntian has failed to abide

by the imperatives of delicadeza as a governing norm for the refinement of behavior. She

also showed disrespect to the persons of her siblings by disregarding delicadeza in her

actions.

Delicadeza in the context of showing respect may also be seen in the episode

Apolonio sa Kaharian ng Hardinia. Apolonio was the son of Nana Caring who had a

garden in their backyard. He liked to play with the insects he finds in the garden and he

often hurt them. To the insects in the kingdom of Hardinia, he was known as the Batang

Higante (giant child). One night, he was magically transported to Hardinia. He met Larry

Langgam, one of the ants that he had spraypainted on earlier in the day. He also met

Pepito the butterfly whose wing he has torn and his wife Pepita, and Bokyo, the beetle

who Apolonio hurt when he tied him up on the neck and twirled him around. From what

Apolonio has done to these creatures, it was apparent that he had no regard for the

feelings and welfare of these insects. Although these animals were not humans, they still

deserved to be respected. Moreover, by neglecting the needs of these animals, Apolonio

showed disrespect to his mother when he did not show care and concern for the creatures

that she has consistently cared and tended for in her garden. This disrespect of the

creatures was a manifestation of Apolonio’s violation of delicadeza as a governing norm

in behavior refinement. First, he failed to act in propriety in aspects that concerned the

living creatures in the garden, and second, he failed to take into consideration the work

his mother has put into tending their garden. It is, however, also by the notion of

delicadeza where Apolonio was able to eventually help Larry, Pepito and Pepita, and
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Bokyo in easing the inconveniences and sufferings he has caused to them. He helped

Larry and the rest of the colony in removing the paint they had on their body, he has also

helped Pepito by replacing his wing with a leaf, enabling him to fly properly again. He

also helped Bokyo when he made a crutch for him to use with his injured leg. Delicadeza

was in play in here for Apolonio was urged to finally do the right thing and help them. He

was compelled to help the insects especially since he was also the main reason why they

were in such a predicament in the first place.

Another example of delicadeza in the context of showing respect may also be

seen in the episode Tumba-Tumba. Onty and Mena were brothers and sisters who were

afraid of Lolo Ipe, an old man in their street who was rumored to be a monster. When

Onty and Mena went home one day, they saw a tumba-tumba (rocking chair) in the

guest’s room. It turned out that a distant relative was in town and she will be staying at

their home. The children were both surprised when they realized that the guest was an old

woman, Lola Rosario. The children initially thought that Lola Rosario was a relative of

Lolo Ipe and that she was also a monster like him. It was only when they checked Lola

Rosario’s head for a red dot (the believed indicator for being a monster) and found none

did they believe that Lola Rosario was, indeed, not a monster. One day, Onty and Mena

found Lola Rosario looking at an old picture of her and Feling, her friend, when they

were still young. The children asked about him, and Lola Rosario decided to bring them

with her when she visits Feling. Onty and Mena were surprised when they realized that

Lola Rosario’s friend Feling was actually Lolo Ipe. Onty went hysterical and ran out of

Lolo Ipe’s gate as fast as possible causing him to get hit by a vehicle on the road. When

Onty regained consciousness, he was already inside Lolo Ipe’s house. He was about to
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panic when Mena explained to him that Lolo Ipe was actually not a monster to which

Onty looked at the head of Lolo Ipe for confirmation.

I believe that there were two points where disrespect was shown in this episode.

First, the fact that Onty and Mena believed, and even referred to Lolo Ipe and Lola

Rosario as monsters is already a manifestation that they are disrespecting these two

elderlies for they have reduced their existence as being monsters and not as fellow human

beings. Second, by acting hysterically in finding out that Lola Rosario’s friend was

actually Lolo Ipe, Onty has failed to keep his behavior refined and failed to act in

propriety. As such, Onty has failed to implore his delicadeza as a value. Similar to

Apolonio sa Kaharian ng Hardinia, it is by this delicadeza that Onty and Mena’s

relationship with Lolo Ipe improved. Even after Lola Rosario left the town, Onty and

Mena frequented Lolo Ipe’s place because it was the right thing to do, especially since

Lolo Ipe was already in his old age who needed companionship from others. Visiting him

often was also the right thing to do especially when Onty and Mena realized that the

reason why Lolo Ipe always stayed in his house was because of his frail body and poor

health.

From the three examples that I have shown, it may be inferred that and invidiual

fails to abide by the value of delicadeza as a governinnng norm when he shows disrespect

to others. Similarly, it may also be observed from the three examples that delicadeza acts

as the driving force in pushing someone to do the right thing as what I have also shown in

the previous section.

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Delicadeza as the driving force in acting in propriety

From the previous sections, I have examined delicadeza as the governing norm in

fulfilling obligations, as well as the governing norm in doing the right thing. I have also

further discussed delicadeza in expressing respect for others. From what I have gathered,

I am inclined to believe that the primary role of delicadeza as a value is to be the driving

force for an individual to act in propriety, to behave in a refined manner, and ultimately,

to do the right thing.

Delicadeza and amor propio as norms working side-by-side

There are two norms under damdamin as an emotional standard that govern an

individual’s sense of propriety and self-esteem. Delicadeza and amor propio are Spanish

terms that have been accepted as part of the Filipino vocabulary. As previously

mentioned, delicadeza is the norm which governs the refinement of behavior or acts of

propriety in accordance with one’s self-respect, standing in the community, and the

occasion by which the individual is in attendance with. Whereas delicadeza has

something to do with the propriety of behavior, amor propio, on the other hand, has

something to do with the sense of pride or self-esteem. Amor propio tells an individual to

be sensitive to anything that may pose threat to his/her honor, self-respect, or his/her

personal dignity. These two norms work closely together in the sense that any action not

cushioned by delicadeza may invoke an amor propio response from the person to whom

the action is directed. An example of this may be seen in the episode Lumang Tanghalan

(see appendix for a comprehensive summary of the episode) in the character of Manuel

and Aling Tasing. Manuel was always bullied by other children especially by Tikyo and
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his friends because of his extraordinary trait. As such, Tikyo continually and deliberately

disregarded Manuel’s feelings. As a result, Manuel’s amor propio or his sense of self-

dignity was similarly disregarded. In other words, Tikyo and his friends’ behavior lacked

delicadeza. At first, Manuel took the insults as they were and did not act on them. The

repeated occurrences of bullying, however, provoked Manuel’s amor propio response. As

such, he did his revenge by letting his little friend play a destructive sound for Tikyo and

his friends to hear (Figure 17). What Manuel did was wrong but may still be considered

as a manifestation of an amor propio response as it was Manuel’s way of trying to save

his face in front of his peers.

Figure 17. Manuel’s destructive amor propio response (Lumang Tanghalan).

This interplay of delicadeza and amor propio was also characterized by Aling

Tasing’s back story. While performing when she was a young woman, Aling Tasing lost

her face in front of a crowd when she started to hiccup in the middle of her song number.

Although unintentional, the crowd failed to act in propriety. As such, Aling Tasing took

the people’s reaction to her heart and shied away. Amor propio as a norm may be one of
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the main reasons why Filipinos are generally perceived to be sensitive by others (Jocano,

1993). This is because amor propio is the enjoining force where one becomes sensitive of

statements or actions from others that may threaten or endanger his/her self-respect or

dignity (Jocano, 1993). In the case of Aling Tasing, although the reaction of the crowd

was an insult only to her habit of hiccupping, she has perceived the reaction also as an

insult to her whole personhood (pagkatao) which may also be the reason why she had

closed off herself in her own world. In Aling Tasing’s own world, she was able to redeem

herself by performing to the statues enabling her to lift her spirit and self-esteem. In the

past, Aling Tasing was not able to save her face from her audiences, effectively causing

her amor propio to be hurt. Living in her own world and performing only to the

mannequins was Aling Tasing’s manifestation of her amor propio response, where in

order to not experience the same pain and attack to her amor propio, she has avoided any

situatuations that may possibly hurt her self-esteem (Figure 18).

Whereas the amor propio response of Manuel was destructive and offensive,

Aling Tasing’s amor propio response was more on the peaceful side. Manuel’s response

was more confrontative while Aling Tasing’s response was non-confrontative and

favored avoidance of any possible situations that may evoke a negative amor propio

response. Neither of the two expression is necessarily the better option as it is the

prerogative of an individual on how to respond to stimuli that provokes his/her own amor

propio. This dichotomy may prove that amor propio responses may vary from person to

person, I am, moreover, inclined to believe that there are more ways by which the amor

proprio response may be expressed. There are, however, no other examples of this in

Hiraya Manawari for only this episode has shown the value of amor propio. As such,
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only the episode Lumang Tanghalan showed the interplay of delicadeza and amor propio

as values.

Figure 18. Aling Tasing’s accommodative amor propio response (Lumang Tanghalan).

Awa as a crisis-oriented norm

Another element of damdamin as a standard is awa. It is crisis-oriented in such a

way that awa is often felt when someone is in sorrow, pain, or experiencing problems.

More than just feeling pity or sympathy, awa also comprises the ability to understand, to

be compassionate, and to be merciful of a person. Awa also compels an individual to

share the sorrows of another. In this sense, it becomes very similar with the concept of

pakikiramay, especially since the concept of pakikiramay is also linked to times of crisis.

As such, awa may be one of the compelling factor for one’s pakikiramay with his kapwa.

This may also be the reason why, as based from data, awa is seen together with

pakikiramay.
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The concept of awa as a crisis-oriented norm can be seen in the episode Faith. I

have previously discussed Faith in the context of pakikiramay that springs from shared

experiences (Chapter IV). In contextualizing the episode in the concept of awa as a crisis-

oriented norm, it may be seen that awa was expressed by each member of the family to

one another when they showed compassion, understanding, and sympathy for one another

when they were faced with the crisis of having to live without the father of the family.

Each member felt awa, not only for their own selves but also for the other members of

the family, due to the situation brought upon by an unexpected crisis of being left alone

to fend for themselves. I have since then established that Faith showed the value of

pakikiramay. This may be an affirmation of my earlier hypothesis that awa, an emotion

emanating from an individual, may be one of the compelling factors in expressing the

value of pakikiramay.

The notion of awa as a crisis-oriented norm may also be seen in the episode

Bulalakaw. Just as in the case of Faith, I have established that Bulalakaw has expressed

the value of pakikiramay, specifically in the notion of pakikiramay as the governing norm

in times of crisis. In the episode, Nelson and the rest of Raymond’s friends expressed

awa when they finally understood, with the help of Nelson’s mother, the condition that

Raymond was going through. With this understanding, they felt awa and eventually

sought for Raymond to keep him company and to share with the pains and sufferings he

was going through (pakikiramay). Awa, in this context, can be considered a crisis-

oriented norm for it is the crisis that Raymond was going through that made it possible

for his friends to feel awa for him.

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Another episode that showed the notion of awa as a crisis oriented norm was the

episode Saranggola. Just like the first two examples, I have also contextualized

Saranggola in the notion of pakikiramay as a governing norm in times of crisis. In the

episode, Kela showed awa for Martin when she felt compassion and sympathy for the

recent condition he has experienced. By going out of her way, Kela expressed awa in the

way she has comforted Martin through her poem, and when she accompanied him in

making the kite that Martin always wanted to make. Awa as a crisis oriented norm was

shown in this scenario in the sense that the recent crisis where Martin has met an accident

made it possible for his friends to feel the value of awa for him.

From the examples given above, it can be seen that times of crisis may be one of

the many things that may evoke awa in individuals. The crisis may either involve the

indivudal whose awa was evoked, as in the case of the characters of Faith, or not, as in

the case of Raymond’s friends in Bulalakaw and Martin’s friends in Saranggola.

Awa as an expression of an individual’s ability to understand

One important aspect of awa as a value is the ability of an individual to

understand others and the things around him. Understanding the situation of someone is

the first step in expressing awa as a value. This notion can be seen in the episode Ihip ng

Hangin. Kela was a young child with a hearing and speech disability. Despite this, she

was still a very enthusiastic and cheerful child, especially when she was in school. She

also has a talent in poetry writing. Aside from her disabilities, Kela was living the life of

a typical child. She, however, longed to have a better relationship with her father. Roger,

Kela’s father, was very distant from his child. He did not know how to deal with her so
 85

he busied himself with their family business so as not to spend as much time with Kela.

He had not learned sign language so no matter how hard Kela tried, she could not get to

her father. Kela always felt the deep longing to be loved and accepted by his father. She

was only able to express this through her poems. As such, the themes of most of her

poems revolve around the deep love and longing she had for her father. One night, Kela

saw her recently finished poem about her father being blown away by the wind (which

she considers as her friend) to their family business below their house.

Figure 19. Roger giving back Kela’s peom (Ihip ng Hangin).

When she reached the room, she saw her father reading her poem. Her father was

obviously touched, as indicated by the tears he shed. Roger then returned the piece of

paper where Kela’s poem was written (Figure 19) together with the other poems that

were also blown his way which he kept in one of the drawers. This encounter made it

possible for Roger to finally understand what Kela was going through. Roger was able to

express his genuine awa for Kela for he understood (unawa) just how much pain she had
 86

been going through. This awa compelled Roger to finally learn sign language and to

spend more time with Kela.

Awa as the ability to understand was also manifested in the episode Palaruan. I

have previously discussed the episode Palaruan in the context of pakikiramay in losing

someone. I have also mentioned that understanding was an essential value that should be

achieved by an individual in order to express his pakikiramay for someone. Similarly,

this is also the case when one is to express awa as a value. Since the expression of awa

relies heavily on an individual’s ability to understand, I am to assume that one is unable

to feel awa, and consequently unable to express it, when he is not able to understand

(unawa). In the episode Palaruan, Marietta was able to express her awa to Mang Lukas

when she finally understood where he was coming from. It was by this awa that Marietta

was actually able to express pakikiramay for Mang Lukas.

Based from the examples given above, it is easy to see the very close relation of

the values of pakikiramay and awa. It has been established that the value of

understanding is an essential aspect in the expression of both pakikiramay and awa. As

such, I am to believe that understanding ultimately compels an individual to be able to

feel awa. This awa may be responsible in evoking pakikiramay to one’s kapwa. I am only

inferring this based on the premise that an expression of value starts with one’s self

(damdamin) and then to others (kapwa).

Awa as a manifestation of sympathy and compassion

More than being a crisis oriented norm and the expression of one’s ability to

understand, awa may also be seen as a manifestation of an individual’s sympathy and

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compassion for others. I have established in the previous section that in order to express

awa, one must have the ability to understand others and the things that surround him.

Such is still true in the case of awa as a manifestation of sympathy and compassion. In

order for an individual to truly show sympathy and compassion to another, he must first

understand the situation or the conditions that the other party is going through. This

notion of awa can be seen in the episode Si Ria at ang Higante. Ria was an only child of

parents who always reprimanded her and never listened to her no matter how hard she

explained herself. One morning, the walls of their house turned yellow and Ria’s parents

immediately blamed Ria for it since she loved to paint and she was wearing an apron with

yellow stains on it. Since Ria was already used to her parents not listening to her, she just

stayed silent and let her parents think what they wanted. In an attempt to relieve her ill

feelings towards her parents, Ria went out of the house and wandered into the woods

where he met the giant. The giant was apparently asking Ria for help but was not able

properly communicate it as his voice was taken by Engkantada, the caretaker of a certain

garden, for he picked flowers from the garden (Figure 20). The giant tried hard to speak

to Ria but he was unable to get his message across at all. This was when Ria realized how

hard it was to understand someone who would not speak up. She has easily related the

situation of the giant with her situation with her parents. Consequently, she has easily

understood the predicament of the giant. This understanding paved the way for her to feel

awa as sympathy and compassion for the giant. Subsequently, these feelings of awa

compelled Ria to help him. In the end, Ria was eventually able to help the giant get back

his voice.
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Figure 20. The giant trying to communicate with Ria (Si Ria at ang Higante).

Awa as a manifestation of sympathy and compassion may also be seen in the

episode Regalo. MC and PJ were siblings who wanted to give a present to their parents

for their anniversary. As such, they had been saving up some of their allowance in order

to buy something for their parents. While they were on their way home one day, they

came across a house full of trinkets which they initially believed was a shop. They went

inside and saw a frame that would suit their parents. That was when the owner of the

house, Mang Leticio came out of a room and explained to them that the place was

actually his house and that the things inside it were not for sale. When he has learned that

the two children were looking to buy a gift for their parents, Mang Leticio shared to them

his frustrations in not having anyone to care for and how depressed and lonely his life

was. He even furthered that he did not have even just one happy memory. MC felt bad for

him and said that if she could only give Mang Leticio one of her happy memories, she

would do so just for Mang Leticio to know how it felt like. This way of thinking

manifested MC’s awa for Mang Leticio for she understood the pain and emptiness that
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Mang Leticio was probably experiencing since he did not have even a single happy

memory. Mang Leticio told her that there was actually a way to do that. In the end, MC

exchanged one of her happy memories for the frame (Figure 21).

Figure 21. MC giving Mang Leticio one of her happy memories (Regalo).

Due to some inexplicable reason, the exchange made MC’s body weak. PJ

observed that his sister’s condition worsened by the day. When he knew that his sister

still kept exchanging some of her memories for material things to give for their family

members, he became very worried. PJ felt awa for his sister for he knew the reason why

she still kept doing what she did (to make the family members happy) and he

sympathized with her. However, MC’s health took for the worse. PJ knew and

understood that MC would not stop doing what she did especially since she knew that her

family was happy. PJ’s awa for MC drove him to confront Mang Leticio and told him to

stop doing the exchanges with his sister’s memories. Mang Leticio did not want to give in

at first for it was his first time to feel such happiness from the memories. He eventually
 90

acquiesced, however, for he understood the repercussions of keeping the memories of

MC with him. In this essence, Mang Leticio has shown awa when he sympathized with

the feelings of worry that PJ had for his sister. In the end, Mang Leticio returned MC’s

memories which caused MC’s health to improve. MC and PJ wanted to return the things

they got from Mang Leticio but he declined saying that they could keep them. MC

apologized for taking back her memory for she knew it was cruel of her to let Mang

Leticio experience happiness and be unable to sustain it. Mang Leticio, however, told her

that it was okay since he already had one happy memory and that was when he has

helped them. From this episode, it can be seen that the expression of awa was a

manifestation of one’s sympathy with another. Awa was also a manifestation of

compassion especially when MC showed empathy to Mang Leticio when she offered to

have one of her happy memories for him.

Another episode that showed awa as a manifestation of sympathy and compassion

is the episode Hiyas. I have discussed earlier how Hiyas can be seen in the context of

pakikiramay as a manifestation of genuine concern. Awa was manifested in this episode

when Marco, Celine and Alfred were finally able to understand the situation of the

inhabitants of the forest through the interaction they had with the trees, the boar, and the

pregnant bird. Based from this understanding, they were able to feel awa from the

sympathy and compassion they felt for these creatures. Similarly, these feelings were

what compelled them to continue their search for Hiyas in hopes of saving the forest.

The examples given above still affirms my earlier hypothesis that understanding

is an essential value in the expression of awa. Similarly, understanding is a crucial value

in assessing the conditions and situations of others. This understanding may stem from a
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shared experience, as in the case of Ria who found it easy to sympathize with the giant,

or it may be an acquired understanding, as in the case of Marco, Celine and Alfred when

they developed their understanding through their interaction with others. In the end, these

two examples reinforce the notion of awa as a manifestation of sympathy and

compassion.

Awa as counterpart norm of pakikiramay

I have thus explicated the notion of awa as a crisis oriented norm. I have also

shown how awa can be seen as an expression of an indivdiual’s ability to understand, and

how it is a manifestation of sympathy and compassion. From all the examples given

under the awa norm, I have observed that awa has very striking similarities with the

concept of pakikiramay. One very obvious similarity is that they are both concerned in

times of crisis. Pakikiramay is usually evoked in times of crisis such as sickness, deaths,

and problems where one shares the pains of the individual suffering from these crises.

Similarly, the feeling of awa is usually evoked when one’s kapwa is experiencing a crisis.

Another similarity is the premium both values give on an individual’s ability to

understand. Understanding is an imperative value in the expression of pakikiramay for

one cannot fully show pakikiramay if he has not fully understood the plight of his kapwa.

This is also the case in awa especially since one cannot feel genuine awa if he/she is

unable to understand (unawa). From these observations, I am to believe that awa under

damdamin as a standard may be the counterpart value of pakikiramay under kapwa as a

standard in such a way that the expression of pakikiramay may be driven by the

individual’s feelings of awa.

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Self as the center of the damdamin standard

Aside from values hinged on the emotions, hiya, delicadeza, amor propio, awa,

and the so called universal values also have one thing in common, which is that they are

expressed from within one’s self to others. As a self-oriented standard, damdamin is more

than just the emotions or feelings of an individual. Damdamin also entails values

concerning the self, such as self-discipline, self-control, self-confidence, self-reliance,

among others. These values may not necessarily be emotionally charged but they may

still be considered under damdamin as a standard since these values imply and recognize

the state or disposition of an individual from which his/her emotions and feelings may

originate.

In kapwa, the focus is on the relationship of an individual with others. Damdamin,

on the other hand, focuses on the relationship of an individual with his self and the

emotions that spring from within him. I have thus explicated this idea of self as the center

of the damdamin standard to justify my decision to put self-oriented norms and values

under damdamin as an emotional standard.

Hiya, delicadeza, amor propio, and awa as supportive norms of damdamin standard

I have discussed and further explicated the norms hiya, delicadeza, amor propio,

and awa in relation to damdamin as an emotional standard. From the examples in this

chapter, I have shown how hiya can be seen as the reluctance to interact of an individual,

the painful feeling of having let someone down, the painful feeling of having done

something wrong, and how all these contextualizations boil down to the notion of hiya as

a norm evoked for the prevention of loss of face.

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I have also shown the how the values of delicadeza and amor propio interplay

with each other. I have also furthered how delicadeza can be seen as the governing norm

in fulfilling one’s obligations, and the governing norm in ultimately doing the right thing.

I have also provided contextualizations of the expression of delicadeza in relation to

respect. All these support the notion that delicadeza is primarily a driving force which

compels an individual to act in propriety and to behave in a refined manner.

Awa as a crisis-oriented norm was also discussed in this chapter. I have further

explicated this notion of awa as an expression of an individual’s ability to understand and

awa as a manifestation of sympathy and compassion. From these explorations on the

concept of awa, there is reason to believe that awa may actually be the counterpart norm

of pakikiramay in kapwa as a relational standard where pakikiramay may be seen as a

result of an individual’s feelings and expression of awa.

 CHAPTER VI
DANGAL AS A MORAL STANDARD

The last element in the asal level of the pamantayan system is dangal which

refers to one’s social honor and dignity. As a moral standard, dangal is the embodiment

of the moral imperatives of the pamantayan system. As a value, dangal is also used to

characterize one’s identity based on his principles, ideologies, practices, and the people

surrounding him. It involves knowing what is morally right, feeling what is morally good,

and acting in a way that is morally desirable (Jocano, 1993). As such, it encapsulates the

essence of both the kapwa and damdamin standards since one must take into

consideration the self (feeling) before taking into consideration other people through

interaction (knowing), and then interaction with the society or community as a whole

(acting).

In the data presented in Chapter III, it may be observed that all episodes

categorized under dangal were also categorized in kapwa and damdamin. Moreover, it is

important to note that an episode may be categorized in either kapwa or damdamin or in

both. Being categorized in both, however, does not necessarily mean that the episode is

automatically classified under the dangal standard, especially if the episode has not

obviously characterized the value of dangal in its narrative.

This chapter discusses the concept of pagbabahala and its contexts of

pagbabahala as a moral obligation, and pagbabahala as a confrontative value. From

these, pagbabahala may be seen as manifestation of one’s accountability and

responsibility. The episodes that expressed the value of pagbabahala, based on the data

given on Table 2 in Chapter III, and which are also used in this chapter to illustrate
 95

pagbabahala, are Si Mithi at si Maya, Elemento, Daliri Discount, Ang Kuya Kong Maton,

Ang Kulay Indigo, Apolonio sa Kaharian ng Hardinia, Batang Iskawt, Hiyas, and Ang

Hiwaga ni Bre’ar.

The concept of galang is also discussed in this chapter. Galang as respect for an

individual’s possessions and galang in the context of showing respect to living things are

further explicated. These two contextualiations imply that galang is an ethical demand

for an individual to express to himself/herself, to his/her kapwa, and to the society. The

episodes that expressed the value of galang, based on the data given on Table 2 in

Chapter III, and which are also used in this chapter to illustrate galang, are Nang

Makialam si Luntian, Apolonio sa Kaharian ng Hardinia, Ang mga Lola, and Tumba-

Tumba. This chapter also illustrates the concept of utang na loob as a form of social

contract.

Pagbabahala as a moral obligation

Pagbabahala is to have responsibility, accountability, and concern over the

welfare of other people, and that of society as a whole (Jocano, 1993). Pagbabahala also

entails concern for the welfare of other people and the community. As a moral obligation,

pagbabahala entails one to act and behave in ways that will ensure the safety, and serve

the interests of the common good. The notion of pagbabahala as a moral obligation can

be seen in the episode Elemento. I have previously discussed the episode Elemento in the

context of pakikitungo as a coping norm in Chapter IV. Elemento showed the value of

pagbabahala when Mang Abdul made himself accountable for the shortcomings of Rafa

and bore the responsibility of looking for new elements which they needed for the
 96

production of ladybugs. Instead of trying to save his face from humiliation, and trying to

save Rafa’s face, Mang Abdul’s actions reflected the very essence of pagbabahala, and

that is to be concerned not only for one’s self and a few others but for the welfare of the

whole community. Mang Abdul took the burden of quickly looking for elements for their

production because he knew the repercussions of the delayed production on the welfare

of the company as a whole and the welfare of its workers and clients as well. Mang

Abdul’s actions were a manifestation of pagbabahala as a moral obligation for he took

the initiative to do action that will safeguard the well-being of the constituents of the

factory as well as the people’s common interest. Rafa similarly showed pagbabahala

when he finally admitted his mistake, thinking of the welfare of Mang Abdul, and when

he joined Mang Abdul in search of the lost elements.

Pagbabahala as a moral obligation can also be seen in the episode Daliri

Discount. I have previously discussed the episode Daliri Discount in the context of

kapwa as a relational standard and damdamin as an emotional standard. More than

manifesting values on the level of self and kapwa, however, Daliri Discount also showed

aspects of dangal as a standard. Specifically, pagbabahala as a moral obligation can be

seen in the episode when Angelo ultimately decided to be righteous and to forego his

intended shoplifting. This decision of Angelo was a manifestation of pagbabahala for he

has abided by the law in the society in which he lived. More than just following rules,

however, Angelo has also manifested pagbabahala when he took into consideration the

possible repercussions of his would-be act on the people that he may disappoint or the

people he may step on. By avoiding committing a crime, he has abided by his moral

obligation to be a good son to his mother and a good citizen of the society.
 97

Another manifestation of pagbabahala as a moral obligation can be seen in the

episode Hiyas. Just like the Daliri Discount, I have also already discussed Hiyas in

Chapter IV and Chapter V of this work. Similarly, Hiyas also showed the value of

pagbabahala especially when Marco, Celine and Alfred decided to take the challenge of

looking for Hiyas in an attempt to save the forest. This was a manifestation of

pagbabahala for they took it upon themselves to bear the responsibility of helping the

inhabitants of the forest. The three further expressed the value of pagbabahala when they

accepted the challenge of Hiyas to create and nurture a new forest that can replace the

deforested one the three failed to save. Since pagbabahala entails one to be concerned

over the welfare of others and the society as a whole, Marco, Celine and Alfred were able

to show pagbabahala when they expressed genuine concern over the good of the forest

and its inhabitants.

More than just having concern for the welfare of other people and the society in

general, pagbabahala also entails that one be able to fulfil implied responsibilities he/she

has. In fulfilling one’s responsibilities, he/she is expected to have a positive work attitude

and concern over civic obligations (i.e., paying taxes) as dictated by pagbabahala as a

moral value. An example that exhibited this notion is the episode Si Mithi at si Maya. Just

like the previous examples, I have also discussed Si Mithi at Si Maya in the context of

pakikisama (Chapter IV). Pagbabahala was shown in the episode when Mithi went of her

way to learn, to train, and to perform over the minimum requirement imposed upon her

by Impong Diwata. Whereas the only requirement asked of Mithi and Maya was to study

the book given to them by Impong Diwata, Mithi went beyond of what was expected of

her when she studied and practiced her skills diligently (Figure 22).
 98

Figure 22. Mithi studying her lessons diligently while her friends played (Si Mithi at Si Maya).

Mithi’s disposition was characteristic of pagbabahala as a moral obligation especially

since Mithi did what she did for she thought abought the implied responsibilities she

acquired when she received the pilak na baston (silver wand) from Impong Diwata. Her

acquisition of the wand, not only entailed a rise of her rank but also an increase in the

(implied) responsibilities she now bore. Mithi expressed pagbabahala as a moral

obligation when she kept this in mind and actually acted on it. She further showed

pagbabahala when she saved the fields they were guarding from Wena, the bad diwata

(fairy) bent on destroying the fields.

Another episode that showed pagbabahala as the fulfilment of an implied

responsibility is Ang Kuya Kong Maton. After getting out of prison, Diego, the older

brother of Eric who used to be a resident bully in their area, stopped being arrogant and

started to change for the better. He started treating everyone right and as a fellow human

(kapwa). Diego showed pagbabahala when he decided to stop being a troublemaker and

started to look for a job. He manifested the value of pagbabahala for he abided by the
 99

implied responsibility given to him by the society which is to be an employed citizen. By

being employed, Diego did not only help himself but he also satisfieed the expectation of

the state for him to contribute in the productivity of the society. By opting to work and to

be productive, moreover, as opposed to being a bum and a drunkard, Diego had given his

community a favour for there was one less man who did not care about his own welfare

and the welfare of the people with whom he lived, and one more man who did things to

actually effect change even in the littlest ways.

From the examples given above, it can be seen that pagbabahala as a moral

obligation may be expressed when one takes responsibility over another’s shortcomings

as a sign of concern over the welfare of another (Elemento). Pagbabahala may also be

shown when one abides by the rules and laws imposed upon him by the society in which

he lives. Accepting challenges for the sake of another’s welfare and benefit may also be

an indication of pagbabahala as a moral obligation for the individual abides by his moral

obligation to help others in times of need and crisis. Fulfilling one’s implied

responsibilities, such as being employed, is an indicator of one’s pagbabahala.

Pagbabahala as a confrontative value

Aside from being a moral obligation, pagbabahala may also be considered as a

confrontative value where it is a manifestation of an indiviudal’s determination to do

something despite not knowing what may happen next. This kind of pagbabahala is

usually evoked in times where an individual is faced with a challenge where he/she has a

choice to face it or simply walk away. Pagbabahala then is expressed when an individual

chooses to face the challenge, especially if doing so is for the good of others. This notion
 100

of pagbabahala may be seen in the episode Ang Kulay Indigo. Indigo was one of the

seven angels of God, the creator of the earth. God has just finished creating the earth and

he has left the responsibility of bringing color to it to his angels, Pula, Orange, Dilaw,

Luntian, Bughaw, Biyoleta, and Indigo. The angels were excited especially since they

would be able to show their own colors to the world. They went to Serafin, the one in

charge of the cloud maker machine, to finally go to earth as the clouds were their means

to get there. Everything was going fine until the machine started to malfunction. They

were able, however, to get on their own clouds before the machine actually broke down.

While on their way to earth, Indigo looked back to where they came from and became

very worried as she saw a lot of clouds coming their way. She thought that maybe Serafin

was having a hard time fixing the machine. If Serafin was not able to fix the machine, the

amount of clouds produced would be uncontrollable. She realized that if that were to

happen, the work of the other angels will be for naught since the clouds may bring rain,

thus washing the freshly painted colors away. Indigo sacrificed her self-interest of

spreading her color on earth for the benefit of the whole group when she came back and

helped Serafin (Figure 23). Indigo’s action of confronting the problem with Serafin, and

simply not going to earth as tasked, was a manifestation of her pagbabahala for she has

taken into consideration the consequences that may happen and faced the challenge. In

doing so, she had prevented any negative consequence that the rain from the clouds may

bring to the work of the other angels.

 101

Figure 23. Indigo helping Serafin with the cloud maker machine (Ang Kulay Indigo).

Pagbabahala as a confrontative vaue can also be seen in the episode Batang

Iskawt. I have discussed this episode in the previous chapters in the context of

pakikisama and delicadeza. Batang Iskawt, just like others, also showed the value of

pagbabahala, specifically, pagbabahala as a confrontative value. This is especially

manifested when Mickey confronted the challenge given to him by Auwi in looking for a

golden snail in exchange for the release of his teammates from her curse. In hindsight,

Mickey could have just gone away and left his teammates behind. Because of his

pagbabahala and concern for his teammates, however, he decided to confront and accept

the challenge Auwi has given him even though he did not know where to look for the

golden snail. Pagbabahala, in this case, is shown in times of uncertainty since Mickey

did not know the outcome of his search, and that in itself may be a manifestation of an

individual’s courage and determination to do things that would ultimately benefit his

kapwa.
 102

From the two examples, I have established that pagbabahala may also be seen

when an individual confronts and faces the challenges before him/her instead of simply

giving up and walking away. In times, there are challenges that force an individual to

think quickly and efficiently. These challenges often urge an individual to be resourceful

in solving the problems laid before him. This can be seen in the episode Apolonio sa

Kaharian ng Hardinia. I have preiously contextualized this episode as a manifestation of

delicadeza in the context of showing respect. In there, I have also mentioned that out of

delicadeza, Apolonio helped the insects, Larry Langgam, Pepito and Pepita, and Bokyo,

who he has hurt prior to going to Hardinia. Apolonio’s delicadeza urged him to admit

that he was the Batang Higante who hurt them. This delicadeza also urged him to help

those who he had previously hurt, as opposed to simply staying mum and letting things

pass by. This action compelled by his delicadeza consequently manifests his

pagbabahala when he faced the challenge of helping the creatures. Because of this, he

was forced to be resourceful in his ways of helping. Apolonio showed resourcefulness

when he used the things around him to alleviate the insects from their discomforts. He

helped Pepito to fly again when he used a leaf as a replacement for his wing, thus

enabling him able to fly (Figure 24). He also improvised a crutch from the twigs he found

around the area to help Bokyo with his injured leg, and he utilized smoke in order to

remove Larry Langgam’s and his colony’s paint on their bodies. From this scenario, one

can see how an individual is bound to resourceful and creative in their ways of solving

challenges, especially in times of need.

 103

Figure 24. Apolonio helping Pepito in repairing his wing (Apolonio sa Kaharian ng Hardinia).

Pagbabahala as a confrontative value was also shown in the episode, Ang

Hiwaga ni Bre’ar. Just like the other episodes, I have also previously discussed Ang

Hiwaga ni Bre’ar in the context of kapwa as a relational standard. This showed

pagbabahala when Bre’ar eventually realized that he had to take responsibility for his

actions, not only to free Falg’ar and Tre’ar from the wrath of Kib’ar, but also to stop

Kib’ar from taking over the whole world with his bad use of magic. As a confrontative

value, Bre’ar’s pagbabahala was manifested when he eventually faced the challenge of

defeating Kib’ar for his mentors’ sake and that of the whole world’s sake. Just like in the

previous example of Apolonio sa Kaharian ng Hardinia, Bre’ar was also forced to be

resourceful in defeating Kib’ar where he used his knowledge of the place as an advantage

over Kib’ar in tricking him and eventually defeating him. He has also used various

materials found in the area, instead of using magic, thus effectively showing his creativity

and resourcefulness in looking for an alternative solution to the problem at hand.

 104

Ultimately, Bre’ar showed pagbabahala when he thought about the welfare of his kapwa

and the whole society that may be affected by Kib’ar’s actions. Bre’ar also showed

pagbabahala when he finally learned the value of self-reliance that Falg’ar wanted him to

realize from the start. As a result, Bre’ar stopped complaining about his work and duties,

and started to have a positive work attitude which is characteristic of the value

pagbabahala.

In this section, I have explicated how pagbabahala may be seen as a confrontative

value where an indivudal is compelled to take action and to be confrontative, rather than

to be passive of the challenges that lie ahead of him. It can also be seen that pagbabahala

urges one to be creative and resourceful in looking for solutions and ways on how to

defeat the challenge he/she has on his hands.

Pagbabahala as a manifestation of one’s accountability and responsibility

I have thus far shown how pagbabahala may be seen as a moral obligation where

an individual is expected to abide by the responsibilities, implied or not, imposed upon

him by the society. As a moral obligation, moreover, pagbabahala entails one to be

accountable, to be responsible, and to be genuinely concerned over the welfare of his

kapwa and the society as a whole. I have also explicated how pagbabahala may be seen

as a confrontative norm where an individual faces the challenges in life head on instead

of being passive. Pagbabahala as a confrontative norm also compels an individual to be

creative and resourceful in looking for ways to overcome the challenges he/she is faced

with.
 105

Galang as respect for an individual’s personal possessions

Another supportive norm of dangal as moral standard is galang which means

respect. As a norm, galang basically urges people to respect another’s honor, dignity,

status, and feelings as it is an ethical demand upon an individual imposed by the society.

One should respect others simply because they are one’s fellow being (kapwa). Aside

from showing respect for an individual in terms of acting in propriety, galang may also

be expressed when one respects the properties that another individual possesses. I have

previously discussed Nang Makialam si Luntian in the context of delicadeza as the

driving force that compels an indivudal to show respect. Galang as a form of respect for

an individual’s properties can be seen in the episode especially since disrespect to

another’s possessions is also a sign of disrespect to the owner. Moreover, by taking things

without permission, an individual is showing disrespect to the other for he/she disregards

the feelings and the ability and right of the other person to give or deny permission to the

access of his personal things. This is further stressed in the encounter Luntian had with

her sister, Kariktan.

KARIKTAN:
Binasa mo ang sulat ni Makahiya sa ‘kin?!

LUNTIAN:
Ah, oo. Eh kaibigan ko rin naman siya ‘di ba?

KARIKTAN:
Pero hindi sa’yo pinadala to! It isa pa, walang kinalaman ang sulat
na ‘to sa’yo, Luntian.

LUNTIAN:
Teka, bakit ba lagi na lang ba kayo nagagalit sa ‘kin? ‘Di ba ang
magkakapatid nagbibigayan? Nagpapahiraman?
 106

KARIKTAN:
Pahihiramin ka naman namin eh. Pero sana naman magpaalam
ka muna.

LUNTIAN:
Eh bakit kelangan magpaalam pa?

KARIKTAN:
Para ipakitang ginagalang mo kami bilang may-ari ng mga
gamit na gusto mong hiramin.

-from the episode Nang Makialam si Luntian

From this encounter, it can be seen that Kariktan was cleary upset by Luntian’s

action and thus by taking things without permission, Luntian disregarded the emotions

that may be felt by Kariktan from her actions. By failing to take into consideration

Kariktan’s rights to her private matters, Luntian showed disrespect, thus, she violated the

norm of galang as an ethical demand.

Another episode that manifested the value of galang as respect for an individual’s

possessions is the episode Ang Mga Lola (Figure 25). I have previously discussed the

episode in the context of pakikiramay as genuine concern, and I have mentioned that

Wena, Lola Meding, and Lola Teresa showed their genuine concern for one another when

they started to take care of the bodies they were in. This action was a manifestation of

respect for one another for they have taken into consideration the welfare of one another

by taking care of the bodies they possess. To have a body is one of the characteristics of

being human and is the ultimate possession one can have. By showing respect to one’s

body, one is consequently showing respect to its owner for the owner is ultimately the

one who is in full control of the body as well as the receiver of the respect given to it.

From these two examples, I have shown how one can show galang to another’s
 107

personhood (pagkatao) by respecting the personal possessions they have, material

properties or not.

Figure 25. Wena, Epzo, Lola Teresa, and Lola Meding exchanging bodies (Ang mga Lola).

Galang in the context of showing respect to living beings

I have previously discussed how showing respect to the possession of an

individual may be an expression of galang to its owner/s. This section illustrates how

galang may be expressed directly to the living beings an invidual encounters in his/her

life. Aside from showing respect to humans, respect should also be given to non-human

living things. I have mentioned earlier how the context of delicadeza played in the

expression of Apolonio’s respect to the insects in Hardinia and how this expression also

showed respect to his mother, the caretaker of their garden in the episode Apolonio sa

Kaharian ng Hardinia. Just like the earlier examples on dangal, I have also mentioned

that delicadeza served as the compelling force which urged Apolonio to help the insects.

He, moreover, showed respect for their existence when he swore to never hurt or
 108

inconvenience them again. Thus, by taking into consideration the feelings and sentiments

of the insects in Hardinia, Apolonio has expressed galang, not only to them, but also to

his mother who was the one responsible for taking care of them. In a sense, it may be

seen that these insects are a possession of Nana Caring, Apolonio’s mother, only that

these insects have their own capabilities to live and feel pain. As such, respecting these

insects also meant respecting Nana Caring, as I have discussed in the previous section.

Another episode that supported the notion of galang as showing respect to living

beings is the episode Tumba-Tumba. Similar with the examples given above, I have also

explicated how the value of delicadeza played a role in the expression of Onty and

Mena’s galang to Lola Rosario and Lolo Ipe. I have shown how galang may be

expressed to non-human living things in the previous example, Tumba-Tumba, on the

other hand, focused of the expression of galang to human beings, specifically to the

elderly. Onty and Mena ultimately expressed galang when they finally realized their

mistake of judging Lola Rosario and Lolo Ipe as monsters for such belief was a form of

disrespect for them. By being able to realize this mistake, they had changed their attitude

towards Lola Rosario and Lolo Ipe, and consequently fostered a better relationship with

them. Believing that a human is a monster is a sign of disrespect to that person since one

is degrading his personhood (pagkatao) as he rids the other person of the rights a human

has such as dignity. By ridding themselves of this belief, however, Onty and Mena has

shown respect for this essentially meant that in their minds, Lola Rosario and Lolo Ipe

were normal humans like them who were worthy of their respect.
 109

Galang as an ethical demand

Based from the examples given above, it may be seen that galang is an ethical

demand imposed by the society upon its members. As an ethical demand, one is expected

to express galang to his kapwa in accordance to his own honor, dignity, status and

feelings as an individual. I have thus shown how galang may be expressed when one

shows respect to the possessions of anidividual and how galang is the manifestation of

one’s respect to living beings.

Utang na loob as a form of social contract

Another element of dangal as a moral standard is the concept of utang ng loob. It

is a sense of reciprocal social gratitude. Utang ng loob, however, is not just a simple

reciprocity, it also serves as a psychological contract where it morally binds interacting

parties with one another. Utang ng loob may also also be seen as a social contract where

it serves as the moral rule in determining duties, obligations, rights, and responsibilities.

This form of social contract may be seen in the episode Haring Mapet. I have previously

discussed the episode in the context of delicadeza as the governing norm in fulfilling

one’s obligations. As a king, Haring Mapet assumed the duties and responsibilities that

being a king entailed. In a way, this was an implied responsibility and obligation on his

part, imposed by the rules of the society. As such, he is morally bound by the social

contract of utang na loob the moment he took oath and obtained the throne. The people

abided by their responsibility of paying taxes (also a form of pagbabahala), and as such,

they abided by their social contract with the government. By paying their taxes, the

people expect that their government will deliver to its people properly and adequately, as

they expect the government to deliver its end of the bargain. By abiding to the concept of
 110

utang na loob as a contract, interpersonal and group solidarity strengthens, conversely, by

failing to follow the conditions of utang na loob as a moral obligation, one may cause

conflicts and endanger good ties with one another. By failing the people and pocketing

the taxpayers’ money, Haring Mapet disrupted the harmony of their community which

was also characterized by the rallies of protests organized before his castle (Figure 26).

His people rebelled against him, and he was eventually dethroned. Moreover, by using

the taxpayer’s money for his own interests, Haring Mapet showed disrespect (walang

galang) and disregard for the people’s end of the contract, as well as their feelings. He

also showed disrespect for his own honor and dignity for he has tarnished his name in

doing unethical acts. In other words, he did not have utang na loob (walang utang na

loob) to his people’s loyalty and hard work in paying their dues.

Figure 26. Townspeople rallying protests on the castle grounds (Haring Mapet).

From the readings I have done so far for the purposes of this research, I am of the

opinion that there are more ways by which utang na loob may be seen in the society such

as utang na loob between family members, between friends, or even between colleagues.
 111

The program Hiraya Manawari, however, did not show any other contextualizations or

variations of utang na loob as a value in the DVD compilation, at least in my perception.

Thus, the complexities of utang na loob as a norm may not be necessarily seen in the

program. As such, my analysis on the concept on utang na loob is limited only to the

episode Haring Mapet.

Pagbabahala, paggalang, and utang na loob as supportive norms of dangal

Pagbabahala, paggalang, and utang na loob, are just some of the supportive

norms of dangal as a moral standard. Pagbabahala is to have responsibility,

accountability, and concern over the welfare of one’s kapwa and society as a whole. It is

considered as a moral obligation because one is expected to express pagbabahala in

times that it is demanded by the society in which he/she lives. Pagbabahala is expressed

and characterized in the way an individual shows proper behavior and good character

(kabutihang asal). I have explicated the concept of pagbabahala as a moral obligation

and as a confrontative value. This has led me to believe that pagbabahala is a

manifestation of an indiviudal’s accountability and responsibility.

Paggalang, on the other hand, is an ethical demand imposed upon the members of

a society. One is expected to express paggalang to other members of the society for

doing so means that one respects the honor, dignity, status, and feelings of another

individual. I have also shown contextualizations on how galang may be expressed as the

respect for another’s personal possessions and in the context of expressing galang to

living beings.

Utang na loob is a form of social contract where it serves as the moral rule in

determining duties, obligations, rights, and responsibilities of an individual. One is

 112

expected to abide by the psychological contract that utang na loob entails. More than just

reciprocity, utang na loob advocates harmony and unity among people in the society

through the intricacies that utang na loob entails.

 CHAPTER VII
HALAGA AND DIWA:
THE OTHER LEVELS OF THE PAMANTAYAN SYSTEM

The analysis of the data I gathered is focused on the asal component as the

expressive core of the value system. The rationale behind this is that the narratives of the

episodes are bound to show elements of the value orientations supporting the asal

component as it is the expressive core, thus more observable. There are, however, certain

episodes where the themes characterize the concept of halaga and diwa as value

orientations in the value system as well. I have only briefly discussed concepts that are

related to halaga and diwa as I have no intentions of examining these concepts further as

doing so is not within the scope of this study. I have only presented these concepts to

show that the compononent of asal in the pamantayan system is not the only level at

work in the value system incorporated in the program.

Halaga as the evaluative core of the pamantayan system

As an evaluative core, halaga hinges on the concept of kamalayan or conscious

knowledge of an individual (Jocano, 1992). This conscious knowledge enables the person

to objectively judge and give value to the things around him. Intuition also plays an

important role in the halaga value orientation. There are three main guidelines in halaga

as a cognitive-evaluative standard by which one may consult in order to give proper

judgment and value on things or people. These guidelines are katangian (exceptionality),

kagalingan (excellence), and kabuluhan (significance).

Katangian is derived from the word tangi which means exceptional, special,

distinctive, desirable, and outstanding, among others (Jocano, 1992). Objects, ideas, or
 114

acts are assessed of their worth or significance through their exceptionality or traits

(katangian). Kagalingan, on the other hand, refers to the excellence of something or

someone. It is derived from the word galing which may mean high quality of work,

meritorious achievement, and nobility of character, among others. Kagalingan is used as

basis for assessing intellectual capabilities and moral excellence of an individual. The

other guideline is kabuluhan. It refers to the significance of something in relation to a

certain condition. Kabuluhan is often used as basis for evaluating whether something or

someone is of any importance or significance in a certain situation.

Judgments are made based from these guidelines as to what halaga one should

give an object, idea, or a person. The episode Isang Gabi sa Buhay ni Lester showed this

process of evaluating and giving worth to something while using the guidelines as basis.

Figure 27. JR asking Lester to read him a bedtime story (Isang Gabi sa Buhay ni Lester).

In the episode, Lester tried to find his value or worth to his family. It can also be seen

how Lester struggled to feel that he was still wanted or needed by his family. In the end,

he was made to feel that he was a significant (kabuluhan) member of the family when

everyone connived with one another to make him feel important. Lester also realized that
 115

he was exceptional (katangian) in his own way when JR said that he wanted Lester to be

the one to put him to sleep, implying that he had an exceptional trait which JR wanted.

Similarly, the episode Dalawampung Tina (Figure 28) showed the struggle of

Tina to feel that she was different from all the other Tinas in their school. Tina did this by

looking for things that she was exceptional at and things that brought out the excellence

(kagalingan) in her.

Figure 28. Tina discovering other Tinas (Dalawampung Tina).

Diwa as the spiritual core of the pamantayan system

The other level, and also the deepest level, of the pamantayan system is diwa. It is

the spiritual core where the collective sentiments and racial memory of a society are

manifested (Jocano, 1993). As the spiritual core spiritual core of the Filipino value

system, diwa deals with the cultural contexts that are considered true by everyone which

do not need any explanation at all, such as beliefs on natural and supernatural

phenomenon over the people. Other meanings of diwa include kaluluwa (soul), buod

(substance or essence), sigla (enthusiasm), panalig (conviction or trust), and alab

 116

(ardour). Diwa essentially hinges on the premise that human existence necessitates that

there be a harmonious relationship between the physical body and the spiritual well-being

of humans. Aside from being able to show the value of pakikiramay, the episode Jessie

also showed this dichotomy between the physical body and the spiritual component of a

person. This was specifically seen when Vico discussed with Jessie on what will happen

to him when he dies, focusing on the concept of his soul (kaluluwa).

JESSIE:
Pano na kaya ‘yun? Pano ‘pag patay na ang isang tao? Ano kayang
mangyayari sa kanya?

VICO:
Sabi ng mommy ko, iba-iba daw ang paniniwala ng mga tao. Minsan,
‘pag patay na daw ang isang tao, eh ‘yung kaluluwa niya pupunta
naman sa ibang katawan tapos magiging tao uli siya. Ta’s ‘yung iba
naman daw, pumupunta sa mga ibon, o di naman kaya sa aso. Ayaw
ko maging aso ah.

VICO:
Sabi ng daddy ko, mga katawan lang daw ng tao ang namamatay,
Pero ang kaluluwa hindi. Halimbawa, ‘yung kaluluwa, ‘yun talaga
ako. Saka sabi pa nga ng daddy ko makikita ko daw mommy ko at
saka ‘yung kaluluwa ko ‘yung pupunta sa heaven. Meron pa nga daw
sa ’king susundong mga anghel eh. Dun daw ako dadalhin sa taas.

-from the episode Jessie

Throughout the episode, it can be seen that the premise the characters worked on was that

there is, and there will be, life after death. Such belief is a manifestation of an

individual’s spiritual belief in having a kaluluwa which is characteristic of diwa as a

spiritual value orientation.

 117

Halaga, asal, and diwa as complementary value orientations

It is to be believed that there is a motivational component in one’s expressions of

attitudes, behaviors, and values. As such, a single action may come from various aspects

of an individual’s life such as principles, beliefs, or value system. Similarly, the

expression of values may also emanate from the different levels of value orientation an

individual has. Based from the examples given in the previous chapters and the examples

given above, there is reason to believe that the manifestation of values may come from

various systems of beliefs and values. Similarly, halaga, asal, and diwa work as

complementary value orientations and should not be considered separate from each other.

I have only focused on the asal component of the value system, however, as a limitation

of this study. Nevertheless, it is still important to show a brief discussion on the halaga

and diwa level to provide context to the nature of value system I have been working on as

my framework throughout the study.

 CHAPTER VIII
SYNTHESIS: HIRAYA MANAWARI’S VALUE ORIENTATION

The study specifically looks at the values derived from Jocano’s pamantayan

system of Filipino culture. As such, the limitation of the study also lies on the limitations

of the framework of pamantayan system. The asal level, or the expressive core, of the

system is the main focus of the study as it also concentrated on the values highlighted in

the asal core.

I looked at the narrative structure of all the 52 episodes in the educational DVD

compilation of Hiraya Manawari released by ABS-CBN Foundation and determined the

themes present in each episode (Appendix). The episodes were then classified based on

the value’s nature of orientation, whether to the self, to others, or to the society or

community. This classification may be juxtaposed with the asal level’s elements --

damdamin (emotional), kapwa (relational), and dangal (moral), respectively.

Only selected episodes, however, were used to explain and illustrate the norms or

values highlighted in the system. This was done hermeneutically as various contexts were

explored to illustrate the values constructed in the episodes. Although the categorization

was based heavily on the asal aspect or the expressive core of the pamantayan system,

there were some themes in the program where values characterized the halaga

(evaluative) and diwa (spiritual) cores of the system. Based from the data gathered, it was

found that the program represented the characters as a relational (kapwa) and emotional

(damdamin) people where these characters put a high premium on an individual’s own

personal feelings and his/her relationship with others.

 119

Kapwa is the relational standard in the pamantayan system. Kapwa hinges on the

premise that everyone is to be treated as equals (fellow humans). There are various norms

governing kapwa as a relational standard. The concepts of pakikisama, pakikitungo, and

pakikiramay are the ones discussed in this work. Based from the examples that exhibited

the value of pakikisama, I found that pakikisama is basically a group-oriented norm as it

is expressed in the context of being a part of, and working within a group. Pakikitungo,

on the other hand, was constructed in such a way that it may be perceived as the

preliminary norm followed by an individual when he/she interacts with others enabling

him/her to further develop his relationship with them. Lastly, the program highlighted the

value of understanding before one is able to express pakikiramay to others.

Another element in the asal level is damdamin. As an emotional standard,

damdamin has the values of hiya, delicadeza, amor propio, and awa as its supportive

norms of damdamin, and which are also explored in this work. From the examples

illustrated in this work, hiya may be seen as the value usually invoked in order for an

individual to prevent losing his/her face in front of himself/herself or others. Delicadeza,

on the other hand, is seen as a driving force which compels an individual to act in

propriety. By failing to act with delicadeza, an individual may provoke others’ amor

proprio response, either in an accommodative or confrontative manner. Based from the

episodes exhibiting the value of awa, it was found that awa may be the counterpart norm

of pakikiramay where it is by an individual’s awa that he/she is compelled to express

pakikiramay to his kapwa. Aside from these supporting norms, damdamin also comprises

values that are considered universal, such as the value of love, hope, and affection. More
 120

than just dealing with emotions, these norms and values are expressed within one’s self to

others. As such, damdamin may be also be considered a self-oriented standard.

Pagbabahala, paggalang, and utang na loob are just some of the supportive

norms of dangal as a moral standard. Based from the examples, pagbabahala is

essentially a manifestation of an individual’s accountability and responsibility. It is

considered as a moral obligation because one is expected to express pagbabahala in

times that it is demanded by the society. Paggalang, on the other hand, is an ethical

demand imposed upon the members of a society. One is expected to express paggalang

to other members of the society for doing so means that one respects the honor, dignity,

status, and feelings of another individual. Utang na loob, as shown in the program, is a

form of social contract where it serves as the moral rule in determining duties,

obligations, rights, and responsibilities. One is expected to abide by the psychological

contract that utang na loob entails.

Using Jocano’s pamantayan system has indeed been helpful in assessing the

values constructed in the show. It was able to provide me with ways by which I can

categorize the values in each episode in relation to their orientation to the self, others, and

the society. I only discussed, however, the values highlighted in Jocano’s work and did

not discuss other values in relation to their orientation due to the research’s limitations.

As such, it may be helpful that in the future, interested researchers look at the dominant

themes or values that were constructed in the program. In Jocano’s work, it has been said

the value of utang na loob was a dominant norm in his research, but is not the case in the

program since only one episode constructed the value of utang na loob in the narrative.

This situation suggests that there might be a different set of dominant values present in
 121

the program which was not explored. This is because I did not problematize the

dominance of values presented in the program. Rather, I only focused on the construction

of these values based from their orientation and the illustration of the values found in the

pamantayan framework.

To encapsulate the findings in this work, and to answer the research question,

“What values are constructed in the program Hiraya Manawari?”, I would say that the

program constructed the values which highlight the self (damdamin) value orientation

and others (kapwa) value orientation. The specific values are enumerated in the data

presentation in Chapter III. Moreover, the values are constructed in various contexts,

across different episodes, to provide the consumer of the text examples by which a

certain value or norm may be expressed. As such, the consumers are given a fuller and

rounder illustration and explication of the values.

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 APPENDIX

NARRATIVE SUMMARIES
 127

Volume 1 Episode 1. Si Mithi at Si Maya

Concept Description
Main Characters Mithi and Maya are young diwatas (fairies) in training. Wela, a bad diwata, seeks to
destroy the fields and crops. Mithi and Maya are both gifted and are admired by their
classmates and teachers. Mithi is a very responsible student as she devotes her free time
learning and practicing. Maya, on the other hand, is not as diligent as Mithi. Although she
shows interest in learning, she tends to be complacent and consequently taking studying
for granted. Mithi and Maya are both well-liked by their peers. Mithi, however, spends
less time with them than Maya does. As such, the interaction between Mithi and the other
diwatas are limited. Maya is the opposite of Mithi. She is often found interacting with her
friends, playing around the fields and is perceived to be a genius yet fun and carefree.
Context The story takes place in the world of the diwatas (guardians) of the field. The characters
are dressed in clothes that resemble the various things that can be found in the fields such
as flowers, plants, trees and so on. The organizational structure of the community of the
diwatas mainly has three levels, the highest level and the most respected position in the
society is that of the Impong Diwata’s. Impong Diwata is regarded as the queen of the
pack and she’s also the one responsible in giving out wands (baston) with corresponding
ranks or levels (silver and gold) to the diwatas. The second level would be the senior
diwatas who are the regular keepers of the fields, and the last level would be the diwatas
in training including Mithi and Maya.
Narrative Mithi and Maya are diwatas being trained as keepers of the fields. They undergo various
lessons and exercises by which their skills may be developed. It is established that two of
the most advanced and excellent diwatas of their class will be given the pilak na baston
(silver wand) by the Impong Diwata. The day of the presentation came and true enough,
Mithi and Maya each received her own silver wand. Aside from the wands, they were also
given a big book wherein various techniques and lessons were written. They were tasked
to study, practice, and prepare for they will eventually have a shift in looking over the
fields. Mithi rigorously studied whereas Maya became complacent and opted to simply
have fun with her friends believing that she has already learned what there is to learn. The
time came when they had to look over the fields and unsurprisingly, Wela, the bad diwata,
came to destroy the crops in the field. Mithi was knocked out first and it was up to Maya
to defeat Wela. Maya panicked, however, and given the lack of practice and
underdeveloped skills, she lost to Wela and immediately lost her consciousness. Mithi
regained her consciousness, understood what was happening, and immediately casted a
spell which defeated Wela. Impong Diwata commended Mithi and rewarded her with a
gintong baston (gold wand) saying that only the bravest and the best can defeat Wela.
Themes or It is not good to be overconfident of one’s skills. One must continue to practice and to
Discourse hone their skills especially when it is a responsibility given to him/her. There is a time for
everything, one must have the discipline to know when it is time to play and when it is
time to work.
Visual The episode utilizes special effects to show the magical things that the fairies do. Special
Techniques effects were also used to incorporate backgrounds/settings.
The episode was treated in such a way that Maya talks to the audience/camera at certain
times. This makes her the narrator of the story.
 128

Volume 1 Episode 2. Daigdig Makalat

Concept Description
Main Characters Joey is a typical elementary school boy who likes playing and doing things that other boys
his age usually do. He may be perceived as a hyperactive pre-pubescent boy. There is
nothing extraordinary about Joey except that he is very messy. His room is perpetually
cluttered and he doesn’t mind being unorderly and untidy. In fact when asked by his mom
if he could clean up his room, he answered, “Eh Ma, sanay naman ako sa madumi eh!”.
Joey’s interactions with the people around him may be considered carefree. He doesn’t
mind being reprimanded for being messy and although his mom and his brother
consistently asks him to clean up his place, he simply brushes the requests aside. It is
however, evident that he cares about his family, especially his brother Noel.
Context The story takes place in two separate worlds. One is of the human world and the other is a
world where only mess and clutters can be seen or in other words the “Daigdig Makalat”
(World of Mess). In the human world, Joey is simply an average boy with a mother and a
brother living as any other boy his age would do. In Daigdig Makalat, he is treated as the
king by its dwellers Basura-ra and Kalat-Kalat.
Narrative Noel, Joey’s brother, was doing his science project – a model of the Solar system. Noel
realized that he was missing the sun to complete his model. He then asked Joey whether he
has seen the sun to which Joey said that he has seen it but forgot where it was. Joey then
went up to his room and laid down on his messy bed where he found the missing piece of
Noel’s project. Joey was about to return the sun when he got sucked by his bed,
transporting him to another world -- Daigdig Makalat. He was greeted by the two dwellers,
Basura-ra and Kalat-kalat, and told him that he was to be their king and that he did not
need worry about cleaning up in anymore. In fact, his task was to make the place dirtier
and messier. He was excited at first but eventually, he got tired living in a messy and
cluttered place. He also worried about Noel because Noel would not be able to finish his
project without the sun he had with him. As such, Joey started cleaning up the place.
Basura-ra and Kalat-kalat was horrified and eventually let Joey back to the human world.
After returning back home, Joey rejoiced and gave the sun to Noel. He then ushered his
mom and Noel out of his room and immediately started cleaning up. He invited his mom
and Noel again to his room after cleaning making both the mom and Noel pleasantly
surprised.
Themes or One should have self-discipline in his way of living especially when other people are
Discourse already affected by it such. This episode highlights the importance of being clean and
orderly. The importance of family bonds is also shown in this episode such as at the start
where the mother looks for her two kids to have breakfast together and Joey wanting to go
back to the real world for the sake of his brother and his project.
Visual Special effects used in this episode is very minimal – only to show the transition of Joey
Techniques going to Daigdig Makalat and back to the real world, and the portal/screen by which
Basura-ra and Kalat-kalat see Joey.
Noel is the narrator of the story where he talks to the audience/camera at the start and
finish of the episode to explain the story.
 129

Volume 1 Episode 3. Boses

Concept Description
Main Characters Ringo is the father of Jossy. Both of them loves to sing. Jossy is a big fan of the singer
Jannina. Ringo is generally a good-natured and humorous person. Ringo and Jossy’s
relationship as father and daughter may be considered as ideal. They both love and care for
each other. Although Ringo may seem lenient and carefree, he still exhibits his authority
over Jossy especially in matters of spending (e.g. purchase of limited edition CD).
Context The story takes place in a typical town. There is an ongoing videoke contest in Aling
Charing’s restaurant and Ringo is one of the contestants. Ringo is the father of Jossy. Riza
is Jossy’s best friend. Aling Charing is the owner of the restaurant and the one who hosts
the videoke contest. Iben is the hyperactive competitor of Ringo. The people in the
neighborhood foster a cheerful and amiable atmosphere.
Narrative Ringo was singing at the quarter finals of Aling Charing’s videoke contest. While the
contest was ongoing, Jossy was also singing and performing in her room in front of the
mirror. Ringo won in the quarter finals. When Jossy saw her father’s trophy, she started to
cheer. That was when she realized that her voice changed. Ringo also noticed this and
started to talk to Jossy and to his surprise, his voice also changed. It turned out the two
actually exchanged voices; Ringo was speaking with Jossy’s voice and vice versa. The two
of them tried everything to get back their own voices especially since Ringo still had to
compete in the finals. In the end, they were still not able to get back their respective voices
and Jossy had an idea. They asked Aling Charing if she could postpone the finals. They
were found out eventually by Aling Charing and exclaimed that they were being possessed
and that they were ‘maligno’. Jossy said that they had no plans of hurting her and that they
only wanted Ringo to still be able to compete. Aling Charing denied the request and the
finals went as planned. Ringo lip synced Jossy’s singing back stage. Iben, Ringo’s
competitor, found out and exposed the two claiming that they were cheating. Ringo and
Jossy explained themselves and the judges decided to go on with the competition given
that only one of them can join and sing since the contest is not a lip syncing contest. It was
Jossy who sang on stage for the competition and Ringo joined midway. While the two of
them were singing, they eventually found out that their own voices have returned.
Everyone rejoiced, even Iben.
Themes or There are various cultural indicators in this particular episode. The story reflects how
Discourse much Filipinos love singing which was highlighted by Aling Charing’s videoke contest.
The song choice of Ringo, “My Way”, is also of interest since this is one of the most
popular songs that are sung in videoke bars and also the belief that singing this song is
deadly for most of the customers that have sung this were either killed or badly hurt in
videoke bars. Of course, these are only speculations but interesting to note nonetheless.
Another point of interest is how Jossy as a fan of Jannina was presented. Jossy was a
diehard fanatic of a foreign artist. In fact in her room, she had tons of Jannina posters and
of other foreign artists. This may have been a reflection on how Filipinos, specifically
children, prefer to idolize foreign artists as opposed to local artists. The discourse on
having a family member as an OFW is also present. There was a scene in the episode
where Ringo, with Jossy, was talking with her wife on an overseas call. Cultural symbols
such as using folk medicine (where Ringo and Jossy were trying to revert their voices back
to normal) were also seen in the episode. The episode also showed the value of humility
and helping one another in times of crisis.
Visual The episode employed the use of split screen to juxtapose the simultaneous singing
Techniques sequence of Ringo and Jossy. During the song sequence of Jossy, the camera movements
were fast as well as the cuts. No special effects were used.
 130

Volume 1 Episode 4. Batang Smart

Concept Description
Main Characters Bart is a smart, active, and curious student. She values how Mrs. Petronilla, her favourite
teacher, sees her. She thinks that she is Mrs. Petronilla’s favourite student and she takes
pride in their similarities such as having the same water jug. She has a group of friends
who she always hangs out with.
Context The story takes place in the school. Bart is the main character and she has 3 friends that
she always hangs out with. Their teacher is Mrs. Petronilla.
Narrative Bart is an active and popular student in their school. She believes that she is the teacher’s
favourite because Mrs. Petronilla allegedly imitates her since they have the same water jug
from Monday to Friday. This was then examined through a song and dance number. Mrs.
Petronilla indeed had the same water jug and similar actions with Bart from Monday to
Wednesday. When Thursday came however, Mrs. Petronilla brought out a gallon of
bottled water. Bart was disappointed and sought her friends. They peeked at Mrs.
Petronilla drinking the water from the bottle and they got curious, especially Bart, of its
taste because of the way Mrs. Petronilla drank it. Bart was distraught because she really
wanted to taste the water but she could not get the chance to do so. One day Mrs.
Petronilla asked Bart to buy her a gallon of water in the nearby store outside the school.
Bart’s face lit up and realized that this could be her chance to taste the water that her
teacher drinks. She was disappointed, however, to know that she still couldn’t taste the
water because the bottle was sealed and that if she opened it, Mrs. Petronilla will know
that she drank from it. In the end she was still not able to drink from the bottle and just
gave the refilled bottle to her teacher. Bart was still restless and one day she approached
her teacher asking if she could refill the bottle for her again. Mrs. Petronilla obliged and
gave Bart the bottle and asked her to just let the shop owner to cover the bottle with plastic
because her child lost the cap. She thought that this could finally be her chance but the
water bottle was still sealed. She could not take it anymore and she finally opened the
bottle to take a sip, but just as she was about to drink, she was hit by an actor on the set
and the water spilled. Apparently she had walked in the middle of a shooting. The
production assistant got mad at her for disrupting the scene, exclaiming that the director
would be angry. The director, however, liked the way Bart came in the scene and even
asked the assistant to give her a talent fee. She used the money to buy another gallon from
the store and gave the water to Mrs. Petronilla, giving up hopes of ever having a taste of
the water. Mrs. Petronilla noticed the Bart was a little late and that she looked tired. She
asked Bart if she would like some water. Bart’s face lit up and said that she would like
that. Mrs. Petronilla poured water in a glass and gave it to her. Bart drank some and gave
the glass back to her teacher. She got her jug and drank some too. It turned out their water
taste the same.
Discourses or This episode shows just how much children, or students specifically, look up to their
Dialogues elders/teachers. It also shows just how curious children may get. It is not necessarily bad to
be curious but it must be acted upon properly. In this case, Bart would have not wasted too
much time and effort trying to taste Mrs. Petronilla’s water if she was just honest enough
to ask Mrs. Petronilla if she could taste her water. From this, one can see the hesitation of
Bart in approaching Mrs. Petronilla in fear of ‘losing her face’.
Visual The general treatment of the episode is upbeat. The episode employed a musical approach
Techniques with song and dance numbers peppered throughout. The camera movements and cuts were
generally fast for these numbers. In general these numbers are repetitive in nature to show
the numerous attempts and struggle of Bart to reach her goal.
 131

Volume 1 Episode 5. Elemento

Concept Description

Main Characters Rafa is a new trainee under Mang Abdul in the factory. He is assigned to look over the storage area and
to cater to the other workers who ask for different materials from the storage room. The factory
produces kulisap (ladybug) through the elements found in nature. Every new worker, gets to be under
Mang Abdul’s care. Mang Abdul has the reputation of being harsh on his apprentices and as such most
workers don’t like him. Ser, is the chief-in-charge of the whole factory. Dong is the child Mang Abdul
and Rafa found and saved while looking for elements in the forest. He would eventually become
another apprentice of Mang Abdul in the factory. Bugoy is Dong’s friend from his previous job.
Context The story takes place in the ladybug factory and the forest. The workers are dressed in their fuzzy hat
and orange shirt uniforms. These workers are in charge of making ladybugs through the elements found
in nature. Much like any other workplace, there is an organizational structure in the factory. The head
of the group is Ser, followed by the senior workers like Mang Abdul, the workers, and the trainees.
Narrative Rafa is new under Mang Abdul’s division. One day, the delivery of new elements came and he was
tasked to store them properly. Mang Abdul was hesitant to leave Rafa in charge of it at first but Ser
insisted that Rafa can handle it himself. Mang Abdul then just made sure that the new elements were
stored properly and tasked Rafa to open the bottles a little to let some air in the bottles or else the bottle
will explode. Due to Rafa’s heavy workload, he failed to do what he was asked and eventually the
bottles exploded. As such, the elements inside escaped. Ser got angry especially since the rainy season
was nearing and they really needed those elements to finish producing the ladybugs in time. Instead of
putting the blame on Rafa, Mang Abdul took responsibility for the incident. He then volunteered to
look for the lost elements in the forest himself. Rafa didn’t know why Mang Abdul covered for him and
he was torn on whether or not he will reveal to everyone that it was actually his fault. He eventually
admitted to his shortcomings and looked for Mang Abdul in the forest and joined him in looking for
replacements for the lost elements. While looking for the elements, they encountered Dong lying on the
ground, seemingly needing help. They helped him and they set up a place to sleep for the night. While
they were all sleeping, Dong woke up and stole all the goods they had. They managed to get a hold of
Dong while he was in the middle of transporting the stolen goods through a portal. They successfully
pulled out Dong from the closing portal to their side. Dong was weak from the incident and was
brought to the factory. Mang Abdul and Rafa asked permission from Ser to keep Dong in the factory,
promising to keep an eye on him especially since he had a history of stealing. At first, Dong was still
contemplating on whether or not he will go back on his old ways. While he was staying in the factory,
however, he was touched by how Mang Abdul and Rafa took care of him and decided that there were
other things that he can do for work aside from stealing. Bugoy came for Dong but he was refused so he
started stealing some goods from the people in the factory to show Dong that the people’s prejudice on
him would never change. Dong went with Bugoy but only to get back the things he stole. Dong
eventually came back to the factory and returned the stolen things and he stayed as an apprentice of
Mang Abdul with Rafa.
Themes or One must have the courage to admit his own fault and shortcomings. This episode also shows that there
Discourse is hope for everyone who wants to change and that believing in the innate goodness of a person will go
a long way. The values of being responsible and accountable are also seen in this episode.
Visual Techniques The episode utilizes special effects to show the elements in nature, the portal, and the flying of the
characters.
At the first part, the story was narrated by a fellow worker in the factory where he was talking to the
audience/camera.
 132

Volume 1 Episode 6. Daliri Discount.

Concept Description
Main Characters Angelo likes comics and a big fan and collector of Hyperboy comics. He lives with his
mother and are living on a tight budget. Risa is the friend of Angelo who also likes and
collects comic books. Hecate is the known as the “Reyna ng Sangandaan”. She is found at
the crossing where all events and places meet. She is the self-proclaimed overseer of the
universe.
Context The story takes place in the school, the convenience store, and the crossing where all
events and places meet. The crossing is basically an empty and foggy white space where
Hecate can be found.
Narrative Angelo is a big fan of Hyperboy comics. He was wandering around a convenience store
one day and found the rare first issue of the comics on the magazine rack. He wanted to
buy the comics but he did not have the money to do so. He went home and asked his
mother if he could have an extra allowance. His mother said that they were tight on budget
and that they did not have money to spare. The next day, he went back to the convenience
store to just look at the comics. Two of his classmates came in and said that they were to
use the “daliri discount” (shoplift) to get some items from the convenience store. This was
when Angelo was tempted to shoplift the Hyperboy comics. Right when he was about to
shoplift, he was brought to the crossing. There he met Hecate who showed him the various
scenarios that might happen if he decided to continue his shoplifting (e.g. get caught by the
guard, be shamed in front of Risa, and disappoint his mother). In the end, he decided not to
shoplift. His schoolmates got caught shoplifting. When he was about to leave the
convenience store, he realized that the store clerk was actually Hecate.
Themes or This episode shows the value of righteousness. It moreover shows that it pays better to
Discourse work for the things you want rather than to get it in an easy and undignified way. The
approach of Angelo in decision making is consequential and usually involves the concept
of shaming himself.
Visual The video contrast in the scenes involving the crossing is lighter as compared to the rest of
Techniques the scenes. This is to highlight the ethereal feel of the setting.
 133

Volume 1 Episode 7. Obra Maestro.

Concept Description
Main Characters Carlo is one of the students touring in the museum of Maestro. Maestro is the artist behind
the paintings in the museum. He is also the master of Edward and Ariel. Edward and Ariel
are siblings. They are both students of Maestro. The younger brother, Ariel, is a better
artist compared to his older brother.
Context The story takes place in the museum of Maestro. When the painting of Maestro comes
alive, he will tell Carlo the story from where he had his two students Edward and Ariel and
the setting will change to the town where he taught the two.
Narrative Carlo’s class was having a field trip at Maestro’s museum. They encountered his portrait
that was painted by one of his students. Carlo was studying the portrait intently that he got
left behind by his classmates. When he was left alone, the painting came to life and
Maestro talked to him. Carlo asked if it was indeed true that Maestro’s works are alive.
Maestro then explained that there was a story for every work he has done and then he
continued to tell the story of the brothers, Edward and Ariel. Both were enthusiastic in
learning and in their work but Ariel, the younger of the two showed more promise. One
night, Ariel wanted to surprise Maestro so he painted a portrait of him. Their mother
walked in where Ariel was painting and thought that it was Edward who painted the
portrait. The mother got so excited and told everyone that Edward painted a portrait of
Maestro. As such, everyone believed that it was Edward who painted the portrait. Ariel
was disappointed when his brother could not admit that it was actually him who painted it.
This is because Edward got carried away with all the praises he received and forgot to
correct everyone. The Maestro was also disappointed for he knew, from the way the work
was done, that it was indeed Ariel who painted the portrait. He was waiting for Edward to
have the courage to correct and admit the mistake in the recognition. The opening
ceremonies of the gallery came and Edward finally gave the recognition to whom it was
due, everyone was taken aback but Maestro stood up and clapped his hands for Edward.
Maestro’s story ended just as the teacher came looking for Carlo and Maestro returned
back to his portrait
Themes or It is important to have the courage to uphold one’s integrity despite the challenges and
Discourse difficulties that may arise. It is better to not be praised than to be praised but not because
of one’s own strengths and skills. The issue of plagiarism or claiming one’s work as his
own is very apparent in this episode.
Visual The episode used a distinct transition technique to jump from one setting to another (from
Techniques the museum to the story in the paintings and vice versa).
 134

Volume 1 Episode 8. Lumang Tanghalan.

Concept Description

Main Characters Manuel is child with a special trait. He has a friend who loves to play the piano inside his brain. As such, is
often teased and dubbed as the “batang tumutunog” by other children. Clara is Manuel’s friend who also has
a special ability where flowers fall down from the sky when she speaks or sings. Tikyo is the nephew of
Manuel’s art teacher who always bullies Manuel. Bianong is Tikyo’s uncle and also the first love of Aling
Tasing. Aling Tasing is the newfound friend of Manuel and Clara who always stays and performs in front of
mannequins in the old amphitheatre. She is a good performer/singer but she always gets hiccups whenever
she performs in front of other people.
Context The story takes place in a typical town. It is summer time and children are spending time in summer classes
such as the art workshop given by Bianong. There is an abandoned amphitheatre where Manuel, Clara, and
Aling Tasing usually stays.
Narrative Manuel was constantly bullied by other children due to his special friend in his brain, as such he became
distant and wary of other children. One day he met Clara. At first he didn’t want to make friends thinking
that she will only tease him like others but when he found out that Clara also has a special ability, they
immediately became friends. One day, Manuel and Clara came across an abandoned amphitheatre and
decided to play in the area. There, they saw Aling Tasing singing on the stage with mannequins as her
audience. When Aling Tasing saw the two, she became hysterical and started commanding them to go away.
Manuel and Clara just stayed there and let the hysteria die down. Aling Tasing then explained as to why she
always spent her time in the abandoned theatre. When she was younger, she wanted to be a singer. The first
time she performed in the theatre, everything was going smooth at the start, however in the middle of her
performance she started to hiccup. The audience started to laugh. She was embarrassed but still continued to
finish the song. She would have been able to take the shame if only her secret love, Bianong, was not
laughing as hard as what she saw. From then on, she never performed again in front of other people. The
three of them then lived in their own little world until one day, Tikyo and his friends discovered their secret
place and started to bully Manuel again. Manuel could not take it anymore and decided to get back at Tikyo
and his friends by asking his fiend to play a destructive and deafening tone to hurt them. Manuel thought that
he would feel better if he did that but he just felt bad. Manuel’s little friend was also disappointed especially
since he did not want to use his music to hurt people. At that time, Aling Tasing’s mannequin came to life
and started to perform a musical number which presented their own weaknesses and limitations explaining
that everyone was born different and that everyone should love one themselves and one another. Manuel
then apologized to Tikyo and his friends. Tikyo didn’t accept his apology because he was mad and he started
to attack Manuel. Bianong came in to stop Tikyo but Bianong had an attack and his body weakened.
According to the doctor, Bianong suffers from extreme loneliness and that his body could not handle it
anymore. Bianong explained that the reason for his loneliness was because of a lost love. Manuel overheard
this and realized that Bianong was Aling Tasing’s love. Manuel told Aling Tasing about this. He also told
her that Bianong was ill and he would only feel better if he could see her again. Aling Tasing deliberated on
whether or not she could face Bianong again and decided that she could not. Manuel had an idea and asked
his little friend to play the music of the song that Aling Tasing performed years ago at the theatre. The music
reached the house of Bianong and he asked Tikyo to accompany him in following the sound. They reached
the abandoned amphitheatre and there he found Aling Tasing singing the same piece she sang years back.
Bianong asked for forgiveness and Aling Tasing said that she knew that Bianong accepted her for who she
was and that she was only ashamed of other people thought of her. The two then rekindled their love for each
other. Tikyo also reconciled with Manuel and apologized for all the teasing he had done. In the end, they all
became friends.
Themes or Everyone is born different and one should accept who they are and he should also accept others. (“Mahalin
Discourse natin ang ating kapwa at ating mga sarili.”, song lyrics). This episode showed that it is not bad to be
different and that everyone should embrace the way they are. It also highlighted the value of forgiveness as
what Aling Tasing has shown to Bianong, and Manuel to Tikyo. Compassion was also seen especially from
the relationship between Manuel, Clara, and Aling Tasing. The episode also shows how one values his amor
propio and how the opinion and behavior of others may affect him. (“Alam ko namang tanggap mo ako kahit
ako’y sinukin. Nahihiya lang ako sa ibang tao”, Aling Tasing).
Visual Techniques The episode utilizes special effects specifically to show the raining flowers from Clara. Musical numbers are
also peppered throughout the episode. These musical numbers are usually done to progress the narrative and
to convey the moral of the story.
 135

Volume 1 Episode 9. Si Martin, Ang Magiting

Concept Description
Main Characters Martin is easily scared. He is the older brother of the braver Kam-kam. Martin may be
considered very imaginative for he easily pictures scary monsters from little things that are
considered normal such as sweaters and mops.
Context Mamaw is Martin’s imaginary creature from which he is scared of. The story takes place
in Martin’s home and their school.
Narrative Martin is afraid of Mamaw, as such he always becomes restless when it is dark or when he
is alone. His father taught him a mantra, and he told Martin that every time he feels afraid,
he must say to himself that he is brave and courageous. Martin kept this in his mind and
tried to do it but he still remained a scaredy-cat. One night, Kam-kam got sick and he was
asked by their mother to get the medicine downstairs. Although feeling really afraid, he
still followed his mother’s order and went down. He kept telling himself that he was brave
just like what his father told him and he tried to fight off his fear to get the medicine of his
sister. When he got the medicine, the Mamaw showed itself to Martin and chased him until
he reached his bedroom. Martin remembered what his father said and he started to imagine
that the Mamaw did not have sharp claws and that the monster was really small and not
scary. While Martin was saying these things, the Mamaw started to disappear. In the end
he was able to triumph over his fear and he was able to bring back the medicine to his
sister. From then on he left the ways of being a scaredy-cat and became braver.
Themes or One must have the courage to face one’s fears. Most times, fears are all in one’s heads and
Discourse imaginations. One should only believe that he is brave and that he can overcome his fear.
This episode also shows how one deeply cares for his family. This is especially seen when
Martin braved himself and repeatedly muttered to himself that he had get the medicine for
the sake of his sister. He also got a jacket to give to his sister to make her feel better.
Visual The lighting for this episode, especially in the scenes where the monster was seen was
Techniques dim. The camera shots and camera angles were also done in such a way that would make
the scene seem scary (e.g close ups, tracking, etc.). Special effects and prosthetic make up
were also used to characterize the monster. Also, stop motion cuts were utilized to increase
the scary mood of the whole episode.
 136

Volume 1 Episode 10. Ang Kuya Kong Maton

Concept Description
Main Characters Eric is the younger brother of an ex-convict Diego who used to be the resident bully in
their area. Miong is one of the drunkards who was left behind by his wife and children.
Context Eric is arrogant in their neighborhood because his brother is an ex-convict and feared by
the people in their place. The story takes place in an urban area where the houses are close
to one another. There is also the usual bystanders who always drink by the sari-sari store.
Narrative One day, Diego got arrested and put into jail. After he was released, he changed his ways
and stopped being a troublemaker. Diego started to look for a job and he also stopped
drinking. Eric could not accept this especially since the drunkards started to make fun of
his kuya. Diego talked to Eric and explained what he had learned while he was in jail. He
explained that there he realized the real meaning of being brave and that it does not equate
to scaring or terrorizing people. The next day, Miong became violent because of the
teasing he got from his fellow drunkards. Everyone got scared when he got a bolo and
started flinging it to people. Diego tried to stop him by talking to him. Miong eventually
calmed down and gave the bolo to Diego. The people were astounded by what Diego did,
including Eric who decided to follow in his kuya’s steps and to be good to other people.
Themes or Being brave is more than just terrorizing other people and being feared upon. True courage
Discourse is when one is able to know and act upon his own responsibilities. From this episode, one
can also see how children are prone to idolizing and imitating the ways of their elders
especially ones that they are close to. The urban culture of having bullies/drunkards on the
street is also shown in this episode as well as the tight relationships of the neighbors to one
another. This episode also shows how important it is to have good ties with other people
especially ones that are always around.
Visual No special effects were used in this episode. The lighting and the camera techniques were
Techniques typical and average to show that the scenes in the episode happens in everyday life. The
blatant change in Diego’s appearance from last his last scene of being escorted by the
police and the first scene after he came out of prison also signified the inner change of his
character.
 137

Volume 1 Episode 11. Palaruan

Concept Description

Main Characters Marietta is an orphan who likes to play in an abandoned resort which she considers as her own
playground. Mang Lukas is the owner and caretaker of the place. He usually decorates the place
and prepares snacks in the pavilion. Marietta sees Mang Lukas as a grouchy man for he always
shoos Marietta away whenever he sees her. Marietta is a playful child and always teases Mang
Lukas.
Context The story takes place in Mang Lukas’ resort. There were three major time lapses, one from when
Mang Lukas was a child, another as a teenager/young adult and the present time.
Narrative Marietta likes to goof around Mang Lukas’ abandoned resort. She loves to tease Mang Lukas. One
day while she was annoying Mang Lukas to get out of the house, three children appeared before
her looking for Lukas. Apparently, Marietta went back in time to witness the life of Mang Lukas.
The child Lukas went out of the house and joined his friends. Marietta was just following Lukas
around and she was eventually invited by Lukas to join their group and play games. One day,
Marietta and Lukas were talking and Lukas shared that he too was an orphan and that he was given
a musical box which he plays to refrain himself from being sad. There was a time lapse and now
Marietta is with the teenager Lukas and friends. The group was about to go for a dance but one of
their friends, Alfredo, had to stay because he had to study for the exam he previously failed. Lukas
decided to stay and help Alfredo. At first Charing and Rosario wanted to go to the dance but they
eventually went back to help Alfredo. After studying, the group decided to dance on their own
using the musical box as their dance music. Their activity was stopped however when people came
telling them that a war was coming. The four of them went to serve the war. Lukas came back first
and he waited for the others to come back. They, however, did not return. Lukas got really sad and
threw the musical box away. Marietta and Lukas came back to the present time. Marietta was still
outside Lukas’ door when Alfredo, Charing, and Rosario showed up before her again bringing the
musical box. They gave the box to Marietta telling her to give it to Lukas. Marietta gave the box to
Lukas and their relationship with one another became better.
Themes or Compassion is the central theme of this episode. It is easier to get through things when one is
Discourse accompanied and supported by his friends or peers. This episode showed the importance of caring
and putting value on others’ welfare.
Visual Transitional and lighting effects were utilized to signify the time lapses in the narrative. The
Techniques central object in the episode was the musical box as it played an important role for every
significant period in Lukas’ life.
 138

Volume 1 Episode 12. Tanawin

Concept Description

Main Characters Terry is an adolescent girl who loves her tree house very much. She also likes Paolo, a
young man staying at their town for the summer season. She lives with her grandmother.
Context The story takes place in a rural town. It is summer time.
Narrative Terry loves her tree house dearly, however, the branches of the tree were already poking
through their house’s roof. As such, the branches needed to be cut down and consequently
her tree house needed to be taken down. She did not want that to happen so she slept and
stayed on her tree house so the workers couldn’t cut down the tree. One day, Paolo came
into their place asking for the best spot to fish. She gave him the directions but Paolo
didn’t understand the directions and asked her to accompany him. Terry hesitated but in
the end told him that she could not go with him. Later in the day, Terry’s grandmother told
her that she would just go in town (bayan) to sell her jackfruits and to join in the church’s
novena. Paolo came back to their house and asked Terry again to go with him. This time,
Terry went with him since her grandmother was away, ergo she couldn’t have the tree cut
down. Terry and Paolo went fishing and Terry did not notice the time go by. When she
came back to their house, the workers were already cutting down the tree and her
grandmother was on a ladder by the tree. Terry immediately rushed to her grandmother
and shook her telling her that they cannot cut her tree down. Terry went overboard and her
grandmother fell down and hurt her arm. Terry was silenced and felt guilty. In the evening,
rain started to pour and water came in their house. Eventually, the summer came close to
an end and Terry silently agreed to have the tree cut down. Paolo also bid goodbye to
Terry telling her that he will come again next year.
Themes or In life, one must learn how to let go of things to make room for other important things.
Discourse This episode also shows the value of self-control especially seen when Terry confronted
her grandmother.
Visual The tree and tree house represent Terry and her adoration for Paolo. The grandmother
Techniques likened the unripe fruits of the tree to her granddaughter where Terry has yet to blossom as
a woman and yet she already had someone she liked. The tree also represents Terry’s
feelings for Paolo. She loves it very much and yet she has to let go because it is for the
better.
 139

Volume 1 Episode 13. Nang Makialam si Luntian

Concept Description
Main Characters Luntian, Kariktan, Buhawi, and Batis are brothers and sisters who are the guardians of the
forest. They all have their own stones that gives them power to manipulate either the earth,
fire, wind, or water. Luntian is the one in charge of taking care of the earth, Kariktan of
fire, Buhawi of wind, and Batis of water. Borga is the villain of the story who wants to
take over and destroy the forest. Korniks is his sidekick.
Context The story takes place in a certain forest where the guardians and the villains reside. The
guardians are dressed that are representative of the elements they specialize in taking care
of (earth, fire, wind, and water).
Narrative Luntian has the habit of taking things of others without asking for permission. The villains
knew about this and they waited for Luntian to take all the stones with her. They attacked
the forest while Luntian was playing with all the stones. Luntian panicked and
immediately went back to their place to return the stones back to their place. She was in
such a state of panic that she didn’t know whether she had put back the stones at the
original places. Kariktan, Buhawi, and Batis awoke and Luntian told them the situation.
They immediately got the stones they thought was theirs. It turned out that they got the
stones jumbled up so when they were battling the monsters the villains created, the forest
got even more destroyed. They all realized this and Luntian apologized to Kariktan who
was the only one with her battling the monster at that time. They all met one another and
gave the stones to their respective owners and then this time they battled the villains and
eventually succeeded. From then on, Luntian vowed that she would always ask permission
whenever she wants to borrow things that are not hers.
Themes or Asking permission before getting things and properties of others is a sign of respect for the
Discourse owner. It is also important to always be honest and true in order to avoid
misunderstandings and further undesirable consequences.
Visual Special effects were used to show the magical acts of the guardians and the villains, as
Techniques well as to enhance the visual setting of the narrative. The episode also incorporated
musical numbers to introduce the characters and conclude the story.
 140

Volume 2 Episode 1. Eggward

Concept Description
Main Characters Monching is an elementary student who owns a pet egg called Eggward. He treats
Eggward as a real pet that needs to be taken care of. Bong is the older brother of Monching
who likes to play in gigs and is a self-proclaimed rocker. He finds Monching weird
because of his treatment to a common household egg.
Context The story takes place in Monching’s house and the school. Bong’s friends always teases
him for having a weird brother like Monching.
Narrative Monching always starts the day greeting everyone in the household a good morning
including his pet, Eggward. Before going to school he would play music and dance with
Eggward. One day, Monching’s class had a pet day where the students will show and tell
their respective pets. Monching and Eggward performed their dance and they won in the
pet day. They will now represent their class in the department wide competition for pets.
One day, Bong came home late because of his gig. He was so hungry because he missed
dinner. He went into the kitchen to look for food but found none. The only edible thing he
found was Eggward. He hesitated cooking the egg at first, thinking about his brother. In
the end, however, his hunger won and he cooked Eggward. The next morning, Bong tried
to stall Monching from looking for Eggward by urging him to tell their mother stories
about the pet day. While stalling, Bong was desperately looking to buy another egg to
replace Eggward. When he came home, Monching was already looking for Eggward.
Bong got the egg out of his pocket and gave it to him. Monching was wary because the
egg didn’t look like Eggward at all. He then looked into the kitchen’s trash bin and found
the broken shell of Eggward. Monching was disheartened. The day of the competition
came and Monching and Eggward were called out to perform. Monching’s classmates
were asking where the egg was and he could not answer. Bong came in the room and
explained that he was the one responsible for killing Eggward which was why Monching
could not perform with the egg. He apologized to Monching for disregarding his feelings
for Eggward. Bong invited the children in the room to join them in the burial of Eggward,
afterwards.
Themes or One must learn to accept other people and their beliefs especially of those who are his kin.
Discourse The value of honesty was also shown in the episode. Bong’s actions in the end showed that
no matter how much different a person is, he must be able to accept him and consider his
feelings as a person.
Visual No special effects were employed in this episode. The lighting and the camera techniques
Techniques were typical and average to show that the scenes in the episode happens in everyday life.
 141

Volume 2 Episode 3. Varsity Jacket

Concept Description
Main Characters Dino is an aspiring basketball player. He wants to join the varsity team and be able to wear
the varsity jacket. Frida is the best friend of Dino who always encourages Dino. She loves
keeping fishes as pets. Other students, especially the popular ones, think that the two are
losers.
Context The story takes place in a high school setting.
Narrative Dino really wants to be a varsity team member. Although he always practiced, he never
passed the try-outs because of his nervousness. Frida, being the best friend of Dino,
convinced Dino that he was even better than other players in their school because of the
way he trained and practiced. Dino’s self-confidence returned. He asked the coach if he
could join the team. The coach obliged but his first task was to be a water boy or the
bringer of the drinks to the players. Dino was able to join practices from time to time.
Frida continued to support him even though she had no interest in the sport and even
though she did not like the players because of their bad attitude. On the day of the game,
Dino was given the chance to play because the team got short of a player. He was the one
who scored the winning point of the team. Consequently, he was given a varsity jacket as a
sign of being officially part of the team. This was however, at the expense of his friendship
with Frida. Dino was taken aback when Frida asked if they were still suitable to be friends
now that Dino was already a part of a group of people who looks down on the likes of
them. In the end, Dino remained as a varsity member but opted to stay friends with Frida
instead of mingling with the varsity members.
Themes or The story talks about how one should be confident of himself regardless of what other
Discourse people think of him. One should always stay true to himself and should not change at the
expense of his relationships with others. This episode showed that there are some people
who tend to look down on other people to feel better about themselves. This episode also
showed the struggle of some people to feel accepted by their peers. (“Kala mo dahil may
varsity jacket ka na, iba ka na. Jacket lang ‘yan, pero sa ilalim ikaw pa rin ‘yan”, Frida to
Dino)
This episode also showed how students generally look at basketball varsity players.
Visual Acquiring the varsity jacket symbolizes a rise in social standing for Dino. Consequently,
Techniques wearing it meant that one is of a ‘higher’ social strata. For others like Frida, however, the
prude varsity members who always wear their jackets are superficial and shallow. (“Eh
kayo, tignan niyo nga mga sarili nyo, ang init init naka jacket kayo”, Frida to the varsity
members)
 142

Volume 2 Episode 4. Isang Gabi sa Buhay ni Lester

Concept Description
Main Characters Lester is a child with a wild imagination. He lives with his grandmother, father, mother,
his younger brother Jr, and their helper Ate Pining.
Context The story takes place in Lester’s house. It is the day before Jr’s birthday and everyone is
busy with the preparations for the party the next day.
Narrative It is the day before Jr’s birthday and everyone in the household was busy preparing for the
celebration. Lester wanted to feel that he could be of some help so he went to each
member of the family and looked at what they were doing. His mother, father, Ate Pining,
his grandmother, and even Jr said that they didn’t need his help and Lester was urged to
just go to sleep. Lester felt unimportant and thought that the family didn’t like him
anymore because Jr was already there. He decided to run away but realized that he could
not do that because he would be seen by the family members. Earlier in the day, however,
he was playing with Ate Pining and he thought that the jacket he wore made him invisible
because Ate Pining made him believe so. He then got his jacket from the dirty laundry and
started to leave the house. Ate Pining realized this and connived with the other members of
the household. The elders pretended that they didn’t really see Lester and made Lester feel
that he was important and wanted. Lester only realized that he was not invisible when Jr
asked him where he was going. Lester told his brother that he was going out. Jr then asked
Lester if he could read him a bed time story and to accompany him in sleeping. Lester
smiled and went inside the house with Jr.
Themes or This story shows how a child is prone to feel that he is unwanted and that he is in constant
Discourse need of feeling appreciated. This episode shows the value of self-worth. (“Siguro ayaw na
nila sa kin, tumutulong ako hindi nila ako pinapansin”, Lester to himself).
Visual Special effects were used specifically at the start of the episode to animate Lester’s
Techniques imagination.
 143

Volume 2 Episode 5. Ang Prinsesang Dalisay

Concept Description
Main Characters Prinsesa Azon is the younger sister of Prinsipe Monde. She has a naturally good heart
while her brother likes to hurt others especially animals. Aquina is the most powerful
witch and Hedda is her helper. Bughaw is the magician that gave the curse to Aquina.
Context The story takes place in a certain forest in the kingdom of Lamaria.
Narrative Aquina and her helper Hedda is busy tempting people to be selfish. She is considered as
the most powerful with in the kingdom and it is her hobby to tempt people to be bad. To
keep the innocence and purity of hearts of the people in the kingdom, Bughaw the
magician of the kingdom, cursed Aquina to be a gate and the only way the spell may be
lifted is if she would be able to convince 1000 children to be bad and to enter her gate. But
if a child with a pure heart was able to enter the gate, Aquina would have to die. 500 years
passed and Aquina only needs two more children to enter to finally break the spell. She
tried to tempt the siblings Prinsesa Azon and Prinsipe Monde when they were playing in
the woods. It was easy to urge Prinsipe Monde because of his innate selfishness. Prinsipe
Monde’s hobby is to drop birds’ nests in the forest and when Aquina showed the prince a
big bow and arrow and several nests and high trees inside, Prinsipe Monde immediately
went it despite his sister’s efforts to stop him. It was hard for Aquina to persuade the
princess to go inside because of her pure heart. Aquina tried to offer her things that she
may like such as getting dolls but the princess only wanted to get her brother out. The
siblings always fought with each other and yet Prinsesa Azon still thought about the safety
of her brother and would rather take his place inside the gate. At this point, Hedda was
touched by the girl’s pure heart and she stopped helping Aquina. All the while, Aquina
thought that she was able to persuade the princess because of her offers but Prinsesa Azon
only went inside to save her brother. Azon was able to save her brother and Aquina
eventually died.
Themes or This episode highlights the importance of having a pure heart and clean intentions. It
Discourse shows that although many would be blinded by their greed for human goods and wealth, if
one person with a pure heart remains, the good will eventually prevail over evil.
Visual Special effects were used to show the magic of Bughaw and Aquina. The lighting was
Techniques darker than usual to foreshadow the danger looming around Aquina the gate. Hedda is the
narrator of the story.
 144

Volume 2 Episode 6. Dalawampung Tina

Concept Description
Main Characters Tina P. Cruz is a typical elementary student who hates her name because it is too common.
The photographer is the one who told Tina that there were twenty of them with the same
name in the campus.
Context The story takes place in the school. The annual ID picture taking was ongoing.
Narrative Tina is annoyed that she has very common name. One day, an exchange student, also
named Tina Cruz, came into their class and she was even more annoyed. When it was her
time to have her ID photo taken, the photographer asked her what was wrong and she told
him her dilemma. The photographer told her that the school actually had twenty Tinas and
that even though they had the same name, they were all different. The photographer then
asked her what made her different from all the other Tinas. She wondered and then started
to get to know the other Tinas and the things that made each one unique. In the end, she
realized that, indeed, despite having the same name, they were all unique even herself. She
eventually accepted that she had a common name.
Themes or This episode showed the importance of a child’s feeling of self-worth and identity. As a
Discourse child, he is still in the process of developing and knowing himself. The episode also shows
how important a name is as it tells a lot about a person’s identity. This line of thinking may
be likened to the name Filipino. Everyone in the Philippines are called Filipino and yet
everyone is different and unique from one another especially since the Philippines have a
number of ethnic groups in it. Accepting Filipino as a name for everyone then means
identifying and embracing the differences of one another.
Visual The episode incorporated dance and song numbers. The cuts were fast during the song
Techniques sequences.
 145

Volume 2 Episode 7. Ang Shorts ni Alejandro

Concept Description
Main Characters Alejandro is a track and field player who aims to join and win competitions like his
brother.
Context The story takes place in Alejandro’s house and the field.
Narrative Alejandro’s older brother was about to go out of town for a track and field competition and
he apologized to Alejandro for not being able to see Alejandro run for his first
competition. Alejandro on the other hand was intently looking at the shorts pinned on the
wall that was used by his older brother when he first won a medal in running. Alejandro
really wanted the shorts and his brother eventually unpinned the shorts and gave it to him.
Alejandro believed that the shorts would make him win. When he wore the shorts given to
him by his brother, he always won. One time he wore a different pair of shorts, he lost.
That was why whenever he would train he would always wear the shorts even if it was
already dirty. The day of the competition came and the shorts was really dirty. He woke up
and found his room messed up. The shorts apparently came to life and was running away
from Alejandro. He chased the shorts and eventually put it in the washing machine.
Alejandro had no choice but to wear their team’s jersey uniform. Alejandro then ran at the
competition. At first, he believed that he would not win but he remembered what his older
brother told him, “Wala naman sa shorts yan eh, nasa bilib mo ‘yan sa sarili mo”, and he
eventually won the race. In the end, Alejandro’s older brother’s shorts was pinned back to
the wall together with the shorts Alejandro wore in the competition.
Themes or The episode highlighted the value of having confidence in oneself and that one should
Discourse believe in his own ability and not rely on luck and charms to be able to achieve something.
The episode also showed the culture of believing in superstitions, anting-anting, etc.
Visual The show used special effects when the pair of shorts was animated. Superimposition was
Techniques also used to show the flashback of Alejandro’s brother lines and slow motion was utilized
to increase the dramatic effect of Alejandro’s winning the race.
 146

Volume 2 Episode 9. Imbisibol

Concept Description

Main Characters Pepe, Nonong, Daniel, and Tito are best friends. Pepe is treated by the group as their
leader. Tandang Enyong is the magician to whom the four boys worked for and Diamante
is the guardian of Tandang Enyong’s magic lair.

Context The story takes place in a town and Tandang Enyong’s house. Tandang Enyong’s house is
an old house full of antique furniture.

Narrative The four best friends have a habit of treating one of them as ‘invisible’ whenever Pepe or
the rest of the group felt like that one person inconvenienced the group (e.g. making the
group lose in games, getting the group in trouble, etc.). One day, the group was passing by
Tandang Enyong’s house. Daniel accidentally hit a statue outside Tandang Enyong’s
house. As a consequence, the four of them were tasked to help with the household chores
of Tandang Enyong for a day. The group did not like this and as a result Daniel was the
next receiver of the ‘invisible’ treatment. While in the house, Tandang Enyong noticed this
and he went to his secret room to formulate a magic powder that would make someone
really invisible for hours. The next day, Tandang Enyong had to go to the market and he
brought Tito with him. He tasked Daniel, Nonong, and Pepe to clean the rest of the house.
Pepe accidentally discovered the entrance to Tandang Enyong’s secret room which he
forgot to seal before going out of the house. Diamante was surprised that someone came in
the room and she pretended to be a statue to not be found out by the child. Pepe played
around the room and he came across the invisibility powder and applied it to himself. Pepe
didn’t know what it was and was surprised to later realize that he was invisible. He tried
getting the attention of his friends but he was ignored as he was indeed invisible. He
started to understand what it was like to be invisible and promised not to treat anyone as
invisible again. The group’s task was finished and Tandang Enyong sent them off. Daniel,
Nonong, and Pepe went to a grassy area to play. Nonong and Tito were still ignoring
Daniel since Pepe hasn’t given them the go signal to talk to him again. Daniel was left
alone while Nonong and Tito went to play. Nonong accidentally fell down a hole and hurt
his arm. Tito immediately called out to Daniel for help. The still invisible Pepe also
followed Daniel to see what has happened. Daniel and Tito didn’t know what to do. Pepe
knew they had to get a trunk for Nonong to hold on to. The only problem was that he
could not be heard and he could not even grab things. In the end, the magic wore off and
they were all able to help Nonong out of the hole. Tandang Enyong also made Pepe his
apprentice to keep an eye on him.

Themes or What goes around comes around. This episode presented the meaning of the Golden rule
Discourse (Ginintuang patakaran). (“Ang ayaw mong gawin sa’yo ng ibang tao, e ‘wag mo ding
gagawin sa kanila.”, Diamante). Bullying amongst children are also seen in this episode.

Visual Prosthetic make up was used on Diamante to make her look like a statue. Special effects
Techniques were also used to make Pepe seem invisible. Diamante was also made to look like gold to
support the main theme of the episode which is of the golden rule.
 147

Volume 2 Episode 10. Ang Pader

Concept Description
Main Characters Kain and Abin are brothers. Their father is a soldier and they live in a rural area. Kain, the
older brother, usually takes advantage of Abin. Abin wants to make peace and play
harmoniously with his brother but Kain doesn’t want to. Their mother usually waits in the
house, worrying over her husband.
Context The story takes place in Kain and Abin’s house in a rural area. Their father recently went
away to be in a conflict against rebels fighting for their lands. Kain and Abin are born five
years apart. Kain is always jealous of Abin because ever since Abin came, he was not the
baby of the family anymore.
Narrative Kain and Abin always fight with each other. Kain would always trick Abin into playing
with him with a bet (pusta/taya) which are usually their toys. Abin always lost and Kain
almost had every toy Abin had except for the toy soldier given to him by their father. They
played a game once and Abin lost again. As a result, Kain got the toy soldier. One day
Kain decided to build the makeshift wall that would divide their yard into two. No one was
allowed to cross the other’s post. One night, Abin went out to play his toy soldier that was
gotten from him by Kain and vowed that he would get back the toy from his brother. He
was heard by Kain, however, and he started beating him. Abin didn’t understand why his
brother was so greedy and unreasonable. The next day Abin got a kite from their tree. He
was thankful to the bird because he finally had something to play with. Later in the day, a
group of children were looking for the kite. Abin had second thoughts on whether or not
he would return the kite because he had no more toys to play with. In the end, he returned
the kite. The next day the three children came back and invited Abin to play with them.
Kain saw all these and he angrily started destroying the wall because he thought that he
would be happy if he got what he wanted but he was not happy at all. In the end, both
brothers reconciled with one another. Kain felt more at peace with himself.
Themes or This episode showed the value of having peace and harmony not only with others but also
Discourse with one’s self. The episode also showed the typical dilemma of some households which is
that of sibling rivalry. Although there would be a point where siblings, or family members
won’t get along, in the end, family is the only thing one has and everyone is bound to love
and take care of one another.
Visual Special effects were used for the colourful bird that sings. The colourful bird represents
Techniques peace and harmony for it was the one responsible for bringing the two brothers together.
The different colours of the bird represent differences – that although everyone is different,
they can come together to bring about peace and harmony. The job of their father of being
a soldier moreover added layer to the theme of pursuing peace and harmony.
 148

Volume 2 Episode 11. Regalo

Concept Description
Main Characters Mc and Pj are siblings who wanted to give a present to their parents for their anniversary.
They loved each other and their family very much. Mang Leticio is the owner of the house
which Mc and Pj thought was a store.
Context The story takes place in Mc and Pj’s house and Mang Leticio’s house. Mang Leticio’s
house is full of unused and dusty trinkets and novelty items.
Narrative Mc and Pj were saving up to buy a gift for their parent’s anniversary. They were going
home when they came across a house that they thought was a store. They went inside and
saw various trinkets that they liked. They saw a frame that would be a perfect present for
their parents. Mang Leticio then appeared and said that he was not selling his things and
that in fact, the house was not a store. The things found inside were his collection. He also
shared that collecting trinkets and memorabilia was his way to cope with his loneliness
due to not having a family or someone to care for. Mang Leticio further said that he didn’t
have even one happy memory in his life. Mc felt bad for him and said that if she could
give Mang Leticio one of her happy memories, she would do it just to make Mang Leticio
know what it felt like. Mang Leticio told them that there was actually a way to let that
happen and that was if they could exchange memories. Eventually, Mc exchanged one
happy memory for the frame that they will give to their parents. The parents were so happy
when they received the gift. Mc and Pj were also happy because of their reaction. Mc,
however, felt weak after the exchange with Mang Leticio. She became even weaker when
she went back to Mang Leticio for other stuff to give to Pj and her younger sister. Pj was
extremely worried and asked Mang Leticio to give back Mc’s memories especially since
Mc only started getting sick when they started the exchanges and that even the doctors
didn’t know what was wrong with her. Mang Leticio didn’t want to give in at first since he
was already happy then but in the end he gave back the memories to Mc and she went
back to normal. Mc and Pj went back to Mang Leticio to return the things they took and
also to apologize for taking back the happy memories. Mang Leticio said that they could
keep the things they had and that it was okay since he already had one happy memory and
that was when he was able to help the two siblings.
Themes or The episode show how important it is to have happy memories in one’s heart for the
Discourse person’s well-being. It also showed that one can be happy if he cares about someone else
rather than just caring for himself (e.g family, friends, etc.).
Visual The episode used special effects to show the transfer of memories. The house of Mang
Techniques Leticio was designed to look old, dusty, and unkempt also to mirror the state of his
emotions.
 149

Volume 2 Episode 12. Ate

Concept Description
Main Characters Lilly is the younger sister of Grace. They are very close and love each other very dearly.
Grace considers Lilly as her best friend. Randy is the fiancé of Grace. Selina is the one
responsible for giving Lilly the gem to get to Shainna who can grant any wish one has.
Context The story takes place in Lilly’s neighborhood and Shainna’s lair. The gem (hiyas) is the
key to get to Shainna’s place underwater.
Narrative Grace was about to get married and as such she had to spend less time with Lilly for the
wedding preparations. Lilly hated this and she even hated Randy for taking away her sister
from her. One day, she was invited by their neighbor, Selina for snacks. Selina talked
about Shainna who was able to grant someone any wish they had. Lilly asked how she can
go to Shainna. Selina gave her the gem. One night, Grace was already packing her things
as she was about to move out of the house right after the wedding. Lilly saw this and got
really mad and sad at the same time that her ate (older sister) was going to leave her. Lilly
quickly went inside their room and took out the gem and followed the light. Grace
followed her and realized what Lilly had done. Grace followed her into the light. While
underwater, Lilly transformed into a boat. She was in danger until Grace, transformed as a
manta ray, helped her. Eventually, they were able to get to where Shainna was. Lilly was
surprised that Grace was there and asked why she was there. Grace answered that she was
only accompanying Lilly. Grace then asked Lilly what she was about to ask for and Lilly
answered that she wanted Randy to disappear because he was taking her away from her.
Grace told her that Lilly will always be the important person for her and that nothing can
change their relationship as siblings and friends. In the end, the siblings asked that their
favourite team win in the games that they always watch on television. Before leaving,
Shainna recognized Grace and said that has been there before. Lilly asked Grace what she
wished for that time and she said that she wished to have a sibling who was actually Lilly.
In the end, Grace and Randy got married and had a child a year after. Lilly was the
godmother.
Themes or The episode showed the value of acceptance. The episode also showed the value of love
Discourse amongst siblings.
Visual Animation was used to show how Lilly was able to get from the normal world to
Techniques Shainna’s place.
 150

Volume 2 Episode 13. Anino

Concept Description

Main Carmen and Nonie are best friends who just had a fight. Tita Lia is the guardian of the two
Characters girls while baking and also the narrator of the story of Amelia and her best friend, Anino
(shadow).
Context Tita Lia narrates a story to Carmen and Nonie while they were in the attic.
Narrative Carmen and Nonie were baking cookies when they had a fight over who would put the
frosting on the cookies. They were both in the attic when Tita Lia went up to them and told
them a story where two best friends also had a fight with each other. The story started when
Amelia was young. Amelia had dreams of being a great and famous dancer. There was not
enough space, however, to practice in their house especially since it was small and she had a
lot of siblings. She only got to practice at night with only a candle to give her light when
everyone was asleep. She and her shadow would practice until they were both tired. The
shadow was Amelia’s only friend and dance partner. One day, Amelia’s grandmother asked
her to go to the province to live with her. She realized that this was her chance to have a
space where she could dance and immediately went to the province. When she got there, she
saw a big house with no one inside. Amelia and her shadow could finally dance freely and so
they danced the whole day. Everyone noticed how good Amelia was including Haring Araw
(King Sun). When the night came, however, Reynang Buwan (Queen Moon) remarked that
they were both good dancers, referring to Amelia and her shadow. Amelia got disappointed,
for her, she was the only one dancing and she didn’t want to share the compliment with her
shadow friend. Amelia got too proud and got mad at her shadow. She asked the shadow to go
away and said that she didn’t need her anymore. When morning came, Amelia went out of
the house and decided that she would be the best and the most famous dancer in the world.
The shadow was left in the house alone, dancing by herself. Amelia, on the other hand, did
really get famous. She felt incomplete, however, and remembered her shadow friend. She
went back to the empty house and found her friend. She apologized and asked her to go with
her now to see the world. Unfortunately, the shadow could not leave the house since the
shadow stopped growing when Amelia left her. They just didn’t have the same body size
anymore and if the shadow leaves the house, she might die. Amelia got sad but her shadow
friend told her that Amelia could always visit her anytime if she wanted to talk. She also said
that she could visit Amelia whenever it was full moon, as such, Amelia and her shadow still
saw one another once a month to dance and have fun. Tita Lia’s story ended. Carmen and
Nonie made up with each other. In the end, Anino came in to the room. It turned out, Tita Lia
was actually Amelia from her own story.
Themes or The episode showed the value of humility and friendship. One must not get too proud and get
Discourse things into his head especially at friendship’s sake.
Visual Animation was used for the visuals of Tita Lia’s story. Song numbers were also utilized.
Techniques
 151

Volume 2 Episode 14. Tren ni Isaw

Concept Description
Main Characters Dodong is the child of Cesar who, after losing his wife, devoted his time to his work as an
engineer. Isaw is an old man that was met by Dodong in an old train. He was perceived as
crazy by other people.
Context The story takes place in Cesar’s new workplace, old and new house, and Isaw’s train.
Isaw’s train is capable of going to the memories of people.
Narrative When Dodong’s mother died, his father accepted a project far from their place where they
had to leave their old house. Since Cesar was busy with work, Dodong entertained himself
by going around the plant. There he met Isaw in an old train that was used to be run by
Isaw’s father. The two of them played through the stories of Isaw’s memory. They
travelled to the past using the train. At night, Dodong and his father talked about Isaw.
Cesar got mad and told Dodong that we would not be allowed to go back to the old train
anymore. Dodong told Isaw what his father said when the morning came. Despite this, the
two of the still played and this time it was Dodong who chose which memory they would
go to. Dodong went to their old house and there he saw his mother. When they came back,
Dodong’s father finally separated the two from each other. Despite this, Dodong still went
to the train alone and went to the memory of their old house. Cesar got worried from
Dodong’s disappearance. Isaw helped him and they went to the memory to which Dodong
went into. When Dodong and Cesar met, Dodong said that he only wanted to stay there
with his mother. Cesar asked that Dodong go with him and promised that he would never
leave him alone again. In the end, Dodong bade farewell to his mother and went with
Cesar.
Themes or The episode the value of acceptance, specifically acceptance of the loss of some important.
Discourse It also showed how important a family is and that every member should help and look out
for one another The value of understanding and compassion were also shown.
Visual The treatment of the whole episode was to make it a bit hazy to show the sentimentality of
Techniques the episode. Fast motion was also used especially when the characters were travelling to
signify a change of setting. Dodong’s dreams of his mother had less colour to signify the
sadness and emptiness felt by Dodong at the loss of his mother.
 152

Volume 3 Episode 1. Bad Boys

Concept Description

Main Characters Miguel and Gabriel are best friends who are bullies in their school. They make sure that
they are feared by other students. They are known as Boy Siga and Boy Astig. Ms. Muriel
is their teacher who is in charge of the school play the class had to take part in. Miguel and
Gabriel thinks that she is too kind to be true.
Context The story takes place the school. Pre-production works were ongoing for the school play.
Narrative A play was about to take place in the school and everyone had to have roles for it. Miguel
and Gabriel wanted to be casted as the devils to keep with their image as the bad boys in
school. Ms. Muriel, however, assigned them to be the angels. The two boys wore their
prop wings and went into the theatre to make some trouble. Miguel saw a prop falling over
and asked the supposed to scoot over to avoid the props. Miguel was the one who got hurt.
Gabriel brought him to the clinic. When he was okay, Gabriel told Miguel that he should
have just let the props fall over to the other guy. Gabriel then asked Miguel why he still
hasn’t removed the wings costume he had on his back. They eventually realized that they
could not remove the wings and that it was stuck at Miguel’s back despite their efforts to
remove it. Ever since the wings got stuck, Miguel started to do good things to others
instead of being mean. Gabriel was appalled. He tried talking to Miguel but Miguel could
just not stop doing good things. They even consulted an albularyo in attempt to get rid of
the wings but it was futile. One day, the older sister of one of the kids they bullied
confronted them and asked who Boy Siga was. Miguel raised his hand but when he was
about to get punched, Gabriel went in between and got the punch instead. Gabriel was sent
to the clinic. Gabriel’s pair of wings also got stuck in his back. The two of them eventually
realized that the wings costume has now turned real and were indeed sporting real wings.
From then on, the two of them started to do good things naturally. The day of the play
came and they performed their roles as angels. When the play was finished they absent-
mindedly took off their wings costume and was surprised that they were able to remove it.
Themes or This episode showed that everyone had the ability to do good even if one is a self-
Discourse proclaimed bad person. It also showed how important for some teenagers to build images
for themselves and how they like to do everything to let these images be perceived by
others. On the other hand, bullying as a discourse was also presented here. Folk practices
such as consulting an albularyo was also touched upon here.
Visual Comic animations were used especially to signify the impact of being hit. During art class,
Techniques Miguel and Gabriel created works that depicted violence, however, at the end of the
narrative, when they had another session, the drawings became lighter. Consequently, this
signified the change in attitude of the two boys.
 153

Volume 3 Episode 2. Awit ni Kuya

Concept Description
Main Characters Michael is an elementary student and the loving son of Karen and Ben. Sarah is the child
inside Karen’s womb and the younger sister of Michael. Dandy is the toy of Michael who
is also his imaginary friend.
Context The story takes place in Michael’s house and the hospital.
Narrative Michael is excited to be an older brother to his younger sibling. Aside from helping in
preparing the room for Sarah and talking to her while still in their mother’s womb, he also
sings a song to her every day. The due date of Karen came and Michael immediately
prepared to welcome his baby sister. They were not able, however, to bring home the baby
because she was born weak and she had to stay in the neonatal intensive care unit of the
hospital. Sarah’s condition worsened every minute until the doctors believed that they will
not able to save the baby anymore. Before Sarah pass away, however, the parents brought
Michael to see his sister. Since he was not allowed to go inside the ICU, he was just able
to look at his sister from the window. Few moments later, the doctors became busy when
Sarah’s condition became critical. Karen and Ben went inside the ICU, and witnessing
what was happening, Michael also went inside. The nurses can’t do anything anymore
since Michael was already inside. When he got in, he immediately went to Sarah, caressed
her, and sang to her. The doctors were surprised when the beats of the baby’s heart started
to become steadier while Michael was singing. The family were able to bring home their
newest member eventually.
Themes or This episode showed the power of a brother’s love and will to keep his sister alive. It also
Discourse showed how important physical affection is. The value placed on family was also seen
here.
Visual Costume and make up were used to transform Michael’s toy into Dandy who he could talk
Techniques to and play with. The transformation of Dandy from being just a toy signifies Michael’s
longing for a sibling who he could interact and play with like Dandy.
 154

Volume 3 Episode 3. Ciel

Concept Description
Main Characters Ciel is a simple girl who lives with her grandfather Lolo Tonio. She is very attached to her
grandfather as she lost her mother, the daughter of Lolo Tonio, when she was born. Lolo
Tonio is a fisherman and he loves his granddaughter very much. Ciel and Lolo Tonio share
the same birthday.
Context The story takes place in a neighborhood by the shore where the livelihood of the people is
fishing. Ciel was given an agimat by Lolo Tonio when she was born.
Narrative Ciel and Lolo Tonio always spends time together where they usually tell stories and sing.
The night before their birthday, Lolo Tonio went out to the sea to catch something that
they could eat. The morning came however and Lolo Tonio was nowhere to be found.
Everyone believed that Lolo Tonio drowned except for Ciel. Every day she would go by
the seaside to wait for Lolo Tonio’s return. She would also sometimes put messages and
food in bottles hoping that the bottles would reach Lolo Tonio. One day, Ciel put the
agimat given to her by Lolo Tonio in the bottle hoping that it will help him get back home.
Before sealing the bottle, she sang the song that she and Lolo Tonio used to sing. She then
threw the bottle into the sea. The bottle with the agimat was picked up by a boy on the
docks in a nearby town. He was on his way to the hospital where his mother stayed. While
in there, he opened the bottle and the voice of Ciel singing can be heard. A noise from
another bed was heard. It turned out that the boy’s mother’s roommate in the hospital was
Lolo Tonio. He recognized the voice of Ciel and started singing along with her. The boy
gave the bottle to Lolo Tonio and he also recognized the agimat inside the bottle. Lolo
Tonio was able to return back home eventually and he returned the agimat back to Ciel.
Themes or The episode showed the value of love especially among family. It also showed how
Discourse important it was to have strong faith. The episode showed the culture of believing in
supernatural things and concepts such as agimat.
Visual The flow of the narrative was quite slow since it took a while to establish the characters.
Techniques The treatment of the whole episode was done in such a way that would make it dramatic.
 155

Volume 3 Episode 4. Tabby

Concept Description
Main Characters Tabby is a chubby kid who dreams of being an actress one day. Joseph is Tabby’s best
friend who also loves to act.
Context The story takes place in the school and Tabby’s house. The school was about to hold a
play and auditions are being held.
Narrative Tabby loves to act the same way she loves to eat her favourite food. Tabby’s mother
always reminds her to moderate her eating habits and watch her weight. Tabby, however,
did not mind this and continued to eat as she pleased. She also did not mind all the teases
she got from other people about her weight. One day, Tabby and her friend Joseph found
out about the upcoming play in their school for Christmas. The two planned to audition for
the roles of Mary and Joseph and they prepared and practiced hard. Tabby however, felt
down when she overheard her teacher saying how the role of Mary would not suit her
because she was fat. From then on, Tabby decided to reduce her size. Tabby started to cut
down on her eating and also started exercising with her family. After a few days, Tabby
could not take it anymore and eventually gave up. At that instance, Tabby’s mother
realized the real reason as to why Tabby wanted to lose weight. Tabby’s mother
apologized to her because like others, she also wanted to change Tabby. She told Tabby
how special she was and she encouraged Tabby to still go on with the audition. On the day
of the audition, Tabby was able to give her best because of the acceptance of her family
and friends.
Themes or The episode showed how important it is for a person to feel accepted for who he is by his
Discourse peers. The episode also highlighted the value of love especially among family and friends.
Visual No special effects were used in this episode. The treatment made was typical.
Techniques
 156

Volume 3 Episode 5. Daddy ni Dinggay

Concept Description
Main Characters Dinggay is a child of a single parent. She loves to dance and she also loves to ask about
her father. Helen is Dinggay’s single mother who always avoids Dinggay’s questions on
her father. Dr. Mendoza is Dinggay’s eye doctor and coincidentally has the same surname
as hers and her mother’s.
Context The story takes place in Dinggay’s house, the dance studio, and the optometrist’s office.
Narrative Dinggay grew up without a father. Although her mother did not lack in loving and taking
care of Dinggay, she could not help but think and ask about her father. She tried to ask her
mother about it but every time she did, her mother always got mad saying that she did not
need to know more about it. When the family talked about Dinggay’s father, Helen would
remark bitter words so that the topic would not be brought up again. One day, Helen
brought Dinggay to an optometrist to have her eyes checked and have prescribed
eyeglasses. Dinggay was excited to know that the doctor’s surname was the same as theirs
and that maybe the doctor knows where her father is. Helen became mad once again and
said that they were using her own surname and not Dingay’s father’s surname. While
filling up the application for her dance lessons, Dinggay wrote the name of the doctor as
her father. Dinggay was able to hide this at first but was eventually found out when the
dance teacher talked to Helen. They met at the doctor’s clinic and Helen found out what
Dinggay did. Helen reprimanded her and asked why she did such thing. Dinggay explained
herself and said that she did not bother asking her mother for help in her application for
she always got mad when asked about her father. At that instance, Helen realized the effect
of hiding details on the child’s father. She started sharing the past to Dinggay and they
mother and daughter had a better relationship with one another afterwards.
Themes or The episode showed how everyone, especially children, would need to know about their
Discourse roots. This is in relation to one’s need of the feeling of belongingness especially in the
family. The episode also showed the importance of good communication between people.
Visual There were no special effects used in this episode. The treatment made was typical.
Techniques
 157

Volume 3 Episode 6. Faith

Concept Description
Main Characters Faith is a kind and thoughtful child. She is the youngest in the family. Elise is her older
sister who has a hard time accepting their current situation. Their mother tries to work hard
and earn a living for the two of them.
Context Faith’s father has just recently left the family and they had to move to smaller and more
affordable house.
Narrative Faith and her family had just moved in their new house. The house was shaggy, rugged,
and dirty. One night, Faith and her mother were talking by the window. They were
reminiscing their past. Faith suggested that they grow a tree in their backyard to cheer her
mother up. One day, Faith dropped by a garden shop on the way home. She was looking
around when the shopkeeper approached her and started to describe various trees to her.
When the shopkeeper found out that she had no money, he started offering her seeds
instead. He started describing and explaining about various seeds when Faith saw a
particular seed. She asked what it was and if she could buy it. The shopkeeper told her that
it wasn’t for sale but in the end he exchanged the seed for the handmade lantern that Faith
had. This particular tree was not ordinary, in fact it was a magical tree. One could not see
the tree growing, it only shows itself when it is already fully grown and when the owners
are ready to see it. Faith planted the seed and took care of it diligently. Elise didn’t believe
in the tree. Their mother also didn’t believe but she humoured and supported Faith’s
belief. One day, their mother came home early. She started to nit-pick everything that was
wrong in their house. She was obviously out of her zone. She finally lost it when the rice
cooker sparked when she plugged it. She broke down and told her daughters that she lost
her job. Faith comforted her and said that she would find another job eventually. Faith also
showed her drawing of the magical tree to her mother. Elise told her that she would not be
able to see the tree because there was really no tree planted and growing in their backyard
just like she always said to Faith. Faith sought her mother thinking that she would side
with her but she said nothing. Faith then eventually agreed with Elise that she was right
and that there really was no tree. If they could not see anything then there really is nothing
out there. Elise then took back her words and told Faith that they will eventually see the
tree and she started describing what it would look like. Their mother joined them in giving
out descriptions. Outside their house, the magical tree started to show itself.
Themes or The episode showed the importance of having mutual support especially when times are
Discourse hard. Resilience was also shown in the episode.
Visual Special effects were used to show the magical tree. The treatment of the episode was
Techniques dramatic. The dilapidated house which they live in represent the state which Faith’s family
were going through. The mother kept saying that the house can be remedied and fixed to
look good and beautiful in time. Although the mother was only referring to the house
when she said that, at a deeper level, the mother also referred to the whole situation that
the family was in, that in time everything will be fixed and be okay again. The name of the
main character, Faith, is also indicative of her general attitude where she has faith that
things will eventually get better.
 158

Volume 3 Episode 7. Ang Lihim na Buhay ng mga Estatwa

Concept Description
Main Characters Henero Panadero is the newest statue in Henerala Square. He is a very caring and a playful
statue. Generala is the statue at the middle of the shops. She always looks at the blue
mountain (asul na bundok) longing to taste real freedom. Darwin is the mascot of the
burger shop and he loves being in the Henerala Square. Tik, Tak, and Toe are dwarf
statues beside Henero Panadero.
Context The story takes place in Henerala Square. The statues have lives of their own but this is
unknown to the people. If people saw the statues moving the statues, will turn to dust. The
blue mountain (asul na bundok) is the place where the statues are made and where the
statues are free to move anytime they want.
Narrative Henero Panadero was the statue mascot of the newly opened bakery Beth’s Oven. There
he made friends with the other statues in the area and they play and talk every night when
not a single person was around. One day the statues heard that a new establishment was
going to be constructed in the Henerala Square and that the contractors were planning to
get rid of the dwarf statues (Tik, Tak, and Toe) and the Generala statue. The demolition
will be done in two days. That night, the statues planned to run away to the blue mountain.
They were already about to go but they realized that morning was nearing and that they
may be caught if they pushed through with their plan. As such, they decided to just run
away the next day since the scheduled demolition was still in two days. Morning came and
everyone was surprised when the contractors were already there and they were about to
demolish Generala. They didn’t know what to do when suddenly Henero Panadero moved
and tried to scare the contractors away to spare Generala. Indeed, the demolition did not
happen but Henero Panadero turned to dust. That night, the dwarves and Generala were
able to run away to the mountains.
Themes or The episode showed the importance of freedom for some people. It also showed the value
Discourse of caring for one’s friends and the decisiveness to act for other’s sake.
Visual Make up and costumes were utilized to make the actors really look like statues. The blue
Techniques mountain symbolizes freedom. Generala was the one aspiring to reach that freedom which
tells people how generals or anyone working in the military should aspire for freedom.
This would make sense given the historical background of the country.
 159

Volume 3 Episode 9. Batang Iskawt

Concept Description
Main Characters Mickey is an irresponsible scout member. Tony, Gerry, and Marco are scout members
with Mickey. Scout Master is their teacher and leader. Auwi is the diwata of Mt. Makiling
who doesn’t like scouts.
Context The story takes place in the mountain of Makiling.
Narrative The scouts are in a camp out in the forest. While they were busy in their preparations for
the competition on getting the red flags, Auwi was not pleased. For her, scouts are just a
disturbance in her peaceful life. Fearing that she would be disturbed in her beauty rest (3
days of sleep), she placed a warning near her house so that the scouts won’t go near her
area. One of the groups is composed of Mickey, Tony, Gerry, and Marco. Together with
the leader, they stopped at an area in the forest to rest. Everyone was able to bring what
they were told to bring except for Mickey who was not able to bring canned food that
would serve as their lunch. He also used the potable water they brought to wash the rice
instead of washing the rice with lake water. He moreover burnt the rice that he was tasked
to look after while the others were fishing for food because he loitered around the forest.
Consequently, Auwi was jarred awake thinking that the whole forest will burn because of
the smoke from the burning rice. Auwi became angry when she realized that it was just
rice that was burning and was even more angered when she realized that she broke the
golden snail after waking up hastily. Tony, Gerry, and Marco where equally mad at
Mickey for being irresponsible. After eating, the scouts started looking for the red flag and
everyone had a task. Marco was the one tasked to hold the map while Tony was the one
who was holding the survival tool kit. Gerry held the compass and Mickey was tasked to
put the marks on the trees to track where they had been. While walking, Gerry fell down,
and consequently broke the compass he was holding. Mickey on the other hand, stopped
marking their trails thinking that their map would suffice. The group eventually found the
red flag but they got lost on their way back. Since Mickey stopped tracking their trails,
they got lost even more and ended up in Auwi’s area. Auwi turned the troop into frogs
except Mickey who was tasked to bring back a golden snail in exchange for the return of
the true form of his teammates. He was able to bring back a golden snail and the troop got
back to normal. In the end, Mickey swore to do properly all the tasks that will be given to
him in the future.
Themes or This episode showed the value of responsibility and dependability especially if one is in a
Discourse team. Failing to recognize one’s responsibilities to himself and to others will bring serious
repercussions both to the people depending on him and himself. The episode also showed
that it’s better to do things right than to do things fast even if it meant doing the wrong
thing.
Visual The episode used special effects to show Auwi’s magic and also during Mickey’s
Techniques flashbacks while looking for the golden snail.
 160

Volume 3 Episode 10. Hiyas

Concept Description
Main Characters Celine, Alfred, and Marco are best friends who like to play in the forest. Hiyas is the
keeper of the forest. At first, only Marco is the one able to hear Hiyas’ singing voice.
Celine is the narrator of the story.
Context The story takes place in a forest that was about to be destroyed and replaced with an
establishment.
Narrative Celine, Alfred, and Marco were playing in the forest. Alfred was playing with a dart and
was targeting a tree. Marco and Celine tried to stop him telling him that it would hurt the
tree. Alfred didn’t mind him saying that the tree won’t feel anything because it was just a
tree. When the dart was impaled on the tree Marco immediately got it out and apologized
to the tree. The tree then started to talk to them. The three friends were surprised. If the
trees were able to talk to people, why didn’t they do so?, asked Marco. The trees explained
that they didn’t bother to talk to people because the people would not listen anyway. The
trees also explained that Marco was the only one who could hear Hiyas because among the
three he was the only one who truly cared for them and the forest. Knowing that Marco
was able to hear Hiyas’ voice, the trees asked them for help in looking for Hiyas. The three
hesitated at first but in the end they decided to help the tree. The next day, the tree met at
the forest. They didn’t know what to look for so they just started wandering around the
area. When they got hungry, they sat down a trunk. Alfred was eating a piece of chicken
when a wild boar grabbed his food. They were all surprised. The wild boar explained that
he was too hungry especially since he could not find any food to eat anymore. He was also
looking for Hiyas hoping that she could make the things in the forest back to normal.
Alfred felt bad for the boar and gave him the rest of his food. After this incident, Alfred
was then able to hear Hiyas’ voice. They continued walking and they encountered Ginang
Ibon (Mrs. Bird) who was sitting on a tree trunk looking tired. She explained that she got
tired looking for a shady place to stay and rest especially since she was pregnant. Celine
told Marco and Alfred that they need to build a bird house for her. When they were
finished, Ginang Ibon thanked them. The eventually found Hiyas guarding a tree that the
contractors were about to explode. Hiyas talked to them and told them that she was too
weak already. She gave them a seed and told the children to plant it someplace else and
create a new forest, only then will she be able to come back. When they finished talking,
they moved away from the tree, when they realized that there was a dynamite in Hiyas’
area they tried to stop it from happening but it was too late.
Themes or This episode highlighted the big role that humans play in the preservation of nature.
Discourse Harmony and oneness with nature could only be achieved if one truly cares for the
environment. The destruction or preservation of the environment rely heavily on the
attitude and behavior of the humans.
Visual Special effects were used put faces on the trees as well as the explosion. Costumes were
Techniques also used to personify the wild boar and the bird. Real footages of people destroying the
forest were superimposed on Hiyas’ face while she was singing to add dramatic effect.
 161

Volume 3 Episode 11. Si Ria at ang Higante

Concept Description
Main Characters Ria is the child who did not want to explain herself to her parents. Her parents on the other
hand always fail to listen to her. Higante is a giant who loves to laugh and was helped by
Ria. Ging-ging is the one who Higante courts. Engkantada is the caretaker of the flowers
in a certain garden.
Context The story takes place in a certain magical forest.
Narrative Ria was always reprimanded by her parents. When the walls of their house turned yellow,
the parents immediately assumed that it was Ria’s fault especially since she loves to paint.
Ria is used to her parents not listening to her so she opted to just stay quiet and not talk at
all. Meanwhile, a giant lost his voice because he wanted to pick flowers to give to his
special someone. The caretaker found out what he did and took his voice as a consequence
thinking that he was also the one who picked some flowers the last time. The giant found
Ria after she left their house, frustrated that her parents won’t listen to her. The giant
thought that he could ask for help from Ria to get the rose where his voice was put into.
He was able to talk to Ria when she found him crying. Ria asked what was wrong and
since the giant did not have his voice, Ria had a hard time understanding him. After trying
her best to understand the giant, she realized that it was hard to understand someone who
cannot speak up. She looked for the one who took the giant’s voice and convinced her to
return the giant’s voice so that he could explain himself. Engkantada, the fairy, gave him
back his voice and he explained that he was not the one who took the flowers the first
time. He also did not know that it was not allowed to pick flowers from the garden. The
fairy then realized that the warning sign she place was now unreadable. As such, the giant
and the fairy ended up in good terms. Due to this incident, Ria gathered that she should
also try her best in explaining herself to her parents. Ria talked to her parents after coming
home and explained that she was not the one who painted their walls. The parents also
realized that they did not give Ria the chance to talk and they promised to always strive to
listen and to explain to one another from then on. They eventually found out that the
reason the wall was painted with other colours was that the flowers the mother picked
from the fairy’s garden started to bloom.
Themes or The episode showed how important effective communication is in achieving harmony with
Discourse others.
Visual Special effects were used to show Engkantada’s magic and also to show the flowers’
Techniques magic.
 162

Volume 3 Episode 12. Bulalakaw

Concept Description
Main Characters Raymond loves to look at the sky. Nelson is one of his best friends. Edwin, Jerome, and
Onyok are also Raymond’s and Nelson’s friends.
Context The story takes place in the province. The story happened at a time where people were still
not as knowledgeable on AIDS.
Narrative Raymond just got back to the province from Manila. Nelson was happy and excited for
they will be able to be with Raymond again. One night, although sick, Raymond snuck out
of their house to show his friends the meteor shower through his telescope. Every one
wished for every shooting star that they saw. The next day, Raymond had a relapse for he
contracted AIDS (Acute Immune Deficiency Syndrome) after being transfused with
infected blood in Manila. This story spread in the neighborhood after their helper heard
about it. Raymond’s friends also heard about this. Their parents asked them to stay away
from Raymond because according to them the disease was contagious. Because
Raymond’s friends won’t visit him anymore, he tried to go to his friends himself but his
friends avoided him. Nelson on the other hand was uncomfortable with what their other
friends were doing and he did not want to avoid Raymond. One night, he visited Raymond
and they both looked at the sky through the telescope. Raymond said that he was looking
for the farthest galaxy from this world because it might be near to where he was headed.
Nelson’s birthday came and his wish on the shooting star came true. His mother came
from overseas and was thrown a birthday party. The mother of Nelson heard about the
condition of Raymond and explained that his sickness was actually not easily contagious.
They brought the celebration to Raymond and the friends got together again. Raymond’s
condition worsened and his mother decided for them to go back to Manila. Raymond gave
his telescope and other tools for observing the sky to Nelson as gift for his birthday.
Themes or The episode showed the value of compassion and how bonds of friendship can help a
Discourse person who is suffering. It also showed the tendency of others to judge haphazardly
despite not knowing fully well the details of something in order to make a rational
judgement on things.
Visual Special effects were used to aid the viewers in identifying the stars and constellations
Techniques Raymond and his friends were looking at.
 163

Volume 3 Episode 13. Haring Mapet

Concept Description
Main Characters Haring Mapet is the head of the government and is accused of being corrupt and stealing
the money of the people. Ikang is a child worker in the palace who washes the pots and
dishes.
Context The story takes place in Haring Mapet’s kingdom.
Narrative The townspeople are urging Haring Mapet to move down from his position due to his
corruption of the people’s funds. The workers in the palace had already moved out due to
the growing protests outside the castle except for Ikang who was busy making rounds in
the area. Ikang found the toy collection room of the king and here she was able to talk to
the king. Ikang was mesmerized by the toys in the room and while the king was not
looking she got one of the toys. From their conversation, she learned that all the money
that the king stole went to the expensive and extravagant toys in the room. The king
explained, however, that he was just borrowing the money and that he will return it
anyway. Ikang said that he should have not used the townspeople’s money because it was
not his. The king eventually admitted to his mistake. The king regretted what he did and
wished that he did not do what he did. When the protesters started to enter the palace, the
king immediately packed his things to get away in fear of facing the people and being put
into jail. Ikang convinced the king to just give up and face the people. In the end, Ikang
returned the toy she got earlier and the king heeded her advice and peacefully surrendered
himself to the authorities.
Themes or The episode showed the value of being honest and having integrity in one’s work and
Discourse duties. (“Hindi po natin dapat kunin ang mga bagay na hindi sa ‘tin kahit gano man
kaliit”, Ikang to Haring Mapet). The episode also showed the culture of people’s
movement in dethroning or showing protest to the government, as well as the tendency of
a ruler or one in a certain position to be corrupt.
Visual There were no special effects used in this episode. When the king was about to surrender,
Techniques the camera shots were mostly CUs of the king’s garments and in a slow motion. This
signified the last moments of the king and also the regret for what he has done.
 164

Volume 4 Episode 1. Ihip ng Hangin

Concept Description
Main Characters Kela is mute and deaf and has a talent in writing poems. Roger is the father of Kela who is
always busy with his work and is distant to his child. Remy is the mother of Kela and the
only one whom Kela can talk to.
Context The story takes place in Kela’s home.
Narrative Kela loves to write poems. She expresses herself and her thoughts in these poems
including her fondness of the wind and how she considers it as her friend. It is also
through these poems that she can express her wish to be closer to her father. Although the
family is complete, Kela longs to feel love from her father which she cannot see especially
since her father does not talk to her. The father would only tell his message for Kela
through her mother because he does not want to learn sign language. Despite this, Kela
still grew up to be cheerful and smart, and the respect for her father still remained. What
Kela didn’t know was that her father actually read her poems because the wind brought the
papers down their house where her father always stayed with their business. The father has
become aware of Kela’s longing but still tried to refrain himself from talking to Kela.
After reading the poems, he would only keep the poems. One day, Remy asked Kela to
look over their photocopying service business for a while. Two customers came and called
out to Kela for some questions. Kela, however, was not able to hear the call because of her
disability. The two children laughed and teased her, calling her ‘bingi’. Remy and Roger
heard the insults and immediately shooed the two kids away. Kela’s father got really mad
and reminded Remy not to ask Kela to help out in the business because he did not want
other people to make fun of his daughter. The couple argued over Roger not wanting to
learn sign language but in the end Roger remained stubborn. Kela tried to apologize to his
father for what happened earlier in the day. Her father did not give his attention to Kela but
she did not stop signalling. In the end, her father wrote “hindi kita maintindihan” and
showed it to her. Roger shooed her away and Kela went away crying. Because of this,
Roger felt more sorry and guilty towards his daughter. One night, the wind brought again a
poem written by Kela to her father. This time Kela saw the piece of paper flying away and
ran after it. The father read the poem when it reached him while Kela was standing by the
door. Kela approached her father after he finished reading to get back her poem. Roger
cried and returned the poem together with the rest that he got before. Roger held his
daughter’s hands and asked for forgiveness. He saw Remy by the doorway giving the sign
for saying sorry. He imitated the action and hugged her. In the end, Kela was allowed to
man their small business and Roger got the poems written by Kela to be published.
Themes or The episode showed the value of acceptance of things one cannot change. It also showed
Discourse the importance of communication whether verbal or not and understanding in fostering
good relationships with one’s family or friends. The episode also showed how a child
yearns to feel loved by her father. Also, the episode showed how one should be sensitive
to the needs of other especially those with disabilities.
Visual Special effects were used to animate Kela’s poems and also when the papers with the
Techniques poems were blown to Kela’s father.
 165

Volume 4 Episode 3. Jessie

Concept Description
Main Characters Jessie is a girl who is perceived to be afraid of nothing. She is, however, afraid of hospitals
because she is reminded of how her grandmother died when she was young. Vico is a
scrawny and nerdy boy who is the best friend of Jessie. He is also the narrator of the story.
Context The story takes place in a town in the province.
Narrative Jessie met Vico when he was being bullied by other children. Jessie was the one who
saved Vico from the bullies and got back Vico’s favourite cap from them. From then on,
they became best friends. They started playing together and even went to places together.
One day, Vico got really sick and he was admitted in the hospital. At first, Jessie didn’t
want to visit Vico since she was afraid of hospitals, but when her mother informed her that
Vico had leukaemia, she decided to visit him. Jessie then started to visit Vico regularly and
they found ways to still hang out and play despite being confined in the hospital. The
condition of Vico worsened. One day, Jessie and Vico talked about what would happen
when Vico dies. Vico told Jessie that everyone had different beliefs regarding death. Some
people believe in reincarnation while some people believed that when one dies, only the
body dies but the soul remains. One night, the inevitable happened and Vico died. Jessie
found it hard to accept it at first but eventually accepted the reality. Jessie regularly visited
Vico’s grave and she had also accepted the death of her grandmother and finally visited
her grave. By the end, it can be seen that Jessie was trying to move on and making new
friends especially since Vico was now gone.
Themes or The episode showed the importance of friendship in coping with one’s sufferings. The
Discourse episode also showed the value of courage in facing one’s fears and accepting reality. The
episode also showed the popular belief of some people where the soul lives on despite the
physical body dying and how the soul is more important than the mortal body. It also
showed the notion that when someone dies he becomes an angel. (“…minsan pag patay na
daw ang isang tao eh yung kaluluwa niya pupunta naman sa ibang katawan tapos
magiging tao ulit siya. Tas yung iba naman daw pumupunta sa ibon o di naman kaya sa
aso. Ayaw ko maging aso ah.”, Vico to Jessie).
(“Sabi ng daddy ko mga katawan lang ng tao ang namamatay pero ang kaluluwa hindi.
Halimbawa, yung kaluluwa, yun talaga ako, saka sabi ng daddy ko makikita ko daw ang
mommy ko tapos yung kaluluwa ko mapupunta sa heaven. Meron pa nga daw susundo sa
‘king mga anghel eh. Dun daw ako dadalhin sa taas.” Vico to Jessie).
Visual Special effects were used to show the sudden rain from Vico’s wish and the ethereal image
Techniques of Vico when he became an angel.
 166

Volume 4 Episode 4. Saranggola

Concept Description
Main Characters Martin is the gleeful friend of Kela. He loves flying kites. Kela is a deaf and mute who is
a student of Martin’s mother. Kela considers her wind as her friend.
Context The story takes place in the school and Martin’s home.
Narrative Martin and his friends love to fly kites. From all the designs of the kites Martin has flown,
there is one that he wanted to make. When he was about to buy the material to make the
kite that he had wanted, Martin was hit by a car. Because of the accident, Martin became
crippled. He started drifting away from his friends due to his loneliness. He also shooed
away his friends who wanted to comfort him, thinking that he was no longer worth it. One
of his friends, who was also a student of her mother, Kela, did not falter in trying to ease
his feelings. One night, Martin got a kite that was flown by the wind. The kite was made
by Kela and it had a poem with it entitled ‘Saranggola’. Kela went to Martin the next day
and talked about the kite that Martin wanted to fly. Martin then called up his friends to tell
them about the plan. In the end, Martin and Kela were able to finish the kite that Martin
dreamed of flying and they flew it together with their friends.
Themes or The episode showed how love and understanding can help others in coping with their
Discourse loneliness and their feelings of helplessness. Having disabilities should not get in the way
of achieving one’s dreams and aspirations.
Visual The scene where Martin was about to be hit by the car was done in slow motion to add to
Techniques its dramatic effect. Special effects were also used to show how Kela’s friend (the wind)
brought Martin’s flyer to her. There was also the utilization of graphics for the animation
of Kela’s poem for Martin.
 167

Volume 4 Episode 5. Ang Agimat ni Ingkong Tano

Concept Description
Main Characters Nitoy is the youngest of three brothers. He is usually bullied by his two older brothers and
has a low self-confidence level. Ingkong Tano is a dweller in the mountains and the one
who gave Nitoy the agimat.
Context The story takes place in Nitoy’s house in a rural community.
Narrative Nitoy is usually bullied by his brothers but he never told anyone about it and just stayed
mum. One day, their mother overheard his two older brothers talking about how they were
the ones responsible for Nitoy’s wound. The older brothers were punished by their father.
The next day, their parents went out of the house. Nitoy was quietly reading his book
when his two older brothers invited him to play with them. Nitoy was surprised but
excitedly joined them anyway. It turned out that the two brothers had a plan to get back at
Nitoy. While playing, Nitoy fell into the trap that his two brothers made and he was left
alone despite begging to be pulled up. Night came and no one still came to get him.
Ingkong Tano was walking around the area when he heard Nitoy crying. He helped Nitoy
up and gave him the agimat that would make him stronger and smarter. Nitoy believed in
Ingkong Tano and indeed performed better in school. One night, the eldest brother asked
him why he was excelling so much at school and Nitoy told them about the agimat. He
was persuaded that he had to take off his necklace because it might kill him in his sleep.
Nitoy removed his agimat and placed it in his drawer. The eldest brother secretly took the
agimat. The next day, Nitoy could not find the agimat and he was panicking especially
since his exams were scheduled on that day. His second brother encouraged him that he
could do it since he had reviewed for the exams before. When they came home, Nitoy was
proudly running to her mother exclaiming that he got a good score in his exams. In their
room, the eldest brother screamed at Nitoy saying that the agimat was useless and had no
effect. Nitoy believed that the agimat had no effect when it was stolen or taken by others.
Nitoy looked for Ingkong Tano and asked about the agimat. Nitoy found out that indeed
the agimat was just a regular rock and that Ingkong Tano only told him that to empower
Nitoy and to make him believe in himself.
Themes or The episode showed the value of having courage to stand up to bullies and face one’s
Discourse responsibilities (lakas ng loob). It also showed that one should believe in his own
capabilities in order to achieve something.
(“Pakantandaan mo na kapag hindi ka gumamit ng pagtitiwala sa ‘yong sarili, wala kang
mararating sa ‘yong mga pangarap. “ , Ingkong Tano to Nitoy )
Visual No special effects were used in the episode.
Techniques
 168

Volume 4 Episode 6. Ang Hiwaga ni Bre-ar

Concept Description
Main Characters Bre’ar is the young apprentice of Falg’ar who is a very powerful magician. Tre’ar is the
assistant of Falg’ar who also serves as the immediate guardian of Bre’ar. Kib’ar was the
previous apprentice of Falg’ar who wreaked havoc in the past and was now imprisoned in
the magical mirror inside the magic room of Falg’ar.
Context The story takes place in the tree of Mitic’ar where Falg’ar, Tre’ar and Bre’ar lives.
Narrative Bre’ar is an aspiring magician who can’t wait to learn and use magic for his convenience.
He wanted to learn more magic but Falg’ar won’t teach him until he proved himself
worthy of his teachings. One day, Falg’ar was needed in the empress’ palace to entertain
the guests and he had to leave the tree to Tre’ar and Bre’ar. Falg’ar told Bre’ar that he
trusted him and Bre’ar acknowledged this trust. Falg’ar left the tree but the key to the
forbidden magic room got stuck in a branch. Bre’ar got it and told Tre’ar that he would
just go take a peek at the room. Tre’ar tried to stop him but he insisted on going. Bre’ar
looked around the room and saw Kib’ar who was imprisoned in the magical mirror. He
tricked Bre’ar into releasing him and he got free. Falg’ar and Tre’ar went inside and they
were immediately imprisoned by Kib’ar. Bre’ar was spared by Kib’ar and was made into a
servant. Bre’ar knew that he had to save his master and Tre’ar. He devised a plan without
using magic and in the end was able to free Falg’ar and Tre’ar. Bre’ar apologized for the
things that he had done. Falg’ar accepted the apology and told him that what was
important was that he was able to rely on himself and not rely on magic and that Falg’ar
was able to prove that he was indeed trustworthy.
Themes or One should rely on his own capabilities instead of relying on intangible things such as
Discourse magic (self-reliance). The episode showed that what seems like the easiest and the most
convenient way are not always what they seem. The episode also highlighted the
importance of gaining the trust of the people and being trustworthy.
Visual Special effects were abundantly used to show the magical activities of the magicians.
Techniques
 169

Volume 4 Episode 7. Ang mga Lola

Concept Description
Main Characters Wena is the narrator of the story. She loves to watch the television until late at night. Epzo
is the brother of Wena who loves to eat a lot. Osan is the mother of Wena and Epzo. She is
also the daughter of Lola Teresa. Lola Teresa also loves to eat especially food that are not
allowed in her diet. Lola Meding is the sister of Lola Teresa who loves to smoke.
Context The story takes place in Wena’s household. Lola Teresa and Lola Meding can perform
magic.
Narrative One day, the grandmothers were reminiscing their childhood and were telling stories to
their grandchildren. They mentioned that they used to exchange bodies with other people.
Eventually the four of them, Lola Teresa, Lola Meding, Wena, and Epzo, decided to
exchange bodies. Lola Teresa took Epzo’s body and vice versa, while Lola Meding took
Wena’s body and vice versa. While in different bodies, they all still kept up with their
personal habits. Osan didn’t know anything about the exchange of bodies. It was only
until, Epzo who was inside Lola Teresa’s body, had to be hospitalized due to the kinds and
amount of food he ate. From then on, the three who were not hospitalized realized how
important it was to take care of their bodies and so they started to exercise and change
their eating habits. When Epzo was discharged from the hospital, the four of them
performed the ritual again to return to their real bodies. Everyone realized their efforts in
taking care of their bodies paid off when the felt better and greater than before.
Themes or The episode showed the value of self-discipline especially in terms of taking care of one’s
Discourse body. It also showed the value of respect and care for other’s bodies especially since the
bodies were technically borrowed from another person.
Visual Special effects were used to show how the grandmothers can use magic.
Techniques
 170

Volume 4 Episode 8. 1305

Concept Description
Main Characters Buboy is the child whose birthday was approaching. Alex and Totep are Buboy’s siblings
who wanted to give Buboy a simple birthday party. Eric and Amy are their older siblings.
Aling Choleng is their neighbor who owns a sari-sari store and to whom the household
members have a lot of financial debt to.
Context The story takes place in the compound 1305 and its neighborhood. The family is having an
extreme financial crisis.
Narrative Alex and Totep were planning to hold a simple celebration for Buboy whose birthday was
nearing. The children knew that they had no money to hold a grandiose celebration but
they were able to save up a little, just enough to buy ingredients to be able to bake a cake
and buy juice. Amy scolded her younger siblings for thinking in such a way and told them
that they should just use the money to pay off some of their debts or for necessities of their
household. Their mother, however, let the children pursue with their plan and as such Amy
also reprimanded her for being too soft. Eric attempted to get the money to buy an ROTC
uniform for his school but he felt guilty and eventually returned the money to them. The
day of Buboy’s birthday came and Alex brought the ingredients for the cake. While he was
buying, the electricity in their house got cut and their refrigerator was repossessed by the
company. Such is the case, they didn’t have any way to bake the cake and their juice was
warm. They were about to lose hope but they tried to ask for some electricity just to be
able to bake the cake. Many of their neighbors refused them except for Aling Choleng who
welcomed them into her house. In the end, they were able to celebrate Buboy’s birthday
even in a simple manner.
Themes or The episode showed the value of generosity especially among neighbors. It also showed
Discourse the resilience of the family despite the many problems and the ability to celebrate
occasions even in a simple manner despite economical limitations. The episode also
showed the value of thoughtfulness and love among family.
Visual There were no special effects used in this episode.
Techniques
 171

Volume 4 Episode 9. Ang Palamuting Anghel

Concept Description
Main Characters Luningning is a lovable child who wants to give her mother a present for Christmas. Her
mother sews clothes for a living. Luningning has a friend, Gibo, who joins her in selling
bottles and newspapers. Ticboy is a selfish child who takes things of other children. Liyag,
Lingap, and Luwalahati are the ornaments that were found by Luningning.
Context The story takes place in Luningning’s house and the streets. The ornaments have their own
world in the Christmas tree.
Narrative After being thrown away by their previous owners, the dwarf Christmas tree ornament
Lingap, believed that there are no more good people in the world. This is disagreed upon
by the angel ornament Liyag who believed that there was still hope for the people and that
there were still people who were good. Luningning and Gibo found these ornaments by the
street when they were on their rounds of looking for bottles and newspapers. The
ornaments discovered that Luningning was saving up and planning to give her mother a
present for Christmas. Lingap and Liyag continuously argued on whether or not
Luningning will stay true to her plans and continue to be a good daughter. Christmas Eve
came and Luningning had not yet given up on the idea of giving a present to her mother.
As such, the three ornaments agreed that there is still hope for the people because of
people like Luningning who had good intentions and pure heart. Luwalhati and Lingap
wished for material things for Luningning and her mother. Liyag, on the other hand,
wished that the mother and daughter continue to love one another. Christmas came and the
ornaments got new clothes from Luningning’s mother. Luningning also received a dress
that her mother made. Luningning gave her mother a hug as a sign of her love for her.
Themes or Although it may seem that there is already no hope for humankind, one should believe that
Discourse everything is not yet too late and that there will always be hope for everyone and
everything in this world. This episode showed that there will always be a way to show
one’s love aside from buying material gifts for others.
Visual Special effects were used to show that the ornaments were on a tree and when they were
Techniques observing Luningning. Musical numbers were also incorporated in the episode.
 172

Volume 4 Episode 10. Anak ng Salamangkero

Concept Description
Main Characters Pepe, Pongko, and Bianca are friends. Eventually, they befriended the Anak ng
Salamangkero. Dominador is a worker in the local fair.

Context The story takes place in the forbidden mountain. The Anak ng Salamangkero do not know
how to speak.
Narrative In the forbidden mountain lived a child of a magician. She is capable of shifting forms, as
such, the elders forbid children from crossing the bridge and going to the mountain. Pepe,
Pongko, and Bianca decided, however, that they will go to the mountain despite the
prohibition. They reached the mountain and there they met the child. At first, the child was
hesitant to interact with them and shifted to the form of a butterfly and flew away from the
three. Pepe, Pongko, and Bianca returned the next day to make friends with the Anak ng
Salamangkero. Although still not speaking, she still played with the three. Pepe, Pongko,
and Bianca discovered that the child was already an orphan and that she lived alone in the
mountains. Going into the mountains became a habit of the three friends and they swore
never to tell anyone about it. One day, Domindor heard what the children were talking
about and explained the origins of the Anak ng Salamangkero to them. Sensing that
Dominador wanted to bring the child into the fair, Pepe and his friends kept mum on what
they know about the child. Dominador, however, followed Pepe and his friends when they
went to the mountains to warn the child. Dominador tried to get the Anak ng
Salamangkero but she was able to flee from him. The next day, Dominador brought
reinforcements, still in attempt to capture the child. Pepe and his friends immediately went
into the mountains to warn the Anak ng Salamangkero. Dominador failed to capture the
child. He caught Pongko and Bianca instead and threatened that he will burn her friends
and the whole forest if the Anak ng Salamangkero did not show herself. A few moments
later, the child came and she called her three friends. When she was able to free Pepe,
Pongko, and Bianca, she shape shifted once again and went away from the mountain for
good.
Discourses or This episode highlighted the value of selfless love as embodied by the Anak ng
Dialogues Salamangkero. The episode also showed the tendency of some people to only think of
ways and things that will benefit them especially in terms of financial gain.
Visual Special effects were used to show the transformation of the magician and to show his other
Techniques magic. Pixelation was also utilized when Pepe was still introducing the story of the
forbidden mountains and the Anak ng Salamangkero.
 173

Volume 4 Episode 11. Tumba-Tumba

Concept Description
Main Characters Onty and Mena are brothers and sisters who are afraid of Lolo Ipe who is rumoured to be a
monster. Lola Rosario is the relative of their father who was in town for a vacation. She is
the owner of the tumba-tumba (rocking chair).
Context The story takes place in Onty and Mena’s house and Lolo Ipe’s house located in Paham St.
Having a red dot on one’s head meant that he is a monster.
Narrative One day, Onty and Mena were playing outside. They entered Lolo Ipe’s house to get some
mangoes on the tree but they were hurrying themselves because they believed that they
might be caught be Lolo Ipe and that they would be eaten by him. When they returned
home, someone was moving into the house. They went into the guest room and saw
tumba-tumba and started playing with it. Their mother saw them and introduced Lola
Rosario who would be staying with them. Onty and Mena initially thought that Lola
Rosario was related to Lolo Ipe and that she was also a monster. That was until Lola
Rosario asked the children if she had a red dot on her head. The kids found none and was
happy to know that she was not a monster. From then on they started going on journeys by
using the tumba-tumba as their ride. One night, the children were having nightmares about
the monster Lolo Ipe and they went to Lola Rosario for company. They saw Lola Rosario
looking at an old photo of her and her best friend Feling. She told them stories about how
good he was in magic. They all travelled back to when Lola Rosario and Lolo Feling first
met. Lola Rosario was looking inside Lolo Feling’s house and went inside. She was
getting some fruits on the tree when she fell. When she woke up, she was already inside
Lolo Feling’s room. They talked and Lolo Feling explained that he didn’t go out much
because he was sickly. He was, however, good in magic and demonstrated some of his
tricks to Lola Rosario. The ride with the tumba-tumba ended and when the kids woke up
they were very curious about Lolo Feling. Lola Rosario said that she has just recently
discovered that Lolo Feling still lived in Paham. She asked them to get ready because they
would go to Feling’s house. Lola Rosario asked them to close their eyes while going there.
When they opened their eyes, they were surprised that they were just outside Lolo Ipe’s
house. Onty freaked out and immediately ran out the gate, he fell down and lost
consciousness. When he woke up, he was already inside Lolo Ipe’s house. Lolo Ipe asked
him if there was a red dot on his head and Onty said that there was none. When all the
misunderstanding was cleared up, Onty, Mena, and Lolo Ipe eventually became good
friends.
Themes or There really is a tendency for children to gullibly believe in any story told to them by
Discourse adults despite its rationality. The episode showed that not all stories should be believed
and that it is important to have respect for the elderly.
Visual Special effects were used to indicate the journey with the tumba tumba. Transition effects
Techniques were also utilized when they went back in time.
 174

Volume 4 Episode 12. Saranggola ni Boyet

Concept Description
Main Characters Boyet is the son of Rudy. Rudy and Boyet used to play a lot together but Rudy became
busy with his work as a jeepney driver.
Context The story takes place in Boyet’s home, Rudy’s jeepney and the streets.
Narrative Rudy cannot spend as much time with Boyet as he used to as he was busy making a living
for his family. This fact disheartened Boyet. He wanted to go back to the times where he
was still able to fly kites with his father. One day, Boyet secretly rode his father’s jeepney.
Rudy saw him and said that he had no time to play with him. Boyet promised that he
would behave and that he would not cause any problems for his father. Rudy obliged and
brought Boyet with him. In the middle of the trip, the tire of the jeepney went out. Rudy
had no choice but to stop operation and have the jeepney repaired. This paved the way for
the two of them to talk and bond. They were both happy. They flew Boyet’s kite the next
day.
Themes or The episode showed how important it is for children to feel loved by their family and that
Discourse they belong in one. The episode reminds one that he should make time for his family
despite how busy his schedule is. It also reminds us that while it is okay to work hard, one
should also take a break and nurture his relationship with his family and friends.
Visual Fast motion cuts and movements were used in this episode to show time lapses (e.g Boyet
Techniques and Rudy bonding, traffic movement, etc.)