Republic of the Philippines

Pangasinan State University

Lingayen Campus
College of Teacher Education
A.Y. 2024 – 2025

Name: Lorence M. Salacsacan Date:

Yr. & Section: III BSE English B Teacher: Ms. Brenda A. Hermogeno Subject Code:
GEE3
Descriptive Title: Philippine Popular Culture
Topics: Lesson 6 – History and Etymology:
Basic thoughts on Nationalism, Anime,
Animation, Borrowing and Cultural Claims

❑ Objectives:

a. To evaluate the history and origin of animation and anime;

b. To familiarize with the key concepts of nationalism and cultural borrowing; and
c. To appreciate the importance of the tragic yet colorful history of the Philippines.

❑ Introduction:

❖ To prepare the students for the discussion, there would be a short icebreaker. The
students will group into two for the prepared interactive activity that will surely test
their prior knowledge about the respective topics of this lesson.

❑ Discussion:
❖ The history and origin of Nationalism, Anime, Animation and Cultural Barrowing
will be discuss most specially in the Philippine context.
❖ As the discussion goes on, here are some questions needed to be answered; −
What are the other examples of Animated films/cartoons have you watched? −
How do you consider yourself as a nationalistic person?

♦ NATIONALISM
According to the Merriam Webster, nationalism refers to loyalty and devotion to a nation.
It is a sense of national consciousness exalting one nation above all others and placing
primary emphasis on promotion of its culture and interests as opposed to those of other
nations or supranational groups.

According to Claro M. Recto, nationalism is nourished by a sense of history. It is of its

essence to know profoundly the past so that we may be in complete openness with the
men who made that history and in intimate communion with their thoughts, their deeds
and their noble lives.

The one Filipino who is the embodiment of Philippine nationalism is the former senator
Claro Mayo Recto. In 1957, he ran for president, together with Lorenzo Tañada as his
running mate. His platform was basically centered on the nationalist theme that we
needed an independent foreign policy and that foreign bases should be removed from
the
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Philippines. This was a courageous stand in a period when the Philippines was still
economically dependent on the United States.

Nationalism has always been the battle cry that our past heroes have used to fight
colonial and neo-colonial rulers. Recto once wrote: The battle cry that animates and
sets in motion millions of hearts and minds is nationalism. It is not a passing emotion,
not a naïve longing for the trappings of sovereignty. It is persevering, militant and
mature.

Furthermore, nationalism is the secular identification and engagement of our people with
the Filipino nation and domestic community, the Philippines as our country and
homeland. It goes beyond our family, clan, tribe, village, city, province, religion, local
culture and religion. First and foremost, it is pro-Filipino: believing that we belong to one
body, mind. soul, and spirit. It's a pride to be a Filipino; self-respect as a Filipino; pride in
our national cultural heritage and manner of life, with their constraints being realized. It
involves pride in our heroes, pride in our flags, national anthem and other symbols of
our nationhood; national pride and dignity inspired by the willingness to serve our nation
alone and with dedication, and to sacrifice for it, if necessary, with our own lives.

Dr. Jose P. Rizal

He is commonly known as the “Father of Filipino Nationalism”, for his intellectual and
idealistic support for Philippine Independence. Rizal did not support violent uprisings or
revolutions in calling for an independent state. He was not a war monger but rather an
academic seeking as much as possible a peaceful, logical, and political solution for the
independence of Filipinos from colonial rule over the political and social aspects of life in
the Philippines. He preached for and encouraged Filipinos to recognize their potential as
Filipino citizens and also their obligations and duty to their motherland. For him Spanish
colonial system itself should be blamed for the unfortunate state of the Filipinos and the
colony.

Rizal was a strict critic of the Filipino people and how their demeanor reflected upon the
motherland. He is not afraid to point out idleness he notices within his fellow countrymen.
At the same time, he takes the position this flaw of laziness did not originate among the
native Malayan people who first inhabited the Philippine islands but rather rose out of the
colonial occupation of the Philippines over the past centuries. Rizal made it clear that
citizens of the Philippines can advance themselves economically and also raise the
status of their nation. However, he recognized there are many obstacles in that exist
that harm the Philippine economy and society as a whole. Thus, the prime example
would be the uneven distribution of wealth between the few wealthy families and the
general population that has been established during colonial rule.

Noli Me Tangere and El Filibusterismo

These masterpiece by Jose Rizal are significantly contributed to the rise of Philippine
nationalism. These novels exposed the social injustices and corruption prevalent under
Spanish colonial rule, awakening a sense of national consciousness among Filipinos.
Rizal's portrayal of the struggles faced by the Filipino people resonated deeply, inspiring
a movement towards independence and reform. Both novels are not just literary
masterpieces; they are historical documents that capture the essence of Filipino society
during the late 19th century. They articulate the frustrations and hopes of a colonized
people, making them essential reading for understanding the roots of Philippine
nationalism.

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The novels served as a catalyst for Filipino awareness and identity. Noli Me Tangere and
El Filibusterismo are crucial to Philippine nationalism as they not only critique colonial
oppression but also inspire a collective identity and a desire for independence among
Filipinos. Rizal's writings emphasized the importance of education and enlightenment as
tools for liberation, urging Filipinos to strive for a better future.

DIFFERENT WAYS TO SHOW FILIPINO SENSE OF NATIONALISM

Filipinos had already shown their own way of nationalism in the Spanish-colonial period.
Some fought with their pens and tongues, while others used their arms and weapons
'authority. Everyone had their own way of showing our country their love and respect.
Some even died and were able to get back our country's freedom that we enjoy
nowadays. Other ways include:

▫ Remember and commemorate our heroes' sacrifices for our country. -

Being Filipinos, we should respect our Philippine flag and its purpose. ▫
Respect the Philippine Flag and Value Pilipino Identity.
- Let us value and treasured heroes sacrifices and devotion for our country.
▫ Love Our Family, Our Neighbors, and our Countrymen.
- The essence of life for most Filipinos is to create their family and nation a part of
their enduring engagement.

PHILIPPINE SYMBOLS THAT PROMOTESS A SENSE OF NATIONALISM

Symbols are very, very important to people quite a lot of countries, especially if these
symbols are related to a sense of nationalism. The officially recognized national symbols
of the Philippines are:

▫ The Philippine Flag with red, white, and blue colors and a yellow sun representing the
provinces of the country.
▫ Lupang Hinirang (Chosen Land)
- The Philippine National anthem.
▫ Sampaguita (Jasminum Sambac)
- The national flower of the Philippines; symbolizing purity and simplicity, the flower
is small, white, and pleasantly fragrant.
▫ Dr. Jose P. Rizal- The National Hero of the Philippines. Also, the other Filipino heroes
who have notable contributions on the Philippine Independence such as Andres
Bonifacio and many more.

Recto said: “A firm belief in the genius of our race and in the capacity of their destiny is
another basic component of nationalism. But this belief can be acquired only through an
understanding of their struggles and accomplishments, their trials and tribulations, the
sum total of their experiences since the dawn of their history.”

♦ ANIME

The word anime hadn’t probably even injected itself into the consciousness of local
otakus. And the word “otaku” may have even been a term belonging to only a select
class of individuals.

Before, anime was not anime simply because there weren’t as much of them on local TV
and we couldn’t tell the difference between other cartoons. But we sure learned how
different they were soon enough. They introduced us to more complex storylines, cooler
robots, cuter characters and pretty much a whole new world of fantasy.

Brief History of Anime in the Philippines

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The impact of anime can be traced back to the block timing company Questor, which
was one of the first businesses to bring anime into the country. By securing rights to
some shows, their arrangement with GMA-7 led to the broadcast of Mechander Robo,
Tōshō Daimos, Mazinger Z, UFO Robo Grendiser, and Voltes V during the 6:00 – 6:30
pm “block” on weekdays. Anime’s block time schedule proved effective at capturing
Filipino audiences. Children could enjoy these mecha anime shows every day after
school, particularly Voltes V which was broadcast on Fridays, the end of the school
week.

However, while Voltes V became one of the most-watched anime in the Philippines, the
broadcast of its finale was cut short in 1979 when the country’s Martial Law regulations
imposed a ban on all block time robot series. Martial Law did not let anime slip its way
and into this country’s young minds. Robot anime had blasted its way here but was
pulled out for fear of infusing unwanted violence in the mind of the audience.

➢ 1980s – 1990s: Anime makes a comeback in the Philippines Anime returned

to Philippine television after the success of the 1986 People Power Revolution. Up until
then, anime in the Philippines was aired in English. It wasn’t until the mid-1990s that
channels such as RPN-9, IBC Channel 13, and ABC Channel 5 (TV5) started launching
Filipino-dubbed anime like Princess Sarah, Slum Dunk, Ghost Fighter, Dragon Ball Z,
and Sailor Moon. The last unaired episodes of Voltes V were dubbed and released by
GMA Films in 1999, much to the delight of many viewers.

It was quite a surprise that sometime in the early ‘90s, anime was given a completely
different feel with characters speaking in the native language, that is Tagalog. One of the
first few to have done this was a funny anime entitled Time Quest.

However, licensing, distribution, and translation costs limited the amount of anime
available in the country. Those who could afford them imported content from Japan and
the United States, or accessed them through fan websites. Since media in the 1990s
also transitioned to VCDs and DVDs, a cheaper, more common option was to turn to fan

translated content. During this time, the demand for pirated anime grew, so much so that
they were openly sold in public markets.

➢ 2010s – present: Streaming makes anime more accessible in the Philippines Up

until the early 2010s, access to Japanese media in the Philippines has been limited to
traditional outlets, expensive imports, and occasional events initiated by Japanese-led
organizations or fandoms. Finally, in 2016, the company iFlix offered subscription video
on-demand services in the Philippines. Soon afterward, the expansion of global
streaming platforms made various Japanese shows legally accessible in the country.
For instance, premium Asian entertainment platform Viu Philippines introduced popular
anime titles to its expanding collection in the Philippines, enabling anime enthusiasts to
watch legally at no cost. Viu also has the nearest translation of anime subtitles. This is

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valuable for fans who want to accurately experience the essence of the anime they
watch. Anime in the Philippines has gone through many eras and transformations to get
to where it is today.

In 2021, GMA Network produced “Voltes V: Legacy,” a modern retelling of the classic
anime featuring updated animation and storytelling techniques, expanded plotlines, and
new characters. Local otakus would probably clearly remember GMA 7 as the one to
bring back old favorites and finally do what other stations failed miserably—finish the
airing of the entire series.

Anime has also influenced Philippine art, with Filipino artists and animators integrating its
unique style into their works. The impact of anime on the Philippine animation industry is
also evident. The Philippines is now known for producing top-quality animated content
for global audiences, with several Filipino animators and artists working for
distinguished Japanese animation studios. Examples include Arvin Bautista, who
worked on the anime series Free! and K-On!. Additionally, Filipinos’ fondness for anime
paved the way for cosplay (“costume play”) conventions wherein cosplayers embody
anime characters through costume, makeup, and acting. Cosplaying became a way for
fans to express themselves, share their interests, make new friends, and stay informed
about anime in the Philippines.

Despite criticisms about anime’s violent and sexualized content, its influence on the
Filipino youth is undeniable. Many young people find inspiration, entertainment, and
cultural exchange through this medium, contributing to its enduring popularity in the
Philippines.

♦ ANIMATION

It is the art of making inanimate objects appear to move. Animation is an artistic impulse
that long predates the movies. History’s first recorded animator is Pygmalion of Greek
and Roman mythology, a sculptor who created a figure of a woman so perfect that he fell
in love with her and begged Venus to bring her to life. Some of the same sense of magic,
mystery, and transgression still adheres to contemporary film animation, which has
made it a primary vehicle for exploring the overwhelming, often bewildering emotions of
childhood—feelings once dealt with by folktales.

Early History of Animation:

➢ The Silent Era (1900s – 1920s)

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There are some defining names in the animation industry whose works are known to be
pivotal in the evolution of animation as entertainment.

J. STUART BLACKTON

Although “firsts” of any kind are never easy to establish, the first film-based animator
appears to be J. Stuart Blackton, who's Humorous Phases of Funny Faces in 1906
launched a successful series of animated films for New York’s pioneering Vita graph
Company.

Later that year, Blackton also experimented with the stop-motion technique—in which
objects are photographed, then repositioned and photographed again—for his short film
Haunted Hotel.

➢ The Golden Age (1930s – 1960s)

This period was named the golden age of animation as it saw the rise of sound, color,
and multiplane cameras being used alongside it. It was the first time that sound was
synchronized with the animation, resulting in a more immersive experience. This
legendary moment in animation was created by none other than Walt Disney.

Walt Disney
Felix is said to be the manual on which legendary cartoonist Walt Disney modeled most

of his early characters starting with Oswald the Lucky Rabbit. Most people would argue

that Mickey Mouse was just a repurposed Oswald. However, Disney’s genius did not

stop there. Disney is responsible for creating famous cartoons and cartoon characters,

including Mickey Mouse.

Snow White and the Seven Dwarfs (1937), was the first hand-drawn animated feature

film that hit the box office with a proper Hollywood style release. It was an iconic

phenomenon complete with as much dramatic expression as animation could allow.

Disney released several jaw-dropping feature films that can be regarded as the epitome

of photographic realism. Pinocchio (1940), Fantasia (1940), Dumbo (1941), and Bambi

(1942), one after another Disney’s endeavors in feature films that ultimately redefined

animated feature. It is safe to say that Walt Disney and his achievements were

monumental in the history of animation.

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➢ Modern Animation Techniques and Trends

Early computers gave animation makers an entirely different way to create, once again
revolutionizing industry. The animation industry had been predominantly confined to the
cinema until it began to adapt to television. The major driving factor was that the average
American family started to choose cartoons as their preferred entertainment medium.
Many people began to enjoy watching cartoons in the comfort of their homes. This
meant that studios had to adapt and start creating animated cartoons for TV, and by the
mid-1980s, cartoons were everywhere.

In 1995, Pixar released the legendary Toy Story, their first entirely CGI animated film.
The 3D computer allowed animation makers to create feature-length animated films with
more depth, color, expression, and personality than ever before. In simple words, CGI is
when you make 3D models instead of drawing. It is basically a digital version of stop
motion animation. Some other examples are; Shrek, Kung Fu Panda, Frozen,
Madagascar.
History of Animation in the Philippines

Animation came to the Philippines a few months before World War II as a special-effects
support to the film Ibong Adarna in 1941. It was not until the arrival of television and its
first telecast in the country in 1953 that animation was used to advertise consumer
products. The Philippines updated itself on the trends and developments in the
animation industry and was later able to establish its own. Domestic animation started
with cartoonists who converted their comic strips into animated shorts. In 1955, Jose
Zaballa Santos and Francisco Reyes made Juan Tamad (Lazy Juan). The most prolific
and notable among other cartoonists is Severino "Nonoy" Marcelo. He did a
seven-minute animated clip for the film Annie Batungbakal in 1974 and the pilot episode
of Tadhana (Destiny).

“Tadhana” is the first full-length animated film created during the Marcos regime. Nonoy
Marcelo, an animator who was educated in New York, collaborated with Imee Marcos and
created the first full-length animated film entitled Tadhana in 1978. It was initially
conceptualized as a TV series that sought to teach the nation's history from the
perspective of the Marcos administration. The 48-minute feature was aired over RPN 9 in
1978 and was considered the very first feature-length cel animation in the Philippines.
Additionally, Cartoonists eventually ventured into projects initiated by the government
since during this period, animation was also largely used as a political tool. However,
animators still struggled to produce their original content because of the costly production
and the decline in demand for Filipino animated films. Hence, Filipino animators were
commissioned to produce animated films from and for abroad. This started the journey of
Filipino talent to different animations studios abroad and the reduced interest of Filipino
animators to produce their own content.

Panday (1986), is the first Filipino animated series created by Gerry Garcia. In the local
scene, Filipino animators made efforts to produce their own content through animated
series, like Captain Barbell (1980) and Darna (1986), to reach a wider audience and to
make Filipino animated series a part of the daily viewing experience. Another work that
utilized the traditional animation technique was Sa Paligid- ligid (Everywhere), a two-hour
animation special on environmental awareness and conservation, produced by the
company behind the popular children's TV show Batibot (Little Tots) and aired over IBC
13 in 1989. Gerardo Garcia later did his first full-length animated feature, Adarna: The
Mythical Bird, which was produced by Guiding Light Production and FLT Films
International and was an entry in the 1997 Metro Manila Film Festival (MMFF).

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In 2008 two full length animated features were released: namely, Urduja, which employs
the traditional animation technique and follows the story of the legendary warrior
princess; and Dayo: Sa Mundo ng Elementalia (The Wanderer in the Land of
Elementalia), which combines 2D and 3D computer animation techniques and is
regarded as the 2008 MMFF and follows the adventure of young Bubuy into the
underworld to save his grandparents.

Filipinos are known for being world-class when it comes to their talents and skills.
Unfortunately, they are left with no choice but to offer their services abroad due to lack of
support and funds. In addition, animated projects are seasonal work; therefore, animators
are not guaranteed permanent employment or continuous work. Local networks prefer to
fund live-action films compared to animated films; however, when local networks do, they
claim all the rights, leaving nothing but a meager sum of money and less recognition for
the animators behind the films. There is a preference for entertainment that is greatly
influenced by the “masa” culture, which usually involves fanaticism for celebrities. Filipino
movies and television shows follow the same formula for years now and that the
entertainment industry of the Philippines is definitely star oriented.

Animation, like any other art form, is a long process of innovation and game-changing
genius of artists and storytellers. Safe to say that we have come a long way from hand
drawn stop motion although they were the foundation upon which the entire evolution of
animation stands.

♦ CULTURAL BORROWING

It refers to the process by which one culture adopts elements from another, often as a
result of contact and interaction. This can include language, traditions, clothing, and
behaviors. The term is particularly relevant in discussions about how cultures influence
one another, especially in a globalized world.

"The Philippines and its people are a paradox". Although Filipinos were born Asians in
an Asian landscape, "they have matured within a Western matrix."

There are several factors contributing to our lack of pride in our cultural heritage. The
most crucial is the advent of Western colonization. The strategy for change which
Western colonizers imposed upon local conditions and scholarship has obscured much
of the dynamism of the indigenous culture and has almost succeeded in transforming
the society into a cultural variant of the West.

➢ Spanish Colonization (1565-1898)

Spain was the first to colonize the Philippines all the way back in 1565. Because Spain
controlled the Philippines so early and for so long, they were a massive influence to the
modern Filipino culture. The biggest influence still seen to this day is religion. The
majority of religion practiced in the Philippines is still Roman Catholic, at 79.5%. This is
highly apparent because the goal for Spain at the time of their rule was to covert as
many countries into Roman Catholicism as they could.

Spaniards influence on Philippine Language

In the Philippine pre-colonial period, the indigenous system of writing is called the
baybayin. Baybayin is an alpha–syllabic script, meaning that some characters stand for
either a single consonant or vowel, while other characters stand for an entire syllable.
The baybayin quickly went into decline and eventual extinction under Spanish
colonization. Converted Filipinos were taught Catholicism, the Latin alphabet, and the
Spanish

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language by Spanish missionaries who acted as the islands’ first teachers. The first book
ever written and printed in the Philippines, Doctrina Christiana (1593) (English: Christian
Doctrine), is one example of this wherein the Latin alphabet was first used to explain the
fundamental values of Christianity and Christian prayers in Spanish.

Filipinos were introduced to the English language and its 26-letter alphabet at the end of
Spanish rule and the arrival of American-style public education during the American era.
Today, English is more widely taught in schools than Spanish.

Indeed, although the Spanish rule had long ended and English became the second most
dominant language in the Philippines since Spanish was removed as a co-official
language in 1987, linguistically the Spanish language remains influential. Linguistically,
approximately 4,000 words, or about one-third of vocabulary in Tagalog, are derived
from Spanish words, including words and phrases like:

▫ ‘kumusta’ (‘How are you’, from Spanish ‘cómo está’)

▫ ‘puwede’ (‘can/could’, from ‘puede’)
▫ ‘bintana’ (‘window’, from ‘ventana’)
▫ syudad’ (‘city’, from ‘ciudad’)
▫ ‘trabaho’ (noun for ‘work’, from ‘trabajo’)
▫ ‘alas kwatro’ (‘at four o’clock’, from ‘a las cuatro’)

➢ American Democracy (1898-1941)

The Spanish rule finally came to an end after the Spanish-American war concluded with
America taking control over the Philippines. At this time, the main goal of the United
States in the Philippines was to turn the country into a self-sufficient capitalistic
democracy. The U.S. did this by creating infrastructure that would improve the literacy
and economy of the country. As a result, literacy doubled to about half by the 1930's and
a fourth of the educated population could speak English. This was a massive influence
for the Filipino culture, as English became the dominate language alongside the official
Filipino language of Tagalog. The United States did not focus on religion like Spain did,
but they helped create religious freedom for the people of the Philippines.

As time went on a technology improved, the Americans brought influence to clothing and
food to the Philippines as well. The biggest influence that can be seen today is found in
the Philippine government and economic system.
♦ CULTURAL APPROPRIATION

Cultural appropriation is using or taking something from another culture without properly
recognizing or respecting that culture. Culture is the beliefs, behaviors, and knowledge
that are specific to a group of people. Where you live, your ethnicity, your race, your
religion, and your lived experiences are all examples of identities that can form a culture.
People can belong to many cultures at the same time.

Cultural appropriation is "stealing something from somebody that is not you”. It may
occur if you use or wear something that's clearly from outside your identity. Cultural
appropriation is also about power. It refers to a member of a group with power adopting
the elements or aspects of a group that traditionally lacks power in society. It's about who
has the power to steal from somebody else and not offer any consequences.

People who appropriate culture might use art, attire, customs, ideas, language, and
makeup from other communities. People show themselves on apps like TikTok doing
choreographed dances and rollerblading routines created by people of other cultures

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without credit. People have called out these instances as examples of cultural
appropriation.

Borrowing a piece of culture from IPs is not entirely new in the Philippines. In the past
decade, Philippine indigenous weaves and garments have received renewed interest
among Filipinos and even foreigners. They have taken the spotlight in fashion shows,
formal gatherings like the State of the Nation Address, and beauty pageants.

Indigenous Peoples (IPs) are quick to call out use of their cultural pieces when it crosses
the line from cultural appreciation to bastardization. This was the case when candidates
of the international "Man of the World" pageant in June strutted the bahag (male Igorot
loincloth) in the swimwear segment. The event came under fire after making Cordilleran
IPs feel that an important piece of their Igorot identity was not only erroneously
presented but was also disrespected. According to Marcos Mangallay, the pageant's
garment presentation is contrary to how a bahag should be worn and treated. The
presentation was a bit much, considering the sanctity of the bahag. Since they don't
really want to get it dirty because of the sanctity of the cloth.

To prevent cultural appropriations, try to educate others about cultural appropriation. Use
the opportunity to explain why using another culture's attire as a costume is not OK.
Also, avoiding cultural appropriation on social media platforms like TikTok can be as
simple as giving credit when it's due. Shout out the original creator in your video
description and link their TikTok account. It's like citing your sources on a research
paper.

Cultural appropriation, like many other social issues, is a controversial topic. Some argue
that cultural appropriation is a positive effect of globalization. Holders of this belief tend
to reject the nomenclature of the concept, arguing that “appropriation” is misleading, as
it indicates theft, when culture is not necessarily a material source that can be stolen.
Others reject that cultural appropriation exists altogether.

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