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A tribute to the best father

For Leonilo “Neil” Doloricon

By Victoria Doloricon-Roque

Earlier this year, I asked Pa if he wanted to do, as a teacher, an online course about linocut prints (since I myself loved learning from online courses especially during this pandemic). I thought this as a nice platform to not only showcase to people his art but to learn and understand the process and to know what goes through the creative mind of Leonilo Doloricon as an artist. I was so into the thought of really coming up with an online course and proposed to my Pa, that my sister, Kat would be the person to film it. As I was discussing this, he looked at me and gave me his usual smirk and jokingly said, “Baka naman bumaba reputasyon ko niyan ah.” He then with the calmest voice but with the biggest smile said, “Na-nominate kasi akong Professor Emeritus (UP).” I was already extremely proud of him for who he was at University of the Philippines but for him to be nominated with this high of a recognition is beyond words.

For those unfamiliar with this recognition, the UP Faculty Manual defines professor emeritus as a title for life and is conferred upon retired faculty members in recognition of their exceptional achievements and exemplary service to the university.

My father and I would always have this back and forth inside jokes about our personal achievements. I would brag about my simple achievements, while he would again give that same smirk and just simply share with me his achievements and accomplishments (that for me would seem impossible to achieve) and we would laugh. He would always win of course. That was who he was to me.

My father loved sharing stories of himself to us. He would forward to me art critique articles of him, videos of him being interviewed, and smile at how many people appreciated and shared his editorial cartoons. The last video I watched was the “Ep4 mARTy TALKS: Neil Doloricon”. I remember telling him after watching the video that I didn’t know he did comics before. But then again, I remembered being the one assisting him to fax his editorial works to Kabayan and to call them to make sure if they received my papa’s drawings. He smiled and said, “Those were the days.” I would share with him my insights on everything he would share with me, but many of those he said in the videos/articles were too profound for me to understand. (LOL)

When I was little, I watched my father do his oil paintings at the living room. I would sit beside him excitedly and he knew, gusto kong makisawsaw. He would always worry that I might damage his masterpiece. His technique to keep me busy was to tape a piece of paper beside his canvass for me to scribble on instead. I remembered he once told me, “Anak, wag mo sanang gawin ito. Gutom dito.” I didn’t understand what he meant at that time but I always happily did my scribbles, which I considered masterpieces as well. Looking back on his statement, it not only made me understand the struggle it is to be an artist but how passionate my father was in his craft as he persisted in doing it considering all the hardships along the way. We are not a rich family but we really never felt the struggle that he mentioned. He was our bread winner and did all of his work while juggling his graduate studies, taking care of his mom, our relatives who stayed with us and, of course, us.

With all that was going on in his life, I never actually heard him complain. He, being the big brother among his cousins, would be the person they would go to when they needed help. It was like he would always leave the house door open to those in need.

One time at his office, when he was still working at The Manila Times, he ushered me and kuya to an empty table and gave us bond paper and pencil to get ourselves busy while he finished his work. One of his co-workers passed by and he saw my drawing and he said to my father, “Aba, mana sa tatay.” I looked at Papa and he looked at me back with the biggest smile. This memory remains with me to this day. In fact I carry it with pride and I felt the inner artist in me when I was to select the course I would take in college. He suggested Architecture because he knew I could draw. But he was frank enough to tell me my skill set then were not Fine Arts standards.

To prepare me for the college entrance exam, he taught me to draw objects in isometric and I practiced for days prior to my exam. During the exam, I remembered handing my drawing and I was proud of myself for having followed my father’s advise of an isometric made out of a combination of shapes. Until I saw my seatmate handing his work as well of a perspective of a building, complete with tonal values and shadows, that is. Luckily, I passed.

My father is my hero, the person that I looked up to very highly in just about all aspects of life. He would be that person I seek advise from. I would get easily hooked at a wide range of things to do. Whatever catches my interest at that given time, I would zoom in on it and share it with him to seek for his approval. From reading books / articles, playing the piano, playing the guitar, doing watercolor / painting and even cooking. Him, being good with both music and arts, would be that person I talk to regarding these. I would forward him recordings of me playing the piano of a simple musical piece, hoping he would be able to distinguish what music I played. It would be the same type of conversation with painting. He would always give me tips on how I could improve. He used to criticize me strongly when I was in high school. Recently, he would patiently tell me, “Mangopya ka ng artist. Tingnan mo paano nila gawin. Doon ka matututo.” He kept reminding me to not aim for prizes but to find my own belief and it would guide me along the way.

My Papa’s studio was this big space upstairs next to my bedroom. I would always be reminded that it would be morning already whenever I hear Carlos Santana and Norah Jones’ songs blasting on the radio and Papa playing the drums along. After a song or two, he will go back to painting.

My Papa was emotionally attached to his pieces. When I was in college, I saw one of his prints being displayed for sale in one of the computer shops in UP Shopping Center and I told him about it when I got home. He got so upset and he kept asking me to describe in detail the exact art piece that I saw and he wondered who would do that to his artwork. Honestly, I regretted telling him about it because of how bothered he was with the whole incident. He put so much passion in his work and treats each work of art as a treasure. In fact, he was hesitant to give an artwork of his to my then boyfriend, now husband, Mikko’s family because he was afraid of what may happen to the artwork if we were to break up. This stems from a bad experience way back when an art piece made by him was given by my Lola to a close friend. The two later had a falling out and, to get even with my Lola, the close friend burned the art piece. Papa put so much time and love into his craft and to see someone else destroy it hits him to his core.

Another interesting story about one of his artwork was when I handed my father’s sketch of Macario Sakay to my professor, to the latter’s great delight. When my professor requested for discounts on Papa’s prints, my father gladly agreed.

I will miss his cooking. He is our personal master chef at home. He always used to make me cold cut sandwiches he called gourmet sandwiches in high school for my baon. Our Sundays would always be a feast. Mornings, he would cook halaan and shrimp, which he himself would finish off as he was the only seafood lover at home. In the afternoon, I would be in charge of the barbecues while he would make his favorite red sauce spaghetti.

Kat and I would always prefer white sauce instead, but he would quickly brush our comments off and say, “Eh, gusto ng Kuya niyo ay red.”

Papa would willingly sacrifice himself for us. He would literally offer everything that he had just for us to be happy. Kahit yata paa niya, ibibigay niya para lang hindi niya kami makitang magdusa. I never felt the burden because he was always there for me when I needed help. When I had a growing cyst in my neck earlier this year, I was so afraid as to what it was and how I would be able to pay the bills if my situation worsens. He told me that part of one’s income from will eventually be spent for our health. That’s life. He actually offered money, which I declined. I was so ashamed of myself for complaining about everything while he never hesitated in offering help.

It’s hard to be away from my family and my father would always that person who I would call initially for comfort almost daily. Whenever I feel anything or whenever there’s some news I would love to share, I would call him immediately. He would almost always pick up and be glad to hear my stories even though he would be busy doing some other things. My father and I would have long conversations together about everything going on in life. No matter how bizarre, outrageous, insensitive the topic is, he listens and he gives his views. Pero, minsan, tatawanan ka muna niya, especially when you are serious. Lahat ng seryosong bagay, to lighten the mood, gagawin niya munang biro. I always run to him whenever I doubt myself and he would always be there to comfort me with his wisdom, hoping it will put me in a right path. I also remember, in high school, I asked him why he didn’t go abroad to work. He told me he didn’t want to be away from me and the whole family. I always felt safe because I knew he would always be around for me and the family.

The intense pain I am feeling right now as I’m writing this is immeasurable. I desperately want to call him now to tell him I’m feeling extremely sad. But I realize he was the reason for this sadness.

Reality is hitting me hard, because I know from this day onward, the person on the other side of the line of this phone call will never pick up.

Pa, Mama, Kuya and Kat are so grateful that you are our father. I hope you will have eternal peace. Don’t worry about us Pa. We will take care of each other. Nagawa mo na at nabigay mo na lahat!

Hanggang sa muli, Pa. Mahal na mahal ka namin. #

Mga tula para kina Nonoy at Neil

ANG IKALIMANG BULKAN NG NEGROS

Ni Raymund B. Villanueva

Ang Negros ay may limang bulkan:

Kanlaon, Talinis, Silay at Mandalagan

Habang ang iba’y himbing, madalas magbuga ang una

Pinaka-masipag ang panlima, ngala’y Nonoy Espina.

Totoong ang Kanlaon ang pinakamatayog

Ngunit si Nonoy ang siyang bantayog

Siyang walang tabing na ulap at sinag sa tuktok

Ulo’y yukod sa lupa, korona’y puting buhok.

At kung si Nonoy ang nag-iingay

Hindi lamang ungol, hindi lamang dighay

Sabog kung sabog, walang awatan

Tulad ng apat, tunay ring bulkan.

Ngunit ang apoy niya’y biyaya

Liwanag sa karimlan, sa dibdib ay pag-asa

Pampatining ng bakal, pampatibay ng tuhod

Sa mga nanghihina’y pantuwid ng gulugod.

Bawat pagsabog niya’y pagpapala

Alay pagdaka ay matabang lupa

Tayong mortal ay hinikayat magtanim

Sa bukang-liwayway ay may aanihin.

Ating bulkan man ngayo’y himlay

Hindi niya nais ang protracted na lumbay

Bakas niya’y habang buhay na gabay:

“Taena, bok, gapiin ang kaaway!”

–1:20 n.h.

  16 Hulyo 2021

  Lungsod Quezon

= = = = = = = =

PANÁTA NI DOLÓ

(Pagkaraán ng “Alípin ng Gútom”, Linocut, 18”x18”, 2015)

Ni Rene Boy Abiva

(i)

Pinupúnit nitong tínta, pinsél, at kámbas ang bagsík

Ng balutìng púro dugô. Di yatà’t pawang taláhib

Na mabilís makasúgat sa mga paá’t balíkat

Papakín mo man ng halík ay tiyák na magnanaknák.

(ii)

Kung gayon, ang báwat hágod ng patúlis at manipís

Na brótsa ay pawang tukâ ng tandáng na bumabásag

Sa báwat madalîng-áraw. “Doló! May imórtalidád?”

“Walâ! Pantásya lang ito ng pala-túlog na burgís!”

(iii)

Halá! Bángo’t magsigísing kayóng mga maka-síning,

At h’wág sanang ikatwírang ngayón lang kayó nagisíng!

Matutúhan niyo sana na kung kayó’y isáng bagtíng

At sa digmàan gamítin, alípin ay magpipigíng!

(iv)

Ah! Mukhâng tamà nga yatà ang sabi ng matatandâ

Doón sa libís ng Tayug, lupàng mahál ni Calosa,

“Íngatan mo’t parámihin itong mga sambásambá,

Pagkát mínsa’y itinumbá nilá ang gintông kalésa.”

(v)

Ganyán, ganyán ang kamandág! Nakakanginíg ng pálad!

Yaóng para kang bumúhat ng tubó túngong kamálig,

O nagkamáda ng batóng umugáog sa daigdíg;

Ganitó nga kung wásakin ng ’saáng pintór ang ligálig.

= = = = = = = = =

(Ang mga tulang ito ay handog kina Jose Jaime “Nonoy” L. Espina ng National Union of Journalists of the Philippines (NUJP) at Leonilo “Neil” O. Doloricon ng Concerned Artists of the Philippines (CAP). Si Nonoy ay pumanaw noong Hulyo 7 samantalang si Neil ay namaalam noong Hulyo 16, kapwa sa sakit.

Kapwa silang kasaping tagapagtatag ng kani-kanilang organisasyon at mga kagyat na dating tagapangulo ng mga ito sa panahon ng kanilang kamatayan. Si Nonoy ay tagapangulo ng NUJP mula 2018 hanggang Marso 2021 at si Neil nama’y tagapangulo ng CAP mula 2019 hanggang Mayo ngayong taon.

Mga nangugunang tagapag-tanggol ng kalayaan sa pamamahayag at ekspresyon, huling nagkasama sina Neil at Nonoy sa pinakalamalaking pagkilos para sa karapatang ito ng bansa noong 2020 sa harap ng ABS-CBN sa Lungsod Quezon.)

Eminent artist Neil Doloricon dies

Leonilo “Neil” Doloricon, eminent visual artist and social realist, died early Friday morning, July 16, his daughter announced on Facebook.

Doloricon died in a hospital at past three o’clock this morning, his daughter Kat said. He was 63 years old.

“At 3:40 am we woke up from a call from my papa’s doctor that he just passed away. They tried to revive him but he didn’t make it,” the younger Doloricon announced.

The University of the Philippines (UP) Artists’ Circle describes Doloricon as a social realist painter, printmaker, social critic and educator.

At the time of his death, Doloricon was a professor at the UP College of Fine Arts which he served as Dean from 1998 to 2001.

He was also chairperson of the Committee on Arts and Humanities in the Commission on Higher Education.

A print by Neil Doloricon.

Doloricon was an awardee of Gawad para sa Sining Biswal of the Cultural Center of the Philippines and holder of the Fernando Amorsolo and Guillermo Tolentino Professorial Chairs at the said college.

From 2017, he served as chairperson of the Concerned Artists of the Philippines  and was named the organization’s chairperson emeritus at the end of his term in May this year.

He was a long-term editorial cartoonist of several newspapers, including The Manila Times and Malaya Business Insights. He was working at the former at the time of his death.

He also served as managing editor of alternative newspaper Pinoy Weekly.

The UP Artists’ Circle said Doloricon was one of the pillars of social realism in the Philippine art scene and was popular for his paintings, murals, and relief prints that depicted the struggles of the masses.

In one of the first tributes to the artist, Bagong Alyansang Makabayan (BAYAN) chairperson Dr. Carol Araullo described Doloricon as a true people’s artist.

“So, so sad. Grieving from the moment I heard the news. Paint the heavens in rainbow hues, Neil Doloricon. Or better yet, redesign the heavens through your social realist and sharp political lens,” Araullo wrote.

BAYAN secretary general Renato Reyes Jr. said Doloricon was a pillar of progressive visual art in the country.

Doloricon had many exhibits throughout the country and abroad, among the latest of which were in Berlin and Moscow.

Both his prints and paintings are most sought after by many collectors. # (Raymund B. Villanueva)

Petisyon kontra-Terror Law inihain ng mga mamamahayag at artista

Inihain ang ika-13 petisyon kontra sa kontrobersyal na Anti-Terrorism Law kaninang umaga, Hulyo 23 sa Korte Suprema. Pinangunahan ito ng National Union of Journalists of the Philippines at Concerned Artists of the Philippines.

Hinihiling nila na ideklarang labag sa batas ang Anti-Terror Law dahil sa mga probisyon nito na napakalawak na depinisyon patungkol sa terorismo. Gayundin magiging sandata din ito para sikilin ang sinumang nais magpahayag ng pagtutol lalo na sa gobyerno. (Bidyo ni Joseph Cuevas/ Kodao)

“Babangon Tayo (We Will Rise)”

by Concerned Artists of the Philippines

https://www.facebook.com/artistangbayan/videos/2494585867469199/

Official lyric video for “Babangon Tayo (We Will Rise),” an original composition of the Concerned Artists of the Philippines released in the midst of the COVID-19 pandemic, March 2020. This song is a tribute to our frontliners, and the power of the Filipino people.

Concerned Artists of the Philippines (CAP) is a Filipino organization of artists and cultural workers committed to advancing freedom of expression and the people’s movement for justice, nationalism, and democracy.

Subscribe to CAP on YouTube: https://www.youtube.com/channel/UCoLbDUeKtQwRSzRkNH1l_UQ/…
Follow CAP on Facebook: http://www.fb.com/artistangbayan
Follow CAP on Instagram: https://www.instagram.com/concernedartists_ph/
Follow CAP on Twitter: https://twitter.com/artistangbayan

Babangon Tayo (We Will Rise)
Words: Joel C. Malabanan, Edge Uyanguren, Karl Castro
Music: Mrk. Estandarte
Vocals: Jessa Mae Gabon, Pia Pimentel, Edge Uyanguren
Violin and additional backing vocals: Jing Reyna Jorge
Acoustic guitar: Pats Loquinario
Recording: #StayAtHome

Video by Pao Sancho and Maria Estela Paiso
Animation by Jether Amar
Special thanks to Jewel Maranan and Cinema is Incomplete

Download chords (PDF) here

KUNDIMAN by Chickoy Pura and friends

The Concerned Artists of the Philippines organized a benefit concert for Chickoy Pura last September 27 at the University of Philippines Hotel.

Here is Chickoy Pura and his musician friends performing “Kundiman”. (Camera by Ron Magbuhos Papag, editing by Raymund B. Villanueva)

Freedom of expression in the time of Duterte

Over three years ago, the nation has been promised: change is coming. And change did come, but things took a turn for the worse.

As the nation marks President Rodrigo Duterte’s third year in power, we look back in sheer dismay over the unprecedented attacks perpetrated primarily by the state, with the apparent goal of shrinking the space for free expression in the country.

Once Duterte assumed the presidency in June 2016, the dome of impunity has widened and enveloped practically the whole of the archipelago. What was once considered rare and infrequent news on police-instigated killings, massacres, and haranguing of communities speedily became frequent staples in the news. Aside from the drug war, dozens of massacres, killings, and arbitrary arrests have been committed at a rate only comparable to the dark years of the Marcos era. With the rampant human rights violations, wittingly or unwittingly, the victims have become mere statistics, losing their names and identities to the dark powers-that-be.

Even freedom of expression is in peril. Merely voicing out concern and reporting on the aggravating human rights situation in the country puts one at risk. The attacks were sustained and targeted all fronts: from the red-tagging of activists and organizations, to the harassment and even killing of journalists. The string of cases against Rappler, for instance, shows how this administration wields its entire machinery to hide the truth in its bloody “war on drugs.” Based on the report released by the Freedom for Media, Freedom for All Network, from June 30, 2016 to April 30, 2019, a total of 128 cases of threats and attacks against the media have been documented, 60 of which were directly perpetrated by state agents. These incidents range from intimidation, including red-tagging, visits by police teams to the offices of media agencies, to the association of independent media organizations to supposed ouster plots.

No one was spared – from incarcerating vocal critic Sen. Leila de Lima, to attacking the church and even international organizations, Duterte stopped at nothing to make his perceived enemies fall, mincing no words, except in certain instances, like in issues concerning China. Remember how the state practically booted out Sister Patricia Fox, an Australian nun who have worked for decades among the poor and the marginalized just for voicing out her concerns and joining a fact-finding mission? And what about the perjury charges filed by the military against human rights defenders from Karapatan, Rural Missionaries of the Philippines and Gabriela?

Remember how, just recently, veteran journalist Margarita Valle has been nabbed for unknown reasons, only to be released eventually, with the state saying it was just a case of mistaken identity?

Even artists are being criminalized. Two artists — Alvin Fortaliza of Bohol, and Clydie Sabate of Negros Occidental, have been arrested and detained on trumped-up charges. And who could not forget the military’s red tagging of filmmakers who produced socially relevant works?

The attacks were unrelenting. From the “Red October” plot to the egregious “Oust Duterte matrix,” clearly the administration is not on a “wait and see” mode but rather on an active frenzy. Recently, the police filed sedition, cyber libel and other criminal charges against Vice President Leni Robredo and 35 other individuals, including lawyers and Church people, over the Bikoy narcotics video series. Their goal: mass intimidation. They are deploying all weapons in their arsenal to police even the opinions of the public: from the employment of a massive “troll army” and other forms of astroturfing or the attempt to bloat supposed public support for policies, resulting in an era where genuine reports and fake news are difficult to tell apart; the ramped-up surveillance of perceived critics of the administration; to imposing martial law in Mindanao, and similar thinly-veiled military efforts in provinces in Visayas and Luzon.

Even the Internet is no longer a safe space. Remember how easy it was for state agents to relentlessly conduct “distributed denial of service” or DDoS attacks against the alternative media, shutting down their websites at critical moments when reports on attacks against the marginalized and underrepresented were published. International observers dub these attacks as one of the worst cyber-attacks they have seen across the globe in recent history.

The Duterte administration has even tapped draconian laws such as the Cybercrime Prevention Act of 2012 to file cases such as cyberlibel against its critics. With Duterte allies now controlling both houses of Congress, soon, the reviled Human Security Act is also set to be amended to give stronger powers to state agents to tag practically anyone and everyone as terrorists, with little to no effort.

Most of these schemes and turn of events aimed at mass intimidation employ the same tactic: preemptive vilification – discrediting those who dare critique policies, pronouncements, and actions of the government even before these critics open their mouths or type their statements. In a nutshell, the last three years drastically shrunk the space for free expression.

Just as state agents are not sparing any moment to practically trample on any and every form of dissent, we must also not wait as our basic civil liberties are being pressed for space. At this juncture, we must realize the importance of the freedom of expression: losing this right opens the floodgates to the violation of other civil, political, and economic rights. Freedom of expression serves as a safeguard for the people to enjoy other freedoms. Without free expression, we can lose all our other important rights in an instant.

It is easy to allow fear to set in and shut our lips and eyes to the worsening state of our nation. But once we do that, will it alleviate the situation? No, it will only continue festering.

To allow the state and its agents to pillage on the right to free expression is tantamount to surrendering hard-earned victories of our people in the past decades. We cannot simply allow the looming shadow of dictatorship to easily slip back. We must decisively unite and fight back.

We need to reclaim the real meaning of change, of how that potent word opens a world of possibilities. Despite the relentless attacks on our basic civil liberties, we need to remember that real change is a force that makes us question everything. Change is what we aspire when we innovate, when we invent, when we create. Change sparks genius, and ignites the fire that seeks to melt and recast the status quo.

To change is to reaffirm the value of militancy, of seeing the potency of collective action. Genuine change requires united action. From artists to journalists to the common people, we need all the force we can muster to fight back. There is no moment to spare. We need to reclaim every inch of space for our civil rights. We need to fight back now. #

Let’s Organize for Democracy and Integrity (LODI)

National Union of Journalists of the Philippines

Concerned Artists of the Philippines

Altermidya

No to legal attacks on freedom of expression and public participation

CAP condemns perjury, sedition charges vs. colleagues

The Concerned Artists of the Philippines (CAP) condemns the successive filing of legal charges against human rights advocates and opposition members, which includes in their respondents members of the artist community.

This week alone has seen the filing of two complaints, which threaten not only the respondents but the very essence of freedom of expression and public participation itself.

First, National Security Adviser Hermogenes Esperon Jr. filed perjury charges against human rights groups who asked for a protection order against government harassment. These are KARAPATAN Alliance for the Advancement of People’s Rights, Gabriela, and the Rural Missionaries of the Philippines, which earlier petitioned for a writ of amparo and habeas data following the killings, vilification, and harassment against their members. Second is the “inciting to sedition” charge initiated by the PNP and the DOJ against a diverse line-up of 36 opposition figures starting with the Vice-President, on the pretext of being responsible for the spread of the “Ang Totoong Narcolist” videos.

Included in the former is Kiri Dalena, a filmmaker, visual artist, and human rights advocate whose work has bravely reflected on the state’s perpetuation of human rights violations. Included in the latter is Joel Saracho, a veteran actor, writer and convener of the media and arts alliance Let’s Organize for Democracy and Integrity (LODI).

We are outraged over how artists are facing these absurd charges of perjury and inciting to sedition. We view such legal attacks as Strategic Lawsuits Against Public Participation (SLAPPs), which are lawsuits filed in retaliation for speaking out on a public issue and intending to burden, censor, intimidate, and silence critics into abandoning their criticism or opposition. While the Palace denies any hand in these charges, it can not deny that these incidents are rising as more people are expected to take to the streets in the United People’s SONA on July 22.

We condemn these assaults on our colleagues in the art and culture sector, who have tirelessly dedicated their craft, consciousness, and practice towards being artists for democracy, nationalism, and justice. We denounce the continuing red-tagging of our colleagues, our organizations, our films and the institutions that screen these.

We condemn how citizens at the forefront of protecting human rights are viciously attacked and targeted. These include human rights defenders Christina Palabay and Edith Burgos, wife of late press freedom icon Jose Burgos and mother of desaparecido Jonas Burgos, whose lifelong struggle for justice has been referenced across artworks to films.

We must not let such legal harassment pass. Already, artists and cultural workers are among 509 political prisoners in the Philippines today. These include Alvin Fortaliza, arrested on March 4, 2019 in Guindulman, Bohol and falsely charged with two counts of murder. Fortaliza is the Artistic Director of the Bol-anong Artista nga may Diwang Dagohoy (Bansiwag Bohol) Bohol Cultural Network which stages theater performances and conducts theater workshops for youth groups and was a volunteer provincial coordinator for Anakpawis (Toiling Masses) Partylist in Bohol.

Artists, cultural, knowledge and media workers will fight back: with our voices, our art, and our presence in the parliament of the streets on July 22 at the United People’s SONA.

‘Ninakaw na sa atin ang lahat-lahat’

“Napakasaklap na sa bansang ito ang mismong paggamit ng sariling wika—pagsasalita, pagsusulat—ay isang anyo ng protesta. At ngayon, ipinagkakait na pati ang pag-aaral ng wika at ng yaman at hiwaga ng panitikan. Ninakaw na sa atin ang lahat-lahat.”–Mayette Bayuga, manunulat

‘Pinapatay ang wikang Filipino’

“Ang desisyon ng Korte Suprema at CHED na patayin ang wikang Filipino sa kurso ng General Education ay walang iba kundi ang pagtalima sa neoliberalismong patakaran tulad ng globalisasyon at internationalization ng rehimeng Duterte. Bahagi ng labor export policy, ninanais nilang sanayin tayo sa lenggwahe ng mga makapangyarihang bansa upang epektibo taong makapag-lingkod sa kanila.”—Neil Doloricon, tagapangulo ng CAP