Readings in Philippine

History
 Lesson 4 

THE MALOLOS CONSTITUTION AND THE FIRST PHILIPPINE REPUBLIC

Introduction

The proclamation of Philippine independence was led by Emilio F. Aguinaldo on

June 12, 1898. Thereafter, Aguinaldo became the president of the revolutionary
government. He then issued several decrees reorganizing the government in the liberated
provinces including the election of delegates to the Revolutionary Congress to draft a
constitution.

The Revolutionary Congress was formally opened at the church of Barasoain in

Malolos, Bulacan. The draft of the constitution was promulgated by President Aguinaldo on
January 21, 1899 and was known as the Malolos Constitution.

The constitution provided for three branches of the government: Executive,

Legislative, and Judiciary. As representatives of the different provinces, the Congress
elected Aguinaldo as President of the Philippines. He was inaugurated on January 23, 1899
and on the same day the First Republic of the Philippines was formally established.

Learning Outcomes

At the end of the lesson, the students should be able to:

1. Analyze the context, content and perspective of the Malolos Constitution.

2. Determine the contributions of the Malolos Constitution and the First Philippine
Republic to the present-day government.
3. Appreciate the importance of constitution in developing love of country and
patriotism.

The Malolos Constitution and Congress

The Malolos Constitution and the First Philippine Republic can be traced back from
the 1896 Philippine Revolution. It started after the establishment of Katipunan, a secret
society, which aimed to attain independence for the Philippines. It was led by the president
of the Supreme Council; the most well-known of whom was Andres Bonifacio.

Since political and other differences arose between the two factions of the
organization, the Magdalo, and the Magdiwang, the Tejeros Convention was held on March
22, 1897. The purpose of the convention was to reconcile their differences. Among the
decision was to dissolve the Katipunan while establishing a revolutionary government.

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Elections were held for its officers: Emilio Aguinaldo was elected President and Bonifacio
was elected Director of the Interior. Initially, Bonifacio accepted his position, but was
insulted when Daniel Tirona objected. As a result, Bonifacio declared the proceedings of
the Tejeros Convention null and void and established a new government. This was seen as
an act of treason and Bonifacio was charged with refusing to recognize the newly
established revolutionary government. He was arrested and sentenced to death in
Maragondon, Cavite.

As the new leader, Aguinaldo continued the revolution against the Spaniards. By the
latter part of 1897, Aguinaldo was forced by the advancing Spanish forces to retreat to the
mountains of Biak-na-Bato in Bulacan.

With the intention of ending the Philippine Revolution, Aguinaldo and the Spanish
government entered into an agreement known as the Pact of Biak-na-Bato on December 15,
1897. The agreement provided that the Filipino revolutionaries would go into exile in Hong
Kong and surrender their weapons in exchange for financial indemnities and pardons. In
Hong Kong, Aguinaldo and his companions established a junta which worked towards the
continuation of the revolution and the gaining of freedom from the Spaniards.

After the outbreak of the Spanish–American War, Aguinaldo returned to the

Philippines and continued the revolution. Philippine Independence was formally proclaimed
on June 12, 1898. Thereafter, Aguinaldo established a revolutionary government and was
named its president. He then issued a proclamation creating a revolutionary congress to
draft the constitution for the government.

On September 15, 1898, the revolutionary congress was convened in Malolos,

Bulacan to draft the constitution. The convention was later on called as the Malolos
Congress. The Congress was composed of both appointed and elected delegates who
represented all of the provinces of the Philippines. After several amendments, Aguinaldo
approved and promulgated the Malolos Constitution on January 21, 1899. The Malolos
Constitution became the first Philippine constitution and the first republican constitution in
Asia. It was composed of ninety-
three articles divided into
fourteen titles, with transitory
provisions in eight further
articles, and with one un-
numbered additional article.

On January 23, 1899, the

First Republic of the Philippines
was inaugurated in Malolos. It
also marked the start of the
Presidency of Emilio Aguinaldo
as the first president of the
Republic of the Philippines. The
full text (pp. 65-77) of the Malolos
Constitution published in the
book The Malolos Congress Figure 6. The Malolos Congress which convened at the
(―Constitution‖, 2003) is Barasoain Church in September 1898. (Retrieved from
indicated below. https://www.barasoainchurch.org/malolos-congress).

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References

1899 constitution of the Republic of the Philippines. (n.d.). The LawPhil Project. Retrieved
from https://lawphil.net/consti/consmalo.html

Araw ng republikang Pilipino, 1899. (n.d.). Official Gazette. Retrieved from https://www.
officialgazette.gov.ph/araw-ng-republikang-filipino-1899/

Constitution of the Republic of the Philippines. (2003). Manila: National Historical Institute.

Documents of the 1898 declaration of Philippine independence. (1997). National Historical

Institute. Retrieved from http://nhcp.gov.ph/the-first-philippine-republic/

The first Philippine republic. (n.d.). National Historical Commission of the Philippines.
Retrieved from https://nhcp.gov.ph/the-first-philippine-republic/

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 Lesson 5 

VISUAL SOURCES IN THE STUDY OF HISTORY

Introduction

In this lesson, visual sources to be tackled are photographs, paintings, cartoons and
video documentaries. These materials are dependable sources of historical information. In
the past, visual sources were usually credible. Even if editing applications are rampant
nowadays, visual sources with established credibility are still very blatant in revealing
episodes of history.

Visual sources, including sketches, posters, advertisements and three-dimensional

arts, are considered primary sources. These sources elicit information and ideas about the
period they were created. Ways of life and world view among others are highly embedded
in these sources; that is why historians value them at par with written sources. Visual
materials like archaeological finds prove the existence of human habitations and cultures at
a time when written records were inexistent. Whether these sources are old or new, what is
important for the scholar or historian is to evaluate these sources, primarily that excellent
scholarship requires thorough understanding and critical analysis of what they evoke as
something to be true at a given time. Besides, as Umberto Eco once said, ―Civilization is
now accustomed to think in images‖ (quoted from Holt, 2002; p. 22).

Objectives

At the end of the lesson, the students should be able to:

1. Know that visual sources are valuable sources of historical information.

2. Examine visual sources critically in order to have a reliable account.
3. Appreciate the paintings of Luna and Amorsolo as representations of history.

Reading and Understanding Visual Sources for Historical Writing

Visual sources can tell a lot of ideas regarding the people and the environment that
surround them. This occurs even if the persons who view them really know the meaning
they exude or not. However, the historian is not just a person who simply looks at visual
materials as mementos of past experiences or decorations in walls. Rather, he is a scholar
who sees them as valuable sources of historical information. To him, a picture or a painting
dwells upon a historical context from which it was created. And whether or not the creator
was conscious of his material as a source of historical information in the future is essentially
immaterial. What is more important is that the material becomes a potent tool through which
events and ideas in the past could be conveyed to the next generation and beyond.

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Reading and understanding visual sources in history, though, is not only purveyed
upon what a historian wants to understand and interpret based on mere speculations and
unwarranted ideas. For instance, it is precarious to imagine that a picture entails power
relationship or colonial differences between culture groups which are perceived to be of
unequal bearing, unless there is a hard evidence that guarantees the claim. By hard
evidence, it is meant that there is a tangible proof that provides facts. These facts should
elicit connection between the visual sources and the interpretation as they guide the course
towards such an interpretation. Hence, the historian should be properly equipped with the
know-how on the examination of visual sources—i.e., photographs, paintings, cartoons and
video documentaries.

Basic Guide on How to Examine Photographs, Paintings, Cartoons

and Video Documentaries

Nowadays, the ―No document, no history‖ is no longer convincing as there are

tangible and intangible sources of data. This is also the reason why History as a discipline
depends on Archaeology, Anthropology and the allied social sciences. Of the two, the
tangible kind of source is usually easier to consider and examine because of its vivid
representation or enunciation of past ideas and realities. This representation is called
historiophoty (White, 1988).

How should a historian examine a photograph, painting, cartoon or a video

documentary then? Examining each form of source is not exactly done as how the others
are scrutinized. And since, the visual sources that are used in history cannot interpret
themselves the way their creators clearly can, it is important to accurately find out the ideas
and realities they represent in order not to misinform the reading public. The following
points are the common grounding through which the aforementioned visual sources can be
examined.

On the Question of Subject. It is important to know the subject of the visual source. The
subject pertains to what the visual source is all about. What is equally important is if the
source shows its subject literally or through a subtext or a concealed meaning. To situate it
in its proper historical standpoint, the period or date when the source was created must be
determined. It must be remembered that the period or date serves as the initial determinant
of the material as a primary source or not. After identifying the subject, the historian has to
ponder if, indeed, the source contributes to a better understanding of its period.

On the Question of Facts. When a historian invokes the word fact, what he means is a
piece of information which cannot be disputed by available sources. A factual piece of
information therefore leaves no room for doubt; it leaves no room for uncertainty. When a
black-and-white photograph which was taken in the late 19th century or in the early years of
the American regime shows young men in the arrabales of Manila who usually wore straw
hats, white shirts that buttoned below the lower neckline and white loose pants—and usually
barefooted, the historian cannot just set aside that the information seen are factual,
especially when they are corroborated by other photos taken likewise in that period which
depict the same kind of clothing or by written testimonies that describe such a clothing.

After establishing the factuality of the details and, hence, credibility of the source, the
historian has to ascertain if the facts can strengthen perception or knowledge of that time.

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On the Question of Intended Observers or Audience. Asking the question, ―Who are the
supposed observers of the photograph?‖ can give an impression of the kind of perspective it
illustrates. Perspective pertains to the position from which the subject of the material is
expressed. By means of distinguishing its perspective, certain biases can be observed
thereafter.

If the source is intended solely for an observer or a group of observers, the historian
can have a better impression of its perspective and certain biases. In looking at a visual
material, however, what is most important usually to the historian is not the perception of the
observer or audience, rather it is the reason why the creator made the material,
notwithstanding if he intended it as a reference for posterity. The reason of the creator is of
most value to the historian because it can lead the latter to the discovery of ideas and past
realities that the material intends to convey.

On the Question of Purpose. Who is the photographer? Where did he come from? What
was his career or educational background? These questions would properly settle the
perspective from which a visual source should be seen, especially after distinguishing its
emphasis. In distinguishing the intent of the source, the historian has to inquire succinctly
on its provenance or what the lawyers aptly call custody. In written sources, for example,
the provenance of Rizal‘s retraction document can be questioned relative to why it was not
revealed publicly right after his death. Even if the intent of the creator of the visual material
is difficult to determine, the historian should try his best to discover a surmise of it. By
determining the purpose through which the material was made, the historian would be able
to spot the biases in it.

On the Question of Context. Just like any other written source, every visual material
belongs to a particular context. As discussed in Unit 1, Lesson 2, context involves the time,
space and the prevailing practices of the people who made the object. If a certain visual
material is analyzed and interpreted separately from its milieu, period and existing traditions,
the material is detached from its value or meaning. This is because the object is made in
relation to the kind of environment it had, the period which is characterized by the kind of
existing creativity and technology, and the prevailing practices that largely influenced the
people. The value and meaning of a material are good wellsprings of analysis and
interpretation.

Other Factors Involved. The historian should be smart enough to see and consider the
relevance of other elements which might lead to the thorough understanding of the visual
source. Elements as images, colors, lines, etc., might be of some help in understanding the
whole piece. How do these elements help the historian in understanding the object and
whether they conform to a certain milieu is yet another task which he needs to undertake.

Distinction of the Visual Sources

A photograph is an image that is produced through the use of a camera. It is created

by a light falling on a light-sensitive surface. The image it captures is a minute yet exact
representation of reality. Painting, on the other hand, is a portrayal of reality based on the
distinct perception or interpretation of its brush master. A cartoon or what is
interchangeably called caricature is a representation of reality, often in a grotesque or
exaggerated form, in order to transcend satirical, sarcastic or burlesque connotations of
social events. Although a cartoon is grotesque or exaggerated, it cannot just simply be

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dismissed as unworthy of historical consideration. It must be noted that a cartoon

represents the opinion of a greater public—and that itself is a good starting point for a
historical study of a certain period.

A video documentary is the most interesting among the forms of visual sources being
discussed here. This is because a video documentary is a moving picture that actually
shows or at least immortalizes what happened at a certain past. Unless it has been altered,
it is the most reliable source because a material of this type combines moving images, audio
and effects which make its depiction of reality more effective.

Photograph Painting Caricature Video Documentary

It captures a minute It imitates a part of It represents an It depicts moving
part of reality in an reality in a not so exact opinion about a reality. episodes of reality
exact yet still form. form. effectively in a vivid
audio-visual form.
It is the objective still It is the creative It represents a part of It is the exact
reproduction of reality. imitation or reality in a seemingly reproduction or at least
representation of exaggerated form (e.g., close representation of
reality based on the parody and sarcasm) moving episodes of
perception of its artist. reality.

Philippine Cartoons: Political Caricature of the American Era, 1901-1941 by

Alfred McCoy and Alfredo Roces

A political cartoon is an illustration that translates editorial themes into satirical,

sarcastic or burlesque connotations with the typical view of arousing the attention of
authorities and institutions. Political cartoons play a vital in role in the political discourse of
societies (Britannica, n.d.). These cartoons reveal the popular perception of societies
concerning events that confronted societies. The richness of these cartoons reflects in turn
the vibrance of freedom of the press and of expression that societies enjoy.

In the Spanish Period, there was a censorship of the press in spite of the sneaking
desire of the propagandists to widen the public scope of their mouthpiece, La Solidaridad.
The friars primarily prohibited the import of reading materials from Europe in order to protect
their welfare in the country. In the American Period, however, newspapers and magazines
gained prominence, especially when almost all of the country was totally placed under
American control. Although the Filipinos were initially restricted by certain measures as the
Sedition Law of 1901 and the Brigandage Act of 1902, political views were gradually
expressed through the local dailies. Bit by bit, the dailies became unashamed in conversing
events about Philippine societies, more particularly the authorities and institutions.
Evidence to this was the many political cartoons that obvious criticized and condemned the
practices in Greater Manila and the provinces.

Authored by Alfred McCoy and Alfredo Roces, the book Political Cartoons: Political
Caricature of the American Era, 1901-1941 (1985) tackles the political cartoons published in
local newspapers and magazines at the time of the occupation of the United States in the
Philippines. ―The political cartoons in this book cover the era when the American colonizers
first introduced a ‗free press‘, when a new-found style of press freedom developed. The
American era was also the time when artists went through financially lean years, and

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fortunately, graphic artwork in the press put a bit more rice on their plates. The cartoons
were the artist‘s response to the times‖ (p. 7).

The Authors of the Book

Alfred W. McCoy is an American historian who currently teaches at the University of

Wisconsin—Madison. He finished his BA in European History from Columbia University, MA
in Asian Studies at the University of California—Berkeley and Ph.D. in Southeast Asian
History at Yale University. Among his notable scholarships are: In the Shadows of the
American Century: The Rise and Decline of US Global Power (2017), Beer of Broadway
Fame: The Piel Family and Their Brooklyn Brewery (2016), Torture and Impunity: The U.S.
Doctrine of Coercive Interrogation (2012), Endless Empire: Spain‘s Retreat, Europe‘s
Eclipse, America‘s Decline (2012), Policing America‘s Empire: The United States, the
Philippines, and the Rise of the Surveillance State (2009) and An Anarchy of Families: State
and Family in the Philippines (2009).

Dr. McCoy has written extensively on the Philippines and Southeast Asia. He got
interested on the theme of the book when he was doing his dissertation. In a span of ten
years, he collected copies of these cartoons from original copies stored in the Library of
Congress of the United States, the Australian National Library, the National Library of the
Philippines and other institutions (McCoy and Roces, 1985).

Alfredo Roces was the editor-in-chief of the ten-volume Filipino Heritage. He also
authored some books which include Amorsolo, 1892-1972 (1975), Looking for Liling: A
Family History of World War II Martyr (2000), Medals and Shoes (co-authored with Irene
Roces, 1992), Culture Shock! (co-authored with Grace Roces, 1992) and Drawings (1975).
His interest on Philippine graphic started in his childhood. He introduced co-author Alfred
McCoy to his personal collections of Lipag Kalabaw. He earned his Bachelor in Fine Arts
degree from Notre Dame University in Indiana, USA. He also wrote numerous articles on
Philippine arts and letters and designed the logo of the Cultural Center of the Philippines
(CCP).

Alfredo Roces was the recipient of the prestigious Ten Outstanding Young Men
(TOYM) Award in 1961, Journalist of the Year Award in 1971 from the Citizens Council for
Mass Media and Artist of the Year Award from the Art Association of the Philippines in 1975
(McCoy and Roces, 1985).

The Content of the Book

The book contains cartoons from various dailies that toughly ridiculed the
transformation of the country, especially its capital city, on certain respects. It conveys how
the Filipino politicians had become arrogant and abusive to the powers vested in them. The
City of Manila, for example, was depicted by political cartoons as a classic example of haven
for political dynasty, abuse and corruption. While the social practices in Manila were
changing as the results of retrofitting to conform it to the ways of the new colonizers, the
provinces were the object of satirical representations. Newspaper cartoons depicted the
appalling situation of the peasants, their battle cries from their landlords, the prevalence of
illegal activities and the snobbish and condescending attitude of returning students from
Manila.

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Although the country was being accustomed to a new system of governance,

Spanish colonial influence was still resilient. While Governor-General William Taft was so
desirous about the separation between the Church and the State, he thought that
Catholicism served as the catalyst for the civilization of the country. The newspapers and
magazines, on the other hand, were very sensitive to the sickening attitude of many friars so
that the cartoons of their editorial commentaries mocked the alleged hypocrisy of these
Church ministers.

Since the United States introduced its cultural colonialism at the same time, the
Filipinos were educated on American system of governance and on the rudiments of the
English Language. Even if the English Language was considered socially democratizing
among Filipinos, there was a wide array of distinctions with respect to their American
counterparts while they were heavily burdened with responsibilities. For instance, The
Independent and Bag-ong Kusog depicted the distinctions in their respective October 23,
1915 and November 9, 1928 issues. The cartoons opined that while the American
employees in the Philippines were paid adequately, their Filipino counterparts were
struggling with low incomes, to think that they did most of the blue-collar routines.

Figure 7. Equal Work, Unequal Salary, Why? (left) from The Independent which was published in its November
29, 1915 issue and American Worker/Filipino Worker (right) from Bag-ong Kusog published in its
November 9, 1928 issue. (McCoy and Roces, 1985).

The public‘s perception of colonial relationship was exemplified in certain editorial

cartoons in the book. At the onset of the American regime, the colonial government could
hardly resolve the differences between the American officials and the emerging Filipino
bureaucrats. Eventually, however, the skeptical Filipino bureaucrats gradually learned how
to collaborate with the aggressive and pretentious Americans especially that they aspired to
gain independence from the United States. The cunning and opportunistic American
officials were revealed by the cartoonists in grotesque and exaggerated images represented
by Uncle Sam.

A classic rendering on this was the cartoon published by Lipag Kalabaw, a satirical
Tagalog Magazine published weekly, on November 14, 1908. The cartoon interpreted the
rumor pertaining to the suppression of freedom of speech by illustrating an unequal
relationship between the Filipino who interrogates Uncle Sam. The Filipino who is

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represented by Juan dela Cruz appears to be serious in a standing and enduring manner
while Uncle Sam is comfortably seated in a gesture that does not seem to value the former‘s
concern. Power relationship in the cartoon is seen in the sizes of the images and their
respective appearances. The cartoonist expressed subtly his contempt and yearning for
retribution by elongating the nose of Uncle Sam.

Figure 8. Tanong na Makahulugan from Lipag Kalabaw which was published in its November 14, 1908 issue.
(McCoy and Roces, 1985).

At the onset of the American Period, the friars who were put into hot seats by the
furious pen of the cartoonists because of the political authority they still held. In the later
years, public opinion shifted to the Chinese. They became the subject of public wit and
anger due to their beguiling scheme of increasing profit out of the agony of the consumers.
In just five years, the price per cavan of rice increased more than three times—i.e, from
P4.70 to to P5.90 (McCoy and Roces, 1985). The anti-Chinese sentiments were sustained
for several years primarily due to the rice crisis in 1919 and its impact thereafter. Public

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opinion against the Chinese waned when anti-Japanese sentiments grew because of the
alarming threat posed by the Japanese in Northeast Asia and their subsequent annexation
of Manchuria.

The dynamics of Philippine politics was tackled in the book. The Jones Law of 1916
added turbulence in the political scene by establishing the Philippine Senate that would
entail more competition and bickering to the already controversy-infested Philippine
Assembly. Apart from the hullabaloos of local politics, the principal figures of national
politics were highly involved in key issues. Manuel Luis M. Quezon and Sergio S. Osmeña,
Sr. became the subject of lampoons because of their insatiable involvement in
independence missions. The Partido Nacionalista was split into two factions and, later on,
Osmeña was cunningly defeated by Quezon through the latter‘s Tydings-McDuffie Act.

While the Philippines was to become a semi-independent nation, the exploitations

and worthlessness of certain public officials were more and more evident. The Free Press,
as such, became intense of its portrayals of the idiosyncrasies and contemptible parasitic
practices of the bureaucrats and legislators. It described them through cartoons as traitors
of public interests and as exploiters of the people. The political controversies did not elude
the merciless pen of the cartoonists until the menace of Japanese advancement in Northern
China.

During the turbulent and the apparent stable times of the American Period, cartoons
became effective avenues in expressing public opinions. The cartoonists‘ sardonic
representations of key issues were critical commentaries on the phenomena wrought by
American occupation, exploitative or worthless gestures of Filipino officials and the
challenges brought about by other foreigners as the Chinese and the Japanese. The harsh
judgments of the cartoonists evoked a fully developed sense of nationalism which aimed at
a better country for the Filipinos.

The Paintings of Juan Luna and Fernando Amorsolo

Juan Luna is remembered because of his Parisian Life and his monumental
masterpiece Spoliarium. He was born in Badoc, Ilocos Norte in 1857. He took up Bachelor
of Arts in Ateneo Municipal. His initial training in arts took place under the supervision of the
Spanish painter Agustin Saez. Later on, he became a seafarer after studying navigation of
the high seas at the Academia Nautica de Manila which he eventually gave up in order to
pursue a career in arts. (Filipinos in History, 1990) He became an apprentice to the Filipino
painter Lorenzo Guerrero at the Academia de Dibujo y Pintura. In 1877, he traveled to
Spain and continued his studies at the Real Academia de Bellas Artes de San Fernando
(―Museo‖, n.d.). To continue his studies in fine arts, the City Government of Manila agreed
to fund his studies abroad with the condition that he will send one historical painting every
year so that the Ayuntamiento would be able to increase its collection of masterpieces
(Filipinos in History, 1990).

Back in Spain, he traveled in many European cities in order to gain insights from the
paintings displayed in their museums. Indeed, he would become ultimately a master of the
brush that he would produce such masterpieces as La Muerte de Cleopatra (The Death of
Cleopatra), España y Filipinas (Spain and the Philippines), La Batalla de Lepanto (The
Battle of Lepanto), Peuple et Roi (People and King) and El Pacto de Sangre (The Blood
Compact) among others. His La Batalla de Lepanto which won the gold medal in the

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Barcelona Exposition of 1888 is considered as his greatest masterpiece as it captures the

admiration and recognition of art experts. This is because of Luna‘s exact depiction of the
impact of the collision of ships in the naval battle that took place in Lepanto. Peuple et Roi
which was supposed to be an entry for the Universal Exposition in Chicago in 1892 is said to
be the next best of his works, followed by his Spoliarium which won the gold medal in the
Universal Exposition of Fine Arts in Madrid in 1884.

The Spoliarium

The term spoliarium means an obscured chamber in the Roman Coliseum where the
fallen bodies of gladiators were taken and stripped of their armors and weapons before
disposal. At a size of 4.22 x 7.675 meters, it is the largest painting in the Philippines
(―National Museum Collection‖, n.d.). It tells of the horrible doom of the gladiators after their
attempt to save their lives from being mercilessly killed by wild animals or warriors in the
arena of the Coliseum.

With a beaming amount of light towards the center of the painting, Luna was able to
give emphasis to a shocking scenario in the spoliarium. The light highlighted the mangled
cadavers in the middle ground which epitomized the absence of equality and value of
human life in Rome, contrary to the ideas offered by the greatest social thinkers and
philosophers of the ancient world. Sensing the allegorical meaning evoked by the painting,
Rizal described Luna‘s painting, including Felix R. Hidalgo‘s Las Virgenes Cristianas
Expuestas al Populacho, as ―the essence of our social , moral and political life: humanity in
severe ordeal, humanity unredeemed, reason and idealism in open struggle with prejudice,
fanaticism and injustice….‖ (Guerrero, 2007, p. 121) To honor to Luna and Hidalgo, he said
in his speech that ―Genius knows no country, genius sprouts everywhere...‖ (Zaide, 2018, p.
102).

The exquisite combination of light and darkness called chiaroscuro aroused a more
dramatic effect in the painting. The painting is characterized by a dark atmosphere in the
background which exudes a gloomy sensation amidst the horrendous scene. Taking it from
Rizal, the Spoliarium, indeed, represented the atrocious condition of the Philippines.

Fernando Amorosolo is one of the Filipino painters known for landscape and
historical masterpieces, including paintings about women in the rural areas and portraits of
influential individuals. He was named National Artist in Painting in 1972 for the countless
masterpieces he created.

He was born in Manila in 1892 and studied at an art school named Liceo de Manila
in 1909. He also enrolled at the School of Fine Arts of the University of the Philippines
which he finished with honors in 1914. While a student at the university, Amorsolo did
sketches for publications just to earn money. After his graduation, he joined the Bureau of
Public Works as draftsman and, later, at the Pacific Commercial Company where he served
as its chief artist. Because of his unusual brilliance, he became a part-time instructor in his
alma-mater in the succeeding three years before he would go to Spain and study at the
Academia de San Fernando in Madrid. Through the study grant, he was able to go to New
York. There he learned cubism and impressionism which would become the movements
that would influence his paintings later on.

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The Bombing of the Intendencia and the Burning of Manila

During the Second World War, Fernando Amorsolo shifted from painting landscapes
to the horrific outcomes of the war. The Bombing of the Intendencia, the customs building
during the Spanish Period, was done at his house while observing the annihilation which
caused the deaths of thousands of people. And just like the Bombing of the Intendencia, the
painting, The Burning of Manila, was made at the height of the Japanese conquest. The
masterpiece shows the destruction of Manila as evidenced by the incessant burning of the
capital city.

Planting Rice (1951)

Another notable painting of Amorso is Planting Rice. This painting would become the
icon that would serve as a model to a generation of painters later on. The book A Portfolio
of 60 Philippine Masterpieces claims that the site chosen for the painting were the ricefields
situated east of the San Juan River (DECS, 1989). Though somewhat intriguing, the
presence of a man plucking a guitar in the middle ground explains that the hardworking
farmers become unmindful of fatigue. It must be remembered that the certain folksongs
were collectively composed by farmers while working in the field for such a reason likewise.

What is remarkable in the painting is the dominance of women over the men. This
simply means that women in the rural areas can get along with men at work without
prejudice. Moreover, their very presence affirms the essence of rice as provider of life to
people. Women, by giving birth to children, serve also as the source of human life.
Altogether, the painting shows the serene and pastoral atmosphere of the landscape and
the simple yet hardworking character of the farmers.

Figure 9. The
painting Planting
Rice (1951) by
Fernando
Amorsolo.
(Retrieved from
https://pensievemi
ndniche.wordpress
.com/2014/11/01/p
lanting-rice-1951-
by-fernando-
amorsolo/).

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


References

Alfred McCoy. (n.d.). University of Washington Department of History. Retrieved from

https://history.wisc.edu/people/mccoy-alfred-w/

DECS. (1989). A portfolio of 60 Philippine art masterpieces. Instructional Materials

Corporation.

Holt, E. M. (2002). Colonizing Filipinas: Nineteenth-century representations of the

Philippines in western historiography. Ateneo de Manila University Press.

Knieper, T. (n.d.). Political cartoon. Retrieved from https://www.britannica.com/

topic/political-cartoon

McCoy, A., & Roces, A. (1985). Philippine cartoons: Political caricature of the American
era, 1901-1941. Vera-Reyes, Inc.

Planting rice (1951) by Fernando Amorsolo. (2014). Ms. Pensive. Retrieved from
https://pensievemindniche.wordpress.com/2014/11/01/planting-rice-1951-by-
fernando-amorsolo/

National museum collection. (2014). National Museum. Retrieved from https://

www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Spoliarium.html

Museo nina Juan at Antonio Luna. (n.d.). National Historical Commission of the Philippines.
Retrieved from https://nhcp.gov. ph/ museums/juan-luna-shrine/

Filipinos in history (Vol. 2). (1990). Manila: National Historical Institute.

Pascual, Mc Donald M. (2020). Reading and understanding visual sources [PowerPoint

slides].

White, H. (1988). Historiography and Historiophoty. In American historical review (Vol. 93,
No. 5, pp. 1193-1199). Retrieved from https://www.jstor.org/stable/1873534?seq=1

Zaide, G. F., & Zaide, S. M. (2018). Jose Rizal: Life, works and writings (3rd Ed.). New Day
Publishers.

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 Lesson 6 

RAIDERS OF THE SULU SEA: A DOCUMENTARY PRESENTATION

Introduction:

As described by the Spaniards, piracy in the area surrounding the Sulu Sea was
rampant until the 19th century as a result the colonial government‘s attempt to subdue
Mindanao. It was in the middle of that century when the Spaniards continually engaged the
Muslims whom they called Moros in order to stop the latter‘s illegal acts. One striking battle
took place in 1848 when the Spaniards sent an expedition to Balanguingui through a fleet of
small warships commanded by General Jose Ruiz. The Spaniards, though, failed to repeal
the Moro piracy which existed until the beginning of the 20th century.

Learning Outcomes:

At the end of the lesson, the students should be able to:

1. Analyze the context, content, and perspective of different kinds of primary

sources and determine how they affected the history of the Filipino people;
2. Determine the contribution of the different types of primary sources in
understanding Philippine History; and
3. Develop critical and analytical skills as they are exposed to primary sources.

Background of the Film

The Raiders of the Sulu Sea is a documentary film produced by Lim Suat Yen,
Zuzanita Zakaria and Yeon-Hwa Kim. Other producers include the Oakfilms3 based in
Singapore for Q Channel, as well as the Discovery Channel and National Geographic
Channel for international releases. It was directed by Idzwan Othman and was originally
released in 2008. It was subsequently produced by Looking Glass International based in
Victoria, Australia in 2013.

In coming up with the film, the production team sought the assistance of the following
contributors:

 Icelle Gloria D. Borja-Estrada who is considered as Zamboanga City‘s premiere

artist, working as a painter and sculptor. She also worked as an executive assistant
in the Office of the City Mayor with the task of overlooking the City Hall restoration.

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 Dr. Samuel K. Tan who is regarded as foremost authority on Filipino Muslim history.
He served as chairperson of the National Historical Institute and focused most of his
studies in understanding the history and culture of the Muslims in the Philippines

 Dr. Barbara Watson Andaya who is a professor of Asian Studies at the University
of Hawai‘i and director of the Center for Southeast Asian Studies. Her career has
involved teaching and researching in Malaysia, Australia, New Zealand, Indonesia,
the Netherlands and, since 1994, Hawai‘i. She maintains an active teaching and
research interest across all Southeast Asia. But her specific area of expertise is the
western Malay-Indonesia archipelago.

 Dr. Julius Bautista Bautista who is an associate professor at Kyoto University. His
research interests include the anthropology of religion, pedagogy, and Southeast
Asian culture and history, especially the Philippines and Timor Leste.

 Dr. Margarita Cojuangco who is known for her work in helping Muslim communities.
She did a research on the history of Sama in the Sulu archipelago.

 Mr. Halman Abubakar who served as a municipal councilor in Jolo at the time of the
filming of the documentary. A Tausug descendant from Sulu, he is an expert on the
martial arts of Silat which uses significant and historic Tausug bladed weapons.

Synopsis of the Film

The documentary film can be divided into four main points: (1) the presence of a
flourishing commercial activities in Southeast Asia which prospered in the Sulu Sea; (2) the
so-called Moro Piracy and the warships used by the native ‗pirates; (3) the slave-raiding
activities; and, (4) the defense of Zamboanga.

The main setting of the documentary is the Spanish fort of Zamboanga. Strategically
located in the southernmost tip of the Zamboanga Peninsula, the Spaniards hoped that
Zamboanga would serve as an outpost to check the Muslim attacks in the Visayas and
Luzon. History would prove that in most part, Zamboanga was inefficient in defending the
other parts of the Philippines simply because the Muslims easily bypassed it and went
directly to their target areas. However this did not mean that the lone outpost was exempted
from Muslim raids. It is worth noting that there was no single Muslim in Mindanao, contrary
to the popular belief of other Filipinos, who knew only a little about the ethnic composition of
the area.

There were three primary ethnic groups which led the raids: the Samal Balangingi,
the Ilanuns and the Tausugs. Most of the colonial historical accounts consider these groups
as brutal pirates and bandits. However from their ethnic point-of-view, they were freedom
fighters who wanted to halt the Spaniards from expanding towards their domains. Since
their communities were situated along the coasts of the Sulu Archipelago, it was no wonder
that these groups were excellent mariners and sailors. They were feared by almost all of
the coastal inhabitants of the Philippine archipelago because of their strength and fierceness
in combat and the weapons, as well as the fast and efficient ships, they used. However,
apart from the goal of defending their lands against Spanish colonial rule, these groups were
also notorious for their slave-raiding activities.

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The documentary narrates the brutality of these Moro pirates. One recorded brutality
was their act of making a hole through the palms of their captives and putting a string into it
to prevent them from escaping. These captives would then be ransomed or sold as slaves
in other trading outposts in Southeast Asia. They could also be made as boat rowers in
raiding the Sulu Sea. Slave raids were considered as economic activities and were
sanctioned by the Sultan of Sulu under the premise of defending the territorial reach of Islam
and the elimination of the presence of the Catholic Spaniards in the archipelago.

Spanish accounts of the era narrated the ships utilized by the Muslims in their raiding
activities, to wit:

 Juanga/Joanga/Lanong. These were large ships that measured around 24 to 27

meters long with wide hull and wide keel for stability. It used three large cloth sails
that was collapsible. It had cannons mounted at the bow and could carry around 100
to 150 men including a master or captain, a steersman, warrior-sailors, as well as
slaves to serve as oarsmen.

 Garay. As compared to the Juangas, these vessels were smaller but known for their
fastness and maneuverability. These were principally used by the Samals and were
built from bamboo, wood, and nipa palm.

 Salipsipan. These were considered as support vessels and were designed primarily
to access littoral or shallow water conditions. The raiders would usually hide their
bigger vessels by using these ships. They pretended as fishermen so that they
could not draw the attention of their target captives and could convince them that
they are harmless.

On the other hand, the weapons that the Muslims used in their raiding activities
included the following:
 Barong. These were single-bladed weapons made of thick-tempered steel and
measures at approximately one meter long. The Muslims would prefer this during a
close hand-to-hand battle.

 Kris or Calais. These weapons were used either for warfare or as a ceremonial
symbol. It was unique because it was a double-edged sword that was either smooth
or wavy. It was a dreadful and savage weapon since it did not only stab the
opponent, rather it slashed the flesh and penetrated it, leaving most of the time a
fatal result. The nobles and other high ranking Muslim officials would usually use this
weapon.

 Kampilan. These weapons were primarily used by the Ilanuns and were much
longer and heavier than the previous two swords.

 Body Armor. Wealthy Muslims used bodily armors that were made from carabao
horn and/or steel plates which, in turn, were molded to fit the body of its user. A
chain link was used to hold it to the warrior‘s body.

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
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

References:

Majul, C. A. (1971). Muslims in the Philippines: Past, present

and future prospects. Manila: Converts of Islam Society
of the Philippines.

Yen, L. S., Zakaria, Z., & Kim, Y. (Producers). (2013). Raiders of the Sulu sea. Retrieved from
https://www.youtube.com/watch?v=CEtJ1mZdX10.

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