KEY CONCEPTS RELATING POPULAR CULTURE: REFLECTIVE ESSAY

ON FILIPINO KOMIKS AND THE QUEST OF CULTURAL LICITNESS

An Undergraduate Reflective Essay

Presented to
The Faculty of Bachelor of Arts in Literature and Cultural Studies
Literature Department
College of Arts and Sciences
University of Southeastern Philippines
Davao City

In Partial Fulfillment of the Requirements for the Course

Philippine Ethno-Cultural Studies

TRECIA MAE M. BOLIGAO

Submitted to:
LUDEN L. BATERINA

November 2023
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KEY CONCEPTS
Popular Culture - Popular culture in the Philippines is a culture generated by
mass media that consists of film, radio, television, and press. They were introduced
in the twentieth century but are still exclusively urban. The earliest form of popular
culture research in the Philippines is mass communication research. It is concerned
with content analyses and effects on the audience. In the mid 70s, literature scholars
began examining film, television, radio, and comics as modes of fiction and drama.
Their main concern is cultural values ​and how to transmit these values. This concern
is further raised by so-called “serious” literature, such as novels, short stories,
poems and plays, because these do not reach the vast majority, including the urban
masses, and especially the rural masses.

PHILIPPINE POPULAR CULTURE

Komiks. “Kenkoy” was the first Filipino comic strip. Its first appearance was
in 1929. Its main character was created by Antonio Velasquez. It was only made
with four frames and was used as a filler for a weekly popular magazine Liwayway.

ISSUES RELATED TO THE KOMIKS

Filipino Komiks: How To Rebuild Through Identity Challenges

by Fracadacty l May 21, 2020

Filipino Komiks are the illustrations of a nation rising to meet challenges.

Each generation brings a set of conflicts which contribute to the building of comic
culture. From finding inspiration, mixing cultures together, to the lengths creators go
to stay relevant. Some comics like The Filipino Heroes League might go along with
the joke that the Philippines are a third-world country; but each series from this
archipelago have its people’s drive for survival.

The Modern Struggles

As dictatorships go, President Ferdinand Marcos prevented free speech
including comics. At least before a local Comics Code comes into play which
prevents Martial Law from censoring Pinoy series; even if this prevents mature series
coming out. Because who wants to go through the propaganda scandals again?
Some Komiks creators like Tony Velasquez meanwhile flee the country. These latter
artists get renown in the US with their contributions to the US Market. Tony DeZuniga
for example serves as co-creator to DC’s classic cowboy Jonah Hex. Unfortunately,
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things weren’t looking so great for comic artists in the Philippines. Sure Ferdinand
was forced into exile and democracy came back, but Filipino Komiks barely have an
audience. With manga and Western comic imports filling the void, publishers didn’t
want to take chances with change. Unless they were newspaper strips like say
Pugad Baboy. Even names like Darna rely more on TV and cinema than Komiks. Yet
the Filipino creatives don’t take this lying down.

KEY CONCEPTS RELATING POPULAR CULTURE: REFLECTIVE ESSAY ON

FILIPINO KOMIKS AND THE QUEST OF CULTURAL LICITNESS

During Martial Law, Komiks were used by government agencies to convey

developmental messages such as the Green Revolution, family planning, and
housing programs. The content of komiks reflects dreams, hopes, values, outlook on
life, escape from reality, problems and solutions. All this makes komiks a distinctly
popular culture. Komiks is created by artists who prioritize public voices and dreams.
Komiks have a wide reach and understanding that makes them completely “for the
people”. Komiks are inexpensive and accessible reading material for Filipinos, an
alternative to serious literature. Its scope and reach are vast as it is exchanged
between neighbors, workers, and loved ones. It is a form of circulation in itself and
does not cost much. Komiks play many different roles as a popular culture
phenomenon. Komiks is “a provider of entertainment and moral lessons, a
disseminator of values ​and attitudes, and a source of practical knowledge about
agriculture, government policy, medicine, and science ”.

Like most comics, Philippine Komiks began as an extension of free speech.

Philippine National Hero Jose Rizal drew inspiration from his travels throughout
Europe; His illustrated version of the Philippine fable “The Turtle and the Monkey”
constitutes the first comic book series in the Philippines, sharing space alongside the
classic works of Hans Christian Anderson about the story of overcoming a more
physically gifted opponent is quite consistent with the country's comics in general.
Much of its history, starting with Spanish settlers, tells stories of overturning an
oppressive status quo. Throughout Philippine history, exposure to various media has
allowed komiks to develop. During the 1890s, satirical magazines appeared in
America and England. This gave way to newspaper comic strips, led by the “Kenkoy
Misadventures” series by Romulo Ramos and Tony Velasques. Kenkoy details the
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satirical lifestyle of a Filipino, as Filipinos adapt their identity to fit that of the United
States. Unlike the Kalipapi Family of the Velasques which spanned the Japanese
empire. This extension of free speech collides to the the quality of strictly conforming
to law. During the presidency of Ferdinand Marcos in the Philippines, there were
instances of censorship and restrictions on free speech, including the realm of
comics. After the declaration of martial law in September 1972, Marcos imposed
strict control over the media, including the shutdown and takeover of major media
outlets. This included limitations on the content that could be published, which
affected various forms of media, including comics. Under Marcos' dictatorship, there
was a suppressive environment where political opposition and criticism of his
administration were heavily restricted. This meant that comics, as a form of
expression, also faced constraints and censorship to prevent any dissenting voices
or content that could challenge the regime.

It is worth noting that despite these restrictions, there were efforts by some
creators to still express dissent through veiled and allegorical means, using the
medium of comics. However, the overall impact of the censorship under Marcos
resulted in limitations on the creative freedom and expression within the comics
industry during that time. The komiks industry in the Philippines faces various issues
such as a decline in popularity, lack of government support, and challenges in
reaching a wider audience. However, there are ongoing efforts to address these
issues and revitalize the industry. The passion and creativity of artists and publishers,
combined with support from readers and the recognition of the cultural value of
komiks, are essential in sustaining and growing of this unique art form.

In conclusion, the quest of cultural licitness brought upon the idea of the
Philippines ideology that part of our culture is to consents to follow and conformed to
law that resulted the restrictions on free speech, including comics, that had a
significant impact on the industry. Artists and creators faced limitations on what they
could publish, with the government controlling the content and ensuring that it aligned
with Marcos' regime. This resulted in a lack of diversity and freedom in storytelling,
hindering the growth and development of the comics industry during that period.
Knowing what happened to the comics industry under President Ferdinand Marcos'
regime provides us with important lessons on the importance of protecting free
speech, artistic expression and creative freedom, even in difficult times.

Firstly, it reminds us that in times of political turmoil, it is crucial to safeguard

the right to free speech and expression, including those expressed through art forms
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such as comics. Secondly, it highlights the role of the government in safeguarding

freedom of expression and creativity within its jurisdiction. Governments have a duty
to ensure that their citizens have the space and resources to express themselves
freely and creatively. Thirdly, it demonstrates the resilience and creativity of the
human spirit in times of adversity. Despite the limitations, some artists and creators
were able to find ways to express themselves and convey their messages through art
forms like comics. Overall, the lessons we could learn from knowing what happened
to the comics industry during the Marcos' regime is that a free and open society is
crucial for the flourishing of artistic expression and that it is the responsibility of both
citizens and governments to protect and foster this liberty.

REFERENCES

Fracadactyl. (2023, January 4). Filipino Komiks: How To Rebuild Through

Identity Challenges. Gutternaut.

https://gutternaut.net/2020/05/filipino-komiks-rising-from-the-ashes/

Eightify. (2023, October 11). Philippine Komiks Industry: A historical overview.

Eightify Youtube Summaries.

https://eightify.app/summary/tech-industry-history/philippine-komiks-in

dustry-a-historical-overview