You are Your Labels.


That’s sweet. But Havok, we are not judged by our choices, but the groups we belong to!

This is a page from Uncanny Avengers which spurred debate and controversy regarding identity and minorities. As UP celebrates its Pride Week, I just think it’s appropriate to talk about it.
Do the labels people attach to us define us or reduce us to a particular dimension of our identity? There are people who think so. And they hate it.
I understand. They are treated differently as they seem more to people as “gay”, “alien” or “promdi” more than an equal. That is the fundamental problem: how society divides us and prevents us from seeing our common struggles, our potential for unity.
But some of these people, in trying to avoid confrontation or alienation from the lot, deny or keep these “labels” under the rug. They hide the fact that they’re gay, or from outside Manila, or from a poor family, or Muslim, or Christian. That’s also understandable. Society has made it hard for them to identify with what makes them different from society’s favorite class: in our country’s case, the middle-class, heterosexual, fair-skinned Christian from Luzon.
We want to be liberated: to determine our own place in society, without regard for our role as the underprivileged. We want to be treated as merely “human,” not as anything else. The truth, however, is that while we are not less than human, we are more it. We are also our sex and gender. We are also our economic class. We are our provincial origin. We are our skin color. We are our religion.
The liberal, secular, capitalist culture wants us to deny ourselves these characteristics and focus on “our similarities.” But by “similarities,” it means only the things which can be quantified: the things it can profit from. It claims to “liberate” us, but it only wants us to deny the reality of our struggle, the importance of our differences and the avenue for real conversations among people.
Such is the importance of “pride”: the acknowledgement and celebration of difference is the first step towards a real community of people living together in acceptance and progress.

Not surprisingly, the person who embodies this is Kitty Pryde.

So do not be afraid to be called “gay” or “poor” or “Muslim.” Do not be afraid of being the minority. Embrace it. Identify with the people you belong to. It is the reason why the status quo persists: because they take pride in who they are and expect others to bow to their superiority. No more. It stops now.
The only true path to unity and solidarity is to recognize our differences, which define our interests and experiences. It is the only way a particular class can own up to its mistakes, and for the impoverished to fiercely assert and demand justice.

That’s better.


Gender, Politics and Comedy


Earlier, I have once again been subject to a series of skits performed by groups of fellow students in a large class. Being in my senior year, I have grown used to these and I have seen my share of good, creative and undeniably funny ones. However, I’ve also been witness to a lot of uninspired, obviously rushed ones.

I’m not one to talk about what makes good class presentations, but I do know what I don’t like especially if it’s meant to be comedic in nature. I love comedy. And I take it very seriously.

This is why you should know I’m serious when I talk about this particular bit which is almost always present in “funny” skits: the straight macho guy turns out to be gay bit.

I used to think I found it bad because it was offensive to gay people. But then again, I’m not gay so I don’t think I am in any position to preach about it. Also, I too find offensive jokes funny. And I also believe that comedy is also a way to acknowledge that a particular group or person has a significant contribution or is a significant part of society. You know you’ve made it, that you matter, that you have power, when you’ve been turned into a punchline. This means – at least as how I see it – making jokes about gay people is a form of acknowledging them as a group and somehow empowers them.

That being said, jokes should still be tasteful. This means people should still think about how groups and people are portrayed, not just for the sake of political correctness but for the sake of the joke itself. Jokes which have tired punchlines which have been used over and over again become dated and unfunny. Jokes which portray certain people in manners which are out-of-touch, using stupid festering stereotypes, while it may solicit a few laughs and chuckles here and there, are forgettable and seem as if they weren’t given enough thought and effort. They’re cheap. And they take for granted comedy as a tool for reflection about real things and people.

Such is the nature of the straight-macho-guy-turns-out-to-be-gay punchline. It’s funny because most of the time being “gay” is portrayed as being ridiculously sex-crazed, unrealistically iffeminate and borderline stupid. Not only is that stereotype untrue, it also feels as if the joker only knows gay people from Bubble Gang episodes. From the 90’s. By the way, Bubble Gang? Ugh.

I think we should start thinking about comedy seriously. And that consists of taking our society more seriously, thinking about its people more realistically so thay when we offer witty, funny insights they actually move us forward as a people through reflection.

The Odyssey: Penelope and the Strength of Women

How do we decide which female characters are "strong"? And why the fuss over their strength?

How do we decide which female characters are “strong”? And why the fuss over their strength?

Note: This is a blog post written by a young man about women in literature. I do not claim to understand the psyche of a woman as much as I ought and I pray that one day, I would. I would just like to be clear from the outset that if any idea come off as offensive or sexist or approaching misogyny, I am sorry for the negative feelings it may invoke. I believe that sexism and misogyny are real problems and some members of our society have little to no idea when they are being sexist or offensive. I do not consider myself an exception. Please, for the mean time, excuse my penis.

We were recently tasked in our World Literature class to describe how women have been portrayed in The Odyssey and to point out which female character appealed to us the most. I have already read the text once and I do not think I have the proper tools of assessing whether female characters have been given just portrayals in the epic. But it is apparent that there are several instances where female characters have played crucial parts to the development of the story. Thus, it must be said that the women in the tale of Odysseus’s homecoming cannot be neglected.

Women in the Odyssey: Diverse and Contrasting Characteristics

It is notable how diverse and contrasting the characteristics of women are in Odyssey. On one hand, there is Athena, the goddess of wisdom (as if you didn’t already know), whose presence is everywhere: intervening and making arrangements for the story to move forward as she likes it to. On the other, you have Helen of Sparta, who seems to be having a crisis of identity brought about by the war which was supposedly waged because of her. While Athena is the embodiment of perfect and utter control over the situations which present themselves, Helen seems to not have recovered from her status as victim and trophy from the Iliad, and in this story would much rather prefer to be intoxicated in order to forget about sad things than to be involved in them.

Not only is there diversity in the amount of agency female characters have, there is also diversity in their moral characteristics: we find Eurycleia, Odysseus’s loyal maidservant, as well as Melantho, his not-so-loyal maidservant. While we may find seductresses like the goddesses Calypso and Circe, we also find the value of fidelity in Penelope and propriety in Nausicaa.

The attribution of female characteristics are not only exclusive to mortal and divine women, but are also extended to forces of nature. The sea nymph Ino, the sirens (portrayed as temptresses of the sea), Scylla the six-headed monster and the whirlpool Charybdis are also regarded as female. Female characters in Homer’s Odyssey may be seen to wither aid Odysseus or hinder him from his goal to reach home.

The choice Odysseus had to make between Scylla and Charybdis may have inspired the expressions, “between the devil and the deep blue sea” and “between a rock (Scylla has also been rationalized as a rock) and a hard place.”

Emotional Temptresses and Sentimental Widows?

It cannot be denied that some female characters in The Odyssey have flaws which stand out and often cause disturbance to the modern reader. When Hermes delivers that the gods have agreed for Calypso to let Odysseus travel back home, Calypso throws a tantrum before eventually doing what she was told. Circe still makes love to Odyssey though he has made it perfectly clear that he intends to go home to his wife. Anticlea, Odysseus’s mother, dies of grief as her son has not yet returned instead of moving on with her life and Penelope may be accused of leading her suitors on when she has no intention of marrying anyone of them, or being unable to detach herself from her husband who was presumed dead.

It is as The Odyssey is saying that women may be either dangerous due to their unpredictable and irrational use of their capabilities or emotionally fragile and dependent upon men for security. While women may be in positions of power, it can be observed that how women in this tale exercise their power brings about ultimately, either death and destruction or loneliness and misery.

I do not however see this as the entire case. While I think that there are certain limitations imposed upon authors by time and tradition which may have influenced the author to have some taken-as-fact assumptions about women, I do not think that the author of The Odyssey has been utterly unfair in terms of portraying women. While women are shown to be capable of abusing their powers and capabilities and to let emotions cloud their judgement, men in the story are not immune to such irrational behavior as well. A case in point is when Odysseus just had to boast to the Cyclops he blinded who he really was after he defeated it by giving it a fake name. Emotions and pride get the best of characters in The Odyssey, regardless of gender.

I think the Author also gives justice to the women in The Odyssey – oddly enough – through Calypso’s tantrum. The statements expressed by Calypso regarding the double-standards imposed the promiscuous male gods to female gods like him say that she is aware of her condition and she is not merely exercising blind obedience to the male gods, particularly Zeus. A similar act may be said of Penelope’s ploy to trick her suitors into waiting for too long by faking taking too long to finish her husband’s burial cloth. These women in The Odyssey are not just emotional temptresses and widows, they are women who know how the world sees them and chooses still to act and work around their conditions.

Penelope versus Katniss

We of modern times of course, equate “strong female characters” with the ability to stand up to authority and destroy an established institution, be it formal or informal. When we say “strong female character”, we rarely mean characters like Penelope who has found loopholes in the practices she is expected to abide by as a woman, a wife and a daughter and uses them to her advantage. We most likely pertain to characters like Katniss Everdeen who becomes a face of a revolution against ruling forces. Even if such a revolution was orchestrated by men and Katniss was a mere tool for them to achieve their goal.

Penelope for me is not a “strong female character”. She is a strong character. While there are characters in The Odyssey and in other works which we tune in to because we expect them to develop, there are characters like Penelope who we watch because we are intrigued about just how firmly they hold upon their principles. For every Aragorn we follow as he grows more and more into a king, there is a Gandalf we are amazed by because of his invincibility. In The Odyssey, Penelope fulfills this role. And whether or not it is because she is the embodiment of what a woman should be like that she has accomplished her task of fidelity and uncompromising love, it is definitely a credit to her time that they could produce such honor and loyalty in a person, when there are promiscuous infidels like Odysseus who are running about.