Rowell G. de Guia

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PROMOTING CULTURAL ICONS: The Case of Sagisag Kultura ng Filipinas

April 3, 2014

INTRODUCTION

This study examines cultural icons archived by the National Commission for Culture and the Arts (NCCA). It looks

into Philippine cultural icons in relation to the objectives of the NCCAs Sagisag Kultura (SK) ng Filipinas to gather,

select and promote the cultural icons of the country (ncca.gov.ph). It investigates how Sagisag Kultura or cultural

icons are presented by the NCCA to promote them. Basically these icons need to be promoted because they are

official additions and replacements to the already popular Mga Pambansang Sagisag ng Pilipinas. According to the

said commissions officiall website, the Philippine Cultural Education Program with the NCCA SK has identified 857

cultural icons which were selected from 8,000 cultural items collected by teachers and cultural workers from different

regions of the country. Each cultural icon in the archive is concisely described and can be categorized as personality,

item of heritage, historical site, native flora and fauna, or Filipino invention.

Cultural icons are fundamental to any nation because, in a way, cultural icons act much like national symbols, as they

are means by which a country can depict an image of itself to both the locals and the nonnatives. The same as

national symbols, cultural icons represent the nations core values and are chosen because they have special

significance for the nation and its members. Cultural icons make the concepts of a nation visible hence they enable to

concretize its cultural identity. As Geisler (2005) notes, national symbols help form and maintain national identity,

mark a nations collective memory, preserve its shared past and represent the power of a state to define a nation.

Thus, cultural icons have different layers of significance for which they are valued by the community they represent.

Certainly, cultural icons can be appropriated to promote particular ideas but unlike other national symbols and cultural

icons which are fundamentally images and signs or units of meaning in visual forms, Sagisag Kultura ng Filipinas is

presented in concise descriptive texts.

CONCEPTUAL FRAMEWORK

Descriptive text is a representation or a creation of the equivalent of one medium in a text (Thompson 1997). To

create the equivalent of an image or a sign in a prose apparently involves a different dimension of representation.

Consequently, a linguistic text would require a distinct way of signification or production of meaning. Using the lense

of media text analysis and rhetorical theory, this paper looks at individual clauses in the descriptive texts about

Philippine cultural icons as potential modes of highlighting the constitutive elements of cultural icons and of validating

an icon as representative of Philippine culture in order to promote them.

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One of the frameworks of media discourse analysis is based on the multifunctional view inspired by Hallidays (1978)

systemic theory of language. This view stresses that clauses are manifestations of ideational, interpersonal, and

textual functions of language and that in any text these functions simultaneously operate. As discussed by Fairclough

(1995), the ideational function of language is its function in generating representations of the world; the interpersonal

function includes the functioning of language in constitution of relations, and of identities; the textual function relates

to constitution of texts out of individual sentences. The direction of media discourse analysis that this paper takes is

the investigation of representation process whose main concern is the ideational and textual functions of language in

texts. A basic premise is that media texts mirror realities which are contingent to the interests and objectives of those

who produce them. So the analysis of representational processes in a text is reduced to an account of what choices

are made and how these choices inform the process of signification, the production of meaning.

While media text can be linguistic, visual or both, the analysis of text in this study focuses on the linguistic aspect of

media language. Textual analysis is concerned with both meanings and forms (Fairclough 1995). Apparently,

meanings and form have a dialectical relationship. The assumption is that forms are the realization of meaning. Any

choice of form is tantamount to a choice of meaning. This implies that the ideological function of language is at work.

Therefore, the analysis is sensitive to absences as well as presences in text that may bring about a particular idea.

Fairclough (1995) asserts that any text is a combination of explicit meanings what is actually said and implicit

meanings what is left unsaid but taken as given, as presupposed. The presupposed has the ability to link the

unfamiliar with the familiar because presuppositions, according to Pecheux (1982), are elements which have been

preconstructed. They are concepts which may have been instated elsewhere, probably in the mindscape.

Presupposition facilitates authentication of the represented reality in a linguistic text in such a way that it carries

notions that are always already accepted. It makes the text more convincing to the readers. Textual analysis, then,

may focus on presuppositions carried in the linguistic text to validate the represented reality.

In the case of Philippine cultural icons, authentication may only partly be achieved through presupposed ideas or

stereotypes. On the one hand, putting primacy on cultural icons layers of significance based on presupposed ideas

about Philippine culture may drive a conviction that what is represented is valid. On the other hand, explicit facts and

details may support the implicit ideas in validating a reality. Authenticity, therefore, might further be established using

both the explicit and the implicit components of a text. This implies that textual function of language may be

appropriated towards a certain objective. The use of style, for example, is one available means of persuasion,

another means of instating the credibility of an icon. For instance, in constituting a cultural icon, a text may explicitly

talk about the countrys history in relation to the existence of the symbol itself. It can use elements that inform reason

and understanding of the audience. A descriptive text may also highlight the struggles and triumphs associated with

the cultural icon. It may emphasize aspects of the symbol that connects to the emotion of the audience. It can also

talk about the cultural icon within the premise of a status quo. It may foreground the credibility of an icon based on its

conformity to the societys ideologies. Hence, the constitution of a cultural icon is based on rhetoric. Rhetoric in this

sense is instrumental to the valuation of a symbol as an ideal representation of Philippine culture. It can highlight

certain aspects of culture and the societys ideologies that best connect to a specific icon. This way rhetoric is

instrumental in ascribing values to a cultural icon. In that sense, this paper sees the importance of investigating how

rhetoric operates in the written descriptions of Philippine cultural icons, how it persuasively establishes the symbols

credible image. Specifically this study attempts to answer the following questions:

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(1) What constitutive elements of Sagisag Kultura are highlighted in the texts, and

(2) How the texts validate the icons as paragons of Philippine culture?

METHODOLOGY

To answer the questions posed above, this paper examines ten (10) articles on Sagisag Kultura ng Filipinas. Two

articles are sampled from each of the categories. The criteria set in selecting the data are: (1) the text must be posted

on the official NCCA Sagisag Kultura ng Filipinas website, http://www.ncca.gov.ph/about-ncca/sagisag-

kultura/sagisag-kultura.php, (2) each text from the same category must be written by a different author, and (3) the

text must have at least five sentences. The first criterion is set in order to guarantee that the cultural icon investigated

is officially selected and promoted by the NCCA Sagisag Kultura ng Filipinas. The second criterion is supposed to

support the claim of this paper that the rhetoric that operates in the presentation of cultural icons is that of the NCCA

as an authoritative body and not that of the individual writers themselves. The third criterion is set to meet the

formalistic standard for a paragraph.

The focuses of investigation are the lexical items, phrases, clauses, and paragraphs of the descriptive texts. To

facilitate systematic analysis, the texts are coded; paragraphs and sentences are numbered. Using the frameworks of

media language analysis and rhetorical theory, every paragraph and sentence in each descriptive text is analyzed.

Analysis of media language, Fairclough (1995) argues, should be recognized as an important element within

research on contemporary processes of social and cultural change, like studies on shifts in cultural values,

promoting a nations image, or (mis)representation of cultural identity. Specifically, the views on ideational and textual

functions of language in media studies are used to identify the layers of significance or values ascribed in each

cultural icon. The value of ideational and textual views of text is that, this study assumes, they make easier to connect

the analysis of language with some fundamental ideologies. Ideologies, according to Fairclough (1995), are

propositions that generally figure as implicit assumptions in texts, which contribute to producing or reproducing

unequal relations of power, relations of domination. Basically these are aspects of representation that work to

highlight or downplay certain concepts in a text.

The values ascribed to a cultural icon are analyzed in order to reveal the rhetorical modes that a text uses in

validating or authenticating the status of the icon as a representative of Philippine culture. Rhetorical mode, according

to Corbett and Connors (1999), may be an appeal to reason, a means of touching the emotion, or an appeal of

character. For example, focus given to values derived from facts and figures are a manifestation of rational appeal;

an emphasis on the hardships and victories attributed to an icon indicates an appeal to emotion; highlighting on

features such as uniqueness and relevance relates to ethical appeal.

ANALYSIS OF DATA

The focus of this paper is the analysis of written descriptions about the Philippine cultural icons. Specifically, this

section investigates how the written descriptions either explicitly or implicitly highlight and, consequently, reveal the

different layers of significance that make each personality, item of heritage, historical site, native flora and fauna, and

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Filipino invention identifiable as a symbol of Philippine culture and how these layers of significance validate the

authenticity of each cultural icon.

1. Personalities as Cultural Icons

Like the islands of the Philippines, a Filipino has many facets. National Artist for Fashion Design, Dean of Philippine

Fashion Design, National Scientist, Mother of Entomology in the Philippines and First Filipina Entomologist are some

of the crowns of identity ascribed to the Personalities in the articles below. Behind every Personality are some

revealing and interesting facts that explain the origin or history of the emergence of a national symbol in them: their

(1) roles in their respective fields; their (2) qualities which can be as inherent as gender, creativity, and gallantry, or

acquired such as education, social status, and economic power.

1.a Ramon Valera, National Artist for Fashion Design

Ingenuity in fashion design is Ramon Valeras main contribution to Philippine culture. His works inspired generations

of fashion experts to create a unique style that is solely Philippine made. He was recognized as well for

revolutionizing the form of barot saya, now called terno. Indeed, Valera, as represented in the descriptive text written

by RVR and edited by GSZ, is a creative genius of Philippine fashion.

Paragraph I (1)Kinilalang Pambansang Alagad ng Sining sa Disenyong Pangmoda si Ramn Valra noong 2006. (2) Tinagurian siyang Dekano ng Moda sa Filipinas. (3) Ang paggawa ng kasuotan ay iniangat ni Valera sa antas ng sining na nagbigay ng inspirasyon sa ilang henerasyon ng manlilikha at nag-ambag sa pagkakaroon ng natatanging disenyo at moda ng mga Filipino.

Paragraph I identifies Ramon Valera as a cultural icon using the different labels awarded to him as a prominent figure

in fashion design. Sentence (3) states that Valera himself was noted for advancing such a craft from a mere

vocational occupation to a professional field in the Arts. It as well summarizes Valeras crucial role in the evolution of

womens fashion in the Philippines and justifies the ideas about him presented in Sentence (1), Pambansang Alagad

ng Sining sa Disenyong Pangmoda, and in Sentence (2), Dekano ng Moda sa Filipinas.

Ramon Valeras contribution to Philippine culture is substantiated by the significance of his field, womens fashion, in

the Philippine history and society. Womens fashion receives high regard in a culture not only for its artistic value but

also for its implication to the status of women in the society. In the Philippines, the nations history and the cultural

views about women factor in the style of clothing for female. For example, Spain created womens reserved image

among Filipinos through the long thick elaborate garment that middle class women wore during Spanish occupation

in the Philippines while Americas liberating ideas about women informed the sense of fashion Filipinos have today.

Colonizers from the other side of the world and nearby countries have influenced the manner women in the

Philippines carry themselves in different attires as well as the perception the people of the nation have about women.

The following paragraphs account how Ramon Valera accrued his value in the fashion industry. On the one hand,

Paragraphs II and III establish his authority as a fashion expert: how he made a mark in his respective field, his major

contribution, his intrinsically cunning qualities, and the challenges he surpasses. Paragraph IV, on the other hand,

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provides information attributed to his credibility as a prominent figure, such as his education, social status, and

economic background.

Paragraph II (4) Itinuturing na ambag sa mga pambansang simbolo ang kaniyang likhang terno. (5) Noong dekada 1940, lumikha ng pagbabago si Valera sa barot saya, ang kinikilalang pambansang kasuotan ng mga Filipina. (6) Ang nakasanayang apat na pirasong kasuotan na binubuo ng baro, saya o tapis, naguwas, at panuwelo o alampay ay kaniyang pinag-isa. (7) Itinampok niya ang manggas at pinahapit ang baywang. (8) Tinanggal din niya ang kalawit sa likod at pinalitan ng zipper upang isara ang kasuotan. (9) Isinantabi rin niya ang mahabng alampay na datiy nakasampay sa balikat at nakatakip sa dibdib. (10) Para sa marami, ito ay mapangahas. (11) Ngunit dahil sa mga kabiyak ng mga prominenteng politikong tumangkilik nit, gaya nina Gng. Claro M. Recto at Gng. Primitivo Lovina, naging buks ang bansa sa bagong estiloang trno.

Paragraph III (12) Natatangi ang mga obra ni Valera sa kahusayan at kasiningan ng pagkakalikha. (13) Bukod sa pagpili ng materyal, pagsasma-sma ng kulay, detalyadong beadwork, paggamit ng sequin at iba pang palamuti, elemento, namumukod din ang kaniyang mga likha dahil sa tabas at tahi ng mga kasuotan. (14) Kailangan lmang niyang tingnan at sukatan ang bibihisan at kahit walang padron ay alam na niya ang babagay dito.

Paragraph II Sentence (4) highlights Valeras creation called terno, a womans clothing that has an apparently trendy

cut to suit the modern fashion but which is basically patterned on the traditional barot saya design. Barot saya is

conventionally worn by the bourgeoisie during social or political gatherings. It is an influence of Spain and is originally

conceived as the symbol of womens conservative and refined character; it is a piece of clothing with historical and

social significance. Sentence (5) puts emphasis on Valera as the antecedent of change in the time-honored barot

saya. However, the challenge he faced, expressed in Sentence (10), was the resistance from other people in the

world of fashion. Fortunately, the name he made because of his ingenuity acquired him a political clout. For example,

the line dahil sa mga kabiyak ng mga prominenteng politikong tumangkilik nit (Valeras terno) in Sentence (11)

implies how Valeras access to politics was appropriated in order for him to successfully initiate and eventually cause

change. This unfortunately suggests a culture of permissiveness to the influence of power in the Philippine socio-

economic system.

The representation of a cultural icon in the written description also highlights how the Philippine culture gives regard

to education and to economic influence as essential elements to gain social significance. Paragraph IV Sentence

(15) (16) give background about the economic status of Valeras family while Sentence (17) enumerates the

universities where he went to.

Paragraph IV (15) Isinilang siya noong 31 Agosto 1912 sa isang nakaririwasang pamilya. (16) Ang amang si Melecio Valera na tubng Abra ay kasosyo ng milyonaryong negosyanteng si Vicente Madrigal. Ang inang si Pilar Oswald ang unang nakapansin sa likas na talino ni Valera. (17) Nag-aral siya sa De la Salle University at Far Eastern University. (RVR) (ed GSZ)

The descriptive essay underscores layers of significance about Ramon Valera. It describes Valera as a cultural icon

valued for his role in the fashion industry, a culturally valued field in the Philippines, and on his qualities which

validate his voice in the culture of Philippine fashion. His role is substantiated by his major works and his influence to

the field. His qualities are his incomparable creative talent and skill in womens fashion design, and his family profile

and education background or, in other words, his position in the socio-economic sphere. The qualities of Ramon

Valera emphasized in the text are intrinsic and acquired respectively.

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The values ascribed to Valera as a cultural icon reveals the rhetorical strategies appropriated in the text. First, by

highlighting his role in revolutionizing Philippine fashion and the significance of what he has done to the society, the

text develops appeal to the readers reason or understanding. Second, his prominence in the main stream fashion

industry preceded by his short-term struggle the resistance against his innovative ideas, created a dramatic

success story. The article, hence, creates a character that possesses emotional appeal. Lastly, the article, by

representing Ramon Valera as a figure who is valued for his ingenuity and liberating ideas, aside from his

unparalleled skill in fashion design, establishes the cultural icons ethical appeal. These notions are instrumental in

promoting Ramon Valera as an important figure in Philippine culture.

1.b Clare R. Baltazar, Mother of Entomology in the Philippines

Her expertise in scientific research made Clare R. Baltazar a prominent figure in the Philippine academic scene and,

consequently, a symbol of the nations culture. Her studies focused on taxonomy of insects that later led to the

discovery of new species found in the Philippines. Her research works are fundamental to the studies made by other

Filipino entomologists especially in the strategic and effective pest control. Baltazar, through her comprehensive

study on endemic insects, initiated the advancement in entomological research. Hence, she was given the title

Mother of Entomology in the Philippines.

In the article written by SMP and edited by VSA, Clare Baltazar is described as a National Scientist. The first

paragraph, Paragraph V, summarizes Baltazars role in the field of Entomology. Sentence (18) mentions the title

attributed to her, Ina ng Pag-aaral ng Entomolohiya sa Filipinas and her phenomenal achievement, kaunaunahang

Filipina na nagpakadalubhasa sa nasabing larangan (the first female entomologist in the country). Furthermore,

Sentence (19) proves her credibility in her field by mentioning one of her major works, Philippine Insects. Paragraph

V evokes Baltazars unquestionable expertise in the discipline.

Paragraph V (18) Pambansang Alagad ng Agham, si Clare R. Baltazar (Kleyr Ar Baltazr) ang tinaguriang Ina ng Pag-aaral ng Entomolohiya sa Filipinas at ang kaunaunahang Filipina na nagpakadalubhasa sa nasabing larangan. (19) Sinulat niya ang librong Philippine Insects, ang unang komprehensibong pag-aaral sa mga katangian, bhay, at gawi ng mga lokal na insekto sa Filipinas. (20) Dahil sa kaniyang natatanging kontribusyon sa pagpapaunlad ng pag-aaral ng entomolohiya sa Filipinas, iginawad sa kaniya Pambansang Alagad ng Agham (National Scientist) noong tang 2001.

Apparently, the distinction given to her as the first female entomologist in the Philippines is a double-edged

attribution. On the one hand, it implicates a cultural ideology that recognizes womens achievements and contribution

to a discipline that is dominated by men. On the other, the distinction itself is a form of gendering, where a man in the

field of science is the standard and a woman in it is a peculiarity. Baltazar is a representative of the women in the

Philippines who earned respect for their incomparable achievements. However, the societys acknowledgment of

womens success comes with a gendered ideology, a pride that goes with the phrase despite being a woman.

In the second paragraph, Paragraph VI, while Sentence (27) is a reiteration of her mark as a woman in the field of

science, Balatazars contribution to entomological research is elaborately presented. Complete with informative

account about Hymernoptera, Sentences (21) (26) explain how unbelievably immense the National Scientists

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work is. Obviously, Paragraph VI does not only speak about insects and their number, it also signifies Baltazars wide

knowledge about her field and further affirms her authority in entomological research.

Paragraph VI (21) Ang Hymenoptera ang isa sa pinakamalaking order ng mga insekto. (22) Mahigit nang 130,000 na species ang natuklasan sa buong mundo at marami pa ang hindi killa. (23) Kablang sa order na ito ang mga insektong putakti, bubuyog, langgam, at ilang uri ng langaw. (24) Dahil isang tropikal na bansa ang Filipinas, napakaraming katutubong insekto na dito lmang matatagpuan. (25) Si Dr. Baltazar ang nakatuklas ng walong genera at isang subgenus ng Hymenoptera. (26) Nagawa rin niyang kilalanin ang 108 na bagong species ng insektong putakti na makikita lmang sa Filipinas. (27) Siy ang unang Filipinang nagtangka at matagumpay na nag-ayos ng taksonomiya ng mga insektong katutubo sa Filipinas.

The emphasis on her expertise evokes her dedication to the study of insects and her concern for her fellow Filipinos

whose lives are dependent on agriculture. The amount of time she spent for research enabled her to publish books

and articles. Eventually, her works became the basis of other researches in the field. Sentence (28) (30) enumerate

Baltazars published works, A Catalogue of Philippine Hymenoptera, The Genera of Parasitic Hymenoptera, and

A New Genus and Nine New Species of Philippine Braconidae.

Paragraph VII (28) Naglathala siy ng talaan at bibliyograpiya ng mga insekto sa Filipinas, A Catalogue of

Philippine Hymenoptera (1759-1963). (29) Ang pag-aaral na ito ay lumabas sa monograp na Pacific Insects noong 1966. (30) Sinulat rin niya ang tatlo pang mahahalagang pag-aaral: ang New Generic Synonyms in Parasitic Hymenoptera (1961) na inilathala Philippine Journal Science, ang The Genera of Parasitic Hymenoptera (1962), at ang A New Genus and Nine New Species of Philippine Braconidae (Hymenoptera) (1963). (31) Sa pamamagitan ng mga pananaliksik ni Baltazar, nagkaroon ng pagkakataon ang iba pang mga dalubhasa na maintindihan ang ibat ibang bagong uri ng insekto sa Filipinas. (32) Naging susi ito sa pag-intindi kung ano ang epektibong paraan ng pagkontrol sa insekto. (33) Napaunlad rin ni Baltazar ang siyensiya at metodolohiya ng pag-aaral ng entomolohiya sa Filipinas.

Her books are significant especially to an agricultural country like the Philippines. The countrys tropical climate is

conducive for insects to multiply hence threatening the farming industry. Sentence (31) explains how her studies

benefited her colleagues and improved pest prevention techniques. Such a contribution to scientific studies is

culturally valued because of its apparent effect to the Filipinos lives and by and large to the countrys economy.

Sentence (32) implicates that the impact of Baltazars work transcends the numbers, characteristics, and behavior of

insects and that her research brings the objectives of entomology closer to home, the farmlands and the agricultural

products that potentially contribute to the Philippines economic stability.

Paragraph VII, thus, creates Clair Baltazars image of a woman whose interest and experience in scientific research

engendered compassion for her fellow, brought motivation for her colleagues, and resulted to action that improved

the farming industry in her country. Baltazar through her works exemplifies the Filipinos sense of heroism, someone

who selflessly spends her life in doing something good for the welfare of her fellow. By creating this representation,

Baltazar can be the heroic woman every Filipino is fond of.

The last paragraph profiles Baltazars education background. Sentences (35) and (36) account the scholarship that

she went through in the Philippines and abroad. Her education, an accomplishment in the context of her time only

few women can achieve, apparently adds up to her exceptional qualities that build up her excellent indisputable

integrity as an entomologist.

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Paragraph VIII (34) Isinilang si Baltazar noong 1 Nobyembre 1927. (35) Nagtapos siy ng Batsilyer sa Siyensiya ng Entomolohiya sa Unibersidad ng Pilipinas noong 1947. (36) Nakapagtapos siy ng master sa Siyensiya (Economic Entomology) at doktorado (Systematic Entomology) sa University of Wisconsin. (37) Matapos mag-aral sa Estados Unidos ay nagbalik si Baltazar sa Filipinas upang magturo ng sistematikong entomolohiya sa UP at ipagpatuloy ang pananaliksik sa mga katutubong insekto ng Filipinas. (SMP) (ed VSA)

As a whole, Clare R. Baltazar is represented in the article as a cultural icon who is distinguished for her role in the

advancement of Entomology in the Philippines and her qualities that make her role even more commendable, such

as her gender and her education.

By highlighting her contribution to Entomology, a valuable area in Philippine agriculture, the article logically links

Baltazar to the culture of farming. The article as well builds up Baltazars credibility by suggesting that she is

knowledgeable in scientific research and an expert in entomological studies. Finally, the article creates an image of a

strong, compassionate, and inspirational figure when it emphasized on Baltazar being a great help to the farmers

despite being a woman. Thus, the article employs a strategy that appeals to the emotion. These notions are

instrumental to the promotion of Clare Baltazar as a significant personality in Philippine culture.

2. Items of Heritage

Material objects have practically the strongest mind recall as cultural icons. They are remembered for their time-

honored use and their uniquely Filipino characteristics. Items of heritage are reminders of the Philippines pre-

colonial and colonial past. They possess a rich story about how they have come to be part of the countrys

postcolonial condition and about other circumstances that make them valued in the Philippine culture today. They

reflect the Filipinos way of life in the past and at present. Items of heritage evoke the peoples customs, values, and

day-to-day activities in the family and the society at large. They symbolize the peoples culture of peace, respect, and

brotherhood. These material objects, whether a product of colonialization or a native of the Philippines, have become

embedded in the society that until today they hold characteristics that are uniquely Filipino and that they, in the minds

of the world, have become the mark of being a Filipino.

2.a Jeepney, the King of the Streets

Jeepney is famous as a convenient means of transportation in the Philippines. During the American occupation it was

used as military car. A minivan version of it during the Japanese period served as cargo truck for the Japanese

soldiers. Today, the jeepney is used for public transportation although it has undergone a lot of transformations in

size and other features for a very understandable reason, to accommodate as many passengers as it can.

The article below written by PKJ and edited by VSA elaborates jeepneys function and history as an item of heritage.

The first paragraph positions jeep at the top of land transportation ladder. Among other public vehicles, Sentence (39)

declares jeep hari ng lansangan (the king of the streets).

Paragraph IX (38) Ang dypni (jeepney sa Ingles) ang pinakaginagamit na uri ng sasakyang panlupa at uri ng pampublikong transportasyon sa bansa. (39) Tinaguriang hari ng lansangan at kadalasang may pahiyas ng makukulay na pinta, istiker, at signboard, ang dyipni ang sagisag ng transportasyong Filipino.

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The title attributed to jeepneys connotes a number of obvious ideas about such a form of public transportation. First,

jeepneys dominate the streets; whether in the cities or provinces, jeepneys are ubiquitous. They can be found lined

up or swerving left to right picking up passengers. Second, they are known for their vicious speed. Jeepneys are

comparable to public bus in terms of swiftness despite their size, but have more access to routes where buses are

not allowed, making them a more preferred means of transportation especially at rush hours. Lastly, jeepneys are

lavishly adorned. Most jeepneys have curtains and a special corner for a small altar with Sto. Nio image. They bear,

as well, the names of the owners children, some bible verses, and fancy lights just like a king opulently clothed and

accessorized.

Moreover, the king of the streets also suggests the typical scene in the male dominated Philippine suburban streets.

In the Philippine culture, a strong hostile and sometimes heroic man, the siga or hari ng lansangan, is commonly

found among groups of street folks taking the lead. The siga embodies the cultural ideology about a community

leader who is respected and favored for his strength. A jeepney in the same way is manned by a leader, the driver,

with the whole community people in the passengers seats. The identity, hari, for which jeepney is famous evokes,

too, about the apparent dominance in number of male jeepney drivers over women.

The next paragraph provides accounts about jeepneys as the sagisag ng transportasyong Filipino. It tells of the

origins, functions, and development of jeepney from what used to be a vehicle serving the foreigners in the country to

a dependable ride of the natives.

Paragraph X (40) Hango ang salitang jeepney mula sa pinagsamang jeep at jitney. (41) Ang mga unang

dypni ay ginawa mula sa mga military jeep ng Estados Unidos na naiwan mula sa Ikalawang Digmaang Pandaigdig. (42) Sinira ng digmaan ang pampublikong transportasyon ng bansa, at ang mga naglipanang military jeep ang nagsilbing mrang paraan upang muli itong mabuo. (43) Pinahabaan ang mga jeep upang makapagsakay ng mas maraming pasahero. (44) Sa kasalukuyan, likha ng mga lokal na pagawaan ang karamihan sa mga dyipni. (45) Ang tipikal na dyipni sa Kamaynilaan ay kyang magsakay ng 14-18 katao sa dalawang magkatapat na upuan sa loob ng pahaba nitong katawan, at dalawa pang pasahero sa harap, sa tabi ng nagmamaneho (na tinatawag na tsuper, mula sa chauffeur). (46) Bukod sa disenyong hango sa mga US military jeep, mayroon ding mga dyipning gawa sa mga surplus na minivan at cargo truck mula sa bansang Hapon (tulad ng makikita sa Cebu), at mga dyipning kamukha ng mga pickup truck (tulad ng mga passad sa Iloilo). (47) May mga dyipning aircon, o kaya naman ay pinapatakbo ng koryente sa halip na gasolina, ngunit sa kasalukuyan ay hindi pa popular ang mga ito.

Sentence (40) explains the coinage of the word jeepney while sentences (41) (46) provide evidence of its

etymology. Paragraph X asserts that the phrase symbol of Philippine transportation is appropriate because of its

longevity aside from jeepneys practical use. Sentences (41) and (46) imply that jeepneys have history acquired value

and Sentence (42) suggests its reputation being functional and reliable. Although an alien to the Philippines, the

jeepney can still be considered a product of Filipino ingenuity because of the modifications that local manufacturers

have done to its form and other features to suit its present use as explained in Sentences (43) (45) and (47). In

addition, Sentence (50) of the last paragraph below, Paragraph XI, emphasizes some common passengers practices

in finding a space for themselves when taking a jeepney.

The jeepneys functional transformation mirrors the societys sense of a family or brotherhood, that is, the

willingness to adjust in order to accommodate others needs and to share even the smallest space with a fellow.

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Jeepneys are regarded by the drivers as their homes where other family members and guests should be hospitably

welcomed. Apparenly when the family gets bigger, it is customary in the Philippines to extend or refurbish the house

to provide enough space for everyone. Hence, Sentence (43) can be logically collocated with this value.

The paragraph below further explains the Filipino values that go with jeepneys. Paragraph XI emphasizes common

practices when taking jeepneys. Some good manners that are associated with Filipino culture are also highlighted.

Paragraph XI (48) Taglay ng mga tsuper ng pampasaherong dyipni ang natatanging lisensiya, at kailangan nilang

bumiyahe sa nakatakdang ruta (hal. Quiapo-Fairview, UP Ikot) at maningil ng pamasaheng hindi lalabis sa itinakda ng pamahalaan. (49) Bahagi ng kultura at etiketa ng pagsakay sa dyipni ang walang-pagaatubiling pag-abot ng bayad sa tsuper o sukli sa mga kasmang pasahero, at ang pagsabi (o pagsigaw) ng pra (Espanyol ng tigil) kapag babab. (50) Kapag pun na ang dyipni, madalas ding kumapit sa mga bakal na hawakn sa walang-pintong likuran ang ilang pasahero; sa mga lalawigan, hindi nakagugulat ang dyipning may mga pasaherong nakaupo sa bubong nito. (PKJ) (ed VSA)

Sentence (48) states the proper decorum for drivers. Honest at all times and compliant to traffic rules are some of the

characteristics of Filipino jeepney drivers. Likewise, the passengers observe modesty. Sentence (49) suggests

cooperation among passengers. Each passenger takes the responsibility of handing fares to the driver or to signal

the driver to pull over when someone needs to alight. It is notable, as well, that despite the jeepneys American

origins, the word that is used to signal the driver, para, came from the Spanish word stop. In other words, the

Spanish, American, Japanese influence and Filipino ingenuity put together is the Jeepney. Therefore, the article

implies that jeepney is not just a mere form of transportation. Aside from the community values that collocate with a

jeepney ride, jeepney is also an important historical marker.

The article highlights both the function and characteristics of jeepney. The second paragraph which gives a picture of

how jeepney was utilized in the past and describes its transformation into its modern design to meet the demands of

the present implies not only the value of its function but also of its deep connection with the Philippines past and

present. This evokes the articles use of rational appeal. The third paragraph characterizes such a form of

transportation as having features that are uniquely Filipino. The long body of jeepney which is meant to

accommodate as many passengers as a jeepney can and the scenario of a jeepney ride with the passengers

accustomed to jeepney culture, the system of paying fares, in the Philippines. The third paragraph affirms that

jeepney genuinely belongs to the Filipinos. Through this, the article employs its ability to authenticate jeepney as an

item of Filipino heritage. Jeepney is also valued for its association with the Filipinos good manners and ethics -

modesty and cooperation among passengers - which are assumed to be part of the Filipino culture. This notion

makes jeepney close to the imagined self of every Filipino, hence highlighting the articles facility to affect the

emotion. Because of the association of jeepney with the countrys history, the Filipino features that are added to it,

and the Filipino ethics associated with it, the article is able to establish jeepneys image as a culturally valued means

of transportation.

2.b Bhay-Kbo, Pambansang Tahanan

Bahay-Kubo has a deep connection with the Filipino nation. The material structure of Bahay-Kubo is associated with

the Filipinos appreciation of nature and exceptional strength. Its architecture symbolizes hospitality, peace, and

respect in the family. Bahay-Kubo commonly depicts bayanihan, the Filipino concept of volunteerism and concerted

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effort in achieving a common goal. In the article by LJS edited by VSA, Bahay-Kubo is represented as the Filipinos

Pambansang Tahanan.

Paragraph XII (51) Malaon nang kinikilalang Pambansang Tahanan ang bhay-kbo at sinasabing kinatawan sa katatagan ng mga Filipino dahil kaagad nakatitindig kahit magdaan ang bagyo, lindol, at ibang kalamidad. (52) Kinakatawan din nit ang pagiging malapit ng Filipino sa kaliksan. (53) Presko ang kalooban ng bahay dahil maraming puwang para pumasok ang hangin. (54) Ang pangyayaring ito ay sumasagisag diumano sa nakabuks na kalooban ng tumatahan, sa katapatang makisma, at sa pagkakaisa ng pamilya.

The first paragraph, Paragraph XII, emphasizes a number of Filipino ideals attributed to Bahay-Kubo. Sentence (51)

speaks about Filipinos resilience, the vigor to stand tall despite catastrophic experiences. In Sentence (52), the

peoples regard for nature, the nations dependence and fondness to nature are evoked. The structural description,

maraming puwang, in Sentence (53) is collocated with the morals presented in Sentence (54), the Filipinos

hospitality, loyalty, and unity in the family.

The second paragraph contextualizes the connection between Bahay-Kubo and the Filipino ideals presented in the

first aragraph. The Filipinos resilience in Sentence (51) is connected with the idea provided in Sentence (56), that

Bahay-Kubo can be easily built from readily available materials. So despite being destroyed by a storm, it can get

back on its feet in no time. While Sentences (57) and (58) expounds Sentence (56), they also imply the Filipinos

fondness to nature. They talk about construction materials that are native in the Philippine grounds. The paragraph

suggests that the concept of Bahay-Kubo does not only serve practical use to the people but as well reflect the

values that the people themselves live by.

Paragraph XIII (55) Munti at kuwadrado ang estruktura ng bhay-kbo. (56) Madal itong maitay dahil yari sa

materyales na matatagpuan sa kaligiran. (57) Kahoy o kawayan ang mga haligi at balangkas ng sahig, dingding, at bubong. (58) Pawid o kugon naman ang ginagamit na pantakip sa dingding at bubong. (59) Mabab man ito ay nakaangat sa lupa at kailangang akyatin gamit ang hagdan na may tatlo hanggang limang baitang. (60) Karaniwang ginagawang kulungan ng mga alagang hayop ang silong.

Although not explicitly stated in the above paragraphs, Sentences (59) and (60) bring up the idea of the value of

home economics. Sentence (60) particularly tells about the economic function of the houses silong or basement and

about the Filipinos clever ideas to see the profitable potential of even a small space in their house.

The last paragraph emphasizes on Bahay-Kubo as the symbol of the Filipino community. Sentence (61) explicitly

states the connection of Bahay-Kubo with volunteerism and communal work. It suggests an ideal neighborhood

where everyone equally takes part in community building. Sentence (62) shifts to song as a form of the peoples

appreciation of Bahay-Kubo. Although a disjunct, the last sentence may still contribute to the suggested idea about

simplicity of Filipino life and practical ways of survival.

Paragraph XIV (61) Madalas itong maging tanda ng bayanihan, dahil malimit ilarawan na pinagtutulungang pasanin ng magkakapitbahay at magkakanayon kapag kailangang ilipat ng pook. (62) Paksa rin ito ng isang popular na awiting bayan, na naglalarawan hindi ng loob o kaanyuan ng bhay-kbo kundi ng mga pananim at gulay sa bakuran at paligid-ligid nit. (LJS) (ed VSA)

The article emphasizes both on the function and features of Bahay-Kubo and on the morals that are associated with

it. The description of Bahay-Kubos material feature, the kawayan or bamboo, pawid or kugon, logically connects

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the icon with Philippine culture. This indicates the articles use of rational appeal. The description of Bahay-Kubos

function, as a home and as cage for domestic animals, implicates as well the Filipinos relatively basic way of life and

their struggles and survival with nature. These notions draw attention to some emotionally challenging experiences of

the nation with natural disasters. By emphasizing on this aspect of Bahay-Kubo, the article shows its ability to

connect with the affect. Lastly, the morals that are emphasized in the article represent Filipinos ideal disposition.

Resilience and volunteerism, which are stereotypically Filipino, are the values that are evoked by Bahay-kubo in the

article. This connotes that the article gives premium to Bahay-Kubos distinctively Filipino character. The article,

hence, builds Bahay-Kubos credibility as a cultural icon.

3. Historical Sites

Historic places in the Philippines are testimonies of the countrys colonial conditions. Every island is valued for the

story it tells. Every region is treasured for the memory it keeps. Historical sites are concrete evidence of what

transpires in the nations unapologetict past; they are significant marks where unimaginable events are engraved.

They are important spaces in remembering the colonizers contribution to the nations cultural wealth. These places,

as well, symbolically commemorate the gallantry of heroic Filipinos who fought for independence. As great as the

Filipinos struggles and success, are the features these sites possess. The features are either symbolic of the

oppressors power or the deliberate depiction of the Filipinos valor. Thus, historical sites are spaces that are valued

for the time and memories they relive.

3.a Damban ng Kagitngan, a national shrine

The Dambana ng Kagitingan or Shrine of Valor is a postwar memorial site that marks the heroism of Filipinos who

died resisting Japanese autocracy. The article below written by PKJ describes the shrine as the symbol of Filipinos

boldness and highlights the part of the Philippine history that made the place significant. The article also suggests the

idiomatic features the Shrine of Valor displays, its colossal height, sturdy materials, and artistic designs.

The first paragraph, Paragraph XV, declares the Shrine of Valor as a pambansang dambana. Sentence (63)

describes the place where it is located. It explicitly uses the phrase isang makasaysayang bundok. This description,

however, is accounted further in the second paragraph. Although Sentence (63) briefly tells about Mount Samats

celebrated background, it implicates the historical relevance of the shrine. Sentece (64) states that the shrine was

instated in recognition of the Filipinos heroic deeds during World War II. Apparently Philippine cultural icons, like the

Shrine of Valor, depict Filipinos commendable character during significant event in the nations history. Certainly

Sentence (63) and (64) suggest that the Shrine of Valor marks a significant point in Philippine history and represents

Filipinos dedication to their land and their countrymen. These notions substantiate the Shrine of Valors image as a

historical site..

Paragraph XV (63) Ang Damban ng Kagitngan (Shrine of Valor sa Ingles) ay isang pambansang dambana na

matatagpuan malapit sa tuktok ng Bundok Samat, isang makasaysayang bundok sa Barangay Diwa, bayan ng Pilar, lalawigan ng Bataan. (64) Itinay ang dambana bilang pagkilla sa kabayanihan ng mga Filipinong lumaban at nag-alay ng bhay para sa kanilang bansa noong Ikalawang Digmaang Pandaigdig.

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The ideas suggested in Paragraph XIV are elaborated in the second paragraph. Sentence (65) briefly explains the

history behind Mount Samat. It sums up the details with the phrase Labanang Bataan or The Fall of Bataan which

is further described as pinakamadugong yugto ng pananakop ng hukbong Hapones sa Filipinas or the bloodiest

battle against Japanese troupes. The information presented in Sentence (65) emphasizes the essence of Shrine of

Valor to the self-representation of the entire Filipino nation to the world.

Paragraph XVI (65) Naging tagpo ang Bundok Samat ng Labanang Bataan, ang pinakamadugong yugto ng pananakop ng hukbong Hapones sa Filipinas at mahigit sandaang libong sundalong Filipino at Amerikano ang namatay. (66) Sinimulan ang paggawa sa dambana noong 1966 at natapos noong 1970. (67) May lawak itong 73,665 ektarya at nagtatampok ng Colonnade at Memorial Cross. (68) Ang kolonado ay may tuktok na yari sa marmol. (69) Sa gitna nit ay isang altar, at sa likod ng altar ay tatlong stained glass mural na idinisenyo ni Cenon Rivera at ginawa ng Italyanong si Vetrate

DArte Giuliani. (70) Matatagpuan sa labas ng kolonado ang 19 lilok ng Pambansang Alagad ng Sining Napoleon Abueva.

Paragraph XVI also discusses the shrines exceptional features. Sentence (67) (70) give the details that contribute

to the icons incomparable quality. Sentence (67) describes the vastness of the land area where the shrine stands.

Sentence (68) talks about the strength of the Colonnade that holds an altar. Sentence (69) describes the altars

stained glass accent made by famous local and international artists, and Sentence (70) tells of a masterwork by

sculptor and National Artist, Napoleon Abueva, found in the area. The ideas presented above suggest that the Shrine

of Valor, aside from being historic, also showcases Filipino artistry.

In addition to the Colonnade, Paragraph XVII illustrates the Memorial Cross, which is a featured structure of the

Dambana ng Kagitingan.

Paragraph XVII (71) Ang Memorial Cross naman ay itinirik sa pinakamataas na pook sa bundok, sa taas na 555

metro mula sa nibel ng dagat. (72) Ang krus ay yari sa asero, kongkreto, at marmol. (73) May taas itong 92 metro, habng 27 metro, at kapal na 5.5 metro. (74) Matatagpuan sa balt nit ang eskultura ni Abueva na pinamagatang Nabiag na Bato at naglalarawan sa mahahalagang

pangyayari sa kasaysayan, tulad ng pagbitay kay Jose Rizal at laban ni Lapu-lapu. (75) Mayroong elebeytor sa loob ng krus na nag-aakyat ng mga bisita sa viewing gallery sa mga balikat ng krus.

Sentence (71) stresses the elevation of the Memorial Cross from the sea level. Sentence (72) and (73) draw attention

to the material structure and size of the cross. The cross also has artworks of Abueva, the Nabiag na Bato and

depictions of Rizal and Lapu-lapu, on its foot. Sentence (75) cites the gallery that functions as a viewing deck located

at the structures body more than 80 meters above the ground.

Paragraph XVII suggests that the Shrine of Valor has become a tourist destination in the province of Bataan. The site

showcases a superb view of the entire province of Bataan, Corregidors islands, and the Metromanila area for the

tourists as suggested in Sentence (76). The transformation of a historic site into a tourist destination exemplifies the

Filipinos pride of their heritage.

Paragraph XVIII (76) Matatanaw mula sa dambana ang kalakhan ng lalawigan ng Bataan, ang isla ng Corregidor, at

ang Kamaynilaan sa maaliwalas na panahon. (77) Idinadaos sa dambana ang taunang seremonya para sa Araw ng Kagitingan tuwing ikasiyam ng Abril, at magkakasama sa paggunita ang mga beterano ng digmaan at kanilang kaanak, mga kinatawan ng Estados Unidos at bansang Japan, mga pinun ng pamahalaan ng Filipinas, at mga kabataaang Filipino. (PKJ)

The last paragraph describes the tradition that developed around the concept of the national shrine. Sentence (77)

ends the article discussing the annual celebration of Araw ng Kagitingan or Bataan Day on April 9 where war

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veterans and their relatives, officials of the United States and Japan, and high ranking officials of the Philippine

government commemorate the heroism of the Filipino and American soldiers.

The article above purports the idea that the Shrine of Valor is one of the places in the Philippines that became

remarkable as the setting of wars or revolutions that brought out Filipino leaders and soldiers inexorable courage.

This evokes the articles facility to justify Shrine of Valor as a representative of Philippine culture, to appeal to ones

reason and understanding. The article as well stresses that the Shrine of Valor is associated with the part of the

history where the Filipinos, despite defeat, showed great valor for the countrys freedom. This notion apparently

awakens the feeling of pride of ones nation and love for freedom, which is a manifestation of the articles facility to

connect to the emotion. Finally, the article also gives account of the majesty of the structure that implicates the honor

given to the heroic individuals for which the shrine was inaugurated. Because of the emphasis on the grandeur of the

shrines structure, the article certainly promotes the historic site as a tourist destination as well. The transformation of

a national shrine into a tourist spot entails that Filipinos take pride of these places as much as they take pride in

telling the world about the bravery of the Filipino race. This creates the notion that Filipinos have already embraced

the Shrine of Valor as a symbol of their nation. Thus, the article stresses on the icons unquestionable character as a

representation of Philippine culture.

3.b Intramros

Intramuros is a magnificent remnant of the Spanish occupation in the Philippines. It was the economic and political

center at the time. Its massive walls served as the symbol of division between the ruling class and the Filipino

commoners. After the Second World War, parts of it were destroyed. Today it is considered as one of the most visited

tourist spots in Manila.

Intramuros mirrors the opulence of the Spanish government during its rule in the Philippines. The article written by

MBL and edited by GSZ emphasizes the stateliness of the walled city center established by Miguel Lopez de Legazpi

in 1571. Sentences (79) (81) of the first paragraph, Paragraph XIX, state that the 60 hectare land area of Intramuros

houses some economic, religious, and academic establishments exclusively for the rulers. As the center of their

governance, Intramuros has been called Maynila (now the capital of the Philippines).

Paragraph XIX (78) Intramros ang tawag sa lungsod na itinatag ni Miguel Lopez de Legazpi na nasa mismong

kinalalagyan ng kuta ni Rajah Soliman sa may bunganga ng Ilog Pasig noong 1571. (79) Ang Intramuros o sa loob ng mga pader ang kinikilalang sentro ng pamahalaan, ekonomiya, relihiyon, at edukasyon noong panahon ng Espanyol. (80) Matatagpuan sa 60 ektaryang saklaw nito ang mga pangunahing simbahan, kumbento, eskuwelehan, at gusaling pampamahalaan ng mga kolonisador. (81) Pawang mga Espanyol lamang ang maaaring manirahan sa loob ng nasabing lungsod maliban sa mga Filipinong kutsero, labandera, at kasambahay na nagtatrabaho sa loob ng Intramuros. (82) Sa matagal na panahon, ang Intramuros ang tinatawag na Maynila.

The presented idea in the above paragraph, especially in Sentence (81), highlights the severity of bigotry in the

society during the Spanish colonization. Although Filipinos had access to the center, they are either the educated and

the bourgeoisie competing with affluent Spaniards or the blue collar workers performing duties like slaves to their

Spanish masters.

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Apparently the entire splendors that can be found in Intramuros are from the Spaniards. The second paragraph,

Paragraph XX, illustrates the kingdom-like structure of the historical site. Sentence (83) compares Intramuros to the

cities in Europe. It was surrounded by a body of water that makes it ideal for trade. Sentence (84) enumerates the

passages that serve as entrances to and exits from the walled city. Sentence (85) details the cathedral and churches,

administrative buildings, and Spanish established schools such as Colegio de San Juan de Letran, the old Ateneo de

Manila University, Colegio de Santa Isabel, and the old University of Santo Tomas.

Paragraph XX (83) Katulad ng mga lungsod sa Europa noong panahong iyon, napapaligiran ang Intramuros ng

tubig at pinoprotektahan ng makakapal na pader. (84) May walong puwerta o pintuan ito, kagaya ng Puerta de Parian, Puerta Real, at Puerta Isabel at mga moog na tulad ng San Andres, Sta. Lucia at Santiago na ipinatayo ng mga gobernador-heneral ng Filipinas hanggang 1872. (85) Nakaluklok din sa Intramuros ang Katedral ng Maynila; ang mga simbahan ng San Agustin, Santo Domingo, at San Ignacio; mga gusaling pang-administrasyon kagaya ng Ayuntamiento at Intendencia; at mga eskuwelahan tulad ng lumang Ateneo de Manila, Colegio San Juan de Letran, dating Unibersidad ng Santo Tomas, at Colegio de Santa Isabel.

The paragraph above suggests the major influences of the Spaniards to the Philippine culture, the churches that

transformed the larger part of the nation into Catholics and the schools that became the basis of the present

education system in the Philippines. The description given to Intramuros invites a vacillating view about the Spanish

occupancy in the country, whether it is a boon or a bane. It makes the historical site a mark of the Filipinos agonizing

past or, perhaps, of the commencement of a more educated nation.

Paragraph XXI (86) Malaking bahagi ng Intramuros ay nasira noong Ikalawang Digmaang Pandaigdig. (87) May

programang inilunsad upang muling ayusin o ibalik sa dating anyo ang mga estrukturang nasira ng digmaan at ng pagpapabaya. (88) Ang nasabing lugar ay kasalukuyang isa sa pinakatanyag na pook na pinapasyalan ng mga Filipino at banyagang turista sa Maynila. (MBL) (ed GSZ)

Despite the conflicting images attributed to Intramuros, at present it is appreciated for the elegance of its Hispanic

inspired architecture. Sentence (88) declares Intramuros as one of the famous place for leisure for both local and

foreign tourists. This mirrors a conflicting Filipino ideology that points to the politically challenging moments when the

countrys ideals is apparently hanging between the ardent desire for liberation and for literacy. Like other postcolonial

countries, the Philippines has gained as much as it lost from the time of its subservience to foreign rulers.

The article talks about Intramuros as a mark of the struggles during and the rewards from the countrys colonial past.

It implies that Intramuros is not just a landmark but also a historical marker. This notion suggests that the article has

the facility to rationalize Intramuros being an icon of Philippine culture. The article also stresses that Intramuros

serves as a reminder for the Filipinos to value the legacy of the Philippines uncompromising character. The article

apparently tries to enkindle Filipinos sense of nationalism and self-regard. These notions are what the article used in

order to connect to the emotion of the readers. Lastly, the article also highlights that the honor that the Philippine

culture gives to a historical site despite the grief and dismay of the people associated with it, is an acknowledgement

that through the years the Filipinos have managed a form of cultural accommodation and, perhaps, have acquired a

hybrid identity. This implies that the Filipinos have already accepted Intramuros as representations of themselves.

The article, hence, builds up Intramuros credibility as a symbol of Filipino community.

4. Flora and Fauna

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Most Philippine endemic animals and plants are known for their astonishing characteristics. They have interesting

features and origins that make them even more remarkable. On the one hand, a lot of plants that can be found in the

Philippine forests have medicinal properties. They have been used as remedies to simple illnesses or as food

supplements. They can also be the main ingredients of famous Filipino dishes. On the other hand, some mammals

possess incredible strength. The domesticated ones, especially, have the potential to work with human beings. They

can help the community people in their livelihood or they can be the main source of products like milk and eggs. In

other words, the plants are a part of the Philippines culinary culture while the animals contribute to the livelihood

traditions of the country.

Philippine Flora and Fauna are culturally valued for the relationship that they have with the lives of the people in the

community. They have particular uses that have become important part of the traditions or the daily lives of the

people. They are also distinguished for their unique characteristics that essentially address the needs or the demands

of the community.

4.a Kalabw, Pambansang Hayop

Kalabaw or Carabao is a domesticated animal known for its strength and reliability in farm duties. It bears the title

Pambansang Hayop ng Filipinas and is traditionally seen in images that depict life in a rice field. Aside from its

ability to perform duties in the farm, some regions in the Philippines have traditions that involve carabaos in

competitions.

The article below by SSC and edited by VSA talks about interesting facts about the Pambansang Hayop ng Filipinas.

The first paragraph, Paragraph XXII, gives a general description of a carabao. Sentence (90) distinguishes the

species of carabao that can be found in the country. It describes the Philippine carabao as pinaamong uri ng

kalabaw na pantubig or domesticated breed of water buffalo. It implies the uniqueness of the Philippine carabao from

other species of its kind in the world. Carabaos are usually associated with farmers in the Philippines as stated in

Sentence (91). Because the Philippines is an agricultural country, carabaos have become a part of its agricultural

traditions. Moreover, Sentences (92) and (93) suggests that carabaos are a native of this land. These notions validate

the carabao as an icon of Philippine culture.

Paragraph XXII (89) Ang kalabw ( Bubalus bubalis carabanesis o minsan Bubalus carabanesis) ay ang Pambansang Hayop ng Filipinas. (90) Ito ay isang domestikado o pinaamong uri ng kalabaw na pantubig. (91) Iniuugnay ang kalabaw sa mga magbubukid dahil ito ang hayop para sa pag-aararo at para sa paghila ng kariton na ginagamit ng mga magbubukid. (92) Liks ang mga kalabaw sa Filipinas at anuwng ang katutubong pangalan. (93) Buhy pa ang pangalang ito sa Aklanon, bagaman naputol at naging nuwng na lamang sa Iluko.

The Philippine carabao is also known for its incredible muscle power that enables it to pull heavy carts loaded with

sacks of rice grains. Paragraph XXIII illustrates in detail its other characteristics. Sentence (94) tells about its life span

that reaches 18-20 years and its weight that can go up to 800 kgs. Sentences (95) (98) further discuss its physical

features and its habitat.

Paragraph XXIII (94) Karaniwang nabubuhay ang mga kalabaw nang 18 hanggang 20 taon at maaaring umabot

ang timbang sa 800 kilo. (95) Parehong may sungay ang babaet lalaking kalabaw. (96) Itim naman ang karaniwang kulay ng balt nito sa buong katawan hbang mabuhok ang kanilang ulo at ang dulo ng kanilang buntot. (97) Tinatawag na albino ang may kulay na pink. (98) Kadalasang

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makikitang nagpapalamig ang mga kalabaw sa mga putikan, dahil wala itong tinatawag na sweat glands na ginagamit ng maraming hayop upang maglabas ng init mula sa katawan.

Aside from its significance in farming, Philippine carabao can also be the main source of income of the farmers and

breeders. Paragraph XXIV talks about the products that can be generated from carabaos. Sentence (100) states the

importance of carabao as a source of dairy product. Sentences (101) and (102) stress that carabeef, or carabaos

meat, is sold in the market. Moreover, carabaos are part of traditional festivals in some provinces. Sentences (103)

(104) highlights competitions and ceremonies that involve carabaos.

Paragraph XXIV(99)Damo, pulut, at iba pang halamang ligaw ang pagkain ng kalabaw. (100) Mahalaga din ang mga

kalabaw dahil sa gatas at karne. (101) Kinakain ang karne ng kalabaw. (102) Tinatawag itong carabeef sa Ingles. (103) Sa mga pista, nagkakaroon noon ng karera ng mga kalabaw. (104) Sa parada, may paligsahan hinggil sa pinakamakisig at pinakamalusog na kalabaw. (105) Sa Pulilan, ipinagmamalaki kung pista ang mga kalabaw na tinuruang iluhod ang unahang mga paa. (SSC) (ed VSA)

Indeed, the Philippine carabao has a deep connection with the daily lives of the people in the Philippines. While it

stands to symbolize hardworking Filipinos, Philippine carabao literally serves as a companion of industrious farmers

in basically all the stages of farming. Aside from its productive contribution in agriculture, Philippine carabao is also a

source of produce like milk and meat. The article above emphasizes on these notions and further extends the

relationship of carabaos to the Filipino community by underscoring other Philippine traditions like carabao festivals

and ceremonies. The connection that carabao has to the lives of the people in the Philippines reveals different layers

of significance for which carabao is valued. The Philippine carabaos role in local agriculture and festivities validates

its image as a cultural icon.

The association of carabaos characteristics with Filipino farmers, the culture of farming, and some Filipino traditions

and ceremonies in the article entails the use of a strategy that leads to a justification why such a beast can be

considered a symbol of Filipino culture. The article highlights, too, highlights in the first paragraph, that the species of

carabao, water buffalo, is endemic in the Philippines. This implies the articles intention to build up the image of

carabao as a genuine representation of the nations culture.

4.b Kadena de Amor

Kadena de Amor is an ornamental vine. Aside from its festoon effect in the garden, Kadena de Amor has medicinal

properties. The article below written by VSA expounds Kadena de Amors qualities that connect to both Philippine

history and culture.

The first paragraph describes Kadena de Amors mien and origin. Sentence (106) stresses its intricate parts including

its pliable stems, green rugged-edged leaves, and rosy billowing flowers. Sentences (107) (109) suggest its origins.

Sentence (107) reveals that inspite its popularity in Philippine botanical culture, it is not a native plant. It originated

from Mexico; perhaps brought by the Mexicans on their expedition to the Philippines. Sentences (108) and (109)

imply that such a variety of plant is known in other parts of the world since it comes in many English names like

brides tears, coral vine, Chinese love vine, and queens wreath.

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Paragraph XXV (106) Ang kadna de amr (cadena de amor sa Espanyol) ay gumagapang paakyat na baging,

bahagyang may tigas, salit-salit ang dahong hugis puso, lungtian, at tila nilagare ang gilid, at may kumpol-kumpol na bulaklak na put o mapusyaw na pink. (107) Katutubo ito sa Mexico bagaman laganap ngayon sa buong Filipinas. (108) Dalawa sa pangalang siyentipiko nit ang Antigonon leptopus Hook & Am. at A.cinerascens M. Martens & Galleotti. (109) Tinatawag naman itong brides tears, coral vine, Chinese love vine, queens wreath sa Ingles.

The description above is a reminder that other countries have set their foot on some parts of the Philippines for trade

without any intentions of claiming the land and its people. Apparently, European countries are some of the major

influences in Philippine culture. For example, the Filipinos culinary techniques are informed by the Mexicans in terms

of using spices and other ingredients. The Filipinos also developed taste buds fond of the organically sweet and sour,

herbage with a kick of jalapeo dishes.

Despite being foreign in this country, the Filipino people have learned to adopt Kadena de Amor and to maximize its

use. Paragraph XXVI highlights its uses. Sentence (101) suggests that it can be arranged in a bouquet for weddings

and other special occasions. Sentence (111) indicates its medicinal property. It can be used as remedy to minor

wounds. Lastly, Sentence (112) speaks of a kind of Bohol salad dish whose main ingeredient is the Kadena de Amor

petals.

Pargraph XXVI (110) Ginagamit itong palamuti, lalo na ang tila tanikalang bulaklak na ipinampapaganda sa bouquet o korona ng bulaklak. (111) Sa ilang pook sa Filipinas, ginagamit na pantapal sa sugat ang dahon. (112) Nakakain ang bulaklak, at idinudulot na salad sa isang restoran sa Bohol.(VSA)

The very brief description about Kadena de Amor reveals a lot of important information about Philippine culture,

especially on its foreign influences. In addition to its ornamental qualities, the article stresses the value of Kadena de

Amor in the countrys traditions. It highlights the nonnative origin of the flower that implies the clout of extrinsic forces

in shaping the nations culture. The article also gives information about its medicinal property that implicates the

relationship of Kadena de Amor to herbal medicine tradition in the country. Lastly, the brief description accounts for a

dish that uses Kadena de Amor which connects it to the culinary culture of the Philippines. All these notions

presented in the article validate Kadena de Amor as an icon of Philippine culture.

Kadena de Amors popularity in the Philippines despite its foreign origin poses a question about how it, in the first

place, reached the Philippine shores. The answer would suggest of its rich historical background. It may imply stories

of the culture of trade between the locals and the nonnatives long time ago. These explicit and implicit ideas in the

text indicate that such a flower can symbolize an aspect of Filipino culture. These ideas as well may be stregically

appropriated by the text to logically justify Kadena de Amor, despite its nonnative origin, as a representation of

Filipino culture. Furthermore, the article highlights the unique relationship of the flower to the culinary culture in the

Philippines. It highlights that the Filipino culture have come to embrace it as a component of Philippine cuisine. By

emphasizing on this notion, the article nativizes such a foreign flower to validate it as a cultural icon.

5. Filipino Inventions

Before modern technology from other parts of the world reached the Philippine islands, ancient Filipinos have already

developed ways to improve their daily lives using materials that can be found in the environment. They have ways of

protecting themselves from the forces of nature, they have methods of food production, and they have means of

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expressing themselves. Filipino inventions are the products of their resourcefulness inspired by the need to adapt and

to survive in their natural living environment. The innovations of the early Filipinos have become the traditions that

modern people today are accustomed to. Filipino inventions reflect the fundamental life of the native Filipino people.

In addition to their functional features, they are also valued because they are the embodiment of Filipinos basic way

of life that, perhaps, the modern times has already forgotten.

5.a Vakl

Vakul is a traditional protective gear of the natives of Batanes against the suns burning heat. It may not be known in

all parts of the Philippines but the people of Bataanes consider this an essential especially in farming. Its materials,

origins, and other features are concisely discussed in the paragraph below written by VSA.

Paragraph XXVII (113) Ang vakl ay isang kasuotang tumatakip sa ulo at likurang bahagi ng katawan

upang makanlungan laban sa matinding init ng araw. (114) Isinusuot ito ng kababaihang Ivatan kapag nagtatrabaho sa mga halamanan sa mabatong burol ng Batanes. (115) Tradisyonal itong ginagawa ng kababaihan sa barangay Chavayan, isla ng Sabtang. (116) Mula ito sa pinatuyong dahon ng palmang vuyavoy at maninipis na himaymay ng abaka.

(117) Inihahalayhay at itinahi ang mga vuyavoy sa abaka. (118) Kapag suot, nsa ilalim nit ang isang sisidlang backpack na may patigas na yantok at tinatawag na yuvuk. (119) Nsa yuvuk ang mga gamit sa paghahalaman. (VSA)

Sentence (113) describes Vakul as a piece of garment worn on the head and back to keep the body away from direct

heat of the sun. It also implicates the warm climate in the region of the Philippines where it is used. Apparently with

this kind of climate, Vakul is vital to the peoples survival in the area. Sentences (114) and (115) highlight that Vakul is

for women who work on the hills of Batanes to farm and that it is usually made by the women of their community.

These imply the cutoms of the people in agriculture. Sentences (116) and (117) give details about the the materials

and the procedures in making a Vakul, inihahalayhay at itinatahi ang mga vuyayoy (palm leaves) sa abaka. These

sentences suggest that Vakul making is a tradition among the women in Batanes. It is probably a skill that older

women of the community teach to the young ones. Sentences (118) and (119) illustrate Vakuls main feature, the

yuvuk or backpack. This imply how intelligently designed Vakul is in order to serve its mundane but very crucial

function.

The short description about Vakul validates its image as a cultural icon. The article emphasizes on its essential

function to the lives of farmers in Batanes. It implies the importance of Vakul in agriculture in that particular region of

the Philippines. By suggesting this idea, the article substantiates it as a representation of the culture of farming in

Batanes. The article, therefore, uses its facility that appeal to understanding of the readers. The article also highlights

that such innovation has become ingrained in the communitys practices, especially as a tradition among women. The

article, by highlighting this notion about such an innovation, employs its ability to establish Vakuls iconic character.

5.b Awideng

Awideng is a musical instrument used by the Bontok people during festivities, communal work, or even in wooing a

woman. The paragraph below describes Awidengs distinctive features and special use, and the community life that it

embodies.

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Paragraph XXVIII (120) Ang awideng o awedeng ay isang instrumentong pangmusika ng mga Bontok na yari sa metal. (121) Kabilang ito sa pamilya ng mga jews harp o kubing (ang pangkalahatang tawag sa Filipinas sa mga ganitong instrumento). (122) Ang awideng ay katulad din ng abilao, abil-law o abellao ng mga Bontok ngunit gawa ang mga hulng nabanggit sa kawayan.

The first paragraph, Paragraph XXVIII, gives a general description of Awideng. Sentence (120) tells about the

material it is made from. Sentence (121) mentions the family of musical instrument it belongs to. Sentence (122)

explains its resemblance to other native musical instruments. Because Awideng is relatively a less familiar Philippine

musical instrument, the article necessarily mentions jews harp or kubing, a more popular term for the kind of musical

instrument that indigenous tribes in the Philippines play. The paragraph implies that just like the Philippine tribes that

appear alike most of the time, indigenous musical instrument which originated from them are also distinguishable

from one another. Each musical instrument possesses a unique characteristic that differentiates that of a tribe from

that of another. Usually the unique characteristic of a musical instrument mirrors the same unique qualities of the

mother tribe.

The last paragraph, Paragraph XXIX, explains how, where, and when Awideng is played. Sentence (123) states that

the musical instrument can be played with the mouth. Sentence (124) describes how a finger can trigger awideng to

vibrate. The position of the tounge and the shape of the mouth can create different sounds from the vibration.

Sentence (125) talks about other musical instruments that accompany Awideng and some significant occasions to the

tribe where playing Awideng has become a practice.

Paragraph XXIX (123) Upang makalikha ng tunog, inilalagay ang awideng sa pagitan ng mga lab o ngipin ng

tumutugtog. (124) Ang pagkalabit ng kaniyang daliri (na madalas ay ang hinlalaki), ang paggalaw, panginginig, at posisyon ng kaniyang dila, at ang espasyo sa bunganga ang nagbibigay ng ibat ibang tunog sa awideng. (125) Madalas ginagamit ang awideng, kasma ng iba pang instrumento, tulad ng abilao, gangsa, at kullitong, sa pagbibigay ng aliw o kasiyahan kapag nagtatrabaho ang mga Bontk [sic] o kay ay sa panliligaw.(MJ)ed VS

The last sentence of the paragraph is especially striking because of its emphasis on a tradition the urbanized

communities do not commonly witness. Although there are new ways of enjoyment and courting in modern societies,

knowing about the practices of the native Philippine tribes reconnects the people to their roots. The last sentence

invites a realization that the modern activities today evolved from the traditions of the minorities in the Philippines.

The article stresses that Awideng is a fundamental Filipino musical instrument. Despite its seemingly irrelevant use of

Awideng at present because of gadgets that play music instantly, it can be realized through the article that playing

native musical instrument like the Awideng is apparently a more accurate reflection of Philippine culture because it is

less or completely not influenced by modernization. By implying this, the article uses its facility to appeal to the

readers understanding or reason to recognize that Awideng can represent Filipino culture.

Finally, Awideng is one Filipino invention that reflects the peoples fondness for gaiety. The article mirrors a different

side of the Filipino life, the disposition to resort to merry making to ease exhaustion. This notion associates Awideng

to a uniquely Filipino attitude. By emphasizing on this, the article suggests that Awideng has the credibility to

symbolize the Filipinos and their culture.

DISCUSSION OF RESULT

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The written descriptions illustrate important facts and ideas about the Philippine cultural icons presented by NCCA

SK. The texts represent cultural icons using concrete details and abstract ideas. The specific details can be material

descriptions, essential features, important functions, or acquired characteristics of cultural icons. The abstract ideas

can be concepts such as social practices and moral standards, ideas like ingenuity and uniqueness, or experiences

like emotions and memories, that are associated with the cultural icons.

The textual analysis of the written descriptions reveals the both explicit and implicit facts and ideas about Philippine

cultural icons. By examining the paragraphs and sentences in the articles, the values that are ascribed to the cultural

icons can be identified. The icons significance may be explicitly stated in the text or may be implied. By focusing on

the linguistic aspects that are present in the text and by looking into some preconceived notions about Philippine

culture, the different layers of significance or constitutive elements of cultural icons are unveiled.

There are at least two components of an icon that substantiate its value. The table below summarizes the constitutive

elements of the icons.

Table 1. Culural icons layers of Significance highlighted in the text

Cultural Icon Constitutive Elements

Personalities Role

Qualities (intrinsic or extrinsic)

Item of Heritage Use

Features

Historical Sites Historical mark

Features

Flora and Fauna Characteristics

Relevance to the community

Filipino Inventions Function

Relevance to the community

Table 1 shows the components for which the cultural icons are valued. It illustrates that Personalities are represented

as icons with a Role, that is relevant to at least one aspect of Philippine culture, for example Sciences or the Arts; and

with Qualities, that make them paragons of an ideal Filipino. The table also illustrates the constitutive elements of the

Items of Heritage: Use and Features. Use refers to the functions it serves either in the past or the modern times;

Features refers to the properties of the items that are characteristically Filipino or may implicate the unique Filipino

character. Moreover, Table 1 shows that Historical Sites are valued for their mark in the Philippine history and their

notable Features. Their mark in the history relates to the connection that they have to the nations colonial past. Their

notable Features are either the visible traits or the attributed concepts that make them appreciated by the Filipino

nation today. The table also illustrates the constitutive elements of Flora and Fauna. As cultural icons, they have

Characteristics that are rooted on the native land or that can be traced through the history of the nation. They also

have Relevance or a deep connection to the Filipinos practices or their ways of life, such as farming or cooking.

Finally, Filipino inventions are presented in the table as icons having a Function, which is essential to the life of the

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people in the community or to their traditions, and Relevance, as well, to the culturally ingrained attitudes of the

Filipinos, like fondess for gaiety and regard for the community women.

Apparently the purpose of the written descriptions is to promote cultural icons. They are written to suggest that the

icons are valid representations of Philippine culture. In order to promote the cultural icons, the articles capitalize on

their constitutive elements or their ascribed values. The manner the text highlights the values of the cultural icons

evoke various modes of validation that the text itself deliberately employs. Table 2 summarizes the modes of

validation in relation to the icons constitutive elements.

Cultural Icon Constitutive Elements Modes of Validation

Personalities Role Rational appeal

Qualities (intrinsic or extrinsic) Emotional and Ethical appeal respectively

Item of Heritage Use Rational appeal

Features (conceptual or material) Emotional and Ethical appeal respectively

Historical Sites Historical mark Rational appeal

Features (conceptual or material) Emotional and Ethical appeal respectively

Flora and Fauna Characteristics Rational

Relevance to the community Ethical appeal

Filipino Inventions Function Rational appeal

Relevance to the community Ethical appeal

The modes of validation are anchored on the rhetorical modes. Table 2 shows that the texts use Rational appeal to

validate cultural icons. They highlight the Roles, Use, Mark, Characteristics, and Functions to justify the icons as

symbols of culture. The texts, moreover, uses Emotional appeal. They highlight the intrinsic Qualities, conceptual

Features, and the icons Relevance to the community to connect to the readers sentiments about their sense of

nationhood. Through an appeal to the emotion, the text can persuade the readers to accept the icons as reflections

the Filipino community. Finally, the texts establish the credibility of each cultural icon by emphasizing on its extrinsic

Qualities, material Features, and its Relevance to the community. Through the appeal of the icons credibility, they

can be instated in the cultural construct of the people as the official and legitimate symbols of the Philippine culture.

CONCLUSION

The descriptive texts used as data in this study are instrumental in the attainment of NCCA SKs objective to promote

the cultural icons. They have the control to mobilize words and phrases to explicitly and implicitly suggest what layers

of significance about the cultural icons would be highlighted. In effect, the texts deliberately ascribe values to the

cultural icons. They establish, justify, and legitimatize cultural icons as paragons of Philippine culture. Certainly, the

texts are equipped with rhetorical modes that facilitate the validation of icons. They execute authentication by using

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the icons value that appeals to reason, to emotion, and that builds an icons appeal of character. These are the

means by which the descriptive texts promote cultural icons.

Moreover, the analysis of the rhetoric of descriptive text leads to some significant implications about instating or

promoting cultural icons. In this study, the texts are used to underscore some important elements that ideally

constitute symbols of Philippine culture. The analysis of the paragraphs and sentences reveals some ideologies that

influence their production. For instance, the choices of words and phrases uncover the concepts that are culturally

valued like the nations colonial experience, the features that reflect local favors, and the assumed unique Filipino

characteristics. In other words, the presupposed ideas about Philippine culture inform what would significantly

constitute a cultural icon. Therefore, instating a cultural icon necessitates preconceived ideas about the nation and its

people. Unfortunately, this speaks of the potential perpetuation of ideas about the Filipinos which are based on

stereotypes.

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