“Peace” is vast; it’s the slow and quiet mornings, with coffee in hand; the ringing silence in amundane land; the absence of “war”. Despite its all-encompassing definition, most of us do notfully grasp the privilege of peace because, fortunately enough, we aren’t faced with actual“war”. Peace is relatively simple, but in application? Ostensible. If it were simple, how comewar prevails? How come the ache and taint of foregone warfare—the history of abuse,exploitation, and bloodshed—continue to haunt bloodlines of victims? Humans don’t realizethe reality of an on-going genocide in the world; humans refuse to acknowledge their faultsagainst nations whose people they’ve pillaged and exploited for personal gain—yet we continueto act as if life goes on without halt.History has modeled peace as a bandage between nations afflicted by violence. “Peace” is anagreement plastered onto paper swearing to ceasefire, shedding a ‘piece’ of peace. Yet it is in
Doing what feels right is an instinct and it’s natural. We always have this kind of feeling where it may seem rightbut it was wrong all along because in our perspective, we thought that everything that we are doing is right butpeople oppose that idea or certainty. I’ve faced a situation like this once and it happened during a game where Ithought it’s right but it’s actually wrong but that’s the thing, it’s called instinct. People do oppose what I thoughtand people stick to my solution and answer. Believing the thought of something right is always not actually wrongbecause instances of something are right but the outcome came out right. I’ve learned that handling this kind ofinstinct in a situation where we have to decide and have a gut feeling of whether what we are doing is right but itends up in a conflict between me and the person who’s opposing. Knowing the mistake because of an involuntaryinstinct is always not the problem, other people do have the same instinct and feeling that they may seem right butconclude something wrong but that’s just normal and it is a part of life. Being in these situations will determinewhether our decisive instincts are good, bad or tied. A psychological aspect like instincts makes us think of what--Tristan Banua Recently, I had an argument with my mother which caused conflictbetween us both. She thought I was frustrated with her, and then shebecame frustrated. I was very confused why she approached me withsuch anger and proceeded to explain the situation and said it wasbecause I was not helping my brother with something we weresupposed to do together and had a misunderstanding on when to do it,in which he decided to do it himself but showed no frustration towardsme, which led to my mom thinking I did not want to help. I tried tostay as calm as possible, but I became frustrated, as well, and wasoverwhelmed. But in the end, I got my cool back and the problem wasfinished as it was resolved peacefully after a few minutes of talking.In solving a problem or situation, finding and knowing the side of whoI am arguing with would help try and resolve the situation easier andfaster. If both sides would know each other’s side and listen with openminds, then both parties would try to solve the situation more calmlyand clearly. Arguments are normal and happen even within families,but what matters most is how they are resolved with respect and care.Understanding, patience, and honesty with what the other party said—just like how I would want to solve my problem or situation with who Iam arguing with—makes all the difference. These kinds ofdisagreements can help us grow, improve communication, and developdeeper respect and empathy for one another in the long run. With time--Maximus Cruz
Being a rather emotional and imperfect person, it is quite easy for me to lose track of mybearings and moral ground. I could just speak about the good things I have done, but I amnot going to do that. My cousins would say to me, “may pinagmanahan ka ah!”, which isa tagalog expression that they would say to me about being “born into a good lineage”. Ithink they “praise” me because of my lifestyle, the way I dress, and particularly, thepeople I know.Relationships to me were foreign, and I would describe myself as shifting from a varsityplayboy type, to what I am now. I find it ironic that the peace I have now, is the kind ofpeace I took away from the people I knew before. Relationships go wrong for a number ofreasons. Disagreements, arguments, and in simpler terms, it is my ego against yours, butbeing the man, it seemed like you always lost this game. I fell victim to this, and I lost, noConflict is necessary, the negative connotation of conflict itself however, is not. If there is noopposition to your actions, then it doesn't just feel right, it is right. One confrontation after another,We seek the diversity of opinions and the subjectivity innately found in morals and values. Thesethings will always be our guidelines in order to do right by everyone.In a particular experience, I found my values and my ways challenged. I disliked an action that wastaken and thought it to be excessive. However, the majority opposed me and the long-standing beliefsof the past which were degrading, and so they chose the person who would rather than I, whowouldn't. I chose to leave that environment behind as it felt right for me to do so, seeing as the personI see myself as just can't agree with the new changes and beliefs I didn't agree with. For some time itmay have been prosperous, but just like the old ways, opposition was needed to find balance and orderwithin. As only one side ruled without opposition, hope died ahad made a huge mistake, no matter how well I or they meant, without our opposing concerns, therewould be many an oversight. Both sides really did want the best for everyone, however, I could'vehelped them avoid straying off what was right if I had not left in the first place.Opposing beliefs can always find a middle ground. No matter how righteous one can be in theirspecialized fields, wisdom is in limited supply and so stumbling is inevitable. Be open to learning andunderstanding the opposition as it is for the common good for all who are involved . This is what Ilearned.--Elijah Cruz
The idea of self righteousness operates on an individual's connection and reflection with difference andcontrast. We perceive each other in the Filipino diaspora as \"kapwa\", or an identity based on inner reflectionthat stems from the idea of an internal mirror--embodying social connection, respect and inner self in others.The Philippines suffers from an avid and widespread corruption in both politics and culture, deriving fromstruggle, the struggle to remember what \"kapwa\" really is in the realm of political ideas and identity. Whilethese cultural ties keep us together, social connections are fragmented; the invisible system that precedes itsown people rot, dismay and hurt the capacity of our future to further nurture its own people; serving as botha struggle to uncover the deep, cracked and tangent shared identity and a universal binding agent, knowingthat the same humanity that divides us, is also the same humanity that connects us - - an agent for theFilipino Identity.Growing up in a vocal household, politics and policies are a staple in after dinner talks, casual conversations
Common ground and dialogue makes us compatible and good communicators to someone. This essay aimsto present the solutions that can help people with different backgrounds to become true friends. To do this,it will present first the different barriers that make them unable to be compatible. Nonetheless, this essaywill posit the value of humility, accompaniment, and love that make us understand our diversity.Real friendships can cross borders no matter what the reason is. If a person is willing to attain friendship,they should accept the diversity of every human being and be willing to adjust or understand the humanperson who they are or what they are. Therefore, friendship is not easy. It is about sacrifice and givingyourself to one another. Hence, in order to achieve a good friendship, we must understand each other byhandling our differences in culture, language and values. Therefore, friendship is not just about happinessand joyfulness, it is also about humility, accompaniment and love. First, humility. It will help us to adjust tothe person that we want to build a relationship with. It also allows us to accept the differences of everyBeing human is the simplest connection we all have. Our nature as humans to express emotions, transcendsthe limits of language. Being imperfect creatures can serve as the foundation of a connection and a betterunderstanding of each other. In my case knowing that everyone grew up differently prepares me fordisparities between values and behavior. While this could be a hindrance to a connection, it could alsoprovide newfound perspectives. Moreover, our sense of curiosity could propel us into getting to knowothers regardless of where they came from. Meeting people not just from different schools but alsodifferent regions made me realize the nuances possible from various sources. It also amazes me that eventhough we had different upbringings, we tried to understand each other because we formed a connectionover shared interests, new knowledge, and most importantly the sense of belongingness that was forgedbetween all of us. As humans, we are considered as relational beings thriving in the company of oneanother. Through the different experiences that had positive impacts on me, and the negative impacts that
K I S A P M A T A A Film Of Mike Power in
Kisapmata is a film that stands in the forefront ofthe Philippines film history, a showcase ofmasterful storytelling mixed with contemporarycommentary on the Martial Law.In this project, student are tasked to give theirown analysis of the films, then synthesizing it- Natagoc, Russel
K isapmata Members : Agbing, JakobCruz, MaximusMilliare, ShakiraNatagoc, Sam RusselProof ReaderProof ReaderLayoutEditor, Kisapmata
MAIN CAST/CHARACTERS Charo Santos as Milagros Carandang NoelManalansanDaughter of Dado and Wife of Noel, wherethe resolution of the story will be about herPoint Of view.Jay Ilagan as Joel ManalansanHe is Mila’s boyfriend, a gentle and caringman who becomes caught in the conflictwith her controlling father.Vic Silayan as Sgt. Diosdado Carandang He is Mila’s father, known for beingextremely strict and controlling in the story.Charito Solis as Adelina GonzalesShe is Mila’s mother, a quiet and fearfulwoman who is also under the control of her
SINOPSIS/SUMMARY OF THE MOVIE K isapmata is a Filipino film releasedin 1981, following the lives of Mila andher family under Dadong, her father,and a retired policeman’s oppressiverule over their lives. Mila reveals thethe news that she is pregnant and has plans to marry her boyfriendand her baby’s father, Noel. Dadong initially appears to accept Milaand Noel’s marriage; however, his actions slowly reveal hisdisturbing side and abusivepossessiveness with his family as hemanipulates and traps the couplewithin his control, stifling all attemptsfor independence of the couple. Themovie develops into a psychologicalthriller as it exposes the abuse, secrecy, and violence hidden behind themask that Mila’s family puts on of a “normal” Filipino household. The filmwhen the young couple decided to confront Mila’s ex-cop father.Fearing that his grip on Mila and theirincestuous baby is beginning to slip.Dadong killed his entire household in adramatic familicide that ended with himkilling himself.
The definition and concepts of power: is the ability of an individual or institution to influence,direct, or control the actions of a large group of people. It canoperate through persuasion, force, incentives, or media, shapinghow people behave and think. Often, it becomes embedded insocial structures, making it seem natural or unquestioned. refers to the power to manage and regulate life POWER BIOPOWER NECROPOWER
student scene analysis: I. Commentary Against Patriarchy and the Marcos RegimeKisapmata also serves as a commentary against patriarchy and the Marcosregime. State violence, suppression of freedom and identity, and the loss ofautonomy and privacy are masked as care and protection. Those who claim tobe protected are often the ones who are violated. Fear is used to instill selfdiscipline, and when control is threatened, extreme violence is employed tomaintain order. The film reflects a nation trapped in fear, silenced, and brokenby years of authoritarian rule, particularly during the period of Martial Law.II. Mila and Adelina’s Silence & Household BiopowerBetween 16:50–18:17, Mila and Adelina’s subservience and silence indicate theexercise of normalizing biopower through self-discipline and household norms.This scene establishes the oppressive environment in the Cabangon household,where fear, routines, and obedience shape daily life.III. In this scene, biopower is evident in the way Dadong controls Noel and Milawithout the constant use of physical force. Biopower, as Rafael (2019) explains,concerns control over all aspects of life—emotions, actions, and daily routines—through authority and discipline. Noel, despite wanting to resist, self-regulateshis behavior because he knows Dadong is always watching and controlling.This reflects how citizens often internalize state power, mirroring Martial Lawwhen fear and discipline normalized obedience. At the same time, necropoweris present, as Noel’s submission is not only about discipline but also survival.Dadong’s control carries the threat of violence and even death if resisted,
student scene analysis: IV. Mila’s Attempted Escape from the HospitalBoth monitoring and stalking are used to exercise power. Even when Milaattempts to break away from the hospital, Dadong looms over her, reminding usthat his control cuts across boundaries and walls. The moment he realizes sheis missing, he immediately equips himself with a gun, turning her act ofresistance into an act of terror. His authority is not only psychological but alsophysical, supported by the ever-present threat of violence. The gun symbolizesthat wherever Mila runs, her father's authority follows her, making escapealmost impossible. This demonstrates how power functions as both threat andV. The hospital escape sequence further emphasizes how monitoring and stalkingfunction as tools of power. Mila’s attempt to resist is rendered ineffective byDadong’s pursuit, which demonstrates how oppressive authority extends beyondpersonal spaces. The gun symbolizes the ever-present threat of violence, showingthat power depends on fear to dominate, even under the guise of protection.VI. Return Home and the Climactic ConfrontationThe next day, they return to Mila’s house because her father claims her mother issick. When they confront Tatang about his controlling behavior, he insists he hasrights over Mila and her unborn child. Upon her refusal to obey, he retrieves a gunand tragically kills Noel, Mila, his wife, and himself. This scene highlights repressivepower, as Tatang uses threats, manipulation, and violence, treating Mila as propertyrather than an individual. Necropower is also evident, as Tatang decides who livesand who dies, using death as the ultimate form of control. His power becomesviolent and absolute. This mirrors Philippine politics, where leaders abuse power
student scene analysis: IV. Mila’s Attempted Escape from the HospitalBoth monitoring and stalking are used to exercise power. Even when Milaattempts to break away from the hospital, Dadong looms over her, reminding usthat his control cuts across boundaries and walls. The moment he realizes sheis missing, he immediately equips himself with a gun, turning her act ofresistance into an act of terror. His authority is not only psychological but alsophysical, supported by the ever-present threat of violence. The gun symbolizesthat wherever Mila runs, her father's authority follows her, making escapealmost impossible. This demonstrates how power functions as both threat andV. The hospital escape sequence further emphasizes how monitoring and stalkingfunction as tools of power. Mila’s attempt to resist is rendered ineffective byDadong’s pursuit, which demonstrates how oppressive authority extends beyondpersonal spaces. The gun symbolizes the ever-present threat of violence, showingthat power depends on fear to dominate, even under the guise of protection.VI. Return Home and the Climactic ConfrontationThe next day, they return to Mila’s house because her father claims her mother issick. When they confront Tatang about his controlling behavior, he insists he hasrights over Mila and her unborn child. Upon her refusal to obey, he retrieves a gunand tragically kills Noel, Mila, his wife, and himself. This scene highlights repressivepower, as Tatang uses threats, manipulation, and violence, treating Mila as propertyrather than an individual. Necropower is also evident, as Tatang decides who livesand who dies, using death as the ultimate form of control. His power becomesviolent and absolute. This mirrors Philippine politics, where leaders abuse powerstudent scene analysis: VII. Tatang’s Declaration of Authority (“May Karapatan Din Ako”)Tatang’s final line, “may karapatan din ako sa butang yan,” reveals his beliefthat he has rights over his household, deeming them inhuman and withoutrights. In the Philippine context, this parallels Rodrigo Duterte’s labeling of“drug personalities” as inhuman, justifying extrajudicial killings under hissovereign authority. Necropower is displayed here as the sovereign’s power toput to death. Tatang’s authoritarian approach, coupled with his access to a gun,presents his ability to kill at will. This savage signifier of rule is demonstratedwhen Tatang kills his wife, Mila, and Noel, embodying an inhuman and barbaricVIII. The ending encapsulates the essence of the film. The title Kisapmata itselfreflects how the tragedy unfolds in an instant, like the blink of an eye. TheCabangon family’s destruction occurs suddenly, echoing the real-life tragedy ofThe House on Zapote Street. The father enters the room as if to rest, but withintwo minutes, he, his family, and Noel are dead. The ending is abrupt, cruel, andabove all, it happens in a single kisapmata.IX. The film clearly allegorizes the Marcos dictatorship through Dadong, whoseterror, surveillance, and absolute control mirror the authoritarian rule of MartialLaw. His final act of violence becomes necropower in its purest form—thepower to decide life and death to preserve dominance. Even after Mila marriesNoel, Dadong forces them to remain under his authority, showing biopower ashe controls their domestic space and personal freedom.
KISAPMATA Student Entries
Submission in Politics Biopower concerns control over allaspects of life as a whole (Rafael,2019). It is known as the regulationof life, emotions, and daily actionsthrough authority and discipline.Dadong does not need to constantlyuse physical force since his powerhas already shaped Noel’s and Mila’sactions. Noel, despite wanting toresist, self-regulates his behaviorRELATION TONECROPOWERNecropower is the power to dictatewho must live in fear, and who canbe killed if they oppose authority.Noel’s submission is not just aboutdiscipline. It is also about survival.He knows that Dadong’s controlDIZON, DELA CRUZ, IGNACIO Kisapmata (1981) directed by Mike De Leon, captured by the authors. 5 2 : 2 0
SCENEAfter Mila and Noel reunited. Thenext day, they went to Mila’s because her father said her motherwas sick. They confronted Tatangabout his controlling behavior, butinstead of listening, Tatang claimedhe had rights over Mila and herunborn child. When she refused toTatang decides who lives and whodies. Uses death as the ultimate formof control. Power becomes violentand absolute.PHILIPPINE POLITICSLeaders abuse power like Tatang.Claim to protect, but use control andRAMOS, NALDOZA, SORIANO Kisapmata (1981) directed by Mike De Leon, captured by the authors. Repressive Power 1 : 3 4 : 2 6
Power in the Scenes Power is understood in terms of sovereignty as both the capacity to govern life(biopower) and the authority to impose death (necropower). Drawing fromFoucault and Mbembe, Rafael shows that:Biopower is the state’s control over its people through provisions of welfare, etc.It is about setting the conditions for the “conduct of conduct”DISPLAYING POWER IN THE SCENEIn this scene, both monitoring and stalking are used to exercise power. Even whenMila decides to break away from the hospital, Dadong is still there, looming over5 0 : 3 0
Necropower takes place whenDadong grabs the gun and goes toNoel's place. The gun is a symbolof his ability to determine wholives and who dies, even thoughthere has not yet been any violenceat all.REFLECTIONCONCLUSIONWith this scene, Kisapmatademonstrates that power functionsas both threat and surveillance.Mila's ineffective attempt atescape exhibits resistance, butDadong's pursuit demonstrates theway oppressive authority pursueseven beyond personal spaces. It is
MARTINEZ & POLINTAN INHUMANANDBARBARIANREAL WORLDTatang’s final line, “may karapatandin ako sa batang yan” is statinghow he has a position in thehousehold, and he deems them asinhuman and implying that they haveno rights, which is why he gets tocontrol them. In the context of the
ABELLA, ABIERA, ARUELO Background: At around the 1:36:01 mark of the movie, the clearest allegory in the movie is the FerdinandMarcos Sr. dictatorship during 1965-1986, where Marcos can be compared to Dadong as asovereign dictator. His absolute power, enforced through terror and surveillance, mirrors themartial law era. The final act of violence at the end of the movie is the ultimate expressionof necropower, the right to dictate who lives and who dies, which is used to preserve hiscontrol when all other means fail.’Another is in the scene where, after Mila marries Noel, instead of letting the couple starttheir own life, Dadong demands they stay in his house under his watch. This can be linked toKisapmata is a movie based on the 1961“House on Zapote Street” familicide case.The movie centers on Mila and her newhusband, Noel, who are forced to live underthe control of Mila’s father, “Dadong,” aretired police sergeant with a possessiveand an implied incestuous obsession withhis daughter.Political science analysis Analysis 1 : 3 6 : 0 0 Kisapmata (1981) directed by Mike De Leon, captured bythe authors.
The movie has its own symbolism that can be linked to the current state of affairs in thegovernment, with the use of concepts such as necropower and biopower to furtherunderstand and observe these ideas in reality. Through the lens of necropower, majorauthoritarian figures, such as former president Rodrigo Duterte, would use their own powerof “fear” towards their enemies.Meanwhile, the concept of “Dutertismo” would often be applied or imitated by certainindividuals to gain attention from the masses. This is due to a certain “strong man” attitudethat enforces aggression and would oftentimes create enemies, which allows them to paintthemselves as the morally good.Relating Back to the Philippine Government
The authoritarian State TATANG AS THEAUTHORITARIAN STATEHe is portrayed as strict, controlling,manipulative, abusive, and not afraidto use fear and violence to controlthe people around him.NOT A HOME, BUT Adenying her right and agency to moveout, marry, and have a family of herown, and even forcing himself to bepart of the wedding planning of hisdaughter, making decisions thatshould be done by the bride andgroom, Mila and NoelAnd while not fully explored in thefilm, we can assume he does theSANTOS, D., SANTOS, G., SANTOS, S. Kisapmata (1981) directed by Mike De Leon, captured by the authors.
AS A COMMENTARYAGAINST PATRIARCHYAND THE MARCOSREGIMEState violence, suppression offreedom and identity, loss ofautonomy and privacy. Domination ismasked as care and protection. TheCECILIO, DIVINO, JIMENEZ Normalization of Violence Kisapmata (1981) directed by Mike De Leon, captured by the authors. extreme violence is used to maintainorder.Kisapmata, as a film, mirrors thenation that was, and still is, trappedin fear, silenced, and broken by yearsof authoritarian rule.Mila and her mother, Adelina’s,subservience and silence indicate theexercise of a normalized through self-discipline and householdnorms strictly enforced by the father,Dadong.Dadong’s violence and dictation overhis family’s life and death exhibitnecropower, which is an allegory tohow authoritarian leaders in thePhilippines utilize fear and violence tocontrol the Filipino masses.16:50-18:17 1:34:00-1:34:57
1:14:20MILLARE, ORIAS, ORTEGA dynamics of power Kisapmata (1981) directed by Mike De Leon, captured by the authors.
DEFINING POWER1.Power is understood in terms ofsovereignty as both the capacity togovern life (biopower) and the authorityto impose death (necropower).2. Foucault, Mbembe, and Rafael describepower in these concepts:Biopower - The state’s control over lifeand its regulation of populations throughhealth, education, welfare, discipline, etc.POWER IN THE SCENEAt the 1:06:20-1:10:25 point in the movie,both monitoring and stalking are used toexercise power. Even when Mila decides tobreak away from her father at the hospital,Dadong is still looming over her, remindingus that his control cuts across boundariesand walls and is still there regardless of hisphysical presence.BIOPOWER VS NECROPOWERIn the movie, biopower is shown inDadong’s controlling behavior towards Mila,when he dictates when she goes out, whereshe goes, and even guards her in thehospital, specifically the maternal clinic inthe hospital, a supposed safe space forwomen like Mila. His authority is a regimeof continuous monitoring, where hedetermines her decisions and constrainsCONNECTION TO THE PHPOLITICSAt the 1:06:20-1:10:25 mark in the movie, itreflects Philippine political realities. LikeDadong, authoritarian leaders exert controlover every detail in the Filipino people’slives, dictating every movement and everydecision. The gun represents how biopowercan shift into necropower, where the stateCONCLUSIONKisapmata demonstrates that powerfunctions both as a threat and surveillance.Mila’s ineffective attempt at escapeexhibits resistance, but Dadong’s pursuitdemonstrates the way oppressive authoritypursues even beyond personal spaces. It isthe threat of power that wears the mask ofprotection, but depends on violence andfear to exercise its dominance.
The power behind kisapmata THE MOVIEKisapmata is a movie about Mila, a young woman living under the controlling ruleof her retired policeman father, Diosdado “Dadong” Carandang. When Mila falls inlove with Noel and decides to marry him, Dadong agrees but forcibly insists onkeeping the couple under his roof. His seemingly protective nature quickly revealsitself as obsessive, paranoid, and abusive. The house acts as a prison where Mila,Noel, and the rest of the family are subjected to Dadong’s suffocating control,emotional manipulation, and escalating violence.AGBING
and later in the movie at the 1:02:46mark, Mila’s mother tells Mila about thetime she tried to escape, but hadnowhere to go so she resorted to goback to her husband, which led him tofurther abuse her.THE PHILIPPINEGOVERNMENT
KISAPMATA (1981) DIRECTED BY MIKE DE LEON,CAPTURED BY THE AUTHORS. Natagoc, San Miguel, Noblezada The movie gets its name from thisone single scene. In English,Kisapmata means in a blink of aneye. In connection to the movie,this pertains to the ending of thefilm.This is the case because this filmis loosely based on a true crimefamilicide. A tragedy that happensin a blink of an eye. This ending1 : 3 5 : 4 4 KISAPMATA Concepts This tragedy happens because of one single thing, the loss of power. ForDadong, he had lost complete control of his daugther’s body. And just like anyother dictator whose power is slipping out, he decided to destroy everything inhis path. This kind of mentality showed that people who abuses power are alsopeople who can never lived without it.This is where necropower was realized to its fullest extend, before this scene,every usage of necropower is just for fear. But now due to this lost, he nowdecided to kill everyone.Philippines Context The usage of violence to hold unto power is not a foreign phenomenon in thePhilippines. A recent example of this is Sarah Duterte, whose when the threatof impeachment and the arrest of his father threatens he position as the VicePresident, she begins to threatens Bong Bong Marcos and his family withassassination threats. This showcase the abuse of power of the Dutertes, thethe point that they are willing to throw substantial threats to other politiciansjust to retain their power.
The Case of Marikina’s 2025 Mayoral RaceSOCIAL MEDIA POLITICS IN LOCAL ELECTIONS Social media has become a central force in contemporary Philippine politics,with platforms such as Facebook, Twitter, and Instagram shaping politicalengagement and discourse. While extensive studies have examined itsimpact at the national level, its role in local government elections remainsunderexplored. Addressing this gap, this study analyzes the social mediastrategies of Marikina mayoral candidates Maan Teodoro and Stella Quimboduring the 2025 Philippine local elections. Drawing on Douglas Kellner’sconcept of media culture, which views media as a mirror of its cultural andpolitical context, this study examines how Teodoro and Quimbo presentedthemselves, engaged with the electorate, and shaped their campaignsABSTRACT Research ByAlthea Glynnys JimenezAngelo San Miguel
QUIMBO Educational Achievement Obtained her bachelor's, master's, and doctorate degrees in Economicsfrom the University of the Philippines.Became a post-doctoral fellow at Brown University in the United States.Earned another master’s degree in Economics (Competition Law) fromKing’s College London (Rappler, 2025).Political Background Stella Luz Alabastro-Quimbo is an academic and the current representative ofthe 2nd District of Marikina City.First elected in 2019 and re-elected in 2022.She is now running for mayor in the upcoming 2025 elections (Rappler, 2025).
TEODORO Educational Achievement Holds a bachelor's degree in Communication Arts and a master’s Communications from the University of Santo Tomas.Before entering politics, she was part of the Pamantasan ng Lungsod ngMarikina.Political Background Maan Teodoro (Marjorie Ann Ang-Teodoro) is a legislator currently serving asthe representative of the 1st District of Marikina City, elected in 2022.Prior to this, she was the first nominee of the Adhikain Tinaguyod ngKooperatiba (ATING KOOP) Party-list in the 2013 elections.However, the party-list did not receive enough votes to secure a seat inCongress (Rappler, 2025).
MEDIA CULTUREThe culture of the image relies heavily onsight and sound to convey meaning andemotion. It is part of an industrial culturemodeled on mass production, designedfor broad audiences and structuredthrough genres that follow specificformulas, codes, and rules. It engagesControl Sound Sight Radio FilmTV Literature Albums CDs Campaigning - The continuation of their branding in promotion fortheir goal to win the Mayoral Race02 Branding - These are what Kernell calls, the formulas or codes thatembodies the candidate01 Analysis Douglas Kernell's \"Media Culture: Cultural Studies, Identity and PoliticsBetween The Modern and The Postmodern\"
Themes“Independent Woman” Character vs Contemporary Ways of Campaigning Individual Image Cultivation “...to become successful, you need tofocus on image, style, and fashion.” -Douglas Kellner
Logo Individual Image Cultivation The “Q” is a bold, minimalist symbol representing her name.It conveys ownership, professionalism, and strong personalbranding.Its geometric design suggests order, logic, and moderngovernance.Reinforces her image as a technocratic, reform-oriented leader.The butterfly symbolizes transformation, gentleness, andhope.Its soft, organic form evokes emotional appeal and care.Suggests nurturing leadership and a sense of renewal.Aligns her brand with continuity and community warmth.Pink Blue Stands for Reduced Inequalitiesand inclusive progress.Promotes fair financial systemsand targeted investments.Supports safe migration andmobility for all.Reflects a compassionate,Symbolizes stability, peace, andstrong governance.Promotes justice, security, andinstitutional trust.Supports access to basic serviceslike clean water and sanitation.Promotes clean water, sanitation,Color
FormalAuthoritativeTechnocraticreformerStella QUIMBO Approachable\"Masa\"-friendlyContinuitydrivenMAAN Teodoro DiscursiveNamingFormalAuthoritativeTechnocraticreformerStella QUIMBO Approachable\"Masa\"-friendlyContinuitydrivenMAAN Teodoro DiscursiveNaming Characteristic Strong economic and policyexpertiseHighlights family-orientedgovernanceAcademic and professionalbackgroundPrioritizes social welfareand disaster resiliencePositions herself as areformistEmphasizes continuity inleadership Q TEmphasizes independence,leadershipProjects a nurturing,community-driven imageEngage withgrassrootscommunitiesUse media toshape theirpublic imageAdvocate forMarikina’sgrowthFocus onpublic service& governancedependent WomMotherly Natur
“Independent Woman” Motherly Nature
Contemporary Ways of Campaigning Sama - Sama Kay Teacher Stella ! “Sulong Marikina sa Alagang TeacherStella\"\" Una ka kay Teacher Stella\"KAY TEACHER STELLA, SAMA SAMAMARIKINA, UNA KA KAY TEACHERSTELLAMaan ang Mayor Ko! “Ma - Ma - Ma - Maan Teodoro...”\"Alagang Ramdam Mo, Together Aasenso,Together Marikina Tayo!\"\" Alam Ang Gusto Mo..\"MA-MAASAHAN MOMA-MA-MAS GAGALINGAN PAMA-MA-MAS PAGBUBUTIHAN PAYAN ANG YAKAP NI MAAM TEODOROCampaign Jingles
Figure 1 Figure 2 Figure 3 RELATABILITY In today’s political landscape, where social media drives much of our conversation, when acandidate adopts trending memes, hashtags, or challenges, it can make them appear more intune with the everyday experiences of voters, that they understand—and even share in—thecultural pulse of the community. As we can see in Marikina, Quimbo and Teodoro uses digitalstorytelling with local slang and relatable humor through trending formats like vlogs and dancetrends, it reinforces that they’re not just out-of-touch political figures but genuine communitymembers. This creates an emotional resonance and familiarity that many traditional campaignstrategies may lack.Stella Quimbo Eating Maan Teodoro Dancing Tikrok Trend
In Marikina, effectivecampaigning is not just aboutpolicies but also about how localhistory, environmental realities, amd community bonding arewoven into political narrative.ConclusionCandidates in Marikina crafttheir public personas with aclear understanding thatmedia does more than reportnews—it constructs identities.IT'S TIME TOHARNESSOUR POWER!Call to Action
Get to know the talented andpassionate Grade 12 HUMSS studentsof Marist School Marikina, the creativeminds behind this compilation. Eachstudent brings a unique perspective, adedication to learning, and acommitment to expressing ideasthoughtfully and creatively. Through theiressays, reflections, and projects, you willdiscover not only their individualstrengths but also the collective spiritthat shaped this meaningful work.
Abarquez, Sam Eugene, GorrospeABIERA, Justine Claire TalacaySam Eugene G. Abarquez. A Grade 12 HUMSS studentof section 12 Lyon of Marist School Marikina. A youngman who served as layout and design director of hisassigned group. His work included overseeing theprogression and work of the designers and layout artistof his group, help or assistance in designing if requested,and lastly assisted in designing the cover page of theoverall portfolio. He worked vigilantly in order to ensureeveryone's tasks, including his were worked on andfinished neatly and efficiently.ABELLA, Elijah Manuel, RicafrenteElijah Manuel R. Abella. A Grade 12 HUMMS student ofMarist School Marikina. A young person who strives tobecome an everyday learner of life. Served as SectionHead for the chapter “Reflections on Peace,”contributing to its overall organization and serving as aproofreader.Justine Claire Abiera served as the proofreader for thephotoessay output. She was responsible for ensuringthe clarity, accuracy, and coherence of the group’swritten outputs. Her work included grammar checking,paraphrasing, and refining passages to maintain apolished and consistent tone throughout the portfolio.Through this role, she contributed to improving theoverall quality and readability of the group’s work.AGBING, Jakob Zion, LlorenteJakob Agbing is a Grade 12 HUMSS student with aninterest in music and the performing arts. In his coremorals, he values integrity and responsibility in speakingout for the positive development of society. In school, heis a consistent honor student and strives to do his tasksdiligently and on time. He assisted in the proofreading ofthe Kisapmata articles in this book.
AGGABAO, Elianai Lauren, RombaoaElianai Aggabao, a Grade 12 student under the strand“HUMSS” of Marist SHS Marikina. Strives to learn moreacademically and in experience. He served as theContent manager for “Dear young Social Critic”.Contributed in Editing by revising and simplifying EssaysFrom Grade 11.ANGELES, Tiffany Joy NavaretteTiffany Joy N. Angeles, a 17 years old Grade 12 studentof Marist School Marikina. A motivated student-athletethat has a goal to excel in academics. As a dedicatedstudent-athlete, She thrives on discipline and timemanagement, qualities that fuel her ambition to excelboth in sports and in academics. She contributed hertechnical creativity as a layout designer for the Grade 11essays section.ARUELO, Samantha Gabrielle GranadaSamantha Gabrielle Aruelo is a hardworking anddedicated Grade 12 HUMSS student at Marist SchoolMarikina, guided by her values of growth and integrity.Born and raised in Marikina City, she embodies theresilience and excellence of her community. Ambitiousand determined, she aims to pursue a doctorate inPsychology and a law degree in Civil Law, reflecting hercommitment to personal and professional development.BALAGTAS, Sherrey Samantha PanesSherrey Samantha P. Balagtas. A Grade 12 HUMSSstudent at Marist School Marikina, An determined andmotivated with a passion. She enjoys exploring newconcepts and finding innovative solutions to complexproblems. Served as the proofreader of the works of herclassmates.
CARLOS, Cian Miguel MarianoCian Miguel M. Carlos. A Grade 12 HUMSS Student ofMarist School Marikina. He’s andedicated and empathetic professional with strongexpertise in active listening, motivational interviewing,and clear, compassionate communication. Adept atbuilding meaningful connections and fostering trustthrough exceptional interpersonal communication skills.Brings a creative edge with hands-on experience invideo editing and photography.. Passionate abouthelping others and conveying impactful messagesthrough both conversation and visual media.BANUA, Tristan Bryson, CorderoTristan Bryson C. Banua. A Grade 12 HUMSS Student ofMarist School Marikina. He's an ambitious and thrillseeking student who tends to simply proofreadsomething given my knowledge of building upsentences and knowing what's to come after a word toconnect and bridge to form a formal writing. He alsohelped other proofreaders to check if there are anymisspells or wrong grammar detected in thedocuments during the checking, to make sure it's allformal and well-written.CECILIO, Syesha Nicole ReyesSyesha Nicole R. Cecilio. Grade 12 HUMSS student atMarist School Marikina. She served as proofreader ofher classmates’ works and contributed her own essays.She is recognized for her skills in communication,organization, and creative writing, reflecting herdedication to both academics and the arts. CRUZ, Elijah, ArañaElijah A. Cruz is an 18 year old who resides in MarikinaCity, Philippines. A young man who chases his dreamsand learns as much as he can. He contributed to thisbook by assisting with the layout and proofreadingcertain photo essays found in the book.
CRUZ, Maximus Nigel, VillaMaximus Nigel V. Cruz. A Grade 12 HUMSS student atMarist School Marikina. He aided in proofreading andediting in our book. He is a passionate student inunderstanding Philippine Politics and history as well. Hecommunicates with his fellow group members andalways manages the time allotted for projects. Hemakes sure as well that everything to be accomplishedis done in a given task because he cares for each qualityin every work.DACUMOS, Idhreniel AgojoIdhreniel A. Dacumos. A Grade 12 HUMSS Student ofMarist School Marikina. She served as the Section Headfor the “Dear Young Social Critic.” She oversaw contentdevelopment and ensured the section’s quality andvoice. With a passion for storytelling and thoughtfulcuration, she helped shape pieces that informed,engaged, and inspired readers.DELA CRUZ, Rheuben, EnervaRheuben Dela Cruz is a Grade 12 student whocontributes to his class through layout design andproject formatting. He helps organize and improve groupoutputs, showing his creativity and attention to detail.Rheuben is known for being dependable in group workand doing his part to make each project look neat andwell-presented.DIVINO, Michelle Lynn GreganaMichelle Lynn G. Divino. A Grade 12 HUMSS student ofMarist School Marikina. She is recognized for herattention to detail, thorough work, and determination tocontribute. She contributed to the project as a contentmanager for the “Dear Young Socio-cultural Critic”section of the book by proofreading essays, correctinggrammatical and syntactical errors, and refining thepassages, ensuring coherence and clarity throughout thefeatured works.
DIZON, Lorenzo Caesar, ClavioA Grade 12 HUMSS student of Marist School Marikina. Asthe editor-in-cheif, he took charge of guiding the overallvision of the project, making sure each section carriedpurpose, clarity, and cohesion. His dedication tomeaningful writing and careful organization helped turnthe compilation into a polished and engaging body ofwork.ESGUERRA, Jemuel, BatangJemuel B. Esguerra is a Grade 12 HUMSS student ofBatch 2026 at Marist School Marikina who strives to learnand improve in his everyday life. He served as theproofreader for the chapter Reflections/Essays on Peace,ensuring clear, cohesive, and polished writing. He alsodistinguished himself as the creator of the sectionintroduction, showcasing his vision and literary skill.GARCIA, Rexter Wayne, CadagPassionate writer and aspiring academic, Rexter WayneGarcia is a Grade 12 Humanities student striving to makehis mark in the academic and political field. Inspired byprominent Filipino social and political thinkers, he hopes topursue Sociology to better understand the structures anddynamics of society. Born and raised in Antipolo City, hequickly became aware of the social realities within his owncommunity. With plans to finish his studies and gainexpertise in his chosen field, he ultimately hopes tobecome a constitutional lawyer who can meaningfullyserve the people.HORLADOR, Beatrice Caitlin De LeonBeatrice Horlador is a Grade 12 HUMSS student at MaristSchool Marikina with a strong interest in psychology and apassion for music and literature. She contributed to thelayout design and formatting of the Essays on Peace. Herwork reflects a blend of creativity and careful attention todetail.
IGNACIO, Paul Benedict,Paul Benedict Ignacio, 17 years old, is currently aHUMSS student at Marist School Marikina. He hastechnical skills in music and specialises in arts andcrafts. He is also knowledgeable in the realm ofcreating digital posters and digital presentations. Hismajor contribution was his cover pages for theresearch papers “Dutertismo” and “A Paragon ofVirtue. “JIMENEZ, Althea Glynnys SisonAlthea Glynnis S. Jimenez, a Grade 12 HUMSS studentof Marist School Marikina, is known for her strongcommunication skills, organization, and dedication toquality work. She served as an assistant to one of thesection heads, helping with the finalization and doublechecking of submissions. Althea also contributed herown research, showcasing her commitment to bothacademic excellence and meaningful collaboration.LAUGO, Mika Ysabelle, VirtucioMika Ysabelle V. Laugo, 17, currently a 12th GradeHUMSS Student of Marist Marikina. She served as theHead of the Photo Essays Section, leading her team increating outputs that display quality. She is also onethe writers of the essays featured in the book. She's ahardworking and engaged student that takes initiativein both academic and leadership roles.LAUREL, Paul Vincent GarciaKnown as Paul, is an ambitious and dedicatedindividual pursuing growth in both faith andscholarship. He holds a Diploma in ReligiousFormation Studies from Marianum College and iscurrently studying in several theological and culturalinstitutes while serving as a Novice of the LayDominicans of the San Roque Chapter.
Kyle Matthew Roi M. Martinez, currently a 17 year-oldGrade 12 HUMSS student of Marist School Marikina.He is one of the Co-Editor-In-Chiefs of this book. Heensured that this book’s contents were of quality. Hisworks were also showcased in the different sections ofthis book. He is a student who is known to be engagedand participate in different activities—be it academic ordance.MILLARE, Shakira Venice ManaoisNALDOZA, Kentbryl AmoyMARTINEZ, Kyle Matthew Roi, MatutinaShakira Venice M. Millare, an eighteen (18) year-oldstudent, is currently enrolled at Marist School Marikinaas a Grade 12 student in Homeroom LYON. She wasborn and raised in Marikina City and is a motivated andconsistent honor student. For this book, shecontributed to the layout of a specific section, which isthe Kisapmata movie analysis.Alongside his formation, he works as Master ofCeremonies for the Ministry of Lectors and as aResearch Associate for the AKCIJE Journal. Hisexperiences in leadership, including serving as CouncilScout Representative No. 1 of the Boy Scouts of thePhilippines, continue to shape his integrity, criticalthinking, and commitment to meaningful service.Kentbryl A. Naldoza. Grade 12 HUMSS student atMarist School Marikina. A resourceful and motivatedlearner who consistently excels in both academic andextracurricular pursuits. For this project, theycontributed by designing the layout for the research“Broken Down A Peg: The Inconsistency of the K-12Curriculum Through the Lens of the Predatory Stateand Weak Institutions”.