Bagets is a Filipino slang term for teenagers or young people, often implying they are energetic, trendy, or slightly inexperienced.

It is a colloquial, shortened term derived from “bagito” (new/young) with a plural “s” used to describe the youth generation.

It is also often used in workplaces to refer to younger, tech-savvy employees, or simply to describe someone young at heart.

Its use was popularized by the  1984 Philippine coming-of-age comedy film “Bagets” directed by Maryo J. de los Reyes from a story,  screenplay written by Jake Tordesillas, produced and distributed by Viva Films.

The film stars William Martinez, J.C. Bonnin, Herbert Bautista, Raymond Lauchengco, and Aga Muhlach as the titular teenagers, with the support cast includes Jobelle Salvador, Eula Valdez,  and Yayo Aguila.

Set in the 1980s, the film follows the lives of five teenage boys  on the road  of manhood as they navigate friendship, love, identity, and family, through all their respective emotional ups and downs, misadventures, and profound realizations.

The film, theatrically released on February 2, 1984 ,  immortalized the Tagalog slang term for “youth,” and has become a cultural touchstone for Filipino Generation X.

The film was a huge box-office success in Philippine cinema after it was shown and its popularity was proven after teenagers, especially boys started copying the hairstyle and clothing style of the film’s lead stars: the bold layering of colors, two-toned Chuck Taylors, the pin buttons.

Its popularity also set the trend for youth oriented movies in Philippine cinema.

No one expected the phenomenon “Bagets” was going to be as the  success of the film    spawned a sequel, a television remake, and a musical adaptation.

I recently watched “Bagets: The Musical” which  is a full-scale stage adaptation of the iconic 1984 film.

It  is a “nostalgia trip” that blends original songs with salin-awit (translated song) adaptations of iconic 1980s hits which include Growing Up (Gary Valenciano), Farewell (Raymond Lauchengco/ Ethan David), So It’s You (Raymond Lauchengco), Why Don’t You Care (Harner), High School High (Spirit), Take On Me (A-ha), Build Me Up Buttercup (The Foundations), Our House (Madness), Wake Me Up Before You Go-Go (Wham!), State of the Nation (Industry), Loving You (Ric Segreto) and Just Got Lucky (Jo Boxers).

The five main teenagers are portrayed by a rotating cast of rising stars and P-pop artists: Adie (originally  Muhlach) played by Andres Muhlach and Mico Hendrix Chua; Arnel (originally Lauchengco) played by KD Estrada and Ethan David; Gilbert (originally Bautista) played by l Noel M. Comia Jr.   and Tomas Rodriguez; Tonton (originally Martinez) played by Milo Cruz and Migo Valid; and Topee (originally Bonnin) played by Jeff Moses and Sam Shoaf.

The film has personal impact since I was also  still in high school in 1984 when the film was released.

I finished high school at Sta. Clara Parish School (SCPS) in Pasay  in 1987  and entered college life at the University of the Philippines where I finished BS Economics (1991) and Bachelor of Laws (1998).

Bagets life can also essentially be  associated with the symbolic quote  “Carpe Diem” from the 1989 film “Dead Poets Society” that aptly captures memories of our high school life.

Carpe Diem is lifted from the Latin phrase “carpe diem quam minimum credula postero,” that can be translated as “pluck the day, trusting as little as possible in the next one.”

Literally meaning to seize the day, the Latin phrase is commonly interpreted to mean look for opportunities in life and make the most of them.

John Keating (Robin Williams) was hired as a new English teacher in an elite all-boys preparatory school that is known for its ancient traditions and high standards. He uses unorthodox methods to reach out to his students.

Keating’s “carpe diem” philosophy inspired many of his students to lead lives structured around their own unique passions, ignoring the dictums of their parents and the other school teachers.

The movie highlights the importance of the fact that you only live once and you should live on your your own terms.

We had some bad times in high school, but we also had so many amazing experiences.

High school years were indeed difficult moments, but the best and memorable times were spent with those who shared the experience.

Those years were full of vivid memories that still bring smiles and funny thoughts to each of us, many years hence.

The film also kind of influenced the language of the time. Because if you were not “Bagets” , you’re most likely “Forgets.”

“Bagets: The Musical” runs  January  23 to  March 22, 2026  at the Newport Performing Arts Theater.

 ( Atty. Dennis R. Gorecho heads the seafarers’ division of the Sapalo Velez Bundang Bulilan law offices. For comments, e-mail info@sapalovelez.com, or call 0908-8665786)

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“Let us retell the story of EDSA.”

Archbishop of Lipa Gilbert Garcera, D.D., president  of Catholic Bishops’ Conference of the Philippines (CBCP)  said in the pastoral letter  for  the 40th anniversary of EDSA People Power Revolution  that “our first duty is to remember.”

“The fire of EDSA, set aflame forty years ago, is our task to sustain. Let courage once again dwell in our hearts and let faith reignite our passion to pursue the common good, not only for ourselves, but also for next generations.”

Garcera added that the “the dictatorship fell, not through violence but through quiet perseverance and power of piety and collective faith that clamored for justice and true change.”

Bishop Garcera lamented  that  Filipinos  “have squandered the gift of EDSA  xxx as we forgot that freedom is both a task and a duty.”

I was 15 years old and about to finish high school when I accompanied my relatives to participate in EDSA.   I admit that I did not have full grasp of the reason why millions of Filipinos converged along EDSA in Metro Manila, and in cities all over the country.

Ferdinand Marcos Sr. was the longest-serving president in Philippine history, holding office for over 20 years, from December 30, 1965, until he was ousted on February 25, 1986. His 21-year rule (7,362 days) included a period of martial law from 1972 to 1981, allowing him to stay in power beyond his initial terms.

Instead of its promised stability and prosperity, the imposition of Martial Law generated intense social conflicts and a worsening economic crisis.

Growing civil discontent and political opposition combined with a restive military to resist the repressive Marcos regime.

The  Marcos dictatorship is historically remembered for its record of human rights abuses, particularly targeting political opponents, student activists, journalists, religious workers, farmers, and others who fought against his dictatorship

The four-day EDSA People Power Revolution was a culmination of a series of public protests against the oppressive and abusive dictatorial government and alleged electoral fraud committed by Marcos, Sr. It led to  the forced exile of the Marcos family and their close allies to Hawaii, where he died in 1989.

“It was a moral victory for the Filipino people; a realization of and obedience to the people’s Will.” former Chief Justice Marcelo Fernan said in  Marcos vs Manglapus  (G.R. No. 88211 September 15, 1989).

The Supreme Court  cases that declared some of the Marcos assets to be “ill-gotten” include  $658 million in Republic v. Sandiganbayan, (G.R. No. 152154. July 15, 2003); PLDT shares in Yuchengco v. Sandiganbayan (GR NO. 149802, Jan 20, 2006); US$3.37 million in Marcos Jr. v. Republic (G.R. No. 189434 April 25, 2012)  and collection of jewelry (Estate of Marcos v. Republic (G.R. No. 213027January 18, 2017).

Human rights violations during the Marcos regime were recognized through the passage of  Republic Act (R.A.) No. 10368 in 2013 that aims  to provide reparations to victims by using the allocated PHP10 billion from Marcos’s ill-gotten wealth.

The current Constitution embodied a long list of “directive principles” and welfare state clauses,  along with a strong Bill of Rights, detailed guarantees against a Marcos-style power-grab, and restored the checks-and balances among three separate branches of government.

Forty years after the 1986 People Power Revolution, seven presidents were elected into office:  Corazon Aquino (1986–1992);  Fidel  Ramos (1992–1998);  Joseph Estrada (1998–2001);  Gloria Macapagal-Arroyo (2001–2010);  Benigno Aquino III (2010–2016);  Rodrigo Duterte (2016–2022);  and Ferdinand “Bongbong” Marcos Jr. (2022–present).

Three were children of former presidents: Arroyo,  Aquino III and  Marcos Jr.

Two presidents were female: Cory Aquino and Arroyo.

Estrada was not able to finish his term and was  replaced by Arroyo  as he was deposed by the  EDSA 2 event in 2001.

Duterte  is  the first Philippine president to face an international tribunal, the  International Criminal Court (ICC) due to his  controversial war on drugs.

The Marcos family was allowed back into the Philippines in the 1990s, which led to rebuilding  their political base in Ilocos Norte before returning to national prominence.

The election of Marcos, Jr. in 2022  highlighted a generational shift, where younger voters, not having lived through the martial law era, were more susceptible to, or influenced by, pro-Marcos narratives.

The systematic digital campaign on platforms like TikTok and Facebook recast the elder Marcos’s martial law era as a “golden age” of prosperity and infrastructure, while downplaying documented human rights abuses and corruption.

It is a reflection of what former Supreme Court Chief Justice Claudio Teehankee declared in the case of Olaguer vs Military Commission (G.R. No. L-54558 May 22, 1987) “the greatest threat to freedom is the shortness of human memory.”

#Neverforget the spirit of EDSA!

(Peyups is the moniker of the University of the Philippines. Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908-8665786.)

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Binondo  is considered as the world’s first and oldest Chinatown that was established in 1594 as a permanent settlement for Chinese immigrants, particularly those who had converted to Catholicism and intermarried with indigenous Filipinos.

It was positioned near Intramuros, but across the Pasig River, so that colonial rulers could keep a close eye on their migrant subjects amid fears of an imminent invasion from China.

In the years that followed, Binondo became the first stop for Chinese immigrants who arrived in Manila in search of a new life. It is the foundation of the Filipino-Chinese community amidst multiple occupations by our colonizers.

Red is  also a very emotionally intense color of fire and blood as it is associated with war, death and danger.  Behind the joyful celebrations  is the  sad  series of painful Chinese  massacres in Philippine history.

The Chinese massacres in Manila refer to several large-scale historical killings of the Chinese  population by Spanish colonial authorities (1603, 1639, 1662) and during the 1945 Japanese occupation. These events, driven by fear, tension, and war, resulted in the deaths of thousands of civilians.

The 1603 massacre remains as  one of the bloodiest episodes in Philippine colonial history.

The  rebellion was a large-scale uprising of ethnic Chinese residents  in Manila against Spanish colonial rule  that was fueled by deep-seated mutual suspicion and economic friction.

The Chinese outnumbered the Spanish by approximately ten to one (roughly 20,000 Chinese to 2,000 Spaniards) causing the colonial government to fear a coup.

Chinese residents faced heavy taxation, restricted movement (confined to the Parian or Binondo), and general persecution by the Spanish administration.

In early 1603, three Chinese Mandarins arrived in Manila searching for a legendary “mountain of gold”.  This visit convinced Spanish authorities that a Chinese invasion was imminent.

The rebellion broke out on October 3, 1603  and lasted for approximately three weeks.  Conflict began in the Chinese settlements of Binondo, Quiapo, and Tondo.

Battles and subsequent massacres later spread to Laguna de Bay, Batangas, and Pampanga as rebels fled,  resulting in the slaughter of an estimated 15,000 to 30,000 Chinese people.

In the 1639 Chinese massacre, also known as the Second  Sangley Rebellion, roughly 17,000–22,000 ethnic Chinese residents were killed by Spanish forces and their allies.

The rebellion was driven by, among other things, harsh treatment , forced labor,  poor conditions and heavy taxes imposed by Spanish authorities on the Chinese population , particularly in Calamba, Laguna.

The rebellion spread quickly toward Manila, but the poorly armed rebels could not withstand the Spanish forces  with superior firepower, leading to a massive slaughter, starvation, and a subsequent three-month siege of holdouts.

The 1662 Chinese massacre was driven by panic following a threat from the Chinese warlord Koxinga (Zheng Chenggong), who had just expelled the Dutch from Taiwan and demanded the Philippines pay him tribute.

The Governor-General, fearing that the Chinese in Manila would aid the invasion, ordered the fortification of Manila.  Following the initial attacks, the Spanish ordered all non-Christian Chinese to leave or be killed. Approximately 1,300 left on a single ship, and others perished in the mountains. While many fled, around 20,000 Chinese were massacred.

During World War II, the Chinese community was specifically targeted by Japanese forces due to their support for the resistance in mainland China and their active role in local guerrilla movements in the Philippines.

The major massacre occurred in San Pablo, Laguna  (February 24, 1945 ) where approximately 650 to 700 Chinese residents were killed by  bayoneting and beheading; Manila (February – March 1945), Japanese troops conducted door-to-door executions in Manila, including  Chinese community in districts like Binondo during  the month-long  Rape of Manila; Calamba  (February 1945) where  approximately 5,000 to 6,000 civilians in Calamba, Laguna were killed  including many Chinese males who were rounded up at the local church before being executed.

These historical events are documented and depicted in Bahay Tsinoy museum   in Intramuros, Manila which features exhibits detailing the life, culture, and often tumultuous history of the Chinese community in the Philippines, including the Spanish-era massacres and their subsequent integration into Filipino society.

The museum, managed by the Kaisa Para Sa Kaunlaran foundation, uses life-sized dioramas and wax figures to depict these tragic episodes as part of the broader Chinese-Filipino history.

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As   T’boli bells  are  believed  to turn away misfortune, negative energy, and malevolent entities. every Filipino should have at least one piece in their possession   to protect them from the evil effects of corruption.

The sounds of T’boli bells , or Tungkaling, consistently reverberate  during the annual  Pasinaya Open House Festival at the Cultural Center of the Philippines (CCP) complex .

Tungkaling bells  are integral to T’boli identity who believe that a spirit or force resides in all objects, both animate and inanimate.

The distinct  sound produced by the brass bells on belts and bangles is believed to protect the wearer by  warding  off evil spirits, and to signal a person’s approach.

The Tboli people are known for their artful t’nalak weaves and other textiles made on their weaving looms as well as exquisite accessories and objects made of brass, such as bells, rings, necklaces, belts, and bangles.

Like other indigenous peoples,  the T’Boli  culture  is  rich, diverse, and deeply rooted in animistic beliefs, honoring nature, spirits, and daily life through tribal songs, music  and dances.

By the delicate swaying movements  using intricate hand-loomed cloth with accompaniment of resonant drumming of gongs,  dancers imitate the graceful movements of birds, fish and boats, generally used for rituals to appease the gods,  solicit good harvest,  seek deliverance from pestilence, prepare for war,  celebrate victories,  and mark birth, weddings and death.

These  often blend cultural, religious, and superstitious traditions intended to safeguard personal space, body, and mind as well as to affirm social unity and identity.

The name Tboli is a combination of tau, meaning “people,” and bilil or “hill” or “slope,” thus meaning “people living in the hills.”

Also known as T’boli, Tiboli, and Tagabili, they are an indigenous people living in the southern part of Mindanao, particularly in the municipalities of T’boli, Surallah, Lake Sebu, and Polomolok in the province of South Cotabato and in Maasim, Kiamba, and Maitum in Sarangani.  They can also be found in the neighboring provinces of Sultan Kudarat, North Cotabato, and Davao del Sur.

One of the  famous T’boli dance is “Kadal Heroyon” or  a “dance of flirtation” performed by young T’boli women, imitating the flight of birds to highlight grace and beauty.

In 2014, a film on the T’boli people “K’na the Dreamweaver” won Best Production Design (by UP College of Fine Arts dean Toym Imao)  and the Special Jury Prize during  the  CCP’s 10th Cinemalaya Independent Film Festival.

It was the first feature film shot entirely in the T’boli language. The story follows K’na, a young woman trained to weave the sacred t’nalak cloth, who must navigate a choice between her love and her duty to end a clan war.

The Pasinaya is an effective platform in showcasing various cultures in the Philippines that have been made more beautiful and vibrant because of folk dances and music.

T’boli culture has always been a favorite subject in Pasinaya as I saw two groups performed this year the T’boli dances, the Ramon Obusan Folkloroc Group (ROFG) and the UST Salinggawi.

For the past two decades, ROFG has documented and performed the rituals of more than 50 ethno-linguistic groups in the country.

With more than twenty outstanding full-length Filipino dance works, among which are the memorable suites from the Cordillera, Bagobo, T’boli, Tausug, Maranao, the Aetas and the Talaandig among others – the ROFG has served to highlight the authenticity of the tribes’  movements and costumes.

“Pasinaya” means an inauguration or a grand opening of the many arts and cultural presentations offered by CCP.

Since 2004, Pasinaya also aims to provide a platform for artists and cultural groups from different fields such as music, theater, dance, spoken word, and visual arts. It seeks to showcase talents while nurturing the broadest public and creating new audiences through interactions and performances.

Carrying the theme “Paglikha sa Kinabukasan”, Pasinaya 2026  highlighted the role of artists and audiences — especially the youth — in shaping the future of Philippine arts and culture.

In Metro Manila, the festival unfolded across multiple venues, including Tanghalang Ignacio Gimenez, front lawn and the   Aliw Theatre in CCP complex, the Circuit Performing Arts Theater in Makati, Metropolitan Theater in Manila,  and Rizal Park in Luneta as well as 19 museums and galleries across the cities. It was also held in Tagum City, Iloilo City, and, for the first time, in  Roxas City, Capiz

CCP Vice President and Artistic Director Dennis Marasigan said that some  2,708 artists participated in the 170 performances of 144 groups  in NCR alone with an audience  at CCP complex of more than 13,000 with the “experience-all-you-can, pay-what-you-can” scheme  “Through Pasinaya,  CCP  will not stop advancing our cause to grow appreciation for Filipino arts and culture, because we believe and will continue to strive so that arts and culture can be recognized as strong pillars and support for our future.” Marasigan said.

(Peyups is the moniker of the University of the Philippines. Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908-8665786.)

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Words from slain peace activist  Randy Malayao lifted from our messenger chat on  his experience during his four years of detention.  He was arrested by military elements  on May 15, 2008 as  a suspect in the killing of former congressman and governor Rodolfo Aquinaldo.

“I was prepared to die. I even offered to dig my own grave. It was this acceptance of death that made me strong“ Malayao said as he narrated that he was blindfolded for four days and  made to suffer many forms of physical and psychological torture. Despite severe pain and mortifying fear for the safety of his loved ones, Malayao  refused to tell lies his torturers want him to say to save himself.

Malayao’s story was part of the   Cinemalaya documentary film  on Cagayan Valley activists  “Bloom Where You Are Planted”  that was  screened at the University of the Philippines (UP) Film Center last January 30, 2026.

The screening coincided with Malayao’s   death anniversary.  On January 30, 2019, around 2:30 in the morning, Malayao was soundly asleep on a bus parked at a terminal in Aritao, Nueva Vizcaya, when two unidentified men shot him dead.

The film directed by Noni Abao narrated the story of   three land rights activists in Cagayan Valley:  Malayao, Agnes Mesina  (a development worker),  and Amanda  Echanis (a jailed mother-artist-activist).  It won Best film and  Best Editing.

The film  was cited for “its powerful and deeply humane portrayal of political activists uprooted by violence yet steadfast in their pursuit of justice and belonging; for transforming the struggle for land, peace, and dignity in Cagayan Valley into a meditation on home, hope, and resilience.”

Echanis was also present in the screening  who was released last January 15, 2026 after  five years of detention. A  Tuguegarao City local court acquitted her of charges of illegal possession of firearms and explosives.

The film showed a photo of me and Malayao taken in 1991 when  he was elected as  vice president for Visayas of the College Editors Guild of the Philippines (CEGP), at the same time Teddy Casino of Bayan Muna partylist was elected the national president. I was part of the UP Diliman’s Philippine Collegian at that time.

Born in the town of San Pablo, Isabela, Malayao studied at the UP Visayas – College of Fisheries, where he served as the Editor-in-Chief of Ang Mangingisda, the official student publication of CFOS.

He recruited the highest number of member publications in Visayas, revived and rebuilt inactive ones, and established new publications in schools where none existed. In 1994, he left Visayas and was appointed CEGP National Deputy Secretary General.

After years as a campus journalist, Malayao became a peasant activist and the coordinator of the Bayan Muna Party-list in Cagayan Valley.

In 2008, he was imprisoned under Gloria Macapagal-Arroyo’s regime.

He was acquitted in 2010 due to lack of evidence and fabricated testimonies. But he remained in jail  to face the other murder and frustrated murder charges against him.

I  asked him how come he was allowed to communicate with me via messenger while in jail.  He jokingly answered that he was the “governor”  and he helped the jail officials in their academic requirements like research papers and dissertations.

He was also known for consoling fellow prisoners , writing letters for them, and conducting literary sessions. He even asked me to visit him and bring books.

Upon his release  after spending four years behind bars, he became a peace consultant for the National Democratic Front of the Philippines (NDFP). As a peace advocate, he participated in various international peace forums and negotiations with the Government Republic of the Philippines (GRP).

The  killing of Malayao  on  January 30, 2019 exemplified the pronouncement of  the Supreme Court in  Deduro v. Maj. Gen. Vinoya (G.R. No. 254753, July 4, 2023)  that “red-tagging is a threat to people’s life, liberty, and security”

Labelling a person “red” often comes with frequent surveillance, direct harassment, and in some instances, eventual death.

The  Court stressed that being associated with communists makes a red-tagged person a target of vigilantes, paramilitary groups or even state agents. It also noted that red-tagging uses threats and intimidation to discourage “subversive activities.”

In his concurring opinion. my UP Law professor and  SC Senior Associate Justice Marvic Leonen said that  red tagging is used by the military and paramilitary units to silence or cause untold human rights abuses on vocal dissenters.

Not only does this make these leaders’ lives and liberties vulnerable, Justice Leonen stressed that a chilling effect on dissent is also generated among similar-minded individuals.

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“Enough is enough. Let us now raise our voices louder and demand accountability.”

Bayombong Catholic Bishop Jose Elmer  Mangalinao   warned of worsening ecological damage in Nueva Vizcaya as he cited  the environmental conflict  in  Dupax del Norte  due to mining exploration activities by Woggle Corporation.

Dupax del Norte is a 3rd-class municipality with 15 barangays, and a mineral-rich area with huge economic potential through mining, particularly  gold and copper.

In August 2025, the Mines and Geosciences Bureau (MGB) of the Department of Environment and Natural Resources approved an exploration permit for Woggle Corp. , an affiliate of the British firm Metals Exploration Plc and FCF Minerals Corp.  covering more than 3,100 hectares in Dupax del Norte  that straddle five barangays—Bitnong, Inaban, Mungia, Parai, and Oyao.

Residents of   Barangay Bitnong    began manning a  barricade in September 2025.

Police arrested on January 23, 2026   at least eight individuals following a court order to dismantle the barricade blocking mining firm Woggle Corp.’s access to an exploration site. On Monday, January  26, the prosecutor’s office dismissed the case of “resistance and disobedience” against the seven residents.

“It is painful to see the suffering of our brothers and sisters at the barricade — simple citizens and farmers who only want to defend their life and livelihood, their land,” Bishop Mangalinao said.

Some of the grounds of opposition on the planned mining operations in Dupax del Norte include :  (a) the threat to water sources as  mining can pollute rivers and irrigation systems with silt and heavy metals, affecting agriculture and drinking water; (b) the  damage  to agricultural lands  as  the proposed site covers farmlands and forests essential to local food production; (c )  the risk to biodiversity as the forests are home to endangered plants and animals; mining will destroy their habitat; (d) the  adverse cultural and community Impact as the area is part of their  heritage and is home to Indigenous Peoples whose free, prior, and informed consent (FPIC) is required under the Indigenous Peoples Rights Act (RA 8371); and ( e)  the violation of local laws  as  Nueva Vizcaya has an Environment Code prohibiting destructive mining practices such as open-pit operations.

NCIP issued a Certificate of Non-Overlap (NCO) because Dupax del Norte is not currently classified as an ancestral domain under their records, thus there was no   IPRA’s FCIP process done.

However, barangay councils and the Sangguniang Bayan of Dupax del Norte passed resolutions opposing the exploration permit, citing the lack of proper consultation and the lack of written consent from surface owners and occupants. Residents themselves say they were never meaningfully informed and never gave permission for exploration on or near their lands.

They allege that signatures for the project’s FPIC were obtained deceptively, such as through attendance sheets for government aid (ayuda).

In DENR vs.  Lepanto Mines (G.R. No. 244216, June 21, 2022), Supreme Court Senior Associate Justice Marvic Leonen said that   IPRA introduced measures to guarantee that their rights over their ancestral lands, including the resources found in them, are protected.

These protections include a certification precondition before any license, concession, lease, or production sharing agreement involving the exploitation of natural resources may be granted or renewed. The certification precondition includes obtaining FPIC from the affected indigenous peoples.

Leonen stressed that the agreements  must be construed with the utmost scrutiny, for they affect not only the nature of the property rights they vest, but also all other extractive natural resource rights that potentially negate the constitutionally protected rights of indigenous cultural communities.

The process requires that consent be given freely, without coercion, and based on full, transparent disclosure of project details, ensuring community rights to self-determination.

Nueva Vizcaya, located along the Caraballo Mountains and the Sierra Madre range in northern Luzon, has long been a flashpoint for mining-related conflict.

Nueva Vizcaya is home to about 18 indigenous peoples, which includes the major tribes of the Ifugao (Quezon, Bagabag, Kasibu), Gaddang (Solano and Bayombong), Isinai (Dupax del Sur and Bambang), Dumagat (Aritao), Kalanguya (Santa Fe), and the Bugkalot (Alfonso Castañeda and Dupax del Norte).

The barricaders legitimately exercised their constitutional right to a balanced and healthful ecology in the face of an impending mining exploration.

The residents of Dupax del Norte  are currently facing challenges that strike at the very heart of their existence: the protection of their land, their environment, and their right to self-determination.

For  Indigenous Peoples, land is not just “property”—it is their  history, and their  sacred temple.

(Atty. Dennis R. Gorecho is a junior partner  of the Sapalo Velez Bundang Bulilan law offices. For comments, email info@sapalovelez.com, or call 09088665786)

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The University of the Philippines College of Law (UP Law) dominated this year’s bar exams with six alumni making it in the top twenty, including Rank One.

A total of 5,594 out of 11,420 examinees passed that  represent 48.98% of the total takers who completed all three exam days.

The bar exam is a yearly spectacle on the performance of law schools measured in the most number of topnotchers or those scoring the highest passing rates.

UP Law’s Jhenroniel Rhey  Sanches placed first with a passing rate of 92.7%  along with Marie Shantelle Sarmiento  (8^th, 90.8750%), followed by Jusmin  Yap (10^th , 90.3625%), Alfrancis Cabungcal (13th , 89.8%), Ignacio  Villareal (15th , 89.7%), and Chinzen Viernes (19th , 89.35%).

The other top placers include four from University of Santo Tomas-Manila( UST):  Spinel Albert  Declaro  (2nd) , Alaiza Adviento (3rd),  Marc Angelo Santos (5th) and Johan Raphael Gata (7th)

Schools with two topnotcher each include  Ateneo de Manila University/ADMU (Enrico Gabriel Paguia, 6th   and Mikaella Francesa Abisana,18th)   and University of the East  (Patric Kiel Navarro, 12th   and  Ronald Vincent Gonzales 20th)

Schools with one topnotcher each include De La Salle Lipa (Angelica Mitra, 4th), University of San Jose-Recoletos (Jeowy Ompad, 6th),  University of La Salette Inc. (Richmond  Lucas. 9th),  Arellano University (Allan Leo Paran, 11th),  Bukidnon State University (Gerilin  Gascon, 14th ),  University of Santo Tomas Legazpi /Aquinas (Mae Angela  Locsin,16th),  and  Arellano University (Randall Pabilane, 17th).

UP is recognized as the 2nd top performing law school  (with more than 100 candidates), with a 96.83% (214 of 221) passing rate for first-time takers and an overall rate of 94.63 . UP has the biggest number of passers with 214 of which are first takers.

In the same category , the other top performing schools  by overall passing rate  include ADMU (96.52%),  UST (87.16%),  Dr. V. Orestes Romualdez Educational Foundation     (64.88%) and  Far Eastern University  (59.22%).

The examinations were held last Sept. 7, 10, and 14 in 13 local testing centers across the country, including  6 in Metro Manila ( Makati City, Manila City, Muntinlupa City,  Pasay City,  Quezon City and Taguig City), 2 in Luzon ( Baguio City, Naga City), 3 in the Visayas (Cebu City, Iloilo City)  and  2 in Mindanao (Davao City, Iligan City) in a bid to reduce the logistical, financial and emotional burdens for examinees, particularly those from the provinces.

From 1913 to 2025, UP has the highest number of bar topnotchers (male and female) with 52, followed by AdMU with 23, San Beda with 8, UST with 6, Philippine Law School with 5; FEU and University of Manila College of Law with 4 each, San Beda College Alabang with 3  And  University of the Cordilleras with 2.

The first UP bar topnotcher was Manuel Roxas in 1913 who later became  the fifth president of the Philippines (1946 to 1948).

Pedro Yap  was the first UP Law topnotcher (1946) who became a Supreme Court Chief Justice in 1988.

In 1944,  Jovito Salonga (UP) tied with Jose  Diokno (UST) , the first time that first place ended in a tie. Both became senators, Salonga even became senate president.

Between 1930 to 2024, there were 22 females who became bar topnotchers,  wherein thirteen came from UP Law. Tecla San Andres was the first UP female topnotcher for  the 1930 bar  (89.4%) who later became a senator.

UP Law Dean Gwen Grecia De Vera said in a statement that “the unmatched distinction of your UP Law education carries the responsibility of serving as the principled advocates and visionary leaders our modern society needs. May your every step forward be a fulfillment of the promise to uphold justice, serve with integrity, and defend the rule of law.”

Included in the list are all four pioneer  graduates the  UP Law Extension Program in UP Visayas,  posting a 100% passing rate in the campus’ first participation in the bar exam, namely Evette Jaimee Capungcol, Jules Duke Contreras, Kate Quinco, and Theresa Iana Rosales Tan.

As freshies in 1992 at UP Law, the imposing words of Justice Oliver Wendell Holmes, Jr. welcomed us to Malcolm Hall: “The business of a law school is not sufficiently described when you merely say that it is to teach law or make lawyers. It is to teach law in the grand manner, and to make great lawyers.”

UP Law was among the first seven colleges established after the foundation of UP on June 18, 1908, through Act No.1870.

I entered UP Law in 1992 but took the bar in 1998 since I opted to shift to the working student program as a reporter for a broadsheet and other international news agencies.

I was among the lucky 1,465 examinees who passed the 1998 bar exams held in DLSU, or 39.63 percent out of the 3,697 examinees, with three UP batchmates landing in the top ten (2nd, 3rd, and 5th),

Former Solicitor General Florin Hilbay was my bar buddy who topped the following year’s (1999) bar exam with one of the lowest passing rates of 16.59 percent, with three UP Law again in the top ten.

“To teach law in the grand manner!” Mabuhay mga bagong Abogado ng Bayan!

(Peyups is the moniker of the Universiity of the Philippines Atty. Dennis R. Gorecho heads the seafarers’ division of the Sapalo Velez Bundang Bulilan law offices. For comments, email info@sapalovelez.com, or call 09088665786)

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The 2025 Metro Manila Film Festival (MMFF)  highlighted legal and societal issues through films that showed law as a tool for justice and  dignity.

The films Bar Boys, Call Me Mother, Manila’s Finest, ImPerfect and Unmarry showcased diverse legal realities focusing on  issues like adoption, human rights, family law, and corruption reflecting the festival’s theme, “A New Era for Philippine Cinema.”

“Bar Boys After School “  (2025)   is a sequel set a decade after the events in  the original film Bar Boys (2017). It  follows best friends Erik  (Carlo Aquino), Torran (Rocco Nacino), Chris  (Enzo Pineda) and Joshua (Kean Cipriano) as they  grapple with the continuous search for meaning in their careers and personal lives.

They confront their life choices, and find new roles  as mentors to the next generation of law students Sassa Gurl, Will Ashley,  and Therese Malvar who are dealing with the same systemic pressures.

The film shows how they   are rediscovering  and navigating their careers while caring for their sick  former professor, Justice Hernandez ( Odette Khan).

“Call Me Mother” deals with  adoption for members of the LGBT+ community and the queer struggle of being an adoptive parent.

It follows Twinkle (Vice Ganda), a queer mother, who is preparing to formally adopt his  son, Angelo, by finalizing his adoption papers. However, a legal requirement forces him  to reconnect with Angelo’s biological mother, former beauty queen Mara (Nadine Lustre).

The film depicted what  it truly means to be a mother as it  takes into account the perspectives of both the biological and adoptive mother, showing how the two mothers are right in their own ways.

“Manila’s Finest” depicts the degradation of police integrity shortly before the  declaration of   Martial Law under the dictatorship of Ferdinand Marcos Sr.

Set in 1969 and the early 1970s, it is a tale of policemen seeking to uphold justice amid gang wars, student protests led by activists from the University of the Philippines , and government intervention

Policemen Homer (Piolo Pascual), Conrad (Ariel Rivera), and  Billy (Enrique Gil),    are consumed by the murder case of troublemaking teenagers in the slums.

It revolves around a group of police officers in Manila’s Police District led by   its interservice rivalry and eventual integration with the Philippine Constabulary Metropolitan Command (MetroCom) under the pretense of disputed incidents cited as justification for Martial law.

A scene depicted Pascual insinuating his option to continue his legal studies as the film shows how an institution intended for justice can be transformed into an instrument of state oppression.

In Aberca vs. Ver (G.R. No. L-69866 April 15, 1988), the Supreme Court said that “the duty to prevent or suppress lawless violence, insurrection, rebellion and subversion xxx cannot be construed as a blanket license or a roving commission untramelled by any constitutional restraint, to disregard or transgress upon the rights and liberties of the individual citizen enshrined in and protected by the Constitution.”

“Unmarry”   revolves around Celine ( Angelica Panganiban) and Ivan ( Zanjoe Marudo)  who separately process the dissolution of their marriage through annulment cases  handled by a common lawyer, Atty. Lambridas ( Eugene Domingo).

Both used  as ground the   psychological incapacity under Article 36 of the Family Code which the Supreme Court interprets  “as a serious, grave, and incurable condition existing at the time of marriage, making a spouse unable to fulfill marital duties”.  Recent rulings emphasize that the incapacity doesn’t need to be a diagnosed illness that  can manifest later.

“ImPerfect”   revolves around the romantic relationship of two adults with Down syndrome. Jessica (Krystel Go) and  Jiro (Earl Amaba) as they strive  for independence in a world that often limits them. The movie celebrates their journey, emphasizing that they have the right to love and live fully, challenging stigmas and showcasing their abilities.

The script essentially incorporates aspects of R.A.  No. 7277 (Magna Carta for Persons with Disability) that  provides for self-development, self-reliance, and integration of PWDs into mainstream society. It also  prohibits discrimination and outlines basic rights across various areas such as employment, education, and health.

Movies play a powerful role in shaping public perception of crime and justice by creating narratives that influence how society views victims and offenders.

Films can act as catalysts for public discourse by dramatizing real legal cases or introducing fictional narratives steeped in contemporary ethical dilemmas.

Movies with legal undertones  have always held up a mirror to our society, forcing us to confront uncomfortable truths about how justice really works—and how it fails.

(Peyups is the moniker of the Universiity of the Philippines Atty. Dennis R. Gorecho heads the seafarers’ division of the Sapalo Velez Bundang Bulilan law offices. For comments, email info@sapalovelez.com, or call 09088665786)

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“Greed is in their hearts” are words  that transformed the  classic Jose Mari Chan’s yuletide song “Christmas in our hearts”  into an anti-corruption piece by the University of the Philippine Symphony Orchestra (UPSO).

UPSO, along with UPSO Symphonic Chorus and the UP College of Music Chorus Class serenaded the UP community last December 12, 2025 at the University Theater.  The yearly event started in 2018.

The revised lyrics  made the song  more relevant to this year’s Christmas season.

“Whenever I see boys and girls,  Lumulusong dun sa streets. I remember the bags Ng mga nepo babie.

Whenever there’s baha na. Lumulutang na Lulubog ang  Christmas ‘coz greed is in their hearts

Let’s swim, Merry Christmas.  Nothing beats this holiday. Mag-noche Buena dun sa bubong.  Baha is all around us.

Budget sa flood control for a bright tomorrow,  Inubos, nilimas, Ninakaw na. Oh gaaad!

Habang ang mga kurakot lumulusong dun sa snow. The cold will never bother them ..‘coz greed is in their hearts!”

Videos on the UPSO performance became viral that elicited varied reactions.

The group  also performed the “Ikulong na yan, Mga Kurakot”  chant  to the tune of the UP cheer with the  following words:   “Ikulong na yan, mga kurakot;  ikulong na yan, mga kurakot; ikulong na yan, mga kurakot; magnanakaw, mga pahirap; tanggalin sa kanilang pwesto!; hindi kami magpapagapi, ganiyan kaming mga pilipino!”  This  chant was adopted in UAAP basketball games and even in rallies.

The Philippines is a typhoon-prone country, with approximately twenty tropical cyclones entering its area of responsibility per year.

Social media is swamped with photos and videos of the impact of these weather disturbances: residents trapped on their roofs as floodwaters quickly rose,  streets turn into rivers,  cars sink under floodwater, landslides, homes and roads destroyed across the country’s most populous island along with  displacement, injuries  and death. Fierce wind and rain flood  leave enormous piles of debris – including felled trees, furnitures and entire metal roofs.

The  flood control issue was  fueled by widespread corruption,  climate change (more intense storms), and poor urban planning (deforestation, bad drainage), leading to devastating floods despite huge government spending.

Recent scandals revolve around the diversion of billions of public funds that  involve “ghost” projects,  padded contracts, kickbacks, and substandard work, sparking national outrage, protests and calls for accountability against a network of favored contractors as well as implicated politicians and officials. The issue highlights a systemic failure where corrupt practices, rather than effective infrastructure, worsen natural disasters, making communities more vulnerable.

“The University views with the gravest concern the deep-seated and massive corruption plaguing the flood control projects in our country. We cannot stay neutral,” UP President Angelo Jimenez said in a statement.

“We support and encourage the expression of general outrage of our citizens, in accordance with the constitutionally guaranteed rights to peaceful assembly and freedom of expression,” the university president added.

“Beyond raging against corruption we must also harness our education and training to provide solutions to the real problems of our people,” he added.

Under the baton of its musical director, Professor Emeritus Josefino Chino Toledo, UPSO performed  a solemn yet jubilant retelling of the Nativity story via excerpts from a masterpiece that has moved listeners across generations.

One of the highlight of the concert is the segment on George Frideric Handel’s timeless oratorio “Messiah” known for its iconic Hallelujah chorus that pairs devotional text with soaring Baroque composition.

Messiah is an English-language oratorio composed in 1741 by Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later

UPSO was established on August 30, 2018 that consists of  members exclusively from the UP community: alumni, students, faculty members and staff.

The Orchestra functions as a training ground for both composers and musicians, and as representative of not only the University but also of the country in the worldwide stage

Calamities are not just natural and climate change phenomena, but moral indictments of state failure.

Here is the youtube link https://www.youtube.com/watch?v=pcBox9yOB3s

(Peyups is the moniker of the University of the Philippines. Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908866578)

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Typhoon Family  depicts the growth period of a young chief executive officer (CEO ) and the struggles of his family and employees as they strive to protect his father’s small trading company during the 1997 financial crisis.

In Episodes 8, 9, and 10,  the main characters, Kang Tae-poong (Lee Jun-ho) and Oh Mi-seon (Kim Min-ha) travelled  to Thailand for a business trip for export of motorcycle helmets.  Mi-seon unknowingly took photos that later became crucial evidence  to exonerate Go Ma-jin, who was arrested by Thai police on suspicion of bribery.

Mi-seon remembered Kang’s advice that “records are clearer than memory” and realized she had the incident on film. The pair raced against time to find a photo studio in Thailand to develop the photos overnight before a crucial trial in Korea. Unfortunately, the printed  photos were not used as these were accidentally thrown to river. However, Kang used the negatives to show the images  via a makeshift projector.

I felt a close relation with the photographer as he worked inside the darkroom.

As the Philippine Collegian’s chief photographer from 1989 to 1991, the darkroom was my happy place at  a time when you capture events like rallies  on film and not digitally, then see the images  come to life inside the darkroom.

Darkroom photography is the traditional, hands-on process of developing film and printing photos in a light-proof room. It involves using chemical processes and equipment like an enlarger to turn negatives into physical prints on light-sensitive paper. The process relies on a completely dark room, except for a safe light (typically red or amber), to handle and expose photosensitive paper without ruining it.

In legal proceedings, photographs can serve as  powerful forms of evidence. These visual aids can corroborate testimonies, clarify facts, and provide judges and juries with a clearer understanding of the events in question.

In these cases, the courts assess the relevance, authenticity, and probative value of the photographs in determining their admissibility and weight.

Photographic evidence (including digital photos, videos) is admissible if it’s relevant, competent, and authenticated as an accurate representation of the subject, often requiring testimony from the photographer or someone with personal knowledge to confirm its exactness and freedom from alteration, with photocopies/duplicates allowed if the original’s authenticity is not genuinely questioned. This is in accordance with the Philippine Rules on Evidence and Rules on Electronic Evidence.

In Guerrero vs. Phil. Phoenix Surety   (G.R. No. 223178, December 09, 2020), the   Supreme Court   said that a competent witness must be able to “assure the court that they know or are familiar with the scenes or objects shown in the pictures and the photographs depict them correctly

In Cadajas vs People (G.R. No. 247348, November 16, 2021), the Court affirmed the conviction of Cadajas for violation of R.A.  No. 9775, the Anti-Child Pornography Act  using social media posts.

The SC ruled that a person cannot invoke his constitutional right to privacy if the photographs and messages from his social media posts  are pieces of evidence obtained by private individuals and not by law enforcers or by other government agents.

The Court  said: “While the constitutional provision highlights the importance of the right to privacy and its consequent effect on the rules on admissibility of evidence, one must not lose sight of the fact that the Bill of Rights was intended to protect private individuals against government intrusions. Hence, its provisions are not applicable between and amongst private individuals.”

The SC noted that violation of the right to privacy between individuals is properly governed by the provisions of the Civil Code, the Data Privacy Act (DPA) and other pertinent laws, while its admissibility shall be governed by the rules on relevance, materiality, authentication of documents, and the exclusionary rules under the Rules on Evidence,”

In Serrano v. Cruz-Angeles, the SC ruled that screenshots qualify as admissible  documentary evidence under Section 2, Rule 130 of the Rules of Court. This rule encompasses “writings, recordings, photographs or any material containing letters, words, sounds, numbers… or other modes of written expression offered as proof of their contents.” Screenshots, being stored images of online content, meet this threshold.

One of the major challenges   due to   technology advancement  is that  digital photographs can become altered more easily than film-based images and that supposed original images recorded on a camera’s light-sensitive chip can be manipulated.

(Peyups is the moniker of the University of the Philippines. Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908866578)

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