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THE BAKLA OPM IMAG OF GAY ORIGAL FILIPO MICTHE BAKLA OPM IMAG OF GAY ORIGAL FILIPO MICTHE BAKLA OPM IMAG OF GAY ORIGAL FILIPO MICTHE BAKLA OPM IMAG OF GAY ORIGAL FILIPO MICTHE BAKLA OPM IMAG OF GAY ORIGAL FILIPO MIC

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“If you don’t know , you’re homophobic!!!! Bakla is a Tagalog term and genred inty that is a hybrid of the ias of male homosexualy, transgenrism, cross-drsg, and effemacy.

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The Philipp’ unique lonial history has also fluenced how the bakla is nceptualized: three centuri of Spanish Catholic le attempted, unsuccsfully, to root out practic of transvtism and homosexualy as immoral, while fifty rapid years of mornizatn unr the Amerin regime brought to the untry disurs that pathologized both cross-drsg and same-sex sexualy. The rise of LGBT rights social movements the untry, as well as the growg populary of the global gay liftyle, durg the 1990s has also impacted how the bakla is unrstood ntemporary society. For many Filipo middle class gay men urban settgs, the term remas a pejorative drawn along l of soc-enomic stat and the performance of classil masculy, as well as sexual sire directed toward other gay men, stead of the bakla’s penchant for cisgenr, heterosexual men.

The term bakla is more monly associated wh the lower class, effemate ‘parlor gays’ who work lower class salons. I argue that this shows how the bakla challeng toxic femism, which aims to exclu both transgenr women and cisgenr (gay) men om realms of power.

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Filipo Songs as Vehicle of Gay Portrayal: Through Formalist and Marxist Analys.

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This qualative study examed Filipo songs wh gay them volvg analyzg msag about genr the lyrics, followed by an analysis of the perceptns of the msag as well as the ias about genr and what means to be a genred beg today’s morn world. It is irrefutable that gays are margalized sector around the world. Hence, gays face sexism, opprsn, physil abe and stigma.

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All the factors relegate gays to the margs of society. Homosexualy n also be heard om Filipo bands and artists wrg il and ser songs about same-sex preferenc and havg them played rads that permeate Filipo hom and workplac, as well as amic articl that exprs homosexual outlooks and attempts to fluence the public to adjt their views of gays the society. Through formalist and Marxist approach, the rearcher analyzed 20 Filipo gay-themed songs.

Deceptn, supprsn of inty, abhorrence to homosexualy and plea for acceptance were the them surfaced the analys. Addnally, based on soc-cultural assumptn gays were margalized members of the society. Most of the tim, gay fay members treated them differently.

Fally, sights and implitns om analyzg how the songs picted gays were prented. One of the guys pot towards the directn of their only gay classmate.

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The anecdote stated above rgs faiar to every young teenage gay who thought beg bullied based on sexual orientatn, genr inty, and genr exprsn is jt part of growg up, not knowg that pos ser mental and social health problems the long n. Songs like Blakdyak’s “Molong Charg, ” Kamikazee’s “Chiksilog, ” Abra’s “Gayuma, ” and Young Vo’s “Aw” have not only promoted a culture of homophobia and transphobia, but also relegated the subject of mockery to a schemg, one-dimensnal character that do nothg but nceal their “blogil attribut” to please the object of affectn— this se, the straight cisgenr persona sharg primary or equal billg the storyle.

The last two s have somehow warmed up to engagg nversatns about empowerg queer visibily and imagery lol mastream mic, om anotg explicly gay edian Vice Ganda as one of TV, film, and mic’s biggt superstars to the highly publicized transn of Jake Zys, which earned him a book and rerdg al after. The song also brought to light the rilience of the gay character and how, to quote Everythg Is Queer blog, he managed to “rise above opprsive suatns and bee empowered” himself.

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