Gregorio III Caliguia

Despite the rise of nationalist historiography, postmodernism, and Bagong Kasaysayan, the historical study of kabaklaan (i.e., Filipino gay, queer, and trans persons) remains largely dominated by non-historians. This article investigates the current state of the field by asking: are there already historiographical works on kabaklaan, and if so, where to find them? Divided into three parts, the article first maps the overlapping paradigm shifts from “gay/homosexual” (ca. 1960s-2000s) and LGBTQ+ (ca. mid-1990s-early 2010s) to “SOGIESC” (ca. early 2010s-present) to explain evolving frameworks in historicizing these identities. Second, it locates and evaluates existing scholarship on kabaklaan organized by historical period. Finally, the article concludes by identifying challenges in using present-day categories on historical figures, suggesting future research strategies, and calling for ethical guidelines to prevent the harmful “outing” or misrepresentation of gay, queer, and trans persons in Philippine history and beyond.

Bakla signals “effeminacy” and “homosexuality,” which stigma signifies being “weak,” “fake woman,” and “unreal man.” This historical research interrogates the etymology of bakla, which etymology claims that bakla only became a label for gay identity since the 1960s. A newfound evidence, the Bienvenido N. Santos’ “Recollections” (1932), challenges this etymology; as the document used bakla to signify “effeminate” decades before the 1960s. Mobilizing this newfound evidence alongside theoretical, historiographic, and archival data, this thesis asks: (1) How can the 1932 “Recollections” help explain the crystallization of bakla into a label for “effeminate homosexual male” identity since the 1960s? (2) What can socio-historical processes further reveal about the etymology of bakla, and why the word bears so much stigma? (3) How did “effeminacy” and male “homosexuality” become semantically linked with bakla’s historic senses? At its core, the study argues that sexism and political instability coincide in the social history of the bakla. Contextualizing bakla’s semantic shifts reveals that the word’s stigma comes from its earliest meaning; besides “fearful and weak,” it was bakla as “deceptive.” While tracking bakla’s semantic links with the pre-existing terms for gay identity shows that bakla was forged alongside historical biases against women. These biases rendered gay men and trans women undesirable. And archival data uncover five (5) factors explaining why bakla crystallized into a gender label, which also offer insights on how bakla has been reclaimed and reworked, despite its persisting stigma, in more recent years. The thesis exposes bakla’s status as a “keyword” in the Philippine conceptual, sexual, and social history. It undresses bakla, opens it to critique, and recognizes the importance its etymology can play in undoing bakla’s stigma, and its potential in rethinking Philippine history itself.

This article interrogates how both visual culture and queer futurity can be made visible in and through the Philippine archive as a case in point. It begins by problematizing a paradoxical specter of futurity that seems to haunt more the Global North. But despite such haunting, the Philippines in the Global South continues to have thin to nil (i.e., nearly absent) envisioning toward a queer futurity, for most Filipino LGBTQIA + scholars seem to still be engaged in recovering “lost histories” from the archives and “thick descriptions” of the present, while focusing more on the textual than the visual. The article then proceeds to discuss mobilizing ekphrasis and representation as main conceptual tools in bridging the temporally opposite projects of queer archiving and queer futurity. It analyzes through ekphrastic re-reading the various LGBTQIA + representations from the Philippine archive – that is, a “palimpsestic site” of colonial confrontations, national (re)construction, and potentially global queer critique. These re-readings along the archival grain juxtapose the archival representations as historically authentic vis-à-vis their more present-day representations as visual proxies. Yet more crucially, the potency of these ekphrastic re-readings – in lieu of visually actual – lies in their capacity to reverberate queer possibilities, re-awakening them from their sleep within the archives, and thus re-mobilizing them toward becoming a useful part of academics, activists, and artists’ “shared arsenal” in re-envisioning and, hopefully in time, reifying such past possibilities into future queer actualities anew.

In 2010s, the love story between Sidapa and Bulan, two oft-described as male gods, widely circulated online and eventually became a folkloric representation about the LGBTQIA+ during the pre-colonial Philippines. But in 2019 this queer mythological romance was exposed to be a hoax. However, instead of dismissing the story altogether for being a hoax, especially given the story’s already irreversible circulation in popular culture today, this paper rather examines the “mythification” of Sidapa-Bulan queer romance as a case for historical rethinking. Drawing from a bricolage of digital, ethnohistorical, and historiographical materials, this paper is divided into four sections. The first section dissects this paper’s conceptual tools: the use of seemingly anachronistic categories of “queer” and “LGBTQIA+,” and how these categories intersect with the concepts of “myth-making” as a sociological (and by extension, historical) phenomenon, and what came to be known as “neo-archiving” (i.e., the use of fiction in response to the gaps in history). The second section explains the paper’s methodology and sources, specifically its use of four historical thinking skills in dissecting the Sidapa-Bulan myth. The third section examines the Sidapa-Bulan myth as a historical case, specifically in terms of sourcing and close reading, corroborating, and contextualizing. And the fourth section attempts to offer, albeit in broad strokes, some potential ways to move forward from the damages caused by the Sidapa-Bulan myth. As such, this paper argues that only by maintaining transparency over its own history, that the Sidapa-Bulan queer romance, as a case of contemporary myth-making (where queer artists, authors, and allies did not merely passively consume the story, but rather actively re-define and appropriate it), can become useful and integral in rethinking and, thus, enriching the Philippine LGBTQIA+ past. But in a practical sense, this paper demonstrates how historical thinking skills can empower the public to detect, dissect, and dispel disinformation today.