Mestizo, Yndio, Filipino: Our Plural, Riotous Selves

How we imagine ourselves in history could be the key to changing our future.

Esquire Magazine, September 25, 2025WHEN THE ENGLISH EXPLORER WILLIAM DAMPIER sailed into the remote, storm-battered islands of the northern Philippines in August 1687, he marveled at the emerald-green hills and steep cliffs that rose from the ocean. After a long voyage at sea, he was also relieved to find that the valleys held “brooks of fresh water which run to the sea in many different places.” Expecting to find the small islands uninhabited, he was startled when people with “dark copper-colored skin” and “hazel eyes” greeted his ship from the shoreline with curiosity. He noted that both the men and women wore elegant, dangling hoops of gold from their pierced ears, and he lamented not having enough supplies to trade for the precious metal. But during his stay he took possession of something that he hoped would be far more valuable: the names of the islands themselves. In a fashion typical of the era, he bestowed upon the largest island a European name, Orange, after the Prince of Orange, and upon the other two, Grafton and Monmouth, after Dukes back in England.

When he departed two months later, he carried with him detailed maps of the islands inscribed with the new names. His published account of the voyage[1] would become a sensation throughout Europe, the earliest written record of the area by a man who would go on to circumnavigate the world three times. But there’s a twist to his story. The islands called Orange, Grafton and Monmouth didn’t exist. They never did ­­— at least not beyond the imagination of an English explorer and his crew. Those islands already had names, called by the people who had been living there for thousands of years. They are: Itbayat, Batan and Sabtang. The names given by my ancestors. Names that still endure today.

The act of naming — whether a person or thing — is an act of knowing and discovery. It also carries with it the potential to influence all other aspects of our lives. As the scholar Rebekah Sinclair points out, “A name is a site of power.”  And that power can “create or destroy worlds, build or raze relationships.”[2] As Filipinos, we have lived through many different named identities. Often, they are multiple and co-exist in riotous expression. We can think of this as a sign of our hybrid existence, or the lineage of a mestizaje culture that springs from a myriad of origins. Try as they might, our multiple colonial masters failed to restrict or narrowly define our concept of ourselves, which has allowed for fluid and adaptable personas. It can also lead, however, to dissonance and contradiction. But the terms we claim for ourselves matter far beyond our individual identities.

Take, for example, the term Filipino, which has meant different things at different points in our history. During the Spanish colonial era, Filipino was used alternately to distinguish native residents of the colony from those with “pure” Spanish blood, such as Peninsulares or Insulares, or to refer to those with a mestizo background, or to distinguish indigenous people of the islands, as in Indios Filipinos, from those of other colonial territories in the Americas. The term itself comes from Spain’s King Philip II, who never set foot on the archipelago and whose ultimate design for the islands and its people was subjugation and exploitation. It’s a testament to their creativity and courage that Filipinos have made the term their own, often invoked with nationalistic pride.

To claim Filipino is thus to acknowledge the commitment and sacrifice that people throughouthistory have demonstrated to assert this identity. It’s a hard-won victory. But it’s also important to note that the identity marker has been harnessed at times by those who aim to demean and exclude others from the national project, such as minority indigenous and Muslim groups, even when they have a rightful claim to their local homelands.

Recognizing this creates the space for the other cultural or linguistic markers that help orient us in this land. Whether Tausug, Waray, Igorot, Illocano or Maguindanaon, these terms offer additional dimensions to our identities.

I am a tribal member of the Ivatan people of Batanes, where Dampier landed more than three centuries ago. I recognize this term, not just because of my ancestry, but because being Ivatan expresses a current and ongoing relationship with the people and the place. It’s where my family lives, where my child is being raised, and where my relatives and I farm and fish to sustain ourselves and our community. I-vatan literally means a person from the island of Vatan. It locates us to a specific place and history, and establishes a relationship that is distinct and special. It also engenders an ethos of protection and respect — for the land, history and the ecosystem. For why would we destroy or degrade Vatan? That would violate our conception of ourselves and our community. Instead, like our ancestors before us, we are encouraged to ensure that the place survives for the next generation. Even though I was raised in the Ivatan diaspora, and I also have German-Irish ancestry, this identity claims me, and I, in turn, recognize it with pride.

But why does all this attention to names or identities matter today? For me, the answer is simple: identity is not the result or end of an inquiry. Rather, it is a gateway to a broader and deeper understanding of relationships — how one relates to oneself, to a specific place, and to a community. And it is ever-evolving. If we see identity in this way, and pay attention to the terms we’ve used for ourselves throughout history, the implications for our contemporary world become urgently clear.

***

Judging by recent events, one of the most pervasive and insidious problems we face today is corruption. More than a mere flaw in government practice, corruption sparks outrage because it is an affront to our social pact to respect and care for one another. To be sure, corruption is often fueled simply by greed and a lack of integrity. But it’s also a reflection of who we imagine ourselves to be, especially in relation to the responsibilities we honor (or ignore) to our fellow citizens and the society at large. If we think of ourselves as part of a transactional or patronage system, one in which every individual is out for themselves, then corruption, bribery and theft are the logical means through which to gain an upper hand.

But this dynamic, and this view of ourselves, is the result of an historical process. Vicente Rafael traces its origins to Spain’s rule in the late 17th Century, when colonial officials selected a few local elites to compete for positions of limited power, and friars in the church had ultimate veto power over candidates.[3] This system was further refined under the Americans and, later, the Japanese during wartime occupation. For them, the aim was never to foster a thriving, functional democracy through electoral politics. Instead, Rafael argues, the goal was to encourage and reward collaboration from the elites and to manage and suppress the genuine calls, and agitations, for democracy. This unequal rule was further enforced by paramilitary groups and violent repression. Today, we are left with this legacy. In name we have a liberal constitution and independent branches of government, but we live in a reality in which the vast majority of Filipinos feel excluded from the democratic process, and preyed upon by those in power. The recent mass protests are a vivid display of this fury.

But what if — instead of this transactional and patronage system — we thought of ourselves and how we relate to each other differently? Perhaps by using concepts such as kapuwa, bayanihan or, as we say in Ivatan, kaydian. These terms prioritize the bond of interdependence, and reliance on one another, and they are embedded with the notion of cooperation and well-being. Guided by these terms, to steal from another, or to cheat a public fund, would be anathema to our survival for it would threaten our own families and the ability of our community to provide for itself. Of course, language alone will not be enough to reverse such deep-seated corruption. We also need concrete policy reforms that enforce accountability and transparency. But language is essential to ensure that these reforms lead to lasting change.

As the historian Xiao Chua points out, the term we use for a government worker, kawani, has roots in Javanese, and describes when someone serves others without expecting anything in return.[4] Imagine if we reclaimed this term as a way to redefine our obligation to one another? Kawani. It also leads us to another, related word that provides an even more expansive view of our potential for change, bayani.

***

In the days before his execution in December 1896, Jose Rizal, having lost his legal fight for freedom, turned his attention to the battle of language. He wrote 14 stanzas in Castilian, a poem that would become known as Mi Ultimo Adios, and smuggled it out of his cell inside a gas lamp, whispering in English to his sister, Trinidad, to conceal its contents from the nearby guards. Then, when he was delivered his death sentence by the Spanish military governor, he reviewed the paper and made one correction: where they had defined his identity, he wrote indio.[5]

During his lifetime, the term indio, or yndio, had been used to ridicule, humiliate and dehumanize native-born Filipinos. It was used to elevate the Spanish-born Peninsulares, who wielded the political power, and the mestizos, who occupied the lower rungs of society, from most of the population. Rizal was keenly aware of this. He was also aware of how the term, yndio, was used in the Americas to refer to the native peoples of Mexico and territories to the north who were battling for existence against the military expansion of the United States of America. When Spanish officials brought his death warrant to his jail cell, they had already seized his family land, tortured his brother and killed or exiled many of his comrades, but he would not be silenced. When confronted with impossible oppression, Rizal chose to inscribe, to render this word, this self-naming, yndio. Knowing Rizal, the choice was laced with irony, but it is also an act of defiance, and of liberation. For to be truly free, and to redefine our obligation to each other, to this land, to this place called the Philippines, we must first think of ourselves as a free people. And that starts with defining our plural and riotous selves on our own terms.

***

Dorian S. Merina is a poet, translator and journalist. His latest book is yndio arxipelago (University of the Philippines Press).


[1] Dampier, William. Chapter XV in A New Voyage Around the World, London, 1697.

[2] Sinclair, Rebekah. “Righting Names: The Importance of Native American Philosophies of Naming for Environmental Justice.” Environment and Society 9 (2018): 91–106.

[3] Rafael, Vicente L. “Electoral Dystopias,” (Chapter 1) in The Sovereign Trickster: Death and Laughter In the Age of Duterte, Duke University Press, 2022.

[4] Chua, Xiao, Mga Dakilang Pilipino, Amlat Book Publishing House, Project Saysay, 2025.

[5] Anderson, Benedict, Under Three Flags: Anarchism and the Anti-Colonial Imagination, Verso, 2005.

This essay was originally published in Esquire Magazine Philippines in September, 2025. To go to the original publication, click here.

New English Translations of Traditional Lajis

Nu Nunuk du Tukon

AS SUNG BY LAJI SINGERS MELECIO ALASCO, ROSITA ALAVADO

Nu nunuk du tukon, minuhung as kadisi na,
ichapungpung diya am yaken u ñilawngan na.
Kapaytalamaran ava su avang di idaúd,
ta miyan du inayebngan na, ta miyan du inayebngan na.
Nu itañis ko am nu didiwen ko
ta nu taaw aya u suminbang diyaken,
nu maliliyak a pahung as maheheyet a riyes
u minahey niya, u minahey niya diyaken.

The Nunuk on the Hill

The nunuk tree on the hill grew tender leaves and shoots,
then suddenly its crown was broken and I was caught beneath.
Now I can no longer watch the boat in the deep sea
for I stand on the side that is hidden, on the side that is hidden.
I weep in my sorrow
for the vast ocean has made me an orphan,
the pounding sea breakers, the strong currents,
they told me of my fate, they told me this.


U Anak Nu Munamun

AS SUNG BY LAJI SINGER FILOMENA HUBALDE

Anu kadawudawung ku du tukun di Valungut
Dawri a dinungasungay u anak nu munamun,
Ahapen ku na siya nu masen a sahakeb,
Dahuran ku na siya du mahungtub a duyuy,
Udiyan ku na niya a payrakurakuhen
A di chu’a pavulsayi su madahmet a chirin
Du kahawahawa ku niya u kaichay nu anak nu munamun.

The Child of the Munamun

Each time I look down from the hill at Valungut
I see the child of the munamun swimming in the waves,
I will gather her in my finest net
and place her in the deep coconut shell,
to take her home and care for her as she grows.
I will not utter a single harsh word
and take great care not to hurt the feelings
of the child of the munamun.



Laji is the traditional oral poetry of the Ivatan people of Batanes. These poems are new translations into English of the traditional poetry, as sung by the elder singers, who deserve full credit for being the original culture-bearers of this indigenous art form. Both of these lajis were sung in my presence as I recorded the singers and spoke with them about their craft. They generously granted me permission to share their lajis with the broader public. These were first published in Manoa Journal (December 2024). Please visit our ongoing community-based project on documenting and preserving laji at ivatanlaji.com.

Tanaga du Ivatan (Asa, Dadwa, Tatdu, Apat)

Tanaga is a traditional Filipino form of poetry. Each poem is composed of four lines, seven syllables per line, with various end-rhyme patterns. This is an excerpt from a series, titled simply Asa, Dadwa, Tatdu, Apat (One, Two, Three, Four), that uses Ivatan poetic language in the Tanaga form. Originally published in Manoa Journal, December 2024.



Tanaga du Ivatan: Asa

Masalawsaw sicharaw
Malatyat ‘changuriyaw,
Navuya mu u hañit?
Nadngey mu u valichit?

The day is full of wind
As a new dawn arrives,
Have you seen the brightening sky?
Have you heard the valichit sing?


Tanaga du Ivatan: Dadwa

Sumavusavung da na
U dadwa ka bayakbak,
Nu minaydak a chidat
Asa yatus vituhen.

The two bayakbak trees
are flowering:
a lightning bolt flashes,
a hundred bright stars.

Daybreak

Stepping into the smoke
that climbs the mountainside
carrying in its jaws the memory of fire
we vanish

stars flicker where
the sky’s blue dome
catches the smoldering mast

then emerge cloaked in silver ash
the sun’s rays lancing our throats into beads of flame
as we chant the world
into daybreak and dreams.

We found signs in the entrails of wild boars
as our holy women read the slaughter
that darkened the tips of their fingers red
and manacled their wrists in scripture

we chose to live even though
we knew enough of what was to come
or at least what we would become
in order to witness their arrival.

Let me tell you how it begins—

our children run from the shoreline
chased by the last trace of starlight in the sky
my daughter turns to me
cupping a spear of moonlight in her small palm

samurang

our footsteps pursued by echoes
as we leave the shallow mouths of coral
empty in our wake.

From yndio arxipelago (UP Press, 2025); art by Jay Pee Portez, from “Harvest”

New Book of Poetry: yndio arxipelago

Out now from the University of the Philippines Press!

“In this luminous collection of poems, Dorian Merina invites us to sift through the colonial archives to discover who we were before conquest. With each line, he draws us into a journey not toward certainty but toward the unsettling truths buried in silence and omission.”

“yndio arxipelago is a dazzling provocation drawing readers into the intimacies of the first colonial encounters between the Philippines and an emerging Spanish-speaking world…[Merina’s] verses, crisp and riveting, allow us to listen in to historical conversations, experience a scriptworld shifting from the baybayin to Castilian, and share in the internal struggles of a people on the brink of a cultural upheaval.”                                         

View and purchase the book via UP Press.

CREDIT: The header image on this page is from the beautiful artwork of José Honorato Lozano, one of his mid-19th Century paintings depicting Ivatan fishermen.

Di Achichùk: Poems and Images from Batanes

“A beautiful, moving example of the poetry of place.”

GA20-DiAchi

Winner of the 2020 Gintong Aklat Award for Poetry

If culture is a form of survival, then Merina not only enriches Philippine poetry but also enables Ivatan culture to thrive in a language that his tillage has made hospitable.”

–John B. Labella

“Among our best poets today…[Merina] forges his own path through the lexicon wilderness of language and makes his own clearing.”

–Gemino H. Abad

Available from Ateneo de Manila University Press, the Philippines.

(excerpt from the PREFACE)

AFTER A DAY AT SEA, fishermen in our village often gather in a circle to divide the catch. We squat low on the ground, arms dripping with seawater. One of us rinses a knife and slits the belly of a fish. Another grabs a spoon and, using its edge, scrapes the tough scales and fins. There’s a lot of laughter, jokes, teasing, and storytelling. This is called atatayen, dividing the catch, when everyone gets their share of the day’s work and each person’s contribution is recognized. You may also find someone drawing out a glass of palek, the native sugarcane wine, to start a song amid the chopping and cleaning.

Lipus ko am panahanen ko ava du payhudhuran 

ta riyalen nu araw, ta riyalen nu araw.

(I don’t make my relative pass on the hill’s ridge

for there the sun shines down brightly.)

These lines are from a Laji, the oral poetic tradition of Batanes. It’s a tradition that has been passed down through generations. Lajis can be funny or tragic, celebratory or mournful. They spin tales, recount village events, and express longing and joy. I have spent many hours during these past fifteen years or so seeking out the last elders here on the islands who know these songs, recording and transcribing their voices and talking to them about how they learned their art and where it comes from. Though it is a tradition constantly in danger of vanishing, I do not learn the songs for the sake of nostalgia. Rather, I believe our contemporary world—with its challenges and forgetfulness—is in need of this artistic imagination, these rare and valuable phrases that express a particular way of living, a specific balance with the natural world. They are gifts from our ancestors, who were also flawed, also full of dreams, also brilliant in their own way.

Batanes is the northernmost province of the Philippines, located in the deep channels where the Pacific Ocean meets the China Sea. It is remote and has been for many generations, yet it has also been a crossing point for people from what today is Taiwan, to the north, and Indonesia, to the southwest. It is home to Ivatans, the indigenous community that has made the rough seas and volcanic hills their home since before national boundaries were drawn.

It is also where my family is from and where we live today.

Preview a poem from Di Achichúk and read & listen to other poetry by Dorian S. Merina here.

For My Cousins Who Will Choose Who They Are

FOR MY COUSINS WHO WILL CHOOSE WHO THEY ARE

running home this evening
I look for the san gabriels
to find only
a faint line above the haze
a razor-black definition
of home running

and, before I can help it, my mind
rushes in
fills the rest with detail and reference
so that I see
as if in mid-earthquake
a perfect memory of a mountain.

I tell you this, cousins, because you too
will find your landmarks
this way,
you too will find yourself
listening to others
on the bus in school on t.v.
who will tell you, “You can choose
who you will be
you have the responsibility
to see it this way.”

***

what chose who blood
passages over the dark-rain ocean crossing
the border-blister heat

to arrive
find that address in the suitcase
stolen

***

there is in you
hot blood
cool blood
island blood
lovers blood
tribal blood
white blood
hungry blood
city blood
american blood American blood AMERICAN blood

***

it is twenty-eight day since Grandpa die
we used to eat chilled plums from buckets
drink coke and play ping-pong
in the backyard

one of his countrymen once said,
America
is in the Heart

this after years and years away
from the mountain on the island

***

we will be mis taken
for everything
we will learn to trade the landmarks
for pictures of ourselves
we will be tempted by the temporary ease
of forgetfulness
but, my cousins, after years of pretending
to choose
we will learn: we only know how
to discriminate

you will find yourself
suddenly alone with no easy choices
nothing gets better
once it is gone
or taken
or given
you cannot get it back in one piece
not in one lifetime

so I give you no caution
just a cool eye in the hurricane
just a hot eye in the field
there is something
no one has told you

go to it

 

 

from Completely Mixed Up: Mixed Heritage Asian North American Writing and Art (edited by Brandy Lien Worrall-Soriano, Rabbit Fool Press, 2015)

 

The Change Giver

THE CHANGE GIVER

The Change-giver drops four pisos
into my hand
swivels hips sideways
calls out the next stop

Ortigaaaaaaaaaaaaaas

one hand worrying the frayed edge
of a trouser pocket
switching back and forth
coin against the railing

one click means stop
two clicks go
sige dire-diretso hangang sa dulo

The Change-giver paces the small spaces
from Q-mart to Quezon Ave.
feet collecting strips of sun like geckos’ tongues
calling their rattling call in the night

The Change-giver paces the small spaces
between engine-floor to back door
gliding between aisles of torn Salita pages
spit and celphone cards

towel moistens the temple’s soft skin

the clutch gives
rocking wheels
into forward motion

The Change-giver has seen
four-hundred twenty-eight pisos
cross the pockets aisles and fingernails

seen three times already
the slow opening of gates
at city hall

seen the boarding and slipping off
of passengers before dawn

seen the slow crunch of taxis
jeeps and tricycles loosen
into steam-filled streets

moving in one flip
in one toss
the tickets fanned to the blanket of precision

holding in one fist
the day’s slowly burning silence

One-click two-click one-click two
in a flash five centuries of stop and go
five centuries of letting go
five centuries of circling a foreign architect’s dream
of agreement

One-click two-click one-click two
the signals of memory smoking through the sheen
of metal and coin
finger and cloth

One-click two-click one-click two
the stuttering accent of hybrid languages
smoothed to silence
carved from roughness

One-click two-click one-click two
we stop we listen
our tongues
our mouths
our eyes
our hands

the sun clears the billboard on EDSA
fills the window with light

the Change-giver is braced between seats
turning coins into dreams

 

From the chapbook, The Change Giver (Rosela Press, 2003)

Stone of the Fish

STONE OF THE FISH

Sometimes
on the slip
of your tongue

or the well
of the kutsara

or maybe
on the ridge of the dry
gin glass

you will find it:
the bone of the fish

They say you should
be thankful
for its abnormal shape
and irregular curves

for it came to you
from the flesh of the fish

and it came to you
from the depths of the sea

and it came to you
on the current rushing
between these islands
like memory

It could have kept on swimming
could have kept right on going
but it chose your hook
or maybe your uncle’s or your son’s

who knows
perhaps the fish carried itself
and the bones and skin of its body
to your flame over the stones
of your house by the shore

your tongue feeling for stories
in the flavor of smoke and fire

Don’t worry
if you’re not sure
exactly what to do

the old people call it vatu nu amung
stone of the fish
and they say it brings luck
in an unusual way

From the chapbook, Stone of the Fish (Rosela Press, 2003)