Who Are The Main Antagonists In 'Albularyo The Filipino Shamans'?

Lately I’ve been poking around old family photos and gravestone rubbings, and the language people use for burial places kept catching my ear — it’s surprisingly rich. In mainstream Tagalog the go-to word is 'libingan' (from the root 'libing' which refers to burial or funeral rites). 'Libingan' covers a lot: a single grave, a family plot, even formal names like Libingan ng mga Bayani. It sounds a bit formal on paper or in announcements, so you’ll hear it in news reports, plaques, and government contexts. But Tagalog speakers don’t only use that one term. In casual speech you might hear 'puntod' in some regions or older folks using words that came from neighboring languages. 'Sementeryo' (from Spanish 'cementerio') is also very common for cemeteries, and 'lápida' or 'lapida' shows up when people talk about tombstones. There’s also the verb side: 'ilibing' (to bury) and related forms, which remind you that some words emphasize the act while others point to the place itself. If you map it across the archipelago, the variety becomes obvious. Many Visayan languages — Cebuano, Hiligaynon, Waray — commonly use 'puntod' to mean a grave or burial mound; it carries a familiar, sometimes rural connotation. In Ilocano and some northern dialects you’ll hear forms built from the root for 'bury' (words like 'lubong' appear as verbs; derived nouns can denote the burial place). Spanish influence left 'cementerio' and 'tumba' in pockets of usage too, especially in formal or church contexts. So in everyday Tagalog you’ll mainly use 'libingan' or 'sementeryo' depending on register, but if you travel around the islands you’ll hear 'puntod', local verbs for burying, and loanwords weaving into speech. I love how those small differences tell stories of contact, migration, and how people relate to ancestors — language is like a map of memory, honestly.

I've always been fascinated by how words carry whole worlds, and in Tagalog the concept of a deity is layered and living. In old Tagalog cosmology the big name you'll hear is 'Bathala' — the creator-supreme who sits at the top of the spiritual hierarchy. People would address Bathala with reverence, often prefacing with 'si' or 'ang' in stories: 'Si Bathala ang lumikha.' That very specific use marks a personal god, not an impersonal force. Beneath Bathala are different types of beings we casually lump together as deities: 'diwata' for nature spirits and guardians, and 'anito' for ancestral or household spirits. 'Diwata' often shows up in tales as forest or mountain spirits who demand respect and offerings; 'anito' can be carved figures, altars, or the spirits of dead relatives who are consulted through ritual. Priests and ritual specialists mediated between humans and these entities, performing offerings, rituals, and propitiations. Colonial contact layered meanings on top of this vocabulary. 'Diyos', borrowed from Spanish, became the everyday word for the Christian God and also slipped into casual exclamations and expressions. Meanwhile, 'diwata' and 'anito' persisted in folklore, sometimes blending with Catholic saints in syncretic practices. To me, that blend — the old reverence for land and ancestors combined with newer faiths — is what makes Filipino spirituality feel so textured and human.

No, Eva Longoria is not Filipino. She is Mexican-American, with roots tracing back to a family that’s lived in Texas for many generations. Her ancestry includes a mix of Mexican and Spanish heritage. While she’s often been embraced by various cultural communities due to her advocacy and global presence, her background is firmly rooted in Latin American heritage, not Filipino.

I just finished reading 'Albularyo the Filipino Shamans', and yes, it's packed with supernatural elements that dive deep into Filipino folklore. The albularyos aren't just healers—they’re conduits for spirits, communicating with ancestral entities to diagnose illnesses no modern doctor can explain. The book details how they use orasyon (mystical prayers) to cast out demons or cure curses, often while holding rituals with herbs that glow under moonlight. Some chapters describe shape-shifting aswang spies lurking in villages, or duwendes (dwarves) sabotaging homes unless appeased. The most chilling parts involve soul retrievals, where albularyos battle dark shamans in spirit realms to rescue stolen lifeforce. It’s less fantasy and more a documentation of beliefs still alive in rural provinces today.

'Tae' in Filipino is quite the slang. It nonchalantly refers to feces. It's often used in various contexts, sometimes expressing annoyance or frustration, or to emphasize a point. Be careful though, not everyone might appreciate its use in conversation.

Reading 'America Is Not the Heart' felt like peeling back layers of the Filipino immigrant experience in a way few books do. The novel dives deep into the complexities of identity, family, and survival through the eyes of Geronima, a former revolutionary adjusting to life in America. What struck me most was how the author captures the duality of immigrant life—the tension between preserving cultural roots and assimilating into American society. Geronima's struggles with PTSD from her past in the Philippines mirror the silent battles many immigrants face, carrying trauma while building new lives. The portrayal of the Filipino community in California is incredibly vivid. The book shows how food, language, and shared history become lifelines for immigrants far from home. I loved how the characters navigate generational gaps, with older members clinging to traditions while younger ones grapple with their hyphenated identities. The economic realities hit hard too—characters juggle multiple jobs, send money back home, and confront the myth of the American Dream. The author doesn’t shy away from showing both the warmth of community and the isolation that can come with displacement. What makes this novel stand out is its refusal to simplify immigrant narratives. It’s not just about hardship; it’s about resilience, reinvention, and the quiet moments of connection that keep people going. The way Geronima’s relationship with her niece develops, for instance, shows how love and family can bridge gaps between old worlds and new.

I see 'simp' everywhere on my For You feed—it's wild how the word morphed and blended into Tagalog speech so fast. Sa buhay ko sa TikTok, marami 'yung gumagamit ng 'simp' nang casual: bilang biro, reklamo, o kahit badge of honor. Halimbawa, makikita mo captions like "SIMP ALERT naman siya" or comment threads na puno ng "Wag niyo siyang–super simp niya si Ate/Idol." People use it as a noun ("simp siya"), a verb ("nag-simp ako" or "nagse-simp siya"), and even as an adjective/adverb in Taglish lines like "Sobrang simp mode niya ngayon." Madalas kasama ng humor: self-deprecating posts na may punchline na "simp ako for free" or ironic clips showing someone overdoing stan duties. Beyond jokes, may edge din: ginagamit pang-bash ng mga troll or para i-call out perceived desperation — lalo na sa mga male fans or kilig reactions. Pero the trend has softened: now it's gender-neutral and applies to fan culture for idols, streamers, celebrities, at minsan sa crushes. Personally, I find it funny and useful for shorthand, pero mapanood mo rin agad kapag nagiging mean ang comments—so context matters, and tone seals the deal.

Nothing pulls the hair on my arms up faster than the right Filipino word for 'scary' when talking about ghosts. For everyday use, I reach for 'nakakatakot' — it’s simple and gets straight to the point: 'Nakakatakot ang multo' (The ghost is scary). It’s the most neutral, commonly understood adjective and works whether you’re whispering about a haunted house or describing a creepy story. If I want to sound more dramatic or vivid, I’ll say 'nakakatindig-balahibo' — literally 'makes the hair stand on end.' That one is great when I describe the moment a ghost appears in an old film or when I'm telling friends about a shivery folklore tale. Another favorite is 'nakakakilabot,' which is a little colder and more chilling; I use it when the atmosphere feels eerily silent. For informal speech I’ll often add intensifiers: 'sobrang nakakatakot' or 'talagang nakakakilabot.' Depending on the vibe I want to create — spooky, eerie, or downright terrifying — these choices let me tailor the mood. It still gives me goosebumps thinking about it.