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Once there were dancing goddesses

Introducing the “Goddess of Death”, an all gay dance group that is making waves because, instead of doing the effeminate type of dancing expected of members of the gay community, its members focused on and mastered the art of hip-hop.

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GOD1

They are a group of eight gay men in their early twenties, living in a humble barangay in Las Piñas. At first glance, there’s nothing extraordinary about them.  They’re not in a clan or a sorority, but they define their sisterhood like the ones you see in families. And while half of them are unemployed, they don’t fret about it. Although they don’t have regular 9-5 jobs, all eight of them are always busy practicing their complex routines, memorizing steps and mastering how graceful every move should be.

They call themselves the “Goddess of Death”.

GOD2But the people in their barangay call them the “dancing goddesses.”

“Ang pagsasayaw namin nabuo dahil sa tropa. Nag-decide kami na gumawa ng grupo.  Tinawag ko ‘yung grupo na Goddess of Death kasi may ka-grupo kami na ang nickname ay ‘Dyosa’, tapos dinagdagan namin ng ‘of Death’ dahil para sa amin, hangang kaya namin, hangang mamatay kami sa kakasayaw, basta ma-prove namin na kahit bading kami may kaya kaming patunayan, gagawin namin,” said Erich Arcilla, founder and leader of Goddess of Death dance group.

Their group is no different from the ones we see in fiestas and in barangay events.  But what makes theirs standout is the way the members present themselves on-stage. “Bading ang mga itsura namin, malalambot; pero kapag sumayaw kami, lalaki ang mga steps namin,” Erich explained.

Instead of doing the expected effeminate type of dancing, they focused and mastered the art of hip-hop dance, and every time they perform at any event, the audiences are left with amazement and shock.

The goddesses are not as privileged as other dance groups – they don’t have a decent place where to practice, and most of the time they can be seen rehearsing in the streets.  At times, they don’t even get to finish their rehearsals because the barangay tanods or the homeowners ask them to leave the area.

Isa sa mahirap para sa amin ay ‘yung wala kaming mahanap na lugar para makapag-practice.  Hindi naman namin afford mag-rent ng studio. Minsan, kapag nasa kalagitnaan kami ng pagsasayaw, pinapaalis kami kasi daw maingay kami at hindi daw pwede doon,” Erich said.

But this doesn’t stop them from doing what they love doing. They still train every day, from afternoon to evening.

“Noong unang contest na sinalihan namin, hindi kami nanalo, pero maganda ang feedback nila. Kapag tinuloy daw namin, may patutunguhan kami, kaya sinubukan namin ituloy-tuloy,” Erich said.

There was a time when they needed to focus on their dancing, so the members who had regular jobs had to leave their jobs and devote their entire time in the group. “Kahit mas malaki and kita sa parlor, aanuhin mo naman ‘yun kung wala naman ‘yung mga kaibigan mo, at ‘yung totoong kaligayahan mo?” Johnrey Articula, one of the Goddesses, said.

All their hard work paid off. They won almost all the contests that they joined.  They even managed to dance for several rounds in the TV show “It’s Showtime”.

“Ang pagsasayaw namin ay para mabago ang image namin na hindi lang kami basta mga bakla na tumatambay lang sa kalye, na baklang salot sa lipunan. May mga talento kami na binigay ng Poong Maykapal, na shino-showcase namin sa kanila,” Erich proudly said. “Masaya din ang feeling, kasi kapag natapos mo ‘yung sayaw, parang mission . Tapos nakapagbigay pa kami ng saya sa tao. Ang sarap sarap sa pakiramdam kapag pinapalakpakan ka.

At times, winning becomes a must.  “Importante na manalo kami kasi kapag natalo kami, nandiyanyung kukutyain kami, sasabihin nila, sumali pa kayo eh matatalo din naman kayo.

But their biggest accomplishment (yet) was when the “World Supremacy Battlegrounds”, a dance contest in Australia, chose their group to represent the Philippines last December 2013.  The Goddess of Death was the first all-gay group chosen to represent the country in such a prestigious international dance contest. Being chosen was in itself an honor, but being able to go could have been a historic event for the local LGBTQ community.

However, “sobrang laki ng pera na gagastusin para makapunta sa Australia. Kailangan namin ng almost half a million para sa processing ng visa namin, sa pocket money, at sa iba pang gagastusin doon,” Erich explained.  Hindi kami mga anak mayaman, mga mahihirap lang kami. Kapag nananalo kami, ‘yung premyong nakukuha namin, malaki na ang natutulong sa amin.

They joined all the contests that came along their way. They borrowed money from everyone they knew. But when they finally reached the needed amount, it was already too late. They were not able to fly to Australia.

Nanghihinayang kami, pero wala kaming magagawa, kasi wala naman kaming pera. Sinubukan namin humingi ng tulong sa barangay pero deadma lang sila. Kahit gusto kaming suportahan ng pamilya namin, hindi naman enough,” Erich said.

GOD3They dwell on the idea that if only the government has existing programs to support these kinds of endeavors, the Goddesses could have joined the World Supremacy Battlegrounds, becoming the first all-gay dance group to represent the country in an international event. The sad truth, however, is that the betterment and welfare of the LGBTQs in the country remains not prioritized by the government.

Today, the goddesses still continue to join all the dance contests that come along their way. Some of the members teach dance lessons in schools to have extra income.  They are also saving up so they can join another international contest in October, and they are hoping that this time, they will have enough money.

Hindi lang siya grupo ng pagsasayaw, pamilya na ang tingin namin sa isa’t-isa. Magsasayaw kami hangga’t kaya namin sumayaw, hangga’t hindi pa sumusuko ang katawan namin,” Erich said.

Once there were dancing goddesses, they continue to make a mark on their barangay, eventually making a mark on the LGBTQ community. Although the available resources are scarce, it doesn’t stop them from reaching their dreams. Their dancing is not only for themselves or solely for the money, it is also changing the image of the LGBTQ community.

For additional information or for those who want to donate to the Goddess of Death, email crucialchicc.erich@yahoo.com.ph or visit the group’s Facebook page.

Living life a day at a time – and writing about it, is what Patrick King believes in. A media man, he does not only write (for print) and produce (for a credible show of a local giant network), but – on occasion – goes behind the camera for pride-worthy shots (hey, he helped make Bahaghari Center’s "I dare to care about equality" campaign happen!). He is the senior associate editor of OutrageMag, with his column, "Suspension of Disbelief", covering anything and everything. Whoever said business and pleasure couldn’t mix (that is, partying and working) has yet to meet Patrick King, that’s for sure! Patrick.King.Pascual@outragemag.com

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Here comes… Gothic drag

Patruni Chidananda Sastry started doing drag at the age of 12, “though I didn’t know it was drag,” they said. Now, Patruni says that drag is equivalent to sports, drama, dance, music and more. “It’s a package of all in one. So if you don’t like our art, I believe you should have a better reason; and to get one, you should dress up one day.”

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PHOTO: MANAB DAS; MODELS: PATRUNI SASTRY AND SAJIV PASALA

This is part of #KaraniwangLGBTQIA, which Outrage Magazine officially launched on July 26, 2015 to offer vignettes of LGBT people/living, particularly in the Philippines, to give so-called “everyday people” – in this case, the common LGBTQIA people – that chance to share their stories.
As Outrage Magazine editor Michael David C. Tan says: “All our stories are valid – not just the stories of the ‘big shots’. And it’s high time we start telling all our stories.”

Patruni Chidananda Sastry started doing drag at the age of 12, “though I didn’t know it was drag,” they said. At that time, “I was learning and pursuing Indian classical dance, ‘Kuchipudi’, where the young boys dress up as girls and perform on mythological contexts. It was through this that… I dressed as a girl to present a dance piece.”

It took Patruni more time to “conventionally call it drag”, when – starting 2019 – they started to “imbibe the idea of drag in Hyderabad.”

Patruni also recalled that at that time, Hyderabad didn’t have any drag culture.

“Conventional drag has been (reported on) pretty late in India, around 2018-2019,” they said.

This was also the time when Section 377 of the Indian Penal Code (the archaic British “anti-buggery law” that prohibited sexual contact between two men even if they consent) was decriminalized.

“Before that, drag was there as a part of multiple art forms, but not many people used the word ‘drag’. It was not a separate entity of art,” Patruni said.

As such, Hyderabad had never seen someone perform drag and “in an interim discussion with a couple of friends, the idea of hosting a drag show crossed my mind. I was looking for drag queens who can perform for the show and was desperate to get someone… to dress up. Irritated by my constant push, a friend got back to me saying, ‘If you can’t do it yourself, don’t ask others to do it!’.”

That was when Patruni decided to do drag.

“After performing on the first show in June 9, 2019, I found the intersectionality of dance, performance art and theater in drag; and I felt it relevant to pursue it from thereon,” they said.

And so with the passing of time, “my drag has been my way to showcase a visible medium of gender nonconformity and the politics of fashion within the country.”

PHOTOS: MANAB DAS; MODELS: PATRUNI SASTRY AND SAJIV PASALA

GOTHIC DRAG

Here’s an interesting thing, though: Patruni actually once referred to what they do as “Gothic drag”.

“My style of drag is inspired by the Tranimal Drag style by Austin Young and Speaky Blonde,” they said, adding that “I was also inspired by Daniel Lismore, who’s style gave me a new way to reflect drag.”

In Tranimal drag, the idea of beauty, glamour and fashion is questioned to the core; the notions of what is aesthetic and what’s not are tossed; and the gender is wiped out of the body to ensure the body is genderless.

“The art of Tranimal becomes available as we use available objects from trash bags to big liners, broken jewelry to face paints… and put it on the body in a non-choreographic way to create an image,” Patruni said.

And so “Gothic drag was one of my explorations where I could bring my Tranimal soul to dwell with the nature of Black and Red, drag and mixed gendered representation of the spooky soul. This style of drag dismissed the idea of beauty, privilege and glamour of the conventional drag, and points out that drag is away from the idea of perfectness. (It is) anti-beauty and privilege less.”

FAMILY… FOR ART

It was actually Patruni’s mom who “helped me dress up as a woman at my first drag show when I was 12 years of age,” they smiled. “And even when I started doing drag as an adult, they were interested in knowing the purpose of art than my choice of choosing the art. They have been extremely supportive and have never stopped me from my gender expressions. At times they are curious to know the why, what and how about the art form and encourage me to push my boundaries time and again.”

FROM INDIA… TO THE WORLD

Patruni – who identifies as a gender fluid pansexual person – recognizes that much of the world that’s exposed to Western culture will be familiar with drag via the likes of RuPaul and Hollywood iterations.

But they said that “drag as any other art form is supposed to be diverse.”

This may be particularly true when “looking through the compass of Indian drag history, where drag has always been diverse and evolving.”

“Sometimes I feel that drag was something which was picked up from India, where men were dress up as women and women dress up as men in more than 50 art forms for centuries,” they said.

The first citation of Roopanurupam (which is drag in Sanskrit) was in Natya Shastra around 200 BC; and because of the colonization, the art transcended to Victorian Era, which then followed to other parts of the world.

“Hence for me, the Indian context has a lot more space worth researching,” they said.

PHOTOS: MANAB DAS; MODELS: PATRUNI SASTRY AND SAJIV PASALA

Patruni added: “In Indian drag, there is glamour as well as performance. But when I see the representation in Western drag as shown in RuPaul, I find glamorization as something which is ‘given’, as ‘important’. There is no harm to be beautiful, and there is no right and wrong since art is personal, but drag is way more than that. And when only one aspect of it is highlighted across the world and other versions are not equally given opportunity, that brings up the idea that ‘This is the only right way to do’, which is wrong.”

For Patruni, “I believe all the drag is valid and matter, and we all have to be represented and respected (to) share a holistic vision of drag.”

IS DRAG ANTI-WOMEN?

Drag has also been criticized for being anti-women. For instance, the very definition of drag often excludes women dressing up as men; and drag may be (mis)construed as “playing woman”.

But Patruni said that “drag is both gendered and genderless.”

In India, for instance, there is a very rich culture of having drag in all gender forms – e.g. in Manipuri dance, a woman performs a man’s roles; while in Jatra drag, a man performs in roles of women. There are also forms like Buta Kola and Theeyam where the performing body is neither man nor a woman.

However, perhaps because of the limitations of drag as often portrayed in the West, the “anti-women perspective” is bound to surface.

“Though women perform as bio-queen or drag kings, their entry into the mainstream culture is not so visible,” Patruni said. “It’s equally important to have multiple bodies come and explore the art, and restricting it for only one body/gender type is equivalent to killing the art. Drag can be performed by anyone irrespective of their gender sexuality, caste, race or privileges; and it’s high time we include all performing bodies into the mainstream drag.”

PHOTOS: MANAB DAS; MODELS: PATRUNI SASTRY AND SAJIV PASALA

RAISING A CAUSE

Drag artists/performers have also been criticized for “hijacking” many of women’s issues – for example, male drag artists/performers become the “spokespeople” of women’s issues.

In Patruni’s case, for instance, one of their endeavors was to deal with witch-hunting as an issue still affecting many Indian women. It is easy to argue that women, not drag artists/performers, should be speaking about their own issues.

Patruni said that “as an artist, it is important to question oneself about how we are doing it, why we are doing it, and for whom we are doing it. And one should also keep in mind the spaces artists are standing at while raising a cause. It is important to understand what these spaces are where we can articulate a certain thing, and what are some spaces which we should.”

Patruni recognizes that “when it comes to women’s issues, we need to understand that the (most) drag performers are not biological or transgender women, and hence cannot claim the spaces of women. Their issues are real (and it should) come from them, and not be snatched (by those doing) drag.”

However, adding to the conversation can be done by drag queens.

“As drag is a visual medium, they can add more value to a cause. As a society, all the genders need to have awareness and co-work to make the changes,” Patruni said, stressing – all the same – that “we need to step aside to give space to women to talk about women’s issues.”

And while women voice their issues, “let the men clean up their patriarchal mess. And that’s where drag can help.”

UNDER THE LENS

To highlight Gothic drag, Patruni worked with ace photographer Manab Das for a “photo performance”.

In India, “Goth” hit the headlines for all the wrong reasons – e.g. in connection with a Bollywood actor passing away while staying in a Gothic hotel (“Palazzo Magnani Feroni”) Italy.

“The Goth culture has always been tabooed… in Indian context,” Patruni said.

Patruni likened this Goth shaming with witch shaming, particularly as used in India to refer to self-aware women.

With the merging, therefore, came this output that highlighted everything Patruni is about – e.g. the interdependencies of the illusioned gender and the spooky esthetics of Goth.

PHOTOS: MANAB DAS; MODELS: PATRUNI SASTRY AND SAJIV PASALA

ACCEPTANCE THROUGH DRAG

That drag continues to be misunderstood goes without saying. And so if there’s a lesson about drag that Patruni thinks people should know of, it’s “the lesson of acceptance… as it builds, survived and made the art of drag visible. And all individuals – may that be performers, audience, curators, event organizers, TV promoters, et – need to practice that art of acceptance to make it more popular, diverse and heartful.”

For those who continue to look down on drag, “maybe you should consider taking drag therapy,” they said. “Dress up someday and you will fall in love with your self.”

For Patruni, drag is equivalent to sports, drama, dance, music and more. “It’s a package of all in one, and drag performers are happiest people in the world. So if you don’t like our art, I believe you should have a better reason; and to get one, you should dress up one day.”

And so for those who want to do drag, Patruni said for them to just do it.

“Drag is very easy. All you need to do is to do it. The rest comes as you go along. Anyone can be a drag performer and no one can keep you away from being one,” Patruni ended.

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LGBTQIA people in violent relations should seek help

LGBTQIA people in GBV/IPV/FV ought to know that their situation can be managed; they just need to – first – not fear seeking for help.

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Photo by Rene Asmussen from Pexels.com

Never be silent.

In Quezon City, a 13-year-old transgender girl was repeatedly abused by her father, leading to the involvement of the barangay, which has a worker trained by OutRight International and EnGendeRights, Inc. on gender-based violence (GBV)/intimate partner violence (IPV)/family violence (FV).

Atty. Clara Rita Padilla, who helms EnGendeRights, Inc., recalled that – when they helped remove the transgender girl from the abusive situation – they initially encountered some roadblocks, such as finding alternative housing.

But then “we (found out) that her lolo at lola (grandfather and grandmother) were willing to take custody”, thereby allowing for her to be “removed from (the) abusive situation,” Padilla recalled.

And so for Padilla, LGBTQIA people in GBV/IPV/FV ought to know that their situation can be managed; they just need to – first – not fear seeking for help.

This was Padilla’s message at OutTalks, a webinar series helmed by Ging Cristobal of OutRight International.

Posted by Ging Cristobal on Thursday, November 26, 2020

DEALING WITH ABUSE

As it is, Padilla said there are actually already existing remedies for LGBTQI persons. Included here is seeking help from – first – the barangay, or if the case needs to be elevated, then the police and/or even prosecutor’s office/court.

At least in her experience dealing with related cases, Padilla said that decision of complainants on whether to file cases or not vary.

At times, victims want to deal with repeat offenders. Others assess the importance of seeking redress (e.g. empowerment, becoming a survivor from being a victim, prosecution of abuser, holding abusers accountable). And at times, people’s decisions are affected by existing support mechanisms (e.g. family members, government agencies).

No matter the decision, though, Padilla said the country already has some laws that could be useful to victims.

Photo by Joanne Adela Low from Pexels.com

LAWS OF USE

RA 7610, for instance, deals with child abuse. Padilla said that even in the absence of social workers, the Department of Social Worker and Development, police and barangay can actually already “take children into protective custody to remove them from abusive situations.”

RA 9262 (Anti-VAWC or violence against women and children) can also be used by lesbian and bisexual women. The law is, however, limited. For one, it does not benefit abused gay and bisexual men; and whether it can be used by transgender women has yet to be tested.

The Revised Penal Code also sanctions physical injury, unjust vexation, slander by deed, acts of lasciviousness, and rape (e.g. incest, conspiracy, intimate partner violence, date rape).

RA 11313 (Safe Spaces Act) mentions harassment in public spaces based on actual or perceived SOGIESC (sexual orientation, gender identity, gender expression and sex characteristics).

RA 10175 (Cybercrime Law) also eyes to provide safe space online.

And then there are anti-discrimination ordinances (ADOs). This is obviously not encompassing, considering that many local government units still do not have ADOs (and the country still does not have a law protecting the human rights of LGBTQIA people).

PROACTIVE STANCE

In the end, Padilla said, “huwag mahiyang dumulog (do not be embarrassed to ask for help).”

She said that the number of service providers continue to increase, and so “idulog nyo sa amin at hanapan natin ng solution para maka-seek kayo ng justice (inform us about your issue so we can find solutions as you seek justice).”

To contact EnGendeRights, Inc., call (02) 83762578 or (02) 86645696.

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City of Manila passes LGBTQI anti-discrimination ordinance

The City of Manila finally has an anti-discrimination ordinance (ADO) to protect the human rights of LGBTQI Filipinos. Mayor Francisco Moreno Domagoso signed City Ordinance 8695, sponsored by councilor Joel Villanueva, which prohibits “any and all forms of discrimination on the basis of SOGIE”.

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The rainbow rises in the City of Manila… finally.

The City of Manila finally has an anti-discrimination ordinance (ADO) to protect the human rights of LGBTQI Filipinos. Mayor Francisco Moreno Domagoso signed City Ordinance 8695, sponsored by councilor Joel Villanueva, which prohibits “any and all forms of discrimination on the basis of SOGIE”.

“No harm will come to you while I’m mayor of Manila. Lahat kayo pantay pantay sa mata ng pamahalaang lokal,” Domagoso said before signing ADO.

Called Manila LGBTQI Protection Ordinance of 2020, the ADO prohibits:

  1. Denying or limiting access to employees the promotion, transfer, training and schooling if these are otherwise granted to others;
  2. Refusing employment based on actual or perceived SOGIE;
  3. Denying access to medical/health programs and services based on actual or perceived SOGIE;
  4. Denying admission, getting expelled or dismissed, or preventing a student from graduating or getting clearance based on actual or perceived SOGIE;
  5. Revoking accreditation or LGBTQI organizations in schools and workplaces;
  6. Subjecting any person to verbal or written insult including on any social media platforms;
  7. Refusing services based on SOGIE (e.g. accommodations, renting dwelling, malls, etc); and
  8. Organizing groups and activities that promote/incite discrimination of LGBTQI people.

The ADO also mandates the creation of the Gender Sensitivity and Development Council, which will be tasked to synchronize the city’s programs for the LGBTQI community. This council is also tasked to facilitate and assist victims of stigma and discrimination so that they get legal representation and psychological assistance.

With the ADO, every barangay is mandated to establish LGBTQI assistance desks to receive complaints related to the ADO.

By 2023, it is expected that gender-neutral toilets will be established in all venues in the City of Manila. This will be made a condition precedent to the renewal of business permits of establishments.

Violation of the ADO will be penalized with a fine of PhP1,000 and/or imprisonment of six months for the first offense; increasing to a PhP3,000 fine and/or imprisonment up to a year for the third offense.

The ADO will be funded by 5% of the appropriation to finance the city’s Gender and Development programs.

According to Naomi Fontanos of GANDA Filipinas, which helped push for the passage of this ADO: “Based on experience, we know that a law won’t end LGBTQI discrimination and violence but can enable access to justice for people who seek redress. The fight isn’t over.”

And since the ADO has no IRR yet, it also “needs to be monitored for proper implementation.”

Since this also comes on the heels of Zamboanga City passing its own ADO on October 14, Fontanos said that credit should be given to the work of LGBTQI advocates and allies in and outside LGUs tirelessly pushing for structural change.

All the same, “the struggle to pass a national anti-discrimination law also continues and our work to hold those in power to account remains,” Fontanos ended.

*This article was amended on October 30, 11.21AM to include the statements of Naomi Fontanos of GANDA Filipinas

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Enter the alter world

Welcome to the alter world, where people tweet and retweet their or other people’s sexual engagements. Though often maligned, it actually also highlights formation of friendships, info sharing, emotional support, and even provision of a ‘safe space’ for those who wish to express their sexuality.

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Some time back, Kurt (a.k.a. @MoanerBottom) opened a Twitter account as a form of revenge. “I found out that my ex had an ‘alter’ account and he was fooling around with different people,” he recalled. And so “I wanted to prove to him that I can also do the same thing.”

Little did Kurt know at that time that he would become a mainstay in the alter world/community. A few months since opening his own alter account, he garnered over 130,000 followers, all of them craving – and even waiting – for what he would post, usually dominated by sexual encounters (“kalat videos,” he calls them) with mostly students, including a basketball varsitarian “who likes to penetrate deeply”, a Blue Eagle who allowed for his orgasm to be videoed, a Tamaraw who also allowed himself to be videoed as he orgasmed, and bending for a Red Lion.

“I must admit that I am a shy person in real life,” Kurt said. But “here in Twitter, it is like I have less shame and more courage to do kalat (contextually: shameless) posts and videos.”

Kurt is, obviously, only one of the people – not just Filipinos – with alter accounts, which many like him, say is similar to a “pseudonym — like Batman to Bruce Wayne, or Superman to Clark Kent; where people can have a separate account from their primary accounts, usually used to express themselves more ‘wildly’ yet more ‘discreetly’/anonymously.”

And so welcome to the alter world, where people tweet and retweet their or other people’s sexual “collaborations”, hookups, fetishes, fantasies and social engagements, with the audiences often never really knowing the content generators/producers/distributors.

Getting noticed

That the alter world is often dominated by sexual content is a given.

Onin (a.k.a. @Onin_NuezPH), for example, sees his alter account “as an avenue for me to express myself and my sexuality. I am able to let everyone know within the community about my sexual desires without the fear of being judged.”

Looking back, it was actually “a friend who is an alter too introduced me in this alter community,” Onin said.

One of the early instances Onin trended was when some of his nude photos circulated on Twitter. Many got curious, asking the person who previously reacted or shared the photos if there were more.

It whetted Onin’s interest; and so he started posting more photos and short videos. His followers quickly increased, reaching more than 145,000.

Taking pride that he is one of the more talked about alters out there, Onin has produced content that may seem trivial… but these have been keeping the alter community and lurkers interested, from balancing a shampoo bottle on top of his erect penis, sharing a photo of his endowment while asking his followers if they want to kneel in front him, a comparison of the length of a deodorant spray with his penis, wearing a see-through underwear, and teasing his latest sexual collaboration.

Standing out

Standing out in a platform where hundreds (even thousands) of alters saturate news feeds is a challenge. After all, it is not an easy feat to attract someone’s attention — what more to make them like, share, or follow an account.

For FUCKER Daddy (a.k.a. @ako_daddy), therefore, it all comes down to the type of content being posted, not just being well-endowed, willing to perform bareback sex, or how often the face is shown.

A licensed professional who has a son, FUCKER Daddy started as a “lurker’ (i.e. one who lurks, or just consumes content/views profiles) on Twitter. At that time, he wrote “my real-life sex stories, hoping it will pick up from there,” he recalled. “Unfortunately, alter peeps seem to be more into live action.”

And so FUCKER Daddy met someone from Telegram, without realizing that the person was “sort of (a) big (personality) on Twitter.” This guy discretely took a short clip of their sexual encounter, and then posted it on his alter account. “It was hit. (And) the rest is history.”

By August 2019, FUCKER Daddy said his inbox started receiving direct messages from different users – e.g. asking for more, congratulating him, wanting to collaborate, and so on.

He actually now has several sex videos in his cam. But he still doesn’t make recording the primary thing when engaging in sex “as my goal is to have hookups; videos are only secondary.”

Besides, he said that “I do not want to spoil the moment for sex and think only of it as merely for Twitter.”

But every time FUCKER Daddy posts a video, he said his over 95,000 followers respond to them “with enthusiasm, getting more curious and intrigued.”

Making a living

The concept of alter, however, isn’t set in stone.

For one, there are actually alter accounts whose owners prefer to use their real names and show their faces (like Onin), mixing their personal and private lives along the way. Following the Batman/Bruce Wayne and Superman/Clark Kent analogy, there are also people who follow the Tony Stark/Iron Man mantra, i.e. openly announcing that they are one and the same.

Secondly, monetizing is actually possible.

Also, one may be part of the alter community without knowing it – i.e. one engages in alter activities without recognizing it as such.

The likes of John (a.k.a. @johnnephelim on Twitter and Instagram), who has over 130,000 followers, comes to mind, using Twitter as a platform “to promote a job.”

“I do not even know that I am involved in the world of alter,” John said, adding that he did not even know what the term meant until it was presented to him. Instead, his account is used to “promote my RentMen and OnlyFans accounts”, just as he also promotes his availability for “personal appointment to people.”

John actually used to work as a brand ambassador, but because of this change in his work, he “can no longer work (in) that (field) because I am doing porn.”

He admitted that “this type of thing is double-edged.” On the one hand, “you can earn a great amount of money,” he said, “but there will be sacrifices.”

He noted, for instance, that the perception of people about me changed; most people judge you right away because of what you do, and not because of who you are as a person.”

But he ignores the naysayers; “I do not mind because this job gives more than what I expected!”

Like John, Onin also promotes his JustFor.Fans (JFF) account on Twitter to respond to the requests of his followers.

“They (my followers) want to see me in action and they are willing to subscribe too,” Onin said, with his exclusive content including: he and his partner having sex, and collaborations with other alters. “You will not earn that much, but pretty enough to compensate for the contents that we are posting.”

Not all alters think alike, obviously. FUCKER Daddy, for instance, won’t monetize his content, saying: “I value sex as it was created. I never sell any (videos) because I think it is something that is worth free. I simply treated it as making memories while those (who) watch put up the numbers.”

Behind the handles

The world of alter has actually already caught the attention of researchers.

For instance, in a study by Samuel Piamonte of the Philippine Council for Health Research and Development, Mark Quintos of De La Salle University Manila, and Minami Iwayama of Polytechnic University of the Philippines, it was found that the alter community may seem overtly sexual, but there is more to it than that.
“The sexual aspect of alter is the core of alter, but it has been enriched by more complex social benefits to users such as including formation of new friendships, sharing of information and advocacies, reciprocations of emotional support, and provision of a ‘safe space’ for those who wish to express their sexuality but find that doing so outside of the alter community could be met with stigma from their peers and family.”

Kurt sees his alter account as an avenue for him to tap his inner self and show the Twitter universe his kalat. Onin uses his alter account to broadcast his sexual side (together with his partner). And FUCKER Daddy uses his alter account as “a constant source of info, hookups, convo… and to learn social demographics as well.”

The evolution, indeed, continues.

Hate from within the community

Yes, yes, yes… with increasing numbers of followers, multiple likes and shares, and the creation of alter “celebrities”, this has not been spared from criticisms.

And sadly, said Kurt, at least in the Philippine setting, the prejudice against alters comes from within the community. “Kapuwa LGBT ang nagsisiraan at nagpapataasan sa isa’t-isa,” he said. “I know… that I cannot please everyone (but) for me it is okay, as long as I know that I am not doing anything wrong.”

Perhaps a “surprise” is the audience’s inability to “appreciate” the free content given them, with Kurt noting that there are times when “they are also pissed off with the things I post.”

This seems to contradict the findings of Piamonte, Quintos and Iwayama, since – here – the alter community can become a fearful place, too.

John, like Kurt, noted how people resort to demeaning others when they do not fit preconceived notions. But he just laughs this off, saying: “Do not hate me because I look good and make money (from) it. Life is too short to be a bitter person. If you do not like what we do, then shut the fuck up.”

The Pandora’s box, so to speak has been opened; and lessons learned along the way can just “make you stronger and bring out the best in you,” said Onin, who like many alters, “just focus on my goals.” And it is exactly because of the existence of this interchange – the content creation, and the love-hate reaction to what’s created – that alter is not going to disappear anytime soon (or at all).

Details and photos of sexual encounters were lifted from the Twitter accounts of the interviewees.

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Anti-discrimination ordinance passes final reading in Zamboanga City; awaits mayor’s signature

Zamboanga joins the growing number of local government units that now has an anti-discrimination ordinance.

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The rainbow rises in Zamboanga City.

The 1st class highly urbanized city in the Zamboanga Peninsula of the Philippines, Zamboanga, joins the growing number of local government units (LGUs) that now has an anti-discrimination ordinance (ADO).

As helmed by Hon. Lilibeth Macrohon Nuño, the ADO passed the third and final reading at the Sangguniang Panglunsod of the City of Zamboanga on October 6.

The ADO is actually not only specific to sexual orientation and gender identity and expression. Instead, it is a more comprehensive ADO that also prohibits discrimination based on race, color, civil and social status, language, religion, national or social origin, culture and ethnicity, property, birth or age, disability and health status, creed and ideological beliefs, and physical appearance.

The ADO now goes to the desk of Mayor Maria Isabelle Climaco-Salazar for signing.

As the sixth most populous and third largest city by land area in the Philippines, Zamboanga has a population of 861,799 people (as of 2015). The ADO was pushed by local LGBTQIA organization, Mujer-LGBT Organization Inc.

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Proposed ‘comprehensive anti-discrimination bill’ called oxymoronic, removes need to protect LGBTQIA Filipinos

A proposed “Comprehensive (sic) Anti-Discrimination Act” is being considered in the House of Representatives (HOR), though the bill eliminates LGBTQIA people among those in need of protection. According to Rep. Geraldine Roman, by eliminating SOGIE in the CADB, it contradicts the very claim that it’s CADB. “By eliminating us, you are discriminating against us.”

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A not-so-comprehensive anti-discrimination bill after all.

A proposed “Comprehensive (sic) Anti-Discrimination Act” is being considered in the House of Representatives (HOR), though the bill eliminates LGBTQIA people among those in need of protection.

In a virtual meeting of the technical working group of the Committee on Human Rights of HOR, Rep. Jesus Suntay presented “An act prohibiting discrimination on the basis of ethnicity, race, religion or belief, sex, gender, language, disability, HIV status, educational attainment and other forms of discrimination”.

“If you eliminate SOGIE, you can’t call it ‘Comprehensive ADB’. It’s an oxymoron.”

Rep. Geraldine Roman

Another proposed bill, the SOGIE Equality Bill, is getting criticized because it is supposed to be limited to a specific class of people – i.e. LGBTQIA people. And so there is a proposal for it to be included, instead, in the more and supposedly comprehensive anti-discrimination bill (CADB).

According to Rep. Bienvenido Abante Jr., himself a pastor cum politician: “We are trying to avoid approving any bill that would be classified as class legislation… This is why it is CADB.”

Abante – nonetheless – believes in the inclusion of sexual orientation in the CADB, just not gender identity and expression.

However, the move to exclude “discrimination based on sexual orientation, gender identity and gender expression” from the CADB is a win for anti-LGBTQIA people by eliminating SOGIE Equality Bill and then excluding LGBTQIA people from the CADB.

According to Rep. Geraldine Roman, the first transgender congressperson in the Philippines: “If you eliminate SOGIE, you can’t call it ‘Comprehensive ADB’. It’s an oxymoron.”

The proposed bill also removes SOGIE in Sec. 2: Declaration of Policy, and in the definition of terms.

Defending the erasure of SOGIE in the bill he presented, Suntay said that there are already 15 SOGIE-related bills filed with the Committee on Women. For him, if SOGIE is also included in the CADB, it “may be deemed also as SOGIE Equality Bill.”

But Roman does not agree with this.

That argument, she said, “is totally irrelevant… By eliminating SOGIE (in the CADB), it contradicts the very claim that it’s CADB. By eliminating us, you are discriminating against us.”

Roman added: “We have to be brave enough and recognize that there is discrimination happening against people like me who has a gender identity that is considered as different from what’s considered as conventional.”

Suntay noted that an anti-discrimination bill has been passed since the 13th Congress; and he hopes to eventually “steer this to success”, apparently even with LGBTQIA exclusion.

WRITE TO, OR CONTACT THE OFFICE OF REP. JESUS SUNTAY. INFORM HIM OF THE NEED TO KEEP SOGIE IN THE COMPREHENSIVE ANTI-DISCRIMINATION BILL.
FB Page: https://www.facebook.com/congsuntay/
Email provided in FB: congressmansuntay@gmail.com
Mobile no.: 09190847873

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