The self, by definition, refers to how someone thinks about, evaluates, and perceives themselves, with questions like “Who am I?” and “What do others think of me?” One huge factor that affects how someone thinks and recognizes themselves is culture, because it asks the question “Who am I within the group?” This means that we rely on cultural context in perceiving ourselves. With this in mind, one realizes the importance of recognizing and defining oneself within the context of being Filipino, and a good way to do that is to reflect on and analyze literary works by Filipino authors, as these embody our cultural identity. Through such readings, one might grasp how other Filipinos viewed themselves and their culture, which in turn shapes how one perceives the self.

One thing to note is that throughout the Philippines’ long history as a nation, there have been multiple influences from other countries that have affected how Filipinos view themselves. However, in terms of literary history, American colonialism presents itself as a predominant influence, which can be attributed to how Filipino writers drew upon Western patterns in literary genres and forms like the short story. Furthermore, literary works that explore Filipino identity such as “Blue Skull and Dark Palms” by N.V.M. Gonzalez and “The God Stealer” by F. Sionil Jose are written in English, a language that the Americans introduced during their occupation. This can be attributed to the Americans’ establishment of the public school system, which gave almost every Filipino the chance to study and learn both their cultural values and the English language, in contrast to the Spanish colonial system where only the select elite could receive an education. However, it is important to understand that while such stories are written in the language we gained from our coloniser, we still read and see ourselves, “because we stand upon our own ground—our hybrid culture, our own history."

The emphasis on education in how Filipinos view themselves is portrayed in Gonzalez’s The Blue Skull and The Dark Palms, which follows the experiences of a small-town teacher striving to rise from the disastrous effects of the Second World War. The story reflects not only the persistence of the Filipino spirit but also how education, introduced under American rule, became a tool for nation-building and self-redefinition.

Beyond language and education, there is also evidence of American influence in Filipino family culture. The Philippines, like other Asian countries, is known for its strong sense of familialism, where respect for elders and recognition of hierarchy are deeply ingrained. However, since the American occupation, family dynamics have shifted toward more individualistic and child-centered patterns, where parents take on hands-on roles in nurturing independence and self-expression.

This transformation is visible in Carmen Guerrero Nakpil’s essays “Confessions of a Reluctant Menagerie Keeper” and “Parents and Children.” The former presents a mother catering to her children’s desires — even whims — for keeping pets, while the latter offers a satirical commentary on the modern ways parents raise their children. Both illustrate how Filipino families began to blend traditional respect for authority with modern notions of individuality.

Interestingly, these two literary works are not the only ones that portray family values. Alfred Yuson’s “Dream of Knives” and Elsa Martinez Coscolluela’s “Camphor Chest” also feature familial themes, but with different cultural nuances. “Dream of Knives” explores patriarchy and the weight of expectation, while “Camphor Chest” delves into family legacy and inheritance, elements deeply rooted in traditional Filipino culture. These differences reveal how familialism, while evolving, continues to anchor Filipino identity even amid foreign influence. The coexistence of old and new, East and West, reflects a hybrid culture that has become uniquely Filipino.

While these influences have made Filipino culture more colorful, it remains vital to find balance between embracing external ideas and preserving the traditions that were inherently ours before colonization. F. Sionil Jose’s "The God Stealer" captures the danger of losing this balance. The story depicts what happens when one becomes too distanced from one’s roots in pursuit of assimilation or validation from foreign cultures. In doing so, it warns of the potential erasure of cultural identity when the native is placed below the foreign. The story’s symbolism of the stolen god serves as a haunting metaphor for cultural amnesia. When we value what is foreign more than what is ours, we risk losing the essence of who we are.

The aforementioned literary works represent only a few of the many that explore how Filipinos define themselves through culture and history. Together, they suggest that Filipino identity is not fixed but constantly negotiated — a conversation between the self and the nation, between the local and the global. We are more than the sum of our colonizers’ influences. We are products of adaptation, resilience, and reinvention. There are still countless other works that explore traditional Filipino culture, Spanish influences, and even cross-cultural Asian perspectives. Engaging with these works deepens our appreciation for what sets us apart from the rest of the world.

In the end, recognizing that our individual identity is inseparable from our cultural identity allows us to celebrate hybridity not as confusion, but as creation. The Filipino self, born of struggle and synthesis, stands as a living testament to how history and culture intertwine — not to erase us, but to shape us into something enduringly our own.

References

Abad, Gémino H., ed. Hoard of Thunder: Philippine Short Stories in English 1990 to 2008, Volume I 1990 to 2000. University of the Philippines Press, 2012. “Our Philippine Short Story from English, 1925 to 2008.”

Choi, Y., Kim, T. Y., Noh, S., Lee, J., and Takeuchi, D. (2018, December). “Culture and family process: Measures of familism for Filipino and Korean American parents.” Family Process. Retrieved April 10, 2022, from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5899960/

Coscolluela, E. M. (1998). Camphor Chest. Pasig City: Anvil Publishing.

Dalisay, Jose Y. “The Filipino Short Story in English: An Update for the '90s.” In The Likhaan Anthology of Philippine Literature in English from 1900 to the Present, edited by Gémino H. Abad, University of the Philippines Press, 1998.

Glavin, C. (2017, February 12). “Education in the Philippines during the American rule.” K12 Academics. Retrieved April 10, 2022, from https://www.k12academics.com/Education%20Worldwide/Education%20in%20the%20Philippines/education-philippines-during-american-rule

Gonzalez, N.V.M. (2011). “The Blue Skull and The Dark Palms.” In Bread of Salt and Other Stories (pp. 42–54). University of Washington Press.

Jose, F. S. (1986). The God Stealer. Solidaridad Publishing.

McLeod, S. (2008). “Self concept.” Simply Psychology. Retrieved April 10, 2022, from https://www.simplypsychology.org/self-concept.html

Nakpil, C. G. (1999). “Confessions of a Reluctant Menagerie Keeper.” In Woman Enough and Other Essays (pp. 117–118). Ateneo de Manila University Press.

Nakpil, C. G. (1999). “Parents and Children.” In Woman Enough and Other Essays (pp. 124–125). Ateneo de Manila University Press.

Pier. (2022). “American culture.” Cultural Atlas. Retrieved April 10, 2022, from https://culturalatlas.sbs.com.au/american-culture/american-culture-family

Rizal, J. (1912). The Philippines a Century Hence (C. E. Derbyshire, Trans.). Manila: Philippine Education Company.

Vignoles, V. L., Owe, E., Becker, M., Smith, P. B., Easterbrook, M. J., and Brown, R. (2016, July 26). “Culture and the self: A new global perspective.” American Psychological Association. Retrieved April 10, 2022, from https://www.apa.org/pubs/highlights/spotlight/issue-71