Ang Mapanglasong Dagta ng Homophobia: Pagsusuri ng Kasarian at Pagnanasa sa "Nagmahal Ako [ng Bakla]" ng Dagtang Lason (The Toxic Sap of Homophobia: An Analysis of Kabaklaan, Masculinity, and Desire in Dagtang Lason’s "Nagmahal Ako [ng Bakla]")

• Main Author: Espiritu, Johann Vladimir
• Format: text
• Published: Animo Repository 2024
• Subjects: kanta; bakla; Dagtang Lason; homophobia; malapitang pagbabasa; kulturang popular | song; close reading; popular culture; Critical and Cultural Studies; Lesbian, Gay, Bisexual, and Transgender Studies; Music; South and Southeast Asian Languages and Societies; Visual Studies
• Online Access: https://animorepository.dlsu.edu.ph/akda/vol4/iss1/4; https://animorepository.dlsu.edu.ph/context/akda/article/1060/viewcontent/3_Espiritu.pdf
• Institution: De La Salle University

Gamit ang malapitang pagbabasa, sinusuri ng artikulong ito ang kantang “Nagmahal Ako [ng Bakla]” ng Dagtang Lason (2009) upang tunghayan ang pagkakahulugan nito sa kabaklaan. Isang seksyon ito ng higit na malawakang pag-aaral sa kabaklaan bilang karakter na nilalaman ng kantang bakla—o mga awit na nagmumula sa [personang] bakla, patungo sa [hantungang] bakla, o may pinatutungkulang [kuwento ng] bakla—nitong huling apat na dekada. Ang pagbasa/panunuri ay nakaangkla sa teoryang queer na kombinasyon ng samutsaring kritikang kapwa kanluranin at lokal, at nakatutok sa tatlong pangunahing salik: ang titik [o teksto, lyrics ng kanta], ang tinig [na kinakatawan ng literal na boses ng umaawit, ng simbolikal na boses ng personang inihahayag nito, at ng kabuuang salin ng tunog na bunga ng pagtawid ng awit], at ang tanghal [na kinakatawan ng mga imaheng bunga ng mga musikal na epekto ng titik at tinig, at ng biswal na kaakibat ng kanta—ang music video nito]. Kultural ang oryentasyon, gamit din ng panunuri ang mga palatandaang nagbubuhat sa balita, palabas, at iba pa, na nagsisilbing mga alternatibong tekstong nagpipinta ng hulmahang popular na pinagtatanghalan ng awit. This article presents a critique of the popular song, “Nagmahal Ako [ng Bakla]” by Dagtang Lason (2009) through a close reading of the song’s lyrics, music video, and the text’s place within a larger sociohistorical milieu replete with various popular phenomena—including the continually evolving forms of the identities presented in the song such as the bakla, the lalaki (man), and the composition, negotiation, and negation of the desire—as it exists and is performed—between them. The homophobia that pervades the song is brought to the fore by highlighting certain features of the dynamics between the bakla and the lalaki as narrated by the song’s persona, thereby placing the song within the bakla’s continual character development as a marker of both his composition and oppression. This article presents a section of a larger study that the author writes about the bakla, his local culture, and his various portrayals through local music.