The Decommissioned Season

Teng Mangansakan

 

THE mid-morning sunlight crept through the tall arched windows of the villa in Al-Malqa, casting long, pale ribbons across the floor where the imported Italian marble met the dark weave of the Persian rugs, a dust-less expanse that Judy had kept polished to a mirror shine through twenty-three long years in the kingdom.

She stood by the mahogany sideboard in the formal dining room, holding a damp microfiber cloth infused with a drop of mineral oil, her fingers moving in slow, practiced circles over the carved edges of the wood while Rahima, newly arrived from the town of Pagagawan, watched her hands with the hyper-vigilant, terrified deference of someone who had only stepped off a long-haul flight seventy-two hours prior.

“You do not press hard against the grain,” Judy said, her voice dropping into the low, measured register. “If you press too hard, the dust turns into grit, and Mrs. Salma will see the microscopic scratches under the chandelier lights when the trade ministry delegates come for dinner, and she will be disappointed.”

Rahima nodded quickly, her small hands clutching her own dry rag against the front of her freshly ironed blue uniform, her knuckles white, her dark eyes reflecting the unexpressed panic of a twenty-five-year-old who had left behind a life suspended in the fragile, waiting space of a post-war transition. Judy looked at the girl’s stiff posture, noting the guarded quietness in her expression, and saw a reflection of her own early years, yet shaped by an entirely different kind of survival.

In those early years, before the ring road was expanded and before the great glass towers began to shoot up along King Fahd Road like gleaming needles piercing the blue desert sky, Judy had measured her life by the sheer volume of water it took to keep a Saudi household immaculate.

They moved together now into the primary ensuite, where the porcelain tub sat like a smooth white basin surrounded by brass fixtures that required a specific lemon-scented paste imported from London.

“The water here is hard,” Judy explained, kneeling on the cushioned mat she had bought with her own money years ago to protect her aching knees, demonstrating how to rub the paste over the tarnished spout until the metal gleamed with a warm, golden luster. “It leaves a film if you do not dry it immediately with the flannel cloth. Do not leave a single drop, Rahima, because a single dried water spot tells the mistress that you hurried, and in this house, hurrying is considered a form of disrespect, that you do not care enough.”

As her hands worked the brass, Judy’s mind drifted across the ocean to the dusty roads of General Santos, where the water from the deep well behind her daughter Lorraine’s kitchen was sweet and cold, carrying the faint metallic taste of the southern earth.

Twelve years ago, with the first substantial sum she had managed to save after clearing her old debts, Judy had bought a narrow parcel of land near the old airport in Buayan, and she had begun the slow, piecemeal construction of a concrete house. Every few months, whenever Mrs. Salma granted her an extra allowance or a festival bonus after Ramadan, Judy would send instructions to the local carpenter—four more bags of cement for the porch, two dozen hollow blocks for the wall, a tin roof painted bright blue so it could be seen from the window of the tricycles rattling down the main road.

Yet the house remained unfinished, a hollow shell of gray stone and exposed rebar, standing like a monument to an absent matriarch, while inside its open frames, Lorraine raised her boy alone.

“What did your husband do back home, Rahima?” Judy asked softly, not looking up from the rim of the bathtub.

Rahima paused, her rag hovering just above the gold-plated handle, her eyes focusing on the smooth tiles beneath them. “He was a combatant, Ate Judy. For the MILF. For years he stayed in the camps carrying his rifle, fighting for the homeland. But when the Bangsamoro government was formed, they promised peace. They told the men to lay down their arms and register for decommissioning.”

She wiped a streak of tarnish from the spout, her voice dropping into a flat, steady tone that carried the weight of prolonged waiting. “His name is on a list in a government office somewhere, but the vetting is slow, and the livelihood assistance they promised to help former fighters start small businesses or farms has not come yet. You cannot feed two children with promises printed on some paper. The land does not yield enough corn when the floods come. So he waits for his name to be called for the turnover of his firearm, while I had to take this flight to make sure our children do not go hungry.”

Judy stopped her hand, looking at the younger woman with a sudden, sharp clarity. Where Judy had chosen exile to shield her grandson from the chaotic criminality of a drug war’s aftermath, Rahima was here because of a peace process that was taking too long to deliver on its quiet promises.

“So he is waiting for peace to pay him,” Judy murmured softly, her calloused thumb brushing a spot of dried brass cleaner off the side of the basin.

“He is waiting for peace to let him be a father who can provide,” Rahima replied quietly. “And until that day comes, I am the one who must provide the peace for our home from three thousand miles away.”

The daily rhythm of the Hamad household was a slow, deliberate liturgy, a sequence of silent actions designed to maintain an illusion of effortless abundance for Mr. Tariq, a senior trade official whose days were spent in long, air-conditioned negotiations on petroleum exports, and Mrs. Salma, whose life revolved around charity committees, family luncheons, and the meticulous upbringing of her three children.

Judy had watched those children grow from loud, demanding toddlers who spilled cherry juice on white silk upholstery into soft-spoken, educated young people who spoke fluent English with American accents picked up from international schools.

It was the eldest, Faisal, whose graduation from the king’s university had become the final boundary marker of Judy’s long exile.

Three years ago, when Judy informed Mrs. Salma that her body was growing tired and her heart was pulling her back to Mindanao, the mistress begged her to stay just a little longer, just until Faisal finished his degree in international law, offering a raise that Judy, thinking of her grandson’s future, simply could not afford to refuse.

For her grandson, Ethan, was growing up in the long, dark shadow of a tragedy that Judy still could not speak of without feeling a cold weight in her chest. His father—Lorraine’s husband, a handsome, reckless boy from the neighboring barangay who could never keep a steady job at the fish port—had been gunned down four years ago on a muddy alleyway during a midnight police buy-bust operation, leaving behind a cloud of shame, a stack of unpaid debts, and a seven-year-old boy whose eyes carried the exact same volatile spark as his father’s.

Every peso Judy had earned during these extra three years of servitude had been wired straight to a locked savings account in General Santos, earmarked strictly for Ethan’s tuition at the private school ran by Marist brothers, away from the street corners where the older boys gathered to sell small plastic sachets of white dust under the yellow streetlights.

By mid-afternoon, the heat outside the villa was a shimmering, kinetic force that flattened the pale green leaves of the bougainvillea bushes growing along the courtyard walls.

Inside, the central air cooling system hummed with a low, continuous vibration that Judy barely heard anymore, a sound that had replaced the rustle of coconut fronds and the distant crowing of roosters that had filled the nights of her girlhood.

They were in the pantry now, a room lined with floor-to-ceiling shelves holding heavy silver serving platters, crystal water goblets, and delicate porcelain teacups trimmed with real gold leaf that had been brought back from family vacations in Istanbul and Dubai.

“This silver platter,” Judy said, lifting a heavy oval dish that bore the intricate filigree of Ottoman craft, “must be polished with the red powder paste once every two months, but only after Mr. Tariq returns from his trips to Turkey, because he likes to use it when his colleagues come to drink cardamom coffee. You must use the softest horsehair brush for the small grooves here, around the leaves. If you use a nylon brush, the silver will lose its depth.”

Rahima took the platter, holding it with a steady, careful grip. “Do you think about what it will be like when you step off the plane on Saturday, Ate?”

“Every hour of the day,” Judy said, a distant, dreamy look settling over her weathered features. “My roof is finished. Lorraine sent me a photograph on the phone last month. The walls are painted a light yellow, just like the living room here. There is a porch in the front where I can sit in a rocking chair and watch Ethan walk home from school in his white uniform. But twenty-three years is a long time. The last time I went home, about four years ago, the road to our village was still made of dirt and gravel. But what worries is that the house I built might be full of people who have learned to live completely fine without me.”

Rahima set the silver platter down gently on the velvet-lined shelf, her dark eyes reflecting the soft ambient lighting of the pantry.

“For you, Ate Judy, the waiting is finally ending,” Rahima said softly, her voice carrying a calm, stark maturity that belied her young age. “You built a house out of your years here. But for me, the waiting is just beginning. You are going home to a finished wall, while I am standing here to keep our roof from falling in.”

Judy looked down at her own reflection in the polished surface of the silver platter—a woman in her late fifties whose sacrifice was reaching its natural, bittersweet conclusion—and then at Rahima, whose life as an overseas worker was just embarking on its long, uncertain trajectory.

They were two women positioned on opposite ends of the same endless migrant cycle: one who had spent her youth to purchase safety from the destructive violence of the streets, and the other who was surrendering her youth to bridge the gap left by a fragile, incomplete peace.

At five o’clock, the main gates of the villa slid open with a low metallic groan, and the sleek black sedan carrying Mrs. Salma and her eldest son, Faisal, pulled into the shaded driveway.

Judy immediately straightened her apron, checked Rahima’s collar with a quick, maternal flick of her wrist, and walked to the front door to greet them, her posture automatically aligning with the silent protocol she had maintained for nearly a quarter of a century.

Faisal stepped into the foyer first, a tall, handsome young man dressed in a crisp white thobe, his arms carrying a leather briefcase and a heavy cardboard cylinder containing his university diploma.

When he saw Judy standing there, his face broke into a broad, genuine smile that instantly erased the formal distance of the household.

“Auntie Judy,” he said in his clear, confident voice, using the English term of endearment he had adopted as a child when she used to cut his apples into small, skinless wedges. He set his briefcase on the hall table and wrapped his arms around her in a brief, respectful embrace that smelled of an expensive mix of French cologne and the dark, resinous scent of high-grade agarwood smoke. “It is finally official. The degree is signed.”

“Mabrook, Faisal,” Judy said, her eyes warm with a pride that was both deeply genuine and intensely complicated, knowing that this boy’s achievement was the final key that unlocked her own long-delayed liberation. “Your mother must be very proud.”

Mrs. Salma stepped through the door behind her son, removing her sheer black abaya with a fluid, graceful gesture that Judy caught mid-air, hanging it carefully on the carved wooden coat rack near the entrance.

The mistress was a woman of fifty, her face smooth and carefully maintained, but her eyes today carried a soft, melancholic stillness as she looked at Judy, then past her to Rahima, who was standing nervously near the archway of the living room, holding a tray with two crystal glasses of cold rosewater.

“She has been learning well today?” Mrs. Salma asked Judy in Arabic, her voice gentle, lacking any of the sharp efficiency she usually employed when managing the domestic staff.

“She is very quiet, ma’am, but her hands are precise,” Judy replied in the same language, which she now spoke with an effortless, local fluency that had taken her a decade to master. “She respects the house. She will take good care of you.”

Mrs. Salma took a slow breath, stepping closer to Judy and placing a hand on the sleeve of her blue uniform. “The car will come for you at four o’clock tomorrow morning to take you to the airport, Judy. I have put your final settlement in an envelope on the desk in my study, along with an extra month’s salary and a gold bracelet for your daughter. I do not know how this house will run without you. My children know your voice better than they know the voices of their own aunts.”

“The house will be fine, ma’am,” Judy said, keeping her head slightly bowed, though her heart was pounding against her ribs like a trapped bird.

Mrs. Salma looked at her for a long moment, a subtle, unspoken understanding passing between the two women—one who had bought her family’s comfort with the wealth of an oil-rich kingdom, and the other who had bought her family’s survival with the currency of her own youth, her own presence, her own unrepeatable years.

“Go and finish packing your things,” Mrs. Salma said softly, turning away toward the stairs. “Let the new girl prepare the evening tea.”

The small room off the kitchen was quiet as the twilight settled over Riyadh, turning the sky outside the high barred window into a deep, velvety indigo. Judy sat on the edge of her narrow bed, her heavy brown suitcase open before her like an altar of a life reduced to its barest essentials. On one side lay the gifts she had accumulated over the last few weeks—a bottle of expensive perfume for Lorraine, three pairs of branded sneakers for Ethan, two of which she had bought during her final trip to the grand mall near the kingdom tower and another one a gift from Faisal, a silk scarf for her sister, and a small, heavy box containing the gold chain Mrs. Salma had given her on her twentieth year of service.

There was a soft knock at the door, and Rahima stepped into the room, carrying a small metal tray with a cup of hot chamomile tea and biscuits.

“Ate Judy,” the girl said quietly, setting the tray down on the small wooden nightstand beside the plastic-framed photo of Ethan. “I brought you some tea. You have not eaten anything since lunch.”

“Thank you,” Judy said, shifting over on the mattress to make room for the younger woman to sit down.

Rahima sat on the very edge of the bed, her eyes wandering around the sparse room, taking in the neatness, the solitary discipline that had defined Judy’s existence for many years.

“Are you afraid to go back, Ate?” Rahima asked, her voice barely above a whisper, as if asking a question that she herself was terrified to confront in her own far-off future.

Judy reached out and picked up the photograph of her grandson, her thumb smoothing over the glass where the seven-year-old boy smiled back at her, a child who was now a teenager, whose voice had deepened into a baritone she had only heard through choppy, static-filled phone calls, whose shoulder she had never held for many years, whose tears over his father’s violent death she had only been able to soothe with distant, helpless words sent across six thousand miles of air and water.

“I am terrified, Rahima,” Judy admitted, the truth hanging in the small room like a delicate thread of glass. “When you stay away for as long as I have, you become a ghost to the people you love. They love you, yes, because you send the boxes every Christmas, because you pay the tuition fees, because you built the house. But they have learned how to live their daily lives without you. They have their own routines, their own jokes that you do not understand, their own sorrows that happened while you were wiping marble floors in a foreign land.”

She looked at Rahima, seeing the girl’s quiet, determined face, shaped by the patience of a community waiting for a peace that arrived only in slow, bureaucratized installments.

“When I land in General Santos two days from now,” Judy said, her long, evocative sentence unfolding like a slow prayer, “I will realize that the hardest work of my life is not the twenty-three years I spent serving this family in Riyadh, but the work of learning how to belong to my own family again.”

Rahima reached out and took Judy’s hand, her small fingers wrapping around the dry, calloused palm of the elder woman. “They will love you, Ate. You gave them a future.”

“Gave them a future,” Judy repeated softly, turning the phrase over in her mind like a polished marble stone. “Yes. But to give a future sometimes means you leave your own present behind.”

Rahima remained silent.

“Remember everything that I taught you,” Judy said, her voice steady and clear as she looked at the young woman who was stepping into the long, lonely path she had just finished walking.

“I will remember, Ate,” Rahima said.

Judy closed her eyes imagining the city receding behind her, shrinking into a cluster of bright white lights, a place that had held her youth, her strength, and her endless, silent labor, a place that would, by the next morning, forget her name entirely as Rahima picked up the microfiber cloth and began her first solitary sweep of the Italian marble floor.

Contributors (Issue 13)

Jevin Astillero is a writer from Bonifacio, Misamis Occidental. A graduate student taking up MA Panitikan in MSU-Iligan Institute of Technology. He has been a fellow of NAGMAC-YWS, Dapit-Suwat sa Lamdag, tranSCRIPT 2: The National Playwriting & Dramaturgy Workshop, Anunaw: Bukidnon Writer’s Camp, 30th Iligan National Writers Workshop, 23rd IYAS La Salle National Writers’ Workshop, and 62nd Silliman University National Writers Workshop. Some of his works can be found in Dagmay, Sunstar Davao, Katitikan: Literary Journal of the Philippine South, Luntian: Online Journal para sa Malikhaing Akda, at Bisaya Magazine. He dreams of championing Mindanao literature.

Lady Johainee Dimaampao Banocag is a 25-year-old postgraduate student currently pursuing a Master’s degree in Public Administration. She holds a Bachelor of Arts in English Language Studies from Mindanao State University – Main Campus in Marawi City. Driven by a passion for transforming real-life narratives into thought-provoking stories, she aims to create written works that serve as true eye-openers for her audience. In 2024, she launched “Write, Lady,” a personal Facebook page dedicated to sharing her reflections on life, frequently centered around Islamic perspectives and teachings. Beyond her academic and administrative pursuits, she remains deeply passionate about linguistic studies, digital video creation, and video editing.

Aleah Sulaiman Bantas is a queer Maguindanaon writer, who hails from from the floodplains of Datu Paglas, Maguindanao del Sur. A fellow of the SOX Writers Workshop (2025) and Davao Writers Workshop (2026), her works have appeared in the Bangsamoro Literary Review, Dagmay, and SunStar Davao. She is currently studying at the University of Southern Mindanao.

Ruhil M. Jalil 
works as college instructor at MSU-TCTO. She just finished her MAELT in the same university. Now that she is mostly teaching literature, she started to become passionate about writing. She uses poetry as a therapy and hopefully for publication.

Si Ahmadserany Patamama Kiram ay isang lisensiyadong guro sa antas sekundarya at kasalukuyang Secondary School Teacher I sa Sultan Macapandi M. Padate Integrated National High School. Nagtapos siya ng Batsilyer ng Sining sa Filipino at Master ng Sining sa Filipino Medyor sa Literatura sa Mindanao State University–Main Campus, kung saan siya kinilala bilang Best Thesis Awardee. Natapos din niya ang Master in Public Administration sa Al Bangsamoro Shari’ah and Professional Education College bilang Overall Academic Excellence Awardee. Sa loob ng siyam na taon, nagsilbi siyang Senior High School Volunteer Teacher sa Bacolod-Kalawi National High School at naging tagasanay sa mga gawaing pampanitikan at pangwika. Kasalukuyan niyang ipinagpapatuloy ang Doktor ng Pilosopiya sa Panitikan sa MSU–Main Campus. Aktibo rin siya sa pananaliksik at mga samahang propesyonal. Ilan sa kaniyang mga akda ay nailathala at kinilala sa larangan ng panitikan at panulaan, kabilang ang parangal na Gawad Tugatog ng Panulaan.

Sohaylah “Soha” B. Manabilang is a student advocate and third-year Bachelor of Arts in Literary and Cultural Studies student at Mindanao State University, where she is a consistent Chancellor’s Lister. She serves as a Brand Ambassadress of The Meranaw Hijab, the Philippines’ first cultural hijab brand, promoting cultural identity and representation. She is an alumna of the Kennedy-Lugar Youth Exchange and Study (YES) Program in the United States (2022–2023), strengthening her commitment to leadership and intercultural understanding. She represented the Philippines at the 17th Asia Youth International Model United Nations (AYIMUN) in Bangkok, Thailand. Her essay, “Sacks of Corn, Hearts of Gold,” was published in the 9th issue of the Bangsamoro Literary Review. Recently, she won first prize in the Jimmy Y. Balacuit Award for her piece, “Women Who Rise From the Smoke.” She remains committed to youth leadership, cultural awareness, and preserving Meranaw heritage while empowering communities locally.

Mona Blao Mapandi is a Bangsamoro from Isulan, Sultan Kudarat. She writes mostly about thoughts, reflections, observations, and the quiet complexities of everyday life. Her personal writings are on Facebook under the name saltwtr.room, where she writes under the pseudonym jstmnslns. She has long dreamed of becoming a writer who uses Maguindanaon as her primary literary medium — a dream she hopes to fulfill someday. For now, she writes mainly in English and Filipino, allowing her thoughts to take shape in whichever language feels most honest. Beyond writing, Mona is currently the Head of the Arrahmah Youth Development Council (AYDC) of Ma’had Arrahmah Al-Arabie Al-Islamie, an organization committed to Empowering Madrasah Youth Through Leadership, Service, and Technical Excellence. Her work in youth development, education, and community service continues to shape both her perspective and her writing.

Gonaranao B. Musor is a diplomat and writer currently based in Jakarta and previously posted in Cairo, Kuala Lumpur, Doha, and Singapore. He has written for the Philippine Daily Inquirer, Rappler, GMA News Online, Bangsamoro Literary Review, and was the former editor of the now defunct www.bangsamoro.com. His work was also featured in the anthologies “Children of the Ever-Changing Moon: Essays by Young Moro Writers” (2007) and “Get Luckier: An Anthology of Philippine and Singapore Writings II” (2022). He recently co-edited the book “The Frontiers of Foreign Policy: Essays on Philippine Soft Power” (2024). He holds BA Psychology (Cum Laude) and MA Communication degrees from UP Diliman.

Aisha Natangcop is a faculty member of MSU-Saguiaran Community High School, a Licensed Professional Teacher who holds a Master of Arts in English Language Teaching (MAELT). She us currently pursuing Doctor of Philosophy in Language Studies.

Sherwin Anthony M. Nebit is a Licensed Professional Teacher and Filipino academic currently serving as a faculty member at the University of Santo Tomas – General Santos. He is teaching Panimulang Pagsasalin (Introduction to Translation) subject across all courses of UST General Santos. He has completed the academic requirements for his Doctor of Philosophy in Filipino. He is actively engaged in scholarly and literary communities as a consultant, editor, and reviewer for professional research organizations. He is an author and contributor to various anthologies and literary publications. His expertise spans language, literature, pedagogy, and research, with a strong focus on academic writing, translation, and critical discourse in Filipino studies.

Gamson Jr Mawallil Quijano of Sūlū is a registered Radiologic Technologist based in Doha, Qatar and a contributor to MindaNews through “Tausūg in Doha.” His literary and creative works have appeared in various journals and publications.

Si Victor Talastas Reyes ay isang katuwang na propesor sa Unibersidad ng Santo Tomas-General Santos. Siya ay isang baguhang manunulat ng panitikang Pilipino at isang mananaliksik na nakatuon sa kasarian, danas at identidad ng mga tauhan sa akdang pampanitika. Aktibo siyang nag-organisa at lumahok sa mga kumperensiya ng mga manunulat, palihan sa panitikan, at mga kumperensiyang pananaliksik na nagbibigay-diin sa mga tinig at danas ng mga mamamayang Pilipino. Sa kasalukuyan ay patuloy siyang nag-aambag sa larangan ng pananaliksik sa panitikan, malikhaing produksiyon, at komunikasyong pangkultura.

Sandrah Maas Saudagal is a 23-year-old poet and artist from Kabacan, Cotabato. She earned her Bachelor of Arts in English Language, graduating with honors from the University of Southern Mindanao—Main Campus in 2024. She is a member of the Cotabato Literary Circle and the author of the zine Depth TOTS.com, published during the SOX Zine Fest 2024. In her undergraduate thesis, Tudtulan: Tales of Heroes, Virtues, and Cultural Perspectives, she sought to explore Maguindanaon literature by examining its portrayals of heroism, virtue, and cultural identity. Much of her creative work delves into themes of humor, depth, and self-discovery. Beyond writing, she enjoys creating and sharing videos on her personal Facebook page.

Masasalamin sa mga akda ni Almayrah A. Tiburon ang pagpapaunlad at pagsusulong ng wika at kulturang Meranaw. Siya ay propesor sa Departamento ng Filipino At Iba Pang Wika sa Mindanao State University (MSU) – Main Campus, Lungsod Marawi. Bilang isang manunulat, nakilala siya sa kanyang mga librong tulad ng “Salamin At Iba Pang Panglaw”, “Thotholan: Mga Alamat at Pabulang Meranaw”, at iba pang libro. Marami na rin siyang naisulat na mga tula, mga sanaysay, at mga maikling kwento. Ang obra maestra niyang kwento ay ang “Katao” gayundin ang kwentong “Langilaw” na naisalin sa iba’t ibang wika. Ginawaran siya ng prestihiyosong “Gawad Kampeon ng Wika 2024” ng Komisyon sa Wikang Filipino bilang pagkilala sa kanyang natatanging kontribusyon sa pagpapayabong ng wika at kulturang Meranaw.

An Invitation To Eat

Teng Mangansakan

When I was fourteen, my mother enrolled me in a summer culinary school run by the famous ice cream maker Magnolia at their plant in New Manila. It was an act so curious and abrupt that I have spent years trying to decipher its motive. Perhaps she imagined that if I learned how to braise, sauté, and bake, I might be dislodged from my grand ambition of becoming a doctor. A physician already existed in the family; a chef, however, would have been a novelty.

In another life, I sometimes imagine I might have become exactly a chef in a spotless apron and toque, commanding a kitchen with the precision of surgery. Yet life, as it often does, rearranged its recipes. Or to invoke my Muslim faith, it was simply not my qadr.

My mother would later complain that my cooking was bland, though this was less a culinary failing on my part than a concession to her fragile body. COPD, diabetes, and a constellation of illnesses had transformed flavor into a compromise with mortality. Salt and sugar, once harmless indulgences, were now formidable enemies. I cooked cautiously for her, reducing sodium and muting spice, while secretly perfecting richer, more dangerous dishes inspired by the culinary flamboyance of Ina Garten and Emeril Lagasse whose cooking shows I watched on cable TV. To spite my restraint, my mother would sometimes buy dried fish from the supermarket and insist I fry it; if I turned her down, she would coax my partner, Moises, to do it, reclaiming through salt what illness had stolen from her.

I carry a private guilt that she never truly tasted my culinary adventures, like the chicken steeped in garlic, lemongrass, chili, and oyster sauce; the rich rendang that is slow-simmered dark alchemy of beef and caramelized coconut milk; or the spaghetti made of plump, sweet curls of ocean-fresh shrimp caught in a fiery tempest of garlic, white wine, and crushed red pepper. These were dishes my friends enjoyed, while my mother remained excluded by necessity. Food, I learned early, was a complex bearer of desire, rebellion, and care.

Travel expanded my palate with the force of revelation. Tokyo taught me that ramen at train stations could possess quiet dignity. Venice offered shellfish so fresh they tasted of the tides. San Francisco’s onion soup suggested warmth against loneliness, while Berlin’s crispy duck crackled with histories of migration from Vietnam. Yet among all these places, it was Indonesia with its humid streets, spice-laden air, and layered cuisines that entered me most deeply.

In Brisbane, I once joked to my friend, the Indonesian filmmaker Daniel Rudi Haryanto, that somewhere deep inside me, Javanese blood must be pulsing. He laughed and noted how my surname, Mangansakan, seemed almost gastronomic. In Bahasa Indonesia, masakan means ‘cuisine’ or ‘cooking’. Makan, on the hand, means ‘to eat’. I told him that in the Kapampangan language of northern Philippines, mangan is an invitation to ‘let’s eat’. There is even a popular restaurant with branches all over Manila called Mangan. Across languages and seas, identity folded itself through food. But the bridge between my world and Indonesia was built on more than just shared syllables; it was cemented by cinema.

It felt less coincidence than destiny, then, when I returned to Jogjakarta in 2024 for the Jogja-NETPAC Asian Film Festival, where my film Salome was screened. Jogja held special resonance for me. In 2012, it was here that I received my first international film award, the NETPAC Prize, for my film Letters of Solitude. I still remember, with both amusement and fondness, the press conference where a veteran filmmaker passionately objected to my victory, lamenting in rapid Bahasa that my film moved at a snail’s pace, where nothing happened on screen, and nobody spoke half the time. Though I understood none of his words then, his animated discontent was unmistakable. The festival at first did not want to explain to me what was happening, perhaps afraid that I might feel slighted. Eventually, a volunteer translated. I realized that my cinema, in its stillness, had provoked something fierce and ingrained.

This return to Jogja was accompanied by Moises, whose culinary curiosity had been sharpened by many of my stories of my various trips to Indonesia. Our initiation began during a ten-hour layover at Singapore Changi Airport, where he first tasted curry puffs, those golden, flaky parcels whose buttery crust gave way to warmly spiced potato and chicken, and laksa, with its rich coconut broth humming with chili, belacan, and aromatics. His eyes widened. “Wait until we’re in Jogja,” I told him. Changi was just a prelude.

By mid-morning the next day, exhausted yet thrilled, we arrived in Jogja, that fabled cultural capital of Java. Unlike Jakarta’s restless velocity, Jogja feels contemplative, steeped in artistic and culinary memory. Here, food is nourishment for the body and spirit.

Yogyakarta or Jogjakarta, often affectionately called Jogja, occupies a singular place in the soul of Indonesia where history, monarchy, revolution, and artistry coexist with uncommon grace. Founded in 1755 following the Treaty of Giyanti, which divided the Mataram Sultanate, Yogyakarta became the seat of the Sultanate of Ngayogyakarta Hadiningrat under Sultan Hamengkubuwono I. Unlike many royal capitals diminished by modernity, Jogja has retained its living court culture, with the Kraton still serving not merely as a historical monument but as an active center of Javanese philosophy, ritual, music, dance, and governance.

During Indonesia’s struggle for independence, Yogyakarta briefly served as the nation’s capital from 1946 to 1948, offering refuge to republican leaders and symbolizing resistance against Dutch colonial reoccupation. This role cemented its reputation not only as a guardian of tradition but also as a cradle of nationalism. What distinguishes Jogja is its extraordinary ability to preserve heritage while remaining intellectually and creatively dynamic. It is widely regarded as Indonesia’s cultural capital, where batik-making, wayang kulit or shadow puppetry, gamelan music, classical dance, and literary traditions remain deeply embedded in everyday life. The city’s proximity to monumental sites such as Borobudur and Prambanan Temple further situates it within a civilizational crossroads of Hindu-Buddhist, Islamic, and indigenous influences.

Yet Jogja is not frozen in nostalgia. Its universities, thriving arts scene, independent cinemas, and street culture make it a place where young Indonesians continually reinterpret identity. In Jogja, one senses that they take pride in their culture, living it, and not just displayed for tourists alone. It is brokered and nourished daily, much like its cuisine that is diverse, enduring, and profoundly rooted.

Our hotel stood just a short walk from Empire XXI Cinema on Jalan Urip Sumoharjo, placing us near the festival’s vibrant heart. Almost immediately, I led Moises to The House of Raminten, a place as theatrical as it is beloved. Even at three in the afternoon, we waited twenty-five minutes for a table, evidence of its near-mythic reputation. Inside, the restaurant unfolded like a dreamscape of Javanese eccentricity with traditional décor, servers in regal attire, the scent of incense mingling with fried shallots and sweet coconut.

We ordered generous versions of fried chicken lacquered with spice, gudeg with its tender young jackfruit stewed for hours in palm sugar and coconut milk until sweet and earthy, and fried tempeh and fresh salads brightened by sambal. Gudeg, Jogja’s culinary emblem, was unlike anything else. Its sweetness is a philosophy on its own, with patience enhancing the flavor. Moises, overwhelmed by the assertive spice, reached desperately for es teh manis, the ubiquitous sweet iced tea that in Indonesia feels like salvation steeped in cold beverage.

Between screenings, we frequented D’Agro Fine Coffee beside the theater, where Jogja’s coffee culture revealed itself in quiet ways. Indonesian coffee is robust, often volcanic in temperament, but here it was served with warmth and intimacy. Jogja’s cafés are less performative than metropolitan coffee houses elsewhere. They feel lived-in, spaces where artists, students, and dreamers gather over slow cups and slower afternoons.

One day, we wandered through Malioboro Street and Beringharjo Market, where commerce, tradition, and hunger converge. The market was an orchestra of aromas of clove cigarettes, ripe fruit, frying oil, cinnamon. We sampled es dawet, a cooling drink of coconut milk, palm sugar, and green rice flour jelly that slid sweetly across the tongue, and spring rolls from a local eatery whispered to be favored by rock star turned President Joko Widodo.

Days later, when Rudi finally arrived from Jakarta, he brought us to a modest sidewalk satay stall for Padang-style skewers. He recommended sate kambing, or grilled goat meat, but the owner initially claimed she had run out. Yet when later customers requested goat meat, she agreed. Rudi, indignant, intervened with theatrical persistence until the coveted kambing arrived at our table. The victory felt communal. The satay, smoky and rich, justified the confrontation entirely.

Then there was durian.

As someone from Mindanao, durian is already woven into my sensory inheritance. But one evening, Rudi took us far across the city to a durian stall outside a television station, where I encountered varieties I had never imagined. Some were buttery beyond comprehension, delicate and almost floral. Others were sweet with an elegance that dissolved all prejudice. And then there were those whose odor verged on decay, affirming every fear outsiders harbor. It struck me then that hatred for durian may simply be an accident of first encounter. Had skeptics tasted only its worst incarnations? Could love, even for something so divisive, depend entirely on introduction?

In Jogja, I began to understand food beyond a biological necessity or the object of one’s Instagram daily feeds. It is truly a mirror of the self. My name, my lineage, and my travels all seemed to converge here, in this city where language and flavor echoed parts of me I had not fully articulated. Mangan. Makan. Masakan. To eat is to remember. To cook is to create belonging.

On our final day, Moises and I ate at an unassuming local chicken place called Tojoyo, just across from Empire XXI. For days it had been crowded with locals and festivalgoers alike, its popularity itself an invitation. When we finally sat down and ordered the bestseller, I expected spectacle. Instead, the fried chicken was simply crisp, fragrant, and unpretentious. No elaborate seasoning. No conceptual flourish. It was profoundly itself.

And perhaps that was the revelation.

After days of culinary exuberance, of spice and sweetness, spectacle and rarity, this modest plate reminded me that food, like identity, need not always perform complexity to feel meaningful. Sometimes, home is found not in extravagance but in essence, in the honest taste of what something truly is.

In Jogja, amid festivals and flavors, I discovered that food had always been my quietest language of selfhood. Through every bowl, skewer, and fruit, I was not merely tasting Indonesia. I was tracing ancestral echoes, private griefs, maternal memories, and forgotten hungers. I was finding, in every meal, a deeper articulation of who I had always been.

An Old Bicycle

Sandrah Maas Saudagal

Labing a Bayk

Nakapila lagon den su bayk i ama
Penggamitin meka pamasa sa mawatan
Pagaran meka pelu sa palaw
Pagaran meka pedtalaw
lu sa bala a walay

Tuba i penggamitin ko meka mapita
nu kasembelan su karakel a pagitong
nu mawa su malibuting a pamusungan
nu mawa su kalidu a ginawa
Adidibu mawa

Aren gay a kaudtang su bayk—
‘di pakabalans
‘di pakatindeg
Kawan na sambel
‘di pakaginawa

Aren gay a nawa su kadina na bayk
‘di ko katawan i panun i kapambalingan ko
‘di ko katawan i panun i kapapadtidto
‘di ko ren katawan i panggulan ko
Nawan ako ren sa inam

Mapita endo magabi
‘di ren kawan a madakel a pagitong
‘di ren kawan a kasakit a pamusungan
‘di ren kawa su mawasa a mata
na nalimuran sa ig a lu a mana ulan

Ugeyda su bayk anto,
pakatindeg pon bisen
pakagaga pon pelakaw
Nawyag pon
Nawyag ako pon

 

An Old Bicycle

Years have passed,
Ama’s pedal bike is still striving;
making use of it to buy something.
ridden when heading to mountains; and
ridden for neighborhood visits.

I use it every morning—
to release the thoughts left unspoken
to take away darkness from within
to let go of all resentment and bad feelings.
May it all fade.

Sometimes, the bike falls;
losing its balance,
unable to stand,
slowly suffocating,
unable to breathe.
Sometimes, the chain slips away;
unable to find my way back,
unable to fix what’s broken
Lost without direction,
I’m left hopeless

From dawn to dusk—
never been free from countless thoughts,
bitterness always lingers,
eyes left undried;
tears pouring like rain

Yet, the bike
still stands, walks, survives
It refuses to die
I’m still alive

 

sabay

Victor Reyes

“sabay ka?” “sa susunod na lang,
baka, ‘kay gulong-gulo ngayon
itong aking ulo; nagdadalawang
isip na kailangan pa ba? baka,
kaya naman na— o kakayanin ko,
mag-isa, baka, sa susunod
wala na, ako… kay tila may digmaan
na ‘di ko yata kayang
ipanalo— maingay, umuugong na tila
kuliglig na ayaw huminto sa paghuni sa
guni-guni, nambubulabog, pilit
kinukubkob ang bawat sulok, winawasak
ako, dinudurog ako at ang tahimik, dili
lang ko magsabay, baka ‘di nako
kaya, oras nyo’y maaksaya” “sakto
bai, sabay ka— kay di mo
na man kailangan solohin
ang alimpuyo ng lugmok, hayaan
mo’t mauubos din ang lumbay ng
dapit hapon— lumilipas din ang
mga dagok, maging hagupit ng
masamang kahapon ay nawawala, sama
ka na, tapok ta, pakawalan mo na bigat; ang
hirap; yakapin mo sana ang
pag-asa, tara, mapakikinggan ka, dumito
ka,” “sabay lang—buntong hininga, muna.”