Books on Martial Law for Children & Young Adults: A curated library guide

Highlighting stories that preserve memory, foster critical thinking, and honor human rights.

Early Readers (5–10 years old)

• Sayaw ng mga Ilaw – Cheeno Marlo Sayuno, illus. Aaron Asis
  A girl longs to learn a traditional dance as her family faces absence and loss under Martial Law.

• Isang Harding Papel – Augie Rivera, illus. Rommel Joson
  A child’s paper garden becomes a symbol of hope while her mother is imprisoned.

• Si Jhun-Jhun, Noong Bago Ideklara ang Batas Militar – Augie Rivera, illus. Brian Vallesteros
  A bilingual story showing how Martial Law disrupted ordinary childhood.

• Ito Ang Diktadura – Equipo Plantel, illus. Mikel Casal
  A simple yet powerful introduction to dictatorship, translated into Filipino.

Middle Readers (11–14 years old)

• Salingkit: A 1986 Diary – Cyan Abad-Jugo
  A diary of friendship and awakening during the People Power Revolution.

• Martial Law Babies – Arnold Arre
  A graphic novel capturing the humor, nostalgia, and struggles of a generation raised during Martial Law.

Older Teens & Young Adults (15+ years old)

• Dekada ’70 – Lualhati Bautista
  A family’s story of awakening and resistance during the Marcos dictatorship.

• Desaparesidos – Lualhati Bautista
  A former activist confronts the trauma of the disappeared and the silence of history.

• 12:01 – Russell Molina, illus. Kajo Baldisimo
  A haunting graphic novel about curfew, disappearance, and the shadows of authoritarian rule.

• The Gun Dealer’s Daughter – Gina Apostol
  A privileged daughter is drawn into activism, memory, and guilt during Martial Law.

The Lighthouse Diary Entry #78: Martial Law Stories PH

Taking off from Russell Molina’s talk last August 29 for Filipino Week, here is one line that refuses to leave: “Martial Law is not an event. It is an idea. Ideas can be resurrected.”

It is a reminder that history is not a closed book. What we choose to forget can return; what we choose to silence can echo louder. To read, to question, to remember, these acts become our guardrails against the resurrection of ideas that once brought fear and darkness. This week, the BA Library will highlight books on Martial Law as an act of remembrance and courage.

In doing so, we affirm the importance of human rights as the foundation of a just society. Above all, we honor our shared humanity by keeping memory alive through stories.

First up is Russell Molina and Kajo Baldissimo's 12:01.

This haunting graphic novel tells the story of young people sneaking past curfew during Martial Law. When one of them is caught and never seen again, the narrative becomes a powerful allegory for memory, silence, and the disappeared. Combining stark visuals with sparse, searing text, 12:01 confronts readers with the enduring shadows of authoritarian rule.

Target Readers: Older teens (Grades 10–12) and adults

Philo and TOK Connections:

• How does art, in this case, a graphic novel, convey truths about history differently from official records?

• Can silence itself be a form of knowledge, especially in remembering trauma and loss?

• How do we know the past when sources are incomplete or deliberately suppressed?

• How do stories (like 12:01) act as artefacts or avenues of remembrance?

Check the BA Library OPAC. Our Book List on Martial Law is publicly accessible.

https://library.beaconacademy.ph/cgi-bin/koha/opac-shelves.pl?op=view&shelfnumber=105&sortfield=title

Habilin

This is from Andee Capellan, a dear friend of my daughter's and my former student who took part in a project to promote human rights and commemorate the lives  lost and changed by Martial Law. 

 "In (the) summer 2019, I interned under wiseowls ph which is a company that helps NGOs and social enterprises with communications. They're main purpose or slogan is "Communication for social change". During the internship, I, alongside another intern were assigned the task on coming up with a way to commemorate the Martial Law Era specifically these unsung heroes. We proposed and conceptualized "Habilin" to be a 12 part animated video series that should be 1 to 2 minutes with varying art styles for each story. This was two years in the making produced by WiseOwls Ph and Puma Podcasts and funded (I think) by Samasa and Commision of Human Rights of the Philippines." 

 I think the videos make for good resources and teaching materials in Filipino, Philippine History, Technology, Media and the Arts.

 

Isang Harding Papel A Martial Law Musical: Interview With Nanoy Rafael (2 of 2)

Basahin ang e-poster para sa info tungkol sa musical

Narito ang part 2 ng interbyu kay Nanoy Rafael na nagsalin at nag-adapt ng Isang Harding Papel (Rivera, Joson, Adarna House 2015) bilang isang musical. Mababasa ang part 1 sa link na ito.

Sa part 2 ng interbyu, ibinahagi ni Nanoy Rafael ang malikhaing proseso ng pagsasalin ng orihinal na materyal ni Augie Rivera. Nakakatuwa ring malaman na kasama ni Nanoy ang kanyang mga co-teachers at kanilang mga mag-aaral sa Raya School sa paglikha ng musical na ito.

3. May mga piling mag-aaral ng Raya ang nakasama ninyo sa paglikha. Kumusta naman sila katrabaho?

Sa unang run, buong Grade 8 namin ang tumulong sa produksiyon. Bahagi na rin ng pagtuturo namin sa kanila kung paano ba magpatakbo ng isang produksiyon, para may mga taon na sila na mag-isa ang gagawa nito. Epektibong motibasyon ang agency, ‘yung bibigyan ka ng kalayaan na lumikha o gawin ang isang bagay ayon sa naiisip mo. Kaya naging ganado rin talaga ang mga estudyante sa paggawa. Sila ang bumuo ng marami sa props, ng marketing materials. May mga nasa logistics rin na tumulong magpatakbo ng backstage. At siyempre, mayroon rin akong mga katuwang sa pagsusulat.

May isang pangyayari na hindi ko makakalimutan kasama ang mga estudyante. Mga ilang araw pagkatapos ng eleksiyon, nagkita-kita kami para tapusin ang first draft ng script. Naaalala siguro ninyo na noong mga unang araw ng bilangan, lamang si Bongbong Marcos sa pagka-bise. Kabado kaming nag-uuusap, natatawa na sa kaba. Alam ng mga batang ito na noong panahon ng rehimeng Marcos, nakulong ang mga sumulat laban sa gobyerno. Natortyur ang iba. Nawala ang iba. Pinaslang ang iba. Kaya binibiro nila ako na “Hala, teacher, baka makulong ka!” Gumaganti naman ako ng “Bakit ako lang? Kasama kaya kayo.” Araw iyon na puno ng masasamang biro, at ang bilang sa eleksiyon ang pinakamasamang biro sa lahat.

Pero nagseryoso ako at tinanong sila kung gusto pa ba nilang ituloy ang pagsusulat kung sakaling manalo nga si Marcos bilang bise. Sinabi ko na maiintindihan ko kung hindi, at walang problema kung ganoon. Pero sumagot silang “Sige lang, tuloy lang!” nang walang pag-aatubili. Kaya saludo ako kina Cacy Abadeza, Sofia Baybay, Izzi dela Cruz,  at Ella Francia—mga katuwang sa pagsulat at mga nagbigay rin ng tapang sa akin na ituloy ang dula.

Isang eksena sa dulang Isang Harding Papel A Martial Law Musical

4. Ano ang nauna, musika o libretto?

May magandang dynamic kami ni Teacher Thea Tolentino (ang composer) sa paggawa ng mga kanta. Nauuna parati ang lyrics (at ang sitwasyon na kasama nito). Tapos mag-uusap kami ni Thea kung ano ba ang kuwento, ano ang bagay na lapat dito. 

Pero hindi pa buo ang libretto/script kapag ibinibigay ko kay Thea ang natatapos naming mga lyrics. May mga eksena na wala pang kanta, pero tapos na ni Thea na lapatan ng musika ang iba. Kaya rin marami-rami sa mga naisulat naming kanta ang naimpluwensiyahan rin ng nauna nang treatment sa musika.

Halimbawa, ang pinakanauna kong naisulat ay ang dalawang Oyayi. Kanta ito ni nanay habang pinapatulog si Jenny, at kanta ni Jenny habang pinapatulog ang sarili niya. Naisulat ko ito bandang Nobyembre. Bandang Disyembre noong narinig ko ang lapat dito ni Thea. Pagkatapos noon, saka ko naisulat ang titular song na Isang Harding Papel, kasi nagkaroon na ako ng idea kung paano ang “feel” dapat nito. 

5. Ano ang paborito mong eksena sa Hardin? Bakit ito ang paborito mo?

Ang hirap! Sige, lilimitahan ko sa dalawa.

Ang una ay ang Bagong Lipunan spoof. Paborito ko ito kasi ito yata ang pinakamasaya naming naisulat, at siguro pinaka-subversive rin. Paulit-ulit naming pinakikinggan ng writing team ang Bagong Lipunan, tapos nag-iisip lang kami kung paano bababuyin ng mga bata ang lyrics nito, sa paraang parang bata talaga. Ang dami naming ibinato sa isa’t isa na nakakatawa, kaya ang hirap ring tapusin. Pero ang pinakadumikit ay noong may kumanta ng “Mabahong ulam” kapalit ng “May bagong silang.” Tapos dere-deretso na naming naisulat. Kaya halimbawa, ‘yung “May bagong silang / May bago nang buhay / Bagong bansa...” naging “Mabahong ulam / Mabaho ang laman / Amoy paa...” Ang immature lang, di ba! Pero ganoon naman talaga noong bata tayo, kung ano-anong pambababoy ang ginagawa natin sa mga kanta. Tapos kapag napanood rin ninyo ito sa stage, dahil mga Grade 1 ang nasa eksena, bagay na bagay. Awtentikong awtentiko.

Si Jenny, ang kanyang ina at lola

‘Yung ikalawang eksena na paborito ko ay ang torture scene. Wala ito sa script, at nagugulat pa rin ako na kayang ilagay ang ganitong sitwasyon at panatiliing pambata pa rin ang dula. Pero nagawa ni Direk Nor! Gustong-gusto ko ito kasi hindi ito metaporiko, na siyang madalas nating takbuhan kapag may gusto tayong ipaliwanag sa bata na sa tingin natin ay masyadong mabigat para sa kanila. Tahas ito, at mabigat pa rin (dahil mabigat naman talaga ang realidad na ito), pero mauunawaan ng bata. Nirerespeto ng eksenang ito ang kakayahan ng batang umunawa at magproseso, na magkaroon ng komplikadong mga damdamin at naiisip.

Si Nanoy Rafael ay isang manunulat, tagasalin, at guro. Nagwagi ang libro nila ni Serj Bumatay na "Naku, Nakuu, Nakuuu!" ng Peter Pan Prize mula sa IBBY-Sweden. Ilan sa mga isinalin niya patungong Filipino ay ang "Book Uncle and Me" ni Uma Krishnaswami, at ang "A Christmas Carol" ni Charles Dickens. Kasalukuyan siyang nagtuturo sa Raya School ng Filipino at Araling Panlipunan.

Book Review: 12:01

12:01
Russell Molina and Kajo Baldisimo
Anino Comics

In February, as the nation celebrated the 30th anniversary of the EDSA Revolution, Anino Comics and the EDSA People Power Commission launched a graphic novel set during the final years of Martial Law and the 1986 People Power Revolution.

It begins with four friends, bandmates, who miss the curfew. Afraid of being caught by the police, they seek refuge in an abandoned printing press, which one of them recognizes as his father’s former workplace. As he recounts the story of his father’s capture by the Metrocom, the reader gains an overview of law enforcement during the Marcos years. The story escalates when the bandmates leave their hiding place and encounter a jeepney driver searching for his daughter, missing after several rallies and mobilizations in Tondo, Manila. Alas, the police catches up with them, and a few good men heed the call of the brave. The story ends at a concert during the height of the EDSA Revolution, with the bandmates playing their song not just for freedom, but in memory of their fallen comrade.

What I enjoyed 

Molina is a gifted storyteller, honest and unpretentious in his use of words. What you read is what you get with Russell, and yet he is able to layer events and emotions into a multi-dimensional narrative. In 12:01, Molina is not just telling the story of four friends dreaming of making it big in the music industry; he is also showing us that we all have dreams that can be crushed or realized by forces larger than ourselves. Tragedy can happen anytime, especially during the Martial Law years, but he shows readers how people can live through such dangerous times. And so, we persist.

Baldisimo’s illustrations are dynamic. They are kinetic where they need to be, haunting and nostalgic in exactly the right panels, and dramatic and melancholic when the moment calls for it. The broken coffee cup. The old picture frame. The drumsticks left unmoved on top of a garbage can. His artwork enhances and enriches Molina’s skilled storytelling. And the book cover-- powerful.

What I hope it had

This is more of a suggestion than a critique, and I hope Anino Comics gets to read this review.

There are three songs in the graphic novel: Hala, Tahan Na, and Gising Na. These are seamlessly woven into the plot. But it would have been a great way to further engage teenage readers if guitar chords or tabs for these songs were included. Add a downloadable or streaming MP4/MP3 recording, and you’d have a multimedia material perfect for the digital native.

Rating: ★★★★☆ (Four bookmarks out of five)

Illustrator Interview: Rommel Joson

Rommel Joson, painter and illustrator, answers three interview questions on his new book, Isang Harding Papel (EPPC/Adarana House, 2014). Authored by Augie Rivera, the book was launched last November 27, 2014 at the Museo Pambata.

November 27 is Ninoy Aquino's birthday and National Day of Reading.

a. How did you conceptualize your art for Isang Harding Papel?

Paper was always going to be a dominant element in what I was going to do with Isang Harding Papel. So I thought of using collage techniques combined with painted elements to create the art. I used a lot of texture and welcomed happy accidents in the composition. Although I submitted a storyboard for Isang Harding Papel, I deviated from it a bit by just responding to the materials in front of me.

I also included some 2 "easter eggs" in the book. The number of the bus Jenny and Lola rode in is 1081 (referring to the Martial Law proclamation) and one of the kids in one of the spreads has a Voltes V t-shirt, which was supposedly banned during Martial Law times.

Illustrations of Isang Harding Papel. Photo source: http://rommelj.wordpress.com/2014/07/19/never-forget/

b. What collaborative strategies did you and Augie go through for Isang Hardin?
Beyond digesting Augie's text and the initial meeting with him and Adarna, there wasn't much actual collaboration. I gave an initial storyboard sketch, going so far as suggesting a spread without text. From that storyboard, I think Augie and Adarna made minor adjustments to the text.


c. If you are a martial law baby, what memories do you have of that period in Phil history? If not, what experience of loneliness and longing helped you in illustrating the book?

I was born in 1978. I was only 7 when People Power came around. I remember a time sitting with my grandfather by the sidewalk, and a person (don't remember if it was male or female) came up to us conducting a survey on possible election results. The survey person asked my grandfather who he was going to vote for in the coming election. My lolo said "KBL" - "Kay Buyida Lang". KBL of course referred to Marcos' party while biyuda referred to Cory Aquino. I think it was a running joke at the time.

Rommel Joson's art works: http://strangeskins.com/Sampaguita-Girl

 My lolo also gave me a Marcos Bagong Lipunan coin when I was little, which I lost, sad to say. I remember that the results of the snap election were being broadcasted on TV and I caught glimpses of that. I remember kids going to school flashing the Laban sign and wearing headbands with big foam letter Ls stuck on the front.

I have always been interested in that time in Philippine history. When I went to UP to study Fine Arts, I wanted to do a graphic novel about the desaparecidos. When the offer to do "Isang Harding Papel" came around, I felt this was my opportunity to do something set around that era. I also liked watching documentaries  and learning about the conspiracies and scandals of that time, like Oplan Sagitarrius or stories about the Rolex 12. So you could say that I'm fan of Philippine history.

My paintings and other personal work has always been tinged with loneliness and melancholia, so it wasn't difficult dipping into that emotion.

e. What is your message to aspiring illustrators?
Practice everyday, draw everything, read a lot, and be professional.


Watch this book trailer of Isang Harding Papel.

Augie Rivera on Martial Law and Writing Historical Fiction for Kids

Noong Nobyembre 27, 2014 ay nag launch ang Adarna House at ang Edsa People Power Commission ng aklat pambata tungkol sa Martial Law, ang Isang Harding Papel. Ang aklat ay sinulat ni Augie Rivera at ginuhit ni Rommel Joson. Ito ay inilimbag ng Adarna House.

Narito ang aking interview kay Augie Rivera tungkol sa aklat. Sinagot rin niya ang mga tanong tungkol sa kanyang paglikha ng kwento at sa inspirasyon niya sa kwento ni Jenny.

Pangalawa mo ng Martial Law book ito. Bakit ka muling nagsulat ng aklat tungkol sa Martial Law para sa mga bata? 

Ang kuwentong ‘Isang Harding Papel’ ay base sa ilang mga tunay na pangyayari at karanasan. Matagal ko na itong naisulat at bahagi sana ng limang libro sa seryeng ‘Batang Historyador’ ngunit minabuti kong unahing ilabas ang kuwentong ‘FQS’ na ‘Si Jhun-jhun, Noong Bago Ideklara ang Batas Mililtar.’ Kaya naitago muna sa ‘baul’ ang kuwento.

Sa dami ng revisionist takes sa Martial Law at sa ating kasaysayan na naglipana ngayon sa social media, naisipan kong balikan ang kuwento. Nag-revise ako ng konti, at saka ko ito ipinasa sa Adarna House. Sila ang nakaisip na i-tie up ito sa EDSA People Power Commission dahil naghahanap daw sila ng ganoong tipo ng kuwento.

Ayun. Makalipas ang labing-apat na taon, sa wakas ay dumating din ang tamang panahon para mailathala ito bilang isang libro.

Sa pamamagitan ng kuwento, umaasa akong mapupukaw ang interes ng batang mambabasa, mag-uusisa, at gugustuhing malaman ang iba pang mga kuwento ng pakikipagsapalaran, pangarap at pagkamulat ng mga batang gaya ni Jenny sa madilim na kabanatang ito ng ating kasaysayan. Malimit nating sabihin: ‘Ang mga kabataan ngayon, walang alam sa kasaysayan. Walang sense of history.’ Madalas din natin silang sabihan: ‘never forget.’ Pero, paano nila malilimutan ang isang bagay na hindi naman nila naranasan? Ang kasaysayan ay hindi lang pagmememorya ng mahahalagang petsa, pangyayari, at buhay ng mga bayani. Bilang mga ‘Martial Law babies’ na tumanda na, at karamiha’y mga magulang na rin, tungkulin natin na ipaalam sa mga bata ang kasaysayan. Ikuwento natin sa kanila ang kasaysayan. Ipakita. Iparamdam. Sana, ang mga aral ng nagdaan ay makatulong upang mabuo ang mas maalab nilang pagmamahal sa bayan at pagmamahal sa kasaysayan.

Rommel Joson and Augie Rivera at the book launch

May personal ka bang karanasan tungkol sa Martial Law na nasasalamin as aklat? Ano ito? 

Lumaki ako noong panahon ng Martial Law. Kaya’t na-excite akong isulat ang kuwento. Isa siyang magandang pagkakataon para magbalik-tanaw sa aking kabataan, at gamitin ang ilang mga detalye at karanasan para pandagdag sa texture at nuances ng kuwento. Noong panahong iyon, masugid kong sinubaybayan ang iba’t ibang mecha o robot anime sa telebisyon. Mekanda tuwing Lunes. Daimos tuwing Martes. Mazinger Z tuwing Miyerkules. Grendaizer tuwing Huwebes. At Voltes V tuwing Biyernes. Pagkagaling sa eskuwela, nakatutok na ako sa telebisyon. Lilipad ako kasama ang mga robot, kakalabanin namin ang mga Boazanian beast fighters, at ipagtatanggol ang buong bayan… bago mag-curfew o maghapunan!

Nang biglang i-ban ni Marcos ang Voltes V sa telebisyon dahil sobrang bayolente raw at naglalaman diumano ng mga subersibong mensahe, kabilang ako sa mga batang nagalit at naghimagsik ang damdamin. May dineprive sa ‘yo eh. May biglang inalis. May biglang inagaw. At hindi mo naiintindihan kung bakit. In a way, kahit bata ka, naramdaman mo na may nangyaring repression.

Marahil, collective angst din ‘yon ng isang henerasyon. Pero kung may mga batang nagluksa sa biglaang pagkawala ni Voltes V na itinuring nilang bayani at kaibigan, may mga batang iba naman ang biglang nawala sa buhay nila. Iba naman ang kanilang pinagdaanan— namuhay at lumaki sila nang malayo sa piling ng kanilang tatay, nanay, ate o kuya, na ipinakulong dahil sumalungat sa mga isinusulong ng Bagong Lipunan.

Mas sentimental ang treatment mo ng Martial Law experiences ng bidang bata sa Hardin kumpara ng Kay Junjun. May kinalaman ba ang gender dahil babae ang bida? 

Sa palagay ko, pareho lang na malungkot o sentimental ang ‘Jhun-jhun’ at ‘Hardin’ dahil hindi talaga maiiwasan. Parehong naganap ang kuwento sa maligalig, malungkot at madilim na kabanata ng ating kasaysayan. Pero ilan lamang ito sa mas marami pang kuwento ng mga batang nagkamulat at dumanas din ng parehong hirap at pasakit na pinagdaanan ng matatanda noong panahong ‘yon.

Babae ang bida dahil may pinagbasehan ako sa kuwento— ang mga tunay na karanasan ni Jenny Cortes (na pinsan-in-law ko; pinsan ni Mike) noong bata pa siya at dumadalaw sa kaniyang nanay na isang political detainee.

 Pinili ko ang imahe/metaphor ng bulaklak para sa kuwento dahil nainspire ako sa mga wooden sculptures ni Jenny sa kaniyang unang exhibit na ‘Wall Flowers’. At dahil ang bulaklak din ay simbolo ng pag-usbong ng buhay at pag-asa.

Ano ang hindi pa naisusulat ni Augie Rivera? 

Marami pa. Mas marami pang kuwento. Mas marami pa sanang programang pambata sa telebisyon. Isang musical. Isang coming of age na pelikula. Marami pa.

The book launch was held in Museo Pambata. Kuya Bodjie read aloud the story, Isang Harding Papel