Afterword
Magic has always existed, carved into the very hollows of Philippine society. Our mythology, beliefs, and way of life were shaped by our need to understand forces greater than ourselves—to find meaning in what we could not control, and power in what we could.
When powerful colonizers took our lands, our ancestors turned stones into weapons to defend what was theirs. They held on to their faith, their communities, and their will to resist. They knew that greed could conquer land, but never fully conquer a people who refused to bow.
This, too, holds true for Forum- Dimensions.
What we faced in our 86th year could, at times, feel like a curse. But while curses may be broken by spells, censorship has no remedy but press freedom. For our critical reports that reached beyond the University, for questioning traditions and institutions, we were witchhunted like the women of Salem— made to feel that speaking truth was itself an act of transgression.
Yet Salamangka was never meant to be about magic as something literal. It is about recognizing the magic that has always existed within us.
Our first instinct to resist is divination: to look beyond what is immediately seen, to question what we are told, and to seek what lies beneath. When our spaces are threatened, we defy and stand our ground. When anger takes hold, we turn it into action. When wounds remain, we seek ways to heal—not only ourselves, but the society that made those wounds possible.
This is the salamangka we inherit as Filipinos: shaped by centuries of struggle, erasure, and exploitation, yet continually finding ways to survive, resist, and hope.
The magic we create is neither distant nor mystical. It lives in how we speak, how we struggle, how we remember, and how we dare to imagine something better.
Magic is not pulled from thin air. It is forged by the same hands that clenched into fists, held pens, raised voices, and built a society that dares to dream. And when the time comes that our magic runs dry, we will still have one another to carry the line forward.
TIMOTHY JAMES SAMPANG
Features Editor