So there’s the affective, the cognitive, and the spiritual dynamic, that makes kapwa inclusive, expansive. It’s individual, but also it’s familial, it’s cultural, it’s historical, and then it’s cosmic.

So it’s a very large framing of worldview, that, is macro, but then also is micro, because the outer is connected to the inner, and then the connections and how things are interconnected and interwoven. And you see that in many of the art and the crafts that is produced by indigenous peoples, and you see it in the music, you see it in the rhythms, you see it in the colours, and the weaving patterns, and so on. So, I think the indigenous Filipino who is still capable of discerning that kind of place-based, indigenous-informed worldview develops kapwa as a skill. It’s a very sophisticated skill that that becomes then your cultural capital.