The Ortograpiya sang Hiligaynon was officially completed in 2021, but it was only last year that I had the opportunity to receive a copy, personally handed to me by one of its editors, Alain Russ Dimzon. This landmark publication represents a crucial step in the standardization of Hiligaynon, ensuring a more consistent and systematic approach to its written form. During the opening of the Iloilo Children’s Book Fair (ICBF), Dimzon distributed copies to attendees, making this valuable linguistic resource accessible to educators, writers, and language advocates. Its release is particularly timely, given the increasing number of writing competitions in Hiligaynon, both within and beyond Western Visayas, demonstrating a renewed appreciation for the language. The Ortograpiya sang Hiligaynon provides a necessary framework for writers and scholars, fostering a sense of confidence and linguistic pride among those who choose to express themselves in their mother tongue.

Beyond academic and literary circles, the influence of Hiligaynon continues to expand, particularly in digital spaces. It is inspiring to see Ilonggos and other Panayanons, along with Hiligaynon-speaking communities in Mindanao embracing the language on social media platforms like Facebook and X (formerly Twitter). This increasing online presence proves that Hiligaynon is not just surviving but evolving, adapting to the demands of contemporary communication while remaining deeply rooted in its cultural significance. The Ortograpiya sang Hiligaynon serves as both a guide and a symbol of this linguistic resurgence, reinforcing the importance of language preservation and innovation. In an era where English and Filipino dominate public discourse, this effort to strengthen Hiligaynon reminds us of the power of regional languages in shaping identity, community, and creative expression.

The Komisyon sa Wikang Filipino (KWF) is the official governing body for the Filipino language and the primary government institution tasked with the development, preservation, and promotion of various indigenous languages in the Philippines. Established under the 1987 Philippine Constitution, the commission has initiated several key projects, including the development of orthographies for the country’s indigenous languages. Orthography provides a systematic guide outlining the rules for proper writing and spelling, ensuring a more structured and standardized form of the language. Through this initiative, the KWF aims to preserve and advance regional languages, recognizing that each possesses unique writing conventions that must be safeguarded. This effort also contributes to the creation of a clearer and more precise writing system beneficial to speakers, educators, writers, and other language users, ultimately minimizing inconsistencies in written communication. The project seeks to formalize orthography as an official reference for education and governmental documentation, reinforcing the presence of indigenous languages in academic and professional domains.

By formalizing orthographies, the identity of indigenous languages is further strengthened, laying the foundation for a deeper appreciation of the cultural and historical heritage of the communities that speak them. The KWF’s initiative represents a crucial step in promoting multilingualism in the country, affirming the importance of each regional language in enriching national identity. Under this project, the KWF has developed orthographies for various Philippine languages, including Hiligaynon, Bikol, Ilokano, Pangasinan, Kapampangan, and Tausug, among others. These orthographic guidelines are published as reference materials for teachers, students, writers, and other stakeholders involved in language development. The creation of orthographies is not merely an academic endeavor but a critical measure to preserve the nation’s literary heritage and establish a stronger foundation for native languages that continue to evolve with time and usage.

The Ortograpiya sang Hiligaynon was edited by Resurreccion Hidalgo, Lorey Tanaleon, Nelson Cabaluna, Agnes Espano-Dimzon, and Alain Russ Dimzon. The book is divided into ten sections, covering key topics such as graphemes, syllabication rules, phonological adjustments, spelling conventions, the interchangeability of D and R, the substitution of the morpheme, the interchangeability of U and O, abbreviations, the use of the hyphen (-), and foundational vocabulary for children.

In the introduction, former KWF Commissioner for Hiligaynon emphasized that the development of this orthography was a multisectoral effort. The project involved various academic institutions, teachers from the Department of Education (DepEd), and both private and public colleges. The Sumakwelan, the first organization of Hiligaynon writers and scholars, actively contributed to the initiative. The Hubon Manunulat, a contemporary group of writers exploring modern approaches to Hiligaynon literature, also played a significant role. Media professionals, including broadcasters and scriptwriters for radio and television, were invited to participate, recognizing their vital role in integrating Hiligaynon into everyday discourse.

Commissioner Dimzon’s introduction to the book emphasizes its intended role as a comprehensive guide for broadening the public’s understanding of Hiligaynon, covering aspects such as spelling, syllabication, word formation, phrase structures, sentence construction, and diacritical marks. It is crucial to recognize that this initiative is anchored in the Ortograpiyang Pambansa (OP), the standardized orthographic framework for all Philippine languages. Toward the conclusion of his introduction, Dimzon underscores that this project marks only the beginning, highlighting the dynamic nature of the Hiligaynon language as an influential linguistic force both within and beyond Western Visayas. Given its presence across various domains of power, it is imperative to monitor how the language evolves and adapts to the rapid changes and demands of the modern era.

Dimzon and this project challenge us to take an active role in fostering the proper use and dissemination of Hiligaynon, not only within the confines of our classrooms but also in our homes and everyday interactions. In an era characterized by rapid advancements in media and communication, initiatives like this become increasingly vital, particularly within the doamin of social media. While a vast array of reading materials is available online, most of these are written in English or Filipino, posing a challenge to the wider use and strengthening of our regional language. Through this project, we are given the opportunity not only to enhance our proficiency in Hiligaynon but also to deepen our appreciation of our cultural identity and heritage as language advocates within our communities.

Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.