In recent years, the Dimzon couple has demonstrated remarkable dedication to research, translation, and publication, significantly contributing to the fields of Hiligaynon language and literature. Agnes Espano-Dimzon and Alain Russ Dimzon have authored and published seminal works that are crucial to the study and preservation of Hiligaynon. Among their most notable publications are the Bokabularyo Traylingguwal and the Filipino translation of Margosatubig: Ang Kasaysayan ni Salagunting, originally written in Hiligaynon by National Artist for Literature Ramon L. Muzones. Their role as co-editors of Ortograpiya sang Hiligaynon, published in 2021, emphasizing their commitment to linguistic standardization and development. All these works were published under the auspices of the Komisyon sa Wikang Filipino (KWF), further emphasizing their institutional significance.
A particularly noteworthy contribution to the expansion and enrichment of Hiligaynon studies is the Bokabularyo Traylingguwal (English-Hiligaynon-Filipino), published in 2023. This volume, collaboratively developed by the Dimzon couple, draws upon key reference materials such as the Diksiyonaryong Sentinyal ng Wikang Filipino (2011), Cecile Motus’ Hiligaynon Dictionary (1971, University of Hawaii Press), and Jose Yap’s English-Visayan (Ilonggo) Dictionary (2002). Given the dearth of contemporary academic resources on the Hiligaynon language, this trilingual vocabulary serves as an indispensable tool for scholars, educators, and students seeking to engage with Hiligaynon in formal and academic contexts.
Agnes Espano-Dimzon, a writer and translator proficient in Hiligaynon, English, and Filipino, first gained recognition with her creative non-fiction work Mansyon: Creative Non-fiction sa Hiligaynon, published by Kasingkasing Press in 2016. Meanwhile, Alain Russ Dimzon, author of Ang Manunulat kag ang Pendulum, received the 2006 Fray Luis de Leon Creative Writing Institute Competitive Book Writing Grant from the University of San Agustin Publishing House. His expertise extends beyond literary production, having served as a commissioner for KWF, representing Hiligaynon, and as a member of the Philippine Center of International PEN.
In the introduction to Bokabularyo Traylingguwal, the Dimzon couple articulates a compelling rationale for their work: language evolves over time, and it is imperative to document and preserve linguistic elements before they fade into obsolescence. This framework guided their research, culminating in a vocabulary that aims to safeguard Hiligaynon words that they deem essential for cultural and linguistic continuity. The book serves as a repository of terms that, if left undocumented, might be lost to future generations. Their overarching goal is to reintroduce these words into contemporary discourse, ensuring their retention in the collective consciousness of Ilonggos and encouraging their appropriate usage.
The Dimzon couple firmly believes that the most effective way to preserve Hiligaynon is through its active and intelligent use across various domains of power, including educational institutions and everyday social interactions. Their advocacy stems from a deep respect for the language, recognizing that its survival hinges on sustained, meaningful engagement.
They observe an alarming trend among the youth, many of whom are unfamiliar with even basic Hiligaynon vocabulary. For instance, the word alipalok, which translates to “cinders” or “sparks” in English and dúpong in Filipino, refers to embers rising from an open fire. As urban lifestyles increasingly favor liquefied petroleum gas over firewood for cooking, words associated with traditional firewood usage such as alipalok, dúpong, and bága are gradually disappearing. This linguistic erosion mirrors a broader cultural shift wherein practical knowledge of traditional ways of life is being lost.
Similarly, the couple notes that as children devote more time to digital devices and consume more fast food, they are becoming less acquainted with words related to food preparation. Terms such as kihad (“cut” or “slice” in English, hiwa in Filipino), hiwa (“cut” or “slice” in both English and Filipino), utod (“cut” in English, putól in Filipino), and tuktok (“chop” in English, tadtad in Filipino) were once fundamental to domestic life. These words, deeply ingrained in earlier generations’ everyday routines, now risk fading from common usage as cooking habits shift.
The Bokabularyo Traylingguwal comprises 5,000 Hiligaynon entries, each accompanied by English and Filipino equivalents or definitions. These entries are presented non-sequentially, reflecting the lexicographers’ accumulated linguistic awareness over nearly six decades, dating back to their birth years in 1963 and 1964. The Dimzon couple acknowledges that this vocabulary represents only a preliminary effort. They recognize the need for further expansion through more comprehensive and systematic linguistic research. The academic community eagerly anticipates future editions that will build upon this foundation.
In my next column, I will explore Agnes Espano-Dimzon’s translation of Margosatubig, the seminal novel by Ramon L. Muzones, the first National Artist for Literature to write in Hiligaynon.
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.
