NATIONAL ARTIST RETURNS MEDALLION: Kidlat Tahimik protests CHED Curriculum over ‘Colonial Education’ concerns

"I am surrendering my prestigious medallion of the Order of National Artists... my personal gesture in good faith to spotlight that somehow our country’s ‘walang-paki’ DNA might be traceable to the 3-‘R’s-only pedagogy of our colonizers."

— National Artist Kidlat Tahimik

BAGUIO CITY, Philippines — National Artist for Film Kidlat Tahimik has surrendered his prestigious Order of National Artists medallion in protest against the proposed changes to the Commission on Higher Education's (CHED) General Education curriculum, describing the move as a personal act meant to call attention to what he sees as the continuing influence of a colonial-style education system in the Philippines.

Eric de Guia, popularly known as Kidlat Tahimik, is a Filipino filmmaker, writer, and visual artist widely regarded as the "Father of Philippine Independent Cinema." He gained international recognition through his 1977 film Perfumed Nightmare, which received acclaim at the Berlin International Film Festival and established him as a significant figure in world cinema.

In 2018, he was conferred the Order of National Artists, the country's highest honor for individuals who have made outstanding contributions to Philippine arts and culture.

CHED Proposal Draws Criticism

The controversy stems from CHED's proposed Reframed General Education Curriculum, which seeks to revise the General Education (GE) program in colleges and universities nationwide.

Among the proposed changes are the reduction of GE units from 36 to 18, the streamlining of core subjects, and the merging of courses such as Rizal Studies, Philippine History, Ethics, Literature, Philosophy, and the Arts into broader interdisciplinary subjects. The revised curriculum places greater emphasis on courses such as Professional Communication, Global Trends and Emerging Technologies, and Rizal and Philippine Studies.

On June 15, Tahimik released a statement arguing that the proposal reflects a "colonial-style" educational framework that prioritizes employability and standardized skills over cultural, historical, and national consciousness.

He warned that an education system focused primarily on producing "job-ready" graduates could weaken students' understanding of Philippine identity, heritage, and history.

According to Tahimik, Philippine education continues to reflect the "3 R's"—Reading, Writing, and Arithmetic—introduced by American Thomasite teachers during the colonial period.

"Simply teach them the 3 R's. Yes, the American slang for Reading, 'Riting and 'Rithmetic by the good-intentioned Thomasites. To me, the total assimilation of Philippine education into this Thomasite philosophy was so successful, it continues today. The colonial policy had a less visible aim—by homogenizing the youth for maximizing GDP, the natives would also be easier to govern and easier to employ by calibrating our islander kids' brains toward competitive competencies," he said.

Why the Medallion Matters

Speaking before participants of the BAGANI: Rising Leaders Development Program at Teachers Camp in Baguio City on June 16, Tahimik announced that he would surrender both his National Artist medallion and its accompanying privileges as a symbolic form of protest.

He clarified that his action was a personal decision and should not diminish the prestige of the Order of National Artists or reflect on fellow awardees.

Tahimik said the gesture is intended to spark public discussion on what he described as a growing "walang-paki" mentality that may be rooted in an education system focused more on technical competencies than on developing socially conscious and culturally grounded citizens.

"I am surrendering my prestigious medallion as a sort of hunger strike. My individual act should by no means taint the prestige of my distinguished fellow National Artists. This is my personal gesture in good faith to spotlight that somehow our country's 'walang-paki' DNA might be traceable to the 3-R-only pedagogy of our colonizers. If this elementary-level menu is today being extended to college levels, quo vadis—where are we going?," he said.

Tahimik's decision has intensified the debate over the future of higher education in the Philippines, placing the spotlight on a broader question: Should colleges prioritize producing globally competitive workers, or should they continue to devote significant space to history, culture, philosophy, and the arts in shaping future generations of Filipinos?