31/05/2026
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Christian Jessie Bertos Bala
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Carlos Apuan Arejola was born on 31 Mayo 1961 in Pili, Camarines Sur, a place that would deeply shape his identity, his literary voice, and his lifelong dedication to Bikol culture.
For many who knew him, Carlos Arejola, fondly remembered as Carlo, was more than an accomplished writer; he was a mentor, cultural worker, and champion of Bikol literature whose legacy continues to inspire generations of artists and advocates.
Entrepreneur and advocate Ryen Paul Sumayao recalls Arejolaβs immense contribution to theatrical production and literary development, emphasizing how deeply his works were rooted in his hometown of Pili. His strong connection to his origins was reflected in the themes and narratives he cultivated, making his recognition a great source of pride for the local literary community, especially among writers from Pili who remain closely connected to his legacy.
Thespian and writer Eilyn L. Nidea likewise remembers Carlo as a figure whose influence extended across poetry, theater, and cultural heritage preservation. Perhaps his most enduring contribution was his dedication to mentoring young and emerging writers and cultural advocates. Through his guidance, he introduced many to individuals and organizations that continue to nurture their artistic growth. Even years after his passing, his impact remains evident in the thriving community of artists who actively contribute to the preservation and development of Bikol literature and identity.
One of the most significant aspects of Carloβs work was his commitment to making literature accessible to wider audiences especially younger generations. Sumayao emphasized that while many writers often direct their works toward mature or academic readers, Arejola recognized the importance of engaging the youth as future cultural workers, understanding that they would one day carry forward and safeguard Bikolnon identity and heritage. Nidea also noted that his teachers, fellow artists, scholars, students, critics, and advocates continue to share, discuss, and celebrate his works, ensuring that his voice and vision remain relevant across generations.
Beyond his literary achievements, Sumayao described Carlo as someone who possessed a distinct sense of childlike wonder in his creative process which is an enduring curiosity and fascination that enriched his writing and allowed him to connect deeply with readers. It was natural, Sumayao recalled, for Carlo to gravitate toward meaningful causes. He was driven by a sincere desire to do good, as though such purpose was inseparable from his identity. This same principle guided his writing, which often centered on familiar and relatable experiences, making his works accessible and resonant to a broad audience.
Nidea, on the other hand, highlighted Arejolaβs emphasis on discipline, focus, and consistency. For him, these were essential not only in honing oneβs craft but also in sustaining artistic passion. Through both his words and his actions, he embodied the dedication required to become not only a skilled artist but also a committed cultural advocate.
Sumayao also noted that Carlo firmly believed in βgoing to the grassroots.β He immersed himself in communities and collaborated with public servants to strengthen appreciation for Bikol literature. His presence was not confined to literary circles; rather he brought literature directly to the people, ensuring that it remained alive, relevant, and rooted in local communities.
Carlo also holds significance as one of the pioneering LGBTQIA+ authors in the Bikol Region. His works have served as important references for scholars such as Sumayao, highlighting the enduring value of his literary contributions. It is especially meaningful that, as a Bikonon and Catholic, Carlo was able to openly express himself, produce literary works, and celebrate q***r themes in his writing. During his time, exploring such themes posed considerable challenges making his courage and authenticity more remarkable.
Among Arejolaβs notable works are βSayod Kong Tataramon (Tuwiran Kong Sasasabihin)β and βWala Akong Bitbit na Sawiang Puso Tuwing Naglalakbayβ. The βSayod Kong Tataramon (Tuwiran Kong Sasasabihin)β is a collection of three plays written in Bikolnon and Filipino for film and theater. Critics recognized the work for its treatment of themes such as subverting patriarchy and giving voice to women and what is now understood as the LGBTQIA+ community. It was also among the five finalists of the Madrigal-Gonzales First Book Award in 2011 (Asuncion, 2025).
On the other hand, βWala Akong Bitbit na Sawiang Puso Tuwing Naglalakbayβ is a collection of poems in Filipino that was published by Ateneo de Naga University Press in 2015. Arejola also received recognition from prestigious award-giving bodies, including the Don Carlos Palanca Memorial Awards for Literature. Beyond print, he contributed essays and childrenβs stories to the online platform Vox Bikol, where he wrote on subjects such as Filipino surnames during the Spanish colonial period (Asuncion, 2025).
Meanwhile, Nidea highlighted another significant work, βAn Mutya kan Sitio Kulatoyβ, a play that challenges traditional perceptions of family, community relationships, and beauty pageants.
As a cultural worker, Arejola served as the Southern Luzon representative for the National Committee on Literary Arts of the National Commission for Culture and the Arts (NCCA) from 2008 to 2013. His commitment to uplifting Bikol literature also led him to initiate Premio Arejola, an award-giving body established in 2004 after the 2nd βPagsurat Bikolnon Conferenceβ to recognize outstanding Bikolano writers and their works. In 2008, the Unyon ng mga Manunulat ng Pilipinas (UMPIL) honored Premio Arejola with the Gawad Pedro Bukaneg for its contributions to regional literature (Asuncion, 2025).
Together with Nidea, Arejola was also co-founder and mentor of Teatro Ragayano, a semi-professional theater group based in Ragay, Camarines Sur. Through this initiative, he championed the writing and staging of original and adapted plays, fostering a vibrant theatrical culture while navigating the academic and community challenges involved in sustaining such an artistic tradition.
Carlos Arejola passed away on 20 July 2017, but his legacy remains profoundly alive. Even during the pandemic, his voice continued to resonate. Late actress Sue Prado (1981-2026) read Arejolaβs 2016 poem βSa Bawat Paglisan during the Himatiβ online poetry series, a reminder that though Direk Carlo may have left this world, his words, vision, and spirit continue to journey with those who encounter them. (Asuncion, 2025).
Nidea reflected that both young and seasoned artists, beginners and established creators, Bikol and non-Bikol alike continue to draw inspiration from Carloβs works, life, and legacy. Even in death, audiences celebrate his greatness, not only as a gifted artist but also as a compassionate mentor, cultural advocate, and remarkable human being whose influence extends far beyond his lifetime.
For Sumayao, Arejolaβs works remain deeply youth-oriented and continue to serve as valuable tools for inspiring younger generations. Through reading sessions, literary engagements, and educational activities, his writings encourage young people to explore and write about their own identity, culture, and lived experiences. In this way, Carloβs legacy lives not only in the pages he wrote but also in his enduring ability to awaken cultural pride and creative passion among todayβs youth.
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REFERENCES
Asuncion, Ruben Jeffrey A. (2025). Carlos Arejola: Bikol literary advocate and worker. Saysay Bikol, 2025.
Personal interview from Ms. Eilyn L. Nidea.
Personal Accounts from Mr. Ryen Paul Sumayao.
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