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Ganda Ka? A Philosophical, Historical, and Cultural Exploration of Beauty Standards

In The Philippines
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I. Introduction

Definition of Beauty Standards

Beauty as a concept, has always been subjectively and culturally defined. Throughout

history, philosophers, artists, and thinkers from all walks of life have sought to explain the

nature of beauty.

From ancient Greek philosophers pondering the ideal forms of beauty to modern-day

scholars exploring the cultural aspects of aesthetic appreciation, the quest to understand

beauty has been a central theme in human intellectual and creative pursuits.

If we examine the notion of beauty as a concept throughout history, philosophers,

artists, and thinkers from all walks of life have sought to explain the nature of beauty.

However, beauty has always been subjectively and culturally defined.

Beauty is not a fixed concept, rather a flowing and dynamic one. If we examine

Ancient Greece, beauty was linked to notions of perfection and proportion, as seen in the

sculptures of the period, such as the famous statue of Venus de Milo. While during The

Renaissance, beauty was often equated with divine harmony and the natural world. Artists

like Leonardo da Vinci and Michelangelo sought to capture the beauty of the human form

and the natural world in their paintings and sculptures.

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Beauty in traditional Filipino culture however, is not just about outward appearance

but also about inner qualities and how one relates to the community, reflecting a holistic and

inclusive view of beauty. (Espiritu and Zosa)

This notion is supported by popular Filipino Sayings or Idioms that praise the inner

“beauty” of people, and disregards the outward appearance, as if to suggest that true beauty is

only found in one's character and actions rather than in their physical appearance.

Examples of these types of idioms are: "Ang tunay na kagandahan ay nasa loob" or

“Lahat ng tao ay maganda sa paningin ng Diyos.”

However, as prevalent as these quotes may be, the cultural and societal norm that is

practiced differs significantly from the idealization of beauty within the Filipino context e.g

“the three main types of Filipinos” and the rise of beauty, cosmetics, and skincare culture in

the Philippines, which we will discuss in depth further into the paper.

That being said, it is also important to understand the nuances of beauty. To set the

proper premise in this regard, I ask the question, Ganda ka? As it applies to the western

standards of beauty and how it’s challenged across history.

II. Western Standards of Beauty: Philosophical Ontology

Introduction to Western Beauty Philosophy: Brief overview of Western philosophical

ideas about beauty.

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Beauty has been a central concept in Western philosophical thought for centuries,

captivating the minds of thinkers from various schools of philosophy. From the ancient

Greeks to modern philosophers, beauty has been explored as a fundamental aspect of human

experience and aesthetics.

One of the earliest and most influential philosophers to contemplate beauty was Plato.

In his dialogues, Plato proposed that beauty is an objective and transcendent form or idea.

According to Plato, physical beauty is merely a reflection or manifestation of this higher,

ideal beauty. This concept laid the foundation for much of Western thought on beauty,

emphasizing its transcendental and metaphysical nature.

In the 20th century, Foucault challenged traditional notions of beauty. Foucault

argued that beauty is a social construct shaped by cultural and historical forces. According to

Foucault , beauty standards are not fixed but rather fluid and subject to change over time.

Conventional Beauty Standards

As discussed above, there are philosophical ideas of beauty. These thinkers often

emphasize the theory of beauty and not the tangible aspects of beauty.
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These tangible standards or norms are what dictate what is considered beautiful by

western standards. Such as facial symmetry. Studies have shown that symmetrical faces are

often perceived as more attractive. This preference for symmetry is thought to be linked to

perceptions of genetic fitness and health (Rhodes). Clear, blemish-free skin is also typically

considered attractive, as it is associated with youthfulness and health (Fink). A fit and toned

body is another trait that is often considered attractive, with emphasis on a slim waist and

proportionate curves in women, and a lean, muscular physique in men (Swami). Healthy-

looking hair, often long and styled in a way that complements facial features, is also valued in

Western beauty standards (Swami). Clear and expressive eyes are often considered attractive,

with emphasis on features like large pupils and long eyelashes (Olivola).

III. Kagandahang-loob: The Filipino Standard of Beauty

The Definition of “Loob”

Earlier, we tackled what the Filipino standard of beauty is. Which focuses on

“kalooban” or “loob.” However, it begs the question, what is “loob?” The concept of loob,

literally translated as “inside” in English, is nearly untraceable, since the concept does not

only pertain to a “physical entity,” e.g. a physical interior space, but the “essence.” Which is

in turn, “kalooban”

The term “loob” has been explored multiple ways, such as a “cave” of Filipino

thought, (Lacaba). Zeus Salazar however, defines “loob” as an actual state of emotions of the

self which gives the self its identity.

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There seems to be a consensus among philosophers, therefore, that loob is an ethical

interiority which is constituted by good will towards others. Such as when Virgilio Enriquez

enumerated many manifestations of “loob” as central to the Filipino value system where

Filipino values are linked by a socio-personal value called kagandahang-loob

Loob is a central concept in Filipino virtue ethics, stemming from precolonial

communal and animistic culture as well as the Aristotelian-Thomistic influence of Catholic-

Spanish colonization. (Reyes)

Synnott's work on beauty and ugliness adds another layer to this discussion. Synnott

suggests that beauty and ugliness are not just linguistic opposites describing physical

appearance but also moral opposites. Additionally, beauty and ugliness are not solely

physical contrasts in language but moral opposites as well. He contends that societal attitudes

towards individuals perceived as beautiful or ugly are ingrained within institutions.

Additionally, he asserts that attractiveness is influenced not only by physical appearance but

also by one's morality and values.

Hence, in the Filipino context, Synott’s idea proposes that Beauty is not just a

commentary on physical appearance but also on an individual’s moral virtue. (Synott)

Philosophy and Tangibility of Beauty In The Philippine Context

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Given the preceding discussions, the concept of beauty is ideally based on the Filipino

idea of “kagandahang-loob,” That being said, while the standards of beauty are more inclined

to lean towards the essence of being rather than the physical form, the existence of tangible

beauty standards established in society and cultural norms is undeniable and certainly has a

stark effect on modern conceptions of aesthetics.

In the western context, Plato believed that the physical world is a mere shadow or

imperfect copy of the realm of forms. When we encounter something beautiful in the physical

world, such as a beautiful person, object, or artwork, we are actually recognizing and

responding to the form of beauty that exists in the realm of forms, which is perfect and

unchanging. With that being said, it is only the physical beauty that we see, that is ever

changing and flowing.

In the Philippine context, our idea of beauty, of “kagandahang-loob,” is the blueprint

of the physical beauty that we see.

Elements of this manifest through the idea of Filipinos having three main distinctions

loosely based on one’s skin tone. Where having fairer skin, such as Mestizas and Chinitas,

are considered beautiful, while Morenas are considered inferior. These narratives are also

widely perpetuated by the media, including celebrities, commercials, and even beauty

pageants. Despite the Philippines' obsession with beauty pageants, our representatives often

do not resemble the majority of kayumanggi Filipinos. Filipinos have been ingrained with the

notion that fair skin is superior and elite. This obsession with being mestizo or mestiza has

deep roots in colonial history, particularly during the more than 300 years of Spanish

occupation prior to American rule. (Illo)

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However, the idea of “kagandahang-loob” has not changed. The idea of

“kagandahang-loob” has existed during pre-colonial times. According to Jeremiah Reyes, the

Filipino virtue ethics are based on the precolonial communal and animistic culture, and the

Aristotelian-Thomistic influence of Catholic-Spanish colonization.

Now once asked the question, ganda ka? That answer is yes, but only if you

encompass the Filipino idea of “kagandahang-loob.”

Bibliography

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Theory of Meaning in Life.”

https://www.researchgate.net/publication/

362290507_Loob_and_Meaningfulness_A_Filipino_Theory_of_Meaning_in_Life

Plato. “Plato: Symposium.”

https://web.education.wisc.edu/halverson/wp-content/uploads/sites/33/2012/12/

Symposium.pdf

Rhodes, Gillian, et al. "Higher-level mechanisms detect facial symmetry."

Proceedings of the Royal Society B: Biological Sciences 272.1570 (2005): 1379-1384.

Fink, Bernhard, Karl Grammer, and Randy Thornhill. "Human (Homo sapiens) facial

attractiveness in relation to skin texture and color." Journal of Comparative Psychology 115.1

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Furnham, Adrian, Viren Swami, and Krupa Shah. "Body weight, waist-to-hip ratio

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