Here are some films that are worth looking at on International Day of Persons with Disability.

Margarita With a Straw

One of the most sensitive, poignant, representation of disability is found in the Shonali Bose-directed 2014 release Margarita With a Straw. Starring Kalki Koechlin as Laila Kapoor, a young girl with cerebral palsy. The film, adapted loosely from the book One Little Finger, explores Laila’s journey through her graduation, and further education, as she explores her sexual frustration, the need to find a partner, and her sexuality.
Bose peppers the film with some beautiful moments between Kalki, and her mother (Revathi), while also not representing Laila as a sanitized depiction of a young woman with disability. Laila comes with her own need to get romantic validation from her able-bodied friends, quite explicitly wanting a sexual experience with an able-bodied person, reflecting her biases, that give her an edge over certain sanitized, one-dimensional characters with disability that were previously explored.
What truly makes this one a great watch, eventually, is Koechlin’s brilliant performance. In what is, in my opinion, the best performance by a female actor in Hindi Cinema, at least in 21st century, Kalki Koechlin does something remarkable with Laila, that has rarely been done in Hindi Cinema. It is the greatest tragedy that this performance, so beautifully sensitive, and erratic in equal measures, is not hailed as one of the greatest performance in Hindi cinema. Margarita With a Straw dares to see its protagonist with a disability as a fractured, fumbling, eccentric human. And in doing that, the film anchors one of the strongest representation of disability in a film that is both sensitive, and brave at the same time.

Sparsh

If there is one performance that can dare to be spoken about in the same breath as that of Kalki Koechlin, it is Naseeruddin Shah as Anirudh in Sparsh (1983). Starring Shah, and Shabana Azmi, and directed by Sai Paranpye, Sparsh is a terrific study of a man with visual impairment, who has anchored a life for himself that gives him a sense of pride, about his struggle, and eventual success in life.
The film is a love-story between Anirudh, principal of a school for visually impaired boys, and Kavita (Azmi), a widow who is struggling to deal with her grief. Their journey is not defined by words but sparsh (touch). It is a beautiful idea to explore. A love-story where the sense of each other is more important than anything else.
Paranjpye makes Sparsh a heartwarming affair, making the love-story delicate, and desirable. The purity of their bond is a thing of rare beauty, and one that sees Anirudh just as another lover in Hindi Cinema. And yet, the film is acutely aware of the politics of disability that is needs to look after.
Anirudh takes his disability with a lot of pride, never shying away from it. If anything, he is defined as much by his impairment, as he is by his arrogant obsession to be seen as a person before a visually impaired person. In one of the best scenes of the film Anirudh lashes out at a waiter for giving the bill to Kavita, and not him. The scene shows his innate discomfort with how his disability hinders his masculine authority of being the one who would pay the bill on a date.
For Paranjpye to reflect on this, decades before United Nation addressed the importance of a person-first term, is commendable. Sparsh belongs to a period of cinema when the loud masculinity of commercial cinema was being countered by soft, more uncertain understanding of what it means to be vulnerable as a man. It is a film that provides one of the most beautiful, likable love-stories, while also representing disability how Anirudh accepts it – a part of life.

Aankhein

Aankhein, in many ways is a film that aspires to be what Andhadhun became. A film that uses disability as a plot-device, while also adhering to the sensitivity that is important when using disability as an idea as well as the reality of the story, and its characters. On most fronts, Aankhein (2002) is a wonderful film with a stellar cast. It is also a film that needs to be looked at, as we understand people with disability beyond their sanitized societal understanding.
Directed by Vipul Amrutlal Shah, the film tracks three visually impaired men(Paresh Rawal, Akshay Kumar, Arjun Rampal), who are trained to rob a bank by a woman (Sushmita Sen), who is forcefully working under a schizophrenic man (Amitabh Bachchan), the mastermind behind this insane revenge-heist story.
At its core, Aankhein does something interesting. It shows an elaborate sequence where three visually impaired men rob a bank in broad daylight. It is a rare case of a film seeing characters with disability doing something immoral. Shah, who adapted the film from his own Gujarati play, does not shy away from breaking the stereotype of people with disability being caste as some impenetrably moral beings. By doing this, it gives a new shade to the representation of disability in Hindi cinema. It sees them as the microcosms in a larger design (interestingly governed by a man with an intellectual condition). It sees all of its characters as a blend of being prisoners, as well as opportunists, making the entire idea of a one-dimensional representation of disability a thing of past.

Jagga Jasoos

Anurag Basu modeled his most successful film Barfi! (2012) around a character with vocal, and hearing impairment. However, he did something far more interesting in his next film, Jagga Jasoos (2017). An eccentric, self-proclaimed local detective, Jagga (Ranbir Kapoor) is an orphan with speech impairment. He stammers, but his stammering vanishes when he uses a tune as an anchor for his words.
This premise lends the film its genre as a musical adventure-comedy. It is a middling film with sparks of brilliance, and moments of uninspired dryness. But Basu turns Jagga’s disability, not just as a part of developing his mind as an astute detective, but also giving the film its genre, that makes it its best self.
Of course, through all this Jagga remains a functional individual, conveying a subtle, unannounced message of inclusivity, and positivity, but there is something beautiful about a film that has a protagonist with disability, which spends little time over their disability, but instead follows a track that is divorced from his disability. By incorporating Jagga’s disability as a genre, the film reminds us of it continuously, without overarching its existence over one aspect of Jagga’s life.

Koshish

Gulzar’s 1972 film Koshish is one of the earliest positive representation of disability in Hindi cinema. Starring Sanjeev Kumar and Jaya Bhaduri (now Bachchan) as a mute couple, the film does something important by exploring the domesticity of disability, turning its gaze on a relationship between two individuals with disability.
By looking at the struggles, insecurities, and victories of such a couple, the film found a sense of optimism within which was rare back then when a filmmaker decided to base a story around a character with disability. With stellar performances by the lead pair, Koshish is a film not only about love, life, and disability, but also about the domino effect of an act like two people with disability coming together for a long, healthy relationship.
The film has one of the most poignant finale, where the son is faced with a decision to make about his life. But more importantly, the film tries to plant an idea of love, and emotions, as a universal, unifying force. It is a film way ahead of its time, emerging when the legal system was not as sympathetic to people with disability as the film’s politics was.

Notable mentions:

Black, My Name Is Khan, Iqbal, Guzaarish, Paa.
December 3rd is observed as the International Day of Persons with Disability.
https://thereclinerseat.wordpress.com/2020/12/03/films-to-watch-on-international-day-of-persons-with-disability/?

Here are some films that are worth looking at on International Day of Persons with Disability.

Margarita With a Straw

One of the most sensitive, poignant, representation of disability is found in the Shonali Bose-directed 2014 release Margarita With a Straw. Starring Kalki Koechlin as Laila Kapoor, a young girl with cerebral palsy. The film, adapted loosely from the book One Little Finger, explores Laila’s journey through her graduation, and further education, as she explores her sexual frustration, the need to find a partner, and her sexuality.
Bose peppers the film with some beautiful moments between Kalki, and her mother (Revathi), while also not representing Laila as a sanitized depiction of a young woman with disability. Laila comes with her own need to get romantic validation from her able-bodied friends, quite explicitly wanting a sexual experience with an able-bodied person, reflecting her biases, that give her an edge over certain sanitized, one-dimensional characters with disability that were previously explored.
What truly makes this one a great watch, eventually, is Koechlin’s brilliant performance. In what is, in my opinion, the best performance by a female actor in Hindi Cinema, at least in 21st century, Kalki Koechlin does something remarkable with Laila, that has rarely been done in Hindi Cinema. It is the greatest tragedy that this performance, so beautifully sensitive, and erratic in equal measures, is not hailed as one of the greatest performance in Hindi cinema. Margarita With a Straw dares to see its protagonist with a disability as a fractured, fumbling, eccentric human. And in doing that, the film anchors one of the strongest representation of disability in a film that is both sensitive, and brave at the same time.

Sparsh

If there is one performance that can dare to be spoken about in the same breath as that of Kalki Koechlin, it is Naseeruddin Shah as Anirudh in Sparsh (1983). Starring Shah, and Shabana Azmi, and directed by Sai Paranpye, Sparsh is a terrific study of a man with visual impairment, who has anchored a life for himself that gives him a sense of pride, about his struggle, and eventual success in life.
The film is a love-story between Anirudh, principal of a school for visually impaired boys, and Kavita (Azmi), a widow who is struggling to deal with her grief. Their journey is not defined by words but sparsh (touch). It is a beautiful idea to explore. A love-story where the sense of each other is more important than anything else.
Paranjpye makes Sparsh a heartwarming affair, making the love-story delicate, and desirable. The purity of their bond is a thing of rare beauty, and one that sees Anirudh just as another lover in Hindi Cinema. And yet, the film is acutely aware of the politics of disability that is needs to look after.
Anirudh takes his disability with a lot of pride, never shying away from it. If anything, he is defined as much by his impairment, as he is by his arrogant obsession to be seen as a person before a visually impaired person. In one of the best scenes of the film Anirudh lashes out at a waiter for giving the bill to Kavita, and not him. The scene shows his innate discomfort with how his disability hinders his masculine authority of being the one who would pay the bill on a date.
For Paranjpye to reflect on this, decades before United Nation addressed the importance of a person-first term, is commendable. Sparsh belongs to a period of cinema when the loud masculinity of commercial cinema was being countered by soft, more uncertain understanding of what it means to be vulnerable as a man. It is a film that provides one of the most beautiful, likable love-stories, while also representing disability how Anirudh accepts it – a part of life.

Aankhein

Aankhein, in many ways is a film that aspires to be what Andhadhun became. A film that uses disability as a plot-device, while also adhering to the sensitivity that is important when using disability as an idea as well as the reality of the story, and its characters. On most fronts, Aankhein (2002) is a wonderful film with a stellar cast. It is also a film that needs to be looked at, as we understand people with disability beyond their sanitized societal understanding.
Directed by Vipul Amrutlal Shah, the film tracks three visually impaired men(Paresh Rawal, Akshay Kumar, Arjun Rampal), who are trained to rob a bank by a woman (Sushmita Sen), who is forcefully working under a schizophrenic man (Amitabh Bachchan), the mastermind behind this insane revenge-heist story.
At its core, Aankhein does something interesting. It shows an elaborate sequence where three visually impaired men rob a bank in broad daylight. It is a rare case of a film seeing characters with disability doing something immoral. Shah, who adapted the film from his own Gujarati play, does not shy away from breaking the stereotype of people with disability being caste as some impenetrably moral beings. By doing this, it gives a new shade to the representation of disability in Hindi cinema. It sees them as the microcosms in a larger design (interestingly governed by a man with an intellectual condition). It sees all of its characters as a blend of being prisoners, as well as opportunists, making the entire idea of a one-dimensional representation of disability a thing of past.

Jagga Jasoos

Anurag Basu modeled his most successful film Barfi! (2012) around a character with vocal, and hearing impairment. However, he did something far more interesting in his next film, Jagga Jasoos (2017). An eccentric, self-proclaimed local detective, Jagga (Ranbir Kapoor) is an orphan with speech impairment. He stammers, but his stammering vanishes when he uses a tune as an anchor for his words.
This premise lends the film its genre as a musical adventure-comedy. It is a middling film with sparks of brilliance, and moments of uninspired dryness. But Basu turns Jagga’s disability, not just as a part of developing his mind as an astute detective, but also giving the film its genre, that makes it its best self.
Of course, through all this Jagga remains a functional individual, conveying a subtle, unannounced message of inclusivity, and positivity, but there is something beautiful about a film that has a protagonist with disability, which spends little time over their disability, but instead follows a track that is divorced from his disability. By incorporating Jagga’s disability as a genre, the film reminds us of it continuously, without overarching its existence over one aspect of Jagga’s life.

Koshish

Gulzar’s 1972 film Koshish is one of the earliest positive representation of disability in Hindi cinema. Starring Sanjeev Kumar and Jaya Bhaduri (now Bachchan) as a mute couple, the film does something important by exploring the domesticity of disability, turning its gaze on a relationship between two individuals with disability.
By looking at the struggles, insecurities, and victories of such a couple, the film found a sense of optimism within which was rare back then when a filmmaker decided to base a story around a character with disability. With stellar performances by the lead pair, Koshish is a film not only about love, life, and disability, but also about the domino effect of an act like two people with disability coming together for a long, healthy relationship.
The film has one of the most poignant finale, where the son is faced with a decision to make about his life. But more importantly, the film tries to plant an idea of love, and emotions, as a universal, unifying force. It is a film way ahead of its time, emerging when the legal system was not as sympathetic to people with disability as the film’s politics was.

Notable mentions:

Black, My Name Is Khan, Iqbal, Guzaarish, Paa.
December 3rd is observed as the International Day of Persons with Disability.
https://thereclinerseat.wordpress.com/2020/12/03/films-to-watch-on-international-day-of-persons-with-disability/?

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The most interesting parts were -
" In the hotel room, he searches for a piece of wood. “Touch wood,” he says, “Every bad film of mine has flopped. Imagine if they succeeded. I would be so confused. I would not know why I am here, or what I must do. I would not know why I succeeded. Isn’t that terrible? Not knowing why you have succeeded?”
As he says that, there is a glint in his eyes that suggests he is seeing in his mind the high-resolution images of some actors whom he would not name. Aamir, despite his image of largely minding his own business in his private world of triumphs and wounds, is an extremely competitive man, as competitive as Shah Rukh Khan. He doesn’t say it, but he believes he has the right to be considered the greatest of his time."
" Aamir Khan says, “I’ve not read the book.” It is common for a film script to change many times, he says, and in the end the film had no resemblance to the novel. But he is clearly not interested in talking more about the subject. He implies it is a minor issue and that nobody was wronged. “We bought the rights and credited him as it was mentioned in his contract.”
​
Here is the full article. Link added below -
How he understands his audience, how he managed to tame the media, and why he is a different man.
Most men will die one day without ever using a puff. Aamir Khan is not among them. Bearing the same authority of a surgeon extending his hand for a scalpel without looking up from the body, Aamir says, “puff”. Nothing happens for a while, as if the existence of something called a puff is a figment of his imagination. But then a man appears with the puff and a circular mirror. Aamir sets aside the enormous book, Mohandas by Rajmohan Gandhi. And you would think he is going to chuckle in male shame, but he does not as he powders the region under his large translucent eyes which somehow look very expensive. He has probably not slept well in the days before and after the release of 3 Idiots. He has traveled all over the country in various disguises to startle the general public and in that way offer something new to journalists, part of his many devices, ethical devices as he would point out, to ensure a relentless coverage of the film in newspapers and on TV channels.
Before a release, filmmakers usually pay money for flattering coverage in newspaper supplements. Star rumors are manufactured for publicity and some minor mishaps are choreographed. Films are declared hits even before they are released. Aamir says he does not have the heart to do such things. He would play the marketing games, of course, but they would be hard won. He would not negotiate a compromise with his own values. He is not fully infatuated yet with that overrated human quality called practicality. Also, after a two decade long “relationship in the dark room” with all kinds of Indians, it is below his dignity to have to pay to be written about. Or to do things that he believes have no meaning. He still does not participate in Filmfare awards. “That award has no value,” he says.
It does not mean he is not cunning. In the surprisingly modest Bangalore hotel where he is staying, as Aamir walks down its corridors, or stands in its lobby or even in the lift, he is constantly dispersing the latest collection figures of 3 Idiots. “It’s going to earn more than any film in the history of Indian films.” Surely, he knows figures have to be adjusted for inflation rates before one arrives at such conclusions, but he also knows the power of repetition. In the years when he was in his bunker of private grouses and rage against the media, he had seen other filmmakers do it successfully—keep repeating figures until they become common knowledge. However, independent enquiries with the trade confirm that 3 Idiots is an extraordinary success.
For Aamir, the commercial success of a film is a reassurance that his “instinct about my own people” is still sharp, and that the new world has not left him behind. Like all stars, Aamir makes an unspoken distinction between the faceless masses, whom he loves and wants to impress, and the visible fragments of the same human monolith, who want their photographs taken with him, who annoy him. He has developed tactics to save himself from the fragments. He does not maintain eye-contact and tries to appear unfriendly, and does not feel it is rude anymore to tell strange women that he would not give them his mobile number. But the audience, “the people”, he loves them, he wants to know them. He still persists with the tradition of making clandestine visits to halls where his film is running. “Earlier, I used to go in disguise. Now, I enter the hall when the film has just started, when the hall is dark. I leave before the interval and visit another hall. I manage to visit seven or eight theatres in a day. I have seen people dance in the aisles. I have seen people squirm. When they squirmed, I have cried.”
It is said that getting Aamir interested in a film has the excruciating agony of waiting to win a girl’s affections, and his acceptance comes with the greater torments of a woman’s terrifying obsessive love. “He is involved in every aspect of a film,” a director says, “Some might not like that. He does not trust anyone, it seems.”
Most of the time, though, Aamir rejects the scripts. One such writer who was rejected remembers a whole evening he spent in Aamir’s home trying to sell him the idea. “I was nobody then, but Aamir spent a lot of time with me discussing the story. He had so many questions. So many doubts. ‘Would this work, would people find this convincing… I know people and the people won’t accept it’. He didn’t know me at all, but we went to the toilet together and we peed standing side by side, talking about the script. In the end, he said ‘no’.”
Aamir says that he does not waste the moments of his life doing anything he does not love enough. “When I am choosing a script, I don’t think of the audience. I think of myself. I have to love it. Then I think of the audience. I wonder how can we tell this story without boring anyone. I have only one interest in a film. The message is not important to me. What is important is that I don’t bore you. I know what you want is entertainment. The only responsibility of a film is to provide it.”
In the hotel room, he searches for a piece of wood. “Touch wood,” he says, “Every bad film of mine has flopped. Imagine if they succeeded. I would be so confused. I would not know why I am here, or what I must do. I would not know why I succeeded. Isn’t that terrible? Not knowing why you have succeeded?”
As he says that, there is a glint in his eyes that suggests he is seeing in his mind the high resolution images of some actors whom he would not name. Aamir, despite his image of largely minding his own business in his private world of triumphs and wounds, is an extremely competitive man, as competitive as Shah Rukh Khan. He doesn’t say it, but he believes he has the right to be considered the greatest of his time. His gift, he says, is his power of observation. “I am very curious about people, their mannerisms. I am a bad mimic, but I can adapt well.” He says an actor can either live like a star or be interested in people. “I am interested in people. Even now, I am observing you. I know what you are doing. I know what the photographer is doing. I am not researching. I am just looking. I may use it somewhere in the future.”
When Aamir speaks, he looks at you. It might seem like an unremarkable quality, but the truth is that an extraordinary character of the Hindi film industry is that most of its stars do not. With Shah Rukh, for instance, when he talks, you get the feeling you can slip out of the room and come back, and he would still be talking. That is why Aamir claims that one of his greatest gifts is his relative normalcy, a mental balance that is hard to maintain in the unsettling life of a star. He exaggerates when he claims that he does not behave like a star or think like a star, but he is convincing when he says that he has the capacity to be normal. And why it is a special character in the Hindi film industry can be fully comprehended only when we understand others who are as famous and powerful as him—his contemporaries, his rivals, his “competitors” as the word accidentally slips out of his usually careful mouth.
About six years ago, Shah Rukh Khan told me in a low calm voice, in introspection over his own ageing and future, “Will I insist on acting with young girls to hide my age? Will I ever address myself in third person like these film people end up doing: ‘Shah Rukh is impressed with you. Shah Rukh is angry?’” It was actually a satire on other actors who have done all this. Curiously, he has now begun doing exactly that, including addressing himself in the third person. Sanjay Dutt and Salman Khan do not attempt to hide their estrangement from reality. When I met Sanjay Dutt during the shoot of Munnabhai MBBS, he sat on a stool and told a shrub, “Some people make me work too hard, they are pushing me, brother.” The only time I have met Salman Khan, he was sitting bare-chested and cutting his own finger nails with a blade, and tried to appear menacing but that only made him laugh. And, Sunny Deol, at the height of his commercial worth in the years that followed Gadar, told a director who went to narrate a film, “I cannot die in the end. The Deols don’t die.” It is in the face of many such stories that Aamir appears normal.
For his tenacious link with sanity, for his perpetual curiosity about the Indian population, for his love for cinema which comes before his love for money, and for his indescribable instinct about what would work on screen, Aamir Khan craves acknowledgement. And he would really like to walk on a stage and collect an Indian film award that was not a farce. “I miss that,” he says. But, there is an award that he respects. He even went to Chennai to collect it. It is a film award not many people have heard of. The Golapuri Award is given once a year to the best debut director. It is promoted by a family in Chennai, and dedicated to their son who had died while filming his first film. Aamir won the award for Taare Zameen Par. “I like the seriousness of the award,” he says.
The absence of a truly coveted national award forces him to consider the media as the next best form of recognition. He looks wounded when he talks about the media, and it is not the wound of an old animosity as commonly believed, but of a perpetual infatuation. He wants the affections of the press because “it’s a bridge between me and the people”, and he is unable to accept its occasional betrayal. Like Sachin Tendulkar, he was once known to be unforgiving and to blacklist journalists and magazines. The behaviour of journalists during his marriage to Kiran Rao repulsed him. “Cameras tried to zoom into our house. That’s not fair. My marriage is private.” Also, he believed that his rivals were manipulating the media to declare his films (like Mangal Pandey) failures after their first day of release. “So, for a period of time, I decided not to speak to the media.” But now he has changed. “Something strange happened which made me change my view of the media.” And it happened, improbably, when he went to meet a doctor.
“I was researching Taare Zameen Par and this doctor told me something interesting about what parents should know about what children want. A) They need security. They have to feel secure all the time. B) Trust. You have to trust them and trust them honestly. If your child says he has not done something, then trust him. C) Dignity. You have to treat your child like a human being. D) Love. But without the other three, love is meaningless. When I heard this, the first thing that came to my mind is, ‘I need these four things, too. Not just children. I need to feel secure, I need to be trusted, I don’t like it when you insult me and I need a lot of love.’ Then the thought came to me that even the media needs the four things. I decided to apply what I learnt to the media. I think it worked. My relationship with the media is better now.”
An interesting consequence of Aamir Khan reaching out to the media is the lesson that the overwhelming charm of a Hindi film actor would obliterate all opposing forces, including the English media’s very own synthetic darlings. That Chetan Bhagat had a grouse, any grouse would normally be news in these starved times. That he would have a grouse about how he was not credited in any significant way for 3 Idiots should have been news. But Aamir’s gigantic shadow over the media has made Bhagat’s complaint go largely unnoticed. “They (director Rajkumar Hirani and probably his conscience) say the film is only loosely based on my novel,” Bhagat says, “But I’ve seen the film. Scene after scene is from the book. I’ve been credited at the end, after junior artistes. I don’t know why they have done this. They kept me out during the making of the film. I asked for the script. They didn’t give it to me.”
Aamir Khan says, “I’ve not read the book.” It is common for a film script to change many times, he says, and in the end the film had no resemblance to the novel. But he is clearly not interested in talking more about the subject. He implies it is a minor issue and that nobody was wronged. “We bought the rights and credited him as it was mentioned in his contract.”
Aamir’s formidable media presence at the time of the release of his film also overshadows directors and producers. Rajkumar Hirani, despite his fame, is clearly not the voice of 3 Idiots. Even the film’s producer Vidhu Vinod Chopra, not a shy man at all, a man who loves himself immensely and had described himself in the first version of his website as someone who was ‘trapped in his own brilliance’ from early childhood, had to let Aamir take over the marketing of the film. Aamir’s predominance and the fact that in recent times he has not worked with a director twice, gives substance to a common perception in the industry that he is a difficult man, and that directors are wary of him. “Not true,” he says, “Those directors want to work with me, but they don’t have a story that interests me.”
The fact that Aamir chooses his films carefully has created a perception that he is a cerebral actor, but there is also a surprising intellectual austerity in him which might be a gift in the world he occupies. His films are simple and accessible not because he has made an artistic compromise, they are that way because he too is simple. This quality is best explained in his own perceptions of his film Ghajini and its inspiration, Memento. Directed by Christopher Nolan, Memento is based on a short story by his brother, Jonathan Nolan, and is a story that moves back in time about a man with a short-term memory loss condition who seeks revenge for his wife’s murder. There are those who consider Memento a work of rare precious genius, and those who do not understand it. “I didn’t understand it,” Aamir says, “It bored me.” It is a statement that would disappoint one of the two kinds of people in the world.
Link - https://openthemagazine.com/art-culture/the-instinct-of-aamir-khan/

Some people believe Casteism is part of Hinduism and bharaman, kshatriya, sudra, vasiya are caste but they are not They are qualities (Gunas) It doesn't have anything to do with birth Anyone can become any of them I am giving Verses of Bhagwad Gita (As it is one of the most authentic Text of Hindus and It's widely accepted)

Varana (Gunas), Qualities system is explained in Bhagvad Gita

Bhagvad Gita 18.41: The duties of the Brahmins, Kshatriyas, Vaishyas, and Shudras—are distributed according to their qualities, in accordance with their guṇas (and not by birth).
Bhagvad Gita 18.42: Tranquility, restraint, austerity, purity, patience, integrity, knowledge, wisdom, and belief in a hereafter—these are the intrinsic qualities of work for Brahmins.
Bhagvad Gita 18.43: Valor, strength, fortitude, skill in weaponry, resolve never to retreat from battle, large-heartedness in charity, and leadership abilities, these are the natural qualities of work for Kshatriyas.
Bhagvad Gita 18.44: Agriculture, dairy farming, and commerce are the natural works for those with the qualities of Vaishyas. Serving through work is the natural duty for those with the qualities of Shudras.
https://www.holy-bhagavad-gita.org/chapte18/verse/41
If you are a seeker teacher or guru you are bharaman If you are solder, diplomat, government official you are a shatria If you are business man, farmer you are a vaiya If you are a labour you are a shudra It doesn't mean you can only have same quality You can change your Profession anytime

Some Historical Facts

a. Aitareya Rishi was son of a Daasa or criminal but became a Brahmin of highest order and wrote Aitareya Brahman and Aitareyopanishad. Aitareya Brahman is considered critical to understand Rigveda.
b. Ailush Rishi was son of a Daasi, gambler and of low character. However he researched on Rigveda and made several discoveries. Not only was he invited by Rishis but also made an Acharya. (Aitareya Brahman 2.19)
c. Satyakaam Jaabaal was son of a prostitute but became a Brahmin.
d. Prishadh was son of King Daksha but became a Shudra. Further he did Tapasya to achieve salvation after repenting. (Vishnu Puran 4.1.14)
Had Tapasya been banned for Shudra as per the fake story from Uttar Ramayan, how could Prishadh do so?
e. Nabhag, son of King Nedishtha became Vaishya. Many of his sons again became Kshatriya. (Vishnu Puran 4.1.13)
f. Dhrist was son of Nabhag (Vaishya) but became Brahmin and his son became Kshatriya (VP 4.2.2)
g. Further in his generation, some became Brahmin again (VP 9.2.23)
h. As per Bhagvat, Agniveshya became Brahmin though born to a king.
i. Rathotar born in Kshatriya family became a Brahmin as per Vishnu Puran and Bhagvat.
j. Haarit became Brahmin though born to Kshatriya (VP 4.3.5)
k. Shaunak became Brahmin though born in Kshatriya family. (VP 4.8.1). In fact, as per Vayu Puran, Vishnu Puran and Harivansh Puran, sons of Shaunak Rishi belonged to all four Varnas.
Similar examples exist of Gritsamad, Veethavya and Vritsamati.
l. Matanga was son of Chandal but became a Brahmin. (Mahabharat Anushasan Parva Chapter 3)
m. Raavan was born from Pulatsya Rishi but became a Rakshas.
n. Pravriddha was son of Raghu King but became a Rakshas.
o. Trishanku was a king but became a Chandal.
p. Sons of Vishwamitra became Shudra. Vishwamitra himself was a Kshatriya who later became a Brahmin.
q. Vidur was son of a servant but became a Brahmin and minister of Hastinapur empire.
r. Vatsa became a Rishi though born to a Shudra (Aitareya Brahman 2.19)
s. Many verses of adulterated Manu Smriti (10.43-44) state that certain castes were earlier Kshtariya but became Shudra later. These verses are adulterated but prove that concept of Varna migration did exist. The castes mentioned are: Paundrak, Audru, Dravid, Kamboj, Yavan, Shak, Parad, Palhava, Cheen, Kirat, Darad, Khash.
t. Mahabharat Anushasana Parva 35.17-18 adds the following to above list: Mekal, Laat, Kanvashira, Shaundik, Daarva, Chaur, Shabar, Barbar.
u. Several gotras are common across Brahmins, Kshatriya, Vaishya and Dalits implying that all of them hailed from same family but rather got entrapped in the stupid casteism.

Historical Facts from Mahabharat

Their are some historical examples like Parshurama cursed Karna because he was a kshatriya (warrior) and lied that he is a bharaman (Teacher) but Parshurama only give bharamastra teachings to bharaman (Teacher, Guru) so it can't be misused in War. The important thing to note here is Karna was born in a Shudra family (I know he is son of surya) But according to People he is shudra because no body knows he is son of Kunti Still Parshurama gave him Curse for being kshatriya (Because he have warrior qualities) not because he was born in a Shudra family. Also some people say Dronacharya is casteist because of wrong teaching of Mahabharat
Karna was a student of Drona and was taught with others. Only Drona did not teach him Brahmastra. That he gave to Arjuna when he passed the crocodile test. Seeing Arjuna topper in his class Karna who was also friend of Duryodhana went to Drona and directly asked it to compete with Arjuna. Now just as it is Institute decision to bestow scholarship on worthy student , similarly it is Guru decision to give such weapons. He wanted to protect Arjuna as he was to some extent aware of Duryodhana intentions and his friendship with karna. Drona then tells that only who has observed vows of Brahmin(compassion, truth, austerities) and qualities of kshtriya(protecting weaker people and honor) can use such weapons. People take this criteria as related to caste but what he meant was qualities. Karna then left him and went to Parshurama. Proof of this relationship is in MB Adi Parva, Vana parva where Karna states Drona as his mentor with Parshurama and Shanti Parva too.

Misconception About Manu Smriti

Nowhere in Manu Smriti it's mentioned that only you will be bharaman if you born in a bharaman family In manu smriti Steps are given to goverment so they can manage civilisations not restrict anyone to change quality
Also Manu Smriti even allow interquality marriages Bharaman can even marry shudra according to manu smriti

Some verses from Manu Smriti

10.65 asserts that Brahmin can become Shudra and Shudra can become Brahmin. Similarly Kshtariyas and Vaishyas can also change their Varnas.
9.335: If a Shudra (uneducated) serves the educated ones, is polite, devoid of ego and stays in respectful company of knowledgeable ones, he/ she is considered as having a noble birth and stature.
4.245: A Brahmin acquires brilliance through company of noble persons and avoiding bad company. On contrary, if he indulges in bad company, he becomes a Shudra.
2.104: A person who does not worship the Supreme Lord twice daily should be considered a Shudra.
2.168: A Brahmin, Kshatriya or Vaishya who puts efforts in other areas except understanding and following the Vedic precepts becomes a Shudra and his future generations also suffer from ignorance of Vedas
We can clearly see it's a quality
2.126: Even if he is a Brahmin otherwise, a person who does not politely respond to a greeting is actually a Shudra (uneducated person).
There are several shlokas in Manusmriti that state that a person belonging to high Varna falls down to level of a Shudra (uneducated) if he does not conduct noble deeds.
The original Manu Smriti which is lost contains which contains 1lakh verses Now only 2500 verses are available So current version is not even summary of original.

Even Shudra can Teach

Though Shudra means an uneducated person, a Shudra can also become a teacher for specific knowledge that he has. For example,
2.238: One should acquire knowledge even from a person born in a low family otherwise. Similarly, one should accept a noble woman as wife even if her family is otherwise not up to mark.
2.241. If needed, one may acquire knowledge from one who is not a Brahmin; and that he shall follow and serve such a teacher, as long as the instruction lasts.

Status of Brahmin is acquired by deeds and not by name

As per Manu Smriti, one has to earn the qualification of Brahmin. During childhood, parents are supposed to send their children for specialized education of Brahmin, Kshatriya or Vaishya depending on observed nature of children. So many Brahmin parents may desire that their children also become Brahmins. However that is not sufficient. One becomes Brahmin only if he completes the education and not merely by taking birth in a Brahmin family or taking admission in Brahmin course of a gurukul.
2.157: A Brahmin devoid of education is equivalent to an elephant made of wood or a deer made of leather. They are merely namesake and not real.
2.28: The body is made fit to be called Brahmin only through study of scriptures, discipline, noble selfless deeds, study of duties, science and meditation, charity and goal oriented actions.

Education is true birth

As per Manu, actual birth happens after completion of education. All human beings are Shudras or uneducated when born. Those who complete their education are supposed to have a new birth. Thus they are called Dwija or Twice Born. Those who were unable to complete the education remain Shudra. This has nothing to do with birth or heredity. This is pure meritocracy.
2.148: When a teacher who is well-versed in Vedas teaches a student the science of Gayatri (that summarizes all principles of Vedas and rational living), then the actual birth of the student takes place. This birth is free from risks of death or destruction and leads the student to immortality.
Thus, forget about being a Brahmin, Kshatriya or Vaishya, one is not considered even a human unless he/she receives education.
2.146: The teacher who provides education is a father who is much greater than the father who gave birth. The knowledge provided by the teacher remains with the soul even after the death and leads him to immortality. But the body provided by father destroys when death comes.
2.147: The birth that happens from womb of mother after parents desire for procreation is an ordinary birth. Real birth happens when the person completes his education.
Thus, citing lineage to showcase casteist superiority is an extremely foolish act as per Manu Smriti. Instead of quoting the clan, one becomes superior by showcasing that he is more educated.
10.4: Brahmin, Kashtriya and Vaishya take second birth after education. Shudra who could not complete education is fourth Varna. There is no fifth Varna among Arya or noble people.
This also means that merely because a person did not complete education does not make him a villain. He is still regarded as a noble person if his deeds are noble.
And if he completes the education, he can become a Dwija as well. Thus Shudra is an adjective and NOT a nomenclature for any castes.

Never insult anyone born in lower family

To further ensure that one is not insulted or denied opportunities merely because he/she was born in a family where others did not excel in education, wealth or other parameters of success in society, Maharshi Manu laid the rule very clearly:
4.141: Never deny respect and/or rights to a person who is handicapped, uneducated, aged, not handsome, not wealthy or coming from a lower family. These are NOT the parameters to judge a person.

Respect for Shudras

Manu was a great humanitarian. He knew that not all Shudras miss their education deliberately. He also understood that just because one ignored education in early part of his life does not mean that he should be penalized for that mistake for entire life. Thus he ensured that even Shudras get their due respect in society. Thus he never used any insulting adjective for Shudras. On contrary their are several instances of Manu using respectful adjectives for Shudras.
Being vulnerable due to lack of education, Shudras deserve greater sensitivity in treatment from rest of the society as per Manu. We have seen some examples of these earlier.
Here are some more:
3.112: If a Shudra or Vaishya comes as a guest, the family should feed him with due respect.
3.116: A householder should eat from remaining food only after he has fed the scholars and servants (Shudras) to their satisfaction.
2.137: A very old Shudra deserves more respect than anyone else regardless of their wealth, company, age, actions or knowledge. This special provision is accorded only to Shudra.

50% verses of Manu Smriti are added later and are corrupted overtime

How can the same Manu Smriti have both verses defending as well as rejecting birth-based casteism? This means that Manu Smriti demands a closer scrutiny. We shall also do the same in a future article. But in summary:
a. The current Manu Smriti is full of interpolated/ adulterated verses that were added much later for various reasons. Almost 50% of Manu Smriti is actually fake.
b. Interpolation is not a problem with Manu Smriti. Apart from Vedas – that are preserved through a unique Patha and Swara method – all other texts of almost all belief systems are prone to modifications, interpolations and deletions. These include Ramayana, Mahabharat, Bible, Quran. Not to talk of texts like Bhavishya Puran that continued to be modified till printing press arrived!
c. Three editions of Ramayan are available today – Dakshinatya, Pashchamottariya and Gaudiya which are different. Even Geetapress Gorakhpur has indicated many chapters as adulterated (Prakshipta). Most scholars agree that Balkanda and Uttarkanda are grossly adulterated.
Similarly Mahabharat is known to be a grossly interpolated text. Garud Puran Brahmakanda 1.59 states that in Kaliyuga many frauds are posing as Brahmins to remove certain shlokas and add new ones in Mahabharat.
Mahabharat Shantiparva 265.9, 4 itself states that Vedic texts clearly prohibit alcohol, fish and meat. All these have been propagated by frauds who have added such verses in scriptures through deceit.
Original version of Bible does not exist today! We only have translations of translations of some translations of the original Bible which no one has ever seen.
Quran also is claimed to be a modified version of original teachings of Muhammad. Refer http://satyagni.com/3118/miracle-islam/
Thus no wonder Manu Smriti – the oldest text on social systems – is also prone to modifications. More so because Manu Smriti historically had the greatest influence in day to day life of each citizen as well as politics of the nation. After all it was like the constitution for centuries. Thus the incentives for a crooked one to interpolate Manu Smriti were very high.
d. When we review Manu Smriti, we find 4 kinds of interpolations: to bring completeness, for selfish reasons, to exaggerate and to bring defects. Most of these interpolations are blatantly obvious. Dr Surendra Kumar has written a detailed translation of Manu Smriti in Hindi that analyzes each shloka on various parameters to weed out those verses that are obviously interpolated.

He has deduced that of the 2685 shlokas of Manu Smriti, at least 1471 shlokas are adulterated. He has classified the adulterations as :
– out of subject
– out of context
– contradictory
– repetition
– difference in usage and style
– blatant contradiction with Vedas
We recommend all keen students of Vedic texts to procure a copy of Manu Smriti by Dr Surendra Kumar (published by Aarsh Sahitya Prachar Trust, Delhi) which would make this point as transparent as air.
e. Dr Surendra Kumar is not the only person to point out adulterations in Manu Smriti. Even many a western indologists like Macdonnell, Keith, Buhler etc have expressed the same.
f. Even BR Ambedkar accepted that ancient scriptures have been adulterated. He has alleged adulterations in Ramayan, Mahabharat, Geeta, Purans and even in Vedas. He cited contradictory verses from Manu Smriti. But he tactfully desisted from calling these verses of Manu Smriti as adulterated.
This myopic act of Ambedkar did make him a hero of Dalit movement. It did stir up an anti-Manu movement and created political careers for many a politicians including Ambedkar himself. But this selective honesty only worsened the caste-based hatred and made Manu – a true hero – a popular villain.
Even so-called Arya Samaji Sanyasis like Agnivesh burnt copies of Manu Smriti and disgraced the great Rishi only to score political brownies. Though he very well knew that Swami Dayanand himself had asserted that Manu Smriti has been interpolated but the unadulterated verses of Manu Smriti form the foundation of his Vedic ideology.
And now people expect such enlightened people to be instrumental in eradicating corruption from the nation by being masterminds of Anna Hazare movement! We seem to never learn from history! But thats a different story.

So Why Casteism Exist?

Now some people claim that if it's not part of Hinduism then why people do that?
Answer) Because people are corrupted after 1000 years of Islamic rule and casteism does exist in Islam
Casteism started in India after 1000AD
Its just a social problem and can very easily be resolved just if you give clearity to people that Our sacred text say somthing else. I did it with my whole friend section my family my relatives

How can you contribute and Fix our Society?

You can teach your Parents, Family, Relatives, Friends About the Bhagwad Gita Chapter 18 Where it's clearly explained that they are Qualities also you can explain using historical facts which i provided.
The most easy way is if anyone say you should not marry outside your caste just ask in which Shastra it's written?
And then teach them bhagwad Gita

Edit 1:

When gotras came to india they mixed up : Varnas(4 varans), jatis(20k+ jatis) and gotra.
gotra system is there to stop inbreeding.
jaatis: are basically tribes who are historically sharing some 'niche' style of life style. e.g. Thug jaati was attacking most brutally against the british that's why they turned Thug jaati into a bad/negative word.
Smritis are just bunch of thoughts. anyone can share their thoughts under this text and we can reject it. people shared those ideas based on their kala(time) and desha(place). we don't have anything stuff like 'blasphemy' so people can say whatever what they want.
If any of you disagree with us Comment section is open ask anything we will answer

Sadhguru Explanation on Caste System

https://youtu.be/KVGTplYjyi0

References

Some of the text from Manu Smriti to prove it doesn't discriminate
Manu Smriti and Shudras
http://agniveer.com/manu-smriti-and-shudras/
Manu Smriti and Womens
http://agniveer.com/manu-smriti-and-women/
Replying to some bunch of ignorants who belive its Hinduism philosophy
https://np.reddit.com/EXHINDU/comments/eturpb/discrimination_on_the_basis_of_caste/
May the Supreme Bless Us With his Knowledge May we break the ignorance and Get fruits of Enlightenment
OM! PEACE PEACE PEACE!

A few years ago I put this list down on paper just for fun because I was amused at how many words with repeating syllables Tagalog has. I just remembered that exercise a few days ago after seeing this post and after some procrastination I finally got to type it down! Of course not every single word here is essential in everyday life, and there's a lot of extra inessential info so it might not be the best resource for beginners, but I do hope someone somewhere out there will find this fun exercise helpful somehow
A few notes:

• These are arranged based on the structure of the repeating syllable. C = consonant, V = vowel
• The /ng/ sound is considered as one consonant
• The vowels i/e and u/o are mostly considered the same except in some cases
• The noun/adj/verb designations are pretty arbitrary in many cases. Just assume that almost everything is a root word with no category
• Words that are archaic or only used in a special context will be indicated as such
• My own personal comments will be in {}
• Stress and final glottal stops are indicated by diacritics here because this is meant as a reference but in actual usage they are all just spelled as plain letters
• I will not include words whose repeating elements are standalone words on their own and with meanings derived from that repeating element, because then this list will never end. For example, sama-sama ("together," from sama "to join") will not be included, but halo-halo (a kind of dessert) will be included despite it being derived from the standalone word halo, because the repetition gives it an all-new meaning

And most importantly, this is mostly based on my own experience of Tagalog, not an official dictionary. Practically all the definitions given here are mine and I haven't double checked and validated all of them (yet). I spent the formative years of my childhood in a house in Cavite where half the people speak Cebuano, so there might be some discrepancies here with Standard/Manila Tagalog. If I got a word wrong or if anyone has any additional words to add, please leave a comment! If anyone needs an example of usage or any further clarifications, please leave a comment!
And without further ado...

The List

◆ V Repetition

áà (noun/adj, baby talk) dirt, dirty; óo (particle) yes, affirmative; úù (noun/verb) poop, to poop [softer version of táe, often used when talking to kids or more polite company];

◆ VC Repetition

an-án (noun) a kind of skin infection; ék-ek (noun/root?, slang) quirkiness, bullshit; éng-eng (adj, mild insult) dumb, in a cloudcuckoolander kind of way [very mild insult, may possibly be used as a term of endearment]; is-ís (verb/noun) to scrub; something used for scrubbing, usually sponge or steel wool [originally referred specifically to a plant that was used for scrubbing, but the term has over time come to refer mostly just to the act];

◆ CV Repetition

bábà (noun) [1] lowness; [2] chin; babâ (verb) to go down; bíbe (noun) duckling [duck is ítik]; bóbo (noun/adj, offensive) stupid [mostly in an intellectual way];
kíkì (noun, vulgar) female genitalia; kukó (noun) fingernails;
dadâ (noun/verb) chatter, to chatter; déde (noun) breasts, milk [softer version of súsò, often used when talking to kids or more polite company]; dódò (noun) [same as déde but slightly less common];
gága (noun/adj, fem, vulgar) stupid, idiot [mostly in a decision-making way(?); can be used as a term of endearment if sufficiently close with the person, regardless of gender; male/default counterpart is gágo which is less endearing]; gúgò (noun, not commonly used) a plant that lathers and is used to clean scalp, native shampoo;
{This part is mostly just my interpretation} haha (onomatopoeia) generic laugh; hehe (onomatopoeia) playful/teasing laugh; hihi (onomatopoeia) flirty/childish laugh; huhu (onomatopoeia) generic crying;
lalâ (noun) severity; lólo (noun) grandfather [grandmother is lóla];
máma, mamá (noun) mother, mom; mámà (noun) a man who is middle-aged or older [when used as a direct adress, it becomes mámang plus the name of the person, and is almost always shortened to just mang; the female counterpart is ále/áling]; méme (verb, baby talk) to sleep; múmo (noun) bits of rice left on one's plate or on the table after eating; múmù (noun) ghost [softer version of multó, often used when talking to kids or when wanting to sound childish/cute];
nánà (noun) pus; Nénè (noun) generic placeholder name for girls; nénè in small caps can be used to mean a little girl in general [the male counterpart for the first function is Juán, and tótoy for the second one]; núnò (noun) ancestor [short for ninúnò] but most often used in the mythological context of a dwarf-like old man supposedly living in mounds of earth [they're called núnò sa punsô];
ngángà (noun) a kind of gum made from betel nuts and leaves, popular in the Northern regions of Luzon; ngangá (verb) to open one's mouth; ngóngò (noun/adj) someone who speaks in a nasally muffled manner; sounding nasally muffled {when you hold your nose shut and try to speak, you sound ngóngò}
pápa, papá (noun) father, dad; Pépe (noun) nickname for José, associated with national hero José Rizal; pépè (noun) female genitalia [softer version of pékpek, often used when talking to kids (and supposedly more polite company but it's still generally avoided)]; pípi (noun/adj) a person who can't speak; mute; pipî (adj/verb) something that has been flattened; to flatten; púpù (noun/verb) [same as úù but a bit softer];
sísi (noun/verb) blame; to blame someone; súso (noun, might be considered vulgar) breasts; (verb) to feed from the breast; susô (noun) snail;
títì (noun, vulgar) penis {but more vulgar imo}; túto (verb) to learn;
wáwà (adj) pitiful [short for kawáwà, often used when talking to kids or when wanting to sound childish/cute] wíwì (noun/verb) pee, to pee [softer version of íhì]
yáya (noun) household help, maid [also used as a direct adress]; yáyà, yayâ (verb) to invite; yóyò (noun) ...yoyo;

◆ CVC Repetition

^{oh boy here we go}
bakbák (verb) to chip the paint off something; balbál (noun/adj) vulgarity, vulgar [in the sense of lacking sophistication or good taste]; basbás (noun) blessing [as in church or family blessing] {"blessing" in the sense of "a gift from above" is biyáyà}; batbát (adj, archaic) covered with, replete with {this definition is from TagalogLang and not from me, I just assumed it's a word because of the expression "walang binatbat" or "can't hold a candle to." I'm keeping it in the list in case anyone wants to chime in with more info}; baybáy (noun) [1] beach, seaside; [2] spelling, to spell; bilbíl (noun) belly fat; binbín (verb, slightly outdated) to stall; bitbít (verb) to carry [mostly applicable to something small or handheld]; budbód (verb) to sprinkle on something {think salt or parmesan, but not water}; bugbóg (verb) to beat someone up; bulból (noun, vulgar) pubic hair; butbót (verb) to tinker with something;
kadkád (verb, archaic) to unfurl {not really used nowadays; possibly related to bukadkád or the blossoming of a flower}; kalkál (verb) to rummage through something, often without permission; kamkám (verb) to hoard something; kapkáp (verb) to frisk in search of something; kaskás (verb) to scratch off; kawkáw (verb) to whisk a body of water with one's hand, usually done to test its temperature {special thanks to my brother for the word "whisk" because I originally wrote "to put one's hand in and move it around to disturb the water" lol}; kimkím (verb) to hold one's feelings in; kipkíp (verb, slightly archaic?) to carry under one's arm; kiskís (verb) to rub one's body or body part against someone or something {often applied to cats}; kudkód (verb) to grate something {think cheese or coconut meat}; kupkóp (verb) to adopt, to take under one's wing; kuskós (verb) to scrub; kutkót (verb) to scratch something {until it peels...?}; kwék-kwek (noun) a popular street food -- hard-boiled quail eggs dipped in an orange-colored batter and deep fried until crispy {idk where else to put this in this list lol};
dakdák (verb) [same as dadâ]; dagdág (verb) to add; daldál (adj/verb) talkative; to be talkative, to engage in small talk; damdám (noun/verb) to internalize a feeling [as opposed to damá, which is simply to feel] {thanks again to my brother for the word "internalize"}; dibdíb (noun) chest; dikdík (verb) to grind into dust {think mortar and pestle}; dildíl (verb) to insist, to press ["magdildil ng asin" = to press salt and use it as viand for rice]; dingdíng (noun) wall; dubdób (noun/adj, archaic) intensity of fire ["marubdob" = passionately, but mostly only used nowadays in a poetic manner]; dukdók (verb) to hit a body part against something hard {it's what happens when you squat or kneel too fast your knee hits the ground, or when you strike the funny bone in your elbow}; dutdót (verb) to poke {repeatedly...?};
gadgád (verb) [same as kadkád]; gasgás (noun/verb) scratches, abrasions; to scratch or abrade; (adj, slang) out of style; gawgáw (noun) starch; gitgít (verb) to make way for one's self by pushing others away {for me this has the implication of the other person being stuck with less elbow room/breathing space due to being pushed away/against a boundary, but that could just be me}; gunggóng (noun/adj, mild insult) stupid, someone who doesn't think things through;
habháb (noun) a type of pancit {afaik it's only ever used as "pancit habhab" as a whole}; hadhád noun jock itch; hawháw (verb, deep) to rinse <"Ihawhaw mo nga muna aré bago ibilad." = "Rinse these first before drying, will you." > {the less deep, more commonly used synonym is banláw}; Háw Haw (noun) a popular milk candy in the Philippines; hinhín (noun/adj) meekness; hithít (verb) to inhale a substance {think cigarettes or meth}; huthót (verb) to extort;
laklák (verb) to drink thirstily, to chug [often used in the context of alcohol]; ladlád (verb) to expose by unfolding or unfurling; (slang) to come out of the closet; laglág (verb) [1] to fall down from a high place; [2] to be aborted, to have an abortion; (slang) to be exposed by friends [usually meant in jest]; lamlám (noun/adj, slightly outdated?) dimness of light ["malamlam na mata" = half-lidded eyes]; lapláp (verb, vulgar) to French kiss {this is seen as very sexual here}; laslás (verb) to slit one's wrist; lawláw (adj/verb) hanging low, dangling; to hang low {think grandma boobs}; layláy (adj/verb) hanging limply over the edge; to hang limply over the edge {think your arm hanging down from your bed while you sleep}; liblíb (adj) remote, far-flung; liglíg (adj, archaic) to shake a container, typically of grains, so the maximum amount of contents could fit; limlím (verb) to brood or sit on eggs until they hatch [obviously usually applied to chickens and other birds]; lislís (verb) to lift someone's skirt up; lublób (verb) to partially submerge, to dunk; luklók (verb, slightly archaic?) to appoint; to promote; luslós (noun) hernia;
manmán (verb) to observe carefully, to monitor; mangmáng (noun/adj, mild insult) dim-witted [cannot be used as term of affection]; Mikmik (noun) a popular powdered milk or chocolate candy in the Philippines; mingming (noun?) affectionate way of calling a cat [the more popular version is míming, often just elogated into one long miiiiiiiing]; mismís (noun) leftover food; mukmók (verb) to sulk; musmós (noun/adj) a young child; having childlike qualities;
naknák (noun) pus [same as nánà, but more severe]; namnám (verb) to savor the taste of something; néknek (noun?) {no one actually knows what "neknek" itself means, but "neknek mo" (your neknek) is an expression of disbelief that more or less has the same feel as "my ass"}; ningníng (noun/verb) brilliance; to twinkle, to sparkle [usually associated with stars]; nisnís (noun/verb) parts of a cloth that are frayed or fraying; to fray; nugnóg (noun, archaic) something that immediately follows another {from Vocabulario de la lengua tagala; apparently a synonym for dugtóng};
ngalngál (noun/verb) wailing; to wail; ngatngát (verb/noun) to nibble, to bite something little by little [as with a rat]; nibble marks or holes; ngawngáw (noun/verb) [same as ngalngál]; ngitngít (verb) to gnash one's teeth [usual context is while asleep or when angry]; ngudngód (verb) to shove one's snout or face into something [usually used threateningly]; nguyngóy (verb) to blubber inelegantly;
pakpák (noun) wings; padpád (verb) to end up somewhere after travelling aimlessly; pagpág (verb) to get rid of dirt by slapping a surface with your hands or waving a piece of cloth snappily; (noun/verb, slang?) leftover food from restaurants; to scavenge for leftover food from restaurants {the implication is that the food is what one would have pagpag-ed away}; pámpam (noun/adj, slang) attention seeker [the non-slang word is papansín] paspás (adj/verb) brisk; to move briskly; patpát (noun) a thin wooden stick {a classic household weapon like Mexican chanclas; means "very thin" when used to describe a person}; paypáy (noun/verb) a non-electric fan; to fan something or someone; pékpek (noun, vulgar) female genitalia; pitpít (verb/adj) to flatten something via blunt or pinching force; something that's been flattened in that manner; pókpok (noun, vulgar) whore; pukpók (verb) to pound or hammer something; pudpód (adj/verb) made blunt from overuse; to wear down the surface of something from overuse; pulpól (adj) blunt, dull [unlike pudpod this can be used as to insult someone not perceived as a bright or sharp person]; puspós (adj, archaic) fully, wholeheartedly ["puspos ng luwalhati ang langit at lupa" = "heaven and earth are filled with your glory"];
ratrát (verb) to riddle with bullet holes;
sabsáb (noun, archaic?) poultry or farm feed {"sabsaban" = manger, like the one Jesus was born in. It's the only usage I know of this word}; saksák (noun/verb) stab wounds; to stab someone; (verb) to forcefully insert something into somewhere; (verb) to plug an appliance; sadsád (verb) to run aground; salsál (verb, vulgar) to masturbate; samsám (verb) to collate; sangsáng (noun/adj) strong smell; strong smelling; sapsáp (noun) slipmouth fish; satsát (noun) idle chatter; sawsáw (verb) [1] to dip something {think fries in ketchup or chicharon in vinegar}; [2] to suddenly jump into a conversation without invitation {might be slang}; saysáy (noun) importance, meaning ["ano ang saysay" = "what's the point"]; siksík (verb/adj) = to insert oneself or something into a space that's already tightly packed; tightly packed, completely filled; singsíng (noun) ring [as in for fingers]; sipsíp (verb) to sip; (noun, slang) a suckup; sitsít (noun/verb) "psst"; to call someone using "psst"; subsób (verb) to dive headfirst into something and be buried in it; suksók (verb) to insert something into somewhere; sudsód (verb) to have a moving object suddenly stop by having the leading edge touch a surface, to stub <"Napasudsod ang paa sa bakô sa kalsada dahil hindi natingin sa dinadaanan. Ayun, patáy ang kukó." = "Foot got stubbed on a crack in the pavement due to not looking at the road. Bam, dead toenail.">; supsúp (verb) to suck something [may have sexual connotations]; sutsót (verb) to scold or call someone out using "psst" or whistling;
takták (verb) to empty the contents of a container by tapping it against something; tadtád (adj) rife, covered in or riddled with something; (verb) to chop finely; tastás (verb/adj) to rip off the stitches of a cloth; to have ripped stitching; Taytáy (noun) a municipality in Rizal Province, Philippines; tiktík (noun) a mythical shape-shifting creature that feeds on unborn babies [also known by the more commom term aswáng]; (noun, not very common usage) detective; tingtíng (noun) the sticks that make up a broomstick; tuktók (noun) peak, topmost part; tugtóg (noun/verb) music; to play or make music; tuntón (verb) to find the whereabouts of; tungtóng (verb) to stand on top of; tustós (verb) to spend for, to give financial support;
wakwák (adj/verb) ripped apart; to rip apart [as in cloth]; (noun) a mythical creature similar to the tiktík; wagwág (verb) to wag; walwál (verb, colloquial) to finally let loose after a period of stress {usualy translates to getting wasted after exams in my uni lol}; wáng-wang (noun, modern) sirens that grant easier passage through traffic (such as used by police, ambulance, and firefighters), which translates to the mentality of some people that they deserve special passes or privileges because of their position in society;
yugyóg (verb) to rock or shake back and forth {yugyog is also what happens when you go hard on the dance floor, or to the bed when people make love, hence why yugyugan is a term that can be applied for either dancing or sex}; yupyóp (verb, obscure) to brood or sit on eggs until they hatch [the less obscure term is limlím];

◆ CCV Repetition

plá-pla noun a triangle-shaped illegal firework that produces large explosions and is infamous for taking many fingers every new year;

◆ VCV Repetition

alaála (noun) memories; Iloílo (noun) a province located in Western Visayas, Philippines; ipo-ípo (noun) whirlwind, tornado; otso-ótso (noun) a kind of dance popularized in the early 2000s where hands are put on the knees and the back is moved up and down {it's extremely popular, enough that everyone knows what it is, so I thought it belongs here. Also I know it's technically a VCCV repetition but the /ts/ is pronounced as /ch/ most of the time anyway} ulúli (noun, obscure) whirlpool;

◆ VCVC Repetition

agam-ágam (noun) worries, concerns, feelings of impending doom; agar-ágar (noun) a kind of gelatin made from seaweed or algae; ilang-ílang (noun) a kind of yellow flower [archaically spelled ylang-ylang]; ipil-ípil (noun) river tamarind, a common plant in the Philippines; itik-itik (noun) a folk dance from Surigao where dancers imitate the movement of ducks [duck is ítik]; ukay-úkay (noun) a thrift store that sells secondhand clothes for very low prices;

◆ CVCV Repetition

batobató (noun) zebra dove; binibíni (noun) a young unmarried woman, the equivalent of Ms. and shortened as Bb. when used as a title; boka-bóka (noun) a type of kite made from folded paper; kilikíli (noun) armpits; kitikití (noun) mosquito larvae, often found in containers with stagnant water {also used to describe kids who move too much in a wriggling fashion -- "para kang kitikiti" = "you're like a kitikiti"}; dilidili (verb, obscure) to think deeply about something; gamugamó (noun) winged ants/termites, moth; guniguní (noun) baseless speculation {like imagination, but in a negative way -- "akala ko may nakita ako, pero baka guniguni ko lang yon" = "I thought I saw something, but that's probably just my imagination"}; haka-hákà (noun) speculation; halo-hálò (noun) a famous summertime dessert made from various ingredients mixed with milk and crushed ice; lapu-lápu (noun) grouper fish; Lapu-Lápu (noun) a datu from Mactan, Philippines, considered as the first Filipino hero for defeating Ferdinand Magellan's forces and resisting the Spanish Empire when they first arrived in the archipelago in 1521; lawaláwà (noun, obscure/deep) house spiders; maya-máya (noun) red snapper; mayá-mayà (adv) a short while later {closer to the present than mamaya}; muni-múni (verb) to meditate or reflect on something; ngala-ngalá (noun) palate, roof of the mouth {sometimes also used to mean uvula, though the actual and more obscure word for uvula is tilao}; palupálò (noun, kinda obscure) a wooden paddle used for beating laundry [pálò means to beat or slap]; palu-pálò (noun) a folk dance from Batanes where dancers emulate a mock battle by hitting sticks; paruparó (noun) butterfly; Tawi-Táwì (adv) the southernmost province of the Philippines, located in Mindanao;

◆ CVCVC Repetition

habal-hábal (noun) a mode of transportation prevalent in some provinces where up to 10 or so people ride a single motorcycle by balancing on a long beam laid across it [from Bisaya]; sapin-sapín (noun) a Filipino delicacy made of rice flour and coconut that has multicolored layers [sapín means a cloth that is used to cover a surface for protection, or to cover something with cloth]; siyam-siyám (noun, slightly archaic/obscure) rain that lasts for nine days and nine nights, traditionally signalling the start of the rainy season [the word for nine is siyam] {nowadays it's only ever used in the expression "abutan ng siyam-siyam," or "get caught in siyam-siyam," often said by older folks when someone is taking too long to do something; it's often just pronounced /sham-sham/ but it's easier to put under here than in CVC};

◆ CVCCV Repetition

lumba-lumba (noun, archaic/obscure) dolphin; túmba-tumba (noun, slightly outdated) rocking chair;
^{This took me 8 hours to type on mobile my gOD I hope it shows up correctly}
This is very much open for improvements and suggestions, so suggest away! And thank you for reading this far :D
Special thanks to:

• nkktngnmn2 (some corrections + hawhaw, liglig, and sudsod)
• notantifun (some corrections)
• silentmajority1932 (many many additions)
• roelm2 (some corrections)
• numquamsolus (muni-muni and dili-dili)