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<!--Generated by Site-Server v@build.version@ (http://www.squarespace.com) on Wed, 01 Jul 2026 06:39:51 GMT
--><rss xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:media="http://www.rssboard.org/media-rss" version="2.0"><channel><title>Positively Filipino | Online Magazine for Filipinos in the Diaspora – The Magazine</title><link>https://www.positivelyfilipino.com/</link><lastBuildDate>Wed, 01 Jul 2026 04:21:40 +0000</lastBuildDate><language>en-US</language><generator>Site-Server v@build.version@ (http://www.squarespace.com)</generator><description><![CDATA[<p>POSITIVELY FILIPINO is the premier digital native magazine celebrating the story of the global Filipino. The POSITIVELY FILIPINO online magazine chronicles the experiences of the global Filipino in all its complexity, providing analysis and discussion about the arts, culture, politics, media, sports, economics, history and social justice.</p>]]></description><item><title>Filipinos in Austria: Rooted in Care, Culture, and Connection</title><category>The Diaspora</category><dc:creator>Ralph Chan</dc:creator><pubDate>Wed, 24 Jun 2026 15:46:20 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/filipinos-in-austria-rooted-in-care-culture-and-connection</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3a0d7cfa19715bf59449ff</guid><description><![CDATA[Despite the relatively small numbers, Filipinos have become one of 
Austria’s most integrated migrant communities.]]></description><content:encoded><![CDATA[<figure class="
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg" data-image-dimensions="1000x527" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=1000w" width="1000" height="527" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d37ee549-59cf-4cf8-8e77-c3339928084e/Book+reading+of+Common+Diversities+with+authors+and+Filipino-Austrian+actress+Cindy+Kurleto+at+University+of+Vienna+in+2022.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Book reading of Common Diversities with authors and Filipino-Austrian actress Cindy Kurleto at University of Vienna in 2022 <em>(Photo by Ralph Chan)</em></p>
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    <span class="dropcap">W</span>hen you walk through Vienna, the capital city of Austria, you will hear familiar sounds and phrases in Tagalog, Visayan, Ilocano or Bicolano, mixed with German and English, coming from all sorts of corners. You can always tell when there’s a <em>kababayan</em> around. You’ll spot them in Filipino shops like Bahay Kubo Supermarket reaching for familiar Filipino products, or gathered as a group or as families around trays of pancit and lumpia at food festivals. You’ll see children practicing folk dances at community events, and Filipino nurses heading home on the Viennese public transport after a long night shift. These are one of the many small but vibrant impressions that make up the Filipino community in Austria – a diaspora built on care work, cultural resilience, and close-knit support networks. 
  
  






  <h3><strong>Establishment of diplomatic relations </strong></h3><p class="">Did you know that Austria and the Philippines have maintained diplomatic relations for a very long time? Austrian‑Philippine relations rest on enduring historical friendship, dynamic trade, and deep people‑to‑people connections, especially in healthcare, technology, and international diplomacy. These ties trace their roots to the 19th century, shaped by the remarkable friendship between Dr. José Rizal and the Austrian scholar Ferdinand Blumentritt. Their bond laid the groundwork for the diplomatic relationship that would later be formalized in 1946. In 2026, the two nations commemorate the <a href="https://www.bmeia.gv.at/en/ministerium/presse/aktuelles/alle/musterjahr/02-1-1/austria-and-the-philippines-closely-connected-economically-and-through-people-to-people-ties">80th anniversary of their diplomatic relations</a>, celebrating a partnership strengthened by shared history and sustained by vibrant cooperation.</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg" data-image-dimensions="338x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=1000w" width="338" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5d074542-a18b-4914-873e-35557e0a67af/Filipino-Austrian+community+celebrating+with+Philippine+Madrigal+Singers+in+Vienna.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Filipino-Austrian community celebrating with Philippine Madrigal Singers in Vienna <em>(Photo by Ralph Chan)</em></p>
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  <h3><strong>A Community Built on Care</strong></h3><p class="">The history of Filipinos in Austria is, at its core, a story of arrival, work, and community and of a quiet but enduring influence on a country many now simply call home. It is also a story inseparable from Austria’s healthcare system. What today looks like a naturally grown diaspora began with a single political document that reshaped the country’s care sector: the 1973 Recruitment Agreement. In the early 1970s, Austria was grappling with a shortage of trained nurses. </p><p class="">The Philippines, with its English‑speaking, internationally trained workforce, was in the midst of a major labour‑migration phase. The interests of both nations aligned, and a pragmatic agreement set in motion a social chapter that continues to shape Austria. When the first 20 Filipino nurses stepped off a plane in Vienna in 1974 — many on their first journey outside Asia — few could have imagined that they were laying the foundations for one of Austria’s most stable and visible Asian communities. They arrived not only in Vienna, but also in Salzburg and Linz, filling urgent gaps in hospitals and care homes. Their professionalism and adaptability quickly made them indispensable.</p><h3><strong>Emergence of Filipino Associations</strong></h3><p class="">By the 1980s and 1990s, the community had taken root. Many continued to work in healthcare, a field in which Filipinos remain vital today. Their presence in hospitals, care homes, and mobile care services stands as a quiet reminder of how migration can stabilise an entire system. During this period, Vienna emerged as its community’s centre of gravity, where Filipino associations, church groups, and cultural initiatives flourished. Groups such as the Babaylan Austria<strong>, </strong>the<strong> </strong><a href="https://www.facebook.com/fccvienna/">Filipino Catholic Chaplaincy</a>, or the <strong>Bikol Society in Austria </strong>organised everything from charity drives, empowerment workshops to Christmas Simbang Gabi celebrations. Cultural initiatives also flourished. </p><p class="">The Folklorico Filipino Austria taught traditional dances like <em>tinikling </em>and <em>singkil</em> to children born in Austria since the 1980s. These networks became lifelines for newcomers; a social safety nets and cultural anchors for those who had already settled. These networks helped newcomers find housing, navigate bureaucracy, and feel less alone in a country where winter can be as intimidating as the language. Until today, the Filipino Chaplaincy in Vienna remains a central gathering point. Masses are packed, choir rehearsals spill into potlucks, and charity drives support both local causes and disaster relief back home.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Folklorico Filipino performance at KUBO festival 2023 <em>(Photo by Ralph Chan)</em></p>
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  <h3><strong>Second-Generation Steps Forward</strong></h3><p class="">As the community matured, its influence expanded beyond care work. The 2000s brought another shift. The second-generation children of the pioneer nurses came of age. They attended Austrian schools, entered universities, launched businesses, and carved out careers in the arts and pop culture. Names like Filipino Austrian singers Vincent Bueno, Rose May Alaba and Eurovision Song Contest 2025 winner Johannes "JJ" Pietsch were born. They signaled a new kind of visibility, one that extended far beyond the care sector. They brought Filipino heritage into mainstream music and entertainment. Their success reflects a generation that moves fluidly between identities — Austrian by upbringing, Filipino by heart. </p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">With Filipino-Austrian singer Vincent Bueno (right), Eurovision Song Contest 2021 representative for Austria <em>(Photo by Ralph Chan)</em></p>
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  <p class="">Furthermore, Filipino scholars, cultural workers, and community leaders began contributing to Austria’s academic and public discourse. University lectures mainly organized by<strong> </strong><a href="https://www.zentrum-oep.at/">Sentro ng Kultura at Wika ng Austria at Pilipinas/Zentrum für österreichische und philippinische Kultur und Sprachen (Sentro)</a><strong> </strong>at the University of Vienna on migration, diaspora studies, and Southeast Asian cultures increasingly featured Filipino perspectives — not only as subjects of study but as voices shaping the conversation. </p><p class="">This intellectual visibility culminated in publications such as <a href="https://www.regiospectra.de/buecher/asien/suedostasien/philippinen/common-diversities-detail">Common Diversities 1 - Junge Filipin@s im deutschsprachigen Raum</a> (Castañeda &amp; Chan, 2022) and <a href="https://www.regiospectra.de/buecher/asien/suedostasien/philippinen/common-diversities-2-detail">Common Diversities 2 - Filipino Europeans: Remaking the Past, Shaping the Future</a> (Castañeda &amp; Chan, 2025), which brought Filipino experiences in Austria and Europe into dialogue with broader debates on diversity, belonging, and post‑migration identity. These works marked a shift: the Filipino presence was no longer only lived in hospitals and community halls, but also documented, analysed, and taught in Austrian classrooms.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Book Cover Common Diversities 1 <em>(Photo @Sentro)</em></p>
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            <p class="">Book Cover Common Diversities 2 <em>(Photo @Sentro)</em></p>
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  <h3><strong>A Quiet But Powerful Presence</strong></h3><p class="">Filipino culture has become a living thread in Austrian society, woven not through grand institutions but through the everyday acts of community that Filipinos carry with them — shared meals, neighbourhood gatherings, faith traditions, and the quiet habit of looking out for one another. Annual fiestas such as Barrio Fiesta bring together hundreds for lechon, tinikling, and artistic performances. Dance troupes perform at multicultural festivals. Filipino restaurants such as <a href="https://www.lolo-lola.at/">Lolo &amp; Lola</a> or <a href="https://www.brillantengrund.com/">Brilli - Hotel am Brillantengrund</a>, <a href="https://healthybrunchclub.at/">Healthy Brunch Club Vienna</a> and bakery shops <a href="https://www.instagram.com/puro_vienna/">Puro</a>, <a href="https://www.loreleispan.com/">Lorelai's Pan</a> serve adobo and halo‑halo their own way to curious Austrian diners. Alongside cultural initiatives and academic work, Filipino‑Austrian groups launched concrete projects that shaped public life:</p><p class="">•&nbsp;<strong>The “Philippine Heritage Month” initiative</strong> organized exhibitions, film screenings, and panel discussions often spearheaded by the Philippine Embassy in Austria.</p><p class="">•&nbsp;<strong>The Filipino food festival, </strong>which is usually held at the weekend, brought Filipino cuisine — from adobo<em> </em>to<em> </em>halo‑halo — to Austrian audiences, drawing thousands of visitors.</p><p class="">• <a href="https://www.facebook.com/groups/1763959247220257/">ENFiD‑Austria</a>, part of the European Network of the Filipino Diaspora, works to integrate and empower Euro‑Filipinos while promoting human<strong> </strong>rights, democracy, the SDGs and the Paris Agreement.</p><p class="">• The <a href="https://www.wienmuseum.at/kumain_kana_have_you_eaten">Wien Museum’s exhibition “Kumain Ka Na?”</a> spotlighted stories, showcasing migration narratives, queer Filipino‑Austrian identities, and the role of food in preserving memory.</p><p class="">•&nbsp;Advocacy groups such as<strong> </strong><a href="https://www.facebook.com/p/Bund-Philippinischer-Gesundheitskr%C3%A4fte-in-%C3%96sterreich-BPG%C3%96-61555794009301/">Bund Philippinischer Gesundheitskräfte in Österreich (BPGÖ)&nbsp;</a>collaborated with Austrian NGOs on migrant rights, domestic worker protections, and intercultural dialogue. </p><p class="">These initiatives made Filipino culture visible in public spaces — not only in community halls but in museums, universities, and city festivals. But there are more, several well-known Filipino associations and organisations in Austria include:</p><p class="">• Council of Filipino Associations in Austria (CFAA) - the umbrella organization uniting various Filipino community groups in Austria. The CFAA actively promotes Philippine heritage, culture, and social integration through community events and projects</p><p class="">• Filipino Visual Artists in Austria (FVAA), a plattform that provides Filipino visual artists to showcase their art in Austria</p><p class="">•&nbsp;<a href="https://halo-halo.de/">Halo-Halo network</a> - grew out of an idea to get to know more second-generation Filipinos. The members realised that there were a lot of second-generation Filipinos, but that they were all scattered far and wide. Until then, they had no shared space, either online or offline, where they could come together.</p><p class="">•&nbsp;<a href="https://kulay.at/">Kulay</a> - a Filpino LGBTQ+ organisation based in vienna.</p><p class="">• Migrante Austria, an NGO working to unite and strengthen ties to advance Filipino migrants’ and refugees’ rights in the region and to support the broader struggle for social and national liberation in the Motherland.</p><p class="">•&nbsp;<a href="https://www.paces-stem.org/">Philippine-Austrian Cultural and Educational Society (PACES)</a>, an association of like-minded members of the Philippine-Austrian community who believe in promoting the study of science and technology as a vehicle for development and progress.&nbsp;</p><p class="">•&nbsp;<a href="http://pna-austria.bplaced.net/page_1_1.html" target="_blank">Philippine Nurses Association in Austria</a> (PNA-Austria) is to promote professional growth towards the attainment of highest standards of nursing and to create a vision of an empowered professional association responsive and committed to health care and development for the well-being of nurses and the society.</p><p class="">•&nbsp;<a href="https://www.facebook.com/rambakaustria/">Rambak Austria</a>, an Association for the Promotion of Indigenous Filipino Culture in Austria</p><p class="">•&nbsp;<a href="https://www.sigepo.art/">sige!</a>. The association has three main objectives: networking, raising awareness and promoting the many art forms practised by Filipinos both at home and abroad. </p><p class="">Despite the relatively small numbers, Filipinos have become one of Austria’s most integrated migrant communities. Their contributions — especially in healthcare — are woven into the country’s daily life. What stands out most is the way they’ve recreated a sense of home thousands of kilometers away. Yet research also shows that integration experiences vary widely, shaped by factors such as residence status, language skills, and the demands of integration agreements. Today, around 30,000 Filipinos live in Austria. Many are part of bicultural families; many arrived through marriage; many continue to work in care. But all are part of a community whose story began with a labour agreement and grew into something far more profound: a lasting contribution to Austria’s social fabric. </p>





















  
  



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  <p class=""><strong><em>Ralph Chan</em></strong><em> is a sociologist and conducts research—both academically and out of personal interest—on the Philippines, Filipinos, and the Filipino community in Austria. He hosted Sentro’s webinar and podcast series “Euro-Pinoy Talk”, is a co-editor of the anthologies Common Diversities 1 &amp; 2, serves as Country Editor for Austria at the Euro-Pinoy online magazine Roots &amp; Wings, and is one of the co-founders of the Halo-Halo Network.</em></p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782192208882-2LKWU236FRLB812DAZ95/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=1500w" medium="image" isDefault="true" width="360" height="450"><media:title type="plain">Filipinos in Austria: Rooted in Care, Culture, and Connection</media:title></media:content></item><item><title>Steampunk Artist Ram Mallari Is Riding High on His Hyperion</title><category>Arts &amp; Culture</category><dc:creator>Alma Cruz Miclat</dc:creator><pubDate>Wed, 24 Jun 2026 15:46:11 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/steampunk-artist-ram-mallari-is-riding-high-on-his-hyperion</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3a85862cd65513333a4d86</guid><description><![CDATA[Meet steampunk artist Ram Mallari, the first Filipino artist to appear on 
the front cover of World Sculpture News.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true" class="">Ram Mallari inside Hyperion</p>
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    <span class="dropcap">M</span>t. Malasimbo, the 400-meter-high, conical-shaped mountain in Bataan, is a conspicuous sight as one passes by SCTEX approaching the town of Dinalupihan. Also known as Susong-Dalaga by the townspeople and the “Little Mount Mayon” of Central Luzon, it is considered a weather-forecasting device, predicting a coming typhoon when its summit is covered with dark clouds. The quaint mountain may also become synonymous with a cultural landmark when the Fort Malasimbo Art Museum, now under construction, is completed and opened to the public.
  
  






  <h3><strong>Steampunk Art</strong></h3><p class="">The museum is an astonishing suspended airship—a zeppelin as if it were built during the First World War—which is an element of steampunk, says the museum's builder, Ram Mallari Jr. Known in the art world as a steampunk artist, Mallari is constructing his Hyperion of a museum.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Envisioned Fort Malasimbo Art Museum</p>
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  <p class="">Combining elements of Victorian aesthetics with industrial-era machinery and featuring gears, cogs, clockwork, and other mechanical components, steampunk art draws inspiration from 19th-century technology and science fiction. That description, which foreigners used to characterize Mallari's work after seeing his crafts at an international welding forum, fits it to a T.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Hyperion at Mt. Malasimbo</p>
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  <p class="">Mallari was a second-year architecture student when he decided to work as an OFW in Saudi Arabia. He started as a draftsman but was phased out when automation came in, replacing him with a technician who could manage AutoCAD. He shifted to welding and opened a welding shop when he returned to the Philippines. When there were no job orders, he would use a grinder to craft little items—motors, small helicopters, and the like—fashioned from discarded and recycled metals.</p><p class="">There was a typhoon one time when a media man passing by his shop asked for shelter and to charge his phone. When the visitor saw Mallari's crafted pieces, he invited him to be featured on a radio program to discuss how he was able to create artistic pieces from spark plugs and other junk materials. After the program, a TV personality Mallari met on his way out asked him to be interviewed on television. He appeared on a morning show the following day, which was seen by Thomson Reuters, leading to a more extensive interview. Mallari was also featured on CNN and BBC programs. That was in 2011. It started the ball rolling, and art galleries soon began calling him.</p><p class="">“<em>Hindi ako gaanong nahirapan, although mababa pa ang bentahan noong araw”</em> (I did not really find it hard, although sales were low then), says the craftsman, who quit his day job to become a full-time artist. He was scared at first and thought that if he failed, he would work abroad again. In fact, he received an offer to work in Australia but decided to stay put.</p><h3><strong>Artistic Accolades</strong></h3><p class="">In 2013, when the Ayala Group launched its “Greenstallations” program about nature at its Nuvali estate in the south, it commissioned four artists—Michael Cacnio, Eduardo Castrillo, Juan Carlo Calma, and Mallari. The latter's impressive steampunk sculpture titled&nbsp;<em>The Last Tree</em>&nbsp;depicted a monumental 10-foot robot trying to save the last tree. It took him and a helper six months to complete, but it was well worth it, as the public installation became a big hit.</p><p class="">Meanwhile, his metal sculptures—watchtowers, clocks, steam- and motor-powered vehicles, ships, lampshades, wall clocks, chess sets, reimagined animals, and pop icons—all steampunk creations crafted from iron and metal parts such as industrial pipes, gears from dismantled bicycles and heavy machinery, and steel bolts and rods salvaged from vehicles, became highly sought after by collectors. Men comprise 70 percent of his buyers. The bestseller among his works is his steampunk chest, which is also his favorite.</p><p class="">In 2016, he became the first Filipino artist to appear on the front cover of&nbsp;<em>World Sculpture News</em>. He created a life-sized metal sculpture of Lapu-Lapu, which was unveiled on April 26, 2021, at Camp Crame in Quezon City by the Philippine National Police (PNP) in commemoration of the 500th anniversary of the Battle of Mactan. Crafted from decommissioned firearms, the statue honors the hero whose bravery is symbolized in the PNP seal.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">The 1st Filipino Artist cover in <em>World Sculpture News</em></p>
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  <h3><strong>Third-Largest Jesus Christ Statue in the World</strong></h3><p class="">Mallari is currently designing a 140-meter statue of Jesus Christ titled&nbsp;<em>Resurrection</em>, which will be located in Ilocos Sur. Possibly one of the three tallest Christ statues in the world, it will have a chapel, museum, and convention center at its base.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">140-foot Resurrection statue of Jesus</p>
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  <p class="">His commissioned works continue to increase in number. An eight-seater conference table, for example, is highlighted by a three-dimensional cast aluminum map of the Philippines inspired by Pedro Murillo Velarde's "Mother of All Philippine Maps."</p><p class="">The 3D rendering of the map, according to Mallari, showcases intricate and precise topographical details, capturing the diverse landscapes and terrains of the Philippine islands. It highlights key features such as mountains, valleys, rivers, and coastal areas, providing a comprehensive view of the country's geographical diversity.</p><p class="">He also completed 20-foot copper statues of Andres Bonifacio and Emilio Aguinaldo for the Bagong Kapitolyo in Trece Martires, Cavite. Mallari feels proud that the two Katipunan leaders are finally standing together.</p><p class="">Meanwhile, he also installed a statue of Padre Burgos seated in a park opposite San Agustin Church in Intramuros. He has likewise erected five large installations in Camp Crame and two in Sikatuna.</p><p class="">The National Historical Commission is meticulous in portraying heroes as closely to the truth as possible, including the clothes they wore, according to Mallari. “What I do to inject my steampunk art is to put ‘borloloy’ or decors on the base of the subject, like tables.”</p><p class="">His fame spread, and more international exhibits followed, along with workshops in Singapore, Taiwan, and Hong Kong.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Inside the Hyperion facing Mt. Malasimbo</p>
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  <h3><strong>Pandemic Project</strong></h3><p class="">When Mallari bought his property in Dinalupihan at the foot of Mt. Malasimbo, he envisioned building a rest house there. His partner is from Bataan, and the site is near his home province of Pampanga, where he maintains his Northside Art Collective showroom in Mexico.</p><p class="">However, when he looked at the property from a vantage point, he envisioned an airship. Looking toward the side of Mt. Malasimbo, he felt as though the mountain itself was giving him a sign to orient the airship toward it. It was during the pandemic, and business was slow.</p><p class="">One time, he told a client—who had been inquiring about the price of a chest but was taking forever to buy it—that he would give him a discount and place his name on the first post of the airship he was building. The customer lost no time in purchasing the chest. Thirty minutes later, a law student called, wanting to buy a samurai riding a horse. Mallari offered the same deal and said the student's name would be etched on the second post of the airship. Two hours later, the law student called back and said his parents wanted their names placed on the third and fourth posts, so they bought a chest and another item.</p>





















  
  



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    <p><strong>Mallari’s metal sculptures—watchtowers, clocks, steam- and motor-powered vehicles, ships, lampshades, wall clocks, chess sets, reimagined animals, and pop icons—all steampunk creations became highly sought after by collectors.
  
  



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  <p class="">“At the end of the day,” says Mallari, “I think I got something like PhP700K cash.”</p><p class="">The next morning, they laid out the airship plans to determine how much metal they could buy with the proceeds and immediately purchased the materials. Many more clients followed, buying artworks with the explicit understanding that their names would be etched on the airship. Mallari says that once the airship is completed, the names of all contributors will be inscribed on a wall as a sign of appreciation for their support.</p><p class="">The steampunk artist is very excited to finish his passion project, which will be the largest known steampunk sculpture. He has collected valuable art pieces for a special room in the museum, including a small original Juan Luna painting obtained from a collector in exchange for one of his artworks; works by National Artists such as Jose Joya and H.R. Ocampo; and sculptures by Juan Luna and Tampinco. He also plans to feature young artists to help promote their work. He hopes they will comprise the majority of the museum's visitors.</p><p class="">The airship, Mallari's Hyperion, is the main attraction of the four-story museum. The lower ground level, with an open area of 800 square meters, will serve as a park fitted with Ram Mallari's installation art as well as works by emerging artists.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Ram Mallari and the author at his workshop</p>
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  <p class="">Steampunk mural painting is currently being executed in designated areas of the Hyperion. This is intended to avoid overcrowding the interior with excessive mechanical elements while achieving a balanced and cohesive aesthetic throughout the structure. The mural will prominently feature designs that encapsulate the steampunk theme, integrating fantastic cityscapes and imaginative backgrounds to create an engaging environment.</p><p class="">Indeed, the steampunk artist Ram Mallari Jr. is riding high on his Hyperion!</p>





















  
  



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  <p class=""><strong><em>Alma Cruz Miclat</em></strong><em> is a freelance writer and retired business executive. She is the president of the Maningning Miclat Art Foundation, Inc., and author of books: Soul Searchers and Dreamers:&nbsp; Artists’ Profiles and Soul Searchers and Dreamers, Volume II, and co-author with Mario I. Miclat, Maningning Miclat and Banaue Miclat of Beyond the Great Wall: A Family Journal, a National Book Awardee for biography/autobiography in 2007. Her third solo book is currently in the works.</em></p>





















  
  



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  <p class=""><em>More articles from </em><a href="https://www.positivelyfilipino.com/magazine/Alma%20Cruz%20Miclat"><strong><em>Alma Cruz Miclat</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782226347879-80OHTA56QHLWNANO9XPM/Hyperion_Mt+Malasimbo.jpg?format=1500w" medium="image" isDefault="true" width="450" height="450"><media:title type="plain">Steampunk Artist Ram Mallari Is Riding High on His Hyperion</media:title></media:content></item><item><title>She Found Art in an Attic</title><category>Arts &amp; Culture</category><dc:creator>Anthony Maddela</dc:creator><pubDate>Wed, 24 Jun 2026 15:46:03 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/she-found-art-in-an-attic</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3af2ad0333f97447176606</guid><description><![CDATA[Although inspired by master weavers in the Philippines, Diane Briones 
Williams never incorporates their techniques into her pieces out of respect 
for their artistry.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true" class=""><em>Maria Makiling</em>, 2026<br>22” x 21.75”<br>Wool, stranded cotton beads on aida cloth<br><em>(Photo courtesy of the artist)</em></p>
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    <span class="dropcap">A</span>lmost two years ago, Diane Briones Williams, now 52, was rummaging through the attic of a Pasadena mansion at an estate sale when she discovered a box of 13 unopened needlepoint kits. “They were mass-produced in Europe and the U.S. between the 1940s and the 1960s. Each kit could cost more than $100, which was a lot of money back then,” she notes.
  
  






  <p class="">The posh kits contained exquisite yarns and wools and a pedigree dating to the Victorian period (1837 to 1901, the reign of Queen Victoria), when suitable maidens were as skilled with the loom as they were at the klavier. Today’s knit and crochet kits, with their detailed instructions and rudimentary tools, are the banal stepchildren of these refined tapestry kits, which are like puzzles with an illustration of the desired outcome and just a few words of guidance. Williams links the social class affiliation less with nobility than with the virulent imperialism of Spain (333 years), the United States (48 years), and Japan (three years), which largely erased indigenous culture in the Philippines.</p><h3><strong>Respecting the Art</strong></h3><p class="">At age 14, Williams accompanied her parents, Remedios and Eduardo Briones, from Capas, Tarlac, to Los Angeles. She worked nearly 20 years as a graphic designer in the in-house marketing department of American Honda Company in Torrance, California, before earning her BFA at California State University, Long Beach, in 2013.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Diane Briones Williams with family circa 1992<br>from left: Ed Briones, Anne Matining, Diane Briones Williams, Remy Briones</p>
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  <p class="">Paintbrushes were the primary instruments in her career, but she was always partial to needlepoint. Her interest in textile art began with sewing lessons from her grandmother in the Philippines. Even though she was inspired by master weavers in the Philippines, she never incorporates their techniques into her pieces out of respect for their artistry, which seldom generates a living wage by American standards.</p><p class="">“It’s in their blood,” she explains. “Weaving is intergenerational for all genders in the Philippines. Families of weavers are excellent.”</p><p class="">It is not cultural appropriation when Jo Koy mocks his mother’s accent or when Fil-Ams copy patterns from Filipino crafts. Williams implies that plagiarizing Third World artisans, who struggle to feed their families, is a moral offense.</p><p class="">“When I go to the Philippines, I make it a point to buy woven textiles. When I select a textile, I pay whatever they ask because I know how labor-intensive it is.”</p><p class="">Listening to her advice while shopping for gifts and souvenirs at bazaars overseas could help resuscitate Americans’ greatly diminished reputations.</p><h3><strong>Affluence and Apparitions</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class=""><em>Rice Farmer</em>, 2025&nbsp;<br>25.5”x25”<br>Wool on aida cloth<br><em>(Photo courtesy of Official Welcome)</em></p>
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  <p class="">Williams has ample facility with textiles to duplicate the illustrations on her kits, and for the most part, she follows the designs before embedding ghostly iconography from indigenous and agrarian communities of the Philippines. “Spectrals” is what she calls these victims of colonization who trespass into verdant scenes that originally wiped away all traces of Western hegemony.</p><p class="">In her own words: “Colonization is a ghostly process. It transforms native people and cultures into lingering shadows that continue to haunt the descendants of both colonizers and the colonized. This project, which combines found tapestry kits of Western landscapes merged with Philippine imagery, explores the unique power of these figures and deepens our understanding of the postcolonial experience.”</p><p class="">No country is more hospitable to ghosts than the Philippines. We put the “super” in superstition. Nothing goes bump in the night because our ghosts are agile. These ethereal beings are quite serious to Williams.</p><p class="">For her&nbsp;<em>Spectrals</em>&nbsp;exhibit at Future Fairs in New York City, Williams expanded on the colonization theme in her tapestries. “Within this framework, two recurring spectral archetypes emerge: the native seeking recognition and the ghost of the colonizer burdened by historical guilt,” she states.</p><p class="">A living artist can articulate exactly what she was thinking and eliminate the kind of conjecture that leads deceased artists to a second death. Equipped with an MFA in Visual Arts from the University of Southern California, Williams will probe the ideas that inform her creativity, if asked.</p><p class="">To comprehend her work, there’s no need to be versed in Hegel, Marx, Lennon, or McCartney, but a little philosophy can help. Williams is fluent in Deconstruction Theory as propounded by French philosopher Jacques Derrida.</p><p class="">Some of us were exposed to the ruminations of Derrida in graduate school. In her conversation with me, she was insistent on not corrupting the viewer’s experience with esoteric baggage.</p><h3><strong>Excited by the Mundane</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class=""><em>Diwata</em>, 2025&nbsp;<br>39.75” x 33.75”<br>Wool and stranded cotton on aida cloth<br><em>(Photo courtesy of Official Welcome)</em></p>
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  <p class="">None of us visits art galleries for an adrenaline rush sparked by intergenerational trauma inflicted on the Philippines by the Spanish Empire and U.S. Presidents William McKinley and Theodore Roosevelt. Williams’ needlepoint accomplishes more than engaging the intellect. Her textile compositions stimulate the medial orbitofrontal cortex, the region of the brain where, Google AI claims, people “experience beauty in art, music, faces, or mathematics.”</p><p class="">“My work isn’t intended to be didactic,” she says. In art workshops throughout Los Angeles, she focuses on buoyant objects that transport students into Philippine history.</p><p class="">“I have an art series on Spanish galleons,” she says of the marine vessels that conducted trans-oceanic trade to finance the Spanish Empire. “I explain galleons by tying them to concepts my students understand. I ask them whether they know why there were so many pirates back then. It was because galleons carried gold.”</p><p class="">Only the type of individual Woody Allen called a “pedantic pseudo-intellectual” in&nbsp;<em>Midnight in Paris</em>&nbsp;would turn Santo Niño dolls into enigmas. Williams is fond of inserting the ornately robed baby Jesus into her tapestries because he’s a familiar blessing encased in glass on the mantels of Filipino living rooms.</p><p class="">Spain planted Christianity in the Philippines. Filipinos put a passionate spin on the imported faith, exactly as Jesus advised: “I know about your activities: how you are neither cold nor hot. I wish you were one or the other, but since you are neither hot nor cold, but only lukewarm, I will spit you out of my mouth.” (Revelation 3:15–16)</p><p class="">Only Filipinos know why they love Santo Niño more than lumpia. Williams uses emotional overload to save the souls of skeptics. “Filipinos love babies, but not everyone else loves babies. Baby Santo Niño is cute, so let’s dress him like an adult.”</p><p class="">There’s no record of how Mary dressed Jesus after the manger. After all Filipinos have endured, they deserve artistic liberty.</p><h3><strong>You Say Daster, I Say Duster</strong></h3><p class="">Private individuals, museums, and corporations collect her art, but what does she collect? Americans say dusters; Filipinos say dasters. They are both names for the loose dresses made of flowy fabrics worn by Filipinas.</p><p class="">“I’ve been collecting dasters from Filipino family and friends for over two years. The real ones have batik embroidery. The mass-produced dasters have printed flowers. The work is so personal to me because I know where they came from,” she relates. “Since the dresses have histories, it’s like putting together an archive of their stories.”</p>





















  
  



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    <p><strong>“Colonization is a ghostly process. It transforms native people and cultures into lingering shadows that continue to haunt the descendants of both colonizers and the colonized.”
  
  



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  <p class="">She elaborates, “I have dasters from my aunt and a neighbor who died five years ago. They wanted to donate them to me because I can keep their stories alive.”</p><p class="">Dasters aren’t as unusual as adult clothing tailored for baby Jesus, but they both satisfy a longing for connection.</p><p class=""><strong>Note:</strong>&nbsp;I recently interviewed Isa Briones from&nbsp;<em>The Pitt</em>. So when I was first contacted by Diane’s manager, I assumed Isa had referred her because they both have Briones in their names. Briones isn’t as common a surname in the Philippines as Marcos or Romuáldez. Diane and Isa aren’t related, nor have they ever met. Now, they have&nbsp;<em>Positively Filipino</em>&nbsp;in common.</p><p class=""><em>Spectrals</em>&nbsp;starts its West Coast run with an opening reception from 5 p.m. to 7 p.m. on June 13, 2026, at Official Welcome in The Granada Building, 672 S. La Fayette Park Place. The show remains on view through July 25. The gallery is open from noon to 6 p.m., Thursday through Saturday. Events are free and open to the public.&nbsp;</p>





















  
  



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  <p class=""><strong><em>Anthony Maddela</em></strong><em> is a staff correspondent situated in Los Angeles.&nbsp; He comes from Seattle, and, against all logic, he still hasn’t traded his loyalty to the Mariners for the Dodgers. </em></p>





















  
  



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  <p class=""><em>More articles from</em><strong><em> </em></strong><a href="http://www.positivelyfilipino.com/magazine/?author=511b3321e4b0331c0eb56b5f"><strong><em>Anthony Maddela</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782260443947-O743ZSLZBWR7JP7NSGH8/Detailed+view+of+Maria+Makiling.jpeg?format=1500w" medium="image" isDefault="true" width="396" height="450"><media:title type="plain">She Found Art in an Attic</media:title></media:content></item><item><title>Fil Am Cam Bynum Spreads Football and Faith </title><category>Sports</category><category>Achievers &amp; Role Models</category><dc:creator>Jordan Pagkalinawan</dc:creator><pubDate>Wed, 24 Jun 2026 15:45:51 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/fil-am-cam-bynum-spreads-football-and-faith</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3aaae7b96aa5319bcd7a5a</guid><description><![CDATA[While visiting the Philippines, football star Cam Bynum saw another value 
he learned from his Filipino family members: resilience.]]></description><content:encoded><![CDATA[<figure class="
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    <span class="dropcap">I</span>ndianapolis Colts Pro Bowl safety Cam Bynum’s introduction to his Filipino heritage came in San Francisco, where he, his four siblings and their parents made summertime trips from Corona in Southern California to visit his mother, Jennifer’s, side of the family.
  
  






  <p class="">“You’re kind of naive to different cultures and ways of life growing up, thinking that it’s just the way your family is,” Cam Bynum said in an interview with AsAmNews. “So it really took me till I got older to realize, okay, certain things are, you know, quote, unquote, ‘Filipino things.’”</p><p class="">The 27-year-old recently wrapped up his first year in Indianapolis after spending four years with the Minnesota Vikings, who took him in the fourth round of the 2021 NFL Draft. Bynum, who was named a&nbsp;<a href="https://www.colts.com/news/colts-te-tyler-warren-s-cam-bynum-qb-daniel-jones-wr-ashton-dulin-wr-michael-pittman-jr-named-2026-pro-bowl-alternates">Pro Bowl alternate</a>&nbsp;in December alongside four of his Colts teammates, tallied 81 total tackles this year with a career-best four interceptions.</p><p class="">And while the&nbsp;celebrations&nbsp;that accompany those picks have gone viral on social media, Bynum has also made sure that his multicultural background has received the same spotlight.</p><p class="">Mom Jennifer Bynum said connection was at the forefront of those visits up north, which would last for weeks at a time with dozens of relatives packed into one house.</p><p class="">“I raised my kids to embrace their culture, to celebrate their Filipino heritage openly and proudly,” she told AsAmNews. “They’ve been proud of where they came from, whether it was their African American heritage or their Filipino culture.”</p>





















  
  














































  

    
  
    

      

      
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  <p class="">She said those familial ties influenced her son’s decision to go from Corona Centennial High School to the University of California, where he played for four years before being drafted by Minnesota with the 125th overall pick.</p><p class="">“He knew he’d have the biggest support system [at Cal], which was amazing,” Jennifer Bynum added. “The best decision he always said he made was going to Cal because he had his family there, and he [knew] he can go to auntie’s house or go hang with his cousins.”</p><p class="">Those visits also planted seeds of service in each of the Bynum children, beginning with garage sales to help Bay Area families in need.</p><p class="">“My husband and I always wanted our kids to understand God blessed us, so we’re going to, in turn, bless others,” Jennifer Bynum added. “Even if we didn’t have the funds to do it, we were going to do it by serving. … It just carried on into their adult lives.”</p><p class="">Cam and Jennifer took a&nbsp;<a href="https://www.youtube.com/watch?v=TBVNnE1bveA">mission trip to the Philippines</a>&nbsp;in the summer of 2022. The visit was part of an effort with Cam’s wife’s church to help victims of a landslide in the wake of Typhoon Agaton.</p><p class="">It was through that visit that Cam Bynum saw another value he learned from his Filipino family members: resilience.</p><p class="">“[The residents] lost everything, and seeing how happy they still were, and seeing how nobody was looking at this situation feeling bad for themselves, it was always how can I still help my community? How can I still help people still having a smile on their face and still grateful to God that they’re alive?” he said. “That’s one thing that I’ve seen that stuck with me forever. And when I [came] back to the States, I had a whole different mindset, like, ‘Wow, I have nothing to complain about in my life. There’s nothing that can bring them down. So why should I be walking around here in the U.S. with the great life that I have?’”</p><p class="">“I think that that changed me more than anything,” he added.</p><p class="">That trip was just the beginning for the&nbsp;<a href="https://bynumfaithfoundation.com/">Bynum Faith Foundation</a>, Cam and his mother’s charitable non-profit. Having reached 501(c)(3) status in 2023, it seeks to provide underserved communities in the U.S. and Philippines with food, funds, football and faith.</p><p class="">“When we tell them that God loves them, we tell them that we love them, there’s action and work behind it that makes people actually feel love,” Cam Bynum said. “So I think the whole time with the foundation has been a blessing.”</p>





















  
  














































  

    
  
    

      

      
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  <p class="">The Bynum Faith Foundation has served six provinces in the Philippines, from&nbsp;<a href="https://bynumfaithfoundation.com/tondo-manila-with-project-pearls-philippines/">feeding families in Tondo, Manila,</a>&nbsp;to&nbsp;<a href="https://bynumfaithfoundation.com/lapu-lapu-cebu-outreach-2/">helping fire victims in Lapu-Lapu City, Cebu</a>. Among their recent efforts was last year’s&nbsp;<a href="https://bynumfaithfoundation.com/baybay-boat-project/">“Baybay Boat Project,”</a>&nbsp;where they, along with the New Life Tacloban, built pump boats for three local fishermen and their families.</p><p class="">“Nothing beats leading by example,” Jennifer Bynum said.</p><p class="">While Cam works through the grind of an NFL season, Jennifer, Cam’s wife Lalaine, and the Bynum Faith Foundation continue to organize community outreach events across both countries. Jennifer said that in addition to five core board members, the group relies on 20-40 volunteers to help hundreds of residents in need, including those from their first Philippines trip nearly four years ago.</p><p class="">“We’re able to help them every single year and always show up to make sure that it wasn’t just a one-time thing,” Cam Bynum added. “It’s cool to be able to see the growth.”</p><p class="">During his offseasons, the veteran safety retreats to the Philippines, further immersing himself in the Filipino culture. He said he “gets the best of both worlds” between a fast life in the U.S. and a more relaxed period abroad, which eventually allows him to be “more present” on the field.</p><p class="">He has also taken the time to welcome Filipinos to train with him: “It’s terrible training alone. … They helped me [by] having training partners, but I’m able to help bring knowledge, and more football opportunities out there for them to compete and train and learn.”</p><p class="">Chief among those opportunities is “Camp Beezy,” which began in&nbsp;<a href="https://bynumfaithfoundation.com/camp-beezy-football-camp-beezy-volume-1-movie-in-manila/">2023</a>&nbsp;to grow flag football in the country and develop young athletes into worldwide competitors. The work has taken on new importance as of late, with flag football becoming an official sport in the&nbsp;<a href="https://la28.org/en/games-plan/olympics/flag-football.html">2028 Summer Olympics</a>.</p>





















  
  














































  

    
  
    

      

      
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            <p class=""><em>(Photo courtesy of Cam Bynum)</em></p>
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  <p class="">“Camp Beezy” expanded from one day to three, hosting over 200 young players who compete in tournaments and gain a holistic view of Bynum’s training and routine. The camp has also gone from the Philippines to other Asian countries, with its sixth iteration set for&nbsp;<a href="https://www.instagram.com/p/DXPMjVqDwGi/">Incheon, South Korea, this coming July</a>.</p><p class="">In addition to “chalk talks” within each position group and sessions that were caught on camera, Bynum’s teammates and coaches used that film to break down players’ skills, offering tips they could implement in games the following day. Players also received massages from 25 masseuses and heard from Bynum’s acupuncturist and physiotherapist, as well as a host of physical therapists.</p><p class="">“It’s not just about performing on the field,” Jennifer Bynum said. “You have to be healthy. You have to treat your body [as] your temple. And that’s what we showed them in [the camp]. It’s like a ‘day in the life of Cam’ in a span of three days.”</p><p class="">She also pointed to a laudable example of the players’ dedication to their craft.</p><p class="">“A few years ago, they called a practice, and I thought it was a typo,” she explained. “They were practicing from literally 10 p.m. until 12:30 a.m. because it was the only time they could get field space. … I’m like, ‘Are you serious? After a long day?’ And they go straight to practice, but they do whatever it takes to get there.”</p><p class="">&nbsp;“Camp Beezy” will make its U.S. debut with an elite youth football showcase, slated for&nbsp;<a href="https://www.prosportplex.com/cambynumshowcase/">May 23 at Corona Centennial</a>.</p><p class="">The foundation’s other U.S.-based events have included&nbsp;<a href="https://bynumfaithfoundation.com/thanksgiving-turkey-drive-thru/">food drives</a>&nbsp;and&nbsp;<a href="https://bynumfaithfoundation.com/cam-bynums-holiday-movie-shopping-spree/">shopping sprees</a>&nbsp;that further assist local communities and&nbsp;<a href="https://bynumfaithfoundation.com/filipino-fiesta-in-minnesota/">“Filipino Fiestas”</a>&nbsp;that amplify AAPI culture.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Camryn Bynum Hosts Second Annual Filipino Fiesta <em>(Photo by Alli Rusco)</em></p>
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  <p class="">“People are really encouraged by a lot of this stuff, and I think people [are] seeing how strong [AAPI culture] is,” Cam Bynum said. “That’s not a common thing. You say it to a normal person, ‘AAPI Heritage Month,’ not a lot of people would know what that is.”</p><p class="">“But when they see us representing and [being] proud to represent where we come from and and where our family comes from, I think people are always curious about it. And once they start learning more, everybody has good things to say,” he continued. “So I think it’s something that a lot of people need to continue to represent.”</p><p class="">The foundation’s audience grew thanks to the NFL’s&nbsp;<a href="https://www.vikings.com/photos/2023-my-cause-my-cleats#928b0f80-87d0-4fb2-9eef-775b48abf4ed">“My Cause My Cleats” initiative</a>, with Cam Bynum sporting the Filipino flag on his cleats starting in 2023.</p><p class="">“For me, I think of stories growing up when I would see Manny Pacquiao fighting and … putting on for the Philippines. And it just brings a great sense of pride for people to be proud that’s where we come from,” he said, adding that the awareness and funds raised from the event go a long way to support the foundation’s efforts.</p><p class="">He called My Cause My Cleats “the most fun time of the year,” mentioning how he’s always performed well every time he’s worn the Filipino-themed footwear.</p><p class="">“[I’ve had] a couple interceptions wearing the cleats now over the course of my career, and I feel like a superhero,” Cam Bynum added. “I feel like I have to do something good in the game just to bring more awareness and give a shout out to the Philippines.”</p>





















  
  














































  

    
  
    

      

      
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            <p class=""><em>(Photo courtesy of Cam Bynum)</em></p>
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  <p class="">Bynum’s heroics went viral during his second year, when he&nbsp;<a href="https://youtu.be/eLQTjDlDkBw?si=eWGFAh9LeroukiZu">grabbed a game-sealing interception</a>&nbsp;against the New York Jets and draped the Filipino flag around him as part of his celebration. He said even the simplest acts can uplift many people.</p><p class="">His own role in that representation has “meant everything” to him, serving as a chance to “play for something bigger than myself” and represent his family and faith.</p>





















  
  



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    <p><strong>The Bynum Faith Foundation has served six provinces in the Philippines, from feeding families in Tondo, Manila, to helping fire victims in Lapu-Lapu City, Cebu.
  
  



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  <p class="">“[The recognition and support from other Filipinos] made me even work harder,” Cam Bynum added. “I’m going into games like thinking about the kids that look up to me, or people that are also playing football that, you know, it’s a dream for them to make it. I’m playing for them—to be able for them to work hard and know that it’s possible for them also.”</p><p class="">When asked about the advice he’d give his younger self about multicultural representation, Cam Bynum responded: “Do it in an authentic way.”</p><p class="">“Just enjoy who God made me to be,” he added. “And see that as my superpower of being able to come from multiple cultures, being able to have flavor on both sides.”</p><p class="">“God made us exactly who we are, and how He made us is not by accident. Enjoy that, and just continue to represent who you are and where you come from.”</p><p class="">Cam Bynum’s ability to champion his Filipino and African American roots is not lost on Jennifer, who highlighted her son’s humility even after his success, saying: “Cam is still Cam.”</p><p class="">“He’s always humble and never too proud to give back, to talk to others, and he’s always been the biggest cheerleader of everybody,” she said. “We never raised our kids to see colors. It’s like we’re one big melting pot in our eyes. … Cam [was] always welcoming everybody, had friends of all nationalities. I’m proud of him for how far he’s come, and his faith in the Lord, too.”</p><p class="">“He never chose between cultures or anything like that,” Jennifer Bynum added. “We do more for people. We’re ‘people’ people. Not just giving back to one culture or the other culture. It’s giving back to everybody, to mankind, [and to] humanity.”</p>





















  
  



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  <p class=""><em>Reposted from AsAmNews, May 19, 2026:</em> <a href="https://asamnews.com/2026/05/19/cam-bynum-filipino-heritage-month-indianapolis-colts/?utm_source=mailpoet&amp;utm_medium=email&amp;utm_source_platform=mailpoet&amp;utm_campaign=sitetitle-newsletterposttitle-3"><em>https://asamnews.com/2026/05/19/cam-bynum-filipino-heritage-month-indianapolis-colts/?utm_source=mailpoet&amp;utm_medium=email&amp;utm_source_platform=mailpoet&amp;utm_campaign=sitetitle-newsletterposttitle-3</em></a><em> </em></p><p class=""><em>AsAmNews is published by the non-profit Asian American Media Inc and supported by our readers along with the&nbsp;</em><a href="https://www.rwjf.org/" target="_blank"><em>Robert Wood Johnson Foundation</em></a><em>,&nbsp;</em><a href="https://www.aarp.org/" target="_blank"><em>AARP</em></a><em>,&nbsp;</em><a href="https://www.takahashifoundation.org/" target="_blank"><em>The Henri and Tomoye Takahashi Charitable Foundation</em></a><em>,&nbsp;</em><a href="https://www.taaf.org/" target="_blank"><em>The Asian American Foundation</em></a><em>&nbsp;&amp; Koo and Patricia Yuen of the Yuen Foundation.</em></p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782235779549-D387501NOPBK7FKJB7OZ/1-week-until-greatness-returns-%F0%9F%87%B5%F0%9F%87%AD%F0%9F%90%90%F0%9F%A5%8A-copy.jpg?format=1500w" medium="image" isDefault="true" width="1080" height="722"><media:title type="plain">Fil Am Cam Bynum Spreads Football and Faith</media:title></media:content></item><item><title>Pearl Parmelee, 69, Proponent of Filipino Cuisine in America and Beyond</title><category>Achievers &amp; Role Models</category><dc:creator>Sonia Delen</dc:creator><pubDate>Wed, 24 Jun 2026 15:45:43 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/pearl-parmelee-69-proponent-of-filipino-cuisine-in-america-and-beyond</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3beac0b602bd37825080c9</guid><description><![CDATA[To many of us, Pearl Parmelee-Cabrera was the Tita of all Titas—larger than 
life, relentless, tenacious, and driven. Yet beneath her remarkable 
accomplishments was a quiet strength and generosity that touched countless 
lives. She was a mentor, friend, supporter, advocate, confidante, and 
family to so many.]]></description><content:encoded><![CDATA[<figure class="
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg" data-image-dimensions="300x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=1000w" width="300" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3dfeb508-be88-4608-af43-e5e713f7b43a/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p data-rte-preserve-empty="true" class="">Pearl Parmelee, Sonia Delen and Keesa Ocampo, Pinay Visionaries awardees</p>
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    <span class="dropcap">T</span>o many of us, Pearl Parmelee-Cabrera was the Tita of all Titas—larger than life, relentless, tenacious, and driven. Yet beneath her remarkable accomplishments was a quiet strength and generosity that touched countless lives. She was a mentor, friend, supporter, advocate, confidante, and family to so many.
  
  






  <p class="">I first met Pearl in 2003, and until her very last days, she never ceased to amaze me. Her wisdom, wealth of experience, resilience, and unwavering commitment to serving others were truly inspiring. She had a unique ability to make everyone feel welcome, valued, and cared for.</p><p class="">Pearl was a fixture in the Filipino American community. She was especially passionate about food—not simply as nourishment, but as culture, heritage, and connection. She was a true food diplomat, using cuisine to build bridges between communities and cultures. As one of the early organizers of the San Francisco Pistahan, the largest Filipino American outdoor festival in the country, she helped create beloved traditions, from the famous balut-eating contest to ensuring that volunteers were always well-fed and appreciated.</p><p class="">My relationship with Pearl deepened when we joined six other Filipino foodies to co-found the <em>Filipino Food Movement</em>.&nbsp;&nbsp;Pearl became one of the movement’s strongest champions. She tirelessly advocated to preserve, promote, and advance Filipino cuisine on the global stage. She mentored aspiring chefs, taught food management, built partnerships with chambers of commerce, and fostered collaborations across communities. Whether working with Latino, Laotian, Cambodian, Vietnamese, or Filipino organizations, Pearl understood that food was a universal language that brought people together.</p><p class="">What made Pearl truly remarkable was her willingness to help at any time, under any circumstance. If there was a need, she showed up. If there were people to feed, she was there. During the COVID-19 pandemic, she was always ready to support programs that provided meals for first responders and frontline workers. Service was not something she did—it was who she was.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Pearl Parmelee, always busy in the kitchen</p>
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  <p class="">Whether in San Francisco, Las Vegas, Los Angeles, or beyond, Pearl’s impact could be felt wherever she went. She had a gift for connecting people, creating opportunities, and making everyone feel like family. Her generosity knew no boundaries. She embraced people from every background and every walk of life. In a world that often divides, Pearl brought people together.</p><p class="">Some people measure their success by what they achieve. Pearl measured hers by how many people she helped along the way.</p><p class="">Our beloved Tita Pearl passed on last Thursday, June 10, 2026. A memorial will be held on July 11, 2026 in San Francisco.</p>





















  
  






  <p class=""><em>To the Filipino Food Movement family- Tita Pearl was more than a co-founder. She was our mentor, our cheerleader, our storyteller, our conscience, and our family. Her love, wisdom, and generosity helped shape who we are and what we continue to stand for.</em></p><p class=""><em>On behalf of the Filipino Food Movement family—past and present — PJ Quesada, Keesa Ocampo, Al Perez, Wennie Conedy, Nicole Ponseca, Mike Ang, RAF Ignacio, Cheryl Tiu, Kevin Pelgone, Allie Cuerdo, JoAnn Boston, Kim Boral, Susie Quesada, Wendy Pascual, Pauline Vela, and the many others whose lives she touched—we thank you, Tita Pearl. Your legacy will live on in every meal shared, every chef mentored, every culture celebrated, and every heart you inspired. We will miss you deeply, and we will carry your mission forward.</em>  </p>





















  
  



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  <p class=""><strong><em>Sonia Delen</em></strong><em> is the Managing Partner of AcuGlobal Endeavors and an Executive Producer at OneUp Film Studios. In 2018, she made history when then-California Governor Jerry Brown appointed her as the first Filipino American and first Asian American non-lawyer public member of the Board of Trustees of the State Bar of California, the constitutional agency responsible for attorney admissions, regulation, and discipline under the California Supreme Court. After retiring from Bank of America Global Leasing following a distinguished 31-year career, she repurposed her life to focus on entrepreneurship, filmmaking, and community leadership. A respected community leader in the San Francisco Bay Area, Sonia has dedicated her career to advancing leadership, philanthropy, arts and culture, and global Filipino initiatives. She lives in San Francisco with her husband, Christopher Fitzsimmons, and together they have three sons: David, Justin, and Matthew.</em></p>





















  
  



<hr />



  <p class=""><em>More articles from </em><a href="https://www.positivelyfilipino.com/?author=5e306cf26357d510f5ca2eca"><strong><em>Sonia Delen</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782312478627-AI09Q1O3RBZIDYHDMIPQ/Pearl+Parmelee%2C+Sonia+Delen+and+Keesa+Ocampo+%2C+Pinay+Visionaries+awardees.jpeg?format=1500w" medium="image" isDefault="true" width="300" height="450"><media:title type="plain">Pearl Parmelee, 69, Proponent of Filipino Cuisine in America and Beyond</media:title></media:content></item><item><title>The Bitter Earth: My Father's Final Story </title><category>First Person</category><category>Life Stories</category><dc:creator>Alex S. Fabros, Jr.</dc:creator><pubDate>Wed, 17 Jun 2026 14:17:47 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-bitter-earth-my-fathers-final-story</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a31cd9b0188286be05f6270</guid><description><![CDATA[A dying father tells his life story and that of his generation.]]></description><content:encoded><![CDATA[<p class="">Salinas Valley Hospital — November 1999.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Salinas Valley Health Medical Center</p>
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    <span class="dropcap">T</span>he room was cold.
  
  






  <p class="">Not from the air conditioning, but from the kind of chill that settles when time is almost up. Outside the window, the November sky hung low and gray over the Salinas Valley. Inside, my father lay in the narrow bed, tubes threading from his arms, his chest rising slowly.</p><p class="">I sat beside him. Holding his hand. Trying to memorize the shape of his voice.</p><p class="">He turned his head slightly—his eyes sunken, but still sharp with something that hadn’t died yet.</p><p class="">"<em>Anak</em>," he rasped. "You still there?"</p><p class="">I nodded, swallowing everything I couldn’t say.</p><p class="">"Good," he said. "Then let me tell you one more thing... before I go."</p><p class="">"There was a man once. Not famous. Not rich. Just a Filipino, like us. They called him Manong Johnny."</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">Alex S. Fabros, Jr.  <em>(Photo courtesy of Alex S. Fabros, Jr.)</em></p>
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  <p class="">I leaned in. His voice was thin now, like it hurt to speak.</p><p class="">"He came here long ago. Before the war. Before anything good. Salinas. 1930s. Fields of lettuce and dirt, and no welcome signs. They bent him like they did all of us—but he never broke."</p><p class="">"He walked in the 1934 strike. Lettuce workers—mostly brown—told the white men ‘enough.’ They beat him bloody for it. He got up. Went back to the line."</p><p class="">Dad coughed then. The oxygen mask hissed. He waved it off with one shaky hand.</p><p class="">"That man taught us we were worth something, even when the country said we weren’t."</p><p class="">"He loved someone, too. A dancer. Blonde. Blue eyes. She took his money. Took his heart. But he never hated her for it."</p><p class="">"Years later, when she was dying, she wrote him: ‘Don’t let me go alone.’ He went. No questions."</p><p class="">Dad closed his eyes for a second. When he opened them, they were wet.</p><p class="">"He danced with her one last time. Not for love. Not for sex. Just because it was the right thing to do. Because he wanted her to feel real, one more time."</p><p class="">"He left a ticket on her nightstand. One of those old dancehall slips."</p><p class="">"On the back he wrote:</p><p class="">'You held me like I mattered. So I let you go like you did.'"</p><p class="">Silence fell again. The monitor beeped in a slow rhythm. He gripped my hand, knuckles pale and trembling.</p><p class="">"I tell you this, <em>anak</em>... because we don’t come from power. We come from grit. From picking lettuce in silence. From men who danced even with broken backs."</p>





















  
  



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    <p><strong>I never saw a photo of Manong Johnny. Never found his grave. But I carry his story like an heirloom.
  
  



<hr />



  <p class="">"Remember, Manong Johnny. Not because he won. But because he stayed."</p><p class="">"Because he held someone in the dark and left no bitterness behind."</p><p class="">His voice faltered.</p><p class="">"Because if we don’t remember him... no one else ever will."</p><p class="">I held his hand until the light outside the window faded to ash. Until the beeping slowed. Until it didn’t.</p><p class="">Now I Carry Johnny.</p><p class="">I never saw a photo of Manong Johnny. Never found his grave. But I carry his story like an heirloom.</p><p class="">Because in that hospital room, with machines hissing like wind through Salinas rows, my father gave me something greater than a name:</p><p class="">He gave me a man who bent—but never broke. And a dance that ended with grace.</p>





















  
  



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  <p class=""><strong><em>Alex S. Fabros, Jr.&nbsp;</em></strong><em>is a retired Philippine American Military History professor.</em></p>





















  
  



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  <p class=""><em>More articles from&nbsp;</em><a href="http://www.positivelyfilipino.com/magazine/?author=524bcdf0e4b0b5e2e07da888"><strong><em>Alex Fabros, Jr.</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/webp" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781648834738-UEJP39MLUF0R5H9LF1ZU/Alex%2BFabros.webp?format=1500w" medium="image" isDefault="true" width="325" height="500"><media:title type="plain">The Bitter Earth: My Father's Final Story</media:title></media:content></item><item><title>Father and Son</title><category>First Person</category><category>Life Stories</category><dc:creator>Arniel Brown</dc:creator><pubDate>Wed, 17 Jun 2026 14:17:37 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/father-and-son</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a30d9c9d3cbe706a970eb27</guid><description><![CDATA[A son transforms a father’s pain into something beautiful.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true" class="">The author at six months old with his father in SOMA, San Francisco, Christmas 1976.</p>
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    <span class="dropcap">W</span>here do I start?
  
  






  <p class="">I must have listened to&nbsp;<em>Purple Rain</em>&nbsp;five times in a row last night, and I’m listening to it right now.</p><p class="">Rachele said that Issasi saw a monarch butterfly right after they saw your body yesterday. How fitting. A monarch butterfly—the butterfly that calls California and Mexico home. And the colors? You guessed it: the orange and black of our beloved San Francisco Giants.</p><p class="">I am starting to tear up again.</p><p class="">I am happy that you are not suffering anymore. No more pain, Dad.</p><p class="">I am at the part of the song when Prince is wailing and the guitars are blazing. I hope you are soaring.</p><p class="">Like that monarch butterfly.</p><p class="">You were born under the most f**ked-up circumstances. An orphan in New Jersey, bounced from abusive foster home to abusive foster home. You graduated high school at 21 years old, got drafted into the U.S. Army, and served in Vietnam.</p><p class="">From what you told me, you were stationed in My Tho. I remember the story of being attacked by the enemy, hiding behind—or under—a table, and somehow surviving. The next day, you said that we—the U.S. Army—destroyed that town with napalm.</p><p class="">I remember how you said it killed everything: plants, animals, everything. You had to dig a massive pit for all that was lost there.</p><p class="">I also remember you telling me about your French-Vietnamese girlfriend and how one of you would ride back-to-back with the other on a motorcycle through Saigon.</p><p class="">It just took me three tries to spell&nbsp;<em>motorcycle</em>&nbsp;correctly.</p><p class="">Make that five.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Early Fam Bam</p>
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  <p class="">My tears sting on my face now.</p><p class="">After the hardest years around Tet, you were stationed in Germany and then redeployed on the fly to work as a photographer for the U.S. military newspaper.</p><p class="">You said you taught yourself photography.</p><p class="">It was a hobby you carried throughout my childhood. Though you never really taught me how to be a photographer, something about that passion resonated with me, and I ended up studying and graduating with a degree in Film and Asian American Studies.</p><p class="">I remember all the stories—how after Vietnam, you just couldn't bring yourself to date an average "American" woman.</p><p class="">I remember the stories of you dating a Native American woman and living with your brother, my Uncle Ritchie, in Brooklyn.</p><p class="">All of this was after your service in the Army.</p><p class="">Though I am not as patriotic as many folks out there, I am still an American, and I am proud of your service, Dad.</p><p class="">I also remember you telling me that a friend or coworker introduced you to my mom, Natividad Espano, and somehow, some way, the two of you fell in love.</p><p class="">I remember the stories of people in the New Jersey and New York area not being so open to your relationship, so together you decided to move to SOMA, San Francisco.</p><p class="">My real hometown.</p><p class="">The epicenter of the Filipino American experience.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Together with Mom</p>
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  <p class="">Mom didn't make it to my fourth birthday. She died of cancer.</p><p class="">I don't know how long it was afterward, but you found my second mother, Donna Principe Vista, and together you raised me, Rachele Vista, and Regina Vista-Buoni as a blended family in the Outer Mission.</p><p class="">You worked as a janitor at San Francisco International Airport for many years. Though you were not Filipino, you found comfort in the Filipino community, and we are blessed that the Filipino community embraced us with open arms.</p><p class="">You loved San Francisco.</p><p class="">And shit, you loved Daly City.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Pinoy party back in the day</p>
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  <p class="">I remember that years ago, when I was tasked with finding a nursing facility for your illness, you chose Daly City over San Diego.</p><p class="">In the end, I am happy that you chose to be where you are.</p><p class="">Last week, I watched a full interview with Jeremy Lin, and much of it resonated with me. The main themes were "doing yourself" and "letting go."</p><p class="">I took a cue from your book yesterday.</p><p class="">One of my employers was kind of, sort of holding me hostage—telling me, "You can go to San Francisco anytime," while at the same time rescheduling make-up lessons down to the minute, even though they knew you were in hospice.</p><p class="">I quit that job yesterday.</p><p class="">Effective immediately.</p><p class="">I remember years ago Mom being hella pissed at you because you retired early from your San Francisco job with nineteen years of service. If you had stayed one more year, you would have received a better pension.</p><p class="">But you knew you couldn't hustle anymore. You had already hustled around the world.</p><p class="">You served in Vietnam and Germany. You visited Japan, the Philippines, and Nice, France, for a peace conference.</p><p class="">Years ago, you asked me to visit all of those places before deciding what the best place in the world might be for me.</p><p class="">Last night, while listening to&nbsp;<em>Purple Rain</em>&nbsp;on repeat, I asked whether the song had anything to do with a father-and-son relationship.</p><p class="">Gemini told me that the song serves as the emotional climax of the film, where Prince's character, The Kid, finally reconciles with his father's legacy. His father was a talented but frustrated musician—much like Prince's real-life father, John L. Nelson. By performing the song, The Kid finishes the music his father started, transforming his father's pain into something beautiful.</p>





















  
  



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    <p><strong>But you knew you couldn't hustle anymore. You had already hustled around the world.
  
  



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  <p class="">You're free now, Dad.</p><p class="">I hope you are soaring.</p><p class="">I am making a commitment to visit Vietnam and France, and to bring your remains to Colma and to the Philippines.</p><p class="">I owe it to you.</p><p class="">I love you.</p><p class="">I miss you.</p><p class="">I am proud to be your son.</p><p class="">I hope that I served you well.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">The Brown Family</p>
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  <p class=""><em>I am </em><strong><em>Arniel Brown</em></strong><em>, a San Francisco native, a veteran English educator with twenty years of experience in Japan, and an M.Ed. candidate at Edgewood University. I anticipate graduating in June 2026. I am the son of a Vietnam veteran and a Filipina immigrant to the United States, and I have attempted to contact the Library of Congress Veterans History Project to preserve my father's service in the U.S. Army. I am also contemplating using my father's experience as a janitor as the foundation of my master's thesis on transformative leadership and on giving voice to the voiceless.</em></p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781587227416-WG3XLNM5VMXU3T7OK3EC/all+in.JPG?format=1500w" medium="image" isDefault="true" width="335" height="450"><media:title type="plain">Father and Son</media:title></media:content></item><item><title>Rizal Navigated the Troubled Water of Diaspora Identity Politics</title><category>Cultural Trends</category><category>The Way We Were</category><dc:creator>Kahlil Corazo</dc:creator><pubDate>Wed, 17 Jun 2026 14:17:27 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/rizal-navigated-the-troubled-water-of-diaspora-identity-politics</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a319e3a8c399c4842656883</guid><description><![CDATA[The author had to exorcise his mind of the ilustrado ghosts—the very ghosts 
Rizal himself, in his final years, began to question.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Filipino diaspora intellectuals in 1880s’ Madrid. Rizal stands to the right of Marcelo del Pilar’s glorious mustache. Image from Wikipedia.</p>
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  <h3><strong>1)</strong> </h3><p class="">I'll admit it: I was annoyed. </p><p class="">For a few years now, I've been watching online Fil-Am identity spaces—the Instagram posts about decolonizing the mind, the threads about reclaiming pre-colonial identity, the debates about who counts as "really" Filipino. As a Cebuano living in Davao, surrounded by migrant families from across the country as well as the Lumad and the Moros and Tsinoys and fresh-off-the-boat Chinese, something about the discourse rubbed me the wrong way. </p><p class="">Plurality is just the texture of daily life here. But in those online spaces, the desire to make the Filipino unique and different from the West seemed to lead to a kind of romanticization—of the indigenous, of victimhood, of a pre-colonial golden age that never quite existed as advertised. </p><p class="">The hyperawareness of race, the insistence on trauma as identity, the earnest reclamation of <em>baybayin</em> and <em>babaylan</em>—it all felt like projection. American anxieties mapped onto a Philippines that's messier and more plural than their discourse allows.</p><p class="">Then I read Filomeno Aguilar's <em>Jose Rizal, Nationhood, and the Anticolonial Imagination</em>, and my annoyance dissolved into recognition. There it was, the template: Madrid in the 1880s, in the letters and essays of José Rizal and his fellow <em>ilustrados</em>: young people from the Philippines living abroad, code-switching between identities, hyperaware of race, caught between pride and embarrassment about their homeland. Today’s diaspora Filipinos are navigating the same structural bind the ilustrados faced 140 years ago. Once I understood that, I couldn't unsee it.</p><p class="">This essay is my attempt to make sense of that recognition. It's also an introduction to Aguilar's book, which I think anyone interested in Filipino identity—whether in the Philippines or the diaspora—should read.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Performative Filipino starter kit.<em> (Photo by the author)</em></p>
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  <h3><strong>2.</strong></h3><p class="">Let me start with a scene that turns out to be more complex than how it is usually presented.</p><p class="">In 1887, Spain organized the <em>Exposición de las Islas Filipinas</em> in Madrid. The colonial government brought 55 individuals from the Philippine colony to display in the capital—including Igorots from the Cordillera highlands, Moros from Mindanao, Negritos, and manual laborers from the Hispanized lowlands. </p><p class="">The young ilustrados in Madrid—Rizal, Antonio Luna, Graciano López Jaena, and others—were mortified. Before the exposition even opened, Rizal wrote to his Austrian friend Ferdinand Blumentritt: "According to the newspapers and the information I have, it will not be an Exposition of the Philippines but, rather, an exposition of Igorottes, who will play music, cook, sing, and dance." López Jaena complained that "the Exposition does not represent those Islands with dignity or, at least, with decency; it shows nothing but the backwardness of the Philippines."</p><p class="">The sting was personal. Antonio Luna, writing under the pen name Taga-Ilog, recalled his humiliation when young Madrileñas stared at him on the street and muttered, "¡Jesús que horroroso! Es un igorrote!" (Jesus! What a hideous sight! It's an Igorot!) Aguilar writes, “The ilustrados were enraged.”</p><p class="">And yet. There were also moments of unexpected solidarity. López Jaena referred to the people on display as "<em>nuestros hermanos</em>"—our brothers. He was surprised to discover that some Igorots spoke perfect Spanish. He observed that "Igorots are neither savage nor irrational" and "are susceptible to modern civilization." Evaristo Aguirre, a creole who considered himself "purely Filipino," also called the exhibited persons "our brothers." Rizal himself referred to them as "my compatriots."</p><p class="">Aguilar captures the contradiction: "In their humanism, the ilustrados felt a fraternal bond with the individuals they believed were demeaned and exploited by the exposition." </p><p class="">Embarrassment <em>and</em> solidarity. Distance <em>and</em> kinship. The desire to differentiate themselves from the "backward" elements of their homeland, combined with the instinct to defend those same elements against Spanish condescension.</p><p class="">Reading this, I thought of Antonio Luna on the streets of Madrid, marked by his face, mistaken for Igorot. And I thought of myself in corporate Makati, speaking the same language and accent as my colleagues' maids and laborers, marked as Bisaya. I hate to admit that I also felt the same inner contradiction. A defiance rose in me then—a defiance that eventually made the Cebuano language situation a recurring theme in my writing. </p><p class="">A century had to pass, Aguilar notes, "before identification with the Igorot became cool." The ilustrados felt the sting of being marked as "less than" before the immigrant experience became a literary genre. I understood. I’d been there too.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">The cocky fellow manspreading in the front of this studio picture is Don Ismael Alsate, an Igorot notable who was put in charge of all the men of the delegation. The one beside him is Purganan, 38, from Abra, a schoolteacher. The men behind them are other Igorot notables, and would likely be four of the following: Cal-libag, 28, from Abra, a wealthy property owner; Asang, 33, from Abra, head of a tribe; Lav-lav, 55, from Lepanto, military guide; Gumadant, 28, from Lepanto, gobernadorcillo; Oit-tavit, 34, from Bontoc, gobernadorcillo; Sumad-en, 50, from Bontoc, head of a tribe. Lepanto refers to what are now some Kankanaey-speaking areas, like Sagada. While it is easy to find the names of the ilustrados in the first photo above, the first time I saw the names of the participants of the Madrid Exposition was in the appendix of Aguilar’s book. I could not find them on the internet. Let’s remember and spread their names.<em> Photo from the document whose cover is below.</em></p>
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  <p class=""><strong>3.</strong></p><p class="">Filomeno Aguilar is a sociologist and historian, and <em>Jose Rizal, Nationhood, and the Anticolonial Imagination</em> is a major scholarly work—but written accessibly, with an eye toward readers who aren't specialists. </p><p class="">The book's central motive is to read Rizal's contradictions seriously. Aguilar shows how Rizal was brilliant but also trapped—by European racial science, by the political needs of the moment, by his own blind spots. The contradictions within Rizal's writings isn't a failure of thought, but evidence of a fierce internal struggle between his rational intellect and his emotional loyalty to the homeland.</p><p class="">The ilustrados were trying to answer the question, "Who are we?" And their answers—beautiful, flawed, sometimes racist—became the foundations of Filipino nationalism: the "golden age" before Spain; the blood compact as founding betrayal; the idea that the Philippines was "always already there," a primordial nation waiting to be awakened. These were political moves, not historical facts. And we've been living inside them ever since.</p><p class="">Aguilar's aspiration is that we might finally move beyond them—not by rejecting the ilustrados, but by understanding what they were up against.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">This is the cover of the official document of the 2017 exhibition on the 1887 exposition by Spain’s Museo Nacional de Anthropología. The pictured are most likely the four Moros from Jolo in the group: Buton-Bason, male, 29; Basalia, female, 30, wife of Buton-Bason; Oto Jadcaqui, male, 25; and Juda, female, 22. </p>
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  <h3><strong>4.</strong> </h3><p class="">Once I started looking, the parallels between the ilustrados and contemporary Filipinos in the diaspora doing identity work became apparent.</p><p class=""><strong>Living abroad, navigating between identities.</strong> The ilustrados were diaspora intellectuals. They wrote in Spanish, studied in European universities, absorbed European ideas. They were shaped by the experience of <em>being from</em> the Philippines while living elsewhere. </p><p class="">As Rizal observed on his first trip to Europe in 1882, "What a revolution takes place in the ideas of the man who for the first time leaves his native land and travels around through different countries!" The journeys to Europe, Rizal noted, "contribute much to strengthen the bonds, for abroad the inhabitants of the most widely separated provinces are drawn together in patriotic sentiment."</p><p class="">Filipino Americans today seem to be shaped by the same dynamic. The experience of being Filipino in America—navigating between cultures, explaining yourself to outsiders, discovering kinship with other Filipinos you'd never have met back home—produces a particular kind of consciousness. Rizal’s and Benedict Anderson's "specter of comparisons" works on them too.</p><p class=""><strong>Romanticizing the indigenous and pre-colonial.</strong> Rizal constructed a golden age in his annotations to De Morga’s <em>Sucesos de las Islas Filipinas</em>: a pre-Hispanic Philippines with advanced civilization, literacy, trade networks, gentle customs. This was partly true, partly exaggerated, and entirely strategic. </p><p class="">As Aguilar puts it, "Rizal's glorification of the patria was the outgrowth of the feeling of repugnance at being denigrated and humiliated by the colonial master." Against Spanish ridicule and taunting, Rizal reversed the discourse: <em>we</em> are better than Europeans. Our ancestors had a moral civilization that Spain destroyed.</p><p class="">Diaspora Filipinos today perform a similar move—reclaiming <em>baybayin</em>, celebrating <em>babaylan</em> priestesses, insisting on a Philippines before Spanish contamination. The emotional logic is identical: asserting dignity against erasure.</p><p class=""><strong>Hyperawareness of race, within imposed frameworks.</strong> The ilustrados didn't invent the racial categories they used. They inherited "Malay," "indio," "mestizo," "Negrito" from Spanish and European racial science. Aguilar writes: "Products of European thought, Rizal and other ilustrados were too deeply immersed in racial thinking—colonial oppression was voiced and experienced explicitly as the indio's racial degradation—for them to transcend a race-based discourse. Notwithstanding some questions, they had no alternative to the racial paradigm."</p><p class="">The bind: to assert equality with Spaniards, they had to use the language of race. They couldn't step outside the framework. They could only work within it.</p><p class="">Filipino Americans navigating identity face a structurally identical situation. They operate within American racial categories—"Asian American," "BIPOC," "person of color." These categories are imposed by the structure of American life, by policies and institutions and everyday interactions. You can critique them, but you can't escape them if you want to be politically legible. The framework shapes what you can say and do.</p><p class=""><strong>The victimhood narrative.</strong> Andrés Bonifacio's manifesto, <em>Ang Dapat Mabatid ng mga Tagalog </em>(What the Tagalog Should Know), told a story: the Spaniards deceived Sikatuna, seduced him with sweet words, and betrayed the blood compact. The Philippines was Edenic before Spain; colonialism was the Fall. Filipinos were using "Make X Great Again" long before Trump. </p><p class="">Aguilar's analysis: this narrative "represented the Katipunan parable of Spanish evildoing and the resulting victimhood of the colonized." It was politically powerful—it helped launch a revolution—but historically dubious. The blood compact, as Aguilar shows in painstaking detail, was an invention, retroactively imposed on indigenous rituals—both by the colonists and the nationalists—that meant something quite different to the participants.</p><p class="">Contemporary identity discourse often centers victimhood in similar ways—colonization as ongoing trauma, the Filipino as perpetually wounded by history. This framing has real power. But Aguilar shows it's also a very old choice, with its own costs. The victimhood narrative, he argues, has "bequeathed to later generations an ineffable sense of colonial trauma that has been embedded deeply in national consciousness. Thus has lingered the sense of being betrayed, as though the islanders had no agency at all."</p><p class=""><strong>The question of who counts.</strong> The ilustrados drew boundaries. Igorots were "mountain tribes" outside civilization. Muslims were ambivalently included. Chinese were explicitly alien—Rizal himself placed "Chinese and savages" on the same level. Aguilar doesn't flinch: "Racism was embedded in the cradle of Filipino nationalism."</p><p class="">Identity discourse always has its inclusions and exclusions. Who counts as "really" Filipino? The boundaries have shifted since the 1880s—we eventually let the Igorots in, uneasily included the Moros, absorbed the Chinese mestizos—but the impulse to draw them persists.</p><p class="">None of this is meant as critique of the diaspora identity discourse. Once I understood the structural bind the ilustrados faced, my annoyance dissolved. I try to imagine their situation: growing up as de facto representatives of a country they may never have lived in, inheriting their parents' complicated feelings about the homeland—the embarrassments, the insecurities, the guilt of having left. When political awareness inevitably sprouts, perhaps the romanticization is a kind of repair. A way of resolving inherited shame by asserting inherited greatness. The ilustrados did the same thing, for similar reasons.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Here are the names and backgrounds of the rest of the forty three members of the group who went to Madrid. From Antique: Raimundo Picio, a rich man and gobernadorcillo; Ambrosio Talan, 60, seaman; Feliciano Ibut, 27, seaman; Vicenta Rico Toling, 17, weaver; Petra Talam, 25, weaver. From Iloilo: Eleuterio Samudio, loom master; Bonifacio Guimera, 31, draftsman; Matea Bada, weaver; Saturnina Llana, 33, draftswoman; Emilia Gimera, weaver; Francisca Urmas, weaver; Romana Ramos, weaver; Margarita Gordoncillo, weaver; Fabian Lloporal, 16, seaman. From Bulacan: Bonifacio Cruz, 27; Martin Espiritu, 30; Andres Espiritu, 30; Felipe Torres, 28; Simon Garcia, 28; Monaco Rojas, 28, in charge of the botanical section; Custodio de los Santos, 29. Chamorros from the Marianas: Jose Flores, 20; Antonia de los Santos, 22. From the Carolines: Pearipio, 30, musician; Dolores Neisern, 22, speaks English. From Zambales: Antonio Mabituen, 22, cook (probably the Negrito). From Manila: Juan Legaspi, 57; Vicente Francisco, 22, sculptor. From Camarines Sur: Antonio Pavilin, 27. From Negros: Tek, 19. <em>Photo from Kinulayang Nakaraan Facebook page. Names are known, but individual identifications within the photograph remain uncertain.</em></p>
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  <h3><strong>5.</strong></h3><p class="">I should clarify my own situation, because it's different from both the ilustrados and the diaspora.</p><p class="">I recently wrote a historical novel called <em>Rajah Versus Conquistador</em>, about the power game between Rajah Humabon and Ferdinand Magellan in 1521—the encounter that ended with Magellan's death on the beach at Mactan. My goal was different from theirs.</p><p class="">Many Philippine historical novels use the past to deliver moral lessons for the present. The past becomes a mirror, reflecting contemporary concerns. I wanted to do the opposite. I wanted to use the present to fill the gaps of the historical and anthropological record, the way modern DNA is used to complete dinosaur genomes in <em>Jurassic Park</em>. Magellan's chronicler, Antonio Pigafetta, recorded 160 Cebuano words in 1521, and surprisingly, I could understand most of them. If there's any truth to the Sapir-Whorf hypothesis—that language is an expression and frame of culture—then I share a lot of the cultural DNA of Humabon and Lapulapu.</p><p class="">I didn't want to make Humabon a proto-nationalist hero or a victim of European treachery. I wanted to encounter him as he might have seen himself—an <em>orang besar</em>, a big man of maritime Southeast Asia, navigating a world of tributary networks and competitive feasting. Not a "Filipino," because that word didn't exist yet. Definitely not a victim. He was playing his own game, using the Castilians for his own purposes.</p><p class="">What Aguilar explains through scholarship, I lived as creative practice. Writing the novel, I felt the pull of the inherited narratives—the victimhood, Spain as the primordial enemy, the betrayal that began our Fall. These specters wanted to colonize my imagination, to turn the story into nationalist propaganda. To be faithful to what the novel wanted to be, I had to exorcise my mind of the ilustrado ghosts—the very ghosts Rizal himself, in his final years, began to question.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">Rajah Versus Conquistador is available in ebook format via Kindle, Apple Books, Kobo, and Nook. In the Philippines, the paperback is available in Lazada and various bookstores. Abroad, the paperback is available in Amazon sites for the USA, Canada, Australia, Germany, Spain, France, Italy, and the UK.</p>
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  <h3><strong>6.</strong></h3><p class="">Rizal was exiled to Dapitan, in Zamboanga, from 1892 to 1896. There, for the first time in his life, he had sustained contact with the Subanen—one of the "mountain tribes" he'd theorized about, the people he'd implicitly excluded from his vision of Filipino civilization.</p><p class="">And he was surprised.</p><p class="">"I have known them here," he wrote, "and really they are a peaceful people, very honest, industrious, and faithful in their transactions, not reneging on their word." He wanted to live among them and the Moros for some weeks to learn more. Aguilar notes, with a poignancy that's hard to miss: "martyrdom prevented him from expounding what might possibly have been an alternative vision of nationhood based on firsthand knowledge, a patria adorada that went beyond a mere inversion of colonial racism."</p><p class="">What might have been. Rizal finally met the people he'd theorized about, and it changed his mind. Encounter over projection. Curiosity over utility. He was doing, in those final years, what anthropology would later try to systematize—approaching others on their own terms, suspending the frameworks you brought with you. It's what I attempted with Humabon: to let him be an <em>orang besar</em> playing his own game, not a figure in a nationalist moral drama.</p><p class="">But the revolution came, and then the execution, and whatever alternative vision Rizal might have developed died with him.</p><h3><strong>7.</strong></h3><p class="">We did eventually broaden "Filipino." The Lumad are in—in fact, they have become the official “Indigenous Peoples” of the country. After a long peace process, the Bangsamoro is also in. The Chinese mestizos, once a separate tribute category that paid double the taxes of <em>indios naturales</em>, vanished into plain Filipino just a few years after taxation shifted from heredity to income—proof that identity is shaped by power, not nature.</p><p class="">But Aguilar's deeper point is that we still carry the emotional and epistemic baggage of the ilustrados. The victimhood. The primordialism. The lingering sense that we were betrayed, "as though the islanders had no agency at all." The inability to accept that the Philippines was, in Nick Joaquin's words, "begotten of Spain"—that the very entity we are asked to love was created through the colonizer we are taught to resent.</p>





















  
  



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    <p><strong>None of this is meant as critique of the diaspora identity discourse. Once I understood the structural bind the ilustrados faced, my annoyance dissolved.
  
  



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  <p class="">Aguilar ends with an aspiration:</p><p class="">"Memories of past colonial injuries, which have their own histories, need to be finally uncovered, mapped, confronted, accepted, and forgiven. With the healing of historical trauma and the acknowledgment of historical truths, it will be possible for the twenty-first century to produce a new Filipino narrative of the Spanish conquest, one not reliant on primordialism."</p><p class="">I think the same aspiration applies to diaspora Filipinos navigating American racial frameworks. Maybe the goal isn't to escape the framework—that may be impossible. Maybe it's to hold it lightly. To use it strategically while knowing it's a construct. To remain open, like Rizal in Dapitan, to encounters that change your mind.</p><p class="">Rizal never got to finish his journey. But maybe we can finish it for him. Not by rejecting the ilustrado inheritance—it's too deep in us for that—but by understanding where it came from, what it cost, and what it made possible. By staying open to the people and perspectives that don't fit our frameworks. By being willing to say, as Rizal did of the Subanen: I have known them here, and I was wrong about them.</p>





















  
  



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  <p class=""><strong><em>Kahlil Corazo</em></strong><em> is a writer and scholar based in the southern Philippines. If you liked this essay, you might also like his novel, Rajah Versus Conquistador, or his essays on the Filipino experience, </em>The Invisible Philippine War.</p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781646271329-SSMUYRX3CQ8WD6VJ6IWR/Ilustrados_1890.jpg?format=1500w" medium="image" isDefault="true" width="1000" height="515"><media:title type="plain">Rizal Navigated the Troubled Water of Diaspora Identity Politics</media:title></media:content></item><item><title>The Locsin Clan: Roots, Philippine Style</title><category>Life Stories</category><dc:creator>Nathaniel “Dinky” von Einsiedel</dc:creator><pubDate>Wed, 17 Jun 2026 14:17:00 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-locsin-clan</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a3184f41d452173b3a40d69</guid><description><![CDATA[A family tree consisting of 11 volumes, containing over a million 
relatives’ names,  dates back to 1750, when a Chinese boy named Sin Lok 
arrived in Manila from Amoy (the old name of Xiamen), China.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true">The banners of the ten branches of the Locsin Clan, prominently positioned at the 2010 Grand Reunion of the clan at the Silay City Civic Center, which was attended by over 3,000 descendants of Sin Lok, a Chinese from Amoy (old name of Xiamen) who arrived in the Philippines in 1750 and was baptized Agustin Locsin when he married Cecilia Sayson of Molo, Iloilo, with whom they had eight children thus starting the Locsin Clan.</p>
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    <span class="dropcap">W</span>hen I first met Maria Lourdes “Milou” Locsin, whom I subsequently married, I didn’t know the Locsin family was one of the Philippines’ most prominent and largest clans. I was fascinated to learn that their family tree consisted of 11 volumes containing over a million relatives’ names dating back to 1750. Coming from a relatively small family, I was intrigued by their family’s long history and extensive genealogy.
  
  






  <p class="">When Milou brought me to Silay City to meet her extended family in 1972, I learned of the organized listing of the known descendants of Agustin Locsin, a Chinese man believed to have arrived in the Philippines in 1750. He settled in Molo, Iloilo, and eventually married Cecilia Sayson. From that union sprang over a million Locsin descendants scattered not only throughout the Philippines but also in many parts of the world.</p><p class="">The data in the Locsin family tree was obtained from various sources, starting with the notes of the late Dr. Vicente Locsin y Armada of Dumaguete, Negros Oriental. In laying the groundwork, he was ably assisted by the late Don Miguel Unson (husband of Nieves Locsin, a daughter of former Negros Occidental Governor Leandro Locsin).</p><p class="">Subsequently, additional information was dug up from church records, tombstones, public and family documents, newspaper clippings, and data furnished by surviving kin and family friends by means of questionnaires and interviews. Funds for the research and preparation of the initial genealogy listing, and the subsequent publication of the index, were provided by Don Carlos L. Locsin. His daughter, Carmen L. Kilayko, who supervised the initial work, was also commissioned to direct the initial publication of the Family Tree. She was assisted by her daughter, Millie, who served as coordinator.</p><p class="">Many of the later additions to the Family Tree (genealogy listing) were gathered by Gloria L. Locsin (my mother-in-law) and Connie L. Lacson, with additional data coming from the files of Fe L. Unson and her son, Rene L. Unson.</p><h3><strong>Origin of the Family Name “LOCSIN”</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">The Ciriaco Locsin branch of the Locsin Clan, one of the Clan’s ten branches. Photo taken at the 2010 clan reunion at the Silay City Civic Center.</p>
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  <p class="">A number of documents claim that the family name “Locsin” originally came from a Chinese boy named Sin Lok who arrived in Manila from Amoy (the old name of Xiamen), China, presumably together with Chinese traders, sometime in 1750. He seemed to have traveled alone, as there are no records of other persons with the same surname. He subsequently settled in Molo, Iloilo, and around 1775 was baptized as a Catholic and adopted the name Agustin Locsin when he married Cecilia Sayson, a Chinese-Ilongga mestiza.</p><p class="">According to some officers of the Locsin Genealogy Foundation (LGF), following the Chinese custom, “Loc,” “Lok,” or “Lo” must have been the surname, and “Sin,” “Tsin,” or “Sing” the given name. The LGF says the spelling is of little consequence because the names were written in Chinese and the westernized spelling was, at best, the nearest equivalent. In all existing records, however, the name is spelled L-O-C-S-I-N, and no variation has yet been discovered. The LGF believes that Sin Lok adopted the name “Agustin Locsin” in compliance with a decree by the Spanish colonial government requiring indigenous persons to adopt Christian names.</p><h3><strong>First Locsin Family</strong></h3><p class="">Based on the records dug up by the founding members of the LGF, the union between Agustin Locsin and Cecilia Sayson produced eight children, namely Josef Manuel, Domingo, Juan, Jose, Lucrecia, Ana Maria, Aguida, and Benedicta. Three sons—Domingo, Juan, and Jose—became priests, although Juan fathered a son and two daughters. This original Locsin family provided the foundation and structure for the clan’s genealogy records.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">The former Senator Dr. Jose Corteza Locsin and Salvacion Montelibano Locsin, prominent members of the Ciriaco Locsin branch of the Locsin clan.</p>
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  <p class="">While Agustin Locsin and Cecilia Sayson started their family in Molo, a large number of Locsin descendants settled in Negros Occidental, particularly in Silay, when the Spanish colonial government opened encomiendas on the island. Between 1767 and 1774, new parishes were established, with Silay being the most extensive, thus becoming the focal point in the evangelization of the north and east sides of Negros Island.</p><p class="">On November 1, 1848, Fr. Eusebio Locsin became the parish priest of Silay, joining his brother, Fr. Roman Manuel Locsin, who was appointed parish priest of Bacolod in 1837. These two brothers, both secular priests, had a great influence on the early flow of migrants, particularly the Locsins, to Negros, especially Silay and Bacolod. Fr. Eusebio invited his relatives and friends from Molo, Jaro, and Miag-ao in Panay Island to come to Silay, and together with the confluence of several factors, they came and gave Silay a unique characteristic that other towns did not have—a cultured class. While others devoted their time mostly to agricultural pursuits, the Silay parishioners took time to engage in literature, music, the arts, and entertainment, as the people also went into business, trade, and industry that gave the town wealth beyond the produce of the land. Because of this, Silay earned the distinction of being called the Paris of Negros. Central to this development were members of the Ledesma, Gaston, and Locsin families.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">Spouses Jose Corteza Locsin and Salvacion Montelibano Locsin (circa 1950) with their 18 children and their spouses and grandchildren, representing the 6th, 7th, and 8th generation Locsins from the original Agustin Locsin (formerly Sin Lok).</p>
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg" data-image-dimensions="989x720" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=1000w" width="989" height="720" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2080f417-d1af-403d-b964-45bab39e9ef2/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">The grandchildren, great-grandchildren and great-great-grandchildren of Jose C. Locsin and Salvacion M. Locsin, representing the 8th, 9th, and 10th generations Locsins, at a more recent reunion at their ancestral home.</p>
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  <h3><strong>The Locsin Clan Today</strong></h3><p class="">Based on the numbering system of the Locsin genealogy listing, Agustin Locsin represents the first generation of Locsins, and his eight children comprise the second generation. My wife, Maria Lourdes (aka Milou) Locsin, is already in the eighth generation.</p><p class="">Members of the Locsin clan today are widely recognized as belonging to one of the most organized and influential families in the sugar industry, politics, and civic affairs in the Philippines. The clan considers Silay City its home base, where the Locsin Genealogy Foundation operates a preschool for children of indigent families. Its comprehensive genealogical record listing descendants of Sin Lok (aka Agustin Locsin) includes connections to the Araneta, Benedicto, Colmenares, Diaz, Gaston, Jalandoni, Lacson, Ledesma, Lopez, Montelibano, and Yulo families, among others.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">The Jose Corteza Locsin ancestral home in Silay City, one of the many ancestral homes in Silay recognized and registered by the National Historical Commission of the Philippines.</p>
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  <p class="">Notable members of the Locsin clan include:</p><p class="">• Dr. Jose C. Locsin (1891–1977): A former senator, medical doctor, and prominent politician from Silay who was instrumental in the country’s adoption of the “Filipino First” policy, and my wife’s maternal grandfather.</p><p class="">• Soledad Lacson-Locsin (1907–1995): A distinguished bilingual writer, editor, and educator, best known for her acclaimed scholarly translation of Jose Rizal’s novels Noli Me Tangere and El Filibusterismo.</p><p class="">• Leandro V. Locsin (1928–1994): A renowned architect and a native of Silay, recognized as a National Artist. He designed the Cultural Center of the Philippines and the Palace of the Sultan of Brunei, among many other notable buildings.</p><p class="">• Teodoro Locsin, Sr. (1914–2000): A distinguished journalist, poet, guerrilla fighter, and former editor-in-chief and publisher of the Philippine Free Press; renowned for his principled opposition to authoritarianism during the Japanese occupation and the Marcos dictatorship.</p><p class="">• Raul L. Locsin (1931–1995): Son of Soledad Lacson-Locsin, a pioneering journalist and publisher who founded Business Day, the first business daily in Southeast Asia. A recipient of the Ramon Magsaysay Award for Journalism in 1999.</p><p class="">• Celia Diaz-Laurel (1928–2021): A popular theater actress and singer as well as an accomplished painter; served as the Second Lady of the Philippines from 1986 to 1992 as the wife of former Vice President Salvador Laurel.</p><p class="">• Jesusa Levy Sonora (aka Susan Roces) (1941–2022): A popular actress referred to as the “Queen of Philippine Movies”; starred in over 130 films during a career spanning six decades. She was married to the equally popular actor Fernando Poe Jr. and was the mother of former Senator Grace Poe.</p><p class="">• Teodoro “Teddy Boy” Locsin, Jr. (born 1948): Son of Teodoro, Sr.; former Secretary of Foreign Affairs and Philippine Ambassador to China; currently Philippine Ambassador to the United Kingdom.</p><p class="">• Agnes D. Locsin (born 1957): A renowned Filipino dance choreographer and a native of Davao City who is recognized as a National Artist of the Philippines. She is known for developing “neo-ethnic” Filipino dance choreography.</p><p class="">The LGF compilers, writers, and other members who collaborated in establishing the Locsin genealogy list and family tree confess to their own lack of formal training and their inexperience in this kind of work. They concede that there is presumably much more unclassified data on the Locsin genealogy that has not come to their attention. They hope that the coming generations of Locsins will be better trained and more energetic in carrying on the work, since no family tree will ever be complete. There will always be births, marriages, and deaths. Maintaining an updated genealogy listing and family tree is a continuing work in progress.</p>





















  
  



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    <p><strong>Its comprehensive genealogical record listing descendants of Sin Lok (aka Agustin Locsin) includes connections to the Araneta, Benedicto, Colmenares, Diaz, Gaston, Jalandoni, Lacson, Ledesma, Lopez, Montelibano, and Yulo families, among others.
  
  



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  <p class="">By reflecting on the Locsin clan’s history, I have come to appreciate that genealogical systems are not simply passive records of descent but rather dynamic forces of cultural continuity and adaptation in response to new challenges. They preserve not just family history but also cultural memory while simultaneously facilitating social adaptation and innovation. Through a brief review of the Locsin ancestry, I now understand that genealogy is essential to cultural evolution, historical persistence, societal transformation, and the construction of a sense of belonging in an increasingly globalized world. In short, we need to know our roots.</p><p class="">As the late Dr. Jose C. Locsin stated in his welcome speech at the Locsin clan reunion on September 28, 1974, “. . . what the Locsins have done, particularly in Silay, shows the integrated concept they have of service which ultimately seeks to make people economically stable, culturally active, and spiritually alive; in other words, free and responsible participants in a true democracy.”</p>





















  
  



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  <p class=""><strong><em>Nathaniel “Dinky” von Einsiedel</em></strong><em> is an Architect-Urban Planner and a self-declared adopted son of Silay City, the hometown of Milou Locsin, his wife of 56 years.</em></p>





















  
  



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  <p class=""><em>More articles from&nbsp;</em><a href="http://www.positivelyfilipino.com/magazine/?author=565e7297e4b062a4a307353d"><strong><em>Nathaniel "Dinky" Von Einsiedel</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781630310768-K4FD21FF8IWX36HQ8ZVG/Jose+and+Salvacion+Locsin+Great+grand+children.jpg?format=1500w" medium="image" isDefault="true" width="989" height="720"><media:title type="plain">The Locsin Clan: Roots, Philippine Style</media:title></media:content></item><item><title>Overseas Filipino Achievers, Part 5</title><category>Overseas Filipinos</category><dc:creator>Mona Lisa Yuchengco</dc:creator><pubDate>Wed, 17 Jun 2026 14:16:47 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/overseas-filipino-achievers-part-5</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a303f0d14736e04e55c929e</guid><description><![CDATA[In keeping with Positively Filipino’s goal of celebrating the 
13-million-strong (and counting) Filipino diaspora, we are launching a new 
series titled Overseas Filipino Achievers. The series recognizes 
outstanding Filipinos making their mark in various countries around the 
world. It builds on our popular and long-running feature, “FilAms Among the 
Remarkable and Famous.”]]></description><content:encoded><![CDATA[<p class=""><em>In keeping with&nbsp;Positively Filipino’s goal of celebrating the 13-million-strong (and counting) Filipino diaspora, we are launching a new series titled&nbsp;Overseas Filipino Achievers.&nbsp;The series recognizes outstanding Filipinos making their mark in various countries around the world. It builds on our popular and long-running feature,&nbsp;“FilAms Among the Remarkable and Famous.”</em></p><p class=""><em>But we need your help. If you know Filipinos outside the Philippines and the United States who are doing exceptional work in their adopted countries, please send their names, supporting documents or links, and photos to&nbsp;</em><a href="mailto:pfpublisher@yahoo.com"><em>pfpublisher@yahoo.com</em></a><em>.</em></p><h3><strong>FRANCE<br>Erica Paredes, </strong>Chef</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Erica Paredes <em>(Source: Instagram)</em></p>
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  <p class="">Paredes has two restaurants in Paris. Reyna serves dishes such as crispy chicken wings sprinkled with bright peppers and offered in three spice levels. At Mischief, she serves the home-cooked meals she prepares for her daughter and friends.</p><p class="">Reyna is a nod to her grandmother and a love letter to all the strong, wonderful women who raised and nurtured her. The menu is influenced by her Filipino upbringing and her extensive travels. Reyna started as a supper club in Paredes’ apartment in 2017 with her business partner, Cyrille Marc. Every weekend, they welcomed guests who did not know each other to their dining table to enjoy good food, share wine, and meet new people. Through Instagram and word of mouth, their renown grew.</p><p class="">In 2018, due to popular demand, Paredes began hosting pop-ups around Paris and has since taken over the kitchens of Greenhouse, Le Grand Bain, Dirty Lemon, Les Foodies, Haikara, Botanero, and others. She also completed a successful three-month residency at Mokoloco after seven months of offering takeout during the long confinement of 2020. Born in the Philippines, Paredes has lived in Paris for more than a decade. She is a business owner, mother, and former beauty editor. She starts her day with a good coffee from Kape, a Filipino coffee and bakery shop.</p><h3><strong>THAILAND<br>Johnny Anfone, </strong>Actor</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg" data-image-dimensions="352x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=1000w" width="352" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/d59b9dc8-c7db-426e-a766-3c6996f3c852/Johnny+Alfone.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Johnny Anfone <em>(Source: Facebook)</em></p>
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  <p class="">Anfone is an actor, host, singer, and politician. He is a former member of the Thai string combo band GRAND EX, where he played keyboard and sang. His best-known international role is portraying Lord Worawongsa in the 2001 Thai epic film&nbsp;<em>The Legend of Suriyothai</em>.</p><p class="">Anfone was born in Thailand to Filipino musician Rene Anfone and Thai-German mother Laongtip Puboon. He later joined Kantana, a popular Thai film and television company, and made his acting debut in the drama&nbsp;<em>Miti Muet</em>. Since then, he has appeared in more than 60 dramas and films. In 2022, he became a member of the Thai Sang Thai Party, a political party founded by Sudarat Keyuraphan.</p><h3><strong>Richy Oranate Caballes, </strong>Actress and Badminton Player</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Richy Oranate Caballes <em>(Source: Instagram)</em></p>
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  <p class="">Caballes comes from a mixed heritage. Her father is of Thai, Filipino, Australian, Swiss, British, and Spanish descent, while her mother is of Thai and Chinese descent. Before entering the entertainment industry, she competed in Miss Teen Thailand 2011. Her acting debut came in 2013 in the war-romance film&nbsp;<em>Sunset at the Chao Phraya</em>. In 2020, she competed in badminton at the 47th National College Games as a member of the Ramkhamhaeng University sports team, whose women's squad won the gold medal.</p><h3><strong>GERMANY<br>Maria Renker, </strong>Author</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Maria REnker <em>(Source: LinkedIn)</em></p>
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  <p class="">Renker moved to Germany for love and now feels at home there while teaching her children about their Filipino heritage. She always dreamed of becoming an astronaut, and today she works as a contractor for the European Space Agency, supporting missions that launch satellites into space. She enjoys her work and the opportunity to meet interesting people, especially astronauts.</p><p class="">Renker is also an author. She created the&nbsp;<em>Pastel Dinos</em>&nbsp;series, the inspirational children's book&nbsp;<em>Maria's Dream Beyond the Stars</em>, and the young adult novel&nbsp;<em>Bratwurst and Batchoy</em>, which explores themes of cultural identity, love, and self-discovery through the eyes of a Filipina navigating life between Iloilo and Germany.</p><h3><strong>Gerrit Barba Holtmann, </strong>Football Player</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg" data-image-dimensions="400x500" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=1000w" width="400" height="500" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/30abf3d3-b8ff-4ec1-8d5a-5368eaf12812/Gerrit+Barba+Holtmann+Worldfootball+net.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Gerrit Barba Holtmann <em>(Source: worldfootball.net)</em></p>
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  <p class="">Holtmann was born in Germany to a Filipino mother, making him eligible to represent both Germany and the Philippines. A professional footballer, he plays as a winger for 2. Bundesliga club VfL Bochum.</p><p class="">He was called up by the Philippines for 2022 FIFA World Cup qualification matches against China, Guam, and the Maldives. However, he was unable to make his debut because of a lack of documents. He was later included in the Philippines' 25-man squad for the 2022 FAS Tri-Nations Series but was unable to participate after contracting COVID-19 while preparing to fly to Singapore.</p><p class="">In June, Holtmann was finally called up to the Philippines squad for the Asian Cup qualifiers under coach Thomas Dooley. He made his debut against Mongolia in the third round of the 2023 AFC Asian Cup qualifiers, starting the match and scoring the game's only goal in the 93rd minute to secure a 1–0 victory.</p><h3><strong>ARGENTINA<br>Christina Sunae, </strong>Chef, Restaurant Owner, and Culinary Instructor</h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">Christina Sunae <em>(Photo by Eduardo Torres, courtesy of Christina Sunae)</em></p>
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  <p class="">Sunae is a renowned chef and culinary instructor based in Argentina. Originally from the United States and of Korean heritage, she spoke her first words in Japan and spent her childhood in the Philippines with her Filipino family.</p><p class="">Today, she lives in Argentina, where she cooks and teaches Filipino cuisine at her Buenos Aires restaurant, ApuNena – Asian Tapas. She created ApuNena after two earlier ventures: a closed-door restaurant that launched her gastronomy career in Buenos Aires and Sunae, a concept featuring flavors from Southeast Asia. In 2020, she brought the concept to Sunae BGC in Manila, Philippines.</p><p class="">In 2021, she released her book&nbsp;<em>KUSINERA FILIPINA</em>, which combines Philippine recipes, culture, and landscapes. She has appeared as a guest judge on&nbsp;<em>Celebrity MasterChef Argentina</em>&nbsp;and was featured in her own episode of the&nbsp;<em>Maridaje </em>series, showcasing Filipino cuisine paired with Patagonia products and the local Sauvignon Blanc of Argentina's Chubut region—an homage to her many cultural influences.</p><h3><strong>AUSTRIA<br>JJ Johannes Pietsch, </strong>Singer</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">JJ Johannes Pietsch <em>(Photo by Tobias Kleinlercher, wikipedia, Creative Commons)</em></p>
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  <p class="">Pietsch won the Eurovision Song Contest 2025 for Austria with the song&nbsp;<em>Wasted Love</em>. Born in Vienna to an Austrian father and a Filipino mother, he spent most of his childhood in Dubai, UAE, where he was introduced to pop music through family karaoke gatherings and to opera through his father. His musical style combines elements of both opera and pop.</p><p class="">In 2016, the family returned to Vienna. He became the first Eurovision winner of Southeast Asian descent. In December 2025, Pietsch won two fan-voted Eurovision Awards in the categories Outstanding Vocals and #ALBM Cover of the Year for his and Conchita Wurst's mashup of their Eurovision entries,&nbsp;<em>Rise Like a Phoenix</em>&nbsp;and&nbsp;<em>Wasted Love</em>. Pietsch has said that he wants to be a voice for Austria's queer community.</p><h3><strong>CZECH REPUBLIC<br>Bryan Gandola, </strong>Singer</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png" data-image-dimensions="313x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=1000w" width="313" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/bf5e2b3d-e8ad-473c-b43a-653c6950ea8b/Bryan+Gandola+Singer+IG.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Bryan Gandola <em>(Source: Instagram)</em></p>
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  <p class="">Bryan Gandola is a Filipino singer, guitarist, and songwriter based in Prague. He gained recognition as a contestant on the reality singing competition&nbsp;<em>Česko Slovenská SuperStar</em>&nbsp;in 2018, where he showcased his musical talent. Gandola is known for his engaging live performances and has released original music, including the singles&nbsp;<em>Crush</em>&nbsp;and&nbsp;<em>Living Free</em>. He has been in the music industry for 13 years and has been performing in Prague for the past six years.</p><h3><strong>Crisjel Kuklovsky, </strong>Entrepreneur and Community Supporter</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png" data-image-dimensions="313x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=1000w" width="313" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/a8d551f7-47be-4f6a-842b-d854bfa5b9d1/Crisjel+Kuklovsky+Roots+and+Wings+Online+Magazine+IG.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Crisjel Kuklovsky <em>(Source: Roots and Wings Online Magazine Facebook)</em></p>
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  <p class="">Kuklovsky owns a grocery store that serves the Filipino community in Prague. She provides assistance, consultation, and services to Filipinos (<em>kababayan</em>s) and foreigners regarding trade licensing, business visas, and family reunification in the Czech Republic.</p><p class="">She is actively involved in Filipino community events, including promoting Philippine culture and food at the Festival of Embassies in Prague. She is known for her professional and friendly approach to helping Filipinos navigate living and working in the Czech Republic. Kuklovsky is often associated with Pinoys Groceries and other Pinoy-focused enterprises in the region.</p><h3><strong>NORWAY<br>Grace Orbon-Emmelot, </strong>Photographer</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Grace Orbon-Emmelot <em>(Source: www.emmelotgracephotography.com)</em></p>
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  <p class="">Visual storyteller Emmelot says, "My photographic journey began in the Philippines, where I honed my craft and built a diverse portfolio. Now based in Norway, I explore portrait, event, documentary, and corporate photography through my evolving practice, Emmelot Grace Photography."</p><p class="">She is passionate about documentary work, creative collaborations, and capturing moments that resonate. In October 2023, Emmelot and her daughter participated in a Plan International Norge campaign to protect and promote the rights of young girls around the world. They chose to represent their home country, the Philippines.</p><p class=""><em>Source: Google and Wikipedia</em></p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781567977420-M0PFWOQ4WWGD86LY1PAO/Johannes_Pietsch_%28JJ%29_%40_Eurofesta_2025_-_25+Tobias+Kleinlercher+Creative+Commons.jpg?format=1500w" medium="image" isDefault="true" width="330" height="450"><media:title type="plain">Overseas Filipino Achievers, Part 5</media:title></media:content></item><item><title>Rebuffing Graciano Lopez Jaena’s ‘Dirty Fingers’</title><category>The Way We Were</category><dc:creator>Meyen Quigley</dc:creator><pubDate>Wed, 10 Jun 2026 15:38:00 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/rebuffing-graciano-lopez-jaenas-dirty-fingers</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a286b9157abc362f11801f2</guid><description><![CDATA[New book argues that elitist bias smeared the image of the Propaganda 
Movement’s foremost writer and hero.]]></description><content:encoded><![CDATA[<p class=""><em>Book Review: Graciano’s Dirty Fingers</em> by Emmanuel Lerona. Friends of the University of the Philippines Visayas High School (UPVHS) Foundation.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Emmanuel Lerona with his book "Graciano's Dirty Fingers"</p>
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    <span class="dropcap">I</span>longgos know Graciano Lopez Jaena as one of the heroes of the Propaganda Movement, a figure important enough that a major thoroughfare in Iloilo CIty is named after him and whose statue has pride of place in the city’s Jaro plaza. Wanting to learn more about this hero, an Ilonggo who picks up Nick Joaquin’s <em>A Question of Heroes</em> will be shocked and dismayed when he finds a Graciano described in the book as a “charlatan,” an impostor who held forth and wrote about topics he knew nothing about and indeed, made up “facts” as he went along.  
  
  






  <p class="">In Joaquin’s recounting, Graciano was a “coward” with a “complete indifference to Philippine affairs,” whose speeches were full of “empty rhetoric and floridity.” It gets even more personal: Graciano was a “dirty, disheveled and slovenly” hippie who ate sardines with his fingers and wiped his oily fingers on his clothes.</p><p class=""> </p><p class="">Nick Joaquin drew heavily from accounts by Jose Alejandrino (1870-1951), whose book, <em>The Price of Freedom, </em>published in 1949, revised after a Spanish original published in 1933, became the basis for many subsequent depictions of Graciano. Alejandrino was in Spain at the same time as Graciano, and his mocking descriptions of Graciano have been taken to be eyewitness accounts – including by historians John Schumacher, Jose Victor Torres, and Resil Mojares. </p><p class=""> </p><p class="">In fact, Alejandrino and Graciano had limited contact, as a new book,<em> Graciano’s Dirty Fingers</em> by Emmanuel Lerona, spells out. Bolstered by painstaking research, Lerona states: “The divergent locations of the two personalities’ circumstances make it implausible for Alejandrino to have directly witnessed Graciano’s activities. Given their limited contact, it would have been impossible for Alejandrino to base (the) description of Graciano as a “dirty” colleague on direct observation.” Alejandrino’s accounts are likely, Lerona says, to have come from secondhand accounts, hearsay, or rumor.</p><p class=""> </p><p class=""> </p><p class=""> </p><h3><strong>A Fixed Caricature</strong></h3><p class=""><strong> </strong></p><p class="">Lerona does not stop there. He inquires: “How does a historical figure become so fixed in caricature?” The answer, Lerona says, “lies not only in the bias of individual historians but in how the archive itself, the collection of documents, the choices about what survives, the authority of those who interpret it, shapes what can be remembered and how.” He posits that a Graciano with “dirty fingers” is an image that was perpetuated by “a colonial elite confronted with a hero who did not conform to bourgeois ideals of civility and propriety.” And he proceeds to reconstruct for us, based on rigorous research that included a trip to Spain, Lopez Jaena’s unlikely, but most definitely heroic, journey from very humble beginnings in Jaro, Iloilo, to being the clarion voice of a nation waiting to be born. </p><p class=""> </p><p class="">Lerona started his Graciano project in September 2023. Retired Supreme Court Justice Francis Jardeleza, prime mover and shaker behind the Friends of the University of the Philippines Visayas High School (UPVHS) Foundation, approached Lerona, at the time a lecturer at the University of the Philippines in the Visayas, to see if he would be interested in “redeeming Graciano.” </p><p class=""> </p><p class="">This was an effort that had already been kicked off by UPVHS alumnus Francisco Villanueva, who, while traveling in Spain and working on his own book, <em>Bugasong to Barcelona</em>: <em>Life and Works of Felix Laureano,</em>&nbsp; had come across and been alarmed by the largely negative portrayal of Graciano in history books and the lack of information on his activities in Spain. Lerona took on the challenge, dusting off church records, going in search of Graciano’s descendants and other possible informants, and using his formidable skills in technological research to access records of libraries and archives not just in the Philippines, but also in Spain, where a few librarians supported his efforts. </p>





















  
  














































  

    
  
    

      

      
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            <p class="">Graciano Lopez Jaena monument in Jaro, Iloilo City, where he was born.</p>
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  <p class=""> </p><h3><strong>Sprawling Book</strong></h3><p class=""> </p><p class="">The result is <em>Graciano’s Dirty Fingers</em>, a sprawling book that begins with a review of Spanish rule in the Philippines, including elements like the<em> encomienda</em> system,<em> reduccion,</em> mercantilism and the galleon monopoly, and the eventual waning of Spanish influence and power. It then takes us to Iloilo, a thriving port city, flush with the proceeds of the textile industry and later, the sugar trade, and its municipality of Jaro, a commercial and ecclesiastical center where an enterprising bishop, Mariano Cuartero, built an imposing cathedral and established a seminary where Graciano would receive a basic education. </p><p class=""> </p><p class="">With this background, Lerona then follows Graciano’s footsteps from Valencia where he enrolled as a medical student, to Madrid where he first came to be recognized as a gifted writer and fiery orator, and then to Barcelona where he found the fullest expression of his revolutionary ideals and where he died at the very young age of 39.</p><p class=""> </p><p class="">“By the time Graciano was born in 1856, Iloilo had already been transformed into a thriving commercial hub.” Families that profited from the economic boom sent their children to Manila and/or Europe for further education and cultural exposure. It was these students and their counterparts from other provinces who – exposed in the continent to ideas of nationalism and reform – would go on to found the Propaganda Movement in Spain. Unlike these children of the wealthy and the powerful, Graciano was able to go to Spain with limited funds provided by a distant relative. In Spain, penury was never far from his door. </p><p class=""> </p><h3><strong>‘Fray Botod’</strong></h3><p class=""> </p><p class="">Graciano had already achieved some notoriety before he left for Spain, with the distribution of his satirical piece about a dissolute Spanish priest whom he named “Fray Botod” – or the priest with the bloated stomach. His departure for Spain was partly to evade harassment by authorities, but he was also spurred by dreams. He believed Spain would offer the opportunity for him to speak more freely, and he hoped to find support for his ideas for colonial reform there.</p><p class=""> </p><p class="">Even in his early days in Madrid as a transferee to the medical studies program at the Universidad Central, Graciano’s writing shone. The <em>Gaceta Universal</em> wrote of him: “What a great pity that Mr. Graciano Lopez dedicates himself to medicine, having such enviable talents for literature!”&nbsp; He joined the <em>Circulo Hispano Filipino, </em>one of the earliest organizations formed by Filipinos in Spain, and wrote articles for its paper, the<em> Revista </em>(the equivalent of today’s “review” or “journal”). Among his early articles was an urgent plea for educational reform in the Philippines. In 1883 <em>Los Dos Mundos</em> published in full his article titled “Una Protesta,” a rebuttal of the depiction by writer Valentin Gonzalez Serrano of Filipinos as indolent. </p><p class=""> </p><p class="">Before long Graciano was giving speeches at prestigious lecture halls and intellectual gatherings, including the<em> Congreso Espanol de Geografia Colonial y Mercantil,</em> the <em>Teatro Real </em>and the <em>Fomento de las Artes. </em>After a speech he gave at the <em>Congreso Espanol de Geografia Colonial y Mercantil </em>Odon de Buen, who would go on to found the Spanish institute of Oceanography, wrote: “…..the young Filipino Graciano Lopez exposed the harmful influence exerted by religious teaching based on religious doctrine; because he carried the voice of a people, he spoke with the sincerity of someone asking for a right on behalf of his fellowmen and drew inspiration from the true principles of civilization.”<em> </em>&nbsp;</p><p class=""> </p><p class="">And then there was <em>La Solidaridad. </em>Fernando Canon, a contemporary of Graciano, Marcelo del Pilar, and Mariano Ponce in Barcelona called Graciano the “chispa,” the spark behind the newspaper. “He was the author, the initiator, the godfather…Because from his lips came forth the name <em>La Solidaridad.</em>”&nbsp; Interestingly, later historians would come to question even Graciano’s role and involvement in the paper. </p>





















  
  














































  

    
  
    

      

      
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            <p class="">Bust of Graciano Lopez Jaena originally displayed at the Graciano Lopez Jaena College in Iloilo, currently&nbsp;St. Robert’s International School. <em>(Photo courtesy of Nereo Cajilig Lujan)</em></p>
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  <p class=""><em> </em></p><h3><strong>Why the Bad Press?</strong></h3><p class=""><strong> </strong></p><p class="">Why the bad press when, especially as documented by Lerona, Graciano’s achievements are extraordinary? “When historians favored narratives that fit the prevailing nationalist project, Graciano’s papers, scattered across Madrid, Barcelona and Manila had become inaccessible and practically invisible,” Lerona explains. “The documents that prove his role, such as Fernando Canon’s eyewitness account, contemporary newspaper coverage, his own articles and speeches, were dispersed and difficult to access. In reality…a lot of writers and historians have just deemed these accounts irrelevant…”</p><p class=""> </p><p class="">Thanks to Lerona, Graciano’s footprints and his achievements are not just visible and accessible but challenge us to reflect on who gets to write the story of our nation and our nation’s heroes. “Restoring Graciano to his proper historical place reveals more than his individual accomplishments. It transforms what becomes visible about the Philippine Propaganda Movement itself, about Filipino nationalism, and about how historical memory is constructed...To rehabilitate Graciano is.... not simply to correct an injustice to one man, though that matters. It is to ask how history itself has been structured against the poor, the provincial, the unpolished.”</p><p class=""> </p><p class="">Lerona concludes: “(Graciano’s) dirty fingers that Alejandrino mocked became, in historical accounts, proof of unfitness. But when the records are read carefully, those dirty fingers, in fact, marked a dignified man’s struggle to make a living, a man who did not have the luxury of retreat into study or contemplation and who had to write and speak and organize while earning his bread….Reframing Graciano allows the emergence of a man who refused aesthetic respectability, would not trade his principles for patronage, and insisted on individual agency and liberty.”</p><p class=""> </p><p class="">Graciano died uncelebrated and unmourned in 1896 and was buried in a pauper’s grave in Barcelona. The cause of death? Arteriosclerosis, likely an effect of the tuberculosis that he contracted from years of hardship and deprivation. He did not live to see the changes he had so stirringly advocated for in his beloved homeland.&nbsp; </p>





















  
  



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    <p><strong>“To rehabilitate Graciano is.... not simply to correct an injustice to one man, though that matters. It is to ask how history itself has been structured against the poor, the provincial, the unpolished.”
  
  



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  <p class=""> </p><p class="">As he stood in front of Graciano’s grave in the Montjuic cemetery in Barcelona, where Lopez Jaena was buried, what crossed Lerona’s mind?&nbsp; He says it was reverence and gratitude, gratitude for all the people who saw the genius of Graciano. People like Pando y Valle, publisher of <em>Los Dos Mundos</em> who, in 1882, so admired a speech by Graciano that he published it in full. Now we Filipinos have Emmanuel Lerona to thank, for giving us the full historical and heroic record of Graciano Lopez Jaena – dirty fingers and all.</p><p class=""> </p><p class=""> </p><p class=""><em>Graciano’s Dirty Fingers</em> is a publication of the Friends of the University of the Philippines Visayas High School (UPVHS) Foundation. Inquiries about the book may be sent to books.friendsofupvhsfoundation@gmail.com.</p>





















  
  



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  <p class=""><strong><em>Marilynn (Meyen) Quigley</em></strong><em> is a poet and writer based in Victoria, British Columbia, Canada. She is a graduate of the University of the Philippines in Iloilo City (now the University of the Philippines in the Visayas) and was one of the editors of “Graciano’s Dirty Fingers,” together with Maria Luisa Mabunay and Francisco G. Villanueva.</em></p>





















  
  



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  <p class=""><em>More articles from </em><a href="https://www.positivelyfilipino.com/?author=665fa14cecb0a708916259fa"><strong><em>Meyen Quigley</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781033938596-EVND4Z73WUWWNJKFBLLO/graciano+bust.jpeg?format=1500w" medium="image" isDefault="true" width="338" height="450"><media:title type="plain">Rebuffing Graciano Lopez Jaena’s ‘Dirty Fingers’</media:title></media:content></item><item><title>Finding the Philippines in Mexico</title><category>The Way We Were</category><category>First Person</category><dc:creator>Cesar Polvorosa Jr.</dc:creator><pubDate>Wed, 10 Jun 2026 15:37:42 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/finding-the-philippines-in-mexico</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a28a058068d267d95144603</guid><description><![CDATA[In Mexico, the author did not simply discover another country. He 
encountered a forgotten mirror of the Philippines itself.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">The Yucatan Peninsula <em>(Source: Google Maps)</em></p>
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    <span class="dropcap">S</span>tanding on the sun-warmed shore of the Yucatán Peninsula during my son’s wedding, watching Caribbean waves roll gently onto the Mexican coast, I was struck by an unexpected sense of familiarity. It felt like the comforting embrace of home. The feeling went beyond the tropical sway of coconut palms and the balmy sea breeze. This could have been a beach in Iloilo or Batangas, but it was more than that. The churches, plazas, food, family-centered culture, language, faces, and even the cadence of daily life felt uncannily close to the Philippines. A deep sense of nostalgia washed over me. Thousands of kilometers from Manila, I found echoes of the Philippines everywhere I looked.
  
  






  <p class="">I turned and walked back toward the pavilion with a pleasant, expectant air, where my family, our friends, and the bride’s relatives were celebrating. I overheard the Mexican staff and local guests speaking Spanish, and I could follow the gist of their conversations. Though I understood Spanish far better than I could speak it, the body language, humor, and warmth felt instinctively familiar. What I had long encountered in books and historical studies suddenly became tangible and alive. The connection was no longer abstract history. It had entered the realm of lived experience.</p><h3><strong>Historical Connections</strong></h3><p class="">What I felt was not merely coincidence or the lingering traces of Spanish colonialism. It was the realization that Mexico and the Philippines were once deeply connected worlds—linked for centuries through trade, religion, migration, and empire. In many ways, the Philippines and Mexico continue to share historical experiences, cultural instincts, and even social realities that remain visible today.</p><p class="">For many Filipinos, Mexico remains a distant country associated with mariachi music, tacos, and colorful fiestas. Yet historically, Mexico may be one of the most important foreign influences in the shaping of Filipino identity. Long before modern globalization, before airplanes and the internet, the Manila–Acapulco galleon trade connected the Philippines to New Spain—colonial Mexico—for 250 years, from 1565 to 1815. During this period, Manila and Acapulco were not peripheral outposts but twin gateways of a trans-Pacific world that carried silver, spices, textiles, culture, porcelain, and ideas across oceans.</p><p class="">The Philippines was governed not directly from Madrid for much of the Spanish colonial period but through the Viceroyalty of New Spain in Mexico City. Mexican soldiers, priests, merchants, and administrators arrived in the islands, while Filipinos traveled to Mexico aboard the galleons. Cultural exchanges flowed continuously across the Pacific. This helps explain why many Filipino traditions often feel closer to Latin America than to East Asia.</p><p class="">The similarities remain striking even today. Deep Catholic religiosity, elaborate town fiestas, extended family structures, emotional warmth, popular devotions, and even aspects of language and cuisine reveal shared historical experiences. Filipino dishes such as tamales and arroz caldo reflect culinary influences transmitted through the galleon trade.</p><p class="">Words in Philippine languages trace their roots not only to Spanish but also to Nahuatl, such as&nbsp;<em>tiyangge</em>&nbsp;(street market), as well as to Mexican Spanish. The baroque churches that dominate many Philippine towns strongly resemble churches across Latin America. Instead of the towering pagodas and temples commonly associated with Asia, the Philippine landscape often features soaring church steeples.</p><h3><strong>Similar Passions: The Three Bs</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">Walking in the Yucatan Peninsula <em>(Photo by Cesar Polvorosa, Jr.)</em></p>
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  <p class="">The similarities are not merely historical abstractions; they also appear in everyday popular culture. I smiled when resort staff repeatedly exclaimed “Pacquiao!” after discovering my Filipino roots and learning that I could converse in some Spanish. It was another reminder that I should have taken my Spanish courses at U.P. more seriously decades ago.</p><p class="">Indeed, Mexicans and Filipinos share a surprising affection for what some jokingly call the “three Bs”: boxing, beauty pageants, and billiards.</p><p class="">While soccer overwhelmingly dominates Mexican sports culture, basketball also enjoys enormous popularity—another convergence of interests with Filipinos.</p><p class="">The historian Arnold J. Toynbee is often credited with observing that “the Philippines is a Latin American country transported to the Orient by a giant marine wave.” Historians have struggled to verify the original source of the quotation, and it may well be apocryphal. Yet, authentic or not, the line captures an important truth: the Philippines possesses a unique historical and cultural affinity with Latin America that distinguishes it from much of East and Southeast Asia.</p><p class="">There is even an old saying that “Filipinos think like Americans, feel like Spaniards, and act like Malays.” Though simplistic, it reflects the Philippines’ layered historical identity. Spanish colonialism, American influence, and Asian roots combined to produce a society unlike any other in Asia. This cultural hybridity often becomes the invisible bridge that allows Filipinos and Latin Americans to connect with unusual ease.</p><p class="">Yet the ties between Mexico and the Philippines extend beyond food, religion, and shared sentimentality. They also shaped social structures and political institutions whose effects continue to influence both societies today.</p><h3><strong>Encomienda Legacy</strong></h3><p class="">Spanish colonialism implanted deeply unequal class structures across both the Philippines and Latin America. Through systems resembling <em>encomiendas </em>or feudal arrangements, land, wealth, and political power became concentrated in the hands of narrow elites. Over generations, this produced entrenched political dynasties, oligarchic control, regional strongmen, and persistent inequality.</p><p class="">Political scientist Benedict Anderson once described the Philippine system as a “cacique democracy,” where powerful local elites dominate political and economic life. Similar structures emerged across much of Latin America. In both regions, politics often became less about institutions and more about families, personalities, patronage networks, and competing oligarchies.</p><p class="">Such conditions also fostered recurring social unrest. Throughout modern history, both the Philippines and Latin America experienced insurgencies rooted partly in inequality and rural dispossession. The Philippines had the New People’s Army, while Latin America witnessed movements such as Colombia’s FARC, Peru’s Sendero Luminoso, and Mexico’s Zapatistas.</p><p class="">Given these historical parallels in political economy, their economic trajectories unsurprisingly reveal striking similarities. In the decades after the Second World War, the Philippines was among the more advanced economies in Asia. Yet over time, neighboring countries such as South Korea, Taiwan, Singapore, Malaysia, Thailand, Indonesia, and later Vietnam surged ahead.</p><p class="">This mirrored Latin America’s own developmental struggles. During the 1950s and 1960s, several Latin American economies were ahead of East Asia in income levels and industrial development. Yet East Asia eventually overtook them through stronger institutions, industrial policy, export competitiveness, and developmental states. South Korea eventually surpassed major Latin American countries such as Mexico, Brazil, and Argentina in per capita income.</p><p class="">The Philippines, meanwhile, often followed a trajectory more familiar to Latin America: cycles of growth followed by crisis, persistent inequality, corruption scandals, oligarchic concentration, and uneven development. In many cities throughout both regions, gleaming skyscrapers coexist alongside sprawling slums. This reflects the power of path dependency—the way history continues to shape the future in both the Philippines and Latin America.</p><p class="">The Marcos era particularly highlighted these contrasts. While authoritarian governments in parts of East Asia oversaw export-led industrialization and economic transformation, particularly in Singapore and South Korea, the Philippines acquired the unfortunate reputation of being the “Sick Man of Asia.” Political sociologist Peter B. Evans used the concept of “embedded autonomy” to distinguish developmental states from predatory ones. East Asian states often developed strong bureaucratic capacity aligned with national industrial goals, while weaker states became vulnerable to elite capture and rent-seeking.</p><p class="">This does not mean, however, that the Philippines and Latin America are identical. Latin America underwent far deeper demographic transformation under European colonization, including large-scale settlement and the forced importation of African slaves after indigenous populations collapsed from disease and exploitation. The Philippines retained stronger indigenous continuity while simultaneously absorbing influences from China, India, Indonesia, and the broader Malay world.</p><p class="">My inability to communicate with Mexicans in fluent Spanish also reflects another stark difference between the Philippines and Mexico. Spanish became widespread as the primary language of communication in Mexico but not in the Philippines. Unlike Mexico, the Spanish colonizers never intended the Philippines to become a large settler society. They relied on the friars for instruction, who, however, preferred to learn the native languages when teaching the indigenous population. The remoteness of the Philippines from Europe and the fragmented geography of the archipelago likewise contributed to Spanish fluency remaining largely limited to the local elite during the colonial period.</p><p class="">Still, Mexico remains perhaps the closest Latin American parallel to the Philippines. The resemblances are remarkable. Both countries are among the world’s most populous nations, possess vast diasporas, and rely heavily on remittances from overseas workers. In both societies, the United States exerts enormous economic, cultural, and political influence.</p><p class="">Most importantly, Mexico and the Philippines shared more than two and a half centuries of direct colonial linkage under the Viceroyalty of New Spain. The Manila–Acapulco galleons did not merely transport goods. They carried ideas, beliefs, traditions, and social structures across the Pacific.</p><p class="">This forgotten connection helps explain why many Filipinos feel an emotional affinity upon visiting Mexico. The similarities appear not only in churches and fiestas, but also in humor, hospitality, family-centered life, and the resilience of ordinary people confronting inequality and political dysfunction.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Cancun <em>(Photo by Cesar Polvorosa, Jr.)</em></p>
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  <h3><strong>A Latin American Past—and Future?</strong></h3><p class="">At the same time, history offers cautionary lessons. The Philippines faces the danger of settling into a developmental path resembling parts of Latin America: moderate economic growth accompanied by persistent inequality, corruption, weak institutions, crime, and recurring governance crises.</p><p class="">Years ago, I wrote that Vietnam was poised to overtake the Philippines economically. At the time, it was largely a projection. Today, it has effectively happened by several important indicators. Vietnam’s rise demonstrates how governance, industrial policy, and long-term strategic direction can transform a nation within a generation.</p><p class="">Understanding the foundations of Philippine political economy is therefore essential to discerning the country’s future direction. History does not proceed in a mechanistic fashion. History is not destiny, but it shapes the institutions, class structures, and political cultures nations inherit.</p><p class="">Aspiring to Mexican income levels is a worthy objective. Present-day Mexicans enjoy per capita incomes that are more than three times those of the average Filipino. Mexico thus offers one possible future scenario for the Philippines, but it also serves as a cautionary example. The country continues to struggle with high levels of inequality, corruption, and crime. Rather than following the trajectory of South Korea—or even Thailand—the Philippines may be tracking more closely toward the Latin American model.</p>





















  
  



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    <p><strong>What I felt was not merely coincidence or the lingering traces of Spanish colonialism. It was the realization that Mexico and the Philippines were once deeply connected worlds.
  
  



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  <p class="">Yet this story is not necessarily one of caution or decline. The Philippine–Mexican connection is also a story of extraordinary cultural richness and historical resilience. Out of centuries of exchange emerged societies capable of blending indigenous, Asian, European, and American influences into vibrant and distinctive national cultures.</p><p class="">For Filipinos today—especially younger generations and members of the diaspora—rediscovering the Philippines’ historical relationship with Mexico broadens the understanding of Filipino identity itself. The Philippines is not only an Asian nation. In many ways, it is also part of a wider Hispanic and Latin American historical world connected across the Pacific.</p><p class="">As I stood on that beach in Yucatán celebrating my son’s wedding, I realized that the sense of home I felt was not accidental. Amid the sound of waves in the gathering twilight, it became another moment of self-discovery. History had crossed the Pacific centuries before me. The ocean separating Mexico and the Philippines may be vast, but the cultural memory carried across it remains remarkably close.</p><p class="">And perhaps that is what moved me most. In Mexico, I did not simply discover another country. I encountered a forgotten mirror of the Philippines itself.</p>





















  
  



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  <p class=""><strong><em>Cesar Polvorosa Jr.</em></strong><em> is a professor of International Business and Economics at a Canadian university. He had been nominated for the Pushcart Prize in Poetry, and both his poetry and short stories have been anthologized in Asian and North American publications. He is an occasional contributor on economic development, globalization and geopolitics to Business World, Interaksyon and PhilStar.</em></p>





















  
  



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  <p class=""><em>More articles from </em><a href="https://www.positivelyfilipino.com/?author=685b0a2b1af1c47ae4884c0a"><strong><em>Cesar Polvorosa, Jr.</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781048803169-SV64WCFPBA39AGBHSF6T/20241217_182332%7E4.jpg?format=1500w" medium="image" isDefault="true" width="450" height="600"><media:title type="plain">Finding the Philippines in Mexico</media:title></media:content></item><item><title>The Terno: Living Silhouette of the Filipino Soul</title><category>Arts &amp; Culture</category><dc:creator>Zardo A. Austria</dc:creator><pubDate>Wed, 10 Jun 2026 15:37:12 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-terno-living-silhouette-of-the-filipino-soul</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a282d0f18ac122fa3516fc6</guid><description><![CDATA[Across centuries, the terno has mirrored the evolving realities of Filipino 
society.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true">Likely taken in the early 1900s, the photograph shows two women dressed in the classic Filipiniana ensemble — the <em>baro’t saya</em> — composed of the<em> baro</em> (blouse), the<em> pañuelo</em> draped over the shoulders, the <em>saya</em> (skirt), and the <em>tapis</em> worn as an overskirt. <em>(Photo courtesy of Mario Feir and Lito Perez)</em></p>
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    <span class="dropcap">F</span>ew garments capture the spirit, history, and artistry of a nation as vividly as the Filipino <em>terno.</em> More than a dress, it is a visual chronicle of the Philippines itself—shaped by colonial encounters, nationalist awakening, artistic innovation, and the evolving role of women in society.
  
  






  <p class="">From the layered elegance of the Maria Clara ensemble to the sculptural butterfly sleeves of the modern terno, each transformation reflects the cultural, political, and economic currents of its time.</p><h3><strong>From Baro’t Saya to the Maria Clara</strong></h3><p class="">The roots of the terno lie in precolonial attire, when Filipino women wore the <em>baro</em> (blouse) and<em> saya</em> (skirt), often accompanied by a <em>tapis</em>&nbsp;(overskirt). These garments were woven from indigenous fibers such as cotton and abaca and designed for comfort in the tropical climate.</p><p class="">Spanish colonization in the 16th century reshaped clothing traditions. European ideals of modesty and rigid social hierarchy influenced Filipino attire, ushering in a refined aesthetic that mirrored colonial sensibilities. From this cultural convergence emerged a hybridized form of the baro’t saya, a four-piece ensemble composed of the blouse, skirt, <em>pañuelo</em> (shoulder scarf), and tapis (the single rectangular piece of cloth wrapped around the waist or chest as a skirt). </p><p class="">By the 19th century, this attire had become synonymous with the refined Filipina of the <em>ilustrado</em> class, that is, the educated, middle-to-upper class Filipino intelligentsia during the late 19th century Spanish colonial period. Delicate textiles such as <em>piña </em>and <em>jusi</em>, embellished with intricate embroidery, demonstrated the extraordinary craftsmanship of Filipino artisans.</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg" data-image-dimensions="300x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=1000w" width="300" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/038d8104-eea2-41f2-b250-c785a72d7191/Manilla+Girl.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">First printed in <em>The Illustrated London News</em> in 1857, this hand‑tinted wood engraving—<em>Manilla Girl: Vintage Filipina Identity Dress </em>by English artist Charles Wirgman—captures a gentle domestic ritual of the era. Known for sketching everyday life across the Philippines, China, and Japan, Wirgman depicts a “postprandial” pause: a young Filipina wearing an indoor dress, composed and unhurried, enjoying a cigar in the calm that follows a meal. <em>(Photo courtesy of Mario Feir and Lito Perez)</em></p>
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  <p class="">The ensemble was immortalized in literature through the character Maria Clara in <em>Noli Me Tangere,</em> giving the attire its enduring name—the Maria Clara dress. Though often associated with colonial gentility, it also became a subtle expression of Filipino cultural identity within Spanish colonial society.</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg" data-image-dimensions="800x598" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=1000w" width="800" height="598" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/067172ac-a7ca-4b4f-9a2f-6f44df8c44be/Maria+Clara.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">Based on Charles Wirgman’s 1857 sketches for <em>The Illustrated London News</em>, the scene captures the lively rhythm of 19th‑century street life. In the Manila busy marketplace, a young Filipina in her elegant Maria Clara quietly draws the eye. <em>(Photo courtesy of Mario Feir and Lito Perez)</em></p>
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  <h3><strong>The Traje de Mestiza and Cosmopolitan Manila</strong></h3><p class="">At the dawn of the 20th century, the Philippines entered a new era under American rule. Western education, urban modernization, and global entertainment began reshaping Filipino lifestyles.</p><p class="">During this period, the Maria Clara ensemble evolved into the <em>traje</em> <em>de mestiza</em>, a transitional form that retained its elegance while introducing a more streamlined silhouette. The pañuelo gradually disappeared, sleeves grew larger and more sculptural, and skirts became sleeker.&nbsp;</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png" data-image-dimensions="318x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=1000w" width="318" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/4f5b73be-e2df-4afd-b1e2-94ea4e315f10/Traje+de+meztiza.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">A modern reinterpretation of the <em>traje de mestiza</em> by 2024 Obra Maestra Awardee for Philippine Fashion Design, Lito Perez of Camp Suki—celebrated for restoring the grace and grandeur of the terno and other garments of Filipino heritage. <em>(Photo courtesy of Mario Feir and Lito Perez)</em></p>
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  <p class="">This transformation reflected the changing role of the Filipina, who was becoming increasingly visible in public life as an educator, civic leader, and professional.</p><p class="">The glamour of the Manila Carnival accelerated this evolution. Carnival queens appeared in dazzling gowns that blended Filipino textiles with Western haute couture aesthetics. Inspired by Hollywood films and international fashion magazines, designers incorporated Art Deco motifs, dramatic trains, and shimmering beadwork. The result was a striking fusion—Filipino tradition infused with cosmopolitan sophistication.</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg" data-image-dimensions="307x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=1000w" width="307" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/5b0f7eb5-a53b-4547-b926-fdc327190e60/Carnaval+Queens.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">The Carnival Queens stood at the front of a new era, signaling the rise of women’s power and public voice. <em>(Photo courtesy of Mario Feir and Lito Perez)</em></p>
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  <h3><strong>The Era of the Modistes</strong></h3><p class="">The golden age of the traje de mestiza and early terno during the 1920s and 1930s was shaped largely by women designers known as modistes. Though modestly titled, these women were the true architects of modern Filipino fashion.</p><p class="">Among the most celebrated was Pacita Longos, widely credited with refining the dramatic butterfly sleeve that would later define the terno. Her designs became synonymous with Manila elegance.</p><p class="">Equally influential was Juanita Mina Roa, considered Longos’s greatest rival. Roa dressed members of the political elite, including First Ladies Aurora Quezon and Esperanza Osmeña, and is credited with introducing the pañuelo-less terno in 1936—simplifying the silhouette and paving the way for the modern one-piece gown. </p><p class="">Other prominent modistes included Pura Escurdia, whose atelier catered to Manila’s high society during the peacetime, and Marina Antonio, admired for her meticulous craftsmanship in creating elaborate ternos before the war.</p><p class="">Another legendary establishment was the Vanity Dress Shop, run by the Lo sisters—Tita Chayong and Tita Ling—whose dress studio produced elegant gowns for Manila’s most fashionable women. Closely associated with this pioneering generation was the historic House of RT Paras, regarded as the oldest continuously operating fashion atelier in the Philippines.</p><p class="">Founded in 1902 in Angeles, Pampanga, by self-taught seamstress Roberta Tablante Paras, the atelier began as a modest dressmaking enterprise that would evolve into a multigenerational institution in Philippine fashion. Known as Aling Belta, Paras was renowned for her discipline in precision tailoring and mastery of fine materials. She later established the RT Paras School of Dressmaking in Manila, training generations of dressmakers in couture craftsmanship.</p><p class="">Her daughter Josefina Tayag Gonzales, often called the “Chanel of the Philippines,” continued the legacy, elevating the house through technical perfection and refined design. In 1957 the atelier moved to Quezon Avenue, becoming a favored fashion house among Manila’s elite circle.</p><p class="">The third generation was led by Froilan Gonzales, internationally known as Roy Gonzales, who later achieved recognition in Parisian haute couture before returning to continue the family tradition. Across more than a century, the House of RT Paras has dressed presidents (President Cory Aquino and President Gloria Macapagal-Arroyo), first ladies, and cultural luminaries—including Imelda Marcos and Imelda Cojuangco—remaining a symbol of enduring craftsmanship in Philippine fashion.</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg" data-image-dimensions="259x450" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=1000w" width="259" height="450" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3c69cf59-f7a5-4e43-8318-679843e54720/first-lady-imelda-marcos-with-prime-minister-indira-gandhi-cropped-d76bec-1024+picryl.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p data-rte-preserve-empty="true">First Lady Imelda Marcos with Indian Prime Minister Indira Gandhi <em>(Source: Picryl)</em></p>
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  <p class="">Building on the legacy of pre-war Manila’s modistes, post-war designers introduced key innovations that would define the national dress: the sculptural butterfly sleeve, Art Deco embellishment, and unified silhouettes made possible by the use of zippers, allowing garments to evolve from multi-piece ensembles into the sleek one-piece terno.</p><h3><strong>War, Liberation, and the Male Couturier</strong></h3><p class="">World War II disrupted the Philippine fashion scene, yet the years that followed brought profound cultural change. As society emerged from wartime austerity, social attitudes became more relaxed, and traditional gender roles began to shift. This period saw the rise of male couturiers, most notably Ramon Valera.</p><p class="">Valera revolutionized Filipino fashion by perfecting the one-piece terno, eliminating the separate blouse and skirt to create the sleek, continuous silhouette recognized today. His mastery of proportion and architectural sleeve construction elevated the terno to the level of haute couture, eventually earning him recognition as the first National Artist for Fashion Design.</p><p class="">As the Philippines moved toward independence in 1946, the terno emerged as a powerful visual symbol of national identity—distinct from both European and American fashions. However, in the decades following the war, global fashion trends began influencing everyday apparel. Western dresses and casual attire became more common, and the elaborate terno gradually receded from daily use.</p><h3><strong>Politics, Power, and Reinvention</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">The Terno at the Honolulu Museum of Art<em> (Source: Picryl)</em></p>
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  <p class="">During the presidency of Ferdinand Marcos, the terno returned to global prominence through the dramatic gowns worn by first lady Imelda Marcos at international events. Her wardrobe projected an image of Filipino elegance and cultural sophistication abroad.</p><p class="">Yet the symbolism of the terno became complex during the years of Martial Law, when it was sometimes associated with political extravagance. During the People Power Revolution, however, simplified versions of traditional attire appeared in civic gatherings, symbolizing dignity and moral resolve within the democratic movement.</p><h3><strong>A Contemporary Renaissance</strong></h3><p class="">In recent decades, the terno has experienced a powerful revival. Contemporary Filipino designers reinterpret the iconic butterfly sleeve through modern silhouettes—from minimalist gowns to avant-garde couture. They incorporate both innovative materials and heritage textiles such as <em>inaul</em>, <em>abel Iloko</em>, and <em>t’nalak</em>, reconnecting fashion with traditional weaving communities.</p>





















  
  



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    <p><strong>Today the terno appears on international runways, museum exhibitions, and diplomatic occasions, serving as a cultural ambassador for the Philippines.
  
  



<hr />



  <p class="">Today the terno appears on international runways, museum exhibitions, and diplomatic occasions, serving as a cultural ambassador for the Philippines. It has also become a symbol of modern Filipina leadership. Public figures such as Leni Robredo have worn it at official events, affirming national identity while projecting strength and dignity.</p><h3><strong>A Living Masterpiece</strong></h3><p class="">Across centuries, the terno has mirrored the evolving realities of Filipino society—from colonial hierarchy and nationalist awakening to modern empowerment and artistic reinvention. Influenced by indigenous craftsmanship, Spanish elegance, American modernity, Hollywood glamour, and global couture, it remains one of the most distinctive garments in the world.</p><p class="">More than fashion, the terno is a living masterpiece—a wearable chronicle of the Filipino soul, where history, culture, and artistry merge in a single unforgettable silhouette. </p><p class=""><em>The author warmly thanks Dexjordi Lyle Sison for his generous help with the photographs.</em></p>





















  
  



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  <p class=""><strong><em>Zardo A. Austria</em></strong><em> is an award‑winning cultural impresario, writer, and publisher best known for creating </em>Obra Maestra,<em> the landmark series celebrating Philippine fashion, culture, and the arts. A two‑time Aliw Award honoree, he received the 2020 Aliw Award for Artistic Excellence and the 2022 Best Special Event Production Award for Obra Maestra in Taal, distinctions granted by the Aliw Awards Foundation, the country’s foremost institution recognizing excellence in live entertainment and cultural presentation.</em></p><p class=""><em>He launched his professional writing career at 17, while a sophomore at the University of the Philippines Diliman, beginning a distinguished five‑decade journey in publishing. Since then, he has served as editor and creative director of five lifestyle and travel magazines and has authored and published four acclaimed coffee‑table books on Philippine heritage and history.</em></p><p class=""><em>He currently writes the online column “Epiphanies of the Soul” and is preparing to release his fifth book, </em>The Premium Collector’s Edition of Obra Maestra: Threads of Power, Silhouettes of Heritage, Weaves of Filipino Soul.</p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781018407352-MQ37MFRZ7NJ0WVVW04GT/Two+Women.jpg?format=1500w" medium="image" isDefault="true" width="338" height="450"><media:title type="plain">The Terno: Living Silhouette of the Filipino Soul</media:title></media:content></item><item><title>Barong and Filipiniana: A Foreigner’s Altered Impression </title><category>Arts &amp; Culture</category><dc:creator>Anton Dvoryadkin</dc:creator><pubDate>Wed, 10 Jun 2026 15:37:03 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/barong-and-filipiniana-a-foreigners-altered-impression</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a2816de119510031d72e34b</guid><description><![CDATA[A foreigner traces the evolution of his appreciation for  Filipiniana 
fashion.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true"><strong>Filipiniana on the Runway</strong><br>A contemporary Filipiniana shown on the runway, combining traditional silhouette with updated proportions.</p>
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    <span class="dropcap">I</span> grew up in Siberia and moved to the Philippines in 2022. It was the right decision for me, and I have never regretted it.
  
  






  <p class="">Before that, I didn’t even know that the Philippines had a national dress or what it looked like. I first encountered Filipiniana when my former Filipina girlfriend showed me a dress she had rented for a special occasion. She was genuinely happy about it.</p><p class="">“Oh my God,” I thought. Those sleeves looked so strange. What was that supposed to be? That was my first impression. When I cautiously hinted at it, she was surprised and hurt. I think I offended her. I didn’t mean to — I just said what I honestly thought at the time.</p><p class="">My first experience with the <em>barong</em> was not much better. In one store I saw shirts made of semi-transparent fabric and asked a friend what they were. “Barong Tagalog — the national Filipino shirt,” he replied. I stepped closer and touched the fabric. It felt almost like plastic. Most likely, it was synthetic. In a hot climate, it seemed odd. I genuinely didn’t understand how anyone could wear something like that.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true"><strong>Barong Tagalog in Piña Cocoon Silk</strong><br>Two Barong Tagalog in piña cocoon silk; the right piece features traditional calado integrated into the fabric.</p>
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  <p class="">Later, I met Josip Tumapa, who worked as a designer. In the studio, I saw a jacket and heard the same name again — Barong Tagalog. But this one was completely different.</p><p class="">The fabric was soft, with a slight sheen. As I learned later, it was piña cocoon silk. For the first time, I noticed the ornament. It was floral, running across the entire front panel and extending onto the sleeves. Everything looked different from what I had seen in that store.</p><p class="">Gradually, I began to see how varied these shirts could be — from strict, classic versions to more daring and experimental ones. The barong stopped seeming like a strange formality. It was far more complex than I had initially thought.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true"><strong>Calado Detail in Piña Cocoon Silk</strong><br>Close view of <em>calado</em>, where threads are withdrawn to form geometric openings within piña cocoon silk.</p>
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  <p class="">Filipiniana was a different story. I rarely saw dresses like that in stores and for a long time considered the style strange. To be honest, I didn’t like it. Most likely, I simply hadn’t encountered works that could change my perception.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true"><strong>Avant-Garde Filipiniana<br></strong>An experimental Filipiniana with structured panels and metallic elements.</p>
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  <p class="">The turning point came at a fashion show. That was where I saw Filipiniana in very different forms — from traditional interpretations to avant-garde ones. When the models stepped onto the runway, I didn’t immediately realize I was looking at Filipiniana. One look matched the familiar image — with voluminous sleeves and a recognizable silhouette. Another appeared completely different, with bolder construction and unexpected lines. Only later, in conversation with the designers, did I learn that both belonged to the same tradition. I had to ask several times. The difference from the image I carried in my head was that striking.</p>





















  
  



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    <p><strong>Over time, I realized that my first impression had been superficial. Back then, I would never have imagined that one day I would want a barong for myself.
  
  



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  <p class="">That’s when I understood that Filipiniana isn’t limited to a single canon. It can be traditional, or it can take on an entirely different form — with a new skirt structure, altered shoulder lines, and a different architectural balance. Later, I saw many more interpretations, from classic to experimental.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true"><strong>Evolving Filipiniana Form<br></strong>A modified Filipiniana silhouette with altered sleeves and volume.</p>
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  <p class="">Over time, I realized that my first impression had been superficial. Back then, I would never have imagined that one day I would want a barong for myself. Now I find myself choosing the ornament for my future barong — not with irony, but with genuine attention to the details.</p>





















  
  



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  <p class=""><strong><em>Anton Dvoryadkin</em></strong><em> is General Manager at Josip Tumapa Design in the Philippines. He handles international communication for the studio</em>.</p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1781015814531-6IR3DQ3I79RTHUT0XAPU/Filipiniana+on+the+Runway.jpg?format=1500w" medium="image" isDefault="true" width="300" height="450"><media:title type="plain">Barong and Filipiniana: A Foreigner’s Altered Impression</media:title></media:content></item><item><title>Taylor Sheesh, a Swiftie Love Story</title><category>Entertainment</category><dc:creator>Mima Holt</dc:creator><pubDate>Wed, 03 Jun 2026 19:11:31 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/taylor-sheesh-a-swiftie-love-story</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a1efb36c60d4c0d0e5ce946</guid><description><![CDATA[Find out how Taylor Sheesh evolved from a niche act into a recognizable 
presence within Filipino pop culture.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true" class="">Mac Coronel as Taylor Sheesh <em>(Photo courtesy of Quonco Productions)</em></p>
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    <span class="dropcap">I</span>f you haven’t heard of Taylor Sheesh, you’re about to. The Philippines’ iconic Taylor Swift drag queen, known for uncanny lip syncs, polished looks, and a larger-than-life presence, has become both a viral sensation and a cultural force back home. Now, she’s the subject of a new short documentary, <em>Sheesh, A Taylor Love Story,</em> which is premiering in the U.S. at DC/DOX on June 14.
  
  






  <p class="">Taylor Sheesh is the drag persona of Mac Coronel, a Manila-based performer who began building a following through live appearances and social media, where his Taylor Swift lip syncs quickly stood out for their precision and emotional detail. What started as performance–part homage, part fandom–grew into something more expansive as audiences responded not just to the accuracy, but to the feeling behind it. Over time, Taylor Sheesh evolved from a niche act into a recognizable presence within Filipino pop culture, fueled by fan communities that treated each performance as both concert and collective experience. </p><p class="">At the helm of the short film is Ramona S. Diaz, one of the most important documentarians of the Filipino experience today. Over decades, Diaz has brought a rare blend of rigor and tenderness to her work, from <em>Imelda </em>to <em>Motherland, </em>which won the World Cinema Documentary Special Jury Award at Sundance, to <em>A Thousand Cuts, </em>her Emmy-winning chronicle of journalist Maria Ressa’s fight for press freedom. With <em>Sheesh, A Taylor Love Story, </em>Diaz continues that tradition, finding in Taylor Sheesh a story that is joyful on the surface and deeply rooted in something more. </p><p class="">She’s joined by Academy Award-nominated producer Diane Quon, whose work on <em>Minding the Gap </em>and <em>Finding Yingying </em>reflects a long-standing commitment to human-centered storytelling. The collaboration is a natural fit: a film that feels celebratory and sincere, but grounded in something real. </p><h3><strong>Why Taylor Sheesh?</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">Taylor Sheesh <em>(Photo courtesy of Quonco Productions)</em></p>
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  <p class="">For Ramona Diaz, the answer came quickly.</p><p class="">“I have always been drawn to spectacle, both big and small,” she says. “Throughout my career, I have focused on stories about gender and identity. So when Mac Coronel, also known as Taylor Sheesh, captured my attention in 2024 during the widely publicized Eras Tour, I was immediately intrigued.”</p><p class="">As Taylor Sheesh began to gain traction across Instagram and TikTok, Diaz trusted her instincts.</p><p class="">“I jumped right in without overthinking it–sometimes overanalyzing can lead you to miss important moments, and this was one of those times.”</p><p class="">For Mac Coronel, the persona speaks for itself. </p><p class="">“Filipino drag excellence,” he says simply. </p><p class="">His manager, Drew Pillerva, sees it through a different, complementary lens–one rooted in resourcefulness. </p><p class="">“Accessibility and adaptability,” he says. “The main reason why the Errors Tour happened is because there was no Eras Tour in the Philippines. So let’s just make one. Let’s just enjoy the one we made up.”</p><p class="">It’s a mindset that feels distinctly Filipino: making something out of nothing, and doing it with joy. </p><h3><strong>The Making of the Film</strong></h3><p class="">Filming a performer like Taylor Sheesh means capturing both spectacle and stillness–onstage presence and off-camera reality. For Diaz, that meant leaning into the same intimate, character-driven approach that defines her work.  </p><p class="">“The interplay between Taylor Sheesh and the audience was irresistible, and I was thrilled to capture the enchantment,” she says. “To stand among Swifties who were there for pure experience and community felt authentic. It was devoid of cynicism and irony, and that was refreshing. <em>&nbsp;</em></p><p class="">For Coronel and Pillerva, the experience of being filmed at this scale felt different. While both are used to cameras, this marked their most significant international production. </p><p class="">Drew describes the process as requiring awareness, but ultimately says “everything was very natural,” a reflection of his long-standing partnership and friendship with Mac. </p><h3><strong>What Taylor Sheesh Means</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true"><em>(Photo courtesy of Quonco Productions)</em></p>
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  <p class="">Taylor Sheesh is, on one level, a performer. But understanding her also means understanding the cultural context she comes from.</p><p class="">Long before drag entered the global mainstream, impersonation and gender performance were already a part of everyday Filipino entertainment. You didn’t have to go to a club to see it–you just had to turn on the TV. It was embedded, accessible, and familiar. </p><p class="">That history makes Taylor Sheesh feel both new and continuous, a modern expression of something deeply rooted. At the same time, that visibility exists alongside ongoing gaps in legal and social acceptance for LGBTQ+ communities in the Philippines, a tension that quietly underpins the story.</p><p class="">For Quon, Coronel’s journey resonates in a more universal way. </p><p class="">“I have always been a fan of coming of age stories,” she says, “and I think folks will resonate with Mac Coronel’s journey to be his authentic self. By following his dreams, Mac has not only found personal happiness–but as a result, has also unexpectedly given happiness to so many others.”</p><h3><strong>Coming to America</strong></h3><p class="">The film’s U.S. premiere arrives during Pride Month, a timing that feels especially relevant.</p><p class="">“During a time when the LGBTQ+ community is experiencing increasing persecution and violence in the U.S., I hope this glimpse of Mac’s life can encourage understanding and empathy among audiences.” </p><p class="">For Coronel and Pillerva, bringing Taylor Sheesh to an American audience comes with both excitement and uncertainty. Their Australian tour offered a glimpse of what’s possible, but the U.S. remains largely untapped.</p>





















  
  



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    <p><strong>Taylor Sheesh evolved from a niche act into a recognizable presence within Filipino pop culture, as fan communities treated each performance as both concert and collective experience. 
  
  



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  <p class="">“We just haven’t permeated through it yet,” Drew says, his tone hopeful.</p><p class="">What feels certain is why the story resonates. </p><p class="">“It may just seem like a person imitating someone,” he starts, “but they still go to the show. They still follow and constantly interact with the social media accounts.”</p><p class="">Something about Taylor Sheesh connects beyond the performance itself. </p><p class="">For Mac, it comes back to the journey. What began as a response to a missed concert has grown into something much bigger: a cultural moment that has started to travel beyond Philippine borders. That arc–from local ingenuity to something global–is exactly what <em>Sheesh, A Taylor Love Story </em>sets out to capture. </p>





















  
  



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  <p class=""><strong><em>Mima Holt</em></strong><em> is a strategist and storyteller who, as co-founder of Dusty Films and a campaigns lead at the Natural Resources Defense Council, champions stories and causes that inspire change and expand visibility for underrepresented communities. To support the campaign to bring Taylor Sheesh to her U.S. premiere, visit </em><a href="http://bit.ly/sheeshtaylor"><em>bit.ly/sheeshtaylor</em></a><em>, and follow @sheeshataylorlovestory for updates. </em></p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1780418995076-5XDGIXDVE1DT4N96N20W/Sheesh_14+Icon.jpg?format=1500w" medium="image" isDefault="true" width="523" height="527"><media:title type="plain">Taylor Sheesh, a Swiftie Love Story</media:title></media:content></item><item><title>To You, ‘These Yet to Be United States’</title><category>Community</category><category>In My Opinion</category><dc:creator>Jose Antonio Vargas</dc:creator><pubDate>Wed, 03 Jun 2026 19:10:43 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/to-you-these-yet-to-be-united-states</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a1ee32be26a7d6c9ab58f7e</guid><description><![CDATA[Undocumented prize-winning journalist Jose Antonio Vargas asks graduating 
University of San Francisco graduate students to be mindful of immigrants’ 
place in the making of history.]]></description><content:encoded><![CDATA[<figure class="
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            <p data-rte-preserve-empty="true" class="">(L-R) University of San Francisco President Salvador D. Aceves Ed.D., Mona Lisa Yuchengco, Jose Antonio Vargas <em>(Photo courtesy of Mona Lisa Yuchengco)</em></p>
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  <p class=""><em>This is the author's commencement address to the 2026 graduating graduate students of the University of San Francisco (USF) College of Arts and Sciences, delivered on May 23, 2026.</em></p><p class=""><em>USF also conferred on Jose Antonio Vargas the degree of Doctor of Humane Studies (honoris causa). Read the citation delivered by </em><strong>PF</strong><em> Publisher Mona Lisa Yuchengco below.</em></p>





















  
  




  


  
    <span class="dropcap">T</span>his is the first time I’m addressing a graduating class of graduate students. Growing up, I was fascinated by this woman on PBS named Julia Child. There’s a great movie in which Meryl Streep plays Julia Child, and my favorite scene in it is when Julia and her editor are struggling to come up with the title of her first book. They play around with index cards and finally they settle on: <em>Mastering the Art of French Cooking.</em> Not “How To,” not “Made Easy,” not “For Dummies.” “Mastering the Art.” 
  
  






  <p class="">In what feels like a post-literate era, you all have “Master’d” something. Not content-created, not social media-influenced, but mastery. Of Applied Economics, Data Science and Artificial Intelligence, Urban and Public Affairs, Migration Studies, et cetera. So, let’s take a moment for you all to congratulate each other.&nbsp;</p><p class="">And speaking of Migration Studies, much like America is now a country of countries, this graduating class of graduate students represents 6 continents, 43 countries, and 25 states. You all embody the very diversity that powers not only the San Francisco Bay Area—not only California, the fourth largest economy in the world—but the rest of what James Baldwin called “these yet to be United States.”&nbsp;</p><p class="">As we gather here today, immigrant students across our country are under unprecedented attack. Completing college, earning a degree, securing employment––all of that is difficult enough. Now add the constant threat of arrest and detention and deportation. Last year 260 immigrant students were arrested by ICE, and 174 of them were removed from the country they call home.</p><p class="">International students who seek to continue their lives here face tougher barriers than ever. Just yesterday, U.S. Citizenship and Immigration Services radically changed long-standing immigration policy, now forcing anyone applying for a green card to leave America indefinitely and apply in their home country, disrupting lives being built, or already built, here. The impact of these changes is immense. Without immigrants, international students, and children of immigrants, U.S. colleges and universities would lose up to one-third of undergraduate enrollment and almost two-fifths of graduate enrollment between 2025 and 2037.</p><p class="">For the past 15 years, I’ve traveled all around the country, engaging with people who want me arrested and deported. Among the realities I’ve grappled with is that government officials, from ICE agents to Stephen Miller, are hiding from basic facts about undocumented life––that we don’t commit more crimes than native-born citizens; that we contribute more than we take from government agencies––that undocumented people pay taxes to the same government that is arresting and detaining us.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">(L-R) Lloyd LaCuesta, Jose Antonio Vargas, Rita Moreno, Mona Lisa Yuchengco. Moreno was also one of the commencement speakers. <em>(Photo courtesy of Mona Lisa Yuchengco)</em></p>
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  <p class="">This government is hiding from the full force of our history, from the fact that, unless you’re Native American (who were already here) or a Black American who’s a descendant of enslaved peoples (who were kidnapped and forced to come here against their will), you emigrated from someplace else, and your legality, such as it is, is a product of time, circumstances, and whatever laws happened to be in place.</p><p class="">History is cracking before us. Rights hard fought for and earned by the Civil Rights Movement, led by Black Americans and joined by white allies, are crumbling in a country that, because of immigration, is no longer Black or white, in a country that’s always been more complex and nuanced than its history has often allowed. Immigrants must practice our own version of patriotism. Even though we cannot vote––though I’ve called America my home for almost 33 years, because of my immigration status, I’ve never been able to vote––we must ensure that those who can vote, including our own family members, exercise that right and never take it for granted. I define “American” as Americans who are willing to fight for an America that includes all of us.</p><p class="">What’s become abundantly and painfully clear is that what is happening all across the country is not a question of legality. It’s a question of humanity––our shared humanity. All this talk about artificial intelligence, about the promises and perils of AI, demands that we focus, now and more than ever, on human intelligence, on what connects us to each other, human being to human being.</p><p class="">And we, as human beings, are a collection of every single human being who’s ever touched our lives.</p><p class="">The University of San Francisco holds a very special place in my heart. This is the professional home of Teresa Moore, a professor of journalism and media studies. I met Teresa when she was an editor mentoring young journalists and I was a high school student hungry for a byline––you know, that name you see under the headline of a news article: by Jose Antonio Vargas. I was obsessed with bylines because they were proof that I, an undocumented student with no valid green card, no driver’s license, no U.S. passport, existed. Teresa was the first editor who demanded excellence in me. Not just competence, not just get it done on deadline––aim, as much as you can, for excellence. A few years ago, Teresa told me: “You wanted to write your way into America.” I’m proud to be able to say that I would have never written my way into America without Teresa’s mentorship which has turned into a friendship.</p>





















  
  



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    <p><strong>On behalf of immigrant families and the risks they continue to take––on behalf of the risks that immigrant students continue to take to get educated and build lives bigger than themselves––it is my honor to receive this honorary degree. 
  
  



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  <p class="">The University of San Francisco is also the home of Law Professor Bill Hing, who founded USF’s Immigration and Deportation Defense Clinic. Every immigration lawyer I spoke to warned me about the dangers of publicly revealing my undocumented status, especially not in the pages of the New York Times. Every lawyer but Bill. Bill was the only one who said, go for it, take the risk. I dug up an email he sent me 15 years ago, days before my life would forever be changed by telling my story. He wrote: “Did I tell you I teach a class named Rebellious Lawyering? Most people think it's about rebelling against the ‘man’ or various standard institutions; but actually, it's more about rebelling against conventional lawyering.” To this day, rebellious lawyering informs my work and the work of Define American, a non-profit I founded with a group of friends.&nbsp;</p><p class="">I stand here today as one, and I carry with me those friends, along with anyone I’ve ever met and every kindness I’ve ever encountered and received. As I say that, please take a moment to think of and be grateful for every kindness you’ve experienced in your time here.</p><p class="">I stand here today as one, and I carry with me the story of my Lola, my grandmother, who left the province of Zambales, in the Philippines, and arrived in Mountain View, California in 1984; and the story of my Mama. 31 years after I left Manila, after decades of waiting for her green card to be approved, Mama is finally here in the Bay Area. Lola, Mama and me now all live together in Berkeley, three generations of immigrants finally reunited after decades of separation.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">Vargas with his lola (left) and mom <em>(Photo courtesy of Jose Antonio Vargas)</em></p>
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  <p class="">When you honor me, you honor the risks that Lola and Mama took to come to America.&nbsp;</p><p class="">On behalf of immigrant families and the risks they continue to take––on behalf of the risks that immigrant students continue to take to get educated and build lives bigger than themselves––it is my honor to receive this honorary degree. It is my deepest honor to congratulate this Class of 2026!&nbsp;</p><p class=""><strong>Sidebar</strong></p><p class=""><em>The citation delivered by </em><strong>PF</strong><em> Publisher Mona Lisa Yuchengco for the conferment of the Doctor of Humane Letters (honoris causa) to Jose Antonio Vargas:</em></p><p class="">Award-winning journalist and creator.</p><p class="">Tireless activist for the human rights of all immigrants.</p><p class="">Compassionate and compelling voice for the voiceless.</p><p class="">Masterful multimedia storyteller who illuminates the inconvenient truths and dire consequences that define the perilous journey to citizenship and what it means to be a citizen.</p><p class="">For decades, you have chronicled the harrowing stories of immigration—in print, on camera, online, and in person—captivating audiences across the nation. As a celebrated journalist at <em>The Washington Post</em>, you earned a Pulitzer Prize for your team’s coverage of the tragic 2007 Virginia Tech shooting. Your work as a filmmaker and producer has garnered Emmy and Tony nominations. In 2011, you founded Define American, a nonprofit organization that empowers diverse and nuanced storytelling about immigrant experiences across media through research, partnerships, and storyteller engagement<em>. </em>Define American was twice named one of the World's Most Innovative Companies by Fast Company, and its Immigrants Belong campaign recently won a Webby Award. With unwavering dedication, you have broadened the attention of news media, policymakers, and the public, urging all to witness the full humanity of our nation’s immigrants, one story at a time. Yet, behind your relentless pursuit of truth, you harbored a secret: you, too, were undocumented.</p><p class="">At the age of twelve, you left your home in the Philippines to join your grandparents in Mountain View, California. Welcomed with warmth, you were presented with a green card and Social Security number by your Lolo. A visit to the DMV to apply for a driver’s license revealed a life-altering truth: your green card was fake. Suddenly, your college plans, internships, and dreams of becoming a journalist seemed out of reach. Yet many rallied around you, devising creative solutions that enabled you to attend college and graduate.</p><p class="">While in college, you launched your journalism career at <em>The San Francisco Chronicle</em>, later contributing to <em>The Philadelphia Daily News</em>, <em>Rolling Stone</em>, and <em>The New Yorker</em>. From <em>The Washington Post</em>, you went on to become a senior contributing editor at <em>The Huffington Post</em>. The tension of living the American dream in hiding grew unbearable. Having once come out as gay in high school, you now chose to reveal your undocumented status.</p><p class="">In 2011, you published the groundbreaking essay “My Life as an Undocumented Immigrant” in <em>The New York Times Magazine</em>. By sharing your truth, you ignited a national conversation about America’s broken immigration system and advocated for the DREAM Act. You became a beacon for others awaiting legal status, sharing your story in solidarity. Your memoir, <em>Dear America: Notes of an Undocumented Citizen</em>, became an instant bestseller. This year, <a href="https://www.bklynlibrary.org/america-250/booklist/"><strong>the Brooklyn Public Library named it one of the 250 most notable books in U.S. history.</strong></a> In a bittersweet turn, you were legally admitted in 2024 with a nonimmigrant temporary worker O visa, renewable every three years, yet still without a pathway to citizenship.</p>





















  
  














































  

    
  
    

      

      
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          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p data-rte-preserve-empty="true">Jose Antonio Vargas’ <em>Dear America: Notes of an Undocumented Citizen</em></p>
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  <p class="">Your work has been honored with a litany of awards, including the Sidney Award for your <em>New York Times Magazine</em> essay, lauded as an outstanding piece of socially conscious journalism. And the Mountain View school district you once attended named an elementary school in your honor. That all may know of our great esteem for you, and our strong support for your vital work as a powerful voice for the voiceless and passionate advocate for immigrants’ full humanity, the University of San Francisco does confer upon Jose Antonio Vargas the degree of Doctor of Humane Letters, honoris causa, with all the rights and privileges pertaining thereunto.</p><p class="">Given this twenty-third day of May, in the year of our Lord two thousand twenty-six, and of the University, the hundred and seventy-first, in San Francisco, California.</p>





















  
  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1780421415547-XIGFABLY3HVLEWTPUVSF/JAV+Pres+USF.jpg?format=1500w" medium="image" isDefault="true" width="800" height="600"><media:title type="plain">To You, ‘These Yet to Be United States’</media:title></media:content></item><item><title>Cirio Siblings Prove Ballet Is Alive and Well </title><category>Arts &amp; Culture</category><dc:creator>Anthony Maddela</dc:creator><pubDate>Wed, 03 Jun 2026 19:10:33 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/cirio-siblings-prove-ballet-is-alive-and-well</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a1f87fc3c9d7218ae0d64cb</guid><description><![CDATA[Meet artistic siblings Lia and Jeffrey Cirio, who can dance like Margot 
Fonteyn and Mikhail Baryshnikov, and sing like Martha Reeves and Frank 
Sinatra.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Jeffrey and Lia <em>(Photo courtesy of Lia Cirio)</em></p>
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    <span class="dropcap">"I</span> don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive,’ even though no one cares about this anymore,” commented Timothée Chalamet on CNN on St. Valentine’s Day, 2026.  
  
  






  <p class="">Whether Chalamet&nbsp;disparaged ballet and opera to create the illusion that he would have beaten the humbler and more charismatic Michael B. Jordan for the Oscar had he not sabotaged his chances, hinges on the belief that Hollywood values ballet and opera over the nephew of director and producer Rodman Flender. Nepotism or not, Chalamet’s offhand remark bothered ballet dancers and fans.</p><p class="">The Chalamet affair provided an excuse to reconnect with <a href="https://www.positivelyfilipino.com/magazine/get-to-know-jeffrey-cirio-ballet-star-with-many-dimensions">Jeffrey Cirio</a>, 34, and connect with his sister, Lia Cirio, 39. They are principal dancers with <a href="https://www.bostonballet.org/">Boston Ballet</a>. </p><p class="">“I think Timothée is a great actor,” Mr. Cirio starts with a disclaimer. “Artists putting down artists is not the right. As artists, we get into an art form because of our passion for it. I think some Hollywood actors may have lost sight of the passion that got them into acting. </p><p class="">“If it was all about the money, then they’re doing the art form for the wrong reasons, and it’s very telling.” He believes, “You can see when people are doing it with the right intention, they’re completely driven by the goal of creative freedom in their art and sharing it with the masses.”</p><p class="">Ms. Cirio agrees: “Like Jeffrey, I was surprised that he (Chalamet) said that ballet is dying because I found him to be passionate about art. I was taken aback because we’re friends with some of his family’s friends who are big supporters of ballet.” The Cirio clan hails from Newton, near Philadelphia, which is a train ride from Chalamet’s Hell’s Kitchen Manhattan roots.&nbsp; </p>





















  
  














































  

    
  
    

      

      
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            <p class="">Lia Cirio in William Forsythe's Blake Works <em>(Photo by Liza Voll, courtesy of Boston Ballet)</em></p>
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  <p class="">Chalamet’s comments may have injected new life into ballet by drawing the attention of Gen-X and Gen-Z adults in the pool from which his fan base is drawn. “Timothée Chalamet made them intrigued with ballet,” observes Mr. Cirio. “They’re saying, ‘Let’s prove him wrong.’ Now young people are showing up at the theater, and posting, ‘Hey, I went to a ballet. It’s not dead.’”</p><p class="">Not that Boston Ballet needed help filling seats. In 2025, the company performed Vivaldi-inspired <em>Seasons Canon</em> by Canadian choreographer Crystal Pite with music composed by Max Richter. “When we brought the production back last year, people were banging on the door to get tickets to see it again,” Ms. Cirio says of the innovative work that concluded in February 2026.&nbsp; </p><h3><strong>Yes, They Can Dance, and They Can Sing!</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Jeffrey Cirio in George Balanchine’s Mozartiana ©The George Balanchine Trust <em>(Photo by Rosalie O'Connor, courtesy of Boston Ballet)</em></p>
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  <p class="">The vocal pieces of opera tax vocal cords more than most other musical genres. Opera is also demanding of the audience. In a separate article, opera baritone Roberto Perlas Gómez discusses the demands on the audience that hinder an opera company from becoming economically viable without donations and public funds. </p><p class="">Ballet tests the body’s limits in strength, agility, speed and timing. An appreciation of ballet requires an open mind and education. By degrees of difficulty, ballet is the opera of dance. </p><p class="">Filipinos have a cerebral metronome that makes them lively guests on a dancefloor. Quite appropriately, the siblings’ Filipino dad, Ardel, met his Irish, German and French-mix bride, Mimi, at a disco. Two of their three offspring stretched their dance DNA far and wide to excel in ballet. When San Lorenzo Ruiz was dishing talents for Gómez, he dipped his ladle twice into the singing cauldron and skipped dancing altogether.&nbsp; Of course, the two Cirio siblings each received two heaping helpings of dance talent, but also a generous scoop of singing. </p><p class="">Lia and Jeffrey can dance like Margot Fonteyn and Mikhail Baryshnikov, and they can sing like Martha Reeves and Frank Sinatra. When she’s handed the karaoke mic, she’ll pick a Motown classic like <em>My Girl</em> by The Temptations. Her brother is a natural born crooner, so he’s partial to the classics in Old Blue Eyes’ catalog.&nbsp;&nbsp;&nbsp; </p><h3><strong>From Mass Ave. to Manila</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Lia Cirio and Jeffrey Cirio rehearsing Jiří Kylián's 27'52" <em>(Photo by Brooke Trisolini, courtesy of Boston Ballet)</em></p>
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  <p class="">After training at Swarthmore Ballet Theatre in her native Philadelphia, Ms. Cirio began her tenure with Boston Ballet at age 16, and within five years, she was a soloist before becoming a principal dancer in 2010.&nbsp; Ballet has taken her around the world and given her the opportunity to dance with Ballet Manila in the Philippines.&nbsp;&nbsp; </p><p class="">She has avoided major injuries during her 22 seasons with Boston Ballet.&nbsp; “I’ve been super lucky.” She says she protects her body by doing “a lot of cross training. I like cycling, and I do some Pilates and I like acupuncture and have physical therapy to cope with wear and tear from the workload we have in ballet every day.”</p><p class="">Until last year, she was busy outside of the studio, planning her wedding. Now that she and fellow Boston dancer Paul Craig are married, she can return to crafting, with emphasis on DIY Christmas gifts.&nbsp; </p><h3><strong>Baby Love</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Jeffrey Cirio in Mikko Nissinen’s Raymonda <em>(Photo by Rosalie O'Connor, courtesy of Boston Ballet)</em></p>
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  <p class="">Mr. Cirio started out with his sister at Boston Ballet in 2007 before leaving to compete in international competitions that culminated with gold medals at the 2009 World Ballet Competition and 2009 Helsinki International Ballet Competition, a first time for all Americans.&nbsp; In 2009 he returned to Boston Ballet where he rose to principal in 2012.&nbsp; Between 2015 and 2016, he ascended from soloist to principal at American Ballet Theatre.&nbsp; </p><p class="">In 2018, he crossed the Pond to perform as Lead Principal with English National Ballet where his then fiancée and now wife, Anjuli, danced for 15 years. In 2022, he returned as a principal with Boston Ballet.&nbsp; He and Anjuli had a baby boy in 2025. Around the same time, a new work assignment enabled Mimi and Ardel to relocate from Philly to Boston and spend time with their grandson.</p><p class="">“I wanted to be able to be married to the love of my life and have a child,” he professes. “So, I’m truly blessed with the life I’ve been given.”&nbsp; He hopes to eventually return to his serious hobbies of photography and DJing.</p><h3><strong>As Fun as Fenway</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Lia Cirio in Mikko Nissinen's Raymonda <em>(Photo by Theik Smith, courtesy of Boston Ballet)</em></p>
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  <p class="">Spring at Boston Ballet concludes with <em>The Sleeping Beauty</em> from May 28 to June 7, 2026.&nbsp; </p><p class="">The siblings have devoted summers to their <a href="https://www.ciriocollective.com/performances">Cirio Collective</a> since 2015. “Lia and I decided to make the Collective a safe haven of creation,” the brother explains. “It lets artists create without the stigma that comes when someone dictates that you must make a piece this way with this music, this cast, and this type of costumes. That’s what happens because ballet companies must fill a program. The Collective can bring an artist in, and if they want to create a ballet with X, Y, and Z, we let them do it. </p><p class="">“Lia and I, and the people we bring in are open to new processes and to sharing opinions,” he says of the Open Ground concept that nurtures Cirio Collective dancers. “The best thing about art is it doesn’t have to be literal. It doesn’t have to be spoon-fed to you to make you think or for it to be provocative. Art has these small ways of speaking to you like a little bird in your ear.”</p>





















  
  



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    <p><strong>“Lia and I, and the people we bring in are open to new processes and to sharing opinions.”
  
  



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  <p class="">Ms. Cirio cannot credit her early success to a ballerina who shared her Filipina identity.&nbsp;&nbsp; She made a life in ballet despite an absence of Asian role models in Bucks County, Pennsylvania. “I never had a ballerina who looked like me to look up to,” she recalls. “I want to be a role model for young generations of girls who want to do ballet but are discouraged by the thought that ballet is for people paler than them.” </p><p class="">The 2026 season of Cirio Collective will bring her and her brother to Martha’s Vineyard in July.&nbsp; </p>





















  
  



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  <p class=""><strong><em>Anthony Maddela </em></strong><em>is a staff correspondent who’s located in Southern California. </em></p>





















  
  



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  <p class=""><em>More articles from</em><strong><em> </em></strong><a href="http://www.positivelyfilipino.com/magazine/?author=511b3321e4b0331c0eb56b5f"><strong><em>Anthony Maddela</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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  <p class=""><strong>WHY:</strong></p><p class="">On May 22, U.S. Citizenship and Immigration Services issued a <a href="https://us.list-manage.com/1AtKKQuEzT9?e=cc8c87f50c&amp;c2id=c4a868211b56d59b9d30f3287b169289" target="_blank"><span>policy memo</span></a>&nbsp;requiring immigrants seeking a green card — known as adjustment of status — to apply from their home countries, rather than within the US. The memo carves out some exceptions for applicants with “extraordinary circumstances,” but leaves such interpretations to the discretion of the consular officer.<br><br>The policy has sown fear in the immigrant community, as many thousands contemplate leaving the U.S. to apply abroad. Those who have overstayed visas risk triggering a 10-year bar on reentry.</p><p class="">Speakers this week will discuss who is impacted by the new policy memo, including employment and family-based visa holders, among others. Speakers will also discuss the legality of the memo — which bypassed the normal rulemaking process, including a public comment period and oversight by the Office of Management and Budget — and anticipated legal challenges to the policy.</p><p class=""><strong>WHO:</strong></p><p class=""><strong>Jeff Joseph</strong>, President of the American Immigration Lawyers Association <strong>Julia Gellatt</strong>, Associate Director of the U.S. Immigration Policy Program at the Migration Policy Institute <strong>Xiao Wang</strong>, Co-founder and CEO, Boundless Immigration <strong>Ashley DeAzevedo</strong>, Executive Director, American Families United</p>





















  
  







  




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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1780508615356-VI2C7763WCDP6VJ1OJ7R/Immigration+Creative+Commons.jpg?format=1500w" medium="image" isDefault="true" width="1000" height="650"><media:title type="plain">[Partner] New Green Card Processing Rules Create Fear and Chaos in Immigrant Communities</media:title></media:content></item><item><title>The Good, the Bad, and the Ugly: A Guide to US-Philippine Relations Across Decades </title><category>Homeland Focus</category><dc:creator>Michael Gonzalez</dc:creator><pubDate>Tue, 02 Jun 2026 06:08:00 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-good-the-bad-and-the-ugly-a-guide-to-us-philippine-relations-across-decades</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4495d4adc13265e8510911</guid><description><![CDATA[Take a brief dive into the good, the bad, and the ugly in the relationship 
between the Philippines and the United States.]]></description><content:encoded><![CDATA[<span class="dropcap">A</span>s the United States approaches its 250th anniversary, Filipinos—particularly those in the diaspora—should remember that their ancestors' blood, sweat, and tears were part of 50 of those years, contributing to America's struggles as well as its triumphs. That shared history continues to shape Filipino perspectives on the United States.
  
  






  <p class="">Historians have often described the U.S.-Philippine relationship as a "compulsory marriage" or, as others have put it, a persistent "love-hate" relationship. Officially called "Special Relations," this bond was frequently marked by conflict, unequal power, and a lack of genuine reciprocity. The U.S. occupation of the Philippines from 1900 to 1946 represented America's first major attempt to export democracy, specifically its electoral system. By that measure, the experiment succeeded. Although the Philippine experience was unique, it has since served as a reference point for later U.S. regime-change strategies.</p><p class="">For more than 125 years, this relationship has formed a complex tapestry woven from profound cultural admiration, dashed hopes, strategic partnerships, fervent nationalism, and the enduring socio-cultural and psychological scars of colonialism. These forces affected Filipinos differently depending on class, gender, and participation in social and political movements, both in the Philippines and throughout the diaspora.</p><p class="">Broadly speaking, decades of American domination—physical, economic, and psychological—deepened the widening divide between the haves and the have-nots inherited from the late 19th century. That inequality found expression in a series of uprisings, including the messianic Kolorum movements and the worker-based Sakdal movement. Together, they reflected the unequal economic relationship with the United States that many scholars describe as neocolonialism: a post-independence condition in which a former colony continues to serve as a source of extractive economic, social, and cultural resources. The legacy of that relationship remains visible well into the 21st century, in policies such as labor exportation, tax-free techno-economic processing zones for foreign corporations, and continuing military dependence on the United States.</p><p class="">The following are ten significant events in our shared history, easily found in any reputable political science textbook. They are government to government situations that spell cooperation and conflict; often tinged with ambiguity and tension, that nevertheless, spill into personal lives. As in most Filipino relationships, a “love-hate” relationship is not strictly binary, but more fluid, amoebic, and sometimes it fuses into something else; at other times, it breaks yet is never irreconcilable.&nbsp;</p><h3><strong>1. The June 12, 1898 Independence Declaration and the Mock Battle of Manila (1898)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Declaration of Philippine Independence and flag raising ceremony at the Aguinaldo mansion, June 12, 1898.</p>
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  <p class=""><strong>The Good:</strong>&nbsp;In 1896, Andres Bonifacio and his Katipuneros revolted against Spain. Following a fierce and deadly power struggle for leadership of the revolution, Aguinaldo consolidated his authority and won a series of battles, prompting the Spanish to seek a ceasefire. Aguinaldo and his military junta negotiated a truce with the Spanish, securing an indemnity payment and self-exile in Hong Kong. There, Dewey's emissaries recruited him to return to the Philippines and resume the fight against Spain.</p><p class="">Back in Kawit, Cavite Province, Aguinaldo established a revolutionary government and proclaimed Philippine independence from Spain on June 12, 1898. Trusting in America's anti-colonial past, Aguinaldo believed—though without explicit written confirmation from Dewey—that the United States would recognize Philippine independence. He initially viewed the Americans as liberators who would help the Filipinos defeat their Spanish colonial rulers.</p><p class=""><strong>The Bad:</strong>&nbsp;Although Dewey dispatched observers to witness the Declaration of Independence, they were not present in any official capacity. The United States never formally recognized Philippine independence. Instead, it referred to the Philippine Revolution as an "insurrection" in official documents and portrayed Aguinaldo as an easily misled figure. It was not until the 1990s that the Library of Congress officially recognized the conflict as the Philippine-American War. Ultimately, after forty-five years of American rule, the United States did grant independence to the Filipino people.</p><p class="">While Aguinaldo kept the Spanish confined within Intramuros, Dewey annihilated the Spanish Pacific fleet. Lacking ground troops, Dewey relied on Aguinaldo's forces to pin down the Spanish while awaiting reinforcements. General Merritt's troops arrived in August. Rather than surrender to Aguinaldo, the Spanish secretly struck a deal with the United States. To preserve Spanish "honor," they staged a mock battle inside Intramuros before surrendering the city to American forces. This maneuver completely excluded the Filipino revolutionaries, who had surrounded the city and cut off its food and water supplies.</p><p class="">In the months that followed, Spain, through the Treaty of Paris (December 10, 1898), ceded all of its remaining overseas territories to the United States, except Cuba. The United States paid Spain $20 million for the Philippines.</p><h3><strong>2. The Philippine-American War (1899–1902, 1913); the Thomasites (1901); the St. Louis World's Fair (1904–07)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">American troops resting in a trench <em>(Source: Wikipedia)</em></p>
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  <p class=""><strong>The Bad:</strong>&nbsp;What Filipinos viewed as a war for independence, the U.S. officially termed an "insurrection." Official statements sought to win over the native population by referring to them as "little brown brothers," a stark contrast to the Spanish, who used the derogatory term&nbsp;<em>Indio</em>. However, the American popular press portrayed the conflict in deeply racist terms.</p><p class="">The Philippine-American War ended without redistributing the vast church-owned haciendas and extensive estates held by the local elite, despite U.S. condemnation of the injustices of the cacique system, which resembled feudalism. A homesteading program in Mindoro, Palawan, and Mindanao, intended to alleviate agrarian problems in Luzon, instead resulted in settler colonialism. This later proved detrimental to the ancestral land rights of the indigenous peoples in these regions. The U.S. relied on the support of the local elite to facilitate colonial assimilation and cultivate a landowning, educated middle class.</p><p class="">Colonial policies established "protected territories" for indigenous populations in the northern and southern provinces, thereby creating a "Christian" versus "Non-Christian" divide that led to the arbitrary marginalization of indigenous communities. Public school curricula further entrenched discriminatory attitudes by portraying indigenous peoples as backward and uneducated.</p><p class=""><strong>The Ugly:</strong>&nbsp;Two brutal years of intense fighting resulted in the deaths of more than 4,200 American soldiers and hundreds of thousands of Filipinos, most from disease and famine. In Batangas, reconcentration camps (later echoed in Vietnam through "hamleting") were used to cut off guerrilla support, while scorched-earth tactics were employed in Balangiga, Samar. Resistance persisted until 1913. At Mt. Bud Bagsak in Jolo (1913), American soldiers clashed with Muslim fighters in one of the first encounters of its kind, ending in a massacre that included women and children. This battle also marked the end of the last significant resistance to American occupation.</p><p class="">The U.S.-Philippine War pitted Americans directly against Filipinos. Initially, published correspondence, films, and magazine articles celebrated the Filipino struggle against Spanish rule, but this soon gave way to overt racism. To legitimize a more palatable form of colonialism (despite opposition from figures like Mark Twain), the U.S. framed its colonial project as a mission to "civilize" the Filipinos. To reinforce this narrative, hundreds of Filipinos from several ethnolinguistic communities were brought to the St. Louis World's Fair and presented as a living diorama illustrating their supposed evolution from primitive to civilized. The exhibit featured dog-eating headhunters from the Mountain Province, Muslim Moro groups in elaborate attire carrying bladed weapons, local women portrayed as schoolteachers, and a marching band of native constabulary soldiers. Approximately 20 million Americans attended the fair, and for many, it was their first introduction to Filipinos. After the fair's eight-month run, American promoters continued exhibiting people from the Mountain Province in a manner akin to a human zoo. The prejudices and stereotypes fostered during this period occasionally resurfaced in popular media until the late 1970s.</p><p class=""><strong>The Good:</strong>&nbsp;Even as fighting raged, the U.S. began implementing its policy of "benevolent assimilation" by sending hundreds of American teachers—the "Thomasites"—throughout the archipelago to establish a free public school system, heretofore a bold experiment in colonialism. Filipino students learned English through primers featuring Abraham Lincoln and George Washington, along with unfamiliar objects such as apples, oranges, and snow. Although initially resisted by the Spanish-educated local elite, the public embraced the novelty of the new educational system. Teaching promoted democratic ideals of equality and opportunity, in contrast to the former religious authoritarianism. Schoolchildren pledged allegiance to the U.S. flag and enthusiastically sang the&nbsp;<em>Star-Spangled Banner</em>&nbsp;in their own words: "Oh Jose, can you see..."</p><p class="">My grandfather, who became an intern to an American schoolteacher, learned his three R's well and eventually became a provincial school superintendent. The public school system laid the foundation for the deep cultural affinity Filipinos still have for the English language and American culture today. Within sixteen years of the occupation, Filipino poetry in English was being recognized and published in American journals, most notably the works of Jose Garcia Villa.</p><p class="">To cultivate a core group of dedicated scholars and professionals, promising students, known as "Pensionados," were selected from the local elite and sent to study at U.S. universities. This initiative significantly expanded educational opportunities, particularly for women, enabling them to pursue professional degrees. Remarkable women such as Honoria Acosta-Sison, who became the Philippines' first Western-trained female physician, studied in the United States, returned home, and profoundly influenced Philippine medicine and education. The successful <em>Pensionados,</em> both men and women, became visible symbols of assimilation. With this experiment, the Americans had indeed found the key to "soft power."</p><h3><strong>3. The Commonwealth Era (1935–1942); Occupation by Imperial Japan (1942–1945); Bataan</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Bataan Death March <em>(Source: National Archives)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;Driven by advocacy from Filipino nationalists and American labor unions, the U.S. enacted the Tydings-McDuffie Act in 1934, leading to the establishment of the Philippine Commonwealth in 1935. The legislation stipulated full Philippine independence following a 10-year transitional period, during which the nation would operate as a Commonwealth. American investment flowed into the Philippines, primarily targeting extractive industries such as gold mining (Benguet), rubber production (Mindanao), coconut oil processing (Southern Tagalog), abaca fiber cultivation (Bicol), and sugarcane farming (Central Luzon). This influx of capital primarily benefited local landowners, who subsequently enhanced their social and political influence, leading to the emergence of sugar magnates and a prosperous professional class. This era of relative economic well-being led many long-time residents to fondly recall it as "peacetime."</p><p class=""><strong>The Bad:</strong>&nbsp;While women saw greater enrollment in the professions, adopted flapper dresses over traditional attire, favored swing dancing over the fandango, and showed more interest in Hollywood films than zarzuelas, they were still denied equal voting rights. The U.S. Congress established a Philippine Assembly, but despite advocacy from women's groups, only men literate in English could vote. The 1935 Commonwealth Constitution included a provision for women's suffrage, but it required ratification through a women's plebiscite in 1937. (For context, the U.S. itself did not guarantee comprehensive voting rights for all races until the Voting Rights Act of 1965.)</p><p class="">When World War II broke out, American and Filipino soldiers fought fiercely side by side in Bataan and Corregidor against the Imperial Japanese Army, forging a legendary "brotherhood in arms" cemented by the blood and sacrifice of Filipinos during the Bataan Death March, in which approximately 65,000 Filipino and 12,000 American prisoners of war were forced to march more than 61 miles to prison camps.</p><p class="">Women also played vital roles in the resistance. American-born Yay Panlilio-Marking organized a guerrilla spy ring while posing as a "Tokyo Rose" radio broadcaster. Josefa Llanes Escoda, founder of the Girl Scouts of the Philippines and a leading suffragist, provided aid to both American and Filipino prisoners of war. She is believed to have been executed by the Japanese in 1945.</p><p class="">Many Filipinos felt that the U.S. had prioritized the European theater over the Pacific, leaving American and Filipino forces in the Philippines inadequately supplied and defended, making them vulnerable to the swift and devastating Japanese invasion that culminated in the fall of Bataan and the infamous Bataan Death March.</p><h3><strong>4. WWII Reparations; the Rescinded Veterans Benefits (1946); Parity Rights; Comfort Women</strong></h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg" data-image-dimensions="247x403" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" data-sqsp-image-classic-block-image src="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=1000w" width="247" height="403" sizes="(max-width: 640px) 100vw, (max-width: 767px) 100vw, 100vw" onload="this.classList.add(&quot;loaded&quot;)" srcset="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/8d0d27f0-56c6-4941-bb47-a1f970924269/Manila_Filipina_Comfort_Women_Statue_2017.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">The Manila Comfort WOmen Memorial Statue <em>(Source: Wikipedia)</em></p>
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  <p class=""><strong>The Good:</strong><br>The U.S. provided hundreds of millions of dollars in badly needed rehabilitation funds to rebuild war-torn Manila, the second most devastated Allied city after Warsaw.</p><p class="">More than 250,000 Filipino soldiers answered President Roosevelt's call to fight under the U.S. flag during World War II, fully expecting the equal treatment and veterans' benefits that had been promised to them.</p><p class=""><strong>The Bad:</strong><br>Shortly after granting the Philippines independence in 1946, the U.S. Congress enacted the Rescission Act. This legislation retroactively stripped Filipino veterans of their recognized service status, denying them the full GI Bill benefits and pensions extended to their American counterparts. This profound injustice fueled more than six decades of activism before it was partially rectified. For many veterans, however, justice came too late, as they had already succumbed to illness and old age.</p><p class="">The clamor from women's rights groups demanding reparations for the Japanese Imperial Army's use of "comfort women" (sex slaves) in occupied countries—including Korea, China, and the Philippines—was ignored when the U.S. set aside the issue of reparations under the 1951 San Francisco Treaty with Japan. Women's groups continue to demand reparations and an official acknowledgment of responsibility from the Japanese government.</p><p class=""><strong>The Ugly:</strong>&nbsp;The Bell Trade Act and Development Aid with Strings Attached.</p><p class="">The aid came with a massive catch for a country devastated by war. Manila, after all, ranked only behind Warsaw as the most heavily destroyed Allied capital. The Bell Trade Act required the newly independent Philippines to amend its Constitution to grant American citizens "parity rights"—equal access to exploit the country's natural resources and operate public utilities. To many Filipinos, this created the perception that Philippine independence was conditional and economically subordinate to the United States. The agreement also included a provision granting the U.S. 99-year leases on the military bases at Subic and Clark.</p><p class="">While parity rights gave American businesses favorable access to the Philippine economy (at a time when few Filipinos possessed the capital to establish businesses in the United States), the extraterritorial privileges enjoyed within the U.S. military bases at Subic and Clark made a mockery of Philippine sovereignty. U.S. servicemen who committed crimes in the Philippines could not be tried in Philippine courts, held in Philippine jails, or extradited to face justice in the United States. For decades, the continued presence of the U.S. military bases remained a flashpoint in Philippine-American relations.</p><p class="">Much of the postwar assistance came in the form of war-surplus materiel, including the jeep—which evolved into the iconic Philippine jeepney—and decommissioned naval vessels used to rebuild inter-island shipping. Direct U.S. aid has been estimated at about $5 billion. Japan, by comparison, ultimately received roughly $300 billion in aid and economic assistance. The former enemy received substantially greater support as part of Washington's Cold War strategy to rebuild Japan as a stable ally and counterweight to Communist China.</p><h3><strong>5. Supporting the Marcos Dictatorship (1972–1986)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">President Ferdinand Marcos, Sr. <em>(Source: Wikipedia)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;For more than a decade, Washington provided billions of dollars in military and economic assistance to the administration of President Ferdinand E. Marcos Sr. During the martial law era, U.S. Vice President George H.W. Bush famously praised Marcos for his "adherence to democratic principles," reflecting Washington's continued support despite growing concerns about authoritarian rule. U.S. military bases at Clark Air Base and Subic Bay Naval Base also served as major Rest and Recreation (R&amp;R) hubs during the Vietnam War, injecting millions of dollars into the local economy. This relationship helped project an image of prosperity and international importance for the Philippines during much of the period.</p><p class=""><strong>The Bad:</strong>&nbsp;For years, the United States largely overlooked widespread human rights abuses, political repression, and the deterioration of democratic institutions under Marcos. As the Philippine economy became increasingly burdened by foreign debt, corruption, and crony capitalism, living standards declined for many Filipinos. Driven by Cold War strategic priorities, Washington continued supporting the dictatorship to safeguard its military bases and regional security interests. (The U.S. eventually shifted its position, facilitating Marcos and his family's departure into exile in Hawaii during the 1986 People Power Revolution.)</p><p class=""><strong>The Ugly:</strong>&nbsp;The era also entrenched the exploitation of many Filipinas around the U.S. bases. Cities such as Olongapo and Angeles developed extensive entertainment and red-light districts that catered to American servicemen. Tens of thousands of women worked in bars and clubs, often under exploitative conditions fueled by poverty and unequal power relationships. The military presence contributed to a system in which the bodies of Filipina women were commodified for the entertainment industry surrounding the bases. The period also left behind hundreds—and likely thousands—of Amerasian children, many of whom were abandoned by their American fathers and received little or no financial support or legal recognition.</p><h3><strong>6. The Eviction of U.S. Military Bases (1991)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Clark Air Base <em>(Source: Wikipedia)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;Driven by a wave of post-martial law nationalism, especially among militant women's groups, the Philippine Senate voted narrowly in 1991 to reject the extension of the U.S. military bases agreement, effectively evicting the United States from massive installations such as Subic Bay and Clark Air Base. Until their closure, the bases were effectively sovereign territories where Philippine law had no jurisdiction.</p><p class="">The government developed the former bases—whose infrastructure remained largely intact—into an economic hub for Central Luzon. The conversion of these facilities was largely responsible for the continued growth of Olongapo City. Today, the former base properties comprise the Subic Bay Freeport Zone, which includes an international airport, a major shipping port, a high-end residential community, and export processing zones.</p><p class="">Despite the diplomatic breakup, the two nations signed the Visiting Forces Agreement (VFA) in 1998, recognizing that they still needed each other to counter regional security threats, particularly from China in the Western Pacific, and to respond to natural disasters.</p><p class=""><strong>The Bad:</strong>&nbsp;The closure of Subic Naval Base and Clark Air Base caused a sharp drop in local revenues and the loss of thousands of jobs tied directly or indirectly to the bases. As the region's main economic engine disappeared, businesses that provided food, construction, manufacturing, and other services went into decline. The eruption of Mt. Pinatubo in the nearby province compounded the area's economic woes, adding another layer of devastation.</p><p class=""><strong>The Ugly:</strong>&nbsp;Countless children were born during the nearly 50 years of interaction between U.S. servicemen and local women, as well as during troop transits to and from Vietnam and South Korea. The withdrawal of the bases often meant the immediate loss of financial support from American fathers, leaving many families without assistance for basic needs such as housing, food, medical care, and education.</p><p class="">In Olongapo City alone, an estimated 8,600 Amerasian children were left behind. In 1992, the year the bases closed, mothers of these American children filed a class-action lawsuit through the San Francisco law firm Cotchett, Illston &amp; Pitre, seeking parental support. There were also calls for U.S. recognition of the children's claims to American citizenship.</p><h3><strong>7. The Visiting Forces Agreement &amp; Sovereignty Clashes (2005 &amp; 2014)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">U.S. and Philippine Armed Forces during the <em>Balikatan</em> Exercises <em>(Source: Wikipedia)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;Under President Benigno Aquino III, the U.S. and Philippine militaries continued to hold massive annual&nbsp;<strong>Balikatan&nbsp;</strong>("Shoulder-to-Shoulder") exercises, improving the Philippines' defense capabilities. Under the legal framework of the Visiting Forces Agreement (VFA), the security pact allowed U.S. troops to rotate into the Philippines for large-scale joint military exercises. For the Philippine military bureaucracy, traditionally reliant on U.S. training, logistics, and hardware, the VFA was a critical lifeline.</p><p class=""><strong>The Bad:</strong>&nbsp;During the presidencies of Gloria Macapagal Arroyo and Benigno Aquino III, high-profile criminal cases involving U.S. servicemen—specifically the 2005 Subic rape case ("Subic Boys") and the 2014 killing of trans woman Jennifer Laude by a U.S. Marine—ignited furious protests over sovereignty, as the U.S. invoked the VFA to retain custody of the accused servicemen rather than turning them over to Philippine jails.</p><p class=""><strong>The Ugly:</strong>&nbsp;The impact of the 2005 Subic rape case went far beyond the crime itself. The question of sovereign rights—specifically, which government should have custody over accused criminal offenders—became a lightning rod for nationalists, reviving a debate that had simmered since the 1991 closure of the U.S. bases and continued across several presidencies, even drawing in Supreme Court justices nearing retirement. The accused U.S. Marine was tried and convicted by a Philippine court but was remanded to the custody of the U.S. Embassy rather than a local prison. He was later acquitted in 2009. In reviewing the VFA, the Supreme Court ruled that the diplomatic arrangements governing his custody were invalid. The ensuing tug-of-war over jurisdiction and sovereignty once again raised the specter of the return of U.S. military bases. Worse, there was widespread speculation that the controversy could affect President Gloria Macapagal Arroyo's pending meeting with President George W. Bush, where military aid was expected to be a key agenda item.</p><h3><strong>8. Rodrigo Duterte Era's Anti-Western Posture</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">President Rodrigo Duterte <em>(Source: Picryl)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;Nationalists supported Duterte's anti-Western rhetoric, which marked a departure from the pro-American stance of previous presidents. His use of the Filipino language in official speeches was another notable departure and won admiration from many ordinary Filipinos. Duterte's relations with the United States (2016–2022) were inconsistent. He positioned himself as anti-Western and attempted to realign the Philippines with China and Russia while fiercely criticizing America's colonial past in the Philippines.</p><p class=""><strong>The Bad:</strong>&nbsp;Duterte routinely insulted President Barack Obama and weaponized the Visiting Forces Agreement (VFA), repeatedly threatening to scrap it in an effort to secure more advanced military hardware, greater allocations of COVID-19 vaccines, and a more equitable partnership with the United States. Meanwhile, the U.S. government, citing human rights concerns over Duterte's drug war, suspended certain arms sales to the Philippine National Police. Beneath Duterte's anti-U.S. rhetoric, however, institutional ties between the two countries remained strong, supported by a Philippine public that continued to be overwhelmingly pro-American. China's continuing assertion of its claims over Philippine maritime territories in the Western Pacific also undermined Duterte's strategic pivot toward Beijing.</p><p class=""><strong>The Ugly:</strong>&nbsp;Crimes—alleged and otherwise—committed by U.S. servicemen repeatedly tested the limits of the VFA. In 2015, in a case involving the killing of transgender woman Jennifer Laude, U.S. Marine Joseph Scott Pemberton was convicted of homicide and imprisoned at Camp Aguinaldo. Duterte later granted Pemberton an absolute pardon, reportedly to avoid jeopardizing the Balikatan military exercises, which the United States had threatened to cancel, and to gain leverage in securing access to Western COVID-19 vaccines. Anti-VFA groups condemned what they viewed as the "special treatment" accorded to U.S. troops and cited the case as further evidence of the Philippine government's continued acceptance of unequal, neocolonial arrangements with the United States.</p><h3><strong>9. The Modern Geopolitical Pivot (2022–Present)</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">U.S. and Philippine soldiers training together <em>(Source: Picryl)</em></p>
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  <p class=""><strong>The Good:</strong>&nbsp;Under the current administration of&nbsp;Ferdinand Marcos Jr., the U.S.-Philippine relationship has experienced a dramatic resurgence. While the&nbsp;Visiting Forces Agreement&nbsp;(VFA) provides the legal framework governing the status and protections of U.S. troops in the Philippines, the expanded&nbsp;Enhanced Defense Cooperation Agreement&nbsp;(EDCA) has given the United States operational access to several additional strategic military sites aimed at deterring aggression in the South China Sea.</p><p class=""><strong>The Bad:</strong>&nbsp;While the alliance is arguably at its strongest in decades, the VFA and the expanded EDCA have sparked fierce domestic debate, reviving old memories of U.S. military bases on Philippine soil and the social ills associated with them. Many Filipino activists, politicians, and citizens worry that turning the Philippines into a forward operating platform for the U.S. military could draw the country into a catastrophic superpower conflict between Washington and Beijing.</p><p class=""><strong>The Ugly:</strong>&nbsp;The Philippines, together with its Southeast Asian neighbors, sits astride the maritime artery through which much of the world's trade flows between Asia and Europe. A U.S.-China conflict—for example, over Taiwan—would have severe economic and security consequences for the Philippines.</p><h3><strong>10. Emerging ASEAN Economies: Indonesia, Malaysia, Thailand, the Philippines, and Vietnam</strong></h3><p class="">These countries are projected to grow their collective nominal GDP by 56 percent between 2022 and 2028, potentially overtaking Japan as the world's fourth-largest economic bloc by 2030. The prospects for regional growth that is less dependent on U.S. and Chinese supply chains appear favorable under conditions of peace in the region. To help make this possible and strengthen the Philippines' defense standing in the region, the United States will need to elevate the Philippines above its current "second-tier" alliance status while fostering greater defense interdependence with Japan and Australia. Although no permanent U.S. bases exist in the Philippines, vigilance must be exercised to ensure the country does not become a launch pad in the event of a U.S.-China confrontation over Taiwan.</p>





















  
  



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    <p><strong>Officially called "Special Relations," this bond was frequently marked by conflict, unequal power, and a lack of genuine reciprocity. 
  
  



<hr />



  <p class=""><strong>Epilogue</strong></p><p class="">Over 125 years of U.S.-Philippine relations—a relationship forged in war, from the Philippine-American War of 1899 through World War II, the Korean and Vietnam Wars during the Cold War, and now what many describe as Cold War II—it behooves both Filipinos and Americans to remain mindful of this shared history and to build institutions through which both countries treat and respond to one another with genuine reciprocity and mutual respect, less influenced by the politics and personalities of individual presidents.</p>





















  
  



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  <p class=""><strong><em>Dr. Michael M Gonzalez</em></strong><em> after decades of classroom teaching in Philippine and American colleges, retired in 2022. He is looking forward to devoting more time to his nonprofit activies with the Hinabi Project, the NVM &amp; Narita Gonzalez Writers’ Workshop, the Kaisipan.org as an outreach to the culture and arts communities. Outside of that, he is an avid student of&nbsp;&nbsp;fiction and nonfiction writing;&nbsp;&nbsp;and the classic guitar, and indigenous music.</em></p>





















  
  



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  <p class=""><em>More articles from</em><strong><em> </em></strong><a href="http://www.positivelyfilipino.com/magazine/?author=5577a11fe4b01bea7bb4b2ed"><strong><em>Michael Gonzalez</em></strong></a></p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782885567529-568J2RKTVOU1ZDM7B2C2/Balikatan_2019_Combined_Arms_Live-Fire_Exercise_Image_9_of_9.jpg?format=1500w" medium="image" isDefault="true" width="1051" height="711"><media:title type="plain">The Good, the Bad, and the Ugly: A Guide to US-Philippine Relations Across Decades</media:title></media:content></item><item><title>The Architecture of Dignity: How Culture Shapes the Soul</title><category>Arts &amp; Culture</category><category>First Person</category><dc:creator>Cecilia Guidote-Alvarez</dc:creator><pubDate>Tue, 02 Jun 2026 04:15:00 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-architecture-of-dignity-how-culture-shapes-the-soul</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4469414fa8a62b8672fa46</guid><description><![CDATA[Why cultural work and initiatives are necessary for humanity’s progress.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Cecile Guidote Alvarez <em>(Photo by Ace Morandante/Wikipedia)</em></p>
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    <span class="dropcap">W</span>e stand at a critical juncture in human history. A cursory glance at our contemporary world
reveals an environment heavily armed with sophisticated technical frameworks, dense policy
documents, and massive financial investments. Yet, a tragic paradox defines our era: these vast
resources are increasingly and disproportionately allocated toward conflict and armaments. We are forced to confront a fundamental question: Why do our global goals remain so frustratingly out of reach?

  
  






  <p class="">Today, humanity finds itself disoriented and heavy with grief. Through close-up images broadcast across our screens, we witness the senseless loss of lives and livelihoods, alongside the systematic destruction of homes, vital infrastructure, and priceless heritage sites. Yet, we must not surrender to despair. Together, we can, and we must, reinforce our collective commitment to provide hope amidst this pervasive darkness.</p><p class="">The truth is, we have spent years trying to engineer a sustainable future using only calculators and blueprints, while completely forgetting the very soul of the humanity we are trying to save.</p><p class="">Technical metrics and financial capital are undoubtedly necessary, but they are radically insufficient. The ambitious targets of the United Nations Sustainable Development Goals (SDGs) cannot be achieved by economics alone. Drawing from the vibrant, indomitable spirit of the Philippines and the wider Asia-Pacific region, we must assert a profound truth: Culture is the ultimate catalyst, the vital vehicle, and the living engine for sustainable development.</p><h3><strong>Redefining Wealth: From Deficit to Abundance</strong></h3><p class="">When evaluating the developing world, conventional economics suffers from a narrow vision that sees only deficit—a lack of financial capital, a shortage of infrastructure. However, if we shift our lens to culture, we discover an immense, invaluable "arsenal of talent" and a breathtaking wealth of diversity and natural resources. True development does not begin with a ledger; it begins by cultivating a "heart of compassion" to actively combat poverty and social injustice. A poignant manifestation of this philosophy can be found in the Cultural Care-giving services pioneered by the Earthsavers DREAMS National I.T.I. Center. Through this ground-breaking initiative, free artistic training—encompassing the visual arts, drama, music, and dance, integrated with modern communication technology through broadcast and cinema—is brought directly to the most marginalized sectors of society. This vital work is deliberately taken to:</p><p class="">• Prisoners seeking redemption</p><p class="">• Abused women healing from trauma</p><p class="">• Street children searching for safety</p><p class="">• Individuals recovering from substance abuse</p><p class="">• Persons with disabilities (PWDs)</p><p class="">• Indigenous youth striving to preserve their identity</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Terrilyn Aquino, a mentally disabled patient with polio, performs for visiting U.S. sailors <em>(Source: NARA and DVIDS Public Domain Archives)</em></p>
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  <p class="">When we give a traumatized child a paintbrush, or a silenced community a stage, we are not merely offering entertainment. We are providing a platform for the voiceless, a pathway for rehabilitation, a space for trauma therapy, and a viable vehicle for socioeconomic mobility.</p><p class="">This daily miracle is witnessed in the Earthsavers DREAMS Ensemble, an initiative officially recognized as a UNESCO Artist for Peace. Within this ensemble, vulnerable individuals are transformed into self-actualized creators. The singers are blind; the dancers perform dynamically in wheelchairs; deaf, young, and elderly participants perform side-by-side with out-of-school acrobats. Together, they offer undeniable proof that culture is a tangible tool for restoring human dignity, breaking down bias, and dismantling deep-seated prejudice.</p><h3><strong>Translating the Abstract into the Universal</strong></h3><p class="">Consider the immense, overlapping challenges of our time: hunger, systemic injustice, climate degradation, health pandemics, and collapsing economies. To the ordinary citizen, the gravity of these crises is often buried under dense rhetoric, clinical data, and alienating jargon.</p><p class="">Culture serves as the great translator. A single painting, a poignant poem, a soaring song, or a traditional dance can bridge deep communication gaps in an instant. It possesses a unique, almost magical power to shift human consciousness from greed and indifference to caring and sharing.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Children performing an ethnic dance  <em>(Source: NARA and DVIDS Public Domain Archives)</em></p>
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  <p class="">Furthermore, in our current era of rapid, unchecked globalization, cultural empowerment acts as a critical, protective security net. It guards against the erasing, homogenizing effects of global monoculture. By empowering local traditions, we ensure that indigenous peoples, immigrant communities, and overseas workers are not systematically excluded or forgotten, but are instead celebrated for their distinct, irreplaceable identities.</p><h3><strong>The Economy of the Soul and Intergenerational Equity</strong></h3><p class="">Beyond its spiritual and social utility, culture is a formidable economic driver. The creative industries—our folk arts, media, historic monuments, and eco-heritage—act as direct stimulants for local employment and social entrepreneurship, while healthily nourishing sustainable tourism.&nbsp;</p><p class="">Yet, as we build these creative economies, we must remain fiercely anchored to the principle of intergenerational equity. Our cultural heritage, our languages, and our rich biodiversity are not resources we own; they are sacred treasures borrowed from our ancestors that we must transmit intact to our children. Protecting this bio-cultural diversity is a strict moral imperative if we wish to ensure a sustainable habitat for those who follow us.</p><h3><strong>Healing the Past, Securing the Future</strong></h3><p class="">Where politics divides and fractures, the arts possess a unique, spiritual capacity to heal, bond, and cement broken societies. In post-colonial landscapes, cultural exchanges allow nations to meet their former colonizers not with simmering resentment, but on an equal footing of mutual respect and endogenous, self-determined development. Our cultural heritage is our collective memory. Without it, a nation is dangerously adrift—unable to learn from past mistakes and lacking the inner psychological strength required to build democratic, peaceful societies. By recognizing our shared cultural roots—the beautiful, interwoven lineages of Indo-Malayan, Polynesian, Islamic, Chinese, Christian, and Western heritages that define our Asia-Pacific family—we strengthen regional cooperation and global solidarity.</p><p class="">Operating under the leadership of Director General Khaled El-Enany through a proposed UNESCO global "rainbow network" of artists, teachers, communicators, athletes, climate advocates, and peace advocates, we must declare an immediate end to procrastination. The time to act is now. We must collectively realize the call for an immediate ceasefire in global conflicts and rapid decarbonization, conscientizing and motivating collective action to stop violence against both Mankind and Mother Earth.</p><h3><strong>A Call to Action</strong></h3><p class="">Let us boldly redefine culture for what it truly is: a basic human right and a public service métier of action. There is deep appreciation for the Azerbaijani government's vital support in initiating and developing the Global NGO Platform, a space where public authorities can dynamically collaborate with civil society and the private sector, looking far beyond mere financial balance sheets. We must explicitly recognize that cultural heritage and SDGs Techno-ResiliArts Education are not mere academic supplements; they are the very essence of human survival.&nbsp;</p>





















  
  



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    <p><strong>Where politics divides and fractures, the arts possess a unique, spiritual capacity to heal, bond, and cement broken societies.
  
  



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  <p class="">Education is the key to cutting the Gordian knot of poverty, bias, and prejudice—with culture,,the arts, and indigenous heritage serving as the ultimate catalysts. Investing in culture is not a luxury reserved for affluent times; it is the fundamental pathway to resolve armed conflict through dialogue rooted in social justice and peaceful coexistence. It is the architectural framework through which we secure human dignity and safeguard a peaceful, sustainable world as we move forward—not just for today, but for the next seven generations. We pray that the future of all the children of the world will be ignited not by force, but by art.</p>





















  
  



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  <p class=""><em>On May 14, 2026, </em><strong><em>Cecilia Guidote-Alvarez</em></strong><em> was elected Deputy Secretary-General for the Pacific region during the formal inauguration of the Global South NGO Platform, an initiative originally launched at COP29 in Baku, Azerbaijan. Cecilia Guidote-Alvarez is a trailblazer of cultural diplomacy and social transformation who has spent decades leveraging the power of the arts to heal and empower. From founding the legendary Philippine Educational Theater Association (PETA) in 1967 to making history as the youngest-ever recipient of the Ramon Magsaysay Award, her influence spans generations and borders. She is the producer-host of the long-running, award-winning Broadcast Theatre program, DZRH-Balintataw. Today, as Director of the UNESCO-designated Earthsavers DREAMS Ensemble and a globally celebrated artist-citizen, she champions the ethos of "cultural caregiving"—a visionary philosophy that seamlessly unites artistic expression with climate advocacy, trauma healing, and the uplifting of indigenous and differently-abled voices.</em></p>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782877847458-5PW6CDR65URXASEIOX1X/children-perform-a-traditional-dance-during-an-assembly-e331de-1024+NARA+and+DVIDs+Public+DOmain.jpg?format=1500w" medium="image" isDefault="true" width="300" height="450"><media:title type="plain">The Architecture of Dignity: How Culture Shapes the Soul</media:title></media:content></item></channel></rss>