<?xml version="1.0" encoding="UTF-8"?>
<!--Generated by Site-Server v@build.version@ (http://www.squarespace.com) on Wed, 22 Jul 2026 00:13:06 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>Tue, 21 Jul 2026 19:33:55 +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>What Osaka, Kyoto, and Tokyo Taught Me</title><category>Touring &amp; Trekking</category><dc:creator>Rene Astudillo</dc:creator><pubDate>Wed, 15 Jul 2026 16:56:08 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/what-osaka-kyoto-and-tokyo-taught-me</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a56d7eebfaf6d301e9f5c2e</guid><description><![CDATA[Traveling through Osaka, Kyoto, and Tokyo felt less like sightseeing and 
more like being gently instructed on how society could work.]]></description><content:encoded><![CDATA[<figure class="
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg" data-image-dimensions="403x500" 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/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=1000w" width="403" 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/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3d5d7bf6-4c1b-452e-a00f-7e391526fc0e/Osaka.jpg?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="">Osaka’s most prominent billboard for a confectionary company is the Glico Running Man located in the famous Dotonbori district. The billboard’s inspiration was&nbsp;<strong>Fortunato Catalon</strong>, a celebrated Filipino sprinter from Leyte who was a top Asian athlete in the early 1900s.</p>
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    <span class="dropcap">J</span>apan revealed itself to me not in grand gestures, but in small, unforgettable moments. It was in the way people lined up quietly on train platforms, even when no one was watching. In how streets stayed spotless despite the absence of trash bins. In how a simple meal—whether from a Michelin-starred counter or a convenience store shelf—was treated with care. Traveling through Osaka, Kyoto, and Tokyo felt less like sightseeing and more like being gently instructed on how society <em>could</em> work.
  
  









  <p class="">Osaka was my introduction, and it came with noise, color, and appetite. Dotonbori assaulted the senses in the best possible way—neon lights reflecting on the canal, the smell of frying batter in the air, people laughing loudly without apology. Standing beneath the iconic Glico Man, arms raised eternally in victory, I couldn’t help but smile. I was even surprised to learn that the model for that iconic billboard was Filipino! It felt symbolic: Osaka celebrates effort, not perfection. The sign is commercial, yes, even cheesy—but so is joy sometimes. And Osaka embraces that.</p><p class="">I burned my mouth on <em>takoyaki</em> because waiting wasn’t an option. I devoured o<em>konomiyaki </em>cooked right in front of me, watching the vendor work with practiced ease. Food here wasn’t rushed, yet nothing felt inefficient. Even Osaka Castle, surrounded by modern life, reminded me that history in Japan isn’t sealed behind glass—it simply exists alongside the present.</p><p class="">Kyoto slowed me down. Almost against my will, my pace changed. Walking through Gion, I lowered my voice without realizing it. The streets seemed to demand restraint. At the Shinto shrine Fushimi Inari, passing through thousands of torii gates, I felt oddly emotional. Each gate represented a wish, a prayer, a hope someone cared enough to leave behind. No one pushed. No one hurried. We climbed quietly, sharing space without speaking.</p><p class="">Kyoto’s cleanliness struck me differently. It wasn’t about looking polished—it felt moral. As if caring for surroundings was a form of gratitude to those who came before. Standing before Kinkaku-ji, perfectly reflected on the pond, I understood that beauty here was not accidental. It was maintained, protected, respected.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Kinkaku-ji, the Golden Pavilion — Buddhist temple in Kyoto</p>
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  <p class="">Tokyo, on the other hand, jolted me awake. It moved fast—but never chaotically. At Shibuya Crossing, hundreds of people surged forward at once, yet no one bumped into me. It felt rehearsed, like a silent agreement among strangers. Trains arrived exactly when promised. Apologies were offered for delays measured in seconds. Discipline here wasn’t cold—it was considerate.</p><p class="">Then there was Takeshita Street in Harajuku, where Tokyo briefly let go of restraint. Loud music, wild fashion, oversized bows, pastel hair—it was sensory overload. And yet, even here, there was order. No shoving. No litter. Just young people expressing themselves boldly within an unspoken framework of respect. It reminded me that conformity and individuality are not opposites in Japan—they coexist.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Takeshita Street (Takeshita Dori) in Tokyo's Harajuku district is a vibrant, narrow pedestrian street famous for youth fashion, quirky shops, colorful sweets and anime goods</p>
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  <p class="">Tokyo also held onto its soul. At Senso-ji in Asakusa, I joined locals and tourists alike in prayer, waving incense smoke toward my face for luck. Ancient rituals unfolded just steps away from vending machines and souvenir stalls. Somehow, it worked.</p><p class="">And then there were the <em>konbini</em>—7-Eleven, FamilyMart, Lawson. I underestimated them at first. Then I kept going back. <em>Onigiri </em>that tasted freshly made. <em>Bento</em> meals that put fast food elsewhere to shame. Coffee that was consistently good. These stores weren’t just convenient—they were reliable. In Japan, even convenience carries dignity.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Reasonably-prized, ready-to-eat delights from Japanese 7-Eleven</p>
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  <p class="">Food across all three cities left a lasting impression. Nothing felt careless. Every bowl of ramen, every yakitori skewer, every packaged meal reflected pride in doing things properly. It made me rethink how often elsewhere we accept “good enough.”</p>





















  
  














































  

    
  
    

      

      
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            <p class="">An elderly couple in Tokyo opens their garage door each night to grill and sell yakitori.&nbsp;</p>
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  <p class="">By the time I left Japan, I realized what stayed with me wasn’t just the landmarks. It was the way people behaved when no one was looking. The quiet discipline. The shared responsibility. Japan didn’t try to impress me. It simply showed me—calmly, consistently—another way of being. And that stayed with me long after the flight home.</p>





















  
  




  



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    <p><strong>Japan didn’t try to impress me. It simply showed me—calmly, consistently—another way of being.
  
  







  



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  <p class="">Many have said that if you want to see the world, don’t start with Japan, because if you do, you’ll find yourself going back again and again. As I will. See you soon, Nagoya, Kobe, Hiroshima!</p>





















  
  




  



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  <p class=""><strong><em>Rene Astudillo</em></strong><em> is a writer, book author and blogger and has recently retired from more than two decades of nonprofit community work in the Bay Area. He spends his time between California and the Philippines.</em></p>





















  
  




  



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  <p class=""><em>More articles from </em><a href="http://www.positivelyfilipino.com/magazine/?author=50abe5fae4b0b0f84baee24a"><strong><em>Rene Astudillo</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/1784077019743-Z9BHWHIO3E43MPROGYUQ/Osaka.jpg?format=1500w" medium="image" isDefault="true" width="403" height="500"><media:title type="plain">What Osaka, Kyoto, and Tokyo Taught Me</media:title></media:content></item><item><title>Chicago Chef Exalts Southeast Asian Fare</title><category>All About Pinoy Food</category><dc:creator>Rey E. de la Cruz</dc:creator><pubDate>Wed, 15 Jul 2026 16:56:02 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/chicago-chef-exalts-southeast-asian-fare</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a56b7acc2879f7fbf551c36</guid><description><![CDATA[Chef Mike Morales is drawn to Southeast Asian cuisine for its bold, layered 
flavors, where sweet, sour, salty, and spicy elements harmonize in every 
dish.]]></description><content:encoded><![CDATA[<figure class="
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg" data-image-dimensions="800x602" 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/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=1000w" width="800" height="602" 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/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/649c953e-1ecf-488b-a949-dc987c05e890/Mike+Morales.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">As culinary director at Sunda New Asian, Mike Morales believes that great food starts with exceptional leadership <em>(Photo courtesy of Sunda New Asian)</em></p>
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    <span class="dropcap">S</span>unda New Asian restaurant was established to celebrate Southeast Asian culture, with a special emphasis on Filipino cuisine. Named after the Sunda Shelf—a vast, shallow continental shelf in Southeast Asia—the restaurant blends traditional flavors with contemporary techniques to create a culinary identity and dining experience like no other: a balance of authenticity and innovation that never loses the soul of the dish. Founded in Chicago by Billy Dec, Sunda has expanded from its two Chicago locations to additional branches in Nashville, Tampa, and Detroit.
  
  









  <p class="">Mike Morales is Sunda New Asian’s Culinary Director. He develops the menu, maintains consistency across markets, trains and mentors kitchen teams, and ensures that every dish reflects the quality of the Sunda New Asian brand. He also oversees new openings and concept development. “Leadership is just as important as cooking ability,” he emphasizes. “Building a strong, motivated team and maintaining consistency day in and day out are what separate good kitchens from great ones.”</p><p class="">Growing up in the Chicagoland area, his favorite memories centered on family and food. “There was always something happening in the kitchen,” he remembers, “whether it was preparing meals for gatherings or just everyday cooking at home.” He learned early on that food and cooking brought people together.</p><p class="">Morales’ associate degree in culinary arts from the Illinois Institute of Art gave him a solid foundation. Thereafter, his real education took place in professional kitchens—hands-on experience, learning under pressure, managing teams, and continually refining his technique. Being surrounded by talented chefs and high standards pushed him to grow quickly and develop his own style. His culinary philosophy is ultimately rooted in respect for the culture, the ingredients, and the people he is cooking for.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Sunda New Asian delivers total-flavor paradise with sizzling-savory perfection and a mountain of sweet ube bliss <em>(Photo courtesy of Sunda New Asian)</em></p>
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  <p class="">He is drawn to Southeast Asian cuisine for its bold, layered flavors, where sweet, sour, salty, and spicy elements harmonize in every dish. At Sunda New Asian, three Filipino favorites stand out:</p><p class=""><strong>Chicken Inasal</strong>, a traditional dish from Bacolod, marinated with calamansi, lemongrass, and garlic, then grilled to achieve a smoky, vibrant flavor.</p><p class=""><strong>Lumpia</strong>, a staple of Filipino celebrations, reimagined at Sunda New Asian with refined ingredients and presentation while maintaining its cultural roots.</p><p class=""><strong>Kamayan Feast</strong>, a communal, hands-on dining experience where guests share a spread of grilled meats, seafood, rice, and traditional accompaniments, embodying the spirit of Filipino hospitality and togetherness.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">No utensils needed--Sunda New Asian's Kamayan Feast is best enjoyed hands-on, though any eating style works perfectly if the plate is left clean <em>(Photo courtesy of Sunda New Asian)</em></p>
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  <p class="">One of Morales’ biggest challenges is sourcing authentic ingredients and maintaining consistency across different locations. Sunda New Asian addresses this by building strong supplier relationships and understanding which elements of a dish are essential to its identity, allowing the restaurant to adapt when needed without compromising authenticity.</p><p class="">There are always humorous moments in the kitchen. Even in the most intense situations, there is room for laughter. “Whether things go perfectly or not,” Morales explains, “those moments build camaraderie and forge lifelong bonds.”</p>





















  
  




  



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    <p><strong>Travel is a major source of inspiration because it gives him the opportunity to experience different cultures and flavors firsthand.
  
  







  



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  <p class="">Outside the kitchen, he enjoys traveling, trying new restaurants, and keeping his finger on the pulse of the food scene. Travel is a major source of inspiration because it gives him the opportunity to experience different cultures and flavors firsthand.</p><p class="">In his free time, he spends a lot of time with his dog, a great way to unwind from the pace of the kitchen. Recently, he has gotten really into golf, and it is quickly becoming an obsession.</p><p class="">He is also involved with Culinary Care, serving as a board member and volunteering his time to cook for cancer patients in need.</p><p class="">Mike Morales goes above and beyond his role as culinary director at Sunda New Asian. From sourcing authentic ingredients to shaping the kitchen’s craft and leading with heart, he champions people and community, ensuring that the culinary world stays rooted in culture, driven by flavor, and inspired by imagination.</p><p class=""><em>Sunda New Asian – River North<br>110 W. Illinois Street<br>Chicago, Illinois 60654<br>(312) 644-0500</em></p><p class=""><em>Sunda New Asian – Fulton Market District<br>333 N. Green St.<br>Chicago, Illinois 60607<br>(312) 900-0033</em></p>





















  
  




  



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  <p class=""><strong><em>Rey E. de la Cruz, Ed.D., </em></strong><em>writes for </em>Positively Filipino<em> from Chicagoland, carrying with him both his immersion in the arts and a steady longing for his hometown of Ballesteros, Cagayan—celebrated as the “Gakka Capital of the World.” He reshaped the very idea of film education in the Philippines, becoming the first recorded film student at the University of the Philippines and later the pioneer who brought film into the high‑school classroom at San Beda. As an educator, he introduced the ancient Philippine board game </em>sungka<em> into classroom practice, turning cultural memory into pedagogy. UMPIL, the Philippines’ largest organization of writers, honored him with the Gawad Balagtas for Drama in Filipino “for his pioneering creative spirit that imagined and expanded what can be possible for today’s modern theater.” His plays—dream‑driven, daring, and theatrically audacious—continue to resonate. He defined Theater Without Apology as a writing ethic that rejects softness, insists on precision, and confronts truth without blinking.</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=53a9d71ae4b045e940f9853e"><strong><em>Rey E. de la Cruz</em></strong></a></p>





















  
  




  



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  <h2><strong>Pork Belly Sinigang</strong></h2><p class="">By Chef Mike Morales, Sunda New Asian</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Pork Belly Sinigang <em>(Photo courtesy of Sunda New Asian)</em></p>
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  <p class="">Crispy pork belly, sinigang braised radish, sauted spinach, seared tomatoes, tamarind broth</p><p class=""><strong>Ingredients</strong></p><p class="">8 oz Braised Adobo Log<br>3 Sliced Braised Watermelon Radish<br>2 Sliced Daikon Radish<br>3 oz Sliced Tomatoes<br>6 oz Spinach<br>8 oz Tamarind Broth<br>½ oz Micro Cilantro<br>Salt and Pepper (to taste)<br>3 oz Canola Oil</p><p class=""><strong>Dishware</strong></p><p class="">White Couple Plate</p><p class=""><strong>Equipment</strong></p><p class="">Sauté Pan, Tongs</p><p class=""><strong>Procedure</strong></p><p class="">-fry pork belly in 350-degree fryer until   golden and crispy (5-6min) then slice into 6 slices<br>-place radish in tamarind broth and bring   to a simmer<br>-sauté spinach until wilted season with  Salt &amp; Pepper<br>-sear tomatoes in a pan with oil</p><p class=""><strong>Plating</strong></p><p class="">Place spinach off center of the plate<br>Add radish slices on the other side<br>Place singled pork belly on top of spinach<br>Add tomatoes on one corner<br>Add broth in a pourer and pour table side</p><p class=""><strong>Garnish</strong></p><p class="">Micro cilantro</p><h3><strong>Braised Radish</strong></h3><p class=""><strong>Ingredients</strong></p><p class="">2 Watermelon radish, peeled</p><p class="">2 Daikon Radish</p><p class="">4 Tbs Tamarind concentrate</p><p class="">2 Tbs fish sauce</p><p class="">3 each&nbsp;  garlic bulb</p><p class="">Water to cover</p><p class=""><strong>Procedure</strong></p><p class="">Place peeled radish in a deep ½ size hotel pan</p><p class="">Add Tamarind, fish sauce, and garlic</p><p class="">Cover with water </p><p class="">Cover with foil and bake in a 300-degree oven for 2 ½ hours until tender</p><p class="">Cool in braising liquid (braising liquid will be used for the finished dish)</p><p class="">The Braising Liquid is the Tamarind Broth.</p>





















  
  














































  

    
  
    

      

      
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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1784068159127-1POABCAQMQR6T980BN23/Mike+Morales.jpg?format=1500w" medium="image" isDefault="true" width="800" height="602"><media:title type="plain">Chicago Chef Exalts Southeast Asian Fare</media:title></media:content></item><item><title>House of Stone Keeps Past Alive in Modern Iloilo</title><category>Arts &amp; Culture</category><category>The Way We Were</category><dc:creator>Meyen Quigley</dc:creator><pubDate>Wed, 15 Jul 2026 16:55:54 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/house-of-stone-keeps-past-alive-in-modern-iloilo</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a56e9ecd7e9f9790ff18006</guid><description><![CDATA[With Iloilo marching forward  briskly on the path of progress, city 
planners would do well to glean lessons Balay nga Bato has to give.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Arevalo's Balay nga Bato.</p>
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    <span class="dropcap">I</span>n August 1896, Jose Rizal was on board the steamship SS España, on his way to Manila from exile in Dapitan–having been summoned by the Spanish authorities and making the trip with a military escort. It was, of course, only six months after that week-long sea voyage that he met his death by firing squad in what was then known as Bagumbayan, now Rizal Park, sparking a revolution that set our nation on the path to freedom from colonial rule
  
  









  <p class="">On that journey Rizal was just a traveler, noticing things a traveler does. Thus on August 4, when his ship docked for a stopover at Loney Wharf (Muelle Loney) in Iloilo, he wrote in his journal: “The entrance to Iloilo is beautiful; it looks like a white city on the water.” He went on to describe Iloilo as “(a) nymph of galvanized iron, a modern creation.” </p><h3><strong>A ‘White City Set on Water’</strong></h3><p class="">Flying over Iloilo City these days, one will see, like Rizal, a “white city set on water” and a “modern creation,” yes, but instead of galvanized iron, a city of concrete-and-glass buildings–from gleaming corporate hubs and high-rise residences to shopping malls and a convention center whose roof design mimics dancing warriors and flowing waves. Wide avenues link different parts of the city, from the older Calle Real to the SM City and Plazuela complexes, and the spanking new Megaworld. The Esplanade, a nine-kilometer walkway, cuts a white swath along a river that has been cleaned and revitalized, and the brand new Sunset Boulevard is four kilometers of a scenic riverside drive to the north.</p><p class="">Visitors to Iloilo are invariably impressed, and Ilonggos are justifiably proud. But among longtime residents there is the persistent and often unspoken thought: “How long before our city becomes totally unrecognizable?”</p><p class="">Happily for anxious Cassandras, there are parts of Iloilo that hold on, stubbornly, to its past. One place holding on carefully and lovingly to Iloilo’s bygone days is found in Arevalo,&nbsp; a district known as the city’s flower capital because of its many gardens and a plaza with flowers in abundance. Only about 5 to 10 minutes from the plaza, the Camina family’s <em>Balay nga Bato</em>, or Stone House, on 20 Osmena Street, stands as a 161-year old witness to the changing times and fortunes of Iloilo. </p><h3><strong>A Witness to History</strong></h3><p class="">Father Anselmo Avanceña designed the Balay nga Bato for his brother Fernando and Fernando’s wife, Eulalia Abaja, in 1860. Construction was completed in 1865. The house was built in the twilight years of the Spanish Empire in the Philippines, but at a time of rapid expansion for Iloilo with the opening of its port to international shipping in 1855. The city’s prosperity and its coastal location made it vulnerable to raids and plunder by sea pirates, and so the wealthy families of the city fortified themselves in houses made of plaster and stone. Hence,<em> </em>Balay nga Bato.</p><p class="">The house’s shining <em>narra </em>floors and the 24 hardwood pillars supporting the structure are from a time when wood was abundant and the preferred material for the interiors of houses. Wide windows at the front of the house with <em>capiz</em> shell panels were ideal not just for ventilation, but also allowed occupants to watch, during the Lenten season, elaborate <em>carrozas </em>passing by, bearing religious statues commemorating the passion of Jesus Christ. A deep Catholic faith is also seen in the <em>oratorio</em>, an area with <em>prie dieu</em>, statues of saints, crucifixes, and other religious objects. An <em>azotea, </em>or balcony, at the back of the house, was for courtship practices far different from today’s.</p><p class="">Most of the objects and furniture in the house are from the Spanish times, but porcelain plates and jars of different sizes are remnants of trade with Chinese merchants in the 1800s. Clay bowls and pots date back to pre-Hispanic times. A gramophone in one corner and an antique Singer sewing machine in another bring us to the American period in the early 1900s. Foot-powered wooden hand looms in the <em>almacen</em>, the ground floor storage area common to all balay nga bato, are a testament to Iloilo’s flourishing weaving industry that collapsed with the opening of the port and the introduction of cheap factory-made fabrics brought in by European merchants. </p><h3><strong>Repurposing a Historic Structure</strong></h3><p class="">Gerard and Luth Camina– the former Ma. Luisa Miniviluz Saludes of Jaro–are the fourth generation of the Avanceña-Camina family to be stewards of the house. Where some members of the family saw the house and its contents as a burden to be managed, Luth and Gerard saw only opportunity. Luth, especially, envisioned inviting the public to see and admire the contents and history of the house. Which is precisely what they did in 2010.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Ma.Luisa Saludes Camina (Luth), owner of Balay with husband Gerard.</p>
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  <p class="">Since then, diverse groups of people have streamed into the house, enjoying its antiques collection and furniture from bygone days, soaking in the ambience of times past. Visitors are welcomed with a cup of <em>tablea </em>(chocolate made from&nbsp; pastilles that the Spaniards introduced to the Filipino diet, papaya juice, and on occasion, Spanish-inspired feasts laid out on long tables overlooking the <em>azotea. </em>A serving of <em>pancit molo, </em>a savory soup with pork-filled dumplings that is a beloved Iloilo specialty, is a nod to the Chinese. </p><p class="">Gourmands come to Balay nga Bato wanting to savor its by now well-known food offerings, dishes made using local products and traditional recipes. Students come for lessons in Iloilo’s–and indeed, the Philippines’– past. Researchers come to examine the house’s treasures. It is a popular venue for weddings and anniversaries and even conferences. Visitors from other provinces come to get lessons in cultural preservation. In 2015, recognizing its value to the community and its popularity, the National Museum of the Philippines declared the house an &nbsp;important cultural property.</p><h3><strong>Preserving Traditional Crafts</strong></h3><p class="">Today, craftsmen and women from the community keep alive the weaving tradition,&nbsp; making <em>hablon</em> and <em>patadyong</em>, textiles with designs unique to Iloilo. In spotlessly clean and well-ventilated rooms, workers make tablea<em> </em>using traditional methods<em>. </em>The tablea<em> </em>has won several awards from the Philippine Department of Trade and Industry. Wooden shelves in the almacen display slippers and bags made from abaca fiber, and the artisan <em>tultul</em> salt from Guimaras is found alongside rich, dark <em>muscovado </em>sugar from other parts of Panay. Bottles of <em>sinamak–</em>coconut vinegar infused with garlic, chilies, ginger, and other aromatics– make the mouth water. The stainless steel pitchers used for mixing tablea are on offer, together with the <em>batidor,</em> a stirring rod made from guava wood that is said to improve the taste of the drink. There are jams made from fruits not typically used for this purpose: banana chips, cashews, and other agricultural products. </p>





















  
  




  



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    <p><strong>Most of the objects and furniture in the house are from the Spanish times, but porcelain plates and jars of different sizes are remnants of trade with Chinese merchants in the 1800s.
  
  







  



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  <p class="">Many of the products come from the Caminas’ farmland in Guimaras. Instead of detracting from the care of the house, Luth and Gerard’s venture into agriculture feels like a natural offshoot of their work in cultural preservation. Where they protect a house and a city’s history at the Balay, their Spring Bloom Agrifarm in Sibunag protects native tree species like <em>calamansi,</em> cashew, pomelo, <em>camagong,</em> <em>banaba</em>, and <em>batuan</em>, apart from coffee and cacao. The Balay nga Bato is a way of showcasing the abundant yields of the farm. <em>&nbsp;</em></p><h3><strong>Keeping Iloilo’s Past Alive</strong></h3><p class="">Both Caminas have degrees in business and have had stints in the banking industry, but the work they do at the farm and the Balay is driven not just by a business sense but by passion and a love for their native city. “We have only just awakened to the fact that we are a heritage city, a city with a unique history that is work preserving,” notes Luth. They will eventually pass stewardship of the property to their children, whom they hope will continue the work of keeping Iloilo’s past alive. In the meantime, they continue to explore new ways of making the house even more relevant and accessible.</p><p class="">It was also Rizal who said: "In order to read the destiny of a people, it is necessary to open the book that tells of her past." With Iloilo marching forward&nbsp; briskly on the path of progress, city planners would do well to glean lessons the house has to give. The house illustrates how a city integrated new tools, customs, and industries into daily life during a period of profound political and economic change—retaining what was most essential, pleasing, and functional while celebrating the skills and artistry of its people.</p>





















  
  




  



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    <p><strong>Gourmands come to Balay nga Bato wanting to savor its by now well-known food offerings, dishes made using local products and traditional recipes.
  
  







  



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  <p class="">There is much to learn from the values, designs, and craftsmanship embodied in the house, as well as from the sensibilities, aspirations, and strengths of earlier generations, which embraced the shiny new toys and materials of a new era without losing sight of enduring principles.</p><p class="">Stretched out on one of the wicker chairs in the living room of Balay nga Bato, one can almost imagine the clip-clop of <em>calesas</em> along the street outside, carrying people to church or on leisurely afternoon strolls to the plaza. One can almost hear the shouts of boatmen docking at the rear of the house, bearing news of the latest arrivals at the port and unloading textiles destined for nearby storehouses. In the kitchen, housemaids in flowing <em>sayas</em> prepare a meal, using chopping boards hewn from tree trunks. The rhythmic clack of rosary beads and the murmur of voices drift from the oratorio after the church bells toll the Angelus at six o'clock. And on the grand staircase at the entrance, the swish of gowns and the tap of canes announce the arrival of guests, come to partake of the hospitality of Balay nga Bato.</p><p class=""><em>The Balay nga Bato is located at 20 Osmena St., Arevalo, Iloilo and Luth Camina may be reached at saintteresa20@yahoo.com.</em></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/png" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1784084932720-0PE5TYS3HBCL4JB20UHY/balay+1.PNG?format=1500w" medium="image" isDefault="true" width="800" height="518"><media:title type="plain">House of Stone Keeps Past Alive in Modern Iloilo</media:title></media:content></item><item><title>Overseas Filipino Achievers, Part 6</title><category>Overseas Filipinos</category><dc:creator>Mona Lisa Yuchengco</dc:creator><pubDate>Wed, 15 Jul 2026 16:55:45 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/overseas-filipino-achievers-part-6</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a5652196a076407f3d1c202</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</strong></h3><h3><strong>Kat Borlongan</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Kat Borlongan <em>(Source: Facebook)</em></p>
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  <p class="">Borlongan became the first Filipino to be awarded the French National Order of Merit, one of France’s highest distinctions given to individuals who have made outstanding contributions to the country. Onstage, she claimed her Filipino identity and took the opportunity to talk about migration and community. Borlongan left the Philippines at 19 to build a life in France. The adjustment was not easy, and she didn’t speak the language, but she went on to earn her Political Science degree from Sorbonne University and her master’s degree at McGill University. At 23, she was leading Reporters Without Borders Canada. After founding an open-data startup, she was tapped by President Macron to lead La French Tech, where she helped accelerate France’s rise as a leading startup hub, expanded a global network of more than 120 tech communities, and advanced initiatives like the French Tech Visa and programs supporting underrepresented founders. She continues to be an ambassador for the European Innovation Council.</p><h3><strong>Danielle Gonzales-Pareja, </strong>Brand Strategist</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Danielle Gonzales-Pareja <em>(Source: LinkedIn)</em></p>
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  <p class="">Gonzales-Pareja is a brand and content strategist, photographer, and videographer based in France. She helps beauty, fashion, lifestyle, and hospitality brands tell compelling stories through content, social media, photography, and video. With more than 15 years of experience in brand communications and entrepreneurship, she brings strategic thinking and hands-on content creation to every project. From 2016 to 2024, she was the co-founder and creative director of Tala The Label in Boracay, producing ready-to-wear garments and accessories in Indonesia and the Philippines.</p><h3><strong>SWITZERLAND</strong></h3><h3><strong>Maria Theresa A. Eviota, </strong>Community Leader</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Maria Theresa A. Eviota <em>(Source: Facebook)</em></p>
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  <p class="">Eviota is a Switzerland-based migrant and community leader recognized for her outstanding service to the Filipino community abroad. She is a recipient of the 2018 Presidential Pamana ng Pilipino Award. She serves as a leader of Samahang Pilipina Bern, where she actively advocates for the rights and empowerment of migrant women.</p><h3><strong>GERMANY</strong></h3><h3><strong>Jovel Bante Jr., </strong>Chef</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Chef Jovel Bante, Jr. <em>(Source: ABS-CBN Facebook)</em></p>
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  <p class="">Bante originally gained social media fame in 2021 as a struggling hospitality student at Holy Cross of Davao College, where he used a makeshift oven made from a biscuit tin to complete his school projects. His journey from Davao to Europe was recently highlighted in a viral update shared by Jelyssa Marañon Freyman, the stranger who gifted him his first professional oven five years ago. Bante reached out to her in March 2026 to express his gratitude, noting that the opportunity to practice his profession in Europe has been a major turning point in his career.</p><h3><strong>SINGAPORE</strong></h3><h3><strong>Rafael Manuel</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Rafael Manuel <em>(Source: Facebook)</em></p>
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  <p class="">Based between Singapore, London, Amsterdam, and Manila, Manuel’s debut feature film,&nbsp;<em>Filipinana</em>, screened at the 2026 Sundance Film Festival and won the World Cinema Dramatic Special Jury Award for Creative Vision. It also won the Silver Bear Jury Prize at the 70th Berlin International Film Festival and was nominated for Best British Short Film at the 2020 British Independent Film Awards. He was chosen by Chinese filmmaker Jia Zhang-ke to be his protégé at the Rolex Arts Initiative. Manuel studied at Ateneo de Manila University before taking up his MA in filmmaking at the London Film School.</p><p class="">One critic wrote about the film: “Displaying an extraordinary command of his surreal and unnerving visual language, first-time filmmaker Rafael Manuel adapts his award-winning 2020 short film of the same name to chilling effect. Manuel plumbs the depths of Filipino identity and national consciousness to uncover ominous fragments and cracks that defy picture-perfect unity. Through a stylized, colorful approach lensed with care and precision by cinematographer Xenia Patricia, Manuel takes us into a world where violence and control are exerted with the subtle flick of a wrist or tip of a hat. Painting a scathing portrait of class disparities and post-colonial power structures in ways that are both quiet and unsettling,&nbsp;<em>Filipiñana</em>&nbsp;announces the arrival of an accomplished writer-director who unflinchingly confronts his country’s past, present, and future.”</p><h3><strong>AUSTRALIA</strong></h3><h3><strong>Emily Wurramara</strong></h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png" data-image-dimensions="379x450" 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/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=1000w" width="379" 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/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2cb1d528-cc0e-4ebb-8a74-d4ff9d385e1e/Emily+Wurramara+IG+wearemayberry.png?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Emily Wurramara <em>(Source: wemayberry/Facebook)</em></p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">An Aboriginal-Filipino woman, Wurramara won the 2024 ARIA Music Awards for Best Adult Contemporary Album, making her the first Indigenous woman ever to win in that category. Her father is of Filipino, Chinese, and Spanish descent and grew up in Negros, Philippines, while her mother is a Warnindilyakwa-Greek-Italian-Turkish woman who grew up on the islands of Groote Eylandt and Bickerton Island.</p><h3><strong>Bishop Nelson Po</strong></h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg" data-image-dimensions="351x450" 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/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=1000w" width="351" 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/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/9ab781ca-b28f-4fe2-9f38-4ec5cca0f0f5/Bishop+Nelson+Po+Australian+Catholic+Bishops+Org.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Bishop Nelson Po <em>(Source: Australian Catholic Bishops  conference)</em></p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">Po was recently ordained Auxiliary Bishop of Perth at St. Mary’s Cathedral in Western Australia. Born in the village of Cantuhaon in Palompon, Leyte, Bishop Po is the third of six children born to the late Lope Po and Norma Abordo. Before entering the priesthood, he worked as an industrial and management engineer—a background he credits with helping him navigate the complex organizational needs of parish life with a practical perspective. He moved to Australia in 2003 and was ordained a priest in 2005.</p><h3><strong>Bishop Rene Ramirez</strong></h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg" data-image-dimensions="319x450" 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/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=1000w" width="319" 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/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f38c7260-1aa6-4d1e-9ed2-0f27870b7537/Bishop+Rene+Ramirez+Global+Filipino+Magazine.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Bishop Rene Ramirez <em>(Source: Global Filipino Magazine)</em></p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">Ramirez is the first Filipino priest ever ordained a bishop in Australia and was recently appointed by Pope Leo XIV as the ninth Bishop of Sandhurst.</p><h3><strong>Alizza Reyes, </strong>Chef</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg" data-image-dimensions="345x450" 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/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=1000w" width="345" 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/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c5fa107c-5e92-4171-a17f-1ef5f0a4a8e6/Alizza+Reyes+Chef+FB.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Chef Alizza Reyes <em>(Source: Facebook)</em></p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">Reyes is an executive chef based in Melbourne, Australia, known for her work with the Filipino Chefs Association of Victoria (FCAV). She serves as the head chef at Anaïa and has been featured for showcasing Filipino cuisine, including a six-course degustation menu. She has been working in Australia for the past seven years after spending two years in the United States.</p><h3><strong>NETHERLANDS</strong></h3><h3><strong>Lana Jelenjev, </strong>Columnist</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg" data-image-dimensions="342x450" 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/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=1000w" width="342" 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/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3e1c477a-25e2-4efe-b515-220fbb31bb5c/Lana+Jelenjev+lanajelenjev+com.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Lana Jelenjev (Source: lanajelenjev.com)</p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">Jelenjev is a Filipina who has lived in the Netherlands for 13 years and has a Substack column where she integrates Kapwa, Loob, Kamalayan, and other Filipino values as she tackles broad subjects such as colonial trauma, intergenerational healing, and moral injury. She calls herself “a community alchemist, a weaver of healing-centered ecosystems, a remembering body, and a gentle guide across thresholds.” She says that “healing doesn’t happen in isolation. It happens in relation. In witnessing. In <em>pakikipagkapwa </em>and <em>pakikiramdam.</em>” After surviving cancer at the age of 37, her message to the world is: “Go in the direction that fills your hearts and yourselves to the brim so that you can support and help others around you.”</p><h3><strong>UNITED ARAB EMIRATES</strong></h3><h3><strong>Dr. Mary Jane Alvero, </strong>Engineer</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg" data-image-dimensions="342x450" 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/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=1000w" width="342" 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/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/3743be90-d191-4d65-b947-b14e822217fc/Dr.+Mary+Jane+Alvero+Asia+Leaders+Award+FB.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">Dr. Mary Jane Alvero <em>(Source: Asian Leaders Award)</em></p>
          </figcaption>
        
      
        </figure>
      

    
  


  





  <p class="">Alvero is a distinguished Filipino engineer and business leader currently serving as Chief Executive Officer of Prime Group and Geoscience Testing Laboratory in the United Arab Emirates. With extensive expertise in quality assurance and materials testing, she has led critical safety and compliance assessments across construction materials, food, water, and air systems throughout the UAE. Her professional journey began at Al Futtaim Wimpey Laboratories, where she spent six years honing her technical and leadership skills. She later joined Geoscience Testing Laboratory as a Quality Assurance Officer and steadily rose through the ranks, demonstrating exceptional leadership and technical excellence and culminating in her appointment as CEO in 2003. Under her leadership, the organization has become a trusted name in testing and certification services in the region. (Submitted by Philippine Ambassador to the UAE Doy Ver)</p><h3><strong>Marlyn Castro, </strong>Entrepreneur</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Marlyn Castro <em>(Source: LinkedIn)</em></p>
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  <p class="">Castro is a Filipino entrepreneur and philanthropist widely recognized as the founder and Chief Executive Officer of Pinas Express Cargo, a leading logistics company operating between the United Arab Emirates and the Philippines. What began as a single logistics venture has grown into the Pinas Group of Companies, a dynamic and expanding conglomerate.</p><p class="">Starting her career in Dubai with modest beginnings, she gained hands-on experience in logistics and business operations before establishing her own company in 2014. Through discipline, perseverance, and strategic vision, she successfully grew her business into the Pinas Group of Companies, a multi-industry enterprise with ventures spanning logistics, wellness, travel, retail, and service industries. Castro continues to empower the Filipino community abroad.</p><h3><strong>Maria Paz Banaag-Marquez, </strong>Baker</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Maria Paz Banaag-Marquez <em>(Source: PEP.PH/Facebook)</em></p>
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  <p class="">Banaag-Marquez, also known as “Nanay Paz,” is a Filipino entrepreneur and the founder of Maria Paz Pastry &amp; Café, a UAE-based bakery business known for its cheesecakes and Filipino pastries. She started the business after years of working in Dubai, gradually developing her baking skills and establishing a small food venture that has since expanded into multiple branches across the Emirates, serving customers in Dubai, Abu Dhabi, and other locations.</p>





















  
  




  



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        </figure>]]></content:encoded><media:content type="image/png" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1784059369480-DMG0CNRWJRP73ZJPBJHR/Emily+Wurramara+IG+wearemayberry.png?format=1500w" medium="image" isDefault="true" width="379" height="450"><media:title type="plain">Overseas Filipino Achievers, Part 6</media:title></media:content></item><item><title>A Pathbreaker for Ethnic Studies </title><category>Achievers &amp; Role Models</category><dc:creator>Alex S. Fabros, Jr.</dc:creator><pubDate>Wed, 08 Jul 2026 15:33:11 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/a-pathbreaker-for-ethnic-studies</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4d0074056e945293ff59d2</guid><description><![CDATA[Find out how educator Daniel P. Gonzales played a critical role in the 
making of ethnic and Asian American studies at San Francisco State.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Daniel P. Gonzales <em>(Source: Facebook)</em></p>
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    <span class="dropcap">D</span>aniel P. Gonzales belongs to the generation that helped transform Ethnic Studies from a strike demand into a functioning academic institution. His role can be understood in two related but distinct ways.
  
  









  <p class="">First, he was part of the San Francisco State College movement of 1968–1969, when the Black Student Union and the Third World Liberation Front forced the university to confront the exclusion of Black, Asian American, Latino, and Native American students from admissions, curriculum, faculty hiring, and institutional power.</p><p class="">Second, and just as important, Gonzales was among those who remained after the strike and helped build Asian American Studies into a permanent program of teaching, advising, curriculum development, institutional memory, and community accountability. His contribution was not that of a lone founder. Ethnic Studies at San Francisco State emerged through coalition struggle. Asian American Studies grew from the efforts of students, faculty, community organizers, artists, writers, and neighborhood institutions. Gonzales' importance lies in the bridge he forged among those worlds—student activism, Filipino American organizing, Asian American curriculum, and the long-term institutional survival of the field.</p><h3><strong>Campus Strike</strong></h3><p class="">The 1968–1969 San Francisco State strike grew out of more than campus unrest. It was a response to a university system that treated communities of color as objects of study, if it noticed them at all, rather than as producers of knowledge. San Francisco State's own College of Ethnic Studies history describes the strike as a movement against the "lack of access, misrepresentation, and the overall neglect" of Indigenous peoples and people of color within the university's curriculum and programs. The demands included the creation of departments in American Indian Studies, Asian American Studies, Black Studies, and La Raza Studies within a College of Ethnic Studies. That institutional demand mattered. The students were not asking merely for a course, a lecture series, or symbolic inclusion. They were demanding an academic structure, faculty positions, curricular authority, and a measure of self-determination over how their histories and communities would be taught.</p><p class="">Gonzales entered this history at precisely the point where protest met institution building. A later account in the&nbsp;<em>Golden Gate Xpress</em>&nbsp;reported that he arrived at San Francisco State at the outset of the 1968 student-led strike and remained connected to the university for more than four decades. That detail matters because it places him among the generation that did not regard the strike as a finished event. For many participants, the strike marked a beginning rather than an end. It produced an agreement, but that agreement still had to be translated into classes, departments, governance structures, faculty appointments, advising systems, and community relationships. Gonzales became one of the figures who carried the original demand for relevant education into the ordinary but demanding work of institutional survival.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">San Francisco State University <em>(Photo by Paffard Keatinge-Clay/Wikimedia Commons)</em></p>
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  <p class="">The Third World Liberation Front created the political framework within which Gonzales' later work became meaningful. The coalition united Asian American, Black, Latino, Native American, and other Third World student organizations around the principle that education had to be tied to self-determination. Asian American Studies did not emerge as an isolated ethnic specialty; it grew out of coalition politics. Malcolm Collier and Daniel Phil Gonzales later wrote that Asian American Studies at San Francisco State was the product of Asian American students, faculty, and community members working together to address "pressing academic and community issues." They emphasized that the founders came from diverse backgrounds and political perspectives but shared a commitment to confronting racial inequity, responding to community needs, and replacing a curriculum that failed to reflect the lives of Asian American families and neighborhoods.</p><h3><strong>Community-Based Project</strong></h3><p class="">That point is essential to understanding Gonzales' role. He did not help build Asian American Studies as a narrow identity program. He helped build it as a community-based intellectual project. At San Francisco State, Asian American Studies addressed immigration, labor, exclusion, family, war, colonialism, media, language, art, and neighborhood survival. Gonzales' later course offerings reflected that breadth. San Francisco State's Asian American Studies faculty biography lists courses he taught in&nbsp;<em>Contemporary Asian Americans</em>,&nbsp;<em>Asian Americans and American Ideals and Institutions</em>,&nbsp;<em>Filipinos in the United States</em>, and&nbsp;<em>Asian Americans and Mass Media</em>. Together, these courses illustrate the scope of the field he helped sustain: contemporary politics, civic ideals, Filipino American history, and representation in mass culture.</p><p class="">His Filipino American role was especially significant. Filipino Americans were central to the formation of Asian American Studies at San Francisco State, yet their place could easily be overshadowed by larger public narratives centered on Chinese American and Japanese American experiences. The Pilipino American Collegiate Endeavor (PACE) became one of the key Filipino American organizations of the strike era. Juanita Tamayo Lott later wrote that PACE was founded in 1968 to tutor and recruit Filipino American youth for college and, in the spring of that year, joined the Black Student Union, the Mexican American Student Confederation, the Latin American Student Organization, Intercollegiate Chinese for Social Action, and the Asian American Political Alliance to form the Third World Liberation Front. In this setting, Filipino American activism was not a side story; it was part of the machinery of coalition.</p><p class="">Gonzales' later work kept that Filipino American presence visible within Asian American Studies. His teaching of Filipina/o American history, advising of PACE, and involvement with Filipino American community institutions made him an important transmitter of the strike generation's lessons to later students. San Francisco State's faculty biography identifies him as PACE's faculty adviser and notes his involvement with the Filipino American National Historical Society, the Manilatown Heritage Foundation, the New America Media Association, and the San Francisco Filipino American Democratic Club. That combination is revealing. Gonzales did not separate the classroom from the community. He understood Asian American Studies as a field that had to remain accountable to neighborhoods, political organizations, ethnic newspapers, artists, elders, youth, and community memory.</p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true" class="">Gonzales (right) with the other Professors of San Francisco State University (L-R) Dawn Buholano Mabalon+, Allyson Tintiangco-Cubales, Irene Faye Duller, Barbara Jane Reyes, Eric Pido. <em>(Source: Facebook)</em></p>
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  <h3><strong>Ethnic Studies' Survival</strong></h3><p class="">This is where Gonzales' role becomes larger than biography. Ethnic Studies survived because people like Gonzales performed the institutional labor that movements often leave unnamed. A strike can force a university to concede, but it cannot by itself create a durable curriculum. Courses must be proposed, justified, staffed, revised, defended, and taught year after year. Students must be advised. Departments must withstand budget pressures, administrative skepticism, ideological attacks, and internal disagreements. Gonzales' career represents that second stage of Ethnic Studies: the long work of building permanence after the dramatic moment of protest had passed. In 2012, he identified establishing Ethnic Studies curricula and helping assemble a collection of stories from founding and later members of Asian American Studies as among his major achievements.</p><p class="">His collaboration with Malcolm Collier is especially important for that reason. Together they wrote about the origins, governance, creation, and survival of Asian American Studies at San Francisco State. Those essays are more than recollections; they form part of the field's documentary infrastructure. In&nbsp;<em>Origins: People, Time, Place, Dreams</em>, Collier and Gonzales warned that the excitement of the strike could obscure the long work that followed. They argued that the strike was only one part of the origins of Asian American Studies and that any new vision succeeds only through later implementation involving "long and arduous effort." That observation captures Gonzales' historical significance. He belonged to the generation that understood self-determination required administration, curriculum development, meetings, teaching loads, and the preservation of institutional memory.</p><p class="">The demand for a School of Ethnic Studies reflected this practical understanding from the outset. According to Collier and Gonzales, the movement's most important demand was the creation of a School of Ethnic Studies for the groups represented in the Third World Liberation Front, with each ethnic organization exercising authority over hiring, retention, administration, and curriculum in its own area of study. The demand flowed directly from the principle of self-determination. It also reflected a sophisticated understanding of university power. Students recognized that without authority over faculty, curriculum, and institutional structure, Ethnic Studies could be reduced to tokenism. Gonzales' later career in Asian American Studies became part of the effort to protect that principle from within the institution.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Gonzales with Daly City Mayor Juslyn Manalo <em>(Source: Facebook)</em></p>
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  <h3><strong>First of Its Kind</strong></h3><p class="">The College of Ethnic Studies at San Francisco State became the first of its kind in the United States. The official strike collection states that the strike concluded on March 21, 1969, when representatives of the Third World Liberation Front and the administration reached an agreement. The outcome included the establishment of the College of Ethnic Studies, expanded Educational Opportunity Program admissions, a commitment to hire more faculty of color, and amnesty for many students who had been arrested or suspended. These gains were structural, not merely symbolic gestures toward diversity. They reshaped admissions, hiring, curriculum, and the place of community knowledge within the university.</p><p class="">Gonzales' place in that history was therefore both Asian American and interethnic. He worked within Asian American Studies, but the department existed within the larger College of Ethnic Studies. That mattered because Asian American Studies at San Francisco State was never intended to become a detached ethnic enclave. It was born alongside Black Studies, La Raza Studies, and American Indian Studies. Gonzales inherited that coalition framework. His work in Asian American Studies carried forward the memory of shared struggle among communities of color. This was especially important for Filipino American Studies, which had to account for colonialism, U.S. empire, labor migration, anti-Filipino violence, military service, interracial politics, and the complex position of Filipinos within both Asian America and the broader Third World movement.</p><p class="">The San Francisco State model also shaped the meaning of "Asian American." The term emerged in the late 1960s as a political identity rather than a simple demographic label. It was intended to unite communities often divided by national origin, language, religion, class, and immigration history. At San Francisco State, Asian American Studies developed through that same process of coalition. Chinese American, Japanese American, Filipino American, and other Asian American students and community members did not share identical histories, but they recognized common experiences of exclusion, racialization, war, labor exploitation, and cultural erasure. Gonzales' work helped keep Filipino American history within that broader Asian American framework without sacrificing its distinctiveness.</p><p class="">That balance was one of his major contributions. Filipino American history can be overshadowed when Asian American Studies is organized primarily around Chinese exclusion and Japanese American incarceration. Those subjects are indispensable, but they do not encompass the full scope of Asian American history. Filipino history brings into the field U.S. colonialism in the Philippines, the <em>pensionado</em> generation, manong labor migration, West Coast farm labor, anti-miscegenation laws, taxi dance halls, labor organizing, military service, post-1965 immigration, and transnational family formation. Through his teaching of&nbsp;<em>Filipinos in the United States</em>, Gonzales ensured that the Filipino American experience was not treated as an appendix to Asian American Studies. It belonged at the center of the field's questions about empire, labor, law, masculinity, family, culture, and political belonging.</p>





















  
  














































  

    
  
    

      

      
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  <h3><strong>Mentor</strong></h3><p class="">Gonzales' role as a mentor was equally important. Ethnic Studies depends on transmission. It is not only a field of books and courses but also one of memory passed from elders to students, activists to researchers, community organizations to classrooms, and one generation of scholars to the next. Juanita Tamayo Lott described Daniel P. Gonzales as someone who taught, mentored, and advocated for hundreds of students over more than four decades, calling him the longest-serving faculty member in the College of Ethnic Studies. That observation points to a form of labor that institutional histories often overlook. Gonzales helped students see themselves in the curriculum and, in turn, helped many become teachers, lawyers, public servants, writers, organizers, and historians.</p><p class="">His mentoring mattered because many students entered Ethnic Studies from families and communities that had been told, directly or indirectly, that their histories were not legitimate subjects of academic inquiry. Asian American students often arrived with fragmented knowledge: family stories, immigrant silences, wartime memories, labor histories, neighborhood lore, and cultural practices absent from textbooks. Gonzales showed them that these fragments constituted historical evidence. A family's migration, the destruction of a neighborhood, a farmworker's testimony, a Filipino veteran's claim, or a community newspaper could all become sources for historical interpretation. This was one of the deepest purposes of Asian American Studies: to transform community memory into disciplined scholarship without stripping it of its moral force.</p><p class="">The artistic and cultural dimensions of Asian American Studies also shaped Gonzales' work. In a later conversation with Jerome Reyes and Mary Valledor, he discussed the importance of artists, teachers, and neighborhood institutions in the formation of Asian American Studies. The discussion linked proposed Asian American Studies courses to artistic practice, neighborhood arts programs, and the broader cultural world of the Bay Area. That connection is significant because Asian American Studies at San Francisco State was never solely a social science project. It also grew out of poetry, theater, murals, photography, music, newspapers, and community arts. Gonzales understood that artists did more than illustrate Asian American experience; they helped create its language, imagery, and political imagination.</p><p class="">That cultural emphasis also explains why Gonzales viewed Asian American Studies as lived experience. According to the&nbsp;<em>Golden Gate Xpress</em>, he observed that poets and writers were among the most influential figures in shaping Asian American Studies because they had lived the experiences they described. The remark reveals an important feature of his intellectual outlook. Gonzales did not regard academic knowledge as superior to community expression. He understood that Asian American Studies drew its authority from people who had experienced exclusion, migration, labor, neighborhood struggle, and cultural creation. The professor's role was not to replace the community's voice but to organize, interpret, and defend the conditions under which that voice could be heard within the university.</p><h3><strong>Legal Training</strong></h3><p class="">His legal training also gave him a distinctive intellectual perspective. San Francisco State lists him as holding a J.D. from Hastings College of the Law and a B.A. in International Relations from San Francisco State College, with a focus on theories of revolution and war. That combination helps explain his sensitivity to power, institutions, governance, and political conflict. Asian American Studies had to examine law because Asian American history in the United States was shaped by it: exclusion acts, alien land laws, naturalization restrictions, anti-miscegenation statutes, wartime incarceration, immigration quotas, deportation, labor regulation, and civil rights struggles. Gonzales' background made him especially well suited to teach Asian American Studies not simply as cultural celebration but as the study of institutions, state power, law, and resistance.[15]</p><p class="">Gonzales' role in creating Ethnic Studies should therefore be described carefully. He was not its sole creator. No one was. The field emerged from collective struggle, especially through the Black Student Union and the Third World Liberation Front, with support from students, faculty, staff, and community members. Gonzales, however, was among those who made that creation durable. He helped transform the demand for Ethnic Studies into curriculum, departments, advising, faculty leadership, community engagement, and a body of historical reflection. His work belongs to the institutionalization phase of the movement—the phase that determined whether the strike would become a permanent academic structure or fade into commemorative memory.</p><p class="">His contribution to Asian American Studies was even more direct. He taught in the department, advised students, sustained Filipino American Studies within the broader Asian American Studies framework, coauthored histories of the program, participated in governance, and preserved the field's origin story. His career demonstrates that Asian American Studies was built not only by celebrated theorists or highly visible public intellectuals but also by faculty who taught survey courses, advised majors and minors, defended curriculum, worked with student organizations, wrote program histories, and maintained community ties. Gonzales' career reminds us that the survival of a field depends as much on institutional builders as on founding manifestos.</p><h3><strong>Ethnic Studies and Politics</strong></h3><p class="">Gonzales' significance also lies in his refusal to separate Ethnic Studies from politics. In a 2018 Asian American Legal Defense and Education Fund article and podcast page, Emil Guillermo described Gonzales as one of the students in the Black, Latino, and Asian coalition at San Francisco State and noted that he later became a tenured professor of Asian American Studies. The same account reported that Gonzales urged scholars to remain engaged with contemporary politics. That insistence was consistent with the founding logic of Ethnic Studies. The field was never intended to be neutral in the sense of being detached from power. It was meant to be rigorous, accountable, community-based, and politically engaged.</p>





















  
  




  



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    <p><strong>Ethnic Studies survived because people like Gonzales performed the institutional labor that movements often leave unnamed.
  
  







  



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  <p class="">That position remains important because Ethnic Studies has often been misunderstood as grievance, separatism, or identity politics. Gonzales' career offers a more accurate interpretation. Ethnic Studies arose as a response to institutional absence. It asked why universities could teach Western civilization but not colonialism, immigration exclusion, Indigenous dispossession, the Black freedom struggle, Asian American labor, Latino community formation, or Filipino American history. It asked why students of color encountered themselves only in footnotes. Gonzales helped answer those questions not by abandoning the university but by expanding what the university could teach and contain.</p><p class="">His work also illuminates the difference between founding and sustaining. Founding Ethnic Studies required confrontation. Sustaining it required patience, governance, memory, and pedagogy. The first demanded courage in the streets and on the picket line; the second demanded endurance in offices, classrooms, committees, archives, and community meetings. Gonzales' historical role lies at the intersection of both. He emerged from the strike generation, but his larger legacy rests in the decades that followed. He helped build the institutional machinery that enabled Asian American Studies to sustain itself across generations.</p><p class="">In the end, Daniel P. Gonzales' role in creating Ethnic Studies and Asian American Studies was that of activist, teacher, curriculum builder, mentor, institutional memory keeper, and Filipino American community advocate. He helped make Asian American Studies practical. He gave it courses, students, stories, and continuity. He kept Filipino American history visible within Asian American Studies while preserving the coalition origins of the College of Ethnic Studies. His significance is not that he stood above the movement but that he remained within it long enough to help turn it into an institution. The strike opened the door. Gonzales was one of those who stayed to build the rooms.</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/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1783443217133-X9924GL6ARYIMRNT7HQW/Dan+Gonzales+FB+.jpg?format=1500w" medium="image" isDefault="true" width="1500" height="1262"><media:title type="plain">A Pathbreaker for Ethnic Studies</media:title></media:content></item><item><title>Life and Death Choices in Bikol in the Dark Years</title><category>Books</category><dc:creator>Marilen Abesamis</dc:creator><pubDate>Wed, 08 Jul 2026 15:33:05 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/life-and-death-choices-in-bikol-in-the-dark-years</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4d4ac3c61455156ab35f9f</guid><description><![CDATA[This book about the resistance in Bikol to the Marcos dictatorship captures 
a painful and simultaneously joyous era, one that brought out the best in 
our generation.]]></description><content:encoded><![CDATA[<p class=""><strong>BOOK REVIEW</strong>:<em> Mga Daso: Stories of Martial Law in Bikol</em><strong>; </strong>Edited by Soliman M. Santos, Jr, Paz Verdades M. Santos, and Greg S. Castilla<strong>; </strong>(University of the Philippines Press 2025)</p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg" data-image-dimensions="295x450" 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/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=1000w" width="295" 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/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/c355c2dd-17d4-472c-bb26-cd7ffb6dc83a/Daso+Book+Cover.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class=""><em>Mga Daso: Stories of Martial Law in Bikol</em></p>
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    <span class="dropcap">"D</span>aso” in Bikol is a native torch, made from a slim, splintered bamboo—used in religious processions, in places of worship, or in spaces for dancing—used, always, to extinguish the dark. There could not have been a more appropriate title for this book of stories about martial law, for this book is itself a torch, now being passed on as legacy, a symbolic weapon, from one generation to the next.
  
  









  <p class="">As one who lived through the horrors of Ferdinand E. Marcos’ martial law, I am eternally grateful for the persistence of the editors in collecting and synthesizing these voices from Bikol heroes whose lives were intimately shaped by 14 years of oppression. A few of these writers have passed on since the book first came out, and others remain frail and no longer remember the details of the past. Thus, the significance of this well-crafted book: the capture of a painful and, simultaneously, joyous era, one that brought out the best in our generation.</p><p class="">For Daso’s memories define who we were, and who we can be in the face of life-and-death choices. We are the stories and myths we construct for ourselves, the struggles we launched and fought for decades, and those we are yet seeking to complete. This book serves as both guide and inspiration.</p><p class="">Daso’s voices come from all corners of Bikol’s wide archipelago—from the Camarines provinces in the north to the outlying islands of Catanduanes and Masbate. If one takes an imaginary stroll through these beautiful islands, one will almost hear the sound of storm-tossed trees, smell the scent of spices and coconut milk, and hear the angry crackling fire of beautiful Mayon.</p><p class="">There are voices from varied perspectives—stories written from the underground, where bonds of the deepest friendship were forged, as well as stories of shocking betrayal; stories written in the fastnesses of the countryside; and stories written from the viewpoints of professionals interrupted from doing the work they did best: broadcasters, lawyers, medics, teachers.</p><p class="">There are stories that map the beginnings of martial rule and the quiet evolution of resistance, grueling stories of the arrest of heroes Atty. Antonio Carpio and Grace Vinzons Magana, whose father died at the hands of the Japanese invaders.</p><p class="">There are stories of the infamous Daet Massacre, in which 35 Philippine Constabulary troopers arbitrarily fired Armalite rifles into a crowd of 4,000 citizens, including women and children, gathered for a political march.</p><p class="">There are stories of People Power, such as that of Y de los Trino. Here, teachers and students guarded ballot boxes at a crucial moment and prevented the stealing of an election. It is audacious and funny at the same time because, in the end, the enemy—the dictator’s soldiers—shared their toothpaste in exchange for food. She can express that unlikely exchange only in the colorful vernacular: <em>“Ta pirang banggi na mayong urulian, mayong karigusan”</em> ("It's been several nights without any sleep or peace.")</p>





















  
  




  



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    <p><strong>This book is made to remember those many unsung heroes and the many moments worthy of celebration. It should be required reading for young people in our secondary schools.
  
  







  



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  <p class="">Here are stories told from the viewpoint of the children of activists. Maria Ira Bisuña says that her parents “drew their strength from service—a heavy legacy, I know, but it is now my obligation to carry on …” Another younger woman, Jazmin Badong Llana, wistfully writes, “The grappling with the past will never be over. I was a ‘martial law baby’ and will forever be marked by the experience of struggle against authoritarianism, which continues to this day…”</p><p class="">The image of a model father remains with Rebecca C. Torres when she writes, “I attribute my passion for social transformation at a young age to my father’s influence. As children, we sat at his feet as he told stories about heroism, fairness, and compassion. He knew Rizal’s&nbsp;<em>Noli</em>&nbsp;and&nbsp;<em>Fili</em>&nbsp;by heart and would describe people based on characters in the novels.”</p><p class="">Here, too, are remembrances of fathers who sacrificed sons to the movement, as when Soliman M. Santos Jr. writes of the martyr Alex Belone’s father, whose words of grief are matchless in their tenderness: “We have done our share in raising a son who loved his country,” Ka Tandis’ father said. “In times of peace, you pay revenues in terms of cash. But in times of crisis, you pay in terms of life. …&nbsp;<em>Kung namatay siya sa fever at hindi namin na-save ay grabe ang aming pagsisisi. Pero namatay siya sa bala para sa bayan, paaanong hindi kami magmamalaki?</em>” (If he had died of a fever, our regret would have been unbearable because we couldn't save him. But he died from a bullet in service of the nation—how could we not be proud?)</p><p class="">Lino del Rosario recounts the profound anguish endured by his family as they lived with the uncertainty of never knowing where the remains of his sister, Nona del Rosario, who was killed by the military, were laid to rest.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Nona Del Rosario</p>
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  <p class="">Here, too, eminent professionals recall rough days but still find moments of redemption.</p><p class="">Raffy Banzuela describes the “spicy dishes of arrogance and heavy-handedness” of Marcos’ soldiers when they took the radio station he managed off the air. In&nbsp;<em>Camp Canuto Days</em>, Chito R. Irigo recalls that though he was confined to a tiny <em>bartolina</em> inside Camp Canuto, he still saw it as a gift: he was able to do a great deal of reading and was exempted from the prison’s daily weeding. Greg S. Castilla writes compellingly about the short but admirable life of a desaparecido he met in a squatter community in Quezon City. Juan Escandor describes his town’s spiritual tradition and the Gubatnon fiesta in honor of its beloved patron saint, when families renew connections each year with kin, classmates, contemporaries, and friends.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Chito Irigo</p>
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  <p class="">A few names of Bikol heroes are now rightfully enshrined on the Wall of Remembrance at the Bantayog ng mga Bayani in Quezon City. But as Alma Domingo reminds us, for every name written on that wall of heroes, there are countless others “…who will be remembered only by their kin. Or maybe only by the very earth that holds their remains…”</p><p class="">This book is made to remember those many unsung heroes and the many moments worthy of celebration. It should be required reading for young people in our secondary schools.</p><p class="">The editors say that the initial impulse to publish this collection came from the 2016 book of martial law stories published in Davao—now required reading in Davao high schools—and from the 2022 collection of martial law stories from Cebu. These three regional histories, each unique in its own way, provide a powerful impetus for other regions that served as pillars of resistance to the Marcos dictatorship. It is our hope that, with this excellent compilation, other regions will soon memorialize our people's love of land and language, and the audacity and ingenuity that remain our enduring heritage.</p><p class=""><em>Interested persons may view and purchase the book here:</em></p><p class=""><em>UP Press website:&nbsp;</em><a href="https://press.up.edu.ph/product/mga-daso-stories-of-martial-law-in-bikol/" target="_blank"><em>https://press.up.edu.ph/product/mga-daso-stories-of-martial-law-in-bikol/</em></a></p><p class=""><em>Lazada:&nbsp;</em><a href="https://www.lazada.com.ph/products/i5232055989.html?spm=a1zawj.24863640.table_online_product.4.7a6b1e13x0P5fy" target="_blank"><em>https://www.lazada.com.ph/products/i5232055989.html?spm=a1zawj.24863640.table_online_product.4.7a6b1e13x0P5fy</em></a></p><p class=""><em>Shopee:&nbsp;</em><a href="https://shopee.ph/product/276147505/42818169660/" target="_blank"><em>https://shopee.ph/product/276147505/42818169660/</em></a></p>





















  
  




  



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  <p class=""><strong><em>Marilen Abesamis</em></strong><em> is a grandniece of Bikolano heroes General Ludovico and Tomas Arejola, who gave their lives to the nation’s struggle against the Spanish and American colonizers in the 1900s. She is a retired teacher and an energy medicine practitioner. She has a Master in Women and Development from the Institute of Social Studies in The Hague and worked at the New York Times in the ‘70s before moving to Mindanao, where she taught writing and communication skills to farmers, workers, and students during martial law.</em></p>





















  
  




  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1783455237300-O9WS8VQ1BHUXRT0UV7LS/Daso+Book+Cover.jpg?format=1500w" medium="image" isDefault="true" width="295" height="450"><media:title type="plain">Life and Death Choices in Bikol in the Dark Years</media:title></media:content></item><item><title>My Own Personal Masbate</title><category>Hometowns</category><dc:creator>Maria Antonia Bosa Van Espen-Boonen</dc:creator><pubDate>Wed, 08 Jul 2026 15:32:51 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/my-own-personal-masbate</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4da65181ce0715545ddeca</guid><description><![CDATA[A writer realizes that belonging is not something you can simply return to.]]></description><content:encoded><![CDATA[<figure class="
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png" data-image-dimensions="604x476" 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/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=1000w" width="604" height="476" 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/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/abe37090-6b12-41d5-9966-e5f8d342e476/Masbate+Island.png?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">Masbate Island<em> (Source: Google Maps)</em></p>
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    <span class="dropcap">M</span>asbate has always lived in me like a quiet ache – familiar, comforting, and yet tinged with a sadness I can never quite explain. The salty breeze seems to carry memories rather than just air, brushing against my skin with reminders of who I was and what I have lost. Suddenly, the memory rushes back. I am standing by the shore, watching the waves while the far-off expanse of the <em>Buntod</em> Reef Marine Sanctuary and Sandbar catches the sun, glistening like tiny specks of diamonds across the horizon – a brilliant shield protecting the island against the open sea. Even when I am far away, I find myself returning to it in thought, tracing the outlines of its shores and rolling hills as if they were part of my own being. 
  
  

















































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg" data-image-dimensions="500x340" 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/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=1000w" width="500" height="340" 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/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/53271457-f71d-4a32-9357-60a894e6c7f2/Bontod+Reef.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
          <figcaption data-sqsp-image-classic-block-caption-container class="image-caption-wrapper">
            <p class="">A Youtube photo showing an aerial view of Buntod Reef Marine Sanctuary and Sandbar. It is a stunning marine protected area known for its white sand and crystal-clear waters perfect for snorkeling, diving, and swimming. It is a 10-15 minutes boat ride from Brgy. Ibingay in Masbate City.</p>
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  <p class="">Masbate Province sits at the crossroads of geography and culture – where Luzon ends and the Visayas begin.&nbsp;The capital city, which shares the province’s name, is my hometown. Nestled on Ibingay Street, our old family home rests where the road meets the sea. During high tide and monsoon rains, the surroundings transform into a shimmering pool, making the house look like a floating casino at night when the lights are on. Back then, only a pathway of coral rocks connected us to the main road. Running parallel to the road is the airport runway, cutting across the landscape and terminating right at the water’s edge along the very same shore. </p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg" data-image-dimensions="468x412" 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/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=1000w" width="468" height="412" 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/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/2c7ceae0-85c3-4e82-b46f-a85bb62f5bb4/Old+family+home.jpg?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">A photo of the old family home on Ibingay Street, Masbate City. The concrete structure at the base of the house was built to elevate it and withstand the rising waters during high tide and monsoon rains. The coral rock pathway that connected the house to the main road is now gone, as the whole property was later filled with soil and gravel.</p>
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  <p class="">The city is also home to <em>Rodeo Masbateño</em> – an annual summer festival celebrating the province’s rich cattle industry and cowboy culture. I have never actually experienced the festival myself. By the time it kicked off in 1993, I was already in college and living in Manila. Over the past three decades, I’ve only managed to visit less than a handful of times, usually during the Christmas holidays. What I do remember is that, while my father didn’t own a cattle ranch, he did own three yearlings for a time. They were given to him as gifts - or perhaps as payment for attorney’s fees.&nbsp; I also remember the jingle of our sole local radio station at the time. It went exactly like this: <em>“The cattle country, in the island of Masbate…”</em></p>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg" data-image-dimensions="450x306" 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/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=1000w" width="450" height="306" 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/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/f02bb752-25e4-47eb-b31a-809527e25143/Ibagay+Beach.jpg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">A summer day in 1988 on <em>Ibingay</em> Beach, now part of Jesse M. Robredo Boulevard, just a short walk from home. The author sits in the middle of the second row, sharing a warm afternoon with her siblings - Antoine and Maria Andrea in the front row (left to right), and Maria Anette and Maria Harriette in the back (left and right). </p>
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  <p class="">But the Masbate I remember is not the same as the one that stands today. The slow creep of modern development has reshaped its face, trading stretches of sandy beach for concrete and chirping of birds for the restless hum of machines. The vast open space on the beach where we used to play and bask in the sun is now occupied by hotels, restaurants, bus terminals, and other structures. In those days at high tide, the sea rushed in to submerge the shore where we would lose ourselves in the cool, translucent depths. And as the water recedes, low tide strips the sea floor bare, prompting a quiet, bent-backed humility as we begin <em>manguha san sigay</em>, the playful gathering of seashells.&nbsp;&nbsp; </p><p class="">The places that once felt endlessly pristine and alive now seem smaller, diminished, as though something essential has been taken away. I cannot help but feel heartbroken watching these changes unfold, as if I am witnessing my home fade into memory, a place that once offered a tranquil retreat. </p><p class="">The beach lies along the stretch of coastline off Masbate where former DILG Secretary Jesse Robredo’s ill-fated plane crashed. The once tranquil beach has transformed as a busy seaside artery linking people and commerce toward the province’s bustling ports and open skies. Mangroves are protected within Mangrovetum Park located along the boulevard – an LGU-led drive to rehabilitate the mangroves and other coastal resources. The main seaside boulevard is now officially named after him – Jesse M. Robredo Boulevard. </p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">A Youtube photo showing an aerial view of Jesse M. Robredo Boulevard in Masbate City.</p>
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  <p class="">Because of Masbate’s geographical location, it has long been a rich, multilingual tapestry. While <em>Masbateño</em> or <em>Minásbate</em> serves as the primary tongue around the capital, a fluid collection of other languages shifts depending on the area of residence, pulling in threads of Bicolano, Cebuano, Hiligaynon, and Waray. I remember a joke from my youth that captured this fluid landscape:&nbsp; they said that in Masbate, the language you speak depends entirely on the direction you are facing. To turn south was to invite the cadence of Cebuano or other Visayan tongues; to face north was to answer in Bicolano; to turn east was to whisper in Waray; and to turn southwest was to speak Hiligaynon. &nbsp;It was a place where local horizons dictated the voice, even as Tagalog and English carved out their necessary spaces in schools, government, business, and everyday interregional communication. </p><p class="">Back then, <em>Minásbate</em> was the undeniable thread that unified communication across the province. Returning now, however, I am caught by surprise at how widely Tagalog has claimed the city’s public spaces – it dominates the conversation in restaurants, shopping malls, grocery stores, hotels, pharmacies, and hospitals. Even the radio DJs broadcast in mix Tagalog and <em>Minásbate</em>, as if the local media outlets have collectively defaulted to a metropolitan script. </p><p class="">The shift isn’t just linguistic. The city’s streets reveal a stark divide on the asphalt the moment one steps out of a vehicle and onto the pavement. Both private motorized vehicles and traditional tricycles unite in a bipartisan effort to saturate the streets with a shared, suffocating blanket of toxic emissions, making a stroll on the sidewalk a hazardous ordeal for the lungs. Back then, we can take a 15-minute relaxing walk to and from St. Anthony de Padua Cathedral for the Sunday Mass. Now, even a short walk to Social Center, a large open-air area to relax, exercise, and socialize, about 450 meters from our house, makes you endure a visceral assault on the senses due to the thick gas emissions, and forces you to play a high-stakes game of survival against the oncoming traffic. The pedestrian have been thoroughly conquered by a dense volume of vehicles using them as parking lots, forced structural blockades, and territorial stray dogs. </p><p class="">There is a quiet dissonance that settles in when I walk those familiar streets now. The buildings have been replaced, repainted, or repurposed, but beneath the surface, everything feels strangely unchanged. It is as if time moved forward physically, yet stood still in spirit. I searched for something recognizable – not in the structures, but in the rhythm of life, in the way people speak, think, and relate – and what I found left me unsettled. The place I once knew exists only as a memory, and I no longer know how to live in what has taken its place. </p><p class="">In fact, what deepens this feeling are the actualities - the same conversations echo, the same habits persist, the same perspectives remain firmly rooted. Having spent so many years away, my mindset has stretched and shifted in ways that feel incompatible with what I encounter here. It is not a matter of right or wrong, but of distance. It is an invisible gap that makes even the simplest interactions feel heavy and strained, as though I am translating myself constantly – speaking words they understand, yet carrying a worldview that remains entirely foreign to the place I once called home. </p><p class="">Even the food, once a source of comfort and identity, has lost its hold on me. Dishes I used to crave now feel heavy, both in body and memory. Perhaps it is my lifestyle that has changed, or perhaps it is something deeper – a subtle detachment from the version of myself who once found joy in these flavors. What used to feel like home now feels strange, and I am left wondering whether it is the place that has changed, or me. </p><p class="">The loss of my parents has left a hollow space that no place can fill. Their absence lingers in every corner of memory – echoing in the rooms of our house in <em>Ibingay</em>, in the routines that no longer exist, in the warmth that has faded into something distant. I find myself missing the simple, vivid details that once filled our days – the savory aroma of garlic and vinegar in <em>Mama’s</em> <em>adobo</em>, and the wood-fire smokiness of <em>Papa’s sinugba na</em> <em>pakol</em>. Most of the time, with quiet generosity, my father would buy everything inside the fisherman’s basket. It was a gesture that brought a comforting abundance to our kitchen – a direct, unvarnished connection to the island’s resources where dinner was never a commodity bought from a sterile shelf, but a gift won straight from the hand of the sea.&nbsp; These memories return not just as images, but as feelings, grounding me in a past that feels both abstract and obscure. </p>





















  
  














































  

    
  
    

      

      
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            <p class="">New Year’s Eve in 1988 at the family home on Ibingay, Masbate. Standing left to right: Anthony, Maria Anette, Enriqueta (mother), the author, Antonio, Sr. (father), Antoine, Maria Andrea, and Maria Antoinette. Maria Harriette and Antonio, Jr. are not in the photo.</p>
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  <p class="">There is a peculiar grief in realizing that belonging is not something you can simply return to. It evolves just as you do. And sometimes, without noticing, you outgrow the spaces that once defined you. I stand in my hometown not as a part of it, but as a visitor to a past that no longer fits, carrying pieces of it within me, yet unable to place them back where they once belonged. </p><p class="">And still, I carry with me the image of our humble home, where everything began. It was never grand, never more than what we needed, but it held a quiet strength. It taught me resilience, shaped my beginnings, and gave me roots that remain firm despite everything that has changed. In remembering it, I recognize who I am – someone shaped by simplicity, by loss, and by a hometown that will always be both a comfort and a sorrow. </p>





















  
  














































  

    
  
    

      

      
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            <p data-rte-preserve-empty="true">Christmas Eve dinner in 1988 at the family home on Ibingay, Masbate. Seated left to right: +Mrs. Enriqueta Delera Bosa (mother), +Most Reverend Monsignor Porfirio R. Iligan (the first Bishop of the Diocese of Masbate), and +Atty. Antonio Belen Bosa, Sr. (father). Bishop Iligan was always a special guest of the family’s <em>Noche Buena</em> dinner.</p>
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  <p class="">I’ve come to realize that time does not simply pass – it reshapes. It carves new contours into who we are, often in places we cannot see until we return to where we began. And in that return, the contrast becomes undeniable. I am no longer the person who left, and Masbate, despite its outward transformations, no longer holds the version of me it once knew. We have both moved on, just not in ways that align. </p><p class="">And yet, beneath it all, there lingers a fragile thread of connection – something that refuses to fully sever. Perhaps it is memory, or gratitude, or simply the knowledge that Masbate, in some irreversible way, shaped me. It gave me a beginning, a foundation, a sense of who I once was. But that thread is not enough to anchor me here anymore. It stretches, thin and delicate, reminding me that belonging is not always about returning, but sometimes about learning how to let go. </p><p class="">On the eve of our departure, my husband was rushed to the hospital with a gastrointestinal concern. The triage area was quiet, and a female doctor examined him. Her demeanor was casual – she sat in a relaxed figure-four position, one shoe kicked off, casually massaging her foot while chatting with us. &nbsp;It wasn’t exactly the medical consultation I’d envisioned, but a crisis has a way of adjusting your standards. Protocol matters very little when you are consumed by anxiety for a person you love. As my husband snoozed behind a privacy curtain, pumped full of IV fluids, I sat alone with my thoughts as time stretched into that heavy, distorted rhythm unique to hospitals at night, punctuated only by the slow drip of the IV and the borrowed fan fighting off mosquitoes. </p><p class="">Driven by restlessness, I stepped into the deserted ward, where the silence was broken only by distant snoring and the unsettling sight of a shape laid flat on the floor, completely covered by a blanket. In a hospital, an unmoving sheet carries an eerie connotation, and a sudden chill of fear sent me retreating straight back to my husband’s bedside. Hours later, anxious for his lab results, I ventured out again and called into empty hallway until two half-awake nurses emerged from behind a nearby curtain. When a knock on the doctor’s office door yielded no response, the nurse casually murmured, <em>“She’s still sleeping, she usually wakes up around six.”</em> I felt a knot of disbelief tighten as we had a flight to catch at ten o’clock that morning. </p><p class="">Silent hours crawled by until a laboring mother arrived to give birth, effectively ending the hospital’s naptime. By seven o’clock, lab tests were clear and we received the formal release clearance. &nbsp;Exhausted but free, we broke away from the facility’s twilight zone, ready for our journey. </p>





















  
  




  



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    <p><strong>I’ve come to realize that time does not simply pass – it reshapes. It carves new contours into who we are, often in places we cannot see until we return to where we began.
  
  







  



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  <p class="">The airport terminal became a gallery of faces from my distant youth. Old faces materialized in the crowd, eyes locking onto mine with sudden recognition. Soon, air filled with the rustle of their speculation: <em>‘She is the daughter of….’</em> they murmured, as though my entire family tree had been stamped across my forehead. I met their curiosity with a smile and a gracious nod of acknowledgement and courtesy, sharing a conversation with an old school batchmate who had gone on to serve as the province’s governor. Yet the homecoming remained complex. Beneath the warmth of recognition ran a hilariously predictable undercurrent; there were those who watched me with discerning, critical eyes, trying to calculate my entire life story based solely on the man standing beside me – my foreigner husband. Sensing the heavy gaze, my husband leaned in and whispered, “<em>They look like they’re trying to figure out which planet I came from</em>”. </p><p class="">As the plane ascends, hovering momentarily over the island, I am captivated once more by its beauty and simplicity. With eyes brimming, I see <em>katunggan</em> - a mangrove swamp spread across the edge of the shore - while I trace the pristine white sand of <em>Buntod</em> stretches into the blue like a monument in the sea, a solitary witness to both the island’s glorious past and the persistent tide of modernity. </p>





















  
  














































  

    
  
    

      

      
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            <p class="">The author posed among the mangroves during low tide at the Buntod Reef Marine Sanctuary and Sandbar in 2015.</p>
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  <p class="">Now I understand that belonging is not fixed. It shifts, just as we do. Masbate, my hometown, is no longer where I fit, not because I have rejected it, but because we have moved in different directions. </p><p class="">So, I carry it with me instead – not as a place I can return to, but as a part of my story that lives within me. And in accepting that reality, there is a different kind of peace – not in reclaiming what was, but in letting it remain where it belongs: in the past. </p>





















  
  




  



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            <p class="">The author and her husband</p>
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  <p class=""><strong><em>Maria Antonia Bosa Van Espen-Boonen</em></strong><em> is a retired Philippine foreign service staff officer and diplomat based in Brussels, Belgium. Her writing draws on both personal and professional experiences, spanning more than two decades of government service and diplomatic assignments in the United States and in Europe. She is a recipient of the Department of Foreign Affairs 2014 Outstanding Employee Award.</em></p>





















  
  




  



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        </figure>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1783481174455-SIR052W360EFLMCU8FVE/Bontod+Reef.jpg?format=1500w" medium="image" isDefault="true" width="500" height="340"><media:title type="plain">My Own Personal Masbate</media:title></media:content></item><item><title>The Analog Bag: Internet-Free Fun</title><category>Cultural Trends</category><dc:creator>Claire Mercado-Obias</dc:creator><pubDate>Wed, 08 Jul 2026 15:32:14 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/the-analog-bag-internet-free-fun</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4d68fb457c4b4bd47e194e</guid><description><![CDATA[Back in the day when we didn’t have mobile devices or the concept of the 
internet, these were the activities we did for fun.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Enjoy offline living with this analog bag filled with books from the library and crafting materials found at home. <em>(Photo by Claire Mercado-Obias)</em></p>
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    <span class="dropcap">T</span>here is a bag that’s currently “trending”—it’s called the analog bag. 
  
  









  <p class="">It’s not the bag itself that’s sought after. We’re not talking about the latest designer purse or the $2.99 tote from the neighborhood grocery. Rather, it’s what’s inside that matters.</p><p class="">The purpose of an analog bag is to keep us from doom-scrolling on our phones by tempting us with digital-free activities like books, crossword puzzles, snail mail, drawing, coloring, photography, playing cards, and board games. Back in the day, before mobile devices and the internet, these were the things we did for fun. Before all of these were consolidated into a single device, they were tactile, required physical effort, and were often enjoyed with other people. Isn’t that what connection is about?</p><p class="">Research has shown that prolonged exposure to social media is linked to poor sleep, a sedentary lifestyle, shorter attention spans, and an increased risk of anxiety and depression. What’s more, being online makes us susceptible to buying things simply because an influencer says so. How many times have we clicked "add to cart" after watching someone’s shopping haul or unboxing video?</p><p class="">When putting together your analog bag, think about conscious consumption. Start with the bag itself—you probably already have several in your closet. Then go on a scavenger hunt around your home. Do you have books waiting to be read, puzzles waiting to be assembled, forgotten art materials, or blank notebooks ready to be filled?</p><p class="">Borrowing is another option. Maybe your dad still has his old digital camera and CD player, or your mom still has her sewing and crafting kits from decades ago. Swap books and games with friends. Explore vintage and secondhand finds from Buy Nothing groups or thrift shops. Try these hobbies before committing to them. And if you do need to buy something, why not support small entrepreneurs and Filipino-made products?</p><p class="">An analog bag can be any container, as long as it holds your screen-free selections. Think of it as a child's toy chest filled with options so enticing that you naturally reach for them instead of your phone. It should also be portable enough to accompany you during those moments when grabbing your phone feels automatic—while waiting in line, commuting, or simply killing time.</p><p class="">Here are a few ideas for what you can put inside.</p><h3><strong>A Bunch of Books</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">A bag of books borrowed from the library, written and illustrated by Filipinos:&nbsp;<strong><em>Kilig, Gigil, &amp; Other Uniquely Filipino Words</em></strong>&nbsp;by G.M. Reyes,&nbsp;<strong><em>Cat’s People</em></strong>&nbsp;by Tanya Guerrero,&nbsp;<strong><em>I Dance</em></strong>&nbsp;by Diana Rañola, and&nbsp;<strong><em>World of Wonders</em></strong>&nbsp;by Aimee Nezhukumatathil. <em>(Photo by Claire Mercado-Obias)</em></p>
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  <p class="">Getting lost in a book is one of life's simple pleasures. Start with something short: a comic book, graphic novel, children's book (you'll be surprised how much wisdom they contain), a chapter book, or a collection of essays that lets you read one chapter or essay a day. Then branch out into other genres and longer reads.</p><p class="">Visit your local library. It's where we found these books by Filipino American authors.</p><p class=""><em>Kilig, Gigil, &amp; Other Uniquely Filipino Words</em>&nbsp;by San Francisco-based G.M. Reyes defines commonly used Tagalog words that have no exact English equivalent through rhyme and adorable illustrations.</p><p class=""><em>I Dance</em>&nbsp;by Connecticut-based Diana Rañola introduces Philippine folk dances and traditional costumes to early readers and anyone curious about Filipino culture.</p><p class=""><em>World of Wonders</em>&nbsp;by Mississippi-based poet Aimee Nezhukumatathil is a collection of essays, each centered on a natural wonder—from whale sharks to monarch butterflies. In her soulful, <em>National Geographic</em>-like style, she weaves together personal memories and fascinating facts. As she writes, "For it is this way with wonder: it requires that we are curious enough to look past the distractions in order to fully appreciate the world's gifts."</p><p class=""><em>Cat's People</em>, written by Manila-based Tanya Guerrero, follows five strangers experiencing loneliness and longing who are brought together by a stray cat in their Brooklyn neighborhood. It's an endearing story about community, random acts of kindness, old-school forms of communication, and the value of gathering face to face.</p><h3><strong>A Box of Handmade Hobbies</strong></h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Philippine jeepney cross stitch pattern from&nbsp;<strong><em>Sugar Star Stitch</em></strong>&nbsp;on Etsy. <em>(Photo by Claire Mercado-Obias)</em></p>
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  <p class="">Just like the older generation's habit of turning cookie tins into sewing kits, why not keep the tradition alive? Clean out an empty biscuit tin and fill it with needles, thread, scissors, and fabric. You can also add crochet hooks and yarn.</p><p class="">Etsy shops like Sugar Star Stitch offer cross-stitch patterns featuring the Philippine jeepney. Team Mesi Studio sells a Philippine Star crochet pattern, while Sumo Goods offers a Filipiniana Dress Doll amigurumi crochet pattern. Download, print, gather your materials, and ask your lola, mom, older sister, or cousin to teach you. Working on Filipino-inspired designs connects us to our heritage while giving us the satisfaction of creating something by hand.</p><p class="">Another option is a box devoted to writing. Fill it with your favorite pens, a journal, and stationery for writing letters. Improve your penmanship with ideas from&nbsp;<em>Hand Lettering A to Z</em>&nbsp;by Berlin-based artist Abbey Sy, or decorate your pages with Everyday Explorers Co. stamps designed by San Francisco-based Christine Herrin.</p><p class="">Or assemble a box of art supplies with paper, markers, paint, brushes, crayons, and coloring books. Etsy shops like Little Aphrodite Art offer Filipino-themed coloring pages that also teach children Tagalog words.</p><p class="">Remember that these creative activities should leave you feeling relaxed and present—not overwhelmed. They should keep you "in the zone" instead of reaching for your phone. And don't feel pressured to post your finished project on social media. It's enough that you like what you made.</p><h3><strong>Analog for Everyone</strong></h3><p class="">Many of these activities can be enjoyed alone, but they're even better with others.</p><p class="">Join a book club where members read the same book and gather to discuss it over food and drinks. Or put a twist on the idea by choosing a cookbook like&nbsp;<em>Sugarcane: Sweet Recipes from My Half-Filipino Kitchen</em>&nbsp;by New York-based Arlyn Osborne. She captures the nuances of the Filipino sweet tooth, pays homage to traditional ingredients like ube and calamansi, and transforms them into original desserts. Make a few recipes, then gather for a potluck.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">Gather with friends or strangers who share your interests such as baking from a cookbook like&nbsp;<strong><em>Sugarcane</em></strong>&nbsp;by Arlyn Osborne and playing games together.&nbsp;<em>(Photo by Claire Mercado-Obias)</em></p>
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    <p><strong>While we can’t go entirely digital-free, a few analog moments in our day not only boosts our mood, but it also fosters community.
  
  







  



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  <p class="">Host a book swap with books you've finished and are ready to pass on to someone new. Attend a reading party or silent book club, where everyone brings their own book to read before breaking into conversation about what they're currently enjoying.</p><p class="">Around the world, craft social clubs are also on the rise—from pottery, woodworking, sewing, and soap-making to game nights featuring mahjong or trivia. Whether you're trying a new skill or reconnecting with one you learned in your youth, these gatherings offer opportunities to play, learn, and make new friends.</p><p class="">While we can't go entirely digital-free, carving out a few analog moments each day can boost our mood, strengthen our attention, and foster a deeper sense of community.</p>





















  
  




  



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  <p class=""><strong><em>Claire Mercado-Obias </em></strong><em>is a writer, food stylist and pastry chef based in New Jersey.</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=63214b72a46e2e7658c16244"><strong><em>Claire Mercado-Obias</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/1783468909092-DA188C8ZM8V6UNSNAZ2K/Analog+Bag.jpg?format=1500w" medium="image" isDefault="true" width="300" height="450"><media:title type="plain">The Analog Bag: Internet-Free Fun</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>Wed, 01 Jul 2026 14:54:56 +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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            <p data-rte-preserve-empty="true" 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. 
  
  







  



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  <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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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp" data-image-dimensions="728x90" 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/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=1000w" width="728" height="90" 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/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/901af9a9-94c3-4440-8dfc-8907ae0cb9d4/2020-Subscribe-Footer.webp?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
      
        </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>When Philippine Independence Day Moved to Another Date</title><category>The Way We Were</category><dc:creator>Rudy D. Liporada</dc:creator><pubDate>Wed, 01 Jul 2026 14:54:48 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/when-philippine-independence-day-moved-to-another-date</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4333ac7a0d1e5f6a71c71a</guid><description><![CDATA[On July 4, 1946, the United States formally granted independence to the 
Philippines. It was a significant event, but one that carried an 
uncomfortable implication.]]></description><content:encoded><![CDATA[<figure class="
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            <p class="">Independence Day ceremonies at EDSA Monumento <em>(Photo by Patrick Roque/Wikipedia)</em></p>
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    <span class="dropcap">A</span>s Americans commemorate the 250th anniversary of the nation's Independence Day on July 4, 2026, I am reminded that July 4 was also Independence Day in the Philippines when I was growing up. Had that date not been changed in 1962, Filipinos would this year be celebrating the 80th anniversary of Philippine independence as formally recognized by the United States in 1946.
  
  









  <p class="">I was 11 years old in 1962—old enough to notice the change, but too young to understand its significance. At the time, Independence Day was simply Independence Day. It was a holiday. A flag. A speech. A parade. The date on the calendar changed, and life went on.</p><p class="">Only later did I realize that the change reflected a deeper question: When did the Filipino people truly become free?</p><p class="">For more than three centuries, Spain ruled the archipelago. The conquest was not maintained by force alone. It was sustained by religion, privilege, and the gradual cultivation of obedience. Generations of Filipinos were born, lived, and died under colonial authority. Many accepted the arrangement as the natural order of things because they knew no other.</p><p class="">Yet liberation began long before the first shot was fired. It began with thought—when educated Filipinos started asking why they were treated as subjects rather than citizens.</p><p class="">The Propaganda Movement was the first great awakening. Through essays, novels, newspapers, and speeches, Filipino intellectuals challenged the assumptions of colonial rule. They demanded reforms, representation, and equality before the law. Men such as Rizal, del Pilar, and Lopez Jaena attempted to persuade Spain that Filipinos deserved dignity as human beings and rights as citizens.</p><p class="">But history often reaches a point when words alone no longer suffice. When reform proved impossible, revolution followed.</p><p class="">The Katipunan emerged from the realization that Spain would not voluntarily surrender its empire. The pen had awakened the national consciousness; the sword would attempt to secure its freedom. Bonifacio's cry was not merely against Spanish rule, but against the very notion that a people should remain subjects in their own land.</p><p class="">By June 12, 1898, that aspiration found expression in Aguinaldo's declaration of independence in Kawit.</p>





















  
  














































  

    
  
    

      

      
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            <p class="">The Aguinaldo Shrine in Kawit, Cavite where Philippine Independence was first declared on June 12, 1898 <em>(Photo by Shubert Ciencia/Wikipedia)</em></p>
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  <p class="">For a brief moment, Filipinos believed they had achieved what generations had dreamed of—freedom. Yet history took another turn.</p><p class="">Spain was defeated by a rising global power whose industrial capacity, military strength, and economic reach far exceeded those of the young Filipino republic. The United States entered the scene as liberator and emerged as the new colonial master.</p><p class="">The Filipino revolutionaries who had fought Spain suddenly found themselves fighting another war—this time against a nation that spoke the language of liberty while denying it to those who had already declared themselves free.</p><p class="">The irony was profound.</p><p class="">The same nation born from a revolution against colonial rule now imposed its authority on another people seeking that very freedom.</p><p class="">And so the independence proclaimed in 1898 was interrupted.</p><p class="">Nearly half a century later, on July 4, 1946, the United States formally granted independence to the Philippines. It was a significant event, but one that carried an uncomfortable implication. Freedom appeared not as something won through the sacrifices of generations of Filipinos, but as something bestowed by a more powerful nation.</p><p class="">A gift. That word has always troubled me.</p><p class="">No people struggling for centuries to govern themselves should have their freedom described as a gift.</p><p class="">The propagandists who challenged Spain, the revolutionaries who took up arms, and the countless unnamed Filipinos who endured prison, exile, torture, and death did not struggle so that independence could one day be handed to them ceremoniously by another power.</p><p class="">They struggled because they believed it already belonged to them. That is why June 12 ultimately prevailed over July 4.</p><p class="">The date does not celebrate a transfer of authority approved by a foreign government. It celebrates the moment Filipinos first declared that sovereignty resided in themselves.</p><p class="">Whether that declaration was premature, incomplete, or later betrayed by the realities of power is another matter. Nations, like people, often require generations to become what they first imagine themselves to be.</p><p class="">Looking back, I can understand why the date changed. June 12 is not merely a remembrance of an event. It is a declaration of ownership over our own history.</p>





















  
  




  



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    <p><strong>I was 11 years old in 1962—old enough to notice the change, but too young to understand its significance. 
  
  







  



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  <p class="">At 11 years old, I could not have understood any of this. I only knew that Independence Day had moved.</p><p class="">It would take years before I realized that behind the shift lay a question that Filipinos continue to ask: Was independence something we were given? Or is it something we have been fighting to complete ever since?</p>





















  
  




  



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  <p class=""><strong><em>Rudy D. Liporada</em></strong><em> was a feature writing instructor in Zambia, Africa before he moved to the US and became a freelance writer/novelist/columnist ("As the Bamboos Sway"). He graduated from the University of the Philippines, majoring in economics.</em>&nbsp;</p>





















  
  




  



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  <p class=""><em>More articles from </em><a href="https://www.positivelyfilipino.com/?author=5efc87ba0680b224f46b362b"><strong><em>Rudy D. Liporada</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/1782791423894-K9K17ZGKKOMB62RZNT8S/Aguinaldo_Shrine_%28Kawit%2C_Cavite%29+wiki+Shubert+Ciencia.jpg?format=1500w" medium="image" isDefault="true" width="338" height="450"><media:title type="plain">When Philippine Independence Day Moved to Another Date</media:title></media:content></item><item><title>FilAms Among The Remarkable And Famous, Part 79</title><category>Famous Fil-Ams</category><dc:creator>Mona Lisa Yuchengco</dc:creator><pubDate>Wed, 01 Jul 2026 14:54:34 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/filams-among-the-remarkable-and-famous-part-79</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a42ce5580c211227b5d40d1</guid><description><![CDATA[Role models and achievers, some of whom you may not even know are Filipino.]]></description><content:encoded><![CDATA[<p class=""><em>Filipinos have been in the United States since the 16th century, yet many of their stories remain untold. For the past years, </em>Positively Filipino<em> has been running a series on notable Filipino Americans who have made their marks in this country. There are hundreds, or maybe even thousands more, that need to be added to this story, and we need your help. If you know of a Filipino American who deserves to be included in this line-up, please send us their names and any supporting documents you may have to </em><a href="mailto:pfpublisher@yahoo.com" target="_blank"><em>pfpublisher@yahoo.com</em></a><em>. For now, we are including only those who are currently active and visible in the media and the community, regardless of their religious, sexual or political orientation. Thank you.</em></p><h3><strong>Lynda P. Johnson, </strong>Mayor of Cerritos</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Lynda P. Johnson <em>(Source: City of Cerritos)</em></p>
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  <p class="">Johnson was elected to the City Council in April 2022 and was named Mayor Pro Tem in 2025 and Mayor in 2026, becoming the first Filipino American to hold the position in the City of Cerritos. She has been a resident of Cerritos since 1971.</p><p class="">Johnson served as a Governing Member of the ABC Unified School District Board of Education from 2011 through 2017. A 39-year employee of the County of Los Angeles, Johnson was a paralegal with the L.A. County District Attorney's Office for 20 years. She also served as Field Deputy to Los Angeles County Sheriff Alex Villanueva from 2021 to 2022. Currently, Johnson serves as Special Assistant to Los Angeles County Supervisor Janice Hahn.</p><p class="">She writes the weekly column, "From the Mayor's Desk," highlighting recent City initiatives and upcoming events. She serves on the following Internal Ad Hoc Working Groups: Arts Program, Chamber of Commerce, City Charter Review, Legislative, Library, Policy and Procedure, Sister Cities, and Ube Fest.</p><h3><strong>Rick Nava, </strong>Community Activist</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Rick Nava <em>(Source: Facebook)</em></p>
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  <p class="">Nava lost his home on August 8, 2023, during the Lahaina fires. A U.S. Army veteran and longtime resident of Lahaina, Maui, Nava moved to Hawaii from the Philippines in 1970. He has become a prominent figure in Lahaina's recovery efforts, especially for the sizable Filipino population on the island, 40 percent of whom were affected by the fires. Named to the mayor's advisory team, Nava worries that Filipino voices are being lost in the conversation regarding recovery and rebuilding. He says that many Filipinos "will not go in front of the microphone to speak about their concerns. They're focused on working as hard as they can so they can send their children to school or college and buy a home."</p><p class="">Nava has held various community positions with the Lahaina (Maui) Rotary Club, Maui Chamber of Commerce, West Maui Taxpayers Association, Bahay Kubo Heritage Foundation, and United Filipino Council of Hawaii. He also ran for the Maui City Council. He is the owner of Media Systems Inc. in Maui.</p><h3><strong>JR Oao, </strong>Chef</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Chef JR Oao <em>(Source: Facebook)</em></p>
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  <p class="">Oao began his career in the kitchen as a dishwasher but always wanted to be a sushi chef. He honed his skills and worked his way up. In January 2022, Oao opened his own food truck, and a few months later opened his first brick-and-mortar restaurant in Wailea. Known for his "one and only" concept, he emphasizes fresh, locally sourced fish and traditional Japanese techniques. He operates Oao Sushi Go in Kahului and Hachi by Oao in Kihei. He was nominated for the Mayor's Small Businessperson of the Year in 2024. He received the 2025 Gintong Pamana Leadership Award from the Maui Filipino Chamber of Commerce.</p><h3><strong>Desirae Krawczyk, </strong>Tennis Player</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Desirae Krawczyk <em>(Source: Wikipedia)</em></p>
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  <p class="">Krawczyk is a professional tennis player who specializes in doubles. She has a career-high doubles ranking of world No. 7, achieved in August 2024, and has won 12 doubles titles on the WTA Tour, including the WTA 1000 Canadian Open in 2024. Krawczyk is a four-time Grand Slam champion in mixed doubles, having won the 2021 French and U.S. Opens, as well as the 2021 and 2022 Wimbledon Championships. Her father is Polish, while her mother is Filipino.</p><h3><strong>Justine Cephus, </strong>Judge</h3>





















  
  














































  

    
  
    

      

      
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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg" data-image-dimensions="358x450" 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/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=1000w" width="358" 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/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/667f2912-6a72-460b-8763-7cc3f98c778a/Justine+Cephus+Judge+Facebook.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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            <p class="">Judge Justine Cephus <em>(Source: Facebook)</em></p>
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  <p class="">Justine Cephus, of San Mateo County, has been appointed to serve as a judge in the San Francisco County Superior Court. Cephus has served as a Deputy City Attorney at the San Francisco City Attorney's Office since 2026. She served as an Assistant District Attorney at the San Francisco District Attorney's Office from 2012 to 2026 and as a Deputy District Attorney at the Contra Costa District Attorney's Office from 2011 to 2012. Cephus served as a Volunteer Deputy District Attorney at the San Joaquin County District Attorney's Office from 2010 to 2011. Cephus received a Juris Doctor degree from California Western School of Law. She fills the vacancy created by the retirement of Judge Ross C. Moody.</p><h3><strong>Stephanie Gancayco, </strong>Creative Consultant and DJ</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Stephanie Gancayco <em>(Source: Instagram)</em></p>
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  <p class="">San Francisco-based Gancayco is a creative director, cultural producer, DJ, and founder of Hella Pinay, a media platform and creative agency centering Filipina and AAPI voices across print, digital, and live experiences. She has over a decade of experience spanning fashion design, event production, content strategy, and cultural storytelling. As a DJ, she brings diasporic and experimental sounds to art spaces, brand events, and nightlife events, curating sonic environments that reflect the same cultural depth and nuance found in her editorial and visual work. Gancayco's practice is grounded in care, culture, and connection. She is focused on expanding Hella Pinay's impact through new collaborations, partnerships, and creative productions.</p><h3><strong>Tante Urban, </strong>Chef</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Chef Tante Urban <em>(Source: Fil-Am Voice Maui)</em></p>
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  <p class="">At the age of 18, Urban moved to Hawaii. His father came to Hawaii in 1946 to work on a sugar cane plantation. Urban's first job was as a busboy at the King Kamehameha Hotel, where he earned $2.75 an hour. He attended Hawaii Community College in Hilo and graduated with a degree in Hotel and Restaurant Management in 1970. He and his wife established the Tante &amp; Araceli Urban Foundation "to promote and support education, culture, the arts, and to provide for charitable causes like relief for the poor, the distressed, the underprivileged, the aged, or the sick." He is a member of the Kona-Kohala Chamber of Commerce; assisted in the formation of the Rotary Club of Kona Sunrise; organized and became the first president of the Filipino Chamber of Commerce of Kona; and was a former member of the Ilocano Club of Kona in 1984, where he expanded its membership to include not just Ilocanos but the entire Filipino community, transforming it into the Filipino Organization of Kona. Local Grindz in Kona is the brainchild of Tante and his daughter, Bernu Urban Smith, who claims to serve the island's only oxtail loco moco and fiery halo-halo dessert. The family has been serving Filipino food for more than 40 years.</p><h3><strong>Bianca Catbagan, </strong>Director</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Bianca Catbagan <em>(Source: bia-film.com)</em></p>
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  <p class="">Catbagan is a Filipino director and writer based in Los Angeles. Before leaving to pursue her master's degree abroad, she worked as a commercial director and independent filmmaker, directing films like&nbsp;<em>Suntok sa Buwan</em>,&nbsp;<em>Laya</em>, and a documentary called&nbsp;<em>Letters to the Future</em>, a personal project that chronicles what it was like to be young in Manila in 2014. In 2018, she graduated from Columbia University with an MFA in Film Directing.</p><p class="">She has participated in countless talent labs around the world, the most prestigious being the Asian Film Academy in 2012. Her film&nbsp;<em>Paraluman</em>&nbsp;was nominated for a Golden Egg at the Reykjavík International Film Festival in 2016. Most recently, her film&nbsp;<em>Supermodel</em>&nbsp;won a grant from the Cinematografo International Film Festival and screened to a sold-out audience in San Francisco. She also dabbles in development and producing, most recently for the show&nbsp;<em>Family Style</em>, a food and travel series by Indie Pop Films, YOMYOMF, and Warner Bros./Stage 13.</p><h3><strong>Liezel Chan Lucero, </strong>Domestic Violence Advocate</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Liezel Chan Lucero <em>(Source: Inquirer.net)</em></p>
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  <p class="">Lucero lost her daughter, Frances, when she was trying to flee an abusive relationship and was shot and killed. The killer received a sentence of 64 years to life in prison. A decade later, Cavite-born Lucero sits on a board of five female residents from diverse backgrounds appointed to advise the Daly City Council on issues confronting women and girls. They meet once a month to identify unmet needs and recommend programs to improve the lives of women of all ages in their city. At its Women's History Month celebration, the commission singled out Lucero as a "Woman Warrior" for her courage and commitment to fighting for justice against domestic violence.</p><h3><strong>Mark A.J. Nazal, </strong>Visual Effects</h3>





















  
  














































  

    
  
    

      

      
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            <p class="">Mark A.J. Nazal <em>(Source: LinkedIn)</em></p>
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  <p class="">Nazal is an Emmy Award-winning visual effects supervisor, filmmaker, and creative executive known for his work on high-profile and genre-defining series including&nbsp;<em>Gotham</em>,&nbsp;<em>Lucifer</em>, and&nbsp;<em>Westworld</em>. His career spans both studio and independent productions across film, television, and publishing. He is the Director of Digital Content at a North American film and television post-production studio, working on a number of high-profile shows and movies.</p><p class="">He is committed to telling stories that blend sci-fi and fantasy elements with real-world themes and current issues in a globalized, multicultural setting while showcasing new stories from underrepresented cultures in the mainstream media.</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/1782775610684-V0X4GVZ59APO8L9IFNBV/Desirae+Krawczyk+Wiki.jpg?format=1500w" medium="image" isDefault="true" width="338" height="450"><media:title type="plain">FilAms Among The Remarkable And Famous, Part 79</media:title></media:content></item><item><title>[Opinion] 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>Wed, 01 Jul 2026 14:54:26 +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">[Opinion] The Architecture of Dignity: How Culture Shapes the Soul</media:title></media:content></item><item><title>Obituary: Lourdes M. Esclamado</title><category>Obituaries</category><dc:creator>Alex M. Esclamado</dc:creator><pubDate>Wed, 01 Jul 2026 14:54:12 +0000</pubDate><link>https://www.positivelyfilipino.com/magazine/obituary-lourdes-m-esclamado</link><guid isPermaLink="false">508da03be4b0d28844ddf21c:508ed25fe4b044ecf46dfab1:6a4127a6dd06b257a58c76ef</guid><description><![CDATA[Lourdes Mitra Esclamado, also known as Luly, age 95, of Rolesville, North 
Carolina went to be with her Lord and Savior Jesus Christ on May 13, 2026. ]]></description><content:encoded><![CDATA[<figure class="
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  <p class="">Lourdes Mitra Esclamado, also known as Luly, age 95, of Rolesville, North Carolina went to be with her Lord and Savior Jesus Christ on May 13, 2026.&nbsp;</p><p class="">Lourdes was born on February 6, 1931 in Manila, Philippines to Ramon P. Mitra and Salud de Ocampo. She grew up in Manila where she attended school until WWII broke out when she was 10 years old. After the war, at 14, she recommenced her schooling and graduated from St. Theresa’s College in 1947. Throughout her childhood, Luly would enjoy family vacations in their summer home in Baguio, in northern Philippines, where her father was Congressman. Later, Luly went on to pursue a Bachelor of Science in Chemistry at the University of Santo Tomas, earning her degree in 1951. She quickly passed her Boards and immediately began teaching General &amp; Analytic Chemistry in the pre-med and pre-nursing programs at the De Ocampo Memorial Medical Center in Manila. In 1953, Luly continued teaching Chemistry at Far Eastern University in Manila.&nbsp;</p><p class="">In 1951, Luly met the love of her life, Alejandro A. Esclamado in Baguio during her summer vacation. Alex is known to have corralled his ROTC officer musicians to serenade Luly at midnight, amongst his many attempts to win her heart. Alex &amp; Luly were married on August 9, 1952, when Alex was starting his third year of law school. In July 1953, their first child was born. Then Alex graduated with his Doctor of Jurisprudence degree from Far Easter University in the Fall of that same year, passing the bar in his first attempt. He joined his father-in-law’s law firm in Manila and over the next five years, Alex &amp; Luly had two more sons and a daughter.&nbsp;</p><p class="">In 1959 Alex &amp; Luly decided to pursue a life in the United States, opening the US Edition of the Manila Chronicle. The Philippine News was birthed in 1961 in the basement of the Esclamado home. This was the beginning of a life-long shared quest to unite and empower Filipino Americans to have a unified political voice. Alex &amp; Luly began distributing their small paper locally then nationally, driving across the states to spread the Philippine News. From 1972-1986, as the Marcos dictatorship ruled their homeland, the PN became the opposing voice in the corridors of the U.S. Congress. Alex, Luly and their family stood steadfast in the face of opposition and oppression from the Marcos government who attempted to silence PN’s voice. Ultimately, Alex &amp; Luly’s greatest legacy to their Filipino American community was the establishment of the National Association of Filipino American Associations (NaFFAA) which is the collective, unified voice of all Filipino Americans today. However, Luly would say her greatest joy &amp; love, next to her husband, was for her family. She and Alex had three more children in the U.S. Luly’s beloved family legacy is that of her seven children, fourteen grandchildren and fourteen great-grandchildren. A faithful wife, devoted mother/grandmother/great-grandmother, committed community leader, hard-working entrepreneur and woman of faith, Luly lived a life truly honoring to her Lord, sacrificially serving all whom she loved and others in need.&nbsp;</p><p class="">Luly is survived by her younger sister, Cecilia Mitra Orbeta, her seven children: Carlos Esclamado (Ann M. Savage), Victor Esclamado (Veronica Bengzon), Ray Esclamado (Lorie Kerns), Elisa Glenn (Mack Glenn), Grace Groothoff (Ehrhardt Groothoff), Elena Esclamado and Alex Esclamado, Jr (Janet Girardot), her grandchildren and great-grandchildren. She was preceded in death by her husband, Alejandro A. Esclamado, older brother, Ramon V. Mitra, younger sisters, Aurora Mitra Schtakleff and Marita Mitra Lewis, younger brother, Ramon O. Mitra and her beloved great-grandson Ty.&nbsp;</p><p class="">A private mass and interment will be held for family. In lieu of flowers, the family kindly requests that memorial donations be made to the Esclamado Scholarship Fund, established to continue the Esclamado family's deep legacy of service, leadership, education, and community empowerment.&nbsp;</p><p class="">Donations may be made directly through the following link:&nbsp;</p><p class=""><a href="https://www.zeffy.com/en-US/donation-form/esclamado-scholarship">https://www.zeffy.com/en-US/donation-form/esclamado-scholarship&nbsp;</a></p><p class="">All contributions are tax-deductible and will be restricted exclusively for scholarship purposes through EPYC (Empowering Filipino Youth Through Collaboration).&nbsp;</p>]]></content:encoded><media:content type="image/jpeg" url="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/1782656628593-5Z7DARSYMGP5LNRF1UUV/Photo+Lourdes+M+Esclamado.jpeg?format=1500w" medium="image" isDefault="true" width="300" height="450"><media:title type="plain">Obituary: Lourdes M. Esclamado</media:title></media:content></item><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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            <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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            <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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                <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg" data-image-dimensions="360x450" 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/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=1000w" width="360" 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/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/508da03be4b0d28844ddf21c/119c7ee4-b691-4dd5-ae60-3bb042b3fcfc/With+Filipino-Austrian+singer+Vincent+Bueno%2C+Eurovision+Song+Contest+2021+representative+for+Austria.jpeg?format=2500w 2500w" loading="lazy" decoding="async" data-loader="sqs">

            
          
        
          
        

        
          
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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 data-rte-preserve-empty="true" class=""><em>(Photo by Alli Rusco)</em></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="">“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="">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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            <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>





















  
  




  



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  <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.
  
  







  



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  <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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