Qwertyman No. 12: The Changing of the Colors

Qwertyman for Monday, October 24, 2022

(Image from esquiremag.ph)

PITONG STARED out the window of his Chicago apartment to the shoreline of Lake Michigan, and watched the usual Sunday crowd of families with small children in colorful tracksuits and seniors plodding nowhere at half a mile per hour on their adjustable canes. It was getting later into the fall, and the colors were exploding all over the city from Lincoln Park to Promontory Point; at the Botanic Garden in Glencoe the Japanese maples blazed a vivid red. Pitong remembered that it was at a time like this, almost twenty years earlier, when he and Marietta had arrived in the United States, and they could not believe what a transformation the seasons induced in the chlorophyll and carotenoids of leaves. 

He felt intensely drawn to his postgraduate studies, which was what they came to America for—“To explore,” as he wrote in his application, “new ideas for the energization of the Philippine economy, particularly through the deregulation of key industries, including power and telecommunications.” 

With a US-minted PhD, Pitong thought he could return to a professorship if not a deanship at a top university, or a directorship at NEDA or Foreign Affairs. So immersed did Pitong become in his anticipated future that he forgot about Marietta, who had given up a promising career in pharmaceuticals to join him as his bedmate and cook, until he began to doze off after interminable arguments online about the American capacity for policy reform. 

She snuggled up to him in the deep of winter, and he was colder than ice. In their second spring she volunteered to usher with the local symphony; by that summer she had fallen for a clarinetist, and by the fall she had found her happiness, while Pitong continued to stew in his darkening pot of theory and counter-theory, of the sticky explanations how, in the post-9/11 world, security and economic concerns were inextricably intertwined and indeed congealed in the individual consciousness.

Pitong returned home alone when he failed his dissertation defense, while Marietta began a family in California, to where her clarinetist had moved to join a new orchestra. Almost immediately, through an old friend on the Left—yes, he had had more than a passing dalliance with that crowd, although he now denied it—Pitong found himself a job in the Palace, drafting speeches for Madame President and getting close enough to hold up an umbrella for her at the slightest drizzle. He began to project some political weight and smiled at whispers to the effect that he would soon become her spokesman. When he brushed his teeth in the morning, he ended by frowning at the mirror, as if the republic were about to collapse, and elocuting in his whiny voice, trying to sound as gruff as he could, “Good morning, ladies and gentlemen of the media.” 

And then the republic did collapse, or rather Madame President did, in a scandal that whittled down her stature even more severely, and rather than desert her like those scoundrels did, Pitong made noisy pledges of allegiance to her—while secretly negotiating, on the side and through the same old comrades (the Left had influence in any government, he would realize), an accommodation with the new regime. When they laughed him out of the place, he fled the country in humiliation, hooked up with his alumni network, got a job handling loan applications in a small bank, and prayed every night that a sinkhole would devour the Palace he left behind and all of its cursed occupants.

For his own entertainment, he opened a blog under the title of “Batang Recto,” a play on the Manila street where he picked up cheap textbooks and on all the connotations of “right,” which he embraced. He took every opportunity to lambast anything that had to do with Family “A,” communists, female empowerment, abortionists (he was convinced that Marietta had purposely lost their baby, not that he wanted to care for one), drug users, hippies, Barbra Streisand, Hillary Clinton, Barack Obama (and 95% of his race), hip-hop, gun control, and climate change. 

He now proudly identified himself as an American citizen—he felt deeply insulted when someone asked if he was a “Pacific Islander,” like he paddled a dugout in his three-piece suit—and bristled when Pinoys from Pateros or Pagadian questioned his opinions on American issues like “birtherism,” as if they knew anything about American politics. But at the same time he felt perfectly free to dispense political wisdom to the islanders, because they seemed hopelessly lost in their fantasy of a liberal democratic paradise, which they failed to realize had been cooked up by a cabal in Washington since the days of Quezon and Cordell Hull to protect American economic and military interests in the Philippines for the next half-century. 

Pitong no longer relied on or believed in scholarly research to establish the truth; so much of it was produced and propagated by an academic elite intent on perpetuating its hegemony, against the challenge of intuitive thinkers like himself and a few other brave souls he had come into contact with. Together, on private networks, they reviewed and reconstructed history, and plotted a chart for human survival and development. The plan recognized the existential threats posed by liberal retardates still tied to obsolete notions like racial and gender equality, which accounted for their weakness at the core.

When a Pinoy strongman and his American counterpart became presidents of their countries, Pitong heard his angels sing. The world was clearly waking up to what he had known for many years—that there was genius latent in resentment, prejudice, and suspicion, in the politics of self-interest, the purest of human motivations. One stalwart was cheated out of re-election, but another was replaced by an even more reliable autocrat. When Russian bombs fell on Ukraine, he felt his logic justified—having denied Russia’s destiny and gone to bed with the West, Ukraine had no one else to blame for its misery but itself. Batang Recto was always right.

Pitong slept soundly on the pillow of these beliefs. He felt most virile after savaging some pink fool on his blog, and sometimes he woke up with a woman next to him, with whom he did not care to exchange names, mindful of security. When he looked out the window at the changing of the colors and at the people on the lakefront, he felt no irony, no loneliness, no remorse. He was never stronger, never surer. He tingled with anticipation at the coming of The Storm that would sweep all the liberals, tree-huggers, and Mariettas of the world away. It was the closest thing he felt to happiness.

Penman No. 312: Recovering Fil-Am History

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Penman for Monday, July 23, 2018

 

I WAS in Chicago two weeks ago to keynote the 17thBiennial Conference of the Filipino American National Historical Society (FANHS), and it was an opportunity not only to catch up with old friends from my time as a graduate student in the American Midwest but also, and more importantly, to have a sense of where the study of Filipino-American history is going.

With 33 chapters now spanning the US from Hawaii to the East Coast, FANHS has become one of the most visible and important Fil-Am organizations (we typically still hyphenate the term but many Filipino Americans no longer do), devoted to recovering, preserving, and promoting the history of Filipinos and their descendants all over that vast country.

It’s a history that dates back to at least October 1587, when the Nuestra Señora de Buena Esperanza dropped anchor off what’s now known as Morro Bay, midway between San Francisco and Los Angeles. On its crew were several luzones indios; today they would simply be called Filipinos. Some men went onshore, and one Filipino was killed by Indians.

Since then, over three million Filipinos have either made that journey, or were born in America to Filipino parents, and in each one of them is inscribed a history of struggle, adaptation, acceptance, resistance, and all degrees of complex responses in between. And as the Filipino population in America has expanded, so have Filipino communities, such as that seminal one that was started by runaway Filipino sailors in New Orleans in the 1760s, which grew into a “Manila Village” that was sadly wiped out by a hurricane in 1915.

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I’d first heard about the Lousiana Pinoys from Jim and Isabel Kenny who produced a fascinating documentary about them in 1992 titled “Dancing the Shrimp” (a reference to the way Filipinos dried shrimp—and grew the shrimp industry—in Louisiana by stepping or dancing on them to music). In Chicago, I was happy to meet Marina Estrella Espina, a pioneering researcher, librarian, and author whose 1988 book Filipinos in Louisiana (New Orleans: AF LaBorde & Sons, 1988) laid much of the groundwork for further studies as the Kennys’ and that of younger scholars like the poet Randy Gonzales, who also grew up in New Orleans but lived for many years in Dubai. Now in her 80s, Marina excited the audience by announcing that she had found proof that Filipinos had settled in Louisiana even earlier than previously thought, and that she was working on a book chronicling Filipino journeys around the world.

From Alameda, California and local historian and Boholano Bob Balandra came the story of the Bohol Circle, a club formed there in 1936 by 16 Filipino immigrants seeking and providing support for each other in a difficult time. Some later joined the 2ndFilipino Infantry Regiment, which fought in the Pacific. Bob and his compatriots are trying to get that historic club and its clubhouse recognized with an official street name.

Elsewhere, the 300 participants in the FAHNS conference spoke on and listened to such topics as community-university partnerships in Alaska; Filipina-American marriages in the Philippine-American War; getting out the Fil-Am vote; the sakadas of Hawaii; Filipino nurses in Illinois; and decolonization and visual art. Film screenings by the noted filmmaker Nick Deocampo and the “Dreamland” team of Claire Miranda, Katrin Escay, and Moshe Ladanga complemented the lectures. Dr. Dorothy Cordova, one of the society’s founders along with her late husband Fred, graced the event. I was particularly glad to meet old friends from the University of Michigan, Dr. Romy Aquino and his wife Necie, and from the University of Wisconsin-Milwaukee, Princess Emraida Kiram, whom I hadn’t seen in years.

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A special feature was the unveiling of a mural depicting the Louisiana experience, produced by the Durian Collective composed of artists Leonard Aguinaldo, Darby Alcoseba, Manny Garibay, Jun Impas, Otto Neri, Orley Ypon, and Art Zamora, who were assisted by Fil-Am cultural advocate Almi Astudillo-Gilles.

Over more than 30 years, FAHNS has become a true community of shared personal, academic, and cultural interests, and has the potential to become a formidable force in American politics, especially at a time when immigration and human rights have become threatened once again by the new regime. But as with many communities, unity of vision and purpose is always a challenge, which was why this year’s conference focused on the theme of “Community for Cohesion and Collaboration.”

In my keynote, I suggested that “The only community that will last for our country and people will be one based on an appreciation and acceptance of a common stake in the Filipino future, based on truth, reason, and fairness or inclusivity.

“Under normal circumstances, you and I would not even think twice about this idea, which is almost a motherhood statement. But these are times in which truth, reason, and fairness seem to be in precariously short supply, and the notion of ‘a common stake’ an increasingly nebulous one.

“If we lack a sense of a common stake in a shared future, it may be because we lacked a sense of a common stake in the past. We like to think that we share a history, but the history of our poor is very different from that of our rich.”

And so the conference went, looking back into our past for a glimpse of the future.

Penman No. 175: Filipinos at the Field Museum

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Penman for Monday, November 23, 2015

 

 

AS MANILA got busy with preparations and lockdowns for the Asia-Pacific Economic Cooperation summit, Beng and I flew out to Chicago for the culmination of a cross-continental initiative of another kind: the Art and Anthropology project hosted by the Field Museum and funded by the John D. and Catherine T. MacArthur Foundation.

A few months ago, sometime in August, five Filipino-American artists (Jennifer Buckler, Elisa Racelis Boughner, Cesar Conde, Joel Javier, and Trisha Oralie Martin) came over to Manila to work with their homegrown counterparts on a large mural (technically a free-standing painting) featuring objects from the Field Museum’s vast collection of Philippine anthropological artifacts. That phase was hosted locally by the Erehwon Art Center in Quezon City, on the board of whose foundation Beng (aka June Poticar Dalisay, the painter and art conservator) sits as Vice President.

This October, the five Filipino artists (Leonardo Aguinaldo, Florentino Impas, Jr., Emmanuel Garibay, Jason Moss, and Othoniel Neri) went to Chicago to do the same thing—working collaboratively with the Fil-Ams on a 28’ x 7’ mural at the Field Museum, locating ancient Filipino artifacts in a more contemporary and inevitably globalized context.

The moving spirit behind this project was the indefatigable Dr. Almira Astudillo Gilles, a Chicago-based Filipino-American cultural scholar and activist who also happens to be a prizewinning writer and presidential awardee for her work as an overseas Filipino. Inspired by the Philippine artifacts at the Field Museum, Almi—the only Filipino research associate at the Field—had secured a grant from the prestigious MacArthur Foundation for the project, which both the foundation and the museum acknowledged to be groundbreaking in many ways.

Better known for its so-called “genius grants” awarded to outstanding individuals, the MacArthur Foundation rarely provides funding for large institutions like the Field Museum, Almi says, but they saw in her proposal an opportunity to spur not just a trans-Pacific collaboration among artists but also a dialogue with the past. And there was no better host in the US for this project than the venerable Field Museum, whose collection of indigenous Philippine archaeological and ethnographic materials—numbering around 10,000 objects, most of them brought over by museum expeditions to the islands at the early part of the 20th century—is one of the world’s most comprehensive.

The mural produced by the artists in Chicago—which will be on display at the Field for six months since its formal unveiling last November 7—is both a celebration and indictment of our rich and complicated history, invoking all manner of element from the archetypal bulol and the revolutionary KKK (a symbol that predictably sparked some controversy, given its American context) to McDonald’s and Tito, Vic & Joey.

For the artists themselves, the collaboration was a rich, if sometimes unavoidably difficult, learning experience—learning about themselves, about each other, about art-making, about the mutable meanings of “Filipino” over time and space. Prior to the project, some of the Fil-Ams had never been to the Philippines, and some of the Filipinos had never been to America; that alone ensured sufficient provocation in their approach to the task at hand. The collaborative aspect itself was a challenge, given the need to manage and balance each artist’s individuality with some overarching purpose or design. But in the end, as Joel Javier would tell me, despite all the dialectics involved, it was “a once-in-a-lifetime experience” that every participant—chosen by a jury in each country—would have signed up for.

Our sortie into the Field Museum—a place I’ve visited quite a few times over the past two decades, but can never exhaust, like the Smithsonian—was made even more special by a private tour arranged for us by Almi Gilles into the heart of the Philippine collection itself, in the underground vaults of the Field. As a certified museum rat and armchair adventurer, I took it as an invitation to die and go to heaven; the closest I hope to get to Indiana Jones was to wear his hat, which I wore on the appointed day.

We were met at the museum by co-curator Alpha Sadcopen, a young Filipino-American woman with roots in the northern highlands; she held the key to the collection, and led us into a large room where shelf upon shelf of tribal and cultural artifacts—baskets, textiles, weapons, utensils, body decorations, etc.—were preserved, most of them never likely to be put on display outside. “I could feel a shiver down my spine,” Beng would tell me later, and I certainly did myself, walking past the priceless objects, and discerning in each one of them a pair of hands, a face, a story.

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As if that peek into our material past wasn’t a treat enough, Almi then led us down a few more corridors to meet with another titan of Philippine studies—the renowned zoologist Dr. Lawrence Heaney, curator and head of the museum’s Division of Mammals. Larry began studying the wildlife of the Philippines in 1981, a lifelong passion that has resulted in the discovery of dozens of previously unknown mammalian species, in many landmark publications, and in the establishment, with Larry’s Filipino colleagues, of the Wildlife Conservation Society of the Philippines.

We often think of world-class scientists as surly, self-absorbed individuals who can’t relate to anything beyond what they see in their microscopes and telescopes, but Larry defies that stereotype. You couldn’t have met a nicer man, and one who chose not only to sound the usual alarm about our threatened environment, but also to emphasize the positive and the possible. “Hectare for hectare, the Philippines is the world’s richest place for endemism,” he told us, cradling what seemed to be a huge rat saved from a 1946 expedition to Luzon, “and there certainly are serious threats to Philippine wildlife, but we’ve also noticed some bright spots. For example, the growth of overseas jobs for many Filipinos—despite its social costs—has also eased the pressures on the environment and on wildlife in many rural communities.” Dr. Heaney is coming over to Manila next year to launch another book, and I’ll be sure to be there.

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And what’s next for Almi Gilles? She’s looking skyward, into the connections between Philippine anthropology and astronomy. Her colleagues at the museum seem thrilled by the idea, and so are we.

For more pictures of the Philippine collection at the Field Museum, see here: https://www.flickr.com/photos/penmanila/albums/72157660699359089.