Qwertyman No. 172: They Chose to Act

Qwertyman for Monday, November 17, 2025

AS A professional writer and editor, I take on many jobs that the other side of me—the fictionist, journalist, and teacher—usually wouldn’t get to do. I write biographies, speeches, and feature stories, among others, and while I do them to the best of my ability and to my clients’ satisfaction, they don’t always coincide with my personal interests, nor necessarily inspire me to think or act a certain way.

These past two years, however, I’ve been proud and privileged to perform a very special assignment that I’ve come to look forward to, because it renews my faith in people and my hopes for a better future—phrases that would otherwise just roll off the tongue like so many other tired and meaningless clichés. At 71, I’d like to believe that I’ve pretty much seen it all and can afford to be cynical, as even Gen Z’ers can affect—a bit prematurely, I think, but understandably so in this sad and sordid world of ours.

So it often comes as a surprise to be reminded that some good people persist at doing good if not great deeds, and that’s what this unique responsibility I’ve taken on is all about—writing the citations for the year’s Ramon Magsaysay Awards laureates, a task I inherited from RMAF stalwart Jim Rush and National Artist Resil Mojares. (Before I go any further I should clarify that I have nothing to do with the selection process, I am covered by an NDA—not even my wife gets to know the winners ahead of everyone else—and I cannot and do not cozy up to the likes of Hayao Miyazaki for selfies and signatures.)

This year only three laureates were chosen, but again the range and the depth of their accomplishments tell us that ordinary people can achieve extraordinary successes—not just for themselves but for society at large—with vision, faith, and perseverance, or what the Ramon Magsaysay Awards Foundation calls “greatness of spirit,” the common element among its 356 winners from 23 countries since 1957.

They included Shaheena Ali from the Maldives, an island-country that often appears in tourist brochures and websites as a tropical island paradise, surrounded by aquamarine waters ideal for snorkeling and fishing. Behind this idyllic façade, however, lies a murkier and unpleasant truth. Plastic pollution has befouled the island chain’s crystalline waters, threatening the marine ecosystem, the economy, and the health of its residents. Waste is either burned or tossed into the ocean, producing harmful smoke and microplastics. As a diver, photojournalist, and diving instructor herself, Ali often came literally face to face with the tides of trash clouding up the once-pristine waters of her beloved islands.

In 2015, deciding to fight back, Ali linked up with an NGO, Parley for the Oceans, to frame a comprehensive program to save the country’s waters from pollution and to turn plastic waste into a useful source of livelihood for the people. Today, as executive director of Parley Maldives, she oversees the implementation of their signature strategy: Avoid, Intercept, and Redesign (AIR) plastics for a better environment. With Ali, Parley has introduced plastic interception and collection sites in island communities and over seventy schools, leading over 700 collaborative cleanups along affected coastlines. Ali has also worked with the government to address climate change. “I go there to clean up with hope,” she says, “hope that my grandchildren will see whales in the ocean in their lifetime as I did growing up.”

For its part, India has become both an economic and political powerhouse, with many visible signs of its rising affluence. Despite the overall surge in growth, however, many rural and tribal girls have had no access to an adequate education. Because of this disparity, illiterate girls are forced to marry early, have children, and work—while culturally privileged males go to school. 

In 2005, a young graduate of the London School of Economics decided to return home to India to take on this challenge. Safeena Husain established the Foundation to Educate Girls Globally (FEGG) or “Educate Girls.” Starting out in Rajasthan, Educate Girls identified the neediest communities, brought unschooled or out-of-school girls into the classroom, and worked to keep them there until they were able to acquire credentials for higher education and gainful employment. 

The results were dramatic. What began with fifty pilot village schools reached over 30,000 villages across India’s most underserved regions, involving over two million girls, with a retention rate of over 90%. Educate Girls also launched Pragati, an open-schooling program that allows young women aged 15-29 to complete their education and avail themselves of lifelong opportunities. Its initial cohort of 300 learners has grown to over 31,500. “Girls’ education is the closest thing we have to a silver bullet to solve some of the world’s most difficult problems,” says Husain. “It is one of the best investments a country can make, impacting nine of the seventeen Sustainable Development Goals, including health, nutrition, and employment. By scaling our programs, deepening government partnerships, and embedding community-led solutions, we strive to create a brighter, more equitable future—one girl at a time.” 

The third awardee was no stranger to those of us long aware of his special ministry. Flaviano Antonio L. Villanueva or simply “Father Flavie” belongs to that breed of socially committed clergy for whom godliness is to be found not in the halls of influence and wealth but in the streets, among the poorest and the most forgotten. 

In 2015, he founded the Arnold Janssen Kalinga Center in Manila to provide “dignified care and service” to thousands of poor and marginalized Filipinos. Kalinga works to recreate the poor’s self-image, reclaim their self-respect, and restore their self-worth. Villanueva also led the effort to locate the bodies of victims of the government’s “war on drugs” where thousands of Filipinos were summarily executed. Often, their impoverished families could not secure permanent graves for them. Villanueva found the funds to exhume, cremate, inurn, and relocate the bodies to a proper resting place. This Paghilom program brought comfort to widows and orphans and allowed them to continue leading productive lives. “Justice can take many forms—among them, the recovery of one’s self-confidence, and forgiving oneself,” he says. Following the late Pope Francis’ example, he initiated showers for the homeless as both a literal and symbolic act of cleansing, to prepare them for a fresh start in life.

I always end up doing more than writing up these people’s stories—I learn from them, and am reminded that instead of just mouthing slogans and railing at the universe—at all the evil, the injustice, and the ugliness we have to live with—we can choose to act and to fight back, like these avatars of social action did. 

Penman No. 239: A Pinoy Pangalay in Hyderabad

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Penman for Monday, February 20, 2017

 

 

I’M GOING to turn over most of my column this week to a colleague at the UP Institute of Creative Writing, the playwright and essayist Luna Sicat Cleto, whom I commissioned (badgered is the more appropriate word, since I’m not paying her anything more than my deepest thanks) to do a report on a recent mission that she and a group of Filipino writers undertook in Hyderabad, India.

The original invitation to attend the Hyderabad International Literary Festival and organize a delegation as a “guest nation” had been sent to me, but since I couldn’t work it into my schedule, I asked performance poet and Philippine High School for the Arts director Vim Nadera to put together and lead a troupe of Filipino writers and artists. And what a delegation it turned out to be. With Vim went fellow writers Jun Cruz Reyes, Victor Sugbo, Luna Sicat Cleto, Jeena Rani Marquez, Christine Godinez Ortega, Hope Sabanpan-Yu, and Neila Balgoa. Spoken word poet Kooky Tuason also came along, as did Ifugao poet Dumay Solinggay. Dance and music were represented by Cecilia Artates and Marty Tengco. Let’s hear the rest from Luna:

“According to Dr. T. Vijay Kumar, Professor of English at Osmania University in Hyderabad, the Philippine delegation was the biggest group they had received so far, having hosted five nations since it began in 2010. The other four were Germany, France, Ireland, Poland, and Singapore.

“Dr. Kumar, alongside the novelist Pranesh Prasad, had encouraged the attendance of the Filipino writers. Prasad graced the Iligan workshop in 2013 as guest writer and also attended the Asia Pacific Writers and Translators Conference in Manila in 2015.

Since then he has felt a strong affinity with Filipinos. Prasad was happy with the performance of the delegation, saying that ‘I think we achieved our goal of creating awareness about Philippines in India, given the number of newspapers that covered your participation and all the people contact that has resulted. It bodes well for India-Philippines cultural relations.’

“Prasad’s observation was echoed by Jun Cruz Reyes, who felt that it was refreshing to read about the convergence of so many talents and minds in the festival, which was not limited to the literary field alone. Topics as diverse as politics, history, sports, and popular culture were taken up in parallel sessions. While some German industrial designers discussed the sustainable technology of chai shops, a Mumbai-based young entrepreneur talked about Instagram ruminations, while another focused on the Indian graphic novel. There were talks given by poet laureates Ashok Payjevi alongside investigative journalists like Josy Joseph and Harsh Mander, and discussions of translations of the Bhagavad Gita and Tamil stories alongside debates about the effects of the partition and human trafficking. Particiapns got to see martial-arts demonstrations of the shilambam as well as India’s latest art films. The plurality of HILF is based on its inclusive ethos: it is multilingual and multidisciplinary, and the multiple speakers—writers, artists, scholars, filmmakers, journalists, publishers—represent a wide range of creative fields. Hyderabad has been described as a ‘teeming urban masala of color and commerce,’ and indeed the city evokes the ancient prosperity of its Mughal past, alongside its twin reputation as a Silicon Valley of India.”

Luna adds that “Indeed, it is fortuitous that the Philippines was invited now, while both countries are assessing their relative positions in the global literary and cultural scene. It also became a chance to rediscover the bonds between India and the Philippines, evident in the many words from Sanskrit that are in the Filipino’s vocabulary: budhi, guro, and diwata, among others. While India has a strong tradition of writing in English because of the colonial legacy of British education, the Philippines also has a strong contingent of Filipino writers in English. India’s raucous democratic plurality in religion and politics is echoed in the Philippines’ plurality of religion, politics, cultural traditions and languages. The many languages of India are celebrated in the Hyderabad International Literary Festival, and for this year, its focus was on the Tamil language. One artist, the great Indian dancer Leela Samson, who performed in ‘Past Forward,’ said that it is about time that India listened to its many voices, and let the major languages of India be the conduits of thoughts and ideas.

“Samson’s sentiments were echoed in the Philippine delegation’s performance, aptly titled ‘Philippine Pangalay: Karmic Harvest.’ Vim Nadera strutted onstage, dressed in an all-white suit complete with an American flag tie. Channeling Donald Trump and the doomsday rhetoric of born-again speakers, he pronounced that he was dedicating his performance to the memory of National Artist Francisco Arcellana. ‘Close all open things, Lord/Open all closed things,’ Nadera intoned, appropriating Elvis’ crotch choreos with riffs from the musical Hair. The crowd was energized. He then introduced Jeena Marquez, who performed a powerful dramatic monologue based on Rizal’s epilogue in El Filibusterismo, a re-enactment of Maria Clara’s leap to death as witnessed by two civilians. Romancing Venus was the next act, which featured Tuason’s slapshock verbal performance, enhanced by Tengco’s drumming and Artate’s pangalay. But the real star of the delegation was Dumay Solinggay, who channeled the anguish of epic chanters with her poignant chorus of  ‘We must remember, we must remember…’ Solinggay did not only echo the trauma of the postcolonial subject, who may feel trapped in identities and names arbitrarily assigned, in specific situations like the call-center agents or the inevitable loss of memory in the fast pace of urban life. When she danced at the last part of her ensemble, her body resembled the paroxysm of the chanters in a trance.”

What can I say? I wish I’d been there with them in Hyderabad. The name alone sounds like magic, and I’m sure the place and the experience were every bit just that.

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(Photos by Jeena Marquez and Hope Yu)