We Stand on Their Shoulders

By Eleazar Malabanan

For twelve years the Filipino community here at State has claimed an important victory in the form of art: a mural dedicated to the struggle of the entire community worldwide is displayed. With the recent collaboration of all the Filipino organizations of Mula Sa Ugat, we see how our roots became grew to become the shoulders we stand on. We see the bonds and the community that we all talk about finally form here at state. For at least once a year, we see the whole San Francsico State Filipino community come together to show how much we love our culture, our history, and our ancestors whose shoulders we stand on now.

This year’s celebration was full of many events both old and new. One day dedicated to the education of the public, to ensure we not only celebrate but remember exactly where and why we have the mural. Workshops provided by all the organizations instating the different parts of the mural and how each of the individuals impacted the world today. The next day included many different events as well full of displays of dance, music, and food. Timothy Balilo, Jeannel Poyoaon, and Erin Cruz hosted the event giving life throughout the night and introducing speakers and musicians left and right. Jordan Ilagan, Secretary General of the SF State branch of the League of Filipino Students (LFS-SFSU) and current PCN co-scriptwriter, spoke with passion about his endeavors in the Filipino community and how he strongly believes about the situations that many of us still rather sleep on. Along with the president of NAFCON (National Alliance of Filipino Concerns), Terry Valen who gave a moving speech about the involvement in the community as well as the current battle against racism now with excerpts of the San Francisco Police Department, stating their extremely racist and fascist comments of African Americans and Filipino Americans alike. Not only were these speakers great but the musicians and performs as well. One of the sisters of Alpha Kappa Omicron (AKO) brought her dance team into the celebration to perform an entertaining routine. We also had the opportunity to see LFS and PACE head Coordinator Patrick Racela and IV Kapwa Member Aaron Agudelo rap as well. Finally we ended the night with Hopie, A Law student by day, and Rapper by every other time of the day. These performers allowed us to see their talents as well as just to celebrate the mural that represents who we are as a community.

The members and friends of Mula sa Ugat

The Mural Celebration this year shows our growing communities that we still have much work to do. It shows the power of all the organizations combining and the force we can bring to even more events, and more places. We stand on their shoulders, yet pretty soon we will be lifting the people in our community even higher on ours.

PREVIEW – We Stand On Their Shoulders: The 12th Annual SFSU Fil-Am Community Mural Celebration

By Patrick Racela

Join Mula Sa Ugat (MSU) for We Stand On Their Shoulders: The 12th Annual SFSU Filipino-American Community Mural Celebration on April 8th and 9th at Jack Adams Hall from 6:30PM to 9:30PM. Wednesday April 8th will consist of an educational component covering the history and meaning of the mural. Thursday April 9th will consist of the celebration with free food, giveaways, and performances. We hope to see you there! You may RSVP at our FB event page: https://www.facebook.com/events/791850370869313/

SFSU Filipino-American Community Mural, the only piece of its kind on a college campus in the U.S., Photo: San Francisco State University

The vibrant history of the Filipino people has long left its mark in the city of San Francisco. From the manongs and manangs who found refuge in Manilatown after completing seasonal work along the west coast, to the young Pinoys and Pinays who found a cause in organizing the Philippine American Collegiate Endeavor to link with other third world students and communities to fight for relevant education and other burning issues of the time, to those of us today who are part of a community that has upheld a rich tradition of resistance in the face of social, economic, and political issues. We are people who carry the Bayanihan spirit moved to uplift one another, to empower and build our community; it is the same spirit found in those who have come before us.

Manilatown Men, Photo: Kularts

A mural at San Francisco State University reminds us of whose shoulders we stand on. Finished in 2003, the Filipino-American community mural is the only piece of its kind at any college campus in the US. It is centered on the peoples’ movement in the Philippines and its relation to our experiences as Filipino-Americans. The mural is divided into four sections: solidarity, community, struggle in the Philippines, and struggle in the US.

Solidarity is expressed by Andres Bonifacio’s rising sun, representing the revolutionary tradition of the Filipino people who resisted Spanish colonization for over 400 years. The rays of the sun span across all parts of the Philippines and any place you can find a Filipino. It is derived from his personal Katipunan flag. To the front of the sun are people of color with arms linked together signifying our unity with all people of color.

The youth galvanized the peoples’ movement in the Philippines with the First Quarter Storm, Photo: Rappler

At the center of the mural is Lorena Barros, an activist from the martial law era who founded the militant women’s organization, MAKIBAKA, representative of youth and students. She is flanked by Purmassuri on the left, a Moro leader who was key in preventing the Spanish from gaining a foothold in Mindanao, representative of indigenous people. To the right of Lorena Barros is Al Robles, a poet and local San Franciscan who pioneered as a prominent leader during the housing movement, representative of the elders in our community. To the bottom left is Philip Veracruz, a farmworker and key organizer of the Delano Grape Strike, representative of the workers. To his right is Violeta “Bullet X” Marasigan, a participant in the Third World strike and founder of the women’s organization, GABRIELA, representative of women. These figures uphold our community; we embody who they are.

Student strikers fighting for Third World Studies at San Francisco State College, Photo: Asianweek

The struggle in the Philippines is captured so that we as Filipino-Americans will always have a grasp of our Motherland. At the very bottom of the mural is the Philippine national animal, the carabao. It embodies industriousness and the strength of the Filipino people. Peasants, one of the most oppressed sectors of Philippine society, are depicted planting rice, signifying their ongoing struggle for the right to their land. A woman playing the indigenous instrument, a kulintang, represents the importance of music in indigenous culture. Lastly, students and workers are depicted fighting for a dignified way of life amidst the issues of militarization and poverty engendered to the basic problems of the Philippines.

The Filipino-American struggle is envisioned on the right. At the very top are the organizers and protestors who fought for the I-Hotel, highlighting the issue of gentrification in San Francisco. Below are WWII veteranos and nurses who fight for recognition, equality, and a better way of life. The students of SFSU are depicted to capture the trials and tribulations of our community today.. A DJ is also present to signify our musical experiences, namely in Hip-Hop culture. Finally, farmworkers are shown planting seeds to represent the roots of our community.

To Mindanao With Love Benefit Show for Saluogpongan International, Photo: Juana Tello

We stand on the shoulders of those who come before us. We are at a time where we must be makers of our own history. We must heed the call of movement just as our ancestors have done to fight for a better future.

Time and Step

By Michael Nicer

One month stands between the practicing participants for this year’s Pilipino Cultural Night and performance day. Photoshoots are over and routines are beginning to near the end of completion. Technicalities are being clarified and the tone of practices are becoming ever more serious as time runs down. Hell week is only about a week or two away, and soon practices will encompass the whole of the show, taking several hours on the stage everyone is set to perform on.
The instructors demand absolute perfection not only in the pace and execution of the step, but the attitudes we display and in our resolve. This cultural performance is not just simply one where a person puts on a costume, moving all over the stage for cheers and recognition. Every last person participating in PCN right now chooses to perform to remember, to preserve moments lost to time, both joyful and traumatic. A celebration of life amongst Cordillera tribes. The courting of a noblewoman in the days of the Spanish occupation. A Moro wedding amongst the Lumad peoples. Remember not just for the times past, but for issues that plague the cultures honored. Encroachment by corporate entities onto ancestral lands. Political imprisonment. Clashes between peoples of differing religion and custom, sometimes leading into armed conflict that will harm those in the crossfire, all for the sake of independent sovereignty.
I have been in two productions of PCN so far. The current production will be my third PCN and the second in which I have chosen to participate in a cultural dance. This year, I have chosen to participate in the Cordillera suite, directed by Kimberly Requesto, as part of the ensemble for Uyaoy.

Me at Uyaoy practice

I did not expect it to be so physically taxing, to the point where I would be nearly out of breath by the time practice was over. The first few days of practice were quite difficult to get into, as I was used to the classically European grace and feel of the Maria Clara suite of last year’s production. The Cordillera dances are a different animal, with many of its movements in an outward motion to exude noble power as opposed to the vertical, dignified air of a Maria Clara dance. Despite the initial hurdles, each day spent completing the dance becomes more enriching as everyone gets familiar with Kim, the context of the dance, and each other. Like the ink on a writer’s multiple drafts, the movements and strokes become cleaner and stronger, bringing her vision of the dance closer to reality as everyone bonds along the way. Also, I am very much looking forward to dancing with a bahag.
This year is also the first year I have taken an acting role for PCN. I have never participated in an acting role since the last year of high school. At this point, I’m both excited for the chance to act again and worried that I won’t hold a candle to the veterans I’m surrounded with. Despite that, I am realizing that each of the actors in our group, main character or not, are helping to bring to light the issues this year’s PCN tackles by bringing every last character to life.
I am losing myself in the characters I am playing as, both in dance and out of it, and I am enjoying it all the greater.

Road to 43: Our Story from Then to Now

By Jordan Ilagan

The road to PCN 43 goes through Luzon, Visayas, and Mindanao, all the way to San Francisco. Every single cast member has been working hard for this showcase of beautiful dancing and compelling storytelling. The road to PCN is one that is paved with pushing comfort zones, meticulous practice, and constant refining up until showtime; a performance by the Filipino community for the community. “Kapit Kamay”: link hands with each other and fight against injustice.

“People’s SONA 2014” in San Francisco. Photo credit: Anakbayan East Bay

As I stated in my previous post, Kapit Kamay is heavily based on a true story. Mainly the current issues surrounding the Philippines in regards to Lumad land, as well as corruption in the government and the stories of community organizing efforts in SF. Rampant destruction that I was able to see first hand during my exposure trip to the Philippines as well as organizing once I touched down in San Francisco. As 1/2 of the script writing tag team, being able to share my passion for community organizing and using PCN as a platform to highlight these issues has been nothing short of amazing.

But that’s only half the story. In order to truly bring Kapit Kamay to life, my script writing partner Jerico De Guzman took my experiences and knowledge and weaved them into a creative, true-to-life, story. Kapit Kamay not only covers political themes, but also features compelling characters as well. Throughout the play, characters struggle with the ramifications of the decisions that they make, their own insecurities, and how their personal baggage clashes with others.

Dynamic Scriptwriting Duo for PCN 43 (Left: Jerico DeGuzman, Right: Jordan Ilagan)

Kapit Kamay promises to entertain. The script was nearly a year in the making and was continuously refined every step of the way. A show by the student community paying tribute to the efforts of the community. A PCN that embodies what it means to take pride in Pilipino Culture and pays tribute to Pilipino Culture. Link hands and defend the culture of our ancestors.