Building Filipino Hawai'i by Roderick N Labrador

Author:Roderick N Labrador [Labrador, Roderick N]
Language: eng
Format: epub
Tags: Social Science, General, Ethnic Studies, American, Asian American Studies, Anthropology, Cultural & Social, Emigration & Immigration
ISBN: 9780252096761
Google: jTTxAwAAQBAJ
Publisher: University of Illinois Press
Published: 2015-01-15T04:06:28+00:00

Pag-ibig sa Tinubuang Lupa

Pag-ibig sa Tinubuang Lupa, loosely translated as “Love for the Native Land,” was a four-hour-long theatrical performance presented in November 1998 by members of Katipunan. The student organization also includes past members and other university students interested in the languages, literatures, arts, and cultures of the Philippines. The student performers have spent countless hours preparing for this public presentation. The title of the theatrical production takes its name from a famous nationalist poem written by Andres Bonifacio, the leader of the revolutionary organization whose primary objective was to free the Philippines from Spanish colonial bondage, Kataastaasan Kagalanggalang na Katipunan nang manga Anak ng Bayan (loosely translated as “Highest, Most Venerated Association of the Children of the Country” and Katipunan for short).

This theatrical cultural performance was one of numerous events and productions in Hawai‘i and elsewhere in the United States in 1998 that celebrated the centennial anniversary of Philippine independence from Spain. The outbreak of the Philippine Revolution in 1896 marked the beginning of the armed struggle, but the nationalism that sparked the drive for emancipation was initiated decades earlier, if not centuries. During the three centuries of Spanish colonial rule, there were more than two hundred reported uprisings, revolts, and rebellions throughout the Philippines. The more well-known of these insurrections were the uprisings led by Malong, which was initiated in Pangasinan and spread to Pampanga, Zambales, Ilocos, and Cagayan (in the 1660s), Diego and Gabriela Silang in the Ilocos region (in the 1760s), and Apolinario de la Cruz in Laguna and Tayabas. In 1872, three Filipino priests, Gomez, Burgos, and Zamora, were executed by the Spanish for their alleged participation in a mutiny involving Filipino soldiers in Cavite and their campaigns for native clergy rights. This event helped to arouse nationalist consciousness among Filipinos and overcome the regional character of previous uprisings. In 1892, Jose Rizal, the national hero of the Philippines, formed La Liga Filipina, which sought peaceful reforms and Filipino representation in positions of power. In the same year, Andres Bonifacio founded the Katipunan, a secret revolutionary organization that sought to end Spanish colonialism and win freedom for Filipinos. In 1896, the Philippine Revolution began, and that same year, Rizal was executed, which intensified nationalist consciousness. On June 12, 1898 Emilio Aguinaldo, who had assumed leadership of the Katipunan after Bonifacio’s execution in 1897, raised the Philippine flag and declared the independence of the Philippine Republic.

Pag-ibig sa Tinubuang Lupa illustrates one of the ways in which recent immigrants, particularly young Filipinos, theatrically perform narratives that produce and distribute ideas and ideologies about language, culture, and identity. As Ochs and Capps (1996) observe, narrative serves as a primary means for making sense of self and experience as well as an instrument for negotiating social relationships. Further, Pag-ibig sa Tinubuang Lupa is a type of “narrative of discent” (Duara 1995) in its privileging of a heroic and revolutionary past as well as privileging Tagalog as the language with which the story is told. Narratives of discent help

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