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"title": "As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear",
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"content": "\u003cp>At the premiere of \u003cem>ritual for thrivation no. 2\u003c/em> on June 10, a series of audio clips in Tagalog played over the speakers, filling San Francisco’s ODC Theater with harrowing memories.\u003c/p>\n\u003cp>“There was no newspaper, no TV. I was at home and people were scared,” said one voice.\u003c/p>\n\u003cp>“Ako ay nasa underground na.” (“I was in hiding.”) “I was 23,” said another.\u003c/p>\n\u003cp>“Nasa U.S. ako. Sabi pa nga na ibang mga kasamahan ko, ‘Huwag ka ng umuwi, nakakatakot ang martial law,’” said a third. (“I was in the U.S. All my friends said, ‘Don’t come home, martial law is terrifying.’”)\u003c/p>\n\u003cp>These stories aren’t just part of a performance. They are a part of Filipino history, which Filipino American choreographer and artistic director \u003ca href=\"http://www.sammaydizon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samantha Peñaflor Dizon\u003c/a> (known as SAMMAY) wants us to remember in \u003cem>ritual for thrivation no. 2\u003c/em>. The clips, compiled by queer Pinay music duo \u003ca href=\"http://astralogik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AstraLogik\u003c/a>, are pulled from real interviews with survivors who were detained or tortured under the regime of Ferdinand Marcos, who declared martial law from 1972–1986. Although this history is recent, today’s political reality in the Philippines brings the past even closer to the present.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, the Philippines’ presidential election resulted in the victory of Ferdinand Marcos Jr., the son of the late former dictator, \u003ca href=\"https://www.cnn.com/2022/05/11/asia/marcos-philippines-president-explainer-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">effectively returning the family back to power\u003c/a>. (Marcos Sr. was ousted by popular revolt and exiled in 1986; he died in 1989.) The Marcos name carries a history of human rights abuses and the thieving of \u003ca href=\"https://www.theguardian.com/world/2016/may/07/10bn-dollar-question-marcos-millions-nick-davies\" target=\"_blank\" rel=\"noopener noreferrer\">an estimated $10 billion\u003c/a> from the Philippine economy. One may wonder, “How could this happen?”\u003c/p>\n\u003cp>Disaffection among Filipinos grew over time, after watching corruption and inequality persist over the decades. Perhaps this created a desire for a strongman leader who can restore order at whatever the cost (see:\u003ca href=\"https://www.reuters.com/world/asia-pacific/no-quiet-retirement-philippines-duterte-when-marcos-takes-over-presidency-2022-05-11/\" target=\"_blank\" rel=\"noopener noreferrer\"> current president Rodrigo Duterte\u003c/a>). Couple that with disinformation and historical revisionism, and you have a recipe for vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13914773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s just so much dissonance around the truth and this work is about remembering,” said Dizon in an interview. “This work is about facing the hard truths of our lives, our lineages and our communities. We need to really face our shadows.”\u003c/p>\n\u003cp>\u003cem>ritual for thrivation no. 2\u003c/em> is an intergenerational, movement-based performance that explores the shadows of Philippine history and the inner worlds of Filipinos in the diaspora. Like all shadow work, it uncovers forgotten and unspoken truths as a means of necessary healing and care.\u003c/p>\n\u003cp>“This work lends itself to practicing collective care,” said dance artist and rehearsal director Danielle Galvez, “Here, care means being seen, being heard, and having the permission to share your story.”\u003c/p>\n\u003cfigure id=\"attachment_13914777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of \u003cem>ritual for thrivation no. 2\u003c/em>, co-presented by the \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">API Cultural Center\u003c/a>, is performed by Filipino American dance artists including Galvez, Tessa Nebrida, Jai Severson and Harold Albert Quiben Galvez. The work engages themes of ancestral connection, grief, queer identity and remembering pieces of the past that are vital to a future of freedom—aptly performed during the weekend of Araw ng Kalayaan (Philippine Independence Day).\u003c/p>\n\u003cp>Contemporary and urban dance styles combined with references to Filipino folk dances portray the balance of modernity and tradition that is a distinctive feature of Filipino American identity. One memorable sequence involves Filipino children’s street games and the walis (a Filipino-style broom and household staple), comfortingly familiar imagery that I never thought I’d see on a stage.\u003c/p>\n\u003cfigure id=\"attachment_13914775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it speaks to that familiarity we share as diasporic Filipinx,” Dizon said. “No matter where we are coming from or what lived experience we have gone through, we’re acknowledging and really honoring the uniqueness and the nuances of all of our experiences.”\u003c/p>\n\u003cp>In exploring the nuances of the generational and geographical differences that exist within the global Filipino community, \u003cem>ritual for thrivation no. 2\u003c/em> bridges divides by reminding us of our shared history.\u003c/p>\n\u003cfigure id=\"attachment_13914776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Understanding our history and where we come from is really important,” said Charito Soriano, one-half of AstraLogik. “You need to tell your story and listen to other people’s stories. It’s gotta be a reciprocal thing.”\u003c/p>\n\u003cp>Soriano believes the reciprocal exchange between diasporic Filipinos and our peers in the Philippines is key to sustaining our relationship with our kababayan (our countrymen), which no amount of time or distance could ever undo. To be in community with one another is where we begin to heal as a collective.\u003c/p>\n\u003cp>Towards the end of the performance, audience members (many of whom wiped tears from their faces throughout the show, myself included) began to laugh as the dancers played with the walis, tossing them in the air, strumming one like a guitar, and dancing \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/tinikling-the-national-dance-of-the-philippines-with-bamboo-poles/\" target=\"_blank\" rel=\"noopener noreferrer\">tinikling\u003c/a> between two brooms on the ground. The catharsis in the air was palpable. As I joined the crowd in a standing ovation, I felt the ritual succeed in transmuting my grief into joy, understanding and a sense of belonging I didn’t realize I was searching for.\u003c/p>\n\u003cfigure id=\"attachment_13914780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We heal with others in community,” said Galvez. “We can’t do it alone with anything, with healing, with movement, with action.”\u003c/p>\n\u003cp>Any changes we hope to create for future generations, any movements we build, are made possible by bonds we can’t always see but can always feel. The invisible thread that ties us to our kin is one we weave together, one that only strengthens when we speak, act and move in solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13914770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://odc.dance/sammay\" target=\"_blank\" rel=\"noopener noreferrer\">ritual for thrivation no. 2\u003c/a> will be available for digital streaming on Friday, June 17 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the premiere of \u003cem>ritual for thrivation no. 2\u003c/em> on June 10, a series of audio clips in Tagalog played over the speakers, filling San Francisco’s ODC Theater with harrowing memories.\u003c/p>\n\u003cp>“There was no newspaper, no TV. I was at home and people were scared,” said one voice.\u003c/p>\n\u003cp>“Ako ay nasa underground na.” (“I was in hiding.”) “I was 23,” said another.\u003c/p>\n\u003cp>“Nasa U.S. ako. Sabi pa nga na ibang mga kasamahan ko, ‘Huwag ka ng umuwi, nakakatakot ang martial law,’” said a third. (“I was in the U.S. All my friends said, ‘Don’t come home, martial law is terrifying.’”)\u003c/p>\n\u003cp>These stories aren’t just part of a performance. They are a part of Filipino history, which Filipino American choreographer and artistic director \u003ca href=\"http://www.sammaydizon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samantha Peñaflor Dizon\u003c/a> (known as SAMMAY) wants us to remember in \u003cem>ritual for thrivation no. 2\u003c/em>. The clips, compiled by queer Pinay music duo \u003ca href=\"http://astralogik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AstraLogik\u003c/a>, are pulled from real interviews with survivors who were detained or tortured under the regime of Ferdinand Marcos, who declared martial law from 1972–1986. Although this history is recent, today’s political reality in the Philippines brings the past even closer to the present.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, the Philippines’ presidential election resulted in the victory of Ferdinand Marcos Jr., the son of the late former dictator, \u003ca href=\"https://www.cnn.com/2022/05/11/asia/marcos-philippines-president-explainer-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">effectively returning the family back to power\u003c/a>. (Marcos Sr. was ousted by popular revolt and exiled in 1986; he died in 1989.) The Marcos name carries a history of human rights abuses and the thieving of \u003ca href=\"https://www.theguardian.com/world/2016/may/07/10bn-dollar-question-marcos-millions-nick-davies\" target=\"_blank\" rel=\"noopener noreferrer\">an estimated $10 billion\u003c/a> from the Philippine economy. One may wonder, “How could this happen?”\u003c/p>\n\u003cp>Disaffection among Filipinos grew over time, after watching corruption and inequality persist over the decades. Perhaps this created a desire for a strongman leader who can restore order at whatever the cost (see:\u003ca href=\"https://www.reuters.com/world/asia-pacific/no-quiet-retirement-philippines-duterte-when-marcos-takes-over-presidency-2022-05-11/\" target=\"_blank\" rel=\"noopener noreferrer\"> current president Rodrigo Duterte\u003c/a>). Couple that with disinformation and historical revisionism, and you have a recipe for vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13914773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s just so much dissonance around the truth and this work is about remembering,” said Dizon in an interview. “This work is about facing the hard truths of our lives, our lineages and our communities. We need to really face our shadows.”\u003c/p>\n\u003cp>\u003cem>ritual for thrivation no. 2\u003c/em> is an intergenerational, movement-based performance that explores the shadows of Philippine history and the inner worlds of Filipinos in the diaspora. Like all shadow work, it uncovers forgotten and unspoken truths as a means of necessary healing and care.\u003c/p>\n\u003cp>“This work lends itself to practicing collective care,” said dance artist and rehearsal director Danielle Galvez, “Here, care means being seen, being heard, and having the permission to share your story.”\u003c/p>\n\u003cfigure id=\"attachment_13914777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of \u003cem>ritual for thrivation no. 2\u003c/em>, co-presented by the \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">API Cultural Center\u003c/a>, is performed by Filipino American dance artists including Galvez, Tessa Nebrida, Jai Severson and Harold Albert Quiben Galvez. The work engages themes of ancestral connection, grief, queer identity and remembering pieces of the past that are vital to a future of freedom—aptly performed during the weekend of Araw ng Kalayaan (Philippine Independence Day).\u003c/p>\n\u003cp>Contemporary and urban dance styles combined with references to Filipino folk dances portray the balance of modernity and tradition that is a distinctive feature of Filipino American identity. One memorable sequence involves Filipino children’s street games and the walis (a Filipino-style broom and household staple), comfortingly familiar imagery that I never thought I’d see on a stage.\u003c/p>\n\u003cfigure id=\"attachment_13914775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it speaks to that familiarity we share as diasporic Filipinx,” Dizon said. “No matter where we are coming from or what lived experience we have gone through, we’re acknowledging and really honoring the uniqueness and the nuances of all of our experiences.”\u003c/p>\n\u003cp>In exploring the nuances of the generational and geographical differences that exist within the global Filipino community, \u003cem>ritual for thrivation no. 2\u003c/em> bridges divides by reminding us of our shared history.\u003c/p>\n\u003cfigure id=\"attachment_13914776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Understanding our history and where we come from is really important,” said Charito Soriano, one-half of AstraLogik. “You need to tell your story and listen to other people’s stories. It’s gotta be a reciprocal thing.”\u003c/p>\n\u003cp>Soriano believes the reciprocal exchange between diasporic Filipinos and our peers in the Philippines is key to sustaining our relationship with our kababayan (our countrymen), which no amount of time or distance could ever undo. To be in community with one another is where we begin to heal as a collective.\u003c/p>\n\u003cp>Towards the end of the performance, audience members (many of whom wiped tears from their faces throughout the show, myself included) began to laugh as the dancers played with the walis, tossing them in the air, strumming one like a guitar, and dancing \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/tinikling-the-national-dance-of-the-philippines-with-bamboo-poles/\" target=\"_blank\" rel=\"noopener noreferrer\">tinikling\u003c/a> between two brooms on the ground. The catharsis in the air was palpable. As I joined the crowd in a standing ovation, I felt the ritual succeed in transmuting my grief into joy, understanding and a sense of belonging I didn’t realize I was searching for.\u003c/p>\n\u003cfigure id=\"attachment_13914780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We heal with others in community,” said Galvez. “We can’t do it alone with anything, with healing, with movement, with action.”\u003c/p>\n\u003cp>Any changes we hope to create for future generations, any movements we build, are made possible by bonds we can’t always see but can always feel. The invisible thread that ties us to our kin is one we weave together, one that only strengthens when we speak, act and move in solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13914770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://odc.dance/sammay\" target=\"_blank\" rel=\"noopener noreferrer\">ritual for thrivation no. 2\u003c/a> will be available for digital streaming on Friday, June 17 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How to Build a Filipino American Cultural Center Without a Roof",
"headTitle": "How to Build a Filipino American Cultural Center Without a Roof | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Walk quickly past SoMa’s 5th and Mission Garage and you might not notice \u003ca href=\"https://balaykreative.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Balay Kreative Studios\u003c/a>. But if you amble, the signs are there—quite literally. First there’s the brightly colored flags advertising some of the studio’s tenants (“\u003ca href=\"https://ybgfestival.org/event/tito-ramon/2022-06-10/\" target=\"_blank\" rel=\"noopener noreferrer\">Tito Ramon’s Pop-Up Puppet Theater\u003c/a>” is the most enticing). Then there’s the denim-backed sign for Balay Kreative itself. At eye level, the studio’s address (863 Mission) is rendered in three different colors of laser-cut plastic. The windows are covered in comic-book-style illustrations of notable figures from Filipino history—except for one that’s set up in a kind of \u003ci>TRL\u003c/i> display for pandemic-era livestreaming. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>What’s inside is just as eclectic and vibrant as the sidewalk view hints. The studio’s 3,200 square feet, provided to Balay Kreative by the SFMTA, has been built out to suit the needs of roughly a half-dozen Filipino American artists, designers and small businesses in an ongoing experiment in the creation of a cultural hub. On my visit, Balay Kreative’s Executive Director Desi Danganan gives me an energetic tour, pointing out artists who met in the studio and collaborated, experiments in retail presentations, and the table where he spends most afternoons working.\u003c/p>\n\u003cp>This studio is just one facet of Balay Kreative. The Filipino arts accelerator is currently accepting applications for its \u003ca href=\"https://balaykreative.com/grants-2022\" target=\"_blank\" rel=\"noopener noreferrer\">second round of grants\u003c/a> after dispersing funds to around 20 artists and projects in 2020. It helps program the parking lot-turned-lush-event-space \u003ca href=\"https://www.kapwagardens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kapwa Gardens\u003c/a>, and it’s working towards a future brick-and-mortar Filipino American Cultural Center in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13913991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-24-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait at Balay Kreative in San Francisco, Calif. on May, 20, 2022. Danganan is the executive director at Balay Kreative. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this activity is in service to a very specific goal: take the idea of the SOMA Pilipinas Filipino Heritage District, established in 2016, and make it an economically sustainable reality through the power of arts and culture. San Francisco is home to \u003ca href=\"https://sf.gov/information/cultural-districts-program\" target=\"_blank\" rel=\"noopener noreferrer\">nine cultural districts\u003c/a>, the oldest (Japantown) was recognized in 2013, the newest (the Sunset Chinese Cultural District) officially launched on May 22, 2022. Naming a cultural district is only the first step. SOMA Pilipinas, 1.5 square miles in the South of Market neighborhood, aims to celebrate the Filipino community, prevent displacement and develop economic and racial justice initiatives.\u003c/p>\n\u003cp>“Arts and culture, that’s the key,” Danganan says. “That’s going to be the anchor to really accelerate this kind of community engagement of coming back into your community, giving back and rebuilding it.” His vision is for Mission Street to become a commercial corridor of Filipino American shops, restaurants and cultural spaces.\u003c/p>\n\u003cp>Balay Kreative does a lot with a very small team, and Danganan says the goal isn’t to grow the organization. “It’s about growing the arts and culture community,” he says. “That’s why we’re so determined to regrant money out. It shouldn’t be about Balay Kreative coming up with all of the ideas for our community. It’s all about being that platform, that accelerator for the rest of our community members to fulfill their dreams and visions.”\u003c/p>\n\u003cfigure id=\"attachment_13913961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913961\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-14-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Mariko Rosales poses for a portrait in her space at Balay Kreative on May 20, 2022 in San Francisco. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A House of Creatives\u003c/h2>\n\u003cp>The story of Balay Kreative starts with \u003ca href=\"https://www.undiscoveredsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF\u003c/a>, a creative night market set up in 2017 by Kultivate Labs, an arts and economic development nonprofit that Danganan also leads.\u003c/p>\n\u003cp>Those gatherings in and around the Old Mint were an enormous success, drawing crowds and press attention and fostering a real sense of belonging within the local Filipino American community. Robin Aquilizan sold at numerous night markets with her family’s streetwear brand \u003ca href=\"https://www.bayaniart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayani Art\u003c/a>. “I’m telling you, it’s one of the best events in the Bay Area,” she says. “It’s always a great time. The community is super, super supportive.”\u003c/p>\n\u003cp>In 2019, the San Francisco Mayor’s Office of Housing and Community Development awarded Kultivate Labs a $275,000 grant to support the development of a new Filipino American Cultural Center in SoMa. Balay Kreative (“House of Creatives”) began with a core team of Danganan, Kim Acebo Arteche (now co-director of the Berkeley Art Center) and Gina Mariko Rosales (founder of the event-production company \u003ca href=\"https://www.makeitmariko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make it Mariko\u003c/a>, which co-organizes Undiscovered SF). [aside postID=\"arts_13913890\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-La-Dona-1020x574.jpg\"]\u003c/p>\n\u003cp>“We did a lot of intensive community outreach with the artists and culture-bearers to get their ideas on, ‘If there was a blank slate of what a Filipino American Cultural Center could look like, what would it be?’” Danganan says. “A lot of the things that came up were professional development, artists’ workshop space and multidisciplinary pop-ups.”\u003c/p>\n\u003cp>Instead of focusing singularly on the development of an eventual brick-and-mortar cultural center, the team wanted to avoid what Danganan calls “perfection paralysis.” Through regranting, experimentation and temporary projects, the organization has proven arts and culture can be nurtured no matter the circumstances—pandemic included—and that an investment in the local Filipino American community can have widespread, even global, effects.\u003c/p>\n\u003cp>Their first round of grants, in amounts of $2,000 to $5,000, funded an eclectic sampling of contemporary practices in the Bay Area Filipino diaspora. They include a multidisciplinary \u003ca href=\"https://erinacalejo.com/ahxstoryofrenting\" target=\"_blank\" rel=\"noopener noreferrer\">visual history of displacement and resilience\u003c/a>, a traditional \u003ca href=\"https://balaykreative.com/stories-content/rachel-lozada\" target=\"_blank\" rel=\"noopener noreferrer\">Ilocano inabel weaving workshop\u003c/a>, and a \u003ca href=\"https://balaykreative.com/stories-content/wofford\" target=\"_blank\" rel=\"noopener noreferrer\">suite of paintings and drawings\u003c/a> about a Filipina American Olympic diver.\u003c/p>\n\u003cp>The ideas and artistry were already there, Danganan says, “We, as Balay Kreative, were just a catalyst for our community.”\u003c/p>\n\u003cfigure id=\"attachment_13913958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists at work in their individual spaces on May 20, 2022 in San Francisco, Calif. in the Balay Kreative studio. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Back to Indigenous Communities in the Philippines\u003c/h2>\n\u003cp>In some instances, the money given to local artists—itself a regranting of funds from the city of San Francisco—went on to generate even more philanthropy. \u003ca href=\"http://www.kimrequesto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kim Requesto\u003c/a>’s photo zine \u003ci>UNEDITED FILM\u003c/i>, shot before she left the Philippines on maybe the last day possible in March 2020, documents her visit to the T’boli community at Gono Hofo Heritage Center in Lake Sebu.\u003c/p>\n\u003cp>As a trained Philippine folk dancer and member of the \u003ca href=\"https://www.parangal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Parangal Dance Company\u003c/a>, much of Requesto’s work involves visiting and learning from Indigenous communities in the Philippines, studying their dances, music, chants and clothing. [aside postID=\"arts_13913821\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg\"]\u003c/p>\n\u003cp>With permission from the T’boli community leader and the grant from Balay Kreative, Requesto set about turning her photos into a $27 zine, raising over $2,000 that she sent directly back to the Philippines. “One thing they had mentioned is that they wanted to create a larger school of living traditions,” Requesto explains. “[That school will] support the community members, especially the youth, as they’re growing—literally.”\u003c/p>\n\u003cp>In these instances, she sees herself as a bridge between Indigenous communities and the Bay Area Filipino diaspora. “We can uplift each other in ways that are needed,” she says. “Here, a lot of people are looking to connect and learn more. Back home, people are also looking for support.”\u003c/p>\n\u003cp>For Requesto, support from Balay Kreative extended beyond the grant. As the recipient of a 2020 Individual Artist Grant from the San Francisco Arts Commission, she needed a public way to present the three dance films she created with the funds. Enter Balay Kreative’s streaming hub, which was built out during the pandemic to provide creatives of various disciplines (including DJs, chefs and podcasters) with a way to stream their work to sheltered-in-place audiences.\u003c/p>\n\u003cp>2020 Balay Kreative grantees like Requesto were also given access to a nine-class series of professional development workshops called “\u003ca href=\"https://balaykreative.com/event-calendar/kreative-growth-masterclass\" target=\"_blank\" rel=\"noopener noreferrer\">Kreative Growth: Masterclass\u003c/a>.” Even though she wasn’t able to tune into all of the sessions live, Requesto knows she can dip into the archive at any time. [pullquote size=\"medium\" citation=\"Desi Danganan, executive director of Balay Kreative\" align=\"right\"]‘A lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts. There wasn’t that role model for them to see that art is an option for you as a career.’[/pullquote]\u003c/p>\n\u003cp>“I have them in my back pocket,” she says. “It’s really helpful because if I need advice, I can go into that and listen to the lessons.” It’s something she says she didn’t have access to when she was just starting out as an artist, when tips and opportunities came mostly through word of mouth.\u003c/p>\n\u003ch2>The Impact of Hyperfocus\u003c/h2>\n\u003cp>Grantees like \u003ca href=\"https://arcega.us/section/501274-TNT-Traysikel.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>TNT Traysikel\u003c/i>\u003c/a>, a public artwork and ongoing documentary project by Mike Arcega and Paolo Asuncion, are veterans of the Bay Area nonprofit funding world. But to receive recognition from Balay Kreative, Arcega says, was special. “It’s unusual for a Filipino-centered organization to have funds to give,” he wrote over email. “The community is often starved of resources.”\u003c/p>\n\u003cp>Their spectacularly painted and karaoke-outfitted motorized tricycle, which serves as a vehicle (pun intended) for intergenerational conversations about Filipino American experiences, has been \u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">stealing the show\u003c/a> at Bay Area arts events for a while now. Soon, it will grace the Asian Art Museum for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Carlos Villa: Worlds in Collision\u003c/i>\u003c/a>, a much-anticipated retrospective of the late Filipino American artist’s work.\u003c/p>\n\u003cfigure id=\"attachment_13914001\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg\" alt=\"Three men in and around a brightly painted motorized tricycle\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paolo Asuncion (left) and Mike Arcega (right) with ‘TNT Traysikel’ at the Mini Mural Festival hosted by SOMA Pilipinas at SFMOMA on Aug. 29, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Balay Kreative grant went towards updating some of the team’s technology. “Since we’re working on a project that is centered in SoMa,” Arcega wrote, “we are able to represent ourselves, the district and our community in a better light.”\u003c/p>\n\u003cp>For Robin Aquilizan of Bayani Art, the impact may be generations in the making. She used her 2020 Balay Kreative grant to support the publication of a \u003ca href=\"https://www.bayaniart.com/shop/book-bundle-1-bayani-childrens-book-series/\" target=\"_blank\" rel=\"noopener noreferrer\">children’s book series\u003c/a> written by Aquilizan and Aaron Jurell Sarmiento and illustrated by Tata Ponsi Alfonso. The first three books tell the stories of Philippine revolutionaries Gabriela Silang, Lapu Lapu and Andrés Bonifacio. “We used to just create art and apparel, wanting to educate people,” Aquilizan says of her family’s decade-old business. “And because the Philippines has been colonized for more than 350 plus years, a lot of our history was erased. So we wanted to expand beyond that and start doing books.”\u003c/p>\n\u003cp>Aquilizan says the books keep selling out, in part because of Balay Kreative’s efforts to promote them.\u003c/p>\n\u003cp>[aside postID='arts_11764070']\u003c/p>\n\u003ch2>A ‘Multiplication’ of Artists Supporting Artists\u003c/h2>\n\u003cp>Danganan says he and the Balay Kreative team have learned a lot from their first round of regranting. The 2022 grants will go out to just seven projects, expanding the scope of support. Recipients will receive three months of free studio space in the Mission Street studios or nearby 447 Minna St., and free access to three programming spaces for the presentation of their work. They will again get to be part of the Masterclass sessions. And perhaps most valuably, they will be paired with mentors in their field of practice.\u003c/p>\n\u003cfigure id=\"attachment_13913960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric “EJ” Pena poses for a portrait in his mentor’s space at Balay Kreative on May 20, 2022 in San Francisco. Pena is an aspiring designer and learns from Balay Kreative resident artist, ChiChai Mateo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that’s super unique because a lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts,” Danganan says. “There wasn’t that role model for them to see that art is an option for you as a career.” To watch someone of a similar background following their passion and succeeding, Danganan says, can be transformative.\u003c/p>\n\u003cp>With everyone coming out of the total shutdown of the pandemic at different speeds, it’s especially important to Balay Kreative to provide as much support—in as many different ways—as artists need right now, whether that’s mural-painting opportunities, an outdoor stage, or training to apply for the next grant. [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>And while Balay Kreative has made a big impact in a very short while, Danganan believes there’s room for new organizations and new approaches to building cultural hubs. “There was this sentiment before that there shouldn’t be another arts organizer in the community because there is this scarcity mentality,” he says. “But I think we’re all starting to learn that there’s room for everybody, especially if we all specialize in different types of arts and culture and find ways to collaborate and support one another.”\u003c/p>\n\u003cp>“We want our community to think of it like multiplication,” he concludes. “Having more arts isn’t subtraction. It’s multiplication.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Walk quickly past SoMa’s 5th and Mission Garage and you might not notice \u003ca href=\"https://balaykreative.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Balay Kreative Studios\u003c/a>. But if you amble, the signs are there—quite literally. First there’s the brightly colored flags advertising some of the studio’s tenants (“\u003ca href=\"https://ybgfestival.org/event/tito-ramon/2022-06-10/\" target=\"_blank\" rel=\"noopener noreferrer\">Tito Ramon’s Pop-Up Puppet Theater\u003c/a>” is the most enticing). Then there’s the denim-backed sign for Balay Kreative itself. At eye level, the studio’s address (863 Mission) is rendered in three different colors of laser-cut plastic. The windows are covered in comic-book-style illustrations of notable figures from Filipino history—except for one that’s set up in a kind of \u003ci>TRL\u003c/i> display for pandemic-era livestreaming. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s inside is just as eclectic and vibrant as the sidewalk view hints. The studio’s 3,200 square feet, provided to Balay Kreative by the SFMTA, has been built out to suit the needs of roughly a half-dozen Filipino American artists, designers and small businesses in an ongoing experiment in the creation of a cultural hub. On my visit, Balay Kreative’s Executive Director Desi Danganan gives me an energetic tour, pointing out artists who met in the studio and collaborated, experiments in retail presentations, and the table where he spends most afternoons working.\u003c/p>\n\u003cp>This studio is just one facet of Balay Kreative. The Filipino arts accelerator is currently accepting applications for its \u003ca href=\"https://balaykreative.com/grants-2022\" target=\"_blank\" rel=\"noopener noreferrer\">second round of grants\u003c/a> after dispersing funds to around 20 artists and projects in 2020. It helps program the parking lot-turned-lush-event-space \u003ca href=\"https://www.kapwagardens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kapwa Gardens\u003c/a>, and it’s working towards a future brick-and-mortar Filipino American Cultural Center in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13913991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-24-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait at Balay Kreative in San Francisco, Calif. on May, 20, 2022. Danganan is the executive director at Balay Kreative. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this activity is in service to a very specific goal: take the idea of the SOMA Pilipinas Filipino Heritage District, established in 2016, and make it an economically sustainable reality through the power of arts and culture. San Francisco is home to \u003ca href=\"https://sf.gov/information/cultural-districts-program\" target=\"_blank\" rel=\"noopener noreferrer\">nine cultural districts\u003c/a>, the oldest (Japantown) was recognized in 2013, the newest (the Sunset Chinese Cultural District) officially launched on May 22, 2022. Naming a cultural district is only the first step. SOMA Pilipinas, 1.5 square miles in the South of Market neighborhood, aims to celebrate the Filipino community, prevent displacement and develop economic and racial justice initiatives.\u003c/p>\n\u003cp>“Arts and culture, that’s the key,” Danganan says. “That’s going to be the anchor to really accelerate this kind of community engagement of coming back into your community, giving back and rebuilding it.” His vision is for Mission Street to become a commercial corridor of Filipino American shops, restaurants and cultural spaces.\u003c/p>\n\u003cp>Balay Kreative does a lot with a very small team, and Danganan says the goal isn’t to grow the organization. “It’s about growing the arts and culture community,” he says. “That’s why we’re so determined to regrant money out. It shouldn’t be about Balay Kreative coming up with all of the ideas for our community. It’s all about being that platform, that accelerator for the rest of our community members to fulfill their dreams and visions.”\u003c/p>\n\u003cfigure id=\"attachment_13913961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913961\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-14-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-14.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Mariko Rosales poses for a portrait in her space at Balay Kreative on May 20, 2022 in San Francisco. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A House of Creatives\u003c/h2>\n\u003cp>The story of Balay Kreative starts with \u003ca href=\"https://www.undiscoveredsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF\u003c/a>, a creative night market set up in 2017 by Kultivate Labs, an arts and economic development nonprofit that Danganan also leads.\u003c/p>\n\u003cp>Those gatherings in and around the Old Mint were an enormous success, drawing crowds and press attention and fostering a real sense of belonging within the local Filipino American community. Robin Aquilizan sold at numerous night markets with her family’s streetwear brand \u003ca href=\"https://www.bayaniart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayani Art\u003c/a>. “I’m telling you, it’s one of the best events in the Bay Area,” she says. “It’s always a great time. The community is super, super supportive.”\u003c/p>\n\u003cp>In 2019, the San Francisco Mayor’s Office of Housing and Community Development awarded Kultivate Labs a $275,000 grant to support the development of a new Filipino American Cultural Center in SoMa. Balay Kreative (“House of Creatives”) began with a core team of Danganan, Kim Acebo Arteche (now co-director of the Berkeley Art Center) and Gina Mariko Rosales (founder of the event-production company \u003ca href=\"https://www.makeitmariko.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make it Mariko\u003c/a>, which co-organizes Undiscovered SF). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We did a lot of intensive community outreach with the artists and culture-bearers to get their ideas on, ‘If there was a blank slate of what a Filipino American Cultural Center could look like, what would it be?’” Danganan says. “A lot of the things that came up were professional development, artists’ workshop space and multidisciplinary pop-ups.”\u003c/p>\n\u003cp>Instead of focusing singularly on the development of an eventual brick-and-mortar cultural center, the team wanted to avoid what Danganan calls “perfection paralysis.” Through regranting, experimentation and temporary projects, the organization has proven arts and culture can be nurtured no matter the circumstances—pandemic included—and that an investment in the local Filipino American community can have widespread, even global, effects.\u003c/p>\n\u003cp>Their first round of grants, in amounts of $2,000 to $5,000, funded an eclectic sampling of contemporary practices in the Bay Area Filipino diaspora. They include a multidisciplinary \u003ca href=\"https://erinacalejo.com/ahxstoryofrenting\" target=\"_blank\" rel=\"noopener noreferrer\">visual history of displacement and resilience\u003c/a>, a traditional \u003ca href=\"https://balaykreative.com/stories-content/rachel-lozada\" target=\"_blank\" rel=\"noopener noreferrer\">Ilocano inabel weaving workshop\u003c/a>, and a \u003ca href=\"https://balaykreative.com/stories-content/wofford\" target=\"_blank\" rel=\"noopener noreferrer\">suite of paintings and drawings\u003c/a> about a Filipina American Olympic diver.\u003c/p>\n\u003cp>The ideas and artistry were already there, Danganan says, “We, as Balay Kreative, were just a catalyst for our community.”\u003c/p>\n\u003cfigure id=\"attachment_13913958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-06.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resident artists at work in their individual spaces on May 20, 2022 in San Francisco, Calif. in the Balay Kreative studio. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Back to Indigenous Communities in the Philippines\u003c/h2>\n\u003cp>In some instances, the money given to local artists—itself a regranting of funds from the city of San Francisco—went on to generate even more philanthropy. \u003ca href=\"http://www.kimrequesto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kim Requesto\u003c/a>’s photo zine \u003ci>UNEDITED FILM\u003c/i>, shot before she left the Philippines on maybe the last day possible in March 2020, documents her visit to the T’boli community at Gono Hofo Heritage Center in Lake Sebu.\u003c/p>\n\u003cp>As a trained Philippine folk dancer and member of the \u003ca href=\"https://www.parangal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Parangal Dance Company\u003c/a>, much of Requesto’s work involves visiting and learning from Indigenous communities in the Philippines, studying their dances, music, chants and clothing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With permission from the T’boli community leader and the grant from Balay Kreative, Requesto set about turning her photos into a $27 zine, raising over $2,000 that she sent directly back to the Philippines. “One thing they had mentioned is that they wanted to create a larger school of living traditions,” Requesto explains. “[That school will] support the community members, especially the youth, as they’re growing—literally.”\u003c/p>\n\u003cp>In these instances, she sees herself as a bridge between Indigenous communities and the Bay Area Filipino diaspora. “We can uplift each other in ways that are needed,” she says. “Here, a lot of people are looking to connect and learn more. Back home, people are also looking for support.”\u003c/p>\n\u003cp>For Requesto, support from Balay Kreative extended beyond the grant. As the recipient of a 2020 Individual Artist Grant from the San Francisco Arts Commission, she needed a public way to present the three dance films she created with the funds. Enter Balay Kreative’s streaming hub, which was built out during the pandemic to provide creatives of various disciplines (including DJs, chefs and podcasters) with a way to stream their work to sheltered-in-place audiences.\u003c/p>\n\u003cp>2020 Balay Kreative grantees like Requesto were also given access to a nine-class series of professional development workshops called “\u003ca href=\"https://balaykreative.com/event-calendar/kreative-growth-masterclass\" target=\"_blank\" rel=\"noopener noreferrer\">Kreative Growth: Masterclass\u003c/a>.” Even though she wasn’t able to tune into all of the sessions live, Requesto knows she can dip into the archive at any time. \u003c/p>\u003c/div>",
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"content": "‘A lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts. There wasn’t that role model for them to see that art is an option for you as a career.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have them in my back pocket,” she says. “It’s really helpful because if I need advice, I can go into that and listen to the lessons.” It’s something she says she didn’t have access to when she was just starting out as an artist, when tips and opportunities came mostly through word of mouth.\u003c/p>\n\u003ch2>The Impact of Hyperfocus\u003c/h2>\n\u003cp>Grantees like \u003ca href=\"https://arcega.us/section/501274-TNT-Traysikel.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>TNT Traysikel\u003c/i>\u003c/a>, a public artwork and ongoing documentary project by Mike Arcega and Paolo Asuncion, are veterans of the Bay Area nonprofit funding world. But to receive recognition from Balay Kreative, Arcega says, was special. “It’s unusual for a Filipino-centered organization to have funds to give,” he wrote over email. “The community is often starved of resources.”\u003c/p>\n\u003cp>Their spectacularly painted and karaoke-outfitted motorized tricycle, which serves as a vehicle (pun intended) for intergenerational conversations about Filipino American experiences, has been \u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">stealing the show\u003c/a> at Bay Area arts events for a while now. Soon, it will grace the Asian Art Museum for \u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Carlos Villa: Worlds in Collision\u003c/i>\u003c/a>, a much-anticipated retrospective of the late Filipino American artist’s work.\u003c/p>\n\u003cfigure id=\"attachment_13914001\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg\" alt=\"Three men in and around a brightly painted motorized tricycle\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/046_SFMOMA_MiniMural_SOMAPilipinas_08292021-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paolo Asuncion (left) and Mike Arcega (right) with ‘TNT Traysikel’ at the Mini Mural Festival hosted by SOMA Pilipinas at SFMOMA on Aug. 29, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Balay Kreative grant went towards updating some of the team’s technology. “Since we’re working on a project that is centered in SoMa,” Arcega wrote, “we are able to represent ourselves, the district and our community in a better light.”\u003c/p>\n\u003cp>For Robin Aquilizan of Bayani Art, the impact may be generations in the making. She used her 2020 Balay Kreative grant to support the publication of a \u003ca href=\"https://www.bayaniart.com/shop/book-bundle-1-bayani-childrens-book-series/\" target=\"_blank\" rel=\"noopener noreferrer\">children’s book series\u003c/a> written by Aquilizan and Aaron Jurell Sarmiento and illustrated by Tata Ponsi Alfonso. The first three books tell the stories of Philippine revolutionaries Gabriela Silang, Lapu Lapu and Andrés Bonifacio. “We used to just create art and apparel, wanting to educate people,” Aquilizan says of her family’s decade-old business. “And because the Philippines has been colonized for more than 350 plus years, a lot of our history was erased. So we wanted to expand beyond that and start doing books.”\u003c/p>\n\u003cp>Aquilizan says the books keep selling out, in part because of Balay Kreative’s efforts to promote them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>A ‘Multiplication’ of Artists Supporting Artists\u003c/h2>\n\u003cp>Danganan says he and the Balay Kreative team have learned a lot from their first round of regranting. The 2022 grants will go out to just seven projects, expanding the scope of support. Recipients will receive three months of free studio space in the Mission Street studios or nearby 447 Minna St., and free access to three programming spaces for the presentation of their work. They will again get to be part of the Masterclass sessions. And perhaps most valuably, they will be paired with mentors in their field of practice.\u003c/p>\n\u003cfigure id=\"attachment_13913960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220520-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-12.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric “EJ” Pena poses for a portrait in his mentor’s space at Balay Kreative on May 20, 2022 in San Francisco. Pena is an aspiring designer and learns from Balay Kreative resident artist, ChiChai Mateo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that’s super unique because a lot of Filipino artists in our community were dissuaded by their parents or by society from delving into the arts,” Danganan says. “There wasn’t that role model for them to see that art is an option for you as a career.” To watch someone of a similar background following their passion and succeeding, Danganan says, can be transformative.\u003c/p>\n\u003cp>With everyone coming out of the total shutdown of the pandemic at different speeds, it’s especially important to Balay Kreative to provide as much support—in as many different ways—as artists need right now, whether that’s mural-painting opportunities, an outdoor stage, or training to apply for the next grant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while Balay Kreative has made a big impact in a very short while, Danganan believes there’s room for new organizations and new approaches to building cultural hubs. “There was this sentiment before that there shouldn’t be another arts organizer in the community because there is this scarcity mentality,” he says. “But I think we’re all starting to learn that there’s room for everybody, especially if we all specialize in different types of arts and culture and find ways to collaborate and support one another.”\u003c/p>\n\u003cp>“We want our community to think of it like multiplication,” he concludes. “Having more arts isn’t subtraction. It’s multiplication.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple",
"headTitle": "For Filipino Americans, There’s No Color More Delicious Than Ube Purple | KQED",
"content": "\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13911775,arts_13906834,arts_13901303']Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912048\" class=\"wp-caption alignnone\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg\" alt=\"A box of purple ube baked treats from Buko Bakes\" width=\"1258\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes.jpeg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-800x717.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-1020x915.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-160x143.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/yumyams_bukobakes-768x689.jpeg 768w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">A box of assorted ube treats from San Francisco’s Buko Bakes—one of 23 vendors who will be on hand at this year’s Yum Yams festival. \u003ccite>(Buko Bakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Gemma Ballesteros opened her Filipino bakery \u003ca href=\"https://www.marleystreats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley’s Treats\u003c/a> 11 years ago, she says, her ube-flavored cupcakes weren’t especially popular.\u003c/p>\n\u003cp>Sure, ube was a nostalgic taste for Filipino Americans. But influencers hadn’t yet given the purple sweet potatoes the title of world’s \u003ca href=\"https://www.refinery29.com/en-us/2016/09/123743/ube-instagram\">\u003cspan style=\"font-weight: 400\">most Instagrammable food\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And they certainly hadn’t yet become such a sensation here in Northern California that event planners would be inspired to organize not one, not two, but \u003ci>three\u003c/i> separate ube festivals on consecutive weekends. Literally.\u003c/span>\u003c/p>\n\u003cp>“It just became a craze,” says Ballesteros. It’s not for nothing that the \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">branding for her Hayward bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> leans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">hard\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> into ube’s distinctive bright purple hue, which itself has become a marker of cultural pride and identity for many Bay Area Filipinos.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s against this backdrop that Kapwa Gardens, the SoMa Filipino cultural district’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">\u003cspan style=\"font-weight: 400\">new outdoor event space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hosts the venue’s second annual “celebration of all things ube,” \u003c/span>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, on Saturday, April 23. This year, 23 different vendors will be decked out in their finest bright-purple regalia, spread between Kapwa’s main courtyard and an adjacent alleyway (dubbed “Ube Alley”). In addition to the usual array of halo-halos and ube cookies, doughnuts and ice creams, a number of savory options will be on hand: ube on a hot dog, or as part of the most Filipino American of fusion plates—\u003c/span>\u003ca href=\"https://www.instagram.com/p/COhGFwlD3PR/\">\u003cspan style=\"font-weight: 400\">chicken lumpia with ube waffles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. If you have someone in your life who’d kill for a pair of ube-themed earrings, this is your kind of food festival.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(We might as well go ahead and designate April as National Ube Month while we’re at it: Yum Yams comes on the heels of this past weekend’s equally stacked \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcYUr1OJ1Vk/\">\u003cspan style=\"font-weight: 400\">Ube Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Tracy. And, for the truly dedicated ube superfan, it’ll serve as warm-up for next weekend’s (unrelated) \u003c/span>\u003ca href=\"https://www.eventbrite.com/e/district-six-presents-ube-fest-2022-tickets-293528801547\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at San Francisco’s District Six.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, “flandesals” and ube flan cheesecakes—all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kapwa Gardens general manager Marissa Macayan acknowledges that there’s a certain trendiness to the current ube craze—that the purple tuber is “really in its time right now.” At the same time, she stresses \u003c/span>\u003ca href=\"https://www.kapwagardens.com/blog/more-than-a-trend-the-history-of-ube?mc_cid=9f93382763&mc_eid=UNIQID\">\u003cspan style=\"font-weight: 400\">ube’s cultural significance for Filipinos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across generations. “If you grew up eating halo-halo, you’re going to feel some kind of way when you have your first bite of [an ube dessert],” Macayan says. For her, anything ube-flavored always conjures up memories of having shaved ice with her family during the summertime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Likewise, Ballesteros of Marley’s Treats says one of her foundational food memories is of eating ube halaya—a sweet jam—spread on toast. “It’s what my grandma gave me for breakfast,” she says. Now, Ballesteros says, her ube-flavored treats are by far the most popular items at the Hayward bakery and its affiliated food truck, which combined sell everything from ube flan cheesecake to ube “flandesal” (an ube-filled version of the sweet roll known as pandesal) to spicy ube ice cream—all on offer at Saturday’s Yum Yams event.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even as popular as ube has gotten in recent years, Ballesteros says she still gets a kick out of the moment when a customer comes into her bakery and, drawn in by the eye-catching purple color, tries an ube-flavored treat for the very first time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a cool way to learn about other cultures—a way to tell a story,” say Kapwa Garden’s Macayan about the Bay Area’s ube renaissance. “For Filipinos, a lot of how we share our culture is through our cuisine.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kapwagardens.com/events/yum-yams-2022\">\u003cspan style=\"font-weight: 400\">Yum Yams\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, April 23, from noon–5 pm. Tickets are $5, which include a $4 voucher that can be used at any vendor. Buying tickets in advance is highly recommended as the event is expected to sell out.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy",
"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” [aside postid='arts_13902470']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/1DaovaJgytE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/tcsdglJFT0M\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. [aside postid='arts_13812554']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” [aside postid=\"arts_13895462']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/239151243\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/xOrYbSM1ArI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.",
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"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED",
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"headline": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tcsdglJFT0M'\n title='//www.youtube.com/embed/tcsdglJFT0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xOrYbSM1ArI'\n title='//www.youtube.com/embed/xOrYbSM1ArI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Year, SF's Biggest Filipino Night Market Is Bringing the Lechon to the Streets",
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"content": "\u003cp>In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/p>\n\u003cp>Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/p>\n\u003cp>\u003cem>The in-person Undiscovered Culture Crawl will take place on Saturday, Oct. 16 from noon–6pm on \u003ci>Mission Street between 3rd and 7th, San Francisco. Details—including for the virtual events—\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\">here\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/p>\n\u003cp>Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/p>\n\u003cp>\u003cem>The in-person Undiscovered Culture Crawl will take place on Saturday, Oct. 16 from noon–6pm on \u003ci>Mission Street between 3rd and 7th, San Francisco. Details—including for the virtual events—\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\">here\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Face of SF’s Modern Filipino Food Movement Finally Has a Restaurant of His Own",
"headTitle": "The Face of SF’s Modern Filipino Food Movement Finally Has a Restaurant of His Own | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">If any chef in San Francisco has mastered the art of the pop-up, Francis Ang has. As the chef for \u003c/span>\u003ca href=\"https://www.pinoyheritage.com/\">\u003cspan style=\"font-weight: 400\">Pinoy Heritage\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the Filipino-Californian pop-up series he’s run with his wife Dian since 2016, Ang has slung countless little cardboard trays of sisig fried rice at food festivals and hosted communal kamayan feasts as warm and welcoming as a dinner party with friends. Even out of tiny, cobbled-together kitchens, he’s assembled the kind of precise, prettily plated tasting menu dishes that compare favorably to any Michelin-endorsed masterpiece.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, finally, Ang and his team are opening a full-fledged restaurant of their own. Located inside the brand new Kimpton Alton Hotel in Fisherman’s Wharf, \u003c/span>\u003ca href=\"https://www.restaurantabaca.com/\">\u003cspan style=\"font-weight: 400\">Abacá\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> opens today, Aug. 16, with an exciting, small plates–focused \u003c/span>\u003ca href=\"https://www.restaurantabaca.com/menu\">\u003cspan style=\"font-weight: 400\">dinner menu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from Ang and chef de cuisine Danica Aviles, as well as a panaderia serving Filipino breads and pastries during the morning and afternoon. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901351\" class=\"wp-caption alignright\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/abaca_skewer-scaled.jpg\" alt=\"Longganisa pork sausage skewer, with egg yolk for dipping.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Longganisa pork sausage skewer, with egg yolk for dipping. \u003ccite>(Melissa de Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea is to carry forward with Pinoy Heritage’s primary mission: to introduce lesser known, regionally specific Filipino dishes to Bay Area diners. In other words, Ang says, “We’re using Abacá as an opportunity to show that Filipino food is not just your typical adobo and pancit.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In many ways, Ang has become the face of the Bay Area’s modern \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">Filipino food movement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> over the course of the past five years, doing as much as anyone to expand diners’ understanding of what Filipino food is and has the potential to be. The driving force behind the Pinoy Heritage pop-ups was the series of extended research trips that Francis and Dian would take to the Philippines each year, traveling to as many of the country’s 7,000 individual islands as they could. On a trip to the southern island of Mindanao, for instance, they learned about chicken pyanggang, or grilled chicken blackened with coconut ash—a dish Ang had never even heard of during the 19 years he lived in the Philippines. Now it’s part of a whole section of of skewers on Abacá’s menu that’s meant as a nod to traditional Filipino barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What sets Ang apart from a lot of other Filipino chefs in the Bay Area, though, is that he isn’t only interested in serving dishes in their most straightforward form. His pop-ups are known for presenting traditional dishes with a touch of fine-dining elegance (Ang’s background, after all, was as a fine dining pastry chef)—for pushing the envelope on what modern, California-inflected Filipino food might look like.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of Ang’s favorite dishes on Abacá’s opening menu is a tomato and peach salad that doesn’t look Filipino at all. But, as Ang explains, “If you taste it, it brings you back.” The salad has an herb sauce that transports diners back to the Filipino wet markets. It has smoked fish in it, which transports them to the breakfast table, since Filipinos traditionally eat smoked fish with eggs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s no boundaries; there’s no rules,” Ang says. “We interpret Filipino food in our own way, knowing its history and past.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13898436,arts_13896138']For years, there has been talk about whether Filipino food has developed enough “mainstream” \u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">crossover appeal\u003c/a> in the Bay Area to support an upscale Filipino restaurant. The region has long been home to dozens upon dozens of superlative “mom-and-pop” Filipino restaurants catering mainly to the Filipino community, especially in the Daly City area. And it’s become a hotspot, too, for hip Filipino American joints slinging things like sisig burritos, creatively stuffed lumpia and loaded fries. But the few attempts at something approaching Filipino “fine dining” haven’t enjoyed a long shelf life: \u003ca href=\"https://www.yelp.com/biz/poleng-lounge-san-francisco\">Poleng Lounge\u003c/a> had a great run in the late aughts, but it never marketed itself as a purely Filipino restaurant—and felt more like a nightclub than a fine dining restaurant. Polk Street’s 1760 launched a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/3/3/21163675/1760-prix-fixe-filipino-39-dollars\">\u003cspan style=\"font-weight: 400\">promising and elegant three-course Filipino prix fixe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> last March only to have it get squashed by the pandemic shutdown just one month in.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Abacá will serve as an interesting test case, then. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pinoy Heritage, for its part, was never purely a fine dining venture; some of its best pop-ups served straight-up street food. Even during the pandemic, Pinoy Heritage straddled both approaches: meal kits that allowed customers to assemble a bona fide fine dining tasting menu at home \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">value-oriented \u003c/span>\u003ca href=\"https://sf.eater.com/2020/9/21/21449340/pinoy-heritage-kamayan-regional-filipino-feast-takeout\">\u003cspan style=\"font-weight: 400\">kamayan takeout feasts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, each focused on a different region of the Philippines.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901352\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/abaca_pastries-scaled.jpg\" alt=\"A trio of Filipino pastries, plated on top of banana leaves\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A trio of pastries from Abacá’s panaderia. \u003ccite>(Melissa de Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to Ang, Abacá will embrace all of those different aspects of the cuisine. What’s clear, though, is that the Bay Area has never had a Filipino restaurant quite like it, where diners might splurge on a $55 dry-aged ribeye served bistek style, craft cocktails (courtesy of Pacific Cocktail Haven’s Kevin Diedrich) and scallop pancit made with homemade noodles—where the attached bakery sells some of the prettiest laminated ensaymada you’ll ever see, and where hotel guests can even call in for room service.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Are we fine dining? It will be very, very fine,” Ang says. “But the idea is to have all the good stuff about fine dining, minus the stuffiness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.restaurantabaca.com/\">Abacá \u003c/a>is now open, with both indoor and outdoor seating, at the Kimpton Alton Hotel (2700 Jones St., San Francisco). Dinner is served Monday through Saturday, 5–9pm; the panaderia is open 7am–2:30pm.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If any chef in San Francisco has mastered the art of the pop-up, Francis Ang has. As the chef for \u003c/span>\u003ca href=\"https://www.pinoyheritage.com/\">\u003cspan style=\"font-weight: 400\">Pinoy Heritage\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the Filipino-Californian pop-up series he’s run with his wife Dian since 2016, Ang has slung countless little cardboard trays of sisig fried rice at food festivals and hosted communal kamayan feasts as warm and welcoming as a dinner party with friends. Even out of tiny, cobbled-together kitchens, he’s assembled the kind of precise, prettily plated tasting menu dishes that compare favorably to any Michelin-endorsed masterpiece.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, finally, Ang and his team are opening a full-fledged restaurant of their own. Located inside the brand new Kimpton Alton Hotel in Fisherman’s Wharf, \u003c/span>\u003ca href=\"https://www.restaurantabaca.com/\">\u003cspan style=\"font-weight: 400\">Abacá\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> opens today, Aug. 16, with an exciting, small plates–focused \u003c/span>\u003ca href=\"https://www.restaurantabaca.com/menu\">\u003cspan style=\"font-weight: 400\">dinner menu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from Ang and chef de cuisine Danica Aviles, as well as a panaderia serving Filipino breads and pastries during the morning and afternoon. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901351\" class=\"wp-caption alignright\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/abaca_skewer-scaled.jpg\" alt=\"Longganisa pork sausage skewer, with egg yolk for dipping.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_skewer-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Longganisa pork sausage skewer, with egg yolk for dipping. \u003ccite>(Melissa de Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea is to carry forward with Pinoy Heritage’s primary mission: to introduce lesser known, regionally specific Filipino dishes to Bay Area diners. In other words, Ang says, “We’re using Abacá as an opportunity to show that Filipino food is not just your typical adobo and pancit.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In many ways, Ang has become the face of the Bay Area’s modern \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">Filipino food movement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> over the course of the past five years, doing as much as anyone to expand diners’ understanding of what Filipino food is and has the potential to be. The driving force behind the Pinoy Heritage pop-ups was the series of extended research trips that Francis and Dian would take to the Philippines each year, traveling to as many of the country’s 7,000 individual islands as they could. On a trip to the southern island of Mindanao, for instance, they learned about chicken pyanggang, or grilled chicken blackened with coconut ash—a dish Ang had never even heard of during the 19 years he lived in the Philippines. Now it’s part of a whole section of of skewers on Abacá’s menu that’s meant as a nod to traditional Filipino barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What sets Ang apart from a lot of other Filipino chefs in the Bay Area, though, is that he isn’t only interested in serving dishes in their most straightforward form. His pop-ups are known for presenting traditional dishes with a touch of fine-dining elegance (Ang’s background, after all, was as a fine dining pastry chef)—for pushing the envelope on what modern, California-inflected Filipino food might look like.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of Ang’s favorite dishes on Abacá’s opening menu is a tomato and peach salad that doesn’t look Filipino at all. But, as Ang explains, “If you taste it, it brings you back.” The salad has an herb sauce that transports diners back to the Filipino wet markets. It has smoked fish in it, which transports them to the breakfast table, since Filipinos traditionally eat smoked fish with eggs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s no boundaries; there’s no rules,” Ang says. “We interpret Filipino food in our own way, knowing its history and past.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For years, there has been talk about whether Filipino food has developed enough “mainstream” \u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">crossover appeal\u003c/a> in the Bay Area to support an upscale Filipino restaurant. The region has long been home to dozens upon dozens of superlative “mom-and-pop” Filipino restaurants catering mainly to the Filipino community, especially in the Daly City area. And it’s become a hotspot, too, for hip Filipino American joints slinging things like sisig burritos, creatively stuffed lumpia and loaded fries. But the few attempts at something approaching Filipino “fine dining” haven’t enjoyed a long shelf life: \u003ca href=\"https://www.yelp.com/biz/poleng-lounge-san-francisco\">Poleng Lounge\u003c/a> had a great run in the late aughts, but it never marketed itself as a purely Filipino restaurant—and felt more like a nightclub than a fine dining restaurant. Polk Street’s 1760 launched a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/3/3/21163675/1760-prix-fixe-filipino-39-dollars\">\u003cspan style=\"font-weight: 400\">promising and elegant three-course Filipino prix fixe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> last March only to have it get squashed by the pandemic shutdown just one month in.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Abacá will serve as an interesting test case, then. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pinoy Heritage, for its part, was never purely a fine dining venture; some of its best pop-ups served straight-up street food. Even during the pandemic, Pinoy Heritage straddled both approaches: meal kits that allowed customers to assemble a bona fide fine dining tasting menu at home \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">value-oriented \u003c/span>\u003ca href=\"https://sf.eater.com/2020/9/21/21449340/pinoy-heritage-kamayan-regional-filipino-feast-takeout\">\u003cspan style=\"font-weight: 400\">kamayan takeout feasts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, each focused on a different region of the Philippines.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901352\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/abaca_pastries-scaled.jpg\" alt=\"A trio of Filipino pastries, plated on top of banana leaves\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/abaca_pastries-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A trio of pastries from Abacá’s panaderia. \u003ccite>(Melissa de Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to Ang, Abacá will embrace all of those different aspects of the cuisine. What’s clear, though, is that the Bay Area has never had a Filipino restaurant quite like it, where diners might splurge on a $55 dry-aged ribeye served bistek style, craft cocktails (courtesy of Pacific Cocktail Haven’s Kevin Diedrich) and scallop pancit made with homemade noodles—where the attached bakery sells some of the prettiest laminated ensaymada you’ll ever see, and where hotel guests can even call in for room service.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Are we fine dining? It will be very, very fine,” Ang says. “But the idea is to have all the good stuff about fine dining, minus the stuffiness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.restaurantabaca.com/\">Abacá \u003c/a>is now open, with both indoor and outdoor seating, at the Kimpton Alton Hotel (2700 Jones St., San Francisco). Dinner is served Monday through Saturday, 5–9pm; the panaderia is open 7am–2:30pm.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3359842827\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the COVID-19 pandemic ravaged the health of individuals and communities around the world, Harvey Lozada focused on the stories coming from the San Francisco neighborhood south of Market Street, the SOMA District.\u003c/p>\n\u003cp>Through the film “It Takes The Hood to Save The Hood,” Lozada shows how community organizations shifted their focus from being community resources, to being first responders.\u003c/p>\n\u003cp>The film shows local organizations coming together to run a grassroots food bank. He got insight from Carla Laurel of \u003ca class=\"c-link\" href=\"http://westbaycenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"http://westbaycenter.org/\" data-sk=\"tooltip_parent\">West Bay\u003c/a>, Aureen Almario of \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio,\u003c/a> and Rudy Corpuz Jr. and Everett Butler (aka Boogie) of \u003ca href=\"https://unitedplayaz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Playaz, \u003c/a>an organization whose slogan is used for the title of the film.\u003c/p>\n\u003cp>Through Lozada’s Instagram account, \u003ca href=\"https://www.instagram.com/whysf/\" target=\"_blank\" rel=\"noopener noreferrer\">WhySF\u003c/a>, he also showcases the images he’s gathered of community members. These photos are a part of the “94103” photo series that highlights the people behind the mutual aid efforts in SOMA.\u003c/p>\n\u003cp>This week on the podcast, Harvey Lozada takes us to SOMA to introduce us to the heroes and sheroes who save the hood.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Harvey Lozada.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: In your film, we hear a kaleidoscope of voices – from social service workers to culture workers – who talk to us about what SOMA means to them. People like Rudy Corpuz Jr. from United Playaz…. I got a message of resilience, is that the narrative that you are trying to push for?\u003c/em>\u003c/p>\n\u003cp>Harvey: Yeah. Like the title, “It takes the Hood to Save the Hood.” That’s exactly what happened. When the pandemic hit, when California said we was finna be in lockdown, these brave sheroes and heroes, they did not pause.\u003c/p>\n\u003cp>Harvey: We lost a lot during a pandemic, but what I hope is that people saw that when folks came together, we can accomplish a lot. The real message is that, we can take care of ourselves, like we got us. If we waited for the government to help us out. Where would we be?\u003c/p>\n\u003cp>\u003cem>Pen: You’re deep into arts and culture, man. And you also have a background in social work. How did the two intertwine?\u003c/em>\u003c/p>\n\u003cp>Harvey: I got to say, I’m privileged enough that they do, it’s not something that’s completely left field… I work with young people who touched down with the justice system and me being a people’s person, I’m able to really get people to where they can tell their truths.\u003c/p>\n\u003cp>\u003cem>Pen: Earlier this year you had a screening of a rough cut of the film at District 6, how did people respond?\u003c/em>\u003c/p>\n\u003cp>Harvey: After [the film], I got on a mic and I asked folks, ‘So what do you think of the film? because it’s a rough cut, I want your honest feedback’ … And it was well received, I was humbled that folks really loved it. The feedback that folks gave me was very helpful [too]. There’s parts of the film in Tagalog, and for a lot of folks, they don’t speak Tagalog. I intentionally didn’t put subtitles because I wanted folks to kind of see what they got to go through to try to get services. These are folks that English is a second language to them. I know for bigger audiences, we got to put the subtitles so folks can understand what these folks are talking about. So they can get the message. I take that feedback and I’m applying all of it.\u003c/p>\n\u003cp>Harvey: I’m a child of immigrants. My parents, English is their second language. And for me, the son who they know as a social worker, they know I take pictures, but they didn’t know I was a filmmaker. And so, you should have seen them, they were smiling ear to ear. The DJ was playing music. My mom was dancing. Pops couldn’t put his phone down. He was on Facebook live so that my relatives in the Philippines could watch, you know what I mean? It was beautiful, it was a beautiful day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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He got insight from Carla Laurel of \u003ca class=\"c-link\" href=\"http://westbaycenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"http://westbaycenter.org/\" data-sk=\"tooltip_parent\">West Bay\u003c/a>, Aureen Almario of \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio,\u003c/a> and Rudy Corpuz Jr. and Everett Butler (aka Boogie) of \u003ca href=\"https://unitedplayaz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Playaz, \u003c/a>an organization whose slogan is used for the title of the film.\u003c/p>\n\u003cp>Through Lozada’s Instagram account, \u003ca href=\"https://www.instagram.com/whysf/\" target=\"_blank\" rel=\"noopener noreferrer\">WhySF\u003c/a>, he also showcases the images he’s gathered of community members. These photos are a part of the “94103” photo series that highlights the people behind the mutual aid efforts in SOMA.\u003c/p>\n\u003cp>This week on the podcast, Harvey Lozada takes us to SOMA to introduce us to the heroes and sheroes who save the hood.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Harvey Lozada.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: In your film, we hear a kaleidoscope of voices – from social service workers to culture workers – who talk to us about what SOMA means to them. People like Rudy Corpuz Jr. from United Playaz…. I got a message of resilience, is that the narrative that you are trying to push for?\u003c/em>\u003c/p>\n\u003cp>Harvey: Yeah. Like the title, “It takes the Hood to Save the Hood.” That’s exactly what happened. When the pandemic hit, when California said we was finna be in lockdown, these brave sheroes and heroes, they did not pause.\u003c/p>\n\u003cp>Harvey: We lost a lot during a pandemic, but what I hope is that people saw that when folks came together, we can accomplish a lot. The real message is that, we can take care of ourselves, like we got us. If we waited for the government to help us out. Where would we be?\u003c/p>\n\u003cp>\u003cem>Pen: You’re deep into arts and culture, man. And you also have a background in social work. How did the two intertwine?\u003c/em>\u003c/p>\n\u003cp>Harvey: I got to say, I’m privileged enough that they do, it’s not something that’s completely left field… I work with young people who touched down with the justice system and me being a people’s person, I’m able to really get people to where they can tell their truths.\u003c/p>\n\u003cp>\u003cem>Pen: Earlier this year you had a screening of a rough cut of the film at District 6, how did people respond?\u003c/em>\u003c/p>\n\u003cp>Harvey: After [the film], I got on a mic and I asked folks, ‘So what do you think of the film? because it’s a rough cut, I want your honest feedback’ … And it was well received, I was humbled that folks really loved it. The feedback that folks gave me was very helpful [too]. There’s parts of the film in Tagalog, and for a lot of folks, they don’t speak Tagalog. I intentionally didn’t put subtitles because I wanted folks to kind of see what they got to go through to try to get services. These are folks that English is a second language to them. I know for bigger audiences, we got to put the subtitles so folks can understand what these folks are talking about. So they can get the message. I take that feedback and I’m applying all of it.\u003c/p>\n\u003cp>Harvey: I’m a child of immigrants. My parents, English is their second language. And for me, the son who they know as a social worker, they know I take pictures, but they didn’t know I was a filmmaker. And so, you should have seen them, they were smiling ear to ear. The DJ was playing music. My mom was dancing. Pops couldn’t put his phone down. He was on Facebook live so that my relatives in the Philippines could watch, you know what I mean? It was beautiful, it was a beautiful day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Uncle Tito Is a Remix of Filipino Comfort Food—with Hella Bay Area Flavor",
"headTitle": "Uncle Tito Is a Remix of Filipino Comfort Food—with Hella Bay Area Flavor | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]I[/dropcap]n 1993, San Francisco rapper JT the Bigga Figga famously said, “Game recognize game in the Bay, mayne.” And though JT wasn’t talking about Filipino food, the lyricist unknowingly helped to instill the hustle behind \u003c/span>\u003ca href=\"https://www.uncletito.bar/\">\u003cspan style=\"font-weight: 400\">Uncle Tito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the newest Filipino-American restaurant to open in SoMa’s burgeoning Filipino cultural district.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For owners Joseph Alcasabas, Paolo Dayao and Vincent Dayao, listening to underground rappers like JT and his frequent collaborators, Mob Figaz, provided a necessary blueprint for taking entrepreneurial risks and representing their communities. The two brothers and their childhood friend were raised by immigrant parents in Concord and Pittsburg, and Alcasabas spent his adolescent years in the Philippines. The three grew up thinking of ways to “embrace heritage while pushing the needle forward,” as Alcasabas puts it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eventually, these lifetime homies recognized they had plenty of Pinoy game to share.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s the restaurant’s homemade rendition of Mang Tomas all-purpose sauce (which is deliciously reminiscent of In-N-Out dressing), its bottles of tangy Mango Chili-Mansi juice, or its Pulutan Party baon box stuffed with laing wontons, lechon kawali, garlic adobo butter wings and salt and vinegar shrimp chips, Uncle Tito is going all out with their love for mixing traditional ingredients in untraditional ways to serve a diverse and modern palette of Bay \u003c/span>\u003cspan style=\"font-weight: 400\">Area folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We really just took the Filipino-American concept and ran with it,” Alcasabas says. “It was seamless and easy because we were being authentic.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With social distancing protocols on the verge of easing up, the restaurant will finally open its doors for its first full dine-in experience on June 15.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trio—consisting of a graphic designer (Alcasabas), a bartender (Paolo), and a chef (Vincent)—created Uncle Tito to be a forward-thinking venue for food and culture that reflects their niche interests. Alcasabas’s art and in-house designs give the restaurant a sophisticated b-boy vibe, while the drinks and culinary concoctions are similar to what you might expect to find at a high-end restaurant, but grounded within the community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898457\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_trio.jpg\" alt=\"Paolo Dayao, Vincent Dayao and Joseph Alcasabas pose in front of a mural inside their restaurant.\" width=\"1242\" height=\"1870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-768x1156.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">From left: Uncle Tito owners Paolo Dayao, Vincent Dayao and Joseph Alcasabas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the restaurant is undoubtedly the group’s magnum opus, it isn’t their first attempt in the local food industry. In 2016, Alcasabas and Paolo Dayao started out as a mobile catering service known as STRAIGHT UP, after working as bartenders throughout the Peninsula. Their original idea centered on serving classic alcoholic drinks in rotating spaces, but, as the two friends explain, the business lacked an essential ingredient: a culinary spin on their heritage. It wasn’t until they joined forces with Paolo’s younger brother, Vince, who was the sous chef at Namu Gaji in San Francisco’s Mission District at the time, that the business pivoted towards a more intentional curation of Filipino flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eating at Uncle Tito reminds me of what it was like to hang out at your best friend’s house as a kid—after playing a few hours of Nintendo 64 and listening to E-40 on 106 KMEL—before you got to grub at a table full of cool relatives you wanted to hang around because they would pass down knowledge with each inviting bite.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898463\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg\" alt=\"Kalye street fries, topped with onions, pickled jalapeños, pork sisig and Cheese Whiz\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Kalye street fries are a cross between an island-style pork dish and something you might get at an American baseball game. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You might split an order of Kalye street fries—a massive heap of house-cut potatoes piled with Tito’s sauce, caramelized onions, pickled jalapenos, pork sisig and Cheez Whiz. Imagine eating an island-style pork dish, but tossed with the thickly cut wedges you might get at an American baseball game, then topped off with a generous dose of creamy and cheesy goodness stolen from your favorite uncle’s kitchen cabinet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or, you could smash on a baon box, which Alcasabas tells me is a nod to the traditional style of to-go food that Filipino families often give away after large gatherings. Uncle Tito has down-sized the familiar concept into a casual sampler platter that can be shared with a group of friends or on a date night.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For dessert, you can sweeten up with a dish of Milo banana creme and graham cracker-filled lumpia, or—my personal favorite—the cinnamon-sugar pandesal ube buns, which are ordered specially from Valerio’s Tropical Bakeshop, a Filipino chain that the three have frequented since they were kids. The treat is filled with white chocolate ube ganache whose deep, glazed lavender color comes from mashing a purple yam. It reminds me of a Cinnabon from the mall, but stickier and tastier—and handmade by a young, gamed-up Filipino chef with soul.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito’s food is reminiscent of something that came straight from the bold, imaginative mind of a Filipino-American kid who got to pick and choose their favorite flavors to combine once their parents weren’t looking. But there is an unmistakable hint of tradition as well. “It’s comfort food. We’re playing with nostalgia,” Alcasabas says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their “old school meets new age” approach is apparent in everything they do: The laing wontons take the traditional dish of stewed taro leaves and repackage it in a crunchy, salty and buttery wrapper, turning it into a perfect snack after a night out drinking. The Ube Cha-Cha drink—a cereal-infused almond milk—literally tastes like Fruity Pebbles because, well, they put Fruity Pebbles in it. The goal, the partners say, is to not only feed stomachs, but to feed memories, too.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg\" alt=\"Crispy, triangular-shaped laing wontons on a plate with a side of dipping sauce. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The laing wontons are one of the restaurant’s new-school mash-ups. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13898462\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg\" alt=\"Joseph Alcasabas holds two of Uncle Tito's housemade beverages in his outstretched arm.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Alcasabas shows off two of Uncle Tito’s signature drinks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want our food to be a gateway into learning more about our culture,” Alcasabas says. “For our kids, we want them to eat the kind of foods our parents would make us and ask questions about where it comes from, but present it in a way that is more interesting and familiar to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alcasabas and the Dayao brothers also strive to be intentional about the businesses they choose to collaborate with. It’s about keeping their parents’ culture alive by giving back to those OG influences—like the aforementioned Valerio’s Tropical Bakeshop—while also being a part of a bigger movement for the future of Pinoy cuisine alongside places like \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.loskuyas.com/\">\u003cspan style=\"font-weight: 400\">Los Kuyas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.fobkitchen.com/\">\u003cspan style=\"font-weight: 400\">FOB Kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, whom they credit as being at the forefront of the Bay Area scene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID=arts_13896138,news_11815455,bayareabites_133626 label='More Filipino Eats']The restaurant is part of a \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">growing wave of new Filipino food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that have emerged in the past five years in the Bay Area, where the cuisine has achieved a new level of \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/133626/how-has-the-bays-filipino-food-scene-changed-just-ask-daly-citys-chel-gilla\">\u003cspan style=\"font-weight: 400\">mainstream popularity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Uncle Tito is just one of several new restaurants located in SoMa Pilipinas, the city’s five-year-old Filipino Heritage District—a self-described “\u003c/span>\u003ca href=\"https://www.somapilipinas.org/\">\u003cspan style=\"font-weight: 400\">celebration of the love, pride and people power of generations of Filipinos in San Francisco and beyond.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” A recent \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPXQFqgFVlX/\">\u003cspan style=\"font-weight: 400\">Mercedes-Benz commercial\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> even featured Klay Thompson of the Golden State Warriors racing through the streets of San Francisco to snag a Señor Sisig burrito. But the cuisine—and the Filipino-American community it reflects—isn’t a trend. It’s a true staple of our region. And each new purveyor has something dope to offer—from pop-ups to events like the \u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003cspan style=\"font-weight: 400\">Undiscovered night market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which highlights emerging Filipino businesses in the area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito seems to be building on this exposure. The team is also applying its streetwear aesthetic and rap influences—alongside its fresh take on the cuisine—in a way that has major crossover appeal. From their specialty dishes and business label designs to the merchandise they offer, like a ’90s-era snapback cap with a modified Wu Tang Clan logo written in Tagalog, the Uncle Tito crew really does it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our goal is much bigger than food, because it pertains to preserving what was taught to us and pushing it forward to be taught to the next generation,” Alcasabas says. “There is a bigger mission in what we are doing. We want to leave a legacy and an imprint in our culture as first-generation Filipino Americans in the Bay Area.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It reminds me of how hip hop DJs, especially back in the day, would sample older sounds from soul and funk albums, then scratch them up, repackage them in newly updated formats and spin that noise for an emcee to lace his or her poetry over. \u003c/span>\u003cspan style=\"font-weight: 400\">What Uncle Tito is doing feels just as radically creative to me. \u003c/span>\u003cspan style=\"font-weight: 400\">But instead of taking the sounds of the past, they’ve taken the aromas and textures and flavors of what their moms and uncles cooked up, and they’ve cut and remixed them for us all to nod our heads in unison to.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Uncle Tito is located at 59 9th Street in San Francisco; it’s \u003ca href=\"https://www.uncletito.bar/order\">open for takeout\u003c/a> Thursday through Sunday, 4–8 p.m., with in-person dining set to debut on June 15.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1993, San Francisco rapper JT the Bigga Figga famously said, “Game recognize game in the Bay, mayne.” And though JT wasn’t talking about Filipino food, the lyricist unknowingly helped to instill the hustle behind \u003c/span>\u003ca href=\"https://www.uncletito.bar/\">\u003cspan style=\"font-weight: 400\">Uncle Tito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the newest Filipino-American restaurant to open in SoMa’s burgeoning Filipino cultural district.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For owners Joseph Alcasabas, Paolo Dayao and Vincent Dayao, listening to underground rappers like JT and his frequent collaborators, Mob Figaz, provided a necessary blueprint for taking entrepreneurial risks and representing their communities. The two brothers and their childhood friend were raised by immigrant parents in Concord and Pittsburg, and Alcasabas spent his adolescent years in the Philippines. The three grew up thinking of ways to “embrace heritage while pushing the needle forward,” as Alcasabas puts it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eventually, these lifetime homies recognized they had plenty of Pinoy game to share.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s the restaurant’s homemade rendition of Mang Tomas all-purpose sauce (which is deliciously reminiscent of In-N-Out dressing), its bottles of tangy Mango Chili-Mansi juice, or its Pulutan Party baon box stuffed with laing wontons, lechon kawali, garlic adobo butter wings and salt and vinegar shrimp chips, Uncle Tito is going all out with their love for mixing traditional ingredients in untraditional ways to serve a diverse and modern palette of Bay \u003c/span>\u003cspan style=\"font-weight: 400\">Area folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We really just took the Filipino-American concept and ran with it,” Alcasabas says. “It was seamless and easy because we were being authentic.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With social distancing protocols on the verge of easing up, the restaurant will finally open its doors for its first full dine-in experience on June 15.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trio—consisting of a graphic designer (Alcasabas), a bartender (Paolo), and a chef (Vincent)—created Uncle Tito to be a forward-thinking venue for food and culture that reflects their niche interests. Alcasabas’s art and in-house designs give the restaurant a sophisticated b-boy vibe, while the drinks and culinary concoctions are similar to what you might expect to find at a high-end restaurant, but grounded within the community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898457\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_trio.jpg\" alt=\"Paolo Dayao, Vincent Dayao and Joseph Alcasabas pose in front of a mural inside their restaurant.\" width=\"1242\" height=\"1870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_trio-768x1156.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">From left: Uncle Tito owners Paolo Dayao, Vincent Dayao and Joseph Alcasabas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the restaurant is undoubtedly the group’s magnum opus, it isn’t their first attempt in the local food industry. In 2016, Alcasabas and Paolo Dayao started out as a mobile catering service known as STRAIGHT UP, after working as bartenders throughout the Peninsula. Their original idea centered on serving classic alcoholic drinks in rotating spaces, but, as the two friends explain, the business lacked an essential ingredient: a culinary spin on their heritage. It wasn’t until they joined forces with Paolo’s younger brother, Vince, who was the sous chef at Namu Gaji in San Francisco’s Mission District at the time, that the business pivoted towards a more intentional curation of Filipino flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eating at Uncle Tito reminds me of what it was like to hang out at your best friend’s house as a kid—after playing a few hours of Nintendo 64 and listening to E-40 on 106 KMEL—before you got to grub at a table full of cool relatives you wanted to hang around because they would pass down knowledge with each inviting bite.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898463\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg\" alt=\"Kalye street fries, topped with onions, pickled jalapeños, pork sisig and Cheese Whiz\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_friesfull-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Kalye street fries are a cross between an island-style pork dish and something you might get at an American baseball game. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You might split an order of Kalye street fries—a massive heap of house-cut potatoes piled with Tito’s sauce, caramelized onions, pickled jalapenos, pork sisig and Cheez Whiz. Imagine eating an island-style pork dish, but tossed with the thickly cut wedges you might get at an American baseball game, then topped off with a generous dose of creamy and cheesy goodness stolen from your favorite uncle’s kitchen cabinet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or, you could smash on a baon box, which Alcasabas tells me is a nod to the traditional style of to-go food that Filipino families often give away after large gatherings. Uncle Tito has down-sized the familiar concept into a casual sampler platter that can be shared with a group of friends or on a date night.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For dessert, you can sweeten up with a dish of Milo banana creme and graham cracker-filled lumpia, or—my personal favorite—the cinnamon-sugar pandesal ube buns, which are ordered specially from Valerio’s Tropical Bakeshop, a Filipino chain that the three have frequented since they were kids. The treat is filled with white chocolate ube ganache whose deep, glazed lavender color comes from mashing a purple yam. It reminds me of a Cinnabon from the mall, but stickier and tastier—and handmade by a young, gamed-up Filipino chef with soul.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito’s food is reminiscent of something that came straight from the bold, imaginative mind of a Filipino-American kid who got to pick and choose their favorite flavors to combine once their parents weren’t looking. But there is an unmistakable hint of tradition as well. “It’s comfort food. We’re playing with nostalgia,” Alcasabas says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their “old school meets new age” approach is apparent in everything they do: The laing wontons take the traditional dish of stewed taro leaves and repackage it in a crunchy, salty and buttery wrapper, turning it into a perfect snack after a night out drinking. The Ube Cha-Cha drink—a cereal-infused almond milk—literally tastes like Fruity Pebbles because, well, they put Fruity Pebbles in it. The goal, the partners say, is to not only feed stomachs, but to feed memories, too.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898464\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg\" alt=\"Crispy, triangular-shaped laing wontons on a plate with a side of dipping sauce. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_wonton-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The laing wontons are one of the restaurant’s new-school mash-ups. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13898462\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg\" alt=\"Joseph Alcasabas holds two of Uncle Tito's housemade beverages in his outstretched arm.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_juices-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Alcasabas shows off two of Uncle Tito’s signature drinks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want our food to be a gateway into learning more about our culture,” Alcasabas says. “For our kids, we want them to eat the kind of foods our parents would make us and ask questions about where it comes from, but present it in a way that is more interesting and familiar to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alcasabas and the Dayao brothers also strive to be intentional about the businesses they choose to collaborate with. It’s about keeping their parents’ culture alive by giving back to those OG influences—like the aforementioned Valerio’s Tropical Bakeshop—while also being a part of a bigger movement for the future of Pinoy cuisine alongside places like \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.loskuyas.com/\">\u003cspan style=\"font-weight: 400\">Los Kuyas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.fobkitchen.com/\">\u003cspan style=\"font-weight: 400\">FOB Kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, whom they credit as being at the forefront of the Bay Area scene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The restaurant is part of a \u003c/span>\u003ca href=\"https://sanfran.com/finally-the-bay-areas-filipino-food-scene-takes-star-turn\">\u003cspan style=\"font-weight: 400\">growing wave of new Filipino food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that have emerged in the past five years in the Bay Area, where the cuisine has achieved a new level of \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/133626/how-has-the-bays-filipino-food-scene-changed-just-ask-daly-citys-chel-gilla\">\u003cspan style=\"font-weight: 400\">mainstream popularity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Uncle Tito is just one of several new restaurants located in SoMa Pilipinas, the city’s five-year-old Filipino Heritage District—a self-described “\u003c/span>\u003ca href=\"https://www.somapilipinas.org/\">\u003cspan style=\"font-weight: 400\">celebration of the love, pride and people power of generations of Filipinos in San Francisco and beyond.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” A recent \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPXQFqgFVlX/\">\u003cspan style=\"font-weight: 400\">Mercedes-Benz commercial\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> even featured Klay Thompson of the Golden State Warriors racing through the streets of San Francisco to snag a Señor Sisig burrito. But the cuisine—and the Filipino-American community it reflects—isn’t a trend. It’s a true staple of our region. And each new purveyor has something dope to offer—from pop-ups to events like the \u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003cspan style=\"font-weight: 400\">Undiscovered night market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which highlights emerging Filipino businesses in the area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uncle Tito seems to be building on this exposure. The team is also applying its streetwear aesthetic and rap influences—alongside its fresh take on the cuisine—in a way that has major crossover appeal. From their specialty dishes and business label designs to the merchandise they offer, like a ’90s-era snapback cap with a modified Wu Tang Clan logo written in Tagalog, the Uncle Tito crew really does it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our goal is much bigger than food, because it pertains to preserving what was taught to us and pushing it forward to be taught to the next generation,” Alcasabas says. “There is a bigger mission in what we are doing. We want to leave a legacy and an imprint in our culture as first-generation Filipino Americans in the Bay Area.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It reminds me of how hip hop DJs, especially back in the day, would sample older sounds from soul and funk albums, then scratch them up, repackage them in newly updated formats and spin that noise for an emcee to lace his or her poetry over. \u003c/span>\u003cspan style=\"font-weight: 400\">What Uncle Tito is doing feels just as radically creative to me. \u003c/span>\u003cspan style=\"font-weight: 400\">But instead of taking the sounds of the past, they’ve taken the aromas and textures and flavors of what their moms and uncles cooked up, and they’ve cut and remixed them for us all to nod our heads in unison to.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncle Tito is located at 59 9th Street in San Francisco; it’s \u003ca href=\"https://www.uncletito.bar/order\">open for takeout\u003c/a> Thursday through Sunday, 4–8 p.m., with in-person dining set to debut on June 15.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Everybody’s Favorite 24-Hour Filipino Bakery Has Finally Reopened",
"headTitle": "Everybody’s Favorite 24-Hour Filipino Bakery Has Finally Reopened | KQED",
"content": "\u003cp>There isn’t any place quite like \u003ca href=\"https://www.instagram.com/lingnamstarbread/\">Ling Nam Starbread\u003c/a>. For the three decades that the Filipino restaurant-bakery held court at its strip mall location near the border of South San Francisco and Daly City, it was everybody’s favorite late-night pit stop—a place where night owls and early risers could stop in for a bowl of noodles or hot rice porridge or, especially, a box of the pillowy, piping hot deliciousness known as señorita bread. On Fridays and Saturdays, the bakery was open 24 hours, making it a popular first stop for hungry travelers stumbling off a late-arriving flight at SFO.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B_IzSODpXga/\">Until last April\u003c/a>, that is, when the restaurant-bakery closed its doors with promises to reopen soon at a new location just a mile up the hill. Naturally, COVID put a wrench on those plans, and so the business stayed closed until just last Friday, when the new Ling Nam Starbread storefront at 980 King Drive in Daly City finally opened—a cause for celebration within the area’s vibrant Filipino American community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13896069,arts_13895488' label='More From KQED Food']\u003c/span>“We had an overwhelming turnout,” says Alexson Lim, who runs the restaurant along with his father Tony Lim and his brother Brandon Lim, noting the long lines they had through much of the weekend. Late-night customers will need to wait a little longer: For the time being, the bakery is keeping reduced hours, closing up shop at 9pm each night.\u003c/p>\n\u003cp>For those who haven’t yet had the pleasure, Starbread is best known for its señorita bread, a kind of sweet, yeasty roll that’s layered with sugar and melted margarine and—this is key—is always boxed up hot right out of the oven.\u003c/p>\n\u003cfigure id=\"attachment_13896140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg\" alt=\"A hand holding up a piece of bread in front of a sign with the Starbread logo. of se\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sweet, buttery insides of the señorita bread. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sanfran.com/senorita-bread-carb-addiction-waiting-happen\">bread has made Starbread a local icon\u003c/a>. For Filipino families in particular, boxes of hot señorita bread are a staple at almost any big family gathering or celebration, and the chain has a strong cult following among non-Filipinos as well. The bakery has at least a dozen locations spread across Northern California, almost all of which boast long lines from morning to night. But none of the other Starbread locations were late-night destinations the way the Ling Nam combo shop was. And none of them were located in Daly City, which boasts the \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN#:~:text=At%2027%20percent%20of%20the,of%20Metro%20Manila's%20Quezon%20City.\">highest concentration of Filipinos in the U.S.\u003c/a> (The closest other Starbread shop is in Pacifica.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='bayareabites_133626' label='More Filipino Eats']\u003c/span>The fact that the restaurant and bakery closed last April, just weeks after the initial shelter-in-place order, was mostly a matter of coincidence, Lim explains. The restaurant’s 30-year lease had just expired, and the entire lot was sold. (It’s now being turned into a \u003ca href=\"https://www.smdailyjournal.com/news/local/mercedes-benz-rolls-into-south-san-francisco/article_d167b2b6-c001-11ea-9328-1bd1e3bff343.html\">Mercedes-Benz dealership\u003c/a>.) Even though the Lims were able to secure a new location right away, it was a former dentist’s office that required a full build-out—a process that dragged out for almost a full year due to pandemic-related construction and permitting delays.\u003c/p>\n\u003cp>Even before it added the Starbread kiosk to the front of the restaurant in 2009, Ling Nam Noodle Shop was a local institution going on two decades. The restaurant specialized in Chinese-Filipino cuisine, which is to say Chinese dishes like wonton noodles, steamed buns, and rice porridge that were made to cater to Filipino tastes. For families like the Lims—ethnic Chinese who had settled in the Philippines—these were deeply nostalgic dishes. As Lim explains, they were dishes that made first-generation Filipino immigrants who frequented the restaurant say, “That’s home.”\u003c/p>\n\u003cfigure id=\"attachment_13896143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg\" alt=\"The Starbread menu, with señorita bread priced at 10 pieces for $5, 20 pieces for $10, etc.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The menu. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the time being, however, only the bakery is open. The Ling Nam part of the business, now located in a separate storefront next door, is still under construction and will likely open in the early summer, Lim says. (There’s also a second Ling Nam Starbread location, in Tracy, that’s owned by the Lims—but there, too, the bakery is the only part of the business that’s stayed open.)\u003c/p>\n\u003cp>These days, of course, the Starbread is probably the biggest draw anyway—especially since it was the only place in the Bay Area where the bleary-eyed could score a batch of hot señorita bread at, say, 3am on a Saturday night. Eventually, once nightlife and air travel (including late-night travel) go back to pre-pandemic levels, Lim expects to once again resume that 24-hour weekend schedule.\u003c/p>\n\u003cp>“Why not?” he says. “It’s what we’re known for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ling Nam Starbread is open at its new location at 980 King Drive in Daly City from 5:30am–9pm daily. For now, only the bakery storefront is open.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Ling Nam Starbread is once again selling hot señorita bread at its new Daly City storefront—with reduced hours for now.",
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"title": "Everybody’s Favorite 24-Hour Filipino Bakery Has Finally Reopened | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There isn’t any place quite like \u003ca href=\"https://www.instagram.com/lingnamstarbread/\">Ling Nam Starbread\u003c/a>. For the three decades that the Filipino restaurant-bakery held court at its strip mall location near the border of South San Francisco and Daly City, it was everybody’s favorite late-night pit stop—a place where night owls and early risers could stop in for a bowl of noodles or hot rice porridge or, especially, a box of the pillowy, piping hot deliciousness known as señorita bread. On Fridays and Saturdays, the bakery was open 24 hours, making it a popular first stop for hungry travelers stumbling off a late-arriving flight at SFO.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B_IzSODpXga/\">Until last April\u003c/a>, that is, when the restaurant-bakery closed its doors with promises to reopen soon at a new location just a mile up the hill. Naturally, COVID put a wrench on those plans, and so the business stayed closed until just last Friday, when the new Ling Nam Starbread storefront at 980 King Drive in Daly City finally opened—a cause for celebration within the area’s vibrant Filipino American community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>“We had an overwhelming turnout,” says Alexson Lim, who runs the restaurant along with his father Tony Lim and his brother Brandon Lim, noting the long lines they had through much of the weekend. Late-night customers will need to wait a little longer: For the time being, the bakery is keeping reduced hours, closing up shop at 9pm each night.\u003c/p>\n\u003cp>For those who haven’t yet had the pleasure, Starbread is best known for its señorita bread, a kind of sweet, yeasty roll that’s layered with sugar and melted margarine and—this is key—is always boxed up hot right out of the oven.\u003c/p>\n\u003cfigure id=\"attachment_13896140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg\" alt=\"A hand holding up a piece of bread in front of a sign with the Starbread logo. of se\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_senorita-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sweet, buttery insides of the señorita bread. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sanfran.com/senorita-bread-carb-addiction-waiting-happen\">bread has made Starbread a local icon\u003c/a>. For Filipino families in particular, boxes of hot señorita bread are a staple at almost any big family gathering or celebration, and the chain has a strong cult following among non-Filipinos as well. The bakery has at least a dozen locations spread across Northern California, almost all of which boast long lines from morning to night. But none of the other Starbread locations were late-night destinations the way the Ling Nam combo shop was. And none of them were located in Daly City, which boasts the \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN#:~:text=At%2027%20percent%20of%20the,of%20Metro%20Manila's%20Quezon%20City.\">highest concentration of Filipinos in the U.S.\u003c/a> (The closest other Starbread shop is in Pacifica.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The fact that the restaurant and bakery closed last April, just weeks after the initial shelter-in-place order, was mostly a matter of coincidence, Lim explains. The restaurant’s 30-year lease had just expired, and the entire lot was sold. (It’s now being turned into a \u003ca href=\"https://www.smdailyjournal.com/news/local/mercedes-benz-rolls-into-south-san-francisco/article_d167b2b6-c001-11ea-9328-1bd1e3bff343.html\">Mercedes-Benz dealership\u003c/a>.) Even though the Lims were able to secure a new location right away, it was a former dentist’s office that required a full build-out—a process that dragged out for almost a full year due to pandemic-related construction and permitting delays.\u003c/p>\n\u003cp>Even before it added the Starbread kiosk to the front of the restaurant in 2009, Ling Nam Noodle Shop was a local institution going on two decades. The restaurant specialized in Chinese-Filipino cuisine, which is to say Chinese dishes like wonton noodles, steamed buns, and rice porridge that were made to cater to Filipino tastes. For families like the Lims—ethnic Chinese who had settled in the Philippines—these were deeply nostalgic dishes. As Lim explains, they were dishes that made first-generation Filipino immigrants who frequented the restaurant say, “That’s home.”\u003c/p>\n\u003cfigure id=\"attachment_13896143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg\" alt=\"The Starbread menu, with señorita bread priced at 10 pieces for $5, 20 pieces for $10, etc.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Starbread_menu-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The menu. \u003ccite>(Ling Nam Starbread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the time being, however, only the bakery is open. The Ling Nam part of the business, now located in a separate storefront next door, is still under construction and will likely open in the early summer, Lim says. (There’s also a second Ling Nam Starbread location, in Tracy, that’s owned by the Lims—but there, too, the bakery is the only part of the business that’s stayed open.)\u003c/p>\n\u003cp>These days, of course, the Starbread is probably the biggest draw anyway—especially since it was the only place in the Bay Area where the bleary-eyed could score a batch of hot señorita bread at, say, 3am on a Saturday night. Eventually, once nightlife and air travel (including late-night travel) go back to pre-pandemic levels, Lim expects to once again resume that 24-hour weekend schedule.\u003c/p>\n\u003cp>“Why not?” he says. “It’s what we’re known for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ling Nam Starbread is open at its new location at 980 King Drive in Daly City from 5:30am–9pm daily. For now, only the bakery storefront is open.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SoMa’s Kapwa Gardens Provides a Lush Space for Community Growth",
"headTitle": "SoMa’s Kapwa Gardens Provides a Lush Space for Community Growth | KQED",
"content": "\u003cp>Hella calamansi trees, a revamped school bus painted with a giant bird’s head and flowing curls of colorful feathers, and turquoise-purple everything—that’s what you’ll find at 967 Mission Street in San Francisco, an old parking lot turned art and wellness pop-up.\u003c/p>\n\u003cp>Since last year, the community has come together every weekend to lay the foundation brick by brick—or in this case, with seeds and paint—to create \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kapwa Gardens\u003c/a>, an 8,777-square-foot lot reimagined by Kultivate Labs, a San Francisco economic development and arts organization, in response to the chaos of pandemic. \u003c/p>\n\u003cp>In hopes of recovering from the mental, physical and economic devastations of COVID-19, \u003ca href=\"https://kultivatelabs.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kultivate Labs\u003c/a> Executive Director Desi Danganan and his team pivoted from their original blueprint, which Danganan describes as a smaller version of the night market \u003ca href=\"https://www.undiscoveredsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Undiscovered SF\u003c/a>, to work with our new normal—one where we’re six feet apart. “Our underlying premise was how can we heal our community from this pandemic,” he says, “and then build space designed that facilitates that as well as programming on top of it.”\u003c/p>\n\u003cfigure id=\"attachment_13895680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13895680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-768x509.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kapwa Gardens will host “Test and Stretch” events on the first and third Wednesdays of each month. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With financial recovery in mind, the lot can fit up to three food trucks or vendors, host fitness classes and live performances, exhibit artists’ work and even act as a COVID-19 testing or vaccination site. This allows for a vast multitude of income streams for business owners or artists, all while providing locals with a mini getaway in the heart of SoMa.\u003c/p>\n\u003cp>\u003cem>Kapwa\u003c/em> in Tagalog literally translates to neighbor and is rooted in togetherness. It only makes sense to include this in the project’s name, since it was fully built by volunteers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you were a raver, I would say \u003cem>kapwa\u003c/em> is PLUR—peace, love, unity and respect,” Danganan explains. “It means a lot of things to different people, but in essence, it’s deep empathy. And once you have empathy, you have that inner-connectedness and understand the notion of \u003cem>bayanihan\u003c/em> and collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13895681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13895681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan at the opening reception for Kapwa Gardens the weekend of April 10, 2021. \u003ccite>(Miguel Carrion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fostering a sense of connectedness within the Filipino diaspora is something Danganan’s been interested in for decades. After high school he had an internship at the Los Angeles nonprofit SIPA (Search To Involve Pilipino Americans), where he was a mentee of the late Dr. Dawn Mabalon. “One of the segments she taught was ‘Why is there no Manilatown [in San Francisco]?’ and it stuck with me,” Danganan says. “Growing up Asian American, there’s Chinatown and Japantown, and like where are we? Why are we so invisible?”\u003c/p>\n\u003cp>From the 1920s to the 1970s, there \u003ci>was\u003c/i> a Manilatown where many Filipinos found solace, a three-block neighborhood by Kearny and Jackson Streets. It was most recognized by its landmark, the \u003ca href=\"https://en.wikipedia.org/wiki/International_Hotel_(San_Francisco)\" rel=\"noopener noreferrer\" target=\"_blank\">International Hotel\u003c/a>. Following evictions in 1977, I-Hotel tenants, who were largely Filipino, became displaced, and the community moved to various neighborhoods—including Excelsior, Daly City and SoMa.\u003c/p>\n\u003cp>It wasn’t until 2016 that San Francisco recognized \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a> as the city’s Filipino Cultural Heritage District. The designated area includes the \u003ca href=\"https://www.bayanihancc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bayanihan Community Center\u003c/a>, \u003ca href=\"https://www.bindlestiffstudio.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bindlestiff Studio\u003c/a>—the only black-box theater dedicated to Filipino American artists—and \u003ca href=\"https://www.arkipelagobooks.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Arkipelago Books\u003c/a>. Since then, the development of SOMA Pilipinas has continued to blossom through Undiscovered SF; go-to restaurants like Senor Sisig and OX & Tiger; and despite the pandemic’s efforts to slow the roll, Kapwa Gardens.\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a reflection of our resilience,” Danganan says of the now-lush lot. “Back in the Motherland, we had the Pacific Ring of Fire. Disasters and calamities can happen almost every year, yet our peoples back there, they rebuild, and they move forward. So, during the pandemic while the world contracted, our community remained resilient and kept growing.”\u003c/p>\n\u003cp>Kapwa Gardens doesn’t rock the traditional Philippine flag colors—red, blue and yellow—but symbols of Filipino culture are sprinkled throughout the space. There are calamansi trees donated by a variety of supporters. Once the sweet but sour citrus fruit is ready, they’re free for all guests to collect and enjoy. And there’s a \u003cem>sarimanok\u003c/em>, a legendary bird of Philippine mythology, painted on a school bus by artists \u003ca href=\"https://www.samisee.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sami See\u003c/a> and \u003ca href=\"https://www.kabuay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kristian Kabuay\u003c/a>.\u003c/p>\n\u003cp>The space will open to the public on April 14 and is already set for a variety of outdoor activities and events, including “Test and Stretch,” a coronavirus test and yoga class combo; a plant-based foodie festival called OMG (short for Oh My \u003cem>Gulay\u003c/em>, or vegetables); and Danganan says to expect a daytime collaboration with the SoMa bar Monarch in the future.\u003c/p>\n\u003cfigure id=\"attachment_13895679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13895679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Discordia Gameshow performs at the opening reception for Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kultivate Labs’ next endeavor, \u003ca href=\"https://www.indiegogo.com/projects/republika-sf-filipino-retail-business-incubator#/\" rel=\"noopener noreferrer\" target=\"_blank\">Republika SF\u003c/a>, is already in the works. Republika SF will be a community cultural center located on the ground floor of the Mission Street Garage. Currently, the space is utilized as artists’ studios and a livestreaming hub where \u003ca href=\"https://balaykreative.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Balay Kreative\u003c/a> streams virtual DJ sets and cooking demos. \u003c/p>\n\u003cp>Between rushing to buy toilet paper and baking more bread, the pandemic brought together locals from all walks of life to build Kapwa Gardens. “It’s a beacon of hope for other communities as well that we can survive this and come out better,” Danganan says. “In the long term, what I’m hoping is that the garden not only grows in the sense of more foliage, but really sets the seeds of developing a new Filipino cultural district.” \u003c/p>\n\u003cp>While SOMA Pilipinas continues to blossom, San Francisco’s \u003cem>bayanihan\u003c/em>—or community spirit—is in full bloom. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kapwa Gardens is open Wednesday—Sunday, 10am–6pm at 967 Mission Street, San Francisco. \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Volunteers helped turn a lot in the SOMA Pilipinas Filipino Heritage District into a space for economic and physical recovery.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hella calamansi trees, a revamped school bus painted with a giant bird’s head and flowing curls of colorful feathers, and turquoise-purple everything—that’s what you’ll find at 967 Mission Street in San Francisco, an old parking lot turned art and wellness pop-up.\u003c/p>\n\u003cp>Since last year, the community has come together every weekend to lay the foundation brick by brick—or in this case, with seeds and paint—to create \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kapwa Gardens\u003c/a>, an 8,777-square-foot lot reimagined by Kultivate Labs, a San Francisco economic development and arts organization, in response to the chaos of pandemic. \u003c/p>\n\u003cp>In hopes of recovering from the mental, physical and economic devastations of COVID-19, \u003ca href=\"https://kultivatelabs.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kultivate Labs\u003c/a> Executive Director Desi Danganan and his team pivoted from their original blueprint, which Danganan describes as a smaller version of the night market \u003ca href=\"https://www.undiscoveredsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Undiscovered SF\u003c/a>, to work with our new normal—one where we’re six feet apart. “Our underlying premise was how can we heal our community from this pandemic,” he says, “and then build space designed that facilitates that as well as programming on top of it.”\u003c/p>\n\u003cfigure id=\"attachment_13895680\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13895680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Yoga_1200-768x509.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kapwa Gardens will host “Test and Stretch” events on the first and third Wednesdays of each month. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With financial recovery in mind, the lot can fit up to three food trucks or vendors, host fitness classes and live performances, exhibit artists’ work and even act as a COVID-19 testing or vaccination site. This allows for a vast multitude of income streams for business owners or artists, all while providing locals with a mini getaway in the heart of SoMa.\u003c/p>\n\u003cp>\u003cem>Kapwa\u003c/em> in Tagalog literally translates to neighbor and is rooted in togetherness. It only makes sense to include this in the project’s name, since it was fully built by volunteers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you were a raver, I would say \u003cem>kapwa\u003c/em> is PLUR—peace, love, unity and respect,” Danganan explains. “It means a lot of things to different people, but in essence, it’s deep empathy. And once you have empathy, you have that inner-connectedness and understand the notion of \u003cem>bayanihan\u003c/em> and collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13895681\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13895681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Carrion_Danganan_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan at the opening reception for Kapwa Gardens the weekend of April 10, 2021. \u003ccite>(Miguel Carrion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fostering a sense of connectedness within the Filipino diaspora is something Danganan’s been interested in for decades. After high school he had an internship at the Los Angeles nonprofit SIPA (Search To Involve Pilipino Americans), where he was a mentee of the late Dr. Dawn Mabalon. “One of the segments she taught was ‘Why is there no Manilatown [in San Francisco]?’ and it stuck with me,” Danganan says. “Growing up Asian American, there’s Chinatown and Japantown, and like where are we? Why are we so invisible?”\u003c/p>\n\u003cp>From the 1920s to the 1970s, there \u003ci>was\u003c/i> a Manilatown where many Filipinos found solace, a three-block neighborhood by Kearny and Jackson Streets. It was most recognized by its landmark, the \u003ca href=\"https://en.wikipedia.org/wiki/International_Hotel_(San_Francisco)\" rel=\"noopener noreferrer\" target=\"_blank\">International Hotel\u003c/a>. Following evictions in 1977, I-Hotel tenants, who were largely Filipino, became displaced, and the community moved to various neighborhoods—including Excelsior, Daly City and SoMa.\u003c/p>\n\u003cp>It wasn’t until 2016 that San Francisco recognized \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a> as the city’s Filipino Cultural Heritage District. The designated area includes the \u003ca href=\"https://www.bayanihancc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bayanihan Community Center\u003c/a>, \u003ca href=\"https://www.bindlestiffstudio.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bindlestiff Studio\u003c/a>—the only black-box theater dedicated to Filipino American artists—and \u003ca href=\"https://www.arkipelagobooks.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Arkipelago Books\u003c/a>. Since then, the development of SOMA Pilipinas has continued to blossom through Undiscovered SF; go-to restaurants like Senor Sisig and OX & Tiger; and despite the pandemic’s efforts to slow the roll, Kapwa Gardens.\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a reflection of our resilience,” Danganan says of the now-lush lot. “Back in the Motherland, we had the Pacific Ring of Fire. Disasters and calamities can happen almost every year, yet our peoples back there, they rebuild, and they move forward. So, during the pandemic while the world contracted, our community remained resilient and kept growing.”\u003c/p>\n\u003cp>Kapwa Gardens doesn’t rock the traditional Philippine flag colors—red, blue and yellow—but symbols of Filipino culture are sprinkled throughout the space. There are calamansi trees donated by a variety of supporters. Once the sweet but sour citrus fruit is ready, they’re free for all guests to collect and enjoy. And there’s a \u003cem>sarimanok\u003c/em>, a legendary bird of Philippine mythology, painted on a school bus by artists \u003ca href=\"https://www.samisee.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sami See\u003c/a> and \u003ca href=\"https://www.kabuay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Kristian Kabuay\u003c/a>.\u003c/p>\n\u003cp>The space will open to the public on April 14 and is already set for a variety of outdoor activities and events, including “Test and Stretch,” a coronavirus test and yoga class combo; a plant-based foodie festival called OMG (short for Oh My \u003cem>Gulay\u003c/em>, or vegetables); and Danganan says to expect a daytime collaboration with the SoMa bar Monarch in the future.\u003c/p>\n\u003cfigure id=\"attachment_13895679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg\" alt=\"\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13895679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Batista_Discordia_1200-768x510.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Discordia Gameshow performs at the opening reception for Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kultivate Labs’ next endeavor, \u003ca href=\"https://www.indiegogo.com/projects/republika-sf-filipino-retail-business-incubator#/\" rel=\"noopener noreferrer\" target=\"_blank\">Republika SF\u003c/a>, is already in the works. Republika SF will be a community cultural center located on the ground floor of the Mission Street Garage. Currently, the space is utilized as artists’ studios and a livestreaming hub where \u003ca href=\"https://balaykreative.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Balay Kreative\u003c/a> streams virtual DJ sets and cooking demos. \u003c/p>\n\u003cp>Between rushing to buy toilet paper and baking more bread, the pandemic brought together locals from all walks of life to build Kapwa Gardens. “It’s a beacon of hope for other communities as well that we can survive this and come out better,” Danganan says. “In the long term, what I’m hoping is that the garden not only grows in the sense of more foliage, but really sets the seeds of developing a new Filipino cultural district.” \u003c/p>\n\u003cp>While SOMA Pilipinas continues to blossom, San Francisco’s \u003cem>bayanihan\u003c/em>—or community spirit—is in full bloom. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kapwa Gardens is open Wednesday—Sunday, 10am–6pm at 967 Mission Street, San Francisco. \u003ca href=\"https://www.kapwagardens.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "whats-on-your-ballot-ruby-ibarra-rapper-and-scientist",
"title": "What’s On Your Ballot?: Ruby Ibarra, Rapper and COVID-19 Researcher",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>uby Ibarra makes transcending boundaries seem normal: During the day, Ibarra works at a biotech company, joining researchers around the world in the fight for a COVID-19 vaccine. Outside her 9-to-5, she’s \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">one of the fiercest rappers in the Bay Area\u003c/a>. In the last few years, the Filipino-American artist has gained a following for her cutting lyrics, commanding rhythmic style and multilingual approach. (Ibarra often flows between English, Tagalog and Waray, a language native to Tacloban City, her hometown in the Philippines.)\u003c/p>\n\u003cp>Beyond her music, Ibarra is politically active on social media, encouraging her followers to take the COVID-19 pandemic seriously, support the Black Lives Matter movement and speak out against repression of civil liberties in the Philippines. For Ibarra, 2020 has illustrated just how intensely this country is riddled with divisions—divisions she hopes can be broken down as we move into November and beyond.\u003cem>—Eda Yu\u003c/em>\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,KQED 2020 California Voter Guide: All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>Especially for people in my generation, I hope that everyone’s been paying attention to what’s going on in this country—especially in terms of race relations and, more recently, how those in power are approaching this global pandemic. I hope those are factors people consider in this upcoming election.\u003c/p>\n\u003cp>I’m not here to sway anybody’s vote one way or the other. It’s more important to me that everybody goes out to the polls, submits mail-in ballots, and really makes their voice heard in this upcoming election. I see this as the most important election so far in my lifetime. This year has shown how divided this country can be, and I just hope that after the election, we can find more common ground as a nation. I understand that everybody has different beliefs, especially in a melting pot like America, but I do urge people to consider the effects of our votes in a long-term sense. Whatever candidate that you choose, I hope people think about how it’s going to affect everybody else—if it’s going to drive this country into a more positive space—and not to go at it in a selfish way.\u003c/p>\n\u003cp>\u003cstrong>It’s about the long-term, bigger picture consequences of what your actions are right now.\u003c/strong>\u003c/p>\n\u003cp>And I’m not here to say that a vote is going to fix all our problems. As we’ve seen with this current president, it can even mobilize and embolden certain communities in this country that were afraid to speak up before. I just want people to consider the long-term effects of their choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCd3iSfnWSw\u003c/p>\n\u003cp>\u003cstrong>With COVID-19 and intense climate change, this year really highlighted our country’s lack of trust in science. What’s your take on that as a scientist?\u003c/strong>\u003c/p>\n\u003cp>Honestly, how people have approached this pandemic—with people being anti-maskers or even anti-vaxxers—it’s very frustrating for me. Having a background in science, growing up loving the sciences and seeing them as [describing] how the world works, to see this much distrust now confuses me. We need to remember that this isn’t about scientists dictating how we should operate. [Believing in COVID-19] is about public health safety and whether we’re going to be stuck in this pandemic for an additional year. This is a community effort.\u003c/p>\n\u003cp>We all play a part in this pandemic, and [how we behave] will determine how long we’re gonna be in this situation: how long we’re going to be in quarantine, how much longer death rates and infection rates increase. We saw a lot of people [this year] neglecting or dismissing a lot of Dr. Fauci’s comments around how to better protect ourselves. Over and over again, I’ll advise my followers to follow \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guidelines set by the CDC\u003c/a>. These guidelines were set in place for a reason, and wearing a mask, practicing social distancing—it’s like wearing a seatbelt. You don’t really have to do it. But at the end of the day, it is going to lower the rates of infection.\u003c/p>\n\u003cp>\u003cstrong>What is at stake if people don’t do their part to beat COVID-19?\u003c/strong>\u003c/p>\n\u003cp>What’s at stake is everybody’s lives. Everybody’s safety. Everybody’s freedom to gain any sense of normalcy again. If we continue down this route of people throwing these parties and everybody hanging out with their friends like it’s 2018, we’re really not gonna see much of an improvement. It saddens me when I turn on the news and I see that America is yet again the country with the highest infection and death rates.\u003c/p>\n\u003cfigure id=\"attachment_13887194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887194 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9898.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the China virus.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you think politics have affected the way we’ve handled COVID-19?\u003c/strong>\u003c/p>\n\u003cp>It’s unfortunate that politics have affected this [outbreak at all]. I honestly don’t know where a lot of this rhetoric came from—of people not only fearing science but also dismissing it or trying to [say] that [COVID-19] is a hoax or something made up to limit people’s freedoms. I don’t know how people are leading their daily lives who have this kind of mentality. But I would like to hope that everybody continues to stay informed and puts aside any biases, any political affiliations that we have, and takes the information that we get from scientists, doctors, the CDC as truths and guidelines to help us.\u003c/p>\n\u003cp>\u003cstrong>Has there been a lot of pressure at work to find a vaccine?\u003c/strong>\u003c/p>\n\u003cp>At the start of this pandemic around March, we did see a very steady incline in work at my job. At the end of March and beginning of April, my company started putting all hands on deck to help with the test kits. Now we’ve been working in collaboration with other companies and researchers in developing this vaccine. [aside postid='arts_13887076']\u003c/p>\n\u003cp>I’m definitely not here to give out promises or deadlines—I know that people are waiting for the vaccine, and I can’t blame them because the thought is very alluring. But in reality, a vaccine takes a lot of time to develop. For other infectious diseases, it’s always taken not only several years but also multiple clinical trials. And now we’re in this rush to be the first researcher, the first country to come up with a vaccine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t want us to be in that mindset of it being a race because we don’t know what the long-term effects of this initial vaccine will be, given the short span of time that we have to develop this. I also want people to recognize that it’s not just a vaccine that’s going to help us but everybody doing our part with social distancing and wearing masks. And I hope that this will also open the window to discussion where maybe we revisit how we approach these pandemics, especially seeing the disparity in the communities of color who have contracted COVID-19.\u003c/p>\n\u003cfigure id=\"attachment_13887189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887189 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9871.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As an Asian American, I know you’ve been passionate about raising awareness around what’s happening in the Philippines. Do you see parallels between what’s going on abroad and the social reckoning in the States today?\u003c/strong>\u003c/p>\n\u003cp>There are definitely a lot of parallels—even just with the people who hold power. Time and again people have compared [Filipino President Rodrigo] Duterte and Trump, and in terms of their leadership and their personality, I see the similarities. I’ve been following what’s going on with the terror law, and it’s scary. [Duterte introduced \u003ca href=\"https://www.npr.org/2020/07/21/893019057/why-rights-groups-worry-about-the-philippines-new-anti-terrorism-law\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-terrorism law\u003c/a> in July that has drawn criticism from human rights groups globally.]\u003c/p>\n\u003cp>Being a Filipino in the diaspora, I know that in my community we often feel removed from what’s going on in the Philippines. But it’s important for us to recognize that what happens there still affects us. It’s really frightening to see that people’s freedom of speech and right to dissent are limited. These are very basic rights. So I hope that Filipinos living in America, who have a little more freedom, recognize this and stand up and are more vocal about it.\u003c/p>\n\u003cp>\u003cstrong>Do you feel that artists have a responsibility to use their platform or their work to speak up about social issues?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. I’ve always felt that if I’m not using my platform to speak on things that I’m passionate about, or to speak on things for people who don’t have a voice, then I’m doing my platform a disservice.\u003c/p>\n\u003cp>As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the “China virus.” If Asian-American influencers and celebrities used their platforms to speak out against the injustices that our community faces, it would at the minimum open up discourse around it. [aside postid='arts_13880441']\u003c/p>\n\u003cp>\u003cstrong>I’ve felt a lot of silence from the Asian American community around racial violence, and I think that bleeds into all social issues—Black Lives Matter is no different. We’ve started to see a change in the last couple months, but I hope that change persists.\u003c/strong>\u003c/p>\n\u003cp>I agree with you. I think the reason for the silence is probably obviously cultural factors: Being Asian American, a lot of us have this mentality to not speak out, keep our heads down and focus on our own lane. Hopefully with the xenophobia that our community has experienced, people do recognize that this discrimination happens to the Black community every single day, and that’s why things like Black Lives Matter exist. We need to build that solidarity with other communities.\u003c/p>\n\u003cfigure id=\"attachment_13887186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887186 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9858.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are some ways you protect your mental health or keep from burning out?\u003c/strong>\u003c/p>\n\u003cp>I’m not gonna lie, I myself have had bouts of anxiety and depression this year. As a performer, I saw every single show that I had [scheduled] this year completely canceled. I’ve been cooped up in my studio, haven’t had too much engagement with friends or people that I usually would see on a daily basis. After that I saw this country evolve into a greater divide. We saw a lot of protests. And now with the upcoming elections, it’s been a very heavy year. It’s important for us to protect our mental health. For those who have been impacted by COVID-19 because of the effects of the pandemic on businesses—if you’ve lost your job, or if you’re now working from home but unable to see other people, just hang in there and remember that we’re all going through it at the same time.\u003c/p>\n\u003cp>This is all new territory—especially for artists out there who are so used to being busy. I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends, whether I’m having those interactions through Zoom or being with my loved ones at home. I’m still very grateful for having those interactions compared to being impacted by the pandemic in terms of my health. So at this point, I think we just need to count our blessings. It’s also important for us to check in with our friends and family, even those that we think are OK, because this pandemic has affected all of us in different ways.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety. At the end of the day, we need to stop looking at these political figures as the solution to our problem, and we need to stop looking at these political figures as celebrities. I just hope we find less of a divide in this country, post-election, and that we see a lot of empathy.\u003c/p>\n\u003cp>And politics aside, we’re still in the middle of a pandemic. COVID-19 hasn’t gone anywhere. And it’s really important for us to unite not just as a country but as a world. It’s important for us to celebrate our differences and to understand where people are coming from. I think there’s been a lack of empathy this year. I hope to see more of that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Ruby Ibarra at her \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">official website\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>uby Ibarra makes transcending boundaries seem normal: During the day, Ibarra works at a biotech company, joining researchers around the world in the fight for a COVID-19 vaccine. Outside her 9-to-5, she’s \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">one of the fiercest rappers in the Bay Area\u003c/a>. In the last few years, the Filipino-American artist has gained a following for her cutting lyrics, commanding rhythmic style and multilingual approach. (Ibarra often flows between English, Tagalog and Waray, a language native to Tacloban City, her hometown in the Philippines.)\u003c/p>\n\u003cp>Beyond her music, Ibarra is politically active on social media, encouraging her followers to take the COVID-19 pandemic seriously, support the Black Lives Matter movement and speak out against repression of civil liberties in the Philippines. For Ibarra, 2020 has illustrated just how intensely this country is riddled with divisions—divisions she hopes can be broken down as we move into November and beyond.\u003cem>—Eda Yu\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>Especially for people in my generation, I hope that everyone’s been paying attention to what’s going on in this country—especially in terms of race relations and, more recently, how those in power are approaching this global pandemic. I hope those are factors people consider in this upcoming election.\u003c/p>\n\u003cp>I’m not here to sway anybody’s vote one way or the other. It’s more important to me that everybody goes out to the polls, submits mail-in ballots, and really makes their voice heard in this upcoming election. I see this as the most important election so far in my lifetime. This year has shown how divided this country can be, and I just hope that after the election, we can find more common ground as a nation. I understand that everybody has different beliefs, especially in a melting pot like America, but I do urge people to consider the effects of our votes in a long-term sense. Whatever candidate that you choose, I hope people think about how it’s going to affect everybody else—if it’s going to drive this country into a more positive space—and not to go at it in a selfish way.\u003c/p>\n\u003cp>\u003cstrong>It’s about the long-term, bigger picture consequences of what your actions are right now.\u003c/strong>\u003c/p>\n\u003cp>And I’m not here to say that a vote is going to fix all our problems. As we’ve seen with this current president, it can even mobilize and embolden certain communities in this country that were afraid to speak up before. I just want people to consider the long-term effects of their choices.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SCd3iSfnWSw'\n title='//www.youtube.com/embed/SCd3iSfnWSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>With COVID-19 and intense climate change, this year really highlighted our country’s lack of trust in science. What’s your take on that as a scientist?\u003c/strong>\u003c/p>\n\u003cp>Honestly, how people have approached this pandemic—with people being anti-maskers or even anti-vaxxers—it’s very frustrating for me. Having a background in science, growing up loving the sciences and seeing them as [describing] how the world works, to see this much distrust now confuses me. We need to remember that this isn’t about scientists dictating how we should operate. [Believing in COVID-19] is about public health safety and whether we’re going to be stuck in this pandemic for an additional year. This is a community effort.\u003c/p>\n\u003cp>We all play a part in this pandemic, and [how we behave] will determine how long we’re gonna be in this situation: how long we’re going to be in quarantine, how much longer death rates and infection rates increase. We saw a lot of people [this year] neglecting or dismissing a lot of Dr. Fauci’s comments around how to better protect ourselves. Over and over again, I’ll advise my followers to follow \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guidelines set by the CDC\u003c/a>. These guidelines were set in place for a reason, and wearing a mask, practicing social distancing—it’s like wearing a seatbelt. You don’t really have to do it. But at the end of the day, it is going to lower the rates of infection.\u003c/p>\n\u003cp>\u003cstrong>What is at stake if people don’t do their part to beat COVID-19?\u003c/strong>\u003c/p>\n\u003cp>What’s at stake is everybody’s lives. Everybody’s safety. Everybody’s freedom to gain any sense of normalcy again. If we continue down this route of people throwing these parties and everybody hanging out with their friends like it’s 2018, we’re really not gonna see much of an improvement. It saddens me when I turn on the news and I see that America is yet again the country with the highest infection and death rates.\u003c/p>\n\u003cfigure id=\"attachment_13887194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887194 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9898.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the China virus.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you think politics have affected the way we’ve handled COVID-19?\u003c/strong>\u003c/p>\n\u003cp>It’s unfortunate that politics have affected this [outbreak at all]. I honestly don’t know where a lot of this rhetoric came from—of people not only fearing science but also dismissing it or trying to [say] that [COVID-19] is a hoax or something made up to limit people’s freedoms. I don’t know how people are leading their daily lives who have this kind of mentality. But I would like to hope that everybody continues to stay informed and puts aside any biases, any political affiliations that we have, and takes the information that we get from scientists, doctors, the CDC as truths and guidelines to help us.\u003c/p>\n\u003cp>\u003cstrong>Has there been a lot of pressure at work to find a vaccine?\u003c/strong>\u003c/p>\n\u003cp>At the start of this pandemic around March, we did see a very steady incline in work at my job. At the end of March and beginning of April, my company started putting all hands on deck to help with the test kits. Now we’ve been working in collaboration with other companies and researchers in developing this vaccine. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m definitely not here to give out promises or deadlines—I know that people are waiting for the vaccine, and I can’t blame them because the thought is very alluring. But in reality, a vaccine takes a lot of time to develop. For other infectious diseases, it’s always taken not only several years but also multiple clinical trials. And now we’re in this rush to be the first researcher, the first country to come up with a vaccine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t want us to be in that mindset of it being a race because we don’t know what the long-term effects of this initial vaccine will be, given the short span of time that we have to develop this. I also want people to recognize that it’s not just a vaccine that’s going to help us but everybody doing our part with social distancing and wearing masks. And I hope that this will also open the window to discussion where maybe we revisit how we approach these pandemics, especially seeing the disparity in the communities of color who have contracted COVID-19.\u003c/p>\n\u003cfigure id=\"attachment_13887189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887189 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9871.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As an Asian American, I know you’ve been passionate about raising awareness around what’s happening in the Philippines. Do you see parallels between what’s going on abroad and the social reckoning in the States today?\u003c/strong>\u003c/p>\n\u003cp>There are definitely a lot of parallels—even just with the people who hold power. Time and again people have compared [Filipino President Rodrigo] Duterte and Trump, and in terms of their leadership and their personality, I see the similarities. I’ve been following what’s going on with the terror law, and it’s scary. [Duterte introduced \u003ca href=\"https://www.npr.org/2020/07/21/893019057/why-rights-groups-worry-about-the-philippines-new-anti-terrorism-law\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-terrorism law\u003c/a> in July that has drawn criticism from human rights groups globally.]\u003c/p>\n\u003cp>Being a Filipino in the diaspora, I know that in my community we often feel removed from what’s going on in the Philippines. But it’s important for us to recognize that what happens there still affects us. It’s really frightening to see that people’s freedom of speech and right to dissent are limited. These are very basic rights. So I hope that Filipinos living in America, who have a little more freedom, recognize this and stand up and are more vocal about it.\u003c/p>\n\u003cp>\u003cstrong>Do you feel that artists have a responsibility to use their platform or their work to speak up about social issues?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. I’ve always felt that if I’m not using my platform to speak on things that I’m passionate about, or to speak on things for people who don’t have a voice, then I’m doing my platform a disservice.\u003c/p>\n\u003cp>As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the “China virus.” If Asian-American influencers and celebrities used their platforms to speak out against the injustices that our community faces, it would at the minimum open up discourse around it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>I’ve felt a lot of silence from the Asian American community around racial violence, and I think that bleeds into all social issues—Black Lives Matter is no different. We’ve started to see a change in the last couple months, but I hope that change persists.\u003c/strong>\u003c/p>\n\u003cp>I agree with you. I think the reason for the silence is probably obviously cultural factors: Being Asian American, a lot of us have this mentality to not speak out, keep our heads down and focus on our own lane. Hopefully with the xenophobia that our community has experienced, people do recognize that this discrimination happens to the Black community every single day, and that’s why things like Black Lives Matter exist. We need to build that solidarity with other communities.\u003c/p>\n\u003cfigure id=\"attachment_13887186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887186 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9858.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are some ways you protect your mental health or keep from burning out?\u003c/strong>\u003c/p>\n\u003cp>I’m not gonna lie, I myself have had bouts of anxiety and depression this year. As a performer, I saw every single show that I had [scheduled] this year completely canceled. I’ve been cooped up in my studio, haven’t had too much engagement with friends or people that I usually would see on a daily basis. After that I saw this country evolve into a greater divide. We saw a lot of protests. And now with the upcoming elections, it’s been a very heavy year. It’s important for us to protect our mental health. For those who have been impacted by COVID-19 because of the effects of the pandemic on businesses—if you’ve lost your job, or if you’re now working from home but unable to see other people, just hang in there and remember that we’re all going through it at the same time.\u003c/p>\n\u003cp>This is all new territory—especially for artists out there who are so used to being busy. I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends, whether I’m having those interactions through Zoom or being with my loved ones at home. I’m still very grateful for having those interactions compared to being impacted by the pandemic in terms of my health. So at this point, I think we just need to count our blessings. It’s also important for us to check in with our friends and family, even those that we think are OK, because this pandemic has affected all of us in different ways.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety. At the end of the day, we need to stop looking at these political figures as the solution to our problem, and we need to stop looking at these political figures as celebrities. I just hope we find less of a divide in this country, post-election, and that we see a lot of empathy.\u003c/p>\n\u003cp>And politics aside, we’re still in the middle of a pandemic. COVID-19 hasn’t gone anywhere. And it’s really important for us to unite not just as a country but as a world. It’s important for us to celebrate our differences and to understand where people are coming from. I think there’s been a lack of empathy this year. I hope to see more of that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Ruby Ibarra at her \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">official website\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-kingmaker-probes-the-renaissance-of-imelda-marcos",
"title": "'The Kingmaker' Probes the Renaissance of Imelda Marcos",
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"headTitle": "‘The Kingmaker’ Probes the Renaissance of Imelda Marcos | KQED",
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"content": "\u003cp>“The poor always look for a star in the dark of the night.”\u003c/p>\n\u003cp>So speaks the haute-coutured and bejeweled Imelda Marcos in the new documentary \u003cem>The Kingmaker\u003c/em>, explaining how she continues to bewitch a sizable chunk of the electorate in the nation that she and husband Ferdinand plundered over two strife-ridden decades.\u003c/p>\n\u003cp>For \u003cem>The Kingmaker\u003c/em>, filmmaker Lauren Greenfield has artfully spliced historical footage from the martial law era in the Philippines into contemporary accounts of the Marcos family’s mind-boggling political resurrection. Greenfield’s cameras follow the former first lady, now a popular congresswoman, as she bestows wads of cash and a vaguely maternal gaze on beggars and cancer-stricken children, shows off her gilded mansions, and mobilizes loyalists at rallies for her son Ferdinand, Jr. (affectionately known as “Bongbong”) during his bid for the vice presidency in 2016.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Udbf4xQwWag\u003c/p>\n\u003cp>At 90, Imelda is busily whitewashing a monstrous legacy of corruption and human rights abuses. She anoints herself “mother to the nation … and to the world” while orchestrating her family’s political expansion. In recent years, Imelda, Bongbong, eldest daughter Imee, Imee’s son, and assorted aunts and uncles have played a form of \u003ca href=\"https://www.rappler.com/nation/politics/elections/2019/230629-marcoses-take-seat-senate-congress-province-city-ilocos\" target=\"_blank\" rel=\"noopener noreferrer\">electoral musical chairs\u003c/a> to widen their influence at the provincial and national levels – and \u003ca href=\"https://www.rappler.com/newsbreak/investigative/245290-marcos-networked-propaganda-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">cemented an alliance with the trash-talking, vigilante president Rodrigo Duterte\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout, Imelda has barely dialed down the opulence that made her an easy target for the outraged in the immediate aftermath of the 1986 \u003ca href=\"https://www.bbc.com/news/av/magazine-35526200/how-filipino-people-power-toppled-dictator-marcos\" target=\"_blank\" rel=\"noopener noreferrer\">‘people power’ revolution\u003c/a>, which sent the family into exile in Hawaii. She’s an easy target for filmmakers as well—especially Greenfield, who has a flair for getting \u003ca href=\"https://www.kqed.org/forum/2010101866178/photographer-and-filmmaker-lauren-greenfield-explores-generation-wealth\" target=\"_blank\" rel=\"noopener noreferrer\">the vain and super-rich\u003c/a> to \u003ca href=\"https://www.kqed.org/arts/103705/after_the_recession_an_american_versailles_on_hold\" target=\"_blank\" rel=\"noopener noreferrer\">incriminate themselves\u003c/a>.\u003c/p>\n\u003cp>Imelda piles on the whoppers: “During my time there were no beggars in Manila.” Mao Tse-Tung, she says, was so enchanted with her that he kissed her hand and said, “‘Mrs. Marcos, you started the end of the Cold War.’” Of opposition senator Benigno Aquino, who was assassinated in 1983 (many believe at the order of Imelda), she claimed: “He was no threat to me.” Of the family’s\u003ca href=\"https://www.inquirer.net/118127/edsa-people-power-revolution-day-4-february-25-1986\" target=\"_blank\" rel=\"noopener noreferrer\"> dramatic escape\u003c/a> from Malacañang Palace in U.S. military helicopters after negotiations with the Americans to secure their safety, she declared: “We were kidnapped.” On her ordeal as she stood trial in a New York courtroom on \u003ca href=\"https://www.rappler.com/newsbreak/in-depth/240949-status-updates-rulings-court-cases-vs-marcos-family\" target=\"_blank\" rel=\"noopener noreferrer\">federal racketeering and fraud charges\u003c/a>: “I was alone, widowed, homeless and country-less and penniless.” This after recounting how she stashed fistfuls of diamond jewelry in boxes of baby diapers minutes before fleeing the palace—diamonds which she said eventually went to pay the lawyers.\u003c/p>\n\u003cfigure id=\"attachment_13871256\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-4-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>The camera’s accumulation of visual detail is as damning as the lies: vulgar kitsch rubbing elbows with precious artwork on Imelda’s walls; government buildings, Marcos-era vanity projects, in decay; mountains of legal documents; a flaccid, sweating Bongbong hustled on stage by his mother at a campaign rally.\u003c/p>\n\u003cp>Then there are the surgically precise and devastating accounts of activists who survived the brutal martial law regime.\u003c/p>\n\u003cp>No less appalling is testimony from farmers indigenous to Calauit Island, who were uprooted to make room for Imelda’s perverted vision of an African safari park on Philippine soil, populated by exotic animals shipped over in 1976. The villagers returned after the fall of the Marcos regime, only to find their land overrun by zebras, giraffes and antelopes, who were now suffering the effects of excessive inbreeding, an alien landscape, and inadequate veterinary care. Images of a maggot-infested giraffe make a grim emblem of the fallout from unchecked greed and exploitation.\u003c/p>\n\u003cp>Interviews with Marcos frenemies, crisp and terse, do the family no favors—not even the kooky Texan rancher with his own twisted perspective on the excesses of the regime: “Tell me a country that doesn’t have corruption. And don’t say the U.S. because we are the worst.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_loxS2KkmHM\u003c/p>\n\u003cp>For all her fantasizing and self-contradictions, Imelda does not come across in the film as vapid, but steely and shrewd. The same cannot be said for the presumptive heir: Bongbong sheepishly admits that “when [my mother] speaks, I think I do not need to speak anymore.”\u003c/p>\n\u003cp>In the Philippines, elections for president and vice-president are independently contested; when Bongbong’s bid for the vice presidency failed, \u003ca href=\"https://www.cnn.ph/news/2019/11/29/duterte-2022-polls-robredo-presidency.html\" target=\"_blank\" rel=\"noopener noreferrer\">Duterte scorned the winner\u003c/a>, activist lawyer Leni Robredo, and has supported \u003ca href=\"https://www.rappler.com/nation/209696-duterte-to-resign-if-bongbong-marcos-wins-vp-election-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Bongbong’s attempts to unseat her\u003c/a>. Many fear that, once Bongbong has exhausted legal avenues, he will resort to unlawful means, abetted by Duterte, whose killing sprees in the phony war on drugs form a chilling coda to \u003cem>The Kingmaker\u003c/em>.\u003c/p>\n\u003cp>Imelda has long been in the crosshairs of respected Filipino documentarians—notably, \u003ca href=\"https://youtu.be/35zhnYbG3Ug\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Pedrosa\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cU_EQ9Hfhs4\" target=\"_blank\" rel=\"noopener noreferrer\">Ramona Diaz\u003c/a>, whose meticulous, gut-wrenching work paved the way for Greenfield (and belies the publicity around Greenfield’s “unprecedented access” to Imelda). Imelda has also been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=aYm5Gs3TCtY\" target=\"_blank\" rel=\"noopener noreferrer\">disco poperetta\u003c/a> by David Byrne. But Greenfield’s timing should hit a nerve with Filipinos and anyone who fears for the future of their democracy, in an era when powerful politicians can deploy \u003ca href=\"http://newtontechfordev.com/wp-content/uploads/2018/02/Architects-of-Networked-Disinformation-Executive-Summary-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">electronic disinformation campaigns\u003c/a> executed by \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">troll armies\u003c/a> that make themselves available, like mercenaries, to bad actors globally.\u003c/p>\n\u003cfigure id=\"attachment_13871255\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bongbong Marcos sitting under a portrait of his father, Ferdinand Marcos in a still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>I was a child of the martial law era—too young to fully grasp the atrocities that were being committed, yet aware that schoolmates a few years ahead of me had marched in the streets, constructed Molotov cocktails in our science labs, and \u003ca href=\"https://www.rappler.com/move-ph/12661-ano-bang-alam-mo-tungkol-sa-martial-law\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously disappeared\u003c/a>: either gone underground with the resistance, exiled abroad with their families, or hauled off by the regime and never seen again.\u003c/p>\n\u003cp>I did have a ringside seat to the muzzling of the press, for my father was the managing editor of the \u003cem>Philippines Herald\u003c/em> in the run-up to martial law. He had been a war correspondent, then bureau chief, for the Associated Press in cities around Asia before taking the \u003cem>Herald\u003c/em> post. He incurred Imelda’s wrath early on when he ran a front-page photo of Marcos delivering a speech, shot in profile, that revealed the president standing on a crate hidden behind the podium to make him look taller. Apparently, newspapers were expected to stick to frontal views of the president.\u003c/p>\n\u003cp>But that was before the clampdown. Upon declaring martial law on Sept. 23, 1972, Marcos shuttered all media operations, rounded up hundreds of his political opponents, and began the expropriation and transfer of businesses from oligarchs to his loyalists. Over the next few months, newspapers, radio and TV stations would reopen—in the hands of Marcos cronies or with government censors occupying their offices. The \u003cem>Herald\u003c/em> would not consent to such an arrangement, and never saw print again.\u003c/p>\n\u003cfigure id=\"attachment_13871254\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Duterte \u003ca href=\"https://www.rappler.com/move-ph/223416-journalist-groups-politicians-statements-arrest-maria-ressa-february-2019\" target=\"_blank\" rel=\"noopener noreferrer\">threatens\u003c/a> \u003ca href=\"https://www.rappler.com/nation/246358-duterte-tells-abs-cbn-sorry-do-not-expect-franchise-renewal\" target=\"_blank\" rel=\"noopener noreferrer\">media organizations\u003c/a> that assail his \u003ca href=\"https://www.rappler.com/nation/234852-drug-war-killings-philippines-threshold-crimes-against-humanity-amnesty-international-report\" target=\"_blank\" rel=\"noopener noreferrer\">war on drugs\u003c/a>, his \u003ca href=\"https://edition.cnn.com/2019/11/25/asia/philippines-china-power-grid-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">cozying up to China\u003c/a> as it \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/the-philippines-sided-with-china-after-a-boat-was-rammed-critics-say-its-all-about-money/2019/07/11/59d55a5c-9369-11e9-956a-88c291ab5c38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">invades Philippine territory\u003c/a> in the South China Sea, his \u003ca href=\"https://www.nytimes.com/2018/05/11/world/asia/philippines-chief-justice-rodrigo-duterte.html\" target=\"_blank\" rel=\"noopener noreferrer\">crippling\u003c/a> of the \u003ca href=\"https://www.rappler.com/nation/246309-duterte-fills-up-more-supreme-court-vacancies-december-2019\" target=\"_blank\" rel=\"noopener noreferrer\">Supreme Court\u003c/a>, and his own penchant for declaring \u003ca href=\"https://verafiles.org/articles/martial-law-mindanao-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">martial law\u003c/a>.\u003c/p>\n\u003cp>Trying to explain the durability of the Marcoses, one commentator in\u003cem> The Kingmaker\u003c/em> characterized Filipinos as “a very forgiving people.” If this were true, then how to explain the grudges that have ignited violence between clans, the political feuds that have persisted through generations? Greenfield didn’t set out to document the \u003ca href=\"https://www.iias.asia/the-newsletter/article/praetorian-network-politics-philippines\" target=\"_blank\" rel=\"noopener noreferrer\">warlordism\u003c/a> that has plagued the country since World War II, nor the uneasy tango between the oligarchs and a succession of presidents. Yet without that context, it’s easy to cast the Marcoses and Duterte as singular villains whose overthrow would restore democracy to a fundamentally egalitarian society.\u003c/p>\n\u003cp>Today, as a free press battles the propaganda peddled on social media to \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a populace that spends more time online than in any other country\u003c/a>, Imelda intones: “Perception is real, and the truth is not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Kingmaker’ opens on Friday, Dec. 13, at the \u003ca href=\"https://www.sfarts.org/event.cfm?event_num=84126\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, \u003ca href=\"https://www.facebook.com/ShattuckCinemas/?rf=202029573165536\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, the \u003ca href=\"https://www.facebook.com/AlbanyTwin/posts/2219405378096567/\" target=\"_blank\" rel=\"noopener noreferrer\">Albany Twin\u003c/a> in Albany and the \u003ca href=\"https://rafaelfilm.cafilm.org/kingmaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A gripping new documentary finds Imelda Marcos, now 90, whitewashing a legacy of corruption and human rights abuses.",
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"title": "'The Kingmaker' Probes the Renaissance of Imelda Marcos | KQED",
"description": "A gripping new documentary finds Imelda Marcos, now 90, whitewashing a legacy of corruption and human rights abuses.",
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"headline": "'The Kingmaker' Probes the Renaissance of Imelda Marcos",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The poor always look for a star in the dark of the night.”\u003c/p>\n\u003cp>So speaks the haute-coutured and bejeweled Imelda Marcos in the new documentary \u003cem>The Kingmaker\u003c/em>, explaining how she continues to bewitch a sizable chunk of the electorate in the nation that she and husband Ferdinand plundered over two strife-ridden decades.\u003c/p>\n\u003cp>For \u003cem>The Kingmaker\u003c/em>, filmmaker Lauren Greenfield has artfully spliced historical footage from the martial law era in the Philippines into contemporary accounts of the Marcos family’s mind-boggling political resurrection. Greenfield’s cameras follow the former first lady, now a popular congresswoman, as she bestows wads of cash and a vaguely maternal gaze on beggars and cancer-stricken children, shows off her gilded mansions, and mobilizes loyalists at rallies for her son Ferdinand, Jr. (affectionately known as “Bongbong”) during his bid for the vice presidency in 2016.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Udbf4xQwWag'\n title='//www.youtube.com/embed/Udbf4xQwWag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 90, Imelda is busily whitewashing a monstrous legacy of corruption and human rights abuses. She anoints herself “mother to the nation … and to the world” while orchestrating her family’s political expansion. In recent years, Imelda, Bongbong, eldest daughter Imee, Imee’s son, and assorted aunts and uncles have played a form of \u003ca href=\"https://www.rappler.com/nation/politics/elections/2019/230629-marcoses-take-seat-senate-congress-province-city-ilocos\" target=\"_blank\" rel=\"noopener noreferrer\">electoral musical chairs\u003c/a> to widen their influence at the provincial and national levels – and \u003ca href=\"https://www.rappler.com/newsbreak/investigative/245290-marcos-networked-propaganda-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">cemented an alliance with the trash-talking, vigilante president Rodrigo Duterte\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout, Imelda has barely dialed down the opulence that made her an easy target for the outraged in the immediate aftermath of the 1986 \u003ca href=\"https://www.bbc.com/news/av/magazine-35526200/how-filipino-people-power-toppled-dictator-marcos\" target=\"_blank\" rel=\"noopener noreferrer\">‘people power’ revolution\u003c/a>, which sent the family into exile in Hawaii. She’s an easy target for filmmakers as well—especially Greenfield, who has a flair for getting \u003ca href=\"https://www.kqed.org/forum/2010101866178/photographer-and-filmmaker-lauren-greenfield-explores-generation-wealth\" target=\"_blank\" rel=\"noopener noreferrer\">the vain and super-rich\u003c/a> to \u003ca href=\"https://www.kqed.org/arts/103705/after_the_recession_an_american_versailles_on_hold\" target=\"_blank\" rel=\"noopener noreferrer\">incriminate themselves\u003c/a>.\u003c/p>\n\u003cp>Imelda piles on the whoppers: “During my time there were no beggars in Manila.” Mao Tse-Tung, she says, was so enchanted with her that he kissed her hand and said, “‘Mrs. Marcos, you started the end of the Cold War.’” Of opposition senator Benigno Aquino, who was assassinated in 1983 (many believe at the order of Imelda), she claimed: “He was no threat to me.” Of the family’s\u003ca href=\"https://www.inquirer.net/118127/edsa-people-power-revolution-day-4-february-25-1986\" target=\"_blank\" rel=\"noopener noreferrer\"> dramatic escape\u003c/a> from Malacañang Palace in U.S. military helicopters after negotiations with the Americans to secure their safety, she declared: “We were kidnapped.” On her ordeal as she stood trial in a New York courtroom on \u003ca href=\"https://www.rappler.com/newsbreak/in-depth/240949-status-updates-rulings-court-cases-vs-marcos-family\" target=\"_blank\" rel=\"noopener noreferrer\">federal racketeering and fraud charges\u003c/a>: “I was alone, widowed, homeless and country-less and penniless.” This after recounting how she stashed fistfuls of diamond jewelry in boxes of baby diapers minutes before fleeing the palace—diamonds which she said eventually went to pay the lawyers.\u003c/p>\n\u003cfigure id=\"attachment_13871256\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-4-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>The camera’s accumulation of visual detail is as damning as the lies: vulgar kitsch rubbing elbows with precious artwork on Imelda’s walls; government buildings, Marcos-era vanity projects, in decay; mountains of legal documents; a flaccid, sweating Bongbong hustled on stage by his mother at a campaign rally.\u003c/p>\n\u003cp>Then there are the surgically precise and devastating accounts of activists who survived the brutal martial law regime.\u003c/p>\n\u003cp>No less appalling is testimony from farmers indigenous to Calauit Island, who were uprooted to make room for Imelda’s perverted vision of an African safari park on Philippine soil, populated by exotic animals shipped over in 1976. The villagers returned after the fall of the Marcos regime, only to find their land overrun by zebras, giraffes and antelopes, who were now suffering the effects of excessive inbreeding, an alien landscape, and inadequate veterinary care. Images of a maggot-infested giraffe make a grim emblem of the fallout from unchecked greed and exploitation.\u003c/p>\n\u003cp>Interviews with Marcos frenemies, crisp and terse, do the family no favors—not even the kooky Texan rancher with his own twisted perspective on the excesses of the regime: “Tell me a country that doesn’t have corruption. And don’t say the U.S. because we are the worst.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_loxS2KkmHM'\n title='//www.youtube.com/embed/_loxS2KkmHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For all her fantasizing and self-contradictions, Imelda does not come across in the film as vapid, but steely and shrewd. The same cannot be said for the presumptive heir: Bongbong sheepishly admits that “when [my mother] speaks, I think I do not need to speak anymore.”\u003c/p>\n\u003cp>In the Philippines, elections for president and vice-president are independently contested; when Bongbong’s bid for the vice presidency failed, \u003ca href=\"https://www.cnn.ph/news/2019/11/29/duterte-2022-polls-robredo-presidency.html\" target=\"_blank\" rel=\"noopener noreferrer\">Duterte scorned the winner\u003c/a>, activist lawyer Leni Robredo, and has supported \u003ca href=\"https://www.rappler.com/nation/209696-duterte-to-resign-if-bongbong-marcos-wins-vp-election-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Bongbong’s attempts to unseat her\u003c/a>. Many fear that, once Bongbong has exhausted legal avenues, he will resort to unlawful means, abetted by Duterte, whose killing sprees in the phony war on drugs form a chilling coda to \u003cem>The Kingmaker\u003c/em>.\u003c/p>\n\u003cp>Imelda has long been in the crosshairs of respected Filipino documentarians—notably, \u003ca href=\"https://youtu.be/35zhnYbG3Ug\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Pedrosa\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cU_EQ9Hfhs4\" target=\"_blank\" rel=\"noopener noreferrer\">Ramona Diaz\u003c/a>, whose meticulous, gut-wrenching work paved the way for Greenfield (and belies the publicity around Greenfield’s “unprecedented access” to Imelda). Imelda has also been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=aYm5Gs3TCtY\" target=\"_blank\" rel=\"noopener noreferrer\">disco poperetta\u003c/a> by David Byrne. But Greenfield’s timing should hit a nerve with Filipinos and anyone who fears for the future of their democracy, in an era when powerful politicians can deploy \u003ca href=\"http://newtontechfordev.com/wp-content/uploads/2018/02/Architects-of-Networked-Disinformation-Executive-Summary-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">electronic disinformation campaigns\u003c/a> executed by \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">troll armies\u003c/a> that make themselves available, like mercenaries, to bad actors globally.\u003c/p>\n\u003cfigure id=\"attachment_13871255\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bongbong Marcos sitting under a portrait of his father, Ferdinand Marcos in a still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>I was a child of the martial law era—too young to fully grasp the atrocities that were being committed, yet aware that schoolmates a few years ahead of me had marched in the streets, constructed Molotov cocktails in our science labs, and \u003ca href=\"https://www.rappler.com/move-ph/12661-ano-bang-alam-mo-tungkol-sa-martial-law\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously disappeared\u003c/a>: either gone underground with the resistance, exiled abroad with their families, or hauled off by the regime and never seen again.\u003c/p>\n\u003cp>I did have a ringside seat to the muzzling of the press, for my father was the managing editor of the \u003cem>Philippines Herald\u003c/em> in the run-up to martial law. He had been a war correspondent, then bureau chief, for the Associated Press in cities around Asia before taking the \u003cem>Herald\u003c/em> post. He incurred Imelda’s wrath early on when he ran a front-page photo of Marcos delivering a speech, shot in profile, that revealed the president standing on a crate hidden behind the podium to make him look taller. Apparently, newspapers were expected to stick to frontal views of the president.\u003c/p>\n\u003cp>But that was before the clampdown. Upon declaring martial law on Sept. 23, 1972, Marcos shuttered all media operations, rounded up hundreds of his political opponents, and began the expropriation and transfer of businesses from oligarchs to his loyalists. Over the next few months, newspapers, radio and TV stations would reopen—in the hands of Marcos cronies or with government censors occupying their offices. The \u003cem>Herald\u003c/em> would not consent to such an arrangement, and never saw print again.\u003c/p>\n\u003cfigure id=\"attachment_13871254\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Duterte \u003ca href=\"https://www.rappler.com/move-ph/223416-journalist-groups-politicians-statements-arrest-maria-ressa-february-2019\" target=\"_blank\" rel=\"noopener noreferrer\">threatens\u003c/a> \u003ca href=\"https://www.rappler.com/nation/246358-duterte-tells-abs-cbn-sorry-do-not-expect-franchise-renewal\" target=\"_blank\" rel=\"noopener noreferrer\">media organizations\u003c/a> that assail his \u003ca href=\"https://www.rappler.com/nation/234852-drug-war-killings-philippines-threshold-crimes-against-humanity-amnesty-international-report\" target=\"_blank\" rel=\"noopener noreferrer\">war on drugs\u003c/a>, his \u003ca href=\"https://edition.cnn.com/2019/11/25/asia/philippines-china-power-grid-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">cozying up to China\u003c/a> as it \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/the-philippines-sided-with-china-after-a-boat-was-rammed-critics-say-its-all-about-money/2019/07/11/59d55a5c-9369-11e9-956a-88c291ab5c38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">invades Philippine territory\u003c/a> in the South China Sea, his \u003ca href=\"https://www.nytimes.com/2018/05/11/world/asia/philippines-chief-justice-rodrigo-duterte.html\" target=\"_blank\" rel=\"noopener noreferrer\">crippling\u003c/a> of the \u003ca href=\"https://www.rappler.com/nation/246309-duterte-fills-up-more-supreme-court-vacancies-december-2019\" target=\"_blank\" rel=\"noopener noreferrer\">Supreme Court\u003c/a>, and his own penchant for declaring \u003ca href=\"https://verafiles.org/articles/martial-law-mindanao-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">martial law\u003c/a>.\u003c/p>\n\u003cp>Trying to explain the durability of the Marcoses, one commentator in\u003cem> The Kingmaker\u003c/em> characterized Filipinos as “a very forgiving people.” If this were true, then how to explain the grudges that have ignited violence between clans, the political feuds that have persisted through generations? Greenfield didn’t set out to document the \u003ca href=\"https://www.iias.asia/the-newsletter/article/praetorian-network-politics-philippines\" target=\"_blank\" rel=\"noopener noreferrer\">warlordism\u003c/a> that has plagued the country since World War II, nor the uneasy tango between the oligarchs and a succession of presidents. Yet without that context, it’s easy to cast the Marcoses and Duterte as singular villains whose overthrow would restore democracy to a fundamentally egalitarian society.\u003c/p>\n\u003cp>Today, as a free press battles the propaganda peddled on social media to \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a populace that spends more time online than in any other country\u003c/a>, Imelda intones: “Perception is real, and the truth is not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Kingmaker’ opens on Friday, Dec. 13, at the \u003ca href=\"https://www.sfarts.org/event.cfm?event_num=84126\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, \u003ca href=\"https://www.facebook.com/ShattuckCinemas/?rf=202029573165536\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, the \u003ca href=\"https://www.facebook.com/AlbanyTwin/posts/2219405378096567/\" target=\"_blank\" rel=\"noopener noreferrer\">Albany Twin\u003c/a> in Albany and the \u003ca href=\"https://rafaelfilm.cafilm.org/kingmaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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