topic

Identities

"[I]nstead of thinking of identity as an already accomplished fact ... we should think, instead, of identity as a 'production', which is never complete, always in process, and always constituted within, not outside, representation" (p. 222). Stuart Hall’s injunction, from “Cultural Identity and Diaspora" (1990), asks us to consider the many, frequently disparate forces that shape individual identities.


As these works reveal, identity is never singular and frequently at odds with itself and its surroundings, a moment to moment creation that only partially captures the complexity of the whole. National origin and citizenship, migration, language, race, work status, gender, access to legal resources, class affiliation, “talents,” historical background, profession: these factors all collide to form overlapping selves, constituted in daily acts of self-representation.


As Filipinos move through global circuits of home, migration, and labor, they must negotiate not only their own sense of identity as "Filipino"; they must also contend with others’ projections, drawn from years of (mis)representation: that Filipinas are sexually perverse, that Filipino men are effeminate, that Filipinos are “natural” caretakers, that the Philippines is a “slave nation,” that Filipinos are punny. The works here examine the process, the complexity, the ambivalences, and the ambiguities through which Filipino identity comes to exist in the world.

The Young (screen capture)

Angela Peñaredondo

2016 Screen capture of video performance Courtesy of the artist.

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

The Young

Angela Peñaredondo

2016 Digital video recording Duration: 2m 38s Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

Culture Ingested: On the Indigenization of Philippine Food

Barbara Kirshenblatt-Gimblett Doreen Gamboa Fernandez

2003 - 2014 Criticism. 13 pages. Courtesy of Gastronomica, Stella Kalaw, and Christina Quisumbing Ramilo.

Gastronomica 3.1 (Winter 2003): 58-71.

contributor

X

Barbara Kirshenblatt-Gimblett

b. 1942

Barbara Kirshenblatt-Gimblett is University Professor and Professor of Performance Studies at New York University's Tisch School of the Arts. She earned her M.A. and Ph.D. in Folklore from the University of Indiana after majoring in English Literature at University of California, Berkeley. Kirshenblatt-Gimblett has served as a Fellow and Past President of the American Folklore Society, on the Smithsonian's Advisory Council of Center for Folklife Programs and Cultural Studies, and with the National Foundation for Jewish Culture. Her fellowships and honors include the Distinguished Humanist Award from Ohio State University; the Lindback Award for Distinguished Teaching from the University of Pennsylvania; a fellowship with the Center for Advanced Jewish Studies at the University of Pennsylvania; a fellowship with the Swedish Collegium for Advanced Study in the Social Sciences; time as an Uppsala Winston Fellow with the Institute of Advanced Studies at Hebrew University, Jerusalem; leading an Advanced Research Seminar at the School of American Research, Santa Fe; Phi Beta Kappa Visiting Scholar, 1995-1996; Getty Scholar at the Getty Center for the Study of Art and the Humanities, Santa Monica; a Bellagio Residency at the Rockefeller Foundation; Folklore Fellow at the Finnish Academy of Science and Letters; an American Council of Learned Societies Fellowship in East European Studies; and a Guggenheim Fellowship. Kirshenblatt-Gimblett's more recent books include Destination Culture: Tourism, Museums, and Heritage (University of California Press, 1998); The Art of Being Jewish in Modern Times (edited with Jonathan Karp; University of Pennsylvania Press, 2008)); and the edited volume Writing a Modern Jewish History: Essays in Honor of Salo W. Baron (Yale University Press, 2006), which won a National Jewish Book Award in 2006.

contributor

X

Doreen Gamboa Fernandez

b. 1934-2002

Doreen Gamboa Fernandez was born on 28 October 1934 to Aguinaldo Severino Gamboa of Silay, Negros Occidental and Alicia Lucero Gamboa of Cabanatuan, Nueva Ecija.

She obtained her A.B., major in English and History in 1954 from St. Scholastica's College, Manila and completed her M.A. in English Literature (1956) and Ph.D. in Literature (1976) from the Ateneo de Manila University. She began teaching at the Ateneo de Manila in 1972 and chaired the departments of Communication, English and Interdisciplinary Studies. She was a member of the editorial boards of Philippine Studies, Filipinas Journal of Philippine Studies, and The Asian Theatre Journal. She would have rendered thirty years service in October 2002.

In 1998 she was recognized with Metrobank Foundation's Outstanding Teacher Award.

She taught literature, composition, creative as well as critical writing, and journalism. Her research included cultural, literary, theater and culinary history, on which she has written for scholarly and popular publications and had regularly been invited to speak at international conferences and symposiums.

She was twice a recipient of the Fulbright Asian Scholar in Residence Award (1983, Ohio University Southeast Asian Studies Summer Institute; 1992, Michigan University Seminar on Southeast Asian Literatures in Translation).

A prolific writer, she authored the Iloilo Zarzuela: 1903-1930 (1978); In Performance (1981); Tikim: Essays on Philippine Food and Culture (1994); Face to Face: The Craft of Interviewing (1995); Palabas: Essays on Philippine Theater History (1996); Fruits of thePhilippines (1997); Palayok: Philippine Food Through Time, On Site, In the Pot (2000). With Edilberto N. Alegre, she co-authored "The Writer and His Milieu (1984) and Writers and Their Milieu (1987, recipient of National Book Award); the Lasa series on dining in Manila and the provinces (1989, 1990, 1992); Sarap: Essays on Philippine Food and Culture (1988); and Kinilaw: A Philippine Cuisine of Freshness (1991).

She wrote video scripts as well: Tikim, a video documentary on Philippine food (1989, Philippine Information Agency); Panitikan on Philippine literature (1992, CCP), which earned first prize, video documentary category from the Film Academy of the Philippines; and Dulaan on Philippine contemporary theater (1994, CCP).

She was a columnist of The Manila Chronicle, Mr. & Ms. magazine, the Philippine Journal of Education, the Philippine Daily Inquirer, and Food magazine. She has contributed numerous articles in journals, periodicals and books, including to The Oxford Companion to Food (1999, Oxford University Press).

She was editor and contributor to the CCP Encyclopedia of Philippine Art (1994, Cultural Center of the Philippines); contributor to the Encyclopedia of Post-Colonial Literatures in English (1995, Routledge), and with Resil Mojares to Modern Southeast Asian Literature in Translation: A Resource for Teaching (1997, Arizona State University); and editorial consultant as well as contributor to the 10-volume Kasaysayan: The Story of the Filipino People (1998, Asia Publishing Co Ltd).

She was co-founder of the Babaylan Theater Group (1973, with Nicanor G. Tiongson), and the Cultural Research Association of the Philippines (1975). She was a member of the board of trustees of the Cultural Center of the Philippines (CCP), Philippine Educational Theater Association (PETA), and the Ramon Magsaysay Award Foundation, among others. She was also a member of the Manila Critics Circleand of the judiciary for the Palanca Memorial Awards for Literature.

She received the Achievement Award from the National Research Council in 1997, and in 1999 she was recognized with the CCP Centennial Honors for the Arts (Cultural Center of the Philippines and the Philippine Centennial Commission), honoring 100 Filipinos who helped shape the arts in the Philippines in the last century (1898-1998).

She was married to interior designer Wili Fernandez.

 

Photograph by Stella Kalaw.

location

X
  • Born: The Philippines
  • Based: Manila, Philippines

comments

X

passports

baRbRa

2013 - 2014 Poem. 1 page. Courtesy of the author. Tayo Literary Magazine 4

contributor

X

baRbRa

b. 1983

baRbRa is a writer, transnational feminist, and LA native who is an alumna of June Jordan’s Poetry for the People and VONA/Voices Workshop. She is a graduate of the University of California, Berkeley, with a degree in Mass Communications and minors in Public Policy and Creative Writing. She earned her Masters in Media Psychology from Fielding Graduate University. Having previously worked at the Japanese American National Museum and with the Asian American Writers’ Workshop, she currently works at the University of California, Los Angeles Asian American Studies Center. She is the National Communications Director of the grassroots women’s organization AF3IRM and serves as the curator of AF3IRM's The Truth We Carry: The Insurgent Narratives Project. She is interested in writing and other creative arts as a tool for healing from trauma and for fighting against personal, political oppression.

I write because I choose not to forget.

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  • Born:
  • Based:

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We are the Jews of today: Filipino Domestic Workers in Israel and the Language of Diaspora

Claudia Liebelt

2008 Criticism 18 pages. Courtesy of HAGAR.

HAGAR Studies in Culture, Polity and Identities 8.1 (2008): 63-81.

contributor

X

Claudia Liebelt

b. 1976
image description
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Claudia Liebelt completed her Ph.D. in Social Anthropology in Halle and is a lecturer of social anthropology at the University of Bayreuth, Germany. Her research interests include urban anthropology, transnationalism, migration and citizenship, the Filipino labor diaspora, ritual and religion, gender, global care and domestic work, as well as the anthropology of the body. The scope of her work is reflected in her publications and her teaching, which includes courses on Transnational Migration, Care Work, Gender, Anthropology of Religion, the Middle East, the Body, and Medical Anthropology. She has conducted fieldwork in Israel, Morocco, Turkey and the Philippines.

In the framework of a comparative research project at Keele University (UK), she studied the “Sociality, Caring and the Religious Imagination in the Filipino Diaspora” (2007-2010, PI Professor Pnina Werbner). Among her publications is Caring for the ‘Holy Land’: Filipina Domestic Workers in Israel (Berghahn Books, 2011). She also co-directed an ethnographic documentary on Filipina return migrants in Manila, Cycles of Care, with Lizza M. David (UK/D 2011, 52 mins).

She currently works on a research project about aesthetic body modifications, beauty salons, feminity and the service sector in Istanbul, Turkey. Based on ethnographic research, this project seeks to contribute to our understanding of culturally informed, gendered bodily practices in their (urban) diversity, in defiance of the assumption of increasingly standardised beauty norms and images in an age of globalisation. Hereby, it seeks to investigate cultural imaginations of morality, public space, modernity, citizenship, technology and health in their relation to changing forms of gender and kinship in a global city.

location

X
  • Born: Cologne, Germany
  • Based: Bayreuth, Germany

comments

X

tomorrowtamari'- mayBE

DeNNiSOmeRa

2012 - 2014 Haiku. Courtesy of the author.

contributor

X

DeNNiSOmeRa

b. Year of the Snake/US ImmigratioNationality Act
image description
  • See All Works

Practicing pokin'wordsplayw/pinch/punch of performancEa®thistor/y on and off the page, in and out of his mindbody, DeNNiSOmeRa is a writerliPOethink®, nEOnotsoPOst.©o.lOnial FOet/schola®©tivisavista, FOst.©o.lOnial FOetal.

Born in Baguio City, Benguet Province, Luzon Island on the archipelago known in the second language of its colonization as the Philippines, Dennis emigrated in his mother's lap to the US when he was eleven months old. He grew up His growth wa s tunted in the intolerance/ignorance of Sacramento, CA, the larger US misrepresentations and omissions of Asian/Pilipino-American from literature, history, media, and authority/leadershiPositions. Eventually he was borne by the ink and movement of the pen on page then toncescreened through keyboard, the act of writing performing his ontology through and in spite of WEstern eUrocentric olonialimperial assimilationist, objectifying, appropriative logics.

After graduating from UCSanta Cruz, then migrating to San FranciscOakland where he worked with youth for several years, he returned to the Philippines (and Southeast Asia) for the firstime since his i'mmigration. At an aRts festival in his birthplace, he participated in poetry and video workshops. After nine months in the Philippines and three traveling in Southeast Asia, he returned to the US, where he continued to grow his writing & performancEa® th r ough workshops, open mics and performance opportunities back in the SF Bay Area via June Jordan's Poetry for the People at UCBerkeley, Glide Memorial Church and the Mission Cultural Center in SF, the Ohana Open Mic in Oakland, Kearny Street Workshop in SF and a PilipinoAM theater based in SF, SOMA's Bindlestiff Studios.

Following a year at California College of Arts and Crafts, he found Mills College in Oakland to be the place where his thoroughandling of language were most at home. Through Mills, he not only refined a praxis of experimentaLANGUAGE writing to represent his thoughts poetically in the M.F.A.––but also during performance collaborations w/experimental musicians and dancers in/out of his mindbody––he continUed to further the process and perFORMance of language beyond the page: sowing seeds for his present pursuit of a Ph.D. in Performance Studies at UCDavis. Dennis' writing has been published online and off in poetry journals Tinfish, Chain, Cricket Online Review, Bay Poetics, POMPOM, 2nd Avenue Poetry, Deep Oakland. His morecent wordsplaying has been focused just off screen in a film narration performance called movietelling(Lew)/Katsuben (a silent film era Japanese form(oreso the Korean Pyonsa who subverted Japanese propaganda films in their colonial era there), performing his mov[i.e.]telling work nationally in NYC, Miami, Oakland SF.

My current aRtisticreati've work is a poeticritical illumination of the colonialimperial/patriarchal inscription on the mindbody through poeticritical archi“text”uralandscapes–––primarily revisioning in the form of mov[i.e.]telling/Katsuben: a Japanese form of film narration from the silent film era; he better identifies with the Korean film narrators called Pyonsa who subverted Japanese colonial propaganda films in their colonial era there.

Through a nEOnotsOpoOst©olOnialense, my critical work and research attends to persistent assimilative logics, objectificational representation practices and intellectual appropriations in settler hegemonicolonial culture perpetuating continued epistemicolonial violences––stemming from WEstern civilization'self-constitution as the repression and projection of its disowned savage/barbarian/heathen on all Others and continUed consolidation through persistent un/conscioUS EUrasing t/races of Others and the EUrasure of thesEUrasures–––and the critical/theoretical and comparative gestures in hybridiasporic poetics by intellectuals and writers of the "missing passage", specifically around the tropes of utterance, speech, the tongue, languagetc. as constant and continued DEcolonizingeMpoweresponses to, aswellasymptoms of a continuing white WEsterneUrocentric hegemonicolonial state.

location

X
  • Born: Baguio City, Philippines
  • Based: Oakland, CA, USA
  • Also Based in: Baguio City, Philippines
    San Francisco, CA, USA

comments

X

getoffthegravy-traini'tsallgravy

DeNNiSOmeRa

2014 4m 57s Courtesy of the artist.

contributor

X

DeNNiSOmeRa

b. Year of the Snake/US ImmigratioNationality Act
image description
  • See All Works

Practicing pokin'wordsplayw/pinch/punch of performancEa®thistor/y on and off the page, in and out of his mindbody, DeNNiSOmeRa is a writerliPOethink®, nEOnotsoPOst.©o.lOnial FOet/schola®©tivisavista, FOst.©o.lOnial FOetal.

Born in Baguio City, Benguet Province, Luzon Island on the archipelago known in the second language of its colonization as the Philippines, Dennis emigrated in his mother's lap to the US when he was eleven months old. He grew up His growth wa s tunted in the intolerance/ignorance of Sacramento, CA, the larger US misrepresentations and omissions of Asian/Pilipino-American from literature, history, media, and authority/leadershiPositions. Eventually he was borne by the ink and movement of the pen on page then toncescreened through keyboard, the act of writing performing his ontology through and in spite of WEstern eUrocentric olonialimperial assimilationist, objectifying, appropriative logics.

After graduating from UCSanta Cruz, then migrating to San FranciscOakland where he worked with youth for several years, he returned to the Philippines (and Southeast Asia) for the firstime since his i'mmigration. At an aRts festival in his birthplace, he participated in poetry and video workshops. After nine months in the Philippines and three traveling in Southeast Asia, he returned to the US, where he continued to grow his writing & performancEa® th r ough workshops, open mics and performance opportunities back in the SF Bay Area via June Jordan's Poetry for the People at UCBerkeley, Glide Memorial Church and the Mission Cultural Center in SF, the Ohana Open Mic in Oakland, Kearny Street Workshop in SF and a PilipinoAM theater based in SF, SOMA's Bindlestiff Studios.

Following a year at California College of Arts and Crafts, he found Mills College in Oakland to be the place where his thoroughandling of language were most at home. Through Mills, he not only refined a praxis of experimentaLANGUAGE writing to represent his thoughts poetically in the M.F.A.––but also during performance collaborations w/experimental musicians and dancers in/out of his mindbody––he continUed to further the process and perFORMance of language beyond the page: sowing seeds for his present pursuit of a Ph.D. in Performance Studies at UCDavis. Dennis' writing has been published online and off in poetry journals Tinfish, Chain, Cricket Online Review, Bay Poetics, POMPOM, 2nd Avenue Poetry, Deep Oakland. His morecent wordsplaying has been focused just off screen in a film narration performance called movietelling(Lew)/Katsuben (a silent film era Japanese form(oreso the Korean Pyonsa who subverted Japanese propaganda films in their colonial era there), performing his mov[i.e.]telling work nationally in NYC, Miami, Oakland SF.

My current aRtisticreati've work is a poeticritical illumination of the colonialimperial/patriarchal inscription on the mindbody through poeticritical archi“text”uralandscapes–––primarily revisioning in the form of mov[i.e.]telling/Katsuben: a Japanese form of film narration from the silent film era; he better identifies with the Korean film narrators called Pyonsa who subverted Japanese colonial propaganda films in their colonial era there.

Through a nEOnotsOpoOst©olOnialense, my critical work and research attends to persistent assimilative logics, objectificational representation practices and intellectual appropriations in settler hegemonicolonial culture perpetuating continued epistemicolonial violences––stemming from WEstern civilization'self-constitution as the repression and projection of its disowned savage/barbarian/heathen on all Others and continUed consolidation through persistent un/conscioUS EUrasing t/races of Others and the EUrasure of thesEUrasures–––and the critical/theoretical and comparative gestures in hybridiasporic poetics by intellectuals and writers of the "missing passage", specifically around the tropes of utterance, speech, the tongue, languagetc. as constant and continued DEcolonizingeMpoweresponses to, aswellasymptoms of a continuing white WEsterneUrocentric hegemonicolonial state.

location

X
  • Born: Baguio City, Philippines
  • Based: Oakland, CA, USA
  • Also Based in: Baguio City, Philippines
    San Francisco, CA, USA

comments

X

Myselves

Do Ho Suh

2013 Thread, cotton, methylcellulose 101.6 cm. x 76.2 cm © Do Ho Suh, Courtesy of the Artist and Lehmann Maupin Gallery, New York and Hong Kong

contributor

X

Do Ho Suh

b. 1962

Do Ho Suh is an internationally renowned Korean artist. Suh constructs site-specific installations and meticulously crafted sculptures that question boundaries of identity, conventional notions of scale, and space in both its physical and metaphorical manifestation.

Suh studied oriental painting at Seoul National University in the 1980s, and in 1991 he moved to the United States to study painting at the Rhode Island School of Design and sculpture at Yale University School of Art. He settled in New York in 1997, where he lived and worked until relocating to London in 2010. He currently maintains studios in London, Seoul, and New York.

Suh represented South Korea at the 49th Venice Biennale in 2001 with his iconic work Some/One, constructed of military dog tags exploring individual and collective identity. Solo exhibitions of his work have been presented internationally, including at the Whitney Museum of American Art at Philip Morris, New York, 2001; Seattle Art Museum, Seattle, 2002; Serpentine Gallery, London, 2002; Artsonje Center, Seoul, 2003; the Fabric Workshop and Museum, Philadelphia, 2005; Storefront for Art and Architecture, New York, 2010; DAAD Galerie, Berlin, 2011; Singapore Tyler Print Institute, Singapore, 2011; Leeum, Samsung Museum of Art, Seoul, 2012; Hiroshima City Museum of Contemporary Art, Hiroshima, 2012; 21st Century Museum of Contemporary Art, Kanazawa, 2012–13; National Museum of Modern and Contemporary Art, Seoul, 2013; The Contemporary Austin, Austin, 2014; and the Museum of Contemporary Art, Cleveland, Ohio, 2015.

Suh’s work has been prominently featured in major group exhibitions and biennials worldwide, including the Istanbul Biennial, Turkey, 2003; Psycho Buildings, Hayward Gallery, London, 2008; Your Bright Future, Los Angeles County Museum of Art, Los Angeles, and Museum of Fine Arts, Houston, 2009; Liverpool Biennial, 2010; Venice Architecture Biennale, 2010; Gwangju Biennale, 2012; Museum of Contemporary Art, Chicago, 2013; Center for Contemporary Art, Beijing, 2014; Hammer Museum, Los Angeles, 2015; and Mori Art Museum, Tokyo, 2015. His work is included in numerous museum collections worldwide, including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art, Los Angeles; Tate Modern, London; Leeum Samsung Museum, Seoul; Artsonje Center, Seoul; Museum of Contemporary Art, Tokyo; Mori Art Museum, Tokyo; and the 21st Century Museum of Contemporary Art, Kanazawa, among many others.

location

X
  • Born: Seoul, South Korea
  • Based: London, England, UK

comments

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Culture Ingested: On the Indigenization of Philippine Food

Barbara Kirshenblatt-Gimblett Doreen Gamboa Fernandez

2003 - 2014 Criticism. 13 pages. Courtesy of Gastronomica, Stella Kalaw, and Christina Quisumbing Ramilo.

Gastronomica 3.1 (Winter 2003): 58-71.

contributor

X

Barbara Kirshenblatt-Gimblett

b. 1942

Barbara Kirshenblatt-Gimblett is University Professor and Professor of Performance Studies at New York University's Tisch School of the Arts. She earned her M.A. and Ph.D. in Folklore from the University of Indiana after majoring in English Literature at University of California, Berkeley. Kirshenblatt-Gimblett has served as a Fellow and Past President of the American Folklore Society, on the Smithsonian's Advisory Council of Center for Folklife Programs and Cultural Studies, and with the National Foundation for Jewish Culture. Her fellowships and honors include the Distinguished Humanist Award from Ohio State University; the Lindback Award for Distinguished Teaching from the University of Pennsylvania; a fellowship with the Center for Advanced Jewish Studies at the University of Pennsylvania; a fellowship with the Swedish Collegium for Advanced Study in the Social Sciences; time as an Uppsala Winston Fellow with the Institute of Advanced Studies at Hebrew University, Jerusalem; leading an Advanced Research Seminar at the School of American Research, Santa Fe; Phi Beta Kappa Visiting Scholar, 1995-1996; Getty Scholar at the Getty Center for the Study of Art and the Humanities, Santa Monica; a Bellagio Residency at the Rockefeller Foundation; Folklore Fellow at the Finnish Academy of Science and Letters; an American Council of Learned Societies Fellowship in East European Studies; and a Guggenheim Fellowship. Kirshenblatt-Gimblett's more recent books include Destination Culture: Tourism, Museums, and Heritage (University of California Press, 1998); The Art of Being Jewish in Modern Times (edited with Jonathan Karp; University of Pennsylvania Press, 2008)); and the edited volume Writing a Modern Jewish History: Essays in Honor of Salo W. Baron (Yale University Press, 2006), which won a National Jewish Book Award in 2006.

contributor

X

Doreen Gamboa Fernandez

b. 1934-2002

Doreen Gamboa Fernandez was born on 28 October 1934 to Aguinaldo Severino Gamboa of Silay, Negros Occidental and Alicia Lucero Gamboa of Cabanatuan, Nueva Ecija.

She obtained her A.B., major in English and History in 1954 from St. Scholastica's College, Manila and completed her M.A. in English Literature (1956) and Ph.D. in Literature (1976) from the Ateneo de Manila University. She began teaching at the Ateneo de Manila in 1972 and chaired the departments of Communication, English and Interdisciplinary Studies. She was a member of the editorial boards of Philippine Studies, Filipinas Journal of Philippine Studies, and The Asian Theatre Journal. She would have rendered thirty years service in October 2002.

In 1998 she was recognized with Metrobank Foundation's Outstanding Teacher Award.

She taught literature, composition, creative as well as critical writing, and journalism. Her research included cultural, literary, theater and culinary history, on which she has written for scholarly and popular publications and had regularly been invited to speak at international conferences and symposiums.

She was twice a recipient of the Fulbright Asian Scholar in Residence Award (1983, Ohio University Southeast Asian Studies Summer Institute; 1992, Michigan University Seminar on Southeast Asian Literatures in Translation).

A prolific writer, she authored the Iloilo Zarzuela: 1903-1930 (1978); In Performance (1981); Tikim: Essays on Philippine Food and Culture (1994); Face to Face: The Craft of Interviewing (1995); Palabas: Essays on Philippine Theater History (1996); Fruits of thePhilippines (1997); Palayok: Philippine Food Through Time, On Site, In the Pot (2000). With Edilberto N. Alegre, she co-authored "The Writer and His Milieu (1984) and Writers and Their Milieu (1987, recipient of National Book Award); the Lasa series on dining in Manila and the provinces (1989, 1990, 1992); Sarap: Essays on Philippine Food and Culture (1988); and Kinilaw: A Philippine Cuisine of Freshness (1991).

She wrote video scripts as well: Tikim, a video documentary on Philippine food (1989, Philippine Information Agency); Panitikan on Philippine literature (1992, CCP), which earned first prize, video documentary category from the Film Academy of the Philippines; and Dulaan on Philippine contemporary theater (1994, CCP).

She was a columnist of The Manila Chronicle, Mr. & Ms. magazine, the Philippine Journal of Education, the Philippine Daily Inquirer, and Food magazine. She has contributed numerous articles in journals, periodicals and books, including to The Oxford Companion to Food (1999, Oxford University Press).

She was editor and contributor to the CCP Encyclopedia of Philippine Art (1994, Cultural Center of the Philippines); contributor to the Encyclopedia of Post-Colonial Literatures in English (1995, Routledge), and with Resil Mojares to Modern Southeast Asian Literature in Translation: A Resource for Teaching (1997, Arizona State University); and editorial consultant as well as contributor to the 10-volume Kasaysayan: The Story of the Filipino People (1998, Asia Publishing Co Ltd).

She was co-founder of the Babaylan Theater Group (1973, with Nicanor G. Tiongson), and the Cultural Research Association of the Philippines (1975). She was a member of the board of trustees of the Cultural Center of the Philippines (CCP), Philippine Educational Theater Association (PETA), and the Ramon Magsaysay Award Foundation, among others. She was also a member of the Manila Critics Circleand of the judiciary for the Palanca Memorial Awards for Literature.

She received the Achievement Award from the National Research Council in 1997, and in 1999 she was recognized with the CCP Centennial Honors for the Arts (Cultural Center of the Philippines and the Philippine Centennial Commission), honoring 100 Filipinos who helped shape the arts in the Philippines in the last century (1898-1998).

She was married to interior designer Wili Fernandez.

 

Photograph by Stella Kalaw.

location

X
  • Born: The Philippines
  • Based: Manila, Philippines

comments

X

Why Sinigang?

Doreen Gamboa Fernandez

1988 - 2014 Criticism. 6 pages. Courtesy of the family of Doreen Fernandez. Sarap: Essays on Philippine Food

contributor

X

Doreen Gamboa Fernandez

b. 1934-2002

Doreen Gamboa Fernandez was born on 28 October 1934 to Aguinaldo Severino Gamboa of Silay, Negros Occidental and Alicia Lucero Gamboa of Cabanatuan, Nueva Ecija.

She obtained her A.B., major in English and History in 1954 from St. Scholastica's College, Manila and completed her M.A. in English Literature (1956) and Ph.D. in Literature (1976) from the Ateneo de Manila University. She began teaching at the Ateneo de Manila in 1972 and chaired the departments of Communication, English and Interdisciplinary Studies. She was a member of the editorial boards of Philippine Studies, Filipinas Journal of Philippine Studies, and The Asian Theatre Journal. She would have rendered thirty years service in October 2002.

In 1998 she was recognized with Metrobank Foundation's Outstanding Teacher Award.

She taught literature, composition, creative as well as critical writing, and journalism. Her research included cultural, literary, theater and culinary history, on which she has written for scholarly and popular publications and had regularly been invited to speak at international conferences and symposiums.

She was twice a recipient of the Fulbright Asian Scholar in Residence Award (1983, Ohio University Southeast Asian Studies Summer Institute; 1992, Michigan University Seminar on Southeast Asian Literatures in Translation).

A prolific writer, she authored the Iloilo Zarzuela: 1903-1930 (1978); In Performance (1981); Tikim: Essays on Philippine Food and Culture (1994); Face to Face: The Craft of Interviewing (1995); Palabas: Essays on Philippine Theater History (1996); Fruits of thePhilippines (1997); Palayok: Philippine Food Through Time, On Site, In the Pot (2000). With Edilberto N. Alegre, she co-authored "The Writer and His Milieu (1984) and Writers and Their Milieu (1987, recipient of National Book Award); the Lasa series on dining in Manila and the provinces (1989, 1990, 1992); Sarap: Essays on Philippine Food and Culture (1988); and Kinilaw: A Philippine Cuisine of Freshness (1991).

She wrote video scripts as well: Tikim, a video documentary on Philippine food (1989, Philippine Information Agency); Panitikan on Philippine literature (1992, CCP), which earned first prize, video documentary category from the Film Academy of the Philippines; and Dulaan on Philippine contemporary theater (1994, CCP).

She was a columnist of The Manila Chronicle, Mr. & Ms. magazine, the Philippine Journal of Education, the Philippine Daily Inquirer, and Food magazine. She has contributed numerous articles in journals, periodicals and books, including to The Oxford Companion to Food (1999, Oxford University Press).

She was editor and contributor to the CCP Encyclopedia of Philippine Art (1994, Cultural Center of the Philippines); contributor to the Encyclopedia of Post-Colonial Literatures in English (1995, Routledge), and with Resil Mojares to Modern Southeast Asian Literature in Translation: A Resource for Teaching (1997, Arizona State University); and editorial consultant as well as contributor to the 10-volume Kasaysayan: The Story of the Filipino People (1998, Asia Publishing Co Ltd).

She was co-founder of the Babaylan Theater Group (1973, with Nicanor G. Tiongson), and the Cultural Research Association of the Philippines (1975). She was a member of the board of trustees of the Cultural Center of the Philippines (CCP), Philippine Educational Theater Association (PETA), and the Ramon Magsaysay Award Foundation, among others. She was also a member of the Manila Critics Circleand of the judiciary for the Palanca Memorial Awards for Literature.

She received the Achievement Award from the National Research Council in 1997, and in 1999 she was recognized with the CCP Centennial Honors for the Arts (Cultural Center of the Philippines and the Philippine Centennial Commission), honoring 100 Filipinos who helped shape the arts in the Philippines in the last century (1898-1998).

She was married to interior designer Wili Fernandez.

 

Photograph by Stella Kalaw.

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  • Born: The Philippines
  • Based: Manila, Philippines

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