Cover (From left) Artists Wawi Navarroza and Xyza Cruz Bacani
(From left) Artists Wawi Navarroza and Xyza Cruz Bacani
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What do we really owe our motherland? The Asia Society in partnership with Manila House, held a forum where internationally renowned Filipina artists Wawi Navarroza and Xyza Cruz Bacani ponder on the struggles and joys of being an artist abroad
It is hard to find one’s identity in a place far from one’s hometown. This is something that artists Xyza Cruz Bacani and Wawi Navarroza disagree with; their roots are always tied to the Philippines, and their craft will always reflect the culture of their homeland.
“There was never a time when I lost my identity as a Filipino, and even though it happened to me, the world will always tell me, ‘You are a Filipino’,” says Bacani. For almost a decade, she worked as a second-generation domestic worker in Hong Kong and spent time in the U.S. to finish her Master’s degree in Arts Politics.
Turkey-based painter Navarroza, for her part, says that she always yearns for Filipino warmth whenever she’s far away from the country.
“I think the Filipino belonging is what I miss when I am abroad. . .because, in Istanbul, I can see how we’re so different in culture.”
In case you missed it: Xyza Cruz Bacani shares her favourite image—a photo of vibrant colours
Above What do we really owe our motherland? (Photo: Mirsad Sarajlic/Getty Images)
What do we really owe our motherland? (Photo: Mirsad Sarajlic/Getty Images)
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On Representation
Bacani and Navarroza stress that although their works always pay homage to their Filipino roots, there are times when they feel the need to transcend geographical and cultural boundaries and allow their artistic expressions to resonate on a global scale.
“The curse of representation is we have to explain to people all the time who we are and what we are as a nation,” says Bacani.
“I do not accept when people put me in a box. I always believe I could do whatever I want,” she adds.
More from Tatler: Artist Wawi Navarroza Says Visual Literacy Is The Ultimate Goal
Above Wawi's May in Manila/Hot Summer (After Balthus, Self-Portrait) (Photo: SIlverlens)
Wawi's May in Manila/Hot Summer (After Balthus, Self-Portrait) (Photo: SIlverlens)
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Navarroza shares the same belief and adds that, as with any other international artist, she is free to explore brand-new concepts and mediums for her future works.
“As artists, we are somewhat de facto ambassadors. Whenever we go to exhibitions, they expect us to tell how the Philippines is. . .like it’s a country that we need to save,” she explains. “So when they say ‘why is your work not Filipino?’ I say, ‘why not?’ by default. Whatever we do is Filipino.”
“Do you ask somebody from San Francisco, ‘Why is your work not American?’” she adds.
Above Xyza Cruz Bacani's 'Project Ugnayan'
Xyza Cruz Bacani's 'Project Ugnayan'
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Migration and Overseas Work
Migration and mobility are human rights, Bacani argues. She asserts that every Filipino should be empowered to move whenever they want to. “I believe that we need to change the way we view migration. Because if we still perceive it as ‘kawawa’ [miserable], then how can we expect our overseas workers to be confident,” she says. “In an ideal world, nobody has to move abroad for their family’s sake, but this is the reality.”
She adds that society would make room for a more empowered sector of overseas workers if it changes how it sees migration.
“I hate it when people say migrants are pathetic. Really? Don’t you think they are champions that we should celebrate? Because they are brave. It takes courage to leave. Let’s empower them and give them the comfort of having a home to return to should they fail abroad.”
For Navarroza, the Filipino man is many things at once. “We don’t have to adhere to a certain etiquette that you are a Filipino only in this way because I remember culture is very young. I would not have been considered Filipino a million years ago. We were all just humans.”
Above Airplane taking off at sunrise
Airplane taking off at sunrise
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“I am always going to be a Filipino no matter where I go—even if I bleach my skin or wear blonde hair, the world will always dictate that I am a Filipino,” Bacani says. “And this is why I always return to the Philippines, even though it does not love me how Hong Kong or New York does. That does not matter because I am a Filipino through and through.”
This dialogue is from the 'Art In The Diaspora' forum held at Manila House in partnership with Asian Society Philippine Foundation, Inc.
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Jove holds a degree in Journalism and is currently pursuing graduate studies in Philosophy at the University of the Philippines–Diliman. She has flair for in-depth, interview-driven stories that explore politics and culture, shaped by her background in national broadsheets.
When she’s not on assignment, Jove spends her days painting, sipping lemonade, and walking her dog, Jupiter. She can often be seen in Escolta with a film camera in hand, browsing novelty shops in search of rare memorabilia. For leads, reach her at Jove@tatlerphilippines.com.
