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From 2016 to 2018, I worked on a research project on my hometown, Albay. This unsusprisingly culminated in my MA thesis, Locating the Community in Curation, a study that sought out places, narratives,and resources in the fulfillment of a curatorial project with partner communities whose spaces and stories are continuously defined by typhoons and lahar flows, and whose local histories are, when told, occupied by institutional spaces, using the language of the institution.

Years later, I find myself in familiar arenas, perhaps out of wanting to find a language for the narratives and practices I had encountered back then. This return was additionally sparked by the question of anger which led me to reflect on the ecologies of fire and deluge, and how these are evinced in the cultural fabric of my home.


On the pandesal,Doreen Fernandez writes,
“It is brown and plain like the Filipino,
good by itself or alone, crisp on the outside
and soft on the inside. It is good, basic
and strong—just the way we are,
and would like the nation to be.”
(Palayok: Philippine Food through Time,
on Site, in the Pot, 2000)