Week One: Cultural Imperialism and Cultural Resistance

Filipino culture is an amalgamation of different cultures. American culture in particular has played a dominant role in shaping modern Filipino culture. America’s influence on the Philippines continues with capitalist expansions such as vast shopping malls. Despite the West’s prominent influence on the Philippines, Filipinos have developed ways of resisting cultural imperialism, including taking bits of culture and transforming them to adapt to Filipino culture, as well as preserving bits of Filipino culture, refusing to give them up for Western traditions and ideology. Art is another form of resistance against American imperialism.

            Due to colonization and imperialism by the US, Filipinos have been led to “believe that all things American were positive” (Andresen 74). This is shown in contemporary Filipino culture. Bits of American culture are everywhere. Giant billboards show advertisements for Western fast food restaurants and for skin-whitening ads. Half of the posters showcase white folks, despite white folks being a very small minority in the islands.

            Examining Baguio, a city in the north, showcases the extent of American influence. The creation of the city itself was due to American influence. Pre-American influence, it was a small Ibaloy hamlet (Alcantra 207). During American occupation, Baguio transformed into a safe-haven from the tropical heat for American soldiers and Westerners. By 1913, Baguio had opened up Camp John Hay as a recreation center for the U.S. army, among other Western amenities (Alcantra 213). Spending time at John Hay was a marker of class for Filipinos in Baguio (Bose).  Today, the base has been turned into a theme park – an amenity that could be seen as yet another Western delight that has been imported to the islands.

            Today, Baguio is a large city that’s sprawled throughout the mountainside. While Camp John Hay may be closed, Western influence is not missing in Baguio. The city is home to a large multi-story SM Mall, full of restaurants and stores, many of which are Western. Spending time at malls could also be seen as a marker of class. In the Philippines, the large SM malls present a stark contrast to the streets outside. 

While the streets are lined with makeshift shacks that people call home, street food stalls, roadside eateries, and sari-saris (small corner stores), SM malls are immense, air-conditioned, and pristine. Just getting inside requires going through a security check. Folks in the malls look different than folks just walking on the side of the road, as well. Many people are dressed in button-ups and nice shoes, versus the rolled-up t-shirts and flip flops that are donned by those in roadside eateries. SM Malls, despite being a product of global capitalism, aren’t without their uniquely Filipino qualities. Facets such as taho and ube shake stands in the mall remind me that I’m still in the Philippines and not in the US. 

 

Malls aren’t the only places one can shop in the Philippines. In Baguio, we stopped at a small open market full of crafts and souvenirs, from strawberry wine to wooden carvings to beanies. These stands are owned and operated by locals, many of whom make their goods. The market stalls still practice tawad, or bargaining. Bargaining represents a more traditional Filipino way of buying goods. It’s customary to try to haggle with the vendor. As an American, despite being a Fil-Am, practicing tawad is something that I have struggled with. It’s something uncommon in the States, and a part of the Philippines that may be off-putting to Westerners who are used to fixed-prices and sales tax. Keeping these stalls and tawad alive is a key form of resistance to Western imperialism and capitalist expansion.

            Art is another form of resistance. Streets in the Filipino cities, whether in Baguio or Manila, are covered in graffiti. Not just graffiti, but beautiful murals. Street art here is everywhere. 

            Film is another medium. We were fortunate to meet and screen films of the “father of Filipino independent film,” Kidlat Tahimik. His self-chosen name means “thunder quietly.” Kidlat explained of the on-going battle between Western imperialism and Filipino culture. One installation he showed us illustrated this battle, by showing a battle between an Ifugao goddess of the wind and the “Hollywood” version of the goddess of the wind (Marilyn Monroe). We also viewed Kidlat’s first film, Mababangong Bangungot (Perfumed Nightmare). Kidlat’s film showcased his journey as an indigenous Filipino who sought to pursue the American Dream. In the end, however, Kidlat realizes that the dream is a façade and that keeping to his roots is crucial. We ended our day with Kidlat with a dance and karaoke song, reminding us to resist Hollywood, to resist bright lights and megamalls, and to instead tell our own stories through our own lenses. Kidlat’s lens was a “bamboo camera,” representing the importance of telling the stories of indigenous groups and individuals.

            As we embark on this journey in the Philippines as Americans, we share our stories and experiences with others, using our own lenses. How can we, as travelers and “tourists,” tell of our journeys through our lenses without being oppressive and using an “Orientalist” gaze that Otherizes Pilipin@s?

Works Cited

Alcantra, E.R. (2002) Bagiuo between two wars: The creation and destruction of a summer capital. In Shaw, A.V. & Francia, L.H. Vestiges of war. (pp. 207-223). New York: New York Press.

Andresen, T. (2012). Knowledge construction, transformative academic knowledge, and Filipino American identity and experience, In E. Bonus, E. & D. Maramba, (Eds.) The “other“ students: Filipino Americans, education, and power. Charlotte, NC: IAP.

Bose, S. (2002). Bagiuo Graffiti. In A.V. Shaw & L.H Francia, Vestiges of war. (pp. 260-67). New York: New York Press.

Tahimik, Kidlat (1977) “Perfumed Nightmares” (film)