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in this essay,

in this essay,

in this essay,

in this essay,

in this essay,

in this essay,

in this essay,

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

re-learning how to read and write

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

finals week, drowning in citations

Women on Women: Zea Asis on Aurora Quezon

Writer Zea Asis shares a personal statement on Aurora Quezon, a woman whose humanitarian leadership strengthened the Philippine National Red Cross during wartime.

Unwritten Women is our newest publication, inviting readers to reconsider the story of the Philippines and recognize the Filipinas whose lives helped guide the country through moments of upheaval, transformation, and hope.

Women on Women: Zea Asis on Aurora Quezon

Writer Zea Asis shares a personal statement on Aurora Quezon, a woman whose humanitarian leadership strengthened the Philippine National Red Cross during wartime.

Unwritten Women is our newest publication, inviting readers to reconsider the story of the Philippines and recognize the Filipinas whose lives helped guide the country through moments of upheaval, transformation, and hope.

Women on Women: Zea Asis on Aurora Quezon

Writer Zea Asis shares a personal statement on Aurora Quezon, a woman whose humanitarian leadership strengthened the Philippine National Red Cross during wartime.

Unwritten Women is our newest publication, inviting readers to reconsider the story of the Philippines and recognize the Filipinas whose lives helped guide the country through moments of upheaval, transformation, and hope.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

they like to say how the Angkor was once gilded: bas-reliefs carved into sandstones with a metallic stucco, burning gold in the Cambodian sun. over the years it was scraped indiscriminately by looters and worn down by monsoon rain. in some parts they were painted a red ochre mixed with tree resin. when the jungle reclaimed it, a kind of cyanobacteria took over the sandstone, covering it in dense black sheets, until the tour guide said, it was treated, anticlimactically, with apple cider vinegar. the colours—warm browns and leaden greys—that we see today are, in fact, its bare skin.

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the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

the frangipanis are not lost🪞

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“Latag na ang takipsilim. Ang buong burol ay yakap na ng nag-aagawang dilim at liwanag. Lumuhod ako sa harap ng imahen ng Mahal na Birhen at tumitig sa maganda niyang mukha. Maaliwalas ang kanyang mukha, may bahagyang ngiti, puno ng pag-ibig… Tumayo ako at iniligay sa nakabukas na palad ng Mahal na Birhen ang aking rosal—lanta man at putikan. Iyon ang pinakamagandang bulaklak na naialay ko sa kanya.” —Mayette Bayuga, Rosal (1989)

“What binds together the girl of Baler 1899 and the woman of Manila 1941? The girl from Baler, now a woman, a First Lady, navigating a world ablaze. It is her world that is at war once more.”

Thank you @sargelacuesta and @mookielacuesta for this collection of women’s stories in Philippine history, and for allowing me to write about Doña Aurora Quezon and her multitudinous legacy to nation. Mid-research I discovered her exquisite terno collection in the 1930s, which I have described in some parts of the essay. She was a beloved subject at the time, with her portraits in terno circulating periodicals and magazines like Women’s World. Some I was able to see up-close, currently on display at the @natmuseumph’s major exhibition, “Art Deco: Modernity and Design in the Philippines 1925-1950”.

Coming soon from @goodintentionsbooks 🌹

“What binds together the girl of Baler 1899 and the woman of Manila 1941? The girl from Baler, now a woman, a First Lady, navigating a world ablaze. It is her world that is at war once more.”

Thank you @sargelacuesta and @mookielacuesta for this collection of women’s stories in Philippine history, and for allowing me to write about Doña Aurora Quezon and her multitudinous legacy to nation. Mid-research I discovered her exquisite terno collection in the 1930s, which I have described in some parts of the essay. She was a beloved subject at the time, with her portraits in terno circulating periodicals and magazines like Women’s World. Some I was able to see up-close, currently on display at the @natmuseumph’s major exhibition, “Art Deco: Modernity and Design in the Philippines 1925-1950”.

Coming soon from @goodintentionsbooks 🌹

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

hot and cold spells in Manila, in-between days at uni

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

𝘣𝘭𝘢𝘯𝘤

A favorite up-close: Amanda Heng, Singirl, 2006, lithograph, screenprint, embossing, and relief print on STPI handmade paper, 49.5 × 61 cm. Edition of 100.

A favorite up-close: Amanda Heng, Singirl, 2006, lithograph, screenprint, embossing, and relief print on STPI handmade paper, 49.5 × 61 cm. Edition of 100.