I wrote this piece for my performance at Kultura’s Paniniwala: Acts of Faith at the Art Gallery of Ontario on October 5, 2022. In response to the AGO’s exhibit Faith and Fortune: Art Across the Global Spanish Empire, Kultura invited audiences to witness Paniniwala: Acts of Faith, a transcendent experience of live music, storytelling, and dance that challenges colonial legacies of conquest, domination, and Catholicism through Filipino-Canadian artistic expression.
All the Times I’ve Been Wrong(ed)
Over the last decade, I have had the greatest and deepest education of my life. These were not the years I spent learning in Canada’s formal public education system or even my post-secondary academic experience. No, the greatest and deepest education of my life has been self-directed with the guidance of many incredible grassroots educators, activists, and everyday people across different intersections of identity whose lived experiences are not currently acknowledged or deemed “legitimate” or worthy by our existing colonial educational institutions.
The movements of the last decade—Idle No More, Black Lives Matter, #MeToo, Standing Rock, Occupy Wall Street, Mauna Kea, the Climate Strike, among many, many others — have given me a vocabulary I did not have growing up, that many of us did not have growing up. The #MeToo reckoning and the Black Lives Matter movement, most especially, forced me to reassess so many instances in my life that have always stayed with me for reasons I could not, at the time, understand or vocalize.
These are times that I have been wrong or that I myself have been wronged.
I want to hold space for these precious and painful moments that have been so fundamental in shaping who I am today. I’m starting this publication to look at what I once thought and what I now know and to try to bridge the gap between these two moments in my life. I’m creating this space as a way to move beyond the discomfort of failure in our conversations around social justice and anti-oppression and instead, normalize failure in our discourse. I’m writing these stories as a way to hold tenderness and compassion for an older version of myself who did not know better, but who knows now and is still continuing to learn and unlearn.