For women, the need and desire to nurture each other is not pathological but redemptive, and it is within that knowledge that our real power is rediscovered. […] Interdependency between women is the way to a freedom which allows the ‘I’ to ‘be’, not in order to be used, but in order to be creative. This is a difference between the passive ‘be’ and the active ‘being’. — Audre Lorde, “The Master’s Tools Will Never Dismantle the Master’s House”
It has been two years since RAISED PINAY premiered at the Philippine Consulate General and at NYU in New York City. (As of the publication of this post, a second iteration of Raised Pinay, featuring a new all-Pinay cast, premiered this year at St. John’s University in Queens and at MayDay Space in Brooklyn.)
I intended to write this post after the shows ended, as a reflection on the process leading up to that point. But then time passed and many things came up that kept me from writing about it. Coming back to this, I decided to discuss what has happened since Raised Pinay and how much I have changed. It is fitting to discuss Raised Pinay this way, not just from a performer’s standpoint, but from an actual “raised Pinay” standpoint; this was more than just a “show” but a necessary healing process and a turning point in my life.
Raised Pinay was a rite of passage into my womanhood, in the context of ‘the Filipino’.