Few institutions hold as much global prestige and controversy as the British Museum. Behind its grand façade lies a collection shaped not only by curiosity but also by conquest. Interestingly, many of its most famous pieces were taken during centuries of empire-building, yet they still sit behind glass in London.
So, let’s find out why the museum refuses to return what so many call stolen history.
For decades, the global perception of the Philippine nation has been defined by labor export and structural economic migration. The world has grown accustomed to seeing Filipinos through a lens of subordination—as domestic helpers, seafarers, nurses, and service workers. While these roles represent honest work and undeniable fortitude, they have allowed the outside world to view our people as permanently consigned to the socioeconomic periphery: a third-world population ill-equipped to compete in spaces reserved for global privilege.
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| Alex Eala |
Eala’s emergence fundamentally dismantles that quiet prejudice. Her trajectory invites a necessary parallel to the late Arthur Ashe. When Ashe broke through the racial barriers of elite tennis in the 1960s, his presence was more than athletic; it was an explicit disruption of institutional exclusion. He proved that composure, tactical intelligence, and sustained excellence could dismantle the deeply held assumption that certain spaces belonged exclusively to certain people.
That historical thread reaches a poignant milestone at the upcoming US Open in Flushing Meadows. Given her ranking and global draw, tournament officials may well schedule Eala to play on Arthur Ashe Stadium—the centerpiece court named after the man who first broke tennis’ color line. For a Filipino woman to step onto that exact court, under the night lights of New York, represents a moment of profound symbolic weight.
Yet her rise also exposes a sobering truth about our domestic sports establishment. Eala’s development did not occur through traditional, underfunded Philippine sports federations. Recognizing the limitations of our local system early on, her family secured elite European training at the Rafa Nadal Academy in Spain, allowing her to acquire world-class technical conditioning while continuing to proudly carry the Philippine flag. Her trajectory illustrates that while Filipino talent is vast, our domestic institutions often lack the structural support necessary to cultivate it to its ultimate potential.
What international commentators find so astounding is not merely her baseline game or left-handed forehand, but the absolute composure. She does not play with the timid deference often expected of athletes from peripheral nations. She plays as an equal among equals.
For a nation long accustomed to being looked down upon, Eala’s success offers something far more durable than fleeting pride. It provides a sharp, undeniable refutation of the idea that Filipinos are inherently limited to subordinate roles on the world stage. Her presence at the highest echelons of professional tennis proves that when given equal preparation and opportunity, the Filipino can stand unbowed in any arena—country clubs included.
ATTY. JAMES D. LANSANG
We will all face death one day, but our attitude towards this is individual. How can our understanding of mortality shape our approach to life? Here, palliative care doctors and death doulas share what they know about the end – and how it informs the way they live.
In one of her classes Katrin came across the concept of kapwa in a paper written by Dr. Virgilio Enriquez, a Filipino psychologist who advocated for an indigenous psychology rooted in the heritage of Asian people. Suddenly, it all made sense to her; the quirks and idiosyncrasies of Pinoy behavior that were so unlike anything she encountered in Germany, from how Filipinos would always offer to share food or squeeze one more person into an overcrowded vehicle. Even the first EDSA revolution, where thousands massed on the streets to peacefully overthrow the government, was to Katrin a manifestation of kapwa on a grand scale.
....Jamming with the cosmos is a groovy way of saying “Bathala Na.” In her book, Katrin describes Ba(t)hala Na as a mindset of improvisation and not fatalism, as interpreted by the Americans. “In the folds of unforeseeable events hide infinite opportunities,” she writes. “It recognizes that such situations can teach one to adapt and eventually turn unfortunate events into advantages, making defect into effect.”
