Category Archives: International

Defiance Through Design

Defiance Through Design:
The Legacy of Filipino Art in Activism and Resistance

By Shloka Chodhari, High School Junior, New Jersey

Abstract:
Resistance against tyranny is a widely discussed topic, especially in light of current global conflicts and elections. My research reveals that Filipino art is deeply intertwined with activism and resistance against foreign rule. It demonstrates the powerful role of Filipino art in the fight to freedom. My article aims to educate readers on this connection, highlighting how indigenous art forms have served as platforms for defiance and cultural preservation for centuries.

The Philippines is a Southeast Asian archipelago consisting of 7,641 islands in the western Pacific Ocean. The country is known for its vibrant cultural tapestry woven from the traditions of its diverse indigenous communities. Prior to the arrival of Spanish colonizers in the 16th century, Filipino art was deeply rooted in animistic beliefs, nature, and mythology. Woven textiles, pottery, and wood carvings showcased motifs and told stories that were passed down through generations. This produced many vibrant patterns and designs that were not only aesthetically beautiful but also served as valuable symbols of protection and good fortune. One such design, the “Sarimanok,” was a mythical bird that frequently appeared on textiles.

IMAGE: Majestic Sarimanok: Symbol of Prosperity and Myth / Photo courtesy by Ruben HC 2017

Pre-colonial Filipino art embodied “Kalikasan,” a term used by the indigenous people of the Philippines referring to the interconnectedness between humans and the environment. For example, the intricate ‘okir’ designs and carvings served to remind viewers of the harmonious relationship one has with the world and their ancestors. Unlike in many other indigenous societies, Kalikasan was not fulfilled through a passive or solely spiritual/ religious connection with nature but by actively caring for her physically. Thus, many Filipino art pieces serve to inspire individuals to take a hands-on approach toward preserving and respecting nature. Kalikasan is alive and well today in the Philippines. Environmental activism in the Philippines isn’t just a contemporary response to pollution or climate change but part of a long-standing tradition of actively caring for nature. This is evident in the Writ of Kalikasan within the Constitution of the Philippines, which provides the Filipino people the right to a “balanced and healthful ecology in accord with the rhythm and harmony of nature.”

“Kalikasan: Pre-colonial Filipino art, such as intricate ‘okir’ designs, embodies the deep interconnectedness between humans and the environment.” / Photo Courtesy by J. Bulaong 2020

When Spain arrived, they aimed to Christianize Filipino society, leading to the suppression of indigenous art, which they viewed as inferior and embodying heretical values. In its place, they forced indigenous artists to produce Catholic iconography. They believed that compelling the inhabitants to create Catholic art would not only civilize them but also instill in them Christian virtues.

Despite the suppression, indigenous art persisted, serving as a form of “resistance” against colonization. During this period, the Estilo Hispano-Filipino, a fusion of Spanish and indigenous artistic styles, became prominent across architecture, painting, and sculpture. In architecture, the Estilo Hispano-Filipino style manifested in the construction of churches as well as government buildings where Spanish Baroque elements blended with indigenous architectural techniques and materials.

This fusion acted as a form of resistance to colonization by embedding indigenous culture and motifs into the very Christian imagery that the Spanish sought to supplant indigenous culture with. This led to indigenous culture becoming intertwined with Christianity, making it much more difficult to root out. The Santo Niño de Cebu best illustrates this. It was a 30 cm tall sculpture of the Christ Child holding a globe and a scepter created by Flemish artists. When the ruler of Cebu, Rajah Kulambu, and his wife were baptized, she was christened as Juana and was presented with the Santo Niño. Their baptism marked the first conversions to Christianity in Filipino history. Upon converting, Juana asked for the Santo Niño to take the place of her former idols. Afterward, Ferdinand Magellan, a Portuguese explorer who claimed the island of Cebu for Spain, left, resulting in a 40-year period in which the Santo Niño was left solely in the
hands of the indigenous Filipino people.

When the Spanish returned 44 years later, they found the Santo Niño to have its original clothes replaced with indigenous clothes made specifically for its tiny frame, and the painting from its face and nose had faded a bit. The latter was due to how in indigenous Filipino culture, body parts of religious constructs were touched to initiate the healing powers the natives believed that they possessed.

Original image of Santo Niño de Cebu: A Divine Symbol of Faith and Heritage / Source:Wikipedia

The natives gave it a new origin story with themes and motifs that were undeniably indigenous and lacked a trace of Spanish involvement. Local artists would reproduce many local variants of this sculpture, each including indigenous features, such as rounder faces, flat noses, and specifically shaped eyes. During the struggle for national independence, Filipinos chanted, “Long live the Katipunan! Viva Santo Niño!” In the minds of the Spanish, by introducing images such as the Santo Niño, they sought to rewrite Filipino culture in their own image. This backfired spectacularly when the natives leveraged the universalist pretenses of Christianity to make the Santo Niño their own, rooting their independence movement in the very ideas the Spanish sought to use to control them.

After gaining independence from the United States in 1946, indigenous art forms had a resurgence fueled by a growing sense of cultural identity. However, attitudes towards indigenous arts varied depending on the political climate. During Ferdinand Marcos’s authoritarian rule (1972-1986), many artists faced persecution for their political views, such as Bienvenido Lumbera (1932-2021). Lumbera was a renowned Filipino poet and critic known for his significant contributions to Philippine literature and his critical stance against the Marcos regime. Lumbera’s work revolved around themes of social justice as well as national identity; he was particularly known for his critiques of Marcos’s authoritarian rule. His outspoken
personality and political beliefs led to his imprisonment when Marcos declared martial law. His poems, such as “Tales of the Manuvu,” contain criticisms of the regime’s human rights record. Lumbera’s work, employing symbolism drawn from indigenous Filipino culture, resonated with the masses.

Similarly, Jose Tence Ruiz (1956-), known for his avant-garde style, created many works that criticized the Marcos regime. One of his most notable pieces was called “Brutalism,” which used abstract forms to symbolize the harshness of dictatorship. This infuriated the regime and led to efforts to suppress his works. Bienvenido Lumbera employed most of his art through poetry. The messages of these works of art formed the foundation of resistance movements. Symbolism of indigenous Filipino art through posters and murals was ubiquitous during the People Power Revolution of 1986, during which millions gathered wearing the same color in a mass protest. The themes of resilience through indigenous art allowed for unity amongst the public, leading to the collapse of the regime.

“Exploring Cultural Heritage: Bienvenido Lumbera’s Masterful Blend of Filipino History and Artistic Expression” Publisher: University of Santo Tomas Pub. House, 1997

“Royal Decay: José Tence Ruiz’s ‘Granduchess’ Examines the Intersection of Power, Opulence, and Corruption” Lot 622: Jose Tence Ruiz (b. 1958)

The history of Filipino art in resisting tyranny showcases the immense power within the agency of artists. Foreign hegemonic forces often reproduce elements of the cultures they seek to dominate, aiming to legitimize their rule and pacify any aspects of it that could promote resistance. In contrast, native artists resist colonization or tyranny by intentionally incorporating symbols and motifs of their native culture into the art forms of the oppressors. This strategy undermines colonial rule by taking the universal moral
and religious pretensions of the colonizers and turning them against them, leveraging these to preserve particular forms of cultural autonomy. Over time, this autonomy outlasts the colonizers, eventually enabling national liberation.

This enduring legacy of artistic resistance underscores the vital role of cultural expression in the struggle for freedom and self-determination. The strength and adaptability of Filipino society highlight how indigenous art serves as a physical manifestation of every person’s right to freedom.
Author:
Shloka Chodhari, Arts Associate, The Lawrence CXLIII
Editor, Lawrenceville Science Reports, and High School Junior, New Jersey.

Both the author and publisher would like to thank all the artists and art sources for the five reproductions included in this article.

Sources:
Marin, M. (Ed.). (2021). *Transmission image: Visual translation and cultural agency.* Duke University Press
History of Philippine Art | Sutori
PHILIPPINE HISTORY (aboutphilippines.org)
Understanding Authoritarianism and Corruption in the Philippines | Psychology Today
Authoritarian powers are back in the Philippines, here’s how to fight them – Interviews | IPS Journal (ips-journal.eu)
A writer’s truth: The legacy of National Artist Bienvenido Lumbera – University of the Philippines (up.edu.ph)
The Relevant and Irreverent Jose Tence Ruiz—Positively Filipino | Online Magazine for Filipinos in the Diaspora
The Philippine Literature and Arts in the Post-War Era (1946-1972) (sinaunangpanahon.com)
Booklet-Guide-2022-1.pdf (santoninodecebubasilica.org)

Between Gaza and Me

Between Gaza and Me

By Nada Alaloul, age 17, from Rafa, lives in Egypt.

Between all of these
Cold bodies,
Tired faces,
Busy minds
Lost people
There is Nada como yo
Between black and white there’s me
Between sun and moon, there’s a scream
Between hell and heaven, there’re my people under the rubble
Between death and life, there’s a missile
Between war and peace, there’s a border
Between freedom and shackles, there’s the whole world
Between tanks & planes, there’s my family
Between my family & me, there’s an endless cry
Between my happiness & sadness, there’s the news of my city
Between the present and the past, there’s a genocide.
Between death here, and death there
There’s a huge price
I have one heart with
Two separated souls
And I’m a ghost
And I’m completely alone.

I was at home
Now I’m missing my home
Suddenly
I lost my home
I was here and there
But Suddenly
I’m nowhere
My home was bombed
My friend was killed
My sister was scared
And my dad was missed
And all I’m doing here
Is just avoiding to be the
Favorite dish for my sadness
Cuz actually I’m a liar
A big liar
I’m drowning in heavy clouds of sadness
Afraid to confirm
That my happiness is sad
To be with me
My happiness is scared
To be bombed with me
My happiness fooled me
But at least I know
That I couldn’t know
That I’m not happy
Without my sadness
I couldn’t realize
That I want balance
Between black and white
Between my happiness and sadness
To stop being gray
Without my sadness.

So now
I’m under a sky that
Doesn’t target its people
I walk towards the sun but I’ll never be burned
Cuz my soul has been burned once
Before when I left Gaza
Alone

What about you, dear human?
Can you bring me the warmth of the sun?
Not the one over my head
Nor the Egyptian sun which
Burns my bones like
The missiles do against
The tents of my friends
I want the warmth of my family
I’m a ghost and
I’m completely alone

I’m blue, drowning in a
Gray ocean of the fog
Gray, the favorite color of the death in my city
The color that I used to see
Whenever I roam in my ghost city
The color that I used to feel
Whenever the measure between
Death and me is just a path

I have one heart
With two separated souls
I’m a ghost and I’m completely alone
I’m here and there
And suddenly
I’m nowhere
Como Nada como Yo.

By Alaloul, age 17, from Rafa, Palestine, currently lives in Egypt.

Ms. Lauren Marshall, a playwright, musical theater librettist/lyricist, director and teaching artist based in Washington state, adds: “Nada is a remarkable girl from Gaza, now living with relatives in Cairo, Egypt. She participated in the Gaza Heartbeat, a creative writing project that was sponsored by Palestine Charity Team (PCT) in Rafah, Gaza (Palestine), in 2022.

“Nada has a positive outlook despite all that has happened to her! She was evacuated from Gaza in April, 2024. But her family is still stranded in Gaza, displaced from their home, which has been destroyed during this senseless war. Nada, like all of Gaza’s children, has missed an entire year of school as the result of the war. During this time, she has read books, written short stories and poems, taught herself Spanish, taken a business course in Cairo, and volunteered with PCT!”

 

 

 

 

 

 

Being Split

Being Split
By Preston Young, age 10, New York.

Being Split by Preston Young, age 10, New York

Illustration by Preston Young, 10, New York.

Being split,
Korean and Taiwanese,
I can’t process two different cultures,
It’s hard for me.

On Korean New Year,
I bow to elders and eat Duk Bok Ki (rice cakes).
On Chinese New Year,
I get red envelopes and eat dim sum with herbal tea.
I call my Korean grandparents Halmoni and Haraboji;
Ah ma, I call to my grandma who is Taiwanese.

The Taiwanese flag has red, white and blue.
The South Korean flag has those colors too.
The American flag has them too, oooh!

Being split,
Korean and Taiwanese,
Sometimes people don’t understand me.
When my friends talk about their one culture,
I want one of my other cultures to be unseen.

I try to tell my friends over and over;
I scream and I shout and whisper over their shoulder.
They never understand when I say,
 I am both Korean and Taiwanese!
They look confused and annoyed like fleas.

Sometimes I wonder if being Korean and Taiwanese is right for me.
I sit there and think until I can finally see,
I am special with being multicultural,
Being Korean, Taiwanese, and American,
Can all fit in my soul.

Being split,
Korean, Taiwanese, and American is hard.
But the three cultures,
Are forever in my heart!

By Preston Young, age 10, New York. Preston adds: “My mom is Korean and my dad is Taiwanese. I was born in the USA. I speak English but I am learning how to write, read and speak Korean because my friends at school can speak fluently, and I want to be able to communicate with them. My dream is to become an author and entertain kids. I was inspired to write this poem because when I am in school people always assume that I am full Korean or full Taiwanese. Sometimes people think I’m Chinese but I always correct them. I wanted to express how I feel and what that makes me feel like. I made a collage out of construction paper and some magazine clippings with markers to show my feelings about being split in three different cultures.”

The Presidency 

The Presidency 

There have been 45 presidents of the United States. The current one, number 46, has a similarity to all but one of his predecessors. They are all White, and all 46 are male. Asian Americans have been in the country since the 1800s, and have come nowhere close to the presidency. Could someone of Eastern Asian ethnicity ever become president of the United States?

Loyalty is an act of faith in which you do not betray or desert your cause no matter the circumstances. I believe most of the issues faced by Asian Americans are to do with loyalty. When using a search engine to research, the question, “Are Asian Americans loyal to the United States?” it distributes a plethora of discussion posts, disagreements, newspaper articles and more. For example, in a survey conducted by the Asian American Foundation of over 4,000 U.S. citizens, 32 percent agreed with: Asian Americans are more loyal to their perceived country of origin than to the U.S. I find this response disgusting and shocking. These questions and polls are not done on Irish Americans, Italian Americans, Norwegian Americans or African Americans; who whilst facing an uphill struggle in many areas, they would not be questioned if they are serving another country. Where does the questioning of  loyalty of this specific ethnic group come from? 

As an Asian American, I have not felt any urging for ongoing loyalty toward any country other than the U.S. In fact, Asian Americans have contributed to the United States as much as others. So what causes this unique form of discrimination? I believe one of these reasons is fear. For decades, the U.S. has been the world’s global superpower, with no country since the fall of the Soviet Union coming close. Over the course of recent years though, China has grown and empowered their economy, as well as modernized their military to the extent where there is a possibility of them overtaking the U.S. in a decade. Politicians, media pundits, and some American people are fearful of losing their global hegemony. I believe this fear has spilled into affecting Asian Americans citizens. The buildup of tension between China and the U.S has led to a buildup of tension against Chinese and other Eastern Asian ethnicity.

The coronavirus began November of 2019, and has only escalated this recurring issue. When the matter is brought up to classmates, all point directly to China as the one to blame. About 1.4 billion people populate the country of China, fingers pointed to every single one. During the coronavirus pandemic, the quantity of Asian American hate crimes increased rapidly. People of various Eastern Asian ethnicities were affected by this as well. The differences between Asian and American cultures itself is a leading cause, as we human beings tend to point fingers at those most different to us. For example, there is a mass of cuisine differences between Asians and Americans. Asian cuisine is based mostly on older type traditional recipes, including foods considered exotic to others. American cuisine is based highly on dishes from other ethnicities, although are home to modern dishes. 

In addition to these previous points, whilst all nations have fostered racism, The United States has had government policies introduced specifically pushing these racist policies. When schools were divided into white and black, Asian Americans found themselves questioning where they belong. Asian Americans were not mentioned in the laws themselves, as if they were forgotten and the law makers didn’t know they existed. This sense of idea of being an “other” or not being a part of the nation itself I believe still carries on to modern society.

In conclusion, I do not believe an Asian American could ever become president. As much as we as the Asian American community continue to integrate ourselves with the nation, humans will always find a way to exclude parts of our people and treat them as outsiders. Asian Americans are constantly challenged on our trustworthiness, loyalty, and dedication to this country. Attempts to prove ourselves feel disregarded by the same continuous subgroup of people. I truly hope to be proven wrong in my lifetime. 

Author’s Note:

            In the past few weeks, the political climate has changed. Vice President Kamala Harris has become the Democratic Party’s nominee for the President of the country. She is half African American, and half Indian. Despite this sudden change, I still stand by my previous assertion. My piece is focused on Eastern Asian ethnicities, and their uniquely questioned loyalty to the  nation. Kamala’s nomination is what I believe to be a step forward in our nation, due to her being female as well as a woman of color. However, due to the still-rising tensions with China, as well as the Coronavirus-19 pandemic, I still believe an East Asian American could not currently be elected the president.

—Abigail Lee, Age 12, Grade 7, Illinois. She writes: “I have a passion for writing. I enjoy reading realistic drama stories. I am socially conscious about Asian American discrimination in our country, in particular since the Coronavirus Pandemic. I am an Asian American, born as well as raised in Illinois. My essay focuses on my belief that an East Asian American could never become president due to racial discrimination.”

 

Summer Olympics: Paris, France 2024

Summer Olympics: Paris, France 2024

The 2024 Summer Olympics will take place in Paris, France later in July. Thousands of international level athletes from many countries will participate in this once every four year, global sports event.

Right now, the 2024 Olympic U.S. Track & Field Team trials are being held right here in Eugene, Oregon, where Skipping Stones is based. Selections for the U.S. Gymnastics Team are currently being held in Minneapolis, Minnesota, and the U.S. Swim Team trials were held last week in Indianapolis, Indiana to select the best swimmers.

Swimmer Michael Phelps represented the United States in the Summer Olympics in 2000-2016. He has earned a record 28 Olympic medals, including 23 gold! Here is a portrait of Michael drawn by Viraj, a ten-year old student in Mumbai, India.

Now all eyes are on Paris! Who will be the next Michael Phelps? Who will get the gold medals in the dozens of different sports and games—athletics, basketball, running, volleyball, and so many other events.

—editors

Michael Phelps, Aquatic Superhero

“It was a great delight to draw a sketch of the most successful American swimmer, Michael Phelps, whose Olympic records are simply commendable and unimaginable, especially for a ten-year old boy like me!
When I read a few articles about him, I was awe-struck as I wondered how a boy who was so naughty and hyperactive in his younger days eventually discovered his strength in his weakness. He is a true inspiration for children like me, particularly those who had a tremendous phobia of water and have now been able to overcome the fear and have seriously taken up the sports to pro level.
His astonishing world record in multiple events, and more importantly the mental toughness that he exhibited, was proved when he spoke about his sheer sacrifice of holidays, birthdays, Christmas and his relentless hard work exhibited in the pool. How right he is, but trust me, very difficult to inculate!
Nonetheless, there is lot to learn from this incredible guy; man of great accomplishments.
So, this is a small token of huge respect to our “Aquatic Superhero” on his upcoming birthday on 30th June, from this tiny, little Indian boy.”

—Viraj Ajgaonkar, Grade 6, Mumbai, India.

Educational Struggles in Latin America

Educational Struggles in Latin America

By Camila Ayala, age 17, Georgia

“I spent much of my childhood in Honduras, where I was able to observe firsthand the disregard for children’s education. Children without the means to pay for tuition were not assured of a quality education. Later, I was fortunate enough to move to the United States. Nevertheless, when a family member who works as a teacher in Honduras begged my family for school supplies for the children she teaches, I was moved to revisit this harrowing subject. She mentioned the number of children who don’t even have notebooks or pencils. These children also had difficulty traveling to school, and once they were there, they were not provided with the necessary amenities, such as air conditioning in the classrooms to deal with Honduran intense heat. I was astounded at how little thought was given to obtaining the right materials for these young students, and how the teachers were forced to seek assistance because they were not receiving any. My awareness of the severity of the issue has increased as a result of these first-hand encounters, which is why I feel compelled to discuss it and perhaps help others see how serious it is.”

In America, the majority of children eagerly await their summer break. They look forward to living in June and July, when there are no obligations related to school. These children enjoy those months as they are unaware of the privileges of the months that come before June and July. These formative months are filled with possibilities for education.

In contrast, according to Latin America Resource & Training Center (2023), only about 46.8% of children in Latin America are thought to have completed their high school education, compared to 86.7% in the United States. Moreover, approximately 50% of Mexicans, Colombians and Brazilians do not have the skills necessary to solve simple math equations or to explain basic scientific phenomena. They are not granted the same benefits as the children who look forward to summer vacation, the same children who possess something so precious that appears to be a burden to them: an education. Due to their poverty and the lack of government support for these issues, these kids are unable to receive the fundamental right to an education. Additionally, for those that do, the challenges of poverty resurface, forcing them to drop out of school and find employment abruptly in an attempt to support their afflicted family.

The ability to receive a quality education creates a clear divide between the rich and the poor in Latin America. Identity, background, and ability determine educational opportunities for many of these children. According to the Global Education Monitoring Report, “In Panama, 21% of indigenous males aged 20 to 24 had completed secondary school, compared with 61% of their non-indigenous peers, in 2016. In Paraguay and Honduras, 32% of indigenous people are illiterate. Afro-descendants were 14% less likely in Peru and 24% less likely in Uruguay than non-Afro-descendants to complete secondary education in 2015. On average, 12-to 17-year-olds with disabilities were 10 percentage points less likely to attend school than those without disabilities.” These unfortunate children on the other side of the border struggle with discrimination in their education, which leads them to not qualify for prosperous jobs in the future. In a report published by the World Bank it was determined that the completion rates of lower-secondary school are lower for boys than for girls in most Latin American and Caribbean countries. All these factors contribute to children remaining in poverty, unable to access proper education, and subsequently as adults, they bring up children who also face similar struggles, thus continuing the cycle of poverty. Additionally, the World Bank in Latin America and the Caribbean (2023) states that Latin America was the area most severely affected by the COVID-19 pandemic, which caused many school closures.

It is still challenging to offer these students the education they need and return to normalcy following COVID as a result of the lack of resources in most Latin American countries. Even the kids who are lucky enough to attend school frequently struggle to get enough supplies. In several countries, buying school supplies is not a yearly ritual, and many children are lucky to own a book-bag at all. For these kids, going to school is a hardship in every way, including getting the materials they need for the entire school day.

Finding qualified educators to instruct these receptive minds also becomes difficult, particularly in underprivileged areas where a large proportion of the people lack the necessary skills. Furthermore, children’s transit to the schools is often troublesome due to the rural seclusion in some areas. A report by UNESCO highlighted that “while nearly all children living in urban areas eventually enter the education system, the problem of lack of access to primary education is much greater for those living in the more impoverished rural areas.” Families often find themselves contributing to the truancy of the children, as the students oftentimes forgo attending school altogether due to the family’s inability or stagnation in their efforts. I have seen first hand that often the rural communities are less developed and therefore more impoverished. By giving more focus and resources to something that’s so important, many of these problems could possibly be mitigated over time. These children are their most valuable resource, yet they aren’t receiving the education needed to succeed in life and improve the communities in which they live.

Much of this could be improved by making efforts to fund school infrastructures and guarantee an equitable resource distribution. Everyone should be able to learn, regardless of their financial situation, so more efforts should be made to support children from low-income families and to provide them with high-quality education and whatever flexibility they may require. In order to help these children as well as themselves, the governments of Latin America should take a more serious approach to the problem of inadequate education. After all, as more people receive adequate education, more prosperity will be brought to these nations.

The education of these young people deserves international investments, and even though we reside far from them, we can still contribute by supporting educational initiatives financially and in other ways. Individuals possessing financial resources and power ought to think about investing in something truly worthwhile. Even though going to school can be stressful, knowledge and growth serve as the cornerstone for all future endeavors, and when these things are denied to you, your life’s foundation begins to splinter. We ought to remain strongly committed to education for all because it’s not always a given and those who understand its value should do their part to assist the unlucky ones around the world who lack it.

By Camila Ayala, age 17, Georgia. Having migrated from Honduras as a child, Camila is fluent in Spanish and English. She values family time and her education. Discovering a passion for writing, she dreams of becoming a lawyer to help those in need. Her future is guided by a desire to advocate for justice and compassion.

References:

The World of Table Tennis

The World of Table Tennis

By Viraj Ajgaonkar, age 10, grade 6, Mumbai, India

A strategic game with swift moves
that is played between ones or twos.
To compete in singles or doubles,
is what you need to choose.

Played atop on a mini-playground,
with net across the middle.
Holding a racquet in hand,
you simply hit the ball or fiddle.

There is no room for foul
let the game be fair,
Otherwise, you will be warned
by the referee in chair.

Quite popular by the
name ping pong,
It is every boyhood dream to play
as good as Ma Long.

A long way to learn Lebrun’s
signature style of pen-hold,
If one follows a right technique,
am sure you’ll win a gold.

It is rather difficult to play on
Bobrow’s snake serve,
Be as wise as not to hit hard, just roll
and maintain pure nerve.

Some learn forehand while
others backhand faster,
But you have to be competent
in both to be a game master.

Improved footwork and drill
enhances agility,
Rigorous practice
improves overall ability.

With more and more matches,
you learn to tackle your opponent,
And for a game of table tennis
this forms an essential component.

Advancing from an amateur to
professional level drills,
Day by day you learn
better and better skills.

The ranking of the players time to time
switches up-and-down,
You never know one fine day, you will
receive the winner’s crown.

The game demands focus, patience
and cool temperament,
To play in the event to the
spectator’s amazement.

With hours of daily practice and a stroke of luck
you may find a place in the finals
Rejoicing the moments of triumph
by winning glistening medals!

          By Viraj Ajgaonkar, age 10, grade 6, Mumbai, India. He adds:
”Being a sports-enthusiast and an intermediate level table tennis player, I have tried to pen down the nitty-gritty of this racquet game in this poem using ‘simile’ as one of the figures of speech while comparing the playing surface with a mini-playground! I also like to share the experiences that I have had while playing in different level tournaments and the essential requisites with the special mention of the ‘GOATS’ (Greatest player of all times—China’s Ma Long, France’s Alex Lebrun, and Adam Bobrow, American table tennis commentator whom I greatly adore) through this poem. As a matter of fact, I do have a strong bonding, a feeling of camaraderie with my duo (my racquet-ping pong balls) and one can’t deny the fact that a sport teaches you significant skills and life values even at a very early age!
“I like to venture into varied activities and learn associated skills, which I feel is a life-long process. I envision myself to be a world-class table tennis player and grow up to be a sports coach or may pursue sports medicine! I wish to transform my passion into an initiative that would strengthen the feeling of ‘Love Sports’ in the minds of youngsters or rather every common individual.
”I also do a lot of sketching of famous personalities and exhibit interest in playing musical instruments like tabla and keyboard. I have drawn a sketch of Neymar da Silva santos Jr, a Brazilian professional soccer player as he is a great role model for young athletes. He is humble and gives 100% on the field. He posts funny videos of himself on social media and I relate myself to him as he is hyperactive and playful.”

Neymar da Silva Santos Jr, a Brazilian professional soccer player. Sketch by Viraj Ajgaonkar, age 10, India.

Name the Past for Our Future 

Name the Past for Our Future:

On the Armenian Genocide

By Laurel Aronian, age 17, Connecticut.

In 1915, the Armenian Genocide commenced—the systematic mass murder of 1.5 million Armenians by the Ottoman government. I wrote this poem as a representation of the ongoing effects of the genocide on Armenians; even survivors found their lives uprooted as they were forced to move to other countries and begin from nothing. This poem not only serves to comment on my ancestors’ abrupt relocation from their homeland but also as a reflection on how my opportunity to visit Armenia in 2019 allowed me to return to the place my ancestors unwillingly left behind—metaphorically restoring them to their native land and simultaneously instilling in me an appreciation for a culture and history that I will carry forward. 

“The Land Ahead”

Soot swirls around our footsteps,
the dust from our lives before.
Before, when we lived in the stony 
cliffs of the Caucasus.

With my family who sent me
on my own.
To start a new life.
A life away from those who had taken 
it from us.

The land that my family had lived 
on for hundreds of years was seized.
Bitlis, Diyarbekir, Erzurum, where I had
played in the long grass of the mountains with my brothers.

Luck is what saved me from the massacres.
I do not know 
what happened to my brothers,
who I had left
behind me.

The rocky road ahead is also littered
with dust.
It obscures my vision on all sides. 
I do not know what is ahead of me
or what I have left behind.

The smell of gasoline is strong
as I board the plane. 
I have left my home for the flight,
but will return in a jet 
moving as swift as an Eagle.

The sign above is in letters
I can’t read
Թռիչք դեպի Հայաստան տերմինալ 4A
Only one word is clear to me,
Հայաստան, Hayastan, where my 
second great-grandfather is from 
and where I 
am going.

Back in his day, 
there were no planes,
when he traveled to the US
Alone.

Did he know that his 
great, great-granddaughter would be going to his homeland?
His homeland where he had to leave
his home.

He left his country in the hope
that one day 
the part of him in me 
could return.

By Laurel Aronian, age 17, Connecticut. She adds: “I love to write in all genres (poetry, prose, journalism). I also enjoy taking photos and creating art. I have a passion for music and perform as a singer-songwriter and accompany on guitar. When I’m not writing or making music, I play competitive chess. My pieces also reflect the awe of nature, earth stewardship, and our planet’s majesty and magic.”

PS: Laurel entered the poem for our 2023 Youth Honor Awards last year at the age of 16.

Art in the Time of War: The Children of Zaporizhzhia

Art in the Time of War:  The Children of Zaporizhzhia

By Svitlana Budzhak-Jones, President, Sister’s Sister, Inc.

“Zaporizhzhia” by Yuriy Martynov, age 13, Ukraine.

The unprovoked, brutal war against Ukraine sadly has entered its third year. It has brought much destruction and sorrow to the people of Ukraine. Millions were displaced internally. Millions became refugees elsewhere in the world. Countless Ukrainian children have lost their homes, have difficulties in accessing education, health care and even basic necessities such as drinking water. Bomb shelters and cellars have replaced their rooms, metro benches have become their beds, and air raid sirens on a daily basis drone instead of school bells. While many Ukrainian men and women actively fight on the battlefield for their country, culture and independence, others stay dedicated to the children who remain in Ukraine.

The Central Southern city of Zaporizhzhia is under constant artillery shelling and aerial bombing. But the Center for Children’s and Youth Creativity in the city continues to operate, and attempts to create a safe space to safeguard the children’s childhood. The Gradient creative Computer Design Circle at the Center has not closed its doors even when its teacher Ms. Nadiya Chepiga was forced to flee Ukraine to Poland in the first months of heavy enemy assaults on the city. Ms. Chepiga then continued to work with her students online for the entire year before returning back to her home city and to her students.

The Gradient Circle is now in its thirteenth year of operation. Hundreds of children between the ages of 6 and 17 have learned to create beautiful art there and connect with their inner spirit, bringing them one step closer to becoming professional graphic designers and artists. The Circle creates a comfortable environment for shaping children’s creative abilities, meeting their individual needs for intellectual, moral, aesthetic, and creative development, shaping a culture that includes a healthy lifestyle and organizing their free time. The children learn the principles of drawing art objects, creating drawings and 3D images, acquiring skills in making artwork in various media and styles, learning the basics of graphic design, creating postcards, posters, calendars, and memorabilia. The children search for their individual style of work and aesthetic preferences, develop their creative imagination and fantasy, learn to take creative initiative, and develop their independence.

The Circle’s founding director and teacher Nadiya Chepiga is a creative artist herself, who has implemented numerous creative projects with her students, has helped them realize their creative vision and brought them to life, and trained hundreds of creative individuals. Despite the ongoing war, the students and their teacher continue participating in various nationwide Ukrainian and International competitions as well as in art exhibitions.

Life goes on even in the extremely challenging circumstances created by the war. The students and their teacher continue meeting twice per week. Frequently, instruction needs to be done online because of constant air raid warnings. But on Sundays, the students try to meet with their teacher in person in the Center. And if an air raid siren goes off, they seek cover in the basement (see below) or in corridors where they continue their lessons. Since the enemy missiles and bombs focus on destroying power plants, there is usually no heat, and the students wear winter coats and jackets during their lessons. Yet they enjoy their meetings and continue creating beautiful, original works of art.

Gradient Students Continue with their Art Classes in the Institute’s Basement.

Fifteen of their art creations were exhibited by the humanitarian aid organization Sister’s Sister (www.SistersSister.org) in State College, Pennsylvania on March 23, 2024 during a benefit concert for Ukraine. Sister’s Sister provides humanitarian support to the Ukrainian people, particularly to children, hospitals, orphanages, and the disabled in Ukraine, including State College’s sister city, Nizhyn, located in the Chernihiv region. The artwork exhibited at the concert was created by the students and enhanced with computer graphics under the supervision and guidance of their teacher. Their work draws, in part, on Ukrainian art, famous for its folk traditions and exquisite embroidery, the red and black threads of which represent happiness and sorrow. Sadly, there is too much of the black threads of sorrow in these difficult times for the children of Ukraine, while Nadiya Chepiga, whose first name means “hope,” brings hope to the children of Zaporizhzhia through art. For more information, please visit the websites linked to the QR codes below:

The children’s creativity will continue to be realized despite the nearly impossible conditions and their spirit will remain indominable!

 

 

 

By Svitlana Budzhak-Jones, Ph.D., President, Sister’s Sister, Inc. (www.SistersSister.org) 

Hummingbird by Artem Lopatyn, age 10.

“Mystery” by Yeva Pavrianidis, age 10

“Free” by Zlata Khalayim, age 10.

“Music Inspires” by Vyacheslav Sukhanov, age 14.

“Autumn” by Oleksandra Patoka, age 9.

“Thoughts” by Danylo Yerokhin, age 16.

“I Am Ukraine” by Danylo Yerokhin, age 15. The central figure in color is represented by a traditional Ukrainian embroidery against a large city background. The Ukrainian text above says: CONVENTION ON THE RIGHTS OF THE CHILD (left corner), and in the right corner, Article 30. A child has the right to enjoy his or her own culture.”

“Zaporizhzhian Oak Tree” by Edik Boitsev, age 13.

“Lord of the Forest” by Danylo Yerokhin, age 16.

“Ukraine, the Bountiful” by Kateryna Yuhayeva, age 14.

“Ukraine Right Now” by Polina Pustovit, age 17.

“The City in Your Head” by Danylo Yerokhin, age 16.

“Unity” by Polina Zakharova, age 12. The poster says: “The Responsibility Starts with Me.”

“Lviv” by Oleksandra Chepiha, age 12.

“Ocean Dweller” by Artem Panov, age 13.

“Mars” by Danylo Yerokhin, age 16.

 

“Ukrainian Village” by Danylo Usenko, age 12.

“Hare” by Oleksandra Vasyliyeva, age 10.

“Kitty” by Diana Kardinal, age 9.

 

Memories of a Guava Tree

Memories of a Guava Tree

By Dawson Yee, age 13, grade 7, California.

My grandmother’s hands reach for my face
Feeling to be sure I am the child she remembers
Her mind has only enough space
for past Decembers.

My mother, father, and aunt turn in surprise
Her knotted hands grip my shoulders in recognition
With a teasing crinkle in her eyes
she calls my name, an intermission

Three years ago, she gave me a white guava seedling
With hardy red stems and elliptical leaves
She explained what it was needing
Learned from years of shielding it from disease.

Afterwards, she ushered me into the guest room, where she unearthed treasure:
An embroidered Japanese trinket box, a logic puzzle, an old plush toy
Her smiling eyes watched my curiosity with pleasure
As she entered the absurdly colorful world of a little boy.

But now we sit together watching nature shows
And she is like a sailor disappearing into a storm.
I can see her boat sinking but I’m not sure she knows
she’s lost her tiller and our roles will transform.

A logger chopping a tree flashes on the screen
She worries for the animals inside, knowing they are doomed.
I reach over her frail figure and push the remote to intervene
I tell her that our guava has finally bloomed.

—Dawson Yee, age 13, grade 7, California. Dawson writes:

“I see creative writing as a puzzle of wisdom. I’m 13 years old and in 7th grade but take high school English and philosophy at a local independent school. 

“I’ve also adored challenging myself to understand the symbolism behind not only prose such as in magical realism, but also the figurative language in poetry. When I recently analyzed “Boy and Egg” by Palestinian-American poet Naomi Shihab Nye, I found that searching for evidence of Nye’s purposeful line breaks and sound devices to convince a reader she was contrasting the innocence of a childhood immersed in nature versus the chaotic world to be beyond satisfying as a puzzle to solve. 

“I use my heritage as a third-generation Asian American to inform my writing, as it is an important part of how I view the world. I also write with an eye to health, both physical and mental, as I personally have several life-threatening allergies as well as Mass Cell Activation Syndrome, which shape my view of the world. My maternal grandmother, who recently passed away from Alzheimer’s disease, provided the basis for my poem “Memories of a Guava Tree.” In addition, I am influenced by my parents’ experiences as second-generation Americans growing up in predominantly non-Asian rural and inner-city U.S. communities and by my grandparents’ stories of the immigrant experience and their childhoods wrenched by memories of war and poverty. 

“I’m also an Event Coordinator for an online, international Asian American youth writers’ collective, Asian Youth Writers Alliance (asianyouthwritersalliance.com). In the writing groups that I’ve found surrounding these events and projects, where my classmates and fellow writers are insightful and tactful, I feel I have the space to put the puzzle of wisdom together. I would love to connect with a multicultural and global community of young writers who share the same values as these online initiatives. In finding literary magazines like Skipping Stones to share my writing, I realize more and more that I’m truly searching for the exact kind of wisdom and togetherness it provides.”