Rediscovering José Rizal: Beyond Monuments and Textbooks

Filipinos recognize José Rizal as a prominent figure, often seen on coins, monuments, streets, and textbooks. The speaker aims to present a more nuanced understanding of Rizal, encouraging a deeper exploration beyond the conventional image shaped by decades of historical narrative.

The speaker recounts a formative experience from childhood when his father took him to Luneta, introducing him to Rizal. A pivotal question posed by his father about Rizal's winter coat in the tropics sparked a lifelong curiosity and a career in public history, emphasizing the importance of asking 'why' rather than just 'who, what, where, when, and how.'

The speaker discusses his book 'Rizal Without the Overcoat,' published over three decades ago, which faced initial resistance for challenging traditional views of Rizal. The book encourages readers to consider Rizal from a different perspective, highlighting that questions can be more significant than answers in the pursuit of knowledge.

The discussion shifts to the attire of José Rizal, noting that while he is often depicted in a coat, he did wear traditional Filipino clothing. A Philippine postal stamp features him in a barong tagalog, and a historical reference reveals that he wore this attire during a carnival in Madrid in 1883, drawing significant attention.

While exploring materials at the Berlin Ethnographic Museum, the speaker discovered an unpublished letter from Rizal that included a packing list of items sent to the museum, which featured various clothing items, including a pina barong and a salakot made of carabao horn and silver. This salakot, described as a holy relic by the speaker, symbolizes a personal connection to Rizal's heritage.

In 2021, marking 160 years since Rizal's birth and 125 years since his death, the speaker asserts that Rizal's legacy remains relevant and far from outdated. Continuous inquiry into Rizal's life reveals new insights, reinforcing the idea that the study of historical figures is an ongoing journey rather than a completed destination.

The speaker poses critical questions about the role of monuments in understanding history and heroes, setting the stage for a deeper examination of what these structures teach us about the past and the figures they commemorate.

The discussion highlights the global presence of monuments dedicated to José Rizal, with specific examples including an exact replica of the Lunetta monument in Madrid, Spain, and another monument in Xinjiang, Fujian Province, China, built near the town of Rizal's ancestors. The speaker notes having seen Rizal monuments in various locations such as Honolulu, Canada, Tokyo, and Singapore, emphasizing their role in commemorating Rizal's legacy.

The first Rizal monument was unveiled on December 30, 1899, in Marinduque, Philippines, characterized as a simple obelisk without a human figure. This early monument reflects the Filipinos' recognition of Rizal as a hero long before American influence. The speaker elaborates on how monuments serve as representations of historical figures and events, constructed from durable materials like stone, cement, bronze, and marble, with examples of elaborate designs in places like Binyan, Laguna, and Dumaguete.

While monuments are intended to help people remember historical figures, they can paradoxically lead to forgetfulness. The speaker argues that as monuments become commonplace, they are often overlooked, resulting in a 'fossilization' of heroes like Rizal. This phenomenon necessitates a conscious effort to revive their significance in contemporary memory. The speaker illustrates this with various depictions of Rizal in different monuments, including a wedding cake design in Zamboanga and a simple bust in Burnham Park, Baguio.

The speaker recounts an experience in Santa Barbara, Iloilo, where a local tourism officer was unable to explain the significance of a monument featuring Rizal alongside four other figures. This highlights a broader issue where even those living near these monuments may not fully understand their historical context. The discussion also touches on a controversial monument in Katbalogan, Samar, which gained viral attention due to its provocative depiction of Rizal being carried by three naked men, symbolizing the three major island groups of the Philippines: Luzon, Visayas, and Mindanao.

The speaker shares a personal anecdote about encountering Rizal's rosary, donated by Father Jose Cruz, a descendant of Rizal's sister Maria, during high school. This experience shifted the speaker's perception of Rizal from a distant historical figure to a relatable human being, emphasizing the importance of viewing historical figures as complex individuals rather than mere symbols. The speaker reflects on how this encounter influenced their understanding of Rizal as both a man and a hero.

The speaker recounts meeting descendants of Carmen Guerrero-Khrushnakil, who married into the Rizal family during the war. They shared firsthand accounts from Maria Rizal, the hero's sister. The speaker also met descendants of Paciano and Narcissa in Los Baños, at the home of Rizal's brother. The photograph mentioned features Austin Coates, Rizal's British biographer, not a relative. The speaker learned to refer to Rizal as 'Lolo Jose,' symbolizing his role as a father or grandfather figure to the nation, deserving of affection and understanding.

During a visit to the Lopez Museum to evaluate the Rizal collection, the speaker, accompanied by a student, examined Rizal's handwritten letters. They focused on the content, size, and condition of the paper. Notably, one letter bore a lip mark, suggesting Rizal kissed it, while another had a fingerprint, providing a tangible connection to the national hero. The speaker humorously noted that if Rizal sealed letters with his tongue, it could imply the possibility of cloning him, emphasizing Rizal's humanity.

The speaker highlights Rizal's sense of humor, referencing a drawing in the National Library that depicts a farting man, which is not included in textbooks due to its irreverence for a national hero. This anecdote illustrates that Rizal had a playful side, contrasting with the serious image often portrayed in history.

The speaker discusses a photograph believed to be of Emilio Aguinaldo and his family, which was grainy. However, a clearer version found in the Library of Congress revealed it to be a picnic in Paris around 1889, featuring Rizal among other Filipinos, including Juan Luna and his wife, Pardo de Tavera. The photograph captures Rizal in the center, slightly blurred, indicating his lively presence during the event.

In Luna's studio, the group engaged in playful activities, including a reenactment of Luna's painting 'The Death of Cleopatra.' The speaker describes a photograph showing prominent figures like Felix Hidalgo and Juan Luna posing behind an empty picture frame, showcasing their camaraderie and the lighter side of their historical context.

The speaker highlights a humorous side of José Rizal, showing a photograph where he wears a funny hat, reminiscent of a piano shawl. This contrasts with the typical serious portrayal of Rizal in textbooks. The speaker mentions another image of Rizal and fellow heroes, including Félix Hidalgo and Pardo de Tavera, enjoying a meal together, which humanizes them and reveals their ordinary, jovial nature.

Rizal's image appears on the one peso coin, symbolizing his status as a national hero, while other figures like Rojas and those on the 1000 peso bill are mentioned. The speaker reflects on Rizal's branding, noting his presence on various products, including pre-war cigarettes and matches, and even a discontinued beer named 'Cerveza Rizal.' This illustrates how Rizal's legacy permeates everyday life in the Philippines.

The speaker discusses Rizal's omnipresence in Filipino culture, from hospitals named after him to the final resting places, emphasizing that Rizal is everywhere yet often overlooked. A survey from 2011 revealed that 75% of respondents considered Rizal a genuine hero, while other figures like Andrés Bonifacio received only 34%. This indicates Rizal's enduring significance in the national consciousness.

In 2011, a survey indicated that 82% of respondents identified José Rizal as the national hero, with Manny Pacquiao following at 2.8%. The speaker notes the surprising number of people unaware of who the national hero is, highlighting a disconnect in public knowledge. The speaker reflects on the irony of Rizal's status as a national hero, suggesting that despite his prominence, many Filipinos do not engage with his extensive writings, which remain largely unread and poorly translated.

The speaker discusses the burial instructions of José Rizal, emphasizing his preference for being buried in 'Cemeterio del Norte' and specifically in Lunetta. Rizal requested a simple tombstone with only his name, date of birth, and date of death, and he explicitly stated no anniversaries should be celebrated. Despite this, for nine years, the speaker, as chair of the historical commission, accompanied the President of the Philippines in laying wreaths in honor of Rizal, who had requested no celebrations.

The speaker urges the audience to engage with Rizal's writings, noting that few people, aside from scholars, read his works. He highlights that Rizal was a complex human being, not perfect, and that understanding him through his writings reveals his greatness and humanity. The speaker reflects on a recent discovery of an app that animates old pictures, which raises concerns about the potential for misinformation and deep fakes, particularly in how historical figures like Rizal are represented.

The speaker questions why historical heroes are often depicted as male, old, and deceased, pondering the relevance of such figures in contemporary society. He suggests that while modern heroes may not resemble Rizal, they still exist and inspire. The speaker emphasizes that reading Rizal allows us to see him as a relatable figure, transcending his challenges and embodying the Filipino capacity for greatness, regardless of his appearance or the era in which he lived.