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I was born in a little village in the Philippines, in the southern part of the Philippines, a village called Tigbauan in the province of Iloilo, on Panay Island. It’s about an hour south of Manila. I am the sixth child in a family of seven children.
The legend of my birth is that, when I came to term mother was alone in the house and I was ready to be born and nobody was around to help. The only person around was a half-blind elderly man next door, who of course came to our nipa hut – we lived in a hut with a thatched roof, thatched grass and bamboo walls and bamboo slat floors – and this man came and helped my mother deliver me. The story goes that he had to catch me in a coconut husk. So this was a propitious sign of my birth. We were a family of meager means with a lot of children. But at the time you could go to the city and claim space on the beach, because there are a lot of beaches in the Philippines and these were essentially squatter areas. The government would not throw you out, so that you could squat, claim a space, build your hut. My father built a nipa hut, a house on stilts in the water, in Iloilo. I was under three years old, but I remember that the nipa hut was taking shape and my father took a little stool, like a bar stool, and stood on it and wrote on a beam just above the door between what was to be the living room of the hut and the dining area. He wrote the date, 1966. That’s the date that we moved into this house. And so that’s the beginning of my life. Astride T. 2000 |
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I’ve always known that I was going to be an artist, from the time I was a little kid. I really enjoy expressing myself visually. From the time I was little, I noticed things that other people didn’t notice. And I was fascinated by those things ... One of my earliest memories, when I was three or four years old, was at the change of seasons in the fall, when you see the leaves go from that dark green to the light green, to yellow, to orange, to red. All at the same time. And all of a sudden I’d start to see patterns and notice things that, you know, would touch me inside. I’d stand and stare for a long time, and people would think I was staring off in the distance. I guess I was enthralled by nature... I don’t know exactly how to explain it, but the world around me took on more than just the five tactile or physical senses. It was something that turned inside me.
As a little kid I would draw and draw and draw. It was just something that I was trying to let out. The Flow. I didn't call it flow then, but I noticed that I looked at things longer and more intensely than other people. I had this, perhaps this art vision or art sight. It was not only visual but tactile. I would touch things, like the veins of a leaf ...you know, one side of the leaf is smooth and the other side has the veins. I would say, “Why isn’t it the same on both sides?” I had a lot of questions, and I took joy in the process of asking, “Oh, look what this does!” It’s pretty hard to narrow this way of observing down to any one thing. It was more experiential, and I think it came with me when I was born. It came from God somewhere.... Warren A. 2004 |
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I was in born in rural Mississippi. My family was a sharecropping family. It was joke that the depression came and went in my town, and nobody noticed, it was that poor. We had very little. There were five children living at that time, and I am the youngest of those five. Three of us survive now.
For a variety of reasons it was decided that I would be given to a great-aunt to be raised, and so she came to the country to get me. I was about four years old, as much as I can remember and piece together, and I recall they came in a car. I left there in a little flour sack dress. We went to New Orleans where her husband had relatives, and I'm reminded of the extent of the poverty and deprivation I lived in, because when we got to the relative's house, they were having dinner. They had fried fish and spaghetti for dinner, and they put it on a plate. I had never eaten on a plate before, because we would get our food on those little tin pie pans. And you'd take your food -- nobody in the house had read Emily Post -- and you'd find a place on the floor to sit and eat with your fingers. So when I took this plate, the feel of it was different, and I went to sit on the floor and my great-aunt, who at this moment is now my mother, reached and took my arm and said, very gently, "We don't do that any more." And so for the first time I sat at a table and tried to maneuver using a utensil to eat with. Catherine S. 1999 |
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I was born July 6, 1930 in Tbilisi, Georgia. Both my parents were Armenian. My parents were survivors of the genocide of 1915 in Turkey. My father was an actor and my mother was a teacher. I had four brothers, but three of them died and only one survived. His name was Andronik. He was the oldest, and he was an actor, too, in Tbilisi. In the genocide the Turks killed my grandfather. He was a lawyer and they killed him. Almost all of my father's family was killed. They captured my grandmother and sent her to a camp in Turkey. My aunt, with her two children, jumped from the bridge not to be in the hand of Turks. My other aunt just disappeared . In Georgia in 1949 the KGB started arresting Armenian families, whole families and putting them in trains - cattle cars. All the intelligent people were disappearing. Poets and artists and writers, and many of our teachers, were disappearing, just disappearing. After a while we learned that they had been imprisoned. When the KGB started acting this way, all of my family was worried because we were different, like those who were disappearing. My brother was really worried. As an Armenian man, he was concerned about what was happening all around him, not only to Armenians. They were catching some Georgians, too. My brother knew that they would eventually arrest him, too. He said if we don't do anything, we can't change anything. He decided to print brochures warning people to be careful. He denounced what the KGB and government were doing, crying out that it was not right. He warned that if they continued the day would come when they will answer to the people for what they did. In the mornings and late at night he would put these brochures on walls around the neighborhood. After that he started going to theaters and to cinemas. In the middle of the show he'd just throw the brochures from the balcony. I think that he was right in what he was doing. He was the one. There needs to be one to tell the government and the KGB that they were not doing right, and he was the one who did that. He knew that they would catch him. He sacrificed himself for the nation, not only for Armenians. Most of the time he was writing, he wrote not only for Armenians, not only for Georgians, but for all the people of the Soviet Union, all nationalities, not only for Armenian. At the time [my brother was arrested] I was in living in another area, teaching school, very far from Tbilisi. One day the KGB came into the town. There were no telephones. I didn't know what was happening in Tbilisi, what was happening with my family, with my brother's family and my mother. Two days after my family had been arrested, the KGB came to the village where I taught school, and they arrested me. I was in the middle of my lesson. They just came into my class and they took me away. I was arrested in November of 1951, and arrived in the Gulag on October 12, 1952. It took three days going from Moscow to Siberia, three days without stopping, to get there. I was very tired and very depressed. All my family was arrested, but I was the only one who got only ten years. Ten years in the prison, and five years probation in the same town, not having any rights. I asked them to please let me say goodbye to my mother. They didn't let me. Tsobinar T. 1997 |







