Dino Ignacio and Rex Navarette: Maritess vs the Superfriends

Rex's type of comedy seems to echo what many of us have witnessed in our communities, as Americans who identify with Filipino roots. He himself although born in the Philippines was raised in America, giving him a somewhat skewed sense of identity, unique to those who identify as Filipino-American. I often find myself in a similar situation being born in the US to a family from the Philippines.

In “Maritess and the Superfriends” he acknowledges the plight of the overseas worker, which touches on the idea of the Filipino Diaspora and also the fact that one of the biggest exports from the Philippines happens to be its labor force. Inevitably, I believe that this often gets people to better understand the cultural traditions and mindsets of the Filipino American. Because, in my experience, those who are on the outside of this tradition often believe that latching American on to Filipino in someway diminishes our ties to our family history and legacy. More specifically, I believe that at the heart of this piece is Rex’s ability to address the familial bond and sense of duty that is inherent to our cultural upbringing (in "Maritess'" reference to sending money back to her family). He brings this reality to life through comedy and thus makes the at times controversial and somewhat stereotypical topic easier to talk about while building social connections with those who have similar experiences.

Additionally, Dino utilizes new media, in Flash, to not only create a visual representation but also produce something that is reflective of how he relates to the topic of the Philippine laborer. In doing so he adds another layer of discussion to Rex’s dialogue, and in a way helps create answers to the question of “what is the Fil am experience?”