Cultural Society of Filipino Americans of Minnesota (CSFA)

The Cultural Society of Filipino Americans of Minnesota (CSFA) was founded on September 17, 1972, when forty-two Minnesotans signed its constitution and by-laws. They adopted as their mission the preservation and sharing of Filipino customs, culture, and traditions. To realize that mission, they organize dance performances, social gatherings that offer traditional Filipino fare, educational opportunities, fundraising efforts, and disaster relief events through their own Disaster Relief Fund.

Filipino immigration to the United States began in the 1940s, with most people coming as laborers. However, nearly all of the original stateside Filipino immigrants in the 1960s and 70s came to the US through working visas. Many were doctors, engineers, nurses, and other professionals. Most of them came to the West Coast, East Coast, and Hawaii; very few came to Minnesota. The ones who did faced the challenges of adjusting to a new place, adjusting to American culture, and surviving the cold climate as soon as their airplanes touched down on the tarmac. Seeing snow fall for the first time was an emotional event that some have called “mesmerizing.” Many of these newcomers gathered to participate in CSFA's first in election, held in Minneapolis, as well as its first induction ceremony, held in Robbinsdale.

Compared to those who came in the 1970s, the Filipino immigrants of subsequent decades were more diverse in their career paths, economic status, and education. In response, the CSFA cultivated an “all are welcome” vibe. Many second-generation Filipino Minnesotans did not know how to speak their native tongue, which created a verbal culture “lost in translation.” First-generation adults also needed to fulfill a psychic need to recreate a “village” in which to raise their families. Thus, the CSFA adjusted its cultural preservation work to serve multiple demographics.

The CSFA has many programs for its members to pick from. Philippine Day, a public event, brings dozens of vendors and presenters to Maplewood Aldrich Arena for on-stage performances of singing, dancing, modern and traditional fashion, and martial arts. There are vendors of traditional Filipino food, international shipping services, Filipino organizational outreaches, and clothing. Tagalog classes teach the national language, bridging cultural gaps between American-born children and spouses. Pasko sa Nayon brings the special feeling of how Christmas is done in the Philippines. There, children travel across entire neighborhoods while caroling to receive coins—much the same way American kids go trick-or-treating on Halloween for candy.

The Filipino dance showcase called Pamana, which occurs once every four years, is the CSFA’s premier event. Being an archipelago of islands, the Philippines has regionally distinct cultures. Natives of each region have regional pride and appreciate individual recognition. In accordance, the dances of Pamana are divided into four sections: the Cordillera suite; the Sarimanok suite; the Abanico suite; and the Sa Nayon suite.

The Cordillera suite depicts the rituals and pageantry of the mountain tribes of the northern Philippines. It is characterized by the pounding rhythms of drums as well as intricately woven loin cloths, headgear, and skirts. The Sarimanok suite depicts royal weddings, war dances, and the rituals of the Philippines’ Muslim minority. It culminates in an iconic crossed long-stick dance that implies impending danger, even to the dancers’ feet.

The Abanico suite highlights the elite, aristocratic class that ruled the Philippines during the Spanish colonial era (1521–1898). It features languid, candle-lit waltzes, Castilian-influenced costumes (including Maria Clara dresses with flared sleeves), and string orchestra music. The Sa Nayon suite portrays the lives of farmers, fisher-folk, and other peasants as they experience the joys and frustrations of daily rural life. Music is set to sounds from materials indigenous to the Philippines, such as bamboo sticks and coconut shells. The male Maglalatik dancers wear six coconut shells and loin cloths to depict friends dancing and drinking together.