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The multicultural person is, at once, both old and new.
The interlinking of cultures and persons in the twentieth century is not always a pleasant process; modernization and economic development have taken heavy psychological tolls in both developed and Third-World countries.
First, the multicultural person embodies attributes and characteristics that prepare him or her to serve as a facilitator and catalyst for contacts between cultures.
It is the "stuff" of both personality and culture.
The multicultural style of identity is premised on a fluid, dynamic movement of the self, an ability to move in and out of contexts, and an ability to maintain some inner coherence through varieties of situations.
Fifth, and finally, the multicultural person may take ultimate psychological and philosophical refuge in an attitude of existential absurdity, mocking the patterns and lifestyles of others who are different, reacting, at best in a detached and aloof way, and at worst as a nihilist who sees negation as a salvation.
Culture to me is what made you the person that you are today.
Especially in societies, where youth is vulnerable to the fabricated fads of contemporary world culture, the multicultural identity can give way to a dilettantism in which the individual flows, unimpaired, uncommitted, and unaffected, through social, political, and economic manipulations of elites.
"The neurotic," he writes, "and the artist--since both live out the unconscious of the race--reveal to us what is going to emerge endemically in the society later on...the neurotic is the 'artiste Manque,' the artist who cannot transmute his conflicts into art." The identity process of the multicultural individual represents a new kind of person unfettered by the constricting limitations of culture as a total entity.
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The multicultural person, like Robert J.
All Filipinos in Louisiana speak English and are familiar with American popular culture, but there are several factors that help Filipinos to remain connected to the islands and to their culture. Many Filipinos remain in close contact with friends and family members who live in the Philippines, and visit regularly. Children, even those who do not become fluent in Tagalog, at least learn some traditional songs and expressions, and pick up some of the language if their families visit the islands. The current popularity of traditional-pop fusion and traditional dance has young people interested in learning from their elders. The large number of Filipino organizations in Louisiana, which support Filipino enterprises in the United States and the Philippines, gives residents a variety of ways in which to be involved with other Filipinos and with causes of importance to the larger community. Like all of the Filipinos interviewed for this essay, Hermie Urcia expressed thankfulness to all of those individuals (more than could be named in this essay) who spend their available time organizing Filipino events and sharing the culture:
All persons are, to some extent, culturally bound.
From the earliest history of Filipino immigration, we have been able to preserve our identity through food and through language. When Filipinos began to live in neighborhoods with other people, and because of their jobs, they wanted to rise on the ladder of success. As far as the social heritage, they had to preserve it as Filipinos. They had to be successful in the general population and also to remain part of the smaller community— it is a balancing act between the public and private life. The thing that would symbolize the Filipinos might be the tinikling— the dance between the bamboo sticks, learning to move in and out of the two worlds with good grace, courage, and humor.
First, the multicultural person is vulnerable.
The technique is as follows: two sections of sturdy but pliable bamboo, about 8 to10 feet in length, are placed parallel to each other on the ground. At each end, a person who has good arm strength and understands the dance sits cross-legged on the ground holding the ends of the two poles. The poles are then struck together in time to the music. Two dancers stand to one side of the poles. After a brief musical interlude, during which the dancers become familiar with the beat of the music, the female dancer gracefully gathers, in one hand, enough of her balintawak or patadiong skirt to allow her feet room to maneuver, and the man, dressed in the traditional barong tagalong, places his hand on his waist. They hold these hand positions during the dance. The dancers may perform a waltz step, as a sort of salute to their partner, then resume their starting places alongside the poles.
Two final points might be noted about the multicultural personality.
No one has better stated this possibility than Harold Taylor (1969), himself an excellent example of the multicultural person: "There is a new kind of man in the world, and there are more of that kind than is commonly recognized.
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