In the narrative of the Marcos family’s return to prominence, museums are regarded as having a lesser impact compared to other institutions. Enthusiasts of history acknowledge the long-standing involvement of the Marcos family in establishing and managing museums. Bongbong Marcos harbored aspirations of becoming an artist in his youth, a fact highlighted by a tour guide at the Malacañang of the North, where his paintings are still exhibited. Today, I discovered that three mansions within the Malacañang complex have been converted into presidential museums: Goldenberg, Teus, and Ugnayan, with the latter exclusively serving as a repository for Bongbong Marcos artifacts. Approximately a year ago, a former colleague invited me to undertake contractual work for these museums, which were then in the process of being refurbished. Although unaware of the specifics of the role or their plans, the opportunity to access the material piqued my curiosity. However, after a single Zoom call, I realized my political convictions and conscience, albeit not robust, were sufficient to classify me as a security risk. (And if you haven’t realized yet, this is a joke).

In contrast, Leni Robredo had previously established a museum in a modest pre-war house in Quezon City, which has grown through donations and where she also has offices. This museum, unlike those associated with the Marcoses, reflects a different approach and ethos. My fascination with this trend of museum creation, particularly in heritage houses, contrasts with the American tradition of housing presidential museums in newly constructed buildings designed by renowned architects, typically years after a president’s term has concluded. One of my lectures at Ateneo discussed how the Louvre preserved images and statues of kings post-French Revolution, unintentionally or intentionally safeguarding them for potential future restoration.

See the video below and tell me what you think?