Utilising the body as the primary medium, this project delves into the parallels between dining traditions and the approximately 385 years of colonisation in the Philippines. “Azul” meaning blue, is a table setting display of white painted banana leaves with blue ink traces of the hand markings as the ritual of Kamayan-style dining is performed. It serves as an interactive installation prompting viewers to gather around the table, engaging in the ritualistic experience. Furthermore, the use of blue ink enables the project to challenge and decolonise eating practices by dissecting the series of repeated intricate hand movements involved in eating directly on a banana leaf; this examination underscores the cultural and identity significance of this method.This is further explored in “Kamay”, meaning hand, which is a study of Javier’s hand mould as she dissects her hand’s spreading, carving and gliding nature during the ritual. The blue ink is carefully poured over the white mould tainting the pure sculpture. As a result, the blue ink becomes the focal point against the all white casted hand moulds and painted banana leaves. This enables the viewer to ponder on the movements of the ritual and its reference to colonialism. The project illuminates the disconnection that often occurs during meals, attributed to societal dining norms, encompassing tableware arrangement and seating protocols. Consequently, this dissociation contributes to a detachment from the cultural rituals associated with cooking and food consumption.

Before the introduction of metal cutlery during the pre-colonial era in the archipelago, the prevalent method of eating was the “Kamayan” style – involving the consumption of food with bare hands, typically on banana leaves where the diners are stood in an informal and non-hierarchical manner beside each other. The banana leaf served as a communal and expansive plate spread across the table, cultivating an intimate dining experience. Despite not aligning with the dining etiquette imposed by the Spaniards and Americans, Kamayan persists as a prominent dining approach in contemporary times, with Kamayan-style restaurants widespread in the Philippines. Some argue that the conviviality and physicality inherent in this primal method of food consumption are unparalleled compared to the experience of eating with metallic utensils. Through the direct physical interaction and connection between hands and food before consumption, Javier views the sensory pre-colonial way of eating as an art form – a crucial tool for her to establish a sense of belonging and delineate the idea of home.

Azul embodies the essence of communal dining, offering a shared space for experiencing food within a community. This practice distinctly mirrors the hospitality ingrained in Filipino culture and underscores the pivotal role of food in society, serving as a link to individual identity.