A memorial, not a playground.
A wave of public backlash has swept across social media and local communities after the controversial repainting of the “Surge of Hope” memorial, a tribute to the victims of Supertyphoon Yolanda (Haiyan), which devastated parts of Eastern Visayas in 2013.
What was once a solemn, monochromatic monument now stands in vivid hues of blue, red, green, yellow, and orange—changes that many say have disrespected the memorial’s original intent and emotional gravity.
The monument, located in the main road junction of Barangay Calogcog, Tanauan, Leyte—one of the hardest-hit areas during the typhoon—was originally designed to evoke collective mourning and resilience.
Its minimalist, white-and-beige design depicted abstract human figures climbing a towering arch, symbolizing lives swept away by the deadly storm surge and the hopes that followed.
However, the recent repainting, apparently done without public consultation or prior announcement, transformed the sculpture into a riot of color.
While some claimed it was part of a beautification and preservation effort, the reaction from Yolanda survivors, artists, and the general public has been overwhelmingly negative.
“A Slap to Our Grief”
“For many of us who lost family, the original sculpture spoke of dignity and silence,” a local resident told OpinYon 8.
“The new version looks like it’s celebrating something—it feels like a slap to our grief.”
Images comparing the original and repainted versions quickly circulated online, sparking outrage. Critics argue that the colorful repainting trivializes the immense loss the region suffered and turns a solemn space of remembrance into what some described as “a children’s playground.”
“It’s now devoid of the emotional tone it once carried,” a local artist shared.
“It looks cheerful—almost festive. But there is nothing cheerful about what that sculpture stands for.”
For many, the shift in aesthetic represents more than a simple design choice—it undermines the symbolic power of public art as a carrier of shared trauma and healing.
Several have called for the restoration of the original design and for future modifications to undergo public consultation and vetting by heritage professionals.
Officials on the Defensive
Eugene Ramos, General Services Officer (GSO) of Tanauan, offered his side in response to the backlash, explaining that the repainting was not intended to disrespect the memorial but to keep its message alive.
“Nagpakiana po ako ha iba-iba nga tawo if painting hit iba-iba nga color hit mga istatuwa will be okay, para maging buhi po hiya ha aton mga kasing kasing after han Yolanda. Tanan po positive man ira baton, in fact an siyahan po iton nga color is beige, mayda po nag suggest since tapos na daw po an kompleanyo, kon pwedi different colors para buhi hiya pagkitaon para liwat buhi daw hira ha kasing-kasing ha mga na biktima han Yolanda, deri po para maging Festive kundi maging Buhi hira ha aton kasing kasing,” Ramos explained.
“Depende po siguro hit aton pag karawat, pag intindi or pag interpret hit colors.”
Despite his explanation, many netizens and residents argue that aesthetic decisions regarding memorials—especially those steeped in deep tragedy—should be approached with cultural sensitivity and broader community input.
More Than Just Paint
At its core, the outrage over the repainting is about more than aesthetics.
It is about memory, mourning, and respect. The “Surge of Hope” was created not only to honor the lives lost but to help the living find meaning in their pain.
“Changing how we remember is as dangerous as forgetting,” netizen Hannah commented. “That sculpture is not just art—it’s a gravestone for thousands.”
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