Sculpting Courage Brings Forgotten Filipina WWII Hero to Life in Dallas Exhibit

At the Museum of Asian Texans, a new sculpture exhibit honoring Magdalena Leones draws Filipino American community voices, sparking conversations on history, representation, and the need for a cultural center in North Texas

By André Averion, Communications Chair

Published May 1st, 2026

In a quiet gallery space filled with bronze and memory, the story of a largely overlooked Filipina war hero found new life.

“I’ve been really sitting with the story of Magdalena in the context of everything that’s going on in the United States right now,” said Stephanie Drenka. “Someone like Magdalena contributed so much to the United States and does not get the credit and recognition that other World War II heroes get.”

The opening night of “Sculpting Courage,” held April 9 at the Museum of Asian Texans, centered on a sculptural tribute by artist Elaine Antonio Bordeaux honoring Magdalena Leones. The exhibit highlights Leones’ work as a guerrilla courier during World War II, when she transported intelligence, weapons and supplies under constant threat of capture. Her efforts earned recognition from both Philippine and U.S. military forces, though her story remains underrepresented in mainstream historical narratives.

The event drew educators, artists and community leaders from across the Dallas-Fort Worth area, underscoring a growing demand for Filipino American representation in local cultural spaces. Attendees described the exhibit as both a celebration of heritage and a corrective to historical omission.

“It makes me proud because Filipino heritage is being showcased to the world,” said Rex Cautiverio, a visiting special education teacher.

Beyond the historical subject, visitors emphasized the emotional and cultural weight of seeing Filipino stories told through Filipino art. Evangeline Azarcon, president of a local cultural organization, said the exhibit offered a rare opportunity to engage with history that is often inaccessible.

“Learning about the history of Magdalena Leones was very inspiring,” Azarcon said. “This type of history is hard to learn about otherwise.”

Bordeaux’s sculptures extend beyond Leones, featuring figures such as Apo Whang-Od, whose likeness also resonated strongly with attendees. The works are characterized by dynamic movement and expressive detail, qualities that visitors say mirror the resilience of the figures depicted.

“A lot of the sculptures and depictions here have a lot of movement,” said Shadia Lee, a friend of the museum’s board. “Her sculptures are very dynamic and display a lot of courageous movement. She embodies Filipino spirit.”

For some, the exhibit also reflects broader challenges faced by Filipino artists. Lee noted that pursuing art remains an unconventional path within many immigrant communities, making Bordeaux’s work especially significant.

“It’s inspiring to see a Filipino woman dedicating time and effort to pursue her passion,” Lee said.

Historically, figures like Leones have often been overshadowed in narratives of World War II. While widely recognized leaders such as Jose Rizal symbolize Filipino resistance and identity, wartime contributors, particularly women, have received less attention in both Philippine and American education systems. Leones’ role as an intelligence operative placed her at the center of high-risk missions, yet her story rarely appears in textbooks or public memorials.

Drenka said that absence is particularly concerning amid ongoing debates about immigration and representation in the United States.

“Her story in particular is what we need right now in terms of Asian American education,” Drenka said. “When I see her bust, I’m just like, ‘OK, I have to get to work.’”

Attendees also connected the exhibit to a broader vision for Filipino community development in North Texas. Several expressed hope for a dedicated Filipino community center that could serve as both a cultural and resource hub.

“I want it to be unity through diversity and inclusion,” said Raul Falogme, another visiting teacher. “More cultural activities that intend to unite the Filipino community here in Dallas.”

Others described the potential center as a space not only for cultural preservation but also for intergenerational connection and social services.

“A physical space offers the opportunity for other types of resources that our community needs,” Drenka said, citing mental health services, medical support and organizing efforts.

The exhibit’s emphasis on storytelling, through both sculpture and shared testimony, reflects a broader effort to preserve Filipino American history in a region where the population continues to grow. According to community leaders, events like “Sculpting Courage” play a critical role in ensuring those stories are not lost.

“Art about your own culture is very impactful,” Azarcon said.

As the evening concluded, visitors lingered among the sculptures, many pausing before Leones’ likeness. For organizers and attendees alike, the exhibit represents more than an artistic achievement; it is a call to recognize histories that have long been overlooked.

In a time when cultural narratives are contested and rewritten, “Sculpting Courage” offers a reminder that remembrance is not passive. It is an active choice—one that requires both visibility and voice.

Through bronze and storytelling, Leones’ legacy now stands not only as a testament to wartime bravery, but as an enduring symbol of Filipino resilience. And for those who attended, the message was clear: preserving history through art is not just about honoring the past, but about shaping the future.