The first time I came within the sphere of Aida Rivera-Ford was 58 years ago, when she cast me as one of her players in a short sketch performed before the student body of the University of Mindanao. That was also my first introduction to theatre arts. That experience encouraged me to join the school’s Dramatics Guild, which further honed my interest and passion for the genre. But it was not until 1982 that I seriously embarked on the world of legitimate theatre, owing largely to her orchestration.
The first production of Portrait of the Artist as Filipino by the Learning Center of the Arts launched her venture into community theatre. Thereafter, I began appearing in her productions on a regular basis: The Crucible, Streetcar Named Desire, The Audition, Oh Dad, Poor Dad, Hamlet, and Anne of the Thousand Days. Aside from her productions, I also appeared with other groups when community theatre was flourishing in Davao City. We even appeared together in Maharlika Society’s production of Fiddler on the Roof.
In addition to these theatrical pursuits, Aida also conscripted me to join her in other art activities, such as the establishment of the Mindanao Foundation for Culture and Arts (MINFOCA), now sadly defunct. But in its heyday, we were able to launch memorable events such as the Edades Exhibit at the Central Bank lobby, and co-hosting a show by international storyteller Laura Simms.
But perhaps the most impactful influence of Aida in my life is her bringing me into the world of literary arts. While I dabbled in writing as a personal penchant, it was through her relentless encouragement that I was persuaded to submit one of my stories for a writing workshop in 1991. “The House on Calle Seminario” found its way into Mindanao Harvest I—an anthology of short fiction by Mindanaoan writers. This paved the way for my fellowships to three national writers workshops. It was there that I had the rare opportunity to come in contact with the giants of Philippine literature. The last of our literary collaborations was in the Davao Writers Guild, where we are counted among the pioneers.
As the years waned, our collaborations also diminished, but our friendship and her influence on me remained intact. I continued to write, published an anthology of my own, and won a couple of literary awards. Thereafter, my stories have appeared in several publications. I joined a performing arts group for which I wrote several scripts, while also appearing in dance and cameo roles. The wondrous colors of life these experiences brought were made possible by the priming of Aida Rivera-Ford.
It is said that between what one wished to become and what one has become, there is a tremendous gap. In the middle of my life, I was compelled to explore this baffling geography; less perhaps in the hope of spanning the distance than in the determination that the distance shall not become any greater. It was through Aida’s mentorship that I had become what I’ve always dreamed to be—an actress and a writer. These are her legacies which I cherish and treasure. To this day and for the remainder of my life, I shall count myself most fortunate for having been a part of the extraordinary life of Aida Rivera-Ford!
Farewell, dear Ma’am Aida. Till we meet again.
Josie Carballo Tejada delivered this eulogy at the memorial tribute for Aida Rivera-Ford held at Our Lady of the Assumption Chapel, Ateneo de Davao University, on January 22, 2026. Tejada is a legacy member of the Davao Writers Guild and the author of The House on Calle Seminario & Other Stories, a collection of short stories and essays published by the Guild as part of its Tubao Books Series (2007).