It is so very touching and inspiring story because Isabela is a hardworking mother and wife.

All she wants

is to give his son a better life and send her son to the school or universities that he admires.

What is the summary of the waiting by Ron Darvin?

The Waiting is a play about a family that was split by a mother who tried to give her children a decent
life.

Sacrifice and family love is the key. The agony of being separated from them and doing a job outside
your comfort zone just for your family's needs.

It's all about fighting and staying strong in a nation far from home but knowing that this is all for your
family and a better future for them.

The Waiting is a play by a family brought together because of the conditions under which a mother
wants to give her children a decent life.

 This play is based on the real stories that Filipino youth and their parents have shared with Darvin.
In Canada, 92% of those in the Live-in Caregiver Program are Filipino, and because they come
through temporary migrant worker arrangements, mothers are separated from their children an
average of six years. This separation affects the lives of these Filipino families in many ways,
including the educational performance of the children.

• Darvin originally wrote this play for an audience of teachers and administrators in Canada, so
that they could understand the challenges that some Filipino students go through.

All of us we're very familiar with the word “migration" because some people want to go to another
country to live and most of the time the reason is to work there. Migration became the solution for
some Filipinos because they think that working in other countries can sustain their needs, especially in
money. But if we will know the story of some OFW, their life was not good because the person
/employee that they are working with is not a good one.

According to Wikipedia, Ron Darvin wrote the story of "Waiting" for the Overseas Filipino Workers
whose life was not good because most of them are suffering from homesickness because they are very
far from their family. In another country, they are working to meet up the family's needs. In the story of
"Waiting", Isabelle went to another country to work because she observed that her salary was not
enough for them. She left Miguel without saying goodbye to her son. When Ron Darvin was a college
student, he got the idea to write and publish it because his research is focusing on the migration of
people in Canada. Ron Darvin also migrated to Canada and changed his nationality as a Canadian.

The summary of my essay is all about the author of "waiting" who is Ron Darvin and he gets inspired to
write the story because he observes migration.

The story of "Waiting" symbolizes "jail". OFW suffering from homesickness and suffocated from sadness
because they are very far from their country.

"The Waiting" by Ron Darvin is a story that depicts the endless physical and emotional misery of
overseas Filipino workers. It revolves around the sacrifice that a mother is willing to endure all for the
sake of providing a convenient life to her family. The story felt realistic and relatable. Anyone who has a
family member working abroad would surely be left deep in thoughts. Personally, the story also kicked
me in the guts because I have relatives working in foreign countries. Most, if not all of them, share the

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 same goal - to improve their family members' lives. These people must be commended for doing what
flesh and blood can't stand.

Set in Vancouver, it tells the story of a Filipino caregiver, Isabel,

and her teenage son, Miguel, and depicts the issues of long-term family separation wrought by
migrant labor arrangements. Structured as a series of mono-
leagues, the plot unfolds through the memories of the two characters, and begins
with mother and son describing their lives one year after they are reunited. The play then works its way
backward by telling the story of
Miguel’s arrival in
Vancouver, Isabel’s first few years alone as a migrant worker, and ultimately, the morning she leaves her
then 7-year-old son for Canada. They also share brief stories about other family members, whose lives
are woven into their narrative of migration: Isabel’s estranged husband Roberto, Miguel’s grandmother
and
uncle. Intended as a form of reader theatre, the play does not involve any set or costumes. The
characters deliver their monologues while facing the audience. Mother and son show how the life of
a migrant is all about waiting—for visas, job opportunities, and the chance to reunite with family
and find a better way of life. I crafted this play based on the stories that immigrant
Filipino youth in
Vancouver had shared with me in both research and personal contexts. While
the stories were shared with me
in Tagalog, I selected stories I deemed useful to highlight certain themes, recontextualized them in
English, and arranged them into a cohesive plot through the composite characters of Isabel and
Miguel. In
some instances, I insert Tagalog interjections (e.g. hay Naku [oh well] or di ba?
[right?]), terms of endearment (e.g. Anak [child], inay [mother]) or culturally
specific concepts that cannot be directly translated into English (e.g. hiya).
(For a more detailed discussion of the play and my creative process, refer to Darvin 2015)
Set in Vancouver, it tells the story of a Filipino caregiver, Isabel, and her teenage son, Miguel,
and depicts the issues of long-term family separation wrought by migrant labor arrangements.
Structured as a series of monologues, the plot unfolds through the memories of the two
characters and begins with mother and son describing their lives one year after they are
reunited. The play then works its way backward by telling the story of Miguel’s arrival in
Vancouver,
Isabel’s first few years alone as a migrant worker, and ultimately, the morning she leaves her
then 7-year-old son for Canada. They also share brief stories about other family members,
whose lives are woven into their narrative of migration: Isabel’s estranged husband Roberto,
Miguel’s grandmother, and uncle. Intended as a form of reader theatre, the play does not
involve any set or costumes. The characters deliver their monologues while facing the audience.
Mother and son show how the life of a migrant is all about waiting—for visas, job opportunities,
and the chance to reunite with family and find a better way of life. I crafted this play based on
the stories that immigrant Filipino youth in Vancouver shared with me in research and personal
contexts. While the stories were shared with me in Tagalog, I selected stories I deemed useful
to highlight certain themes, decontextualized them in English, and arranged them into a
cohesive plot through the composite characters of Isabel and Miguel. In some instances, I insert
Tagalog interjections (e.g. hay Naku [oh well] or di ba? [right?]), terms of endearment (e.g. Anak
[child], inay [mother]), or culturally specific concepts that cannot be directly translated into
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 English (e.g. hiya). (For a more detailed discussion of the play and my creative process, refer to
Darvin 2015)
Among visible minorities in Canada, it is Filipinos, the fourth-largest, who have occupied the
quietest of spaces and are often described as under the radar, overshadowed, and having
disturbing invisibility (Canadian Press 2012, October 24; Coloma et al. 2012). As a labor
brokerage state, the Philippines is the world’s largest exporter of temporary contract workers,
with more than 10%of the population living abroad (Lorente 2012). To accelerate this
movement, the government has actively promoted discourse hailing the benefits of migration,
touting these migrant workers as “Bagong Bayani” (The New Heroes) of the country. Since the
1990s, a large number of Filipinos have migrated as temporary workers through the Live-In
Caregiver Program. Dubbed as the new “servants of globalization” (Parreñas 2015), these
Filipino women enter the invisible spaces of private households and are rendered docile and
disabled from attempting any kind of collective representation. Separated from their children
for a mean of six years, they consent to these arrangements and are thrust into downward
mobility that begins with deskilling and family separation and continues with the alienation and
school failure of their children (Pratt 2012). Intending to use this play as a springboard for
discussion on issues of migration and education, I sought to achieve a certain balance in
treating different perspectives of these issues and to preserve a kind of literary ambiguity.
While the play dramatizes how the movement across borders has impacted the life of one
family, it tries not to make a definitive conclusion regarding migration and ends ambiguously
with the mother promising the son, “Just wait for anak (son). Soon everything will be all right”,
to which the son replies, “Inay (Mother), all these years I’ve been waiting. Tell me please tell
me, when does soon begin?”

The Waiting is a play about a family who was brought apart due to the circumstances of a
mother wanting to give a good life to her family. The play is about sacrifice and love for family.
The pain of being away from them and doing a job that may be beyond your comfort zone just
to sustain the needs of your family. It is also about fighting and keeping strong in living in a
country that is far different from your home, but realizing that this is all for family and a

better future for them.

The story entitled “Waiting” is all about female empowerment. It talks about the married
couple Isabel and Roberto and their son Miguel. Isabel is a hardworking Mother who always
prioritized her son, Miguel, for his future. And Roberto who cheated on Isabel and Roberto get
separated. And Ron Darwin wrote the story “waiting” to make other people realize how a
whole and complete family is important. He compared the story to reality. Like in the reality,
many of the family in the Philippines is broken. So he wrote this to make everything clear that
even in a broken family, you can do many things that make you happy, be socialized, don’t give
up, don’t be alone, and make new things like you didn’t do before.

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