the showbiz news of the day

i’m taking a break from writing for and planning Creative Explosion, to share a moment/interaction between me, the snippet on a showbiz news show in the Philippines, and my aunt. this post is a gut reaction, and will not contain facts or research as backup. so take it as it is.

i was trying to take a nap on the couch while my aunt was watching The Filipino Channel (TFC). thought i could do it. nothing of particular interest was being talked about on the daily show, Showbiz News Ngayon (translation: Showbiz News Now/Today). then i perked up when i heard the story on Freddie Aguilar, a musical legend, artist, and nationalist, commenting on how international Filipino stars like Charice Pempengco (did you see her on Ellen and Oprah? or maybe when she sang a duet with Celine Dion?) and Arnel Pineda (current frontman of Journey), have no originality, and echoed the rumored comment of Mariah Carey, that Filipinos are like monkeys, because all they do is imitate.

in the brief interview, he questioned the conduct of the artists; pointed out that even with their fame, and success at fulfilling their dream of singing in Las Vegas, or performing a duet with international (white) stars, they were still singing songs of white people (in this case, more specifically, Americans). he asked why these rising stars couldn’t sing true Filipino songs, so that the world can hear Tagalog and recognize it.

now my aunt, starts to speak (to the tv, to me, to herself, i dunno), and says (translated): how can they sing Tagalog songs? no one’s going to understand it. come on now, Freddie. i wanted to tell her that wasn’t his point. then she repeats what she just said. and that’s when i got up, left the house, and started to write this post.

the exchange between the artists on the television show, and my aunt’s comment reminded me of a question i was asked just a few weeks ago. i was at a bar with some friends, and somehow we got to the topic of Filipinos being good dancers and whatnot. someone asked me why that was–you know, where did that stereotype come from. my short answer, as i was tipsy, was that performance, like singing and dancing, are critical to Filipino culture and expression, but that it stems from centuries of the colonized performing for the colonizers.

i think this is what Freddie Aguilar is criticizing. yea, he could’ve not “insulted” the artists mentioned by not referring to them as “monkeys”. but, i’d like to believe that he’s pushing for Filipinos to realize and recognize that they have power, and should be more than puppets, singing the songs people want to hear. it’s about redefining Filipino Power (fuck the colonizers!). basically, don’t sell out. but it’s not that easy, is it? nor is it that simple. as perfomers, what can you do, or more importantly, who are you without a fan base, without an audience? makes you question why people do it. because they can? because it’s fun? because they get attention and respect? because it’s for your “people” (however you define and designate your people)?

as a performer, i struggle with these questions all the time. i know why i do it. i know what motivates me. should it matter whether or not people agree? well, to be honest, i lean more toward Freddie Aguilar’s politics (really, that wasn’t obvious?), and i can certainly be self-righteous about them. ultimately, we have to recognize the value of the exposure (and maybe i’m stretching here, but the validation of our talents as a people) that Charice and Arnel have provided for Filipinos globally in the past year. but then again, does certain exposure and how it’s interpreted culturally, psychologically, etc. do more damage to a nation of people that it outweighs the benefits?

CREATIVE EXPLOSION – Wed, July 29

yes, folks. it’s here. the event API (Asian and/or Pacific Islander) folks in the DC Metro area have been waiting for. it’s been 2 years, and now NAPAWF’s CREATIVE EXPLOSION is BAAAAAAACCCCKKKKKKKK!

Come out to see local artists spit, act, crack jokes, as we celebrate our experiences as API women. Laugh with us, cry with us, groove with us, subvert master narratives with us. I’ll also be HOSTING! So you know it’s gonna be a good show and that you’ll have a good time.

What is Creative Explosion? It’s the show that highlights and celebrates the lives and experiences of API women through poetry, spoken word, dance, comedy, visual art. The theme, “Recovery, Reflection, Renewal: API Women Reclaim Their Voices” encompasses the processes or acts of recovery from an economic crisis, a traumatic experience, a natural disaster, a war, a past, a history of an individual and/or a community.  It is rooted in the resistance, strength, and resilience of API women, and women of color, as we struggle through our daily lives, constantly reflecting, healing, renewing, and reclaiming our selves and experiences.

Tickets are only $15 (only $15 dollars?!). Buy them here. Hurry because we have limited seating so get your tickets now. Or email us at napawf.ce@gmail.com.

Check out our Facebook Event Page for a list of performers.

hittin the books: The Cultural Politics of Slam Poetry

I grabbed the book, The Cultural Politics of Slam Poetry: Race, Identity, and the Performance of Popular Verse in America by Susan B. A. Somers-Willett, off the poetry shelf at Borders a little over a week after I didn’t make it on the DC Slam Team. I had been upset that night, less so about not making the team. It was more about the split second I felt apologetic, almost ashamed of my poems. It was as if fate directed me to this book, as a way to perhaps explain and expound the dynamics of identity and slam poetry, and help me understand my own feelings.

Slam Poetry began in 1986, when Marc Smith, a white, working class man from Chicago, stumbled upon its structure—a competition between poets, with the audience judging the poems and the performance with numeric scores. (Let’s be clear that slam poetry does not have roots in hip hop, though hip hop is certainly a huge factor and influence on slam poets.) In theory, it increases the accessibility of verse, and allows anyone to determine the worth of a poem. The critical seat of power is put in the hands of an audience, instead of being relegated to the elite few (what has predominantly been academics and critics) (pg. 4-5). This was definitely a factor that attracted me to slam poetry. As well as its “challenge to the relative lack of diversity… represented in the academy, the canon, and dominant culture” (pg. 7). I would like to think that slam poetry is part of a social movement; “slams are culture; they are places where interracial exchanges are made and marginalized identities are invented, reflected, affirmed, and refigured” (pg. 9), and therefore, has cultural and political ramifications.

Because slams are places where identities are expressed, often marginalized voices, then the identities expressed by slam poets, both through visible markers, and the content of their poems, are “performative—that is, they are performed consciously or unconsciously for audiences to certain ends” (pg. 8). They are “cultural stages” where the audience confirms or denies the poets performance as “authentic” via scoring (pg. 8). In other words, in order to be successful in a slam, the poet has to convince the audience of the authenticity of one’s identity (pg. 71) as a person of color, as a woman, as queer-identified, etc. Of course, the notion of authenticity is tricky and dangerous; it is socially constructed and is a consequence of “culturally sanctioned performances over time” (pg. 70). It is also problematic in the sense that we assume there is an “original or essential self that one can perfectly emulate” (pg. 73) in a performance.

Nevertheless, there are “identity” poems in a slam poet’s repertoire in which one performs specific aspects of identity. It is a proclamation of self, a confession of a lived experience. And to reward such proclamations, and deem it authentic, the judges cough up scores, and the audience applauds, get on their feet, or boo.

Now to tie it back to my feelings of apology and shame. Perhaps the “phenomenon of authentic identity as a criterion for success” (Pg. 79) was at play that night. The judges, through my low scores, did not deem me “authentic” to my embodied identities as an Asian American woman, a person of color. Somewhere in my subconscious I must’ve realized that. As much as one repeats to oneself that you don’t need validation by others to be you or to be real, the dynamic between you, as a poet, and the audience is undeniable. So you step up on that stage, hoping for validation of not just your talent, but your lived experiences. When it’s not rewarded by praises or high scores, when it’s not authenticated by the judges and audience, you can’t help but question yourself and the value of your experiences. You expect to make a connection to the audience, based on a shared value of difference (pg. 9-10).

But who is this audience? Somers-Willet specifically talks about the audience at National Poetry Slams, which is majority white, and also argues that African American poets are the most rewarded on a national level. She discusses performance of blackface, and the fascination with and pleasure of a white audience at the performance of Blackness. She also argues that if predominantly white audiences are judging slams, then “the strong advocacy of black identity may be one of the factors that they further reward precisely because black identity is so often portrayed in American culture as the most marginalized compared to a central white identity” (pg. 83).

What about local slam venues, and especially the ones in DC? What is the dynamic between a predominantly Black audience and an Asian American female poet? If I was expecting to make a connection to the audience based on a shared value of difference (which I was), which “identity” poems would be most successful? My highest scoring piece was “Things I never want to hear again about race and racism”. It was written from the persona of a person of color, but still clearly from the perspective of an Asian American person. It also is a parody, and I realized now, has one of the aesthetics of a slam poem: the “let me break it down for you” moment of truth and/or epiphany. While this identity, as a person of color was affirmed, my other poems, ones rooted in my identity as a Filipino woman, were not as “rewarded”.

Of course, you cannot extract from the equation how well written a poem is and how well it is performed. I know that I only performed well during the first round, and my second round piece was not polished enough. But it is interesting to look at the experience through this lens, no? It certainly brings up a lot of questions, especially regarding the dynamics between poets and audiences of color, and how can one not exploit one’s identity for a score.

where were you…

when michael jackson died? i was in my car, driving to dc.

for a better tribute to the king of pop, read this.

RECAP: sulu series, nyc

my beautiful, beautiful peoples. can’t describe how good it felt to be standing in front of a sea of people who look like me. it’s been a minute since i’ve performed in front of and with API folks. not to mention that i was able to share the stage with some of my heroes in the poetry and spoken word worlds.

despite the gray skies, and the inconstant rain/drizzle, the Bowery Poetry Club was packed! all to support the APIA Spoken Word and Poetry Summit in the Bay Area.

Koba opened up the night and Kelly Tsai, unflinching in her performance, kept the energy up. Ed shared his passion, Justin delivered unrelenting letters of truth, and Lolan broke the poetic process down. Elijah sang and played the guitar with precision. Regie had the crowd bustin out laughing and hearts aching simultaneously. YaliniDream captivated the audience with her storytelling, poetry, and movement. Juan made his poetic debut. Marlan kept it grounded and real. Taiyo Na soothed the soul. Magnetic North pumped up the crowd at the end of the show with their collabo with Taiyo called “We Belong”, based on a sample from Chris Ijima.

where did i fit in all of this? i was up in the beginning. Hanalei, guest curator and host, started to share a story of when she first met me. it was at the ‘05 Summit in Boston, where i was with two male friends, and we were like the 3 musketeers because we were inseparable. that story took me back! was that really 4 years ago? so who were those two friends? well, none other than Boogie Brown, the ill mind behind this blog, and MV, the heart behind Hip Hop Lives: Traditions of Filipino Performance.

but i digress. about the performance. it was good! i repped DC well (everyone but me and Regie were nyc based), though i thought overall that it was only ok. but hey, we’re our harshest critics, right? definitely should’ve practiced more. correction. definitely should’ve practiced. and done a few more tongue twisters. and slowed the fuck down.

anyway, here’s a video of “Singkit Eyes”, a poem about my father. thought it was appropriate considering it was father’s day.

and the poem, “People tell me I have a Tall aura” makes its debut on youtube! the extended story behind this poem: while taping the video for DOORS CLOSING, there was a running joke on my height cuz whenever we had to line up for a shot, i’d always be in front. so i said, “You know, people tell me I have a tall aura.” Droopy the Broke Baller responded, “You should write a poem about that. With that as the first line.” so i came up with a first draft a week later.

and now it’s become an anthem of sorts. for all “short” asian women. who have tall auras like me.

The SULU Series, Sunday, June 21

This Sunday, imma be in new york to perform at The Sulu Series, a monthly series featuring Asian American performers in music, spoken word, video and multidisciplinary performances from the local and national scenes. Hosted by Regie Cabico, curated by Artistic Director Taiyo Na, with music by resident crowd mover DJ Boo, and brought to you by the Sulu Artist Network. The Sulu Series is named after Sulu of Star Trek — the first Asian American character to venture into unknown galactic quadrants — and a remote island in the Philippines.

This month’s series is a benefit for the 2009 APIA Spoken Word & Poetry Summit in the Bay area, July 30 to August 2. It is guest curated by the one and only Hanalei Ramos. I’ll be sharing the stage with some big names, including: Kelly Tsai, Regie Cabico, Taiyo Na, Marlon Unas Esguerra, Yalini Dream, Elijah Kuan Wong, Justin Woo, Ed Menchavez, Lolan Buhain Sevilla, Magnetic North, Juan Kanagui and Koba.

So if you’re in the NYC area, come check it out. Or if you’re in the DC area, come through and take the train! Details are below.

Doors open at 8PM

Cover:
$8 General Admission
$5 Students

THE BOWERY POETRY CLUB
308 Bowery
(Between Houston & Bleecker)
New York, NY 10012
212.614.0505

F-Train to 2nd Avenue
6-Train to Bleecker

RECAP: the so-what poetry jam @ artomatic, saturday, june 13

What is Artomatic?
Artomatic started in 1999 in the historic Manhattan Laundry buildings on Florida Avenue, NW. Douglas Development donated the use of the buildings to a group of artsist who invited their friends to exhibit. These friends, in turn, invited their friends—and so on—until every nook in the building was filled with paintings, sculpture, installations and art of every description. The artists coined the name “Art-O-Matic” to acknowledge the spontaneity of the event and its location in the old laundry building. (The Artomatic spelling was modernized in 2004). More than 25,000 people visited the first Artomatic during its six-week lifespan and the event was widely reviewed and discussed in the regional media.

Where is it located?
55 M Street SE, Washington, DC (a few yards away from the Navy Yard Metro Station on the Green Line)

When can I go?
Every day from May 29 to July 5.

Want more info?
Go here: www.artomatic.org

What was I doing there?
Performing at a show curated by Derrick Weston Brown!

I had the honor of sharing the stage with incredibly amazing, dope poets and artists. (I want your books and music!). As a group we decided to split up our allotted 20 minutes into 2 rounds of 10 minutes each. This way, we could keep the flow going as folks walked by the dance/theater stage on the 6^th floor.

I came solo this time. No entourage. (It felt good and I definitely needed some just jenny time). But I was pleasantly surprised at seeing a friend of mine from college, and a few Spit Dat fam.

Opening the show was Sami Miranda

followed by Hadassah Ayodele

Alan King

Christylez Bacon

Derrick Weston Brown

I had the privilege of ending the show. (Oh the pressure!).

For the first set, I felt a bit uncomfortable. It was hard getting accustomed to the mic; the sound echoed throughout the entire 6^th floor, so I was unsure of how loud or soft I was. I’m sure the audience didn’t pick up on it, but I felt a bit directionless, a bit mechanic, rushing my time on stage once again. I was still trying to shake off the slam poetry finals the night before.

Shifts of people came and went. Stopped and stood in the back for a poem or two, for an artist or two. Christylez definitely brought the crowds—who could resist the beatboxing, lyrical, and musical talent? But it was cool though, to watch the crowd change so instantly like that. Most, if not every crowd I’ve faced have stayed consistent, motionless for the most part, except when eating, getting up to go to the bathroom, or getting up to leave.

As the last 10 minutes of the show approached, I told my good ol’ self to let myself shine. Like a bright star! While listening and watching Sami, Hadassah, Alan, and Derrick, I realized that I often stop myself from shining (read: giving it all in a performance of a piece including the transition between pieces) in the spotlight. (I don’t think I even really let myself at my own feature). Guess it’s rooted in the notion that shining = arrogance. I’m sure the demure, Asian woman stereotype also has something to do with it. And so the entertainer/storyteller was let loose, and I ended the show with a warm fuzzy: race and racism. Good choice because the crowd enjoyed it. I mean, just look at them, they’re all smiling:

It was a good night, and I was really happy and relieved. There wasn’t a trophy to win, or people to please. It was all of us, just doing our thing.

our superhero artist pose.

RECAP: DC Slam Team Finals

The poets were ready and been ready all season. The audience prepared to cheer on the poets. The judges were, well, ready to judge, and judge they did. This is the FINALS after all. No one was spared, and all succumbed to the quick impressions of the judges—5 random individuals chosen from the crowd. The arbiter of our fates.

The rules were the same: 3 minutes. Original work only. No nudity. No animal acts. No props. No costumes. 3 rounds to determine the team. Poets spit in order of lowest score to highest based on the previous round. At the end of 3 rounds the top 4 poets will make up the team and compete in the National Poetry Slam in West Palm Beach, FL. (Jealous? Yea, easy to be)

There were 9 poets/spoken word artists (in 1^st round order): Spoons, Tsion, Jenny Lares, The Alternative, Spokes, Fried Sushi, 13 of Nazareth, Two Deep, Jonathan Tucker. After an intense 1^st round (which arguably was the best round because we all were fighting not to get eliminated; and I gotta say that my delivery of “Things I never wanna hear again about race and racism” was hot! It was an organic performance; as the audience responded, I responded back. Anyone get it on video?), Spoons and Spokes were eliminated and that left the 7 of us to battle it out the rest of the night.

In between the 1^st and 2^nd round, my stomach started to hurt, then where my gallbladder used to be. It was partially due to scarfing down a quesadilla on an empty stomach, overall digestive/health issues, and nerves. But I lived through it, and bombed the second round (that’s according to the judges who gave me all 7.somethings. In my head, I like to think that I must’ve touched a nerve talking about my vagina; it’s a new piece, still a work in progress). In the second round, it seemed likely that 13 and 2Deep would be one of the two team members, but as to the other two, it was still up in the air.

I started off the 3rd round with “Lessons from mother”, a poem I consider the strongest in my repertoire—slam and otherwise. However in the end, it wasn’t enough. I still and will probably always think I deserved a higher score that round.

To be honest, the rest of the night, I was more absorbed in my disappointment that it was hard to be as hyped about the rest of the round. Not to mention it was 2 am. With every poet after me, I watched as the wish of making the team (I don’t think the DC/Baltimore team has ever had an API or an API woman at that on the team) kept inching away from my grasp.

It was simply not meant to be (trite, but true). As numerous people have told me (to comfort me no doubt): There’s always next year! (the exclamation point is solely my editorial decision) And my response? Sure there is, but a year can be a long time, and who knows what I’ll be doing, or even where I’ll be. Does that sound like I’m no longer going to slam? Nah. There’s a lot of back-story unknown to most people regarding my road to slam (will discuss at a later time). My response is not said in defeat; it is in recognition that I have more questions about my approach to living this “artist” life and my craft now that the venture into the entity that is slam poetry did not end the way I was hoping.

Congrats again to 13, 2Deep, Tsion, and Jonathan! Make DC proud.

Many thanks to all of my friends who suffered through the heat while in line to get tickets and dedicated their entire Friday night to supporting me. Also, much love to all who came up to me afterwards and told me that they enjoyed my poetry, and thought I was good. It means so much to know that my pieces and my presence makes a difference.

Doors Closing

an informal writing collective. 4 souls who got together to write about the achievement gap for LevelTen. wrote it in 2 weeks. even made a video (which will be released later this month!)

we are: 2Deep the Poetess, Jonathan B. Tucker, jenny c. lares, Droopy the Broke Baller

now all we gotta do is write a few more pieces together and then we’re gonna hit the road. go on tour. how freakin amazing would that be???

and because i can’t get enough of the strength, power, and amazingness of all of us as a whole and individually, here we are again (pic courtesy of Fried Sushi).

the 2009 DC Slam Team Finals

CONGRATULATIONS to the 2009 DC Slam Team!

(from left to right): Tsion, 2Deep the Poetess, 13 of Nazareth, Jonathan B. Tucker

*there will be a longer blog post about the Finals in the next day or two, so come back and check it out*