Monday, October 10, 2011
Entry into "Official" Filipino American History?
It has always been history in the making. On Thursday, October 13th--in observance of Filipino American History Month--the event Built from Skratch: Rediscovering the Pin@ay DJ Scene(s) in Daly City will be held at the Liwanag Kultural Center in Daly City (San Francisco area). Once written (or even dismissed) as "contemporary" or "modern" Filipino American culture (and therefore supposedly less important than "real" history) Filipino American popular music culture (i.e. hip hop forms) is more and more being archived along with "official" Filipino American history.
At the same time that Filipino American hip hop performances are legitimized and historicized under the auspices of researchers (check out OW's article "Unlimited Creations" in the Atlantic), educators, and community institutions, a younger generation of Filipino American who seem to feel distant from the Filipino American hip hop experience of the 1980s and 1990s (up to the 2000s for the very young) are now afforded the opportunity to learn more about the cultural contributions of their kuyas, ates, titos, titas, and parents.
Then, on Monday, October 17th, Liwanag is also hosting an event on Filipino American dancers called D-Cypher: Dialogue with Bay Area Filipino Street Dancers.
I'm hoping that these "cyphers" of knowledge will be constructive for "old school" practitioners and younger people alike so that the culture can continue building and expanding boundaries. In addition, I hope that these sessions will avoid bashing the existing state of hip hop that young people may identify with while glorifying the "golden age" of so-and-so decade. Whatever the case, this is a wonderful and promising start to future dialogues, hopefully in the San Francisco Bay Area and beyond!
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Wednesday, September 21, 2011
"The Learning" and the teaching: Episodes of education
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| Class is in session at UC Berkeley |
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| Filipino students become indoctrinated |
Yesterday was a day packed with education.
I had the privilege and honor to appear via video chat for Professor Griff Rollefson's music class "Planet Rap: Global Hip Hop and Postcolonial Perspectives" at the University of California, Berkeley. The students were assigned my article "Hip hop over homework: Filipino Americans 'failing'?" and my documentary Lyrical Empire: Hip Hop in Metro Manila.
In a bizarre performance of pedagogy through technology (I'm picturing my 20 ft. talking head lighting up an auditorium), I had the opportunity to answer student questions about the article and the film. The questions were a great exercise in thinking through the value of studying the topic of Filipino Americans and hip hop culture, and the urgency (if any) with which to approach political projects involving hip hop. Some of the questions were quite provocative, including the following:
-"What is the usefulness of postcolonial studies when studying hip hop?" In other words, why should we study hip hop using the same lens that we use to view the contexts of formerly colonized nations?
-"How can one make sense of hip hop if it is both an expression of radical politics globally, but it is also an object of global commodity capitalism?"
-"Are there possibilities of Asian American and African American collaborations with which hip hop plays a role?"
-"Do you see Filipino Americans seeking 'stability' as the goal of 'success'? And why should Filipino Americans gain consciousness about the Philippines?"
Thanks for the opportunity to "appear" for yall's class. Hopefully I gave sufficient responses to some tough questions. I hope to do something like this again in the future.
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| Angel, a Filipina teacher recruited by Baltimore's school district, performs Pandango sa Ilaw with her students. |
So while I am teaching U.S. college students to critically study the historical formation of the Philippines and criticizing the Asian Journal article's definition of "success" (see my article "Hip hop over homework"), Filipina teachers make a geographical trek to the U.S. in order to teach fundamentals of survival and life skills. They are facilitators of "success", and I pray students and school districts value their contributions.
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| Dorothea teaches a science lab to her high schoolers. |
The Learning gives an intimate portrait of the bravery, sacrifice, and love of these four teachers, who represent a small slice of the thousands of Filipino/a teachers imported to provide low-cost labor in neglected school districts. The documentary points out that the "tides have turned" on U.S. colonial programs in the Philippines--which inaugurated U.S.-style instruction to Filipino students beginning in the early 1900s--with Filipino teachers fluent in American English coming to the U.S. to teach American students. In Baltimore alone, 10% of teachers (or 600 total) are recruited from the Philippines.
One Filipina student in the UC Berkeley music class asked me what I thought about Filipino Americans becoming conscious of the Philippines. I think The Learning is a testament to the importance of critically analyzing the historical condition in the Philippines, where the "tides have turned" in a way, where First World nations are seeking Filipino/a workers--who are fluent in English and other valued skill sets--to compensate for First World labor voids. As Filipino Americans, having a critical look at the Philippines means understanding that "we are here" because "they were there."
As Filipino Americans, the battlefield is not only in geographic districts where many of us attend crumbling schools. The battlefield is also in our minds; of reclaiming our own histories and debunking the myths that continue to disparage our lives and bodies.
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Wednesday, September 7, 2011
"Bad about You" video
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| The Good Sin can't shake that something "bad about you" |
Seattle emcee The Good Sin brings you his love/lust tribulation video "Bad about You", which can be heard in his EP Late that came out early this year. Produced by our dear friend 10.4 Rog, Late provides you with that laid back rap. "Bad about You" is a good mix of relateable romantic quandary complete with a singable chorus, Phonte-like crooning, electronic quirkiness, and a measured and deliberate beat. 10.4 Rog peppers Late with haunting and lingering prologues and epilogues to songs, like the one in "Bad about you." This makes for a more complete-sounding song.
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Sunday, September 4, 2011
Sunday Cipher: Shakespeare swag?
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| Philippine theatre group go hip hop |
"A theatre group in Philippines takes a modern twist on Shakespeare, re-working the classics into a modern rap musical.
The aim is to help young people to understand the playwright.
"William" shows real life problems encountered by real students when it comes to learning Shakespearean masterpieces.
Marek Pruszewicz reports."
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The aim is to help young people to understand the playwright.
"William" shows real life problems encountered by real students when it comes to learning Shakespearean masterpieces.
Marek Pruszewicz reports."
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Wednesday, August 31, 2011
DJ E-Man honored at 20th Anniversary of FPAC
DJ E-Man of Power 106 talks about being honored at the 20th Anniversary of the Festival of Philippine Arts and Culture
Long Beach, CA native DJ E-Man will be honored with the FilAm ARTS Media Award at the 20th Anniversary of the Festival of Philippine Arts and Culture (FPAC) on Sunday, September 11. The weekend-long festival will begin on Saturday, September 10th. DJ E-Man, a veteran in the hip hop game who developed his skills in the Southern California party promotion scene and eventually rose-up as one of those Fil Am luminaries in the top-ranks of the media industry, will share the award stage with multi-award winning singer and actress Lea Solanga.
We are proud of E-Man as he receives this prestigious award and reflect on the impact he has made for many Fil Ams and beyond! Learn more about E-Man at BakitWhy.
In other FPAC news, Bambu and Kiwi reunite (again) this year as Native Guns on Sunday of the festival. Also, Joe Bataan will be returning to the festival on Saturday! Yes, its time to boogaloo to the King of Latin Soul in Point Fermin Park! Great programming work by the good folks at FilAm ARTS!

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Wednesday, August 24, 2011
Another dimension! Out of this world with Hopie
For those who can't get enough of Ancient Aliens and Through the Wormhole, Hopie distorts your sense reality in "Space Case"!
Be sure to look out for Hopie Spitshard's new album, Raw Gems out soon! Scoop her EP, Dulce Vita, out now!
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Be sure to look out for Hopie Spitshard's new album, Raw Gems out soon! Scoop her EP, Dulce Vita, out now!
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Friday, August 19, 2011
Mega Manila styles! Revaluing Filipino popular culture
Are you Cubao X hip?
One of the most startling facts that became obvious during my recent trip to Metro Manila was the magnitude in size of the metropolis. Upon returning to the States, I looked up the population of the Metro compared to large West Coast cities in the United States. Here is the breakdown:
In 2008, Metro Manila was home to 11,553,427 registered residents. But in 2011, estimates reach up to 21,295,000 for the greater urban area of Manila. Not surprising, given the divergent ways of measuring population, including geographic limits and the underestimation of people "under the radar."
In comparison, in 2010, Los Angeles boasted 9,818,605 residents, nearly 2 million less than Metro Manila's lower estimate. The same year, the San Francisco Bay Area (including Oakland and San Jose) reached 7.5 million.
Why does this matter?
Considering the notable amount of Filipino American popular culture emanating from LA and SF over the past 25+ years (almost a century if one considers the dance culture among Pinoy migrant workers during U.S. colonialism)--such as turntablism, R&B, freestyle, and dance--what about Pin@y popular culture originating from the Filipino "center"? Can Metro Manila and the Philippines be seen as a producer (not just a consumer) of global culture?
Cubao X is just one example of the many pockets of popular culture dotting Metro Manila. Yes, hip hop is strong at Cubao X, but so is rock, punk, electronica, reggae, and gay culture, all of which merge together. Filled with bars, restaurants, hip shops, and performance space, it is a unique niche unknown to tourists, and it surely isn't a flashy shopping mall that describes much of public space in the Metro. Interestingly, similar descriptions can be said about other urban locales such as Baguio, Davao, and Cebu who flaunt their own creative communities.
Legitimizing Popular Music
For some reason Filipinos do not like to archive their own popular culture. Perhaps its a privileging of the ephemeral or the lack of material resources (I'm leaning towards the latter). Like Philippine cinema or Philippine basketball, popular music is at risk of evaporating into history.
In her essay "Pepot and the Archive: Cinephilia and the Archive Crisis of Philippine Cinema", Bliss Cua Lim writes about the bleak state of archiving early Philippine films. Sometimes found stacked and decaying in abandoned basketball courts, classic film reels have no home in the Philippines. Some films can only be bought elsewhere, such as France or Taiwan.
Similarly, in Pacific Rims, Rafe Bartholomew recounts digging up legendary pictures and newsclips of Philippine basketball heroes at a flea market. Basically, he was organizing a (sadly) not-yet existing archive of Philippine basketball as he wrote Pacific Rims in the mid 2000s. Philippine basketball's century-long history, like Philippine cinema, seemed to be rotting in the tropical sun.
But what of popular music? With only a single handful of writers dedicated to Philippine popular music (peep my pal Justin Breathes), is the genre doomed to deterioration within Filipinos' collective memory? Will it take an American Fulbright scholar like Bartholomew to archive its history a century in the future?
What if we revalue Filipino popular culture? Why do we need laws to compel Philippine radio stations to play original Filipino music?
What if we looked at the Philippines not as a nation of mimicry and/or devoid of culture, but as a source of clever style and originality? What if we saw the Philippines not as representing a dearth of culture, but as overflowing with it? How can we position Metro Manila as a global center of talent and not dismiss it as urban chaos en route to the beach resort?
More Than Meets the Eye
For many Filipino Americans, we see the Philippines only through the globally-syndicated The Filipino Channel (TFC), a satellite/cable channel aimed at the Filipino diaspora (and is ironically not available for Filipinos in the Philippines). The depictions of cover bands, imitative starlets, and robotic dance moves on Filipino variety shows remains a predominant imaginary of Philippine popular culture for many Filipino Americans.
Unless they have a bit of capital to travel to the Philippines and interact with people outside their family, Fil Ams will rarely be exposed to the country's pockets of popular music. For those who visit the Metro, its non-centeredness, traffic, pollution, and congestion may be a turn off to excavating the gems beneath the mess.
Today's Metro Manila is not your Lola's Manila. It is a sprawling cosmopolitan global city that once represented urbane Asia. It remains a megalopolis of the world, home to a diversity of classes--not just a uniform, monolithic mass of poverty topped with a minuscule class of the rich.
People from an array of classes are creating vibrant culture. Much to the surprise of Fil Ams who may imagine a simple two-tiered social structure, the gray area in between "sosyal" (bourgeois) and slum is actually A LOT of people given the immensity of the greater urban area of Manila (and beyond). This diversity of classes makes for an interesting mix of style and creativity.
How can Fil Ams who are not exposed to hidden layers of the Philippine society connect with pockets of creativity not shown on TFC? Instead of bypassing a seemingly hollow Metro Manila for the picturesqueness of the beach, how can they be overwhelmed by the city's cultural abundance?
Special thanks: Nex Benas, Justin Gabriel, Mike Gonzales, and Carlos Celdran
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