The "American imperial photography complex" is an archive that "shaped events and ideas" associated with U.S. empire in the Philippines. — Nerissa Balce40 works
As the ambiguity of “carework” suggests, Filipinos care for the physical well-being of their employers and also those employers’ emotional and psychic lives.18 works
“Citizenship is not just a matter of formal legal status; it is a matter of belonging...” ---Evelyn Nakano Glenn41 works
At a nexus of colonialism and neocolonialism for five centuries, Filipinos confront the legacies of colonial and imperial engagement in their daily lives.75 works
"Filipinos ... did not necessarily move through borders, but rather, borders continually enfolded them.” --- Allan Punzalan Isaac65 works
How have digital and new media technologies created new social and creative possibilities that have transformed the lives of Filipinos and others around the world?32 works
"[Slow violence] is neither spectacular nor instantaneous [but plays out in] a host of other slowly unfolding environmental catastrophes." --- Rob Nixon89 works
“The bare brown bosoms ... were markers of savagery, colonial desire, and a justification for Western imperial rule.” --- Nerissa Balce86 works
"We had to find some way not only of retaining, but rediscovering, our culture." -- Joel Jacinto, Kayamanan ng Lahi performing arts group7 works
A “labor brokerage state ... actively prepares, mobilizes, and regulates its citizens for migrant work abroad.” --- Robyn Magalit Rodriguez66 works
"All foreign influences were not adopted outright, but adapted ... just as they were transformed in other areas of culture ..." - Doreen Fernandez, "Why Sinigang?"22 works
"Remembering and telling the truth about terrible events are prerequisites both for the restoration of the social order and for the healing of individual victims." --- Judith...20 works
"Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing." --- José Esteban Muñoz95 works
"The white man is very clever. He came quietly and peaceably with his religion. We were amused at his foolishness and allowed him to stay." --- Chinua Achebe2 works
Filipinos transform, deliberately and accidentally, the spaces that they enter and leave, unsettling national imaginaries and material spaces.24 works
Jason Magabo Perez is the author of Phenomenology of Superhero (Red Bird Chapbooks, 2016) and This is for the mostless (WordTech Editions, 2017). Perez has also written and performed three live multimedia works—The Passion of El Hulk Hogancito (Kularts, 2009); You Will Gonna Go Crazy (Kularts, 2011); and Blue Bin Improvisations: Performing Yonie’s Archive (MexiCali Biennial, 2018). Blending poetry, prose, performance, film/video, and oral history, Perez’s body of work investigates the historical presence of colonization and state violence. A National Endowment for the Arts Challenge America Grant awardee, formerly a featured artist at New Americans Museum and community scholar-in-residence at San Diego Public Library, Perez has performed at notable venues such as National Asian American Theatre Festival, International Conference of the Philippines, La Jolla Playhouse, Asian Art Museum SF, and Los Angeles Contemporary Exhibitions. Perez is an alumnus of the VONA writing workshops for writers of color and holds an MFA in Writing and Consciousness from New College of California and a dual PhD in Ethnic Studies and Communication from University of California, San Diego. Currently, Perez lives in San Diego, California and serves as Assistant Professor of Ethnic Studies at California State University San Marcos.
Tweeting @Jason Magabo Perez.
Photograph by Blake Schilling/CSUSM.
Blending poetry, prose, performance, film/video, ethnography, and oral history, Perez relentlessly interrogates and experiments with art forms and practices while critically commenting on issues of race, gender, class, state violence, colonization, immigration, memory, and intimacy. Of central but not sole concern in Perez’s body of work is the haunting of U.S. v. Narciso and Perez (1977), a court case in which two Filipina migrant nurses, one of whom happens to be Perez’s mother, were framed by the FBI for murder, poisoning, and conspiracy. Exploring this and many other personal and political narratives, Perez’s interdisciplinary and multimedia body of work, indebted to all things hip hop and deeply influenced by the best and worst of U.S. popular culture, serves as a humble invitation to students, families, and local communities to reclaim and share their own stories. Presently, Perez continues to conceptualize, experiment with, and develop a methodology called “critical race poetics.”