Resources

Below you will find a number of resources--Journals; Blogs, Online Magazines, and News Outlets; and Organizations-- focused on the Philippines and the Filipino diaspora, as well as digital arts and media.

If you would like to request that your journal; blog, online magazine or news outlet; or organization be added, please let us know by emailing us: info@centerforartandthought.org. Please include a link (if available) and a brief explanation about why your organization should be included.

Journals

Scholarly, peer-reviewed journals that address questions relevant to the Philippines, Filipino diaspora, and other issues of interest to CA+T.

Amerasia Journal
Interdisciplinary journal in Asian American Studies.

ArtAsiaPacific
English-language periodical covering contemporary art and culture from Asia, the Pacific and the Middle East.

Artforum
Leading scholarly journal on contemporary art.

Asian Anthropology
New anthropological research on Asia to a global audience, editorially based in Hong Kong.

Asian Pacific Journal of Anthropology
Refereed scholarly journal which publishes social and cultural anthropological research with a focus on the Asia and Pacific region, including Australia.

Asian and Pacific Migration Journal
Academic quarterly dedicated to migration issues in the Asia-Pacific region.

Journal of Asian American Studies
Details new theoretical developments, research results, methodological innovations, public policy concerns, and pedagogical issues in Asian American studies. Official publication of the Association for Asian American Studies (AAAS).

Kritika Kultura
Electronic journal of language and literary/cultural studies in the Philippines, addressing issues relevant to the 21st century.

Pacific Historical Review
Covers the history of American expansion to the Pacific and post-frontier developments of the 20th-century American West.

Philippine Studies: Historical and Ethnographic Viewpoints
Internationally refereed journal that publishes scholarly articles and other materials on the history of the Philippines and its peoples, both in the homeland and overseas, that are theoretically informed but not encumbered by jargon.

Settler Colonial Studies
Multi- and inter-disciplinary research covering history, law, genocide studies, indigenous, colonial and postcolonial studies, anthropology, historical geography, economics, politics, sociology, international relations, political science, literary criticism, cultural and gender studies and philosophy.

Southeast Asia Research
New and innovative work on South East Asia.

Southeast Asian Studies
All-English sister journal of Tonan Ajia Kenkyu, publishing empirically grounded, multidisciplinary, and contemporary research in the natural sciences, social sciences and the humanities.

TAP: Trans Asia Photography Review
International refereed journal (ISSN: 2158-2025) devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge.

Vectors: Journal of Culture and Technology in a Dynamic Vernacular
Maps the multiple contours of daily life in an unevenly digital era, crystallizing around themes that highlight the social, political, and cultural stakes of our increasingly technologically-mediated existence.

Verge: Studies in Global Asia
Scholarship in both Asian and Asian American Studies.

 

Blogs, Online Magazines and News Outlets

A wide variety sources for news, meditations and conversation relevant to the Philippines and Filipino diaspora, including art, culture and politics.

Art in America
General news, articles and reviews.

Asian American Literary Review
Space for writers who consider the designation “Asian American” a fruitful starting point for artistic vision and community, showcasing the work of established and emerging writers.

Bombsite
In-depth interviews between artists working across genre and media to reveal their ideas, concerns, and creative processes.

East of Borneo
Online magazine of contemporary art, and its history, as considered from Los Angeles.

E-flux
International network which reaches more than 90,000 visual art professionals on a daily basis through its website, e-mail list and special projects. Its news digest – e-flux announcements – distributes information on some of the world's most important contemporary art exhibitions, publications and symposia.

Electric Literature
Guides writers and readers through a rapidly evolving publishing landscape.

Hyphen
Award-winning national magazine for urban, in-the-know Asian Americans covering arts, culture and politics in a fresh and irreverent voice.

Jadaliyya
Insight and critical analysis combining local knowledge, scholarship, and advocacy with an eye to audiences in the United States, the Arab world, and beyond. The site currently publishes posts both in Arabic and in English.

Kartika Review
National literary arts magazine that publishes Asian Pacific Islander American fiction, poetry, creative non-fiction, and art.

Montevidayo
Multi-authored blog hosting conversations about the arts, writing, politics, culture, media, genre, hygiene, genre-hygiene, food, war, chronometry, dissipation, propaganda, funerals, bicycles, haircuts and cutters, B-movies and Rimbaud, stunt-doubles and stutterers, in something like real time from many parts of something like the world.

Planting Rice
Alternative platform fostering the rise of cross-pollination among artistic communities. It distributes information on vital exhibitions, events, places and influences by art professionals in Southeast Asia, Australia, the United States and Europe who maintain networks and crossovers in the Philippines.

Rorotoko
Cutting-edge intellectual interviews.

 

Organizations

Organizations related to art, migration, labor, and social justice, especially as relevant to the Philippines and Filipino diaspora.

Asia Art Archive
Collects and makes information on the recent history of contemporary art in Asia easily accessible to facilitate understanding, research, and writing in the field, to enrich existing global narratives, and to re-imagine the role of the archive.

Asian American Arts Alliance
Dedicated to strengthening Asian American arts and cultural groups through resource sharing, promotion, and community building.

Art Informal
Brings art and its practice closer to the (Filipino) community through programs of exhibitions and art education. Includes physical exhibition space.

Barnard Center for Research on Women
Promotes women’s and social justice issues in the local spheres of the Barnard College community and academic and activist networks in New York City, as well as having a voice in national and transnational feminist organizing and research.

GABRIELA Network Philippines and US
Philippine-U.S. women’s solidarity mass organization, providing means by which Filipinas in the Philippines and U.S. can empower themselves and effect change through organizing, educating, fundraising, networking, and advocacy.

HASTAC
"Haystack." Alliance of individuals and institutions inspired by the possibilities that new technologies offer for shaping how we learn, teach, communicate, create, and organize our local and global communities.

Hemispheric Institute
Collaborative, multilingual and interdisciplinary network of institutions, artists, scholars, and activists throughout the Americas, working at the intersection of scholarship, artistic expression and politics.

Kulay Diwa Gallery of Philippine Contemporary Art
Privately owned venue for artistic expression discovering and promoting the works of talented and young Filipino artists.

Library of Congress American Memory Project
Provides free and open access through the Internet to written and spoken words, sound recordings, still and moving images, prints, maps, and sheet music that document the American experience.

Migrante International
Linking Filipino Migrants, tracing roots to serve and rebuild the Philippines.

National Alliance for Filipino Concerns
National multi-issue alliance of Filipino organizations and individuals in the U.S. protecting the rights and welfare of Filipinos by fighting for social, economic, and racial justice and equality. At present, NAFCON members encompass over 23 cities in the United States.







 
curated exhibition

Talking Bodies

CA+T commissioned six Filipino American and Asian American emerging poets and writers to create an audiovisual document of them reading their work.
 
We asked our participants the broad question, How do poets and writers write, think, and visualize bodies, the body, their body? The answers to this question—addressing colonialism, gender, geography, the everyday, the unknown and more—become the foundation for Talking Bodies. As you will see, each video captures the creativity of the poets and writers and pushes them to reconcile “voice” and “body” as they focus on the digital screen. 
 
Talking Bodies means literally and doubly.  The contributors are “talking bodies”—bodies who speak—as they record themselves digitally.  And Talking Bodies also “talks [about] bodies.” As these authors write about bodies, they connect theirs to others and to the global and historical processes that have constituted these bodies. These bodies are corporeal, psychic, and epistemic. 
 
This virtual exhibition captures writers as visual artists, especially in the ways they produce themselves speaking their work for the digital screen. 
 
Contributors’ works will be published in staggered waves from early June to early July 2016, after which the whole exhibition will be archived permanently on CA+T’s website.
 
Co-curated by Jan Christian Bernabe and Alex Ratanapratum.
 
Contributors include Kimberly Alidio, Jason Bayan, Rachelle Cruz, Kenji C. Liu, Angela Peñaredondo, and Melissa R. Sipin 
 
Special thanks to the Andy Warhol Foundation and the California Institute of Contemporary Arts for fiscal support.
 
Summer 2016
 

To My Unknown Daughter

Melissa R. Sipin

2016 Digital video recording Duration: 18m 46s Courtesy of the artist

contributor

X

Melissa R. Sipin

b. 1988
image description
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Melissa R. Sipin is a writer from Carson, CA. She won Glimmer Train's Fiction Open and the Washington Square Review's Flash Fiction Prize. She co-edited Kuwento: Lost Things, an anthology on Philippine myths (Carayan Press 2014), and her work is in Glimmer Train, Guernica, Washington Square Review, PEN/Guernica Flash Series, VIDA: Women in Literary Arts, Eleven Eleven, and Hyphen Magazine, among others. Cofounder of TAYO Literary Magazine, her fiction has won scholarships/fellowships from Kundiman, VONA/Voices Conference, Sewanee Writers' Conference, and was shortlisted for the David Wong Fellowship at the University of East Anglia. As the Poets & Writers McCrindle Fellow in Los Angeles, she is hard at work on a short story collection and novel. More at: msipin.com.

Here is an essay I wrote about the Pinay body: “To My Unknown Daughter,” which was published in Glimmer Train back in 2014. I thought reading this essay for CA+T’s “Talking Bodies” exhibit was appropriate but also star-aligning, because I wanted to do something more with it, something visual, something multimedia. I decided against using footage of me reading this essay, or any footage of me really, and instead used this vintage, archival footage of my family in Mandaluyong, Metro Manila, Philippines, in 1967, during the Marcos regime. There’s so much lovely irony in this archival, fragmentary footage ... My father's in there with his older brothers; him the youngest, the most hungry. He’s about five years old, such a ripe and innocent age, a persona of my father I’ve never met or seen before, and he is seen riding a bike or longing for his eldest brother, my Uncle Dennis, the chosen patriarch of my family after my grandfather died. The men first seen in the beginning, in the first clip, is my Uncle Geony and my Uncle Eddie—both of whom fled to the East Coast right around the time my grandfather passed, almost in defiance, in irrelevance to my Uncle Dennis. All the kids dancing are my familia—my aunts, my uncles, my cousins, my bloodline.

Let me go deeper, and tell you the backstory behind the footage: my white uncle, who filmed this footage, met my Auntie Lodie near Clark Air Base (she was a prostitute), and they married; before he left for America (and subsequently took her, which allowed my whole family to immigrate), he would visit the family home in Manila and bring gifts, like this camera. In this essay, I talk a bit about how this complication, this nuance, this chance meeting between my white uncle and prostitute aunt is a consequence of U.S. Imperialism, and how all of this—this kind of colonial inheritance—affects the ways I write about the Pinay body. Although I wanted to film new material, these archival, old family videos made by my white uncle—who, ironically, is the only one archiving and recording our family histories, our family tree, and salvaging mementos from our past—obsessed me. This footage always damages me in a slow, pregnant way; it marks the infancy of my familia, it marks the moment when we were once together, before we broke apart. I decided to loop the video in hopes of producing a kind of fragmentary remembrance.

 

location

X
  • Born: Torrance, CA
  • Based: Los Angeles, CA, USA

comments

X

To My Unknown Daughter (screen capture)

Melissa R. Sipin

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Melissa R. Sipin

b. 1988
image description
  • See All Works
  • facebook
  • visit website

Melissa R. Sipin is a writer from Carson, CA. She won Glimmer Train's Fiction Open and the Washington Square Review's Flash Fiction Prize. She co-edited Kuwento: Lost Things, an anthology on Philippine myths (Carayan Press 2014), and her work is in Glimmer Train, Guernica, Washington Square Review, PEN/Guernica Flash Series, VIDA: Women in Literary Arts, Eleven Eleven, and Hyphen Magazine, among others. Cofounder of TAYO Literary Magazine, her fiction has won scholarships/fellowships from Kundiman, VONA/Voices Conference, Sewanee Writers' Conference, and was shortlisted for the David Wong Fellowship at the University of East Anglia. As the Poets & Writers McCrindle Fellow in Los Angeles, she is hard at work on a short story collection and novel. More at: msipin.com.

Here is an essay I wrote about the Pinay body: “To My Unknown Daughter,” which was published in Glimmer Train back in 2014. I thought reading this essay for CA+T’s “Talking Bodies” exhibit was appropriate but also star-aligning, because I wanted to do something more with it, something visual, something multimedia. I decided against using footage of me reading this essay, or any footage of me really, and instead used this vintage, archival footage of my family in Mandaluyong, Metro Manila, Philippines, in 1967, during the Marcos regime. There’s so much lovely irony in this archival, fragmentary footage ... My father's in there with his older brothers; him the youngest, the most hungry. He’s about five years old, such a ripe and innocent age, a persona of my father I’ve never met or seen before, and he is seen riding a bike or longing for his eldest brother, my Uncle Dennis, the chosen patriarch of my family after my grandfather died. The men first seen in the beginning, in the first clip, is my Uncle Geony and my Uncle Eddie—both of whom fled to the East Coast right around the time my grandfather passed, almost in defiance, in irrelevance to my Uncle Dennis. All the kids dancing are my familia—my aunts, my uncles, my cousins, my bloodline.

Let me go deeper, and tell you the backstory behind the footage: my white uncle, who filmed this footage, met my Auntie Lodie near Clark Air Base (she was a prostitute), and they married; before he left for America (and subsequently took her, which allowed my whole family to immigrate), he would visit the family home in Manila and bring gifts, like this camera. In this essay, I talk a bit about how this complication, this nuance, this chance meeting between my white uncle and prostitute aunt is a consequence of U.S. Imperialism, and how all of this—this kind of colonial inheritance—affects the ways I write about the Pinay body. Although I wanted to film new material, these archival, old family videos made by my white uncle—who, ironically, is the only one archiving and recording our family histories, our family tree, and salvaging mementos from our past—obsessed me. This footage always damages me in a slow, pregnant way; it marks the infancy of my familia, it marks the moment when we were once together, before we broke apart. I decided to loop the video in hopes of producing a kind of fragmentary remembrance.

 

location

X
  • Born: Torrance, CA
  • Based: Los Angeles, CA, USA

comments

X

You Make a Half of Me

Kenji C. Liu

2016 Digital video recording Duration: 1m 29s Courtesy of the artist

contributor

X

Kenji C. Liu

b. 1977

Born in Japan to a Japanese mother and Taiwanese father, the laws at the time excluded me from Japanese citizenship. Because of my father, I was an alien and a ward of the Republic of China, a place I had never seen. Ironic, considering that my father was born into the Japanese Empire. This legal twist, among several others I have explored in my poetry collection Map of an Onion, is a major crux in my creative and scholarly practice.

I am interested in the documents of the state, or what documentation does or does not permit. By document I mean anything from citizenship or residence papers to federal laws or medical examinations. How does a document, or a series of documents, create a certain kind of person, a certain kind of body?

Simultaneously, my experiential practice as a vipassana meditator provides a different yet compatible perspective on personhood and embodiment—that ultimately, what we take to be natural or solid are neither. That what we consider to be a solid self is an amalgamated series of reactions to our experiences.

My current work is the decolonial exploration of an intersection—between the formation of a legal subject (by legal I don’t mean a person given legitimacy through law, but rather a type of person defined and created by law, whether citizen, resident, alien, undocumented, gender, race, etc.) and the formation of our sense of solid self, forged through very personal yet also social, political, economic experiences.

In this work I draw heavily on post-structural and post-colonial scholarship, attempting to sense into biopolitics and governmentality as they are deployed, as we deploy them, as deployment occurs. Equally important are Theravadan Buddhist suttas explicating the ways we form a sense of self (dependent origination or paticcasamuppada), the Four Noble Truths, and the cessation of dukkha. Together, these bodies of thought provide a view into not only how the self is made, but also how it can be remade or unmade—an essential insight for the practice of decolonization.

My poetry collection Map of an Onion is national winner of the 2015 Hillary Gravendyk Poetry Prize. My poetry is in many places, including American Poetry Review, Action Yes!, Split This Rock’s poem of the week series, four anthologies, and a chapbook, You Left Without Your Shoes. I have received fellowships from Kundiman, VONA/Voices, Djerassi, and the Community of Writers, and hold an MA in Cultural Anthropology and Social Transformation.

Photo credit: Margarita Corporan

 

location

X
  • Born: Kyoto, Japan
  • Based: Los Angeles, CA, USA
  • Also Based in: Oakland, CA, USA

comments

X

You Make a Half of Me (screen capture)

Kenji C. Liu

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Kenji C. Liu

b. 1977

Born in Japan to a Japanese mother and Taiwanese father, the laws at the time excluded me from Japanese citizenship. Because of my father, I was an alien and a ward of the Republic of China, a place I had never seen. Ironic, considering that my father was born into the Japanese Empire. This legal twist, among several others I have explored in my poetry collection Map of an Onion, is a major crux in my creative and scholarly practice.

I am interested in the documents of the state, or what documentation does or does not permit. By document I mean anything from citizenship or residence papers to federal laws or medical examinations. How does a document, or a series of documents, create a certain kind of person, a certain kind of body?

Simultaneously, my experiential practice as a vipassana meditator provides a different yet compatible perspective on personhood and embodiment—that ultimately, what we take to be natural or solid are neither. That what we consider to be a solid self is an amalgamated series of reactions to our experiences.

My current work is the decolonial exploration of an intersection—between the formation of a legal subject (by legal I don’t mean a person given legitimacy through law, but rather a type of person defined and created by law, whether citizen, resident, alien, undocumented, gender, race, etc.) and the formation of our sense of solid self, forged through very personal yet also social, political, economic experiences.

In this work I draw heavily on post-structural and post-colonial scholarship, attempting to sense into biopolitics and governmentality as they are deployed, as we deploy them, as deployment occurs. Equally important are Theravadan Buddhist suttas explicating the ways we form a sense of self (dependent origination or paticcasamuppada), the Four Noble Truths, and the cessation of dukkha. Together, these bodies of thought provide a view into not only how the self is made, but also how it can be remade or unmade—an essential insight for the practice of decolonization.

My poetry collection Map of an Onion is national winner of the 2015 Hillary Gravendyk Poetry Prize. My poetry is in many places, including American Poetry Review, Action Yes!, Split This Rock’s poem of the week series, four anthologies, and a chapbook, You Left Without Your Shoes. I have received fellowships from Kundiman, VONA/Voices, Djerassi, and the Community of Writers, and hold an MA in Cultural Anthropology and Social Transformation.

Photo credit: Margarita Corporan

 

location

X
  • Born: Kyoto, Japan
  • Based: Los Angeles, CA, USA
  • Also Based in: Oakland, CA, USA

comments

X

Eve's Mistress

Angela Peñaredondo

2016 Digital video recording Duration: 1m 11s Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

Eve's Mistress (screen capture)

Angela Peñaredondo

2016 Screen capture of video performance Courtesy of the artist.

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

The Young

Angela Peñaredondo

2016 Digital video recording Duration: 2m 38s Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

The Young (screen capture)

Angela Peñaredondo

2016 Screen capture of video performance Courtesy of the artist.

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

When The Saints Turned into Carnival Dancers

Angela Peñaredondo

2016 Digital video recording Duration: 3m 45s Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

When the Saints Turned to Carnival Dancers (screen capture)

Angela Peñaredondo

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X