topic

Citizenship and belonging

This topic recognizes the complex, paradoxical ways in which the formal status of citizenship—legal inclusion in and recognition by a state apparatus—intersects with the desire for belonging—the feeling of being at home and welcomed by one’s fellow subjects. As Evelyn Nakano Glenn asserts in Unequal Freedom: How Race and Gender Shaped American Citizenship and Labor (Harvard University Press, 2002), “Citizenship is not just a matter of formal legal status; it is a matter of belonging, including recognition by others in the community” (52).


As Filipinos move around the world in search of work, they must negotiate competing, often contradictory demands. While the Philippine state facilitates work emigration, it simultaneously demands that diasporic Filipinos demonstrate their loyalty by exacting salary remittances as a form of patriotic duty and framing them as “national heroes." With a complicated imperial history, Filipinos' citizenship and belonging is always up for grabs and unsettled.

Spam

Roberto Ascalon

Poem & spoken word. Courtesy of the author.

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Roberto Ascalon

New York City-born Roberto Ascalon is a poet, writer, arts educator, and spoken-word performance artist who lives in the historic Youngstown/Cooper School in West Seattle. Ascalon, the recent recipient of the 2013 Rattle Poetry Prize, uses his love of the craft of poetry to transform the world that surrounds him. He connects with audiences via universal narratives that encompass topics like racism, first kisses, love, family, and Spam. He has taught at Nova High School and participated in Seattle Arts and Lectures’ Writers-in-the Schools program. Roberto currently works as a teaching artist and mentor for Arts Corps, Youth Speaks Seattle, and the Service Board.

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  • Born: New York, NY, USA
  • Based: Seattle, WA, USA

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Balut (day)

Tim Manalo

2013 Resin, wood, motor, LEDs. 24 in. x 24 in. x 6 in. Courtesy of the artist.

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Tim Manalo

b. 1988
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Tim Manalo was born and raised in Toronto, Ontario, Canada. Growing up in a city rich with multiculturalism, he has always been exposed to Philippine culture through the city’s large Filipino community. A graduate of OCAD University’s sculpture and installation program, Manalo explores ideas of hybridity and identity in his works. He has an extensive background as a sculptor and fabricator for companies, catering industries focused in interior design, commercial outdoor displays, and costume and props. Currently, he continues his art practice in the heart of downtown Toronto. He is also very involved with the Filipino arts community, volunteering as an arts-based workshop facilitator for newcomer and at-risk Filipino youth.

In the piece Balut, I reflect on my position as someone who was born and raised in Canada but whose parents originated from the Philippines. This work is about my Filipino upbringing conflicting with the Westernized norm that I was confronted with during lunchtime in elementary school. Because Filipino dishes were not recognized as mainstream food, it resulted in my Filipino shame as a child as I would try to assimilate to the culture of the classroom. Balut is a hard-boiled duck fetus egg. In the Philippines it’s a popular delicacy, but in North America it’s a taboo. Balut in Tagalog also translates as “pack up” in English, which goes back to the origins of my Filipino upbringing and family migrating from the Philippines. Mimicking the light box used in harvesting balut eggs, the light inside the bag’s hole turns on only when it’s daytime in the Philippines and turns off when it’s nighttime—a daily reminder of our connection to a homeland that helped raise us, especially through food.

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  • Born: Toronto, ON, Canada
  • Based: Toronto, ON, Canada

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Balut

Tim Manalo

2013 Resin, wood, motor, LEDs. 24 in. x 24 in. x 6 in. Courtesy of the artist.

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Tim Manalo

b. 1988
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Tim Manalo was born and raised in Toronto, Ontario, Canada. Growing up in a city rich with multiculturalism, he has always been exposed to Philippine culture through the city’s large Filipino community. A graduate of OCAD University’s sculpture and installation program, Manalo explores ideas of hybridity and identity in his works. He has an extensive background as a sculptor and fabricator for companies, catering industries focused in interior design, commercial outdoor displays, and costume and props. Currently, he continues his art practice in the heart of downtown Toronto. He is also very involved with the Filipino arts community, volunteering as an arts-based workshop facilitator for newcomer and at-risk Filipino youth.

In the piece Balut, I reflect on my position as someone who was born and raised in Canada but whose parents originated from the Philippines. This work is about my Filipino upbringing conflicting with the Westernized norm that I was confronted with during lunchtime in elementary school. Because Filipino dishes were not recognized as mainstream food, it resulted in my Filipino shame as a child as I would try to assimilate to the culture of the classroom. Balut is a hard-boiled duck fetus egg. In the Philippines it’s a popular delicacy, but in North America it’s a taboo. Balut in Tagalog also translates as “pack up” in English, which goes back to the origins of my Filipino upbringing and family migrating from the Philippines. Mimicking the light box used in harvesting balut eggs, the light inside the bag’s hole turns on only when it’s daytime in the Philippines and turns off when it’s nighttime—a daily reminder of our connection to a homeland that helped raise us, especially through food.

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  • Born: Toronto, ON, Canada
  • Based: Toronto, ON, Canada

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Balut

Tim Manalo

2013 Resin, wood, motor, LEDs. 24 in. x 24 in. x 6 in. Courtesy of the artist.

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Tim Manalo

b. 1988
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Tim Manalo was born and raised in Toronto, Ontario, Canada. Growing up in a city rich with multiculturalism, he has always been exposed to Philippine culture through the city’s large Filipino community. A graduate of OCAD University’s sculpture and installation program, Manalo explores ideas of hybridity and identity in his works. He has an extensive background as a sculptor and fabricator for companies, catering industries focused in interior design, commercial outdoor displays, and costume and props. Currently, he continues his art practice in the heart of downtown Toronto. He is also very involved with the Filipino arts community, volunteering as an arts-based workshop facilitator for newcomer and at-risk Filipino youth.

In the piece Balut, I reflect on my position as someone who was born and raised in Canada but whose parents originated from the Philippines. This work is about my Filipino upbringing conflicting with the Westernized norm that I was confronted with during lunchtime in elementary school. Because Filipino dishes were not recognized as mainstream food, it resulted in my Filipino shame as a child as I would try to assimilate to the culture of the classroom. Balut is a hard-boiled duck fetus egg. In the Philippines it’s a popular delicacy, but in North America it’s a taboo. Balut in Tagalog also translates as “pack up” in English, which goes back to the origins of my Filipino upbringing and family migrating from the Philippines. Mimicking the light box used in harvesting balut eggs, the light inside the bag’s hole turns on only when it’s daytime in the Philippines and turns off when it’s nighttime—a daily reminder of our connection to a homeland that helped raise us, especially through food.

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  • Born: Toronto, ON, Canada
  • Based: Toronto, ON, Canada

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Imin Yeh Interviews Johanna Poethig about Placesettings

Imin Yeh Johanna Poethig

2011 Interview 14 minutes Courtesy of the author.

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Imin Yeh

b. 1983

IMIN YEH received a B.A.in Art History with Asian Option from the University of Wisconsin-Madison (2005) and an M.F.A. from California College of the Arts (2009). She creates sculptures, installations, downloadable crafts, and participatory artist-led projects. Recent projects include a 2012 commission from the San Jose Museum of Art and a year-long parasitic contemporary art space called SpaceBi that takes place in the Asian Art Museum. She has exhibited at the Asian Art Museum, Zero1 Biennial, Yerba Buena Center for the Arts, Meridian Gallery, Kearny Street Workshop, San Francisco Arts Commission Gallery, Intersection for the Arts, Pro Arts Gallery, Mission Cultural Center, and Southern Exposure. She has been invited to be an Artist in Residence at Montalvo Art Center in Saratoga, CA (2010), Blue Mountain Center in New York (2011), and Sandarbh Artist Workshop in Partapur, India (2013), and Recology San Francisco (2014). She has received an Individual Artist Grant from the San Francisco Arts Commission (2011), Murphy and Cadogan Fellowship (2008), and the Barclay Simpson Award (2009). She was recently awarded a 2014-2016 Eureka Fellowship through the Fleishhacker Foundation and is an adjunct lecturer at San Jose State University.

Imin Yeh is an interdisciplinary project-based artist, working in sculpture, installation, participatory events, and print. The projects are reactions to the systems surrounding how objects are made and how objects are desired, valued, and consumed. The diversity of her practice is unified by a continual pushing at the boundaries of printmaking, a medium at the intersection of popular literacy, commercialism, and social engagement. This process-based medium and its potential for multiples reflects the inherent relationship between process and product, a laying bare of the labor involved that echoes the contemporary necessity for efficiency, production, and profit. Copying the very aesthetic and process that is ubiquitous in the mass-production of commercial industry, the projects blur the lines between imaginary and “real” businesses, people, and/or products. Through humor, satire, and participation, the projects try to implicate the viewer into more critical dialogue about the invisible labor and the stories behind the objects we consume.

SpaceBi unofficially occupied the Asian Art Museum as a studio for developing new work from August 2011-August 2012. Access to the museum was through a “buying-in” process; I procured a high-level membership, institutionally referred to as the “Jade Circle,” and gained the ability to invite three guests to enjoy the use of a private room and garden in a public institution. For one year, I manipulated this privilege to exhibit contemporary creative and critical projects that hoped to be a forum for alternative programming and dialogue, re-imagining the use of this public space and collection and forging new connections between inherited cultural objects and creative practices today.

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Johanna Poethig

b. 1956

Johanna Poethig’s work crosses public and private realms. She studied at Jose Abad Santos Memorial City (JASMS) in Quezon City; the University of California, Santa Cruz; and got her M.F.A. at Mills College. She has exhibited her paintings, sculpture, public art works, murals, installations and video internationally. Poethig works with other artists, architects, planners, curators and communities on social and artistic interventions in our shared spaces. She produces and participates in performance events that mix feminism, global politics, cabaret, experimental music and video. Poethig is a professor at the Visual and Public Art department at California State University, Monterey Bay. She grew up in the Philippines and lives in Oakland, California.

Filipino food is my soul food. That is what I grew up eating. Every meal ends in my fingers. I grew up in Malate, downtown Manila, under the acacia tree that still stands. The year was divided up first into seasons of fruit and secondly into dry and rainy days. Mango season, santol season, sineguelas, lanzones, kamias, and the year-round papaya and bananas dipped in oil and brown sugar and barbequed. Mango season meant green mangos, crisp, white, sour and cut up in the latest fashion. I will not lie and say I eat balot. But I love pancit bihon, lumpia, sinigang and squid in ink and all things with patis, sour, soy sauce, vinegary and drenched in calamansi. As I designed the mural for the new I-Hotel, I read the poems by Al Robles and his times with the Manongs, eating, dancing, dreaming of lands I could also taste, smell and see. I had a vision of Placesetting. The tables of storytelling. A public art work for the personal everyday setting. The making of Placesetting was a labor of love. Researching and choosing the poems, the pictures and putting them together on the plates, bowls and mugs. Like eating, it was an everyday ritual and deeply satisfying.

Placesetting combines the utilitarian objects of a table setting with the art, necessity, emotion and politics of creating home and community. Finding housing and creating a place to call home is particularly relevant in our current economic crisis, but it is also a common thread through all human experience. This project is specific to this site and the Chinatown and Manilatown communities. San Francisco’s culture is rooted in the many different peoples who have made their homes here, and the history and struggle associated with the International Hotel (I-Hotel) is just one example of the many individual and collective struggles behind that effort to find a “setting” place – a home.

The Placesetting exhibit offers “souvenirs” to display or to use, as works of art, as remembrances or as objects of curiosity. Images from the Manilatown Heritage Foundation’s Archival Project; poems of Al Robles, Serafin Syquia, Nancy Hom, Genny Lim and Oscar Penaranda; saved newspaper articles lent by Mrs. Lee; objects from the Filipino and Chinese community; and imagery responding to the metaphors, myths and memories that resonate with the artist’s own experience growing up in the Philippines are fired onto bought and hand cast dinnerware. Digitally printed tablecloths, placemats and coasters are canvases for the installation.

As art or as utility, ceramics has built civilizations. They are the precious remains of archeological sites from which we piece together the past. They are the kitsch objects that line the shelves of the avid collector. They are the “revolutionary ceramics” of the Constructivists, feminist classics like Judy Chicago’s The Dinner Party and astounding public art of Antoni Gaudi in Barcelona. California has its own rich history in the development of ceramic arts and experiments in individual, public, community art and practices. Placesetting sets a table for this occasion, this place, this aesthetic of the home and the museum, for the everyday and for history.

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  • Born: New Jersey, USA
  • Based: Oakland, CA, USA

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Laurel Fantauzzo

b. 1984
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Laurel Fantauzzo is a writer and a teacher. Much of her work finds her studying appetites, identity, the signals for real love, and the search for home. She is largely a nonfiction writer and an essayist, but she also writes young adult fiction. 
 
Laurel Fantauzzo was born in Southern California to a Filipina mother and an Italian-American father. She later lived in Brooklyn, Manila, and Iowa City. She currently writes in Quezon City, Philippines, and she teaches at Ateneo de Manila University.

I am interested on how we construct our identities, how we maneuver displacement, how we communicate or fail to communicate, and how we can develop a healthy introspection as a platform for stronger, more active empathy.

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  • Born: Thousand Oaks, CA, USA
  • Based:
  • Also Based in: Brooklyn, NY, USA
    Iowa City, IA, USA
    Los Angeles, CA, USA
    Quezon City, Philippines

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Oath/Panatang

Miguel Libarnes

2012 Video Duration: 54s

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Miguel Libarnes

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Miguel Libarnes was born and raised in the Philippines. At the age of eighteen, he moved to the U.S.A. and studied visual arts at the University of California, Santa Cruz. He now resides in Brooklyn, New York. Focusing on his identity as a queer, Filipino surfer with a highly conservative Catholic upbringing, he aims to blend this mixture of conflicting cultures through art.
 

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  • Born: The Philippines
  • Based: Brooklyn, NY, USA

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Mediated Diasporas: Material Translations of the Philippines in a Globalized World

Deirdre McKay Mark Johnson

2011 Criticism 16 pages. Courtesy of IP Publishing.

South East Asia Research 19. 2 (2011): 181-196.

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Deirdre McKay

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Dr. McKay is a Senior Lecturer in Social Geography and Environmental Politics at Keele University. Previously she held appointments as a Postdoctoral Fellow and then Research Fellow in the School of Pacific and Asian Studies, Australian National University. McKay earned her B.A. (1st Hons) in Biology and Master's in Environmental Studies from Dalhousie University (Canada) and a Ph.D. in Geography from the University of British Columbia. Dr. McKay's research draws on both social/cultural geography and social anthropology to explore people's place-based experiences of globalization and development. She is interested in the long-distance relations that connect outmigrants to their sending communities, changes in local livelihoods and the possibilities for locally sustainable, alternative economic development, and environmental degradation linked to migration. Dr. McKay does fieldwork in the global South and also with migrant communities from developing areas who have moved into the world's global cities. Much of her work has been conducted with people who originate in indigenous villages in the northern Philippines. Dr. McKay is the author of numerous articles, chapters, and edited collections. Her book, Global Filipinos: Migrants' Lives in the Virtual Village, was published in 2012 by Indiana University Press.

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Mark Johnson

b. 1963
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I was born in Oklahoma in 1963, but I spent most of my childhood in the Southern Philippines, living in Sulu and Zamboanga.  It is that early experience that underpins my continuing interest in and research about Filipino Muslims in particular.  After taking my first degree in California, I moved subsequently to the U.K. where I undertook postgraduate training, first in Archaeology and then Anthropology, at University College London.

My research interests and writing are focused broadly around the issues of gender/sexuality, landscape and material culture, movement and transnationalism. I have conducted ethnographic research in the Philippines, Vietnam, Costa Rica and, more recently, Saudi Arabia. My original research in the Philippines was concerned with gender and sexual diversity in the context of both real and imagined movements of people and the growth of ethno-nationalist discourse. Recent Arts and Humanities Research Council-funded research focused on the place of religion in the experiences of Filipino migrant workers in the Middle East and Saudi Arabia in particular.

Books

2011. Diasporic Journeys, Ritual, and Normativity among Asian Migrant Women. London: Routledge. (with Pnina Werbner, eds.)

1997. Beauty and Power:  Transgendering and Cultural Transformation in the Southern Philippines.  Oxford: Berg.

Edited Journal Issues

2012.  Queer Asian Subjects:  Transgressive Sexualities and Heteronormative Meanings.  Asian Studies Review 36(4) December. (with E. Blackwood, eds.)

2011. Mediated Diasporas: Material Translation of the Philippines in a Globalized World. South East Asia Research 19(2): 181-341. (with D. McKay, eds)

2010.  Diasporic Encounters, Sacred Journeys:  Ritual, Normativity and the Religious Imagination among International Asian Migrant Women. Special double issue of The Asia Pacific Journal of Anthropology11 (3-4): 205-448.  (with P. Werbner, eds.)

2000.  Gender and Sexual Diversity in East and South-East Asia. Culture, Health and Sexuality 2(4): 361-472. (with P. Jackson, eds.)

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  • Born: Oklahoma, USA
  • Based: Hull, England, UK

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Jan Maghinay Padios

b. 1979

Jan Padios is an Assistant Professor of American Studies at the University of Maryland, College Park. She earned her Ph.D. in American Studies from New York University, where her work was supported by a Torch Fellowship and a Mellon Dissertation Writing Fellowship in the Humanities. Jan is currently at work on her first book, which is an interdisciplinary ethnography of the call center industry in the Philippines that places workers and culture at the forefront of the analysis. Broadly speaking, Jan’s research occupies the intersection of critical cultural studies and political economy, with emphasis on transnationalism, neoliberal globalization, affective/immaterial labor, media and communication, cultures of consumption, and U.S. empire. At the University of Maryland, she teaches undergraduate classes in transnational American Studies and critical perspectives on the global economy, as well as a graduate class in transnational political economy and culture.

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  • Born: Englewood, NJ, USA
  • Based: New York, NY, USA

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When to Shout in Church

Laurel Fantauzzo

Jan 30, 2013 Essay Courtesy of GMA News Online.

GMA News Online

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Laurel Fantauzzo

b. 1984
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Laurel Fantauzzo is a writer and a teacher. Much of her work finds her studying appetites, identity, the signals for real love, and the search for home. She is largely a nonfiction writer and an essayist, but she also writes young adult fiction. 
 
Laurel Fantauzzo was born in Southern California to a Filipina mother and an Italian-American father. She later lived in Brooklyn, Manila, and Iowa City. She currently writes in Quezon City, Philippines, and she teaches at Ateneo de Manila University.

I am interested on how we construct our identities, how we maneuver displacement, how we communicate or fail to communicate, and how we can develop a healthy introspection as a platform for stronger, more active empathy.

location

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  • Born: Thousand Oaks, CA, USA
  • Based:
  • Also Based in: Brooklyn, NY, USA
    Iowa City, IA, USA
    Los Angeles, CA, USA
    Quezon City, Philippines

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