Until

Tonight

even the crickets are silent

as if they felt the earth

quake from rifle shots

each one landing louder than the last.

Only the echoes of my footsteps on the pavement

cut through the night sky

a row of houses holding their breath

waiting hoping praying

for anything, something

to happen.

As if you can blink away the guns

hide in cookie cutter neighborhoods

until things die down

until someone else solves the problem

until another shot pierces through your window.

The Farewell

I saw The Farewell last week at the Charles Theatre in Baltimore. Having watched the trailer and skimmed a few reviews, I was ready to see Awkwafina shine and to cry out my feelings. But surprisingly, I didn’t. Not because there weren’t moments worthy of tears—I more or less psyched myself out of it.

I thought I’d walk out of the theater a crying mess because I’m sensitive to any story about grandparents, having only spent a significant amount of time with one grandmother, and never being around a grandfather. Instead I was filled with this yearning to be surrounded by my family—all of them, from both sides—and all our imperfections.

There’s a scene in the movie when the camera pans around the table and Billi (Awkwafina’s character), her dad, her nai nai (grandmother), uncle, and cousin are playing a drinking game. I may not have understood what they were saying but there was so much joy in that one moment it’s almost bringing me to tears as I recall it.

I can’t remember the exact details of a moment like that from my own history, but the feeling is familiar; I know it’s happened before. And so, the next day, with The Farewell fresh on my mind, I put aside some work and spent more time than I usually would with my mom. We didn’t talk about anything in particular; I simply accompanied her to her best friend’s house. She picked vegetables from their garden and afterwards, we all shared halo-halo (the Filipino dessert made with shaved ice, lots of different toppings, ube ice cream, and evaporated milk all mixed together, hence the name “halo halo” which translates to “mix mix”). It was a most ordinary and extraordinary Friday evening.

(Part 2 coming soon)

The last of a generation

I found out last night that one of my great aunts passed away. She was 88 years old.

This is the part about growing older that I can’t ever get used to.

She was my favorite Lola (grandmother) growing up in the Philippines. I absolutely adored her. She let me pluck the white hairs off her head! I don’t know why I did that, and why she even let me, but it’s one of my fondest memories. I remember being at her house for hours almost every day. Our mom worked a lot and was gone most of the day so my dad’s extended family took care of us (he was in the U.S. during this time).

She was kind and loving; one of the few grandmothers who showered me and my sister with affection and not criticism. We may not have been related by blood but it didn’t matter to her. At times she felt more like my actual grandmother than my dad’s mother ever did.

And now she’s gone.

And this is the only way I know how to say goodbye.

Typing words into the void of the internet. Trying so hard to recall memories from three decades ago. Wondering why I never wrote her any letters, or called her, only seeing her a few times whenever I visited the Philippines.

She was the last of her generation. My elders have all moved on, leaving us to carry their memories for them.

I hope she was proud of who I became. Time and space and oceans and language separated us but I like to think she was always with me somehow, deep in my memories, knowing without a doubt that I was loved.

Throwback: The Commuter Series

A decade ago I had a different blog and website, which I neglected in my hiatus from the arts. Unfortunately, I never saved my posts before I let go of the domain. I know, I regret it a bit. Ok, a lot. But today I was able to find some work I saved on my laptop!

Back then I traveled to DC three to four times a week. I spent the majority of the day in my car, on the train, thinking, dreaming. So I started what I called the Commuter Series, a series of writing inspired by a commute, written or conceived while on a commute, written about commuting (a movement and migration of bodies) whether by car, by bus, by train, by plane, by my own feet.

Here is arguably the best work to come out of the series, a poem called A deep love poem:

You've turned into a favorite poem of mine. 
I used to recite you on train rides
Not for practice
But like a cloud looming over my head
You were always there.
I thought if I repeated you enough times
I’d rhyme my way to a resolution.
With every attempt at memorization
The words would ease the discomfort in my chest
But the pain was still mine and mine alone
And you weren't going anywhere.
 
So I gathered my courage and told the world about you.
As the room sighed and ached with me
The microphone leading the way
I saw you slip away
Just as quickly as the time
You ran your fingers down my arm as if to catch me
But didn’t hold my hand.
 
Now you’re no longer mine
You’re no longer you.
Just a poem.
A deep love poem
A bittersweet poem
A clichéd heartbreak comfort poem
Shaped by an audience to fit their story.

In my element

On Saturday I was the Master of Ceremonies for the 33rd Anniversary Dinner Dance of the Filipino American Association of Upper Chesapeake (FAAUC). My family has been part of this organization since 1996. It’s an integral part of our history and life in Maryland; my parents met many of their closest friends through the association and I grew up with a group of friends many of whom have families of their own now, although we’ve grown apart in recent years. I have hosted this event on and off since I was 16. I’ve lost count exactly how many times I’ve been MC; it all blurs together most of the time. Except for this one.

For the first time, my outfit matched how I felt inside: powerful, grown, self-assured. My hair was styled. I was wearing make up. My cue cards in my hand, handwritten numbers on the top right corner in pink marker (I wrote my script that morning). I was ready to go.

(For those interested, I wore a faux jumpsuit—black, shimmery wide leg pants and a black v-neck satin sleeveless top—with a Filipino kimona, and blush heels. I’m usually not that trendy.)

I shared a poem about balikbayan boxes which was, surprisingly, a big hit with the crowd. I became part of the cultural program providing the transitions between acts–most of it ad lib as I had only prepared the minimal thinking that I wouldn’t have to introduce each dance or singer; in the past the program has been one long medley of songs without breaks. I made people laugh.

For the first time in a long time, I showed who I was and what I could do without giving a thought to my weight or my unruly eyebrows or how I would be perceived. When I featured at Busboys and Poets at the end of March, I still didn’t take up space and was super conscious of how large I must have looked to others up on stage, the lights so intense there was nowhere to hide.

So when someone asked me why I was so beautiful that night, I said, “Because I feel good.”

I took this selfie before I left the house. I usually don’t take a selfie alone. I’m not that comfortable taking a selfie alone. But I made it a point to take one so I could look at my face and not criticize every inch of it, to recognize how long it took me to get to this point of acceptance and love, to capture me at my best, in my element.

I’ve struggled with my weight for a long time, more notably so in recent years. I dread going to the Philippines and seeing family because they’ll always comment on my weight first. Once, a childhood friend saw me for the first time after 15 years and when we were alone, his first words to me were: “Why are you so fat?”

I’m not conventionally pretty (my mom would argue that I am, but what parent wouldn’t?). Cute would be the closest I’d say. Only because of my dimples. It bothered me more growing up when comparing yourself to others is a daily ritual and none of the boys around you seemed to find you attractive. So I focused on academics and writing instead, on developing skills and my sense of humor, on community and working towards social justice, believing that in the end, those things would matter more. And they do.

It is all of those things and talent and stage presence and practice and experience and my support network that created me in this specific moment in time. We carry all of who we are every day and everywhere. And on this particular day, I felt good. Despite certain parts of my life in limbo for the past 11 months and being fabulously broke, I know who I am, I know I am powerful, I know I have a lot to offer. And I wanted to celebrate that.

Upcoming events

I’m incredibly grateful for the opportunities to perform, share my work, and advocate for the arts. Here’s where I’ll be in the next two weeks!

Tabling for the Baltimore Asian Pasifika Arts Collective at the Baltimore APA Heritage Month Celebration // Friday, May 31 // 5:00 – 9:00 PM // Brown Center, MICA // The event is FREE but advanced registration is required via Event Brite.

Judging the Capturing Fire Semifinal Poetry Slam // Friday, May 31 // 8:30 – 11:00 PM // Busboys & Poets Takoma

Hosting the Filipino American Association of Upper Chesapeake (FAAUC) 33rd Anniversary Dinner Dance // Saturday, June 1 // 7:00 PM – 1:00 AM // Richlin Ballroom, Edgewood, MD // Tickets $60 in advance

Performing a short set at Katipunan Filipino Festival // Saturday, June 8 // 11:00 AM – 5:00 PM (my performance is at 1:00 PM) // Timonium Fairgrounds // $5 tickets

The closing of Tornkid, the collaboration between Baltimore Asian Pasifika Arts Collective and Cohesion Theatre Company // Sunday, June 9 // 4:00 PM // 923 S East Avenue, Baltimore // Tickets are Pay What You Can available online and at the door

Circling back

Over the weekend I was surrounded by Filipino aunties and uncles, little kids running around, teenagers chatting doing anything so as not to be bored, and music—traditional and contemporary Filipino music. On repeat. I watched as yet another generation of Filipino American youth danced between bamboo sticks and tried to swing their hips while gracefully moving their arms from the right to the left as their feet tapped to the beat. The young girls—no more than 10 or 12 years old—could sense everyone watching them, their cheeks turning a little pink. One even teared up when she stepped on the bamboo and fell. We were all worried about her well being. But for a moment I thought I saw more embarrassment than pain and the pressure of expectations.

It’s been two decades since I was that little girl. Twelve years old. Roped into joining the dance troupe with a promise of a meal at McDonald’s (I know. I know. So gullible). My memory of those days is untrustworthy, as memory often is. But I remember feeling like people were always watching, calculating your worth in their head, almost waiting for you to mess up. That one over there is pretty. The other one, not so much. She’s smart but that’s trouble. I’m not surprised she got pregnant. Does she have any talent? She may be graceful but she’s a little fat.

I wish I could say these calculations stop at some point. Or maybe I wanted to believe that they do. That I had grown up enough—that my life experience, skills, and relationships speak for itself. That there is no space for others’ calculation here.

Instead I found myself explaining what I’m doing now. Stating (with a bit of hesitation and uncertainty) that building community, especially among AAPI artists, and providing a platform for our stories to be heard and celebrated is very important to me. The interaction bothered me enough that here I am writing a public blog post about it.

Thinking it through now, I don’t think it was their question or response that really bothered me. It was the tiny hesitation I heard from myself. It’s the young girls going through the same thing I did—a handful of people watching them, expecting things from them that fall within the limits of what they consider to be “normal” or “traditional.” Young girls who may not, for a long time, know what it means to be your own person. Know what it means to be free.