DELIRYO

[unabibliotecacomunitaria]

Colonialism/Postcolonialism (1998)

Ania Loomba

Libro completo, Routledge

Inglés

Estado de la copia: 4/5

Link de descarga

[praxis-makesperfect-deactivated]

this is a really good book for people who a primer to post-col theory, and highly suggested if you want to examine the difference between colonial conditions and post-colonial conditions

[anuraglahiri-blog]

i just saw another awesome book by her in a bookstore!

[deliryo]

September 13, 2012 - 2:30pm. CMC Audi, UP Diliman Aswang, a folkloric Philippine monster, is often conceptualized as a national symbol for monstrous asociality in the functionalist paradigms that dominate Philippine folklore. This paper opposes that conventional framing of aswang by exploring aswang accounts across various media in which the monster is not an asocial other; rather, aswang are relatives, friends, or sweethearts in the grips of supernatural transformation. These transmedial aswang raise questions of intimacy, unexpected monstrosity, and the permeable borders between the human and the nonhuman. Far from negating the social order, many accounts of aswang show them to be part of a decidedly queer social fabric themselves. This paper weaves media-convergent retaso (fragments) drawn from several Filipino and Filipino American sources: nineteenth and twentieth century accounts of aswang and babaylanes, the transgender shamans they were often conflated with; feminist comics (Lynda Barry’s One Hundred Demons, 2002); a queer novel (Si Amapola sa 65 na Kabanata, 2011); a post-studio era horror film (Mga Bata Ng Lagim [Children of Terror], 1964); independent digital shorts (Bakasyon [The Visit], 2004; and Lola [Grandmother], 2010); and amateur video (Amabilis2, 2011).

Naknang sandaang makatas na boobeyz ni Mebuyan, ang pechay ko'y bumubulwak sa galak, lumulukso-lukso at nagta-ta-tambling sa aspalto.

Ano kaya kung um-attend ako in Lilia Cuntapay drag? 

[deliryo]

A Night for Given // Blackbird, Makati // Sept 1

Benefit gig para sa legal battles ng pamilya ni Given Grace Cebanico.

(1, 2) Gabriela Women's Party + Monique Wilson read a poem by Joi Barrios; (3) Given's parents Marlene + Jun say a few words.

Malupet yung set ng The Jerks at yung benta factor ni Cabring ng Datu's Tribe e keri ipang-sideline sa Zirkoh. Medyo na-imbyerna lang ako sa (lack ng) presensya ng female/female-fronted na banda. Save Alex Movement lang yung may gurla at di ko pa naabutan yung set nila dahil pinahamak akez ng Google Maps.

May susunod pang fundraising events para kay Given sa Sept 23 sa Elbi at Oct 7 sa Diliman.

[deliryo]

Queer Manila // Manila Contemporary // Aug 25

Martin Lorenzo de Mesa

Jason Moss

Valeria Cavestany

Enzo Camacho + Amy Lien

Agnes Arellano (+)

Maria Jeona (+)

Julie Tolentino + Maya Muñoz

Leeroy New

Jef Carnay

  Valeria Cavestany

Christina Quisumbing Ramilo

Leo Abaya

Nagbasa ng tula si Danton.

Di ko nakunan lahat pati yung mga performance, pero meron pa ditey. 

*Dala nung 7th photo: ditech ko nabasa dati ang Abuses ni Lingis, at itey ang Manila chapter.

[correosfilipinas-blog]

Women making cigars at La Insular Factory, Manila, 1920-1930

[correosfilipinas-blog]

Upper class muslim women, Sulu, 1900-1910

[border-studies]

Weighing scale cards with horoscopes by strawberrylovescarrots on Flickr.

Amazing - “Weighing scale cards with horoscopes  A collection from the 1960s and early 70s (Singapore). I bought 2 packets, and these are the best of the lot. A lot of the horoscopes are in Chinese, which I can’t read.”

[femalefrontedhardcore-blog]

CHOKE COCOI

The Real Strength

Choke Cocoi was a legendary all-female Hardcore band bustin’ out of the Lucena (Philippines) underground scene way back in 1998. The band was born out of the ashes of their first Riot Grrl unit UOM. Playing ferocious Hardcore heavily influenced by Seein’ Red, ManLiftingBanner, Slayer and L7. The band was among the few who have managed to independently tour Malaysia and Singapore, and has become legendary in the local underground scene, being cited as an influence by many of today’s kids (esp. females) getting started on Hardcore and Punk.

Sheryl - Vokills Tweety - Guitars QT - Bass Odessa - Drums  Choke Cocoi disbanded in 2008, but members are still active in the scene and have continued playing in their new bands. Sheryl now wreaks havoc in crust band Kaktus Karuka, with Odessa, who also plays for Rush I.D., while Tweety now plays for Staid.

Choke Cocoi - Demo 2005

Urbanos split

Live video

Myspace

Cheers to Rann for this one!

[deliryo]

Ay putek. Ang lakas lang nang biglang kyompal sa fez ng ~mga alaala~.

[timeimmemorial]

Where fears are plumed like pheasants . . .

[deliryo]

Where fears are plumed like pheasants, I, brittle, tenebrous man, inconsolable widow, immerse myself in doubt. Here, I find refuge: flaunting my trophy injuries, feasting what is forbidding in being. Little else is possible: a dictionary of the body in motion, a frenzy of private images against a background of massacres and shame. On this embrangled route, figureless space, the rest of the creatures. Torches flare up. Tousled frieze of desires. 

-- Maria Negroni, trans. Michelle Gil-Montero (via timeimmemorial)

[deliryo]

Eliza “Neneng” Barrios, Reanne “Immaculata” Estrada and Jenifer “Baby” Wofford are a trio of Filipina-American artists who have been working collectively for over fifteen years as Mail Order Brides/M.O.B.

[deliryo]

Chatsilog (2010) [drafts + final video]

Mail Order Brides/M.O.B. collaborated with Carlos Villa on a long-distance collaborative video implementing iChat. Footage from the iChats was shot while Neneng and Carlos were in San Francisco, Immaculata was in Los Angeles and Baby was in Prague. It was FTPed to and edited in Prague, then FTPed to Manila, where it was presented on four monitors as an installation bringing all members together. 

[deliryo]

Mail Order Brides/M.O.B. (1996-98)

__

*Reanne Estrada in a red terno plus bitchesa fez combo as dead accurate gpoy

[deliryo]

Visit Original Link

Ryo + Erehwon - Puddle of Lust (Mix 002)

[See: Ink Butoh]

[deliryo]

Apichatpong Weerasethakul & Chaisiri Jiwarangsan, The Importance of Telepathy, dOCUMENTA (13) [via Wise Kwai's Thai Film Journal]

[deliryo]

AAA launches Field Notes with The And: An Expanded Questionnaire on the Contemporary.

This inaugural issue, with contributions from over 40 scholars, critics, curators and artists, addresses a theme that is central not only to AAA, but is one of the most vexed topics in recent years: the notion of the 'contemporary in art', with specificity to the contexts of Asia.

[...] The division of contemporary art from above and contemporary art from below in David Teh’s response to the questionnaire perhaps best illustrates the diverse and uneven levels of interpretation, not only when comparing different countries in the region but within a single country. One thing’s for sure: it’s unlikely that when you speak about contemporary art in Asia you’re necessarily referring to the same thing. So generally speaking, there’s contemporary art from below, ‘whereby artists have devised strategies for mediating and sometimes transcending their local traditions and modernisms’ and contemporary art from above whereby institutions, governments and the market ’have […] put themselves forward as champions and patrons of a local/regional “contemporary art”.’ And even when standing at the same altitude, contemporaneity might look very different; what’s up for auction or taught in school is not necessarily being shown in museums and vice versa; the work of an artist being shown on the international biennial circuit may not necessarily be part of the exhibition circuit at home. Or as artist Naiza Khan observes in Pakistan, for example, ‘despite the lack of critical apparatus of engaged voices within’ or the absence of the development of local knowledge around contemporary art practice in institutions, art practice continues at a dynamic pace. Responses from the questionnaire not only map the multiple and often disjunctive layers in which one must consider contemporary art in Asia, but make apparent the urgency to go a step further and consider the origins and usages of the very word ‘contemporary’ in the art histories of the region. As observed by Joan Kee, ‘There is a surfeit of terms, all of which are deeply embedded in highly specific historical trajectories. The words used to produce the phrase ‘contemporary art’ could be the same, but meanings vary considerably as do their approaches.’ For some countries, as in China, as Karen Smith notes, it’s a lack of alternatives; ‘contemporary has become the most convenient term for art being produced in this present age…but “contemporary” has little relation to a specific attitude of mind or philosophy vis-à-vis a Euro-American concept.’ The responses also consider the possibilities of finding new approaches to the word. Reiko Tomii calls for the contemporary to be liberated from its imminent and all-encompassing form, preferring instead ‘contemporarity’ which may unleash us from the indefiniteness of its grasp. Or can we imagine, as Hu Fang does, a time of hierographs, finding ways to unload words of their meaning, seeking new graphic communication prototypes.

[deliryo]

Mars Ravelo, Varga (1947)

Varga first appeared in Bulaklak magazine in 1947. It was Varga whom Ravelo would later evolve into the ultimate Pinoy female superhero icon Darna in 1949, when the comics creator joined Pilipino Komiks. (via Unang Labas)

[deliryo]

Ang kailangang ilinaw: ang rasismo, tulad ng iba pang isyung pangkultura, ay hindi lang isyung pangkultura. Nakaugat ang pagiging dominante ng Kanluraning modelo ng kagandahan sa aktwal na dominasyon ng Kanluran sa ekonomiya, pulitika, at militar ng mundo. Sa aktwal na tinakbo ng kapitalismo, mga makapangyarihang bansa sa Kanluran ang naging dominante, at sa batayan ng pagiging dominante nila naipataw-ipinataw ang kanilang kultura at modelo ng kagandahan. Dahil sa kolonyalismo at imperyalismo, ang mga matang gamit natin sa pagtingin ng “maganda” ang siya ring gamit natin sa pagtingin ng “maunlad,” “mahusay,” at maging “demokratiko.” Hangga’t hindi lumalaya ang bansa sa dominasyon ng mauunlad na bansa sa Kanluran, pangunahin ang US, lagi’t laging may rasismo, iwawalang-halaga ang kulay na kayumanggi at itsurang Pilipino

Teo Marasigan, KolonyalNation

.

Mismo. Pero palitan yung huli ng iwawalang-halaga ang itsurang hindi Kanluranin. Problematic yung pag-frame na merong iisang itsura nang "pagka-Pilipino".

Thus, short of colonising them all over again, Filipinos may not ever be made to constitute an essence or a being, since they already are ever in the process of becoming.

[...]

To the degree that the normative category ‘Filipino,’ as it has been preached and enforced by canonical Philippine literature and history, presumes to be able to allegorically capture and subsume the plurality of subjectivities and selves of the very ‘Filipinos’ it supposedly merely describes and yet in fact discursively materialises, then, finally, it is in fact the latter and not any outside, alien or dominating force that functions as this category’s constitutive Other, the structure that it repudiates and yet simultaneously incorporates precisely as its founding repudiation. In other words, it is the real ‘Filipinos’ themselves that the symbolic nativist fantasy of ‘Filipinoness’ excludes, but at the same time it is they who are supposed to ‘embody’ it into being.

-- J. Neil Garcia

Ang kagustuhan na i-distill sa monolitikong mukha ng pagka-____ e yung mismong mekanismong tumutulak sa Iba/Kaiba sa margins, yung Iba/Kaiba na supposedly rumi-representa sa pagka-____.

NTS: identitad bilang patuloy na pagiging imbis na static na pagka-; isaalang-alang ang perpetual na pagiging habang jinojombag ang mukha ng dominanteng mga kultura/naratibo/chenelyn.