I recently had a conversation with artist Minette Mangahas regarding her Baybayin art project in Houston, Texas. Check it out if your in the area.
Artist talk: Thursday, March 25th
Opening Reception: Saturday, March 27
Installations on view: March 27, 2010 – June 20, 2010
“No longer bound to a sense of having to restrict one’s focus, material, or genre, many contemporary artists of color move back and forth between past and present, between history and fiction, between art and ritual, between high art and popular culture, and between Western and non-Western influences. In doing so they participate in multiple communities. “
-From English Is Broken Here by Coco Fusco, participating artist
Project Row Houses is excited to announce the opening of Artist Installation Round 32: eco, xiang, echo: meditations on the african, andean & asian diasporas. These Artist Installations will be on exhibit from March 27, 2010 through June 20, 2010 and are free and open to the public. There will be an Artist/Community Talk on Thursday, March 25th at 7:00 p.m. in our main building at 2521 Holman Street.
Bonifacio Comandante, the man who brought us the Baybayin dance, recently presented at the 1st MLE Conference, “Reclaiming the Right to Learn in One’s Own Language,” Capitol University, Cagayan de Oro City, Feb 18-20, 2010. His presentation was titled “ANCIENT BAYBAYIN:EARLY MOTHER TONGUE-BASED EDUCATION MODEL”.
I found the “Subtle Energies” of Baybayin and bean seeds interesting as well as Baybayin on the Manunnggul Jar. What do you think? Download the paper.
(Cover design by Sandy Knight. Cover image by Christian Cabuay.)
I recently had the pleasure working with Barbara Jane Reyes on the artwork for her Diwata poetry book. She chose my piece, Masamang balita galing sa mga bituin – Bad news from the stars. It’s a perfect fit. Here’s the press release:
New from BOA Editions, Ltd.
Poems by Barbara Jane Reyes
In her book Diwata, Barbara Jane Reyes frames her poems between the Book of Genesis creation story, and the Tagalog creation myth of the muse, placing her work somewhere culturally in between both traditions. Also setting the tone for her poems is the death and large shadow cast by her grandfather, a World War II veteran and Bataan Death March survivor, who has passed onto her the responsibility of remembering. Reyes’ voice is grounded in her community’s traditions and histories, despite war and geographical dislocation.
“Reyes has accomplished a masterpiece by conjuring and weaving the dialectics and elements of Malakas and Magandá – a Filipina poetics of the strong and beautiful. This alone merits praise. In majestic prose and deep story, in rhythmic caesura and hunter woman voices, in genius image brushwork and long and short line archipelago, we learn lessons for the 21st Century: that colonial invasion, the horror of cultural dismemberment, is not exhaustive: Asia, the Philippines, Manila spirit, all of us – can rebuild and continue in América, in many ways become whole again, by the alma and ceremonias, the tellings kept for centuries and beautifully recast in this book. I was mesmerized by the true Diwata that lives in these pages. Diwata – she instructs us, lures us, takes us deep into her jeweled river, then breathes into us our Creation Story – one we thought we could no longer remember, write, speak, or call our own.” — Juan Felipe Herrera
“Barbara Jane Reyes’ Diwata is a book that would have raised the hairs on the nape of Emily Dickinson’s head upon recognition of its poetic backbone. She injects Filipino words like calamansi, kastoy, and pananaghoy into the sinew of American poetry with panache and fearless abandon. Hers is an incomparable talent from which we cannot avert our gaze.” — Nick Carbó
September 2010 • 88 pages $16.00 paper • 978-1-934414-37-8
BOA titles are distributed to the trade by Consortium Book Sales & Distribution 1-800-283-3572
Press kits and other promotional materials are available upon request from BOA Editions. Contact Peter Conners, 585-546-3410 or firstname.lastname@example.org