Christine Bacareza Balance

Dahil Sa Iyo: The performative power of Imelda's song

In “Dahil Sa Iyo: The Performative Power of Imeldas Song,” Christine Bacareza Balance articulates the role of musical performance in the shaping of the “spectacular politics” of the former Philippine first lady. The article argues against depoliticized aesthetic and critical practices that attempt to separate art from politics. Instead, the article suggests that it was the deployment of musical art forms in Marcos’ performance of self that could bolster the execution of the Marcos’ political agenda, characterized by corruption, extra-juridical violence, and human rights abuse. Thus, the article concludes with a turn to artistic renderings of Marcos, arguing that such performances map the relationship between US imperialism, Filipino history, and the intimate sphere of Filipino America.

Dancing to Rock & Roll Poetry: Jessica Hagedorn and the West Coast Gangster Choir

On October 30, 1975—a historical pivot point between 1930s film noir and 1990s gangsta rap— Bay Area poet Nashira Priester introduced to San Francisco State University’s (SFSU) Poetry Center audience the city’s latest musical outlaws: the West Coast Gangster Choir, a multi-racial ensemble of vocalists and musicians led by then-emerging poet Jessica Hagedorn. This article chronicles Hagedorn9s development as a poet and performer, analyzing the cultural and political work done by the Gangster Choir as a Third World movement with an internationalist perspective on local issues.