Pub Date : 2021-06-29DOI: 10.18574/nyu/9781479808281.003.0002
Karen Jaime
This chapter examines the relationship between the writing, performance, and sexuality of Nuyorican Poets Cafe co-founder Miguel Piñero alongside the contemporary changes to the demography and culture of the Lower East Side/Loisaida beginning with the 1970s. Specifically, chapter 1 argues that Piñero’s queer stride functions as a performance that marks and claims racial-sexual space as he takes ownership of his geographic surroundings by thinking, naming, and calling out as he walks. By attending to Piñero’s “Lower East Side Poem,” this chapter ensures that his queerness, like his street walking and random thinking, is now included in the Cafe’s storied and canonical history.
{"title":"Walking Poetry in Loisaida","authors":"Karen Jaime","doi":"10.18574/nyu/9781479808281.003.0002","DOIUrl":"https://doi.org/10.18574/nyu/9781479808281.003.0002","url":null,"abstract":"This chapter examines the relationship between the writing, performance, and sexuality of Nuyorican Poets Cafe co-founder Miguel Piñero alongside the contemporary changes to the demography and culture of the Lower East Side/Loisaida beginning with the 1970s. Specifically, chapter 1 argues that Piñero’s queer stride functions as a performance that marks and claims racial-sexual space as he takes ownership of his geographic surroundings by thinking, naming, and calling out as he walks. By attending to Piñero’s “Lower East Side Poem,” this chapter ensures that his queerness, like his street walking and random thinking, is now included in the Cafe’s storied and canonical history.","PeriodicalId":310830,"journal":{"name":"The Queer Nuyorican","volume":"217 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122602641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-29DOI: 10.18574/nyu/9781479808281.003.0003
Karen Jaime
Chapter 2 provides an analysis of how poet, performer, and activist Regie Cabico’s Filipino Shuffle challenges the very definition of hip-hop theater by pushing the artistic medium to include works, subjectivities, and communities that do not overtly fall under the parameters of what constitutes hip-hop. Cabico uses humor, in the form of parody and camp, alongside the hip-hop practices of sampling and remixing to articulate a nuyorican aesthetic that enables his resistance to stereotypical constructions of ethnic and racial identity. This chapter argues that Cabico’s queer Filipino reimagining of the mini-series The Thorn Birds (1983) and the films Hollywood Shuffle (MGM, 1987) and Monster’s Ball (Lionsgate, 2002) in Filipino Shuffle broadens the scope of hip-hop theater as a performance genre, and helps to foster other critical interventions that serve as necessary tools for queer survival.
{"title":"This Is the Remix","authors":"Karen Jaime","doi":"10.18574/nyu/9781479808281.003.0003","DOIUrl":"https://doi.org/10.18574/nyu/9781479808281.003.0003","url":null,"abstract":"Chapter 2 provides an analysis of how poet, performer, and activist Regie Cabico’s Filipino Shuffle challenges the very definition of hip-hop theater by pushing the artistic medium to include works, subjectivities, and communities that do not overtly fall under the parameters of what constitutes hip-hop. Cabico uses humor, in the form of parody and camp, alongside the hip-hop practices of sampling and remixing to articulate a nuyorican aesthetic that enables his resistance to stereotypical constructions of ethnic and racial identity. This chapter argues that Cabico’s queer Filipino reimagining of the mini-series The Thorn Birds (1983) and the films Hollywood Shuffle (MGM, 1987) and Monster’s Ball (Lionsgate, 2002) in Filipino Shuffle broadens the scope of hip-hop theater as a performance genre, and helps to foster other critical interventions that serve as necessary tools for queer survival.","PeriodicalId":310830,"journal":{"name":"The Queer Nuyorican","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124456307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-29DOI: 10.18574/nyu/9781479808281.003.0005
Karen Jaime
This chapter critically analyzes the work of contemporary transgender spoken word poet, performance artist, and musician Ellison Glenn. Specifically, it focuses on how Glenn forges a critique of the current political, social, and economic conditions of African Americans in the United States and abroad. Glenn’s early days of participating in poetry slam competitions and his reappropriation of minstrelsy are documented alongside his critique of hip-hop masculinity and his adoption of the performance persona Black Cracker. Black Cracker enables Glenn to move his work beyond the US-based spoken word circuit, resulting in his imagining and performing a multiplicity of trans and queer racial identities in a mode defined as trans-Afrofuturism.
{"title":"Black Cracker’s “Chasing Rainbows”","authors":"Karen Jaime","doi":"10.18574/nyu/9781479808281.003.0005","DOIUrl":"https://doi.org/10.18574/nyu/9781479808281.003.0005","url":null,"abstract":"This chapter critically analyzes the work of contemporary transgender spoken word poet, performance artist, and musician Ellison Glenn. Specifically, it focuses on how Glenn forges a critique of the current political, social, and economic conditions of African Americans in the United States and abroad. Glenn’s early days of participating in poetry slam competitions and his reappropriation of minstrelsy are documented alongside his critique of hip-hop masculinity and his adoption of the performance persona Black Cracker. Black Cracker enables Glenn to move his work beyond the US-based spoken word circuit, resulting in his imagining and performing a multiplicity of trans and queer racial identities in a mode defined as trans-Afrofuturism.","PeriodicalId":310830,"journal":{"name":"The Queer Nuyorican","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134013388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-29DOI: 10.18574/nyu/9781479808281.003.0004
Karen Jaime
This chapter examines the significance of the verbal and oral articulations of the participants in the Glam Slam, an event held at the Nuyorican Poets Cafe from 1998 to 2008. The Glam Slam brought together the competitive spoken word/slam poetry and Harlem drag ball communities. Similar to the competitive drag balls of New York’s Black and caribeño queer and trans communities, poets walked the runway and, instead of voguing against one another, performed poetry, resulting in a new framework for the proclamation of queer poetics at the Cafe. These poetic and corporeal expressions during the Glam Slam made visible the socially, politically, and economically marginalized communities of color in New York City that have always been at the forefront of the Nuyorican Poets Cafe’s aesthetic.
{"title":"Tens across the Board","authors":"Karen Jaime","doi":"10.18574/nyu/9781479808281.003.0004","DOIUrl":"https://doi.org/10.18574/nyu/9781479808281.003.0004","url":null,"abstract":"This chapter examines the significance of the verbal and oral articulations of the participants in the Glam Slam, an event held at the Nuyorican Poets Cafe from 1998 to 2008. The Glam Slam brought together the competitive spoken word/slam poetry and Harlem drag ball communities. Similar to the competitive drag balls of New York’s Black and caribeño queer and trans communities, poets walked the runway and, instead of voguing against one another, performed poetry, resulting in a new framework for the proclamation of queer poetics at the Cafe. These poetic and corporeal expressions during the Glam Slam made visible the socially, politically, and economically marginalized communities of color in New York City that have always been at the forefront of the Nuyorican Poets Cafe’s aesthetic.","PeriodicalId":310830,"journal":{"name":"The Queer Nuyorican","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133225218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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