is a writer, performer, and educator. He received his M.F.A. in Writing & Consciousness from the now defunct New College of California. His writing has appeared in TAYO, Witness, and Mission at Tenth. A VONA Voices Summer Writing Workshop alumnus, and formerly a featured artist for the AjA Project and the New Americans Museum, Perez has performed at the National Asian American Theater Festival, at several universities across California, and at venues such as the Yerba Buena Center for the Arts, the Asian Art Museum in San Francisco, and the La Jolla Playhouse. In addition, he has taught writing, performance, and ethnic studies at the University of San Diego, the University of California, San Diego, Miramar College, and the Art Institute of California, and has facilitated critical art praxis workshops at various campuses and community centers. Most recently, he wrote for a collaborative multimedia play for which he and San Francisco-based director and choreographer Alleluia Panis were awarded a Challenge America Grant from the National Endowment for the Arts. Currently, Perez is a dual-degree doctoral student in Communication and Ethnic Studies at the University of California, San Diego.
(The above trailer was created for promotional purposes only.)
THE PASSION OF EL HULK HOGANCITO is a live semiautobiographical multimedia literary performance, written & performed by JASON MAGABO PEREZ, sound/music directed & performed live by Arash "Shammy Dee" Haile. Hasón, the supposedly fictional narrator, wrestles with authorship and obsession, loses the Third Grade Show & Tell Showdown, muses on the mentorship of WWF wrestling heroes, investigates the root of his crybabyness, and explores the trauma of the FBI's 1970s racist and sexist criminalization of two recently immigrated Filipina nurses, one of whom happens to be his mother. Part pop culture lecture, part performative historiography, all intimate storytelling, The Passion is plainly and simply about a mother, a son, historical trauma, and the Hulkamania within.
+ BRAVOS
"Start with the title...Weird but familiar, Catholic and all-American but rendered in Spanish, made somewhat foreign and strange and yet faintly hilarious."
- San Diego CityBeat
MARCH/APRIL 2009. PREMIERE. Bayanihan Community Center. SoMa, San Francisco, CA. Presented by Kularts.
MAY 2009. University of California, San Diego Cross Cultural Center Art Space. La Jolla, CA. Presented by the UCSD Cross-Cultural Center and the UCSD Pan-Asian Staff Association.
NOVEMBER 2009. California State University, Sacramento Multi-Cultural Center. Sacramento, CA. Presented by the CSU Sacramento Multi-Cultural Center.
DECEMBER 2009. University of California, Berkeley Multicultural Center. Berkeley, CA. Presented by UC Berkeley's Department of Ethnic Studies and Asian American Studies Program.
FEBRUARY 2010. University of California, Santa Barbara Multi-Cultural Center Theatre. Santa Barbara, CA. Presented by the Center for Black Studies Research.
OCTOBER 2010. Filipino American History Month at the Asian Art Museum in San Francisco. San Francisco, CA. Presented by the Asian Art Museum and partners.
OCTOBER 2010. Beyond Manny and Marcos (showcase) at the Koret Auditorium in the San Francisco Public Library. San Francisco, CA. Presented by SF Public Library and the Smithsonian Institute. Curated by Anthem Salgado.
NOVEMBER 2010. Excerpts presented in Professor Christine Bacareza Balance's Filipino American Studies course at the University of California, Irvine. Irvine, CA. Presented by the Department of Asian American Studies.
APRIL 2011. University of San Diego Salomon Lecture Hall. San Diego, CA. Presented by the USD Center for Community Service-Learning.
JUNE 2011. 3rd National Asian American Theater Festival at the National Center for the Preservation of Democracy. Little Tokyo, Los Angeles, CA. Presented by the Consortium of Asian American Theaters & Artists. Performed w/ special musical guest Arash "Shammy Dee" Haile. (Note: These two festival showings were the first performances w/ sound/musical direction.)

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OFF THE RICHTER SCALE: WRITING THE WILD
OCTOBER 9, 2011
3:00P-4:00PM
From the icelands of Antarctica to the underwater worlds of the Sea of Cortez, these novelists and essayists have journeyed into the world’s wildest spaces—natural, urban, mythic, and otherwise—and have returned to tell the tale. Come hear as they share their stories and discuss the trials and wonders of writing from extreme circumstances.
Anita Amirrezvani, Natalie Baszile, Lucy Jane Bledsoe, Carolyn Cooke, Michael David Lukas, Jason Magabo Perez.
Against larger state forces enacting violence on its people, Make Your Own Revolution affirms the resilience of everyday acts and inspires creative responses. These performative acts mourn the continuing deaths and suffering, and honor the valor of people power.
FEATURING:
Friday, September 21, 2012:
Saturday, September 22, 2012:
Make Your Own Revolution’s curatorial team includes: Professors Christine Balance (UC Irvine) and Lucy Mae San Pablo Burns (UCLA), Writer/Director Allan Manalo, Actor/Director Sean San Jose (Intersection for the Arts), Writer/Director Jason Magabo Perez, and Musician/Producer Jesse Gonzales (piNoise Pop). This event is made possible with support from the San Francisco Arts Commission-Arts for Neighborhood Vitality.
MORE INFO»by Diane C. Fujino (via SF Gate)
Seth Rosenfeld’s dramatic announcement that Richard Aoki was an FBI informant provoked an enormous response from Chronicle readers. Could it be true? Or was this a “snitch-jacketing,” a classic FBI tactic used to cast suspicion on a legitimate activist by spreading rumors and manufacturing evidence?
As a scholar, I insist on seeing evidence before concluding any “truth.” But as I read Rosenfeld’s work and cross-checked sources from my biography on Aoki, I realized Rosenfeld had not met the burden of proof. He made definitive conclusions based on inconclusive evidence.
If Aoki was an informant, when was he informing? How did he help the FBI disrupt political movements? What were his motivations?
I also questioned Rosenfeld’s motives. Rosenfeld’s piece, published the day before the release of his own book, gained him widespread media and public attention that surely will augment sales.
READ MORE: http://www.sfgate.com/opinion/openforum/article/Where-s-the-evidence-Aoki-was-FBI-informant-3808396.php
Perhaps we have not sufficiently demonstrated that colonialism is not simply content to impose its rule upon the present and the future of a dominated country. Colonialism is not satisfied merely with holding a people in its grip and emptying the native’s brain of all form and content. By a kind of perverted logic, it turns to the past of the oppressed people, and distorts, disfigures, and destroys it.
This is why we need to perform and fund our own research. This is the kind of ‘investigative journalism’ that re-traumatizes our communities. Mystery > Weak claims > Capitalist book-selling. We really need more and more creative, autonomous, knowledge-producing anti-institutions. And still, FUCK the FBI.
Reading Club 2000
This made my day. :) A lovely little gem in Makati. I love reading books and this initiative by Nanie Guanlao is truly inspiring.
Here’s the full article over at the PDI.
via Emerald Ridao
It was reported yesterday that Ms. Lauryn Hill has been charged with three counts of misdemeanor failure to file taxes. These charges were incurred for the years of 2005-2007, during a time in which Ms. Hill had removed herself and her family from society, in…
TOWARD A GENEALOGY OF ANGER…
1. Usually when people are sad, they don’t do anything. They just cry over their condition. But when they get angry, they bring about a change.
— Malcolm X (1965)
2. My response to racism is anger. I have lived with that anger, on that anger, beneath that anger, on top of that anger, ignoring that anger, feeding upon that anger, learning to use that anger before it laid my visions to waste, for most of my life.
— Audre Lorde, “The Uses of Anger: Women Responding to Racism” (1981)
3. excuse me, if I get angry
watching my parents wither in work day cycles
while you steam roll over their dreams
THEY drown in blood and sweat
for 15 minute breaks and overtime meals
the factory whistle blows an awful stink
that stains my father’s blue collared shirt
steel toe shoes cover callous feet
that stand proud to be the backbones of this America
for jobs ‘real Americans’ never wanted
my father’s skin sweats stories
my mother’s hands hold up hope
I AM ANGRY FOR THEIR SACRIFICE.
I AM ANGRY FOR THEIR PAIN
I AM ANGRY for the lost stories and forgotten faces
drowning in this land of immigrant pool
I AM ANGRY for the violence that bleeds onto your streets.
— Anida Yoeu Ali, “excuse me, ameriKa” (2002)
4. I am not angry; I am anger.
I am not dangerous; I am danger.
— Amir Sulaiman, “Danger” (2005)
What and how I write is no mere exercise; for me it matters and matters deeply.
i cant count the number of times i have viscerally wanted to attack deform n maim the language that i was taught to hate myself in
1. “Four Women” by Nina Simone
This was played in the final class session for one of my graduate seminars. We were discussing cultural studies and what it means to produce knowledge.
2. “The Race for Theory” by Barbara Christian
“For people of color have always theorized—but in forms quite different from the Western form of abstract logic…our theorizing…is often in narrative forms, in the stories we create, in riddles and proverbs, in the play with language, since dynamic more than fixed ideas seem more to our liking. How else have we managed to survive with such spiritedness the assault on our bodies, social institutions, countries, our very humanity?”
3. I’m trying to decolonize my languages.
only by learning to live in harmony with your contradictions can you keep it all afloat
- audre lorde
Guest Post by Yolo Akili
Oppression is trauma. Every form of inequity has a traumatic impact on the psychology, emotionality and spirituality of the oppressed. The impact of oppressive trauma creates cultural and individual wounding. This wounding produces what many have called a “pain…
Grace Lee Boggs’ message to Occupy Wall Street. Support the film-in-progress about Grace Lee Boggs: http://www.americanrevolutionaryfilm.com/.