Performativity of Filipino/xness

When speaking to the performance of Filipinxness or being Filipinx, most respondents attribute external influences to the intention and performance being portrayed. Performativity through the understanding of culture has been present within the Fil-/Am communal space in regards to the process of becoming “Filipino.” Following the genealogy of folklorico dances originating from the Philippines to its subsequent export and progression to Pilipino Cultural Nights, Filipinx-/Americans have facilitated methods to embody and incorporate the culture into their unique identity. While these specific examples are spectacular ways to reconnect with the homeland culture, Fil-/Ams also perform cultural competency and practices through the mundane acts of (re)living this shared sense of self. From as ordinary as sharing lived experiences to find a commonality to hosting spaces, these mere acts serve to display the practice and performance of culture.

Taking into account the established literature on cultural presentation, the performativity of Fil-/Ams both historically and contemporaneously can be conceptualized as an effort carried from the post-memory, or the cultural impressions, imparted from the affective imprints of immigration. The trauma of immigration, of forced dislocation and cultural decline, affects all those brought over from immigration. This migration leads to a disconnect for Filipinxs as they retain their cultural identity through memories and imprints from the Philippines. As transplants, the post-memory of Filipinxs is created through the process of immigration as distance leads to an insecurity to claim and a confusion with identity. Becoming “Filipino” has been the main motive for Filipinx-/Americans engaging in this practice of reconnecting and why this socially constructed cultural practice has pervaded much of the conversation revolving around identity and belonging. Fil-/Ams live vicariously through these practices and reinterpretations to re-codify/renegotiate “Filipinoness” within themselves.

“Being Filipino is more than learning about the language. It’s more than learning to cook the food. It’s that inner chakra [and] energy about learning more about yourself. Being Filipino and having that identity and holding that identity is not based on those things. It’s about what you think it is inside of you” – Alyssa Geniza

While some respondents claim that performing Filipinxenss isn’t and shouldn’t be necessary to claim a Filipinx identity, there is a certain “nostalgia without memory” present within these greater schemas of identity. This sentiment is evident within the Filipinx-/American collegiate spaces as these places commonly function as the initial site for Fil-/Ams to embody and perform their culture outside of the home environment. For many young Filipinx-/Americans navigating higher education, cultural organizations replicate the normative practices and familiarity of home that invite Fil-/Ams into these places. Considering that the initial exposure of Filipinx-/Americans to their culture starts from home, a significant impression of the Filipinx-/American culture can be traced back to the imprints assumed from the family space. For Filipinx-/Americans, this parallels the forced perspective of learning and seeing their inherited culture through the periphery. Sarah Mae recalls her family dynamic and shares how Filipinx culture was facilitated through her family: “I’ve always kind of relied on my family, and like my parents especially, as sort of like my window, my sort of like tether to back home to the Philippines and like Filipino culture.”
Unstructured and passively learned, home is where cultural learning begins. Owing to the experiences brought over from immigration, the sense of culture learned is partial and reflective of how Filipinxness is defined within the family. With omissions in their understanding, Fil-/Ams interpret and personify a cultural identity indicative of the traits and characteristics they’ve accumulated from home. Through this amalgamated identity, markers of being Filipinx is caricaturize to emphasize the common characteristics of Filipinxness.

Twitter in itself is a performative platform since the limited character count per tweet presents the need to be concise and intentional, at least in terms of feedback wanted. When speaking to the short-lived insights of tweets, respondents provide varying interpretations ranging from superficial pandering for likes/retweets to community solidarity -albeit through limited participation. A longstanding and active user on Twitter, Angie Ubaldo has been on Twitter since her adolescence. Now a young adult, Angie recounts her experience on Twitter and notes how, “basically sparing a tweet to say something and being known that this is taking place in our community” embodies the purpose of Twitter as a social media platform. Former student leader and community organizer Christopher Mendoza-Smithour validates Angie’s perspective by explaining how, “the purpose of Twitter for certain communities can vary. Some people just use it to present themselves a certain way… When I was a student leader and I was involved in that space I felt that… people were just saying things for the sake of saying things rather than saying things because that’s what they really think.”