Stuff sorta mulling around in my brain pan... likely a side-effect of working on this paper about decolonization by reclaiming, renaming, and reinhabiting an interior landscape through storytelling.
I think it started with BJ writing about Filipino American Literature and "Originary Points" of Geography where she muses about the intractability of Location and her own ambivalent view of geography in relation to identity...
Later BJ writes of diaspora and dystopia in the same breath...
So... the dystopian landscape, the after-place of nuclear/biological devastation is the space that diaspora communities inhabit, even when living in the relatively safe confines of the US... which I question in our post-9/11, Patriot Act society, meaning, we, here in the US, are experiencing our own sort of post-apocalyptic dystopian social structure...
Then in my own blog, a conversation is emerging about the role of Telling mixed in with the re-membering of heritage and what drives us Tellers to find and tell stories from locations far removed from where we are at this moment.
Yesterday, after Saturday Telling at the Public Market (in which my sleep-deprived brain struggled to string words together - not my best performance), the Guild president and I mused about how to help people realize that they cannot just take/translate stories and fail to give credit for at least the culture the story came from. He's learned several new stories since traveling to one of the oldest (and arguably /the/ oldest) continuous storytelling villages in the world, located in a remote village in China. He and the other tellers who visited the village last year want to be sure that the stories they brought back with them are protected - but how to preserve and give credit for stories and still perform them to an audience so that the village can be recognized?
Stories in diaspora. Stories in decolonization.
Not /about/ diaspora or decolonization, but in the /process/ of being relocated and de-imperialized. Is that remotely possible or are we simply looking at damage control?
But my friend writes on the previous post about the difference between heritage and identity which I thought was really smart - often I find folk who require me to 'identify' solely to my 'heritage' or to redefine me as having an identity removed from my heritage. Which I think is the reason why I become ambivalent toward both identity and heritage.
So why care enough to only research and tell Filipino stories if I identify as biculturally Filipino and American? Shouldn't I also allow myself access to traditional American tales (not the Disney-fied Euro stories, btw)?
Perhaps... But do I have a 'right' to these stories simply by dint of my location? Is being "American" only about acquisition? Can I really tell stories of Old Blue the Ox and Johnny Appleseed along with Tales of Raven and Crow along with Creole and Hawaiian Tales? Or does that just reinforce the diasporic aspects of those stories, rendering them as objects of colonization?