“Say hey! (Say hey!) (Stop Asian Hate! Stop Asian Hate!)”

PIGLAS | City, Country

 

Short description 

Looking at a protest rally I have attended in New Jersey City, “#StopAsianHateJC”, I curated a song to represent my critical creative reflection of this protest rally in solidarity with anti-Asian violence during a deadly global pandemic. I have handpicked some speeches and performances while also focusing on attributed chants used in the rally that embody a certain theme that amplifies the power of the people. As people call for justice, one must fight for it and realize that one is not alone in this fight. I want this song to serve as a tribute to the victims of Asian hate crimes which arose during the COVID-19 pandemic. This song is an artifact that their experiences are acknowledged and that their experiences are a reminder that their undeserved sufferings disrupt America’s notion of “a nation of immigrants”, that they are part of our fight to alleviate spaces of hate and shout “enough is enough”! Thus, my participation becomes a meditation where I was exposed to the emerging forms of oppression and violence. Ultimately, I treat this reflection as my guide to which direction my path as a performance scholar would go to help those in need by making and implementing active campaigns—through research and performance—to shed light on the stories and struggles of immigrants, especially Filipinos in the diaspora.

 
 

“PIGLAS” 

(TO BE FREED FROM HOLD)

Interpreted and Adapted by Allen Baylosis
Originally From People Choir Song
Written, Composed, and Sung by GABRIELA New Jersey


Say hey! (Say hey!) (Stop Asian Hate! Stop Asian Hate!)
Heeeeeeey. (Heeeeey)
Heeeeeeey. (Heeeeey)
Heeeeeeey. (Heeeeey)
Heeeeeeey. (Heeeeey)
Heeeeeeey. (Heeeeey)

 

In the belly of the beast (in the belly of the beast)
We join a struggle to be free (We join a struggle to be free)
Uprooted from the Philippines (uprooted from the Philippines)
We want our people to be free (we want our people to be free)

Say yeaah, yeah, yeah, yeah (say yeah, yeah, yeah)
Say yeaah, yeah, yeah, yeah (say yeah, yeah, yeah)
Say yeaah, yeah, yeah, yeah (say yeah, yeah, yeah)
Yeah, yeah, yeah (yeah, yeah, yeah)


The People United
Willl Never Be Defeated
Will Never Be Defeated
The People United


We are here with our demands (we are here with our demands)
Join us now and take a stand (join us now and take a stand)
We are here with our demands (we are here with our demands)

All the people raise your fists (all the people raise your fists)
We got a fight to be free (we got a fight to be free)
All the people raise your fists (all the people raise your fists)
We got to fight unless resist (we got to fight unless resist)


All the women raise your fists (all the women raise your fists)
We got a fight to be free (we got a fight to be free)
All our women raise your fists (all our women raise your fists)
We got to fight unless resist (we got to fight unless resist)
All the people raise your fists (all the people raise your fists)
We got a fight to be free (we got a fight to be free)


All awkward people raise your fists (all awkward people raise your fists)
We got to fight unless resist (we got to fight unless resist)
All our workers raise your fists (all our workers raise your fists)
We got a fight to be free (we got a fight to be free)
All our workers raise your fists (all our workers raise your fists)
We got to fight unless resist (we got to fight unless resist)


Say yeaah, yeah, yeah, yeah (say yeah, yeah, yeah)
Yeah, yeah, yeah (Yeah, yeah, yeah)
Say yeaah, yeah, yeah, yeah (say yeah, yeah, yeah)
Yeah, yeah, yeah (Yeah, yeah, yeah)


Tell me what you want, what you really really want! Justice! 
Tell me what you need, what you really really need! Justice!
How are we gonna get it? People power!
How are we gonna get it? People power!



[Now we invoke the names of the victims of Asian hate crimes]


 

 BIO

Allen is an emerging dramaturg and currently a graduate student at the Social Justice Institute, The University of British Columbia. He holds a Master of Arts in Performance Studies from New York University and a Bachelor of Arts in Speech Communication from the University of the Philippines Diliman. He comes to the field of performance studies as a socio-academic activist and an artist. He is now looking to explore the intersections of performance studies, migration, and cultural memory as he locates himself immersing in the field of Critical Filipinx studies.

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