Brown Boi Project
The Brown Boi Project (BBP) is a leadership development and organizing project launched in 2010 that works to “build leadership, economic self sufficiency, and health of young masculine of center womyn, trans men, and queer/straight men of color–pipelining them into the social justice movement.” The term often used in the BBP is “masculine of center,” which is inclusive of the identities listed above who tilt towards the masculine side of the gender scale. The BBP also hosts annual 5-day training retreats in Oakland, CA that explores the intersections of race, class, culture, gender, and sexuality and how participating in these discussions about identities can strengthen self-empowerment, personal leadership development, and community building. It is important to have these conversations about intersecting identities as well as redefining masculinity cross-culturally and transnationally. In the conclusion of “Transportation: Translating Filipino and Filipino American Tomboy Masculinities through Global Migration and Seafaring,” Fajardo stresses the importance of their fieldwork that “what may appear to be a (hetero)normative cultural moment of gender expression reveals other complex cultural dynamics at play, namely, working-class Filipino heterosexual men and tomboys cocreating differently situated masculinities” (Fajardo, 539). In a sense, Fajardo is talking about “trans-ing” masculinity–creating movement within the term in regards to race, class, culture, gender, and sexuality. Similarly, the BBP works to redefine masculinity to promote community building and how new formations of masculinity are being embraced by multiply-identified folks of color.
Kay Ulanday Barret
“A CAMPUS PRIDE 2009 Hot List artist and 2013 Trans 100 Honoree, Kay Ulanday Barrett is a poet, performer, educator, and martial artist navigating life as a pin@y-amerikan disabled transgender person in the U.S. with struggle, resistance, and laughter.” Barret just recently performed (Feb. 4, 2014) at the East Side Cultural Center in Oakland for the event Mangos with Chili hosting Queer and Trans* artists of color. In his spoken word pieces, Barrett touches many intersectional issues, some of which include his family migrating from the Philippines, redefining masculinity, and how being a pin@y-amerikan disabled transgender person in the U.S. affects how he views the world. Barrett is a valuable example of a transgender artist who’s history resembles Fajardo’s highlighting of “the intersections of embodied movement and migration and the fluidity of (racialized and classed) gender formations” (Fajardo, 530).
Kay Ulanday Barrett’s Website
- PinoyFTM featured article in Original Plumbing
- Eskinita: an SF-based organization supporting/promoting the Filipino-American community, local businesses, and artists.
Fajardo, Kale Bantigue. “Transportation: Translating Filipino and Filipino American Tomboy Masculinities through Global Migration and Seafaring.” Excerpt in The Transgender Studies Reader 2. Routledge. New York City, NY. 2013.