“FLY IN POWER” GIVES VOICE TO ASIAN MIGRANT MASSAGE WORKERS
by Kathy Ou Co-directed by Yin Q and Yoon Grace Ra, Fly In Power (2023) is the feature-length follow-up to a short film of the same title, which Q spearheaded after the death of Yang Song and which was released on YouTube in 2019. In the feature-length film, we see the filmmakers develop their aesthetics of collectivity, for example, by incorporating crowdsourced images and outsourced phone footage as alternative perspectives to one scene. We also see the added perspectives of the massage parlor workers themselves. One of the main characters, Charlotte, is a Korean massage worker, who tells about her upbringing in a big Korean family that prioritized educational and developmental opportunities for boys while the girls learned to care for the boys’ needs. Initially skeptical when Q—the film’s co-director and leading member of Red Canary Song— first approached her, Charlotte recounts slowly opening up after seeing Q’s persistence and genuine care for her. Q treats her like a close friend even though they met not too long ago. Charlotte is now a core organizer of Red Canary Song’s outreach team. Khokhoi is another fascinating character. Hailing from the Philippines, Khokhoi holds the spirits of the film. She identifies herself as a body, plant, and cultural worker who has lived in occupied Lenape land (New York) for the past 10 years. Land acknowledgment has a significant presence in the film—Q powerfully declares early on in the film, “Our care evolution must include remembrance.” Indeed, from mourning Yang Song to Indigenous land to the victims of the Atlanta shootings, the film is a thoughtful meditation on loss in both public and private spaces. Throughout the film, we see abundant footage of foodmaking, massaging, and other acts of body contact, all filmed in close proximity that emphasizes the tenderness and dexterity of the women’s hands. As Q thanks Charlotte for the food and altars she made for the one year anniversary memorial of the Atlanta shooting, the film seeks to make visible the often hidden and unrecognized labor performed by women. It’s in scenes like these that we see the inevitability and sensuality of our physical existence. If we can agree that the bodily is essential, why should massage, sex, or body work be invalidated, discriminated against, or criminalized? Read Full Review HERE
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Around ten years ago, when I first started hearing "they/them" being used for nonbinary and genderqueer friends, I questioned the use, as well as the grammar. I also felt a momentary stab at feminism--why can't we simply expand what it means to be female identified? I used the appropriate pronouns out of respect and care even before the full understanding settled in. The binary is too limiting, conservative, and just not enough. We are ever changing and so is our language- to reflect and inspire greater possibilities.
This is a great site to explain pronouns, identity, and how to be respectful on both sides: https://www.mypronouns.org/ My pronouns are she/her/they/them. My title is Mx. But you can also just call me Yin. Maura James and I sit down over tea to talk about my personal healing experience and ritual work in BDSM for her podcast, Unbroken Chain. It's available on: Spotify iTunes Soundcloud Stitcher |
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