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The Language of the American Dream

Josh

TagalogChallenge
Screen capture from a video posted by Facebook user Asian Boss

According to Article XIV of the Philippines’ 1987 Constitution,

Section 6. The national language of the Philippines is Filipino.”

Section 7. For purposes of communication and instruction, the official languages of the Philippines are Filipino and, until otherwise provided by law, English. (Belvez, 2015).

Since the establishment of the Philippines as a bilingual nation, English has surpassed its intended role of “communication and instruction.” With growing pressure from society and the government to strengthen its use, English has become the language of controlling domains over the years (Borlongan, 2009). The video above simply highlights how English is no longer only used by Filipinos in formal contexts and that it has penetrated society, to the point where many Filipinos (at least those from the mainland) are no longer able to speak “pure Filipino.”

As a Filipino immigrant, I’m interested in examining how the nation’s history of being colonized by the United States has affected how Filipinos living in the Philippines use and perceive these languages. Furthermore, I want to look at how these attitudes affect Filipinos who migrate to the U.S. and influence the formation of their first-generation US-born offspring’s Filipino identities.

How Does the Philippines View the English Language and American Culture?

In a video that went viral in the Philippines, which was taken from TLC’s show “90-day Engagement,” we meet a girl from Urdaneta City, Philippines. My interest is not on her engagement but more on the public response to the her English-speaking skills. More specifically, I was fascinated by the way people criticized her in the comments.

You're_road
Screen capture from TLC’s 90-day Engagement
Facebook_screenshots
Facebook reactions to the video

Her mispronunciation of the sentence “you’re rude” to “you’re ROAD” became a sudden Internet meme. Interestingly, the majority of the people mocking her English were Filipino natives, all of who are well aware of the quality of the English curricula in many poor provincial schools. For some reason, there’s this mentality among Filipinos that speaking English with even the slightest accent, no matter how proper one’s grammar might be, equals to being poor or uneducated and thus deserving of ridicule.

This video was of specific interest to me because it reflected the insecurity Filipino immigrants have with regards to their cultural identity, finding comfort in their efforts to achieve “American-ness.”  Being previously occupied by the United States, the affection towards western culture and/or Eurocentric ideologies favors a hierarchical distinction between the Filipino and the English languages, with Filipino being the inferior. Influenced by our past as a colonized nation, many Filipinos see the English language as a tool that they could use to advance their social status in the Philippines.  History places them/us under the impression that the mastery of the English language is equivalent to social and economic mobility. In my interview with Sam Ng about her experience as a child of an immigrant, she claims that maintaining this sort of mindset “ is extremely detrimental to a Filipinx’s use of native tongue and ancestral identity because we internalize our community’s oppression! And by denouncing your native tongue, you are only silencing your voice as a Filipinx/Asian American.”

  

Filipino Migration and Chasing the American Dream

The history of Filipino migration to the United States traces all the way to the late 19th century and has fluctuated ever since. The United States first saw a huge influx of Filipino immigrants after the country annexed the Philippines in 1899. The Filipino people would remain under American rule up until 1946, which is when the country was finally granted it’s full independence. During this period of American imperialism, many Filipinos travelled to the United States to either study or work (Figure 1).

The valorization of the English language is only one of the ways by which the Filipino desire to be “American” is reflected. The United States has always been seen as a symbol of hope and opportunity for the Philippines. Today, many people move to the U.S. in hopes of pursuing the “American Dream,” a mentality that is heavily rooted in the country’s once dependence on the U.S. As many Filipino parents will learn, however, moving might open up opportunities for their children but with it comes an insecure sense of detachment from their Filipino identity as a function of so-called “language barriers.”

 

Filipinograph
Figure 1. Growth of Filipino population in the United States from 1980-2016 (Zong, Zong & Batalova, 2018)

 

The Language Barrier and The Reluctance of Parents to Teach Children Their Native Tongue

Taking a close look at the present Filipino and Filipino-American cultures can provide deep insight into the long lasting effects of American colonialism on the Filipino identity.

In an interview for KQED News, Dominic Lim, a first-generation Filipino-American, talks about how growing up surrounded by Filipino food, music & other aspects of the culture, but not knowing how to speak the language left him feeling like his Filipino identity was incomplete (Guevarra, 2016).

“I always thought that the language component [of one’s own racial identity] was sort of the one piece that I was lacking.” -Dominic Lim (KQED News, 2016).

            In my personal research, I asked some friends who were born here in the U.S. but whose parents migrated from the Philippines about their experiences growing up.  My focus was to understand whether this feeling of personal detachment constructed by the language barrier from their Filipino-speaking families is shared among many first generation Filipino-Americans.  True enough; many of them expressed how challenging it was trying to communicate with their parents and with their extended family members during family gatherings. One of my friends explains that the reason her parents never taught her Tagalog (a Filipino dialect) was the fear that developing an accent would only attract discrimination.

“My parents never raised me to speak Tagalog, yet they always spoke to each other in [it]. When I asked my mom why she never taught me a second language, she said she did not want me to get bullied in school if I had an accent since I went to private, predominantly white schools.” -Tala

David Lim’s mother, Consuelo Tokita, was quoted giving the same reasoning for her hesitation to impart her language to her son.  Her unwillingness, however, was more personal, as it stemmed from her own experience struggling to find a job in the United States because of her accent.  Their testimonies provide evidence to the reluctance that many Filipino immigrant parents have when it comes to teaching their children their native language. By choosing to teach English over the language they themselves grew up with, immigrant parents not only permit sociopolitical and state structures to further oppress and marginalize native tongues, but they also further perpetuate the denial of their own language as a whole.

References

Belvez, P. M. (2015, April 29). Development of Filipino, The National Language of the

Philippines. Retrieved from http://ncca.gov.ph/subcommissions/subcommission-on-cultural-disseminationscd/language-and-translation/development-of-filipino-the-national-language-of-the-philippines/

Borlongan, A. M. (2009). A Survey on Language Use, Attitudes, and Identity in Relation to Philippine English among Young Generation Filipinos: An Initial Sample from a Private University. Online Submission3, 74-107.

Guevarra, E. (2016, February 27). For Some Filipino-Americans, Language BarriersLeave Culture Lost in Translation. Retrieved April 19, 2018, from https://www.kqed.org/news/10746111

Zong, J., Zong, J. B., & Batalova, J. (2018, March 29). Filipino Immigrants in the United States. Retrieved April 19, 2018, from https://www.migrationpolicy.org/article/filipino-immigrants-united-states

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Inter-lingual codeswitching in The Weeknd’s live performance of “The Hills”

by Kumru S.

If you have listened to the radio or been in a public restaurant in the past five months, chances are you have been unable to escape The Weeknd’s hit song “The Hills.” Its huge success is reason alone for me to assume that you have heard of this song before; it remained on the number one spot for the Top 100 R&B/ Hip hop songs for five consecutive weeks. I (a huge fan of the Weeknd) discuss a live rendition of “The Hills” performance because of the artist’s codeswitch (from English into Amharic) in the outro of his song, which only appears in the live performance; in the original song, a woman’s voice ends the song. Thus, I ask and attempt to answer: What is the function of this codeswitch?

Since many scholars debate its definition, I will first identify what a codeswitch is. Codeswitching is when a single speaker alternates between two languages (inter lingual) or dialects (intra lingual) in a single speech act (Babalola & Taiwo, 2009). For the purpose of this blog, I will focus on The Weeknd’s inter lingual codeswitch from English into Amharic (his native tongue and the language of his Ethiopian born migrant parents) during his live performance documented below:

I only call you when it’s half past five
The only time that I’ll be by your side
I only love it when you touch me, not feel me
When I’m fucked up, that’s the real me
When I’m fucked up, that’s the real me, yeah
I only fuck you when it’s half past five
The only time I’d ever call you mine
I only love it when you touch me, not feel me
When I’m fucked up, that’s the real me
When I’m fucked up, that’s the real me, babe

[Outro]

Ewedishalehu (I love you very much)
Yene konjo, ewedishalehu (My beauty, I love you very much)
Yene fikir, fikir, fikir, fikir (My love, love, love, love)
Yene fikir, fikir, fikir, fikir (My love, love, love, love)

I treat codeswitching as a skill which requires a great deal of bilingual ability (Poplack, 1980) and one which serves a particular purpose known by the agent (Myers-Scotton, 1993). Based upon a perusal of scholarly research which discusses codeswitching in hip-hop songs, I offer some plausible reasons for The Weeknd’s codeswitch.

To express his ethnic identity. In their study of codeswitching in Nigerian hip hop songs, Babalola & Taiwo (2009) found that signifying ethnic identity was a function of codeswitching by Nigerian hip-hop artists. In an interview, The Weeknd says: “But the feeling in my music and voice is very Ethiopian and very African.” Thus, his codeswitch can be seen as a nod to his Ethiopian roots through his native language.

To grab attention. Sarker, Winer, & Sarker (2005) in their examination of codeswitching in Montreal hip-hop music come to the conclusion that codeswitching is a way for hip-hop artists to grab attention. In an interview, The Weeknd supports this theory by saying: “Now I’m grabbing the ear of most of the world.” Thus, his decision to sing in Amharic allows him to surprise his American audience and delight his fan base in Africa.

To juxtapose two contrasting themes. Davies & Bentahila (2006) in their exploration of Rai music in Algeria and Morocco conclude that codeswitching serves as a way for artists to emphasis similarities or oppositions. In The Weeknd’s case, the part which appears in Amharic is a declaration of love which contrasts from the lust laced English lyrics (see above). The aesthetic value he places in Amharic is reflected in another interview: “It is such beautiful music.” Thus it comes as no surprise that the song’s most tender moment is expressed in the language he deems beautiful.

To explore his potential as an artist. In their study Babalola & Taiwo (2009) note how codeswitching serves as “stylistic innovation” in the song lyrics of Nigerian hip hop artists (p. 4). In an interview The Weeknd reveals: “I owe it to myself to show the world how versatile I can be…Why can’t I try something that challenges me as an artist?” Thus, it can be understood that his codeswitch is a way for him to experiment with the language skills at his disposal and explore his potential as an artist who can utilize his bilingual competence.

To express how he feels about his reality: Babalola & Taiwo (2009) write that codeswitching serves as a way for artists to express how they feel about their world. Similarly, Lin (2013) states that codeswitching is a means by which artists can use whatever linguistic skills they have to best convey their feelings and ideas. In an interview, Abel reveals: “All of my music is honest. When I write, I write about my surroundings. Sometimes it’s light and sometimes it gets dark. With this album (Beauty Behind the Madness), I’ve learned to balance them out and evolve my sound.” In this manner, codeswitching is also a reflection of his linguistic reality.

In sum, it appears that The Weeknd’s codeswitching serves a particular function in the context of his live performance; this conforms to a trend at large when it comes to hip-hop artists and codeswitching in general: to express social cultural realities and experiment with linguistic abilities. Thus, The Weeknd simply adds to the repertoire by experimenting in a genre that is most conducive to this type of word play; in the words of Babalola and Taiwo (2009) hip-hop has “few rules, promotes originality, and artists can sing about almost anything especially how they feel about their world” (p. 5). In the future, I look forward to seeing if more codeswitching will occur in his music, and if it will serve similar purposes.

References:

Babalola, E. & Taiwo, R. (2009). Code switching in contemporary Nigerian Hip Hop music. Journal of African Studies, 1, 1-26.

Benthalia, A. & Davies, E. B. (2006). Code switching and the Globalisation of Popular music: the case of north African rai and rap. Multilingual Journal of Cross Cultural and Interlanguage Communication, 25.

Lin, A. (2013). Hip-Hop Heteroglossia as Practice, Pleasure, and Public Pedagogy: Translanguaging in the lyrical poetics of “24 Herbs” in Hong Kong. Educational Linguistics, 20, 119-136.

Myers- Scotton, C. (1993). Duelling Languages: Grammatical Structure in Codeswitching. Oxford: Clarendon Press.

Poplack, S. (1980). Sometimes I’ll start a sentence in Spanish y termino en español: toward a typology of code-switching. In L. Wei (Ed.), The Bilingualism Reader (pp. 221-258). London: Routledge.

Sarkar, M., Winer, L. & Sarkar, K. (2005). Multilingual code-switching in Montreal Hip-Hop: Mayhem meets method, or, ‘Tout moune qui talk trash kiss mon black ass du nord’. In J. Cohen, K. McAlister, K. Rolstad & J. MacSwan (Eds.), Proceedings of the 4th International Symposium on Bilingualism (pp. 2057-2074). Somerville, MA: Cascadilla Press.