AVANT-PINOY POETRY

I appreciate this article, "Avant-Latino Poetry" on JACKET2 by David A. Colon.  What amused me about it is that if you take its first three paragraphs and just replace "Latino" with "Filipino" or "Pinoy," you'd have the beginnings of a legitimate "Avant-Pinoy Poetry" article.  Like so--if the writer doubles the referenced "seven or eight" years that begins the third paragraph on the Latino article:

When Vladimir Mayakovsky memorably proclaimed that “without revolutionary form, there is no revolutionary art,” and Renato Poggioli wrote that “the avant-garde image originally remained subordinate, even within the sphere of art, to the ideals of a radicalism which was not cultural but political,”[1] and Marjorie Perloff (now famously) asked “what if, despite the predominance of tepid and unambitious Establishment poetry, there were a powerful avant-garde that takes up, once again, the experimentation of the early twentieth century?,”[2] they weren’t talking about the current work of a new cohort of Filipino/a poets who transect extrusions of renegotiated identity consciousness within extremities of conceptual aesthetics. 

But, in retrospect, they kind of could have been. 

Developments within the past near two decades have vastly exceeded the extent of experimental inquiry that had ever existed before in US Filipino/a poetry. What by now can be legitimately regarded as an emergent generation of younger Filipino/a poets is taking to task the inheritance of academic Filipino/a identity and, by gaming its language, rendering this tensile form more pliant in order to better fit the identity of the layered, contested, and changing Filipino/a subject in the contemporary world. These poets, by exploring the limits of poetry as well as Filipino/a identity through a diversity of aesthetic and cultural incursions in their writing, articulate a new Filipino/a poetry that in turn proposes a new view of Filipino/a identity, one that grants more agency to diverse potentialities than to conformist restrictions imposed from the past: a condition I regard as the avant-Pinoy.

So seven to eight years later, a Latino writes about his community poetry in this way.  Nearly two decades later, where's the Pinoy writing about his/her/xir community's poetry in this manner?  I guess we too busy cooking, eating or, avant-wise, deconstructing that adobo?