Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Teresa Time explores the use of pirate radio as a method of resistance by examining minor acts of insurrection against government censorship. This work is based on the culture of pirate radio stations in the 1980s, when Taiwanese broadcasts were illicitly transmitted into China. At the center of this conflict was the beloved Taiwanese pop singer, Teresa Teng, whose voice became the symbol of these Broadcast Wars, enticing Chinese listeners to defect to Taiwan. As a result, the CCP, who maintained strict control of the incoming media, attempted to ban, jam, and disrupt the radio stations. Listeners in China resisted by adjusting the frequencies and recording live broadcasts onto tapes.

Using transmitters and archival materials (bootlegged Teresa Teng CDs, audio clips, and historical broadcasts) I reactivate this history at Wave Farm. Evoking James C. Scott’s concept of “peasant resistance,” listeners follow a set of instructions to locate the frequency of the broadcast, while it is disrupted by overlapping media and interference.

Camille Wong (they/she) is a research-based artist based in Los Angeles, CA. Their practice examines power, geopolitics, and historiography through the lens of media and spectacle. Working across video, sculpture, and writing, they explore how systems of power are embedded within cultural memory and social infrastructures. Often site-specific, their practice considers how we inherit our understanding of place and displacement. Their recent work focuses on media and rhetoric from the Cold War, exploring how these narratives shaped global ideologies and immigration patterns.

Their work has been shown at the Art, Design, & Architecture Museum at the University of California, Santa Barbara, and has exhibited their work throughout Los Angeles including the Los Angeles Municipal Art Gallery, Monte Vista Projects, and Art Share LA. They received the Faculty Award of Distinction in 2017. In an effort to stimulate cultural discourse regarding underrepresented voices, they founded Cult Club, an online literary arts magazine dedicated to the intersection of arts and culture. They received their MFA in Media Art at UCLA and dual BAs in Art and Environmental Studies from UCSB.

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).

Launched in 1947 by the Colombian government, Radio Sutatenza was a publicly broadcast radio school that educated farmers and peasants living in the outer, undriveable mountainous regions of the capital city, Bogota. (Perhaps fearing a political peasant rebellion), the cultural arm of the Colombian government hoped Radio Sutatenza (la “escuela radiophonica”) could teach peasants how to read and write Spanish by organizing literary listening groups and informal schools. Radio Sutatenza taught peasants how to “vivir mejor”-- or, have a better life -- and, over the next 40 years, Radio Sutatenza broadcast hundreds of shows on literacy, hygiene, western medicine, gender roles, family planning and others to the masses at the edges of “civilization.” Used as a tool for nation building, Radio Sutatenza was considered a great success for transitioning Colombia and its people into the modern era.

Jenni(f)fer Tamayo's work VIVIR MEJOR- a brief, poetic history of Radio Sutatenza is a lyric radio poem that satires and critiques the colonial project that undergirds the central mission of Radio Sutatenza. Interspersed throughout the broadcast are lyric reflections that depict Tamayo's family’s personal connections to the radio show. How might have Radio Sutatenza and its mission to “vivir mejor” influenced their family’s choice to emigrate from Colombia in the early 1980s? What does it really mean to “have a better life” under settler colonialism and capitalism? And, how has the broadcast and its aim to “civilize” continued to haunt the artist and other Colombian migrants?

Jenni(f)fer Tamayo is a poet, performer and visual artist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the “illegal” immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] (Switchback Books), YOU DA ONE (Noemi Books), to kill the future in the present (Green Lantern Press) and their most recent collection, bruise/bruise/break, explores the enduring colonial legacies of American poetics, migrant futurity, the power of creative kinship. Their writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. They were born on Muisca territory (Bogota, Colombia) and are currently building a home/skool on the unceded lands of the Yesah Confederacy (Piedmont region of North Carolina).