Celebrating Latinx Heritage Month with poet Denice Frohman
On Tuesday, October 15, 2024, the Office of the Vice Provost for Faculty Advancement culminated Latinx Heritage Month with a powerful reading by Denice Frohman, a celebrated poet and performer whose work resonates with themes of identity, cultural preservation, compassion, intergenerational care, and social activism. Following the reading, Frohman was joined by Dr. Frances Negrón-Muntaner, Julian Clarence Levi Professor in the Humanities, acclaimed scholar, filmmaker, cultural critic, founding curator of the Latino Arts and Activisms collection at Columbia's Rare Book & Manuscript Library, and featured participant in Frohman's play, Esto No Tiene Nombre, for a conversation on the intersections of art, activism, Latinx identity, and the importance of archives and intergenerational dialogue. The event was co-organized with the Greater Caribbean Studies Program, Hispanic Institute, the Center for the Study of Ethnicity and Race, the Writing Program at the School of the Arts, and the Institute of Latin American Studies at Columbia.
Frohman, a former Woman of the World Slam Champion (2013), dazzled her Casa Hispanica audience with poems connecting her Puerto Rican ancestry to her New York City upbringing. Reflecting on her return to Morningside Heights, she noted that, “the performance is not just where I stand. It happens in the interaction between the poet, writer, performer, and the audience. Language is physical and three-dimensional.”
Her first selection, “A Queer Girl’s Ode to the Piragüero,” honored street vendors and, broadly, domestic caretakers and essential workers whose underappreciated service during the pandemic went unnoticed. This poem celebrated their immeasurable collective ingenuity amid uncertainty and, in the case of the piragüero, growing competition from new vendors:
When the viejitas ask for the 10th time whether I got “un novio”
the closest name on my tongue was you! Who else made me break
my neck in two? Who else gave me so much…for a dollar?
Who raised hell when they nicknamed your island
delicacy: snow cone, (or worse) shaved ice?
I trusted you! The hallelujah work of your bare hands
the dirty white kitchen towel you laid over
a fat block of ice & never once did I ask questions.
& when they pushed you off 9th ave, when you packed up
on 96th, I only saw you after ball games on 131st & 5th.
When the hipsters threw ice in paper cups,
added nutmeg & real ingredients like,
mint leaves, called this an “upscale makeover”
for a poor man’s treat. I wanted to shout out: No!
Leave my man alone.
[abridged excerpt from “A Queer Girl’s Ode to the Piragüero" by Denice Frohman]

“The performance is not just where I stand. It happens in the interaction between the poet, writer, performer, and the audience. Language is physical and three-dimensional.”
Frohman’s poetic style is characterized by an infectious rhythm that is both upbeat and percussive, evoking the vibrant spirit of Nuyorican poetry that shaped her youth. Drawing musical inspiration from her father, a talented horn player who collaborated with legends like Celia Cruz and Tito Puente, she remarked how her lyricism, humor, and expressive rhythmic sensibility come from her mother’s storytelling ability. This unique fusion exemplifies her heritage while infusing her work with a palpable energy that resonates deeply with her audience.
As a descendant of Puerto Rican coffee farmers, Frohman reflected on her anguish when she learned the land her maternal family had worked and lived on had been purchased and transformed into a luxury Airbnb rental. When speaking about her artistic obligation to comment on the dangers of urban renewal and predatory “vulture investors” in the tragedy of Hurricane Maria, she stated, “As someone in the diaspora, I feel a responsibility to highlight the ongoing harm caused by U.S. policies. These policies encourage predatory developments like crypto investors envisioning a new city called “Puertopia,” which translates to “door to nowhere.” In the face of these transformations, a broader concern arises: when new residents arrive, will they recognize the names and histories that shaped this land? Will they honor the deep-rooted relationships and traditions of the community, or will they merely view it as a canvas for their ambitions? These questions, highlighted in the poem “Puertopia,” illustrate the vital importance of cultural understanding as the future unfolds.

Cultural Transmission as Embodied History in Esto No Tiene Nombre
Frohman’s poetry unwaveringly demonstrates that cultural preservation and transmission are not a unidirectional effort. The responsibility lies not solely with elders but also with the younger generation to uplift and celebrate cultural memory as a priority. In a poignant exploration of identity and history, Frohman showcases this effort in Esto No Tiene Nombre. Self-written and performed, this one-woman show explores the oral histories of Latina lesbian elders, weaving their narratives into a rich tapestry of shared experience. Negrón-Muntaner was an integral part of this project, with Frohman highlighting the vital role of Negrón-Muntaner’s work as a theorist, historian, and archivist—alongside the contributions of others who came before—in shaping and inspiring her creative process.
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The performance invites the audience into an intimate listening experience, featuring excerpts and engaging responses to participants’ interviews. Through a blend of character portrayals and fictionalized reenactments inspired by the works of Anna Deavere Smith and Sarah Jones, Frohman breathes new life into these stories, retelling them with sensitivity, humor, and seamless artistry. This innovative approach not only honors the lived experiences of these women but also highlights the importance of preserving and celebrating marginalized voices in our cultural narrative. In speaking on the process of researching, interviewing, writing, and performing the show, Frohman spoke of the challenges in pulling off such an endeavor, “My intention was to write a play where I am trying to make visible the very intimate act of finding and building your own lineage.” Thinking of these portraits as accumulations and rejecting a tidy single-story narrative, Frohman commented that she framed questions in a way that allowed her participants to change, evolve, and reflect, “The archive is the bones of Esto, but I wanted to create a living piece of work that can make the archive accessible.”

Frohman was joined in conversation by Dr. Frances Negrón-Muntaner, Julian Clarence Levi Professor in the Humanities, acclaimed scholar, filmmaker, and cultural critic. This dialogue delved deeper into the themes explored in the reading and offered insights into the intersections of Puerto Rican history, art, and activism. This dialogue delved deeper into the themes explored in the reading and offered insights into the intersections of Puerto Rican history, art, and activism.
The reception following Denise Frohman's captivating performance was a testament to the event's overarching goal: to foster connections and celebrate shared experiences. As attendees mingled, exchanged thoughts, and enjoyed empanadas and tapas, it was clear the event succeeded in its mission to bring individuals together.
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Slide 1: Denice Frohman Poetry Reading Reception
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Slide 2: Denice Frohman Poetry Reading Reception

Denice Frohman Poetry Reading Reception

Denice Frohman Poetry Reading Reception