Jay Taj reminds us that there is no AA+PI without Pacific Islanders

I recently sat down with Taj to discuss the catalyst for creating the series, how his life changed after being on a Netflix competition show, and how his intersecting identities show up in his work.

This conversation has been edited for clarity and length.

Aleenah Ansari: You recently wrapped up a 31-day series about putting the “Pacific Islander” back in Asian American and Pacific Islander (AA+PI) Heritage Month, where you shared the history and culture of Pacific Islanders. What was the catalyst for creating this series?
Jay Taj: A lot of organizations that drive AA+PI conversations are primarily run by Asian Americans, so people may amplify stories they’re most connected to. It’s a situation we find ourselves in a lot because of the way America acknowledges and groups different cultures in a way that silences whoever is in the minority of that group—even if it’s unintentional. That level of consciousness has never gone away, but I wasn’t trying to address that. I wanted to talk about Pasifika culture because it interests me. I’m drawn to the beauty and history of the Pacific Islander diaspora, and I explore the similarities and differences from island to island.

On April 30, I decided that I wanted to do something meaningful for AA+PI Heritage Month. I was also thinking about how to connect with the audience I gained from being on a Netflix show. I decided to create a series of facts that I know or could research. On a personal level, I’ve always felt like an outsider in this conversation because I lived outside the diaspora. I have Samoan and Chamorro family, but I grew up in a Black household by my mother’s side of the family. I’m glad I was raised in a Black family, at Black churches, learning Black music, but I also wish I were closer to my island roots. Making this series has been healing for me in that way.

AA: How did you go from exploring your own interest in Pasifika history and culture to coming up with a whole series of content?
JT: I’m a member of the World Wide Web, and these are things that have never left my mind. These are three-minute videos that can only begin to scratch the surface of these topics, and I wanted to see where that could take it. I also recognize that most of my audience pre-May 2026 was not Pacific Islander, but were from people who watched me on Rhythm + Flow. After the show, there was an outpouring of love and support when people realized I was Pasifika, but I never thought I’d be a voice for the community. Maybe it’s an ancestral calling, or a wake-up call that I have the gift to capture, retain, and share information in an engaging way, whether it’s through music or content.

Jay Taj's finals performance on Rhythm + Flow

Netflix

AA: When it comes to this series, are there things that people get wrong about the Pacific Islander community, or are there other throughlines you’re exploring?
JT: It’s less about getting something “wrong” about Pacific Islanders and more about the absence of perception in the first place. We’re not top of mind for most Americans, let alone the world. We’re not thought of unless we invite you to think of us. We make up a tiny sliver of the world’s population, and there aren’t a lot of institutions reaching beyond the diaspora. There are outlets focused on Pasifika storytelling but as a whole, there aren’t a lot of institutions that raise awareness beyond the community. I’m hoping to help change that.

AA: What was your process for scripting videos?
JT: In content creation, I try to follow the coffee shop rule. When it comes to vlogging or talking shop content, it helps to treat the camera like your friend sitting across from you. When I watched my first videos, I didn’t feel like I was talking the way I usually do. I also have so much production equipment, and I’m doing this all on my phone, and that’s not by accident. I want to be able to create a conversation by talking straight to camera.

AA: What’s your advice for being a more engaging storyteller, especially if they want to share parts of their culture? Any tips for using your voice, regardless of what you’re talking about?
JT: As a fun fact *ss guy, I’m interested in the linguistic hypnosis of speakers like Barack Obama, Martin Luther King Jr., and Malcolm X, who can take any communication platform and capture an audience in a matter of seconds. If you have a point of view, you’ve done a lot of the work, and the rest can be learned through practice. The more you’re not just getting up and reciting things, but speaking up about things you have a point of view on, the better you’ll get. 

AA: Do you see this series impacting your process for making music and vice versa?
JT: Definitely. I’ve recently been feeling writer’s block in my music, and I think this series is helping me break through the creative block I’ve been in. Now, melodies are back in my head, and the way I write the scripts is melodic too, including pauses in specific places that serve the same purpose as tension and release in a song. The process of creating music is not separate from this series, but I’m still bringing a level of meticulous attention and course correcting along the way. 

Music has always been a constant in my life, but I know that music is in a tough place when it comes to connecting with people authentically—especially with the way that music consumption has changed. People are still longing for human connection, and I can use these three-minute videos to share parts of me that my music can’t always show and create something that could have a domino effect and teach people about the Pacific Islander community. At the end of the day, I'm a creative person who creates art with whatever medium is in front of me, whether it’s a spray can in an alley, pen and paper, or a camera. 

AA: Viewers may recognize you from season two of the Netflix competition show, Rhythm + Flow. How did your life change after being on that show?
JT: I’ve been trying to be a rapper for 20 years. From the time between recording my first song to being on Rhythm + Flow, I was often occupying different spaces as a marketer, filmmaker, painter, and songwriter for others. At that time, most people didn’t perceive me as an artist. After the show, the public identity of mine was that of a rapper. I also started thinking of my art as a commodity and product that was created for others and not me. 

I want to be able to create whatever I want, and I need this series to remind me of that. The biggest comment about Rhythm + Flow is that I’m polished, and a lot of people said the same thing about the video series. It’s a reminder that I need to make art for myself first and come from a place of freedom.

Jay Taj's finals performance on Rhythm + Flow

Netflix

AA: What are your hopes for what happens after this series?
JT: The most common comment is not to stop at day 31. It’s not lost on me that people are saying that, so I’m looking for ways to sustain it and hopefully create a platform for celebration so every story is not about colonialism and pain.

In short, this content is not going anywhere, and you’ll see it show up in other mediums like travel vlogs, podcasts, and merchandise. What I’m doing in three minutes is great, but you’re getting the headlines of the stuff I’m reading about. There can be hour-long podcasts about these topics. I’m just talking about these people, I’m talking to them. I’m not just talking about the island country of Kiribati, I’m taking you there. I’m also exploring the creation of Pasifika Social Club, a brand that’s recognizable by anyone in the diaspora and something that people can wear proudly to represent the community.

AA: Is there anything else you want readers to know?
JT: Whether you’ve read this piece or watched my series, just know that I’m so grateful. There’s so much healing happening for me as someone growing up away from the culture. It’s so much deeper than three-minute videos, and I hope that I can help the Pasifika community feel more connected and represented. 

There are so many creatives making waves for the Pasifika culture, but there’s still a void. I hope to inspire other Pasifika people to take our culture beyond our reef.