The Wretched of the Earth

Robert W. Rydell contends that America's early world's fairs actually served to legitimate racial exploitation at home and the creation of an empire abroad. He looks in particular to the \"ethnological\" displays of nonwhites-set up by showmen but endorsed by prominent anthropologists-which lent scientific credibility to popular racial attitudes and helped build public support for domestic and foreign policies. Rydell's lively and thought-provoking study draws on archival records, newspaper and magazine articles, guidebooks, popular novels, and oral histories.

Race on Display@@@All the World's a Fair: Visions of Empire at American International Expositions, 1876-1916.

Pasts Beyond Memory. Evolution, Museums, Colonialism

:Museums, Anthropology, and Imperial Exchange

Abstract This article explores the promise of an archipelagic analytic for transgender studies through an interpretive investigation of a beauty pageant in the Philippines. Drawing on transgender studies scholarship and the emergent field of archipelagic studies, this article traces how the pageant underwent a series of archipelagic turns when the slate of candidates shifted from representing nations to representing islands, provinces, and regions across the Philippine archipelago. This turn, the author argues, displaced the centrality of the nation and put forward a translocal and translingual focus that centered islandness and island-island relations as the primary categories of embodiment and performance. In the conclusion, this article argues more broadly that transgender studies, with its discontiguous and decentered character, can also be characterized in archipelagic terms. Taken together, this article adds a new heuristic to transgender studies scholarship, while also including transgender in the growing corpus of work in archipelagic American studies that challenges “continental exceptionalism.” 

Transgender Archipelagos

At the 1904 St. Louis World's Fair, 1100 Filipino ‘natives’ were used as human displays to argue for the colonial enterprise in the Philippines. Seventy years later, the Marcos regime staged Kasaysayan ng Lahi (History of the Race), a mass ceremony that reworked the visual, performative and commercial dynamics of the 1904 colonial exposition to promote heritage tourism in the Philippines. While the use of human displays in colonial expositions has been well documented and analyzed as a constitutive element of a Eurocentric ‘exhibitionary complex’, its uptake in developing nations seeking entry into an emergent cultural economy has yet to be explored. This article places critical analyses of colonial expositions, human displays and heritage tourism in productive dialogue, and examines the continuities and discontinuities between the Philippine exhibit at the 1904 St. Louis World's Fair and the 1974 staging of Kasaysayan ng Lahi by the Marcos regime. Against established views of ‘staged authenticities’ as e...

Native subjects on display: reviving the colonial exposition in Marcos' Philippines

Contemporary Southeast Asia (CSEA) is one of the ISEAS – Yusof Ishak Institute"s flagship publications. Now in its fourth decade of publication, CSEA has succeeded in building up an international reputation as one of Southeast Asia"s premier academic journals. The aim of the peer reviewed journal is to provide subscribers with up to date and in-depth analysis of critical trends and developments in Southeast Asia and the wider Asia-Pacific region. The primary focus of the journal is on issues related to domestic politics in Southeast Asian countries, regional architecture and community building, military, strategic and security affairs, conflict zones and relations among the Great Powers. CSEA publishes authoritative, insightful and original contributions from scholars, think-tank analysts, journalists and policy-makers from across the globe. The Editorial Committee is guided by the advice of the International Advisory Committee which is composed of eminent scholars from Asia, the United States, Australia and Europe. 

Roundtable: Philippine Elections 2022

Abstract:This article examines Lamberto Avellana's Anak Dalita (LVN Pictures, 1956) as a crime melodrama that places Intramuros, Manila's historic walled city, within the cinematic urban geography of film noir. It probes the film's representation of the transformation of Intramuros from a colonial city of cathedrals and mansions to a post-war ruin associated with squatters and urban poverty. Situating Anak Dalita within the context of the reconfiguration of Manila's urban space in the two decades that followed the Second World War, this essay interprets the film's narrative about a disabled veteran's quest to regain his self-worth in Intramuros as an allegory of post-war urban rehabilitation. The looban (meaning interior space, interiority and a gathering of wills) is proposed as a conceptual tool to critique Anak Dalita's solutions to the squatter problem in Intramuros.

In Memory of Professor Josef Silverstein (1922–2021)

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Native subjects on display: reviving the colonial exposition in Marcos' Philippines

Roundtable: Philippine Elections 2022

In Memory of Professor Josef Silverstein (1922–2021)