Bangkok Is Burning: Queer Cultural Productions of Thainess in Diaspora
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BANGKOK IS BURNING: QUEER CULTURAL PRODUCTIONS OF THAINESS IN DIASPORA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES JULY 2018 By Pahole Sookkasikon Dissertation Committee: Vernadette Vicuña Gonzalez, Chair Lorena Joyce Zapanta Mariano Elizabeth Colwill Cristina Bacchilega Mariam Lam Keywords: Thai Studies, Thai American Studies, Cultural Studies, Diaspora, Gender and Sexuality, Popular Culture, and Media ©2018 By Pahole Sookkasikon All rights reserved ii DEDICATION: For everyday Thais who maintained the delicate balance. iii ACKNOWLEDGEMENTS This project would not be here today without the unwavering support of my dissertation committee. I owe an unpayable debt to my chair, Dr. Vernadette Vicuña Gonzalez, who helped deepen my project and its contributions to Thai American Studies. Throughout my tenure as a PhD student, Professor Gonzalez was tough mentor, pushing me to think about the importance of my project. “Bangkok is Burning” would not be possible without her guidance. In addition to her mentorship and help, she has been a friend, understanding that I, as a queer student of color and the child of immigrants, continually had pressing obligations outside of the academe. For her compassion, generosity, and much more, I am forever obliged. I am also indebted for the backing, intellectual growth, and friendship that my entire committee gave me throughout this process. In addition to Vernadette Gonzalez, my committee of Joyce Mariano, Elizabeth Colwill, Cristina Bacchilega, and Mariam Lam, helped cultivate my ideas, guiding me, in different ways, through the doctoral process. From seminars, office hour discussions, and support at conferences, my committee has pushed me to grow intellectually and shaped who I am as a scholar. Though my time as a doctoral student was sometimes challenging, the encouragement of my committee helped me through to the end. Their mentorship aided my growth, helping make my project blossom. Writing this dissertation has been a taxing and lonely process; however, I am thankful to many people in my life who have showered me with ideas, direction, friendship, and love, ensuring that I was cared for throughout. The Department of American Studies at the University of Hawai‘i at Mānoa was an intellectual space where iv professors, staff—especially Lori Mina and Rumi Yoshida, and colleagues encouraged both me and my project to flourish. Many of the department classes I took, taught by wonderful faculty, influenced me and laid the foundation for my project. Thank you also to my peers and family in Honolulu—Jessica Austin, Christina Ayson, Duyen Bui, Larry Oliver Catungal, Amos Cernohouz, Ross Christensen, Shannon and Arnold Cristobal, Danton Kainalu Doss, Froilan and Anjelica Corbett Fabro, Robert Findlay, Sue Haglund, Taryn Nohea Kaili, Ava Huston Kuwailiula and Linn Ladner, David Kealiʻi Mackenzie, Kathryn Elizabeth Kuʻuleimaile Mackenzie, Chiew Hwee Nyeo, Rohayati Paseng, Timothy Pham, Yuka Polovina, Leon Marshall Potter, Paul Rausch, Elizabeth “Lyz” Antoinette Soto, Markus Staib, Christopher Alan Tanner II, Joshua Uipi, and Jonathan Valdez—who surrounded me with their jokes, love, joy, laughter, intelligence and beauty both in and outside of the academic world. I am appreciative for the intellectual support that my academic peers—Paul Michael Leonardo Atienza, Valerie Francisco-Menchavez, Trung Phan Quốc Nguyễn, Kong Pheng Pha, Marcy Lynn Quiason, and Joy Nicolas Sales—have given me throughout these years. The enduring friendship and love from those back in California and across the continental United States—Michael Asuncion, Nick Baitoo, Marissa Barker, Teresita Barrera, Vince and Kimberly Bulanan, Jenny Graham, Jenna Harbison, Michael Hess, Tatiana Jimenez, Alexander Jones, Anthony Yooshin Kim, Theresa Christine Navarro, Christine Nguyen, Lambert Rahming, Alexis Michele Rafe, Nicole Roque, and Melissa Soto; you keep reminding me that friends need not be near one another to remain close and in one’s heart. The camaraderie, mentorship, and love from my Thai American family—Jenn and Paisith “Peter” Boonsom, Virada Chatikul, v Phianphachong Intarat, Christina Jirachachavalwong, Amanda Manklang, Wiroj “Maek” Onsamlee, Ruel and Dionne Jirachaikitti Paul, Li Pailin Phillips, Siwaraya Rochanahusdin, Tim Tararug, and Peter Thupsoonthorn—have been invaluable; they are perpetual reminders of why our community’s stories and struggles deserve to be told. To my Thai American Studies family—Anny Dhamavasi, Jenny Ungbha Korn, Wanda Pathomrit, Tanachai Mark Padoongpatt, Chaitut Rounchai, and Kanjana Thepboriruk: together, you cleared the trees so that my and all our flowers could grow. The Thai America that our parents helped build would not be here today without the care and dedication all of you have shown for our small community. Ajahn Robert Bickner, Ajahn Patcharin Peyasantiwong, and Ajahn Janpanit Surasin: you taught me to read and write Thai again. This project would not have gone as far as it did without your tutelage, pushing this dissertation to go further than the linguistic limitations placed upon a diasporic child – thank you. Lastly, I must give heartfelt thanks to Methawee “Plu” Sayampol (a.k.a., Pattaya Hart) for allowing me to use and tell his story as a part of my dissertation project. My deepest and unwavering love to my family. There are not enough words in the world that can express how much I love and am thankful to have Anthony Dacumos Buccat in my life. His patience, humor, humbleness, and, above all, compassion and heart have been the bedrock to my entire doctoral journey. Tony helped make this project come true. I also would like to thank the Buccat family for caring for me as one of their own. I cannot give enough thanks to the family that helped me raise me: Wantana, Kawan, Vinita, and Kevin Anantavat; Salisa, Natee, and Tanisa Niranatkul; Kapil, Mia, Sydney, and Kian Dhingra; and Padap “Peter” Sukgasigon. My family vi members in Thailand: the Pansiri, Pilunthanakul, and Srichanchow families, as well as Nuntawun Yuntadilok. Finally, I would not have managed in life without the inspiration, encouragement, and emotional support of my sister—Supak Sookkasikon, my brother- in-law—Manish Kesliker, and my nephews—Anand, Ashwin, and Aarun Kesliker. Even when I had days where I wanted to give up, my family encouraged me to push forward, urging me to remember why I began writing this story in the first place. Lastly, I reserve my final acknowledgements for my parents: Saisunee and Paitoon Sookkasikon. As first-generation Thai Americans, they taught me and my sister so much about the world: its cruelties as well as its innumerable possibilities. I learned what it meant to be the child of immigrants at a very young age. Broken bones, worn faces, tired eyes, and tales of heartbreak and sacrifice loomed over my and my sister’s heads growing up. Nevertheless, my parents persevered in this faulty world, bringing us up as Thai when Thailand was only a muddled memory or an idea separated by a vast ocean. This dissertation is a love letter to you and to the lives that you built out of nothing. vii ABSTRACT My project looks at how contemporary Thai popular culture and performance, as produced and consumed in Thailand and the diaspora, queers notions of Thainess informed by Western economies of desire and Thai state practices. Thailand has come to be stereotyped as “the playground of the Western world”, promoting fantasies of Thai bodily excess, availability, as well as “the benevolent creation of employment” by predominantly Western and “First World” countries.1 Hyper-eroticized depictions of Thainess have circulated through popular media—from films such as The King & I (1956) or The Hangover Part II (2011), in addition to songs such as “One Night In Bangkok” (1984) by Murray Head—orientalizing Thais as sexually willing and readily available. Even nationally-sanctioned projects, such as those by the Tourism Authority of Thailand (TAT), have marketed Thainess as an accommodating culture suited to its international campaign of the nation as the “land of smiles”.2 Yet even amongst these depictions of Thainess, contemporary communities have used modern forms of technology and alternative modes of storytelling and performance to offer different scripts of Thainess. Against and alongside to these popularized images of Thailand and of the Thai people, I have chosen to position cultural pieces and moments that do not necessarily attempt to correct narratives of Thai hypersexuality, but, rather, gravitate towards excess, the perverse, the anonymous, and, at times, the monstrous and grotesque as fantastic sites of recuperation of Thai identity that do not discard sexuality as a means for expression and for reframing notions of belonging. 1 Ryan Bishop and Lillian S. Robinson, Night Market: Sexual Cultures and the Thai Economic Miracle, (New York: Routledge, 1998), 16, 10. 2 Ibid., 7. viii TABLE OF CONTENTS DEDICATION ................................................................................................................. iii ACKNOWLEDGEMENTS .............................................................................................. iv ABSTRACT ................................................................................................................. viii LIST OF FIGURES.........................................................................................................