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Figures of Transnational Belonging: Gender, Sexuality, and the Nation in the Filipino Diaspora

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Figures of Transnational Belonging: Gender, Sexuality, and the Nation in the Filipino Diaspora UNIVERSITY OF CALIFORNIA SANTA CRUZ FIGURES OF TRANSNATIONAL BELONGING: GENDER, SEXUALITY, AND THE NATION IN THE FILIPINO DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY OF CONSCIOUSNESS by Gina Velasco December 2008 The Dissertation of Gina Velasco is approved: Professor Neferti Tadiar Professor Donna Haraway Professor James Clifford Professor Anjali Arondekar Lisa C. Sloan, Vice Provost and Dean of Graduate Studies UMI Number: 3338605 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3338605 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Copyright © by Gina Velasco 2008 TABLE OF CONTENTS List of Figures iv Abstract v Dedication vii Acknowledgements viii Introduction 1 Chapter One: Mapping Diasporic Nationalisms: The Filipino American Balikbayan in the Philippines 46 Chapter Two: Representing the Filipina 'Mail Order Bride' 105 Chapter Three: The 'Exploited Filipina Body,' National Affects, and Transnational Belonging 151 Chapter Four: Reimagining the Transnational Filipina Body: Gigi Otalvaro- Hormillosa's Cosmic Blood 189 Bibliography 239 LIST OF FIGURES Figure 1.1 Poster from The A dventures ofPriscilla, Queen of the Desert 108 Figure 1.2 Still from The Adventures ofPriscilla, Queen of the Desert 109 Figure 2.1 "Advertisement" for "Always a Bridesmaid, Never a Bride" 124 Figure 2.2 Photo image of the Mail Order Brides in whiteface from "Always a Bridesmaid, Never a Bride." 131 Figure 2.3 "Have You Eaten?" 134 Figure 2.4 Photo image of the Mail Order Brides at a queer wedding from "Always a Bridesmaid, Never a Bride" 145 Figure 3.1 Still of Glenda from Sin City Diary 172 Figure 4.1 Image of the "gourd in the shape of a womb" from Cosmic Blood 193 Figure 4.2 Image of conquistador character from Cosmic Blood. Gigi Otalvaro- Hormillosa. 3 March 2002. Bindlestiff Studio, San Francisco, CA 195 Figure 5.1 Still from Bontoc Eulogy 204 Figure 4.3 Image of blue cyborg character ("wings" extended) from Cosmic Blood 222 Figure 4.4 Image of the head of the blue cyborg character ("wings" extended) from Cosmic Blood 223 Figures of Transnational Belonging: Gender, Sexuality, and the Nation in the Filipino Diaspora Gina Velasco Abstract This dissertation analyzesyzgwras of transnational belonging found within Filipino diasporic cultural production. I explore how each figure of transnational belonging reveals the broader cultural politics of gender, sexuality, and nation in the Filipino diaspora. The figures of transnational Filipino belonging I examine include the "mail order bride," the domestic helper (DH)Zoverseas contract worker (OCW), the balikbayan (the Filipino expatriate who returns to the Philippines), and the cyborg as a hybrid figure for utopic visions of transnational belonging. My dissertation focuses on representations found within Philippine and Filipino American film, video, performance, heritage language programs, and the Internet. I focus primarily on Filipino American cultural production, due to the historical role of the Philippines within the U.S. imperial imagination, as well as the constitutive position of the U.S. within contemporary notions of Philippine national identity. As diasporic subjects, Filipino Americans are uniquely situated between the imperial center of the U.S. and the neo-colony of the Philippines. My research incorporates a range of methodologies, bringing together ethnographic interviews and participant observation with textual and visual analysis of cultural and visual texts. I argue that diasporic notions of nation, kinship, and home are embodied within the racialized and gendered figure of the transnational Filipina body. As such, the Filipina body serves as a gendered trope for both national and transnational belonging within a Filipino American imagination. Ultimately, this dissertation argues for a politics of representation that challenges the inherent heteronormativity and masculinism of dominant tropes of nation and diaspora. In memory of my grandmother, Lody Queyangco Kummer (1937-2003), the heart of our family, and an inspiration to me always. Your love, support, and belief in me has sustained me throughout the long years of completing my Ph.D. VII Acknowledgements: I began this journey as an undergraduate at the University of Texas at Austin, with the encouragement of Professor Kamala Visweswaran and Professor Asale Angel-Ajani, scholar-activists who first demonstrated to me the connection between one's political commitments and the life of the mind. I am particularly grateful to Kamala Visweswaran for encouraging me to pursue graduate studies, for standing by me on the picket line, and for reminding me of my responsibilities as a scholar- activist. Your example has shown me both the necessity and joy of mentorship. My political work in and outside of academia has been an inspiration to me, as well as a reminder of why I have chosen this path. Thank you to my comrades in the Asian American Relations Group (AARG!) and the Anti-Racist Organizing Committee (AROC) at the University of Texas of Austin. In particular, I thank Marian Yalini Thambynayagam, Andre Lancaster, Jacob Childress, Zafar Shah, Robyn Citizen, and Jamie Munkatchy for their friendship, hard work, and commitment to our collective goals. I still believe in our vision for the future, and I hope that this dissertation contributes to our larger goals and dreams. I am especially grateful for the support of my dissertation committee, Neferti Tadiar, Donna Haraway, James Clifford, and Anjali Arondekar. I am particularly endebted to Neferti Tadiar for challenging me to produce more critical, politically engaged scholarship. Neferti Tadiar's guidance has shaped all aspects of my development as a scholar. I have benefited from Donna Haraway's careful engagement with my work through out all stages of this dissertation. Donna's viii generous model of scholarly engagement is one that I hope to emulate. I thank James Clifford for his consistent attention to the process of writing. Our conversations about the nuances of ethnographic writing have been invaluable. I have been fortunate to benefit from Anjali Arondekar's expertise in sexuality studies, which has been crucial to the development of this work. I would also like to thank Rosa-Linda Fregoso and Jennifer Gonzalez for their mentorship and professional guidance. They have helped me to maneuver through the maze of academia. The following grants and fellowships made the writing of this dissertation possible: the Eugene Cota-Robles Fellowship (U.C. Santa Cruz), the U.C. Regents Fellowship (History of Consciousness Department, U.C. Santa Cruz), the Graduate Division Sabbatical Fellowship (U.C. Santa Cruz), the Institute for Humanities Research Dissertation Fellowship (U.C. Santa Cruz), the Davis Putter Scholarship Fund grant, the President's Dissertation Year Fellowship (Office of the President, University of California), and the Andrew W. Mellon Foundation Postdoctoral Fellowship in the Humanities (Bryn Mawr College). I thank the artists, organizations, and individuals who have shared their art and their lives with me. Thank you for enduring my interviews and observation! In particular, I want to thank Gigi Otalvaro-Hormillosa and the Mail Order Brides (Jenifer Wofford, Eliza Barrios, and Reanne Estrada). In addition, I would like to thank the cast, crew, and audiences of ReCreation (U.C. Berkeley 2006) and Talaga! (U.C. Santa Cruz 2006). Lastly, I would like to thank the participants and faculty of the Philippine Studies Program for their support of my research and their ix companionship during my summer in Manila. In particular, I am grateful to Joi Barrios for sponsoring my research at the University of the Philippines, Diliman. I am also indebted to the intellectual community and friendship that the Research Cluster for the Study of Women of Color in Collaboration and Conflict (U.C. Santa Cruz) has provided me. In particular, I would like to thank the members of my dissertation writing group: Elisa Diana Huerta, Pascha Bueno-Hansen, and Rose Cohen. Our conversations and meals around Pascha's kitchen table have sustained me through the long and arduous process of writing this dissertation. I am so grateful for your feedback, support, and love. In addition, I would like to thank WOC members/alumna Monica Enriquez, Suzy Zepeda, Cindy Bello, and Kalindi Vora. I would especially like to thank Darshan Elena Campos for her companionship and advice. Finally, I thank WOC's faculty advisor, Professor Angela Davis, for her guidance and support throughout the many years of the WOC Cluster's existence. In addition, I thank my colleagues and friends at U.C. Santa Cruz for their intellectual comraderie, including Rashad Shabazz, Mike Rasalan, Noah Tamarkin, Alexis Shotwell, Scout Calvert, and Rebecca Schein. I am also grateful to the Critical Filipina/o Studies
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