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- W2502096510 abstract "In her now classic essay, “Where Have All the Natives Gone?,” Rey Chow likens modernity’s preoccupation with nativizing cultures to a colonial visual technology in which the native becomes useful and falsely knowable to her onlooker. Using photography as her key example, Chow argues that the reproduction of the native as the visual other continuously challenges our mode of analysis: do we critique the image itself, expose the machinery of its truth-effects, or call for a substitute? The native, as concept or body, image or historical experience thus becomes a shifting ground for “more general questions of exploitation, resistance and survival.”1 In this chapter, I propose shifting the terms of recognition around the native through the minor-native as a guiding episteme, situated within transcolonial border zones rather than colonial topography. In what follows, I use performance as a site and method of analysis. At the center of my analysis is a one-woman show “Details Cannot Body Wants” (Singapore 1992, New York 1997, Australia 1996) by Peranakan (Straits Chinese)-American performance artist-scholar Chin Woon Ping. This play provides a preliminary model of re-spatialization that opens a portal to one transcolonial border zone where the minor-native is encountered. A Chinese-Malaysian emigre, Chin resides in the United States and teaches at Dartmouth College, but has a tri-national cultural background that informs her Peranakan Singaporean-Malaysian, and Asian-American identification." @default.
- W2502096510 created "2016-08-23" @default.
- W2502096510 creator A5043429489 @default.
- W2502096510 date "2011-01-01" @default.
- W2502096510 modified "2023-09-26" @default.
- W2502096510 title "The Epistemology of the Minor-Native in Transcolonial Border Zones" @default.
- W2502096510 cites W2071790588 @default.
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- W2502096510 doi "https://doi.org/10.1057/9780230294554_11" @default.
- W2502096510 hasPublicationYear "2011" @default.
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