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Using Stephanie Batiste’s theory of kinetic affect and Sara Ahmed’s framework of the Orient, the paper seeks to center the experience of the Filipino body---both national and diasporic bodies--- as it moves through the affective space of ambivalence in relation to the conversation of race-making in dance. The paper hopes to open possibilities for corporeal negotiations that do not only refute the haunting of the silhouettes of White supremacy in the Filipino’s engagement with Philippine folk dance but also uphold a space where bodies can encourage each other to ‘move’ despite the ‘truths’ claimed by the project of race.
Language
English
English