White Love - Princeton University
Transcript of White Love - Princeton University
supposedly traditional rite~ ofcircumciion or of a revolution not only
unfinished but unresolved steeped in acts both courageous and crimishy
nal The) draw one to think of impure origins and foreign genealogies
of national selves ineluctably inhabited by foreign others
Although I did not intend it Ulis book shares an affinity with at least
this aspect ofJoaquins project Part ofmy fathers generation wbo came
of age during and immediately after the Japanese occupation Joaquin
writes and lives in Manila whereas I write across the very PaCIfic once
traversed by the Spanish galleons Yet we find ourselves sharing a familshy
iar predicament For him it entaus thinking of Filipino as an identity
in progress for me it is the name of a history thai conung from the
outside continues to arrive from the future The dIfference may not be
so great In either case the task is one of historicizing the uncertainty of
such names and namings Qierebr momentarily interrupting the workshy
igs ofcolol1lal and national lobotomies I t should be clear though that
the effects of such interruptions can never be fuUy determined Standing
on th threshold of a revolutionary epoch the national hero Jose Rizal had sought to contemplate a cure for his diseased counLry by tearing
away the veil that hid the social cancer of la pnrrin In his novel Noli me
Tangere Our situalion is o f course different Par in these postcentennial
(and arguably cow1terrcvolutionary) Limes we can hope at the very least
to approach the sense of vertigo- epistemological and comparativcshy
that comes with apprehending las jsla~ Filipinas and Filipinos as they
slip in lnd OUI of various attempts 10 ma~ler anJ c()mprehend them
I White Love ellsus mid Afelodramn i17 the
us Colonization oJ the Philippines
Arriving in ManUa in March 1899 Dean C Worcester proshyfessor of zoology at the UIlIversity of Michigan and member of lhe
Schurmarl Commission appoinled by President McKinley to LDvestigate
conditions in the Philippines tells of witnessing the signs of war beshy
tween the United States and Lhe Filipino forces led by Emilio Aguinaldo
Worcester describes how he walked toward the Fihpino trenches after
one such baule counting tbe dead and wounded as 1 had heard w il d
stones of tremendous slaughter and wanted to see just how much damshy
age the fire of ollr troops had really done1 WishlOg to discredit the
claims made by anti-imperialists in [he United States regarding the
severity of thc Filipino-American War2 Worcester conceives of the dead
bodies of insurgents as objects to be counted and data for ol1kia
source of information To do so he erases the partiauarity of those
bodies as the task of counLing replaces the ritual of mourning The
eXlent oi the era1gture of the Filipino dead becomes even more stunshy
ning at Ihe conclusion of Worcesters story when he talks not about the
dead at all but the wounded At the tune we visited the Insurgent
trenches nut middotalJ our own killed and wounded had been removed yet
~vcry wounded Insurgent whom we found had a Umted States canteen
of water at his SIde obviously left by ome kindly American soldiers
Not a few ~f the injured had been furlllshed hard tack as well All were
ultimately takcn t(l Manita and there given the best care by surgeons ibidi
111
iJtl1eloit1I1 Homing For Worcester colonial warfare was not meant to
conquer and exterminate the native populace It was instead a kind
of police action thaI would quell the disorder on the islands caused b) the surrings of deluded peasantamp and workers led by a gang of ambishy
tious mixed-blood Fil ipino~ Theampe FiliQino leader~) beginning vittuhe
qlinese-mestizo A~inald() were illegitimate representatives ofthe filshyipino pe0E1e Indeed there were no Filipino people as such only a
heterogeneous collection of imperfecU civilized tribes and wild men
speaking a bewildering variety of languages bereft of a common culshy
ture and subject to impulsive and irrational behavior (Worcester 2 92Jshy
22938) Given this putative absence of a Filipino nalion the us presence in
the archipelago could not be construed as usurping another peoples
sovereignty Tntervgntion was understood in gfficial ac~ollnls) as an
altrUlsti~ actJlQtivated by America concern fQr the natives welfare on
the plrt of theUmted States US troops did not shoot Filipinos Lo kill
them but to save them from killing one another Hence in the Senate
hearings of 1901 David Prescott Barrows head of the Bureau of Nonshy
hristian Tribes who would go on to run the colonial public school
system before becoming professor of anthropology at the University of
Californ ia Berkeley could stale that the US practice o f administering
the water cure-forcing water down prisoners bodies to compel them
to talk-could not possibly have harmed Filipinos and that they willshy
ingly abandoned their homes and sought US protection in concentrashy
tion camps at the height of the war in order to lead easier more se~ure
lives William Howard Taft similarly claimed that there were Filipinos
who bull ~aid Ihey would not say anything unles~ ther wert~ lortured
and that there never was a war cOl1ducted whether against inferior
races or nOI in which there was more compassion and more restraint
and more generosity Ithan this war against the Filipinosl Seaetar) 0
War Elihu Root could only ooncur a year later praising the splendiJ
virile energy bull accompanied by sclf~control patience [andJ magnashy
nimity on the partoftht LSlroOpS IfUgtriteorthouian~bQtTilipino
d~~hs nsnltingJrQJ1 artillery fi~ ~i~eas~~andJa-1i~ ~~JI as (onshy
~~le ec~logical havoc the Car a~ cham1pound~jzeJ_bJ humanlly and
kindness to the pisonc ~d non-co ll1battant3 For in the end the war
had been a clluable learning experience lor the Filipinos a real blessshy
ing as Barrows would write in 1901 in his djary for without it lhe
Filipinos would never have recognized their own weaknesses without it we would never have done our work thoroughJ y~
Indeed us colonialism in the Philippinec was rhetorically driven by
what President McKinley had referred to as benevolent assimilation
whereby the earnest and paramount ai m of the colonizer was lhat of
win[ninsl the confidence respect and afiection of the coloOlzed
Colonization as assimilation was deemed a moral imperative as wayshyward native children cut off from their Spanish fathers and desired by
other European powers would now be adopted and protected by the
compassionate embrace of the United States As a father is bound to
guidt his son the United Slates was charged with the development of
nallve others Neither exploitative nor enslaving colonization entaHed
the cultivation of the felicity and perfection of the Philippine people
through the uninterrupted devotion to those noble ideal s which
(Ollstitute the higher civilization of mankind~ Because colonization is
abuut civilizing love and the Jove of cirilization it must be absolutely
distinct (rom the disruptive criminality of conquest The aUegory of
benevolent aSSiIll1Jatlon eff(ces the viQlence of conquest bi construing
cqlonial rule as the most preciQ~u~ampifL that the mQSt cjyiH~JW)rle
can render to those gttill caught in a state ofbarbarou~ disorder
But tnslead of returning their love Fi lipino insurgents seemed
lltmt on making war Why these hostilities the Schurman Commisshy
~iun asked What do the best Filipinos want By demanding recognishy
lion of the independence thai they bad jusL wrested [rom Spain Filshy
ipinos appeared to have misllterpreted the pure aims and purposes
Oflhe Amlrican government and people and thus were attacking US
forcesYIn resisting the TiliEinQpound were being unreasonable As with
trrant childrcl~ tJe) needed to be discil21incd accQrding tQ McKinley
middotmiddotwith hrmnciif need be hllt without severity so far as may be possishy
blpound- t crucial pari of the higb mission of colonization then was the
need to maintain the strong arm of authority to repress disturbances
and to avercoml all obstacles 10 the bestowal of the blessing o f a good
and slable gov~rnment upon the people of the Philippine Islands under the free Ilag of the United States111
A certain kinll of violence underwrote the alJegory of benevolent
as~imilation The measured use of force was deemed consistent with lhl
21 Whilf Iav 20
tutelary aim of ~nl()nizalion making nouive inhabilanls desire what
colonial authority desirtd for ulem The mandate Lo institute d~moshycratiL aspirations slntiments and ideals brought with it the need to enforce discipline and constant surveillance among the Filipino~ Filshy
ipJno~ were called on to accept the supremay of the United Slales
and those who resist it can accomplIsh no end other than [their] own bull illrum What may seem like a fundamental contradiction at the heart of the
colonial enterprise was due to assumptions regarding the aptituJe of
Filipinos They lacked the experience possessed by u5- narnely that
of self-government- and by implical1on the self-consc iousness that
marks a peoples readiness for independence (Worcester 2981-88) Filshy
ipinos as Taft observed were iJ1 a hopeless condition 0[ ignorance
subject like the waves of the sea to lhe influence ofthe moment ~~
with childrenl they were highly impressionable unable to retlect on
~wn conditions and capable only Qf mimickinghe_ actions of
those they perceived to bc_abllV~ Lem In llleir present state Taft as shy
serted they cannot possess themselves they can only be possessed hy
others This situation made it all the more imperative [or the United
Slates to intenene For only after the natives have been elevated and
taught the dignity of labor and self-restraint can they be allowed to
decide thei r own future 12
The aU egory of benevolent assimi lation lllus foresaw the possibil ity
if nol the inevitab il ity of colonialisms end Bul equally important it
also msist(d on defining and delimiting the means to that end While
colonial rule may be a Lransitional stage of self-rule the self that rules
itself can only emerge by way oran intimate relationship with a colonial
master who sets the standards and practices of discipline to mold the
conduct of the colonial subject In other wor~ the culmmatign of
c~lolLa1 ~ule self-g~ment~9ln be acbi~~J gnly when the subject
has learned to colonize itself As Woodrow Wilson wrote with reference ~ _-------shyto the Philippine
Self-government is a form of character 11 follows upon the long discipline
which gives a people self possession self-mastery and the habIt of order and
pll1ce the ~teadine~ of self-control and political mastery And these things
cannot be had without long discipline No people can be given the self-
on lrol o maturity Only a long apprenticeship ofobedience can secure them
the rreci(u~ pussession
MOlde lip of disparate characteristics Filipinos lacked the character
with which to conLrol themselves thereby requiring a long apprenticeshy
shjp~ In this way can benevolent assimilation mdefinitely defer its own
completion in that the condil1on for self-rule self-mastery can be
made identical to the workings of colonial rule the mastery of the other
Lhat resides within the boundaries of the self oVhite love holds oUl the
pr~ 2f fillheri ns as it were a civilized people capable in time of
assertins its own character But it also demands the indefinite submisshy
sion to a program of discipHne and reformation requiring the constant
superviion ofa sovereIgn masterI 1
Conjoining love and discipline benevolent assimila Lion was meant
to ennoble the colonizer as it libeTated the colonized What secured this
link between an ideology of benevolence and the repressive-productive
institutions of discipline How was it possible to sustain the fil-Lion
istercd by US official discourse and eventually accepted with varyshy
inp degrees of alacrity by Filipino collaborators that colonial rule - ~
amounted to democratic tutela~e How did white love and native subshy
jugation become mutually reinforcing
I want to suggest that the Link between benevolence and discipline
was made possible lhrough representational practices that recast Filshy
IPJn appearances The re-fonnation of nalives as colonial subjects
reqUIred that they become visible and therefore accessible to those
charged with their supervision Through continuous and discrete obshy
servations the targetb of benevolent assimilation could be idenlified
apprehended and delivered for democratic tutelage Whether it was in the areas of public order or public health education or dections incarshy
c~ration or commerce such superviSion sustained the articulation of
colonial rule at both the Ideological and practical level By (en~kriDampshyvisiblt lhesubjects 9f colQnizatiQn in Qarticular waI~ col9nial supervishy
sion amounredtoa powerful form of surveillance setting the limits of
colonJal idelHlie~ Vithin the borders of Iht state
This b not to imply that the circuils linking supervision representashy
tion and control were perfectJ) insulated making the colonial state aJ I
powerful and unchallenged lnJeed recent sdlOlarslUp has shown the
2 White lo1e 22
extent to which US colonial rulc like its Spanish rndecessor was
cOllStantly comrromise1 b) forces and ~vents it could not control
much I~ss comprehend The very agents oftht slate were often dIvided
in their personal loyalties and ideologicaJ indinations LS milttary and
civilian officials for example were clearly at odds over th~ appropriate
techl1lqutS of conquest and colonization owing to their varying apshy
praisals of Filipino capacities just as the colomal government was subshy
iect to the vagaries of policy shifts among elected officiab an the metshy
ropole Similarly differences existed among Filipino collaborators in
terms of their earlier involvement wiLh the revolution as well as their
personal and political tics with colonial patrons Collaboration was
fraught with disagreements over legislation taxation budgets and rashy
dally tinged debates regarding Filipino fitness for self-rule Equally sIgshy
nificant class conflicts pitted colonial authorities US and Pilipino
elites alike against peasant and workers groups at times erupting into
local revolts that were brutally suppressed I Nonetheless an examinashy
tion of the rhetoric of colonial rule suggests the existence of a dominant
desire informing the state that of creating a continuum between an
ideology of benevolence disciplinary practices and networks of supershy
vision-in short a desire to consolidate the relay between knowledge
and power My interest here lies in inquiring about the formation of this
colomal desire and the limits to its institutionalization
In the earJy period of US rule Olle of the most instructive docushy
ments of Ule colonial wish to establish total and continuous supervision
for the sake of tutelage was the four-volume Q1l5US of the Philippine
Islands begun in 1903 and published In 190slft In what follows I want to
consider the vanou~ ways in which the ccnus functionetl as an apparashy
tus for producing a colonial order coextensive with the represrotalion
of iu subjec~ It is important to stress however that the censuss sahshy
cnce as a discursive practice cm best be understood within the larger
context of the Filipino-American War A such Tattempt in the latter
part of this chapter to link the census with one of the most popular
forms of nationalist expressions among Filipinos during this period
vernacular plays whose performances were deemed seditious and ulshy
timately banned by the colonial regime
Historically coincident With the Laking of the colonial census perforshy
mances of the nationalist dramas between 1899- 1905 sought 10 contesl
thl mcan~ with which to delineate and ltluthorizl thl differene between
Filirino arid North American-and as r ~hllI suggest between men and
umen-ut a timc of catastrophic changes when a US coloniaJ ~tatl
Va~ yet to be stablllzcd amid the ruingt of Spanish imperial hegemony
and the colJective memory of fiJ ipino revolutionary victory over Spain
Seen in their historical conjuncture both the census and plays were
struggles over the representation of the Philippincs gTowing out of the
violence ofnationalist revolution and imperialist intervtntion
SUrlqillg SlIbjects Census reports are curious texts They contam no
single author for standing behind them is not a person but a state
apparatus made up or a veritable army of enumerators derks and
statislicians managed by a hierarchy of supervisors and directors It is
not therefore the case that a census has no author but that the bureaushy
wllic nature of its writing renders its authorship and authority disshy
persed lt1nd anonymous Consequently whi le the workings and results
of cenSllS reports a re never completely visible to an indiVid ual censuses
can claim to ~ee everything that can be individuated that is coun Led
tabulated and classified No single reader can exhaust the entirety of a
census report Just as no single reading can comprehend its meaning
insotlf as its myriad tabJes and graphs of statistical data escape total
recall Compiled in a mechanical fashion census reports exceed narrashy
tive synopsis The power-that is to say the persuasiveness-of a census
to conq what appears to be an objective representation of U1C world
derives in part frol11 its remarkable capacity to picture in quantitative
terms the tot11iLy of the worlds multiplicity Thus Lhe value of census
reports tu the colonial (and to any modern) state they represent the
states abilitmiddot to represent and so govern itself In enumerating and
classifying the resources and population of the state censuses render
visible the entire field of colonial intervention l -
As the first Philippine census under US rule the 1905 report was
conceiwd as hoth a confirmation of and means for consolidating the
paClficatioll of the archipelago The Congressional Act of 1902 made
the cessation of the insurrection a precondition for conducting the
census The creation of a Census bureau under the direction of General
Joseph P Sanger (who had supervised earlier census reports for Puerto
Rico and Cub ) was a way of officially asserting that the war was over It
25 White LIlIC
---shy
24
------
was left to Ihe victor to make an inventory of it~ ncw possessions One reason for doing so was 10 sct the conditions for holding elections
within two years of the ccnsuss publicatitm for Filipino representative)
to the coJoniallegisJature to be known as thc Philippine ssembly Such
a legislature was designed to consolidate the practice l1r Filipino LoUabshy
oration thereby rendering more effiClcnt and cost effective the running
of the colomal state while containing all remaining nationalist chalshy
lenges to US hegemony CollaboratlOn was seen 35 an mdex of lhe
success of tutelage the measure of the Filipinos recognitio11 of their
subordination to and desire for white authority The taking of the censhy
sus Governor-General Taft wrote will therefore [arm a test of the
capacity of the Filipinos to discharge a most important function of
government The ccnSt15 is to be taken solely for the benefit of the
Filipino people [and I they should lend their unarumot15 support to
the successful taking of the census (Cemus 120
Call ing for Filipino collaboration both as local supervisors and enushy
merators the cenSllS would serve as cl kind of test of Filipinos ability LO
perform a task Discipline was caUed for by the census that was why it could serve both the practical and ideological route to self-government
in the future As an instrument of white love it was meant to give
Filipi nos an opportunity to perform before the solicitous gaze of US
tutors The census would be an exercise as it were in character building
where the capacity to count was coterminous with the ability to b~
accountable to a colonial hierarchy Not only would the census provide
the empirical grounds for shapmg the direction of coloniallegislallon
and facilltating the mflux ofUS (middotapital investments in the archIpelago
as with the colonial legislature i1 would also fundlon as a stage on whkh
Filipinos were Lo be represented as wedl as represent themselves as subshy
jects ora colonial order disciplined agents actively assuming their role in
their own subjugation and maluration
The US project of a centrally organized and nationally coordinated
ctnsus superseded thal of the Spanish statemiddots For its census data the
Spanish colonial regime had relied mainly on thl irreguJar and farshy
from -comprehensive records kepl by parish priests on their locaillock
[n addition Spanish efforts at more systematic cenSWi gathering met
with enormous resistance from the people inasmuch as they were
geared primarily for the levIng of taxe5 and conscription of labor
(Cmsus 113) Th~ VS census oI ht Philippines by contrast was
supposed tn elevate rather than exploit the popuJacc The groundwork
had been plcpared by a number of US survcys between June 1898 and
1903 In the face of ignorance about the arch ipdlg11 in lhe United Stales
such surveys were charged with collecting facts on the Philippines as
well as encouraging ~ollaboralion from natjve informltlnts The most
important of these were the Philippine Commisslom of 1899 and 1900
presided over by acadcnuc experts and the Ethnological Surveys carshy
ried out by such anthropologists ~ David Barrows Dean C Worcester
and Albert Jenks between 1900 and 1905 These surveys produced volushy
minous reports on lhe conditions of lhe counlry generously illusshy
trated with photographs of native scenes and types As Paul Kramer has
shown the American projecl ofamassing what was considered scientific
knowledge was dependent not only on progressivist notions ofexpertise
but also on an already existing body ofSpanish colonial writings on the
PhilippinlS Even more SIgnificant these surveys would not have been
pOSSIble without the active collaboration of natives especially local
clites as indispensable sources of support and information Published
and republished cited widely in newspapers congressional testimonies
s(hoolbook~ and scholarly studies such surveys estabhshed the basis
for a lund of colonial common sense in the interest of countering revoshylutionary expectations 19
The Census Bureau followed lXislmg practice laymg great stress on
seeking Filipino cooperation in order to neutralize whatever local reshy
sistmccs still existed in the country Conducting the census then was of
il piece with US altempts at co-opting Filipinos of aJJ classes thereby
consolidalmg a counterrevolutionary nationalism that had emerged as
early as 1898~n WIth appollltments LO the colonial judiciary beginning in
1899 the establilhment of the Philippine Scouts (1901) and the election
by limited Suffrage of municipal officials (1905) and later representashy
tives (0 Ule Philippine Assembly (19deg7) Filipinos were drawn into a patshy
tern of collaboration with the colomal state) There were practical and
pcdagogiLaJ reasons for FilipinOS particularly members of the provinshy
cial and municipal clites to be t15ed as census perSOnllcl To do so was as
Censw Chief GeneraJ Sanger pu t it to identify them with the censt15
and to test their capacity to pcrform duties never undertaken before
and which in thiS country are supposed to require at least average
27 lV1lite UJIl 16
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
iJtl1eloit1I1 Homing For Worcester colonial warfare was not meant to
conquer and exterminate the native populace It was instead a kind
of police action thaI would quell the disorder on the islands caused b) the surrings of deluded peasantamp and workers led by a gang of ambishy
tious mixed-blood Fil ipino~ Theampe FiliQino leader~) beginning vittuhe
qlinese-mestizo A~inald() were illegitimate representatives ofthe filshyipino pe0E1e Indeed there were no Filipino people as such only a
heterogeneous collection of imperfecU civilized tribes and wild men
speaking a bewildering variety of languages bereft of a common culshy
ture and subject to impulsive and irrational behavior (Worcester 2 92Jshy
22938) Given this putative absence of a Filipino nalion the us presence in
the archipelago could not be construed as usurping another peoples
sovereignty Tntervgntion was understood in gfficial ac~ollnls) as an
altrUlsti~ actJlQtivated by America concern fQr the natives welfare on
the plrt of theUmted States US troops did not shoot Filipinos Lo kill
them but to save them from killing one another Hence in the Senate
hearings of 1901 David Prescott Barrows head of the Bureau of Nonshy
hristian Tribes who would go on to run the colonial public school
system before becoming professor of anthropology at the University of
Californ ia Berkeley could stale that the US practice o f administering
the water cure-forcing water down prisoners bodies to compel them
to talk-could not possibly have harmed Filipinos and that they willshy
ingly abandoned their homes and sought US protection in concentrashy
tion camps at the height of the war in order to lead easier more se~ure
lives William Howard Taft similarly claimed that there were Filipinos
who bull ~aid Ihey would not say anything unles~ ther wert~ lortured
and that there never was a war cOl1ducted whether against inferior
races or nOI in which there was more compassion and more restraint
and more generosity Ithan this war against the Filipinosl Seaetar) 0
War Elihu Root could only ooncur a year later praising the splendiJ
virile energy bull accompanied by sclf~control patience [andJ magnashy
nimity on the partoftht LSlroOpS IfUgtriteorthouian~bQtTilipino
d~~hs nsnltingJrQJ1 artillery fi~ ~i~eas~~andJa-1i~ ~~JI as (onshy
~~le ec~logical havoc the Car a~ cham1pound~jzeJ_bJ humanlly and
kindness to the pisonc ~d non-co ll1battant3 For in the end the war
had been a clluable learning experience lor the Filipinos a real blessshy
ing as Barrows would write in 1901 in his djary for without it lhe
Filipinos would never have recognized their own weaknesses without it we would never have done our work thoroughJ y~
Indeed us colonialism in the Philippinec was rhetorically driven by
what President McKinley had referred to as benevolent assimilation
whereby the earnest and paramount ai m of the colonizer was lhat of
win[ninsl the confidence respect and afiection of the coloOlzed
Colonization as assimilation was deemed a moral imperative as wayshyward native children cut off from their Spanish fathers and desired by
other European powers would now be adopted and protected by the
compassionate embrace of the United States As a father is bound to
guidt his son the United Slates was charged with the development of
nallve others Neither exploitative nor enslaving colonization entaHed
the cultivation of the felicity and perfection of the Philippine people
through the uninterrupted devotion to those noble ideal s which
(Ollstitute the higher civilization of mankind~ Because colonization is
abuut civilizing love and the Jove of cirilization it must be absolutely
distinct (rom the disruptive criminality of conquest The aUegory of
benevolent aSSiIll1Jatlon eff(ces the viQlence of conquest bi construing
cqlonial rule as the most preciQ~u~ampifL that the mQSt cjyiH~JW)rle
can render to those gttill caught in a state ofbarbarou~ disorder
But tnslead of returning their love Fi lipino insurgents seemed
lltmt on making war Why these hostilities the Schurman Commisshy
~iun asked What do the best Filipinos want By demanding recognishy
lion of the independence thai they bad jusL wrested [rom Spain Filshy
ipinos appeared to have misllterpreted the pure aims and purposes
Oflhe Amlrican government and people and thus were attacking US
forcesYIn resisting the TiliEinQpound were being unreasonable As with
trrant childrcl~ tJe) needed to be discil21incd accQrding tQ McKinley
middotmiddotwith hrmnciif need be hllt without severity so far as may be possishy
blpound- t crucial pari of the higb mission of colonization then was the
need to maintain the strong arm of authority to repress disturbances
and to avercoml all obstacles 10 the bestowal of the blessing o f a good
and slable gov~rnment upon the people of the Philippine Islands under the free Ilag of the United States111
A certain kinll of violence underwrote the alJegory of benevolent
as~imilation The measured use of force was deemed consistent with lhl
21 Whilf Iav 20
tutelary aim of ~nl()nizalion making nouive inhabilanls desire what
colonial authority desirtd for ulem The mandate Lo institute d~moshycratiL aspirations slntiments and ideals brought with it the need to enforce discipline and constant surveillance among the Filipino~ Filshy
ipJno~ were called on to accept the supremay of the United Slales
and those who resist it can accomplIsh no end other than [their] own bull illrum What may seem like a fundamental contradiction at the heart of the
colonial enterprise was due to assumptions regarding the aptituJe of
Filipinos They lacked the experience possessed by u5- narnely that
of self-government- and by implical1on the self-consc iousness that
marks a peoples readiness for independence (Worcester 2981-88) Filshy
ipinos as Taft observed were iJ1 a hopeless condition 0[ ignorance
subject like the waves of the sea to lhe influence ofthe moment ~~
with childrenl they were highly impressionable unable to retlect on
~wn conditions and capable only Qf mimickinghe_ actions of
those they perceived to bc_abllV~ Lem In llleir present state Taft as shy
serted they cannot possess themselves they can only be possessed hy
others This situation made it all the more imperative [or the United
Slates to intenene For only after the natives have been elevated and
taught the dignity of labor and self-restraint can they be allowed to
decide thei r own future 12
The aU egory of benevolent assimi lation lllus foresaw the possibil ity
if nol the inevitab il ity of colonialisms end Bul equally important it
also msist(d on defining and delimiting the means to that end While
colonial rule may be a Lransitional stage of self-rule the self that rules
itself can only emerge by way oran intimate relationship with a colonial
master who sets the standards and practices of discipline to mold the
conduct of the colonial subject In other wor~ the culmmatign of
c~lolLa1 ~ule self-g~ment~9ln be acbi~~J gnly when the subject
has learned to colonize itself As Woodrow Wilson wrote with reference ~ _-------shyto the Philippine
Self-government is a form of character 11 follows upon the long discipline
which gives a people self possession self-mastery and the habIt of order and
pll1ce the ~teadine~ of self-control and political mastery And these things
cannot be had without long discipline No people can be given the self-
on lrol o maturity Only a long apprenticeship ofobedience can secure them
the rreci(u~ pussession
MOlde lip of disparate characteristics Filipinos lacked the character
with which to conLrol themselves thereby requiring a long apprenticeshy
shjp~ In this way can benevolent assimilation mdefinitely defer its own
completion in that the condil1on for self-rule self-mastery can be
made identical to the workings of colonial rule the mastery of the other
Lhat resides within the boundaries of the self oVhite love holds oUl the
pr~ 2f fillheri ns as it were a civilized people capable in time of
assertins its own character But it also demands the indefinite submisshy
sion to a program of discipHne and reformation requiring the constant
superviion ofa sovereIgn masterI 1
Conjoining love and discipline benevolent assimila Lion was meant
to ennoble the colonizer as it libeTated the colonized What secured this
link between an ideology of benevolence and the repressive-productive
institutions of discipline How was it possible to sustain the fil-Lion
istercd by US official discourse and eventually accepted with varyshy
inp degrees of alacrity by Filipino collaborators that colonial rule - ~
amounted to democratic tutela~e How did white love and native subshy
jugation become mutually reinforcing
I want to suggest that the Link between benevolence and discipline
was made possible lhrough representational practices that recast Filshy
IPJn appearances The re-fonnation of nalives as colonial subjects
reqUIred that they become visible and therefore accessible to those
charged with their supervision Through continuous and discrete obshy
servations the targetb of benevolent assimilation could be idenlified
apprehended and delivered for democratic tutelage Whether it was in the areas of public order or public health education or dections incarshy
c~ration or commerce such superviSion sustained the articulation of
colonial rule at both the Ideological and practical level By (en~kriDampshyvisiblt lhesubjects 9f colQnizatiQn in Qarticular waI~ col9nial supervishy
sion amounredtoa powerful form of surveillance setting the limits of
colonJal idelHlie~ Vithin the borders of Iht state
This b not to imply that the circuils linking supervision representashy
tion and control were perfectJ) insulated making the colonial state aJ I
powerful and unchallenged lnJeed recent sdlOlarslUp has shown the
2 White lo1e 22
extent to which US colonial rulc like its Spanish rndecessor was
cOllStantly comrromise1 b) forces and ~vents it could not control
much I~ss comprehend The very agents oftht slate were often dIvided
in their personal loyalties and ideologicaJ indinations LS milttary and
civilian officials for example were clearly at odds over th~ appropriate
techl1lqutS of conquest and colonization owing to their varying apshy
praisals of Filipino capacities just as the colomal government was subshy
iect to the vagaries of policy shifts among elected officiab an the metshy
ropole Similarly differences existed among Filipino collaborators in
terms of their earlier involvement wiLh the revolution as well as their
personal and political tics with colonial patrons Collaboration was
fraught with disagreements over legislation taxation budgets and rashy
dally tinged debates regarding Filipino fitness for self-rule Equally sIgshy
nificant class conflicts pitted colonial authorities US and Pilipino
elites alike against peasant and workers groups at times erupting into
local revolts that were brutally suppressed I Nonetheless an examinashy
tion of the rhetoric of colonial rule suggests the existence of a dominant
desire informing the state that of creating a continuum between an
ideology of benevolence disciplinary practices and networks of supershy
vision-in short a desire to consolidate the relay between knowledge
and power My interest here lies in inquiring about the formation of this
colomal desire and the limits to its institutionalization
In the earJy period of US rule Olle of the most instructive docushy
ments of Ule colonial wish to establish total and continuous supervision
for the sake of tutelage was the four-volume Q1l5US of the Philippine
Islands begun in 1903 and published In 190slft In what follows I want to
consider the vanou~ ways in which the ccnus functionetl as an apparashy
tus for producing a colonial order coextensive with the represrotalion
of iu subjec~ It is important to stress however that the censuss sahshy
cnce as a discursive practice cm best be understood within the larger
context of the Filipino-American War A such Tattempt in the latter
part of this chapter to link the census with one of the most popular
forms of nationalist expressions among Filipinos during this period
vernacular plays whose performances were deemed seditious and ulshy
timately banned by the colonial regime
Historically coincident With the Laking of the colonial census perforshy
mances of the nationalist dramas between 1899- 1905 sought 10 contesl
thl mcan~ with which to delineate and ltluthorizl thl differene between
Filirino arid North American-and as r ~hllI suggest between men and
umen-ut a timc of catastrophic changes when a US coloniaJ ~tatl
Va~ yet to be stablllzcd amid the ruingt of Spanish imperial hegemony
and the colJective memory of fiJ ipino revolutionary victory over Spain
Seen in their historical conjuncture both the census and plays were
struggles over the representation of the Philippincs gTowing out of the
violence ofnationalist revolution and imperialist intervtntion
SUrlqillg SlIbjects Census reports are curious texts They contam no
single author for standing behind them is not a person but a state
apparatus made up or a veritable army of enumerators derks and
statislicians managed by a hierarchy of supervisors and directors It is
not therefore the case that a census has no author but that the bureaushy
wllic nature of its writing renders its authorship and authority disshy
persed lt1nd anonymous Consequently whi le the workings and results
of cenSllS reports a re never completely visible to an indiVid ual censuses
can claim to ~ee everything that can be individuated that is coun Led
tabulated and classified No single reader can exhaust the entirety of a
census report Just as no single reading can comprehend its meaning
insotlf as its myriad tabJes and graphs of statistical data escape total
recall Compiled in a mechanical fashion census reports exceed narrashy
tive synopsis The power-that is to say the persuasiveness-of a census
to conq what appears to be an objective representation of U1C world
derives in part frol11 its remarkable capacity to picture in quantitative
terms the tot11iLy of the worlds multiplicity Thus Lhe value of census
reports tu the colonial (and to any modern) state they represent the
states abilitmiddot to represent and so govern itself In enumerating and
classifying the resources and population of the state censuses render
visible the entire field of colonial intervention l -
As the first Philippine census under US rule the 1905 report was
conceiwd as hoth a confirmation of and means for consolidating the
paClficatioll of the archipelago The Congressional Act of 1902 made
the cessation of the insurrection a precondition for conducting the
census The creation of a Census bureau under the direction of General
Joseph P Sanger (who had supervised earlier census reports for Puerto
Rico and Cub ) was a way of officially asserting that the war was over It
25 White LIlIC
---shy
24
------
was left to Ihe victor to make an inventory of it~ ncw possessions One reason for doing so was 10 sct the conditions for holding elections
within two years of the ccnsuss publicatitm for Filipino representative)
to the coJoniallegisJature to be known as thc Philippine ssembly Such
a legislature was designed to consolidate the practice l1r Filipino LoUabshy
oration thereby rendering more effiClcnt and cost effective the running
of the colomal state while containing all remaining nationalist chalshy
lenges to US hegemony CollaboratlOn was seen 35 an mdex of lhe
success of tutelage the measure of the Filipinos recognitio11 of their
subordination to and desire for white authority The taking of the censhy
sus Governor-General Taft wrote will therefore [arm a test of the
capacity of the Filipinos to discharge a most important function of
government The ccnSt15 is to be taken solely for the benefit of the
Filipino people [and I they should lend their unarumot15 support to
the successful taking of the census (Cemus 120
Call ing for Filipino collaboration both as local supervisors and enushy
merators the cenSllS would serve as cl kind of test of Filipinos ability LO
perform a task Discipline was caUed for by the census that was why it could serve both the practical and ideological route to self-government
in the future As an instrument of white love it was meant to give
Filipi nos an opportunity to perform before the solicitous gaze of US
tutors The census would be an exercise as it were in character building
where the capacity to count was coterminous with the ability to b~
accountable to a colonial hierarchy Not only would the census provide
the empirical grounds for shapmg the direction of coloniallegislallon
and facilltating the mflux ofUS (middotapital investments in the archIpelago
as with the colonial legislature i1 would also fundlon as a stage on whkh
Filipinos were Lo be represented as wedl as represent themselves as subshy
jects ora colonial order disciplined agents actively assuming their role in
their own subjugation and maluration
The US project of a centrally organized and nationally coordinated
ctnsus superseded thal of the Spanish statemiddots For its census data the
Spanish colonial regime had relied mainly on thl irreguJar and farshy
from -comprehensive records kepl by parish priests on their locaillock
[n addition Spanish efforts at more systematic cenSWi gathering met
with enormous resistance from the people inasmuch as they were
geared primarily for the levIng of taxe5 and conscription of labor
(Cmsus 113) Th~ VS census oI ht Philippines by contrast was
supposed tn elevate rather than exploit the popuJacc The groundwork
had been plcpared by a number of US survcys between June 1898 and
1903 In the face of ignorance about the arch ipdlg11 in lhe United Stales
such surveys were charged with collecting facts on the Philippines as
well as encouraging ~ollaboralion from natjve informltlnts The most
important of these were the Philippine Commisslom of 1899 and 1900
presided over by acadcnuc experts and the Ethnological Surveys carshy
ried out by such anthropologists ~ David Barrows Dean C Worcester
and Albert Jenks between 1900 and 1905 These surveys produced volushy
minous reports on lhe conditions of lhe counlry generously illusshy
trated with photographs of native scenes and types As Paul Kramer has
shown the American projecl ofamassing what was considered scientific
knowledge was dependent not only on progressivist notions ofexpertise
but also on an already existing body ofSpanish colonial writings on the
PhilippinlS Even more SIgnificant these surveys would not have been
pOSSIble without the active collaboration of natives especially local
clites as indispensable sources of support and information Published
and republished cited widely in newspapers congressional testimonies
s(hoolbook~ and scholarly studies such surveys estabhshed the basis
for a lund of colonial common sense in the interest of countering revoshylutionary expectations 19
The Census Bureau followed lXislmg practice laymg great stress on
seeking Filipino cooperation in order to neutralize whatever local reshy
sistmccs still existed in the country Conducting the census then was of
il piece with US altempts at co-opting Filipinos of aJJ classes thereby
consolidalmg a counterrevolutionary nationalism that had emerged as
early as 1898~n WIth appollltments LO the colonial judiciary beginning in
1899 the establilhment of the Philippine Scouts (1901) and the election
by limited Suffrage of municipal officials (1905) and later representashy
tives (0 Ule Philippine Assembly (19deg7) Filipinos were drawn into a patshy
tern of collaboration with the colomal state) There were practical and
pcdagogiLaJ reasons for FilipinOS particularly members of the provinshy
cial and municipal clites to be t15ed as census perSOnllcl To do so was as
Censw Chief GeneraJ Sanger pu t it to identify them with the censt15
and to test their capacity to pcrform duties never undertaken before
and which in thiS country are supposed to require at least average
27 lV1lite UJIl 16
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
tutelary aim of ~nl()nizalion making nouive inhabilanls desire what
colonial authority desirtd for ulem The mandate Lo institute d~moshycratiL aspirations slntiments and ideals brought with it the need to enforce discipline and constant surveillance among the Filipino~ Filshy
ipJno~ were called on to accept the supremay of the United Slales
and those who resist it can accomplIsh no end other than [their] own bull illrum What may seem like a fundamental contradiction at the heart of the
colonial enterprise was due to assumptions regarding the aptituJe of
Filipinos They lacked the experience possessed by u5- narnely that
of self-government- and by implical1on the self-consc iousness that
marks a peoples readiness for independence (Worcester 2981-88) Filshy
ipinos as Taft observed were iJ1 a hopeless condition 0[ ignorance
subject like the waves of the sea to lhe influence ofthe moment ~~
with childrenl they were highly impressionable unable to retlect on
~wn conditions and capable only Qf mimickinghe_ actions of
those they perceived to bc_abllV~ Lem In llleir present state Taft as shy
serted they cannot possess themselves they can only be possessed hy
others This situation made it all the more imperative [or the United
Slates to intenene For only after the natives have been elevated and
taught the dignity of labor and self-restraint can they be allowed to
decide thei r own future 12
The aU egory of benevolent assimi lation lllus foresaw the possibil ity
if nol the inevitab il ity of colonialisms end Bul equally important it
also msist(d on defining and delimiting the means to that end While
colonial rule may be a Lransitional stage of self-rule the self that rules
itself can only emerge by way oran intimate relationship with a colonial
master who sets the standards and practices of discipline to mold the
conduct of the colonial subject In other wor~ the culmmatign of
c~lolLa1 ~ule self-g~ment~9ln be acbi~~J gnly when the subject
has learned to colonize itself As Woodrow Wilson wrote with reference ~ _-------shyto the Philippine
Self-government is a form of character 11 follows upon the long discipline
which gives a people self possession self-mastery and the habIt of order and
pll1ce the ~teadine~ of self-control and political mastery And these things
cannot be had without long discipline No people can be given the self-
on lrol o maturity Only a long apprenticeship ofobedience can secure them
the rreci(u~ pussession
MOlde lip of disparate characteristics Filipinos lacked the character
with which to conLrol themselves thereby requiring a long apprenticeshy
shjp~ In this way can benevolent assimilation mdefinitely defer its own
completion in that the condil1on for self-rule self-mastery can be
made identical to the workings of colonial rule the mastery of the other
Lhat resides within the boundaries of the self oVhite love holds oUl the
pr~ 2f fillheri ns as it were a civilized people capable in time of
assertins its own character But it also demands the indefinite submisshy
sion to a program of discipHne and reformation requiring the constant
superviion ofa sovereIgn masterI 1
Conjoining love and discipline benevolent assimila Lion was meant
to ennoble the colonizer as it libeTated the colonized What secured this
link between an ideology of benevolence and the repressive-productive
institutions of discipline How was it possible to sustain the fil-Lion
istercd by US official discourse and eventually accepted with varyshy
inp degrees of alacrity by Filipino collaborators that colonial rule - ~
amounted to democratic tutela~e How did white love and native subshy
jugation become mutually reinforcing
I want to suggest that the Link between benevolence and discipline
was made possible lhrough representational practices that recast Filshy
IPJn appearances The re-fonnation of nalives as colonial subjects
reqUIred that they become visible and therefore accessible to those
charged with their supervision Through continuous and discrete obshy
servations the targetb of benevolent assimilation could be idenlified
apprehended and delivered for democratic tutelage Whether it was in the areas of public order or public health education or dections incarshy
c~ration or commerce such superviSion sustained the articulation of
colonial rule at both the Ideological and practical level By (en~kriDampshyvisiblt lhesubjects 9f colQnizatiQn in Qarticular waI~ col9nial supervishy
sion amounredtoa powerful form of surveillance setting the limits of
colonJal idelHlie~ Vithin the borders of Iht state
This b not to imply that the circuils linking supervision representashy
tion and control were perfectJ) insulated making the colonial state aJ I
powerful and unchallenged lnJeed recent sdlOlarslUp has shown the
2 White lo1e 22
extent to which US colonial rulc like its Spanish rndecessor was
cOllStantly comrromise1 b) forces and ~vents it could not control
much I~ss comprehend The very agents oftht slate were often dIvided
in their personal loyalties and ideologicaJ indinations LS milttary and
civilian officials for example were clearly at odds over th~ appropriate
techl1lqutS of conquest and colonization owing to their varying apshy
praisals of Filipino capacities just as the colomal government was subshy
iect to the vagaries of policy shifts among elected officiab an the metshy
ropole Similarly differences existed among Filipino collaborators in
terms of their earlier involvement wiLh the revolution as well as their
personal and political tics with colonial patrons Collaboration was
fraught with disagreements over legislation taxation budgets and rashy
dally tinged debates regarding Filipino fitness for self-rule Equally sIgshy
nificant class conflicts pitted colonial authorities US and Pilipino
elites alike against peasant and workers groups at times erupting into
local revolts that were brutally suppressed I Nonetheless an examinashy
tion of the rhetoric of colonial rule suggests the existence of a dominant
desire informing the state that of creating a continuum between an
ideology of benevolence disciplinary practices and networks of supershy
vision-in short a desire to consolidate the relay between knowledge
and power My interest here lies in inquiring about the formation of this
colomal desire and the limits to its institutionalization
In the earJy period of US rule Olle of the most instructive docushy
ments of Ule colonial wish to establish total and continuous supervision
for the sake of tutelage was the four-volume Q1l5US of the Philippine
Islands begun in 1903 and published In 190slft In what follows I want to
consider the vanou~ ways in which the ccnus functionetl as an apparashy
tus for producing a colonial order coextensive with the represrotalion
of iu subjec~ It is important to stress however that the censuss sahshy
cnce as a discursive practice cm best be understood within the larger
context of the Filipino-American War A such Tattempt in the latter
part of this chapter to link the census with one of the most popular
forms of nationalist expressions among Filipinos during this period
vernacular plays whose performances were deemed seditious and ulshy
timately banned by the colonial regime
Historically coincident With the Laking of the colonial census perforshy
mances of the nationalist dramas between 1899- 1905 sought 10 contesl
thl mcan~ with which to delineate and ltluthorizl thl differene between
Filirino arid North American-and as r ~hllI suggest between men and
umen-ut a timc of catastrophic changes when a US coloniaJ ~tatl
Va~ yet to be stablllzcd amid the ruingt of Spanish imperial hegemony
and the colJective memory of fiJ ipino revolutionary victory over Spain
Seen in their historical conjuncture both the census and plays were
struggles over the representation of the Philippincs gTowing out of the
violence ofnationalist revolution and imperialist intervtntion
SUrlqillg SlIbjects Census reports are curious texts They contam no
single author for standing behind them is not a person but a state
apparatus made up or a veritable army of enumerators derks and
statislicians managed by a hierarchy of supervisors and directors It is
not therefore the case that a census has no author but that the bureaushy
wllic nature of its writing renders its authorship and authority disshy
persed lt1nd anonymous Consequently whi le the workings and results
of cenSllS reports a re never completely visible to an indiVid ual censuses
can claim to ~ee everything that can be individuated that is coun Led
tabulated and classified No single reader can exhaust the entirety of a
census report Just as no single reading can comprehend its meaning
insotlf as its myriad tabJes and graphs of statistical data escape total
recall Compiled in a mechanical fashion census reports exceed narrashy
tive synopsis The power-that is to say the persuasiveness-of a census
to conq what appears to be an objective representation of U1C world
derives in part frol11 its remarkable capacity to picture in quantitative
terms the tot11iLy of the worlds multiplicity Thus Lhe value of census
reports tu the colonial (and to any modern) state they represent the
states abilitmiddot to represent and so govern itself In enumerating and
classifying the resources and population of the state censuses render
visible the entire field of colonial intervention l -
As the first Philippine census under US rule the 1905 report was
conceiwd as hoth a confirmation of and means for consolidating the
paClficatioll of the archipelago The Congressional Act of 1902 made
the cessation of the insurrection a precondition for conducting the
census The creation of a Census bureau under the direction of General
Joseph P Sanger (who had supervised earlier census reports for Puerto
Rico and Cub ) was a way of officially asserting that the war was over It
25 White LIlIC
---shy
24
------
was left to Ihe victor to make an inventory of it~ ncw possessions One reason for doing so was 10 sct the conditions for holding elections
within two years of the ccnsuss publicatitm for Filipino representative)
to the coJoniallegisJature to be known as thc Philippine ssembly Such
a legislature was designed to consolidate the practice l1r Filipino LoUabshy
oration thereby rendering more effiClcnt and cost effective the running
of the colomal state while containing all remaining nationalist chalshy
lenges to US hegemony CollaboratlOn was seen 35 an mdex of lhe
success of tutelage the measure of the Filipinos recognitio11 of their
subordination to and desire for white authority The taking of the censhy
sus Governor-General Taft wrote will therefore [arm a test of the
capacity of the Filipinos to discharge a most important function of
government The ccnSt15 is to be taken solely for the benefit of the
Filipino people [and I they should lend their unarumot15 support to
the successful taking of the census (Cemus 120
Call ing for Filipino collaboration both as local supervisors and enushy
merators the cenSllS would serve as cl kind of test of Filipinos ability LO
perform a task Discipline was caUed for by the census that was why it could serve both the practical and ideological route to self-government
in the future As an instrument of white love it was meant to give
Filipi nos an opportunity to perform before the solicitous gaze of US
tutors The census would be an exercise as it were in character building
where the capacity to count was coterminous with the ability to b~
accountable to a colonial hierarchy Not only would the census provide
the empirical grounds for shapmg the direction of coloniallegislallon
and facilltating the mflux ofUS (middotapital investments in the archIpelago
as with the colonial legislature i1 would also fundlon as a stage on whkh
Filipinos were Lo be represented as wedl as represent themselves as subshy
jects ora colonial order disciplined agents actively assuming their role in
their own subjugation and maluration
The US project of a centrally organized and nationally coordinated
ctnsus superseded thal of the Spanish statemiddots For its census data the
Spanish colonial regime had relied mainly on thl irreguJar and farshy
from -comprehensive records kepl by parish priests on their locaillock
[n addition Spanish efforts at more systematic cenSWi gathering met
with enormous resistance from the people inasmuch as they were
geared primarily for the levIng of taxe5 and conscription of labor
(Cmsus 113) Th~ VS census oI ht Philippines by contrast was
supposed tn elevate rather than exploit the popuJacc The groundwork
had been plcpared by a number of US survcys between June 1898 and
1903 In the face of ignorance about the arch ipdlg11 in lhe United Stales
such surveys were charged with collecting facts on the Philippines as
well as encouraging ~ollaboralion from natjve informltlnts The most
important of these were the Philippine Commisslom of 1899 and 1900
presided over by acadcnuc experts and the Ethnological Surveys carshy
ried out by such anthropologists ~ David Barrows Dean C Worcester
and Albert Jenks between 1900 and 1905 These surveys produced volushy
minous reports on lhe conditions of lhe counlry generously illusshy
trated with photographs of native scenes and types As Paul Kramer has
shown the American projecl ofamassing what was considered scientific
knowledge was dependent not only on progressivist notions ofexpertise
but also on an already existing body ofSpanish colonial writings on the
PhilippinlS Even more SIgnificant these surveys would not have been
pOSSIble without the active collaboration of natives especially local
clites as indispensable sources of support and information Published
and republished cited widely in newspapers congressional testimonies
s(hoolbook~ and scholarly studies such surveys estabhshed the basis
for a lund of colonial common sense in the interest of countering revoshylutionary expectations 19
The Census Bureau followed lXislmg practice laymg great stress on
seeking Filipino cooperation in order to neutralize whatever local reshy
sistmccs still existed in the country Conducting the census then was of
il piece with US altempts at co-opting Filipinos of aJJ classes thereby
consolidalmg a counterrevolutionary nationalism that had emerged as
early as 1898~n WIth appollltments LO the colonial judiciary beginning in
1899 the establilhment of the Philippine Scouts (1901) and the election
by limited Suffrage of municipal officials (1905) and later representashy
tives (0 Ule Philippine Assembly (19deg7) Filipinos were drawn into a patshy
tern of collaboration with the colomal state) There were practical and
pcdagogiLaJ reasons for FilipinOS particularly members of the provinshy
cial and municipal clites to be t15ed as census perSOnllcl To do so was as
Censw Chief GeneraJ Sanger pu t it to identify them with the censt15
and to test their capacity to pcrform duties never undertaken before
and which in thiS country are supposed to require at least average
27 lV1lite UJIl 16
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
extent to which US colonial rulc like its Spanish rndecessor was
cOllStantly comrromise1 b) forces and ~vents it could not control
much I~ss comprehend The very agents oftht slate were often dIvided
in their personal loyalties and ideologicaJ indinations LS milttary and
civilian officials for example were clearly at odds over th~ appropriate
techl1lqutS of conquest and colonization owing to their varying apshy
praisals of Filipino capacities just as the colomal government was subshy
iect to the vagaries of policy shifts among elected officiab an the metshy
ropole Similarly differences existed among Filipino collaborators in
terms of their earlier involvement wiLh the revolution as well as their
personal and political tics with colonial patrons Collaboration was
fraught with disagreements over legislation taxation budgets and rashy
dally tinged debates regarding Filipino fitness for self-rule Equally sIgshy
nificant class conflicts pitted colonial authorities US and Pilipino
elites alike against peasant and workers groups at times erupting into
local revolts that were brutally suppressed I Nonetheless an examinashy
tion of the rhetoric of colonial rule suggests the existence of a dominant
desire informing the state that of creating a continuum between an
ideology of benevolence disciplinary practices and networks of supershy
vision-in short a desire to consolidate the relay between knowledge
and power My interest here lies in inquiring about the formation of this
colomal desire and the limits to its institutionalization
In the earJy period of US rule Olle of the most instructive docushy
ments of Ule colonial wish to establish total and continuous supervision
for the sake of tutelage was the four-volume Q1l5US of the Philippine
Islands begun in 1903 and published In 190slft In what follows I want to
consider the vanou~ ways in which the ccnus functionetl as an apparashy
tus for producing a colonial order coextensive with the represrotalion
of iu subjec~ It is important to stress however that the censuss sahshy
cnce as a discursive practice cm best be understood within the larger
context of the Filipino-American War A such Tattempt in the latter
part of this chapter to link the census with one of the most popular
forms of nationalist expressions among Filipinos during this period
vernacular plays whose performances were deemed seditious and ulshy
timately banned by the colonial regime
Historically coincident With the Laking of the colonial census perforshy
mances of the nationalist dramas between 1899- 1905 sought 10 contesl
thl mcan~ with which to delineate and ltluthorizl thl differene between
Filirino arid North American-and as r ~hllI suggest between men and
umen-ut a timc of catastrophic changes when a US coloniaJ ~tatl
Va~ yet to be stablllzcd amid the ruingt of Spanish imperial hegemony
and the colJective memory of fiJ ipino revolutionary victory over Spain
Seen in their historical conjuncture both the census and plays were
struggles over the representation of the Philippincs gTowing out of the
violence ofnationalist revolution and imperialist intervtntion
SUrlqillg SlIbjects Census reports are curious texts They contam no
single author for standing behind them is not a person but a state
apparatus made up or a veritable army of enumerators derks and
statislicians managed by a hierarchy of supervisors and directors It is
not therefore the case that a census has no author but that the bureaushy
wllic nature of its writing renders its authorship and authority disshy
persed lt1nd anonymous Consequently whi le the workings and results
of cenSllS reports a re never completely visible to an indiVid ual censuses
can claim to ~ee everything that can be individuated that is coun Led
tabulated and classified No single reader can exhaust the entirety of a
census report Just as no single reading can comprehend its meaning
insotlf as its myriad tabJes and graphs of statistical data escape total
recall Compiled in a mechanical fashion census reports exceed narrashy
tive synopsis The power-that is to say the persuasiveness-of a census
to conq what appears to be an objective representation of U1C world
derives in part frol11 its remarkable capacity to picture in quantitative
terms the tot11iLy of the worlds multiplicity Thus Lhe value of census
reports tu the colonial (and to any modern) state they represent the
states abilitmiddot to represent and so govern itself In enumerating and
classifying the resources and population of the state censuses render
visible the entire field of colonial intervention l -
As the first Philippine census under US rule the 1905 report was
conceiwd as hoth a confirmation of and means for consolidating the
paClficatioll of the archipelago The Congressional Act of 1902 made
the cessation of the insurrection a precondition for conducting the
census The creation of a Census bureau under the direction of General
Joseph P Sanger (who had supervised earlier census reports for Puerto
Rico and Cub ) was a way of officially asserting that the war was over It
25 White LIlIC
---shy
24
------
was left to Ihe victor to make an inventory of it~ ncw possessions One reason for doing so was 10 sct the conditions for holding elections
within two years of the ccnsuss publicatitm for Filipino representative)
to the coJoniallegisJature to be known as thc Philippine ssembly Such
a legislature was designed to consolidate the practice l1r Filipino LoUabshy
oration thereby rendering more effiClcnt and cost effective the running
of the colomal state while containing all remaining nationalist chalshy
lenges to US hegemony CollaboratlOn was seen 35 an mdex of lhe
success of tutelage the measure of the Filipinos recognitio11 of their
subordination to and desire for white authority The taking of the censhy
sus Governor-General Taft wrote will therefore [arm a test of the
capacity of the Filipinos to discharge a most important function of
government The ccnSt15 is to be taken solely for the benefit of the
Filipino people [and I they should lend their unarumot15 support to
the successful taking of the census (Cemus 120
Call ing for Filipino collaboration both as local supervisors and enushy
merators the cenSllS would serve as cl kind of test of Filipinos ability LO
perform a task Discipline was caUed for by the census that was why it could serve both the practical and ideological route to self-government
in the future As an instrument of white love it was meant to give
Filipi nos an opportunity to perform before the solicitous gaze of US
tutors The census would be an exercise as it were in character building
where the capacity to count was coterminous with the ability to b~
accountable to a colonial hierarchy Not only would the census provide
the empirical grounds for shapmg the direction of coloniallegislallon
and facilltating the mflux ofUS (middotapital investments in the archIpelago
as with the colonial legislature i1 would also fundlon as a stage on whkh
Filipinos were Lo be represented as wedl as represent themselves as subshy
jects ora colonial order disciplined agents actively assuming their role in
their own subjugation and maluration
The US project of a centrally organized and nationally coordinated
ctnsus superseded thal of the Spanish statemiddots For its census data the
Spanish colonial regime had relied mainly on thl irreguJar and farshy
from -comprehensive records kepl by parish priests on their locaillock
[n addition Spanish efforts at more systematic cenSWi gathering met
with enormous resistance from the people inasmuch as they were
geared primarily for the levIng of taxe5 and conscription of labor
(Cmsus 113) Th~ VS census oI ht Philippines by contrast was
supposed tn elevate rather than exploit the popuJacc The groundwork
had been plcpared by a number of US survcys between June 1898 and
1903 In the face of ignorance about the arch ipdlg11 in lhe United Stales
such surveys were charged with collecting facts on the Philippines as
well as encouraging ~ollaboralion from natjve informltlnts The most
important of these were the Philippine Commisslom of 1899 and 1900
presided over by acadcnuc experts and the Ethnological Surveys carshy
ried out by such anthropologists ~ David Barrows Dean C Worcester
and Albert Jenks between 1900 and 1905 These surveys produced volushy
minous reports on lhe conditions of lhe counlry generously illusshy
trated with photographs of native scenes and types As Paul Kramer has
shown the American projecl ofamassing what was considered scientific
knowledge was dependent not only on progressivist notions ofexpertise
but also on an already existing body ofSpanish colonial writings on the
PhilippinlS Even more SIgnificant these surveys would not have been
pOSSIble without the active collaboration of natives especially local
clites as indispensable sources of support and information Published
and republished cited widely in newspapers congressional testimonies
s(hoolbook~ and scholarly studies such surveys estabhshed the basis
for a lund of colonial common sense in the interest of countering revoshylutionary expectations 19
The Census Bureau followed lXislmg practice laymg great stress on
seeking Filipino cooperation in order to neutralize whatever local reshy
sistmccs still existed in the country Conducting the census then was of
il piece with US altempts at co-opting Filipinos of aJJ classes thereby
consolidalmg a counterrevolutionary nationalism that had emerged as
early as 1898~n WIth appollltments LO the colonial judiciary beginning in
1899 the establilhment of the Philippine Scouts (1901) and the election
by limited Suffrage of municipal officials (1905) and later representashy
tives (0 Ule Philippine Assembly (19deg7) Filipinos were drawn into a patshy
tern of collaboration with the colomal state) There were practical and
pcdagogiLaJ reasons for FilipinOS particularly members of the provinshy
cial and municipal clites to be t15ed as census perSOnllcl To do so was as
Censw Chief GeneraJ Sanger pu t it to identify them with the censt15
and to test their capacity to pcrform duties never undertaken before
and which in thiS country are supposed to require at least average
27 lV1lite UJIl 16
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
------
was left to Ihe victor to make an inventory of it~ ncw possessions One reason for doing so was 10 sct the conditions for holding elections
within two years of the ccnsuss publicatitm for Filipino representative)
to the coJoniallegisJature to be known as thc Philippine ssembly Such
a legislature was designed to consolidate the practice l1r Filipino LoUabshy
oration thereby rendering more effiClcnt and cost effective the running
of the colomal state while containing all remaining nationalist chalshy
lenges to US hegemony CollaboratlOn was seen 35 an mdex of lhe
success of tutelage the measure of the Filipinos recognitio11 of their
subordination to and desire for white authority The taking of the censhy
sus Governor-General Taft wrote will therefore [arm a test of the
capacity of the Filipinos to discharge a most important function of
government The ccnSt15 is to be taken solely for the benefit of the
Filipino people [and I they should lend their unarumot15 support to
the successful taking of the census (Cemus 120
Call ing for Filipino collaboration both as local supervisors and enushy
merators the cenSllS would serve as cl kind of test of Filipinos ability LO
perform a task Discipline was caUed for by the census that was why it could serve both the practical and ideological route to self-government
in the future As an instrument of white love it was meant to give
Filipi nos an opportunity to perform before the solicitous gaze of US
tutors The census would be an exercise as it were in character building
where the capacity to count was coterminous with the ability to b~
accountable to a colonial hierarchy Not only would the census provide
the empirical grounds for shapmg the direction of coloniallegislallon
and facilltating the mflux ofUS (middotapital investments in the archIpelago
as with the colonial legislature i1 would also fundlon as a stage on whkh
Filipinos were Lo be represented as wedl as represent themselves as subshy
jects ora colonial order disciplined agents actively assuming their role in
their own subjugation and maluration
The US project of a centrally organized and nationally coordinated
ctnsus superseded thal of the Spanish statemiddots For its census data the
Spanish colonial regime had relied mainly on thl irreguJar and farshy
from -comprehensive records kepl by parish priests on their locaillock
[n addition Spanish efforts at more systematic cenSWi gathering met
with enormous resistance from the people inasmuch as they were
geared primarily for the levIng of taxe5 and conscription of labor
(Cmsus 113) Th~ VS census oI ht Philippines by contrast was
supposed tn elevate rather than exploit the popuJacc The groundwork
had been plcpared by a number of US survcys between June 1898 and
1903 In the face of ignorance about the arch ipdlg11 in lhe United Stales
such surveys were charged with collecting facts on the Philippines as
well as encouraging ~ollaboralion from natjve informltlnts The most
important of these were the Philippine Commisslom of 1899 and 1900
presided over by acadcnuc experts and the Ethnological Surveys carshy
ried out by such anthropologists ~ David Barrows Dean C Worcester
and Albert Jenks between 1900 and 1905 These surveys produced volushy
minous reports on lhe conditions of lhe counlry generously illusshy
trated with photographs of native scenes and types As Paul Kramer has
shown the American projecl ofamassing what was considered scientific
knowledge was dependent not only on progressivist notions ofexpertise
but also on an already existing body ofSpanish colonial writings on the
PhilippinlS Even more SIgnificant these surveys would not have been
pOSSIble without the active collaboration of natives especially local
clites as indispensable sources of support and information Published
and republished cited widely in newspapers congressional testimonies
s(hoolbook~ and scholarly studies such surveys estabhshed the basis
for a lund of colonial common sense in the interest of countering revoshylutionary expectations 19
The Census Bureau followed lXislmg practice laymg great stress on
seeking Filipino cooperation in order to neutralize whatever local reshy
sistmccs still existed in the country Conducting the census then was of
il piece with US altempts at co-opting Filipinos of aJJ classes thereby
consolidalmg a counterrevolutionary nationalism that had emerged as
early as 1898~n WIth appollltments LO the colonial judiciary beginning in
1899 the establilhment of the Philippine Scouts (1901) and the election
by limited Suffrage of municipal officials (1905) and later representashy
tives (0 Ule Philippine Assembly (19deg7) Filipinos were drawn into a patshy
tern of collaboration with the colomal state) There were practical and
pcdagogiLaJ reasons for FilipinOS particularly members of the provinshy
cial and municipal clites to be t15ed as census perSOnllcl To do so was as
Censw Chief GeneraJ Sanger pu t it to identify them with the censt15
and to test their capacity to pcrform duties never undertaken before
and which in thiS country are supposed to require at least average
27 lV1lite UJIl 16
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
----intelligence (CCIlSUs 113 ) AJrogether 7502 Filipinos were employed
40 of whom were women Like the surrendering imurgentlllcal supershy
visors and enumerators were required to take an oath of aUegiance to
the government of the United States they also received instructions on
how to manage the canvassing of their districts To supplement the
ranks of US and Filipino supervisors the Census Bureau pressed into
service all provincial and municipal officials as well as US army officers
and the Philippine Constabulary (Census 116 18-1936)
he gathering of census data was an enormous undertakmg involvshy
ing the mobilization of a vast army of clerks in the colonial capital
and the deployment of enumerators across as much of the archipelago
as possible Although President flleodore Roosevelt had declared the
Filipino-American War officiaUy at an end by July 1902 guerrilla reshy
sistance continued in many parts of the country In provinces such as
Albay 50rsogon Bulacan and Rizal census takers were challenged by the guerrllJas now referred to under the criminal sign of ladrolles or
bandits by the colonial government TIe enumeration of the populashy
tion llecesitated their pacification Constabulary forces oflen intershy
vened to suppress the guerrillas and secure the areas to be canvassed In
parts o f Mindanao a show of force by the colonial army was usually
required to gain access to sources of local information while in other
parts of the country local elites were pressed into providing inforshy
mation on and arranging for the surrender of local ladrones (CtIISLlS
122-2j)
hl census thus illustrates the indispcn~ilble link htwcen the policshy
ing of colonial horders and annexation of local populations into the
space of colonial knowledge Census workers white and native alike
IahoreJ under the watchful eyes of a hierarchy of supervisors even as
they kept their eyes out for alleged insurgents They sunreyed the popushy
lacl and were themselves surveyed by the state In this sense the censu~
functioneJ as a machine for totalizing obseryatJon Through the collecshy
tion and classification of statistical data it kept watch over the pOpU]lshy
tion mapping thdr social location and transcribing them as disLfcte
objects ofinformation and re-formution And through the bureaucratishy
7-3tion ur supervisiolJ undenvrilten by the organized deployment of
violence the emus differentially disciplined those who ma~naged IS
well as Iholoe who were tnrgeted by its operations
In order to better understand tbe manner in which superviSion proshy
motes lSsimiJalion-that is how it lay~ the circuits that run between
benevolence and iliscipUne-I want to look in more detail at the mechashy
nisms for gathering census data Two forms were utilized a schedule for
enumerating and c1lSsifying people in a given area and a keyboarded
punch card for identifying each individual in relation to a set of categoshy
ries indicated IJ1 the schedule One served as an index [or the olher
Where the schedule sheets were designed to divide and distrib ute a
persons identity into a series of delimited categories the punch cards
were meant to reconstitute him or her as the referent of a speo1ic set of
signs ( CtIIStlS 29-14)
The schedule sheet was written in Spanish for the sake of Filipino
enumerators unfamiliar with Engllsb A facsimile of the schedule in
English translation appears in the census report (fig 1) The schedule
consists of a series of vertically arranged categories such as Location
Name Relationship Personal Description Race Age Sex
Mantal Status Ocmpation and so fonll for the supposedly civiUzed
(that is Christian) population and a simpler more abbreviated series
[or those deemed wild (that is non-Christian) Enumerated on the
sheer one can imagine ones existence flattened and neatly spread out as
a set of numbers across a table It is as if becoming a subject of the
colonial state entailed taking on a different kiml of particularity Plotted
on a grid ones identity becomes sheer surface and extension abstracted
from any historical specificity Put differently the census schedule proshy
jctts a skewed profile of colonial society by divorcing idenLJty from
biography Where biography entails th articulation of the subject as an
agent of its own history the schedule posillons its subjects as a series of
aggregates locatable on a table of isolated and equivalent values
lhrough the schedule the census sought to transcribe the person
into a scriClgt ofnumbers grafted onto a closed set of categories In tabushy
lating the results of 1he schedule however the census also attempted to
retmstitule the subject as an individuated and therefore retrievable
item within the vast repositones of the colonial archive This was done
through what amounted to a massive filing system in the form of keyshy
bllardeu punch card~ designed to labulate populallon tables-similar to
the bullards used in 1lt)00 for the twelfth US census Each card contamed
an arrar of numbers and letters that corregt-ponded to the data on the
29 f1Jit 100 t 28
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
DIAGUW OF KCV80AAD PUNCH clAO
0- otw 1Ii~nUv rgth _IA~ a11
~middot ~I bullbull I~L-rw
middotmiddot-Imiddot~ ~bull tJ~ ~
Il -~
middotmiddot 1-pound1r1l~1 H~ SIFl~~shy~Aj
t~ LLmiddot r C-
i I I It lJ 11 It Ii
tl 111
51
I
~ I
I~ to
1_1 I~una
1shy
IIvPMipp JIluIuJ fllb Uilv fAt-ltI-ta ct(lllt(rIolUI PIIilllpfTV LtlfUIIim llJiU
rJ~ Wb1k tI ~ ii_nltb l-bILt NIua_J
t(TfWTTU Ng - -h~ulJI dam cIC1nlI P~In(rllshy
~a=r~ l1FtI ~ - Jodldal I1tan1amp_ ~bmfw-4IrO-I_ __ ~~Q~t
Fig I SLhedule ~hd (CLISltS of tJrl Jitilippillc Islands 1903)
schedule sheets tn addition a numbering system tied the cardgt 10 the
nJme of a specific person and the area where she or he was counted
(fig 2) By punching the appropriate holes-say B for blallco (whIte)
lI fOT morello (brown) A for amariJfo (yellow) V for varon
(male) H [or hembra (female) etc-the canis fun~lIoned lO index a
range of information regarding an inwnduals race sex age OCCUP
_w ~ ~l~ _ 11 _middot1 ~ ~ ~ ~bull 8 j ~ bull bull amp 3r 1 0 al ~u lit bull ~ ~
bull J bull rrw ~ 0 0 0 a a 0 I0 bull 4 bull bull bull J bull bull ~ 0 X ltlt4
bull bull bull bull -- lO eo 1 bull tD 10 I bull r--~ la 0 U CDC ~~ -1- ~
a____ It 0 10 j bull 7 to 10 i 1 bull ~ at 0 ID ~ _ _e J _
~ bull II bull 10 110 bull raquo bull bull )t eo I 70 7) GO Is raquo X purI 1---shy
1 II bull 0 10 i bull eG 0 II 00 7 II ~ bull bull bull 10 a 011 ampIII 1 O 0 II 0 i 0 1 7 e 1_ A
J i ~ LOO 1 ft c XI TJi I I 4 i 1 4J 1J1r ~ Ta e
middot Fa rY- bull 1_ Tn 1 CII 7r au D f
a u oa f1D m I 1 0 a z D
bull u 10 0 IX bull i i D 01 WOE I I L shy
XI tJo VIZ 100oIJOXh
o_~~ i1 ~E~11~~~-I~1 I I~~middot ~~- fI~~I -~ I Fig 2 Keyboard pWlCh card (OmSll~ vf Ille Philippie Islands 1903)
tion and so on By means of the gang punched holes and numbers
declared the census anyone of the approximately 7000000 cards
corresponding to the population of the Philippines could be identified
and the correctness of the punching verified (Census 213 )
The cards moved in the opposite but complementary direction to the
cheltlul~ ciung an inclividual as a possessor of a range of qualities
rather tban a collection of numbers atlached to J set of categories The
schedule itemized 311 indiVIduals characteristics whereas the card indishy
vidulhzed the items on the schedule In this sense the census worked
like an 3c(hive cross-referencing characters with characteristics On the
one hand it attempted to constitute a population by enumerating the
totality of heterogeneous peoples and recording them onto a grid of
reified categories On the other hand the census sougbt to affix to each
member of the population an essentialized reguJated amI therefore
retrievable identity As Benewct Anderson has remarked The fiction
of the censw is that everyone is in il and that everyone has one and only
one c(lremely clear place~
The census could seTVe as an infinitely eXpandabk repository for
accumulating all that could be quantified and empirically known in the
Colony Lo the extent thai it provided the grammar for classifying its
objects of knowledge as subjects of a colonial order As with tht practice
31 V1ife LoFt
-
30
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
of enumtratioll this grammar of dassificalion WlS far [rom disinttrshy
tsted Rather it wa~ (rucial in imaging thc terms of colonial society as ltbove all a racial hierarchy
Recoriil1g Race Vhlte loYlt tOr little brown brothers as Taft reterred
to Filipinos was predicated on white supremacy enforced through pracshy
tices of diSCipline and maintained by a network ofsupervision General
Sanger in hh introduction to the census Of1903 remarked how fllJpwos
would in the course of time become good citizens in that some of tllem
had already proved themselves to be excellent soldiers capable of folshy
lowing the orders of their white officers Similarly census workers under
white supervision had shown the natives potential for performing comshy
plex state functions With appropriate training there was no relson why
the rest of the population could not become a disciplined people As
Sanger contends
Under the guidance of a free just and generous government the eswbhshmiddot
ment of more rapid and frequent means or communicalion whereby they
wulcl be brought into more frequent contact wilh each other and with the
general spread of education t11e tribal dlstinctiom which now exist wi ll
gradually disappear and the Filipino wili hecome a numerous aod homogeshy
neous EnglIsh-speaking race cceeding in intelligence and capacity all other
eo pIes of the tropics (Census 140)
Encapsulating the benevolent-disciplInary trajectory of colonial polshy
iC) in general and the census in particular Sangcr reiterllCS the posshy
sibility indeed the uesirabililr of molding colonial gtubJccts into a single
people here conceived of 30 a homogeneous English-speaking race
Predictably homogenization (10 only come afta a process or tutelage
one aimed at superseding if not suppressing existing tribal distincshy
tions To do ~o however the general owlincs of those distinctions need
tt) be surveyed and accounted ror In order to transform the native races
into a people their differences had to be produced and reassemhled
The population tables of the censu~ divide the inhabitants of the
Philippines into roughly twenty-five linguistic groups distinguishing at
least five skin colors ranging from whilC to black and where releshy
vant types of dlilenshlp and Iunions oC birth These seeminglv
incommensurable gfClupings were then reduced into two broad categoshy
rie~ civilized and wild Their Jiffercnccs initially had iClgts to do with
thodr material nJlture than their religious characteristics Those labeled
civilized were seen to adhere La a common Christian Lulture whIle
lhost marktd wild w~re either Musltms or subscribed to animi5m both
dearly outside the Christian order The former comprising the majority
)f the ltlrchipclagos illhabitant~ lIweu their civilized state the census
assumed to the effects of Spanisb ru The latter-whether pagan
headhunters in the mountamgt nomadic forest dwellers or Muslim
peoplts in Ule south-had steadfastly resisted Spanish conquest and
were thought to live in stages between almost complete savagery amI
dawning civilization (Censlls 122-23)
Jt is important to note though that Ule distinction between civilized
1I1d Wild peoples is regarded in the census as relative and transitional
Wild peoplegt owed their barbarous state to the historical failure of
Spain to conquer them a condition that a more vigorous US regime
would remedy Indeed colonial accounts especially those of Worcesshy
ters are filled wiu) glovring reports regarding the wild men as ideal
colontal subjects Because they were free from the so-ca lled corrupting
inluence of Catholic Spain and lowland mestizo elites wiJd men were
seen to be far more receptive to the firm straight-talking tough love of
while men Hence could wild men be more easily disciplined through
such tasks a~ massive road constructions that would link the lowlands
with the mountains mining explorations for uS-owned companies
North American-style athletic competitions staged for visiting colonial
Jignitarics and the policing of the wild country from warring tribes to
iecure the safety of colonial hill stations and outposts Wild men were
ripe candidates for tutelage to the extent that they seemed most suscepshy
tible to suhjugation L
Conversely so-called civilized Filipinos were more recalcitrant even
resistant tothe caJI of benevolent assirrulation As insurgents fighting
ttl aSSert their socreignty after hwing defeated the Spanish army deshy
clared a republic framed a constitution organized a cabinet and conshy
vened a congress hy 1899 they were deemed dangerously ambItious and
inherently deceptive By their conduct in the war these Filipinos had
showed themselves to be wild and barbarous And when they chose to
collabMate ith the new colonial power they remained shifty opporshy
tunistic anJ often la0 Sparnsh colonization and the Catholic religion
33 VTlile Ltlle 32
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
had done no mort than imprint the n(ltivcs wilh the ouhvard ~igns of
civilization Inwardly lhey remaineJ inadequate to the task of civilizing themselves
O ne of the most common) cited character traits in colonia sources
that suggested he semicivilized state of Filipinos was their supposed
penchant for mimicry Incapahle of original thought they could excel
only In copying heir olonial and class superiors Sangers remarks on
the ability of FilipLOo soldiers to foUow orders under competent white
officers seemed tu ratify this belief The census repeatedly quotes passhy
sages from various colonial sources and travel accounts from the late
sixteenth centurr LO the early twentieth that retail this notion of native
mimicry Typical were the comments of Major Frank S Bourns army
surgeon and later chiefof the Bureau of Healtb
The race is quick to learn and has a fairl) good natural abilitv bu t such a class
will have 10 be educated before great responsibility can be placed in its
hands M) idea [is tha t] if IFilipinos were I associated with a sufllient
number ofAmericans who are honorable Jnd upright In their dealjngs there
would be a vel) strong tendency on their part 0 do as their colleagues do
They are natural imilators it is a racia l charactristk (Celsus 1505 see also
1494gt 497499500-502507-8)
As natural imitators Filipinos perforce depend on external stimuli
to shape their internal disposition Merely reactjvc ralher than reflecshy
uve they existed in immediatt and sensuous relationship to their surshy
roundings rather than as self-conscious agcnt1gt of their own transforshy
mation [f they had conullilted atrociotls crimes during the war
according to Governor-General Taft it was only because they were imshy
itating lhe actions of their mestizo leaJers (who in tum were imitating
the adions of their Spiwish masters) Taft like Bourns attributes thb
tendency of the Filipinos to hlindly follow their racial supltriors to the
fact that thq are an Oriental race Like all Orientals they are a
suspicious people but when their confidence I~ won they f(IUoW with a
trust that IS complde (Censlls 1530)
Mimicry on th~ part of thl nativegt is construed as a sign of inferiority
bomt out of raCial difference But precisely for this reason as Taft states
it is also an invitation to white supcrvislOn [The Filipinos] are merel)
in a state of Christian pupilage They are imitative They arc glad to be
educated glad 10 study some languages other than their own glad to
follow European and American ideals (erSUS 1530) Just a~ the un
tainted Slale orrhe wild peoples provided white mcn the opportunity to
display their manl) Jove the civilizeJ but Imitative and corrupted pcoshy
pks of a hybrid Oriental-Christian culture called for the studious amI
diligent care of whHc rutors and commanders
Wildness and civility were thus contingent and interchangeable
terms In mapping population differences the cenSill also projected
their future reconfiguration Such was p05sible because the religious
dilTerence between wild and civilized peoples was subsumed by larger
considerations of color and race Vhether they were Christian or nonshy
~hristian marked or unmarked by European influences prior to US
role both types were seen to display great homogeneity with regard to
their brown color live in tribes with regard to their sociolinguistic
orgarnzation and be Malays a species of Orientals with regard to their
race (Census 14U-12 242-65) Hence is the census able to imagine
Civilized and wild peoples existing side by side on the same map of the
Philippines (CelSUs 250- 51) While their separate locations are indishy
cated by the various colors of the map one gelS an acute sense of how
their borders were encompassed and flatlened out on the sanle homogeshy
neOliS surface by lhe surveying eye of the state Their identity as wild or
CIvilized peoples was relative to their place all the colornal geobody just
as their dtstimt charactenstics came into focu~ with reference to the
assimilative gaze ofwhlte benevolence The census not only mapped the
structure of racial difference it also established the privilege of a parshy
ticular race to determine the borders of those differences
This racial privilege was endowed with a genealogy In the census
section titled HisLOr) of the Population then Chief of the Bureau of
Non-Christian Tribes David Barrow~ writegt about the peoplmg of the
archipelago in lerms ofwaves ofmigrations of diTerent races from the
outside [n doing so he reiterates the speculations of other colonial
accounts regarding the prehi5tory of the Philippines-speculations that
since the archeological advances of the 1960s have been definitively
discredited My llltcrest III pointing out the censuss usc of the wave
migralion theory has les~ to do with disproving its accuracy than with
showing how its currency in official accounts grew out of the colonial
concern with racializing Philippine history
35 Wile 101lt1
~
34
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
The original inhabitants of the islands were supposedly the Negntos
(a Spanish term that literally mean little Negroes) or Aetas aborigishy
nal black dwufs whose origins according to Barrows remain shroud~d
in mystery Wilh ilieir shorter stature dark skin woolly hair nomadic for~st existence and austere material culture they seemed to Barrows
and other writers from lhe United States to be so racially distinct as to be
historically removed from the rest of the populalion They probably
approach as nearly to the conception of primitive man as any people
thus far dlscovered Barrows oates The abonginal Negritos were then said to have succumbed to a succession of more cullurally sophisticated
and physic-ally better endowed Malays from the south Arrivmg til large
boats iliey conquered the islands pushing the aboriginal populations
into the forests while occasionally intermarrying witb tbem Later mImiddot
gratory waves brought even stronger Malays some in possession of an Islamic faith acquired from Arabs driving the older Malays into the
mountains The spread of Muslim Malays however was checked by th
arrival of the Catholic Spaniards m the sixteenth century marking
the break between the prehistoric and properly historic epochs in the
Philippines The Spanish conquest also led to an influx of a Chinese
element into the population as radelS settled and intenllarried with
the Malays giving rlse to a small but economically afld socially signifishy
cant mestizo population (CensLls t411-17 454 532V~
This narrative or the peopling of the archipelago imagines the Philipshy
pines to haw been a tabula ralgt settled by gtUCCCSSlve waves ofcolonizers AI such the racial and tribal divenily of the population can be exshy
platned in temporal terms as the inevitable retreat of darker-skinned
more savage inhabitants in the face of advancing groupgt of lightershy
skinned more civilized and physically superior conquerors Indeed the
epochal break between tbe prehistoric to the properly historkal era
occurs only with the arrival of the Spaniards Racial differences result then from a long history of colonization (ulnunating presumdbly in
the arrival of the strongest m05t progresSIVe and lightc-st-skinned l0111shynuer to date wbites from the United States TIle ldfet of racializing
both the SOCIal structure and cultural history of the Philippines is to
position the population in a derivative relatiomhip to the outside It is as if tilt counlry was naturally destined for conquest just as the UniteJ
States was maniJeslly destined LO colonize It The historical recountrng
3(gt
of the population like its ~tatistical accounting renders aloma subshy
Jects visible from a transcendent posthi~toric vantage poim one tlCshy
cupild hy what we might designate as the white gaze Spatialiy it is a
gaze that dreams of surveying and cataloging other races while remainshy
ing unmarked and unseen itself temporally iL IS that which sees the
receding past of nonwhiLe others from the perspective of its own irreshy
sistible fulure l3
The privllcged poise of seeing a regulated and well-pOliced future
already prefigured in the beterogen~ous and disorderly past comes
acroSS WJth special clarity in the photographs of Filipinos that appear in the census report Set off from the ttxtual and statistical sectiolls of the
census the photographs are arranged to form an albwn of colonial
subJectivities Typical examples of wild and civilized peoples are feashy
tured in che photographS in the first volume along with pictures of
native enumerators and their local supervisors Dressed in their tribal
attire for the cameras lens images of colonial bodies are wrenched from
their historical and social contexts In tlleir frozen slate they suggest
the appearance of specimens undergoing different stages of tutelage
At the lowest egt1Teme the scantily clad Negritos hunched over the
ground with tangled hair and minstTel -like grim are made to appear
farthest removed from the civilizing touch of colonial rule (6g 3)
Head-hunling Igorots those putative descendants of the first wave of
Malay conquerors along with Muslim Malays appear more erect even
regal decked out in their tribal ornaments signifying their more adshy
vanced statt (figs J and 5) Closest to civilization are the Western-clad
census workers Set againsl ] background of Americcul flags their apshy
pearance suggests weD-disciplined bodies while the portraits of local
supervisors identified by name and area of responsibility produce uushyages of bourgeois respectability aSSimilated into the state machinery
(figs 6 and 7)
Within the context of the censuss raciali7jng frame such photoshy
graphs constitute a visual complement to the statistical tables a distinct
but related way of seeing native subjects as objects of knowledge and
reform Where statistical tabulations abstract native identities into laceshy
less numbers tle photographs give a kind of composite face to the
amplatistics Shadowed by the n()tion of typicality-which I take to be the
reductIOn of cultuml differences mto an ordered range ofv-ariaLions and
37 While Love
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
Fig 3 Ncgrilos (Aetas) (CCISIIS of tire Philippine lslaru190J)
a set of representative figures-these photographs form part of the same
enumerative and classificatory optic of colonial knowledge Photographs of wild and civilized rilipinos are reproduced not only
in the census report but in various official documents of lhe colonial
archive Many wer~ taken by government officials themselves most
prominently Dean C Worcester as part of their regular trips to survey
the peoples and conditions of the country Witrun a coloma context
these photographs make a claim analogous to that of the censUS wbile
a diverse collection of tribes may exist in the archipelago they can
be encoded wuhin the gtlime racial hLCrarchy and enclosed within a
single visual field Constructed illgt examples and exemplars of native
types photographic images ofcolonial subJccts map Iuitural differences
within the same representational grid That is tu say they bear the marks
of a colonizing gaze that is able to Jrrogate for itself in remaining
discrete and disperseJ the privilege to rank and assess the comparative
value of the native inhabitants and their world fhey image the subjects
of colonialism as oble( LS of transitional signifkance whose prescnL is
bound to fade into the pat as they are wholly annexed to tbe civili7jng
embrace of the future Mementos of conquest such photographs serve
as dioramas of benevolent assimilation Like the census tables and
graphs they work to crclSe the traces of lOlence atlhc origin ofUS rule
Fig 4-5 Wi ld non-Christian peoples (CCIlSUS of Ihe Pl ilippirle s(lIJds 1903)
and instead pay tribute to tbe technologies of supervision and classificashy
tion that maintain the disciplinary devotions of white loveJ~
Short-dTCIlitillg Surllillal1Ce Were there other ways of reading benevshy
olent assimilation thal went against the grain of the census Did aJternashy
live styles of nvisioning the Philippines exist that called into question
the radaHzing narratives of the Philippine past along wiLh the disciplinshy
ary prescnpLlOos for its prcsent and future
~t about the same time that the census-with ilS Jream images of a
benevolent empire-was being conducted and published between 1903shy
1905 a series of nationalist plays in the Tagalog vernacular were being
performed in and arouud Manila Written and performed largely b
urban working-class artists some of whom had been active in both the
revolution agaimt Spain and war against the United States these plays
were extraordinarily pupular among working-class audiences as well as
39 White LOlle
~-
38
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
Fig 6 Civilized Chri~han people (Censlls I1f rile PJiippirc Islands 1903)
members of the nationalist elite critical of US rule Occupying the same
historical terrain as the colonial census nationahst melodramalgt mark
the limits of the censuss reach While the census servegt as an Important
foundation in the construction of a Larger colonial archive- one that
would eventually come to include transcribed and translated examples
of Tagalog seditious plays as part of the colonial court recordsshy
nationalist dramas performed a history whose meltlnings eluded the imshy
pcrial logic ofheneolent assimi1uion and surveying gaze uflbe archive
UnJer the Sedilion Law the colonio Supreme Court banned these
nationalist dramas claiming Lhilt they tended to incite the people- 01
the Philippine blands tn open ltlod armeJ resistance 10 U1C conslttuted
auth(lrititS and inculcate a spirit of hatred and enmity against the
American people and the Government of the United tatesin the Philshy
ippines1 Forced 10 go underground in orJer to evade the constant
scrutiny of colonial authorities plavrights and casts were frequentl
arrested fined and imprisoned Through suh coercion Ihe colonial
government managed to (Urlal] and finally extingUIsh the production of
nationali~t plays after 1905
Official anxiety over these nationalist dramas had Lo do with the
extent of their popullril) among flllplnos Playing to crowded houses
4U
Pig 7 Portraits of census
supervisors (CellSllS of
the Philippi istllds
1903)
in Manila such dramas also attracted every man woman and child in
the ouuying barrios It was not uncommon for on audience to cheer on
its feet rabid with fury and frenzy for three hours after a performance
as one US observer nervously wrote When the sed itious plays apshy
peared the people rose to it as one man recognized that it told their
story and patronized them liberalJy (Riggs xi 45 S7)ln order to evade
colomal surveilJance theatrical groups relied on such tactics as publicizshy
ing plays under different tiues staging imprompt u songs and speeches
advocating Philippine sovereignty and dressing the cast in costumes
that when brought into formation on stage momentarily created an
image of the outlawed Philippine flag They used visual props such as
the rising red sun symbolic of the revolutionary orgallization Katishy
punan which had led the revolution against Spain and ~tructured their
41 White Love
~
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
stories as nllegaries of romance and kinship to invoke recollections o( re~eJlI events and provoke sympathy (tfnllClY) for the suITcrings of the motherland Uallgbajfm) Through the characters tlle playwrights staged debates about the present and future of the nation crafting lengthy soliloquies and pOll1ted exchanges ilial questioned US prushy
nouncements of benevolent assimilation and critiqued tIll prlctice of ilipino collaboration indeed coJonialtsm and collaborauon were seen
in the playgt 1S mutually reinforcing working to enslave (olipil1l1l) the
population and disrupt the affective tiegt that constituted the borders of
the national community Nationalist plays drew their formal coherence from the melodrashy
matic conventiuns of nineteenth-centUT) vernacular genres especially
lhe komedya By the nineteenth century the increasing commercializashy
tion of agriculture and opening of the Philippines to world trade laid
the conditions for the emergence of secuJar art fo[Q1 tied LO the marshy
ketplace rather than the Calholic Church Theatrical genrts such as the
komedya were part of these cultural developments Tl1ey wen local
versions of medieval Spanish romances feat uring forbidden love meloshy
dramatic conflicts and predictable resolutions between Christian and
Muslim princes and princesses and their respective families Performed
in the vernacular language komedyas rearticulated Spanish forms They
highlighted spectacular stage effects densely choreographed moveshy
ments such as sword fights and marches brightly colored costumes and elaborate rhetorical modes of address Focusing on the social conflicts
generated by the proscribed love of Cluistiln for Muslim komedyas
look up the themes of lransgressive deSire filial betrayal the aisi~ of parental ltlUlhority (md by extension the u nmaki ng and remaking of the
bonds of reciprocity on which such authority was brued 5d amid the
fanlaSl1C ~urroundings ot imagtned but distant medieval European
kingdoms nineteenth-century popular Lheater translated and so con
ventionalized the persistent presence of the foreign in oncs midst in
ways that escaped c1eriLal and colonial representations It thus opened
up an alternative space for conccptualizing and addressing colonial conshy
Jitions in terms other than those authorized by the chunn and state
Komedyas furthermore were linked to the marketplace as much ltb
to the commwlilles where they performed Out of this genre a notion of the lt1uthor as owner and origin of his or her work begln to form
~uch as in the case of thl best-known pla)vright Francisco Baltazar) and certlin performerli became widely recognizabJe to ditTercnt aushydiences across geographk divides aJlowing them to charge more for their appearances Theatrical troupes were portable alld mobile macing
money by Lravelmg lTom one town fieta to the next rather than enjoyshying the patronage of the state or churdlllI With the outbreak ofrevolushytion the-atrical torms were politicized and performative conventions
rcarticulated toward more radical ends Reynaldo UcLa for instance has demonstrated such transformations in the case of the Pasyorl the epic
storr of Christs passion performed in the vernacular during Holy Week
and mohiizeJ to frame the tumultuous events of the revolution in miUlllUrian terms2~ It comes as DO surprise lhen that the melodrashy
mati conventions of the komedya should also lend themselves to being
ntooled to respond to the force of events relating to the war and onset orus colonial rule
The plots of nationalist dramas served as screens for projecting proshy
foundly felt and widely shared social experiences of revolution colonial occupation war and the intense longing for freedom (kalayaan)JO They
ugtuuly revolved around ilie relationship between a female beloved and
her male lover-protector or between a mother and her children One
personified the naLion and freedom the other sLood for the patriot and
the people Tn either case tbeir relaLionship is invariably threatened by a
male [oreign intruder harboring designs Oll the woman-nation He i ~
aIded hya local collaborator who in betrayi ng his siblings and parents
suhstitutes the love of nation for the lusl after money lbgether they
abduct the woman-naLion thereby precipitating a crisis of filiation
Encouraged by their mother-land lhe male-patriot and his supporters
battle both foreigner and collaborator to regain the freedom of the
beloved-nation Extended calLi to mourn (damay) those who had pershy
ished in the fighting are issued by the motherland (lJlang-bayan ) She
appeals tu her sons and daughters to recall the sacrifices of the dead
th~rebyturmng death into an occasion to celebrate the bonds iliat unite
them Allhough the endings of the plays may vary in their details they
all envision the spectacular reunification of the be10ved nation whether
in the present or future with her lover-patriot retuming from imshy
prisonment or death itself to lead the people to victory against forshyeigners and collaborators alike
43 WIite Love
~
42
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
Whrca~ the allgory of benevolent assimilation regarded imperialshy
ism as the melociramltl of while love for brown brothers sditious rlay~
used the language of melodrama to expns~ the lovc of naLion WI can
sec how language is politicizeu in the pJays b looking at the conventions
for naming different characters Playwrights generally used ~ommon nouns and adjectives to denote each character anu haw each character
signify a particular concept or social enLity as gleaned from thl phlrs dlamatis personae For exampJe 111 Juan Abads Tallika(wg Guillto (TIl
Golden Chain) Liwanag (literally light signifying freedom) is beshy
trothed to Kulayaw (defender standmg for the patriot) the son of
Dalita (suffering connoting the captive condition of the motherland)
Liwanag however is desired by Maimbot (avarice that is the US
colonial government) who enlists the aid of the collaborator Nag-tapon
(one who is thrown away) Nag-tapon accepts money from MaJmhot
and thus betrays his brother Kulayaw and mother Dalila (RIggs 49shy
542)
Similarly in Juan Matapang Cruzs Hindi Pa Aco Patay (J Am Not Yet
Dead) Maeamcam (navancious again the colonial stat) the son of
Maimbot seeks hy force and deception to wed Karangalan (dignity or
respect connoting the natural resources of the country) the daughter
of Pinag saki tan (shc who suffers or the motherland) Macamcan1 and
Maimbot employ the services of the son of Pinagsakltan Ualanghinlt1shy
yang (shameless one the Pilip ina collaborator) who in exchange
for mone) helps to tngineer the abduction of Karangalan However
Karangalans lover Tangulan (protector the Filipino patrIot) the
nephew of Katuiran (reason nr justice signifying Filipino rights)
attempts to rescue her by challenging ~lacamcam to a duel Macamcam
seems momentarily victorious and everyone believes thal Tangulan is
ueatl But as the wedding between Macamcam and Karangalan is ahqut
to take place Tangulan suddenly appears on the stage dcdanng to the
wild applausc oftht audience I am not yet dead (Riggs 543-606)
In one of the most famous seditious dramas Kahapon Ngayorl 11
Bllkas (Yesterday Toda)~ ald Tomorrow) by the prolific writer Aurelio
TolentinO Philippine history is depicted not as the successive waves o(
conquests ues(ribed in the census report hut lS the progressIon of antishy
colonial struggles against foreign invaders and local collaborators In
act 1 Yesterday Inangbayan (motherland) rallies her people led by
~
r1gailog (Iitemllr from Ihe water a rcfcrencc to the Tagalogs) to
defend their llnu Balintawak (a reference to tbe lgtltc where the rcvQlushy
lion of 11)96 against Spain began) against the IOcursions of the Chishy
nese despot Batang Had (child-king perhaps a reference to the
sen~nteenth-century Chinese pirate Limahong who had threatened
to Invade the Spanish colony) Batang Han JS aided by the m1Chinations
of the collaborator Asalhayop (behaves like an animal ) In act 2 Toshy
day Tagailog escapes from prison b killing the collaborator Dahumshy
palay (venomous snake) concealing his identify and rousing his felshy1clvTngalogs to rescue lnangbayan-ilien in the process of being buried
alive by Matanglaw in (hawkeye the Spanish colo mal governmenL)
hi~ jfc Dilatnabulag (slghteJ but unable to see Spain herself) and
Iialimaw (monster the Spanish friar) Finally in act 3 Tomorrow
Tagallog presses a condescending Malaynatin (one whom we dont
know the US government) to live up to his promi~c of granting
indepenJence 10 the people lnangbayan also pleads with Malaynatins
wife Bagongsibol (fresh spring the US natio n) LO convince her
husband to accede to TagaiJogs demands The laller prepares an army to
attack MalaynatlO should he renege on his promise But such a plan
proves unnecessary as Bagongsibol finally succumbs to the entreaties of
the children of Inangbayan and gives the country its independence
Tomorrow ends on a hopeful note with everyone celebrating the new
freedom oflnangbayan (Riggs 607-51)
Arthur Stanley Riggs who compiled an extensive dossier on these
plays for the colonial government remarks on the practice of using
common words to denote the names of characters
Such name~ are to the native mimi filled with the keenest suggestion Jnd
the artful connotation (If the playwright in thus making the very Dames ofhi~
mimet tell mllre than their set speeches has had a t rernendou~ effect Every
time the common nouns were employed in the body of the text the audIence
Saw nol only the ampharacteristlc pTOpert1e~ suggested by them but also swiftly
imagined the parLiwlar characters to which the names belonged The
r~u11 was a quick lively and entire confidence established between author
pI verso and audience impossible to obtai n in any other way (Riggs 122)
In nltlonal1~t melodramas mimicry acquires a value different fTom
thaI aSSigned to 11 by wloOial SOureC5 111 relation to native characterisshy
45 WIite Love
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
lies Charaders on stage mjme the qualities suggested by tllcir namelgt
with th~ actiw and complicituu~ underbLanding of the playwrights and audiences In this case mimicry becomes a sign of acute even ironic self-consciousness geared toward acting out historical narratives that ran counter to official wrsions Common names are invested with new
meanings and remade by characters into emblems of collectiw experishy
ences The) become hilroglyphs as it were for recalling the nauons
history and redrawing its moral boundaries In this sense the comshy
monality of words becomes proper not only to the individual tharacter
on stage but to the particu lar vcrnacular community fTom and to whICh
that character addresses her- or himself
The practice of naming in nationalist melodramas bears comparison
to the representational conventions of the census report As we have
seen the latler designated the population as the aggregate of quanshy
titatively visible entities withjn a closed set of categories RliJying identishy
ties into schedules card~ and photographic specimens of the typical
the censw consigned both their nammg and interpretation to a bureaushy
craLilt apparatus Translatable into numbers and locatable on a grid
names were regarded a part ofan ensemble of objectiJYing devices with
which to regulate and supervise the relationship between knower and
knOWll stale and subjects white and nonwhite peoples
By contrast nationalist plays turned common names into new sites
for public life rendeTing their referents easily accessible to actors aushy
diences and authors who shared the same vernacular The practice of
naming was a way of establIshing an imagined continUIty between comshy
munication and community Thus could names speak more than their
characters inasmuch as they provided n01 merely a way of marking one
from the other on stage they also opened up a spae from which La
address all those who considered themselves affiliated with the nalion
Where colonial arduves characlenzc and classify in order to rellder
their subjects available for disClpI ine nationalist melodramas resignif
the vernacular so as to reclaim the capacity of peopJe to nominate
themselves as agents in and in lerprelers of their experiences
The narrative of those collective experiences was shaped by a tb~shy
matic of kinship ties As with many Souheasl Asian island societies
Filipino relations are bilalerally reckoned Individuals trace heir links
equally on both the mothers and fathers SIdes Bilateral kinshIp descent
alh)Vi for the ~LJltivati(ln I)f extended fdmlljco through both ritual and extraritual means Historically such ties tended to be idealizcd along the
lines of an tconomy of recipTocal obligations that is through convenshytions of deference respect and expectations of mutual caring between
parents anJ children older and younger siblings husbands and wives
lovers and beloveds landJords and tenants masters and servants and
any other configuration of superordinate and subordinate relations
RedprocaJ obltgatiom are in a way the grammar of kinship ties
Jetcrmmlllg the Jin~s of fiHatlon and affiliation between self and other
as simuJtaneously perllonal (face-to-face) and politicaJ (hierarchic and
liubject to conflict and change) Put diffcrently kinshjp is a way of
concelving the self as faLed and thereby obligated to lhe other and to a
social order predicated on the circulation of mutual indebtedness In a
sense lhen to acknowledge ones kin is to imagine the limits of ones social exp~rience1
By mapping the national community onto the extended family-and
i1lnversely by imaging colonization and collaboration as the disruption
of thaI family and the subversion of an economy of reciprocal indebtedshy
ncss-nationaJist dramas reenact the relationship between the personal
and political As melodramas thlY regard kinship as the terrain of
conflICts and alliances that bear simuJtaneously on the private and pllbshy
Ill spheres-indeed thal calJ altention to their mUlua) constitution 1b
better understand how these plays dramati2e the link between the pershy
sonal and poUljcal it is instructive to look at the ways in which they
eng(nder the Image of a nation by placing gender itseU in moLion
As we saw earlier the discourse orbenevolcnt assimila tion was predishy
cilted on a racial hierarchgt that surveyed as it sought to discipline coloshy
nial subjects Yet tbe census also differentiated the population as males
and females coordinaung gender di~tinctions with race age Occupashy
lion causeofdeath disability and the like Worth noting is the (act that
wIllie racial dltTerence was conceived of in spatial and temporal terms as
organized by and subordinate to whiteness gender distinctions were
posed withoul commentary as if they were wholly natural Indeed the
category ofgender was not used at all but rather that of sex so that the
distinction behveen men and women appears LO be natural and beshyyond any sort of social convelllion
The extent to which gender seems unproblematic in the census is I
47 White LOI 46
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
Ihlll k a Iundion of the overwhelmingly masculine construdioll oj
colomal order There is never any doubt In official sources that white
love is palernal amI Ihe task uf colonial ddminislratioD though it eOlshy
ployed women as teachers in public schools and nurses in public health
programs is by and large mens work ColoniaJ politics was conceived of
as a homosocial affair involvillS the tutelary bonding between whIte
faLher$ and lheJr male nllive-mestizo apprentices To be coded female of
whatever race was in effect to be consigned to a margInal posilion in
the public spheTe ofcolonial society Gender was thus conflated with sex
as the representation of selCllal difference was naturalized in relation to
the paternruism of the colomal state rust as racial di1Ierence was orgashy
nized from the vantage point of whiteness sexual difference was strucshy
tured from the states masculine perspective To be classified as male Or
female meant becoming visible as sucb to the gaze of white fathers
Nationalist melodramas by contrast do not contain a discourse on
race VVhatever hostile references these plays may have to SUppOSIU
foreigners such characters are never distinguished by color or race but
in terms of behavior and language Hence characlers standing for lhe
US colonial government are depicted as loud and disrespectful given
to excessive drinking and crude behavior (as Fi lipinos orten witnessed
US soldier~ do during the war ) and untrustworthy by virtue ofhaVlflg
ren eged 0 11 past obligations 10 Tolentinos play the foreigners represhy
sentin g the United States are even more complex depicted in a sympashy
thetic light as potentially responsive to the rights of Filipinos and by
implication assimilable into the famdy The occasional reference to
Chinese invaders mav reflect a sense ofanti-Sinitism cultivated by Spanshy
ish colonial policies in the past bUl these Chinese remain so vaguel
drawn and unracialized as to be tokel1$ U1 a larger discourse about
nationalist resistance to colonia] ruleY
tndecd race as a trope for difference and pmvcr is remarkably absent
in the e plays What seems crUCIal in drawing SOCial dislinctions howshy
ever is gender The Importance ofgender is apparent in the names and
plots of the dramltb Figures fur the heloved nation (such as Inangbaran Pinagsakitan Karangalan and Dalita) and deSired freedom (Liwanag
Bituin Malaya) are invariably cast as women middotThose who desire her
whether patriot-protectors or colonialists and collaborators are always
cast as men It IS as if these drrunas triangulate social deSire casting
nat ionhood in lemlS of Ihc masculine strugglt over a feminized ubject
The rdalionship between the nation and nationalists and colonizer
alike is thereby medIated by what appear to he gender stereotypcs Whl1c
men act-they threaten or protect abduct or rescue wage war or make
pace-vomln react and watch the ~ectace of men seeking them ouL Yet In the [exl of the plays these gender stereotypes are provisional
and shifting Ln attributi ng a gender to the characters llle plays also
prnblematize the meaning of those roles parLiculady under the severe
condltions ofrevolutionary upheaval and colonial dislocation In Hilldi Pa Aco Patfy for example Karangalan calls out to Tangulan to rescue
ber from Macamcam Nonetheless it is she who ends up rescuing lum in the forest by shooting a predatory bird symbolizjng the colonial
Philippine Constabulary It is from her too that we hear the most
incisive critique of collaboration as mere enslavement to money and the
most resonant refutation ofUS assessments regarding the ulmtness of
Filipinos for self-government Luhemg Tagalog (Tagalog Tears ) an earshy
lier play by Tolentino feature a wife Bituin (star signifying indepenshy
dence) who protects her husband from the murderow desigm of his
collaborationist father She also counsels the motbers a nd wives of Lbose
gomg off to war offers a trenchant critique of war as an arena of masshy
culme privilege) and eloquently exposes the link between benevolent
assimilation and colonial subjugation (Riggs 352- 422 ) As the suffering
motherland (Busilak in lomas Remigios Malaya [Freedom ] Pinagshy
salltllan in Hind Pl Aco Palay and lnangbayan in Kahnpor1 Ngayoll a [Jukus) women do not serve as passive spCC1alors to their own rescue
Ralher the) initiate the call 10 struggle by putting forth the need to
remember Lbe dead They invoke Lhe importance of mourning (damay)
which because it rekindles ties between lhe living and dead the past and
future constitutes the historical and affective boundaries ofthe national community l~
Women personify lbe beloved nation waiting to be rescued yet they
I~n general the conditions that make their resClIe both possible and
desirable As nurturing mothers imd vulnerable lovers womau-nation
figures take up arms plan battles 8l1d demand accountability from
characters and audiences alike They are objects of masculine conten shy
tion but they are also active interlocutors in the debate over the futllTC
dlSPOftion of their body politic
49 1111 LOI 48
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-
Part of what fenuergt women~ position so complegt is the remarkable
fact thal fathers arc either marginal or iJbsent in these plays The forshy
eigners who covet the woman-nation are constructed as illegItimate or
unacceptable fathers Collaborators arc often depicted as less than hushy
man almost animal because of lheir association wilh money Patriot shy
protectors as lovers are not yet husbands and tend to occupy shifting
positions as characters in need of defense as much as they setk to defend
the nation When taken together tbese masculine roles have tbe effect of
deferring the emergence of any kind of paternal hegemony within the
world of the nationalist dramas Just as the relationship between Ihe
nation and its people crystallizes in opposition to the avaricious and
monopolizing intentions of the colonial state so it would seem that the
gender differences between women and meD do not coalesce around a
paternal figure of authorit)~ instead these differences come up against
and before the persislent fihJUre of the motherland This is not to say that
men and women were considered equal only that the inequality inhershy
enl in gender formations was called into question cast as provisional
and contlitional under specific historical circwnstanccs Gender in these
plays does not come across as a series of fixed and natural categories but
as a set of negotiable positions in the articulation ofnationhood ill the
absence of a symbolic father that would serve as a point of reference in
the gendering of social relations at a time of intense turmoil and uncershy
laint) it is conceivable that the association between woman and nation
in the dramas did Dot simply reproduce gender stereotypes it suggested
alternative role~ as well enablmg women to speak and act in the defense
o the body politic agamst the designs of colonizing ~)lhers Small wonshy
der then that the women arc as ardent theater-goers even 10 urnes of
political stress as their husbands brothers and sons (RIggs 46)
Nationalist melodramas indicate that the imagmg of the nation a1
woman did not i_nvariably translate into a rwed gender hierarchy
Rather the ambiguous con~truclion of gender categories in the plays
arose from the specificity of FilipInO Dotions of kinship historically
articulated in relation to the turbulence ofwar the reolutionary expecshy
tations of freedom (kalayaaD) and the absence of a slable patriarchal
stale between 1i99 and 1905 What made the plays significant was that b
imagining the nallon as woman they projected a nouon of the nation as
distiller from the state And such was indeed imaginable al that parlicushy
iO
lar historical moment when rhe structures of authority-colonial as
well as familial-were up fix grabs Thus did nationalist Jramas allow
for a certain play on the meaninggt of male and female The unresolved
stalus of gender roles (where for In~tance a display of utter weakness
rather than confident mastery can be a mole attribute as much as it is a
womans) wldelscores once again the differences between the represhy
sentational operations of the census and plays Where the fonner was
organized around tlle production of a stable state apparatus that would
rule paternally over a radalized and gendered people the laLLer were far
more concerned with imaging the nation as an extended family predishy
cated less on a patriarchal principle of authority than as a general econshy
omy ofreciprocal obligations freed from the violence of colonial rule
Unlike the census then nationalist plays did not seek to represent
the population as implacably bound to gender and racial categories
subjecllo the continuous gaze ofwhite benevolence Their seditiousness
consisted precisely in providing alternative sources of knowledge and
power-sources into wllich colonjal agents were assinlilated but as figshy
ures disruptive of reciprocal obligations As melodramas they depicted
social desires in motion thereby reintroducing a deep sense of conshy
tingency into LJe narrative of recent even ts on the levels of language and
gender For where white love prescribed manly discipline the love of
nation postulated a different kind of bondage one where a network of
supervision gave way to a spectacular commerce in learsJ5 As Tolentino
wntes in dedicating his play Luhnllg Tagalog to the motherland
Weeping WI hout ceasing for your children
And weeping always for your sorrows
I have taken care to write thb piece
So that my lears should flow
Together with the tears from your eyes
To you [ offer this it i~ so very fragile
Because It IS from me
StllJ accept this
For I have nothing more valuable to gIve (Riggs 352)
51 IVIite Love
- white love 1
- white love 2
-