Fantasy-Production
Fantasy-ProductionSEXUAL ECONOMIES AND OTHER PHILIPPIN ECONSEQUENCES FO R THE NEW WORLD ORDE RNeferti Xin a M . Tadia r#** , # i bH & Hfct B g g HONG KON G UNIVERSIT Y PRES S
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ContentsAcknowledgements viiIntroduction: Dream s 1Part 1 Fantasy-Production : Bodily Resources and Libidinal 2Dynamics of Nationa l Crisi s and Developmen t51. Sexua l Economie s 372. Metropolita n Dream s 773. Domesti c Bodie s 113Part II Desirin g History, Tangential Pursuits : 15Regimes and Heresies of Transformative Action14. Revol t of the Masses: National Histor y a s Psychology 1595. 'Peopl e Power' : Miraculou s Revol t 1856. Himala, 'Miracle' : The Heretica l Potentia l o f 22Nora Aunor' s Sta r Powe r5Conclusion: Hop e 261Notes 271Index 345
Introduction:DreamsIn th e fac e o f th e apparentl y insurmountabl e challenge s o f socia lreality, that in a previous stag e drove figures lik e Romaine Rollandand Antonio Gramsc i to speak about the skepticism o f intelligence,to which they opposed the optimism of willpower, let us also opposeto it the confidence i n imagination, that essentially poetic device.- Robert o RetamarThe project the n is to claim for us, the once-colonized, our freedo mof imagination.- Parth a Chatterje eOf what consequence are Philippine dreams? Shortl y after th e deposin gof th e Philippin e dictato r Ferdinan d Marco s an d hi s famil y i n 1986 , ahome videotap e o f a carousin g part y hel d o n thei r yach t mad e th erounds o f th e sam e television s aroun d th e worl d tha t ha d jus t aire dthe four-day carniva l of their fall. We ar e the World,' sang the Marcoseswith th e gusto and full rhapsodi c feelin g worthy of this glorious chart topping World Aid anthem. Tha t video, along with endlessl y replaye dfootage o f and jokes abou t Imeld a Marcos' s enormous sho e collection ,encapsulated fo r th e internationa l audienc e th e ridiculousl y pompou syet tawdry dreams of the rulers of this third world nation. In this pictureof th e Marcose s drun k wit h power , pursuin g thei r delusion s o fgrandeur, th e Philippine s appear s t o b e a countr y dominate d b ymisplaced dreams . I t i s a plac e o f ironi c contrast s an d tragi ccontradictions, wher e politic s i s a star-studded spectacl e se t ami d th e
I2JFantasy-Productiongritty thir d worl d realitie s o f hunger an d squalor . A third worl d plac ein firs t worl d drag .Of course , th e generi c imag e o f thi s plac e ful l o f ironi cjuxtapositions i s apprehended fro m a place presumed t o be free of suchunconscious iron y (Al l th e bette r t o appreciat e yours , m y dear!) . T obe ironi c ( a deliberat e act ) i s after al l quit e differen t fro m bein g i n a nironic conditio n (a n unwittin g state) . Th e vie w o f th e ironie s o f thir dworld existenc e come s wit h a lon g histor y o f delightin g i n th econtradictions tha t colonials/traditiona l people s represen t whe n the ybear th e trapping s o f a n alie n modernity . I n image s suc h a s th eubiquitous Masferre photograp h o f the g-string clad Ifugao ma n holdin ga camera , o r th e generi c photojournalis t snapsho t o f a hijab- wearingMuslim woma n talkin g o n th e cellula r phone , par t o f th e deligh tundoubtedly stem s from th e inner knowledge on the part of the viewerthat tha t alien modernity in the hands of the ever non-modern i s reallytheirs. O r a t leas t i t i s on e the y ar e alread y full y familia r with. 1Contrary t o wha t on e migh t expect , thi s i s no t a vie w hel dexclusively b y pas t an d presen t colonizers . I t i s als o partiall y share dby present an d wait-liste d postcolonials , residen t an d non-resident , i nthe new home o r the old . They too appreciate the irony of seeing streetchildren i n Manil a wearin g t-shirt s wit h Iv y League universit y name sor firs t worl d logo s whos e reference s an d connotation s thes e urchin scannot possibly understand. The y too can appreciate the irony of 'moreFilipinos singing perfect rendition s o f American songs (ofte n fro m th eAmerican past ) tha n ther e ar e Americans doin g s o . . [i n spite of ] th efact tha t th e res t o f thei r live s i s no t i n complet e synchron y wit h th ereferential worl d tha t first gave birth t o these songs.' 2 Havin g read Timetravel write r Pic o Iyer' s accoun t o f thi s outlandis h Philippin epredilection fo r mimicking American popular music , Arjun Appadura ican thu s describ e th e Philippine s i n thi s ironic fashion : a s 'a nation o fmake-believe Americans, who tolerate d fo r s o long a leading lady whoplayed th e pian o whil e th e slum s o f Manil a expande d an d decayed'. 3Evita meet s Les Miserables.To be sure , Appadurai's poin t i n bringin g u p th e cas e o f Filipino ssinging American songs would appear t o be completely opposite to tha tof airin g th e vide o o f th e Marcose s singin g 'W e ar e th e World' . Th erunning image s o f th e Marcoses ' cultura l repertoir e an d collection s
Introduction: Dreams I3(besides th e shoes , ther e wer e th e tack y lesse r ar t work s b y Wester n'masters') ar e mean t t o hamme r i n th e egregiousnes s o f th e Marcoses 'fantasy world , th e perniciou s implication s o f thei r derivativ e desire sfor and imitative performances o f Western glamour and enlightenment. 4Appadurai's point , i n contrast , i s t o argu e tha t beyon d th e one-side dstory of global 'Americanization', within which Filipino 'mimicry' coul donly b e a sig n o f domination , ther e i s th e muc h mor e comple x stor yof globa l cultura l flow s an d exchanges , withi n whic h suc h imitativ erenditions ca n als o be see n a s a form agency , perhaps eve n resistance .Both illustrativ e use s o f th e Philippines , however , deplo y thir d worl ddreams fo r th e ironi c critiqu e o f power . Fo r th e mainstrea minternational media , th e ironie s o f rulin g thir d worl d dream s serv e acritique o f despoti c powe r (iron y reveal s deception) . Fo r Appadurai ,the ironie s o f subordinat e thir d worl d dream s serv e a critiqu e o f th emasses' suppose d lac k o f powe r and , correspondingly , a critiqu e o fWestern hegemoni c powe r (iron y reveal s agency) . I n bot h cases ,however, whil e showcasin g th e blurre d boundarie s betwee n Wester nand thir d worl d dreams , iron y a s critiqu e create s a n interpretativ eboundary betwee n dreamer s an d analysts , betwee n thos e wh o drea mand thos e wh o unpac k th e meaning s an d consequence s o f thei rdreamings. I will say more abou t th e political pitfalls o f irony toward sthe en d o f thi s book . Her e I hav e n o intentio n o f offerin g a 'reality 'contrary t o th e abov e representations . I n foregroundin g thei r rathe rgeneric form , I merel y wan t t o ope n u p anothe r purview , on e tha trecognizes tha t thes e representation s ar e forms o f dreaming too . Mor eimportantly, I wan t t o sugges t tha t thi s divisio n o f effor t wedge d b yirony attest s t o somethin g othe r tha n a reinventio n o f th e divisio nbetween ideolog y an d critica l consciousness . Th e effort s t o represen tthe ironie s o f others ' dream s attes t t o th e ne w importanc e o f dream sand imaginatio n i n today' s world .Indeed, thi s is the larger point o f Appadurai's Philippin e example .As h e writes , 'Th e worl d w e liv e i n toda y i s characterize d b y a ne wrole fo r th e imaginatio n i n socia l life.' 5 Imaginatio n ha s becom esocialized, entere d th e everyda y lif e o f ordinar y people . N o longe rconfined eithe r t o th e sacrosanc t realm s o f art , myt h an d ritua l o r t othe reactive realm o f ideology o r t o th e space o f individual desir e (th elast tw o fo r whic h Appadura i reserve s th e ter m fantasy), imaginatio n
4Fantasy-Productionhas becom e a centra l forc e i n th e creatio n o f ne w socia l projects . A she writes :No longer mer e fantas y (opiu m fo r th e masse s whose rea l work i selsewhere), no longer simple escape (from a world defined principallyby more concrete purposes and structures), no longer elit e pastime(thus not relevant to the lives of ordinary people), and no longer merecontemplation (irrelevan t for new forms o f desire and subjectivity),the imagination has become an organized field o f social practices, aform o f work (i n th e sens e o f both labo r an d culturall y organize dpractice), an d a for m o f negotiatio n betwee n site s o f agenc y(individuals) an d globall y define d field s o f possibilit y . . Th eimagination i s now centra l t o al l form s o f agency , i s itsel f a socialfact, and is the key component of the new global order. 6While I quite agre e with thi s concep t o f imaginatio n a s a form o fwork an d a s a for m o f negotiatio n o f agency , tha t is , a s culturallyorganized social practice, I am less persuaded by the modernist accoun tof imagination' s abrup t historica l emergenc e a s a new socia l force. 7My own inclination is to understand th e social force of imaginationas havin g a longe r history. 8 I f imaginatio n ha s com e t o th e attentio nof socia l analyst s a s a ne w socia l fact , i t i s becaus e i t ha s fo r a lon gwhile no w bee n a t wor k i n wha t woul d appea r t o b e mor e materia lpractices o f economi c productio n an d stat e power . W e hav e onl y t olook at the history of the capitalization of people's dreams in the cinema(as a precursor o f the Internet ) t o see that social imagination ha s bee npart o f production fo r quit e some tim e now. 9 W e also need t o look n ofarther tha n th e making s o f moder n nation s t o recogniz e tha timagination ha s also long been part of the organization o f communitie sand thei r subjectio n t o th e power s o f th e state . M y poin t i s tha timagination, a s culturall y organize d socia l practice , i s a n intrinsic ,constitutive par t o f politica l economy . Capitalis m an d stat e rule , an dnot onl y nationalism , ar e suffuse d wit h imagination . Unles s w e thin kthat politica l an d economi c structure s ar e th e sol e inventio n o f thos ein power, it makes important sense to see the social force of imaginatio nat wor k i n thes e 'structura l realities ' befor e it s expressio n i n recent ,more visible 'culturalist' forms such as ethnic nationalism and the activeconstruction o f ne w diaspori c identitie s throug h electroni c media .
Introduction: Dreams 15I sa y al l thi s becaus e i f imaginatio n ha s onl y no w entere d th eeveryday social life of people, in particular, of third world peoples, the nthey — w e — hav e onl y bee n collectivel y dreamin g th e dream s o fothers, trappe d i n thei r imaginatio n o f us an d ou r worlds . O r perhap swe hav e no t bee n dreamin g a t al l and , instead , hav e live d i n th e rot emythographies o f ou r give n socia l identities . I t would see m eve n tha tour imagination s wer e confine d b y th e boundarie s o f ou r politica lterritory. An d no w tha t globalizatio n ha s arrived , an d (some ) peopl ehave immediat e acces s t o othe r live d imaginarie s throug h ne wtelecommunicational technologie s an d increase d labou r migration, w eare all of a sudden imagining for ourselves , creatively dreaming beyon dour nation-bound imagination s (i f not re-inventing them) an d exertin gthat dreamin g o n th e world i n way s tha t w e ha d neve r don e before . Ido no t doub t tha t ther e hav e bee n shift s i n th e organizatio n o f th eworld, an d tha t thes e shift s ar e a t onc e expresse d an d brough t abou tby ne w form s o f socia l imagination . Bu t t o m y min d th e 'newness ' o fimagination i s t o b e foun d i n it s relativ e autonomizatio n fro m othe rrealms o f socia l lif e rathe r tha n it s socialization . I f anything , socia limagination ha s becom e increasingl y appropriativel y privatized ,codified a s a cultural database, invested in and fought ove r as patentablebecause expropriateable property. Whence th e 'new' — that is, changed— importanc e an d agenc y o f dreams. 10The tawdr y dream s o f th e Marcose s t o b e equivalen t wit h worl dpower ('W e are the World') a s well as the dreams of 'ordinary' Filipino ssinging America n songs , apparentl y nostalgi c fo r a worl d the y neve rlost,11 ar e deepl y implicate d i n th e dreamwor k o f th e capitalis t inter state world-system. Suc h dreams ar e symbolic enactment s o f practice sof imaginatio n tha t effectivel y operat e i n an d a s th e politica l an deconomic organization o f the Philippine nation-state. If we understan dimagination a s a for m o f work , w e mus t se e tha t i t i s wor k tha t i sincorporated int o a syste m o f productio n o f universa l value. 12 I n thi saspect, tha t is, in its role in a global system of production, th e materia limagination constitutin g th e Philippin e natio n ca n b e see n a s a for mof labour. Inasmuch a s the Philippines is, as a supplier o f global labour ,a constitutiv e par t o f th e world-system , it s materia l dream s ar e th econsequences o f — a s wel l a s bea r consequence s fo r — tha tinternational orde r o f political and economi c dreamwork , whic h I call
j6IFantasy-Productionfantasy-production. 'Fantasy-production ' denote s th e imaginar y o f aregime o f accumulatio n an d representatio n o f universa l value , unde rthe swa y o f whic h capitalis t nation s organiz e themselve s individuall yand collectivel y in th e 'system' of the Free World. While it would see mparadoxical t o use th e word 'system ' to describe a n orde r o f 'freedom' ,I d o s o no t i n orde r t o substitut e on e totalizin g fantas y o f selectiv efreedom wit h another totalizin g fantasy of absolute constraint but rathe rto sugges t th e leve l a t whic h th e scattere d an d seemingl y arbitrar y o ranarchic action s o f differen t nation-state s achiev e som e measur e o fcoordination an d logica l coherenc e t o constitut e a workin ginternational orde r (or , a for m o f governmentality) . I us e 'system ' t ohighlight th e effective horizo n or field o f possibilities within which th esocial imagination s o f whol e nation s ar e generated , nurture d an dconfined. Th e dream s o f Filipinos , ruler s an d ruled , canno t b eunderstood apart from th e global material imaginary, this dominant fiel dof reality , o n whic h the y pla y out . T o cas t thes e dream s a s th eexpressions o f autonomous , self-containe d Filipin o subject s (whethe rthey aspir e t o o r resis t worl d power ) i s t o ignor e th e globa l orde r o fdreamwork i n whic h th e internationa l medi a system , th e sourc e o fmany o f ou r interpretativ e representation s o f th e world , play s aconstitutive an d paradigmati c role. 13When I spea k o f dreams , I us e th e ter m loosel y t o indicat e tha tour action s ar e also wishes, th e expressio n o f which i s constrained b ythe unconsciou s or , mor e accurately , imaginar y structure s an d logic sof organization o f our materia l realities. In my usage, fantasie s ar e th ehegemonic form s o f expression o f our desiring-actions. Dream s are th econcrete work of imagination while fantasies ar e the abstract forms int owhich thi s wor k become s subsume d withi n th e world-syste m o fproduction. Fantasie s are, on this view, alienated means of production ,while the desiring-actions in dreams are living labour. As Marx explain sthe relation , 'th e mean s o f productio n appea r eminemment a s th eeffective for m o f capital confrontin g livin g labour . An d the y no wmanifest themselve s moreover a s the rule of past, dead labour ove r th eliving.' 14 Inasmuc h a s thi s proces s o f subsumptio n i s neve r full ysuccessful, tha t i s t o sa y t o th e exten t tha t ou r dream s ar e never full ycaptured b y fantasy-productio n bu t ar e als o shape d b y othe r logic swhose calling they heed, dreams will always exceed fantasies. However ,
Introduction: Dreams I7to th e exten t tha t dream s fue l an d furthe r th e logic s o f th e dominan tglobal order , the y perfor m th e wor k o f fantasies .This book i s about th e practices o f fantasy-production o n th e par tof th e Philippin e natio n an d th e contribution s o f thi s particula rpostcolonial nationa l formatio n t o globa l systemi c transformation sleading to the establishment o f the New World Order , th e internationa ldivision o f labou r an d organizatio n o f multinationa l capitalis tproduction tha t emerge s a t th e en d o f th e Col d War . I n thi s boo k Ipropose t o view the political and economi c strategies o f the Philippin enation-state a s par t o f th e dream-wor k o f a n internationa l orde r o fproduction founde d upo n th e conjoined , i f sometime s contradictory ,logics of nationalism an d multinational capitalism . Fantasy-productio nnames this international orde r of desiring-actions on the part of nations,an order in which gender , sexuality and race are constitutive principle sof organizatio n a s well a s practical effects .Fantasy-production practice s creat e a commo n imaginar ygeography an d histor y — tha t o f th e Fre e World — a s th e groun d o ftheir operation . I n th e multinational er a o f the New World Order , thi scommon groun d i s the scene of the International (community ) an d it sprivileged actin g figur e i s th e territoria l nation-state . I n th etransnational er a of globalization, tha t common ground has become th eplace o f th e Globa l (network ) an d it s privilege d actin g figure ,deterritorialized capital-flows .Even i f th e new , deterritorialize d globa l orde r appear s t o b e a de subjectivized on e (wit h 'economies ' no w replacin g 'nations') , i tnevertheless depend s o n an d mobilize s th e subjectifying operation s o fsignification fundamenta l t o the older, territorial world order . As I willshow, wha t ar e no w widely-accepte d condition s o f a radicall ytransformed globa l orde r ar e reconfiguration s o f dominan t strategie sof the nation-state, which is accommodating t o changes that it has itselfbeen instrumenta l i n bringing about. 15 Thi s is in itself no t new . In th eso-called postcolonia l world , th e natio n ha s lon g bee n th e agen t an dproduct o f inter - a s well
Printed and bound by Liang Yu Printing Factory Ltd., Hong Kong, China Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press's name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and
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