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How museums' visual culture contributes to knowledge accumulation
Sarita See argues that collections of stolen artifacts form the
foundation of American knowledge production. Nowhere can we
appreciate more easily the triple forces of knowledge
accumulation-capitalist, colonial, and racial-than in the imperial
museum, where the objects of accumulation remain materially,
visibly preserved. The Filipino Primitive takes Karl Marx's concept
of "primitive accumulation," usually conceived of as an economic
process for the acquisition of land and the extraction of labor,
and argues that we also must understand it as a project of
knowledge accumulation. Taking us through the Philippine
collections at the University of Michigan Natural History Museum
and the Frank Murphy Memorial Museum, also in Michigan, See reveals
these exhibits as both allegory and real case of the primitive
accumulation that subtends imperial American knowledge, just as the
extraction of Filipino labor contributes to American capitalist
colonialism. With this understanding of the Filipino foundations of
the American drive toward power and knowledge, we can appreciate
the value of Filipino American cultural producers like Carlos
Bulosan, Stephanie Syjuco, and Ma-Yi Theater Company who have
created incisive parodies of this accumulative epistemology, even
as they articulate powerful alternative, anti-accumulative social
ecologies.
Building on the intellectual and political momentum that
established the Critical Ethnic Studies Association, this Reader
inaugurates a radical response to the appropriations of liberal
multiculturalism while building on the possibilities enlivened by
the historical work of Ethnic Studies. It does not attempt to
circumscribe the boundaries of Critical Ethnic Studies; rather, it
offers a space to promote open dialogue, discussion, and debate
regarding the field's expansive, politically complex, and
intellectually rich concerns. Covering a wide range of topics, from
multiculturalism, the neoliberal university, and the exploitation
of bodies to empire, the militarized security state, and
decolonialism, these twenty-five essays call attention to the
urgency of articulating a Critical Ethnic Studies for the
twenty-first century.
Building on the intellectual and political momentum that
established the Critical Ethnic Studies Association, this Reader
inaugurates a radical response to the appropriations of liberal
multiculturalism while building on the possibilities enlivened by
the historical work of Ethnic Studies. It does not attempt to
circumscribe the boundaries of Critical Ethnic Studies; rather, it
offers a space to promote open dialogue, discussion, and debate
regarding the field's expansive, politically complex, and
intellectually rich concerns. Covering a wide range of topics, from
multiculturalism, the neoliberal university, and the exploitation
of bodies to empire, the militarized security state, and
decolonialism, these twenty-five essays call attention to the
urgency of articulating a Critical Ethnic Studies for the
twenty-first century.
How museums' visual culture contributes to knowledge accumulation
Sarita See argues that collections of stolen artifacts form the
foundation of American knowledge production. Nowhere can we
appreciate more easily the triple forces of knowledge
accumulation-capitalist, colonial, and racial-than in the imperial
museum, where the objects of accumulation remain materially,
visibly preserved. The Filipino Primitive takes Karl Marx's concept
of "primitive accumulation," usually conceived of as an economic
process for the acquisition of land and the extraction of labor,
and argues that we also must understand it as a project of
knowledge accumulation. Taking us through the Philippine
collections at the University of Michigan Natural History Museum
and the Frank Murphy Memorial Museum, also in Michigan, See reveals
these exhibits as both allegory and real case of the primitive
accumulation that subtends imperial American knowledge, just as the
extraction of Filipino labor contributes to American capitalist
colonialism. With this understanding of the Filipino foundations of
the American drive toward power and knowledge, we can appreciate
the value of Filipino American cultural producers like Carlos
Bulosan, Stephanie Syjuco, and Ma-Yi Theater Company who have
created incisive parodies of this accumulative epistemology, even
as they articulate powerful alternative, anti-accumulative social
ecologies.
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