topic

Laboring at home and abroad

In Migrants for Export (University of Minnesota Press, 2010), sociologist Robyn Magalit Rodriguez defines the Philippines as a “labor brokerage state”: a country “which actively prepares, mobilizes, and regulates its citizens for migrant work abroad.” This orientation by the Philippines state fundamentally shapes the lives of Filipinos everywhere. At home, the state’s focus on exporting labor manifests in a failure to cultivate the domestic economy, rendering the lives of Filipinos in the Philippines precarious and monetarily impoverished. Abroad, the state’s willingness to facilitate Filipinos’ migrant work and simultaneous inability to guarantee any protections renders Filipinos globally dispersed and vulnerable, exposing Filipinos abroad to enormous exploitation and abuse.

Ironing Oceans (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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Baking McMansion

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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X

Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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X

Bovey Lee

image description
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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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Catherine Ceniza Choy

Catherine Ceniza Choy is Professor and Department Chair of Ethnic Studies at the University of California, Berkeley. She is the author of the award-winning book Empire of Care: Nursing and Migration in Filipino American History (Duke University Press, 2003) and the forthcoming book Global Families: A History of Asian International Adoption in America (New York University Press, 2013).  Catherine is a second-generation Filipino American born and raised in New York City. She received her Ph.D. in History from UCLA.

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  • Born: New York, NY, USA
  • Based: Berkeley, CA, USA

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We are the Jews of today: Filipino Domestic Workers in Israel and the Language of Diaspora

Claudia Liebelt

2008 Criticism 18 pages. Courtesy of HAGAR.

HAGAR Studies in Culture, Polity and Identities 8.1 (2008): 63-81.

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Claudia Liebelt

b. 1976
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Claudia Liebelt completed her Ph.D. in Social Anthropology in Halle and is a lecturer of social anthropology at the University of Bayreuth, Germany. Her research interests include urban anthropology, transnationalism, migration and citizenship, the Filipino labor diaspora, ritual and religion, gender, global care and domestic work, as well as the anthropology of the body. The scope of her work is reflected in her publications and her teaching, which includes courses on Transnational Migration, Care Work, Gender, Anthropology of Religion, the Middle East, the Body, and Medical Anthropology. She has conducted fieldwork in Israel, Morocco, Turkey and the Philippines.

In the framework of a comparative research project at Keele University (UK), she studied the “Sociality, Caring and the Religious Imagination in the Filipino Diaspora” (2007-2010, PI Professor Pnina Werbner). Among her publications is Caring for the ‘Holy Land’: Filipina Domestic Workers in Israel (Berghahn Books, 2011). She also co-directed an ethnographic documentary on Filipina return migrants in Manila, Cycles of Care, with Lizza M. David (UK/D 2011, 52 mins).

She currently works on a research project about aesthetic body modifications, beauty salons, feminity and the service sector in Istanbul, Turkey. Based on ethnographic research, this project seeks to contribute to our understanding of culturally informed, gendered bodily practices in their (urban) diversity, in defiance of the assumption of increasingly standardised beauty norms and images in an age of globalisation. Hereby, it seeks to investigate cultural imaginations of morality, public space, modernity, citizenship, technology and health in their relation to changing forms of gender and kinship in a global city.

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  • Born: Cologne, Germany
  • Based: Bayreuth, Germany

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Clement C. Camposano, Ph.D.

b. 1966

Dr. Clem Camposano was born in 1966 in Iloilo City, the Philippines. He is presently based in Manila. He earned his Ph D. in Philippine Studies (Anthropology, 2009) from the University of the Philippines, and his current research interest is in the anthropology of migration, with emphasis on the transnationalization of the contemporary Filipino household. He holds an M.A. in Political Science from the University of the Philippines - Diliman (1992) and a Bachelor of Arts in Political Science and History from the University of the Philippines - Visayas (1986). Dr. Camposano has published articles in peer-reviewed journals and has presented academic papers in international conferences. He sits in the board of the Philippine Anthropological Association and is an active member of the Philippine Studies Association. He is a senior faculty member at the University of Asia and the Pacific (UA&P) where he teaches courses in social science research and Philippine history and culture. Dr. Camposano began his academic career right after the EDSA Revolution with faculty appointments at the West Visayas State University in 1986 and subsequently at the University of the Philippines in the Visayas in 1997. A person of diverse interests, he is presently the Chairman of the Philippine Center for Civic Education and Democracy (PCCED), a non-profit organization dedicated to the promotion of citizenship and civic engagement among various sectors in Philippine society.

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  • Born: Iloilo City, Philippines
  • Based: Manila, Philippines

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Daniel Miller

b. 1954

Daniel Miller was born in London in 1954. He is currently based at the Department of Anthropology with University College, London. He is the author or editor of thirty-five books dealing with different aspects of the anthropology of consumption, material culture and new media.

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Mirca Madianou

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Mirca Madianou is Senior Lecturer in the Department of Media and Communication, University of Leicester. From 2004 to 2011, she was Newton Trust Lecturer in Sociology at the University of Cambridge and Fellow of Lucy Cavendish College. She holds a Ph.D. from the London School of Economics. She has published extensively on the social consequences of new media and mediation especially in relation to processes of migration, transnational relationships and networks. She is the author of Mediating the Nation: News, Audiences and the Politics of Identity (Routledge, 2005) and Migration and New Media (with Daniel Miller, Routledge, 2011) and co-editor of Ethics of Media (with Nick Couldry and Amit Pinchevski, 2013). Between 2007 and 2011, she was Principal Investigator on the Economic and Social Research Council-funded project "Migration, ICTS and transnational families," a comparative ethnographic study of Filipino and Caribbean transnational families and their uses of new communication technologies. She continues to work on Philippine migration and the role of digital media in transforming migrant networks.

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  • Based: Leicester, England, UK

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Coincidence and Consequence: Marianism and Mass Media in the Global Philippines

Deirdre De La Cruz

2009 Criticism 34 pages. Courtesy of the author. Cultural Anthropology 24.3 (2009): 455-488. Uncorrected page proofs.

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Deirdre De La Cruz

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Deirdre was born in Germany and has lived in Hawai’i, Seattle, and Manila. Her engagement with the Philippines and Filipino America has found a variety of expressions over the years, most recently as an Assistant Professor of Philippine Studies at the University of Michigan, Ann Arbor, where she is currently based. In addition to Philippine history and cultures, her scholarly interests include theories of religion, histories and theories of the mass media, cultures of U.S. imperialism, and historical and ethnographic writing. Photograph by Bill Christian.

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  • Born: Germany
  • Based: Ann Arbor, MI, USA

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