Show simple item record

dc.contributor.authorAlcedo, Patrick
dc.date.accessioned2010-01-07T18:59:35Z
dc.date.available2010-01-07T18:59:35Z
dc.date.issued2007-02-01
dc.identifier.citationJournal of Southeast Asian Studies (February 2007), 38 (1), pg. 107-132en
dc.identifier.issn0022-4634
dc.identifier.urihttp://hdl.handle.net/10315/2910
dc.description.abstractBy embodying the paradoxes found in three webs of signification – panaad (devotional promise), sacred camp and carnivalesque during the Ati-atihan festival – Augusto Diangson, an individual of the ‘third sex’, was able to claim membership in the Roman Catholic community of Kalibo, Aklan in the Central Philippines while also negotiating the Churchʼs institution of heterosexuality. The narratives of mischief and the gender ambiguity of the Santo Niño or the Holy Child Jesus, the centre of Ati-atihanʼs religious veneration, further enabled Diangson to interact with Kaliboʼs Roman Catholicism. Through an analysis of Diangson and his participation in the festival, this article exposes how ordinary individuals in extraordinary events localise their faith through cross-dressing and dance performance. Seen throughout the Philippines, these processes of mimicry and gender transformation transport individuals into zones of ambivalence and contradictions in which they are able to navigate through the homogenising discourse of their culture and the Churchʼs homogenising myth of Roman Catholicism.en
dc.language.isoenen
dc.publisherCambridge University Pressen
dc.subjectPhilippinesen
dc.subjectCarnivalen
dc.subjectPoweren
dc.subjectFestivalsen
dc.subjectReligionen
dc.subjectGenderen
dc.titleSacred Camp: Transgendering Faith in a Philippine Festivalen
dc.typeArticleen
dc.rights.journalhttp://journals.cambridge.org/action/displayJournal?jid=SEAen
dc.rights.publisherhttp://www.cambridge.org/en


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record


All items in the YorkSpace institutional repository are protected by copyright, with all rights reserved except where explicitly noted.