{"id":664,"date":"2021-04-29T19:17:25","date_gmt":"2021-04-29T23:17:25","guid":{"rendered":"http:\/\/blog.richmond.edu\/mus123spr2021\/?p=664"},"modified":"2021-04-30T05:26:15","modified_gmt":"2021-04-30T09:26:15","slug":"the-influence-of-orientalism-on-the-perception-of-asian-women-sexuality","status":"publish","type":"post","link":"https:\/\/blog.richmond.edu\/mus123spr2021\/2021\/04\/29\/the-influence-of-orientalism-on-the-perception-of-asian-women-sexuality\/","title":{"rendered":"The influence of Orientalism on the perception of Asian women&#8217; sexuality"},"content":{"rendered":"<p>The recent mass shooting of Asian women at massage parlours in Georgia has sparked outrage among the Asian-American community. This has led to a renewed interest in the study of Asian representation in the media and arts. According to Yutian Wong, ever since the popularization of Pierre Loti\u2019s 1887 novel Madame Chrysanth\u00e9me, the trope of the Asian woman as a sexually submissive and feminine prostitute has been a well-established trope in the American popular culture. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_1');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_1');\" ><sup id=\"footnote_plugin_tooltip_664_1_1\" class=\"footnote_plugin_tooltip_text\">1<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_1\" class=\"footnote_tooltip\">Wong Yutian, \u201cRace, Sex, and Death from Miss Saigon to Atlanta,\u201d <i>Society and Space<\/i>, March 22, 2021, <a href=\"https:\/\/www.societyandspace.org\/articles\/race-sex-and-death-from-miss-saigon-to-atlanta\"><span class=\"footnote_url_wrap\">https:\/\/www.societyandspace.org\/articles\/race-sex-and-death-from-miss-saigon-to-atlanta<\/span><\/a>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script>Although the novel was based on Loti\u2019s trips to Japan and China as a French businessman, much of the story was told through the filter of his own biases and preconceived imagination of an inferior Japan. This approach &#8220;served to enflame the current European obsession with Japanese culture to engender and market the exotic identity of Asian women, fueling the sexual fantasy of European men&#8221;.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_2');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_2');\" ><sup id=\"footnote_plugin_tooltip_664_1_2\" class=\"footnote_plugin_tooltip_text\">2<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_2\" class=\"footnote_tooltip\">Kim, Hannah. \u201cThe Madame Butterfly Controversy: Cio-Cio San&#8217;s Gender, Racial and Cultural Construction in Orientalist Metaphysics\u201d, 125, <span class=\"footnote_url_wrap\">http:\/\/yonseijournal.files.wordpress.com.<\/span> n.d. Web. 11 Oct. 2014<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script> In other words, Asian women became the objects of sexual fantasy for white men.<img loading=\"lazy\" decoding=\"async\" class=\"wp-image-667 aligncenter\" src=\"http:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-1.18.45-AM-192x300.png\" alt=\"\" width=\"164\" height=\"256\" srcset=\"https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-1.18.45-AM-192x300.png 192w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-1.18.45-AM.png 350w\" sizes=\"auto, (max-width: 164px) 100vw, 164px\" \/><\/p>\n<h4>One of the covers of \u201cMadame Chrysanth\u00e9me\u201d (fig.1)<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_3');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_3');\" ><sup id=\"footnote_plugin_tooltip_664_1_3\" class=\"footnote_plugin_tooltip_text\">3<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_3\" class=\"footnote_tooltip\">Fig. 1, Anonymous, 1998, Tuttle Publishing<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script><\/h4>\n<p><em>Carmen <\/em>and <em>Madama Butterfly<\/em> were created at the time when orientalism began proliferating in popular culture in the nineteenth century. As European countries and the U.S. began their colonizing mission in the Middle East, Africa, and Asia, they began to legitimize imperialism as a noble mission designed to save the people of colour. In 1854, Japan opened two of its ports to U.S. trade through the <a href=\"https:\/\/www.archives.gov\/exhibits\/featured-documents\/treaty-of-kanagawa\">Kanagawa Treaty<\/a>.\u00a0 The colonizers promoted the worldview that white men had the responsibility to take care of the people of color as parents are responsible for children who could become \u201cdemons without pity.\u201d\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_4');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_4');\" ><sup id=\"footnote_plugin_tooltip_664_1_4\" class=\"footnote_plugin_tooltip_text\">4<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_4\" class=\"footnote_tooltip\">McClary, Susan. \u201cImages of Race, Class and Gender in Nineteenth-Century French Culture.\u201d In\u00a0<i>Georges Bizet: Carmen<\/i>, 40. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1992. doi:10.1017\/CBO9781139166416.004.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script> In addition, the information obtained from scholars who were studying the subject was mobilised for \u201cpurposes of state and commercial colonization.\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_5');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_5');\" ><sup id=\"footnote_plugin_tooltip_664_1_5\" class=\"footnote_plugin_tooltip_text\">5<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_5\" class=\"footnote_tooltip\">Ibid, 30<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script><\/p>\n<p>Similar to Bizet\u2019s <em>Carmen, <\/em>the Asian protagonist in Puccini\u2019s <em>Madama Butterfly<\/em> serves as an object of desire for white men to escape from the rigidness of the existing social structure and a religious tradition that condemned sexual activity. In each of these stories, the principal Oriental characters are women of color while the main Western characters are white men.\u00a0Further, both Carmen and Cio-Cio San were forced into prostitution and a &#8220;temporary marriage&#8221; by poverty and desperation. Rather than portraying the relationship between the female lead Cio-Cio San and U.S. Lieutenant Pinkerton as sexual exploitation, Orientalism seeks to present it as a consensual endeavour between adults (although Cio-Cio San was being sold along with the house for 99 cents <a href=\"https:\/\/www.metopera.org\/discover\/synopses\/madama-butterfly\/\">at the age of 15)<\/a>.<\/p>\n<p>In addition, <em>Madama Butterfly <\/em>and <em>Carmen<\/em> are organized within the \u201cWestern dichotomy between proper and improper constructions of female sexuality, between the virgin and the whore.\u201d <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_6');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_6');\" ><sup id=\"footnote_plugin_tooltip_664_1_6\" class=\"footnote_plugin_tooltip_text\">6<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_6\" class=\"footnote_tooltip\">McClary, Susan. &#8220;Sexual Politics in Classical Music.&#8221; In\u00a0<i>Feminine Endings: Music, Gender, and Sexuality<\/i>, 56. University of Minnesota Press, 1991. Accessed April 29, 2021. <span class=\"footnote_url_wrap\">http:\/\/www.jstor.org\/stable\/10.5749\/j.ctttt886.7.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script> Here, exotic Carmen and Cio-Cio San are juxtaposed with their white antithesis Kate and Mica\u00ebla\u00a0who are sexless and active only within the spheres of domestic life. In this context, white men who are unable to return to their true wives are essentially punished for falling prey to the lures of the exotic creatures. Don Jos\u00e9, blinded by jealousy, stabs Carmen to death and turns himself in to the police. While Cio-Cio San is portrayed as a sexually submissive and child-like woman who is utterly devoted to her \u201chusband\u201d, Carmen is characterized as a <em>femme fatale<\/em> who actively expresses her sexual desire. In both operas, the sexuality and female desire of Carmen and Cio-Cio San ultimately lead to their deaths. The exotic women are both killed at the hands of a militaristic male cast.<\/p>\n<p>The entrance of Butterfly is accompanied by the choir of other geishas and solo strings. Limited use of instruments is incorporated in her appearance under a <em>Moderato<\/em> tempo and a solo voice that is later built up with the complete orchestra. Puccini also includes Chinese folksongs into the musical fabric of the scores and the Japanese national anthem <em>Kimi ga yo.<\/em>\u00a0In particular, the piece contains a pentanoic melody played by flutes and harp borrowed from Japanese music to create a heavenly motif. A full listing of Japanese melodies found in <em>Madama Butterfly<\/em> is featured <a href=\"http:\/\/daisyfield.com\/music\/htm\/-colls\/Puccini.htm\">here<\/a>. The frequent use of the combination of high woodwinds with harp and bells creates an elegant and unfamiliar tone.\u00a0 All of these elements help create an image of Cio-Cio San as a child-like and delicate woman found in the Western sexual fantasy of Japanese geishas. Further, this affirms the myth of Asian women as being happy under white men\u2019s sexual exploitation. In the musical number <em>O Kami, O Kami,<\/em> Japanese gongs are also included in the percussion parts to mimic the exotic Oriental sounds. In contrast, Pinkerton&#8217;s opening is more dynamic. His aria\u00a0\u201cDovunque al mondo\u201d is built on the notes of the &#8220;Star-Spangled Banner&#8221;, creating a strong association between Pinkerton&#8217;s character and the United States. The two movements show the disharmony between the cultures of Pinkerton and Butterfly.<\/p>\n<p>In \u201cVieni, amor mio!\u201d, Butterfly eagerly shows Pinkerton her personal treasures such as a mirror, a rouge, and a fan. Puccini lowers a register to portray Cio-Cio San\u2019s seriousness as she displays the items. Yet Puccini accompanies it with the bassoon which is often referred to as the \u201cclown of the orchestra\u201d because of its ability to produce a bright staccato sound and a comedic quality of its low register. By doing so, Puccini creates an air of childishness surrounding Cio-Cio San, conjuring images of an infant bragging about her things.<\/p>\n<p>&nbsp;<\/p>\n<p>https:\/\/streamable.com\/bcsh1o<\/p>\n<h4>Act 1: Vieni, amor mio!<\/h4>\n<p>When the second act begins, Pinkerton has been gone for three years. The most famous aria of the opera, &#8220;Un bel di, vedremo&#8221; is about Butterfly\u2019s devotion to Pinkerton as she visualizes his reappearance. In contrast to Pinkerton\u2019s dynamic melody, <em>Un bel di<\/em> is sung with utmost simplicity. This is sung to the most basic accompaniment in an orchestra: clarinet, harp, and solo violin. The aria includes frequent pentatonic inflections (a scale made up of five pitches) and whole-tone scales both harmonically and melodically to represent Cio-Cio San\u2019s Japanese heritage. Several melodic motives are drawn from different folk songs, representing a type of exoticism similar to the Spanish dance rhythms in <em>Carmen.<\/em> Solo violin and muted strings mirror the opening vocal phrases where Butterfly begins to paint the picture of her husband\u2019s return. Low strings and winds take the lead when the ship appears in her imagination; horns take the melody as she imagines guns saluting his arrival.<\/p>\n<p><iframe loading=\"lazy\" title=\"Madama Butterfly \u2013 &#039;Un bel d\u00ed vedremo&#039; (Puccini, Ermonela Jaho, The Royal Opera)\" width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/CTT5FlTvz4A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h4 class=\"title style-scope ytd-video-primary-info-renderer\">\u00a0 \u00a0 Madama Butterfly \u2013 &#8216;Un bel d\u00ed vedremo&#8217; (Puccini, Ermonela Jaho, The Royal Opera)<\/h4>\n<p>The motif of <em>Madama Butterfly <\/em>is repositioned within the context of the Vietnam War through Claude-Michel Sch\u00f6nberg\u2019s <em>Miss Saigon.<\/em> <em>Miss Saigon <\/em>tells a tragic love story between an American G.I. and a 17-year-old Vietnamese prostitute Kim. \u00a0Ultimately, the music is an interpretation of Saigon\u2019s fall through the <em>Madama Butterfly <\/em>myth that perpetuates the oriental stereotype created by white men. In this version, Chris is Pinkerton and Kim is Cio-Cio San. Similar to Cio-Cio San, Kim is a shy virgin who is utterly devoted to Chris. She is dressed conservatively in a traditional Asian white tunic on her first day working at the bar.\u00a0 Kim\u2019s character, though not hypersexualized as the other women in <em>Miss Saigon<\/em>, does not differ much from the delicate Butterfly. Kim sings her heart out of desperation about the desire to be rescued from misery by a G.I who will bring her to the United States in the famous song \u201cThe Movie in My Mind.\u201d Kim\u2019s mezzo-soprano singing voice represents the young and child-like nature of a 17-year-old girl. Similar to Butterfly, Noblezada&#8217;s powerful singing under an escalating melody also represents her desperation to attain Western ideals. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_7');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_7');\" ><sup id=\"footnote_plugin_tooltip_664_1_7\" class=\"footnote_plugin_tooltip_text\">7<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_7\" class=\"footnote_tooltip\">McClary, Susan. &#8220;Mounting Butterflies.&#8221; In\u00a0<i>A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly,<\/i>\u00a0edited by Wisenthal Jonathan, Grace Sherrill, Boyd Melinda, McIlroy Brian, and Micznik Vera, 24. University of Toronto Press, 2006. Accessed April 29, 2021. <span class=\"footnote_url_wrap\">http:\/\/www.jstor.org\/stable\/10.3138\/9781442670532.6.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script>\u00a0 This all presents Kim as a helpless heroine who needs an American man to save her, succumbing to the original Oriental myths.\u00a0 Vietnamese-American Pulitzer Price winner Viet Thanh Nguyen has characterized this musical as a &#8220;racial and sexual fantasy that negated the war&#8217;s political significance and Vietnamese subjectivity and agency&#8221;. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_8');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_8');\" ><sup id=\"footnote_plugin_tooltip_664_1_8\" class=\"footnote_plugin_tooltip_text\">8<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_8\" class=\"footnote_tooltip\">Tran, Diep. \u201cI Am Miss Saigon and I Hate It.\u201d <i>American Theatre<\/i>, n.d. <a href=\"https:\/\/www.americantheatre.org\/2017\/04\/13\/i-am-miss-saigon-and-i-hate-it\/\"><span class=\"footnote_url_wrap\">https:\/\/www.americantheatre.org\/2017\/04\/13\/i-am-miss-saigon-and-i-hate-it\/<\/span><\/a>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script><\/p>\n<p><iframe loading=\"lazy\" title=\"Movie In My Mind - Miss Saigon (Clip)\" width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/yrE95hO2l8E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The Movie in My Mind &#8211; Eva Noblezada<\/p>\n<p>America\u2019s bitter experiences during the prolonged Vietnam War simultaneously revived cultural images of Vietnamese soldiers as villains and filthy people. Countless war movies and musicals repeatedly invoked images of the merciless and destructive Viet Cong wreaking havoc against brave, white U.S. soldiers, disregarding the violence that American troops have sowed in the civilian communities. This includes the widespread use of <a href=\"https:\/\/theculturetrip.com\/asia\/vietnam\/articles\/how-vietnam-is-recovering-from-the-effects-of-agent-orange\/\">Agent Orange<\/a>\u00a0chemicals that led to the deaths of approximately 4 million Vietnamese people and the diseases that have been carried by generations. In the musical, Kim was unable to reunite with Chris because the Viet Cong attacked Saigon. In this love story, the North Vietnamese troops were the main villains that prevented the heroine from being reunited with her Prince Charming. The American media also fails to mention that their country got involved in the war to defend the French colonial administration that had subjected Vietnamese people to violence, hunger, and deaths. Hence, it is not a random occurrence that\u00a0<em>Miss Saigon<\/em>\u00a0was written by a French composer.<\/p>\n<p>Asian-American scholar Sunny Woan claims in her article that \u201cthe underlying cause of sexual-racial inequality between White men and non-White women is White sexual imperialism\u2026 [T]he history of Western political, military, and economic domination of developing nations compelled women of these nations into sexual submission to White men.\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_9');\" onkeypress=\"footnote_moveToReference_664_1('footnote_plugin_reference_664_1_9');\" ><sup id=\"footnote_plugin_tooltip_664_1_9\" class=\"footnote_plugin_tooltip_text\">9<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_664_1_9\" class=\"footnote_tooltip\">Woan, Sunny. \u201cWhite Sexual Imperialism: A Theory of Asian Feminist Jurisprudence.\u201d Washington and Lee Journal of Civil Rights and Social Justice Law, vol. 13 (2008), 5<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_664_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_664_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top right', relative: true, offset: [10, 10], });<\/script> In other words, women of color have become subordinate to white men because of the social and economic consequences of Western imperialism. One example is the<a href=\"https:\/\/newrepublic.com\/article\/155707\/united-states-military-prostitution-south-korea-monkey-house\"> prison for sex workers<\/a> that was built to satisfy the sexual needs of American troops during the Korean War.<\/p>\n<p>As anti-Asian hate crimes are rising worldwide, we must take into consideration the voices of marginalized communities of color in our examination of musical works. In addition, we need to also critique the practice of yellowface, in which white individuals continue to misrepresent Asian characters in movies and musicals and take away job opportunities from Asian actors who are struggling to find roles that are written for them. As a Vietnamese woman of color, I cannot help but wonder why the shows that perpetuate these harmful stereotypes are still being promoted by the entertainment industry. In my personal opinion, such tropes are dangerous and offensive, especially when many Asian women are still <a href=\"http:\/\/hanoitimes.vn\/agent-orange-trial-made-headline-in-france-316065.html\">seeking justice and accountability<\/a> from a system that has repeatably harmed them.<\/p>\n<figure id=\"attachment_745\" aria-describedby=\"caption-attachment-745\" style=\"width: 452px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-745\" src=\"http:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM-300x162.png\" alt=\"\" width=\"452\" height=\"244\" srcset=\"https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM-300x162.png 300w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM-768x415.png 768w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM-1024x554.png 1024w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM-940x508.png 940w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.27.37-AM.png 1454w\" sizes=\"auto, (max-width: 452px) 100vw, 452px\" \/><figcaption id=\"caption-attachment-745\" class=\"wp-caption-text\">GHOST IN THE SHELL, Scarlett Johansson, 2017, Paramount Pictures, EVERETT COLLECTION<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_744\" aria-describedby=\"caption-attachment-744\" style=\"width: 247px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-744\" src=\"http:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.23.36-AM-247x300.png\" alt=\"\" width=\"247\" height=\"300\" srcset=\"https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.23.36-AM-247x300.png 247w, https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-5.23.36-AM.png 742w\" sizes=\"auto, (max-width: 247px) 100vw, 247px\" \/><figcaption id=\"caption-attachment-744\" class=\"wp-caption-text\">NYCB&#8217;s Abi Stafford in The Chairman Dances. Photo by Paul Kolnik<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>Word Count: 1858<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><a href=\"#_ftnref2\" name=\"_ftn2\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_664_1();\">References<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_664_1();\">[<a id=\"footnote_reference_container_collapse_button_664_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_664_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_1');\"><a id=\"footnote_plugin_reference_664_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Wong Yutian, \u201cRace, Sex, and Death from Miss Saigon to Atlanta,\u201d <i>Society and Space<\/i>, March 22, 2021, <a href=\"https:\/\/www.societyandspace.org\/articles\/race-sex-and-death-from-miss-saigon-to-atlanta\"><span class=\"footnote_url_wrap\">https:\/\/www.societyandspace.org\/articles\/race-sex-and-death-from-miss-saigon-to-atlanta<\/span><\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_2');\"><a id=\"footnote_plugin_reference_664_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Kim, Hannah. \u201cThe Madame Butterfly Controversy: Cio-Cio San&#8217;s Gender, Racial and Cultural Construction in Orientalist Metaphysics\u201d, 125, <span class=\"footnote_url_wrap\">http:\/\/yonseijournal.files.wordpress.com.<\/span> n.d. Web. 11 Oct. 2014<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_3');\"><a id=\"footnote_plugin_reference_664_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Fig. 1, Anonymous, 1998, Tuttle Publishing<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_4');\"><a id=\"footnote_plugin_reference_664_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">McClary, Susan. \u201cImages of Race, Class and Gender in Nineteenth-Century French Culture.\u201d In\u00a0<i>Georges Bizet: Carmen<\/i>, 40. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1992. doi:10.1017\/CBO9781139166416.004.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_5');\"><a id=\"footnote_plugin_reference_664_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Ibid, 30<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_6');\"><a id=\"footnote_plugin_reference_664_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">McClary, Susan. &#8220;Sexual Politics in Classical Music.&#8221; In\u00a0<i>Feminine Endings: Music, Gender, and Sexuality<\/i>, 56. University of Minnesota Press, 1991. Accessed April 29, 2021. <span class=\"footnote_url_wrap\">http:\/\/www.jstor.org\/stable\/10.5749\/j.ctttt886.7.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_7');\"><a id=\"footnote_plugin_reference_664_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\">McClary, Susan. &#8220;Mounting Butterflies.&#8221; In\u00a0<i>A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly,<\/i>\u00a0edited by Wisenthal Jonathan, Grace Sherrill, Boyd Melinda, McIlroy Brian, and Micznik Vera, 24. University of Toronto Press, 2006. Accessed April 29, 2021. <span class=\"footnote_url_wrap\">http:\/\/www.jstor.org\/stable\/10.3138\/9781442670532.6.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_8');\"><a id=\"footnote_plugin_reference_664_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\">Tran, Diep. \u201cI Am Miss Saigon and I Hate It.\u201d <i>American Theatre<\/i>, n.d. <a href=\"https:\/\/www.americantheatre.org\/2017\/04\/13\/i-am-miss-saigon-and-i-hate-it\/\"><span class=\"footnote_url_wrap\">https:\/\/www.americantheatre.org\/2017\/04\/13\/i-am-miss-saigon-and-i-hate-it\/<\/span><\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_664_1('footnote_plugin_tooltip_664_1_9');\"><a id=\"footnote_plugin_reference_664_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\">Woan, Sunny. \u201cWhite Sexual Imperialism: A Theory of Asian Feminist Jurisprudence.\u201d Washington and Lee Journal of Civil Rights and Social Justice Law, vol. 13 (2008), 5<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_664_1() { jQuery('#footnote_references_container_664_1').show(); jQuery('#footnote_reference_container_collapse_button_664_1').text('\u2212'); } function footnote_collapse_reference_container_664_1() { jQuery('#footnote_references_container_664_1').hide(); jQuery('#footnote_reference_container_collapse_button_664_1').text('+'); } function footnote_expand_collapse_reference_container_664_1() { if (jQuery('#footnote_references_container_664_1').is(':hidden')) { footnote_expand_reference_container_664_1(); } else { footnote_collapse_reference_container_664_1(); } } function footnote_moveToReference_664_1(p_str_TargetID) { footnote_expand_reference_container_664_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_664_1(p_str_TargetID) { footnote_expand_reference_container_664_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>The recent mass shooting of Asian women at massage parlours in Georgia has sparked outrage among the Asian-American community. This has led to a renewed interest in the study of Asian representation in the media and arts. According to Yutian &#8230; <a class=\"more-link\" href=\"https:\/\/blog.richmond.edu\/mus123spr2021\/2021\/04\/29\/the-influence-of-orientalism-on-the-perception-of-asian-women-sexuality\/\">Read More &raquo;<\/a><\/p>\n","protected":false},"author":5033,"featured_media":712,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"quote","meta":{"footnotes":""},"categories":[1],"tags":[174344,69176,102484],"class_list":["post-664","post","type-post","status-publish","format-quote","has-post-thumbnail","hentry","category-uncategorized","tag-hypersexuality","tag-imperialism","tag-orientalism","post_format-post-format-quote"],"jetpack_featured_media_url":"https:\/\/blog.richmond.edu\/mus123spr2021\/files\/2021\/04\/Screen-Shot-2021-04-30-at-3.32.24-AM.png","_links":{"self":[{"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/posts\/664","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/users\/5033"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/comments?post=664"}],"version-history":[{"count":43,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/posts\/664\/revisions"}],"predecessor-version":[{"id":832,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/posts\/664\/revisions\/832"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/media\/712"}],"wp:attachment":[{"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/media?parent=664"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/categories?post=664"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus123spr2021\/wp-json\/wp\/v2\/tags?post=664"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}