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<h2 class="hd hd-2 unit-title">Introduction to Day 23</h2>
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<p>Today, we will be discussing some of the recurring themes and descriptive devices in the Worcester collection. Worcester, for example, included in his collection various images of undressed and semi-dressed Filipino women, and in his captions, referred to his subjects by their ethnic classifications rather than by their names. What are the origins or the cumulative effects of how Worcester chooses to pose, feature, and describe the subjects of his photographs? These are all the images that we will be working with. Take a look, and move on to the videos and exercises.</p>
<p><strong style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4em; vertical-align: baseline;">Warning on viewing historical images</strong><span style="font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;">: Images from the past can be offensive to view. By showing certain images or discussing certain topics, we do not endorse the views or opinions they present, but seek to understand the past, even when it is difficult to look at in the present. This course does not reflect the views of MIT, MITx, EdX or Visualizing Cultures.</span></p>
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'/assets/courseware/v1/08080228f903af0da96d6729ab15757e/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10L011_fromUM.jpg', 'Worcester captioned: <em>“Three girls from Kapangan,”</em> 1907. Location: Trinidad, Benguet',
'/assets/courseware/v1/55b8f526bc28567701d66643ece6fb8b/asset-v1:MITx+VPx+1T2019+type@asset+block/dw05F030_fromUM.jpg','Worcester’s caption: <em>“Kalinga woman, type 11. Full length front view,”</em> 1901. Location: near Ilagan, Isabela.',
'/assets/courseware/v1/b2b260fb46c58bc35348534b23306d4a/asset-v1:MITx+VPx+1T2019+type@asset+block/dw05F031_fromUM.jpg', 'Worcester’s caption: <em>“Kalinga woman, type 11. Full length front view,”</em> 1901. Location: near Ilagan, Isabela.',
'/assets/courseware/v1/02bc413ccb62004a1c49015f5f2589bd/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A071_fromUM.jpg', 'Worcester\'s caption: <em>“Benguet Igorot girl, type 19. Full length front view, reclining near stream,”</em> 1904. Location: Baguio, Benguet.<br>In this next series of images of women by a stream, Worcester seeks to convey an erotically primitive state reminiscent of the innocence of the “Garden of Eden.” But the images of these Gauguin-like nudes are highly artificial stagings on Worcester’s part; note the woman’s clothing at her feet in the upper left photograph.',
'/assets/courseware/v1/a190e5b68d155b9ffd2c1f1bf3b0e218/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A082_fromUM.jpg', 'Worcester\'s caption: <em>“Benguet Igorot women, types 18 and 19. Squatting on bank of stream,”</em> 1904. Location: Baguio, Benguet.',
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'/assets/courseware/v1/0ec111094c17f1bdbf76600875e99760/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A087_fromUM.jpg', 'Worcester\'s caption: <em>“Benguet Igorot women, types 18 and 19 in bath, nude,”</em> 1904. Location: Baguio, Benguet.',
'/assets/courseware/v1/3501e01b68a952b60f1f3663c8232fe9/asset-v1:MITx+VPx+1T2019+type@asset+block/ng0001_Nov1913.jpg', 'November 1913, <em>National Geographic</em> cover.<br>Contents:<br>“The Non-Christian Peoples of the Philippine Islands” With 32 Pages of Illustrations in Eight Colors<br>by Dean C. Worcester<br>Secretary of the Interior of the Philippine Islands, 1901-1913<br>In November 1913, National Geographic juxtaposed the familiar and the exotic in an article by Dean Worcester, with a run of hand-colored photographic illustrations of rural Filipinos.',
'/assets/courseware/v1/1043a621266a1f6fb65554e261084ff6/asset-v1:MITx+VPx+1T2019+type@asset+block/ng1912Sept.jpg', 'September 1912, <em>National Geographic</em> cover<br>Contents:<br>“Head-Hunters of Northern Luzon”<br>by Dean C. Worcester<br>Secretary of the Interior of the Philippine Islands<br>With 102 Illustrations and Map',
'/assets/courseware/v1/cfd8417a60b525fcfda778ab521ebb29/asset-v1:MITx+VPx+1T2019+type@asset+block/ng0002_Nov1913.jpg', 'The title of Dean Worcester\'s article: <em>“The Non-Christian Peoples of the Philippine Islands With an Account of What Has Been Done for Them under American Rule,”</em> National Geographic, November 1913.',
'/assets/courseware/v1/52097419e86e7db7842d1f3e28266b66/asset-v1:MITx+VPx+1T2019+type@asset+block/ng_layout.png', 'Thumbnails of photographs selected and colorized for Worcester’s article. National Geographic, November 1913 (from VC unit)<br>Thumbnails show the layout of the photographs selected and colorized for Worcester’s article.<br>Presenting “Peoples”<br>Through his text and images—carefully hand- colored by National Geographic staffers— Dean Worcester conveyed to a mass audience of American readers his sense of the racial landscape of the Philippines and boasted of “what has been done for them under American rule.” The images selected for his November 1913 National Geographic article introduced appealing figures representing tribes rather than individuals; vibrant colors accentuated the sense of the exotic for American readers.',
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<td width="33%"><img href="#" tabindex="0" onclick="album(data,0)" style="cursor: pointer;" alt="Three Filipino girls standing side by side facing camera, wearing loose shirts and skirts" src="/assets/courseware/v1/3db9b51174e31043f959e6fe015a4938/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10L012_fromUM_small.jpg" /></td>
<td width="33%"><img href="#" tabindex="0" onclick="album(data,2)" style="cursor: pointer;" alt="Three Filipino girls standing side by side facing camera, topless and wearing skirts, shirts tied around their waist" src="/assets/courseware/v1/bbbaa526bedda427a576b6f479f47ac8/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10L011_fromUM_small.jpg" /></td>
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<td><img href="#" tabindex="0" onclick="album(data,8)" style="cursor: pointer;" alt="Nude Filipino woman lying on a matted shrubs and grass, using on arm to prop up her torso towards camera, in front of trees" src="/assets/courseware/v1/e1a5a89a05b708bc73c025188d819820/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A071_fromUM_small.jpg" /></td>
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<p><strong>Image Credits</strong> (from left to right, top to bottom):</p>
<p>Set of two images: Worcester captioned: <em>“Three girls from Kapangan,”</em> 1907. Location: Trinidad, Benguet</p>
<p>Set of two images: Worcester’s caption: <em>“Kalinga woman, type 11. Full length front view,”</em> 1901. Location: near Ilagan, Isabela.</p>
<p>Worcester's caption: <em>“Benguet Igorot girl, type 19. Full length front view, reclining near stream,”</em> 1904. Location: Baguio, Benguet.</p>
<p>Worcester's caption: <em>“Benguet Igorot women, types 18 and 19. Squatting on bank of stream,”</em> 1904. Location: Baguio, Benguet.</p>
<p>Worcester's caption: <em>“Igorot woman, type 23. Reclining near stream,”</em> 1904. Location: Baguio, Benguet.</p>
<p>Worcester's caption: <em>“Benguet Igorot women, types 18 and 19 in bath, nude,”</em> 1904. Location: Baguio, Benguet.</p>
<p>November 1913, <em>National Geographic</em> cover</p>
<p>September 1912, <em>National Geographic</em> cover</p>
<p>Dean Worcester, <em>“The Non-Christian Peoples of the Philippine Islands With an Account of What Has Been Done for Them under American Rule,”</em> National Geographic, November 1913.</p>
<p>Set of five images: Thumbnails of photographs selected and colorized for Worcester’s article. National Geographic, November 1913 (from VC unit)</p>
<p><em>“A Conference with Ifugao Head Men,”</em> National Geographic, November 1913.</p>
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<h2 class="hd hd-2 unit-title">Eroticizing Native Women</h2>
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<p>Now, carefully examine these three images of Filipino women, which reflect a broader trend in colonial photography: the eroticization and feminization of the “Other.” Like many other Euro-American colonialists around the world, Worcester often photographed semi-clothed or unclothed young women. In this video, your professors discuss the preponderance of these images in the Worcester collection and the ethics of their display. After you watch the video, please complete the exercise.</p>
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<td>Figure 22. “Three girls from Kapangan, types 5, 6, and 7. Full length front views,” 1907. Location: Trinidad, Benguet</td>
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<td>Figure 23. “Kalinga woman, type 11. Full length front view,” 1901 Location: near Ilagan, Isabela</td>
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<td><img style="float: left; display: inline-block; margin-right: 10px;" alt="Nude Filipino woman lying on a matted shrubs and grass, using on arm to prop up her torso towards camera, in front of trees" width="45%" href="#" tabindex="4" onclick="album(data,8)" src="/assets/courseware/v1/e1a5a89a05b708bc73c025188d819820/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A071_fromUM_small.jpg" /> <img style="float: left; display: inline-block; margin-right: 10px; margin-top: 0px; margin-bottom: 10px;" alt="Two Filipino women, topless and wearing skirts, sitting on the bank of stream, one with her profile towards camera and another facing camera, with her feet in the water" width="45%" href="#" tabindex="4" onclick="album(data,10)" src="/assets/courseware/v1/ad9c9fbdc58a08bb7825111d4cd8a92a/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A082_fromUM_small.jpg" /> <img style="float: left; display: inline-block; margin-right: 10px; margin-top: 0px;" alt="Filipino woman, topless and wearing skirt and headwrap, lying on a matted shrubs and grass, using on arm to prop up her face, facing camera, in front of trees" width="45%" href="#" tabindex="4" onclick="album(data,12)" src="/assets/courseware/v1/f8b4e1fe5b16b2e867d0224354a03a17/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A181_fromUM_small.jpg" /> <img style="float: left; display: inline-block; margin-right: 10px; margin-top: 0px;" alt="Two nude Fillipino women in front of large boulders in a stream, one squatting in the water, the other sitting on a rock with feet in water" width="45%" href="#" tabindex="4" onclick="album(data,14)" src="/assets/courseware/v1/9e03da647224f165916c5584ec36c23d/asset-v1:MITx+VPx+1T2019+type@asset+block/dw10A087_fromUM_small.jpg" /></td>
<td>Figure 24. “Gauguin”-style nudes</td>
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<p>Beginning in 1912, Worcester’s photos began to reach a broad audience through the <em>National Geographic</em>, a popular magazine that aspired to share stories and images of the “exotic” or the “primitive” as one of its primary missions. Carefully study these images of covers, colored and non-colored photographs, and articles from the magazine that featured the Philippines. After you watch the video, please complete the exercise. </p>
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<td width="60%"><img style="float: left; display: inline-block; margin-right: 10px; margin-top: 0px;" alt="Cover of National Geographic Magazine" href="#" tabindex="0" onclick="album(data,0)" src="/assets/courseware/v1/db24a33ca2abb205fac0502bebe2c3ea/asset-v1:MITx+VPx+1T2019+type@asset+block/ng0001_Nov1913_small.jpg" /></td>
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<p>Figure 25. November 1913, National Geographic cover</p>
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<p>Figure 26. September 1912, National Geographic cover</p>
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<p>Figure 28. Thumbnails of photographs selected and colorized for Worcester’s article. National Geographic, November 1913 (from VC unit)</p>
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<h3 class="hd hd-2">Video IV-21: National Geographic Magazine: Background</h3>
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<legend id="0ae04759596d4cc2a50d5661f629078e_2_1-legend" class="response-fieldset-legend field-group-hd">Which of the following terms were frequently latched onto images of indigenous Filipinos, recurring in descriptions and captions? Check all that apply.</legend>
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<h2 class="hd hd-2 unit-title">Worcester Articles for National Geographic</h2>
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<p>In this video, your professors discuss the history of the <em>National Geographic</em>, specifically its late nineteenth-century transformation from a scholarly magazine to one with popular appeal. The early American occupation of the Philippines had mapped onto a revolution in media, consumer culture, and communications within the United States. After you watch the video, please complete the exercise. </p>
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<h3 class="hd hd-2">Video IV-22: Worcester Articles for National Geographic</h3>
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<legend id="c366f380c6c54b1ab93a577040891447_2_1-legend" class="response-fieldset-legend field-group-hd">What does the publication of his photographs in the National Geographic enable Dean Worcester to accomplish?</legend>
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<h2 class="hd hd-2 unit-title">Dressed | Undressed</h2>
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<p>Now, carefully examine these color images of indigenous Filipino women of the Kalinga tribe, paying especial attention to the bodily aesthetics and the captions. How are the Kalinga women presented and described? What are the implications or effects of complete or partial nudity in these portrait photographs? After you watch the video, please complete the exercise.</p>
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<p>Figure 29. “A Young Ilongot Woman” / “A Kalinga Woman” National Geographic, November 1913</p>
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<h3 class="hd hd-2">Video IV-23: Dressed | Undressed</h3>
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<legend id="397d24efeead482aa76d20cd9117ec94_2_1-legend" class="response-fieldset-legend field-group-hd">Which of the following statements about nude photography in the Philippines is or are true? Check all that apply.</legend>
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<h2 class="hd hd-2 unit-title">What Do Captions Do?</h2>
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<p>Turn your attention now to these photographs of Filipino tribesmen and their captions. How does the use of language in captions reflect and refract the power dynamics embedded in colonial relationships? What is the effect of Worcester’s decision to caption these photographs not with the names of individuals depicted, but rather, their ethnic classifications? The descriptions attached to the images often harkened back to the precise language of science and engaged in an explicit ranking of various ethnic groups. After you watch the video, please complete the exercise.</p>
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<div id="vpxMain" style="overflow: hidden;"><img width="60%" style="float: left; display: inline-block; margin-right: 10px; margin-top: 0px;" alt="Two images; left of man sitting, holding bow between his legs, wearing a red shirt and yellow loincloth, skin is colored grey; right of man sitting, in checked red shirt and khaki pants, wearing red head wrap, arm propped on a pole" href="#" tabindex="0" onclick="album(data,0)" src="/assets/courseware/v1/57d3ed967ff32d889faf7cf76749f5d5/asset-v1:MITx+VPx+1T2019+type@asset+block/ng1180_1913_Nov_27_c.jpg" />
<p>Figure 31. “A Negrito” (left) and “A Tagakaolo” (right) National Geographic, November 1913</p>
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<h3 class="hd hd-2">Video IV-24: What Do Captions Do?</h3>
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<legend id="a13bd7fbd5314a1590d40d7942b26204_2_1-legend" class="response-fieldset-legend field-group-hd">In the captions to the photographs, in which of the following ways does the language of race allow for the racial hierarchy and exoticization of indigenous Filipino groups? Check all that apply.</legend>
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<input type="checkbox" name="input_a13bd7fbd5314a1590d40d7942b26204_2_1[]" id="input_a13bd7fbd5314a1590d40d7942b26204_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="a13bd7fbd5314a1590d40d7942b26204_2_1-choice_1-label" for="input_a13bd7fbd5314a1590d40d7942b26204_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_a13bd7fbd5314a1590d40d7942b26204_2_1"> The use of physical descriptors such as height and hair texture that highlight difference between the Filipinos depicted and an implicit Anglo-Saxon standard
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<h2 class="hd hd-2 unit-title">Optional Reading, Chapter 4: Recasting "Natives"</h2>
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<h3 class="hd hd-2">Photography and Power II, Chapter 4: Recasting "Natives"</h3>
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<p>To read the chapter on the Visualizing Cultures website, <a href="https://ocw.mit.edu/ans7870/21f/21f.027/photography_and_power_02/dw02_essay04.html" target="[object Object]">click here</a>. </p>
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