This coda looks at the world premiere staging of Rolling the Rs, R. Zamora Linmark's highly acclaimed novel, produced by Honolulu's Kumu Kahua Theater in November 2008. The play and its consequent production in Hawaii deftly weave together questions of race, performance, imperial relations, and Filipino subjectivity, providing continuities and interruptions to the sites which have been discussed in the previous chapters regarding the Filipino performing body. Nothing more captures puro arte as a way of being in the world than the characters performances where the racialized constructs of femininity are reimagined. Puro arte situates mimicry as a performance strategy and methodology. Within regimes of colonization and globalization, mimicry, within the logic of colonialism and globalization, has featured as a central discursive analytic to bring to sense and make sense of Filipinos.
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