word version of syllabus here
ANTH 569 Visuality in and out of Southeast Asia
word version of syllabus here.
M / W 1:30-3:20 pm
Smith Hall (SMI) 109
Professor Jenna Grant (she / her)
Office: 136 Denny Hall
Student hours: Tuesdays 10:00 - 11:30 am or by appointment
Department of Anthropology Office and Mailbox: Denny Hall 314
As a filmmaker, you don’t wait for reality,
you call it to the camera.
– Rithy Panh
Description
What can we learn about Southeast Asia through examination of imagery and visual practice? What can photography, film, art, and mixed media, in and out of Southeast Asia, teach us about colonial, post- and de-colonial modernity? In this course, we watch films and read work about visual practices that enable different understandings of nationhood, political economic ideology and activism, memory and exile, sexuality, race, and the body. It is motivated by the premise that images are crucial to how we know, make, and live in the world. The course cultivates critical visual skills through exercises of working with images as arguments and interventions.
Objectives
- To engage key concerns in the field of Southeast Asia studies.
- To develop a critical vocabulary for visual media and practice.
- To cultivate skills for conducting visual research and analysis to advance an argument.
- To understand how anthropologists study and write about their objects, and stimulate questioning about how you might do it (differently, or not).
Communication
I prefer to handle questions or issues in class or in student hours (Tuesdays 10:00 - 11:30 am) rather than by email. If something needs to happen over email, I will do my best to reply within 48 hours. I generally do not respond to email at night and on weekends.
Please communicate with me if you are having trouble showing up for yourself or your classmates, whether your issues have to do with the class (structure, workload, group dynamic) or with life outside the class. We will make a plan to support you.
Requirements
In-class discussion (10%). You are responsible for coming to class having done the reading, with notes, questions, and responses prepared. I may call on you in class to share with us: your take on the main arguments in the text; your definition of a key concept or term, with page numbers of relevant passages; a thoughtful question, provocation, or connection to other class readings. Thoughtful, creative contribution to in-class discussion over the quarter gets ten points; off-topic or merely descriptive comments get five points.
‘Bring your image’ response posting on Canvas (30%): Each week you are required to find an image or short clip related to the week’s materials and write a 250-500-word response. You can find the image online, create your own, or scan one from a hardcopy source. Like a reading response, your task is to relate the image to a concept or puzzle from the week’s materials, and, ideally, to ongoing themes in the course. There are guidelines on Canvas. Twenty points for doing this consistently and well over the quarter, ten points for doing this inconsistently or in a superficial manner. (6 x 5 points each = 30 points)
Presenting your image (10%): One time during the quarter you will present your image to the class as a mode of leading discussion. We will project the image and you will speak for five to ten minutes about the image and its relation to materials for the week, or ongoing themes in the course. Your job will primarily be to craft discussion questions that bring attention to specific passages from the reading, scenes from films, or images. for the week and engage the class in discussion. You should also be able to provide additional background and your own reading of the material to help facilitate the discussion. Sign up at second class.
Project: Conference paper or other creative academic work (50%): You will complete a creative academic project on a topic of your choice that relates to themes in the course. This could be a 7.5-page paper for a conference in your field, or another type of project that you discuss with me in advance. The form is open, though it must involve original research (ethnographic, archival, audiovisual, etc.) and infuse ideas, and least two of the texts, from this class, in addition to sources you identify on your own. You will compile an annotated bibliography/filmography (5%) by the middle of the quarter. You are of course welcome to use materials in languages other than English, though your project must be in English. You will workshop these projects in class (10%), and have a chance to incorporate feedback before final submission (30%).
Grading and Evaluation
In-class discussion 10%
‘Bring your image’ reading responses 30%
Leading discussion 10%
Conference paper/creative academic project 50%
Abstract 5%
Annotated bibliography/filmography 5%
Workshop presentation 10%
Submitted work 30%
Class Practice
Discussion: Vibrant discussion is a goal for this class. I value generosity to each other and to the texts; critical engagement and questioning; and creativity. I hope you view this course as a temporary community—one based on shared journey in the class, but on different experiences of that journey, and different knowledges and histories that we bring to the room. We can create a community by listening to views other than our own with an open mind, trying to understand and appreciate another person’s point of view, and articulating our own point of view using direct communication. Being conscious of not monopolizing dialogue and/or interrupting will help create this community as well.
Some ground rules:
- Assume a partial perspective: you might miss things that others see, and see things that others miss.
- Your own viewpoint is important—share it. It will enrich others.
- Others’ viewpoints are important—listen and be present.
- Ask questions when you don’t understand something.
- Disagreement can be constructive, but disrespect is not. Demeaning or discriminatory conduct is not tolerated.
Phones and Computers: Please turn phones off before coming to class. Tell me in advance if you need your phone on for some reason. Warning: If your computer use is distracting to me or to your fellow students I will ask you to shut it down, which is disruptive and potentially uncomfortable. Best avoided! Please be respectful of class space.
Email: I receive a large volume of email. I will do my best to reply within 48 hours, Monday-Friday. It helps if your emails are brief, polite, and to the point with clear subject headers. Substantive questions are for office hours. I do not accept papers and other assignments over email; these must be submitted digitally on Canvas.
Accessibility: If you have a disability or need accommodations for note-taking or any other aspect of your coursework, do not hesitate to let me know. The Disability Resources for Students Office (DRS): 448 Schmitz, Box 355839, (206) 543-8924, (TTY) 543-8925, uwdss@u.washington.edu.
Plagiarism: Don’t do it! For further information, please see the university policy on academic honesty https://depts.washington.edu/grading/pdf/AcademicResponsibility.pdf. The purpose of this course is to help students become critical and independent thinkers. Original thoughts and ideas will be highly valued, and students are expected to treat the work of others similarly.
UW Resources
Southeast Asia Studies Librarian: Judith Henchy, judithh@uw.edu, Suzzallo Library
Anthropology Librarian: Anne Davis, adavey@uw.edu, Odegaard Undergraduate Library
JSIS Writing Center: https://depts.washington.edu/pswrite/
Samuel E. Kelly Ethnic Cultural Center (ECC): http://depts.washington.edu/ecc/
Student Life: Support in areas of life outside the classroom: http://studentlife.washington.edu/
Counseling Center: Free counseling resources: http://counseling.uw.edu/
Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses subject to the same kinds of accountability and the same kinds of support applied to offenses against other protected categories such as race, national origin, etc. If you or someone you know has been harassed or assaulted, there are resources:
http://www.washington.edu/sexualassault/ (UW)
http://police.uw.edu/aboutus/divisions/operations/criminalinvestigations/victimadvocacy/ (UW) http://knowyourix.org/basics/ (non-UW)
http://survjustice.org/about-us/ (non-UW)
ANTH 569 Special Topics in Sociocultural Anthropology
Visuality in and out of Southeast Asia
*This is a living document. Course readings and schedule subject to change*
Texts to purchase
- Panh, Rithy. 2014. The missing picture. Color, 92 minutes. Catherine Dussart Productions/Arte France/Bophana Production. Strand Releasing.
- Strassler, Karen. 2020. Demanding images: Democracy, mediation, and the image-event in Indonesia. Durham: Duke University Press.
- Klima, Alan. 2012. The funeral casino: Meditation, massacre, and exchange with the dead in Thailand. Princeton: Princeton University Press.
The following dvds will be on reserve at UW Libraries.
- DVD STRAN 054 The missing picture, Rithy Panh (with Eng subs)
- DVD FRF 080 S-21: The Khmer Rouge killing machine (with Eng subs)
- DVD STRAN 035 Uncle Boonmee who can recall his past lives, Apichatpong Weerasethakul
Articles are available via Canvas as links to UW Library holdings or to pdfs in the Files section.
Week 1: Introductions, orientations, colonial phantasms
Mon 30 March
Welcome, introduction to the course and to each other, review syllabus.
Theft: “Dancing at the Met for Cambodia’s ‘blood statues’”. Brazen. https://youtu.be/3blxDos7P3U?si=BvlqjSPyH6my5ZGv
Reappropriating and reworking tradition: Graffiti artist Fonki
https://www.nytimes.com/2025/09/01/world/asia/fonki-graffiti-cambodia-angkor-wat.html
Wed 1 Apr
Ordering space and race—libraries, colonial expositions
Read / view
Baicy, Caroline. 2022. Scattered archives: The Philippine exhibit and the Igorot village at AYPE, 1909. Online lecture, UW Center for Southeast Asia & its Diasporas (CSEAD): https://youtu.be/osrm1EcScwk?si=FomSA5jTcB0a8F7e
Nguyen, Cindy. 2026. Bibliotactics: Libraries and the colonial public in Vietnam. Oakland: University of California Press. [Chapter 2 ‘To be in public’ pp. 56-99; Introduction is optional]
Norindr, Panivong. 1996. Phantasmatic Indochina: French colonial ideology in architecture, film, and literature. Durham: Duke University Press. [Ch 1 ‘Representing Indochina’; Ch 2 ‘Unruly natives’ is optional]
Special event
*Thursday 2 April Prof. Cindy Nguyen (UCLA) will give a public lecture on Bibliotactics*
1:30 – 3:00 pm Peterson Room, Allen Library
Supplemental
On Colonial theft and struggle for postcolonial repatriation
Brazen. 2024. Dynamite Doug. Podcast.
https://podcasts.apple.com/us/podcast/dynamite-doug/id1672649131
Cheam-Shapiro, Sophiline. 2023. “Met museum kicked me out for praying to my ancestral gods” Hyperallergic.
Week 2: Postcolonial visuality – film cultures & identity photos
Mon 6 Apr
Post-independence optimism and idealism
Reading / viewing
Mbembe, Achille. 2006[2008]. What is postcolonial thinking? Interview with Esprit magazine. Translated by Eurozine. https://www.eurozine.com/what-is-postcolonial-thinking/
Chou, Davy. 2012. Golden slumbers.
Wed 8 Apr
Identifying citizens, refracting state images
Reading / viewing
Strassler, Karen. 2010. Refracted visions [‘Introduction’ pp. 1-28; Chapter 3 ‘Identifying citizens’ pp. 123-163]
Assignment
Bring your image # 1
Supplemental
Post-Independence cinema
Lann, Ly. 2024. Voice actor. 27 minutes.
Muan, Ingrid. 2001. Citing Angkor. [selections: Chapter 3 ‘Display’ 184-254; ‘Conclusion’ 475-85].
Ly, Daravuth and Ingrid Muan. 2001. Cultures of independence: An introduction to Cambodian arts and culture in the 1950s and 1960s. Phnom Penh: Reyum.
Ly Bun Yim's film on YouTube: The faithfulness of princess Kong Rey
Tribute to Ly Bun Yim on YouTube
Identity cards as technologies of rule
https://visualizingpalestine.org/visual/israeli-id-system-animation/
https://www.freedomarchives.org/Documents/Finder/DOC54_scans/54.PassBook.pdf
Vernacular use of id photos
Stock, Emiko. 2019. Archiving the 'difficult to picture'. Southeast of Now: Directions in Contemporary and Modern Art in Asia 3(2)
On photo
Hien, Nina. 2013. Photo retoucher. In Figures of Southeast Asian modernity. Barker, Harms, and Lindquist, eds. Pp. 67-69. Honolulu: University of Hawai'i Press.
Pemberton, John. 2009. The ghost in the machine. In Photographies east: The camera and its histories in East and Southeast Asia. Rosalind Morris, ed. Pp. 29-56. Durham: Duke University Press.
Week 3: diasporic history and critique
Mon 13 Apr - Homelands / curated realities
Photographer Poa Houa Her makes work about Hmong communities in the U.S. She explores conventional genres—military portrait, studio portrait, landscape photography, home shrines—and alternative, accessible sites for exhibition and display.
Poa Houa Her Gallery page: https://bockleygallery.com/artist/pao-houa-her/
Reading / viewing
Her, Pao Houa. 2024. My grandfather turned into a tiger. New York: Aperture.
PhotoBook flip-through. https://youtu.be/O5MeDU9loCw?si=puvVlvZ-RDvK9nno
PhotoBook Club. https://youtu.be/ULACXpdnmME?si=bD_3Lf2YXYZgGLbj
2023 Stephen Fleischman Lectureship with Guggenheim Fellow Pao Houa Her. Madison Museum of Contemporary Art, 25 April. https://youtu.be/1NQe1evLYHU?si=8EEoqGDLFCBmOnfc, 70 minutes.
Annual lecture. Topics include: her family; Hmong community history; the American War in Laos; genres of portraiture.
Schmelzer, Paul. 2022. Homelands lost, constructed, reimagined: An interview with pao Houa Her. Bockleygallery.com, 12 September. https://bockleygallery.com/pao-houa-her-interview/
Cipolle, Alex V. 2025. ‘This whole other reality’: Pao Houa Her’s photos show the complexity of Hmong diaspora. ChangeMakers Series. MPR News, 13 May. https://www.mprnews.org/story/2025/05/13/changemakers-pao-houa-her-photography-captures-hmong-diaspora
Supplemental
#MyHistoryMatters with Pao Houa Her. Minnesota Historical Society. https://youtu.be/nqAOn1TcZz4?si=E4z7jF3fhqEcrqft
Her talks about her photographs in the Hmong elder center in St. Paul, MN.
Pao Her - Attention. Minneapolis Institute of Art. https://youtu.be/sblKVJh0LxE?si=LwlaKAVCi6eocrLJ
Her talks about her photographs of Hmong-American soldiers seeking recognition of their service.
Pao Houa Her: The imaginative landscape. Creative Minds. SJSU Library. https://youtu.be/aWcVxIk3fa4?si=xxPpd6CD1A75zAjo, 108 minutes.
Artist talk around the exhibit, The imaginative landscape, at San José Museum of Art (2025-2026). Interview begins around 00:15:15. Contents include: motivation to become an artist; graduate training; process of making work; family and community history; American War in Laos; art and accessibility; Hmong statelessness. Slide show accompanies the audio. (Note: audio cuts out for about 10 minutes ~ 01:13:00 – 01:25:00.)
Pao Her: Artist profile. Minneapolis Institute of Art. https://youtu.be/X9iyNWkGTu4?si=rrNAeDkjqMy6eFEK
More context for Attention series and other projects.
Paj qaum ntuj / Flowers of the sky
Wed 15 Apr
In class
Filmmaker and historian Adrian Alarilla will join us by zoom for screening and discussion of three of his short works. We will watch these shorts together in class.
Pag-uusap+Pagmumuni-muni (Conversations+Musings). 8 minutes.
Queer Transnational Love in the Time of Social Media & Globalization. 19 minutes.
Afterword to Queer Transnational Love. 3 minutes.
Reading / viewing
Alarilla, Adrian 2021. Unsettling islands: Philippine cinema, migration, and settler colonialism. Pelikula Journal 6: 36-43.
Assignment
Bring your image #2
Supplemental
Alarilla's website: https://adrianalarilla.com/
(all his films are available for free on his website!)
Week 4: Diasporic performance
Mon 20 Apr – transnational art and performance
In class
Prof. Emily Hue will join us by zoom.
Reading / viewing
Hue, Emily. 2025. Performing vulnerability: Risking art and life in the Burmese diaspora. Seattle: University of Washington press. [selections] https://uwapress.uw.edu/book/9780295753614/performing-vulnerability/
Supplemental
Htein Lin gallery page: https://tasneemgallery.com/artist/htlein-lin/
Htein Lin – Escape IKON exhibition page: https://www.ikon-gallery.org/exhibition/htein-lin https://guides.bloombergconnects.org/en-US/guide/ikonGallery/exhibition/992c6586-5d9a-4b9a-abe9-f96b9ee0b39bThis guide has audio clips with the artist and IKON curator, Melanie Pocock.
Ngaosawangjit, Napatsorn. 2025. His absence is, paradoxically, his presence. Time Out Bangkok, 19 September. https://www.timeout.com/bangkok/art/his-absence-is-paradoxically-his-presence
Okay, Ayca. 2024. From incarceration to inspiration: The remarkable artistic journey of Htein Lin. stirworld, 9 March. https://www.stirworld.com/inspire-conversations-from-incarceration-to-inspiration-the-remarkable-artistic-journey-of-htein-lin
Schulze, Martin. 2019. Burmese artist Htein Lin & his powerful hand sculptures. publicdelivery.org, 31 December. https://publicdelivery.org/htein-lin-show-of-hands/
Wed 22 Apr – the raced and gendered body, or, “because we refuse to end in violence”
In class
We will watch clips and discuss race, spectacle, pleasure and the body in the work of Anida Yoeu Ali.
We will read and discuss our paper abstracts. [Please submit to Canvas before class!]
Reading / viewing
1700% Project (2010)
NPR Interview. “Performance Artist Takes on Islamophobia” with Tema Silk. December 11, 2015
Online lecture, Anida Yoeu Ali. VCA Art Forum: https://youtu.be/Wc8aqOu7u8M?si=fiIY6L-m9Gu2bdV1
“Living Art”: https://youtu.be/1jAPrtARwXs?si=B6HJPTkTQcHeuW5S
Kina, Laura. 2017. The Buddhist Bug: Spanning borders and bodies. 2017. In Queering Contemporary Asian American Art. Edited by Laura Kina and Jan Christian Bernabe. Pp. 185-191. Seattle: University of Washington Press.
https://seattleartmuseum.org/whats-on/exhibitions/anida-yoeu-ali
https://bombmagazine.org/articles/2024/07/01/anida-yoeu-ali-by-jessica-lanay/
Assignments
Bring your image #3
Paper abstract due on Canvas.
Week 5: youth and labor
Mon 27 Apr – remaking the city
In-class
Chou, Davy. 2016. Diamond island. Paris: Aurora Films. 99 minutes.
*We will walk to Allen Auditorium to watch Diamond Island on the big screen.*
Reading / viewing
Shorts from the Anti-Archive collective
Wed 29 Apr – dispossessions – urban, indigenous
Reading / viewing
Neang, Kavich. 2019. Last night I saw you smiling. 77 minutes.
Nam, Sylvia. 2011. Phnom Penh: From the politics of ruin to the possibilities of return.
[TBD, if I can access the film: Ly, Polen. 2022. Further and further away. 21 minutes]
Assignment
Bring your image #4
Special event
*CSEAD Graduate Conference on Friday 1 May* 9 am – 5 pm in THO 317
Keynote: "The B-sides of Unmaking botany: Labor and the archive of the bereaved in the colonial Philippines."
3:30-5 pm, THO 317
Week 6: Images of terror, missing and false – the work of Rithy Panh
Mon 4 May
Reading / viewing
Panh, Rithy. 2002. S21: The Khmer Rouge killing machine. Color, 101 minutes. New York: First Run Features.
Panh, Rithy with Christophe Bataille. 2012. The elimination. John Cullen, trans. New York: Other Press. [selections]
French, Lindsay. 2002. Exhibiting terror. In Truth claims: Representation and human rights. Mark Philip Bradley and Patrice Petro, eds. Pp. 131-155. New Brunswick, NJ: Rutgers University Press.
Wed 6 May
In class
Panh, Rithy. 2014. The missing picture. Color, 92 minutes. Catherine Dussart Productions/Arte France/Bophana Production. Strand Releasing.
*We will walk to Allen Auditorium to watch The missing picture on the big screen.*
Reading / viewing
Taussig, Mick. 1989. Terror as usual: Walter Benjamin’s theory of history as a state of siege. Social Text 23: 3-20.
Torchin, Leshu. 2014. Mediation and remediation: La parole filmée in Rithy Panh’s The missing picture (L’image manquante). Film Quarterly 68(1): 32-41.
Supplemental
Boyle, Dierdre. 2014. Confronting images of ideology. An interview with Rithy Panh. Cineaste.
Mbembe, Achille. 2003. Necropolitics. Libby Meintjes, trans. Public Culture 15(1): 11-40.
Panh, Rithy and Christophe Bataille. 2013. The missing picture (English voice-over text). Letitia Farris Toussaint, trans. Editions Grasset, Catherine Dussart Productions, and Bophana. Cambodia Law and Policy Journal: 85-118.
Assignment
Annotated bibliography due, submitted on Canvas by 3pm.
*get a head start on Funeral Casino, it is dense*
Week 7: Images of violence in mass media
Mon 11 May
Reading / viewing
Rafael, Vicente L. 2022. The sovereign trickster: Death and laughter in the age of Duterte. Durham: Duke University Press. [Chapter 5 ‘Photography and the biopolitics of fear: Witnessing the Philippine Drug War’, pp. 103-130.]
Baicy, Caroline. 2020. Intersecting the historical call for human dignity and visual culture in the Philippines. Verge: Studies in Global Asias 6(1): 18-23.
Wed 13 May
Reading / viewing
Klima, Alan. 2012. The funeral casino: Meditation, massacre, and exchange with the dead in Thailand. Princeton: Princeton University Press. [Introduction and Part I ‘The passed’, pp. 1-165]
Assignment
Bring your image #5
Week 8: tradition and performance
Mon 18 May
NO CLASS. Instructor traveling.
*use the time to work on your final project*
Wed 20 May
In class
Dr. Allan Zheng will join us in class to discuss his work on queer performance and Cambodian classical dance.
Reading / viewing
TBD
Supplemental
Zheng, Allan. 2024. “Finding Phlauv and the creative power of contemporary Cambodian performance”. Online lecture 24 May, Center for Khmer Studies.
Week 9: Death, nature, and impermanence
Mon 25 May
NO CLASS. Memorial Day Holiday.
Wed 27 May
In class
Apichatpong Weerasethakul. 2010. Uncle Boonmee who can recall his past lives. 113 minutes.
*We will walk to Allen Auditorium to watch Uncle Boonmee on the big screen.*
Reading / viewing
Klima, Alan. 2012. The funeral casino: Meditation, massacre, and exchange with the dead in Thailand. Princeton: Princeton University Press. [Part II ‘Kamma’, pp. 169-end]
Assignment
Bring your image #6
Special event
*Saturday 30 May is a memorial event for Prof. Vince Rafael in Kane Hall*
Supplemental
Fuhrmann, Arnika. 2016. Ghostly desires: Queer sexuality and vernacular Buddhism in contemporary Thai cinema. Durham: Duke University Press. [Introduction ‘Buddhist sexual contemporaneity’; Chapter Three ‘Tropical malady: Same-sex desire, casualness, and the queering of impermanence in the cinema of Apichatpong Weerasethakul’]
Week 10: Activism
Mon 1 Jun
Reading / viewing
Strassler, Karen. 2020. Demanding images: Democracy, mediation, and the image-event in Indonesia. Durham: Duke University Press. [1st half, pp. 1-130]
Wed 3 Jun
Reading / viewing
Strassler, Karen. 2020. Demanding images: Democracy, mediation, and the image-event in Indonesia. Durham: Duke University Press. [2nd half, pp. 131-end]
Supplemental
Lee, Doreen. 2011. Images of youth: On the iconography of history and protest in Indonesia. History and Anthropology 22(3): 307– 36.
Lee, Doreen. 2013. ‘Anybody can do it’: Aesthetic empowerment, urban citizenship, and the naturalization of Indonesian graffiti and street art. City and Society 25(3): 304– 27.
Interview with Karen Strassler on images and politics in Indonesia: https://podcasts.apple.com/us/podcast/prof-karen-strassler-images-and-politics/id1031451800?i=1000541383193
Assignment
Workshop projects
Exam week
Assignment
Project due. If text, submit on Canvas. If other format, submit dvd, link to digital file, or hardcopy. Wednesday 10 June is the deadline.
Class resources
Southeast Asia and Asia
SEAlang Library (dictionary): http://sealang.net/library/
Northern Illinois University Center for Southeast Asian Studies
Northern Illinois University, Southeast Asia Digital Library http://sea.lib.niu.edu/
TLC-Thailand, Laos, Cambodia Studies Association: https://web.sas.upenn.edu/tlc/
Kyoto University Center for Southeast Asian Studies: http://www.cseas.kyoto-u.ac.jp/en/
New Mandala: http://www.newmandala.org/
Sojourn: Journal of Social Issues in Southeast Asia
positions: asia critique
Journal of Southeast Asian Studies
https://www.mekong-review.com/
Khmer Studies
Udaya: Journal of Khmer Studies
Bophana Audiovisual Resource Center: http://bophana.org/
Anthropology Journals, Societies, & Blogs
Society for Visual Anthropology: https://www.societyforvisualanthropology.org/
Visual Anthropology Review: https://www.visualanthropologyreview.org/
https://anthrosource.onlinelibrary.wiley.com/journal/15487458
Visual & New Media Review: https://culanth.org/fieldsights/contributed-content/visual-and-new-media-review
VNMR The Screening Room: https://culanth.org/fieldsights/contributed-content/visual-and-new-media-review/the-screening-room
VNMR Con-text-ure: https://culanth.org/fieldsights/contributed-content/visual-and-new-media-review/con-text-ure
Visual Anthropology: https://www.tandfonline.com/toc/gvan20/current
Ethnocine: https://www.ethnocine.com/
Entanglements: Experiments in Multimodal Ethnography:
Multimodal Anthropologies section in American Anthropologist
Art
Asian American Literary Review
Southeast of Now: Directions in Contemporary and Modern Art in Asia
SaSaBassac
Secret, no more – An expression of humanity: https://www.laomerica.com/about
École Française d’extrême-orient: http://www.efeo.fr/base.php?code=20
In/from Seattle
CSEAD’s YouTube page (lectures, performances): https://www.youtube.com/@uwcsead
Henry Art Gallery. Has textiles and a few other objects related to Southeast Asia. You can search the collections online and make a reservation to view objects in person.
https://collections.henryart.org/main.php?module=objects
Seattle Asian Art Museum (SAAM) and Seattle Art Museum (SAM). SAM has digitized many of their collections: https://www.seattleartmuseum.org/art-and-artists/sams-collection
Wing Luke Museum of the Asian Pacific American Experience
Frye Gallery
Manuela Insixiengmay. Seattle-based commercial photographer
Syllabus statement on discrimination, harassment, and sexual misconduct
University of Washington policy, in concert with federal and state laws, provides the right to participate in University programs and activities free from sexual misconduct or discrimination on the basis of protected characteristics, including but not limited to disability, race, sex and others. Sexual misconduct includes, but is not limited to, sexual assault, relationship violence, sexual harassment, and stalking.
Students who believe they have experienced civil rights discrimination, harassment, or sexual misconduct are encouraged to contact a Civil Rights Compliance Office Case Manager by making a Civil Rights & Title IX Report. Case managers can provide guidance on available Supportive Measures and Resolution Options.
You can also access these resources directly:
- Know Your Rights & Resources guide provides information for any member of the UW community who has experienced sexual misconduct.
- Confidential Advocates offer confidential support and advocacy for UW students and employees impacted by sexual assault, relationship violence, or stalking.
- Pregnancy & Related Conditions provides information on support and reasonable modifications related to attending class or participating in educational activities if you are pregnant, have experienced a miscarriage or an abortion, are recovering from giving birth, are lactating, or have a related medical condition.
It’s also important to be aware that most employees who become aware of discrimination, harassment, or sexual misconduct involving students are required to share information with the Civil Rights Compliance Office. They may withhold the impacted student’s name if requested.
Access and accommodations
Your experience in this class is important to me. It is the policy and practice of the University of Washington to create inclusive and accessible learning environments consistent with federal and state law. If you have already established accommodations with Disability Resources for Students (DRS), please activate your accommodations via myDRS so we can discuss how they will be implemented in this course. If you have not yet established services through DRS, but have a temporary health condition or permanent disability that requires accommodations (conditions include but not limited to; mental health, attention-related, learning, vision, hearing, physical or health impacts), contact DRS directly to set up an Access Plan. Contact DRS at disability.uw.edu.