The Ruse of Respectability: Familial Attachments and Queer Filipino Canadian Critique

In: Asian Diasporic Visual Cultures and the Americas
Robert Diaz University of Toronto, Toronto, Ontario, Canada,

Search for other papers by Robert Diaz in
Current site
Google Scholar
View More View Less
Download Citation Get Permissions

Access options

Get access to the full article by using one of the access options below.

Institutional Login

Log in with Open Athens, Shibboleth, or your institutional credentials

Login via Institution


Buy instant access (PDF download and unlimited online access):


This article focuses on queer Filipino artists who deploy familial memories to produce important knowledge around what it means to be queer, racialized, and diasporic in Canada. Through Patrick Salvani’s drag show Sarap (2017) and Casey Mecija’s short film My Father, Francis (2013), the author tracks how familial memories expose the contradictions inherent in being sexually and racially marginalized within this multicultural, settler colonial space. Sarap and My Father, Francis activate various scenes of domesticity to disturb the teleological tropes with which the private and the public have been institutionally compartmentalized. Both also offer examples of Filipino Canadian critique that resist the assimilationary ruse of respectability through economic value and ideological worth. These works reorganize the meaning of “finding happiness,” not by drawing from overwrought narratives of familial “inclusion,” but by mining the complex affects that often emanate from the histories, burdens, and pains of family members.

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 554 98 15
Full Text Views 403 37 5
PDF Views & Downloads 279 52 10