{"id":678,"date":"2004-05-11T10:55:16","date_gmt":"2004-05-11T17:55:16","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/05\/chew_on_this\/"},"modified":"2004-05-11T10:55:16","modified_gmt":"2004-05-11T17:55:16","slug":"chew_on_this","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/05\/chew_on_this.html","title":{"rendered":"CHEW ON THIS"},"content":{"rendered":"<p><P>Maj. Gen. Antonio Taguba, who wrote the Army report on torture of Iraqi prisoners, is an<br \/>\n<A class=inline href=\"http:\/\/the.honoluluadvertiser.com\/article\/2004\/May\/04\/ln\/ln05a.html\"\ntarget='new\"'><B><EM><FONT color=#003399>American<br \/>\nhyphenate<\/FONT><\/EM><\/B><\/A>. He is NOT white. He is a Filipino-American, born in<br \/>\nManila, who moved to Hawaii at age 11 and grew up there in a largely mixed-race society. I&#8217;d bet<br \/>\nthis made him sensitive to issues of racism that often sail right over the heads of many white<br \/>\nAmericans. Why is this relevant? Because unspoken racism seems to me to have been a factor in<br \/>\nwhat happened at Abu Ghraib. <\/P><br \/>\n<P>See <A class=inline href=\"http:\/\/www.nytimes.com\/2004\/05\/11\/opinion\/11SANT.html\"\ntarget='new\"'><B><EM><FONT color=#003399>Luc Sante&#8217;s article<\/FONT><\/EM><\/B><\/A><br \/>\nthis morning on the op-ed page of The New York Times. Sante, an authority on the history of<br \/>\nphotography, notes the similarity of the torture photos at Abu Ghraib to old lynching photos of<br \/>\nAfrican-Americans. He calls both kinds of photos &#8220;trophy shots.&#8221; Sante writes: &#8220;Like the lynching<br \/>\ncrowds, the Americans at Abu Ghraib felt free to parade their triumph and glee not because they<br \/>\nwere psychopaths but because the thought of censure probably never crossed their minds.&#8221;<\/P><br \/>\n<P>I would venture that Taguba&#8217;s experience as a Filipino-American immigrant with a special<br \/>\nsensitivity to racism had as much to do with the depth of his report as his courage in bucking the<br \/>\nsystem. <A class=inline href=\"http:\/\/starbulletin.com\/1999\/03\/08\/news\/newsmaker.htm\"\ntarget='new\"'><B><EM><FONT color=#003399>No less important:<\/FONT><\/EM><\/B><\/A><br \/>\nTaguba&#8217;s father, while serving in the U.S. Army during World War II, was captured by the<br \/>\nJapanese in Bataan in the Philippines and was a prisoner of war until his escape during the<br \/>\ninfamous Bataan death march. You can be sure&nbsp;that&nbsp;his POW experience,<br \/>\ntoo,&nbsp;focused&nbsp;his son&#8217;s attention.<\/P><br \/>\n<P><B>Postscript:<\/B> The scathing editorial in the Army Times about &#8220;the now-infamous<br \/>\npictures and [Taguba&#8217;s] even more damning report&#8221; gets things right: <A class=inline\nhref=\"http:\/\/www.armytimes.com\/story.php?f=1-292925-2903288.php\"\ntarget='new\"'><B><EM><FONT color=#003399>A failure of leadership at the highest<br \/>\nlevels<\/FONT><\/EM><\/B><\/A>. Apparently the enlisted soldiers involved in the scandal have<br \/>\ncome in for derision at the Pentagon as &#8220;the six morons who lost the war.&#8221; But according to the<br \/>\nArmy Times &#8220;the folks in the Pentagon are talking about the wrong morons.&#8221; We all know who<br \/>\nthe right morons are. &#8220;This was a failure that ran straight to the top.&#8221;<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Maj. Gen. Antonio Taguba, who wrote the Army report on torture of Iraqi prisoners, is an American hyphenate. He is NOT white. He is a Filipino-American, born in Manila, who moved to Hawaii at age 11 and grew up there in a largely mixed-race society. I&#8217;d bet this made him sensitive to issues of racism [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-678","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-aW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/678","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=678"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/678\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=678"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=678"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=678"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}