Abstract
This essay interrogates the traditionally gendered Filipino female domestic helper vis-à-vis her “constructed” role in transnational relations and the idea of globalization represented in the 2007–2008 musical The Silent Soprano . Through this musical, the essay explores how globalization and transnational relations are experienced and mediated on the stage of the developing city of Manila, which claims to be a cosmopolitan one. It is posited that the representations of transnational relations and globalization are predicated within methodological nationalism, inscribing a fear of participation in a globalized and cosmopolitan living.
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