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Imagining Arab Womanhood: The Cultural Mythology of Veils, Harems, and Belly Dancers in the U.S. (review)

Project (2007), to highlight the “overall predicament of Asian American artists: how careers are sustained through playing stereotypes predicated on yellowface” (183). In the introduction, Lee describes productions of the opera in Japan as “the most robust examples of its complicated racial history” (xx). The opera was censored in the early twentieth century in both London and Japan because of its portrayal of the emperor, but after World War II it became one of the most revived Western shows in Japan. The material for the last chapter is immensely rich, and the examples Lee provides amplify the racial issues that the opera raises on a global scale.