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Nowhere can we appreciate so easily the intertwined nature of the triple forces of knowledge accumulation--capital, colonial, and racial--than in the imperial museum, where the objects of accumulation remain materially, visibly preserved. Sarita See maintains that it is this material collection of artifacts associated with the racial, colonial primitive that forms the foundation of American knowledge production. The Filipino Primitive takes Karl Marx's concept of "primitive accumulation," usually conceived of as an economic process for the acquisition of land and the extraction of labor, and argues that we also must understand it as a project of knowledge accumulation. Taking us through the Philippine collections at the University of Michigan Natural History Museum and the Frank Murphy Memorial Museum, also in Michigan, See reveals these exhibits as both allegory and real case of the primitive accumulation subtending imperial American knowledge, just as the extraction of Filipino labor contributes to American capitalist colonialism. With this understanding of the Filipino foundations of the development of an American accumulative drive toward power and knowledge, we can appreciate the value of Filipino American cultural producers like Carlos Bulosan, Stephanie Syjuco, and Ma-Yi Theater Company who have created incisive parodies of an accumulative epistemology, even as they articulate powerful alternative, anti-accumulative social ecologies.
From the late eighteenth century, the hinterlands of Northern Luzon and its Indigenous people were in the crosshairs of imperial and capitalist extraction. Combining the breadth of global history with the intimacy of biography, Adrian De Leon follows the people of Northern Luzon across space and time, advancing a new vision of the United States's Pacific empire that begins with the natives and migrants who were at the heart of colonialism and its everyday undoing. From the emergence of Luzon's eighteenth-century tobacco industry and the Hawaii Sugar Planters' Association's documentation of workers to the movement of people and ideas across the Suez Canal and the stories of Filipino farmworkers in the American West, De Leon traces "the Filipino" as a racial category emerging from the labor, subjugation, archiving, and resistance of native people. De Leon's imaginatively constructed archive yields a sweeping history that promises to reshape our understanding of race making in the Pacific world.
From the late 1980s to the present, artists of Filipino descent in the United States have produced a challenging and creative movement. In The Decolonized Eye, Sarita Echavez See shows how these artists have engaged with the complex aftermath of U.S. colonialism in the Philippines. Focusing on artists working in New York and California, See examines the overlapping artistic and aesthetic practices and concerns of filmmaker Angel Shaw, painter Manuel Ocampo, installation artist Paul Pfeiffer, comedian Rex Navarrete, performance artist Nicky Paraiso, and sculptor Reanne Estrada to explain the reasons for their strangely shadowy presence in American culture and scholarship. Offering an interpretation of their creations that accounts for their queer, decolonizing strategies of camp, mimesis, and humor, See reveals the conditions of possibility that constitute this contemporary archive. By analyzing art, performance, and visual culture, The Decolonized Eye illuminates the unexpected consequences of America's amnesia over its imperial history.
Taste of Control tells what happened when American colonizers began to influence what Filipinos ate, how they cooked, and how they perceived their national cuisine. Drawing from a rich variety of sources including letters, advertisements, textbooks, menus, and cookbooks, it reveals how food culture served as a battleground over Filipino identity.
In Tropical Renditions Christine Bacareza Balance examines how the performance and reception of post-World War II Filipino and Filipino American popular music provide crucial tools for composing Filipino identities, publics, and politics. To understand this dynamic, Balance advocates for a "disobedient listening" that reveals how Filipino musicians challenge dominant racialized U.S. imperialist tropes of Filipinos as primitive, childlike, derivative, and mimetic. Balance disobediently listens to how the Bay Area turntablist DJ group the Invisibl Skratch Piklz bear the burden of racialized performers in the United States and defy conventions on musical ownership; to karaoke as affective labor, aesthetic expression, and pedagogical instrument; to how writer and performer Jessica Hagedorn's collaborative and improvisational authorial voice signals the importance of migration and place; and how Pinoy indie rock scenes challenge the relationship between race and musical genre by tracing the alternative routes that popular music takes. In each instance Filipino musicians, writers, visual artists, and filmmakers work within and against the legacies of the U.S./Philippine imperial encounter, and in so doing, move beyond preoccupations with authenticity and offer new ways to reimagine tropical places.
The voluminous book provides a range of international theories and methodologies in analytical folklore investigations, and a classification scheme based on genre is offered as the system of taxonomy for Philippine traditional materials. Lopez counts on the regional folklorists to refine the classification according to the texts of their respective areas. The different genres, too, are explained and examined in another part of Lopez's study. The reader will definitely find interesting and useful, the illustrative examples for each genre.
Filipino Americans are one of the three largest Asian American groups in the United States and the second largest immigrant population in the country. Yet within the field of Asian American Studies, Filipino American history and culture have received comparatively less attention than have other ethnic groups. Over the past twenty years, however, Filipino American scholars across various disciplines have published numerous books and research articles, as a way of addressing their unique concerns and experiences as an ethnic group. The SAGE Encyclopedia of Filipina/x/o American Studies, the first on the topic of Filipino American Studies, offers a comprehensive survey of an emerging field, focusing on the Filipino diaspora in the United States as well as highlighting issues facing immigrant groups in general. It covers a broad range of topics and disciplines including activism and education, arts and humanities, health, history and historical figures, immigration, psychology, regional trends, and sociology and social issues.
This book makes a postcolonial reading of the American invasion and colonization of the Philippines in 1898. It considers how nineteenth-century American popular culture, specifically political cartoons and caricatures, influenced American foreign policy. These sources, drawn from several U.S. libraries and archives, show how race and gender ideologies significantly influenced the move of the U.S. to annex the Philippines. The book not only includes a significant collection of political cartoons and caricatures about Filipinos, it also offers an alternative interpretation of the reasons why the U.S. ventured into colonial expansion in Asia.