Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U.S. race relations and discourses of globalization. Puro arte, translated from Spanish into English, simply means “pure art.” In Filipino, puro arte however performs a much more ironic function, gesturing rather to the labor of over-acting, histrionics, playfulness, and purely over-the-top dramatics. In this book, puro arte functions as an episteme, a way of approaching the Filipino/a performing body at key moments in U.S.-Philippine imperial relations, from the 1904 St. Louis World’s Fair, early American plays about the Philippines, Filipino patrons in U.S. taxi dance halls to the phenomenon of Filipino/a actors in Miss Saigon. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism.

A guide on what every leader needs to know to succeed.

Tagalog is an Austronesian language. It is the language of Manila and the surrounding provinces of Bataan, Bulacan, Rizal, Cavite Laguna, Quezon, Batangas, and Marinduque. It is also spoken widely throughout the Philippines as a second language, with an estimated sixty percent of the population now being able to communicate in this language. Tagalog is the basis of the Philippine national language, Pilipino, and as such is taught in schools throughout the country. In addition to the lessons in this text, there are extensive notes to the teacher, supplementary vocabulary lists, pronunciation drills, and songs.

In The Promise of the Foreign, Vicente L. Rafael argues that translation was key to the emergence of Filipino nationalism in the nineteenth century. Acts of translation entailed technics from which issued the promise of nationhood. Such a promise consisted of revising the heterogeneous and violent origins of the nation by mediating one’s encounter with things foreign while preserving their strangeness. Rafael examines the workings of the foreign in the Filipinos’ fascination with Castilian, the language of the Spanish colonizers. In Castilian, Filipino nationalists saw the possibility of arriving at a lingua franca with which to overcome linguistic, regional, and class differences. Yet they were also keenly aware of the social limits and political hazards of this linguistic fantasy. Through close readings of nationalist newspapers and novels, the vernacular theater, and accounts of the 1896 anticolonial revolution, Rafael traces the deep ambivalence with which elite nationalists and lower-class Filipinos alike regarded Castilian. The widespread belief in the potency of Castilian meant that colonial subjects came in contact with a recurring foreignness within their own language and society. Rafael shows how they sought to tap into this uncanny power, seeing in it both the promise of nationhood and a menace to its realization. Tracing the genesis of this promise and the ramifications of its betrayal, Rafael sheds light on the paradox of nationhood arising from the possibilities and risks of translation. By repeatedly opening borders to the arrival of something other and new, translation compels the nation to host foreign presences to which it invariably finds itself held hostage. While this condition is perhaps common to other nations, Rafael shows how its unfolding in the Philippine colony would come to be claimed by Filipinos, as would the names of the dead and their ghostly emanations.

This critical and inclusive edited collection offers an overview of the musical in relation to issues of race, culture and identity. Bringing together contributions from cultural, American and theatre studies for the first time, the chapters offer fresh perspectives on musical theatre history, calling for a radical and inclusive new approach. By questioning ideas about what the musical is about and who it for, this groundbreaking book retells the story of the musical, prioritising previously neglected voices to reshape our understanding of the form. Timely and engaging, this is required reading for undergraduate and postgraduate students of musical theatre. It offers an intersectional approach which will also be invaluable for theatre practitioners.

Halintulad ng kuwento ng buhay ng naging kaibigang masahista sa baywalk, nakipagsapalarang mamuhay mag-isa ni Jaret sa pag-aasam na matakasan ang lagim ng mga bangungot at hilera ng mga trahedyang gumugupo sa kanyang pagkasino. Sa daigdig na ito ng mga gising na malayo sa mahiwagang babaeng wagas niyang sinisinta, maliligaw sa landas niya o siya sa kanila silang mga nilalang na makatutulong sa kanyang makabuo ng kuwento - isang contortionist sex freak, mga birhen at lagalag, filmmaker na mahilig sa mga pahiwatig, at silang bigla na lamang nililindol, namamatay at tumatagos sa pader.Samantalang sa mundo ng mga nananaginip, isang binatang makata ang sumusulat ng isang journal ng mga bangungot habang nasa bingit ng bangin. At kasabay ng sandaling maisilang ang isang butas na kuwentong magpapalutang-lutang sa kawalan na magbubunga ng paghahalo ng kung ano ang totoo sa guniguni at ang gising sa himbing ay ang pagkaunawang silang pinangyaring magbuklod kailanma'y hindi na mapaghihiwalay.