How museums’ visual culture contributes to knowledge accumulation Sarita See argues that collections of stolen artifacts form the foundation of American knowledge production. Nowhere can we appreciate more easily the triple forces of knowledge accumulation—capitalist, colonial, and racial—than in the imperial museum, where the objects of accumulation remain materially, visibly preserved. 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 that subtends imperial American knowledge, just as the extraction of Filipino labor contributes to American capitalist colonialism. With this understanding of the Filipino foundations of the American 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 this accumulative epistemology, even as they articulate powerful alternative, anti-accumulative social ecologies.

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.

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.

"A superb study of Primitive Baptist belief and practice in a specific region of the South. Expands our knowledge of an often neglected group."--Bill Leonard, Dean, School of Divinity, Wake Forest University Between 1819 and 1848, Primitive Baptists emerged as a distinct, dominant religious group in the area of the deepest South known as the Wiregrass country. John Crowley, a historian and former Primitive minister, chronicles their origins and expansion into South Georgia and Florida, documenting one of the strongest aspects of the inner life of the local piney-woods culture. Crowley begins by examining Old Baptist worship and discipline and then addressing Primitive Baptist reaction to the Civil War, Reconstruction, Populism, Progressivism, the Depression, and finally the ferment of the 1960s and present decline of the denomination. Intensely conservative, with a strong belief in predestination, Old Baptists opposed modernizing trends sweeping their denomination in the early 19th century. Crowley describes their separation from Southern Baptists and the many internal schisms on issues such as the saving role of the gospel, the Two Seed Doctrine, and absolute as opposed to limited predestination. Going beyond doctrine, he discusses contention among Old Baptists over music, divorce, membership in secret societies, sacraments administered by heretics, and rituals such as the washing of feet. Writing with insight and sensitivity, he navigates the history of this denomination through the 20th century and the emergence of at least twenty mutually exclusive factions of Primitive Baptists in this specific region of the Deep South.

A compelling account of the consequences of American colonialism in the Philippines through critical and visual art essays.

Intended to fill a void in critical writing on Philippine musical literature - reflective and analytical discussions of important markers in contemporary Filipino musical life.