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"Folklore Philippines Performance."
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The Day the Dancers Stayed
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances-and parodies of them-these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. InThe Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification.
Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
eBook
Localizing the ‘Ethnic:’ Balut-Eating Contests and Identity Performance among Filipino Americans
A half-century ago, Dan Ben-Amos decried the incongruity between what he called localized “ethnic genres” and analytical categories constructed by scholars. He called attention to native cultural expressions in their context. I suggest that balut-eating contests cannot be categorized simply with the analytical category of a festival game or a competitive-eating contest. Instead, it should be seen as a localized genre which communicates Filipino Americans’ experiences and opposes the denigration of their cultural practices.
Journal Article
The Day the Dancers Stayed
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances—and parodies of them—these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed , scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification. Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
eBook
Histories, Resistances, and Reconciliations in a Decolonizable Space: The Philippine Delegation to the 1998 Smithsonian Folklife Festival
This article examines issues related to cross-cultural encounters through the presentation of Filipino folk culture at the 1998 Smithsonian Folklife Festival (SFF). Embedded in the project were issues of power-historical and current, actual and virtual-related to the differing U.S. relationships with the Philippines. I suggest ways in which Philippine values and modes of thinking determined or at least influenced the inception and reception of events, constructed communication, and informed Filipino intent in this particular presentation across cultures. I consider modes of complicity and responsibility that referenced Filipino and American experiences throughout the project.
Journal Article
José Maceda and the Paradoxes of Modern Composition in Southeast Asia
Tenzer discusses the influences of Southeast Asian composers on Western music with particular focus on the Filipino musician and ethnomusicologist Jose Maceda. This Filipino musician reshapes the contemporary musical life in the Philippines and throughout East and Southeast Asia. The achievements of Maceda are also talked about.
Journal Article
