Learn about Filipino culture in this illustrated book highlighting some of the most recognizable folk dances of the Philippines.

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.

The Theology of Struggle is a genuinely popular Fillipino theology rooted in the history and culture of a people who have endured colonial oppression at the hands of Spain, North America, and Japan, as well as neo-colonialism and home grown dictatorship. Because Christianity has played a role in assisting the history of oppression in the Phillippines, a theology of struggle must include a struggle in theology, to wrest Christian symbols from the hands of the oppressors and return them to the poor. This theology, which is otherwise expressed in articles, poems, art, and action, receives its first systematic treatment in Toward a Theology of Struggle. In Part On, Fernandez establishes the historical and cultural context out of which the Theology of Struggle has emerged. Part Two represents Fernandez's own constructive work, in which he shows how a theology of struggle must address the quest for identity and peoplehood. In Part Three, Fernandez explores the question of theological method, outlining the areas of convergence and distinction between the Theology of struggle and other Third World theologies, as well as setting forth the distinctive challenge that this theology of the Philippines poses to the authority and dominance of Western theology as a whole.

"This book is a first reader in Philippine dance, observed through forty-five years of viewing, reviewing, and doing. It is one observer's understanding of what, where, or how is dance, and who makes it and why we dance. It attempts to answer these questions, aware that more questions ought to be further asked."--BOOK JACKET.

Lito and his twin sister, Nenita, plan to perform a Filipino folk dance at their school's spring festival, but when snickering classmates threaten to derail his confidence, Lito learns to dig deep and keep dancing.

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.