This volume is a comprehensive listing of reference sources for Philippine ethnology, excluding physical anthropology and de-emphasizing folklore and linguistics. It is published as part of the East-West Bibliographic Series. This listing includes books, journal articles, mimeographed papers, and official publications selected on the basis of the ratings of sixty-two Philippine specialists. Several titles were added to fill the need for material in certain areas.

In 1904, renowned architect Daniel Burnham, the Progressive Era urban planner who famously “Made No Little Plans,” set off for the Philippines, the new US colonial acquisition. Charged with designing environments for the occupation government, Burnham set out to convey the ambitions and the dominance of the regime, drawing on neo-classical formalism for the Pacific colony. The spaces he created, most notably in the summer capital of Baguio, gave physical form to American rule and its contradictions. In American Imperial Pastoral, Rebecca Tinio McKenna examines the design, construction, and use of Baguio, making visible the physical shape, labor, and sustaining practices of the US’s new empire—especially the dispossessions that underwrote market expansion. In the process, she demonstrates how colonialists conducted market-making through state-building and vice-versa. Where much has been made of the racial dynamics of US colonialism in the region, McKenna emphasizes capitalist practices and design ideals—giving us a fresh and nuanced understanding of the American occupation of the Philippines.

This book is published in conjunction with the exhibition SPLENDOR: Juan Luna, Painter as Hero, a multimedia exhibition mounted in celebration of the 125th anniversary of Philippine Independence and Nationhood. The exhibition and accompanying publication aim to capture a watershed moment in our history through the analysis and investigation of the long-lost painting by Juan Luna, Hymen, oh Hyménée! which received a Bronze medal at the 1889 Universal Exposition in Paris. Organized around three main themes, namely: the world of 1889, the complex imagery of Hymen, oh Hyménée!, and the painter as hero, the exhibition hopes to be both a fitting introduction to this important cultural treasure and a compelling prompt to revisit our country’s journey to nationhood, amid a radically and rapidly transforming world surrounding it at that time.