A valuable resource for students of art and art history, this book is the fruit of two decades of research and association with social realists and other protest and in revolutionary artists. Guillermo goes back to the origins of protest art in the 19th century and pursues it to its full flourishing in the Marcos regime and its variations during the Aquino administration. It also projects the trajectory of art into the future as new issues emerge to engage the political artist.

A valuable resource for students of art and art history, this book is the fruit of two decades of research and association with social realists and other protest and in revolutionary artists. Guillermo goes back to the origins of protest art in the 19th century and pursues it to its full flourishing in the Marcos regime and its variations during the Aquino administration. It also projects the trajectory of art into the future as new issues emerge to engage the political artist.

Read an interview with Robyn Rodriguez. Filipino American Transnational Activism: Diasporic Politics among the Second Generation offers an account of how Filipinos born or raised in the United States often defy the multiple assimilationist agendas that attempt to shape their understandings of themselves. Despite conditions that might lead them to reject any kind of relationship to the Philippines in favor of a deep rootedness in the United States, many forge linkages to the “homeland” and are actively engaged in activism and social movements transnationally. Though it may well be true that most Filipino Americans have an ambivalent relationship to the Philippines, many of the chapters of this book show that other possibilities for belonging and imaginaries of “home” are being crafted and pursued.

Please note this is a 'Palgrave to Order' title (PTO). Stock of this book requires shipment from an overseas supplier. It will be delivered to you within 12 weeks. This book offers the first history of the Filipinos in the United States, focusing on the significance of the Moro people's struggle for self-determination.

Since World War II, students in East and Southeast Asia have led protest movements that toppled authoritarian regimes in countries such as Indonesia, South Korea, and Thailand. Elsewhere in the region, student protests have shaken regimes until they were brutally suppressed--most famously in China's Tiananmen Square and in Burma. But despite their significance, these movements have received only a fraction of the notice that has been given to American and European student protests of the 1960s and 1970s. The first book in decades to redress this neglect, Student Activism in Asia tells the story of student protest movements across Asia. Taking an interdisciplinary, comparative approach, the contributors examine ten countries, focusing on those where student protests have been particularly fierce and consequential: China, Japan, Hong Kong, Taiwan, South Korea, Indonesia, Burma, Malaysia, Thailand, and the Philippines. They explore similarities and differences among student movements in these countries, paying special attention to the influence of four factors: higher education systems, students' collective identities, students' relationships with ruling regimes, and transnational flows of activist ideas and inspirations. The authors include leading specialists on student activism in each of the countries investigated. Together, these experts provide a rich picture of an important tradition of political protest that has ebbed and flowed but has left indelible marks on Asia's sociopolitical landscape. Contributors: Patricio N. Abinales, U of Hawaii, Manoa; Prajak Kongkirati, Thammasat U, Thailand; Win Min, Vahu Development Institute; Stephan Ortmann, City U of Hong Kong; Mi Park, Dalhousie U, Canada; Patricia G. Steinhoff, U of Hawaii, Manoa; Mark R. Thompson, City U of Hong Kong; Teresa Wright, California State U, Long Beach.

This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today. Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely. The book will be relevant to those interested in art history, Asian studies, political history and cultural history.

This is an open access book. The start of the 21st century has seen the world shaken by protests, from the Arab Spring to the Yellow Vests, from the Occupy movement to the social uprisings in Latin America. There are periods in history when large numbers of people have rebelled against the way things are, demanding change, such as in 1848, 1917, and 1968. Today we are living in another time of outrage and discontent, a time that has already produced some of the largest protests in world history. This book analyzes almost three thousand protests that occurred between 2006 and 2020 in 101 countries covering over 93 per cent of the world population. The study focuses on the major demands driving world protests, such as those for real democracy, jobs, public services, social protection, civil rights, global justice, and those against austerity and corruption. It also analyzes who was demonstrating in each protest; what protest methods they used; who the protestors opposed; what was achieved; whether protests were repressed; and trends such as inequality and the rise of women’s and radical right protests. The book concludes that the demands of protestors in most of the protests surveyed are in full accordance with human rights and internationally agreed-upon UN development goals. The book calls for policy-makers to listen and act on these demands.

How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon—delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art in the post-truth era. Staal shows that propaganda is not a relic of a totalitarian past but occurs today even in liberal democracies. He considers different historical forms of propaganda art, from avant-garde to totalitarian and modernist, and he investigates the us versus them dichotomy promoted in War on Terror propaganda art—describing, among other things, a fictional scenario from the Department of Homeland Security, acted out in real time, and military training via videogame. He discusses artistic and cultural productions developed by such popular mass movements of the twenty-first century as the Occupy, activism by and in support of undocumented migrants and refugees, and struggles for liberation in such countries as Mali and Syria. Staal, both a scholar of propaganda and a self-described propaganda artist, proposes a new model of emancipatory propaganda art—one that acknowledges the relation between art and power and takes both an aesthetic and a political position in the practice of world-making.