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.

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.

What is the place of realism in Asian art histories? What is the ‘real’? How do reality and realism relate and differ? The six essays in the present volume explore the manifestations of realism in Asian art, relating this art of description to issues of colonialism, world and civil wars, nation building, religion and contemporary culture in Asia.

In 1981, the Filipino artist and curator Raymundo Albano adopted the expression “Suddenly Turning Visible” to describe the rapid transformation of Manila’s urban landscape. The visibility that Albano evoked was aspirational, driven by a desire for rapid economic growth in which art had a critical role. This catalogue traces this story through three influential art institutions: the Cultural Center of the Philippines, the Alpha Gallery in Singapore and the Bhirasri Institute of Modern Art in Bangkok. It presents in rich detail artworks from the period, an anthology of primary documents and interviews with curators, artists and architects, revealing the links between architecture, modern art and the role of institutions in Southeast Asia.