In Tropical Renditions Christine Bacareza Balance examines how the performance and reception of post-World War II Filipino and Filipino American popular music provide crucial tools for composing Filipino identities, publics, and politics. To understand this dynamic, Balance advocates for a "disobedient listening" that reveals how Filipino musicians challenge dominant racialized U.S. imperialist tropes of Filipinos as primitive, childlike, derivative, and mimetic. Balance disobediently listens to how the Bay Area turntablist DJ group the Invisibl Skratch Piklz bear the burden of racialized performers in the United States and defy conventions on musical ownership; to karaoke as affective labor, aesthetic expression, and pedagogical instrument; to how writer and performer Jessica Hagedorn's collaborative and improvisational authorial voice signals the importance of migration and place; and how Pinoy indie rock scenes challenge the relationship between race and musical genre by tracing the alternative routes that popular music takes. In each instance Filipino musicians, writers, visual artists, and filmmakers work within and against the legacies of the U.S./Philippine imperial encounter, and in so doing, move beyond preoccupations with authenticity and offer new ways to reimagine tropical places.
The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family.
Wade's fresh look at the way music transforms and is transformed by ideologies of race, nation, sexuality, tradition, and modernity is the first book-length study of Colombian popular music.
Novotny's entertaining, engaging, and unique diaries reflect on the wisdom of the ancient culture, bringing to life the people and the sometimes tragi-comic interactions between it and the West
Played by Filipino American actor Manny Jacinto, the Jason Mendoza character in the popular comedic TV series The Good Place hyperbolizes the presence of Filipino American hip hop dancers' in Jacksonville, Florida. In one episode, Jason ...
Rob Drew, Karaoke Nights: An Ethnographic Rhapsody (Walnut Creek, CA: Altamira, 2001); qtd. in Christine Bacareza Balance, Tropical Renditions: Making Musical Scenes in Filipino America (Durham, NC: Duke University Press, 2016), 71. 28.
The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world’s fairs, held a place of honor in William Howard Taft’s presidential parade, and garnered praise by bandmaster John Philip ...
By examining the representations of Taiwanese aborigines and indigenous Micronesians in the works of prominent writers, he shows that the trope of the savage underwent several metamorphoses over the course of Japan's colonial period- ...
Tropical Renditions: Making Musical Scenes in Filipino America. Durham: Duke University Press. Baldoz, Rick. 2011. The Third Asiatic Invasion: Empire and Migration in Filipino America, 1898– 1946. New York: New York University Press.
This volume spotlights the unique suitability and situatedness of Filipinx American studies both as a site for reckoning with the work of historicizing U.S. empire in all of its entanglements, as well as a location for reclaiming and ...
In Legions of Boom noted music and pop culture writer and scholar Oliver Wang chronicles this remarkable scene that eventually became the cradle for turntablism.