Nearly one in four persons in Hawai'i is of Filipino heritage. Representing one-fifth of the state's workforce, Filipinos have been in Hawai'i for more than a century, turning the rough and raw materials of sugar and pineapple into billion-dollar commodities. This book traces a history from 1946—the last year that sakadas (plantation workers) were imported from the Philippines—to the centennial year of their settlement in Hawai'i. Filipinos are central to much that has been built and cherished in the state, including the agricultural industry, tourism, military presence, labor movements, community activism, politics, education, entertainment, and sports.

An anthology surveying the work of the critically-acclaimed Filipino American artist/educator Carlos Villa. Essays and poetry by Bill Berkson, David A.M. Goldberg, Theodore S. Gonzalves, Mark Dean Johnson, Margo Machida, and Moira Roth. The book also features a gallery of 77 images of the artist’s work from 1961 to 2011.

"For this beautiful book, cultural studies scholar Theo Gonzalves brings together the most relevant and important voices on the work of Carlos Villa, which spans more than half a century. Together with Gonzalves’ own detailed and nuanced essay, which provides a rich context for our understanding and appreciation of Villa’s art and life, they variously illuminate how the artist’s vision emerges from Filipino American history, how his work engages the work of other American visual artists, and how he thinks about and makes art. The book ends as powerfully as it begins, with Villa’s own words, both as a teacher and artist. Carlos Villa and the Integrity of Spaces is the definitive work on one of the most important American artists of our time."

—Elaine H. Kim, author of Fresh Talk/Daring Gazes: Conversations on Asian American Art

"Here, finally, is the book that Carlos Villa so richly deserves. His fascinating art-and-life trajectory is explored by an equally stellar group of writers, who weave the links (and ruptures) between Filipino/U.S. histories, art worlds, jazz, Asian American arts, San Francisco, and Villa’s gifts for friendship, teaching, and cultural activism. His art is memorable, powerful, and moving. So is this book."

—Lucy R. Lippard, author of Mixed Blessings: New Art in a Multicultural America

"When I first moved to the Bay Area in 1990, I remember seeing a pair of feathered shoes in a glass box. The implication—that by lifting the glass the shoes might fly away—did not feel like mainstream art or party line culture. It felt like a leap both personal and tribal. Looking back, I can now see the leap that Carlos Villa took as something close to my own immigration, one having always stood for a non-ideological American multiculturalism firmly grounded in the steps of his—and our—own journey."

—Hung Liu, Professor of Studio Art, Mills College

"A wonderfully rich and important anthology that generously offers several instances of Carlos Villa’s own words with writings by distinguished contributors. Editor Gonzalves critically coheres a lively collection of essays and a brilliant piece of pantoum poetry, from discussions of the manong legacy to an assertion of hybridity and the primacy of art. Carlos Villa and the Integrity of Spaces will ensure the artist his rightful place in art and cultural history."

Yong Soon Min, Professor of Studio Art, University of California at Irvine

"This remarkable book on Carlos Villa—artist, educator, curator, and author—reveals the breadth of his work worldwide. His World’s in Collision has been one of the most important texts for the education of students and artists for over two decades; and his own art extends the cultural range of visual perception."

—Keith A. Morrison, art educator, curator, art critic, and administrator

The Day the Dancers Stayed explores the ways that cultural celebrations challenge official accounts of the past while reinventing culture and history for Filipino American college students. Pilipino Cultural Nights at American campuses have been rites 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.

Cultural historian George Lipsitz, on The Day the Dancers Stayed: "This manuscript presents a genealogy of how performances of folk dances and music have shaped and reflected Filipino national identity in different ways at different historical moments. It explains the national and transnational dimensions of the codification of Philippine folkloric forms under U.S. colonial rule, the utility of folk performances as expressions of the nation in the era of the Cold War, the reinvention of national culture in performances by Filipino-American college students in California in the 1980s and 1990s, and the ways in which these performances and parodies of them reveal both continuities and ruptures, similarities and differences among Filipino Americans."

"With acumen, verve, and a politics of style that effect an important counter-appropriation of performance studies in today's American academy, The Day the Dancers Stayed offers a differently historicized analysis of the processes by which cultural--kinetic, aural, visual--knowledges get produced, repeated, and transformed. Gonzalves shows us or, more precisely and more crucially, reminds us how and why culture dies. And how it always lives on."

—Sarita Echavez See, American Culture / English Language and Literature, University of Michigan

"Theo Gonzalves' brilliant riff on the modes of cultural productions adroitly taps into new realms of discourse, locating multiple sites where cultural memories are crafted, authenticated, challenged, and reclaimed though the aesthetics of performance. Elegantly written and grounded in historical swirls complicated and connected by U.S. colonial policies in the Philippines, The Day the Dancers Stayed delves into Filipino/a experiences and the tenets of a sustained vision of nation/nationhood that marks the arrival of a talent whose remarkable work is a necessary text in cultural analyses."

—Linda España-Maram, Asian American Studies and American Studies, California State University, Long Beach

Stage Presence is a collection of essays and interviews with Filipino American performing artists. Each of the chapters features critically acclaimed and popular artists in their own right, who have also mentored hundreds of dancers, comedians, theater artists and musicians of all genres. In this rare collection, performers take time off stage to speak candidly about their creative processes, revealing personal frustrations and triumphs, while testifying to the challenges of what it could mean to be an artist of Filipino descent working and living in the United States. Featuring: musicians Eleanor Academia, Gabe Baltazar Jr., Danongan Kalanduyan; bandleader and poet Jessica Hagedorn; choreographers and dancers Joel Jacinto, Alleluia Panis, and Pearl Ubungen; and theater artists Remé Grefalda, Allan Manalo and Ralph Peña. The book also includes a thought-provoking foreword by scholar and musician Ricardo D. Trimillos.

"When the New York Times looks at Filipinos, it sees only house maids and cooks, copycats, and mimics. But when scholar and artist Theo Gonzalves looks at and talks with his compatriots, he sees stunningly original and creative thinkers who use an eclectic range of forms and methods to make art and perform culture. This book is dizzy and alive with the Filipino soul. Read at your own risk!"

—Karin Aguilar-San Juan, author of The State of Asian America and Little Saigons: Staying Vietnamese in America

"Fusing history, culture, jazz, and art, Stage Presence is one big happening jam session featuring ten Filipino American performing artists rapping on their craft, their process, their defiance to be boxed in by the category-obsessed American market, and their hunger and struggles necessary to stay true to their vision, identity, and art."

—R. Zamora Linmark, author of Rolling the Rs, Prime Time Apparitions, and Leche

"This collection of interviews and reflections by many of the leading Filipino American cultural workers demonstrates the range and vitality of Filipino American performing arts an inspiring and dynamic range of practices encompassing everything from kulintang to head-banging heavy metal, from college PCNs to off-Broadway New York theatre, from the Bayanihan to site-specific performance art. Stage Presence gives us a view rarely available to students, scholars, and audiences: the winding paths through history and identity that led these groundbreaking artists into the spotlight."

—Karen Shimakawa, author of National Abjection: The Asian American Body Onstage