Chapters, articles, etc.
“Document | 101,” in Alimatuan: The Emerging Artist as American Filipino, edited by Michael Rooks (Honolulu: The Contemporary Museum, 2006), pp. 18-22.
“On the Politics of (Filipino) Youth Culture,” in Positively No Filipinos Allowed: Building Communities and Discourse, edited by Antonio Tiongson, Ric Gutierrez and Ed Gutierrez (Philadelphia: Temple University Press, 2006), pp. 111-123.
“Theaters of Operation: Theorizing Filipino American Performance, National Identity and Community,” in Towards a Cultural Community: Identity, Education and Stewardship in Filipino American Performing Arts, edited by Reme A. Grefalda, Lucy M. Burns, and Anna M. Alves (Washington, D.C.: Firstfruits, 2003), pp. 39-50.
“Filipino Veterans of World War II on Citizenship and Political Obligation,” in Major Problems in Asian American History: Documents and Essays, edited by Lon Kurashige, Alice Yang Murray and Thomas G. Paterson (New York: Houghton Mifflin, 2003), pp. 304-310.
“’Unashamed to be so beautiful’: An Interview with Celine Salazar Parreñas,” in Countervisions: Asian American Film Criticism, edited by Sandra Liu and Darrell Hamamoto (Philadelphia: Temple University Press, 2000), pp. 263-274.
“The Day the Dancers Stayed: Expressive Forms of Culture in the United States,” in Filipino Americans: Transformations and Identities, edited by Maria P. P. Root (Thousand Oaks: Sage Publications, 1997), pp. 163-182.
“Filipinos?” in Memories of Overdevelopment: Philippine Diaspora in Contemporary Art, edited by Catherine Lord (Winnipeg: Plug-In Editions, 1997), pp. 50-81.
“Island Girl in a Rock-and-Roll World: An Interview with June Millington” (with Gayle Wald), Journal of Popular Music Studies 31.1 (March 2019): 15-28.
“Joe Bataan on Heavy Rotation: Studying the Repertoire of a Mixed-race Composer,” CUNY Forum 4.1 (Fall 2016-Winter 2017): 23-36.
“Remembering Rolling the R’s,” The Asian American Literary Review 7.1 (Spring 2016): 5-6.
“The Day the Dancers Stayed: Expressive Forms of Culture in the United States,” Kritika Kultura 6 (November 2005): 24-41.
“Dancing Into Oblivion: The Pilipino Cultural Night and the Narration of Contemporary Filipino/a America,” Kritika Kultura 6 (November 2005): 42-85.
“Two-Part Invention: A Response,” Kritika Kultura 6 (November 2005): 97-100.
“When the Walls Speak a Nation: Contemporary Murals and the Narration of Filipina/o America,” The Journal of Asian American Studies 1.1 (1998):31-63.
“Sounds Like 1996: An Annotated Take-Out Menu of Recent Asian American Music,” (with Josh Kun and Elizabeth H. Pisares) Hitting Critical Mass: A Journal of Asian American Cultural Criticism 3.1 (Fall 1997): 49-60.
“’We hold a neatly folded hope’: Filipino American Veterans of World War II on Citizenship and Political Obligation,” Amerasia Journal 21.3 (Fall 1995): 155-74.
“’The show must go on’: Production Notes on the Pilipino Cultural Night,” Critical Mass: A Journal of Asian American Cultural Criticism 2.2 (Spring 1995): 129-44.
Reference & encyclopedia entries
“Filipino American Youth Cultures,” in Asian Americans: An Encyclopedia of Social, Cultural, and Political History, edited by Xiaojian Zhao and Edward J.W. Park (New York: ABC-CLIO/Greenwood, 2014), pp. 393-398.
“Pilipino Cultural Night,” in Asian Americans: An Encyclopedia of Social, Cultural, and Political History, edited by Xiaojian Zhao and Edward J.W. Park (New York: ABC-CLIO/Greenwood, 2014), pp. 930-931.
“Ermena Marlene Vinluan,” in Asian American Playwrights: A Bio-Bibliographical Critical Sourcebook, edited by Miles Xian Liu (Westport: Greenwood Press, 2002), pp. 340-346.
Reviews (book and exhibit)
“Musical Renderings of the Philippine Nation,” by E. San Juan, Jr., in Asian Music 44.1 (Winter/Spring 2013): 146-151.
“Toward Filipino Self-Determination: Beyond Transnational Globalization,” by E. San Juan, Jr., in the Journal of American Ethnic History 32.1 (Fall 2012): 126-128.
“The Decolonized Eye: Filipino American Art and Performance,” by Sarita See, in the Journal of Asian American Studies 14.1 (February 2011): 160-163.
“Home Bound: Filipino American Lives Across Cultures, Communities, and Countries,” by Yen Le Espiritu, in the Journal of American Ethnic History 23.2 (Winter 2004): 102-103.
“Songs and Gifts at the Frontier: Person and Exchange in the Agusan Manobo Possession Ritual, Philippines,” by Jose Buenconsejo, in The Yearbook for Traditional Music (2003), pp. 209-211.
“Manuel Ocampo Won’t Let Me Sleep; Manuel Ocampo’s ‘Free Aesthetic Pleasure Now!’” Filipinas Magazine (January 2002), 21-23.
“Disaster Suits You: Yanobe at Pusod,” Call of Nature 2 (Fall 2000): 4-5.
“The Theater in Manila, 1846-1946,” by Christina Laconico-Buenaventura, in Pilipinas: A Journal of Philippine Studies 33 (1999): 144-146.
“This Code Before Us: Carlos Villa at the Treganza,” exhibit program (San Francisco: Tenazas Design, 1998).
“Memories of Overdevelopment: Philippine Diaspora in Contemporary Art – Symposium and Exhibition,” Godzilla West (Fall 1996): 6-7.
“Jon Irabagon’s Unchartered Funhouse-Mirrored Elysium,” International Examiner 45.9 (May 16-June 5, 2018), p. 5.
“Barbara Dane’s One-Woman Riot,” Folklife, February 12, 2018. Retrieved from https://folklife.si.edu/magazine/barbara-dane-singing-truth-to-power
Migrant Musicians: Filipino Entertainers and the Work of Music Making (with R. Zamora Linmark, Karen Tongson, and Sarita Echavez See). Durham: Horse & Buggy Press, 2013.
“Amigo: Discussion Guide,” Amigo. Dir. John Sayles, 2012. DVD.
“To Turn by Gifts,” Hypen Magazine, June 17, 2011.
“Leaving Soul Shadows On My Mind,” Filipinas Magazine 18.209 (September 2009): 11.
“It’s Our Time,” Filipinas Magazine 17.196 (August 2008): 26-27.
“An Interview with Carlos Zialcita,” Filipinas Magazine 17.196 (August 2008): 27.
“This next song is for everybody that loves me! Listening to Juan de la Cruz,” Our Own Voice Literary Ezine: Filipinos in the Diaspora (December 2005).
“Apocalypse Now and Then,” AsianWeek, August 13, 2004.
“Novemberly Liner Notes,” Our Own Voice Literary Ezine: Filipinos in the Diaspora (July 2004).
“Theaters of Operation: Theorizing Filipino American Performance, National Identity and Community,” an Essay Commissioned by the Ford Foundation and the National Federation of Filipino American Associations, 2002.
“Organik Travels: Filipino Music and Dance Between Batangas and San Francisco,” Call of Nature 3 (Winter 2001): 5-7.
“Two Brothers Touching: Carlos Villa and Santiago Bose Explore Ritual and Myth Through Workshops and Exhibition,” Call of Nature 2 (Fall 2000): 14-15.
“This Music is America,” in Fil-Am, edited by Alfred A. Yuson and Eric Gamalinda (Publico, Inc., 1999), pp. 166-168.
“To Dig: The Sound of Soul in America,” Performing Arts (John Anson Ford Amphitheater program), (July 1998): 8-11.
“Preface,” in Liwanag Volume II: A Journal of Literary and Graphic Expression, edited by Debra Belale, et al (San Francisco: Liwanag Publications, 1993), vi-vii.
“Taxi Dancing,” in Liwanag Volume II: A Journal of Literary and Graphic Expression, edited by Debra Belale, et al (San Francisco: Liwanag Publications, 1993), 84-90.