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Dahil Sa Iyo : The performative power of Imelda's song
13 references·1 citing·34 second hop
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References

  • 20193. Of Mimicry and Man: The Ambivalence of Colonial Discourse1,213 cited
  • 2001White Love and Other Events in Filipino History415 cited
  • 1982Pasyon and Revolution: Popular Movements in the Philippines, 1840–1910. By Reynaldo Clemena Ileto. Quezon City: Ateneo de Manila University Press, 1979. 344 pp. $19.75 (cloth); $13.75 (paper). (Distributed by The Cellar Book Shop, Detroit, Mich.)165 cited
  • 2000Crying: the natural and cultural history of tears153 cited
  • 2003Edifice Complex: Power, Myth And Marcos State Architecture111 cited
  • 2005Philippine Wars and the Politics of Memory77 cited
  • 2005Filipinos in the United States and Their Literature of Exile69 cited
  • 1998Women, power, and kinship politics: female power in post-war Philippines58 cited
  • 2005Performing the "Filipino" at the Crossroads: Filipino Bands in Five-Star Hotels Throughout Asia45 cited
  • 2009Macho Dancing, the Feminization of Labor, and Neoliberalism in the Philippines35 cited
  • 2008“Splendid Dancing”: Filipino “Exceptionalism” in Taxi Dancehalls34 cited
  • 1988Imelda: Steel Butterfly of the Philippines23 cited
  • 2007Problematizing the popular: the dynamics of Pinoy pop(ular) music and popular protest music11 cited

Cited by

  • 2019"Why Don't You Love Me?": Post/colonial Camp and the Imeldific Fetish in Here Lies Love

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2 cited