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                <text>La Nueva Babilonia, Hexalogía Teatral</text>
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                <text>The book cover of La nueva Babilonia, above on the left, is a detail from the painting Comprador (“Buyer”) by Pablo Baens Santos from 1978, which is on display at the National Museum of the Philippines. In black and white, two male figures in suits dominate the upper half of the cover, grinning and waving money, representing politicians from the Philippines and the US exchanging money. The dark-skinned figures frowning underneath them represent the Filipino masses. The book cover of Hexalogía teatral, above on the right, is a detail from the mural Filipino Struggles through History by Carlos "Botong" Francisco, one of the Philippine National Artists for Visual Arts. The mural was installed originally in the Manila City Hall in 1968, but was later transferred to the National Museum and was declared a National Cultural Treasure of the Philippines in 1998. In light greys and browns, the cover shows figures bearing spears, rifles, and cutlasses, heading for the right side of the cover as if into battle. The central figure on the cover is Andrés Bonifacio, the founder of the Katipunan, the independence movement that led the popular revolt against Spain. He wears a long shirt tucked into a belt with a pistol. His arms stretch off either side of the cover so you cannot see his hands, but his mouth is open as if speaking. He appears to be leading the charge.</text>
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                <text>From left to right: Guillermo Gómez Rivera, Edmundo Farolán</text>
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                <text>From left to right: &#13;
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                <text>From left to right: 2018, 2016</text>
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                <text>Cuento/Kwento, Cuentos Hispanofilipinos</text>
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                <text>"From Mariño’s translation to English came Magdalena Sayas’s own translation anthology in Filipino called Cuento / Kwento. Pictured above on the left is an image of the cover. Bright yellow, with a simple black and white illustration in the middle of the cover, the cover depicts a woman with long hair in a dress standing on a rock as ocean waves crash against it, and the moon partially hidden by clouds in the background. Above the illustration is the title Cuento / Kwento, and below it reads, in Filipino, “selected and translated into Filipino by Magdalena C. Sayas.” The cover Cuentos hispanofilipinos is pictured above, to the right of the Cuento / Kwento cover. The lower half of the first book is dark red, its title, Cuentos Hispanofilipinos, written in a flowing script above the authors’ names. The upper half of the cover is a sepia toned collage of photos: in the middle, dominating, is the front of a church, and on the left is an image of a couple above an image of a smiling boy in a field. On the right is a picture of a caged monkey above the image of rows of coconut halves, below which a rooster is cradled in someone's hands.      &#13;
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                <text>From left to right: Magdalena C. Sayas, Edmundo Farolán and Paulina Constancia</text>
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                <text>From left to right: &#13;
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                <text>From left to right: 1997, 2009</text>
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                <text>Patria y redención, Cantos del trópico, Novela de la vida real, Filipinas</text>
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                <text>Pictured above are four of the books, from left to right: On the cover of Patria y redención, published in 1914, we see an oval portrait of the author in the upper left-hand corner, next to the script of the title. On the left side of the cover, there is a crowned woman wearing a long bustier gown, the top half blue with white stars, and the skirt of it red and white stripes. She sits on a throne at the top of some stairs. In the foreground, there is a woman with long, dark hair. She runs toward the crowned woman, her shackled hands reaching towards her. In the background, there is a body of water and the sun, drawn as a simple red disc with rays. Cantos del trópico, published in 1929, features the title in an Art Deco-style font in the top center of the cover. From right to left, we see a forest of bamboo that opens up giving space to two figures, a man (wearing a bright blue shirt and bright red pants) and a woman (wearing a pale yet bright pink dress), flanking a bust of Bernabé himself. The man’s body is turned away from the bust and there is a machete at his feet. The woman decorates the bust with a string of pink flowers, some of which she also wears in her hair. Published in 1930, the watercolor cover of Novela de la vida real is more pale than the covers of the previous two books described. The hues of Novela are muted blues and greens. Two women stand in the foreground, picking flowers alongside the bank of a river. One of them waves at somebody out of frame, and in the background there is a two-story house. The final featured book cover is of Filipinas: auto histórico-satírico, published in 1954. Painted in monochrome (blue) on a lightly textured paper are three figures beneath the title: two women flanking Uncle Sam, who wears the typical tailcoat, bow tie, striped slacks, and top hat with blue band and white stars. The woman on the left, wearing a cross around her neck, also dons a Flamenco-style dress and holds in one hand a fan. On his right, the woman wears a slim-fitted terno dress with the characteristic butterfly sleeves.</text>
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                <text>From left to right: Zoilo J. Hilario, Manuel Bernabé, José G. Reyes, Adelina Gurrea Monasterio</text>
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                <text>"From left to right: &#13;
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https://search.lib.umich.edu/catalog/record/000848843&#13;
https://search.lib.umich.edu/catalog/record/000480508&#13;
https://search.lib.umich.edu/catalog/record/001290896"</text>
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                <text>From left to right: 1914, 1929, 1930, 1954</text>
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                <text>Se deshojó la flor (The Flower Has Withered)</text>
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                <text>At the top of this faded 1915 cover of the novella Se deshojó la flor (The Flower Has Withered) is the novel's title and author, Jesús Balmori, printed at the top. On the bottom of the cover, in smaller print is the phrase “Novela Filipina” (Filipino Novel). The illustration on the cover is a woman in front of a body of water, small trees to her right, and flowers in front of her, covering her lower half. The woman is nude, but her right hand holds a cloth in front of her stomach, and with her left hand, she pushes her long dark hair out of her face. </text>
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                <text>Jesús Balmori</text>
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                <text>Worcester with Kalinga Chiefs</text>
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                <text>The image on the right depicts four unnamed Kalinga chiefs from the Philippine highlands, all wearing small necklaces and loincloths and standing in front of a nipa hut. The men hold hand axes and long, narrow shields. The shields have two long prongs at the bottom, and three long prongs at the top. A few horizontal lines are etched directly above and below the prongs on the shields. Worcester, in a hat and leaning on a staff, stands in the middle of the group. To the right and slightly behind him stands an unnamed man with dark skin, dressed similarly to Worcester, who may have been a local recruited to be his guide. In the background, at the door of the nipa hut, two women sit and watch the men in the line. </text>
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                <text>Unknown Photographer</text>
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                <text>http://quod.lib.umich.edu/s/sclphilimg/x-1851/phld034</text>
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                <text>1897</text>
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                <text>Worcester with a Negrito</text>
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                <text>Photographed in front of a white sheet hung on a line behind them, Worcester stands to the left of an unnamed Negrito. Worcester sports a pith helmet and a goatee, with a light-colored suit and boots. He has a watch chain tucked into his shirt pocket and looks directly at the camera. The Negrito is barefoot and wears a loincloth. Standing on the edge of the sheet, he holds a bow and a singular arrow in his right hand. His eyebrows are furrowed and squints at something to the photographer's right.</text>
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            <description>A name given to the resource</description>
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                <text>If they'll only be good / Ehrhart</text>
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            <description>An account of the resource</description>
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                <text>Above is a political cartoon from the satirical magazine Puck done in watercolor. In the foreground, Uncle Sam gestures to the right and left. Behind him are American soldiers walking to board a Navy ship. One of them holds a torn American flag. In the foreground on the right-hand side of the image are white women–1800s school teachers–holding books, one of which is open and says “History of Civilization.” Books in hand, the women walk toward the Filipinos on an island with palm trees and the coast in the background. Some of the Filipinos look curious and some confused, some of them with racially exaggerated facial features, but generally seeming to welcome the “teachers.” The cartoon is captioned “If they'll only be good,” and then on a line below it, “Uncle Sam.– You have seen what my sons can do in war – now see what my daughters can do in peace.” </text>
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                <text>Samuel D. Ehrhart</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>https://www.loc.gov/item/2010651302/</text>
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                <text>1900-01-31</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="151981">
                <text>Class of Igorots, Negritos, Moros, Tinquianies and Bagabos in the Model School at the 1904 World's Fair</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="151983">
                <text>One of the “attractions” of the Philippine Exposition was a group of Filipino children who were made to sit in a model classroom while American fairgoers watched on from bleacher-like stands</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="151985">
                <text>Unknown Photographer</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="151987">
                <text>http://collections.mohistory.org/resource/142538</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="151989">
                <text>1904</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="151991">
                <text>F. A. Behymer Collection, Missouri Historical Society</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Photograph</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="151972">
                <text>Brochure for the "Philippine Exposition" at the World's Fair in St. Louis in 1904</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="151974">
                <text>One of the main highlights of the St. Louis World’s Fair was the so-called Philippine Exposition. Pictured on one side of the burnt orange brochure is a Filipino soldier in uniform, next to the Philippine coat of arms during the American period. It consists of an eagle as the crest and a shield bearing the castle of Spain on top and a sea lion beneath it, surmounted on a background of alternating red-and-white stripes representing the original 13 colonies of the US. The other side of the event brochure depicts a man from the northern Philippines wearing a feathered headpiece called dalisdis. The brochure advertises that attendees can see “40 different tribes, 6 Philippine villages, 70,000 exhibits, 130 buildings, 725 native soldiers.” Various people from the Philippines were flown in for the exposition; together with native peoples from other parts of Asia and America, they formed “the largest human zoo in world history”. </text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="151976">
                <text>Alfred C. Newell</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="151978">
                <text>https://search.lib.umich.edu/catalog/record/004610781</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="151980">
                <text>1904</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="151962">
                <text>Pahayag sa mañga taga Filipinas / Proclama al pueblo filipino</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="151964">
                <text>Titled bilingually as Pahayag sa mañga taga Filipinas / Proclama al pueblo filipino, the proclamation was printed on a broadside sheet measuring 71 x 61 cm. The proclamation boldly declared that US supremacy must be recognized by the Philippines. Whoever refused to do so “no podrán conseguir más fin que su propia ruina” (will not achieve anything other than their own downfall).</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="151966">
                <text>First Philippine Commission</text>
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          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="151968">
                <text>https://search.lib.umich.edu/catalog/record/003482436</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="151970">
                <text>1899</text>
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