Reviewed by: Places for Happiness: Community, Self, and Performance in the Philippines by William Peterson Sir Anril Pineda Tiatco PLACES FOR HAPPINESS: COMMUNITY, SELF, AND PERFORMANCE IN THE PHILIPPINES. By William Peterson. Honolulu: University of Hawai'i Press, 2016. Cloth, $59. Tourism is now considered a major economic "engine of growth" in the archipelagic nation of the Philippines, and as Bernado M. Villegas (2016) reports tourism is now second to business processing outsourcing in terms of financial contribution to the nation's GDP. According to the Official Gazette of the Republic of the Philippines, this phenomenon may be attributed to the country's most successful tourism campaign to date: "It's More Fun in the Philippines." Launched in 2012, the campaign is believed to have attracted up to almost 5 million foreign visitors as compared to foreign tourists prior to the release of the campaign (Department of Tourism 2015). In this campaign, the Philippine government has crafted a brand that has been communicating how happiness, performances, and community may be simultaneously experienced when one visits the country. The same communication is the starting point of William Peterson's Places for Happiness: Community, Self, and Performance in the Philippines, who in a sense is arguing for these vectors for the understanding of Philippine theatre and performance. In Places for Happiness, Peterson centers on an investigation regarding how local psychological, political, and cultural concepts may contribute to the understanding of Philippine performance culture in its complex ontology. In my view, the inclusion of "happiness" in the title of the book is a conceptual strategy to locate the place of the Philippines in the scholarly world of Southeast Asian theatre and performance, where scholars are often engaged in a [End Page 506] constant search for the indigenous. As Peterson implies, there is "uninhibited fun through performance" (p. 2) in the archipelago, following a comment made by a fellow passenger on Philippine Airlines about two Filipino children happily playing en route to Manila, the nation's capital. He later notes what may be inferred as a prelude to his larger claims on Philippine performance: "Fun was its own reason for being, and from that we took pleasure that contributed to our individual and collective happiness" (p. 2). Happiness is a Filipino core value. As Peterson explains, it is in being happy where "the self only truly exists in relation to the other" (p. 4). In relation, he argues that theatre (performance) in the archipelago "through celebration and ritual is the key productive, purposeful activity that links the individual to the collective in ways that contribute to happiness in the Philippines" (p. 4). Peterson reminds his readers that one must understand this place for happiness is not solely about locating a physical space where people are "happy" but also about how this happiness resides inside the (Filipino) individual as manifested through various forms of theatres and performances. Peterson relies on three analytical frames as he attempts to provide an understanding of Philippine performance. At the same time, this linking is an attempt toward a pursuit of performance theory. Peterson connects the psychosociological conception of play (Mihaly Csikszentmihalyi) with the Filipino concept of the self: kapwa (a sense of individuality that is primarily rooted in the individual's relationship with the other) and the concept of bayan, referring to emplacement, belonging, community, and country. In providing details about how these concepts may be engaged in an intellectual conversation, Peterson investigates performance activities in the Philippines, arguing for performance as paradoxically connecting and separating community members of the archipelago: "bring communities together and to separate them from one another" (p. 14). The performances investigated include the sinakulo, a local passion play on the life, passion, death, and resurrection of Jesus Christ; the moriones, a folk-Catholic performance-ritual in the island of Marinduque reenacting the beheading of Longinus, a Roman soldier who proclaimed that Jesus was indeed the Christ after his blind eye was miraculously healed from the blood spattering after lancing his spear at Jesus's side; ati-atihan, a dance ritual in the island of Panay; performances of the Bayanihan Dance Group in international festivals; the street dancing performance competition based on the different regional...