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'New Society' and the Philippine Labour Export Policy (1972-1986)
EDUCATION IN THE ‘NEW SOCIETY’ AND THE PHILIppINE LABOUR EXPORT POLICY (1972-1986) EDUCATION IN THE ‘NEW SOCIETY’ AND THE PHILIPPINE LABOUR EXPORT POLICY (1972-1986) Mark Macaa Kyushu University Abstract: The ‘overseas Filipino workers’ (OFWs) are the largest source of US dollar income in the Philippines. These state-sponsored labour migrations have resulted in an exodus of workers and professionals that now amounts to approximately 10% of the entire country’s population. From a temporary and seasonal employment strategy during the early American colonial period, labour export has become a cornerstone of the country’s development policy. This was institutionalised under the Marcos regime (1965-1986), and especially in the early years of the martial law period (1972-81), and maintained by successive governments thereafter. Within this context, this paper investigates the relationship between Marcos’ ‘New Society’ agenda, the globalization of migrant labour, and state sponsorship of labour exports. In particular, it analyses the significance of attempts made to deploy education policy and educational institutions to facilitate the state’s labour export drive. Evidence analyzed in this paper suggests that sweeping reforms covering curricular policies, education governance and funding were implemented, ostensibly in support of national development. However, these measures ultimately did little to boost domestic economic development. Instead, they set the stage for the education system to continue training and certifying Filipino skilled labour for global export – a pattern that has continued to this day. Keywords: migration, labour export, education reforms, Ferdinand Marcos, New Society Introduction This paper extends a historical analysis begun with an investigation of early Filipino labour migration to the US and its role in addressing widespread poverty and unemployment (Maca, 2017). -
1 Angel Locsin Prays for Her Basher You Can Look but Not Touch How
2020 SEPTEMBER Philippine salary among lowest in 110 countries The Philippines’ average salary of P15,200 was ranked as among the Do every act of your life as if it were your last. lowest in 110 countries surveyed by Marcus Aurelius think-tank Picordi.com. MANILA - Of the 110 bourg’s P198,500 (2nd), countries reviewed, Picodi. and United States’ P174,000 com said the Philippines’ (3rd), as well as Singapore’s IVANA average salary of P15,200 is P168,900 (5th) at P168,900, 95th – far-off Switzerland’s Alawi P296,200 (1st), Luxem- LOWEST SALARY continued on page 24 You can look but not Nostalgia Manila Metropolitan Theatre 1931 touch How Yassi Pressman turned a Triple Whammy Around assi Press- and feelings of uncertain- man , the ty when the lockdown 25-year- was declared in March. Yold actress “The world has glowed as she changed so much shared how she since the start of the dealt with the pandemic,” Yassi recent death of mused when asked her 90-year- about how she had old father, the YASSI shutdown of on page 26 ABS-CBN Philippines positions itself as the ‘crew PHL is top in Online Sex Abuse change capital of the world’ Darna is Postponed he Philippines is off. The ports of Panila, Capin- tional crew changes soon. PHL as Province of China label denounced trying to posi- pin and Subic Bay have all been It is my hope for the Phil- tion itself as a given the green light to become ippines to become a major inter- Angel Locsin prays for her basher crew change hub, crew change locations. -
UNIVERSITY of CALIFORNIA RIVERSIDE Naming
UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. -
THE POLITICS of TOURISM in ASIA the POLITICS of TOURISM in ASIA Linda K
THE POLITICS OF TOURISM IN ASIA THE POLITICS OF TOURISM IN ASIA Linda K. Richter 2018 Open Access edition funded by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. Licensed under the terms of Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 In- ternational (CC BY-NC-ND 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the author. Derivative works and commercial uses require per- mission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Cre- ative Commons license described above does not apply to any material that is separately copyrighted. Open Access ISBNs: 9780824880163 (PDF) 9780824880170 (EPUB) This version created: 17 May, 2019 Please visit www.hawaiiopen.org for more Open Access works from University of Hawai‘i Press. © 1989 University of Hawaii Press All rights reserved Contents Acknowledgments vi Abbreviations Used in Text viii 1. The Politics of Tourism: An Overview 1 2. About Face: The Political Evolution of Chinese Tourism Policy 25 3. The Philippines: The Politicization of Tourism 57 4. Thailand: Where Tourism and Politics Make Strange Bedfellows 92 5. Indian Tourism: Pluralist Policies in a Federal System 115 6. Creating Tourist “Meccas” in Praetorian States: Case Studies of Pakistan and Bangladesh 153 Pakistan 153 Bangladesh 171 7. Sri Lanka and the Maldives: Islands in Transition 178 Sri Lanka 178 The Maldives 186 8. Nepal and Bhutan: Two Approaches to Shangri-La 190 Nepal 190 Bhutan 199 9. -
GMA Films, Inc., Likewise Contributed to the Increase Our Company
Aiming Higher About our cover In 2008, GMA Network, Inc. inaugurated the GMA Network Studios, the most technologically-advanced studio facility in the country. It is a testament to our commitment to enrich the lives of Filipinos everywhere with superior entertainment and the responsible delivery of news and information. The 2008 Annual Report’s theme, “Aiming Higher,” is our commitment to our shareholders that will enable us to give significant returns on their investments. 3 Purpose/Vision/Values 4 Aiming Higher the Chairman’s Message 8 Report on Operations by the EVP and COO 13 Profile of the Business 19 Corporate Governance 22 A Triumphant 2008 32 GMA Network Studios 34 Corporate Social Responsibility 38 A Rewarding 2008 41 Executive Profile 50 Contact Information 55 Financial Statements GMA ended 2008 awash with cash amounting to P1.688 billion and free of debt, which enabled us to upgrade our regional facilities, complete our new building housing state-of-the-art studios and further expand our international operations. AIMING HIGHER THE CHAIRMAN’S MESSAGE Dear Fellow Shareholders: The year 2008 will be remembered for the Our efforts in keeping in step with financial crisis that started in the United States and its domino-effect on the rest of the world. The the rest of the world will further Philippine economy was not spared, and for the first time in seven years, gross domestic product improve our ratings and widen our (GDP) slowed down to 4.6%. High inflation, high reach as our superior programs will oil prices and the deepening global financial crisis in the fourth quarter caused many investors serious be better seen and appreciated by concerns. -
Download ART ARCHIVE 01
ART ARCHIVE 01 CONTENTS The Japan Foundation, Manila Introduction ART ARCHIVE 01 NEW TRAJECTORIES OF CONTEMPORARY VISUAL AND PERFORMING ARTS IN THE PHILIPPINES by Patricia Tumang Retracing Movement Redefining Contemporary Histories & Performativity Visual Art EXCAVATING SPACES AND HISTORIES: UNDERSTANDING THE CONTEMPORARY FILTERS: The Case of Shop 6 IN PHILIPPINE THEATER A View of Recent by Ringo Bunoan by Sir Anril Pineda Tiatco,PhD Philippine Contemporary Photography by Irwin Cruz VISUAL ARTS AND ACTIVISM IN THE PHILIPPINES: MAPPING OUT CONTEMPORARY DANCE Notes on a New Season of Discontent IN THE PHILIPPINES GLOBAL FILIPINO CONTEMPORARY ARTISTS by Lisa Ito-Tapang by Rina Angela Corpus by Jewel Chuaunsu BRIDGE OVER THE CURRENT: S A _ L A B A S / O U T S I D E R S: CONTEMPORARY VISUAL ART IN CEBU Artist-Run Festivals in the Philippines A Brief History of Why/When/Where We Do by Duffie Hufana Osental by Mayumi Hirano What We Do in Performance by Sipat Lawin Ensemble Contributor Biographies reFLECT & reGENERATE: A Community Conversation About Organizing Ourselves by Marika Constantino Directory of Philippine Art and Cultural Institutions ABOUT ART ARCHIVE 01 The Japan Foundation is the only institution dedicated to carrying out Japan’s comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster friendship, trust, and mutual understanding. With a global network consisting of its Tokyo headquarters, the Kyoto office, two Japanese-language institutes, and 24 overseas offices in 23 countries, the Japan Foundation is active in three areas: Arts and Cultural Exchange, Japanese-Language Education, and Japanese Studies and Intellectual Exchange. -
The Churches of Leandro V. Locsin in the Philippines
DOCUMENTATION ISSUES subject to humidity, have not only moulded the development of architecture, but also have limited our knowledge of its history by leaving little if no vestiges of the past.6 Religious Tropical Architecture: the churches He thus put forward an approach, for him of Leandro V. Locsin in the Philippines fundamental, which had previously tended to be ignored. Church renewal BY JEAN-CLAUDE GIRARD in the aftermath of WWII At the beginning of the Spanish period, existing buildings were repurposed and The focus of this contribution is on the importance of tropical architecture in the work of Leandro enlarged, in order to provide sufficient space V. Locsin, in the context of post-WWII in Asia. Based in the Philippines, Locsin is immersed in the for the gathering of the faithful. However, the Christian tradition – the main religion of a country that was dominated by the Spanish crown from successive destruction caused by typhoons the mid 16th-century to 1898, and where the Catholic Church remains powerful across much of and earthquakes leads to the re-evaluation of the construction method. Church structures, the archipelago today. Attention is focused on Locsin’s religious buildings and projects, where he still arranged on a basilica plan, were built succeeded in giving a new treatment to the tropical architecture of faith-based structures, through of stone and stabilized by lateral buttresses. the integration of climate considerations and the reinterpretation of vernacular architecture of the If the plan reflected a form of organization Philippines. imposed by the Eucharist, the profile was stockier, and the bell tower separated, in order to resist telluric movements.7 After independence in 1946 new religious Leandro V. -
Pablo Picasso Perhaps a Closer Examination of What the Renowned
1 Chapter 1 INTRODUCTION “Everything you can imagine is real”- Pablo Picasso Perhaps a closer examination of what the renowned painter actually means is that if a human being can imagine something in the scope of the natural laws of reality and physics, then it exists. This rings true for visual art. Whatever a person can conjure in his mind, whether a creature of imagination or an event, the fact that he thought about it means it exists in the realm of reality—not necessarily the realm of physical reality but in the realm of cognitive and mental reality. Pablo Picasso’s quote has been proven by the dominance of visual culture at the present. Today, fascination and enhancement of what people can do and what people can appreciate in the visual realm has seen a significant rise among the people of this generation. With the rise of virtual reality and the Internet in the West, combined with the global popularity of television, videotape and film, this trend seems set to continue (Mirzoeff 1999). In a book titled An Introduction to Visual Culture by Nicholas Mirzoeff, he explained that visual culture, very different from it’s status today, suffered hostility in the West: “a hostility to visual culture in Western thought, originating in the philosophy of Plato. Plato believed that the objects encountered in everyday life, including people, are simply bad copies of the perfect ideal of those objects” (1999, 9). Plato had the idea that what artists do are mere copies of the original, which makes it lose significance because copying what already exists, for Plato, is pointless: 2 In other words, everything we see in the “real” world is already a copy. -
Place of Region in the Contemporary Catalogue
Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. -
Papal Visit Philippines 2014 and 2015 2014
This event is dedicated to the Filipino People on the occasion of the five- day pastoral and state visit of Pope Francis here in the Philippines on October 23 to 27, 2014 part of 22- day Asian and Oceanian tour from October 22 to November 13, 2014. Papal Visit Philippines 2014 and 2015 ―Mercy and Compassion‖ a Papal Visit Philippines 2014 and 2015 2014 Contents About the project ............................................................................................... 2 About the Theme of the Apostolic Visit: ‗Mercy and Compassion‘.................................. 4 History of Jesus is Lord Church Worldwide.............................................................................. 6 Executive Branch of the Philippines ....................................................................... 15 Presidents of the Republic of the Philippines ....................................................................... 15 Vice Presidents of the Republic of the Philippines .............................................................. 16 Speaker of the House of Representatives of the Philippines ............................................ 16 Presidents of the Senate of the Philippines .......................................................................... 17 Chief Justice of the Supreme Court of the Philippines ...................................................... 17 Leaders of the Roman Catholic Church ................................................................ 18 Pope (Roman Catholic Bishop of Rome and Worldwide Leader of Roman -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
University Microfilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. I. The sign or "target" for pages apparcntly lacking from the document photographed is "Missing Pagets)". II' it was possible to obtain the missing pagers) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrigh ted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, ctc., is part of the material being photographed, a definite method of "sectioning" the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again vbcginning below the first row and continuing on until complete.