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Transportation History of the Philippines
Transportation history of the Philippines This article describes the various forms of transportation in the Philippines. Despite the physical barriers that can hamper overall transport development in the country, the Philippines has found ways to create and integrate an extensive transportation system that connects the over 7,000 islands that surround the archipelago, and it has shown that through the Filipinos' ingenuity and creativity, they have created several transport forms that are unique to the country. Contents • 1 Land transportation o 1.1 Road System 1.1.1 Main highways 1.1.2 Expressways o 1.2 Mass Transit 1.2.1 Bus Companies 1.2.2 Within Metro Manila 1.2.3 Provincial 1.2.4 Jeepney 1.2.5 Railways 1.2.6 Other Forms of Mass Transit • 2 Water transportation o 2.1 Ports and harbors o 2.2 River ferries o 2.3 Shipping companies • 3 Air transportation o 3.1 International gateways o 3.2 Local airlines • 4 History o 4.1 1940s 4.1.1 Vehicles 4.1.2 Railways 4.1.3 Roads • 5 See also • 6 References • 7 External links Land transportation Road System The Philippines has 199,950 kilometers (124,249 miles) of roads, of which 39,590 kilometers (24,601 miles) are paved. As of 2004, the total length of the non-toll road network was reported to be 202,860 km, with the following breakdown according to type: • National roads - 15% • Provincial roads - 13% • City and municipal roads - 12% • Barangay (barrio) roads - 60% Road classification is based primarily on administrative responsibilities (with the exception of barangays), i.e., which level of government built and funded the roads. -
Parangal for Pacita Abad
SPEECH BY CORAZON ALVINA PACITA ABAD: CURATING PACITA ABAD Jack (Mr Garrity), Butch - Department of Education Secretary Florencio Abad, Ateneo University President Father Bienvenido Nebres - also a trustee of the National Museum Board, ALIWW officers specially Ms Felice Sta Maria and Edna, Rita Ledesma, friends and other relations of Pacita, ladies and gentlemen: In my tour of duty as director of the Metropolitan Museum of Manila, I had the pleasure and privilege to curate, cocurate, organize and otherwise engage in projects with Pacita Abad. Though she had been a friend since university days at the University of the Philippines, we had lost touch through her residence and praxis in other parts of the world. So that when the exhibition schedule of the Met was turned over to me when I assumed office there, I was pleased to see that one of the plans was to have an exhibition of artwork, size big, featuring the trapunto of Pacita, and extremely large mix media works, for wall and floor, by Paz Abad Santos. I was tasked to curate this show, and to this day I consider it one of the most exhilarating exhibitions I had ever put together. It was also delightful, not like work at all. It was not wracked with angst; it was not marked by bitter battles as sometimes occur in the course an exhibition from conceptualization through installation - and after -- between artists and curators over independence and freedom in creation and expression on the one hand, and the curatorial muscle that some of us sometimes flex for museology, for personal curatorial ideologies, and in compliance with the museum's exhibition theories and education policies. -
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. -
Infrastructure Development: Experience and Policy Options for the Future
The author is the Vice-President of the Philippine Institute for Development Studies (PIDS). He is also a Research Fellow of the Rural Development Research Consortium, University of California, Berkeley. He was formerly Deputy Director-General of the National Economic and Development Authority (NEDA). He obtained his Ph.D. in Economics from the University of the Philippines School of Economics and specializes in money and banking, and public economics. He would like to thank the NEDA infrastructure staff, particularly Assistant Director-General R. Reinoso, L. Quitoriano, L. Abellera, J. Solidum, R. Guinto, N. Prudente, A. Paglinawan, and F. Medina for their invaluable assistance. The author acknowledges the excellent research assistance of G. Laviña and L. Calima of PIDS and R. Morales of NEDA who contributed to the section titled “The infrastructure sector after 25 years.” This paper was prepared for the PIDS Perspective Paper Symposium Series and presented on 20 August 2002 as part of the Institute’s celebration of its silver founding anniversary. Infrastructure Development: Experience and Policy Options for the Future Gilberto M. Llanto PERSPECTIVE PAPER SERIES NO. 7 PHILIPPINE INSTITUTE FOR DEVELOPMENT STUDIES Surian sa mga Pag-aaral Pangkaunlaran ng Pilipinas Copyright 2004 Philippine Institute for Development Studies Printed in the Philippines. All rights reserved. The views expressed in this paper are those of the author and do not necessarily reflect the views of any individual or organization. Please do not quote without permission -
SOURCES and INFLUENCES the Sources and Influences of The
SOURCES AND INFLUENCES The sources and influences of the visual arts in the Philippines may be classified according to the three principal cultural traditions found in the country; the indigenous tradition, which is evidenced by the arts of the natives in the long period before colonization, the arts of the non-hispanized ethnic communities today, and the lowland folk arts which fuse ethnic and colonial aspects; the Spanish tradition, which is seen in the religious paintings and prints, academic paintings, landscapes, portraits, letras y figuras (letters and figures), still-lifes, and other art works done by unschooled and schooled Filipino artists during the Spanish period from 1565 to 1898; and the Euro-American tradition which came in via the Americanized educational system and media and which has been indigenized in the painting and sculptures done by Filipino artists from the 1930s to the present. The Ethnic Tradition Evidences of the ancient arts are the artifacts unearthed in archaeological excavations, which include earthenware, body ornaments and jewelry, and textile fragments. An important body of earthenware consists of burial jars. The ancient tradition of jar burial was diffused throughout the southern part of the Asian mainland, the Malay Archipelago, and the Southeast Asian region, including the Philippines. This practice was related to the tradition of “grave furniture” in which the dead were buried along with various articles of everyday use such as eating utensils and weapons, and in the case of the nobility, with servants and domestic animals. The Manunggul Jar with its lid bearing two rowers in a boat is related to the Southeast Asian belief that the dead ride “spirit boats” across a body of water to reach the other world. -
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. -
Company Registration and Monitoring Department
Republic of the Philippines Department of Finance Securities and Exchange Commission SEC Building, EDSA, Greenhills, Mandaluyong City Company Registration and Monitoring Department LIST OF CORPORATIONS WITH APPROVED PETITIONS TO SET ASIDE THEIR ORDER OF REVOCATION SEC REG. HANDLING NAME OF CORPORATION DATE APPROVED NUMBER OFFICE/ DEPT. A199809227 1128 FOUNDATION, INC. 1/27/2006 CRMD A199801425 1128 HOLDING CORPORATION 2/17/2006 CRMD 3991 144. XAVIER HIGH SCHOOL INC. 2/27/2009 CRMD 12664 18 KARAT, INC. 11/24/2005 CRMD A199906009 1949 REALTY CORPORATION 3/30/2011 CRMD 153981 1ST AM REALTY AND DEVLOPMENT CORPORATION 5/27/2014 CRMD 98097 20th Century Realty Devt. Corp. 3/11/2008 OGC A199608449 21st CENTURY ENTERTAINMENT, INC. 4/30/2004 CRMD 178184 22ND CENTURY DEVELOPMENT CORPORATION 7/5/2011 CRMD 141495 3-J DEVELOPMENT CORPORATION 2/3/2014 CRMD A200205913 3-J PLASTICWORLD & DEVELOPMENT CORP. 3/13/2014 CRMD 143119 3-WAY CARGO TRANSPORT INC. 3/18/2005 CRMD 121057 4BS-LATERAL IRRIGATORS ASSN. INC. 11/26/2004 CRMD 6TH MILITARY DISTRICT WORLD WAR II VETERANS ENO9300191 8/16/2004 CRMD (PANAY) ASSOCIATION, INC. 106859 7-R REALTY INC. 12/12/2005 CRMD A199601742 8-A FOOD INDUSTRY CORP. 9/23/2005 CRMD 40082 A & A REALTY DEVELOPMENT ENTERPRISES, INC. 5/31/2005 CRMD 64877 A & S INVESTMENT CORPORATION 3/7/2014 CRMD A FOUNDATION FOR GROWTH, ORGANIZATIONAL 122511 9/30/2009 CRMD UPLIFTMENT OF PEOPLE, INC. (GROUP) GN95000117 A HOUSE OF PRAYER FOR ALL NATIONS, INC. CRMD AS095002507 A&M DAWN CORPORATION 1/19/2010 CRMD A. RANILE SONS REALTY DEVELOPMENT 10/19/2010 CRMD A.A. -
Study on Medium Capacity Transit System Project in Metro Manila, the Republic of the Philippines
Study on Economic Partnership Projects in Developing Countries in FY2014 Study on Medium Capacity Transit System Project in Metro Manila, The Republic of The Philippines Final Report February 2015 Prepared for: Ministry of Economy, Trade and Industry Ernst & Young ShinNihon LLC Japan External Trade Organization Prepared by: TOSTEMS, Inc. Oriental Consultants Global Co., Ltd. Mitsubishi Heavy Industries, Ltd. Japan Transportation Planning Association Reproduction Prohibited Preface This report shows the result of “Study on Economic Partnership Projects in Developing Countries in FY2014” prepared by the study group of TOSTEMS, Inc., Oriental Consultants Global Co., Ltd., Mitsubishi Heavy Industries, Ltd. and Japan Transportation Planning Association for Ministry of Economy, Trade and Industry. This study “Study on Medium Capacity Transit System Project in Metro Manila, The Republic of The Philippines” was conducted to examine the feasibility of the project which construct the medium capacity transit system to approximately 18km route from Sta. Mesa area through Mandaluyong City, Ortigas CBD and reach to Taytay City with project cost of 150 billion Yen. The project aim to reduce traffic congestion, strengthen the east-west axis by installing track-guided transport system and form the railway network with connecting existing and planning lines. We hope this study will contribute to the project implementation, and will become helpful for the relevant parties. February 2015 TOSTEMS, Inc. Oriental Consultants Global Co., Ltd. Mitsubishi Heavy -
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. -
Art of Nation Building
SINING-BAYAN: ART OF NATION BUILDING Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity PHILIPPINE COPYRIGHT 2009 by the United Nations Development Programme Philippines, Makati City, Philippines, UP National College of Public Administration and Governance, Quezon City and Bagong Lumad Artists Foundation, Inc. Edited by Vicente D. Mariano Editorial Assistant: Maricel T. Fernandez Border Design by Alma Quinto Project Director: Alex B. Brillantes Jr. Resident Social Artist: Joey Ayala Project Coordinator: Pauline S. Bautista Siningbayan Pilot Team: Joey Ayala, Pauline Bautista, Jaku Ayala Production Team: Joey Ayala Pauline Bautista Maricel Fernandez Jaku Ayala Ma. Cristina Aguinaldo Mercedita Miranda Vincent Silarde ALL RIGHTS RESERVED Apart from fair dealing for the purpose of research or review, as permitted under the copyright, this book is subject to the condition that it should not, by way of trade or otherwise, be lent, sold, or circulated in any form, without the prior permission in writing of the publisher. The scanning, uploading and distribution of this book via the Internet or via other means without the permission of the publisher is illegal and punishable by applied laws. ALL SONGS COPYRIGHT Joey Ayala PRINTED IN THE PHILIPPINES by JAPI Printzone, Corp. Text Set in Garamond ISBN 978 971 94150 1 5 TABLE OF CONTENTS i MESSAGE Mary Ann Fernandez-Mendoza Commissioner, Civil Service Commission ii FOREWORD Bro. Rolando Dizon, FSC Chair, National Congress on Good Citizenship iv PREFACE: Siningbayan: Art of Nation Building Alex B. Brillantes, Jr. Dean, UP-NCPAG vi ACKNOWLEDGEMENTS vii INTRODUCTION Joey Ayala President, Bagong Lumad Artists Foundation Inc.(BLAFI) 1 Musical Reflection: KUNG KAYA MONG ISIPIN Joey Ayala 2 SININGBAYAN Joey Ayala 5 PART I : PAGSASALOOB (CONTEMPLACY) 9 “BUILDING THE GOOD SOCIETY WE WANT” My Hope as a Teacher in Political and Governance Jose V.