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Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
In Flight: Contemporizing Winged Motifs in Philippine
IN FLIGHT: CONTEMPORIZING WINGED MOTIFS IN PHILIPPINE FOLK DANCE FOR THE CANADIAN STAGE PAULO PEREZ ALCEDO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DANCE YORK UNIVERSITY TORONTO, ONTRARIO APRIL 2021 © PAULO ALCEDO, 2021 ii Abstract This thesis is a choreographic and filmic exploration of contemporizing selected Philippine folk dances that have winged motifs. It examines dance rehearsals as a site for ethnographic research. Metaphors of birth, growth, life, immigration, struggle, failures, resilience, and hope will be manifested and expressed. The output of this research is a dance film. Titled In Flight, it critically responds to themes of isolation, limited movements, the precarity of flight, restricted travel, acts of transferring from one place to another, and the ways in which dance artists adapt to quarantined movements of life. Its aim is to identify an increased knowledge of natural movement of the avian species paralleled or in discussion with how humans translate the naturally occurring movements of birds into human expressions and dances. Keywords: Philippine folk dance, contemporizing traditional dances, winged motifs, avian species, COVID-19, isolation, precarity of flight, dance ethnography iii Dedication This thesis is dedicated to my late sister Lara. Thank you for sparking my love of dance. Thank you for your unconditional love even if it was cut short. I wish you were here to bear witness to my own flight as a dancer and now a choreographer. I also dedicate this thesis to my brother Patrick who paved the way for me to pursue my graduate studies. -
Newsletter Issue No. 05
Vol.II No. 01 Quarterly Publication of the Philippine Embassy, Athens www.athenspe.net April 2008 PASSPORT, CONSULAR FEES REDUCED! Beginning March 13, 2008, The reduction of the costs of all service fees for passports consular services is in line and other consular with the government’s policy documents such as affidavit, to protect and advance the Special Power of Attorney interest of Overseas Filipino (SPA), certification, Workers (OFWs), the authentication, birth and country’s Bagong Bayani marriage reports, visa, and (Modern Day Heroes). citizenship reacquisition, President Gloria Macapagal were reduced by 38 per Arroyo directed all Philippine Ambassador and Mrs. Tiglao with Greek Foreign Minister Dora Bakoyannis cent. (Continued on page 5) at a reception hosted by the Ministry of Foreign Affairs. For a detailed revised schedule of Philippine Embassy, FilCom Athens PE hosts “Meet My fees, turn to page 5. Prepare for Independence Country Day” for Women’s Day Celebrations International Club The Philippine Embassy and leaders of the The Philippine Embassy in Athens What’s Inside? Filipino community organizations have hosted and presented last April 2, Athens PE Visits Corfu started preparations for the celebration of 2008 an event entitled “Meet My th the 110 Anniversary of Philippine Country Day-Philippines” for the GMA-7 Team in Greece Independence to be held on 15 June 2008 Women’s International Club (WIC) at the Fokianos National Stadium in of Athens. Arrival & Departures in Athens Zappeion, Athens, where it has been Ambassador Rigoberto D. Tiglao traditionally held for the past couple of and Madame Getsy S. Tiglao led Christmas Party with FilCOm years. -
Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing
Creative Arts Educ Ther (2017) 3(2):47–59 DOI: 10.15212/CAET/2017/3/6 Rising After the Storm: Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing 暴风雨后的崛起:交织菲律宾本土舞蹈、音乐和西方古典音乐 以期康复和健康 Gina Alfonso Cartwheel Foundation, Philippines Abstract Long-term recovery programs for the survivors of typhoon Haiyan – as it struck the Philippines in 2013 – were inevitably characterized by a convergence of Eastern and Western approaches to health and wellness due to the sectors involved in the process. Local community volunteers and local/international non-profit organizations joined forces to offer socio-emotional support to over 100 families of Tagbanua heritage on three islands in the area of Culion, Palawan, Philippines. This paper presents the blending of Eastern and Western perspectives on post-traumatic symp- toms, on well-being and on the human condition. The combined spirit of compassion and bayani- han (a Filipino term for togetherness in common effort) shared by the relief workers and the Tagbanua is also described. Narratives about the unexpected discovery of inherent indigenous ways of coping through dance – and a therapeutic encounter that involved a dialogue between Tagbanua and Western classical music – are highlighted as examples of the interweaving of art- based healing practices from the East and West which contributed towards recovery and the restoration of health. Keywords: Psychosocial support, Filipino psychology, Typhoon Haiyan, Philippine indigenous dance, Western classical music. 摘要 关于曾在2013年袭击菲律宾的台风海燕幸存者的长期康复计划,不可避免地表现为东 西方健康和福祉方法的融合,这是由于该计划涉及了这些内容。当地社区志愿者和当 地/国际非营利组织联合向菲律宾巴拉望和库利昂地区三个岛上的100多个塔格巴努亚土 著家庭提供心理支持。本文介绍了东西方对创伤后症状、健康状况和人类状况影响的观 点,并描述了救援人员和塔格巴努亚人分享共情和Bayanihan (菲律宾语共同和协力之 意)的精神。关于通过舞蹈应对,这种固有的土著方式的意外发现以及涉及塔格巴努亚 与西方古典音乐之间对话的治疗性相遇的叙述突出显示了东西方艺术为基础的针对康复 和福祉的健康治疗实践相互交织的案例。 关键词: 心理社会支持, 菲律宾心理学, 台风海燕, 菲律宾土著舞蹈, 西方古典音乐。 Creative Arts in Education and Therapy – Eastern and Western Perspectives – Vol. -
Juanito Valderrama
singsFlamenco MJ~ lf !NITO V!IDERR!M! , HIGH FIDELITY · · FM 119 ® MONl'ILIA Juf\i'lrro MONTIUA FM-119 FM-119 HIGH FIDELITY HIGH FIDELITY ORQUESTA MONTILLA-DIRECTOR: MANUEL GORDILLO GUITAR ACCOMPANIMENT: JOSE MARIA PARDO SIDE ONE SIDE TWO EL EMIGRANTE - Bolero Flamenco COMO UNA HERMANA - Zambra RUEDO DE ORO-Pasodoble DIEGO PI~ERO - Pasodoble con Fandangos MI MARIA JESUS - Bulerias RECUERDO A MANOLETE - Seguiriyas y Martinete EL CRISTO DE LOS FAROLES-Por Tientos y Alegdas EN LA CRUZ DE DOS CAMINOS - Soleares, Bulerias y Fandangos MADRE HERMOSA -Pasodoble DE POLIZON - Habanera SOY EL INCLUSERO - Bolero Flamenco SU PRIMERA COMUNION -Habanera JUANITO V ALDERRAMA-Nacio en Torredelcampo, de la provincia andaluza de JU AJ ITO VALDERRAMA was born in Torredelcampo, Province of Jaen, Andalucia. Jaen. Como cas i todos los grandes y verdaderos artistas, Valderrama s~nt io la llamada Like all g1P1t and true artists, Valderrama showed as a child his gift for singing but de la vocacion desde muy nifio, pero tuvo que lud1ar firmemente hasta co nvencer a could not ccnvince hi s fan1i ly of the authenticity of his vocation. Before he was nine sus familiares de lo autentico de esa vocacion. No tenia aun nueve afios cuando por years old, he had rnn away from home twice, in an effort to try his luck as a singer. dos veces habia ya escapado de su casa, decidido a abrirse paso cantando. En ambas Both times he w:!.s brought home by the Civil Guard, panish equivalent of the ocasiones foe devuelto a los suyos por la Guardia Civil, pero despues de la segunda police. -
“Wow Philippines - the Philippine Experience”
THE PHILIPPINE CULTURAL FOUNDATION, INC. Presents “Wow Philippines - The Philippine Experience” Take your students to a journey to see the Philippine Enrichment Complex and enjoy “Wow Philippines - The Philippine Experience.” You and your students will be fascinated by this amazing performance! Arrival: When the students arrive, they will be greeted by members of the board of the Philippine Cultural Foundation, Inc. and the performing organizations. They will experience the enthusiastic hospitality that Filipinos are famous for, and they will be able to learn and practice the Philippine language. Before the students arrive, prepare them to say “Mabuhay” (ma-BOO-high) as they receive a free Philippines flag, a gift from the Philippine Cultural Foundation, Inc. “Mabuhay” is a greeting of cheer that means “Long Live!” The Show: The colorful show will take students on a journey through various times in Philippine history, sharing energy of the joyful Philippine spirit. “Wow Philippines - The Philippine Experience” includes • An entertaining performance of folk dances by the Philippine Performing Arts Company, • a unique bamboo musical presentation by the Musikong Kawayan Bamboo Ensemble, • and the beautiful voices of the Philippine Choral Group. This program is presented as part of the Artists-in-the-Schools Program, which is funded and jointly sponsored by the Hillsborough County School District and the Arts Council of Hillsborough County. Wow Philippines [Page- 1] Philippine Cultural Foundation, Inc. The Philippine Cultural Experience 14301 Nine Eagles Drive, Tampa, FL 33626 | www.pcfitampa.org Post -Performance Activities: At the end of the show, pre-selected student volunteers will be asked to interact with the dancers and try their skills in playing the bamboo instruments as well as dancing “Tinikling,” a bamboo dance. -
Lynn Meyers Song Catalog
Title I. Allá arriba en aquella montaña First line Allá arriba en aquella montaña yo corté una caña, Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941. #17468 Comments Andante con moto in 6/8. Sustained, lightly ornamented. A tender Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice M Voc. Level Beg. Acc. Reqts. Diff. Range e1-f2 Tessitura f1-d2 Spec. Appl. exp. Call No. LNCEMS Translation Title II. Sereno! First line Sereno! Sereno! En micasa hay un hombre durmiendo... Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Molto moderato e lugubre, in 6/8.Slow, sustained, dramatic. An ironic Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range e1-gsh2 Tessitura g1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title III. Llámale con el pañuelo First line Llámale con el pañuelo; llámale con garbo y modo. Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Allegretto grazioso in 6/8. Lively, graceful. Req. vocal flexibility, facile Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range d1-g2 Tessitura e1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title IV. No quiero tus avellanas First line No quiero tus avellanas, tampoco tus alelies, Composer Guridi, J., 1886-1961 Comp. -
SGH Newsletter 2014 年 5 月 1 日
第1回 「 21 世紀における日本の役割 」 Junten Senior School 1/31/2015 講師 JICA 須崎毅浩 SGH Newsletter 2014 年 5 月 1 日 Vol.13 School Workshop GLAP1 Workshop 11 “The Mini Philippine Day” their hair and their dance was very wonderful. After ■ Overview that, Ms.Namiki and 4 students showed the class how to dance Polkabal. The students learned and Lecturer: Kanami Namiki, Embassy of the Republic of the mastered it in a very short time, and they were Philippines, Students from Tokyo University of Foreign Studies. enjoying dancing Polkabal. Date: January 31, 2015 ■ Enjoyed Filipino Food E-class and interested students from other classes 1. Presentation on Filipino Dance 2. Enjoy Filipino Food Dancing made the students hungry! Now it is time to eat ■ Presentation on Philippine Dance delicious Filipino food, that Junten prepared for the workshop. Students enjoyed abodo For this workshop, Junten invited Ms.Kanami Namiki (meat marinated in from Embassy of the Philippines and 4 students from vinegar, soy sauce, and Tokyo University of Foreign Studies (TUFS) and we garlic: left) and pansit had “Mini Philippine Day.” Ms.Namiki studied Filipino (stir-fried rice noodle: right). Ms. Olivia Akatsu who has helped at TUFS and also got into Philippine dance. Since then, a SGH workshop last year donated Filipino snacks for the Ms.Namiki has involved with various Philippine dance workshop. activities and events. TUFS students, a Filipino student from Kyorin University who came to joined the workshop all The workshop began with Ms.Namiki’s presentation joined the lunch and enjoyed the food. Students on the culture, mainly about dance in the Philippines. -
Pangalay Performance, National Identity, and Practice-As-Research
Oberlin Digital Commons at Oberlin Honors Papers Student Work 2020 Moving Honestly - pangalay performance, national identity, and practice-as-research Kara Elena Nepomuceno Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the Dance Commons Repository Citation Nepomuceno, Kara Elena, "Moving Honestly - pangalay performance, national identity, and practice-as- research" (2020). Honors Papers. 797. https://digitalcommons.oberlin.edu/honors/797 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. Oberlin College “Moving honestly” pangalay performance, national identity, and practice-as-research Kara Nepomuceno Dance Honors Spring 2020 Nepomuceno 1 Abstract Previous research analyzes the legacies of various Philippine dances in the United States. This project seeks to describe the growing impact of the dance form pangalay, given its rising popularity among Philippine performing arts groups and among individual artists in the diaspora. Pangalay’s sustained, curvilinear style supports Filipino American dancers’ needs for physical well-being, relationship to colonized land, and expression of diasporic culture. Yet when pangalay is framed as a unifying dance aesthetic of Filipino identity, it obscures ongoing internal oppression within the Philippines as Christianized upper classes embrace the dance form yet cohere wealth by displacing Muslim groups. To explore these tensions, this paper draws on the method of practice as research. Through a six-week creative process, my collaborators and I used choreographic tools to engage Philippine regional dances. -
The Philippines
THE PHILIPPINES A GUIDE TO AUDIO-VISUAL RESOURCES ON PHIUPPINE STUDIES IN HAWAII Prepared by Belinda A. Aquino Marissa C. Garcia Center for Philippine Studies School of Hawaiian, Asian and Pacific Studies University ofHawaii at Manoa Copyright 1993 CENTER FOR PHILIPPINE snmlEs School ofHawaiian, Asian and PacifIC Studies University ofHawaii at Manoa Printed by Hawaii Correctional Industries Cover: Detail of a brass earring from eagayan Valley, designed by the Isnegs. Source: Men:edita Jose-Dela Cruz, Sourcebook ofPhilippine Traditiollll1 Art Motifs and Crafts Processes, (Manila: Philip pine Committee, 1992.) TABLE OF CONTENTS FOREWORD 1 GENERAL INFORMATION 3 PART I: 5 Subject Index to Videotapes PART II: 14 Summaries and Descriptions PART III: 46 Miscellaneous Holdings PARTN Infonnation on Policies and Instructions 49 Wong Audiovisual Center University ofHawaii at Manoa Art, Music & Recreation Section 54 Hawaii State library IYloREWORD Panofthejustification we citedfor the establishmentofa programon PhilippineStudies at the University ofHawaii atManoa (UHM)in 1974wasthepresenceofanextensivecollection of material on the Philippines in the university's libraries, which would enhance the basic missions ofinstruction, research and service on this campus. At that time the collection on the Philippines at the Asia Collection ofthe Hamilton Library numbered 2,404 (monographic titles only). This has grown to more than 10,000 titles, which is more than adequate to back up an academic program. Theprogrameventuallybecame the CenterforPhilippine Studies, when the Asian Studies Program to which Philippine Studies was attached was made pan of the new School ofHawaiian. Asian and Pacific Studies (SHAPS) in 1987. In time theresearchcollection would becomplemented by the acquisitionofaudiovisual material on various aspects of Philippines Studies, thereby increasing the resources on this campus for studies on the Philippines. -
Filipino American Association of Southern Ohio
Filipino American Association of Southern Ohio QUARTERLY NEWSLETTER OF THE FILIPINO AMERICAN ASSOCIATION OF SOUTHERN OHIO VOL.V-QTR.1 2016 In This Issue Members of the FASO Adult Cultural Dance Hall of Pride troupe wows the Crowd at the Wyoming Fine Arts Get to know FASO’s Center with the traditional dedicated volunteers folk dance, the feat. Leslie Abrenica “Bulaklakan” PAGE 3 Upcoming Events Calendar Don’t miss out on these fun-lled enriching activities. PAGE 7 2015 in Review A look at the highlights of the past year. PAGE 4 Learn to cook if you love to eat Discover Paolo Villaroya’s Recipe PAGE 6 FASO Delivers the Best FASO launches 2016 of Philippine Culture Mission Statement at Macy’s 2016 Arts Sampler By: Elizabeth Piocos During the rst FASO Board of director’s meeting held last Jan 16, 2016, FASO President February 27, 2016 marked the rst ever participation of FASO Young and young-at-heart Filipino-Americans performed Mrs. Suzy Alvarez Hussey presented this year’s at the famous annual Artswave-sponsored Macy’s Arts with gusto fantastic martial arts moves, divine dances like Mission/Vision statement to serve as the Sampler, a weekend which gives everyone a chance to discover “Sarung Banggi”, “Bulaklakan”, “Sayaw sa Bangko”, and the guiding principle for FASO’s various initiatives. the wide variety of arts across the Greater Cincinnati area, and signature toe-tapping “Tinikling”. Musical renditions by the The 3 word mission -- “Cohesion, Collaboration a perfect way to spend a weekend with family and friends and Adult Choral Group and the Youth Musical Ensemble of songs and Service” was introduced to promote a try something new. -
Maria Clara Suite Updated 01-Jul-2002
Look more here: https://aboutphilippines.ph/folklore-music-songs-dances.html Maria Clara Suite updated 01-Jul-2002 The coming of the Spaniards in the 16th century brought a new influence in Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European cultural ideas spread and the Filipinos adapted and blended to meet the local conditions. These dances reached their zenith in popularity around the turn of the century, particularly among urban Filipinos. They are so named in honor of the legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an embroidered long- sleeve shirt made of pineapple fiber. Alcamfor (ahl-kahm-FOHR) From Leyte comes this couples dance in which the girl holds a handkerchief laced with camphor oil, a substance which supposedly induces romance. Andaluz (ahn-dah-LOOHS) Also known as Paseo de Iloilo, for its province of origin, this is one of the most sophisticated courtship and flirtation dances of the Spanish era. The gentlemen compete among each other to win the heart of the dalaga, or young lady, by exemplifying chivalry, grace, and confidence. Aray MIDI File (aray.mid) (ah-RAHY) A dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was only spoken in the Ermita district before the turn of the century and today is extinct.