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Music in the Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma
Music in The Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma. Patricia Brillantes-Silvestre A brief history of Quiapo Quiapo is a key district of Manila, having as its boundaries the winding Pasig River and the districts of Sta. Cruz, San Miguel and Sampaloc. Its name comes from a floating water lily specie called kiyapo (Pistia stratiotes), with thick, light-green leaves, similar to a tiny, open cabbage. Pre-1800 maps of Manila show Quiapo as originally a cluster of islands with swampy lands and shallow waters (Andrade 2006, 40 in Zialcita), the perfect breeding place for the plant that gave its name to the district. Quiapo’s recorded history began in 1578 with the arrival of the Franciscans who established their main missionary headquarters in nearby Sta. Ana (Andrade 42), taking Quiapo, then a poor fishing village, into its sheepfold. They founded Quiapo Church and declared its parish as that of St. John the Baptist. The Jesuits arrived in 1581, and the discalced Augustinians in 1622 founded a chapel in honor of San Sebastian, at the site where the present Gothic-style basilica now stands. At about this time there were around 30,000 Chinese living in Manila and its surrounding areas, but the number swiftly increased due to the galleon trade, which brought in Mexican currency in exchange for Chinese silk and other products (Wickberg 1965). The Chinese, noted for their business acumen, had begun to settle in the district when Manila’s business center shifted there in the early 1900s (originally from the Parian/Chinese ghetto beside Intramuros in the 1500s, to Binondo in the 1850s, to Sta.Cruz at the turn of the century). -
Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). -
Zarzuela to Sarswela: Indigenization and Transformation
philippine studies Ateneo de Manila University • Loyola Heights, Quezon City • 1108 Philippines Zarzuela to Sarswela: Indigenization and Transformation Doreen G. Fernandez Philippine Studies vol. 41, no. 3 (1993): 320–343 Copyright © Ateneo de Manila University Philippine Studies is published by the Ateneo de Manila University. Contents may not be copied or sent via email or other means to multiple sites and posted to a listserv without the copyright holder’s written permission. Users may download and print articles for individual, noncom- mercial use only. However, unless prior permission has been obtained, you may not download an entire issue of a journal, or download multiple copies of articles. Please contact the publisher for any further use of this work at [email protected]. http://www.philippinestudies.net Fri June 27 13:30:20 2008 Zarzuela to Sarswela: Indigenhation and Transformation Doreen G. Fmandez Even before it acquired the name, the Spanish ranuela was a fact of Spanish theater. Defined as a "type of Spanish musical theater, both spoken and sung" (Alier et a1 1982, 121, it is usually dated in the early seventeenth century, when La seloa sin amor by Lope de Vega, with music by an unknown composer, was first presented in 1629 (Peiia y Goni 1%7, 25). Although now called "the first Spanish op era" (Peila y Goni 1%7, 281, it was then called an egloga pastoral, the term zarzuela only coming into use later in the reign of Philip N (1621-651, whose Palacio de la Zarzuela, a summer and hunting re- sort, came to be the scene of theatrical entertainments presented during royal feastdays and birthdays. -
A Short History of the Philippine Sarsuwela (1879-2009)
PHILIPPINE HUMANITIES REVIEW 149 A SHORT HISTORY OF THE PHILIPPINE SARSUWELA (1879-2009) NICANOR G. TIONGSON Introduction In the Philippines, the sarsuwela is a play with songs and dances that is usually written in colloquial prose. Containing from one to fi ve acts, it presents typical Filipino characters moving within the framework of a love story and engaged in confl icts arising from contemporary social, political, economic, or cultural issues. Th e sarsuwela is also called sarsuela, zarzuela, sarsuelet, drama lirico, operetta, sarsuyla, dulang hinonihan, dulang inawitan, or dulang may awit in the various languages of the country. Very typical are the story and characters of the most famous sarsuwela of all time—the phenomenal Dalagang Bukid, a three-act sarsuwela by librettist Hermogenes Ilagan and composer Leon Ignacio, which premiered at the Teatro Zorilla in Manila in 1919. Atang de la Rama, the sarsuwela’s star, claimed that it had at least 1,000 performances before it was restaged at the Manila Grand Opera House in 1940 as a benefi cio for Hermogenes Ilagan. In 1987, the play was restaged for Atang de la Rama by Tanghalang Pilipino of the Cultural Center of the Philippines (CCP) to celebrate Atang’s proclamation as National Artist for Th eatre and Music. pphrhr jjournal2010.inddournal2010.indd SSec1:149ec1:149 111/5/20101/5/2010 99:23:35:23:35 AAMM 150 TIONGSON Act 1 opens at the salon of a nightclub with an interesting set of habitués: senators and congressmen spending money on women; the American John and his Filipina girlfriend Petra; the bailarina (taxidancer) Miling and her admirer Parlong, a married man; and Cobang who arrives with her suitor Paco looking for her husband Parlong. -
FILIPINOS in HISTORY Published By
FILIPINOS in HISTORY Published by: NATIONAL HISTORICAL INSTITUTE T.M. Kalaw St., Ermita, Manila Philippines Research and Publications Division: REGINO P. PAULAR Acting Chief CARMINDA R. AREVALO Publication Officer Cover design by: Teodoro S. Atienza First Printing, 1990 Second Printing, 1996 ISBN NO. 971 — 538 — 003 — 4 (Hardbound) ISBN NO. 971 — 538 — 006 — 9 (Softbound) FILIPINOS in HIS TOR Y Volume II NATIONAL HISTORICAL INSTITUTE 1990 Republic of the Philippines Department of Education, Culture and Sports NATIONAL HISTORICAL INSTITUTE FIDEL V. RAMOS President Republic of the Philippines RICARDO T. GLORIA Secretary of Education, Culture and Sports SERAFIN D. QUIASON Chairman and Executive Director ONOFRE D. CORPUZ MARCELINO A. FORONDA Member Member SAMUEL K. TAN HELEN R. TUBANGUI Member Member GABRIEL S. CASAL Ex-OfficioMember EMELITA V. ALMOSARA Deputy Executive/Director III REGINO P. PAULAR AVELINA M. CASTA/CIEDA Acting Chief, Research and Chief, Historical Publications Division Education Division REYNALDO A. INOVERO NIMFA R. MARAVILLA Chief, Historic Acting Chief, Monuments and Preservation Division Heraldry Division JULIETA M. DIZON RHODORA C. INONCILLO Administrative Officer V Auditor This is the second of the volumes of Filipinos in History, a com- pilation of biographies of noted Filipinos whose lives, works, deeds and contributions to the historical development of our country have left lasting influences and inspirations to the present and future generations of Filipinos. NATIONAL HISTORICAL INSTITUTE 1990 MGA ULIRANG PILIPINO TABLE OF CONTENTS Page Lianera, Mariano 1 Llorente, Julio 4 Lopez Jaena, Graciano 5 Lukban, Justo 9 Lukban, Vicente 12 Luna, Antonio 15 Luna, Juan 19 Mabini, Apolinario 23 Magbanua, Pascual 25 Magbanua, Teresa 27 Magsaysay, Ramon 29 Makabulos, Francisco S 31 Malabanan, Valerio 35 Malvar, Miguel 36 Mapa, Victorino M. -
Michigan Winter Tournament Packet 14
Michigan Winter Tournament "The Holy Roman Empire of Tournaments" Edited by: Harris Bunker, Emmett Laurie, Evan Lynch, Matt Mitchell, Eric Mukherjee, Jacob O'Rourke, Rudra Ranganathan, Conor Thompson, Jeremy Tsai, and Chandler West Written by: The editors, Mollie Bakal, Austin Foos, Beverly Fu, Colton Graham, James Hadley, Sean Higgins, Tyler McMaken, Ameya Phadnis, Aleija Rodriguez, James Stevenson, and Allan VanZandt Packet 14 Tossups: 1. A.J.P. Taylor wrote that the combatants of these conflicts had "become truly independent; they were nobody's satellites." Before being quickly subsumed into another country, revolutionaries freed Himara during one of these conflicts. The final battle in one of these conflicts saw Nikola Ivanov surround another side's forces at Kresna Gorge. One of the first aerial bombings occurred during this war's Siege of (*) Adrianople, or Edirne. A country led by Tsar Ferdinand I relinquished Dobruja during one of these conflicts via the terms of the treaty of Bucharest. For 10 points, name these wars fought in a namesake Peninsula, the first of which saw a coalition battle the Ottomans. ANSWER: Balkan Wars [accept First Balkan War or Second Balkan War] <Stevenson, European History> 2. In this novel, one character is told a prophecy that begins "the high official's fortune will decline."A translation of this book, which gives characters more Latin names like Sapientia and Adamantina, was created by David Hawkes. In two scenes from this novel, a man falls ill after a begonia tree fails to bloom and several maids are accused of infidelity after an embroidered purse is found. -
'Standardized Chapel Library Project' Lists
Standardized Library Resources: Baha’i Print Media: 1) The Hidden Words by Baha’u’llah (ISBN-10: 193184707X; ISBN-13: 978-1931847070) Baha’i Publishing (November 2002) A slim book of short verses, originally written in Arabic and Persian, which reflect the “inner essence” of the religious teachings of all the Prophets of God. 2) Gleanings from the Writings of Baha’u’llah by Baha’u’llah (ISBN-10: 1931847223; ISBN-13: 978-1931847223) Baha’i Publishing (December 2005) Selected passages representing important themes in Baha’u’llah’s writings, such as spiritual evolution, justice, peace, harmony between races and peoples of the world, and the transformation of the individual and society. 3) Some Answered Questions by Abdul-Baham, Laura Clifford Barney and Leslie A. Loveless (ISBN-10: 0877431906; ISBN-13 978-0877431909) Baha’i Publishing, (June 1984) A popular collection of informal “table talks” which address a wide range of spiritual, philosophical, and social questions. 4) The Kitab-i-Iqan Book of Certitude by Baha’u’llah (ISBN-10: 1931847088; ISBN-13: 978:1931847087) Baha’i Publishing (May 2003) Baha’u’llah explains the underlying unity of the world’s religions and the revelations humankind have received from the Prophets of God. 5) God Speaks Again by Kenneth E. Bowers (ISBN-10: 1931847126; ISBN-13: 978- 1931847124) Baha’i Publishing (March 2004) Chronicles the struggles of Baha’u’llah, his voluminous teachings and Baha’u’llah’s legacy which include his teachings for the Baha’i faith. 6) God Passes By by Shoghi Effendi (ISBN-10: 0877430209; ISBN-13: 978-0877430209) Baha’i Publishing (June 1974) A history of the first 100 years of the Baha’i faith, 1844-1944 written by its appointed guardian. -
Enduring Story of the People's Theater in the Philippines
Rebecca & Ruby - Sarsuwela In Sarsuwela SARSUWELA IN SARSUWELA: ENDURING STORY OF THE PEOPLE’S THEATER IN THE PHILIPPINES Rebecca T. Añonuevo & Ruby Gamboa Alcantara Abstract The Sarsuwela is a meaningful tradition in the Philippine drama. Unfortunately, the contemporary use of the term “sarsuwela” in mass media refers to the antics of politicians that have tainted the word. This paper explores the real meaning of the sarsuwela since its separation from the colonial Zarzuela of Spanish origin. The sarsuwela in our setting is not only theater as entertainment and spectacle but theater as a community and expression of the Filipino soul and aspirations. Using the combined power of language and music as well as poetry and footwork, the Philippine sarsuwela continues to be relevant, intense, and resilient as a form of social commentary. Keywords: Sarsuwela, Zarzuela, social commentary, mass media, and theater Introduction It is a sad disservice that the term “zarzuela” is used not a few times in derogatory manner in the Philippines. Only recently a senior columnist in one of the national papers used “zarzuela” to refer to what he observed as public entertainment between a member of the Congress and the First Gentleman’s lawyer’s verbal tussle over the alleged multi-billion bank account stashed away abroad by the republic’s First Couple. Why the writer would parallel the antics of politicians to a national form of theater that enthralled audiences for centuries here and abroad reveals either a lack of knowledge, if not a blunt sensibility to the cultural development and history of the genre. On second thought however perhaps the scene is not so strange if we go back to an early accusation against the zarzuela: a “buffoonery” to the assessment of a sullen critic in 17th century Madrid because it lacked the exalted and serious form of the Italian opera patronized by the royal court and the elite in society. -
Epoca Bizantină
Epoca Bizantină Urme materiale, secolele III, IV și V en Deși teritoriul nostru nu a făcut parte integrantă din Imperiul Bizantin, în cele ce urmează perioada de timp cuprinsă între epoca romană și cea feudală va fi denumită generic Epoca Bizantină, pentru a urma cursul firesc al Istoriei Bisericii Ortodoxe, cea care a consemnat faptele, obiceiurile și tradițiile, războaiele sau calamitățile vremurilor. Chiar dacă la Nord de Dunăre puterea militară și osul sănătos au fost de partea triburilor barbare, migratoare, aproape toate sursele istoriografice au fost produse de scribii bizantini sau romani. Urmele materiale identificate arheologic sunt și ele destul de limitate iar datarea lor s-a făcut de cele mai multe ori prin analogie cu cronologia romană. Aflat la granița de nord a teritoriului controlat de romani, teritoriul nostru a fost permanent în interacțiune activă cu marele imperiu, fie prin schimburi comerciale, fie prin confruntări militare. Toți sclavii eliberați sau fugiți, toți renegații și nemulțumiții Imperiului Bizantin, toți hoții și infractorii, pe scurt toți dușmanii Imperiului Roman și mai apoi ai celui Bizantin au găsit adăpost și refugiu la Nord de Dunăre. La aceștia se adaugă sutele de mii, sau în timp chiar milioanele de prizonieri de război, colonizați pe teritoriul nostru în așteptarea răscumpărării. Chiar dacă nu a existat un proces coherent de colonizare activă, organizat de o armată învingătoare, teritoriul nostru a fost colonizat progresiv cu locuitori ai Imperiului, coloniști ce au adus cu ei limba, obiceiurile și tradițiile, moneda sau averea lor. Este greu de spus dacă această politică a fost dirijată activ de împărații și capii bisericii, sau a fost doar rezultatul unei selecții naturale, dar majoritatea textelor lasă de înțeles că bizantinii au purtat serii de negocieri cu triburile invadatoare înainte de declanșarea fiecărui război. -
Inventory of the Oriental Manuscripts of the Library of the University of Leiden
INVENTORIES OF COLLECTIONS OF ORIENTAL MANUSCRIPTS INVENTORY OF THE ORIENTAL MANUSCRIPTS OF THE LIBRARY OF THE UNIVERSITY OF LEIDEN VOLUME 2 MANUSCRIPTS OR. 1001 – OR. 2000 REGISTERED IN LEIDEN UNIVERSITY LIBRARY IN THE PERIOD BETWEEN 1665 AND 1871 COMPILED BY JAN JUST WITKAM PROFESSOR OF PALEOGRAPHY AND CODICOLOGY OF THE ISLAMIC WORLD IN LEIDEN UNIVERSITY INTERPRES LEGATI WARNERIANI TER LUGT PRESS LEIDEN 2007 © Copyright by Jan Just Witkam & Ter Lugt Press, Leiden, The Netherlands, 2006, 2007. The form and contents of the present inventory are protected by Dutch and international copyright law and database legislation. All use other than within the framework of the law is forbidden and liable to prosecution. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission of the author and the publisher. First electronic publication: 27 October 2006. Latest update: 13 August 2007 © Copyright by Jan Just Witkam & Ter Lugt Press, Leiden, The Netherlands, 2006, 2007 2 PREFACE The arrangement of the present volume of the Inventories of Oriental manuscripts in Leiden University Library does not differ in any specific way from the volumes which have been published earlier. For the sake of brevity I refer to my prefaces in those volumes. A few essentials my be repeated here. Not all manuscripts mentioned in the present volume were viewed by autopsy, but many were. The sheer number of manuscripts makes this impossible. At a later stage this may be achieved, but trying to achieve this at the present stage of inventorizing would seriously hamper the progress of the present project. -
Protest Songs in EDSA 1: Decoding the People's Dream of An
PADAYON SINING: A CELEBRATION OF THE ENDURING VALUE OF THE HUMANITIES Presented at the 12th DLSU Arts Congress De La Salle University, Manila, Philippines February 20, 21 and 22, 2019 Protest Songs in EDSA 1: Decoding the People’s Dream of an Unfinished Revolution Marlon S. Delupio, Ph.D. History Department De La Salle University [email protected] Abstract: “Twenty-six years after Edsa I, also called the 1986 People Power Revolution, exactly what has changed? People old enough to remember ask the question with a feeling of frustration, while those who are too young find it hard to relate to an event too remote in time.” (Philippine Daily Inquirer, 25 of February 2012, 12) The People Power-1 Revolution (also known as EDSA Revolution of 1986 or the Yellow Revolution) was a series of mass demonstrations in the Philippines that took place from February 22-25, 1986. The nonviolent revolution led to the overthrow of then President Ferdinand Marcos that would eventually end his 21-year totalitarian rule and the restoration of democracy in the country. The quote cited above generally represent the sentiment of the people in celebrating EDSA-1 yearly, such feelings of frustration, hopelessness, indifference, and even a question of relevance, eroded the once glorified and momentous event in Philippine history. The paper aims to provide a historical discussion through textual analysis on the People Power-1 Revolution using as lens the three well known protest songs during that time namely: Bayan Ko, Handog ng Pilipino sa Mundo and Magkaisa. Protest songs are associated with a social movement of which the primary aim is to achieve socio-political change and transformation. -
2009 Annual Report
CHAIRMAN’S MESSAGE The year 2009 was our 40th anniversary year. It was a season of joy and remembrance - a rare opportunity to look back at our past and celebrate our achievements over four decades. It was also a time of reflection. We recalled the many and difficult challenges that we faced during the periods when our nation was rocked by political and economic upheavals. It was an occasion to celebrate Philippine art, and we did, with a year long feast of amazing performances, concerts and exhibits that hailed the excellence of Filipino artists and diversity of Filipino culture. Although pomp and controversy marked the beginnings of the CCP, and glitter and glamor were its garb during its early years, the institution has since evolved dramatically. Through conscious and focused effort, we have sought to expand the reach of the CCP, becoming a friendlier and more accessible artistic community, with outreach programs that encourage the music, dance, theater and art innate to us Filipinos in the different provinces of the Philippines. Through workshops, shows, exhibits and various cultural activities, we engaged people with art on a personal level, inspiring reflection, innovation and relevant action. At forty, the CCP remains vibrant. As we look forward to the next decade, we are refreshed and invigorated by the thought that life begins anew. We renew our commitment to champion the cause of Filipino artists and help build a nation of Filipinos who are proud of their unique culture. We are convinced that the arts are a most powerful tool for social transformation. EMILY ABRERA Chairman PRESIDENT’S REPORT The year 2009 was a banner year for the Cultural Center of the Philippines as we celebrated the CCP’s 40th Ruby Anniversary.