Coastal and Inland Dwellings Mindanao & Sulu by Julian E
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Module 1: Arts and Crafts of Mindanao
Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 7 Zest for Progress Zeal of Partnership ARTS Quarter 3 - Module 1: Arts and Crafts of Mindanao Name of Learner: ___________________________ Grade & Section: ___________________________ Name of School: ___________________________ WHAT I NEED TO KNOW In this module, you will be learning the different arts and crafts of Mindanao – the salient features of arts of Mindanao by showing the relationship of the elements of arts and processes among the diverse cultural communities in the country. Thus, you will also learn how lines, shapes, forms, value, color, texture and space give more meaning and significance to an artwork. This module will help you explore the arts of people of Mindanao and how animism and the Islamic religion fused together and produced a uniquely Filipino artistic tradition. The arts and crafts of Mindanao include their cultural attire, textiles, tapestries, crafts, accessories and body ornaments which are a combination of designs from indigenous people that resides in the regions and the colorful and rich influence from their indigenous belief system. Most of their crafts are made of materials that are abundant in their areas. Their designs are derived from their surroundings and represent their cultural community. Some are used for religious activities while some have utilitarian functions and even became large industry for them. Even until now, the skills in weaving, sculpting and crafting have been an important part of their community. Thus, these become the people’s way of living and their means of survival. These are passed on from generation to generation. -
Zakah Execution and Its Influence on the Recipients As Perceived by the Fire Personnel of Lanao Del Sur
Zakah Execution and Its Influence on the Recipients as Perceived by the Fire Personnel of Lanao del Sur Naim S. Noor and Monara M. Maruhom Mindanao State University, Marawi City, Philippines www.msumain.edu.ph Keywords: Zakah, Execution, Fire Personnel. Abstract: This study investigated the extent of execution of Zakah and its contribution onits recipients. (1) The respondents of this study were the 100 Fire Personnel including the 12 Fire Marshals under the Bureau of Fire Protection of Lanao del Sur composed of 15municipalities that have fire departments. Cross-sectional survey design was utilized and qualitative descriptive approach has been used in the interpretation of data. (2) Specifically, the study answered the following questions: 1. what is the profile of the respondents in terms of their personal data, 2. what are their practices in the execution of Zakah as perceived by the respondents in the aspects of its legal rulings, its purpose and recipients? And 3. what are the contributions of Zakah on its recipients as perceived by the respondents in the aspect of improving the life of the recipients and in alleviating poverty? (3) from the data gathered, a typical fire officer in Lanao del Sur belonged to the age range of 29-35 years old, male, married, bachelors’ degree holder, ibtidai graduate, served for less than five years, with FO1 position, and a monthly net income of P29,668.00. It is concluded that the respondents agreed on all the indicators given in the purpose of Zakah, improving the life of the recipients and alleviating poverty. (4) moreover, it was disclosed that respondents agreed that Zakah is compulsory to Muslims who are financially capable. -
Sociología Del Kulintang
CUADERNOS DE MÚSICA IBEROAMERICANA. Vol. 28 enero-diciembre 2015, 7-36 ISSN: 1136-5536 ISAAC DONOSO Universidad de Alicante Sociología del kulintang El kulintang y su orquesta forman la música más singular de las sociedades musulma- nas del sur del archipiélago Filipino. En este trabajo se estudia el significado social de la música de kulintang, sus raíces preislámicas y sus roles en una sociedad islámica, desde las descripciones históricas del siglo XVI hasta la actualidad. La finalidad es establecer la realidad social de la música de kulintang históricamente y su posición actual en una sociedad fili- pina que se enfrenta a un mundo global con fragilidad en su conciencia identitaria. Palabras clave: kulintang, música filipina, islam en Filipinas, moros, sociología de la música, identidad musical. Kulintang and its ensembles represent the most unique music of the Muslim communities in the Southern Philippines. This study examines the social significance of kulintang music, its pre-Islamic roots and its roles in an Islamic society, from the historical descriptions dating back to sixteenth century to the present. The article’s objective is to establish the social reality of kulintang music in history and its present position in a Philippine society facing a global world with a fragile awareness of identity. Keywords: Kulintang, Philippine music, Islam in the Philippines, Moors, music sociology, musical identity. Aproximación a la sociedad islámica de Filipinas La presencia del islam en el archipiélago Filipino tiene su origen en el proceso de islamización que en el Sudeste asiático tuvo lugar como con- secuencia de las rutas comerciales que unían los puertos musulmanes de Oriente próximo con China1. -
K to 12 Curriculum Guide
Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City K to 12 Curriculum Guide ART (Grade 1 to Grade 10) May 2016 K to 12 BASIC EDUCATION CURRICULUM CONCEPTUAL FRAMEWORK Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for artistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance- based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world. As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2) The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. -
Act East: Asean-India Shared Cultural Heritage
ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE Culture is the key to the India-ASEAN partnership. Shared histori- cal ties, culture and knowledge continue to underpin India’s sustained interactions with Southeast Asia. The commonalities between India and Southeast Asia provide a platform for building synergies with the countries of the region. As India’s engagement with the ASEAN moves forward with support of the Act East Policy (AEP), the socio-cultural linkages between the two regions can be utilized effectively to expand collaboration, beyond economic and political domains into areas of education, tourism ACT EAST: and people to people contact. This book presents historical and contemporary dimensions between India and Southeast Asia with particular reference to cultural heritage. One of the recommenda- ASEAN-INDIA tions of this book is to continue our efforts to preserve, protect, and restore cultural heritage that represents the civilisational bonds SHARED CULTURAL between ASEAN and India. The book will serve as a knowledge product for policymakers, academics, private sector experts and HERITAGE regional cooperation practitioners; and is a must-read for anyone interested in the cultural heritage. fodkl'khy ns'kksa dh vuqla/ku ,oa lwpuk iz.kkyh Core IV-B, Fourth Floor, India Habitat Centre ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE ASEAN-INDIA SHARED CULTURAL ACT EAST: Lodhi Road, New Delhi-110 003, India Tel.: +91-11-2468 2177-80, Fax: +91-11-2468 2173-74 AIC E-mail: [email protected]; [email protected] AIC fodkl'khy ns'kksa dh vuqla/ku -
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. -
IP STRUGGLE MANOBO PULANGIHON (TINDOGA of Botong, Quezon, Bukidnon) TINDOGA
NAST Mindanao Regional Scientific Meeting Mallberry Suites & Business Hotel, CDO, March 12-13, 2018 CULTURE & HERITAGE R&D AGENDA TOWARDS A JUST AND LASTING PEACE IN MINDANAO: CONTINUING CHALLENGES Nimfa L. Bracamonte OUTLINE of PRESENTATION • Brief Introduction: Culture & Heritage and Museums • Culture & Heritage Agenda (2017 Davao Outputs) and Others • Prehispanic Period • Photodocumentation of Some Cultural Items from the Field • Consultative Forum Outputs of Lombay ka Marawi Program • Emerging Lumad Issues • Continuing Challenges What is “Culture”? • Contemporary sociological research describes everything from elite artistic activities (Becker 1982) to the values, styles, and ideology of day-today conduct (Swidler 1986). ( • Kroeber & Kluckhohn: “Culture consists of patterns, explicit and implicit, of and for behavior acquired and transmitted by symbols, constituting the distinctive achievement of human groups, including their embodiments in artifacts; the essential core of culture consists of traditional (i.e., historically derived and selected) ideas and especially their attached values; culture systems may, on the one hand, be considered as products of action, on the other as conditioning elements of further action.” (p. 564) Source: Borgatta, E. F., Montgomery, J.V. 2000. Encyclopedia of Sociology. Two basic components of culture: http://people.tamu.edu/~i-choudhury/culture.html : • Ideas and symbols (non-material): values, beliefs, symbols, and language that define a society. • Artifacts (material objects): called material culture, includes all the society’s physical objects, such as its tools and technology. • Every culture is filled with symbols • Cumulative; explicit and implicit, of and for behavior acquired and transmitted by symbols, constituting the distinctive achievement of human groups socially transmitted; behavior through social learning. -
Art-Q4module7-Sculpt
SCULPTURE Overview In the previous modules, you were already introduced to different art elements and design principles as manifested from different Philippine arts – from simple basket and mat weaving of different indigenous and cultural communities to the highly sophisticated textile weaving from Northern to Southern Philippines. You are also familiar with the Angono petroglyphs, the Laguna copperplate inscriptions,. In this module, you will understand how Philippine sculpture evolved from its simplest form as manifested in clay potteries of Maitum, the Manunggul jar, the bul-ol, and the pre-historic Angono cave art to the highly- Christianized period of Chinese artisans in Manila and the Paete woodcarvers in Laguna and the western- inspired, modern era of sculptors Napoleon Abueva, Guillermo Tolentino, Ed Castrillo, and Jun Yee among others. You will also experience how to create your own sculpture and make an assemblage from available and seemingly useless trash and discards. Monument of San Lorenzo Ruiz de Manila - the first Filipino saint, seen in Binondo Plaza, Manila. 155 MODULE 7 GRADE 7 ART LEARNING At the end of this module, you are ex- pected to: Bas relief refers to a form of sculpture carved understand that sculpture was from a block of wood or stone which can either already a form of art since pre- be highly delineated (high relief) or only slightly historic Philippines. Protruding or delineated (low relief). review the evolution of sculpture in the different parts of the Phil. Cosmology refers to the belief system of a analyze the unique forms, particular culture regarding divinity and their materials, colors, and uses of role in the life of a community or person. -
Quarter 1 – Module 7 Batik: a Traditional Art of Southeast Asia
8 Arts Quarter 1 – Module 7 Batik: A Traditional Art of Southeast Asia Arts – Grade 8 Alternative Delivery Mode Quarter 1 – Module 7: Batik: A Traditional Art of Southeast Asia First Edition, 2020 Republic Act 8293, Section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Development Team of the Module Writer: Glizette S. Torillas Editors: Paulita L. Vernal, Lenycres V. Libres, Charito B. Cabug-os Reviewers: Cecilia M. Saclolo, Charisma P. Anino Illustrator: Danilo L. Galve Layout Artist: Ivan Paul V. Damalerio Management Team: Francis Cesar B. Bringas Isidro M. Biol, Jr. Maripaz F. Magno Josephine Chonie M. Obseñares Ma. Teresa M. Real Dominico P. Larong, Jr. Gemma C. Pullos Dulcisima A. Corvera Printed in the Philippines by Department of Education – Caraga Region Learning Resource Management Section (LRMS) Office Address: J.P. Rosales Avenue, Butuan City, Philippines 8600 Tel. No.: (085) 342-8207 Telefax No.: (085) 342-5969 E-mail Address: [email protected] 8 Arts Quarter 1 – Module 7 Batik: A Traditional Art of Southeast Asia i Introductory Message For the facilitator: Welcome to the Arts 8 Alternative Delivery Mode (ADM) Module on Batik: A Traditional Art of Southeast Asia. -
Philippine Mystic Dwarfs LUIS, Armand and Angel Meet Healing and Psychic Judge Florentino Floro
Philippine Mystic Dwarfs LUIS, Armand and Angel Meet Healing and Psychic Judge Florentino Floro by FLORENTINO V. FLORO, JR ., Part I - 2010 First Edition Published & Distributed by: FLORENTINO V. FLORO, JR . 1 Philippine Copyright© 2010 [Certificate of Copyright Registration and Deposit: Name of Copyright Owner and Author – Florentino V. Floro, Jr .; Date of Creation, Publication, Registration and Deposit – _________________, 2010, respectively; Registration No. __________, issued by the Republic of the Philippines, National Commission for Culture and the Arts, THE NATIONAL LIBRARY, Manila, Philippines, signed by Virginio V. Arrriero, Acting Chief, Publication and Special Services Division, for Director Prudencia C. Cruz, and Attested by Michelle A. Flor, 1 Copyright Examiner] By FLORENTINO V. FLORO, JR. Email: [email protected], 123 Dahlia, Alido, Bulihan, Malolos City, 3000 Bulacan, Philippines , Asia - Cel. # 0915 - 553008, Robert V. Floro All Rights Reserved This book is fully protected by copyright, and no part of it, with the exception of brief quotations embodied in critical articles and reviews, may be reproduced, recorded, photocopied, or distributed in any form or by any electronic or mechanical means, or stored in a database or retrieved system, without the written consent of the Author/publisher. Any copy of this book not bearing a number and the signature of the Author on this page shall be denounced as proceeding from an illegal source, or is in possession of one who has no authority to dispose of the same. First Printing, 2010 Serial No. _____________ LCCCN, Library of Congress Catalog Card Number: Floro, Florentino V., 2006, " Philippine Mystic Dwarves LUIS, Armand and Angel Meet Fortune-telling Judge", 1st edition, ____ p., FIL / ______ / ______ / 2010 2 ISBN ____________________ 3 Printed & Published by: FLORENTINO V. -
Act East: Asean-India Shared Cultural Heritage
ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE Culture is the key to the India-ASEAN partnership. Shared histori- cal ties, culture and knowledge continue to underpin India’s sustained interactions with Southeast Asia. The commonalities between India and Southeast Asia provide a platform for building synergies with the countries of the region. As India’s engagement with the ASEAN moves forward with support of the Act East Policy (AEP), the socio-cultural linkages between the two regions can be utilized effectively to expand collaboration, beyond economic and political domains into areas of education, tourism ACT EAST: and people to people contact. This book presents historical and contemporary dimensions between India and Southeast Asia with particular reference to cultural heritage. One of the recommenda- ASEAN-INDIA tions of this book is to continue our efforts to preserve, protect, and restore cultural heritage that represents the civilisational bonds SHARED CULTURAL between ASEAN and India. The book will serve as a knowledge product for policymakers, academics, private sector experts and HERITAGE regional cooperation practitioners; and is a must-read for anyone interested in the cultural heritage. fodkl'khy ns'kksa dh vuqla/ku ,oa lwpuk iz.kkyh Core IV-B, Fourth Floor, India Habitat Centre ACT EAST: ASEAN-INDIA SHARED CULTURAL HERITAGE ASEAN-INDIA SHARED CULTURAL ACT EAST: Lodhi Road, New Delhi-110 003, India Tel.: +91-11-2468 2177-80, Fax: +91-11-2468 2173-74 AIC E-mail: [email protected]; [email protected] AIC fodkl'khy ns'kksa dh vuqla/ku -
The Boats of the Tawi-Tawi Bajau, Sulu Archipelago, Philippines
The Boats of the Tawi-Tawi Bajau, Sulu Archipelago, Philippines Received 20 February 1990 H. ARLO NIMMO ISLAND SOUTHEAST ASIA has perhaps the greatest variety of watercraft of any culture area in the world. Through centuries of adaptation to tropical riverine and maritime environments, the people of this island world have created hundreds-indeed, prob ably thousands-of different kinds of boats. The primitive rafts that first transported the early inhabitants to offshore islands evolved into the sophisticated sailing vessels that allowed this population to become the most far-flung on earth before the expan sion of European cultures. By the time Europeans began to venture beyond their shores, Austronesian speakers had spread throughout all of Island Southeast Asia, west to Madagascar, north to Taiwan, and east to Micronesia, parts of Melanesia, and the outposts of Polynesia. Perusal of a map of Island Southeast Asia explains the proliferation of watercraft in this area. Thousands of islands make up the modern nations of Indonesia, the Philippines, and Malaysia, and one can sail within sight of land throughout the entire area before reaching its outer limits. The lure of these islands to the always curious human mind as well as the abundant food resources in their surrounding waters were doubtless prime motivators for the first boat-builders-as indeed they continue to motivate contemporary boat-builders. Virtually all islands large enough to accommodate human populations are inhabited, and some have been so for mil lennia. The separation of human populations by expanses of water, as well as the diverse currents of history that have moved through the area, has resulted in a rich mosaic of distinctive cultures.