Nora Aunor National Artist Proclamation
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MALACAÑANG MANILA BY THE PRESIDENT OF THE PHILIPPINES EXECUTIVE ORDER 231 CREATING THE PRESIDENTIAL FACT-FINDING AND POLICY ADVISORY COMMISSION ON THE PROTECTION OF OVERSEAS FILIPINOS WHEREAS, recent events have evoked the nation’s serious concern for and recognition of overseas Filipinos; WHEREAS, it is the policy of the Philippine government to be firmly committed to the protection of overseas Filipinos; WHEREAS, certain claims and assertions as well as accusations have been made against some officials of the Philippine Government in connection with its efforts to protect overseas Filipinos; WHEREAS, there is a need to determine with utmost certainty the circumstances surrounding recent events involving the policies and actions of government in relation to the protection of overseas Filipinos; and WHEREAS, much can be learned from instances in which such policies and actions of government have succeeded and from those which did not lead to the desired results. NOW, THEREFORE, I, FIDEL V. RAMOS, President of the Republic of the Philippines, by virtue of the powers vested in me by law, do hereby order: Section 1. The Presidential Commission. — There is hereby created a Presidential Fact-Finding and Policy Advisory Commission on the Protection of Overseas Filipinos, hereinafter referred to as the Commission. The Commission shall immediately begin its work once it is constituted and shall accomplish its objectives within three (3) months thereof, after which, unless otherwise ordered by the President, the Commission shall be dissolved. Section 2. Composition. — The Commission shall be composed of a Chairman and six (6) members to be appointed by the President, as follows: 2.1. -
Women in Filipino Religion-Themed Films
Review of Women’s Studies 20 (1-2): 33-65 WOMEN IN FILIPINO RELIGION-THEMED FILMS Erika Jean Cabanawan Abstract This study looks at four Filipino films—Mga Mata ni Angelita, Himala, Ang Huling Birhen sa Lupa, Santa Santita—that are focused on the discourse of religiosity and featured a female protagonist who imbibes the image and role of a female deity. Using a feminist framework, it analyzes the subgenre’s connection and significance to the Filipino consciousness of a female God, and the imaging of the Filipino woman in the context of a hybrid religion. The study determines how religion is used in Philippine cinema, and whether or not it promotes enlightenment. The films’ heavy reference to religious and biblical images is also examined as strategies for myth-building. his study looks at the existence of Filipino films that are focused T on the discourse of religiosity, featuring a female protagonist who imbibes the image and assumes the role of a female deity. The films included are Mga Mata ni Angelita (The Eyes of Angelita, 1978, Lauro Pacheco), Himala (Miracle, 1982, Ishmael Bernal), Ang Huling Birhen sa Lupa (The Last Virgin, 2002, Joel Lamangan) and Santa Santita (Magdalena, 2004, Laurice Guillen). In the four narratives, the female protagonists eventually incur supernatural powers after a perceived apparition of the Virgin Mary or the image of the Virgin Mary, and incurring stigmata or the wounds of Christ. Using a feminist framework, this paper through textual analysis looks at the Filipino woman in this subgenre, as well as those images’ connection and significance to the Filipino consciousness of a female God. -
Dr. Riz A. Oades Passes Away at Age 74 by Simeon G
In Perspective Light and Shadows Entertainment Emerging out Through the Eye Sarah wouldn’t of Chaos of the Needle do a Taylor Swift October 9 - 15, 2009 Dr. Riz A. Oades passes away at age 74 By Simeon G. Silverio, Jr. Publisher & Editor PHILIPPINES TODAY Asian Journal San Diego The original and fi rst Asian Philippine Scene Journal in America Manila, Philippines | Oct. 9, It was a beautiful 2008 - My good friend and compadre, Riz Oades, had passed away at age 74. He was a “legend” of San Diego’s Filipino American Community, as well day after all as a much-admired academician, trailblazer, community treasure and much more. Whatever super- Manny stood up. His heart latives one might want to apply was not hurting anymore. to him, I must agree. For that’s Outside, the rain had how much I admire his contribu- stopped, making way for tions to his beloved San Diego Filipino Americans. In fact, a nice cool breeze of air. when people were raising funds It had been a beautiful for the Filipinos in the Philip- day after all, an enchanted pines, Riz was always quick to evening for him. remind them: “Don’t forget the Bohol Sunset. Photo by Ferdinand Edralin Filipino Americans, They too need help!” By Simeon G. I am in Manila with my wife Silverio, Jr. conducting business and visit- Loren could be Publisher and Editor ing friends and relatives. I woke up at 2 a.m. and could not sleep. Asian Journal When I checked my e-mail, I San Diego read a message about Riz’s pass- temporary prexy The original and fi rst ing. -
Si Judy Ann Santos at Ang Wika Ng Teleserye 344
Sanchez / Si Judy Ann Santos at ang Wika ng Teleserye 344 SI JUDY ANN SANTOS AT ANG WIKA NG TELESERYE Louie Jon A. Sánchez Ateneo de Manila University [email protected] Abstract The actress Judy Ann Santos boasts of an illustrious and sterling career in Philippine show business, and is widely considered the “queen” of the teleserye, the Filipino soap opera. In the manner of Barthes, this paper explores this queenship, so-called, by way of traversing through Santos’ acting history, which may be read as having founded the language, the grammar of the said televisual dramatic genre. The paper will focus, primarily, on her oeuvre of soap operas, and would consequently delve into her other interventions in film, illustrating not only how her career was shaped by the dramatic genre, pre- and post- EDSA Revolution, but also how she actually interrogated and negotiated with what may be deemed demarcations of her own formulation of the genre. In the end, the paper seeks to carry out the task of generically explicating the teleserye by way of Santos’s oeuvre, establishing a sort of authorship through intermedium perpetration, as well as responding on her own so-called “anxiety of influence” with the esteemed actress Nora Aunor. Keywords aura; iconology; ordinariness; rules of assemblage; teleseries About the Author Louie Jon A. Sánchez is the author of two poetry collections in Filipino, At Sa Tahanan ng Alabok (Manila: U of Santo Tomas Publishing House, 2010), a finalist in the Madrigal Gonzales Prize for Best First Book, and Kung Saan sa Katawan (Manila: U of Santo To- mas Publishing House, 2013), a finalist in the National Book Awards Best Poetry Book in Filipino category; and a book of creative nonfiction, Pagkahaba-haba Man ng Prusisyon: Mga Pagtatapat at Pahayag ng Pananampalataya (Quezon City: U of the Philippines P, forthcoming). -
A Dirty Affair Political Melodramas of Democratization
6 A Dirty Affair Political Melodramas of Democratization Ferdinand Marcos was ousted from the presidency and exiled to Hawaii in late February 1986,Confidential during a four-day Property event of Universitycalled the “peopleof California power” Press revolution. The event was not, as the name might suggest, an armed uprising. It was, instead, a peaceful assembly of thousands of civilians who sought to protect the leaders of an aborted military coup from reprisal by***** the autocratic state. Many of those who gathered also sought to pressure Marcos into stepping down for stealing the presi- dential election held in December,Not for Reproduction not to mention or Distribution other atrocities he had commit- ted in the previous two decades. Lino Brocka had every reason to be optimistic about the country’s future after the dictatorship. The filmmaker campaigned for the newly installed leader, Cora- zon “Cory” Aquino, the widow of slain opposition leader Ninoy Aquino. Despite Brocka’s reluctance to serve in government, President Aquino appointed him to the commission tasked with drafting a new constitution. Unfortunately, the expe- rience left him disillusioned with realpolitik and the new government. He later recounted that his fellow delegates “really diluted” the policies relating to agrarian reform. He also spoke bitterly of colleagues “connected with multinationals” who backed provisions inimical to what he called “economic democracy.”1 Brocka quit the commission within four months. His most significant achievement was intro- ducing the phrase “freedom of expression” into the constitution’s bill of rights and thereby extending free speech protections to the arts. Three years after the revolution and halfway into Mrs. -
PH - Songs on Streaming Server 1 TITLE NO ARTIST
TITLE NO ARTIST 22 5050 TAYLOR SWIFT 214 4261 RIVER MAYA ( I LOVE YOU) FOR SENTIMENTALS REASONS SAM COOKEÿ (SITTIN’ ON) THE DOCK OF THE BAY OTIS REDDINGÿ (YOU DRIVE ME) CRAZY 4284 BRITNEY SPEARS (YOU’VE GOT) THE MAGIC TOUCH THE PLATTERSÿ 19-2000 GORILLAZ 4 SEASONS OF LONELINESS BOYZ II MEN 9-1-1 EMERGENCY SONG 1 A BIG HUNK O’ LOVE 2 ELVIS PRESLEY A BOY AND A GIRL IN A LITTLE CANOE 3 A CERTAIN SMILE INTROVOYS A LITTLE BIT 4461 M.Y.M.P. A LOVE SONG FOR NO ONE 4262 JOHN MAYER A LOVE TO LAST A LIFETIME 4 JOSE MARI CHAN A MEDIA LUZ 5 A MILLION THANKS TO YOU PILITA CORRALESÿ A MOTHER’S SONG 6 A SHOOTING STAR (YELLOW) F4ÿ A SONG FOR MAMA BOYZ II MEN A SONG FOR MAMA 4861 BOYZ II MEN A SUMMER PLACE 7 LETTERMAN A SUNDAY KIND OF LOVE ETTA JAMESÿ A TEAR FELL VICTOR WOOD A TEAR FELL 4862 VICTOR WOOD A THOUSAND YEARS 4462 CHRISTINA PERRI A TO Z, COME SING WITH ME 8 A WOMAN’S NEED ARIEL RIVERA A-GOONG WENT THE LITTLE GREEN FROG 13 A-TISKET, A-TASKET 53 ACERCATE MAS 9 OSVALDO FARRES ADAPTATION MAE RIVERA ADIOS MARIQUITA LINDA 10 MARCO A. JIMENEZ AFRAID FOR LOVE TO FADE 11 JOSE MARI CHAN AFTERTHOUGHTS ON A TV SHOW 12 JOSE MARI CHAN AH TELL ME WHY 14 P.D. AIN’T NO MOUNTAIN HIGH ENOUGH 4463 DIANA ROSS AIN’T NO SUNSHINE BILL WITHERSÿ AKING MINAHAL ROCKSTAR 2 AKO ANG NAGTANIM FOLK (MABUHAY SINGERS)ÿ AKO AY IKAW RIN NONOY ZU¥IGAÿ AKO AY MAGHIHINTAY CENON LAGMANÿ AKO AY MAYROONG PUSA AWIT PAMBATAÿ PH - Songs on Streaming Server 1 TITLE NO ARTIST AKO NA LANG ANG LALAYO FREDRICK HERRERA AKO SI SUPERMAN 15 REY VALERA AKO’ Y NAPAPA-UUHH GLADY’S & THE BOXERS AKO’Y ISANG PINOY 16 FLORANTE AKO’Y IYUNG-IYO OGIE ALCASIDÿ AKO’Y NANDIYAN PARA SA’YO 17 MICHAEL V. -
Ps, Page 1-24 @ Normalize
2. Not only teach them about the one true God, but Editorial teach them we should love God with all our whole being. “Thou shalt love the Lord thy God with all thine heart, and with all thy soul, and with all thy might” (Deuteron- FAMILIES omy 6:5). HE BIBLE teaches us that God is love and we 3. We should obey God’s commands. “These words, know He is, not only because the Bible tells us which I command thee this day, shall be in thine heart: TT so, but because He has shown His love to us in And thou shalt teach them diligently unto thy children, so many ways. There are things that God loves and and shalt talk of them when thou sittest in thine house, there are things that God hates! There are seven things and when thou walkest by the way, and when thou liest grouped together that God hates: “A proud look, a lying down, and when thou risest up” (Deuteronomy 6:6, 7). tongue, and hands that shed innocent blood, An heart 4. Something parents need to remember and also that deviseth wicked imaginations, feet that be swift teach their children, God must come first in our life: in running to mischief, A false witness that speaketh “He that loveth father or mother more than me is not lies, and he that soweth discord among brethren” worthy of me: and he that loveth son or daughter more (Proverbs 6:17-19). than me is not worthy of me” (Matthew 10:37). -
2018 Spring Florida International University Commencement
Florida International University FIU Digital Commons FIU Commencement Programs Special Collections and University Archives Spring 2018 2018 Spring Florida International University Commencement Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/commencement_programs Recommended Citation Florida International University, "2018 Spring Florida International University Commencement" (2018). FIU Commencement Programs. 7. https://digitalcommons.fiu.edu/commencement_programs/7 This work is brought to you for free and open access by the Special Collections and University Archives at FIU Digital Commons. It has been accepted for inclusion in FIU Commencement Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Florida International University Ocean Bank Convocation Center CommencementModesto A. Maidique Campus, Miami, Florida Saturday, April 28, 2018 Sunday, April 29, 2018 Monday, April 30, 2018 Tuesday, May 1, 2018 Wednesday, May 2, 2018 Table of Contents Order of Commencement Ceremonies ........................................................................................................3 An Academic Tradition ..............................................................................................................................20 University Governance and Administration ...............................................................................................21 The Honors College ...................................................................................................................................24 -
ASIA PACIFIC DANCE FESTIVAL Stories
2015 ASIA PACIFIC DANCE FESTIVAL Stories LIVING THE ART OF HULA THURSDAY, JULY 16, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa LOCAL MOTION! SUNDAY, JULY 19, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa CHURASA – OKINAWAN DRUM & DANCE THURSDAY, JULY 23, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa WELCOMING CEREMONY FRIDAY, JULY 24, 2015 • 6:00PM East-West Center Friendship Circle STORIES I SATURDAY, JULY 25, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa STORIES II SUNDAY, JULY 26, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa HUMANITIES FORUM SUNDAY, JULY 26, 2015 • 4:45PM East-West Center Imin Center, Jefferson Hall A co-production of the University of Hawai‘i at Ma¯ noa Outreach College and East-West Center Arts Program with the support of the University of Hawai‘i at Ma¯ noa Department of Theatre and Dance. 2015 ASIA PACIFIC DANCE FESTIVAL ASIA PACIFIC DANCE FESTIVAL Director Tim Slaughter Associate Director Eric Chang Organizing Committee William Feltz Kara Miller Michael Pili Pang Amy Lynn Schiffner Yukie Shiroma Judy Van Zile Staff Margret Arakaki, Assistant to Director; Kay Linen, Grant Writer Production Staff M Richard, Production Coordinator; Camille Monson and Anna Reynolds, Festival Assistants; Justin Fragiao, Site Manager; Vince Liem, Lighting Designer; Todd Bodden, Sound Engineer; Samuel Bukoski and Maggie Songer, Production Crew; Stephanie Jones, Costume Crew; Margret Arakaki, Box Office Supervisor; -
Quarter IV: 20Th and 21St CENTURY MULTIMEDIA FORMS
DOWNLOAD K-12 MATERIALS AT DEPED TAMBAYAN 20th and 21st Century Multimedia Forms richardrrr.blogspot.com Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology. DEPEDLEARNING COMPETENCIES COPY The learner... 1. Describes how an idea or story in a musical play is presented in a live performance or video. 2. Explains how theatrical elements in a selected part of a musical play are combined with music and media to achieve certain effects. 3. Sings selections from musical plays and opera expressively. 4. Creates/improvises appropriate sounds, music, gestures, movements, and costumes using media and technology for a selected part of a musical play. 5. Presents an excerpt from a 20th or 21st century Philippine musical and highlights its similarities and differences to other Western musical p l a y s . From the Department of Education curriculum for MUSIC Grade 10 (2014) 141 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. MUSIC Quarter IV OPERA IN THE PHILIPPINES he emergence of the Filipino opera started to take shape during the middle part of Tthe 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. -
2013 Annual Report.Pmd
CULTURAL CENTER OF THE PHILIPPINES ANNUAL REPORT 2013 TABLE OF CONTENTS I. Vision-Mission & Objectives II. The CCP III. Chairman’s Report IV. President’s Report V. Artistic Programs 1. Performances 2. CCP Resident Companies 3. Training and Education 4. Lessees 5. Exhibitions 6. Film Showings 7. Arts Festivals 8. Arts for Transformation & Outreach Programs VI. Arts and Administration 1. Administrative and General Services 2. Human Resource Management 3. Production and Exhibition Management 4. Cultural International Exchanges 5. Arts Education VII. Financial Summary and Analysis VIII. Organizational Chart IX. Board of Trustees and Key Officials VISION Art matters to the life of every Filipino MISSION Be the leading institution for arts and culture in the Philippines by promoting artistic excellence and nurturing the broadest publics to participate in art making and appreciation. OBJECTIVES Artistic Excellence. Create, produce and present excellent and engaging artistic and cultural experiences from the Philippines and all over the world. Arts for Transformation. Nurture the next generation of artists and audiences who appreciate and support artistic and cultural work. Sustainability and Viability. Achieve organizational and financial stability for the CCP to ensure the continuity of its artistic and cultural program and contribute to the flourishing creative industry in the Philippines. Human Resource Development. Develop a loyal, competent and efficient workforce towards fulfilling a vital role in the cultural institution. HISTORY The Cultural Center of the Philippines (CCP) is the premiere showcase of the arts in the Philippines. Founded in 1969, the CCP has been producing and presenting music, dance, theater, visual arts, literary, cinematic and design events from the Philippines and all over the world for more than forty years. -
Special Issue on Film Criticism
semi-annual peer-reviewed international online journal VOL. 93 • NO. 1 • MAY 2020 of advanced research in literature, culture, and society UNITAS SPECIAL ISSUE ON FILM CRITICISM ISSN: 0041-7149 Indexed in the International Bibliography of the ISSN: 2619-7987 Modern Language Association of America About the Issue Cover From top to bottom: 1. Baconaua - One Big Fight Productions & Waning Crescent Arts (2017); 2. Respeto - Dogzilla, Arkeofilms, Cinemalaya, CMB Film Services, & This Side Up (2017); 3. Ebolusyon ng Isang Pamilyang Pilipino - Sine Olivia, Paul Tañedo Inc., & Ebolusyon Productions (2004); 4. Himala - Experimental Cinema of the Philippines (1982); and 5. That Thing Called Tadhana - Cinema One Originals, Epicmedia, Monoxide Works, & One Dash Zero Cinetools (2014). UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). UNITAS is published by the University of Santo Tomas, Manila, Philippines, the oldest university in Asia. It is hosted by the Department of Literature, with its editorial address at the Office of the Scholar-in-Residence under the auspices of the Faculty of Arts and Letters. Hard copies are printed on demand or in a limited edition. Copyright @ University of Santo Tomas Copyright The authors keep the copyright of their work in the interest of advancing knowl- edge but if it is reprinted, they are expected to acknowledge its initial publication in UNITAS. Although downloading and printing of the articles are allowed, users are urged to contact UNITAS if reproduction is intended for non-individual and non-commercial purposes. Reproduction of copies for fair use, i.e., for instruction in schools, colleges and universities, is allowed as long as only the exact number of copies needed for class use is reproduced.