Philippine Vampires & Other Mythological Creatures
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LOS DUENDES EN LA LITERATURA ESPAÑOLA Manuel
REVISTA GAROZA Nº 10. SEPTIEMBRE 2010. ISSN: 1577-8932 LOS DUENDES EN LA LITERATURA ESPAÑOLA Manuel COUSILLAS RODRÍGUEZ I.E.S. Salvador de Madariaga. A Coruña RESUMEN Como seres mitológicos elementales de la naturaleza, guardianes de los bosques y de todos los seres vivos que habitan en ellos, los duendes forman parte de la raza elemental feérica, y junto con elfos, trols y hadas, son los seres más populares de las mitologías celta y nórdica. Según la mitología celta, el rey de los duendes y elfos responde al nombre de Oberón, mencionado en obras como Macbeth o Sueño de una noche de San Juan de William Shakespeare. Posteriormente, estas leyendas son igualmente mencionadas en el Fausto de Goethe, donde un coro de silfos invocado por Mefistófeles trata de seducir al doctor Fausto, o en cuentos tradicionales infantiles como los escritos por los hermanos Grimm, donde la figura del duende suele asociarse a pequeños seres bonachones. Herederos de esa tradición literaria son muchos de los cuentos contemporáneos del peninsular español. Palabras clave: duende, céltica, península ibérica, literatura comparada. ABSTRACT As a basic mythological element in our nature, guardians of forests and all living things that inhabit them, fairies are part of the elemental fairy race, and along with elves, and trolls, are the most popular creatures in Celtic and Norse mythologies. According to Celtic mythology, the king of fairies and elves is named Oberon, mentioned in works such as Macbeth or Midsummer Night's Dream by William Shakespeare. These legends are also mentioned in Goethe's 61 MANUEL COUSILLAS RODRÍGUEZ REVISTA GAROZA Nº 10. -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
Isabel Acuña
Isabel Acuña Also Known As: Isabel de Nepomuceno, Doña Isabel Lived: January 28, 1904 - September 15, 1986 Worked as: art director, casting director, costume designer, film company treasurer, film company vice president, make-up supervisor, producer, production assistant, set decorator Worked In: The Philippines by Nadi Tofighian Isabel Acuña met José Nepomuceno, a Filipino film pioneer, while he was shooting his third film, Un Capello Marchito/The Wilted Rosebud (1920), in Manila in 1920. She was sixteen years old, and her younger sister, Luisa Acuña, was starring in the film. Nepomuceno founded Malayan Movies together with his brother, Jesús, in Manila in 1917, after previously having run a successful photography studio there. Two years later they made the earliest known fiction film directed by a Filipino, Dalagang Bukid/Country Maiden (1919) (Tofighian 2008, 78). Acuña and Nepomuceno married on June 6, 1920 at the Quiapo Church in Manila, a few months after their first meeting. From that time forward, Acuña was involved in the filmmaking process of Malayan Movies. Initially, she primarily worked on scouting talent, costume design, and make-up. She was instrumental in making costume design and make-up an important part of the mise-en- scene of the film, and she is reported to have spent hours on the streets, in bazaars, and in movie houses researching and getting ideas about set designs and costumes (Quirino 1983, 23). Acuña insisted on using simple words in the dialogue and intertitles in order for everyone to understand, and functioned as an informal censor at Malayan Movies as she required no dirty language or inappropriate scenes. -
Ioften Ask My Students at the Beginning of My Writing
WHERE HAVE ALL OUR MONSTERS GONE?: Using Philippine Lower Mythology in Children’s Literature Carla M. Pacis often ask my students at the beginning of my Writing for Children class who their favorite storybook characters were when Ithey were kids. The answers are usually the same and very predictable – Snow White, Sleeping Beauty, Peter Pan et. al. semester upon semester. One day, however, a student from Mindanao said that her favorite characters were the creatures her mother had told her about. These creatures, she said, lived in the forests and mountains that surrounded their town. The whole class and I perked up. What were these creatures, we all wanted to know? She told us of the wak-wak that came out at night to suck the fetus from pregnant sleeping mothers or the tianak that took the form of a cute little baby but was really an ugly dwarf. Ahh, we all nodded, we had also heard of these and many other creatures. Thus ensued an entire session of remembering and recounting of fascinating creatures long forgotten and all our very own. In his book The Uses of Enchantment, Bruno Bettelheim explains the importance of monsters in fairytales and stories. He says that “the monster the child knows best and is most concerned with is the monster he feels or fears himself to be, and which also sometimes, persecutes him. By keeping this monster within the child unspoken of, hidden in his unconscious, adults prevent the child from spinning fantasies around it in the image of the fairytales he knows. -
Philippine Folklore: Engkanto Beliefs
PHILIPPINE FOLKLORE: ENGKANTO BELIEFS HISTORICAL BACKGROUND: Philippine mythology is derived from Philippine folk literature, which is the traditional oral literature of the Filipino people. This refers to a wide range of material due to the ethnic mix of the Philippines. Each unique ethnic group has its own stories and myths to tell. While the oral and thus changeable aspect of folk literature is an important defining characteristic, much of this oral tradition had been written into a print format. University of the Philippines professor, Damiana Eugenio, classified Philippines Folk Literature into three major groups: folk narratives, folk speech, and folk songs. Folk narratives can either be in prose: the myth, the alamat (legend), and the kuwentong bayan (folktale), or in verse, as in the case of the folk epic. Folk speech includes the bugtong (riddle) and the salawikain (proverbs). Folk songs that can be sub-classified into those that tell a story (folk ballads) are a relative rarity in Philippine folk literature.1[1] Before the coming of Christianity, the people of these lands had some kind of religion. For no people however primitive is ever devoid of religion. This religion might have been animism. Like any other religion, this one was a complex of religious phenomena. It consisted of myths, legends, rituals and sacrifices, beliefs in the high gods as well as low; noble concepts and practices as well as degenerate ones; worship and adoration as well as magic and control. But these religious phenomena supplied the early peoples of this land what religion has always meant to supply: satisfaction of their existential needs. -
The Truth of Diwa
The Truth of Diwa Diwa is both the building block and the string upon which all of reality is spun. It permeates all things, and exists in varying states of matter. In a manner of speaking, that chair you see in front of you is Diwa, in a given form. Break it down to its most essential components and you shall see Diwa. However Diwa can be used more than that. It exists in four states: • Agos, Diwa echoing Water. This is the normal state of Diwa, the Diwa that makes up all things. • Tagos, Diwa echoing Air. This is the Diwa that binds things together. It can be manipulated at this level, and if one were to have some means of seeing the invisible machinations of the gods, they will see tiny strands that link everything to everything, as well as the Diwata that embody everything. Diwa in this state can be known as “Fate”, and indeed, the Agents of Heaven call this Tadhana. • Bala, Diwa echoing Fire. This is the Diwa that burns within every living being, and every thing is a living being because everything has a diwata. The Human Eight-Point Soul is made up of this Burning Diwa, and so are the powerful essences of the Karanduun. Burning Diwa can be used to affect other states -- most commonly by having a lot of Burning Diwa, you have more say in how reality works. Thus why Burning Diwa in all beings is known as “Bala”, or “Power”. It is their measure of capability, and it is well known that the Karanduun possess “Unlocked” Bala, which allows their Bala to transcend event that of Gods. -
TESOL Reader and Teachers Guide
DOCUMENT RESUME ED 347 808 FL 019 946 AUTHOR Hanson-Smith, Elizabeth TITLE TESOL Reader andTeachers Guide. INSTITUTION Ministry of Education(Belize). Curriculum Development Unit. PUB DATE 86 NOTE 326p. PUB TYPE Guides - Classroom Use - InstructionalMaterials (For Learner) (051) -- Guides - Classroom Use- Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC14 PlusPostage. DESCRIPTORS *English (Second Language);*Folk Culture; Foreign Countries; IndigenousPopulations; Instructional Materials; SecondLanguage Instruction IDENTIFIERS *Belize ABSTRACT This combined readerand teacher's guide second language for English instruction was developedfrom teacher workshops conducted in Belize. The reader consistsof stories,poems, and drama from the indigenouspeople of that country, accompanied bysupporting English language learningexercises and activities. aspects of indigenous Texts represent culture and are groupedaccording to the following catagories:folk tales, holidays, life in the country, school and home life, river and sea, townand city, and the Belize. The components nation of of most lessonsare: a preview section students; then the for story; and lastlyexercises and vocabulary building activities. Some illustrationsare included. The text reader and the text of the of the teacher's guideare presented in a parallel format. Anintroduction to the guide offers suggestionsfor instructional techniques,grouping, and supplementary (MSE) activities. *********************************************************************** Reproductions supplied by EDRS -
SARE, Vol. 58, Issue 1 | 2021
SARE, Vol. 58, Issue 1 | 2021 Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace Francis Paolo Quina University of the Philippines-Diliman, Quezon City, the Philippines Abstract The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds. Keywords: comics studies, subcreation studies, storyworlds, Mythspace, the Philippines The comics medium has long proven to be fertile ground for worldbuilding. It has spawned not only storyworlds in the pages of comic books and graphic novels but given birth to multiverses of storytelling across several media. -
The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang
THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG Mary Ann Alcantara Illana* School of Humanities, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezon City, Philippines ARTICLE INFO ABSTRACT Keywords: Marginalized and queer heroes are being recognized in the resurgence of Aswang lore various types of characters in contemporary hero narratives. In challenging Aswang reinscription the normative conventions, there are heroic values in the ambiguous Heroic archetype presentation of their character which are revived and valorized based on the Urban legend heroic archetypes presented in the story. Given this, how do we reconcile the normative conventions of hero attributed to queer and deviant representation of his character and heroic deeds? This paper analyzes the contemporary work of Segundo Matias' Moymoy Lulumboy: Ang Batang Aswang. Article History: Patterned from Joseph Campbell's normative structure of hero's journey, Received: 25/09/2020 which models the representation of various nature of character heroes and Accepted: 20/05/2021 their established heroic archetypes, this study revealed that a category of Available Online: heroic deviant exists in portraying character hero in the revival of Aswang 31/05/2021 lore in contemporary urban legend. Furthermore, this paper affirms that the resurrection of the archetypal pattern and the marginal presentation of the hero and his journey present a re-inscripted image of Aswang from a "rigidly static" to a semi-heroic ascension. 2442-305X / © 2021 The Author, this is open access article under the (CC-BY-NC) license (https://creativecommons.org/licenses/by-nc/4.0/), DOI: 10.19105/ojbs.v15i1.3828 * Corresponding Author: Email address: [email protected] (M. -
Visual Story
1 Visual Story The Little Mighty Superhero February 6, 2021 Questions? Contact Geordie Theatre: [email protected] 2 Table of Contents Table of Contents ................................................................................................... 2 What is a Visual Story? ........................................................................................... 2 About the Performance ......................................................................................... 2 Things to Look Out for ........................................................................................... 3 The Characters ....................................................................................................... 4 The Locations ......................................................................................................... 6 The Story................................................................................................................ 6 Glossary ................................................................................................................. 7 Resources .............................................................................................................. 8 What is a Visual Story? A visual story is a tool to help audience members familiarize themselves with a venue and/or with a show. It allows audience members to know in advance what to expect from a theatrical experience, so that they can prepare themselves accordingly. Visual stories were created as an aid for people with autism or learning disabilities. -
(PDF) Sipi Ng Lumbay Ng Dila
FICTION IDEYA: Journal of the Humanities 10.2 (2009): 47-67 Sipi mula sa Nobelang Ang Lumbay ng Dila Genevieve L. Asenjo [email protected] 1 kong maniwala sa muling pagkaluntian ng bukid. Hindi niya ito naipagpapatuloy. anghaling-tapat ngayon. Kalagitnaan ng Tumunog ang kanyang cellphone. Isang Hunyo.Taong 2007. T breaking news ang mensahe na kaagad din narinig Nakatayo siya — si Sadyah Zapanta Lopez — ng buong baryo sa Bombo Radyo. Ito rin ang sa isang burol sa kanilang baryo, ang Barasanan, bumati sa kanya sa Inquirer7.net. at Philstar.com. sa bayan ng Dao. Nasa dulong timog ito ng Antique, Nasisiguro niyang ito rin ang ibinabalita sa mga isang probinsya sa Panay na ayon sa isang paring istasyon ng TV. Marahil may nakatatak pang musikero nito, ay ang lugar kung saan nagtatagpo eksklusibo. ang dagat at bundok. Lupa at dagat sa pinggan Antique former Assemblyman Marcelo N. naman ito para sa isa niyang babaeng makata na Lopez, acquitted after 21 years of trial! kasalukuyang nasa Amerika. Nakilala niya ang pagkamangha, higit kaysa Nasa dibdib niya ang alinsangan ng tag-init, nasa pagkabigla, na lumukob sa kanya. May anyo ng talampakan ang lamig ng tag-ulan. kaligtasan. Sinuklay niya ng mga daliri ang lampas-balikat na buhok. Inamoy ang bango nito. Isang pag- aanyaya sa banal sa kanyang paligid na dumapo 2 sa kanyang ulo. Katulad kaninang umaga. Umaaso-aso ang kanin na sinandomeng. Nakalapag ito sa mesa sa iya si Sadyah Zapanta Lopez. Apat na taon kanyang gilid katabi ang pinggan ng piniritong Sang nakararaan, nauso ang Friendster. -
Cosmology of the Mandaya
COSMOLOGY OF THE MANDAYA Emmanuel S. Nabayra This study on Mandaya cosmology seeks to explore the following questions: What do the Mandaya understand about the composition of their cosmos or universe? How do they live this understanding about the composition of their cosmos or universe? How do they resolve conflicts among themselves and with others and with the spirits in their environment? The Mandaya believe that their one world is populated by myriads of beings; and that humans are just one of these. That some non-human beings or spirits are stronger than humans while many others are weaker, jealous, tricky, playful, wicked and harmful. I found the Mandaya did not believe that these spirits were gods, but they believe in the existence of one distant Labaw na Magbabaya—the one Source of all beings and the one who ultimately decides for everything that exists and occurs inside His dunya or realm, the world. For this belief in and respect for the existence of spirits in the same universe, missionaries branded the Mandaya and other indigenous peoples as “animists”, from the Latin word anima, spirits. This study then investigates myths, symbols and rituals developed by the Mandaya as homini religiosi (religious human beings) for the purpose of creating and maintaining harmonious relationship with all the spirits in their one and only kalibutan or world with its Langit (heaven), Lupa (land), and Ugsuban (underworld). This is then also a study on the geography of the Mandaya universe, of the Mandaya perception of the harmonious relationships between human and the other spirits populating the kalibutan (world).