K to 12 Curriculum Guide
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BINONDO FOOD TRIP (4 Hours)
BINONDO FOOD TRIP (4 hours) Eat your way around Binondo, the Philippines’ Chinatown. Located across the Pasig River from the walled city of Intramuros, Binondo was formally established in 1594, and is believed to be the oldest Chinatown in the world. It is the center of commerce and trade for all types of businesses run by Filipino-Chinese merchants, and given the historic reach of Chinese trading in the Pacific, it has been a hub of Chinese commerce in the Philippines since before the first Spanish colonizers arrived in the Philippines in 1521. Before World War II, Binondo was the center of the banking and financial community in the Philippines, housing insurance companies, commercial banks and other financial institutions from Britain and the United States. These banks were located mostly along Escólta, which used to be called the "Wall Street of the Philippines". Binondo remains a center of commerce and trade for all types of businesses run by Filipino- Chinese merchants and is famous for its diverse offerings of Chinese cuisine. Enjoy walking around the streets of Binondo, taking in Tsinoy (Chinese-Filipino) history through various Chinese specialties from its small and cozy restaurants. Have a taste of fried Chinese Lumpia, Kuchay Empanada and Misua Guisado at Quick Snack located along Carvajal Street; Kiampong Rice and Peanut Balls at Café Mezzanine; Kuchay Dumplings at Dong Bei Dumplings and the growing famous Beef Kan Pan of Lan Zhou La Mien. References: http://en.wikipedia.org/wiki/Binondo,_Manila TIME ITINERARY 0800H Pick-up -
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. -
DATE TOPIC MINIMUM LEARNING COMEPETENCIES ACTIVITIES/MATERIALS KEY TERMS EVALUATION OUTPUT January 7, 2019 Folk Arts and Crafts
DATE TOPIC MINIMUM LEARNING COMEPETENCIES ACTIVITIES/MATERIALS KEY TERMS EVALUATION OUTPUT January 7, 2019 Folk Arts and Crafts of -Analyze elements and principles of art in Book, Note Book, Folk Arts, Smart Check (pp.124-127) Northern Luzon (pp.113-124) the production of one’s arts and crafts Drawing Pad, Pencil Aesthetics, Motif, inspired by the arts of Luzon (highlands and Fabric lowlands) (A7EL-Ib-1) -Identify characteristics of arts and crafts in specific areas in Luzon (A7EL-Ia-2) -Reflect on and derive the mood, idea, or message emanating from selected artifacts and art objects (A7PL-Ih-1) -Appreciate the artifacts and art objects in terms of their uses and their distinct use of art elements and principles (A7PL-Ih-2) -Incorporate the design, form, and spirit of the highland/lowland artifact and object in one’s creation (A7PL-Ih-3) January 8, 2019 Folk Arts and Crafts of -Trace the external (foreign) and internal Book, Note Book, Artifact, Smart Check (pp.134-136) Cagayan Valley and Central (indigenous) influences reflected in the design Drawing Pad, Pencil Gaddang, Luzon (pp.128-134) of an artwork and in the making of a craft Kampampangan or artifact (A7PL-Ih-4) Tamales -Create crafts that can be locally assembled with local materials, guided by local traditional techniques (A7PR-Ic-e-1) -Derive elements from traditions/history of a community for one’s artwork (A7PR-If-2) -Shows the relationship of the development of crafts in specific areas of the country, according to functionality, traditional specialized expertise, and availability -
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. -
SOURCES and INFLUENCES the Sources and Influences of The
SOURCES AND INFLUENCES The sources and influences of the visual arts in the Philippines may be classified according to the three principal cultural traditions found in the country; the indigenous tradition, which is evidenced by the arts of the natives in the long period before colonization, the arts of the non-hispanized ethnic communities today, and the lowland folk arts which fuse ethnic and colonial aspects; the Spanish tradition, which is seen in the religious paintings and prints, academic paintings, landscapes, portraits, letras y figuras (letters and figures), still-lifes, and other art works done by unschooled and schooled Filipino artists during the Spanish period from 1565 to 1898; and the Euro-American tradition which came in via the Americanized educational system and media and which has been indigenized in the painting and sculptures done by Filipino artists from the 1930s to the present. The Ethnic Tradition Evidences of the ancient arts are the artifacts unearthed in archaeological excavations, which include earthenware, body ornaments and jewelry, and textile fragments. An important body of earthenware consists of burial jars. The ancient tradition of jar burial was diffused throughout the southern part of the Asian mainland, the Malay Archipelago, and the Southeast Asian region, including the Philippines. This practice was related to the tradition of “grave furniture” in which the dead were buried along with various articles of everyday use such as eating utensils and weapons, and in the case of the nobility, with servants and domestic animals. The Manunggul Jar with its lid bearing two rowers in a boat is related to the Southeast Asian belief that the dead ride “spirit boats” across a body of water to reach the other world. -
Bbm:978-3-319-44515-1/1.Pdf
Index A Busuanga group of islands , 93 Abu Simbel Temples , 1 , 47 , 49 Butuan/Balangay boat , 92 Agenda 21 , 19 Angono petroglyphs , 91 Antiquities Act, Finland , 61 , 64 , 66–69 , 71 C Archaeological heritage tourism , 101 Cagayan Valley , 92 Archaeological Resource Management Cagayancillo , 93 (ARM) , 1 1 Callao Cave , 92 Archdiocese of Oviedo , 163 Campiglia Marittima, Italy , 144 Argentina , 117 , 119–122 Catholic Church , 118 , 160 Asociación Inkallaqta, Raqchi (Peru) , 182 Cebu , 90–92 Association of Southern African Professional Center for the Interpretation of ‘Nature’, Archaeologists , 110 Tuñón , 161 Association La Ponte , 156 , 163 , 165 Chartered Institute for Archaeologists Asturias, Spain , 162 , 166 (CIFA) , 10 Aswan High Dam , 1 , 16 , 47 Chau Hiix (Belize) , 7 , 190–195 , 197 The Club of Rome , 48 Cluster , 7 , 8 , 57 , 137 , 139 , 141 , 142 , 144 , B 146–148 , 173 Baboon Point , 105–109 , 112 , 113 Cluster governance , 140–141 Balabac Island , 93 Coal of Africa Limited (CoAL) , 111 , 113 Balobok rockshelter , 92 Cognitive capitalism , 153 , 160 , 162 , 163 Baratti , 144 , 146 Colosseum , 157 Barcelona , 162 Common pool resource (CPR) , 8 , 166 , 173 , Batanes Islands , 92 174 , 179 , 184 , 190 , 192–195 Bear Valleys , 161 Commons, 7, 154, 171 BirdLife South Africa , 110 Community archaeology , 104 , 138 , 181 Bohol , 92 Confederated Tribes of the Umatilla Indian Boljoon , 92 Reservation (CTUIR) , 8 , 77–86 Bourdieu, P. , 154 Convention for the Safeguarding of the Brundtland Report , 46–48 Intangible Cultural Heritage , 65 Budapest Declaration , 17 , 46 , 49 , 50 Convention on the Protection of the Bujang Valley, Philippines , 31 , 33 , 35 , 41 Underwater Cultural Heritage , 65 Bureau of Land Management (United States) , Coxcomb Basin Wildlife Refuge , 182 80–86 Crooked Tree Village (Belize) , 190–196 © Springer International Publishing Switzerland 2017 201 P.G. -
Place of Region in the Contemporary Catalogue
Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. -
Papal Visit Philippines 2014 and 2015 2014
This event is dedicated to the Filipino People on the occasion of the five- day pastoral and state visit of Pope Francis here in the Philippines on October 23 to 27, 2014 part of 22- day Asian and Oceanian tour from October 22 to November 13, 2014. Papal Visit Philippines 2014 and 2015 ―Mercy and Compassion‖ a Papal Visit Philippines 2014 and 2015 2014 Contents About the project ............................................................................................... 2 About the Theme of the Apostolic Visit: ‗Mercy and Compassion‘.................................. 4 History of Jesus is Lord Church Worldwide.............................................................................. 6 Executive Branch of the Philippines ....................................................................... 15 Presidents of the Republic of the Philippines ....................................................................... 15 Vice Presidents of the Republic of the Philippines .............................................................. 16 Speaker of the House of Representatives of the Philippines ............................................ 16 Presidents of the Senate of the Philippines .......................................................................... 17 Chief Justice of the Supreme Court of the Philippines ...................................................... 17 Leaders of the Roman Catholic Church ................................................................ 18 Pope (Roman Catholic Bishop of Rome and Worldwide Leader of Roman -
The Philippines: Prospects in Business and the Arts
THE PHILIPPINES: PROSPECTS IN BUSINESS AND ARTS Sponsored by the Philippine Cultural Society (Singapore) In cooperation with Philippine Airlines. 26 TH October 2002, Hilton Hotel I am really happy to be here this afternoon with all my kababayans. I know you will be given a lot of talk about investment opportunities but I like to talk about some smaller investments that you might be interested namely Filipino artists. I can guarantee you that these investments will give you less risk, more enjoyment and the investment amount is very small. I am talking about investing in paintings specifically paintings by Filipino artists. I would like to show you some of the slides of our artists and as much as I would like to show many artists, I am afraid with the short notice and the time constraints, I am limited to what I have that is available. INTRODUCTION For me art is very personal and being brought up in the Philippines, living in the United States and Southeast Asian countries I have witnessed and interacted with many of our artists who are either visiting or working abroad. My views on the subject are probably very different from the rest of the panelists as I categorized the artists in a way that maybe different from academics and art critics. As you may have noticed, we have a great diversity when it comes to art as we have many different groups with many different influences. I am proud to say that we are rich when it comes to art and 1 that we, probably, have as many artists as we have islands in the Philippines. -
2010 Presidential Awards for Filipino Individuals and Organizations Overseas the Cover Page Design Is an Ancient Philippine Script Which Means Gawad Ng Pangulo
The Year 2010 Presidential Awards for Filipino Individuals and Organizations Overseas The cover page design is an ancient Philippine script which means Gawad ng Pangulo. (Reference: National Museum) The facts and accounts of circumstances that are contained in the profiles of the Year 2010 Presidential Awards were taken from the materials submitted to the Awards Secretariat for consideration of the nominations. 3 MALACAÑAN PALACE MANILA Message My warmest greetings and congratulations to the recipients of the 2010 Presidential Awards for Filipino Individuals and OrganizationsTime and Overseas again .I have acknowledged the invaluable contribution of our overseas Filipinos to national development and nationThis year’s building. awardees They exemplify have shared the spirit their of unityskills and and public expertise service to enablethat is muchthe Philippines needed in to this benefit time fromof hope advances and renewal. in science I salute and technology.the overseas Remitting Filipinos that more we than are $70 honoring billion inthrough the last this ten award, years, theyfor their have professional contributed accomplishments significantly to ourand country's civic involvements economic that have helped uplift the communities they serve. You are a stability and social progress of our people. Overseas Filipinos source of pride and inspiration for us all. I also commend our haveforeign also partners shown forthat their they solidarity are dependable with us aspartners, we rebuild providing and additionaltransform resourcesour nation. to augment programs in health, education, livelihood projects and small infrastructure in the country. Through the Commission on Filipinos Overseas, our administration will keepWe working pay tribute to strengthento Filipinos overseasthe ties between who have the dedicated Filipino themselvescommunities to worldwide, uplifting the and human we will alwayscondition, support those the who personal have advocatedprogress of the our cause countrymen of Filipinos abroad. -
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.