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La Mesa Hosts the Year's Biggest Family Event
December 2005 La Mesa hosts the year’s biggest family event By Chito S. Maniago Families came in droves as early as 8 a.m. on November 12 for the Family Wellness Festival at the La Mesa Eco Park, orga- ‘KBP: Serving the nized by ABS-CBN Foundation Inc. nation’... p.4 (AFI)-Bantay Kalikasan. The event kicked off with a spiritual earth ceremony led by AFI managing di- rector Gina Lopez and visiting space cleaner Shiela Gomez, one of 12 regis- tered “space clearers” in the world. Que- zon City mayor Feliciano Belmonte, MWSS administrator Orlando Hondrade and Senator Jamby Madrigal joined the ribbon-cutting ceremony to officially mark the start of the event. Among special guests were ABS-CBN chairman Eugenio Lopez III, Miss Earth 2005 Alexandra Braun Waldeck and ABS-CBN’s “Sports Unlimited” tandem Dyan Castillejo and Marc Nelson. The wellness festival gathered close to AFI’s Gina Lopez, Mayor Feliciano Belmonte, Miss Earth 2005 Alexandra Braun Waldeck 10,000 participants who attended various Meralco is a proud and Sen. Jamby Madrigal at the opening of the Wellness Festival on Nov. 12 Turn to page 6 sponsor of the 23rd Southeast Asian (SEA) Games, one of the Knowledge Channel in Tawi Tawi biggest sports events in …p.3 KNOWLEDGE Channel Foundation Inc. the region (KCFI) has launched Year 2 of its project, Television Education for the Advancement of Muslim Mindanao (dubbed TEAM- Mindanao) in Languyan Island, Tawi Tawi. The launch marked the initial entry of KC- FI into the Basulta (Basilan, Sulu, Tawi Tawi) area. TEAM-Mindanao is a USAID-assisted project which is providing some 150 pub- lic schools in the Autonomous Region in Muslim Mindanao (ARMM) with educa- tional television to help students in remote areas learn better and faster. -
20 Century Ends
New Year‟s Celebration 2013 20th CENTURY ENDS ANKIND yesterday stood on the threshold of a new millennium, linked by satellite technology for the most closely watched midnight in history. M The millennium watch was kept all over the world, from a sprinkle of South Pacific islands to the skyscrapers of the Americas, across the pyramids, the Parthenon and the temples of Angkor Wat. Manila Archbishop Luis Antonio Cardinal Tagle said Filipinos should greet 2013 with ''great joy'' and ''anticipation.'' ''The year 2013 is not about Y2K, the end of the world or the biggest party of a lifetime,'' he said. ''It is about J2K13, Jesus 2013, the Jubilee 2013 and Joy to the World 2013. It is about 2013 years of Christ's loving presence in the world.'' The world celebration was tempered, however, by unease over Earth's vulnerability to terrorism and its dependence on computer technology. The excitement was typified by the Pacific archipelago nation of Kiribati, so eager to be first to see the millennium that it actually shifted its portion of the international dateline two hours east. The caution was exemplified by Seattle, which canceled its New Year's party for fear of terrorism. In the Philippines, President Benigno Aquino III is bracing for a “tough” new year. At the same time, he called on Filipinos to pray for global peace and brotherhood and to work as one in facing the challenges of the 21st century. Mr. Estrada and at least one Cabinet official said the impending oil price increase, an expected P60- billion budget deficit, and the public opposition to amending the Constitution to allow unbridled foreign investments would make it a difficult time for the Estrada presidency. -
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. -
Pdabs363.Pdf
COASTAL RESOURCE MANAGEMENT PROJECT PHILIPPINES SPECIAL MID-TERM REPORT 1997 2001 1996 1998 1999 2000 2002 CRMP IN MID-STREAM: ON COURSE TO A THRESHOLD OF SUSTAINED COASTAL MANAGEMENT IN THE PHILIPPINES COASTAL RESOURCE MANAGEMENT PROJECT IMPLEMENTED BY DEPARTMENT OF ENVIRONMENT AND NATURAL RESOURCES SUPPORTED BY UNITED STATES AGENCY FOR INTERNATIONAL DEVELOPMENT PREPARED BY TETRA TECH EM INC. UNDER USAID CONTRACT NO. AID-492-0444-C-00-6028-00 CRMP in Mid-Stream: On Course to a Threshold of Sustained Coastal Management in the Philipppines 2000 PRINTED IN CEBU CITY, PHILIPPINES Citation: CRMP. 2000. CRMP in Mid-Stream: On Course to a Threshold of Sustained Coastal Management in the Philippines. Special Mid-term Report (1996-1999), Coastal Resource Management Project, Cebu City, Philippines, 100pp. This publication was made possible through support provided by the United States Agency for International Development (USAID) under the terms and conditions of Contract No. AID-492-0444-C-00- 6028-00 supporting the Coastal Resource Management Project. The opinions expressed herein are those of the authors and do not necessarily reflect the views of the USAID. This publication may be reproduced or quoted in other publications as long as proper reference is made to the source. CRMP Document No. 09-CRM/2000 ISBN 971-91925-5-0 contents List of Figures ........................................................................................................................................ v Preface ............................................................................................................................................... -
The New Manila Sound: Music and Mass Culture, 1990S and Beyond James Gabrillo
The New Manila Sound: Music and Mass Culture, 1990s and Beyond A dissertation submitted for the degree of Doctor of Philosophy in Music James Gabrillo Peterhouse, University of Cambridge November 2018 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other quali- fication at the University of Cambridge or any other University or similar institution. It does not exceed the word limit prescribed by the Degree Committee. "2 of 293" The New Manila Sound: Music and Mass Culture, 1990s and Beyond James Gabrillo Abstract This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country — a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my ex- amination focuses on its two major pioneers: the musical television programme Eat Bula- ga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene’s rise and development as it attracted mostly consumers from the lower classes and influenced oth- er programmes and musicians to adapt its content and aesthetics. The scene’s trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist an- thems, Western art music, and protest songs. -
Introduction Although the University of the Philippines Centre for Ethnomusicology Specializes in Music Research, It Includes Th
UNIVERSITY OF THE PHILIPPINES CENTRE FOR ETHNOMUSICOLOGY Marialita Ta m a n i o - Y r a o l a Introduction Although the University of the Philippines Centre for Ethnomusicology specializes in music research, it includes the disci- plines of Anthropology, Linguistics, History and Archaeology. The archives of this Centre are now looked up to as a legacy for present and future scholars of Philippine culture. The students of culture in the Philippines have a very wide range of research topics and areas to choose from. This paper discusses briefly the organizational structure that supported the institutionalization of the Centre, together with the problems and issues surrounding its development and present opera- tions. Professor Jose Maceda, the founder, envisioned the Centre as a bridge towards a greater understanding of the music of Asia which in turn would serve as a base for new expressions in contemporary music. The Collection Professor Maceda started his field studies in 1952 with the record- ing of the music of the Hanunoo in the island of Mindoro together with anthropological studies of Professor Harold Conklin who was then preparing for a dissertation on Hanunoo music. He went on with his studies among the Tagbanwa in the island of Palawan in the 1960s, recording the music of linguistic groups along the Cordillera in Luzon. The major portion of Professor Maceda’s collection was fro m the 1970s when the National Re s e a rch Council of the Philippines 214 Archives for the Future s u pported his research among the principal linguistic groups in Luzon, Mindanao and the Visayas which practically constitute all the areas where traditional music still survived. -
Capital, Development, and Belonging in the Philippine Postcolony
CAPITAL, DEVELOPMENT, AND BELONGING IN THE PHILIPPINE POSTCOLONY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN POLITICAL SCIENCE AUGUST 2004 By Melisa S.L. Casumbal Thesis Committee: Michael Shapiro, Chairperson Kathy Ferguson S. Charusheela ©2004 Melisa S.L. Casumbal All rights reserved. 111 Carmelita San Luis Casumbal Roberto Reyes Casumbal IV ACKNOWLEDGEMENTS Sa aking mga ninuno - ako ay nagpupugay at nagpapasalamat. My deep admiration, respect and gratitude extend foremost to the professors on my thesis committee whose pedagogies, scholarship, mentoring, good humor, and radical politics have inspired me to continue pursuit ofa career in the academy, despite my better judgement. I am especially grateful to my committee chair, Michael Shapiro, for not only apprehending, but modeling, my weirdly discipline-transgressing interests, and for the consistency and generosity ofhis support. I am also deeply grateful to the more officially transdisciplinary (double-burdened) Women's Studies scholars on my committee, Kathy Ferguson and S. Charusheela. I thank them both for modeling feminist women kicking ass in what remain intensely masculinist fields (political science and economics, respectively). I owe a special debt to Cham, who pushed me in exactly the direction I needed to go at exactly the right time. Thank you, also, to the other professors whose formidable intellect and charm I have so greatly benefited from during my time at UH: Noenoe Silva, Nevi Soguk, Sankaran Krishna, Jon Goldberg-Hiller, Barbara Andaya, Ric Trimillos, Lindy Aquino, Ruth Mabanglo, Imelda Gasmen, and Sheila Zamar. -
CULTURAL CENTER of the PHILIPPINES HIGHLIGHTS of ARTISTIC PROGRAMS and PROJECTS January to June 2020
CULTURAL CENTER OF THE PHILIPPINES HIGHLIGHTS OF ARTISTIC PROGRAMS AND PROJECTS January to June 2020 CCP Mission 1 To create, produce, and present excellent and engaging cultural experiences from the Philippines and all over the world – onsite, offsite, and online; and CCP Mission 2 Showcase the best examples of Filipino art and culture FESTIVALS (multi-venue, multi-arts) FESTIVAL OF PLAYS BY WOMEN (FORUM, READATHON, PERFORMANCE) (Co - Production - Women Playwrights International Philippines) Reach No. of Production/Shows: 1/9 (forum: 3, readathon: 3, performance: 3) No. of Performers: 106 (Forum - 14, Readathon - 32, Performance - 60) No. of Audience: 1,266 (100%) Artistic/Production Staff: 43; crew: 11; volunteers: 8 Names of Resource Persons/Speakers/Performers: Forum: Resource Persons: August Melody Andong, NA Amelia Lapeña-Bonifacio, Dessa Quesada-Palm,Dr. Elena Pernia,Elsa Martinez Coscolluela,Dr. Glecy Cruz Atienza, Jehanne Mutin,Leticia Arbelo,Liza Magtoto,Ma.Luna Sicat-Cleto Maria Theresa Belleza, Maria Lourdes Jacob, Rosemary Johns, Saturnina Rodil Readathon:Speakers - Eunice Joy Bacalando,Geene Sabrina Saddul Basilio,Josephine V. Roque,Maria “Lorelie” A. Diño,Patricia C. Velasco,Pneuma Lorenzo,Wenah Nogales of KolabCo; Performers - Maskara Theatre Ensemble (10):Ezra Mae Divino,Gloven Gerogalin, Jackie Aguilar,Jing Torrecampo,Mary June Ambino,Michelle Alcayde,Nicole Belgera,Noel Pahayupan,Roger Joshua Venzal,Venise Buenaflor;Manila Tytana Colleges (1):Claudine Francia;Twin Bill Theater (5):Francis Matheu,Lei Ann Oro Quinquilleria, Michael Angelo Lopez, Pie Manuel, Tasha Guerrero; Ateneo Fine Arts (9): Ash Nicanor, Conn Sy, Danielyn Joy V. Del Rosario, Joy Cerro,Joy Delos Santos, Liway Gabo, Pau Benitez, Rainbow Guttierez, Raye Baquirin Performance: Dulaang Pasay (6) - Bea ChryzsandraAraojo, Jake Boltron, Kyle Lim, Mark Jacob Panganiban, Ma. -
Archiving Filipino American Music in Los Angeles (AFAMILA) Collection 1980-2004
http://oac.cdlib.org/findaid/ark:/13030/kt787023bg No online items Finding Aid for the Archiving Filipino American Music in Los Angeles (AFAMILA) Collection 1980-2004 Processed by . Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2007 The Regents of the University of California. All rights reserved. 2003.05 1 Descriptive Summary Title: Archiving Filipino American Music in Los Angeles (AFAMILA) Collection, Date (inclusive): 1980-2004 Collection number: 2003.05 Creator: AFAMILA Staff; Lipat, Eleanor; Vallier, John. Extent: 3 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Archiving Filipino American Music in Los Angeles (AFAMILA) was as a yearlong archiving and documentation project carried out by the UCLA Ethnomusicology Archive and Kayamanan Ng Lahi Folk Dance. Support for the project was provided by a UCLA in LA grant from the UCLA Center for Community Partnerships. AFAMILA began in July 2003 and ended in June 2004. During that time a collection of over 200 audiovisual recordings documenting Filipino-American expressive culture in LA was established at the Archive. Previously existing collections of Filipino and Filipino American materials were accessioned into AFAMILA between July 2003 and June 2004. Physical location: Access copies for many of the materials are available in the Ethnomusicology Archive. Masters are stored at SRLF. Language of Material: Collection materials in English Access Archive materials may be accessed in the Archive. As many of our collections are stored off-site at SRLF, we recommend you contact the Archive in advance to check on the availability of the materials. -
Philippine Politics and Society in the Twentieth Century
Philippine Politics and Society in the Twentieth Century Well over a decade has passed since the dramatic ‘People Power Revolution’ in Manila, yet until now no book-length study has emerged to examine the manifold changes underway in the Philippines in the post-Marcos era. This book fills that gap. Philippine Politics and Society in the Twentieth Century offers historical depth and sophisticated theoretical insight into contemporary life in the archipelago. Organised as a set of interrelated thematic essays rather than a chronological account, the book addresses key topics which will be of interest to the academic and non-academic reader, such as trends in national-level and local politics, the role of ethnic-Chinese capital in the Philippine economy, nationalism and popular culture, and various forms of political violence and extra-electoral contestation. Drawing on a wide variety of primary and secondary sources, as well as over a decade of research and work in the area, Hedman and Sidel provide an invaluable overview of the contemporary and historical scene of a much misunderstood part of Southeast Asia. This book fills an important gap in the literature for readers interested in understanding the Philippines as well as students of Asian studies, comparative politics, political economy and cultural studies. Eva-Lotta E. Hedman is Lecturer in Asian-Pacific Politics at the University of Nottingham. John T. Sidel is Lecturer in Southeast Asian Politics at the School of Oriental and African Studies, University of London. Politics in Asia series Edited by Michael Leifer London School of Economics ASEAN and the Security of South-East Korea versus Korea Asia A case of contested legitimacy Michael Leifer B.K. -
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The 2nd International and Interdisciplinary Conference on Arts Creation and Studies (IICACS) AESTHETICS OF MUSICAL EMBODIMENT ON THE CONCEPT OF MUSIC AS PRESENCE (USING PHILIPPINE MUSIC EXAMPLES)* José S. Buenconsejo University of the Philippines College of Music Abstract This paper compares the aesthetics of three songs from two musical traditions (one from the indigenous Manobo community in non-Islamic Mindanao Island and two from urban popular songs). It argues that song is not merely a personal expression but a performance (song-act) that indicates concrete "presence effects" of relationships to a material, social world. This philosophy of music aesthetics departs from the once dominant European concept of absolute music as form but on the not-so-recent studies on music embodiment or incarnation where song makes sense as a substantial act in social worlds. I begin this paper by showing you a video footage of spirit-possession in a curing ritual among the Agusan Manobos in middle Agusan Valley in 1996. Back then, the people who practised this form of healing was living in an enchanted world where enviromental spirits of nature are said to penetrate human bodies whose malevolence means illnesses. Yet the nature of these very same invisible agents can be transformed in ritual and by human rhetoric, thus inverting their negative relation with humans into benevolence and compassion. I bring in this example to introduce my topic on how aesthetics (sensations) is not an idle philosophical idea but a drastic physical experience of presence. Song is emitted from the officiating medium's body as a proof of spirit incarnation or embodiment. -
Philippine Choral Music
Traditional music Main article: Filipino folk music [edit] Kumintang and Agung music kumintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Percussive bossed gong ensembles without a melodical gong rack, known as Agung, are played throughout most of the islands by indigenous groups (such as the Mangyan, Lumad, Batak, Tagbanwa and Aeta) as well as historically by low-land groups such as the Bisaya, Bicol and Tagalog, yet the kulintang ensembles themselves are only played by groups which were Islamized and engaged in international trade with its neighbors in Southeast Asia. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China from before the 10th century CE, or more likely, to the introduction of bossed gong chimes from Java in the 15th century. Nevertheless the kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of hispanization in the Philippine archipelago. The tradition of kumintang ensemble music itself is an regional one, predating the establishing of borders between the Philippines, Indonesia and Malaysia. It transcends religion, with animist and Christian ethnic groups in Borneo, Flores and Sulawesi playing kulintangan; and Muslim groups playing the same genre of music in Mindanao, Palawan and the Sulu archipelago. It is distantly related to the Gamelan music orchestras of Java and Bali, as well as the musical forms in Mainland Southeast Asia, mainly because of the usage for the same bossed racked gong chimes that play both melodical and percussive parts.