The Philippine Costumes
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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. -
Conversing with the Cosmos
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2000 CONVERSING WITH THE COSMOS Linda L. Beeman Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Beeman, Linda L., "CONVERSING WITH THE COSMOS" (2000). Textile Society of America Symposium Proceedings. 782. https://digitalcommons.unl.edu/tsaconf/782 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Pis siyabet/rom Jolo Island, Sulu Archipelago. Interlocking tapestry weave o/silk. Warp 36", weft 34". Private collection. Photograph by Mike Zens/or Material Possessions. CONVERSING WITH THE COSMOS 102000 Linda L. Beeman This paper focu ses on the silk tapestry headcloths woven by Tausug peoples from the Philippine Su lu Archipelago. Called pis siyabet, they captured my attention because they diverge so wildly from the cotton or abaca warp ikat weaving one associates with indigenous peoples from the Philippines and Indonesia. Their material, structure, motif and color fly in the face of local tradition. The dense complexity created by their interlocking square, triangle and diamond motifs suggests cosmic mazes - treasure maps to the unconscious. Pis puzzle us and compel our imaginations. Some history is in order. The Philippine Archipelago was fi rst peopled during the Pleistocene when it was connected by land bridges with the Southeast Asia main land. What became the Sulus offered a wann climate, access to water trade, fertile volcanic soils. -
Church Newsletter Issue 6.Cdr
Harvest The Official Quarterly Newsletter of Orlando Filipino Seventh-day Adventist Church “Then saith he unto his disciples. the harvest is plenteous but the laborers are few. Pray ye therefore the Lord of the harvest that he will send forth laborers in the harvest.” Matthew 9:37-38 Congratulation 2011 Graduates! Editorial Note: JOHN THE REVELATOR, The 2010-11 school year speaker perfectly summarized WHAT A MAN..... has come to a close, and the how I persevered through my OFSDA Church would like to journey in three points: (1)Don't After the death of the emperor Domitian, who had exiled John to the applaud all of their 2011 fight change, be a part of change island of Patmos, John was allowed Graduates! Some of our and take control of the change; (2) Enjoy the ride because life is to return to Ephesus. From this graduates were asked to for living; (3) God is in control. I'll headquarters he traveled to various comment on their experiences always remember these three neighboring Gentile territories. At throughout this year, and to things when faced with a difficult one nearby city he spied a reflect on what God has done decision in my life.” handsome youth of powerful for them: – Daylight Torreda (College physique and ardent temperament. graduate) He told the bishop, "I commit this “Nursing school was one of the young man to your diligent care in the toughest obstacles I've ever presence of the church and with experienced which made Christ as witness." graduation day so special and The bishop took the youth home unforgettable. -
Cultural Profile Resource: the Philippines
Cultural Profile Resource: The Philippines A resource for aged care professionals Birgit Heaney Dip. 19/06/2016 A resource for aged care professionals Table of Contents Introduction ....................................................................................................................................................................... 3 Location and Demographic ............................................................................................................................................... 4 Everyday Life ............................................................................................................................................... ……………5 Gender Roles and Statuses ................................................................................................................................................ 6 Family ............................................................................................................................................................................... 7 Personal Hygiene .............................................................................................................................................................. 8 Leisure and Recreation ..................................................................................................................................................... 9 Religion .......................................................................................................................................................................... -
Female Filipino Costumes | Fashion & Beauty | Clothing
Female Filipino Costumes 1.1. Mestiza The Mestiza Dress is a formal dress made of expensive lace and fabric adorned with embroideries. It is the sophisticated version of the national costume, the baro't saya (blouse and skirt). Made more popular by former Philippine First Lady Imelda Marcos, some even called it Imelda dress or terno. Mestiza dress is known for its elegance and butterfly sleeves. It is usually worn for formal occasion. 2. Maria Clara Dress Maria Clara's dress was named after a mestiza heroine of one of the novels of the Philippine National hero Dr. Jose Rizal. Its origin was the national costume of Filipino women which is baro't (shirt) saya (skirt). The Maria Clara gown feat ures a floor-length paneled skirt of silk or satin and it consists of four separate pieces: the collarless waist-length, bell sleeved camisa; the bubble-shaped, floor-length saya; the stiff, neck-covering pañuelo; and the hip-hugging, knee length tapis, or overskirt. 3. Kimona Dress This dress originated from the Visayas, can be worn for everyday activities as casual dress or for formal occasion. Its origin was the baro't (shirt) saya (skirt), the national costume for Filipino women during the early years. A casual kimona dress is always worn with matching West Visayan wrap around called "patadyong" as a skirt. 4. Igorot This attire is used by the tribes in Mountain Province of The Cordillera ranges, called Igorots. They have their own unique costume that makes them distinctive from other tribes in the Philippines. This costume reflects their way of life, cultures, personalities, religious practices and rituals. -
The Dos and Taboos of Body Language Around the World in J
Axtell, R. E. (2004). The DOs and TABOOs of body language around the world In J. J. Macionis, N. V. Benokraitis & B. Ravelli (Eds.), Seeing Ourselves: Classic, Contemporary and Cross-Cultural Readings in Sociology (Canadian Edition) (pp. 126-131). Toronto: Prentice-Hall, Inc. 21 The DOs and TABOOs of Body Language Around the World CLASSIC CONTEMPORARY CROSS-CULTURAL Roger E. Axtell In a world that grows smaller every year it is easy to offend others simply by being ourselves—gestures that we take as innocent may be seen by :someone else as deeply insult- ing. This selection suggests the extent of the problem and, in an age of global business dealings, the need to cultivate cultural sensitivity. THREE GREAT GAFFES OR ONE A Partner in One of New York's COUNTRY'S GOOD MANNERS, Leading Private Banking Firms ANOTHER'S GRAND FAUX PAS When the board chairman is Lo Win Hao, do you Ii In Washington they call protocol "etiquette with smile brightly and say, "How do you do, Mi. a government expense account." But diplomacy Hao?" or "Mr. Lo"? Or "Mr. Win"? isn't just for diplomats. How you behave in other people's countries reflects on more than you I traveled nine thousand miles to meet a client and arrived with my foot in my mouth. Determined to do alone. It also brightens—or dims—the image of things right, I'd memorized the names of the key men I where you come from and whom you work for. was to see in Singapore. No easy job, inasmuch as the The Ugly American about whom we used to read names all came in threes. -
Asian-American Media Skills Handbook. INSTITUTION Montgomery County Public Schools, Rockville, Md
DOCUMENT RESUME ED 261 099 UD 024 382 AUTHOR Haines, Roberta M., Comp. TITLE Asian-American Media Skills Handbook. INSTITUTION Montgomery County Public Schools, Rockville, Md. PUB DATE 84 NOTE 107p. PUB TYPE Guides Classroom Use - Guides (For Teachers) (052) -- Guides Non-Classroom Use (055) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Asian Americans; Class Activities; Cultural Activities; *Cultural Education; Elementary Secondary Education; Evaluation Criteria; Geography Instruction; Information Sources; Learning Activities; Library Skills; Map Skills; *Skill Development IDENTIFIERS *Asia; Maryland (Montgomery County); *Media Skills ABSTRACT This handbook is for teachers to use in the classroom and as a reference source for information about Asia and Asian-Americans. The handbook uses information about geography and culture to teach skills such as almanac, atlas, and encyclopediause. Other student exercises include: how to sequence a Chinese fairy tale and present it to the class, how to research a Chinese holiday using various reference sources and how to plan its celebration, and how to give a slide presentation using Asian subject matter. The handbook includes a guide to evaluation of materials about Asian-Americans,a list of the countries included in the category "Asia," anda listing of Asian embassies, information services, and organizations in the United States. The handbook closes with listings of the artifacts contained in a "Chinese'Traveling Trunk" and a "New Americans Traveling Trunk," available on loan to district teachers foruse in enhancing understanding of Asian culture. There is alsoa 20 page bibliography arranged by country. (CG) *********************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document. -
Page 1 DOCUMENT RESUME ED 335 965 FL 019 564 AUTHOR
DOCUMENT RESUME ED 335 965 FL 019 564 AUTHOR Riego de Rios, Maria Isabelita TITLE A Composite Dictionary of Philippine Creole Spanish (PCS). INSTITUTION Linguistic Society of the Philippines, Manila.; Summer Inst. of Linguistics, Manila (Philippines). REPORT NO ISBN-971-1059-09-6; ISSN-0116-0516 PUB DATE 89 NOTE 218p.; Dissertation, Ateneo de Manila University. The editor of "Studies in Philippine Linguistics" is Fe T. Otanes. The author is a Sister in the R.V.M. order. PUB TYPE Reference Materials - Vocabularies/Classifications/Dictionaries (134)-- Dissertations/Theses - Doctoral Dissertations (041) JOURNAL CIT Studies in Philippine Linguistics; v7 n2 1989 EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS *Creoles; Dialect Studies; Dictionaries; English; Foreign Countries; *Language Classification; Language Research; *Language Variation; Linguistic Theory; *Spanish IDENTIFIERS *Cotabato Chabacano; *Philippines ABSTRACT This dictionary is a composite of four Philippine Creole Spanish dialects: Cotabato Chabacano and variants spoken in Ternate, Cavite City, and Zamboanga City. The volume contains 6,542 main lexical entries with corresponding entries with contrasting data from the three other variants. A concludins section summarizes findings of the dialect study that led to the dictionary's writing. Appended materials include a 99-item bibliography and materials related to the structural analysis of the dialects. An index also contains three alphabetical word lists of the variants. The research underlying the dictionary's construction is -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
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. -
Barong Tagalong Sabrina Skerston
Apparel, Events and Hospitality Management Apparel, Events and Hospitality Management Publications 2015 Barong Tagalong Sabrina Skerston Ellen C. McKinney Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/aeshm_pubs Part of the Art and Materials Conservation Commons, Fashion Design Commons, Feminist, Gender, and Sexuality Studies Commons, and the Fiber, Textile, and Weaving Arts Commons The ompc lete bibliographic information for this item can be found at https://lib.dr.iastate.edu/ aeshm_pubs/125. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the Apparel, Events and Hospitality Management at Iowa State University Digital Repository. It has been accepted for inclusion in Apparel, Events and Hospitality Management Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Barong Tagalong Abstract The ab rong tagalong, also known as the barong Filipino or simply the barong, is the national men's shirt of the Philippines. It is a long-sleeved, collared shirt, buttoning halfway down the front. Traditionally, the barong is made of white, transparent cloth with embroidery around the buttons. The shirt is usually woven out of pina fiber, which is harvested from the leaves of the pineapple plant. Disciplines Art and Materials Conservation | Fashion Design | Feminist, Gender, and Sexuality Studies | Fiber, Textile, and Weaving Arts Comments This chapter is published as Skerston, S., McKinney, E. Barong Tagalog In M. Strauss and A. Lynch (Eds.), Ethnic Dress in the United States: A Cultural Encyclopedia. -
Explorations 2011 Final 2
Desiree Quintero Dansuer Bantugen: Gendering of the Filipino Hero DESIREE QUINTERO University of Hawaii at Manoa Introduction With the stage black, a melody of a chant filters hauntingly through the air. One cannot decipher if it is a woman chanting, or perhaps a flute rendering a simi- lar sound. A lively, bouncing kobing1 enters the melodic soundscape. Rattling engenders anticipation in a suspense-filled theater. The thumping of a primal drum and the clashing/crashing of gongs generate sounding in a chaotic frenzy, which makes its way into for the procession from stage left; it is led by two bare-chested men carrying 10 foot poles with flag like tassels hanging from what looks like large pointy “rice hats.” Three Figure 1: malong2-clad ballerinas follow closely behind, execut- Poster of ing coupé en dehor pirouettes alternately left, right, left, the right twirling their woven palm leaf fans. They are Darangen ni Bantugen partnered with three men with arms in a stylized fourth position3, wearing spandexed purple knee length tights with a silver sash/apron hanging from hips. The sash is perhaps a fusion of an Ancient Roman warrior costume and a “native” g-string? A line of maidens in long or- ange dresses and gold okir4-esque tiaras walk in smil- ingly, arms in a Bayanihan5 Pangalay style fourth ettes. The men, choreographed in a musical queue, with position, with flexed wrists. Kolintang6 gongs tinkle in legs splayed in second position, imitate the pounding the background as the “King” strides in, donned in a drums in the air, as if manifesting what has become a black waist-length jacket, knee length tights, gold very “native” or “primal” atmosphere.