Here is a video presentation of the tinikling dance!

Enjoy!!!!!!

http://www.youtube.com/watch?v=uSJS6PWvOGI

ay galing ng mga pinoy!

ang galing nga
nasan yung carinosa,
sinayaw ko yun nung h.s :colgate:

^hihi.. the only filipino dances i ever tried were 'manlalatik' in grade school--wearing coconut-bra lol, and rigodon de honor/paso doble (if youd still call it filipino). i dont remember dancing the tinikling..

oh i almost forgot.. 88. jk

... I tried pandango sa ilaw and itik-itik,.... :colgate:

here is the pride of the leytenos..... there are at least four vidoes in this site,,. enjoy!
and oh! my teacher is one of the choreographer :)


http://www.leytedance.com/repertoire.htm


click click click

ako wala..... festival dance lang ung nasalihan ko....pero nanalo kami 1st place....

^galing carlos pero yung iba or most of sayaw dyan hindi na authentic ala ballet na.
sinayaw ko yung tinikling ng mindanao, i mean nag hold lang ako ng kawayan, pero nde rin nila pinakita yung bubuhatin ang magasawa sa upuang kawayan tapos yung mag nagbubuhat magtitinikling rin, i remember that was the hardest part. i didnt do it pero when we were practicing the people that had to do was complaining, taga latak lang ako ng kawayan, he he

hehehe.... kasi ung leyte dance theatre they are more on ballet anf modern jazz... kaya ayun.... may halo na ng jazz and ballet...

I don't dance. :(

lol! brings back memories. nagsayaw rin ako nung grade school at hs and during our town fiesta laging may competition. i remember dancing the cariñosa, pero yung tinikling at singkil hindi.

nice thread. paborito ko panoorin yang tinikling. wala akong nasayaw sa school kasi hindi ako marunong. :)

Does banging the bamboo poles together count as dancing? :lol:

Walang binatbat 'yan. I was the Reina in Singkil in High School.

In elementary naman, I played Queen Maniwantiwan so nilagyan ng itim na make-up yung face ko and then I danced with wild abandon after receiving the necklace from the Spanish conquistadores.

^^ thank God finally we have a female to answer this gay thread hehehe jk

^^ Just when Kiretoce was talking about banging bamboos. Haha.

^^ow, the procreation of the bamboo? hehehe

^^ How in the world did we get to procreation of bamboo?

banging bamboos

Parang story ni Malakas at Maganda. siyempre.... :lol:

kaya ba merong 'bamboo shoots?' :hahaha:


sige na uwi muna ako.

babay everybodi

adios. lets see whats for dinner.. later

Just when Kiretoce was talking about banging bamboos. Haha.

Hey now! My comment wasn't an innuendo at all! Get your minds out of the gutter people! :lol:

the leyte dance interpretation was graceful

for me tinikling is more fun and festive than singkil or sakuting

mt personal favorite dance of all time.... couretesy of leyte dance theatre.... a colorful mindanao dance called, singkil...it is said to be one of the oldest dance in the philippines...

http://i26.photobucket.com/albums/c101/carlosalmacen/singkil-pose-all1.jpg

http://i26.photobucket.com/albums/c101/carlosalmacen/singkil-good20pose1.jpg

http://i26.photobucket.com/albums/c101/carlosalmacen/Singkil1.jpg

(seehng-KEEHL)
MIDI File (singkil.mid)
This dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies of the forest. The criscrossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult and noble dance.

There are other versions of Singkil. Perhaps the version more widely performed by dance companies is the "Garden Singkil." The story goes that the princess goes into her garden, accompanied by her slave, and plays with the butterflies, which are represented by the fan dancers. The movements of the fans supposedly represent those of the butterflies, as opposed to the diwatas. In another popular version, the prince uses a scarf instead of a sword.

i never known the diff between this singkil and tinikling. anyone knows? they're both using bamboo poles...

yes.... both dances are using bamboo poles... but singkil is a mindanao dance and tinikling is a rural dance.... post number 25 singkil and this one is tinikling....


http://i26.photobucket.com/albums/c101/carlosalmacen/rural_tinikling21.jpg

http://i26.photobucket.com/albums/c101/carlosalmacen/rural_tinikling11.jpg

tih-NIHK-lihng)
Honored as the Philippine national dance, Tinikling is a favorite in the Visayan islands, especially on the island of Leyte. The dance imitates the movement of the tikling birds as they walk between grass stems, run over tree branches, or dodge bamboo traps set by rice farmers. Dancers imitate the tikling bird's legendary grace and speed by skillfully maneuvering between large bamboo poles.

In tinikling, they only use a pair of bamboo. In singkil, they use two pairs of them forming an intersection and it used to be a part of the wedding tradition of the maranaw royal families. Here's the Video (http://www.youtube.com/?v=Sv7nryyXpEY)

Singkil looks more Indonesian or Malaysian in origin though.

^^yes because it is a dance of the muslim tribe, maranao...

another version of of the singkil story....


Once long ago, a beautiful young princess named Gandingan (gahn-deeng-un), lived by the shore of Lake Lanao in the island of Mindanao. Her mother was a powerful healer and the second wife of the wise and brave ruler of the Maranao people.

Once a month, the princess accompanied her mother into the forest to gather medicinal plants, herbs, barks, flowers, and fruits. Before entering the forest, they had to ask for the blessings of the forest spirits by offering gifts of food and incense.

The princess looked forward to these forest excursions. She enjoyed learning all about the subtle characters of the various medicinal plants. Someday, like her mother, she too wanted to become a healer. Although the forest was an enchanting place, she was also aware of its dangers.

Five years passed since the princess’ first forest experience. She had grown into a beautiful young woman. She was excited and nervous at the same time, for this was the day she must lead the women into the forest. She must remember the proper sequence of the ritual or bear the displeasure of the forest spirits.

Unknown to anyone, the powerful forest spirit Makalinug (Mah-kah-lee-noog), had fallen in love with Princess Gandingan and was waiting patiently for this very day. Makalinug could barely contain his excitement. He impatiently waited for the women to complete their ritual offerings. Not long after they entered the forest, Makalinug caused the women to get disoriented and they became separated from the princess.

Once Princess Gandingan was alone, he transformed himself into a handsome warrior. He told her of a special part of the forest where many medicinal plants abounded. He could take her there if she wished. She refused at first, but he persisted. She thought her mother would be pleased to find such a place, so she followed him. “Isn’t the forest enchanting?” He said. “Wouldn’t you like to stay her forever as my queen?” Princess Gandingan finally realized her situation. She refused him politely. He asked again. She refused him firmly. He pursued her and she repelled him. Makalinug became enraged! He was no longer the handsome warrior. In his anger he caused an earthquake. The earth opened and the trees began to fall around her. Makalinug knew that if the princess tripped on the fallen trees and fell into the open earth, she would be his forever.

Makalinug truly underestimated her courage. Princess Gandingan, without panic, courageously stepped over the fallen trees to the safety of the edge of the forest. Makalinug was left with his rage and a loud ringing in his ear from Princess Gandingan’s singkil anklets.

Singkil looks more Indonesian or Malaysian in origin though.

You have to remember that before the Spaniards arrived in the Phils, our culture was very similar or the same to those of Malaysia and Indonesia. After all, our ancestors were Indonesian and Malaysian migrants.

Both the Singkil and Tinikling receive standing ovations whenever they are performed abroad by the Bayanihan Dance Troupe (are they still around?). They've also won many awards in international cultural dance competitions.

I watched this old (1950's?) film before called "Krakatoa". There was a scene with some American sailors on board a ship and there were some Asian people dancing. One of the sailors approached the dancers and asked them what it was they were dancing. They replied by saying that it was the Tinikling from the Philippines. :)

^^ Yes, I saw that film.

Even in an Elvis movie, there was a performance there that featured women dancing Tinikling. I can't remember if it was Viva Las Vegas.

^^ Blue Hawaii perhaps? Anyway, I was channel surfing one day and landed on the local PBS channel and they were airing those old Lawrence Welk shows and in this episode I saw they were dancing the Tinikling, pretty funny seeing white people dancing it but they were really good at it! :okay: Glad to know that some foreigners appreciate our arts and culture. :colgate:

European imperial ambitions spread to the Orient. Sanctioning this, the Roman Catholic Church played umpire to disputing nations by subdividing their playing fields. By that, the Philippines should not have been Spanish territory if not for Ferdinand Magellan chancing upon it in 1521 and by Miguel Lopez Legaspi's establishment of government in 1565. After them, the islands fell under Spanish suzerainty for more than three centuries.

Spain restructured the Filipino's lives in terms of politics, economics, religion and culture. This hispanization pervaded even the musical and choreographic practices of the people. Dances took on the tempo and temper of the European forms. For example, the noted Tinikling (which has had some Southeast Asian beginnings) and the Itik-itik (rustic and imitative like the other dances) acquired the tempo of the jota and the polka. Down to the research of Francisca Reyes Aquino, dances that did not have Western harmony were provided melodic accessibility, as in Pandanggo sa Ilaw and Subli.

Aside from modifying ritual, occupational and imitative dances, the Spaniards brought in their own dances. The most popular was the jota, later taking on numerous regional variations. Another was the fandango that was re-styled as pandanggo -- a dance that was once prescribed in Spain by Rome, it rivaled the jota in popularity. A step so common in many dances is the waltz, such as that found in the Cariñosa, Sayaw Santa Isabel, etc. In that way, the blase proliferated in dances for religious feasts, wedding and other social occasions. Still others were the paseo and the pateado (from zapateado).

From Cuba, the habanera with its syncopated interest and finding roots in many regions such as Pangasinan, Ilocos, Zambales, Capiz, etc. Outside of the direct Spanish territory came the Polish mazurka, the Czech polka, the Scottish schottische (renamed as escotis), and the French quadrille dances, like the rigaudon (turned into rigodon), pas de quatre (into pasakat) and lancers (into lanceros).

Intensively, the Filipinos combined several of these dances, so that the Polkabal and the Jotabal are noted examples. The Surtido is also one such invention, coming out in several regions.

With the brief presence of the British (owing to the Seven Years War, between 1762 and 1764) and their economic investments, there is such a dance as the Ba-Ingles. With the coming of the Americans, there was the Birginia, off the famous reel in America.

With the Catholic Church, ritual were Christianized as witnessed in the Bate (a waltz dance at Easter), the many pastores (shepherds dancing around at Christmas time), or the Sayaw sa Obando whiz is a waltz or pandanggo to plead for a wanted husband or child.

Spanish music-theater further popularized the European dances. The zarzuela (and the opera) had actresses who were also singers and dancers. Poet Flavio Zaragosa Cano praised the diva Patrocinio Carvajal (daughter of Patrocinio Tagaroma) as "Diosa del Baile." Other famous figures were Praxedes "Yeyeng" Fernandez (noted for her pandanggo and the condemned can-can in Pascual Bailon), Venancia Suzarra, Juana "Titay" Molina, Eulalia "Lalyang" Hernandez, Concepcion Cananea ("the songbird of Cebu") and to our time, Honorata "Atang" de la Rama.

A noted troupe of young dancers was formed by the Italian maestro Appiani. His Compania Infantil de Baile performed standard European dances in his choreographic mode.

Many of these dances would have been obscured with the influx of American influence at the turn of the Century. But with the pioneering research of Francisca Reyes Aquino and her followers, may of these dances were revived and documented. Starting at the University of the Philippines under the presidency of Jorge Bocobo, Aquino went out into the field and renewed the life of these dances through a folk dance group. This group was later followed by many others in the universities, such as Far Eastern University, University of the East, Philippine Women's University (Bayanihan Philippine Dance Company), Philippine Normal University (Baranggay Folk Dance Troupe), and in today's Ramon Obusan Folkloric Group, Leyte Kalipayan Dance Troupe, U.P. Filipiniana Dance Troupe, and so many others throughout the islands. From out of these schools and private groups (like Obusan's or the defunct Filipinescas Dance Company of National Artist Leonor Orosa Goquingco), these European dances, modified by the needs and style of the Filipinos, were further seen in the rest of Asia, Australia, Europe, Russia and the Americans.

Meanwhile, Aquino's volumes on these dances (and those of her followers) are still prime references for these troupes and in dance instruction in schools in the Philippines.

http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=116

In 1898, the United States colonized the Philippines. Contributory to the people's eventual surrender was an ongoing armed struggle against Spain.

Inevitably, the Americans' entry into the country brought with it their cosmopolitan and commercial culture. Their Black-influenced music and dances appealed to the terpsichorean bent of the Filipinos. Already schooled in the zarzuela, they found fascination in the vaudeville (later called the stage-show) which is a mix of the theatrical, minstrel and circus acts that attracted both the elite and the masses.

The cakewalk, buck-and-wing, skirt-dance, clog, tap and soft-shoe were performed in the zarzuela theaters, later with the cinema shows. Social dances also became part of the repertoire on stage, such as the Charleston, foxtrot, big apple, one-step, slow-drag, the Latin-influenced tango, rumba, samba, mambo and cha-cha.

John Cowper was called "dean of Philippine vaudeville," and with him came other American and European artists. Later the Filipinos took charge by organizing their own troupes, such as those of the Salvadors, the Roques, Sammy Rodriguez, Lamberto Avellana, Jose Climaco, Ramon Estrella, Jose Generoso and Fernando Poe. Bayani Casimiro and Nieves Manuel were call the Fred Astaire and Ginger Rogers of the Philippines. A noted Portuguese dancer-impresario from the Spanish times, Don Jose Zarah, carried on into the '60s at the Clover Theater.

With improved transportation, the Philippines became part of the big international circuit. Filipinos increasingly experienced the ballet. In 1901, the Lilliputians graced the Zorilla with "ballet girls". The Japanese Infantile Company brought a "Japanese ballet" to Teatro Oriental. In 1902, the Baroufski Imperial Russian Circus advertised 25 "ballet beauties" in a "mammoth production."

In 1915 and 1916, Paul Nijinsky danced at the Manila Hotel with costumes attributed to Leon Bakst, Diaghilev's designer. In 1922 Anna Pavlova graced the Manila Grand Opera House, prodding local girls to study ballet. Among these was Anita Kane (later teacher of Felicitas "Tita" Radaic and Ester Rimpos) who trained with Katrina Makarova, a Russian refugee. Others were Mara Selheim, Carmen McLeod and, and the most important, Madame Lubov "Luva" Adameit.

Supposedly a dancer of Pavlova and coming in 1927, Adameit trained the first noted choreographers of Manila: National Artist Leonor Orosa Goquingco, Remedios "Totoy" de Oteyza, Rosalia Merino Santos, etc. It was she who planted the germ of native inspiration with her Cariñosa and Planting Rice on pointes.

In 1939 Kane staged Mariang Makiling with composer Ramon Tapales. She later followed this with more Philippine-inspired ballets together with the ballet classics. In 1941 Orosa Goquingco staged Trend: Return to Native, seminal of her other Filipino ballets. In 1961, she topped these with Filipinescas: Philippine Life, Legend and Lore in Dance that toured the globe. Much later, Merino Santos turned to modern dance, founded the Far Eastern University Modern Experimental Dance Troupe, and directed the FEU Folk Dance Group that stirred up Europe as much as the Bayanihan did in the '50s. Oteyza choreographed abstract ballets allied to musical forms of Grieg, Tchaikovsky, Frank, Rachmaninoff, Rimsky-Korsakov, Ravel and the Filipino Rodolfo Cornejo.

Modern dance began in the vaudeville circuit. At the Zorilla, Ada Delroy Danced The Fire of Life that seemed inspired by Loie Fuller, an American like Isadora Duncan who found fame in Europe. In 1926, the Denishawn company of Ruth St. Denis and Ted Shawn danced at the MGOH in its two-year Oriental tour. In 1932, Austrian Kaethe Hauser introduced ausdrukstanz. Her noted pupil was Manolo Rosado, a flamenco dancer, labeled as the "poet of dance" in America. In 1937, another Austrian in Trudl Dubsky (a member of Gertrude Bodenwieser's troupe) joined her groom, conductor Herbert Zipper, in Manila. She founded Manila Ballet Moderne where many Filipinos apprenticed themselves. She choreographed in the Western idiom, and performed at the Manila Metropolitan Theater. Later she directed operas including Carmen in Tagalog.

Manila was heavily devastated during the World War II. The Zippers wanted to build a new arts center by raising funds in the United States. This was not to be. But into the '60s, they periodically visited to stage ballets, operas and concerts of the Manila Symphony Orchestra (MSO), the first Western ensemble in Asia. The MSO accompanied many dance performances and its support society defrayed a few expenses.

The American influence continued into the years long after the country's independence from USA in 1946.

http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=117

Do you guys know about Pilipino Culture Nights, or also commonly referred to as PCNs? An annual production of dance, song, and script, conveying some sort of contemporary Pilipino or Pilipino-American theme. Very big out here in CA.

^never heard of it Char. But I've been to the Philippine Convention held in July

Do you guys know about Pilipino Culture Nights, or also commonly referred to as PCNs? An annual production of dance, song, and script, conveying some sort of contemporary Pilipino or Pilipino-American theme. Very big out here in CA.

Yup, I have a relative (or maybe relatives) who are part of some PCN of a school here in CA, I almost became part of it, but our school stopped doin it.

And back in Angeles City, there is what they call "Cultural Nights" every October i think. And schools would be performing at a certain night. My friends are always part of it, Im there too, to watch them and help at the back hehe...

just thought i'd share some pictures of some PCNs i've been a part of...

http://img.photobucket.com/albums/v601/charitorae/118_1889.jpg

http://img.photobucket.com/albums/v601/charitorae/DSC00008.jpg

http://img.photobucket.com/albums/v601/charitorae/PCN2032.jpg

http://img.photobucket.com/albums/v601/charitorae/PCN2028.jpg

hi charitorae.. are you in any of those pics? ;)

yup. the first one :)

right.. like where? :)

hmm. to reveal myself to the entire SSC or not to.. :wave:

:hi:

hmm. to reveal myself to the entire SSC or not to.. :wave:

Go ahead @Charitorae. We'll try to rein in the menfolk here in SSC. I can't guarantee you they'll behave but they're pretty harmless and fun. You have your screen as shield, anyways. :)

ei.... i saw a video of "our" presentation of a pintados festival dance.... we performed this during the leyte landing... hindi ito ung pinanlaban namin sa competition(which by the way we won for first place! for school division! yipee)... inulit lang ung choreography dahil masyadong mahaba kung ung contest piece ang sasayawin namin at very limited lang ang time na binigay and it took us only three days of practice... pasenshahan nyo na itong video na ito.... hindi magkasabay ung music at dance.... digicam lang kasi ung ginamit nung friend ko kaya nagkaganyan..... anyways enjoy!....... miss those days


http://www.youtube.com/watch?v=5b1BpQ0zLNU&search=pintados

Nice pics Char. Thanks for sharing! Where did you have your costumes made? Here or in the Philippines?

leyte like you've never seen before!

http://i26.photobucket.com/albums/c101/carlosalmacen/foranhadi11.jpg

http://i26.photobucket.com/albums/c101/carlosalmacen/AnHadimainpicframe1.jpg

http://i26.photobucket.com/albums/c101/carlosalmacen/foranhadi1.jpg

Wow, nice cultural presentations. Even the costumes are impressive!

Nice pics Char. Thanks for sharing! Where did you have your costumes made? Here or in the Philippines?

For the Cordillera suite, we get our bahags and tapises from Baguio. Usually from a org member who goes on vacation in the winter time. Our org also has a stash of costumes that are recycled every year. The other suites usually make their own costumes or get them made.

ang gaganda ng mga talaarawan tsharot at carlos sixpol X

@carlos babae ba yung mananayaw?

kla kla kla kla kla.. :rofl: :jk:

^^hahahahahahaha... mga babae yan.... mukha lang hinde..... hahahahah... lam mo na.

Yung sa unang picture na mga taga Leyte-- marumi ang talampakan.

Di katulad ng dance troop ni Cha-- at least sila naka tsinelas sa isa nilang group photo. Malamang mas malinis ang mga talampakan nila Charito.

Pero parang malamig yung naka suot na loin cloth lang... yung parang ibaloi o igorot. What is that costume called? The one where the man has nothing on except the cloth that covers his bayag?

bahag?

Masyado naman critical yung mga guys dito.


@Charitorae: Ang galing nung group picture niyo. Parang naka-spot light sa face mo yung sunlight. :) (Did you understand the Taglish?)

oh yes. naintindihan ko naman lahat ng sinasabi ninyo dito. its just when the words get super long and deep where i get lost sometimes. for the most part, i get the gist. :)

^^ magsayaw na lang ulit ako :lol:

^^Thread title self explanatory.

------------------------------
San Miguel kills orchestra, chorale
(Philippine Daily Inquirer Via Thomson Dialog NewsEdge)

THE SAN MIGUEL Philharmonic Orchestra and Chorale are dead.

Late last month, instrumentalists of the only corporate-supported orchestra in the country were summoned one by one by the big bosses who informed them of the non-renewal of their contracts.

Ditto with the members of the San Miguel Chorale.

Many of the orchestra and chorale members did not get separation pay.

It is not known what happened to Ryan Cayabyab, the executive director and artistic director of the San Miguel Foundation for the Performing Arts.

Insiders said that San Miguel Corp., the biggest food and beverage company in Southeast Asia, was more inclined to support basketball. San Miguel has four basketball teams in the professional league: San Miguel, Ginebra, Coca-cola and Purefoods.

The latest income statement by San Miguel showed the conglomerate is in the utmost pink of health. In November, it reported that its nine-month net income grew 18 percent, to P6.17 billion from P5.22 billion in the same period last year, boosted by its strong local and international beer operations and strong sales by its Australian dairy unit, National Foods Ltd.

Both founded in 2001, the highly promising San Miguel Philharmonic Orchestra and Chorale were suddenly disbanded early this year while no one was looking.

And no one is expected to drink to that.

^^ Are they state-funded or privately sponsored?

privately sponsored

What a way to start a new thread. Ouch. What a lost. I have a CD on some of their works. They were really good. A talented orchestra dies while Wowowee continues to pump out more craptacular music than Kevin Federline.

^^All because of the "jologs" image Philippine Pop Culture is trying to inject to the Filipinos. I can't believe San Miguel did this! Well, I guess one of the reasons is because Pinoys would rather listen to stupid, crappy, mediocre, substandard, idiotic, moronic and ultimately garbage-quality "novelty" songs from the immortal Lito Camo than take time in rejuvenating their mind and ears with Vivaldi's, Bach's and Beethoven's classics.

Philippine music will go down if this persists. Don't let the jologs subculture ruin everything!

i guess it all boils down to $$$... there's more money to be made from a basketball team as pinoys are generally addicted to basketball and i bet only a handful appreciates classical music

^^All because of the "jologs" image Philippine Pop Culture is trying to inject to the Filipinos. I can't believe San Miguel did this! Well, I guess one of the reasons is because Pinoys would rather listen to stupid, crappy, mediocre, substandard, idiotic, moronic and ultimately garbage-quality "novelty" songs from the immortal Lito Camo than take time in rejuvenating their mind and ears with Vivaldi's, Bach's and Beethoven's classics.

Philippine music will go down if this persists. Don't let the jologs subculture ruin everything!


in addition, and i guess those who do appreciate classical music would rather listen to pavarotti, bocceli, il divo and josh groban

waahh... i love listening to chorale groups like philharmonic orchestra then ryan cayabyab pa!!... so i guess mostly choral groups na lang is yung mga different schools na lang like UST Singers, UP madrigal, Ateneo Glee Club etc...

well. kenneth, you got a point there, i only got interested in such music (chorale music) coz i became a member of archi chorale and been a member in choir in our church when i was a kid... then we were competing too that's why i listened to different chorale groups... for some i guess, it's just a piece of crap... :(

this is sad news :ohno: :ohno: :ohno:

do we have any chance of winning an international basketball title???? :ohno: :ohno: :ohno: :ohno:

^^Thread title self explanatory.

------------------------------
San Miguel kills orchestra, chorale
(Philippine Daily Inquirer Via Thomson Dialog NewsEdge)

THE SAN MIGUEL Philharmonic Orchestra and Chorale are dead.
Insiders said that San Miguel Corp., the biggest food and beverage company in Southeast Asia, was more inclined to support basketball. San Miguel has four basketball teams in the professional league: San Miguel, Ginebra, Coca-cola and Purefoods.

It also comes down to education, do they have music education/appreciation classes in the primary and secondary levels? A person cannot fully appreciate classical music if they haven't been exposed to it at a younger age.

I thought this thread is about awareness of the classical music in the Philippines until Lloyd doused us with a bucket of cold water as a starter with issues about its deteriorating status in the country. :ohno:

As Otakaw points out, the music has become too commercialized making it more appealing to the tacky and unsophisticated tastes of the masa.

Great moments in Philippine music...

"....MOSHI MOSHI ANONE ANONE ANONE! MOSHI MOSHI ANONE.. Karaoke!"
".... Boom tarat tarat! Boom tarat tarat! Taraaaaarat taraaaarat.. BOOM BOOM BOOM!"
"....ispageting pababa pababa nang pababa....."

That was another great moment in Philippine music.

haha.

Here is a movie in which the former SM orchestra performed the music for it.

http://stage6.divx.com/members/236398/videos/1092402

You need to register to see it.

http://www.atfdavao.com/images/photos/DSC_2496.jpg

http://i11.photobucket.com/albums/a157/kulaskusgan/atf/7.jpg

^^ Who/What/When/Where? :dunno:

^^ Who/What/When/Where? :dunno:

that was last year during the asean tourism forum here in davao. from the photogallery of http://www.atfdavao.com/

Oh that is so sad. I actually know a violinist from San Miguel Orchestra. :(

Let us now convert this thread to musical appreciation of our own Filipino classical music. How I miss listening to the old kundimans we used to sing in school during Linggo ng Wikang Pilipino.

Kundiman: Our Signature Love Song
By Della G. Besa

The kundiman is the Philippines’ signature love song, generally expressing the forlorn lament of a faithful lover pining for his beloved. Written in triple time, and predominantly in the minor key, it is closely related in form to its predecessors: the kumintang, which is strangely enough, a war song; and the awit, direct offspring of the kumintang. Both these forms share the same rhythmic pattern and melodic inflection, which also reappear, although somewhat altered, in the kundiman.

The origin of the term kundiman is the subject of several theories, one being that is the contraction of “kung hindi man,” literally meaning “if it were not so.” This phrase was a stock formula used in many early kundimans, which gives insight into the plaintive character of the song.

Interestingly, the form took on a patriotic cast in the early days as a reaction to the Spanish practice of forbidding the Filipinos any display of nationalism. The result was an outpouring of feelings in song, expressing love for a woman who symbolized the Motherland. “Jocelynang Baliwag” (circa 1896), for example, was popular among the revolutionaries, and called the “kundiman of the Revolution,” because although disguised as a long song dedicated to a young beauty of Baliwag, Bulacan called Josefa (Pepita) Tiongson y Lara, it really spoke of the country they were working to free (“Happy Eden in which are enthroned/Enjoyment and sweet joy…”).

The era of the kundiman is generally set between 1800 and 1930, in which the form underwent several distinct phases. What started as an expression of love through an extemporized text set in preexisting melodies next underwent semistylization, in which the metric pulses of Western dance forms – the danza, the waltz, the fandango – were integrated into the musical style. Then came the change from the extemporized text to literary-poetic verse forms by poets and fictionists like Jose Corazon de Jesus, who wrote the lyrics of the still-famous, patriotic “Bayan Ko” (My Country: A bird free to fly/ Weeps when caged…”), Deogracias A. Rosario and Jesus Balmori. The songs, however, continued to express unrequited and undying love, along with a resignation to heartbreak and pain.

During the early decades of the 20th century, in the American colonial regime, the kundiman underwent a final transformation as a result of the composers’ exposure to the academe. Formally trained musicians such as Fransisco Santiago and Nicanor Abelardo elevated it to the status of an art song. Santiago is credited with taking the simple folk song from and giving it three distinct parts. His first kundiman was “Anak Dalita” (Child of Woe) in 1917 (“I am the child of woe/burdened with tears… Let your heart fall to me/ and let fall life and hope”). Other important compositions were “Pakiusap” (Plea: ”I plead with you to take pity on me/ Even unto death, I only love once…”) and “Madaling Araw” (“Dawn”).

Nicanor Abelardo later wrote kundimans believed to have been inspired by Santiago’s works. Among his most famous are “Mutya ng Pasig” (Muse of Pasig), “kundiman ng Luha” (kundiman of Tears: “Let fall your perfumed handkerchief/ to wipe away my heart’s tears…), and “Nasaan Ka Irog” (Where are You, My Love). It was alos at about his time that kundimans were used by sarswela composers for their plays’ love songs, a practice that would lead, in the late 1930s and after World War II, to similar use of the songs in film musicals.

“Bituing Marikit” (Beautiful Star), for example, was composed in 1926 by Nicanor Abelardo, to lyrics by sarswela writer Servando de los Angeles. Using the rhythm of a danza, it speaks of a lover begging for a ray of light from his loved one, a distant and unreachable shining star. It was used in 1937 as the title song of a film, and is now a staple in the repertoire of Filipino singers:

Bituing marikit sa gabi ng buhay
Ang bawat kislap mo’y ligaya ang taglay
Yaring aking palad iyong patnubayan
At kahit na sinag ako’y bahaginan

Natanim sa puso ko yaong isang pag-ibig
Na pinakasamba sa loob ng dibdib
Sa iyong luningning laging nasasabik
Ikaw ang pangarap, bituing marikit

Lapitan mo ako, halina buitin
Ating pag-isahin ang mga damdamin
Ang sabik kong diwa’y huwag mong uhawin
Sa batis ng iyong wagas na pag-giliw

(Beautiful star in the night of life
Each sparkle from you bears joy
Guide my fortunes
And share with me even just a ray of light

Planted in my heart is this one love
Center of worship within my breast
Always hungry for your light
You are the dream, beautiful star

Come close to me, come O star
And let us make all feelings one
Do not let my parched soul thirst
In the waters of your pure love.)

In contemporary times, the term kundiman has now come to mean not only a specific music-literary form, but also a particular musical sentiment and style. This sentiment is still felt in the romantic ballads by composers such as Ernani Cuenco, Geroge Canseco, and Leopoldo Silos. Jazz musicians and composers Angel Peña, for example, is known for a modern kundiman called “Iyo Kailan Pa Man” (Yours for Always) with words by master lyricist Levi Celerio, in which the sentiments reflect the traditional longing: “…the days have gone by/ and your bow has been forgotten/ and my heart, O my love/ waits in sadness.”

http://www.filipinoheritage.com/history/signature_lovesong.htm
2001

Folks, we already lost the San Miguel Chorale and the San Miguel Orchestra. Let us not lose DZFE 98.7 which is the only classical station in the country.

DZFE by the way, not only features the classics from the west but gives equal emphasis on the compositions of local talent as stated by Lili above.

In Visayan, my favorite is Usahay.

i was looking for "salamin ng buhay" by george canseco/ryan cayabyab for basil valdez. wala yatang madodownload. di na kasi patok sa mga bata ang mga ganyang klaseng kanta.

Thought I'd post this here....

==========================================================

Take pride in the bamboo organ
By Johanna M. Sampan Monday, February 19, 2007

While many Filipino musicians can skillfully play the flute, trombone, saxophone, trumpet, oboe, horn, clarinet and even the harmonica, these proponents of wind instruments should also take time to learn about the Philippines’ homegrown, and highly unique contribution to this class: the bamboo organ.

The only one in the world, it took years to build this unique instrument. History has it that from 1816 to 1824, Fr. Diego Cera, the first parish priest in Las Piñas, collected pipes as he built his grand design. Sadly, in 1880, a typhoon and an earthquake destroyed the church’s roof, ruining the organ case with fallen stones and water. No one could play the bamboo organ after the calamity until a man by the name of Johannes Klais Orgalbau shipped it to Bonn, Germany, in 1973 for cleaning, tuning and restoration. It took another two years to finish the restoration, and in March 1975 the bamboo organ was shipped back to its true home, and has since, never stopped to make beautiful music.

On November 24, 2003, the National Museum of the Philippines officially declared the Las Piñas Bamboo Organ as a National Cultural Treasure, it being the only 19th-century bamboo organ in the Philippines that is still working.

Today, seeing to the continued maintenance and restoration of the bamboo organ is the major priority of the Bamboo Organ Foundation Inc. The foundation is a nonstock, nonprofit organization established to preserve the historic bamboo organ via fundraisers, the biggest of which is the annual International Bamboo Organ Festival.

Now on its 32nd year, the International Bamboo Organ Festival will be held from February 22 to March 1 at the Saint Joseph’s Church of Las Piñas City.

“For this year, I’ve arranged church songs that we don’t usually hear,” artistic director, Della G. Besa says about the program. “Aside from Baroque music there will also be nontraditional pieces that will be played and sung during the festival. We’ve really worked hard to come up with a beautiful line up that Filipinos and foreigners would enjoy,” she assures.

Noted artists like Rico J. Puno, organist Armando Salarza, soprano Camille L. Molina, guitarists Sixto Roxas and Ruben Reyes, Las Piñas Boys choir, Festival Orchestra and conductor Jonathan Velasco will perform for the event.

Msgr. Albert Venus, president of the Bamboo Organ Foundation Inc., notes, “We want the Filipinos especially the young people to be aware of this priceless treasure that we have in our country. It’s happy yet alarming to see that foreigners are fonder of watching the performance nights. I hope our own countrymen will take their time to see the event for them to appreciate the magnificent bamboo organ.”

kiretoce and Rajah Soliman, you are both right. first, this is a sentiment i share with my father: Pinoys keep rooting for a major win on basketball when they just couldn't face the fact that it might not be the right sport for us. athletes have been reapings awards and honors in other sports and instead of developing these sports, they keep on pining for that elusive award in basketball when it probably won't be ours in any way possible.:lol:

and as kiretoce points out, it boils down to how we are educated in music. sadly music isn't given that much notice; yes, we do know who these classical composers are, how to do sharps and flats, etc., but students don't get the chance to explore and practice it. i won't even go into the quality of teaching--that's another issue.

and please, don't call classical music crap. i protest! :D Lito Camo is the crap. he's the one who ruined OPM.

in addition, and i guess those who do appreciate classical music would rather listen to pavarotti, bocceli, il divo and josh groban

i actually don't find anything wrong with listening to these artists. i consider them legitimate classical artists. just because they've streamlined their music to fit in with the modern times doesn't make them less of a classical artist. i think it's even better that way, since music gets appreciated by a wider, varied audience. ;)

^^ Same here, I don't see anything wrong with retrofitting classical music to be more receptive to the modern listeners' ear. Groups and artists such as Il Divo, Amici Forever, Bond, Josh Groban, Russell Watson, Sarah Brightman, Charlotte Church, Andrea Bocelli, Yo-yo Ma, Joshua Bell, etc. all bring classical music to the mainstream in their own ways, and by doing so, they only spread the exposure of the genre. A good example of such is the megahit musical RENT, it's adapted from Puccini's opera La Bohemme, in fact many don't know that all throughout the musical you'll hear strains of Musetta's Waltz.

i actually don't find anything wrong with listening to these artists. i consider them legitimate classical artists. just because they've streamlined their music to fit in with the modern times doesn't make them less of a classical artist. i think it's even better that way, since music gets appreciated by a wider, varied audience. ;)


oops! sorry if i didn't make myself clear... i didn't mean to demean those artists (il divo, bocelli, josh groban, russell watson etc... er, to be quite honest, i have several of their cds in my iPod - all ripped from my Dad's cds of course :lol: ) what i meant was the fact that a lot of us pinoys support foreign "classical" artists instead... case in point - concert tickets for these foreign artists are expensive BUT you see their concerts here really packed :)

and as kiretoce points out, it boils down to how we are educated in music. sadly music isn't given that much notice; yes, we do know who these classical composers are, how to do sharps and flats, etc., but students don't get the chance to explore and practice it. i won't even go into the quality of teaching--that's another issue.

and please, don't call classical music crap. i protest! :D Lito Camo is the crap. he's the one who ruined OPM.


im my province which is Pampanga... some schools there have Music Subject ang mostly they teach us Classic Kapampangan Songs... i experienced that during my grade school days, we had a very thick kapampangan song pieces that we have to memorize the song and also the notes and we have to play it using a lyre pa!!! that was fun. :D i still have those song pieces till now... :D

oops! sorry if i didn't make myself clear... i didn't mean to demean those artists (il divo, bocelli, josh groban, russell watson etc... er, to be quite honest, i have several of their cds in my iPod - all ripped from my Dad's cds of course :lol: ) what i meant was the fact that a lot of us pinoys support foreign "classical" artists instead... case in point - concert tickets for these foreign artists are expensive BUT you see their concerts here really packed :)

well, you can't blame them actually. perhaps because our own classical artists aren't that "accessible." from my observation most of the local classical artists only hold their concerts in Manila, at the CCP. I have yet to see a classical artist perform in Araneta Coliseum or in the provinces, and one that is not a charity/benefit concert. i don't think we have any way of getting to know the apart from CCP's programs, and that's not enough.

im my province which is Pampanga... some schools there have Music Subject ang mostly they teach us Classic Kapampangan Songs... i experienced that during my grade school days, we had a very thick kapampangan song pieces that we have to memorize the song and also the notes and we have to play it using a lyre pa!!! that was fun. :D i still have those song pieces till now... :D

wow, you guys are lucky! glad to know the Kapampangans give a high regard for their traditional music. ;)

i used to be a member of our drum & lyre band back in grade school and high school, although mostly pop pieces were taught to us. i used to be able to play "Chariots of Fire" and "Ati Cu Pung Singsing" but now i've forgotten them. :D :nuts:

well, you can't blame them actually. perhaps because our own classical artists aren't that "accessible." from my observation most of the local classical artists only hold their concerts in Manila, at the CCP. I have yet to see a classical artist perform in Araneta Coliseum or in the provinces, and one that is not a charity/benefit concert. i don't think we have any way of getting to know the apart from CCP's programs, and that's not enough.



wow, you guys are lucky! glad to know the Kapampangans give a high regard for their traditional music. ;)

i used to be a member of our drum & lyre band back in grade school and high school, although mostly pop pieces were taught to us. i used to be able to play "Chariots of Fire" and "Ati Cu Pung Singsing" but now i've forgotten them. :D :nuts:


yeah, especially now that we have a center for kapampangan studies who's aim is to help us not forget our kapampangan heritage and culture and music is one. We also have our own hymn... "Himno Kapampangan" which i remember way back grade school, our music teacher did the music and we even sing that during flag ceremony, after Lupang hinirang... and now it became the hymn for the whole Pampanga...

NORMAL - Angelo Favis, an Illinois State University associate professor and classical guitarist, has recorded his second CD, "Philippine Treasures: A Collection of Favorite Songs."

Favis and flutist Kimberly M. Risinger will perform a free recital at 7:30 p.m. Wednesday at ISU's Kemp Recital Hall at Illinois State University.

Favis' music reflects his native Philippines, and his CD features Filipino folk songs and Spanish-influenced serenades. The CD is available at www.vgorecordings.com or by contacting Favis directly at alfavis@ilstu.edu. or 438-7123.

http://www.pjstar.com/stories/030407/NOT_BCFIE0UO.041.php

I think 2006-2007 is the busiest calendar year for classical music in the Philippines- or maybe I was just not as aware of the happenings before. There's so much to watch and explore, so little time.

The most eventful to me last year was when PPO did "Pines of Rome" (Ottorino Respighi). That was like a dream come true. So magical. :) See, I still can't stop talking about it. Hehehe...

Though I'm not a fan of opera, I regret missing UST's Eugene Onegin, also staged last year. People say it's the best opera ever done in the country- with all the powerhouse cast, stage and production designers, etc. I hope they'll make a re-run soon.

damn, I remember the San Miguel Philharmonic performing in the La salle and Bago coliseums,... and how great it was ...

well anyways, this song I'm fond of, a friend of mine used to sing this to me..

Limang Dipang Tao, sung by Lea Salonga arranged by Ryan Cayabyab...

e3KG-g6bnvs

Click : http://www.musikanatin.com/

The last San Miguel Philharmonic Orchesta performance I saw was December 2005 at the Shangri-La Plaza.

My earliest exposure to classical music was with the Kabayao family in Iloilo. Gilopez Kabayao together with his wife Corazaon Pineda-Kabayao and their children would often perform at our school. Also, I briefly attended the same church they are in and I would always see them perform. I did an interview with the Kabayao couple once and they lament how Filipinos are not inclined to classical music. They try to bring classical music to the masses with their foundation. I really appreciate and highly commend them for their effort in doing so.

Just this February, I was able to see the performance of the Tanay (?) Orchestra at the Rizal Park Ampitheater.

http://i63.photobucket.com/albums/h141/oboi_1/concert.jpg

BisRock What?

BisRock or Bisaya Rock is gaining popularity these days. Considered before as part of the underground music, BisRock music has conquered Cebu, Davao and VizMin airwaves as well as the capital - Metro Manila through popular artists and bands such as Cueshe, The Ambassadors, and Urban Dub.

I was introduced to this genre by someone so dear to me. At first, i said..Bisrock what? I wanted to laugh or giggle coz all i can think of were the old novelty artists such as Max Surban (one of the respected artist in the Philippine music scene) and the like. But when he made me listen to it...then my paradigm changed.

While most of my Cebuano buddies are focused with the developing skyline of Cebu, lemme share the ever evolving music scene of this Queen City of the South. The heart and soul of every skyscraper cities in the world - its people...and their music!

Let this thread be one of the windows of Cebuano / BisRock music to the world. So to Bisrockers outthere...and newbies like me who got info, music vids, and bisrock gigs /pix to share...post em up here!

Here is one of the comments by one of our local Cebuano music blogger - Lorenzo P. Ninal



Rock music is rock music, whatever language is used. But for the Cebuano rakista, a rock song takes on a completely different meaning when the lyrics are Cebuano. To a struggling Cebuano band tired of monopoly of the music scene, the word "bisrock" is a matter of pride, not of form.


from: http://insoymada.googlepages.com/uponbisrockcebubuildsitsmusic


So Philippines....and the world, join me as we get to know and unravel BISROCK!

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/insoy-medium.jpg
BisRock Rules!

Some of the BizRock Artists and Gigs

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/theambassadors2.jpg
The Ambassadors

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/cueshe.jpg
Cueshe


BisRock to the Max Concert which was held at Millenium Park / Marcelo Fernan Bridge (LapuLapu City, Mactan Cebu)

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-3.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-2.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-1.jpg


http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420270.jpg


http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-10.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-9.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-8.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-7.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-6.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-5.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/Biz-Rock20To20Da20MAx20Feb202420-4.jpg

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/poster.jpg

Bisrock Artist of the Week --> URBANDUB!

http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/top6.jpg

BORN IN CEBU!
After almost two years since their last release, Urbandub now returns with an album that is sure to entertain the very soul of those who have had the true Dubista experience. Urbandub's EMBRACE, a release under EMI Music Philippines, is a far cry from emotional offset that was seen in their last album INFLUENCE.

But to those who do not know the band yet...What is Urban Dub anyway?

Urbandub--The Sound Of The Giant South
from http://bisrock.blogspot.com/2007/03/urbandub-sound-of-giant-south.html


The Sound Of The Giant South is gaining more recognition around the nation like never before. At the forefront of the whole movement is a band that has a record that surpasses most bands than that of the bands that have come out of the Queen City of Cebu. They are none other than Urbandub.

From the very first day that this band was formed (in the year 2000), they were destined to be something more than the ordinary. Forced to be independent due to the lack of support coming from major record companies, Urbandub released their debut album called BIRTH. Off of this album, the hit tracks "Come", "Give" and "Would You Go" launched and took their world by storm. Unique, timely and yet experimental, it was something that entertainment scenes around the Philippines needed: a kick start into the future of original music.

With the release of their sophomore effort, INFLUENCE (Lighter Records), Urbandub took on a new form, changing their sound with a new drummer (From Jed Honrado to Jerros Dolino). It was the sound in this album that clearly defined the steps that Urbandub would start to take. The track "Soul Searching" later won the award as Best Song of the Year in the NU107 Rock Awards 2003. Pushing the sound further, the collection bagged the Album Of The Year Award in the NU107 Rock Awards 2004.

Today, Urbandub now offers yet a third helping of what they are capable of. With the 2005 release of the album EMBRACE, Urbandub has proven that there is hope for the struggling artist. With help from their community and the noise they have created, they were able to grab the attention of EMI Music Philippines. Not one to take chances, the band has kept Lighter Records as their management arm and guide. In line with their ideals, EMI allowed them the creative freedom to record their album on their home soil of Cebu. Added to that, they have been able to maintain their independent principles while taking major steps into the scene that has awaited their new sound.

Urbandub is Gabby Alipe (Vocalist / Guitarist), Lalay Lim (Bassist), John Mendoza (Drummer) and John Dinopol (Lead Guitarist).

Urbandubs career thus far has given much inspiration and support to upcoming acts, most of which fall under the Lighter Records stable such as Faspitch, The Ambassadors, Still, Nuncyspungen (Cagayan) and Point Click Kill (Ilo Ilo). Each of them now aspire to take their own roads in music, paving their own way and modeling some of their steps after the success of Urbandub.



http://i14.photobucket.com/albums/a340/tj_brewed/CEBU/bisrock/b_group.jpg

^^cant wait for their new album...

i remember walking all the way from downtown to ayala last sinulog (saturday) just so me and my friends could watch them perform...

^^ i cant post any of their vids..dont know how to :(

anybody who got their music vids? **** post naman..thnx

here u are :)

edit

aXu6B13jSIE

endless, a silent whisper (live at rockestra)
urbandub with the manila symphony orchestra

Mabuhi ang BisRock!!!!!!

...i was one of the spectators of the 1st Cebu INDIE Music which was held at the former Cebu Plaza Hotel...that was in year 2002...

... i love URBANDUB! i've got copies of their compositions from Birth to Influence and Embrace but unfortunately, they're all rip off from Limewire because it's not available in the record store here in Riyadh...but i'd like to get original copy of these three (3) fantastic albums...soon...when I come home for vacation...by the way, my fave song is "Quiet Poetic" ...

I'm proud of these Cebuano Bands: Ambassadors, Fastpitch & Urbandub

http://urbandub.bembang.com/cutenews/data/upimages/NOFX_Poster2.jpg
pic from urban-dub.tk

should some guys from ssc-cebu decide come up with a band, here's a suggestion for a band name:

intractable angina- refers to chest pain (angina) that is unresponsive to treatment...this could alternatively refer to a heartache that wont go away...

wala lang...

@diehard: wow, an all-cebuano band show in qc...

quiet poetic...i like that song too...quite a naughty song, i should say...

^^ ... all Cebuano bands as front acts for foreign bands and it's held in the capital...now, that's a feat!


...yeah, love this song because of sensual guitar riffs: (IMO, the song is very sexy and I'm kinda hynotized to sleep)

QUIET POETIC - Urbandub
Album: Influence
Label: Lighter Records

We’re caught up in our little world
“ hush now ” she says
“ darling, no need for words ”
slow as we flow cuz tonight it’s gonna be easy
slow as we go cuz tonight we’re gonna be free.
Real loving, real loving
Real loving she gives to me
Real loving…

Quiet poetic, her body breaks into rhyme
Quiet poetic, her moves says it all.

Lit candles glow in your eyes
We elevate, reached higher plains in our minds
Sensual the tides of love could bring
Breaking waves in our hearts
We sing.
She don’t need to say a thing to me
Her actions show
As I try to give her all the same…

Quiet poetic, her body breaks into rhyme
Quiet poetic, her tongue is her mind
Quiet poetic, she speaks through her eyes
Quiet poetic, her moves says it all.

...i'm sure you guys have heard of the song, "GUGMA'NG GI-ATAY" ...i love the melody!

mas gusto ko yung "Come"... akala mo sa umpisa may double meaning... hehe

gugmang giatay, senior citizen, liar evil, suroy2x, baboy, prinsipal, etc...love them all...

see my signature....it is from gugmang giatay...

4ivm5ZDB3Uc

I'm a fan of Urbandub. ^_^

By the way, I was in Cebu last December, and I heard this song on the radio. The melody of the song was exactly the same as that of the opening theme of the anime "Flame of Recca". Does anyone know the title of that song? Thanks.

^^i think the song is called 'chinita'...nakakarelate ako minsan sa song na to coz i was infatuated for a while with this chinese girl in our class...

>>> Haha! Urban dub fan! They r0x0rz b0x0rz

i personally like urbandub and faspitch!

urbandub vs. faspitch (courtesy of: march2000)

jjoc-v4fvxU

^^i couldnt help but notice, the video quality is really good...real crisp...

let me add another favorite local band, THE FRANK! they're really cool!

Buwad, Suka, Sili

Xojp9ieiIS8



Agta

aAs7SFfcUUw




.:.

Hey just want to share/bounce this idea with you guys, since it's also part of heritage and our tradition:

This a blog entry today:

I think I’m on a roll about music hehe… See There’s no Pop Songs in the Philippines (http://waketrex.i.ph/blogs/waketrex/2007/06/02/theres-no-pop-songs-in-the-philippines/)

I was in contact with the site admin of Pinoy Centric (http://pinoycentric.com/), (you have to check them out!) and its been awhile since I asked them a question… If there’s any band/group that uses traditional instruments in the Philippines to create rock/modern music.

This might be a weird question or an odd combination… rock and traditional… what the hey!? Are you nuts? Traditional is traditional and modern is modern.

Making “modern” and or (*gasp*) pop music with traditional instruments can sounds great.

Video Samples at Wake T-rex (http://waketrex.i.ph/blogs/waketrex/2007/06/05/modernizing-traditional-filipino-music/)

Where’s the group that uses kulinta from Magindanao, with the nose flutes and gangsa from the north with a mix of guitar from the Spanish. And maybe a great vocalist (you probably don’t even have to). Now you got a great band with the whole Filipino pride behind it.

^^ I take Joey Ayala for example. And recently, the musicians behind the Encantadia in GMA. :-)

^^ I take Joey Ayala for example. And recently, the musicians behind the Encantadia in GMA. :-)

Haven't heard the encantadia by GMA, link?
Joey Ayala focus more on folk rock work right? has he done some new stuff recently?

I love your blog, especially the post about the Nigerian being surprised at the Philippines. Thanks!

I like the term "flip-pop" and "fil-pop". Congrats on coining that term. :)

Iya Villanueva's song is one of the first poppish song that I've heard. Although it's not every good, at least it's a first step. There's also Billy Crawford. For it to be truly "fil-pop" though, shouldn't they be singing in a Filipino language?

I love your blog, especially the post about the Nigerian being surprised at the Philippines. Thanks!

I like the term "flip-pop" and "fil-pop". Congrats on coining that term. :)

Iya Villanueva's song is one of the first poppish song that I've heard. Although it's not every good, at least it's a first step. There's also Billy Crawford. For it to be truly "fil-pop" though, shouldn't they be singing in a Filipino language?

Thanks, I haven't really thought what's fil-pop, but I guess it has to be incubated in the philippines, what i mean is that it can be english/filipino/dialect then commercialized in the philippines.

hey arent the instruments in the song Bebot traditional? that twanging sound?

hey arent the instruments in the song Bebot traditional? that twanging sound?

at what part? I translated it too

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Here's what appears to be a Filipino group in a Kulintangan.

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Here's a Malaysian Kulintangan group.

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Kulintang using with modern instruments.

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... and another example..

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A video clip about the only master of Kulintang living in the US. Let's find him and team him up with.. oh.. let's say Ryan Cayabyab.

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If Ireland get Corrs, Japan's counterpart is Chaba. This is one of the best example of a pop music combined with a traditional Japanese/Chinese instrument: the Sanshin.

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might as well post the ones that I thought have a certain kind of panache here.

Japan has the Yoshida Brothers:
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Monkey Majik (Canadian Teachers that became a hit in Japan) + Yoshida Brothers
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China, the Twelve Girls Band (they’re actually 13… one backup) HQ Version (37 mb, wmv) (http://ald1225.ecwhost.com/media/songs/12girls/12girls.wmv)
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New Classicism
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Just have to put this in too! Classic Music done for modern times (Some call it the "Wedding Song") ;)
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^^ The rondalla in this tourism video has an amazing tune. :)

I would like to hear and see our "talented" musicians to use more strings than just vocal talents in our music industry.

Djaga-Djaga (Visayan Serenades) by Michael Dadap

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Damgohon Ko Ikaw by Michael Dadap

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I would like to see the Philippines having musicians and music such as these that are known internationally:

Diablo Rojo (Rodrigo y Gabriela)

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Bendita Tu Luz - Maná y Juan Luis Guerra

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Oh yeah. There is a song called "American Junk" by the Apo Hiking Society which uses native drums and kulintangan. Although the song is in English, it is actually a social commentary on how there is too much American culture in the Philippines. Here is a link to where you can hear the actual song itself.

http://www.apohikingsociety.org/songs.shtml

It's the first song in the list.

Found this at youtube. The kids look like they're from around the General Santos area (according to the poster on the wall anyway...)

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I wish they also used other instruments as well (like a guitar or something..).

for a modernized version of a traditional song.

here's one example:

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Kinda oxymoronic.... modernizing traditional ____________ (fill in the blank).

Traditions are called traditions because they've been passed down through the generations and have stood the test of time with little or no change at all, whether added on or taken away from the original.

Correct rendition of RP national anthem urged (http://news.balita.ph/html/article.php/20070619171245987)

A former government official and beauty queen who is also a descendant of Philippine national hero Dr. Jose Rizal is calling for correct rendition of 'Lupang Hinirang,' the country's national anthem.

"Some things can't be changed," ex-tourism chief and 1964 Miss International Gemma Cruz-Araneta said Tuesday at Rizal Park's Orchidarium during a program dubbed 'Trees for Life: Remembering Rizal, the Environmentalist' which marked the hero's 146th birth anniversary.

She made the appeal after noting people continue rendering the national anthem in various singing styles like jazz and soul.

"Many people sing well but our national anthem is a march and must be rendered as such," she stressed.

To help promote correct rendition of 'Lupang Hinirang,' Araneta urged people to follow Rizal's example of exerting efforts on preserving facts about Philippine history.

The National Historical Institute (NHI) is also pushing for correct rendition of the national anthem as it continued monitoring various versions of this during sporting and other events.

"Republic Act 8491, the Flag and Heraldic Code of the Philippines, requires its appropriate rendition," said Carminda Arevalo, assistant chief of NHI's Research and Publication Division.

She said Julian Felipe composed the anthem's music while Jose Palma wrote its lyrics in Spanish.

The anthem was first played in Cavite province on June 12, 1898 when the Philippines declared its independence from Spain while its lyrics were later translated into English then Filipino, she continued.

According to RA 8491's Section 31, the national anthem's rendition "whether played or sung, shall be in accordance with the musical arrangement and composition of Julian Felipe."

Since NHI is mandated to implement RA 8491, which was approved in February 1998, Arevalo said, the agency is seeking from authorities concerned legal advice on charging and penalizing people who violate this law.

The law's Section 50 states that "any person or juridical entity which violates any provisions of this Act shall, upon conviction, be punished by a fine of not less than PhP5,000 nor more than PhP20,000, or by imprisonment for not more than one year, or both such fine and imprisonment, at the discretion of the court: Provided, That for any second and additional offenses, both fine and imprisonment shall always be imposed: Provided, further, That in case the violation is committed by a juridical person, its President or Chief Executive Officer thereof shall be liable."

Arevalo said NHI continues informing organizers of events to ensure their performers render the anthem correctly.

"NHI hasn't filed any charge against anyone yet so we continue informing people about correct rendition of the anthem," she said.

Section 48 of RA 8491 provides that failure or refusal to observe this law and any violation of corresponding rules and regulations the Office of the President issues shall, after proper notice and hearing, "be penalized by public censure which shall be published at least once in a newspaper of general circulation." p>"The Department of Education, Culture and Sports and the Commission on Higher Education, upon recommendation of the Institute and after proper notice and hearing, shall cause cancellation of the recognition or permit of any private educational institution which fails or refuses to observe provisions of this Act for the second time," the section also said.

During the event, private environment groups and the Department of Environment and Natural Resources distributed to people free seedlings of indigenous trees so they can support government's Green Philippines program of reforesting denuded areas nationwide.

The Medium is the Music (http://www.philippinenews.com/news/view_article.html?article_id=89f4926ee7df8de07b70555859f24bb6)

What do students of the prestigious Juilliard School of New York have in common with Filipinos? More than you think you know.

William Harvey, concertmaster of the Spokane Symphony Orchestra in Washington, established Music for the People (MFTP) to promote international cultural understanding through music. Its projects send young American classical musicians around the world to use music as the medium for cultural diplomacy. Each project features several critical components, including recitals, outreach concerts, collaborations with local musicians, collaborations with humanitarian organizations, and interacting with local culture by staying with host families and learning the language. Project participants are graduates of prestigious American music schools such as Juilliard, Indiana University, Mannes, Oberlin, Yale, and Eastman. MFTP is a sponsored project of Fractured Atlas, a non-profit arts service organization.

In 2005, Harvey’s second project for MFTP took him and five other seasoned musicians to the Philippines. Participants included violinists Nicholas DiEugenio and Beth Weisser, cellist Chris Gross, viola player Maiya Papach and pianist Becky Lu. They were in the country from May 28 to June 16 of that year. The project began with a concert in Puerto Galera, followed by master classes and workshops at St. Scholastica’s College.

Their first visit also introduced them to Casa San Miguel, a school for underprivileged, talented young musicians. The project ended on a high note with a series of cultural exchange concerts in tribal communities on the island of Mindanao.

Return to RP

MFTP is back in Manila once again. This time Harvey brings with him violinists JoAnna Farrer and Frank Shaw, hornist Danielle Kuhlmann, bassist Andrew Roitstein and cellist Jeremiah Shaw. Their May 25 to June 17 visit took them back to St. Scholastica’s College where they presented lessons, workshops and performances.

The traveling musicians also revisited Casa San Miguel, which Harvey poignantly describes as a “haven for music and mangoes.” The San Antonio, Zambales school was established by violinist Alfonso “Coke” Bolipata 10 years ago when he returned home from his studies in the United States. Set against the verdant background of a mango orchard, the arts center provides opportunities to gifted children outside Metro Manila to develop their talent whether in classical music, the visual arts or theater. Children as young as three from various economic backgrounds come week-to-week to hone their talents. Bolipata says that the work in Casa San Miguel “in one way or another, proves that culture can be integrated towards improving the quality of life at the grass-roots level.”

The follow up to last year’s fruitful exchange between Casa San Miguel and MFTP led to another successful blending of talents. This year, a benefit concert held June 6 at the Francisco Santiago Hall in Makati was the fruit of the musical merger.

The Sound of Hope

The fundraising concert entitled Celebrate the Gift of Music, Pundaquit Festival ’07 will benefit the Juilliard School ’s Music for the People Program and the Casa San Miguel Foundation to provide scholarships for the underprivileged students from Luzon.

The first half of the program regaled the audience with a beautiful rendition of Mozart’s Horn Quintet. The tonal harmony of the strings was mesmerizing (played by Farrer, Frank and Jeremiah Shaw and Casa San Miguel teacher Lorenzo “Chong” Raval). Kuhlmann’s horn work added a robust flavor to the piece.

This was followed by Philip Glass’ String Quartet #5, another enjoyable performance, which ended with playful string plucking. The first half also showcased a lilt and verve of emotions with Ricardo Romaniero’s Sextet followed by Taraf de Haidouks’ Rustem for String Quartet (a gypsy tune arranged by Andrew Roitstein.) Roitstein’s bass added a hint of surprise and excitement to the wonderful, smooth sounds of the violins and the cello giving the entire piece a wonderful musical texture.

The second half of the program was even more delightful than the first. The Pundaquit Virtuosi, the string ensemble of the Casa, joined in to play Gershwin’s Lullaby for String Orchestra. Next came Concerto in A Minor (First Movement) by Vivaldi. This was perhaps the most sensational part of the concert with a solo by the amazingly talented seven-year-old Julian Duque. It was a marvel watching his tiny frisky fingers across the neck strings complemented by his precise bow control.

The final piece, Bach’s Concerto in D Minor for 2 violins and string orchestra was another exciting experience. With Coke Bolipata joining Harvey and Farrer in a round robin version, it’s similar to watching people converse so naturally with violins.

It was a pity though that the stage was too small. A performance of this caliber deserves a bigger arena and better marketing efforts. With the right PR, it could have drawn more attention to its very worthy cause.

All in all, the MFTP participants in tandem with Pundaquit Virtuosi delivered a very powerful performance laden with emotion and passion. The stage was filled with so much energy it was almost tangible.

This is what music was meant to be. Magical.

Meaningful. Magnificent.

Tinikling to the next level! :lol:

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Link (http://www.youtube.com/watch?v=0towc-zxwLM)

Singkil
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Link (http://www.youtube.com/watch?v=8R_EWyqu_ck)

Itik-itik
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Link (http://www.youtube.com/watch?v=jo3DAQxGjBo)

Maglalatik
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Link (http://www.youtube.com/watch?v=h9KKqZDWYb4)

Malong-malong
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Link (http://www.youtube.com/watch?v=Ay3RdV-kvOQ)

Pandanggo
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Link (http://www.youtube.com/watch?v=y_G-aHAxXds)

Link1 (http://www.youtube.com/watch?v=tY8qeSL8pis)

Link2 (http://www.youtube.com/watch?v=CDbR9-0K10c)

Link3 (http://www.youtube.com/watch?v=IBtl2X2UW5c)

Link4 (http://www.youtube.com/watch?v=MPXqXX0Y3sM)

Link5 (http://www.youtube.com/watch?v=5t0EwQiJB1M)

This thread reminds me when I was still in the Philippines. I was a dancer from elementary to college. We used to dance sakuting, surtido cebuano, surtido samareno, dagit-dagit, tinolabong, gayong-gayong, binhi, oasioas, libad, binatbatan, la jota echaguena and my all time favorite, the pandanggo sa ilaw. I also love when the ladies were wearing maria clara, it was so elegent. We have to smile to the max all the time para hindi halata na nagkakamali...haayyy, those were the days.

This thread reminds me when I was still in the Philippines. I was a dancer from elementary to college. We used to dance sakuting, surtido cebuano, surtido samareno, dagit-dagit, tinolabong, gayong-gayong, binhi, oasioas, libad, binatbatan, la jota echaguena and my all time favorite, the pandanggo sa ilaw. I also love when the ladies were wearing maria clara, it was so elegent. We have to smile to the max all the time para hindi halata na nagkakamali...haayyy, those were the days.


I remembered dancing to Surtido Cebuano and we became provincial champion in Iloilo. Passi National High School Dance Troupe as it used to be called then under Mrs. Hidalgo led Passi to become champions in Region 6 and I was so proud of being in the winning dance troupe:)

hey rolls-royce, I remember we competed with passi in the provnicial level when I was in high school. we were in the 2nd place. we knew that your school always danced surtido cebuano then alternately with ?sakuting and the other dance (I cant remember the name) thats why passi was always the champion...you're all excellent dancers though...one of your co-dancer was also happened to be my friend when I was in college as we were boardmates.


I remembered dancing to Surtido Cebuano and we became provincial champion in Iloilo. Passi National High School Dance Troupe as it used to be called then under Mrs. Hidalgo led Passi to become champions in Region 6 and I was so proud of being in the winning dance troupe:)

The way I see it, there are four major types of Filipino dances, the Spanish-themed dances, the Barrio/Fiesta-type dances, Tribal dances, and Moro dances. Are there any more out there? :dunno:

I think that's right kiretoce. Those are 4 major type of philippine folk dances as far as I know. It's the spanish-themed that I really love and some of the barrio/fiesta dances.

Does anyone notice the complaints in some of the videos, especially the videos of dances from Mindanao? The complaints mostly revolve around dances like Singkil, that they don't look like the original dance as performed by people in Mindanao. For example, in some of the Singkil dance videos, the princess wears the Sarimanok but (according to one of the complaints), it's offending to have it on your head. I'd like to see what the original looks like to see how much better it is. Here's an example so it hits right at home to most people here.

Here's a dance originating in Batangas(?) called the Subli. While I can't say this is a good example of the dance, it has the basics of allows it to be called Subli.

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Here's a version that looks nothing like the original (as performed by my former HS. Haha). These women are suppose to have male partners... so what happened to them?

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So, what do you think?

^^ singkil are done beautifully by the maguindanaons and maranaos , it's a beautiful dance , a wedding dance...imo other group interpretation of that is not authentic ....that's really absurd wearing those "sarimanok" headress , imo Mindanao Dances are more in-depth ,every single movement has an intepretation , every rhtyhm has it's meaning !

I am one of those who commented about singkil. According to the tradition,the sarimanok is never displayed by itself. It must be displayed with the set of flags, standards and vexilloids but they can be displayed without it. At present this is not totally true; we can find out the sarimanok placed on the top of the payong of a Sultan or dignitary. But never have I seen a sarimanok used as a headdress. Bayanihan's version is more like an interpretative stage version, not the actual dance you would see in Lanao.

^^ most dance companies/troupes usually truncate the original version to cater interpretative view of the choreographers. It all depends on the say of the choreographers.

Getting closer to a dream orchestra in Iloilo City (http://newsinfo.inquirer.net/inquirerheadlines/regions/view_article.php?article_id=84599)

ILOILO CITY – Inspired by stories that her grandfather was once a conductor of a local orchestra and that school orchestra competitions drew huge crowds in Iloilo decades ago, a 36-year-old Filipina, born in Manila but who grew up in Canada, has set her mind on forming an orchestra in Iloilo City.

Finding nothing to start with, Melissa Lopez-Exmundo opened classes in violin, teaching children from three years old and up, hoping to build a base for a chamber orchestra she dreams of.

Exmundo is among those who reversed the migration of professionals to North America and elsewhere. In 1998, she decided to stay in Jaro district and teach because she was amazed by the talent she was able to coax from her young students, who are now saying they want to be musicians playing in an orchestra.

In a country where beauty parlors and movie theaters overwhelmingly outnumber concert and music halls, Exmundo’s effort caused naysayers to shake their heads, probably until they saw her students straining their bows to get the right sound from their violins.

“I missed watching opera and playing in orchestra (in Europe and Canada). Sometimes I am invited to play in Manila. But if I create opportunities here, I could enjoy it too,” she said.

In other countries, the way to join an orchestra is to take lessons and audition to join the orchestra. What Exmundo did was unusual. She gave group lessons to train children in orchestra playing. If they are serious about their music, they can audition for an orchestra later.

Melissa taught violin at the University of San Agustin and Central Philippine University. She also taught French at the University of the Philippines-Visayas campus and West Visayas State University. But she wasn’t happy with the results of her violin classes because many of her adult students were taking lessons mainly for academic credits and less for the love of music.

Twinkle Twinkle

“The problem with adults is that they have an expectation of what they should sound like, and if they don’t get results, they give up sooner. Their arms are not that supple. Adult students are more busy and hard on themselves. Kids are more resilient and they don’t mind playing ‘Twinkle Twinkle,’” she said.

Exmundo started giving private violin lessons in June 2002. “I had no name, just a private class and all by word of mouth,” she said.

Classes

Her class of seven students grew to 20 and later an average of 25 to 30 per module. Since then, more than 50 students have attended her class, some of them on a continuing basis. Others have started coming, brought by their parents who heard about Exmundo or have seen her students perform in a recital. She didn’t turn them away even if her classes were already big because many of the children showed promise even at the tender age of three or four, which is about the same age she started to play a violin.

Exmundo and her family migrated to Canada when she was two years old. She remembered playing with pseudo violin when she was three. She had a Hungarian violin teacher until she was six years old and she continued to take private lessons. She graduated from the University of Toronto with a bachelor’s degree in Music Performance.

In Toronto she played in and coached youth orchestra and ensembles. She went to Prague in 1993 and stayed for a year to take private lessons in violin under Professor Ivan Strauss.

She went to Japan to teach English and in preparing for her trip she took lessons on teaching English as a second language. The experience helped her prepare for violin teaching years later.

Even if she was not trained in music education, she reads up on strategies in teaching music and designs modules that combine the Suzuki method and the conservatory way of learning music. Each module ends with a performance, which is the most-awaited part by students and their parents.

Other than the movie theatres that you'll find in your favourite malls. There are those underground ones that you can find around Metro Manila especially in Recto, Avenida, Quiapo or in Araneta Ave. around Cubao.

Theatres such as Coronet, Act are cheaper, poorer quality and are less safe compared to those in the malls. Some of them show the latest films or even X-rated ones.

Has anyone watched in these cinemas. What do you think of these places?

I thought literal na 'underground' cinemas... as in sa basement.. hehehe....

I have been into Coronet in the 80's but it was good then... I haven't tried them these past few years... I just hope these cinema houses gets renovated...

I used to pass by these all the time when i walked around U-Belt but I never was compelled to watch anything in them. I always hear about single men who go there to look for other single men so that they can sit down and hold each other and more.

I thought literal na 'underground' cinemas... as in sa basement.. hehehe....

I have been into Coronet in the 80's but it was good then... I haven't tried them these past few years... I just hope these cinema houses gets renovated...

I doubt that they will get renovated. And it would be more difficult for them to complete with the big ones especially those within malls.

ACT cinema?? sa cubao? matagal na yatang sarado yan..

yung ALTA cinema sa aurora.. bukas pa! yan may experience ako dyan.. pinasok namin yan nung highschool.. kakatuwa at na raid pa nung nasa loob kami.. hhehhe

na-raid? what was showing? tanong ng isang inosente...:lol:

^^ Mas appropriate yata ang tanong na "anong nangyayari sa loob?" kaysa sa tanong mo na "anong palabas?". :D

I have few experience during my college days sa mga sinehan na yan.:lol:

^^ "Experience"? hmmm... pwede ba yang ikwento sa SSC or R18 sya, tanong lang po ng isang inosenteng bata....

^^ Mas appropriate yata ang tanong na "anong nangyayari sa loob?" kaysa sa tanong mo na "anong palabas?". :D


that would be a better question :laugh: :naughty:

meron pa ba ung dating playboy o GOP malapit sa mla zoo? ;)

eh di bold ang palabas.. naka uniform pa naman kami.. if i remember it correctly eh December 27, 1991 yun... pumasok kaming OJT (yup h.s. may OJT na kami).. kaso yung opisina nang ERB sa Philcomcen nakow.. walang laman... yung mga nandon nag iinom lang.. so pinayagan na kaming umalis.. eh nagkayayaan.. manood daw nang bold.. sabi nung isa sa quiapo daw.. eh ang layo.. so napadpad kami dyan sa Alta sa aurora (malapit sa Isetan dati).. ayun.. pag pasok namin ang labo nang screen.. tapos yung upuan kahoy.. tapos ang daming sumisitsit.. takot nga kami.. so dikit dikit kami sa unahan.. tapos yung palabas eh wala naman pinapakita.. tapos biglang naputol.. tapos may biglang nag appear.. aba iba na.. banatan na.. ayus.. tapos wala pang 5 minutes.. nakow naputol na naman.. tapos ang tagal.. tapos nakita na lang namin nagtatayuan na.. tapos may mga naka M16 na may panyo sa ulo.. amphota.. raid pala.. ayun.. di stampede kami.. nandon pa yung crew ni ate inday sa eye to eye.. hehehehehe

na-raid? what was showing? tanong ng isang inosente...:lol:

^^ buti na lang di pa uso ang youtube noon, baka na-upload kayo doon :lol: :lol: :lol: , may footage kaya ang eye to eye :|
i've been to one of those cinemas before, kaya lang - alang maikwento, i was too busy watching eh :D

^^ :lol: :rofl: :hahaha: Buti na lang at hindi ko naranasan yan.

A celebration of life and music (http://www.mb.com.ph/SCTY20070925103979.html)

My parents are very musically–inclined. Aside from singing, my dad plays the guitar, while my mom plays the piano. Needless to say, I also am a certified music lover and have been exposed to all kinds of music like classical, rock, alternative, jazz, atbp. And just like people my age, I dig RnB, hip hop, and rock.

But after spending one afternoon at St. Scholastica’s College, I can say that listening to classical music is like a breath of fresh air. I’ve never felt more relaxed and at ease.

We were treated to a sneak preview of a tertulia in St. Scholastica’s College.

Tertulia is a gathering of artists, and lovers of art and culture. Wealthy Filipinos who lived in large homes in Intramuros held tertulias during the 1900s. During those times, people would invite friends to their houses for an afternoon of songs, poetry recitations and piano recitals.

On Oct. 7, St. Scholastica’s College–School of Music will hold an adaptation of tertulia at the school’s St. Cecilia’s Hall in honor of their founder, Sr. Baptista Battig.

Furniture and grand pianos will be placed on the stage to give the audience an idea on how tertulias were done before. The guests are also being asked to wear Filipiniana outfits.

"We find it very fitting to hold a tertulia in honor of Sr. Baptista because the time she spent here in the Philippines was also the era when the tertulia was popular," related Della Besa, alumna and stage director of the tertulia.

Sr. Baptista Battig, a Benedictine nun from Silesia, Germany, arrived in Manila in 1907 and founded St. Scholastica’s College (SSC) School of Music in Tondo. The SSC School of Music later moved to Singalong.

"They were having financial problems at that time. They did not have enough funds for the transfer. So Sr. Baptista got special permission from the archbishop to hold fund–rasing concerts. She gathered her students who performed in two concerts. It only showed how Sr. Baptista loved the music school," related Della.

Sr. Baptista headed the School of Music for 30 years. She also introduced formal piano lessons in the country. After she standardized the musical education in our country, the principles she taught became the model used by other piano teachers.

Each of her students have many stories to tell but they agree on one thing…Sr. Baptista was warm as a person and was no doubt, the best mentor.

"She was a concert pianist before she entered the convent. Her way of teaching was unbeatable. All her students loved her!" exclaimed Della.

Even after she passed away, the next generations of pianists looked up to her as a role model.

Cora Mateo, Rose Marie dela Paz, Priscilla Sison, Jane Banta, Lorenzo Torres, Mae de Vera and Mary Anne Espina are among the alumnae who will be performing on Oct. 7.

The programme is composed of works that were meaningful to Sr. Baptista. It includes German pieces by her favorite composers Robert Schumann and Franz Schubert, and Filipino folk songs.

"Schubert’s ‘Erkling’ is Sr. Baptista’s favorite piece. It’s a very dramatic story about the Erlking (symbol of death) chasing a father and his sick son on horseback. In the end, the child dies when the Erlking successfully steals him from his father. Sr. Baptista used the story to illustrate and give drama to her lessons," said Della.

Sr. Baptista not only taught German pieces to her students but encouraged them to learn and develop Philippine music.

Alumna and National Artist Lucrecia Kasilag still remembers Sr. Baptista’s words: "Go ahead and compose because you must enrich your literature — your Philippine musical literature."

After so many decades, Sr. Baptista is fondly remembered as the nun who loved her school, students, and her music.

"She continues to be an inspiration to all Scholasticans. We hope that through this celebration, not only Scholasticans, but everyone will be aware of the great things that she has done," Della disclosed.

Puccini who? Philippine singers want "pop" opera (http://www.abs-cbnnews.com/storypage.aspx?StoryId=93887)

MANILA, Philippines - Britney and Beyoncé, beware: a group of Filipino opera singers aim to turn Puccini and Verdi into pop stars to breathe life into a dying art.

Music of all sorts is popular in the Philippines, home to pop groups and karaoke bars galore as well as one of the world's most vaunted choirs.

But the country lacks an established opera company, which means classically trained singers often back up teen pop stars.

In a bid to keep their art alive, a group of opera singers led by baritone Marvin Gayramon held a free performance for a poor community in Manila, hoping to win new fans.

"Now the opera industry is dead and we opera singers have to leave the country so we can perform," Ramon said. "But if smaller communities start to have an appreciation, then maybe the industry will be revitalised."

The Philippine Women's University also recently staged an opera based on "May Day Eve", a well-loved local romance story set in the Spanish colonial period, and invited hundreds of high school students to watch it for free.

Trained opera singers also give free classical singing lessons in poor communities as part of their activities.

Fides Cuyugan-Asensio, one of the country's most celebrated singers and now an opera producer, is convinced the only way to revive opera is to keep on staging it for free.

"That's what I would like to do. Find all the money, I just keep producing, staging and let's open the doors and invite them in," he said. "They won't come in if they have to pay $1,000 or $500, they'd rather go to the movies."

Although opera still has a long way to go before becoming the music of choice for Filipinos, the singers' campaign appears to have gained some ground.

"Opera is one of the oldest forms of performance singing, which the youth should acknowledge. If opera didn't exist, there would be no Justin Timberlake," said Ted Brillantes, a high school student.

Ay sus ginoo, pasensya po di ko nakita agad ang thread nire... doble vista ang posting tuloy.

At any rate, I believe the “Kundiman of the Revolution” fits perfectly in both threads. Disfrutan uds.!

JOCELYNANG BALIWAG
1896, Baliwag, Bulacan
Lyricist and Composer Unknown

P- Pinopoong sinta, niring calolowa
Nacacawangis mo'y mabangong sampaga
Dalisay sa linis, dakila sa ganda
Matimyas na bucal ng madlang ligaya


E- Edeng maligayang kinaloclocan
Ng galak at tuwang catamis-tamisan
Hada cang maningning na ang matunghaya'y
Masamyong bulaclac agad sumisical


P- Pinananaligan niring aking dibdib
Na sa paglalayag sa dagat ng sakit
'Di mo babayaang malunod sa hapis
Sa pagcabagabag co'y icaw ang sasagip


I- Icaw na nga ang lunas sa aking dalita
Tanging magliligtas sa niluha-luha
Bunying binibining sinucuang cusa
Niring catawohang nangayupapa


T- Tanggapin ang aking wagas na pag-ibig
Marubdob na ningas na taglay sa dibdib
Sa buhay na ito'y walang nilalangit
Cung hindi ikaw lamang, ilaw niring isip


A- At sa cawacasa'y ang kapamanhikan
Tumbasan mo yaring pagsintang dalisay
Alalahanin mong cung 'di cahabagan
Iyong lalasunin ang aba cong buhay.


:D

There's a classical group in the Cultural Center of the Philippines called
Philippine Philharmonic Orchestra or PPO. I enrolled piano lessons there once. They are really good.

Ay sus ginoo, pasensya po di ko nakita agad ang thread nire... doble vista ang posting tuloy.

At any rate, I believe the “Kundiman of the Revolution” fits perfectly in both threads. Disfrutan uds.!

JOCELYNANG BALIWAG
1896, Baliwag, Bulacan
Lyricist and Composer Unknown

P- Pinopoong sinta, niring calolowa
Nacacawangis mo'y mabangong sampaga
Dalisay sa linis, dakila sa ganda
Matimyas na bucal ng madlang ligaya


E- Edeng maligayang kinaloclocan
Ng galak at tuwang catamis-tamisan
Hada cang maningning na ang matunghaya'y
Masamyong bulaclac agad sumisical


P- Pinananaligan niring aking dibdib
Na sa paglalayag sa dagat ng sakit
'Di mo babayaang malunod sa hapis
Sa pagcabagabag co'y icaw ang sasagip


I- Icaw na nga ang lunas sa aking dalita
Tanging magliligtas sa niluha-luha
Bunying binibining sinucuang cusa
Niring catawohang nangayupapa


T- Tanggapin ang aking wagas na pag-ibig
Marubdob na ningas na taglay sa dibdib
Sa buhay na ito'y walang nilalangit
Cung hindi ikaw lamang, ilaw niring isip


A- At sa cawacasa'y ang kapamanhikan
Tumbasan mo yaring pagsintang dalisay
Alalahanin mong cung 'di cahabagan
Iyong lalasunin ang aba cong buhay.


:D

I didn't know that the name "Jocelyn" was already used during the Spanish time in the Philippines. And that PEPITA is a nickname for that name. Usually, Pepita is a nickname for Josefina.

I guess if the nickname for Jose is Pepe, the counterpart for the female name Jocelyn or Josefina is Pepita.

I didn't know that the name "Jocelyn" was already used during the Spanish time in the Philippines. And that PEPITA is a nickname for that name. Usually, Pepita is a nickname for Josefina.

I guess if the nickname for Jose is Pepe, the counterpart for the female name Jocelyn or Josefina is Pepita.

(Do you suppose that is where our Spanish defender amigo got his monicker? How striking...)

Yea, initially I couldn’t believe my eyes either. Jocelyn looked too Anglo Saxon; I thought there was a mistake in the first page of my google search. But as I delved more on the other pages all the links pointed to the correct title – Jocelynang Baliwag and how it was regarded as the Kundiman of the Revolution. Here’s a Wiki link:

http://en.wikipedia.org/wiki/Kundiman

Officially known as "Musica del Legitimo Kundiman Procedente del Campo Insurecto (Music of the Legitimate Kundiman that Proceeds from the Insurgents)", "Jocelynang Baliwag" was said to be the favorite kundiman among the revolutionaries of Bulacan during the Philippine Revolution of 1896 - earning it the title "Kundiman of the Revolution". In the guise of a love and courtship song, it features lyrics dedicated to a young and beautiful Filipina idolized in the Bulacan town of Baliwag named Josefa 'Pepita' Tiongson y Lara.

When I first immigrated, I often went to a site dedicated to Nic Abelardo & several of his contemporaries. It had several kundiman songs complete with lyrics and melodies ala Youtube style. One need only click on the samples to listen on piano to the likes of Mutya ng Pasig, Bituing Marikit, Sa Ugoy ng Duyan, etc. They were simply marvelous works of art. Unfortunately, as I searched on today I can’t find the free site. It seemed to have vanished or evolved into something else.

***
We may have found the melody, if this site's claim is accurate:

It reads: Auto-Playing: "Jocelyn ng Baliwag" MIDI Sequence by Ian James R. Andres

http://www.kundiman-online.com/

But it is a private site...

composed by Nicanor Abelardo
KxPVxAhHEKs

Regine Velasquez sings:
sLl94ehKLhA

A future classic. Just too good to pass up. This is the best version of this song thus far. Kuh is truly a class act.

Kuh Ledesma & Martin Nievera sing:
7h3bPStdp3w

Song title IKAW
Ariel Rivera version

Ikaw ang bigay ng Maykapal
Tugon sa aking dasal
Upang sa lahat ng panahon
Bawat pagkakataon ang ibigin ko'y ikaw

Ikaw ang tanglaw sa 'king mundo
Kabiyak nitong puso ko
Wala ni kahati mang saglit
Na sa iyo'y maipapalit
Ngayo't kailanma'y ikaw

Ang lahat ng 'king galaw
(Ang lahat ng 'king galaw)
Di ba't sanhi't dahilan ay ikaw
(Ang sanhi ay ikaw...)
(Ikaw...)

Kung may bukas mang tinatanaw
(Kung may bukas mang tinatanaw)
Dahil may isang ikaw...
(Dahil may isang ikaw...)
Kulang ang magpakailan pa man
(Kulang ang magpakailan pa man)
Magpakailanman...
(Upang bawat sandali ay...)
Upang muli't muli ay ang mahalin ay...
Ikaw...

...yehey! kumpleto na ko sa 10 songs of Urbandub's Under Southern Lights.... thanks to Limewire! ..hehehhehe!

^^ Is it categorized as BisRock? Although they are from Cebu but they don't sing Bisaya. But anyway, lets proceed it there.


BisRock is not only for songs in Bisaya or Cebuano dialect... basta composition from the Bisaya... Cebuano or English...

^^ IMO, BisRock is now a genre in the music world

^^ So, include ta ang Cueshé sa Bizrock category too? :D

...yehey! kumpleto na ko sa 10 songs of Urbandub's Under Southern Lights.... thanks to Limewire! ..hehehhehe!

what a way to support local music hehe palit album bai oi :) urbandub work hard for it bya...hehe :) btaw i can't blame u for it...easy acess eh! hehe

urbandub: spreadin' the sound of the south...loudly! :)

Bisrock Concert in Carcar gym last Friday 12/07/07 went hella scary when the 2nd to the last band was about to finished their performance( indephums), a commotion started (rambol mga fraternity) and there I saw a guy w/a gun, shooting inside the gym. good thing no one got hit.:ohno:

UrbanDub performed during our PeopleSupport Cebu Christmas GlamRock Party kanina @ CICC! weeeeeeeeeeeeeeee........

^^ Ay, nagperform man sila sa launching sa Convergys last time, bwahehehe!! :lol:

Anyway, the cover picture of Under the Southern Lights sure looks very very familiar. And I can see a controversial icon there somewhere in the pic, bwahehehehe!!! :lol:

^^ Ay, nagperform man sila sa launching sa Convergys last time, bwahehehe!! :lol:


weeeeeeeeeeeeeeeee....pero for sure it was their first time to perform inside Cebu International Convention Center for PS's party...ehehehheheheh sa Waterfront ba yun or Marriot lang nag party ang Convergys Cebu...bweeeeeeeeeeeeee

- peace - :okay:

^^ Sorry, I'm so PS-CVG, hahaha!!! Sa IT Park lang naman, wahehehe!!! :D

^^ Sorry, I'm so PS-CVG, hahaha!!! Sa IT Park lang naman, wahehehe!!! :D

Sa waterfront nag party this year ang CVG :okay:

^^ Huh? Waay ko kahibaw. I already lost contact of CvG since July, wahehehe!!! :lol:

Urbandub
by: ctuano


http://i126.photobucket.com/albums/p82/Exile_NDC/urbandub.jpg



http://i126.photobucket.com/albums/p82/Exile_NDC/urbandub1.jpg


http://i126.photobucket.com/albums/p82/Exile_NDC/urbandub2.jpg

^^ Hay, happy pud ko, Moconcert usab sila diri sa Iloilo (kapila na sila balik diri pero wala ko chance na makalantaw kay wa ko baya time). Hopefully naa pud mobangka para sa ako. wahaha!!! :lol:

featuring

My Replacement Package Deal Band known as MRPD [cebu based]

Redhorse Muziklaban Visayas Area Champion ... Grand Finalists as well

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/muziklaban.jpg

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/lawrence_guitars.jpg
lawrence on guitars

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/herbert.jpg
herbert on drums

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/vhonh_bass.jpg
vhonh on bass

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/l_f6aa00b8f1116b197b3d8988b2da4e1c.jpg
edu on lead guitar

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/sean.jpg
sean on vox

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/mrpd.jpg

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/mrpd2.jpg

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/l_a29fc36a85911126a189e94100df0f82.jpg

http://i168.photobucket.com/albums/u177/Jarenz_038/mrpd/l_58c87f6186dfed72255d1e252c7853cd.jpg

I was scouring the archives if we have a separate thread solely dedicated to Philippine cinema.

I have read that the present state of Philippine cinema is moribund. Let us hearken the Golden Age of Philippine cinema by contributing and discussing here. Perhaps, in doing so, we will be able to revive interest and reinvigorate the ailing Philippine movie industry.

From the Philippine Star

http://www.philstar.com/index.php?Entertainment&p=49&type=2&sec=31

‘Challenge’ to Manunuri: Name RP’s greatest films
FUNFARE By Ricardo F. Lo
Wednesday, January 23, 2008

Ronald K. Constantino, in his Tempo (Highspeed) and S magazine (Medium Shot) columns, “challenged,” in a manner of speaking, the Manunuri ng Pelikulang Pilipino to come up with the 100 greatest Filipino films of all time. RKC got the idea upon reading an American Film Institute release listing down the “top 100 greatest American films,” from 1916 (Intolerance) to 2001 (The Lord of the Rings: The Fellowship of the Rings).

But why the Manunuri, which gives the coveted Urian Awards, and not some other groups like Mowelfund or Film Academy of the Philippines? Well, Manunuri is the most credible and knowledgeable award-giving organization, according to RKC.

Consider three of its leading members: Bien Lumbera, Magsaysay awardee and National Artist; Nic Tiongson, former UP dean and MTRCB chair; and Gigi Alfonso, UP Open University chancellor.

It might be difficult though to include early Filipino films on the list as almost all of them are no longer existing. To date only four pre-World War II films are extant: Zamboanga, Tunay Na Ina, Giliw Ko and Pakiusap. Even some more contemporary classics are no longer available. In which case, only post-war films and those still existing in whatever forms (35mm, DVD, VCD, VHS, Betamax) may be considered for inclusion in the 100 greatest Filipino films of all time. But let the Manunuri lay down the rules — should it accept the “challenge.”

For a start, Ronald K. Constantino suggests that the Manunuri consider the works of five directors who were named National Artists. Surely, some of their films are worthy of inclusion on the “greatest” list.

Here they are:

Bert Avellana — Anak Dalita, Badjao, A Portrait of the Artist as Filipino, Kundiman ng Lahi.

Gerry de Leon — Daigdig ng mga Api, El Filibusterismo, 48 Oras, Ifugao.

Lino Brocka — Maynila: Sa mga Kuko ng Liwanag, Insiang, Bona, Kapit sa Patalim.

Ishmael Bernal — Himala, City After Dark, Nunal sa Tubig, Relasyon.

Eddie Romero — Aguila, Ganito Kami Noon, Paano Kayo Ngayon, Banta ng Kahapon, Manila: Open City.

Needless to say, the works of other directors should also be considered. RKC names some of them:

Manuel Conde — Juan Tamad, Genghis Khan

Gregorio Fernandez — Malvarosa, Higit sa Lahat

Manuel Silos — Biyaya ng Lupa

Peque Gallaga — Oro, Plata, Mata

Mike de Leon — Kisapmata, Batch ‘81

Joel Lamangan — Flor Contemplacion

Laurice Guillen — Salome, Tanging Yaman

Marilou Abaya — Jose Rizal, Karnal

Gil Portes — ‘Merika, Markova, Munting Tinig

Celso Ad. Castillo — Pagputi ng Uwak, Pag-itim ng Tagak, Asedillo

Maryo J. de los Reyes — Magnifico

Romy Suzara — Pepeng Shotgun

Jeffrey Jeturian — Kubrador

Chito Roño — Dekada ‘70

Elwood Perez — Bilangin ang Bituin sa Langit

Eddie Garcia — Atsay

Carlitos Siguion Reyna — Hihintayin Kita sa Langit

Joey Reyes — Live Show

Chat Gallardo — Geron Busabos

Carlo J. Caparas — Pieta

Fernando Poe Jr. — Ang Panday

Willy Milan — Anak ng Cabron

The list is by no means complete. Funfare readers in and out of showbiz are urged to come up with their choices.

Now, will the Manunuri ng Pelikulang Pilipino accept the “challenge”?

What about you, what are your choices?

http://i10.photobucket.com/albums/a137/ECdoesit/PhilippineCinema1950.jpg

http://i10.photobucket.com/albums/a137/ECdoesit/PelikulaatLipunan.jpg

(I think these are photos of forumer @Weirdo Anthony)

Nice thead Lili! :okay: I remember watching a very old Filipino movie (I forgot what it's called, set in the 1940s or 1950s) and all the dialogue was in English, with no subtitles in Tagalog. Didn't who the actors were, but they were really good. Like watching those old Hollywood movies, the cinematography and script was at par or even better.

^^ Really? All English? I wonder what that film is. It's sad that we don't have these treasures to watch -- the likes of Akira Kurosawa's Rashomon. I heard there was a time, that we were more advanced in terms of film-making than any of our Asian neighbors, including India, Hongkong, etc.

Sadly, internationally, we are remembered for Weng Weng films. Well, that is something to be proud of, too. He was such a wonder. Film-making way before its time.

"Tinimbang ka ngunit kulang" is out on DVDs already including "Insiang," "Tatlo Dalawa Isa," and other films by Ishmael Bernal.

^^
i love Downtown when it was played on the TV series LOST:)
-----------------------------------------------------------
mga naabutan ko na mga pelikula na luma ay yung kay Sharon Cuneta na ata.. hehe..
paulit ulit na "Pasan ko ang Daigdig" at saka yung "Kaputol ng Isang Awit" sa tv.. but they were good:)

parang patay na yata ang action flicks ngayon with lenghty dialogue before gunfight :D

^^ Haha! I wonder where we got that. From Hollywood?

By the way, "Indie" or digital films is the new breed of Philippine cinema.

parang patay na yata ang action flicks ngayon with lenghty dialogue before gunfight :D

kasamang namatay ng pumanaw si FPJ. Parang sa Asedillo. That's a good historical action film.

Yung mga line din nila ni Mayor (played by Eddie Garcia). Isang Bala Ka Lang.

All FPJ's movies are very good if not the best when it comes to action themes.
May comedy din siya at drama.

Kung ganito ang papalit sa mga action movies sa atin.... patuka na lang ako sa ahas! :lol:

K6cufhldqSU



*Tsaging lang ang may fuso!*..... (ano raw?) :nuts:

Net find.
Quite long but interesting :)


Retrospective: Philippine cinema in our grandparents' day (http://www.pep.ph/articles/15019/Retrospective:-Philippine-cinema-in-our-grandparents'-day)

Paul Mata

Friday, January 18, 2008
01:15 PM

The year was 1898. Flickering images onscreen depicted a carruaje, or horse-drawn carriage, the horse trotting down the cobbled streets of Escolta. Wide-eyed women wearing traditional sayas and men in camisa chino stared at you from the screen, apparently awed by the movie camera.

That silent film was titled Escolta, one of the very first shorts documenting Philippines scenes during the turn of the last century. Besides that street scene were other shorts—vignettes of a carabao parade, the Pasig river, and other interesting shots of the era.

The documentary is simplistic by today's technological standards. The camera remains at a fixed angle, no close-ups, not even film editing.

In the early years of Philippine cinema, American production companies produced movies but the talents they employed were mostly Filipinos. It was only in 1917 that the first Filipino film company was founded by Jose Nepomuceno, and his brother Jesus. The film outfit was called Malayan Movies.

The company's first movie was the zarzuela Dalagang Bukid, written by Hermogenes Ilagan and starring Atang dela Rama and Marcelino Ilagan, which was shown at the Empire Theater in 1919. The silent film was "dubbed" by the actors reciting the dialogues and singing onstage in sync with the images onscreen.

Other Filipino film producers followed suit, like Vicente Salumbides (Salumbides Corporation established in 1927) and Julian Manansala (Banahaw Pictures, 1929).

In 1933, Filipinos got a taste of the first sound film with Punyal na Ginto, also by Jose Nepomuceno. Six years before that, American audiences got to hear their first ‘talkies' in the movie The Jazz Singer.

In the next few years, other film outfits sprang up: Parlatone Hispano-Filipino, X-Otic Films, Cervantina Filipina, Excelsior, LVN Pictures and Sampaguita Pictures. The investors saw that movies might prove to be a lucrative venture, seeing how the public adored the new form of entertainment.

But of the six movie companies, only two were able to survive until the Sixties—LVN Pictures under the leadership of Doña Narcisa de Leon, and Sampaguita Pictures led by the Dr. Jose Vera Perez and Mrs. Dolores Vera Perez.

Golden Years. The years 1934 to 1941 are deemed the first Golden Era of Philippine cinema. Moviemaking was seen as purely an entertainment art form designed to bring viewers a world of melodramas, musicals and romantic fantasies. Studios were patterned after Hollywood studios, which came up with two or three productions at the same time.

Some classics of this period were: Huling Habilin and Buenavista directed by Ramon Estella; Ay! Kalisud by Manuel Silos; Pakiusap by Octovio Solis; Carlos Vanderl Tolosa's Giliw Ko, Bituing Marikit and Diwata ng Karagatan; Lamberto Avellana's Sakay; Gerardo de Leon's Ama't Anak; and Conde Villa's Villa Hermosa, Caviteño; and Ibong Adarna, the first film to use technicolor in some sequences.

The industry was primarily star-centered at this time. Most of the stars were mestizos—Filipinos with Caucasian features or who had mixed foreign blood. Famous actors of that period were Carmen Rosales, Rogelio dela Rosa, Leopoldo Salcedo, Fernando Poe Sr, Jose Padilla Jr, Arsenia Francisco, Rosario Moreno, Tita Duran, Angel Esmeralda, Rudy Concepcion, Corazon Noble and Mila del Sol.

Movie stories were usually culled from comics and popular magazines, like Liwayway and Bulaklak. Box-office gains primarily determined a film's success, and whether the film stars had crowd-drawing power. Downtown Manila was the favorite location of movie houses, like Bellevue Cine in Paco and the Society Theater.

World War II. But the second World War ended the Golden Age of Filipino films as Japanes forces invaded the country. Everything had to go through the Japanese authorities, including films.

Acting as a censors board during this period was a body called Eiga Heisuka. The very few films produced during this period were propaganda flicks commissioned by the Japanese.

Despite the restrictions, director Gerry de Leon was able to make his outstanding film Tatlong Maria.

Post-war reconstruction to the '60s. After the war, the country slowly began rehabilitation and soon cinema houses would start their operations. In 1946, theaters featured the usual attractions from Hollywood.

At the same time, local actors, directors, and stagehands returned to filmmaking in earnest. The first film to be produced was Manuel Conde's Orasang Ginto under LVN Pictures. Most of the early postwar films were in the fantasy and adventure genres.

There were films of that period that until today are considered some of the best in Philippine Cinema—Manuel Conde's Genghis Khan, Lamberto Avellana's Anak-Dalita and Badjao, Gerardo de Leon's Sisa, Diego Silang, Tayug (Ang Bayang Api) and So Long, America.

In 1949 came the first films in full technicolor—Battalion XIII produced by LVN Pictures and Ang Lumang Bahay sa Gulod by Premiere Productions.

The first award-giving body for Philippine movies was the Maria Clara Awards in 1950. Gerry de Leon won the Grand Prix (the equivalent of Best Picture) for his work on Satanas. The esteemed director won again the following year for Sisa.

The FAMAS Awards by the Filipino Academy of Motion Picture Arts and Sciences eventually replaced the Maria Clara Awards. Again, Gerry de Leon won Best Picture for his 1952 film Sawa sa Lumang Simboryo.

Commercialism was the name of the game as the Sixties entered. The studio system—as in the previous decade when LVN Pictures and Sampaguita Pictures competed fiercely—saw contract stars building up their respective movie studios. The big stars appeared in movie after movie of the same genre and in the same romantic roles.

Quality films were still made during this period. Gerry de Leon translated the works of our national hero, Jose Rizal, to film Noli Me Tangere in 1961 and El Filibusterismo in 1962.

Red-hot Seventies. The early ‘70s saw the influx of bomba flicks—films sizzling with sex scenes, which the Board of Censors allowed, like Uhaw and Nympho. Producers banked on these films for quick-and-easy profit.

But this decade also saw the redemption of the movie industry in two directors of a different class: Lino Brocka and Ishmael Bernal.

Bernal made his directorial First with Pagdating sa Dulo in 1971. Film critics still consider Pagdating one of the best debut works of any director.

In the same league, Brocka earned critical acclaim for Tinimbang Ka Ngunit Kulang (1974) and Maynila: Sa mga Kuko ng Liwanag (1976).

1976 also saw the formation of the Manunuri ng Pelikulang Pilipino, a group of local film critics. Every year, they hand out the Urian Awards to the films and performances adjudged the best.

The Manunuri cited some of the best films of the decade—Bernal's Pagdating ng Panahon and Brocka's Maynila; others are Insiang and Jaguar also by Lino Brocka, Bernal's Nunal sa Tubig; Eddie Romero's Ganito Kami Noon, Paano Kayo Ngayon, Itim by Mike de Leon, Lupita Concio's Minsa'y Isang Gamu-Gamo, and Tatlong Taong Walang Diyos by Mario O' Hara.

And as the ‘80s entered, two women directors made breakthroughs with their noteworthy films, namely, Marilou Diaz Abaya with Brutal (1980) and Laurice Guillen with Salome (1981), both written by screenwriter Ricky Lee.

Film critics and other movie-industry observers consider the works of these highly creative directors, including veteran directors, especially in the '80s, the second Golden Age of Philippine cinema.

All these past decades generally saw the steady growth of Philippine cinema in terms of artistic expression and social relevance. Much of this progress can be attributed to the efforts of the producers, directors, and actors. That includes expanding our local movies' reach to international audiences. Credit also goes, of course, to the unfaltering support of Pinoy moviegoers.

Unfortunately, the ultra-commercialism of the Seventies set the decline of quality films in the '80s and '90s, affecting the very survival of the movie industry. In a forthcoming article, PEP (Philippine Entertainment Portal) will look at the state of Philippine cinema during tumultuous periods in our present-day history.

Reference for this article: Notes on the History of Philippine Cinema by Ed Cabagnot.

^ very informative @[o]Rb'z2. So, the decline of Philippine cinema started in th 70s? I thought it started in the 80s or 90s. For sure, when Brock and Bernal died, there was big void created. Others could not recapture the grit they portrayed. Some have aged. Some, like Gil Portes, Abaya, Guillen, etc. rarely direct films. New movie innovations and speedy releases of films, they felt, compromised their vision.

Mother Lily Monteverde, producer of Regal Films is kind of a like a double edged sword. Her "pito-pito" fast-break films, somehow, set the decline of Philippine cinema and yet it is also her movie production and her giving breaks to new writers and directors that keep it afloat.

I think another thing that contributes to the decline of Phil. movies is the television wars. The TV series have become more and more sophisticated (good for TV), but movie fans now get to see their idols on TV in good productions so they don't bother to go to movies.

In early times, there was a demarcation between movie stars and TV stars. Only a few are cross-over like Dolphy and big movie stars like Vilma, Nora, Sharon, Maricel who you see only once a week. Some start out on TV but go on to movie once they become bigger. The solely movie stars only go on TV when they have a movie to promote. You hardly see the likes of FPJ, Erap, other action stars on TV.

http://farm3.static.flickr.com/2048/2220601707_b354e58958_o.jpg

From the Book "Cine: Spanish Influences on Early Cinema in the Philippines" by Nick de Ocampo

On Language.. p.217

Until the 1930's, Spanish language cast its strong powers on the population. A record shows that in terms of readership, there were more readers of Spanish newspapers in the country. As of Dec. 31, 1929, there were 66,000 thousand readers of Spanish newspapers and publications but only 36,000 readers of English newspapers and 62,000 Tagalog readers. The use of the English language suffered during the first years of American colonization. Surprisingly, there was a resurgence of the Spanish language in ways that alarmed the ruling americans. When introduced to the American language, local inhabitants reacted by trying earnestly to speak in Spanish.

p.218

This was clearly the case in a report made by the Department of Education for 1908: " Spanish continues to be the most prominent and important language spoken in political, journalistic and commercial circles. English has active rivals as the language of intercourse and instruction. I think it's a fact that many more people in the islands have a knowledge of Spanish now than they did when the American Occupation occured. Through the great increase in number of circulation of newspapers and periodicals, there is now much more reading in Spanish than formerly."6

The phenomenal resurgence of the Spanish language came to a point, when, in 1936, an American observed in an article, "Everywhere, Spanish is trhe speech of business and social intercourse." In order to receive prompt attention, the annoyed American traveler writes, "Spanish is almost indispensable." He is surprised to find that his fellow Americans even discouraged the use of English as Spanish was used by the natives habitually and everywhere. Speaking in english one would not be treated with as much respect as one speaking in Spanish. He opines,"Filipinos seem to lose their manners in acquiring English, becoming rude, familiar and insolent."

In offices, Spanish was customarily used. English was spoken when the head of office happened to be an American. In schools, students were required to speak english, but outside offices and schools, Spanish so dominated the Filipinos, that it was an exception to hear English."8

p.221 Despite American efforts to curtail the use of Spanish language, it took years before Spanish declined. At one point, there was a series of laws issued by the American-controlled government to put a stop in the use of Spanish language and provide a speedy substitution of English.9 First came Act.190, which provided that English be the official language of all courts and their records after January 1, 1906. In desperation, Exec. Order No.44 issued on August 8, 1912, which qualified the previous declarations to mean that the language requirement did not amount to more than the "expression of a preference in English."

There was no doubt that Spanish was a living language. In order to act decisivelyin ending the use of Spanish as a language in courts, the deadline of January 1, 1920 was set for the use of Spanish as an "official langauge" together with English. After that, English would be the only official language in legal transactions in the land.

In order to make the use of English widespread, American administrators sought the help of schools to enact laws. But even this became a formidable task. It was an enormous task to change the speech of seven million people.10 It was reported that at the dawn of the American rulw, 2,167 American school teachers were employed in public schools.


Notes:

6. Report of the Director of Education for 1908, as cited in the "Henry Jones,Ford Report" and printed in Phil. Historical Review(1913-1929)

8. Ibid.

9. Ibid.

10. Ibid.

http://i38.photobucket.com/albums/e132/restardo/Instituto%20Cervantes/secreto.jpg

"Cinema may have been the last major cultural legacy the Philippines derived from its relations with its former colonizer, Spain. Before the European power lost control of its colony in 1898, and before the United States of America became the Philippines Islands new ruler, cinema had been introduced to the colony's mainly Hispanic society.

Along with such other material forms of culture as the plow, calendar, clock, map, painter's brush, maize and tobacco, printing presses and even the Roman Alphabet, the film apparatus was among the cultural legacies bequeathed by Spain to its colonial subjects. Film help usher the Filipinos into the modernizing World of the 2oth Century."

Introduction: Cine, Spanish influences on the Early Cinema in the Philippines,
Metro-Manila, 2003

Source: http://www.geocities.com/tokyo/pagoda/7029/cine.html


RP cinema marks 110th year

CINEMA in the Philippines celebrates its 110th year Monday. If an account in the Spanish-language newspaper, "El Comercio," is to be believed, it was on Jan. 1, 1897 when the first film exhibition was held at No. 12, Interior in Escolta, Manila.

The film show was called "Espectaculo Cientifico de Pertierra," (Pertierra's Scientific Spectacle), named after the Spaniard who brought the first film equipment to the Philippines, Señor Francisco Pertierra.

It was not an auspicious start for the motion picture. Only two days earlier, Jose Rizal was executed at Bagumbayan. One year after, Filipinos declared their independence from Spain after months of bloody fighting, only to be plunged deeper into political chaos when the United States snatched the fledgling republic.

The turn-of-the-century also meant a struggle for recognition for cinema in an age when the Spanish zarzuela dominated the entertainment scene. Despite its difficult birth, it is remarkable to find in the century that followed cinema becoming the defining culture that helped shape the contemporary Filipino.

Hispanic beginnings

The date of its birth reveals much about the identity of Filipino cinema. While much has been made of local film being an imitation of Hollywood movies or as embodying the national identity, it should not come as a surprise to know that Filipino cinema owes much to its Hispanic beginnings. Let us start with the words we use to talk about film. Ever wondered where words like pelikula, sine, artista, takilya, telon, and even the one which we use for the hated kontrabida come from? They were obviously derived from the Spanish pelicula, cine, artista, taquilla, telon and contravida.

And what about Catholic religious imagery dominating the visual design of many Filipino films? Notice how it is always in front of an altar that a secret confession is made to resolve all conflicts at the end of many Filipino movies. Even in the films that challenge the Church--from Ishmael Bernal's "Himala" to Lino Brocka's "Orapronobis"--our film artists cannot cast out their deep-seated Catholic visual culture. More important than these external symbols, however, is the Catholic ideology embedded in them that once became the basis for our calling ourselves "Filipino." At one time in our history, to be "Filipino" meant to be Hispanic--and Catholic.

More telling of our films' Hispanic flavor are the screen names that movie stars use to make themselves more attractive to the public. American mestiza stars like Rose Stagner became Rosa del Rosario and Anita Lake assumed the monicker, Anita Linda. Dorothy Jones became our favorite galawgaw star, Nida Blanca. American mestizo Marvin Gardner became Eduardo de Castro who not only acted but directed films like the famous "Zamboanga."

What social values went with the naming of our movie stars? Were not these actors with Spanish-derived names the screen luminaries adulated by mainstream society? And what fate awaited those who assumed native names like Pugo, Dely Atay-atayan or Matutina? Were these not the funny characters who got clobbered and ridiculed in their scenes?

Alien form

Knowing how our cinema started makes us reflect on the values we attach to a form that has dominated our cultural development. It makes us wonder how an alien form like film which is not indigenous but an imported technology came to be the locus of our national culture and identity.

Take for example the way musicals came to be the dominant genre in the emerging Filipino cinema. This was because of early film's close affinity to the Spanish zarzuela, a form of musical theater that was the dominant theater form at the time of film's arrival in the country.

The pioneering film of the Spanish-speaking movie director Don Jose Nepomuceno, "Dalagang Bukid," was based on a nativized zarzuela (sarswela) of the same title. Dalagang Bukid was followed by an excess of hybrid musical sarswelas while no films were ever made of indigenous tales like the Hinilawod of central Panay island or the Lam-ang epic of Ilocos.

The Spanish roots of Philippine cinema tell us of a past that we present-day Filipinos have learned to obscure in our collective memory. The cultural erasure came in several stages. Two of the more pronounced causes came with the influence of Anglo-Saxon culture when the Americans became our colonial masters who then forcefully substituted English for the Spanish language. The other came with the nationalist desire to supplant everything foreign with what was deemed native.

No marker

The early period of cinema in the Philippines has been so forgotten that we have even failed to recognize the very street where the first film exhibition was made. Is it too late to find No. 12 Escolta and perhaps place a historical marker on it in order to designate its importance to Filipino culture? If we cannot find it, surely one can still locate the intersection between Escolta and a street now called Tomas Pinpin where in 1897 the second film screening in the country was held inside a jewelry shop at No. 18 owned by French importers, the Levy brothers. On the second floor of this corner edifice, two Swiss businessmen, Leibman and Peritz, showed films using the Lumiere cinematographe imported by another Spaniard, Antonio Ramos.

Paradoxically, the roots of our national cinema may be found in its international origins. Cinema in the Philippines was international from birth. It was Spaniards who brought in the first equipment. French films were the first to be shown in makeshift venues owned by French jewelers and capitalized by Swiss financiers. The first real movie house was set up by a British named Walgrah. German, Danish, Italian and even Mexican films were shown. Manila was truly a cosmopolitan city when film arrived here.

While the Philippines may rank third after India and China in showing the first films in Asia (Japan and Siam came only a few months later), the moving picture device rapidly spread to other islands within the year of its arrival, 1897. Accounts of film screenings were reported in Iloilo, a bustling port city next only in progress to Manila, and in the island of Cebu. In Cebu, the street where the first film show was held is even known--Calle Colon, the oldest street in the Philippines. Again, not a sign exists there to bear witness to film's initial foray into the archipelago.

Cinema and nationhood

Recalling cinema's origin gives us an occasion to remember the country's historical past and raise questions about its evolving identity. Film history may even make us take notice of the fact that film is much older than the Philippines as a formal nation-state. With film's birth date in 1897 and our formal declaration as an independent nation coming only in 1946, it gives us much pause to think about the role cinema played in preparing and shaping us Filipinos into becoming the nation that we are today.

With the journey it took to assume an identity-- from Hispanic to Hollywood, from a forced "nationalist" identity during the Japanese occupation to the romanticized "Filipino" in the classic '50s, all the way to the "bakya" movies of the '60s and into the shift to digital technology at the turn of a new century--film has many lessons to teach us in terms of knowing who we are as a people.

During 110 years of the cinema's growth, we Filipinos have seen wars and revolutions, seen ourselves transform from colony into nation. And even if we are now free, we have also seen the rise and fall of regimes under our own rulers. Through all these experiences, film has been with us in our journey reflecting much of who we are as a people even if viewed only through a glass, darkly.

By Nick Deocampo, Contributor
Inquirer
Last updated 11:54pm (Mla time) 12/31/2006
http://showbizandstyle.inquirer.net/entertainment/entertainment/view_article.php?article_id=41019
(The writer is a filmmaker and author of "Cine: Spanish Influences on Early Cinema in the Philippines" and "Origins of Cinema in Asia.")

In those early years of filmmaking, Hollywood invariably provided the examples local directors could learn from. Thus, it ought not surprise anyone that genres and trends in the local industry had been set by American feature films. But working with outmoded equipment and hampered by limited budgets, Filipino direc*tors found themselves unable to measure up to the standards set by Hollywood. On the most basic level of all, that of techni*cal polish, local products could not compete against movies made by a giant industry fueled by seemingly inexhaustible funds and reaching out to a worldwide market.

There was one advantage that Filipino movies enjoyed over foreign movies. They drew their narratives and themes from the lives of Filipinos themselves. For instance, Vicente Salumbides, a contemporary of Nepomuceno's who had spent some years working in Hollywood, was assured of audience appeal for his Miracles of Love, 1925, where he portrayed young upperclass Filipinos rebelling against the tyranny of conserva*tive parents. When talking pictures came to the Philippines, the language of Philippine movies gave them another advantage over foreign competition. Tagalog was to allow local movies to reach the vast major*ity of the population, giving them exclusive access to those Filipinos who had not learned English well enough to under*stand dialogue in Hollywood movies.

http://www.filipinoheritage.com/images/arts/cinema/beginnings-pic2.jpg

Another director went back to history and showed the valor and determination of Filipinos who struggled against Spanish colonial rule in the film Patria Amore (Love of Country), 1929. Julian Manansala made other movies, but he kept to the example of Patria Amore, mining history for appealing narratives for such works as Dimasalang, 1930, Mutya ng Katipunan (Muse of Katipunan), 1939 and Tawag ng Bayan (Patriotic Duty), 1940.

Starting with Dalagang Bukid, early films dug into traditional theater forms for character types, twists in the plot, familiar themes and conventions in acting. The sarswela, a musical theater form newly introduced at that time but already a favorite among elite theatergoers, yielded many contemporary romantic and comic characters for narratives spiced up with songs and happy endings. The film Pakiusap (Lover's Plea), 1940. is recognizably a movie equivalent of the sarswela. From the sinakulo or passion play, many film melodramas have derived a variety of characters based on the characters Virgin Mary (the all-suffering, all-forgiving Filipino Mother), Mary Magdalene (the "prostitute with the golden heart"), Judas (the original, unmitigated villain) and of course, Jesus (the savior of societies under threat, redeemer of all those who have gone wrong).

http://www.filipinoheritage.com/images/arts/cinema/beginnings-pic5.jpg

From the komedya, the typically Filipino action movie was to develop. The dividing line in the komedya between the good men and the bad men was religion, with the Christians presented as the forces of good and the Moros as the forces of evil in line with the propaganda of medieval missionaries. In present-day action movies, that dividing line has become the law and the two sides could be two families fighting over political power or two factions warring over economic advantage. The hero is as invincible as the gallant warrior-knight of the komedya and the heroine as virtuous as the beauteous princess in the traditional stage play.

Specially during the early years of the film industry, Philippine literature was a rich source of subject matter and themes for movies. Two writers from the 19th century, as in the growth of literary art, have been the chief sources of tradition. Francisco Baltazar and Jose Rizal, through the classics for which they are famous, have given the industry situations and character types that continue to this day to give meat to films both great and mediocre.

http://www.filipinoheritage.com/arts/phil-cinema/beginnings2.htm

The poem Florante at Laura (Florante and Laura) provides filmscripts with such familiar characters in romantic melodramas as the jealous lover and the ever-faithful lady-love. Aladin and Flerida, the kind-hearted Moor and his courageous princess, have served as prototypes of the "good people from the other side." A pre_ Pacific War version (1939) and a postwar version (1950) of Balagtas' masterwork attest to the poet's contribution to the literary tradition that informs the Filipino film industry.

http://www.filipinoheritage.com/images/arts/cinema/beginnings-pic6.jpg

But more than Balagtas, it was Rizal who has enriched the content and theme of Filipino films. Both the Noli Me Tangere (Touch Me Not), 1961, and El Filibusterismo (Subversion), 1962, have been made into movies. Even before movies had begun to "talk", a film version of the Noli had been made (1930). It was the master director Gerardo de Leon who gave the two Rizal classics consummate artistic treatment by turning both into award-winning films. Aside from their narratives, the Rizal novels also gave to Filipino movies distinctive character types like Maria Clara, Sisa, Elias, Padre Damaso, Dona Victorina, and, of course, Crisostomo Ibarra and Simon. Indicative of the pervasive influence of Rizal is the fact that each time scriptwriters dip into the Spanish past for themes, the struggle of the Filipinos for reforms under Spanish colonialism as portrayed in the Noli and the Fili never fails to be evoked and even recreated.

Contemporary popular novels followed from week to week by avid readers of Liwayway magazine were ideal materials for entertainment fare for mass consumption. As print entertainment with their own audience following, these novels when transformed into movies drew into the moviehouses readers interested in seeing their favorite characters turned into almost flesh-and-blood people moving and talking on the screen. Punyal na Ginto (Golden Dagger) by Antonio G. Sempio was made into the first talking Tagalog movie in 1933. Serialized novels proved to be very profitable materials for movies, so that it was not unusual for a film to be built up in advertisements as a movie version of a well-known novel. Many times, the name of the novelist was featured more prominently than the names of the lead stars or of the director. Thus did the names of Lazaro Francisco (Ama [Father], 1936; Sa Paanan ng Krus [At the Foot of the Cross], 1936; Bago Lumubog ang Araw , 1938), Teodoro Virrey ([B]Lihim ni Bathala [God's Secret], 1931; Gamugamong Naging Lawin [Winged Ant that Turned into a Hawk], 1937), Fausto Galauran (Lagablab ng Kabataan [The Raging Fire of Youth], 1936; Birheng Walang Dambana [The Virgin without a Shrine], 1936; Hatol ng Mataas na Langit [Judgment from Heaven Above], 1938) and Inigo Ed. Regalado (Sampaguitang Walang Bango [Jasmine without Fragrance], 1937) become familiar among moviegoers during the pre-war years.

http://www.filipinoheritage.com/images/arts/cinema/beginnings-pic4.jpg

Other literary sources were readily available. Folklore familiar to the populace was a mine of character types and situations for comedies and fantasy films. Enchantresses like Maria Makiling and picaresque adventurers like Juan Tamad appeared under different names and guises in various films that capitalized on audiences' presumed familiarity with folk heroes and heroines.

http://www.filipinoheritage.com/arts/phil-cinema/beginnings3.htm

PPO – The Cultural Pride of the Nation (http://www.manilatimes.net/national/2008/jan/28/yehey/opinion/20080128opi3.html)

Someone once argued that the sound of an orchestra is only as good as the quality of the instruments that its musicians play. If that really is the case then the Philippine Philharmonic Orchestra—the country’s premier musical outfit—has been performing near miracles by producing heavenly music with instruments that are by all accounts so below par that they are absolute hell to both play and maintain.

When a survey was conducted not too long ago on the quality and condition of the PPO instruments they were found to range from 0-3. The incongruity of this state of affairs becomes easily clear when one considers that by internationally accepted standards for musical instruments 0 is rated as totally unacceptable with 5 being the highest rating. Ideally, a national orchestra should have instruments with ratings between 4 and 5.

But despite this major handicap, the PPO—which was established in 1973 (and some of the instruments have been around since that time too!)—has been a proud ambassador for the Philippines, performing in the musical capitals of the world and receiving critical acclaim for its wonderful musicianship.

Perhaps the dire situation is best exemplified by the PPO’s principal cellist Renato Lucas who is regarded as one of the best cellist in the Asia-Pacific region. He laments: “I badly need a new good and decent bow. My bow has lost its flexibility. I have a hard time with all the meticulous bow strokes. I do a lot of solos and I would gladly play ‘Santa Claus is coming to town’ for solo cello if my wish is granted.”

A similar tale of woe is echoed by all sections of the orchestra. Take trombonist Andrian Anti*nero who is using a YBL-613 G bass trombone which is 19 years old and, according to Antinero, really beginning to show its age. He says: “No professional orchestra in the world is using this Yamaha 613G Bass Trombone. . . ‘Only in the Philippines.’ It’s too bad.”

Almost in unison the flute and piccolo section chip in: “At present, we’re using Yamaha 811 flute and Yamaha 81 for piccolo which are not fit for a professional orchestra. We’re looking for a high-quality sound. Many international conductors who have conducted us also noticed the poor sound quality. The instruments were issued in the early ’80s and we believe it is about time to have a better one.”

Adds principal French horn Vincente Galang: “I am using a 30-year old Holton. What do you expect from a very old horn? I’m doing my best to perform well. But if I can get a better instrument it’s a dream come true.”

Just on hearing out this very small but broad sample of the problems encountered by the PPO’s musicians gives clear and urgent proof that if the national orchestra is to attain its vision of being at par with the world’s best it needs to acquire new instruments and accessories for its 62 members, as well as establish a repair and maintenance program.

Thus far the fundraising efforts for the PPO instrument campaign—initiated through the efforts of Zenaida R. Tan*toco, a member of the Cultural Center of the Philippines Board of Trustees—include a benefit concert in 2003 by jazz legend David Benoit.

The proceeds of that concert, together with additional support from the Philippine Philharmonic Orchestra Society, Inc. (PPOSI), were used to purchase a new tuba from Japan.

Subsequent fundraising events held were: Alexander Charriol Exhibit/Painting Sale, Vienna Boys Choir Concert (2004), Lacoste 12.12 Auction (2005). These events helped finance the purchase of a French horn and a bass trombone in 2005.

The San Francisco-Manila Sister City Committee led by Dennis Normandy also made a generous donation, which will help fund the purchase of three trumpets and some repairs this year.

The PPO’s ongoing instrument campaign estimated at P45 million, and the proposed repair and maintenance program estimated at P1 million annually, are essential elements in the PPO’s quest for excellence, as well as the promotion of goodwill through music.

Furthermore, it will enhance its mission to promote Filipino culture on the national and the international scenes—something the PPO has been doing with flying colors despite the grave handicap of sub-standard instruments.

Yey! I was just about to look for this thread.

I just found out that Ana Perez De Tagle of Hannah Montana is the grand-daughter of talented Filipina singer, actress and TV host Sylvia La Torre.

Sylvia LaTorre popularized Waray Waray (before Eartha Kitt) and Sa Kabukiran.

^^ Ertha Kitt? Catwoman of Batman fame (the 1960s TV show starring Adam West)?

^ Wonderful contributions again @Animo. I so enjoyed reading those articles about the roots of Filipino cinema, especially the photos you posted along with them.

It is true that the derivation of the terms: pelikula, sine, artista, takilya, telon, bida and kontrabida are clearly Spanish.

It's very interesting and enlightening to learn more about the heritage and evolution of Philippine cinema. There should be a marker on No. 12, Interior Escolta where the first film was exhibited on January 1 -- to usher in the new year of 1897. Only 2 days before, (the first Filipino star) Jose Rizal was killed in Bagumbayan -- the first noted public spectacle. A year later, the Spanish lost control of its colony.

So, it was years and years later when the first Filipino film was produced by a native Filipino with such pioneers as Jose Nepomuceno, Julian Manansala, Manuel Conde and others.

Thanks for sharing.

^^ yes! She gave a spicy, funny and jazzy rendition of that song. I think she visited the Philippines that time. I hope I can find it in Youtube.

^^ I searched YouTube and found only two vid clips of her singing Waray-Waray, both don't have visuals on Ertha, just audio. Here's one of them, she sang the song really well, of course with that trademark purr of hers.

qQ0kMWa4Geo
Link (http://www.youtube.com/watch?v=qQ0kMWa4Geo) :okay:

^^ Holy crap. She sings like a native.

Festival of uncensored films at UP

By Leah C. Salterio
Sunday, February 17, 2008
The Philippine Star


Maryo J. de los Reyes’ Laman, Jeffrey Jeturian’s Tuhog, Mel Chionglo’s Twilight Dancers and Jose Javier Reyes’ Live Show are among the heavily censored works of multi-awarded directors who created a stir when their films were not given clearance by the Movie and Television Review and Classification Board (MTRCB) to be shown in commercial theaters.

The said controversial titles are likewise socially relevant films that have gained critical acclaim both in the local front and in international film festivals. However, due to their sensitive themes, the films were either banned or exhibited only to a limited audience.

In recognition to the Filipino film industry’s significant contribution, the UP College of Mass Communication (CMC) and the UP-CMC Alumni Association (UP-CMCAA) organize Director’s Cut: Mga Eksenang Dapat Mong Nakita Pero..., a three-day festival of the original, uncut versions of films by the country’s first-rate megmen. The event will be held March 5 to 7 at the Cine Adarna Theater of the UP Film Institute, as part of the ongoing university-wide centennial celebration.

The festival showcases the works of the country’s top directors who are graduates of the UP-CMC – De los Reyes, Roño, Jeturian, Cris Pablo and Connie Macatuno. Also featured are three guest directors — Reyes, Joel Lamangan and Mel Chionglo.

The festival, according to Prof. Neny Pernia, UP-CMC dean, targets a wide range of audiences consisting of students, teachers, officials and alumni of the university, film industry executives, members of the film education community, film aficionados, the diplomatic sector, local government units and their employees, non-government organizations and the general public who enjoy watching films.

The organizers maintain that Philippine cinema plays a vital role in presenting various social and political realities of the country. The local film industry has been successful in awakening the consciousness of the Filipino audience by serving as a creative and powerful vehicle in delivering relevant issues and in showcasing the uniqueness and beauty of Filipino culture, tradition and beliefs.

De los Reyes’ Laman will open the festival on March 5, with a screening at 7:30 p.m., following the cocktails. Earlier that day, Lamangan’s Bakit May Kahapon Pa will also be screened at 4 p.m.

De Los Reyes’ Laman, which got an X-rating twice from the censor’s board, had to be sanitized to be shown in local theaters. The film is about a young couple’s marriage which gets threatened when a rich businesswoman lusts for the husband, while a gigolo seduces the wife. Stars Albert Martinez and Lolita de Leon as the young couple, with Elizabeth Oropesa as the businesswoman and Yul Servo as the gigolo.

Lamangan’s Bakit May Kahapon Pa? is about a child who is mysteriously spared from the massacre of the peasants in her town that include her family members. Traumatized by the incident, she continues to thirst for revenge and plots out a scheme to avenge the death of her loved ones as she grows up. She hunts down the military officer who instigated the carnage that she surived and vows to kill him.

Nora Aunor, as the lead star, was said to have displayed one of her finest performances in this film, written by Roy Iglesias and Julius Alfonso. Eddie Garcia also turned in a critically acclaimed role as the ruthless general. Notable supporting performances are by Dawn Zulueta and Daniel Fernando, with Sarah Jane Abad, Allan Sia, Melisse Santiago, Rolando Tinio, Tony Mabesa, Ernie Zarate, Jim Pebanco, Ray Ventura and Richard Quan.

Pablo’s full-length digital opus, Duda, (March 6, 3 p.m.), which also marks his directorial debut, is a tale of infidelity and deception between the affair of two men. The film was screened in the 2004 New York Asian-American Film Festival. Andoy Ranay plays Cris, a young man constantly in seasch of sexual encounters. He meets Erick and settles into what he feels a lifetime commitment. However, Erick’s fidelity becomes an issue and a cause for Cris’ jealousy. An old flame, Ben, decides to seek out Cris before marrying his girlfriend.

Macatuno’s controversial directorial debut, Rome and Juliet (March 6, 5 p.m.), tackles a taboo topic about two women caught in a web of forbidden and unconventional love. Juliet (Andrea del Rosario) is a conservative pre-school teacher who is ready to settle down with her fiancé, Marc (Rafael Rosell). She befriends her wedding planner, Rome (Mylene Dizon), a liberated business woman.

The two girls develop a deep friendship, a soulful connection and a love that is physically consummated. But conflicts arise when the groom, who is a young politician, shockingly discovers the ongoing relationship between the two women. Others in the cast are Tessie Tomas, Crispin Pineda, Glydel Mercado and Miko Palanca.

Twilight Dancers (March 6, 7 p.m.) is the last installment of director Chionglo and writer Ricky Lee’s trilogy about macho dancers. The first part was Sibak (Midnight Dancers), followed by Burlesk King. The trilogy was inspired by Brocka’s classic, Macho Dancer. Just like its predecessors, Twilight Dancers is another feast for the eyes as it shows scantily clad macho dancers in a gay bar. The film stars Allen Dizon, Tyrone Perez, Cherry Pie Picache, Ana Capri, with supporting performances from directors Jerry Lopez Sineneng, Lamangan, as well as William Martinez, Arnel Ignacio and IC Mendoza.

In Roño’s Bonnie and Clyde-inspired La Vida Rosa (March 7, 3 p.m.), Rosanna Roces is the feisty, outspoken and clever Rosa, who is out for bigger money. But partner in crime and in life Dado (Diether Ocampo) wants none of it anymore. After their latest heist, Dado chooses to transform the carnapped vehicle into a taxi and use it to earn legitimate money. But Rosa disagrees. Also starring Angel Aquino, Liza Lorena, Pen Medina, Jiro Manio, Vic Diaz and Jhong Hilario.

Jeturian’s Tuhog (March 7, 5 p.m.) is a disturbing yet entertaining story of how Perla (Irma Adlawan) and her daughter Floring (Ina Raymundo), both raped by Perla’s father, grab the headline of a tabloid and is made into a sex film. Starring in the flick titled Hayok sa Laman are Jaclyn Jose as the mother Violeta, Klaudia Koronel as the daughter Jasmin and Dante Rivero as the father Amang. Scenes from the real life rape and from the film are shown alternately for comparison and to underscore the distortion.

Reyes’ Live Show (March 7, 7 p.m.) was banned from theaters in 2001 and was labeled “pornographic.” The film exposes the shocking and depressing truth about live sexual performers or torreros and what goes on in sleazy quarters where couples play toro for pay. Stars Klaudia Koronel, Hazel Espinosa and Ana Capri, introducing Paolo Rivero, with Daria Ramirez, Marcus Madrigal, Simon Ibarra, Nikka Valencia and Harlene Bautista.

The Director’s Cut Festival infuses an interactive aspect on opening day, with a forum featuring the directors, the film’s writers and actors. The audience may ask questions about the film and interact with the film’s creators. Regular tickets sell for P200 and P100 for students.

http://www.philstar.com/index.php?Entertainment&p=49&type=2&sec=31&aid=20080216136

From the UP College of Medicine, Mu Sigma Phi Fraternity comes the announcement that the QUISUMBING - ESCANDOR FILM FESTIVAL for HEALTH will be TWO days from now starting from February 18, 2008 and culminating on February 21, 2008.

Dr. Honorato Quisumbing was a medical intern who was killed during World War II at the PGH grounds while trying to get supplies to the medical wards. Dr. Juan (Johnny) Escandor was a doctor who was a victim of Martial Law. Both were distinguished alumni of the fraternity.

The film festival is held to encourage young film makers to prepare short films on the health of the Filipino people, and to look into the plight of health workers and the effect of their exodus on health care. The film festival is the flagship project for the 75th year anniversary of the fraternity. The event also marks as its resurgence as an advocate for health here in the Philippines! It is also part of the UP Centennial Celebration as acknowledged by the UP President Dr. Emerlinda Roman and UP Manila Chancellor Ramon Arcadio.

The following are the important events of the film festival.

Monday FEBRUARY 18, 2008, 8am
OPENING CEREMONIES
Venue: UPMASA Science Hall (PGH3rd Floor)
Keynote speaker: Chancellor Ramon Arcadio
Preview of the Entries will also be shown and official contest Trophy designed by no less than National Artist Napoloeon Abueva will be unveiled.

Feb 18-20 5-9 pm
REGULAR SCREENING
Venue: Cine Adarna (UP Film Center, UP Diliman).
ADMISSION is FREE!!!

Thurs, FEBRUARY 21, 2008 6PM
AWARDING CEREMONIES AND GALA NIGHT
Venue: PhilAm Life Auditorium (UN Ave)
This is the culminating night where the winners will be awarded.

Various VIPs coming from the UP administration headed by President Roman will also grace the event. Representatives from our partners coming from UN, WHO and DOH will also be there in support of the project. PGH executives and employees, medical students from various schools, well-known directors and artists are also a part of the guest list.
The Quisumbing and Escandor family will also make this event as their family reunion as we honor both of them in the event.

The events will be covered by our media partners which include major channels ABS-CBN and GMA Network. Also to mention major broadsheets
such as the Phil. Star and Manila Bulletin.

Please pass this message to possible interested parties.

Badjao is one great filipino movie

starred by Leopoldo Salcedo & Charito Solis

in comedy hands down to Dolphy (50's to early 70's) well i think he did "justice" (right word ?) playing gay roles in black and white era a 1st in Philippine movie , any american actor done a gay role in the 50's ?

2nd would be Pugo

All FPJ's movies are very good if not the best when it comes to action themes.
May comedy din siya at drama.

Kung ganito ang papalit sa mga action movies sa atin.... patuka na lang ako sa ahas! :lol:

K6cufhldqSU

*Tsaging lang ang may fuso!*..... (ano raw?) :nuts:

Where did this convention begin? Have Filipino action movies (or drama movies in general) historically been people emoting in that way? Like the only way to show emotion is to scream it loud? Were early FPJ films like that?

OT: Anyway, the banana tree is not the only tree with a heart. There's also hearts of palm.

And every tree has what is called the heartwood. The heartwood is the central non-living part of any tree, as it is already dry and devoid of nutrients for the tree. It is distinguished from the outer layers of a trunk, called sapwood.

Guys, I've been looking for a copy of Reynafilms' Hihintayin Kita Sa Langit starring Richard Gomez and Dawn Zulueta, does anyone know where I can find one?

Badjao is one great filipino movie

starred by Leopoldo Salcedo & Charito Solis

in comedy hands down to Dolphy (50's to early 70's) well i think he did "justice" (right word ?) playing gay roles in black and white era a 1st in Philippine movie , any american actor done a gay role in the 50's ?

2nd would be Pugo


Tony Santos Sr. at Rosa Rosal sa Badjao diba? Under LVN Production, and directed by National Artist Lamberto Avellana.

I also love Anak Dalita.

^^ yeah i was thinking between Tony Santos Sr. Leo Salcedo thank you

well i know Charito Solis won an Asian Award, do you know in what movie ?

can you refresh me Anak Dalita?

This is from QTV's Ang Pinaka Series.

20 MOST MEMORABLE PINOY MOVIE LINES
(according to the QTV show, Ang Pinaka)

1) “You’re nothing but a second-rate, trying hard copycat!”
-Cherie Gil, “Bituing Walang Ningning”

2) “Para kang karinderyang bukas sa lahat ng gustong kumain.”
-Vilma Santos, “Palimos ng Pag-ibig”

3) “Walang himala! Ang himala ay nasa puso ng tao! Nasa puso nating lahat!”
-Nora Aunor, “Himala”

4)“My brother is not a pig! My brother is not a pig! Ang kapatid ko ay tao, hindi baboy damo!”
-Nora Aunor, “Minsa’y Isang Gamugamo”

5) “Gaano kadalas ang minsan? Once, twice, three times more?”
-Hilda Koronel, “Gaano Kadalas Ang Minsan?”

6) Ayoko ng masikip, ayoko ng walang tubig, ayoko ng mabaho, ayoko ng walang pagkain, ayoko ng putik"
-Maricel Soriano, “Kaya Kong Abutin ang Langit”

7) “Hayop… Hayuuup… Hayuuupppp!”
-Nora Aunor, “Ina Ka Ng Anak Mo”

8-) “Walang personalan. Trabaho lang.”
-Rudy Fernandez, “Markang Bungo”

9) “Si Val! Si Val! Puro na lang si Val! Si Val na walang malay!”
-Vilma Santos, “Saan Nagtatago ang Pag-ibig”

10) “Pwede bang makausap ang asawa ko na asawa mo na asawa ng bayan?”
-Laurice Guillen, “Nagalit ang Buwan sa Haba ng Gabi”

11) “Akala mo lang wala.. pero meron!! meron!! meron!!”
-Carlo Aquino, “Bata, bata…Paano ka Ginawa”

12) “Gutay-gutay na ang katawan n’yo! Pati ang kaluluwa n’yo, gutay-gutay na rin ”
-Sharon Cuneta, “Pasan Ko Ang Daigdig”

13) “Sabel! This must be love!”
-Carmi Martin, “Working Girls”

14) Sharon: “Ang hirap sa ‘yo, Delfin, maaga kang pinanganak.”
FPJ: “Ang hirap sa ‘yo, Georgia, huli ka nang ipinanganak.”
-Sharon & FPJ, “Kahit Konting Pagtingin”

15) “Wala akong pakialam. Ibalik mo sa akin si Junjun! Ibalik mo sa akin si Junjun!”
-Vilma Santos, “Paano Ba Ang Mangarap?”

16) “Kung saan, kailan at paano ang labanan, magpasabi ka lang. Hindi kita uurungan!”
-Sharon Cuneta, “Dapat Ka Bang Mahalin?”

17) Alice: “Ate, mamatay ako pag kinuha mo sa akin si Alex.”
Lorna: “Ipalilibing kita!”
Alice: “Ate please.”
Lorna: “Nu’ng inagaw mo sa akin si Alex, muntik na rin akong mamatay. Ngayon naagaw ko na siya sa ‘yo, ikaw naman ang mamatay!”
-Alice Dixson and Lorna Tolentino, “Nagbabagang Luha”

18) “Kung hindi mo ako kayang mahalin tulad ng isang tunay na asawa, e di mahalin mo ako bilang isang kaibigan. Kung ayaw mo pa rin no’n, bigyan mo na lang ako ng respeto bilang isang tao.”
-Vilma Santos, “Relasyon”

19) “Cheeta-eh! Ganda lalake! Sinungaling! Sinungaling ka talaga! Panget! Panget ka pa rin!”
Rene Requiestas and his echo in “Starzan 2: The Legend Continues”

20) “Kung hindi tayo kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa?”
-Tony Santos Sr., “Sister Stella L.”

Panel:
Jose Javier Reyes
Bibeth Orteza
RJ Nuevas
Mel Mendoza-del Rosario
Galo Ador
Dado Lumibao

http://gmapinoytv.igma.tv/sidetrip/blog/index.php?/archives/246-Para-kang-karinderyang-bukas-sa-lahat-ng-gustong-kumain..html

Where did this convention begin? Have Filipino action movies (or drama movies in general) historically been people emoting in that way? Like the only way to show emotion is to scream it loud? Were early FPJ films like that?

OT: Anyway, the banana tree is not the only tree with a heart. There's also hearts of palm.

And every tree has what is called the heartwood. The heartwood is the central non-living part of any tree, as it is already dry and devoid of nutrients for the tree. It is distinguished from the outer layers of a trunk, called sapwood.

I don't think FPJ has ever screamed his one-liners. I know that he delivered it in a monotone voice. But his patilla screams.

hahaha... on the OT. :lol:

March 10, 2008
International film fest in Bacolod set (http://www.visayandailystar.com/2008/March/10/starlife.htm)

Believing in the “healthy culture” of artists in Bacolod, a group of movie directors will stage an international film festival in the city this year.

Open to high school and college students, the .MOV International Digital Film Festival’s “silvershorts” division, which was launched last week, is the first in Bacolod, Paolo Villaluna, a member of the Independent Filmmakers’ Cooperative, which sponsors the event along with Robinson’s Movieworld, said.

Villaluna, who directed the digital movie Selda, starring celebrities like Ara Mina and Michael de Mesa, said, one reason they will hold the festival in Bacolod is the “healthy relationship between independent filmmakers here.”

The contest is in its third installation and will award a P100,000, P50,000, and P30,000 cash prizes for the top three 20-minute digital films in the “silvershorts” category in September in Bacolod.

In a written statement, the festival’s director, Khavn de la Cruz, said, despite the challenges of government bureaucracy and the limitations of funding, they continued to work for digital films because “they believe this is just what Philippine cinema needs.”

“.MOV is here because we believe there is hope still for Philippine Cinema. Our aim is to provide venue where digital storytellers can bring their personal visions to a wider audience” and “help unleash new talents who will infuse new blood” to it, De la Cruz said.

Students who wish to join the film festival may contact Donna Plugio through 09282220987 or through 632-395-2188 locals 230 and 240.*PP

Young Love (1969) Nora Aunor , German, Tina & Tirso Cruz II (http://www.youtube.com/watch?v=pMAzI1Uam-8&feature=related)

pMAzI1Uam-8

Sa Quezon theater ko ata na panood ito, binigyan kami ng libreng passes.
Buong pamilya, paborito kasi ng nanay ko si Nora. :)


Pati pala itong movie na ito :


14) Sharon: “Ang hirap sa ‘yo, Delfin, maaga kang pinanganak.”
FPJ: “Ang hirap sa ‘yo, Georgia, huli ka nang ipinanganak.”
-Sharon & FPJ, “Kahit Konting Pagtingin”

:lol: The kumander in chief is a fan of Ate Sha!

"Tinimbang ka ngunit kulang" is out on DVDs already including "Insiang," "Tatlo Dalawa Isa," and other films by Ishmael Bernal.

those are films by lino brocka... :)

"Inang Yaya" competes in Cairo fest (http://showbizandstyle.inquirer.net/entertainment/entertainment/view/20080310-123907/Inang-Yaya-competes-in-Cairo-fest)

Pablo Biglang-Awa and Veronica Velasco’s “Inang Yaya,” was screened yesterday at the 18th Cairo International Festival for Children, ongoing until March 13.

The news was relayed to Inquirer by Tito Velasco of Unitel Pictures, which produced the 2006 drama that top-billed Maricel Soriano as a nanny.

“Both directors are in Cairo,” said Velasco. “The Film Development Council of the Philippines supported our participation.”

In an e-mail, Veronica Velasco said the movie’s screening was set at the small theater of the Cairo Opera House. She said festival director Soheir Abdel Kader told them that the film was "beautiful.”

Kader also said she had first seen “Inang Yaya” in Australia, at the Asia Pacific Screen Awards in November, where it was nominated for Best Children’s Feature. The event was spearheaded by CNN International, Unesco, and International Federation of Film Producers Associations.

In Cairo, Biglang-Awa and Velasco met 12-year-old Indian child director/actor/editor Kishan Shrikanth Shylaja. Velasco said, “He’s a very experienced director in a child’s body.”

Shylaja’s father, Huliyappa Shrikanth Rayalu, recalled that “Inang Yaya” had competed in November with Shylaja’s “Care of Footpath” at the Golden Elephant International Children’s Festival held in India.

In that festival, the Filipino film won the Silver Elephant (Second Best Live Action Feature), Silver Elephant for Best Directors, and the Child Jury Award Golden Plaque.

The Pinoy filmmakers said their work wasn’t originally envisioned as a kiddie flick.

“But the way Veronica wrote it," said Biglang-Awa, "the children instrumental in transforming the other characters’ lives.”

In Cairo, the Filipinos also met Finnish director Raimo O Neimi, whose “Mystery of Wolf” was also in competition.

[B][URL=

Sa Quezon theater ko ata na panood ito, binigyan kami ng libreng passes.
Buong pamilya, paborito kasi ng nanay ko si Nora. :)




remember when Nora and her director made a world class film like himala? yon ba ang may line na " my brother is not a pig":nuts::lol: tama ba?:nuts:

remember when Nora and her director made a world class film like himala? yon ba ang may line na " my brother is not a pig":nuts::lol: tama ba?:nuts:

“Minsa’y Isang Gamugamo”

March 10, 2008
International film fest in Bacolod set (http://www.visayandailystar.com/2008/March/10/starlife.htm)

Believing in the “healthy culture” of artists in Bacolod, a group of movie directors will stage an international film festival in the city this year.

Open to high school and college students, the .MOV International Digital Film Festival’s “silvershorts” division, which was launched last week, is the first in Bacolod, Paolo Villaluna, a member of the Independent Filmmakers’ Cooperative, which sponsors the event along with Robinson’s Movieworld, said.

Villaluna, who directed the digital movie Selda, starring celebrities like Ara Mina and Michael de Mesa, said, one reason they will hold the festival in Bacolod is the “healthy relationship between independent filmmakers here.”

The contest is in its third installation and will award a P100,000, P50,000, and P30,000 cash prizes for the top three 20-minute digital films in the “silvershorts” category in September in Bacolod.

In a written statement, the festival’s director, Khavn de la Cruz, said, despite the challenges of government bureaucracy and the limitations of funding, they continued to work for digital films because “they believe this is just what Philippine cinema needs.”

“.MOV is here because we believe there is hope still for Philippine Cinema. Our aim is to provide venue where digital storytellers can bring their personal visions to a wider audience” and “help unleash new talents who will infuse new blood” to it, De la Cruz said.

Students who wish to join the film festival may contact Donna Plugio through 09282220987 or through 632-395-2188 locals 230 and 240.*PP

this is good news for filipino filmamkers, this is the "new Philippine film industry" the old one as we know is dying..and this independent filmakers are the ones who actually get noticed internationally,..but they still lack domestic exposure, hopefully that would change and they coud earn more money to sustain their innovative work...

Pardoned former Philippine president to star in comedy film (http://news.monstersandcritics.com/asiapacific/news/article_1395183.php/Pardoned_former_Philippine_president_to_star_in_comedy_film)

Pardoned former Philippine president and actor Joseph Estrada said Thursday he will star in a comedy movie in May in a bid to make Filipinos laugh amid hardships they are facing under his successor's rule.

The 70-year-old former action movie star reiterated his call for scandal-tainted President Gloria Macapagal Arroyo to resign over allegations of large-scale corruption and electoral fraud to spare the Filipinos from further misery.

Estrada, who was convicted of plunder but eventually pardoned by Arroyo, said the script of the comedy movie was being finalised and he would be paired with a top Filipino comedienne.

'Because of the rising poverty, people are all crying in their home so I want to make them laugh and give them some relief,' he said in a media forum.

Before entering politics in the late 1960s, Estrada was a popular and multi-awarded actor who starred in more than 100 movies. He often portrayed underdog characters who always fought against wealthy and powerful antagonists.

Estrada was ousted by a military-backed mass uprising in January 2001 over accusations he skimmed millions of dollars in tobacco taxes and received kickbacks from illegal gambling lords.

Arroyo, who replaced Estrada, is now facing similar accusations of corruption. She vowed to stay in office until her term ends in 2010 and denied any wrongdoing.

^^ yeah i was thinking between Tony Santos Sr. Leo Salcedo thank you

well i know Charito Solis won an Asian Award, do you know in what movie ?

can you refresh me Anak Dalita?

Sa "Ifugao" yata nanalo si Charito Solis ng Best Actress Asian Award.

This week is the Asian American Film Festival in San Francisco. The Philippines has two entries for film festival, "Slightshot" and "Foster Child". I was going to watch both this weekend, but I'm not sure I'll be able to watch them now. I really want to see both of these films, especially Foster Child.

may pelikula akong napanood noon na black and white... naka-medieval style sila ng suot... yun ba ang florante at laura?

natandaan ko rin ung princess sara with camille prats :D nagandahan ako nun kase nasa totoong setting talaga.... ngayun eh pari costume d kasing ganda

This is from QTV's Ang Pinaka Series.

20 MOST MEMORABLE PINOY MOVIE LINES
(according to the QTV show, Ang Pinaka)

5) “Gaano kadalas ang minsan? Once, twice, three times more?”
-Hilda Koronel, “Gaano Kadalas Ang Minsan?”

:lol:

17) Alice: “Ate, mamatay ako pag kinuha mo sa akin si Alex.”
Lorna: “Ipalilibing kita!”
Alice: “Ate please.”
Lorna: “Nu’ng inagaw mo sa akin si Alex, muntik na rin akong mamatay. Ngayon naagaw ko na siya sa ‘yo, ikaw naman ang mamatay!”
-Alice Dixson and Lorna Tolentino, “Nagbabagang Luha”

:hilarious


19) “Cheeta-eh! Ganda lalake! Sinungaling! Sinungaling ka talaga! Panget! Panget ka pa rin!”
Rene Requiestas and his echo in “Starzan 2: The Legend Continues”

:rofl:

Echo film a big deal for US firm (http://www.asianjournal.com/?c=107&a=26633)

MANILA, Philippines—Radiant Studios, local unit of US-based holding company Radiant ERA Holdings LLC, started principal photography last week on its first feature film, a movie starring Hollywood actor Dean Cain, and local stars Jericho Rosales and Gary Valenciano. Rosales is playing the lead role.

In a press statement, Radiant Studios said the film was being shot entirely in the Philippines and had a budget "a little under $5 million."

The company is advocating "proper strategies" by which investors can enter the entertainment industry, which it sees as an alternative investment opportunity for local businessmen and strategic institutional investors looking for valuable content.

"The domestic roadshows have been quite successful and have sparked a renewed interest in the movie-making industry as a viable alternative investment," Andrei Aquino, Radiant vice president for business development, said.

may pelikula akong napanood noon na black and white... naka-medieval style sila ng suot... yun ba ang florante at laura?

natandaan ko rin ung princess sara with camille prats :D nagandahan ako nun kase nasa totoong setting talaga.... ngayun eh pari costume d kasing ganda

Pricess Sarah ba yun? Sa London ata nila shinoot yon, sa pagkakarinig ko.

^^ may extra pa nga silang mga briton :D

Oh My Gosh. That does sound like a native singing!


amazing! :D

The last San Miguel Philharmonic Orchesta performance I saw was December 2005 at the Shangri-La Plaza.

My earliest exposure to classical music was with the Kabayao family in Iloilo. Gilopez Kabayao together with his wife Corazaon Pineda-Kabayao and their children would often perform at our school. Also, I briefly attended the same church they are in and I would always see them perform. I did an interview with the Kabayao couple once and they lament how Filipinos are not inclined to classical music. They try to bring classical music to the masses with their foundation. I really appreciate and highly commend them for their effort in doing so.

Just this February, I was able to see the performance of the Tanay (?) Orchestra at the Rizal Park Ampitheater.

http://i63.photobucket.com/albums/h141/oboi_1/concert.jpg

nagperform kami dito nung h.s ko pa ko

^^ I searched YouTube and found only two vid clips of her singing Waray-Waray, both don't have visuals on Ertha, just audio. Here's one of them, she sang the song really well, of course with that trademark purr of hers.

qQ0kMWa4Geo
Link (http://www.youtube.com/watch?v=qQ0kMWa4Geo) :okay:

wow, I just discovered this..ertha kitt actually singing waray-waray..she did it perfectly l even the pronunciation , unlike jasmine trias...who couldn't sing filipino songs

Indie filmfest on for Baguio centennial rites

Monday, March 31, 2008 03:33 PM

BAGUIO CITY–Independent filmmakers are holding a festival in the city as a prelude to the centennial celebrations of Baguio in 2009.

As support to the city's campaign to become “a center for culture and the arts�, ground works are being laid for a digital film festival for independent filmmakers.

Art Tibaldo, a media specialist and television segment producer volunteered to spearhead said film fest in coordination with the programs committee of the Baguio Centennial Commission.

Tibaldo said the the filmfest may not be as grandeur as the likes of the yearly held in Metro Manila to promote the local movie industry. “But this event offers an opportunity to budding filmmakers, television producers, visual artists and communication students to be involved as a partner and promoter of the city�.--Artemio Dumlao

Philippine Star (http://www.philstar.com/index.php?Local%20News&p=54&type=2&sec=2&aid=2008033051)

UCI's famed Kaba Modern dancing the traditional Tinikling, with some "modern" choreographic moves added. :colgate:

ZB_a94a9nDc
LINK (http://www.youtube.com/watch?v=ZB_a94a9nDc)

April 5, 2008
WNU wins Sun Dance title (http://www.visayandailystar.com/2008/April/05/people.htm)

West Negros University from Bacolod City emerged as champion in the Dance Showdown Grand Finals sponsored by Sun Cellular held recently at The Paseo Center in Cebu City, a press release from organizers said.

Adrenaline-pumping dance moves solicited cheers from the audience who gathered to root for their bets.

The WNU contingent bested nine other groups from different schools, and won P50,000 in cash prize, and P50,000 worth of sponsorship, the press release said.

First runner-up was University of San Carlos who won P25,000 in cash prize and P25,000 worth of sponsorship, followed by Cebu Institute of Technology with P15,000 in cash and sponsorship value, respectively.

Joining the fun was special guest, former Pinoy Big Brother Celebrity Edition housemate, Bodie Cruz, the press release added.*

Youtube vid posted by 15users.
Music video of Filipina singer Sylvia la Torre's song, "Madaling Araw" (Early Morning), with clips from Raya Martin's film, "Maicling Pelikula ng Ysang Indio Nacional" (A Short Film About the Indio Nacional)

Prob the oldest Filipino vid I had ever seen with the awesome orthography.
Some scenes came from early Philippine superstitions, beliefs & legends which are no longer widely known. I only know of 2:

1. The reason why the children opened their mouths wide was to receive some supposed "energy" from the rising sun.

2. The young lad must've represented some local hercules, or even the legendary Bernardo Carpio, doing battle with invisible giants.

Maicling Pelikula ng Ysang Indio Nacional

hCzECZ2eL4g

Hi. My first post in this thread.

I think of all the Filipino folk dances, I find the Pandanggo and the jotas really the most elegant and theatrical. (OK, the tinikling too but you have to find those doggone bamboo poles to execute it correctly.)

The most boring were those Ifugao dances; and the one that makes audiences squeamish is that 'maglalatik' with those bao 'bras.' That one should just be left in the history books.

^^ I think Sinkil is the most theatrical especially when the Princess Bride comes in atop the the bamboo chair and descends and starts gesticulating with her long fingers. Then she will slowly, gracefully step over the moving bamboos. And then she's joined by the Rajah. And their (male and female) escorts. And they skillfully dance/step over the bamboos as the beat goes faster and faster. That is thrilling and awesome.

^^ My sister said the same thing Lili. Singkil is more artistic and Tinikling is more athletic.

Hi. My first post in this thread.

I think of all the Filipino folk dances, I find the Pandanggo and the jotas really the most elegant and theatrical. (OK, the tinikling too but you have to find those doggone bamboo poles to execute it correctly.)

The most boring were those Ifugao dances; and the one that makes audiences squeamish is that 'maglalatik' with those bao 'bras.' That one should just be left in the history books.

yeah Ifugao dance somewhat boring LOL but what can you do if your'e confine dancing in a pilapil(dunnothe english term) but it's true :)

4ZGQOy5atgU

thsi Maguindanoan dance is called Unta Sagayan by Hinugway Dance Tropue

Hi. My first post in this thread.

I think of all the Filipino folk dances, I find the Pandanggo and the jotas really the most elegant and theatrical. (OK, the tinikling too but you have to find those doggone bamboo poles to execute it correctly.)

The most boring were those Ifugao dances; and the one that makes audiences squeamish is that 'maglalatik' with those bao 'bras.' That one should just be left in the history books.


maybe Ifugao dance is boring but it's authentic , "no frills" :)

http://img90.imageshack.us/img90/2690/pic04081017460383fz7.jpg (http://imageshack.us)
PRAYING FOR MORE RICE. An ancient Ifugao ritual to drive away bad spirits from their ricefields is performed in Asipulo town, hoping to generate more rice this harvest season. Called tadtad, men garbed in g-strings and feathery hats walk for miles around the community's rice terraces, shoving their spears and hammering sticks and shields at invisible bad spirits. INQUIRER/EV ESPIRITU

April 12, 2008
National dance congress in Bacolod (http://www.sunstar.com.ph/static/bac/2008/04/12/life/national.dance.congress.in.bacolod.html)

SESSIONS on festival management and creative movement await participants to the 16th national dance congress and the "araw ng sayaw" (Philippine celebration of international dance day) from April 27 to 29 at the Colegio San Agustin-Bacolod gymnasium and Panaad Stadium, respectively.

Intended for dance educators, choreographers of local government units (LGUs), tourism officers and festival organizers, the congress has identified three objectives: defining the significance of festivals and street dancing in community development, defining the contribution of street dance to the development of dance in the Philippines and crafting guidelines to redirect festivals towards a culture-based celebration.

Topics on festival management include publicity and promotion, economic/tourism value of the festivals, community involvement/collaboration and festival as showcase of local culture.

Key speakers from the Kalibo's Ati-Atihan ('Festival and Street Dance, the Beginning'), Iloilo's Dinagyang, Bacolod's Masskara and Negros Oriental's Buglasan ('Sharing Experiences on Street Dances of the Visayan Festivals') are also slated. Other topics include LGU/institutional support for festival, planning and organizing a festival: cultural/aesthetic value of street dance and concept/theme building for festivals, costumes and props, music, keeping the festival creative and exciting and festivals and the development of dance in the Philippines.

Choreographers, on the other hand, would undergo sessions on creative movement to culminate with a showcase. The congress will end with a session on synthesis/areas for policy consideration. A special session on grants and other assistance program of the National Commission for Culture and the Arts (NCCA) would also be held.

Keynote speaker for the congress opening ceremonies is Ricky de Ungria, head of the NCAA sub-commission on the arts. Shirley Halili-Cruz, NCCA dance committee chair and congress over-all project and artistic director, will give the rationale of the congress.

The dance congress and "araw ng sayaw" is a flagship project of the NCAA dance committee in partnership with Colegio San Agustin-Bacolod, the provincial government of Negros Occidental, the city government of Bacolod and Negros Island Tourism Inc.

Theme is "Festivals: A celebration of the Filipino bayanihan" with sub-theme "A discourse on the Visayan festivals."

Registration fee is P500. Package rate to include pension or hotel accommodation, meals and snacks may be coursed to Oliver Dondonay at 433-8343. Hard copies of invitation letter are now available at the local secretariat office, Office of Vice President for Student Affairs at CSA-B. For confirmation of attendance, fax to Francis de los Santos of NCCA at (02) 527-2198/522-2084 or to Novy Radislao at (034) 434-5365. Contact 434-2471 local 106 or 40 for inquiries.