Research in MAPEH IV

Submitted to: Mr.Gonzales

Submitted by: Anjo L. Pancho Iv-Aguinaldo

MUSIC Philippine Contemporary Music

Contemporary music in the Philippines usually refers to compositions that have adopted ideas and elements from twentieth century art music in the West, as well as the latest trends and musical styles in the entertainment industry. This brief introduction covers only the works written by the art music composers.

The modern Filipino repertoire consist of pieces that have been written in twentieth century idioms that have evolved out of such stylistic movements as impressionism, expressionism, neoclassism, as well as the so-called avant-garde and New Music. A good number of these works have utilized the standard formats of classical European music such as the concerto, the symphony, the symphonic and tone poems, cantata, etc. and may therefore be broadly categorized as neo-classic. At the same time, they have also been greatly influenced by the textural colors of Debussy's music and the ambiguous and "dissonant" tonalities of early 20th century expressionist compositions. Moreover, the sounds of non-Western instruments have been added to the tonal fabric. The first modern works that belong to the above descriptions are attributed to Nicanor Abelardo, who from 1931 till his death in 1934 produced works that show a dramatic departure from his highly chromatic--tonal idiom to dissonant and ambiguous tonalities and complex rhythmic textures. Some of the representative works of that period are the "Sinfonietta for Strings" and the "Cinderella" Overture. In Panoramas, a chamber music suite, Abelardo also experimented on unorthodox instrumental combinations (flute, violin, viola, celesta, piano). Two short pieces for piano Dancing Fool and Malikmata by Antoni Molina, Philippine Suite by Ramon Tapales, and Mindanao Sketches by Antonio Buenaventura were isolated works that assumed some degree of modernistic structural elements, immediately following Abelardo's output. Philippine neo-classism is significantly represented by three names: Eliseo Pajaro, Rosendo Santos and Lucresia Kasilag. Most of Pajaro's works (usually bitonally chromatic) are set in such extended formats as the symphony; concerto; symphonic ode; e.g. Ode to Academic Freedom; and song cycles using Filipino folk tunes (Himig Iloko). the prolific Rosendo Santos, also a versatile performer in the keyboard, percussion, and wind instruments, has written hundreds of compositions for a variety of instruments and instrumental combinations; e.g. Suite Brevet for clarinet, alto saxophone and piano, Two Poems for flute, vibes, and percussion, Etude for six timpanist and multipercussion, Fantasy for Contrabass and Harp, etc. Lucresia Kasilag, aside from using neo-classic idioms, has added a further dimension to her compositions by infusing the sounds of native instruments as well as their scales, and experimenting on new forms such as the operatorio Her son, Jose and Dularawan, a contraction of dula (theater) and larawan (pictures). Some of her landmark compositions are Toccata for percussion (orthodox and Muslim) and winds, and Orientalia Suite for Piano and chamber and Philippine percussion instruments. She has also applied elements of improvisation in her Ekologie I: On a Day off for tape recorder and indigenous instruments andImprovisations No. 3 and 4 for Moslem gamelan and tipangklong.

Another sub-classification of Philippine neo-classic works are those written by Alfredo Buenaventura, Jerry Dadap, Eduardo Parungao, and Manuel Maramba. Their works are characterized by the eclectic utilization of various harmonic idioms, from late romantic to early twentieth century. A departure from the standard forms of western classical music is a significant characteristic of the works of composers who are exploring alternative directions and concepts in music composition. Led and inspired by Jose Maceda, these works derive their essence, theoretical and structural parameters from non-Western sources, specifically Asian music and Philippine indigenous cultural traditions. At the same time, they have been initially influenced by the ideas of mass structures that were advanced by such avant-garde composers as Edgar Varese and Iannis Xenakis, and later by the different streams of indeterminacy and improvisation as explored by John Cage and his followers. The initial works of Jose Maceda may be classified as color and cloud compositions, utilizing the tones and timbres of non-Western instruments to create different blocks of sounds; e.g. UgmaUgma and Agungan. His later works assumed overwhelming dimensions in the use of acoustical space, mass performance and the concept of a modern ritual- Pagsamba, UdlotUdlot, Ading, Ugnayan, etc. Also belonging to this formal category are Ramon Santos' Ritwal ng Pasasalamat I and II as well as his Likas-An and Nagnit Igak G'nam Wag' nwag Nila, a Philippine Centennial piece for orchestras, 7 choruses, audience, and conductor. Jonas Baes also contributed to this literature with his Pantawag, Kalipay and Yeyunan which is based in his study of Iraya mangyan culture. Another category of New Music compositions are improvisational works. The early pieces of Ramon Santos such as Radyasyon and Quadrasyon were later augmented by Toledo's Samutsari, Pintigan and Terminal Lamentations, all written as musical graphics, and his Humigit Kumulang for Malay hadrah and kompang. Baes' Wala and Banwa, both written in 1997, uses audience as well as the participation of traditional Philippine instruments. One of the more preferred media by the younger generation of Filipino composers is mixed media and theater forms. Santos has significantly contributed to this body of works with his Awit, Panaghoy, (on the poetry and Ninoy Aquino), Ta-O at Dasalan and Pompyang at iba Pa by Chino Toledo. The experimentalPanata ng Lupa by Francisco Feliciano and other composers is an outdoor theater that fuses elements of opera and Kalinga rituals. Feliciano has also composed the music for the music dramas Sikhay sa Kabila ng Paalam and Ashen Wings, as well as the monumental opera La Loba Negra. Related to this category areballet and dance compositions to which belong Kasilag's Sisa, Legende, and Tapestry; Santos' Aninag; Jerry Dadap's Tomaneg at Aniway; Feliciano's Yerma; Toledo's Pilipino Komiks and Abe... (on the music of Nicanor Abelardo) Some works may be categorized as "unclassified" for their uniqueness in conceptual framework as well as the musical materials used; e.g. Santos' Yugto-Yugtong Tagpo na Hingango sa Makasaysayang Panaginip ni Antonio Manggagawa, a modern epic; Jose Maceda's Music for Five Pianos and Mosaic for Gongs and Bamboo.

Philippine Music & Media

Music of the Philippines are performance arts composed in various genre and styles. The music of the Philippines is a mixture of other Asian, European, Latin American, American, and indigenous influences. Traditional Music Philippine gong music can be divided into two types: the flat gong commonly known as gangsa and played by the groups in the Cordillera region of the bossed gongs played among the Islam and animist groups in the Southern Philippines. Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups seem to stand-out in kulintang music. These are the Maguindanaon and the Maranaw. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China from before the 10th century CE, or more likely, to the introduction of bossed gong chimes from Java in the 15th century. Nevertheless the kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of hispanization in the Philippine archipelago. The tradition of kulintang ensemble music itself is a regional one, predating the establishing of borders between the Philippines, Indonesia and Malaysia. It transcends religion, with animist and Christian ethnic groups in Borneo, Flores and Sulawesi playing kulintangan; and Muslim groups playing the same genre of music in Mindanao, Palawan and the Sulu archipelago. It is distantly related to the Gamelan music orchestras of Java and Bali, as well as the musical forms in Mainland Southeast Asia, mainly because of the usage for the same bossed racked gong chimes that play both melodical and percussive. Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls about the loving touch of mother to her child. Another great composer who's known as patriotic composer, Alfredo Buenaventura. Harana and Kundiman The Harana and Kundiman are lyrical songs popular in the Philippine Islands dating back to the Spanish period. Harana are traditional courtship songs in the Mexican-Spanish tradition based on the habanera rhythm while the Kundiman, which has pre-colonial origins from the Tagalog region, uses triple meter rhythm. Kundiman is also characterized by a minor key at the beginning and shifts to a major key in the second half. Its lyrics depict a romantic theme, usually portraying love, passion, or sadness. In the 1920s Harana and Kundiman became more mainstream musical styles led by performers such as Atang de la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre and Ruben Tagalog. Tinikling The Tinikling is a Philippine dance which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, in co-ordination with one or more dancers who steps over and in between poles.

Cariosa The Cariosa (meaning loving or affectionate one), is a Philippine national dance from the Mara Clara suite of Philippine folk dances, where the fan, and handkerchief plays an instrument role as it places the couple in romance scenario. The dance is similar to the Jarabe Tapato. The Cariosa is accompanied with Hispanic music, and language. It is also related to Kuracha, Amenudo and Kuradang in the Visayas and Mindanao Area. Rondalla The Rondalla is performed on ensembles comprising mandolin instruments of various sizes called banduria composed on the Iberian tradition. Other instruments including guitars, is also performed.It is original to Spain. Modern Filipino Music OPM(Original Pilipino Music) Original Pilipino Music, now more commonly termed Original Pinoy Music or Original Philippine Music or OPM for short, originally referred only to Philippine pop songs, particularly ballads, such as those popular after the collapse of its predecessor, the Manila Sound, in the late 1970s, up until the present. In the 70's Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, ASIN and many more. In the 1970s the major commercial Philippine pop music artists were, Pops Fernandez, Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, and Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuniga and many others. Between the 1980s and 1990s, OPM was led by artists such as Regine Velasquez, Sharon Cuneta, APO Hiking Society, Jos Mari Chan, Dingdong Avanzado, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn Reynes, Lea Salonga, Vina Morales, Raymond Lauchengco, JoAnne Lorenzana, Francis Magalona, and Gary Valenciano among many others. In the 1990s, the famous artists/bands included Eraserheads, Smokey mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew E., Jaya, Lani Misalucha, Rivermaya,Ella May Saison among many others. Underground bands emerged and along with them were their perceptions of idealism and selfexpression. The famous lyricist of Circle's End, Geno Georsua landed on top as the melodramatic expressionist. Bassist Greg Soliman of UST Pendong grasps the title as the best bassist of underground music. From its inception, OPM has been centered in Manila, where Tagalog, and English are the dominant languages. Other ethnolinguistic groups such as the Visayan, Bikol, and Kapampangan, despite making music in their native languages have not been recognized as OPM, except in unusual cases like the Bisrock (Visayan Rock music) song "Charing" by Davao band 1017. Multiculturalism advocates, and federalists often associate this discrepancy to the Tagalogcentric cultural hegemony of the capital city of Manila. Having successfully created a subgenre of Philippine Rock they called Bisrock, the Visayans by far have the biggest collection of modern music in their native language, with great contributions from Visayan bands Phylum, and Missing Filemon. However, a band called Groupies' Panciteria that hails

from Tacloban, a Winaray-speaking city, launched a free downloadable mp3 album onSoundclick.com in 2009 containing 13 Tagalog songs and only one very short one in the Cebuano language.[1] Following suit are the Kapampangans. The debut music video of "Oras" (Time) by Tarlac City-based Kapampangan band Mernuts has penetrated MTV Pilipinas, making it the first ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. "RocKapampangan: The Birth of Philippine Kapampangan Rock," an album of modern remakes of folk Kapampangan extemporaneous songs by various Kapampangan bands was also launched last February 2008, which are now regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance," Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album. Despite the growing clamor for non-Tagalog, and non-English music, and greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of their major reasons include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. The country's first songwriting competition, Metro Manila Popular Music Festival, was first established in 1977 and launched by the Popular Music Foundation of the Philippines. The event featured many prominent singers and songwriters during its time. It was held annually for seven years until its discontinuation on 1985. It was later revived in 1996 as the "Metropop Song Festival", running for another seven years before being discontinued in 2003 due to the decline of its popularity.[2] Another variation of the festival had been established called the Himig Handog contest which began on 2000, operated by ABS-CBN Corporation and its subsidiary music label Star Records. Five competitions had been held so far starting from 2000 to 2003 and was eventually revived in 2013. Unlike its predecessors, the contest has different themes which reflect the type of song entries chosen as finalists each year.[3][4] In 2012, the Philippine Popular Music Festival was launched and is said to be inspired by the first songwriting competition.[5] Pop music Pop OPM has been regularly showcased in the live band scene. Groups such as the Neocolours, Side A, Introvoys, The Teeth, Yano, True Faith, Passage, and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop. Choral Music Most outstanding choirs in the Philippines:

Adventist University of the Philippines Singing Ambassadors Adventist University of the Philippines Young Voices Boscorale Philippine Normal University Chorale

Philippine Madrigal Singers Polytechnic University of the Philippines Laboratory High School Chorale University of Santo Tomas Singers University of the Philippines Singing Ambassadors University of the Philippines Concert Chorus Ateneo College Glee Club Saint Louis University Glee Club University of the East Chorale University of the Visayas Chorale Muntinlupa Science High School Chorale Mandaue Children and Youth Chorus

Media of the Philippines

The Office of the President is responsible for managing the governments policy toward the press, but freedom of speech and freedom of the press are enshrined in the 1987 constitution. Although independent observers credit the government with respecting freedom of the press in general, the government has been criticized for failing to investigate thoroughly summary killings of journalists and for subjecting journalists to harassment and surveillance. The most widely read newspapers are the Manila Bulletin, The Philippine Star, Philippine Daily Inquirer, The Manila Times, andBusinessWorld. Growth In 2004 the country had 225 television stations, 369 AM radio broadcast stations, 583 FM radio broadcast stations, 10 internet radio stations, 5shortwave stations and 7 million newspapers in circulation. Although some media outlets, such as IBC (television) and the Philippine Broadcasting Service (radio), are government-run, most outlets are privately owned. Much media ownership is concentrated in the hands of prominent families and businesses. Consequently, some reports tend to be one-sided presentations favoring special interests. The privately owned press also tends toward sensationalism at times.

ART Philippine theatre in the 21st century

Theatre comes from a Greek word theatron and it is a branch of performing arts that deals with acting, singing and dancing on stage to present a story dramatically. In the Philippines, many talents are first exposed in the field of theatre arts. In fact, theatre arts have long been existing as a part of the Filipino tradition and serve effectively as a medium of social awareness and entertainment. It is also a means of liberal and artful way of expressing opinions and talents. As part of the Philippine tradition, many festivals and occasions are celebrated in the country where theatre arts are in use. For instance, during Holy Week, Cenaculo takes place as an on -stage performance that re-enacts the passion of Christ. Another is the Moro-Moro which expresses the conflict between Christians and Muslims in the country. In other towns, a famous theatre form called carillo, which is usually a drama play, is shown after the harvest season. Zarzuela is another famous theatre performance, a local version of Spanish operetta. In many other places or occasions, variety of traditional plays that express the Filipino love for arts are shown even up to this very day. Today, the theatre industry is one of the factors that brings the country into the worlds spotlight. Many famous theatrical productions are played and commended in other countries while they open doors to Filipino talents for world class performances. Performing artists involve in theatre arts usually have inner talents or potential capability to act, sing and dance on stage and provide entertainment to a wide number of audiences. Some are amateurs while others are professionals and together with them are stage managers, musical directors, stage crews, who all create ideally entertaining productions. The Crafts Stage performance is a craft. Like any other craft, it is something that can be nurtured, improved and enhanced from time to time. Like what has been mentioned earlier, theatre arts involve acting, singing and dancing in portraying different story or play characters. These are the crafts that must be given emphasis in every performance. The quality of the performance strongly depends on how the artists execute their crafts in all the scenes. A.(PETA) Philippine Educational Theater Associaton Philippine Educational Theater Association (PETA) is a non-stock, non-profit and nongovernmental theater organization based in the Philippines. It is engaged in the development of society and people, enriching theater forms and techniques that express local, national, and universal themes.

Establishment PETA was established in 1967 by Cecile Guidote-Alvarez. It was first located at Dulaang Rajah Soliman in Fort Santiago, Intramuros Manila. In 2005, PETA moved to its new location - the PETA Theater Center with its current address at #5 Sunnyside Drive, New Manila, Quezon City. Purpose PETA has nurtured hundreds of artists who later on shared their talents and expertise in theater, television, radio, in print and education. It continues to pursue its vision to enrich and empower the society and people with each gesture, word, image, sound, expression and creative learning experience. B. Repertory Philippines Repertory Philippines opened its doors in 1967 with a Tagalog adaptation of August Strindbergs production Miss Julie. However, the idea of creating the company began while Bibot Amador and Baby Barredo were waiting in the wings of a school production of George Bernard Shaws Arms and the Man. Amador and Barredo recognized the need to train the underutilized and frustrated white-collar workers who had the desire to act, but not the formal training. Philippine National Artist Rolando Tinio adapted and directed the Inaugural production of Miss Julie for local audiences, which starred his wife Ella Luansing in the title role. Miss Julie was a success! However, the need to remain financially viable while providing jobs for Filipino artists, took precedent and consequently Rep chose to tailor their play season for the English speaking Expat community. Barredo recounts that the local critics called Rep unpatriotic for choosing to produce theatre in English. Barredos rationale for the shift was clear: Rep needed to survive and had successfully targeted a clientele who would support and nurture this brand of theatre. For the next ten years Rep struggled to build an audience. The pressure of consistently mounting diverse theatrical seasons did not ease up. Amadors key to building an audience centered on training Filipino actors and she was determined to set the bar high. The training for a Rep Actor was hands on and very rigorous. At any one time, an actor could be rehearsing two plays during the day while performing a third at night. Amador wanted to train diversified, well read, disciplined and committed artists. Fortunately, the actors gravitated to this disciplined environment and Rep was able to take up residency in the Insular Life Building where it performed to packed houses for the next twenty-five years. Over the years Repertory Philippines developed its reputation as the premier English speaking theatre company in the Philippines. The demand for tickets was feverish and in 1992 Repertory Philippines with the help of a massive fundraising campaign was able to move into the newly built theatre in Shangri-La Mall on Edsa. Repertory Philippines was again looking to expand its audience and diversify its theatrical offering and hence Reps Theatre For Young Audiences was born. With veteran actor and director Joy Virata helming its early productions as Artistic Director, new opportunity for revenue, jobs, and content sprang up. The first production of RPTYA was Sleeping Beauty. It was a smash hit, reinforcing Reps popularity and rapport in the local school community. For 10 years Repertory Philippines continued to grow its audience base, wowing spectators with its range of Shakespearean plays, classics, comedies and musicals and RPTYA productions.

However in 2002 due to a new building redevelopment in Shangri-La Edsa, Rep was forced to find a new home. The Carlos P. Romulo Auditorium at Podium 4, RCBC Plaza became Reps new home. In fact, in 2003 Rep performed four weekends per show. Three weekends were performed in the RCBC building in Makati and the fourth in Insular Alabang. However, Rep needed a permanent home to house its thriving RPTYA and Repertory Company. It was able to secure its current home in Greenbelt 1, Makati, at ONSTAGE Theater. Since 1967, the legacy of Amador and Barredo continues. To this day Repertory Philippines has produced over 300 shows (Shakespearean plays, classics, comedies and musicals). It has also been an important training ground for many of todays renowned Filipino theatre actors including Tony winner Lea Salonga, Cocoy Laurel, Junix Inocian, Michael Williams, Monique Wilson, Pinky Amador, Joy Virata, Miguel Faustmann, Bart Guingona, Menchu Lauchengco-Yulo, Audie Gemora, Ana Abad Santos, Jeremy Domingo, Rem Zamora, and Liesl Batucan. Repertory Philippines legacy continues to this day as the premier English-speaking theatre in the Philippines. Its bevy of trained theatre artists has inspired a Renaissance in the local theatre scene and Rep is proud to be one of the pillars of this resurgence. Repertory Philippines is committed to delivering world-class theatre and looks forward with eager anticipation to the next 46 years! C.Trumpets TRUMPETS PLAYSHOP began in 1993 with a few acting courses for children, teens and adults. Over the years it has gradually gained exposure and for the past two years, has generated over a thousand enrollees for its summer workshop. The idea behind Playshop is quite simple. We wanted to share our knowledge on the technical aspects of theatre. At the same time we envisioned a more pro-active method of teaching, while infusing morally upright ideas and actions. Playshop has consistently been successful in developing the creative talents of young and creative minds through its summer workshop using the basic principles and tools of acting. As a result, Playshop has expanded to now include a broader selection of courses covering most multimedia disciplines while still using the basic tenets of theatre acting as its groundwork.

MISSION PLAYSHOP aims to provide a venue for students, artists and professionals to develop their God-given talents through a comprehensive and extensive arts program, which provides a wide range of opportunities for intellectual, musical, cultural and personal growth taught by a dedicated, wellestablished and acclaimed corps of artists in the field of performing arts.

VISION PLAYSHOP graduates shall be effective, creative, disciplined, impassioned and dynamic contributors to and active participants in, the performance arts industry. The superior and proper training and supervision provided by the Center shall distinguish the TRUMPETS PLAYSHOP graduate from his peers because of his professionalism, dedication to and excellence in his craft. THE YOUTH, THE FAMILY, THE ARTS, THESE ARE WHAT TRUMPETS PLAYSHOP IS ALL ABOUT. BEYOND PLAYING Playshop is also continuously developing its program for the corporate world. Since the basics of acting involve communication skills development, character development, team dynamics through any number of specialized activities, we are now developing training programs for corporations that depend heavily on the performance of their customer service representatives and advertising agencies. Playshop has also flown beyond our mall-base in Manila to accommodate demands for Playshop training in such provinces like Cebu and Palawan and our neighboring Asian countries like Singapore and Hongkong. THE PLAYERS Our Faculty is comprised of the best and the brightest in most disciplines of multimedia. They are world class performers and respected veterans in their fields of expertise. To name a few are multi awarded Theatre thespians, Audie Gemora, Menchu Lauchenco-Yulo, Enchang Kaimo, Carlo Orosa, Sweet Plantado and Chari Arespacochaga, Director Writer Jaime del Mundo and Freddie Santos, Musical Composer and Arranger Lito Villareal, Broadcast journalist Kata Inocencio and Playwright Luna Grio- Inocian, world-class dancer James Laforteza, Liesl Laforteza & the Maneouvres, Supermodels Tweetie de Leon and Apples Aberin Sadhwani and Technical Director and Lights Designer Gerry Fernandez. Several of our graduates have already made a name for themselves in various fields of entertainment. Prominently among those are Christian Bautista, Sam Concepcion, Tippy Do Santos, Jonard Yanzon, a graduate of Musical Theatre, was Grand Prize of the Metro Pop Young Singing Star Award 1998. Six graduates of Kata Inocencios TV Newscasting class have already made it to various TV shows in ABS CBN, GMA 7 and cable TV. Analin Bantug of Ms. Saigon, The Playshop Kids, Celebrity Kids like Paolo Valenciano, Lesley & Lianna Martinez, CD Lastimosa, Alyssa Martinez, Mariella Munji Laurel and a lot more.

D.Tanghalang Pilipino TANGHALANG PILIPINO was founded in 1987 as the resident theater company of the Cultural Center of the Philippines (CCP). It aims to promote Philippine theater that is rooted in centuries-old Filipino culture and history while being responsive to evolving contemporary society. Tanghalang Pilipino is unique among other theater groups in the Philippines as it maintains a core of actors whose full-time training in acting is subsidized by the company. Known as the Tanghalang Pilipino Actors Company, these actors are tapped for the companys season repertoire and special performances. The actors who have graduated from the Actors Company now comprise the most sought-after stable of talents in television, cinema and commercial advertising. Tanghalang Pilipino maintains the highest standards in artistic discipline, technical skill and professional conduct. It presents an annual season of plays at the CCP consisting of original Filipino works, both classic and contemporary, as well as translations and adaptations of theater materials from Asia and other parts of the globe. It also conducts regular theater education and training programs in acting, directing, playwriting and production management. These programs are open to students, non-professional theater enthusiasts, corporate clients and professional theater practitioners. In addition to honing skills for onstage performance, Tanghalang Pilipino also commits itself to the development of an active audience for Filipino theater through its nurture of the native language as its primary medium for its productions and by bringing its performances to venues outside its home at the CCP including non-traditional performance spaces to various parts of the country and overseas, especially locations with large Filipino communities. TP has successfully presented more than 200 full productions within 26 seasons while generating one of the best audience attendance records among CCPs resident companies. Its earliest repertoire was guided by the vision of Nonon Padilla, its founding Artistic Director (1987-2002), and sustained by Herbert Go (2002-2006), and Dennis Marasigan (2006-2008). Tanghalang Pilipino is currently in its 27th Theater Season under the artistic direction of Fernando Nanding Josef. E.New Voice Company

The NEW VOICE COMPANY is one of the Philippine's premiere theatre companies and was established in 1994 by acclaimed actress and director Monique Wilson. The company has since gained an exceptional reputation for innovative, socially provocative theatre - and has made its' mark as the most political, social and feminist theatre group in the country - dealing with contemporary political and social issues. The NEW VOICE COMPANY is driven by a vision: to produce theatre that enlightens, inspires, educates, informs and incites to action - to create theatre that becomes a powerful catalyst for change and a necessary tool for social transformation - theatre that awakens. The NEW VOICE COMPANY is fast gaining a name as one of Asia's most respected and acclaimed theatre groups. Their innovative staging, never-before-seen daring and courage and highly polished and provocative productions have set a new trend in theatre. The exceptional quality of their performers is a testament to the company's commitment to training. The NVC Actors Studio - home to the company - is a professional base where year long theatre training programs in the performing arts, direction and production/ technical management are offered. It is also a base where new and experimental theatrical works are created.

NEW VOICE COMPANY productions - that have dealt with issues ranging from women's rights, sexuality, incest, globalization, gender inequality, sexual harassment, homosexuality, poverty, oppression and violence against women, among others - moves us to act rather than talk. Questions rather than gives answers. Analyses rather than accepts. Inspires theatre that is revolutionary rather than reactionary.and creates theatre as a force of change.

F.Philippine music(Mindanao) Asian musical cultures come together in the Southern Philippines. On these islands old Malay music and a later form of India/Muslim music coexist. Unaccompanied singing and the use of bamboo ideocords and bamboo flutes are indicative of practices common in Malaysia. The chanting of long, melismatic melodies are reminiscent of Indian and Islamic music; while gong playing with basses evokes practices similarly observed in Indonesia, Laos, Thailand, and Burma. Two distinct types of song are popular among the Maguindanaos: 1) religious chants sung during the Friday noon service, the celebration of the Molud or Mawlid, the puwasa or Ramadan, and the periodic commemoration of the dead; and 2) the less formal secular songs, such as love songs, legend chants, and lullabies. Similarly, among the Tausogs, song traditions fall into either the lugu, unaccompanied songs associated with traditional rites; or the paggabbang, songs rendered solely for entertainment.

KOLINTANG The popular kolintang (gong melody) is played in different instrumental combinations, but the Maguindanao ensemble is said to have the most developed melodic permutation The ensemble is composed of a set of eight gongs of graduated sizes arranged in a row (kolintang), a suspended gong with a thin sound (babendir), a drum (debakan), one or two suspended gongs (agong), and a pair of gongs with narrow rims (gandingan). The kolintang is a counterpart of the Malaysian or Indonesian gamelan, except that it is an ensemble strictly of percussion instruments. No wind or string instrument is played to accompany it. The principal eight-gong series (kolintang) is used to play a variety of meaningful compositions; the other gongs and the drum follow its beat. In Maranao the musical or poetical compositions played on the kolintang usually have dual meanings: literal and "cultural."

HEALTH Interpersonal Relationship

Communication plays a vital role to people and the society. It is the act of exchanging thoughts, messages and other sort of information which is channeled and imparted by a sender to a receiver via some medium. One may consider first before relaying the message to friends, neighbors and family the impression it would give as the sender exchange thoughts, particularly in emotional situation or complicated issues. As communication is an act to exchange thoughts, the paper is interested to inquire into the role of euphemism of first considering the impact it would brought to the conversation. Euphemism is defined as a substitution of an expression that may offend or something unpleasant towards the receiver of such messages, thoughts and other sorts of information. The paper is entitled, Filipino Interpersonal Relationship: Euphemism, would like to attempt to examine the idea that Pinoys fond of avoiding in giving direct criticism towards the Sakop. As a result could it be automatically say that euphemism inks in Pinoys blood and culture? In a daily conversation Filipinos would hear words such as; siguro nga (maybe), sisikapin ko (I will try), tingnan natin (well see) Pipilitin ko (I will make an effort) or sometimes receive a reply such as; PAL sa, ko karon (dependent to parents), Hubagang ate, uy (referring to womens body). These are just some of the words that enter daily conversation that it has been very common or rampant, already apparent to close observer of Philippine life and culture. To give further clarification to the attempt, it would consider some points which will set as guide and parameters of its inquiry: (1) Filipinos often resort to euphemism, healthy for an individual or as member of the sakop; (2) the negative impact that it would brought to individual and its receiver; (3) whether euphemism guarantees harmony with the community or; (4) it is Filipinos way of building healthy interpersonal relationship. Hoping that it will disclose what the paper would like to present. As a background or find out any account relevant to the paper it had consider Leonardo Mecardos books particularly; Filipino Social Being and Sakop and the Individual.As it is deemed relevant guide to come up a clear presentation of the paper, for Mercados anthropological method of philosophizing provides information of uncovering mental framework which already exist to culture which explains Filipinos peculiarities. In addition it will also use Filipino proverbs (Salawikain) and some pinoy jokes (Juan Pusong) to ostensibly explain and support of its claim. To further understand of how euphemism would elicit in the exchange of thoughts and the possible cause of it, the following discussion is drawn from Mercados anthropological method. Filipino is person oriented, thinking the self as belonging to, and identifies himself with a group (sakop). Considers the success and welfare of the sakop as his own fulfillment, which such kind of thinking is different from some Western culture, where ones dignity and freedom is ones personal agenda and that community values are consider apart. On the other hand, Filipino always identifies the self in the sakop and it is a must for a pinoy the sense of belongingness. Mercado identify two characteristics of sakop: Interpersonal and Hierarchic. Interpersonalism can be seen from the nuclear or barkada to a bigger sakop such as political party where personal issues does not matter as long as building strong allegiance to the head is the main concern. To guarantee strong bond and allegiance participation in ritual kinship (compradizco) is necessary. Sakop as hierarchic means the degree of the disparity is prevalent towards Filipinos Pakikibagay (in-consonance-with) and Pakikiisa (Being-one-with) towards the member of the sakop. As age and experience must be regarded factor to be taken in the process of exchanging opinions to a certain subject matter.

Sakop, can be a persons relative, peers, classmates, townmates, officemates, etc. the word Kapatiran (sharing the same intestines/brotherhood) and Kadugo (sharing of the same blood or coming from the same clan) could be consider as the central way for sakop-making of Filipino. Kapatiran means that the participation of a Filipino to a ritual kinship such as; baptism, marriages and other investitures. Aside from ritual kinship, living in the same barrio could also develop the sense of Kapatiran. Kadugo is always understood as individual coming from a similar blood line or clan. In similar to some Oriental families (particularly, Asian) Filipino consider Kadugo as priority and ones thought should be highly regarded compared to barkada and some not affiliated by blood. To understand Mercados point of Filipino's sakop-orientation, the author consider of relating it to a story to contain the idea. I Am Third A popular boy living in a town is admired by many in the community, not because of he is the son of a wealthy and powerful family in the town but because of his motto in life. One day, Juans teacher asked every student about their motto in life which everyone is eagerly waits for his turn to share his motto in life. The teacher asked Juan for his motto in life and replied, I Am Third. The teacher was puzzled by Juans answer and demands for an explanation. Juan replied by saying that I Am Third because first God, second Others and I am third. Considering that right and wrong is determined by the sakop and that every opinion expressed must conform to sakops standard. One must be careful in the process of Pakikiisa and Pakikisama by this pinoy would always resort to address as much as possible in euphemism in order not to cause negative attention from the sakop. For example in a certain company meeting that needs to be agreed by all, pinoy must keep in silence if it is agreed by many, particularly if some the barkada in the company does adhere to the proposals which automatically expected. As long as it is agreed by the sakop, one would immediately conform as pinoy is sensitive towards its sense of belongingness in the sakop.