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For the first time, a construction of the history of early radio in the Philippines is attempted through the author's painstaking examination of archival records, extant publications, and private memorabilia as well as interviews with radio broadcasters of the time.
"This book is a first reader in Philippine dance, observed through forty-five years of viewing, reviewing, and doing. It is one observer's understanding of what, where, or how is dance, and who makes it and why we dance. It attempts to answer these questions, aware that more questions ought to be further asked."--BOOK JACKET.
The history of women in the opera is a grand story. Women were singers and patrons, of course, but from opera's beginnings in Renaissance Italy, they were also opera composers and librettists. At first it was exclusively for the nobility. In the 19th century, with the emergence of the middle class and the rise of nationalism, there were more public theaters and opera seemed to be everywhere. This meant more opportunities for composers, though men predominated. This book focuses on the women, from the 16th century to today, who had successful careers in opera, many of them well known in their time.
In this ebook, Judy Freya Sibayan reflects on 39 years of her work as an artist, curator, writer, editor of Ctrl+P and teacher. Inspired by Hélène Cixous, the figure of HerMe(s) is invoked for a new kind of artistic autobiography, hyperlinked to the internet and a practice, evident in major works like Scapular Gallery and Museum of Mental Objects, which developed from her development of a distinctive form of institutional critique.
Intended to fill a void in critical writing on Philippine musical literature - reflective and analytical discussions of important markers in contemporary Filipino musical life.
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances—and parodies of them—these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification. Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
The Sin I Knew (not what you think) is a humble spin-off from several books of the same genre already in the shelves of bookstores and libraries. Sin Stories, The Colorful Life of Cardinal Sin, and Cardinal Sin of Manila are among them. I venture to say that more books will be written by people who worked with Cardinal Sin, by those who listened to his homilies and talks, and by the adoring public including the future biographers of this extraordinary man of God. I sometimes think that my little book will be but a footnote to the lore of books, articles, and other literature on Cardinal Sin, present and future. Nevertheless, as a life long protege of the Cardinal, I want to share what I knew about himmy personal insights and the memorable incidents and situations that may in the distant future be significant historical readings for historians like his secret meeting with President Reagan in 1984 in New York that I kind of helped broker.